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LIMITED EDITION FIRST PRESS OF 300 COPIES ON TRANSPARENT RED VINYL WITH JAPANESE STYLE OBI. NON-RETURNABLE.
Osaka quartet HIBUSHIBIRE return this August with their fifth studio album ‘Phantom Fuzzy Exotica‘.
Phantom Fuzzy Exotica continues to find the band exploring their own little universe, where psychedelia, 70’s hard rock and folk rock influences collide. You’ve got the short punchy riff heavy songs, the mellow time-out bits, and of course the epic psych jams and more vocals then previously. It’s all here, and as always they deliver the goods.
Phantom Fuzzy Exotica … in the bands own words
The initial image behind this album was “phantoms”- things that seem to exist, yet somehow don’t. Another thing that sets this album apart from our previous releases is that four of the five tracks feature vocals. The only instrumental is “Invocation and Ritual Dance of the Electric Nonsense.” We didn’t consciously plan it that way; it just happened naturally. After finishing last year’s tour, we didn’t have much time, but everyone’s ideas came together, and I think we’ve created an album we’re truly satisfied with.
Mandrake Oracle: The opening track of the album.Built around a single guitar riff by changchang, while the other instruments and electronics keep pushing the music forward. Personally, I imagined Deep Purple playing a Pink Floyd song while writing this one.
Minagoroshi Western: Imagined as the soundtrack to a fictional spaghetti western. In the end … everybody dies.
Daydream Rendezvous: A piece of daydream acid psychedelic folk.
Invocation and Ritual Dance of the Electric Nonsense: Hard psychedelic jazz rock. The title is a little nod to Frank Zappa.
Ai Vist Lo Lop (Cover): I’ve always loved Ai Vist Lo Lop by the wonderful Occitan traditional band Mont-Jòia, and I’d wanted to cover it someday. We especially enjoyed creating the a cappella section and finding the right sound for the main melody.
We sincerely hope you enjoy listening to this album as much as we enjoyed making it. — changchang
The Phantom Fuzzy Exotica European Tour 2026
AUGUST
19th Archive, Liverpool (UK) , 20th Ivory Blacks, Glasgow (UK), 21st The Golden Lion, Todmorden (UK), 22nd The Bunkhouse, Swansea (UK), 23rd Beautiful Days, Devon (UK), 25th The Peer Hat, Manchester (UK), 26th Le Pub, Newport (UK), 27th Strongroom Bar, London (UK) with Black Helium, 28th The Holloway, Norwich (UK), 29th The Sunflower Lounge, Birmingham (UK), 30th The Piper, St Leonards (UK) with Black Helium
SEPTEMBER
1st DND, Dunkirk (FR), 3rd Pilsen Busking Fest, Pilsen (CZ), 4th Pilsen Busking Fest, Pilsen (CZ), 6th Riff, Budapest (HU), 7th Végállomás Klub, Szombathely (HU), 8th A Beton, Győr (HU), 9th Chemiefabrik, Dresden (DE), 10th Bar Neun, Berlin (DE), 11th Subsol, Dusseldorf (DE), 12th Magasin 4, Brussels (BE), 13th De Onderbroek, Nijmegen (NL), 14th La Bulle Café, Lille (FR)
HIBUSHIBIRE are
Changchang (Guitar/Vocal/Bouzouki/Electronics/Melting Eye Spectacle), Tetsuji Toyoda (Bass/Vocal/Mermaid Mountain), AOI HAMA (Drums/Vocal/Cat Tongue Queen), Kohei Katsuma (Conga/Vocal/Theremin/Percussion/God Dog Family)

As guitarist, songwriter, producer and engineer - not just for the iconic Stax record label but on a forest of sessions and solo releases - the Tennessee soul man was the DNA that coursed through the post- war era. Little did we know this towering figure had one last ace to play in his lifetime, with Watching The Tide gathering A-list names including Eric Clapton, Brian May, Ronnie Wood and Billy Gibbons for 12 brand- new songs that Cropper ranked amongst the best of his career. "I know this record provided great joy to Steve in the last year of his life," says project leader Jon Tiven. "And I'm so glad he was able to have one last great creative burst...

Serial Records unveils the first instalment of it's House Classics series, a vinyl project inviting Dexter Troy to revisit two cornerstones of the label's catalogue.

Lovely Flight (Original Mix) — Didier Sinclair's original, included here as a reference point and a statement: a timeless piece of house music that needed no introduction, only the right setting.

Lovely Flight (Dexter Troy's Acyleg Remix) — A respectful rework that refines the production with a modern touch while preserving the classic, timeless feel of the original.

Lovely Flight (Dexter Troy’s Neon Remix) — A fresh disco-inflected take, sun-soaked and uplifting, built for summer dancefloors.

To You (Dexter Troy Remix) — Muttonheads' French Touch gem revisited with precision and care, the production updated without altering its soul.

With features from an all-star cast including Dizzee Rascal, Method Man, Roots Manuva, Rodney P, Jehst, P Money, Chester P, Rude Kid and with production from Basquiat, Leaf Dog, Mystry, Illinformed, Kidkanevil, Forest DLG, Pete Cannon, Muckanicks, Pitch 92 & more, we are delighted to reveal the latest incarnation of ‘WIZVILLE’ in a Limited Edition 2x12” Smoky Marble Vinyl Repress w/ Gold Embossed Cover in Super Limited Numbers.

From São Paulo, Brazil comes CSS, the first South American band Sub Pop has foisted upon the global marketplace. Cansei de Ser Sexy, Portuguese for “Tired of Being Sexy,” is improbably, unbelievably and nearly eponymously their debut. It is a thick, pulsating thing full of haphazard synths (“Alala”) and a come-on of call and response that tears down any attempt at posturing (“Art Bitch,” “Patins”). It is equal parts rock mantra and throwback into something new, transcending boundaries of genre and geography.

It careers full speed into dance territory, into the unknown and untouched, to emerge all hot and bothered with wild electro-rock. Pretension? Absent. Friction? Probable. They are the un-pretension: unfinished, exposed, and throwing all they have right at you. It is quick, tightly-wound, unfastened and supreme. Not a sneer but a giggle. To paraphrase from the Portuguese: “Not only music, but a new way to live with it. An unfinished group that, unlike preserving itself until getting ‘to the point,’ was bravely showing off, turning everything into style.” Fashion. Art. Design. Cinema. Panties thrown and received. Micro shorts and dirty legs. How does it happen? It happens like this…

Hand Me My Flowers brings together one of underground hip-hop’s most relentless voices with one of the genre’s most revered producers. The result is a hard-hitting collaboration that bridges generations, uniting Flee Lord’s raw street narratives with Buckwild’s unmistakable golden-era production pedigree.

A cornerstone of the legendary Diggin’ In The Crates (D.I.T.C.) collective, Buckwild has spent decades shaping the sound of East Coast hip-hop, crafting classics for artists such as The Notorious B.I.G., O.C., Big L, Fat Joe, Nas, and countless others. On this project, he delivers a masterclass in gritty, soulful production—dusty samples, hard drums, and cinematic arrangements that provide the perfect backdrop for Flee Lord’s uncompromising lyricism.

Throughout the album, Flee Lord sounds right at home over Buckwild’s expertly crafted soundscapes, weaving vivid tales of survival, loyalty, sacrifice, and perseverance. His commanding delivery and relentless work ethic are matched by production that honors hip-hop’s foundations while remaining timeless and relevant.

More than a producer-and-emcee collaboration, this album represents a meeting of eras. Buckwild’s decades of experience and crate-digging mastery merge seamlessly with Flee Lord’s modern underground sensibilities, creating a project that feels both classic and contemporary. Every track reflects a shared commitment to authenticity, lyricism, and the enduring spirit of New York hip-hop.

For longtime fans of boom-bap and newcomers drawn to today’s thriving underground scene, this collaboration stands as a powerful reminder that real hip-hop never goes out of style.

Baby You’re A Winner’ is a perfect illustration of the elevated musicality of the album that bears its name. Linking up across the record’s twelve tracks with producer Ali Chant (PJ Harvey, Perfume Genius, Yard Act), Baby You’re A Winner showcases a real levelling up for Grandmas House: more layered and involved than their trio of previous EPs - Grandmas House (2021), Who Am I (2023), Anything For You (2025) - with a greater focus on the use of vocals and harmonies to embolden the meticulously crafted arrangements.

It’s the sound of the quartet - Yasmin Berndt (guitar, vocals), Poppy Dodgson (vocal, drums), Zoë Zinsmeister (bass, vocals) and Polly Jessett (guitar) - bringing a greater sense of nuance and space to their music, while deploying myriad genres to maximum effect. From the righteous, elasticated rock of recent single ‘DOG’ to the syncopated post-punk and brass blasts of ‘Dance’ and on to the chamber folk ambiance of closer ‘Spring’, Baby You’re A Winner is the most authentic, realised portrait of Grandmas House to date.

The songs here navigate a precarious balancing act between sadness and catharsis, ultimately landing in a place of salvation - the product of the band’s tight-knit friendship, this album is their gift to the world, born from a period of grief and hardship but emerging from the other side with profound love and strength. It’s a testament that even when the odds are against you, anyone can be a winner.

Since their debut, Rising Insane have evolved from a fierce independent quintet into a global heavy-hitter, amassing millions of streams across their previous catalog. Their journey to the top has been defined by elite company, having shared stages with genre icons like Papa Roach, Of Mice & Men, and Stray From the Path, transforming them into an unstoppable live force. This momentum is now reaching a fever pitch with their upcoming album, Deathrace. The record includes the standout track "Good Enough" (feat. Matt Flood of Caskets), which proved the band's immense reach by surpassing one million streams right at its release, alongside the dark and mature "Error" (feat. Steven Jones of Bleed From Within). Fans can also look forward to explosive new collaborations on the album with ACCVSED and David Schneider (The Butcher Sisters). Deathrace marks the band’s most radical chapter yet, stripping away polished refinement in favor of raw power and primal riffs. It is a limit-breaking statement that finally pushes their sound to the absolute limit - Rising Insane have never stood still, but now they are finally flooring it.

It’s no disrespect to the man to not believe, in part or in whole, every word that Ray Wylie Hubbard writes, sings, or speaks — and frankly, he’d probably respect you a little less if you did. As celebrated songwriters of the outlaw poet/down-home-country-blues persuasion go, Hubbard’s credibility is unimpeachable. And to be fair, even as a somewhat notorious raconteur, his overall truthiness is a lot more bankable than your average politician or fundamentalist grifter.

But fold your cards every time he goes all in across a table from you, or swallow as fact every nugget of wisdom he sharpens into verse or stretches into a yarn without catching the gleam in his eye or wry tell between the lines, and odds are you’ve been played. But honestly, that’s all just part of what makes Hubbard so damn fun. “You know, a lot of artists when they put out a record, they go, ‘This is the best record I’ve done up to this point,’” the Americana legend considers sagely after a pause when asked how to best sum up Reel 2 Reel 4 Real, his 20th album in a recording career stretching back to the mid-70s. “But I’m not going to say this is the best record I’ve done. I’ll say it’s the best record I’ve ever heard.” No matter how many awards and Hall of Fame inductions others might honor him with (he’s a member of both the Austin Music HOF and the Texas Heritage Songwriters HOF), Hubbard never swaggers or sings his own praises without keeping his tongue planted firmly in cheek.

But after brushing aside his bluff with a chuckle, Hubbard gets real. “I am very proud of it,” he answers sincerely. “Everybody that played on it put a lot of work into it, and it just felt right doing it. I’m very grateful.” Set for release August 21, 2026 (with the first taste, “Cassette Mix Tape,” dropping May 29, followed later this summer by a second single, “Dog or Wolf”), Reel 2 Reel 4 Real marks Hubbard’s return after a two-album major-label joyride on Nashville’s Big Machine Records. “They treated me great, and did everything they could,” he says, “but it was kind of limited because I’m an old guy. I’m no longer a country hunk, you know?”

Neuauflage von Dance Gavin Dances enorm einflussreichem Album *Downtown Battle Mountain* aus dem
Jahr 2007 – erstmals auf umweltfreundlichem Eco-Black-Vinyl.
Neuauflage von Dance Gavin Dances äußerst populärem Album „Instant Gratification“ aus dem Jahr 2015
– erstmals auf umweltfreundlichem, „Eco Black“-Vinyl.

Neuauflage von Dance Gavin Dances enorm einflussreichem Album *Downtown Battle Mountain* aus dem
Jahr 2007 – erstmals auf umweltfreundlichem Eco-Black-Vinyl.
Neuauflage von Dance Gavin Dances äußerst populärem Album „Instant Gratification“ aus dem Jahr 2015
– erstmals auf umweltfreundlichem, „Eco Black“-Vinyl.

Die EP *Donkey Punch The Night* aus dem Jahr 2013 von Puscifer (mit Maynard James Keenan von
Tool und A Perfect Circle). Das Album enthält Coverversionen von Queens „Bohemian Rhapsody“ und
Accepts „Balls to the Wall“ sowie weitere Titel!

Das brandneue Studioalbum der legendären Rockband The Afghan Whigs aus Ohio. Das Album umfasst
10 neue Songs, die den für die Band typischen, souligen und rauen Rock präsentieren – mit Frontmann
Greg Dulli, dessen Gesang so emotionsgeladen und einzigartig klingt wie eh und je. *Soft Control* enthält
die Singles „House Of I“ und „Duvateen“ und erscheint genau zu dem Zeitpunkt, an dem die Band ihr
40-jähriges Bestehen feiert.

Possessed entfesselt die rohe Urgewalt von Venom in ihrer reinsten Form. Das Album ist ein kompromissloses Feuerwerk aus rasender Geschwindigkeit, chaotischer Aggression und finsterer Atmosphäre. Auf
hochwertigem Vinyl präsentiert, vereint es die markanten Riffs, das donnernde Schlagzeug und den unverwechselbar rauen Gesang, die den Sound der Band ausmachen und Generationen von Metal-Musikern
beeinflusst haben. Ein essenzielles Album für alle Fans des frühen Extreme Metal.

Mit Eine kleine Nachtmusik erscheint ein eindrucksvolles Live-Dokument als kraftvolle Doppel-LP auf Vinyl. Die Aufnahme zeigt Venom auf dem Höhepunkt ihrer ungezügelten Live-Energie und fängt die rohe Intensität, das kontrollierte Chaos und die düstere Atmosphäre ein, die die Band zu einer Legende des Extreme
Metal gemacht haben. Ein unverfälschtes Stück Metal-Geschichte, das die kompromisslose Wucht von
Venom authentisch erlebbar macht.

How much love for The Thermals can you squeeze onto a 7"? Turns out: quite a lot. Two bands brought together by their shared love of The Thermals, each putting their own spin on "A Pillar of Salt." It goes without saying that Hutch Harris took care of the artwork, right? Released on the 20th anniversary of The Body, The Blood, The Machine, this split 7" is our little tribute to a record that still means the world to us. Here"s your future!

Matrix Music Arhiv (MMA) are proud to announce a re-issue of the highly sought-after album 'Resistance' by the seminal Yugoslavian electronic rock band Borghesia, originally released in 1989 on Play It Again Sam/PIAS (Europe), Wax Trax (USA) and Jugoton (former Yugoslavia). Available on 2Lp, 2CD & 1MC (MC original album only). The re-issue features a carefully remastered edition along with the exclusive bonus live album "Dal Vivo A El Paso", recorded in December 1988 during their performance in Torino, Italy, on one of their European tours. This recording features very different, raw and at times 'dubbed up' versions of their early tracks such as 'Naked, Uniformed, Dead', Am I? and Him (On). The historical perfectly captures the atmosphere and energy of their live appearances at the time. Borghesia (Italian for 'bourgeoisie'), who were formed in Ljubljana (Slovenia) in 1982, had always considered its art to be far broader than just sonic. Borghesia's transgressive, transdisciplinary alloy of film expression, distinctively physical performative practices, usage of new technology and conveniently abrasive EBM (electronic body music) musical production hasn't only been ground-breaking in terms of the holistic, visual/sonic presence of an art collective, but had a rather decisive influence on the general aesthetics of the immensely important Yugoslav subcultural landscape of the 1980s. Borghesia was one of the first bands from the East of the Iron Curtain who used the VHS video medium to distribute their art and was also one of few projects from socialist Yugoslavia to successfully penetrate the curtain itself, reaching international audiences. A series of their releases in the fruitful period between the years 1987 and 1991, including the Resistance album itself, was released by the legendary Belgian label Play It Again Sam (PIAS). The band dissolved in the mid-1990s and then continued their work in 2014. In line with Borghesia's unique social engagement, progressiveness and political criticism, Resistance is one of their most powerful statements. It's the ultimate fight the power manifesto, which makes punk and hip-hop albums of the time sound like children's songs. This is not music for nodding your head to; it's tactical broadcast for the nocturnal resistance to this very day. Borghesia didn't address control only - they sampled the political top, the secret police and explicitly connected authority with dominance. The production of the album isn't clean or polished. On the contrary - Resistance sounds like it was created in a bunker, using stolen military equipment and synthesisers. Borghesia's genius lies in their understanding that the relentless, mechanical EBM beat was the sound of the State - and by hijacking it, turning the system's own rhythm against itself they created the most powerful form of sonic insurgency. And since history repeats itself while the little man learns slowly, the re-release of 'Resistance' comes at the right time. The dark clouds of violence are already looming over Europe, they've never really left the Middle East, and the levers of power and capital ever so louder, not even covertly at all incite: war, war, war! In these times the only appropriate answer is: revolt, rebel, Resistance!

Matrix Music Arhiv (MMA) are proud to announce a re-issue of the highly sought-after album 'Resistance' by the seminal Yugoslavian electronic rock band Borghesia, originally released in 1989 on Play It Again Sam/PIAS (Europe), Wax Trax (USA) and Jugoton (former Yugoslavia). Available on 2Lp, 2CD & 1MC (MC original album only). The re-issue features a carefully remastered edition along with the exclusive bonus live album "Dal Vivo A El Paso", recorded in December 1988 during their performance in Torino, Italy, on one of their European tours. This recording features very different, raw and at times 'dubbed up' versions of their early tracks such as 'Naked, Uniformed, Dead', Am I? and Him (On). The historical perfectly captures the atmosphere and energy of their live appearances at the time. Borghesia (Italian for 'bourgeoisie'), who were formed in Ljubljana (Slovenia) in 1982, had always considered its art to be far broader than just sonic. Borghesia's transgressive, transdisciplinary alloy of film expression, distinctively physical performative practices, usage of new technology and conveniently abrasive EBM (electronic body music) musical production hasn't only been ground-breaking in terms of the holistic, visual/sonic presence of an art collective, but had a rather decisive influence on the general aesthetics of the immensely important Yugoslav subcultural landscape of the 1980s. Borghesia was one of the first bands from the East of the Iron Curtain who used the VHS video medium to distribute their art and was also one of few projects from socialist Yugoslavia to successfully penetrate the curtain itself, reaching international audiences. A series of their releases in the fruitful period between the years 1987 and 1991, including the Resistance album itself, was released by the legendary Belgian label Play It Again Sam (PIAS). The band dissolved in the mid-1990s and then continued their work in 2014. In line with Borghesia's unique social engagement, progressiveness and political criticism, Resistance is one of their most powerful statements. It's the ultimate fight the power manifesto, which makes punk and hip-hop albums of the time sound like children's songs. This is not music for nodding your head to; it's tactical broadcast for the nocturnal resistance to this very day. Borghesia didn't address control only - they sampled the political top, the secret police and explicitly connected authority with dominance. The production of the album isn't clean or polished. On the contrary - Resistance sounds like it was created in a bunker, using stolen military equipment and synthesisers. Borghesia's genius lies in their understanding that the relentless, mechanical EBM beat was the sound of the State - and by hijacking it, turning the system's own rhythm against itself they created the most powerful form of sonic insurgency. And since history repeats itself while the little man learns slowly, the re-release of 'Resistance' comes at the right time. The dark clouds of violence are already looming over Europe, they've never really left the Middle East, and the levers of power and capital ever so louder, not even covertly at all incite: war, war, war! In these times the only appropriate answer is: revolt, rebel, Resistance!

Matrix Music Arhiv (MMA) are proud to announce a re-issue of the highly sought-after album 'Resistance' by the seminal Yugoslavian electronic rock band Borghesia, originally released in 1989 on Play It Again Sam/PIAS (Europe), Wax Trax (USA) and Jugoton (former Yugoslavia). Available on 2Lp, 2CD & 1MC (MC original album only). The re-issue features a carefully remastered edition along with the exclusive bonus live album "Dal Vivo A El Paso", recorded in December 1988 during their performance in Torino, Italy, on one of their European tours. This recording features very different, raw and at times 'dubbed up' versions of their early tracks such as 'Naked, Uniformed, Dead', Am I? and Him (On). The historical perfectly captures the atmosphere and energy of their live appearances at the time. Borghesia (Italian for 'bourgeoisie'), who were formed in Ljubljana (Slovenia) in 1982, had always considered its art to be far broader than just sonic. Borghesia's transgressive, transdisciplinary alloy of film expression, distinctively physical performative practices, usage of new technology and conveniently abrasive EBM (electronic body music) musical production hasn't only been ground-breaking in terms of the holistic, visual/sonic presence of an art collective, but had a rather decisive influence on the general aesthetics of the immensely important Yugoslav subcultural landscape of the 1980s. Borghesia was one of the first bands from the East of the Iron Curtain who used the VHS video medium to distribute their art and was also one of few projects from socialist Yugoslavia to successfully penetrate the curtain itself, reaching international audiences. A series of their releases in the fruitful period between the years 1987 and 1991, including the Resistance album itself, was released by the legendary Belgian label Play It Again Sam (PIAS). The band dissolved in the mid-1990s and then continued their work in 2014. In line with Borghesia's unique social engagement, progressiveness and political criticism, Resistance is one of their most powerful statements. It's the ultimate fight the power manifesto, which makes punk and hip-hop albums of the time sound like children's songs. This is not music for nodding your head to; it's tactical broadcast for the nocturnal resistance to this very day. Borghesia didn't address control only - they sampled the political top, the secret police and explicitly connected authority with dominance. The production of the album isn't clean or polished. On the contrary - Resistance sounds like it was created in a bunker, using stolen military equipment and synthesisers. Borghesia's genius lies in their understanding that the relentless, mechanical EBM beat was the sound of the State - and by hijacking it, turning the system's own rhythm against itself they created the most powerful form of sonic insurgency. And since history repeats itself while the little man learns slowly, the re-release of 'Resistance' comes at the right time. The dark clouds of violence are already looming over Europe, they've never really left the Middle East, and the levers of power and capital ever so louder, not even covertly at all incite: war, war, war! In these times the only appropriate answer is: revolt, rebel, Resistance!

Studio Barnhus presents Fold, the first full-length release on the label from Stockholm-born, Berlin-based DJ and producer MOLØ: a patiently unfolding album of club-adjacent lullabies, soft-focus breakbeats and open-window electronics. Following 2024’s Aqua Lull and 2025’s Don’t Change EP with Slackin Beats, MOLØ returns to Barnhusgatan with her most fully realised work yet – an album built like a night slowly finding its shape, starting somewhere quiet and letting the music grow and shift. The result is Fold: eight tracks moving freely between rooms and tempos, held together by MOLØ’s sense of atmosphere, melody and pace. There are pads with endless skies in them, field recordings whispering from the corners, melodies suddenly appearing, having been waiting patiently for the right light.
As often with Studio Barnhus, friends old and new are invited in. Swedish jazz pianist Albin Söderbäck leaves his mark on Cloud and Sväva, bringing a warm, searching musicality that nods gently towards MOLØ’s favourite jazz-fusion records. On Le, Diane Emerita’s fragile voice slips in between the breaks, making the track feel at once human and unreal. Off The Meds frontman Kamohelo keeps it cool as ever on the dynamic stepper Bump.
Then there is Malmö, featuring Norwegian songwriter and vocalist Ane Brun. MOLØ sent Brun the instrumental because she could already hear her voice inside the music – what came back felt so natural, it was as if the whole track had been written around it from the start.
Elsewhere, DJ favourite Fluff captures a different kind of magic: made in MOLØ’s Berlin apartment one spring evening, barely changed since its first draft, then road-tested immediately on a late-night walk through the city with the demo on repeat, strangers moving through the frame.
Fold is a record about trusting the long way round. In a time of shrinking attention spans and growing impatience, MOLØ chooses the scenic route, with curiosity, generosity and enough confidence to let the listener get a little lost

The 12" blue vinyl edition mastered from the original tapes does not include the three CD bonus tracks available on this disc.

Having recorded with UFO, Babe Ruth, Cozy Powell's Hammer, Paice Ashton Lord and on countless chart hits for RAK Records as Mickey Most's studio session guitarist, Bernie was a founding member of Whitesnake. in just four years, Whitesnake became firmly established as one of the very biggest British rock bands, racking up multiple chart singles and albums.After leaving Whitesnake in 1982, Bernie Marsden was almost constantly writing, recording or touring. Although a revered guitarist of exquisite touch, which mercifully is preserved for us to enjoy on hundreds of studio recordings, it was on stage where his charisma and wit was best enjoyed.

Coming in hazy and heady, an end-of-summer cosmic jammer from Nick Mitchell Maiato, full of big choruses, blazing guitars, country honk, and deep grooves—replete with funky horn section. It’s been four years since Poolside, the last release by One Eleven Heavy (Mitchell Maiato’s sometimes-band with James “Wooden Wand” Toth), and that time has clearly been used for some serious woodshedding on the auteur’s part. On Náquera, named after the Spanish pueblo in which he resides, Mitchell Maiato’s songwriting, vocals, and guitar playing all come into sharp focus as he mans the wheel on an ocean drive of interwoven electric guitar dueling, funky multi-movement jams, bittersweet odes to uncomplicatedness, and rolling rockers. Featuring an effortlessly graceful preface by Macon, GA piano prodigy Gavin Rushing, “Riki Rachtman” is a cosmic americana ballad examining the state of heavy metal in contemporary pop culture from the perspective of a disgruntled first-person narrator. “Critical Mass” is a soaring, two-chord ode to dropping out, with an opening organ salvo by Grateful Dead midi-tech Bob Bralove, a monster, key-changing guitar duel at its core, and a fat, snaking bass groove by Otto Wilberg (Mitchell Maiato’s former colleague in Desmadrados Soldados De Ventura).“Flamebait” is one of the record’s big surprises with its almost Lennon-esque rock-and soul slab of technocracy bashing, its woozy, three-part horn section, and its improvised, sun-scorched guitar solo slap-dab in the middle.And, on “The Angle,” we get an homage to rock-and-roll pool hustler narratives framed within an expansive country-funk jam that nods to Mitchell-Maiato’s love of Parliament and Grateful Dead in equal measure.

In ein paar Jahren kann viel passieren. Für Jarred Beeler von DJ Plead bedeutet das, ein ganz neues Album aufzunehmen, es dann wegzuwerfen und schließlich etwas völlig Anderes zu veröffentlichen. ,Please" wurde zusammengestellt aus einem Ordner mit 120 Demos und Skizzen, die zwischen 2023 und 2025 entstanden sind, und präsentiert die unverwechselbare musikalische Palette des libanesisch-australischen Produzenten, die Techno, House und Dub aus dem Club mit den Dabke-, Mijwiz- und Shaabi-Klängen eines levantinischen Tanzkreises verbindet. ,Please" folgt auf ,Relentless Trills" aus dem Jahr 2020. Veröffentlicht als Teil von Boomkats ,Documenting Sound"-Reihe war diese Veröffentlichung eine Offenbarung, die über die hochintensiven Hard-Drum-Kracher hinausging, die über Livity Sound, Nervous Horizon und sein eigenes Label Sumac erschienen waren, hin zu einem eher ambienten Ausbruch seiner markanten Percussion und gewundenen Maqam-Melodien. ,Please" ist ein noch intimeres Werk, dessen Cover eine Nahaufnahme von Beeler zeigt , der in der einen Hand eine Tasse Kaffee hält, in der anderen seine Habseligkeiten. Handy, Schlüssel, Tabletten, Tiger Balm. Es ist eine zutiefst persönliche Darstellung des Alltags, die die gemächliche emotionale Resonanz der Trackliste des Albums widerspiegelt. Ein melancholischer Ambient folgt auf das verzierte Dahintuckern von ,Seven Eight, Too Late", das von Downtempo-Atmosphären heimgesucht wird. Das sanft groovende Klavier, die Gitarre und der Bass des Abschlussstücks ,Traffic" verschmelzen mit dem organischen Nachhall und Verklingen von Raum und Zeit. ,Ich fühle mich nicht ganz wohl dabei, diese Tracks zu veröffentlichen. Ich fühle mich verletzlich", sagt Beeler, der Smalltown Supersound-Labelchef Joakim Haugland als entscheidend für die Verwirklichung von ,Please" würdigt. ,Ich bezweifle, dass diese Demos jemals von jemandem gehört worden wären, wenn er sie nicht aus dem Ordner geholt hätte." Aber haben wir nicht Glück, dass er es getan hat? Die schwülen Keyboard-Improvisationen des Albums bei Höhepunkten wie ,Right On Time", ,Pa700" und ,Open Era" sind eingebettet in eine Mischung aus schwankenden Found Sounds und mikrotonalen Läufen. ,Bei einigen Songs spiele ich auch einfach nur Keyboard über einem Loop, den ich erstellt habe. Da gibt es nicht viel Produktion oder Glanz, hinter dem man sich verstecken könnte", erklärt Beeler. ,Gerade diese Tracks wirken ziemlich roh." Diese behutsamen Schritte außerhalb von Beelers ästhetischer Komfortzone aus Kontrolle und Funktion hin zu ungefilterter Offenheit erzeugen eine spannende Spannung. ,Please" nähert sich gekonnt jenem schwer fassbaren Punkt zwischen Distanziertheit und Sentimentalität, wo das Alltägliche, das Spezifische und das leicht Absurde auf das Tief empfundene und aufrichtig Bewegende treffen.

Keyboardist/composer Doug Carn was the
biggest star on the legendary Black Jazz Records
label, with four releases to his credit (all reissued
by us at Real Gone Music), and remains a
touchstone for spiritual jazz fans and musicians
alike. But very, very few folks have heard his
debut record, cut for the venerable Savoy label
back in 1969. In fact, it’s so rare that we couldn’t
even find a copy to use for artwork, so, with
Doug’s help, we enlisted his daughter Eroniffa
Ibrahim to create illustrations for our reissue
based on the original cover photos. But you know
what we did find? That’s right…the original master
tapes! So, not only is this the first LP reissue for
The Doug Carn Trio, but it’s an all-analog edition to
boot, pressed at Gotta Groove Records with their
proprietary GrooveCoated stampers to minimize
high-frequency loss with each successive pressing.
And, we’ve added an insert with liner notes by Aaron
Cohen based on an exclusive interview with the man
himself. As for the music, it’s a tight organ trio set
that starts cooking right from the get-go with a groovin’ cover of Gus Cannon’s “Walk
Right In,” which became a folk hit for The Rooftop Singers. Carn’s fluid, forward-thinking
playing anticipates Larry Young’s future keyboard forays, and originals like “Butter from
the Duck” and “Yna Yna’s Delight” presage the compositional prowess he flashed on the
Black Jazz releases (note: that’s Don Hales on guitar, not Gary Starling as credited on the
original record). The opening salvo from a scintillating career, finally available again!

Michaela Turcerová’s compositions unfold in slow motion. The saxophonist and composer’s glacial music zeroes in on the granularities of each note as it rings, soaking in every subtle shift in texture and pitch.

Šumum exemplifies this patient approach to writing music, branching out from themes of loss and togetherness into an intricate tapestry of introspective sound. These four pieces invite deep collaboration between performers, who together shape the music through the shared process of listening and interpreting Turcerová’s relatively open scores. And while these works often grow from long, stretched-out tones, they also foreground forward direction: no note stays in one place, no melody is without action. Instead, Šumum chronicles how the tiniest shifts can lead to major transformation.

Šumum builds from Turcerová’s longheld interests in place and minimalism. Many of the composer’s works explore perception: how a room can shape the music we hear, and how repetition alters a melody. Like the music of Éliane Radigue, Šumum embraces the rainbow of colors that appear when close listening with the wave-like flow of looped melodic and rhythmic patterns. All the album’s pieces observe the subtle changes that happen as music grows.

Group communication yields the constant evolution that defines Šumum. The album feels like a conversation, with each instrumentalist swapping phrases or trading places when the moment feels right. “Straty” builds from a series of strongly accented drones that appear as quickly as they fade away; underneath them is a perpetual rhythm that drives the color of each long held note, from melancholy into radiance and back again. With “Vlny,” pitch eventually disappears, leaving a delicate rhythm, and with “Masy,” a matrix of brassy tones link together and eventually burst. No matter where the music goes, one thing remains true: Šumum invites close listening, and in the process, reveals the beauty of continual motion.

Scum rock low-lives Louse return with their Sophomore LP, Buyer’s Remorse - an unrefined but levelled-up dip back into the murk, keeping it in the family one more time on Riot Season records (a label which now, fittingly, features genre luminaries Brainbombs).
More cohesive, more negative but no less disgusting than debut record Creep Call, the band have further enhanced their pummelling, single-riff ritual M.O. with even more strop-razor guitars, crank-fuelled slide-bass, strangled sax and sinister missives from the void.
Buyer’s Remorse includes unspeakable meditations on an unmatched litany of losers, including: inept hitmen/serial killers, snuff-flick refund naivety, disturbing fellatio lessons, burying yourself alive to escape the law (“you’ll never get me in the slammer”) and having a damn good time being chopped into luncheon (take a ride on the meat slide!)
Snubbed from all but the best festivals, Louse continue to eke out a steady stream of shows, with highlights such as glorious sweat-boxes in our beloved Torino, Monza and beyond in the EU with BRAK, being the first band to play Mickey Zogg’s Basement in Bristol with Beau Wanzer and multiple distinguished appearances at Café Oto with legend and fellow RS label-mate Shit & Shine.
Right-thinking taste-makers have decreed that Louse “exist in an alternate reality where The Fall and The Birthday Party are one and the same band”, and that their songs are “all at once unsettling, loose, filthy, untamed, distorted and fucked up, but most of all rocking, creative and unique”.
Buyer’s Remorse is no exception, having been wrangled into perfection by long-time collaborator James Atkinson (The Stationhouse Studio) and none other than Rectal Hygienics’ Matt Ibarra (STR Mastering) this is truly scum rock at its finest - all at once punishing, ugly and brutal; but listen to that groove (oh my!)
Louse are
The Captain - Vocals, Septic Pete - Guitar, The King of Sting - Guitar , Uncle Brutus - Guitar Mister P. - Drums, Dieta Di Patate - Slide Bass

Das Talent von The Script, Songs voller berauschender Emotionen und immer monumentalerer Melodien
zu schreiben, hat Fans auf der ganzen Welt in seinen Bann gezogen – ein Erfolg, der zu einem Katalog
weltweiter Hits wie „Hall of Fame“, „The Man Who Can’t Be Moved“ und „Breakeven“ führte. Auf
ihrem nunmehr achten Studioalbum arbeitet Danny O’Donoghue wieder mit seinen Songwriting-Partnern
Andrew Frampton und Steve Kipner zusammen – jenen Hit-Garanten, mit denen er und Mark Sheehan
eine ganze Reihe der bekanntesten Songs von The Script schufen, darunter „Breakeven“ und „The Man
Who Can’t Be Moved“. Ebenfalls mit von der Partie ist Produzent und Songwriter Jimbo Barry („Hall
of Fame“, „Superheroes“, „The Last Time“). Die Lead-Single „Man In The Arena“ ist eine mitreißende,
trotzige Hymne – untermalt von packenden, martialischen Trommelrhythmen –, die all die Erfahrungen und
weltweiten Erfolge der Band aus den letzten zwei Jahrzehnten aufgreift und ihren Status als unumstrittene
Pop-Rock-Giganten festigt. Wie ihre leidenschaftliche und treue Fangemeinde nur zu gut weiß, besitzen
The Script zudem jene entscheidende Qualität: eine echte, emotionale und tief in der Seele verankerte
Verbindung. Genau diese belebende und verbindende Idee bildet das Herzstück von *The User’s Guide to
Being Human* – jenes Element, das in der Musik, im Leben und bei The Script über allem anderen steht.
Denn schließlich gilt: „Sag mir, was zur Hölle wir eigentlich tun, wenn wir als Menschen nicht einfach nur
menschlich sind.“

Der mitreißende Auftritt von AJR in der legendären Hollywood Bowl in Los Angeles am 4. Oktober 2025
wurde auf dem allerersten Live-Album der Band verewigt! Die Tracklist umfasst 21 Titel, darunter alle
großen Hits der Band – von „Bang!“ über „Burn The House Down“, „Weak“ und „Way Less Sad“ bis hin
zu „World’s Smallest Violin“ und vielen mehr.

One of the early breed of US death metal acts, Autopsy formed in 1987 in San Francisco. Drummer/vocalist Chris Reifert had gained initial recognition with Floridian genre pioneers Death & his participation on the classic debut, ‘Scream Bloody Gore’ before this new morbid creation was birthed. Autopsy released 4 albums on Peaceville Records in the early part of their career - beginning with the legendary debut, ‘Severed Survival’, in 1989 - before disbanding in 1995, with members going on to become the stalwarts of sickodelia in Abscess.

Autopsy triumphantly & officially returned from the grave after a 15 year hiatus with the 2010 EP, ‘The Tomb Within’. This was followed by the release of the band’s fifth studio album, ‘Macabre Eternal’ in 2011, as the group celebrated a new era of popularity & creativity. This reverence continues to this day as Autopsy itself nears its 40th anniversary, & still features the longstanding core trio of Chris Reifert, Eric Cutler, & Danny Coralles.

‘Mental Funeral’ was Autopsy’s second studio album, originally released back in 1991, & is rightly hailed as one of the greatest death metal albums of all time with its unhinged & uncompromising collection of odes to brutality & depravity, wrapped up in its highly distinctive raw, organic production.

‘Mental Funeral’ was recorded at Different Fur Studios in late 1990, with engineering work conducted by Ron Rigler. The iconic artwork appeared courtesy of Kev Walker, who had already provided the (at the time) controversial cover for Autopsy’s debut, ‘Severed Survival’.

This special 35th anniversary pressing of ‘Mental Funeral’ is presented on a limited red/green ink spot vinyl, featuring newly remastered audio courtesy of current Autopsy bassist Greg Wilkinson at his Earhammer Studios.

The amount of quality music Burnski has produced, A&Red and released in recent years is off the charts. His labels are some of the most played in the underground right now, but that hasn't stopped him from starting another one here with Silhouette. Mundy is a new name to us, but has some serious chops on display here with six stylish cuts that explore the intersection of garage, tech and minimal. The synths are silky and the vocal samples are expertly placed to give each groove real character. 'Real Love' is deep and r&b tinged, 'Find You' has a dark low end and 'The Middle' is all about the filthy bass. Pure heaters.

Bad Brains is the self-titled debut studio album recorded by American hardcore punk/reggae band Bad Brains. Recorded in 1981 and released on (then) cassette-only label ROIR on February 5, 1982, many fans refer to it as "The Yellow Tape" because of it's yellow packaging. Though Bad Brains had recorded the 16 song Black Dots album in 1979 and the 5-song Omega Sessions EP in 1980, the ROIR cassette was the band's first release of anything longer than a single. The release includes the original liner notes by Ira Kaplan of Yo La Tengo. This reissue marks the second release in the remaster campaign on the band's own Bad Brains Records imprint with Org Music. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering.

Steve Lacy returns with OH YEAH?, the self-produced follow-up to his Grammy winning Gemini Rights. The Compton native continues to push the boundaries of modern pop, alt and R&B beyond his billion streaming Dark Red and global #1 Bad Habit.

ome songs are simply too good to leave alone.

Original Gravity Records returns with a fresh take on one of the most enduring songs in Jamaican music as Donnoya Drake breathes new life into "You Don't Love Me (No No No)."

The song's remarkable journey begins with Bo Diddley's 1955 recording "She's Fine, She's Mine," before evolving into Willie Cobbs' blues classic "You Don't Love Me." It was then embraced in Jamaica, where it became a foundation stone of the island's musical heritage through Dawn Penn's original Studio One recording.

Rather than recreating any single version, Donnoya Drake's recording draws together the defining moments in the song's evolution. The unmistakable Bo Diddley-inspired riff, popularised by Willie Cobbs, is reimagined by the horn section, while the middle eight pays tribute to Dawn Penn's original Jamaican arrangement. The result is an infectious ska recording that honours every chapter of the song's evolution while bringing a fresh energy of its own.

On the flip, Prince Alphonso & The Fever present "You Don't Love Me Pt.2", an instrumental version that proved far too good to keep in the vault. Stripping away the vocals allows the arrangement to shine in its own right, creating the kind of infectious ska instrumental that selectors and DJs are always searching for.

Produced by Original Gravity Records founder Neil Anderson, the single continues the label's tradition of creating new recordings inspired by the golden era of Jamaican music—not as museum pieces, but as vibrant records made for today's dancefloors. Respectful of the past while unmistakably original, this is another release that bridges the gap between vintage authenticity and fresh interpretation.

Edena Gardens unleash their most expansive work to date. Quintessence is structured in 4 parts as a Magnum Opus—the ancient alchemical process of transformation. But this is not a work of high fantasy. It is a seismic meditation. A study of deep time, weighted matter, and the crushing gravity of change. Quintessence is massive. 79+ minutes of tethered magnitude, carved into six sprawling tracks. The trio pushes further down into the void, discovering new dimensions. Each piece allow the form to stretch. To break its own boundaries. Shifting terrains and unpredictable geometry. The core remains unhurried: A slow, relentless, unabridged crawl. This sort of alchemy demands patience, allowing every sonic mutation to breathe, shift, and solidify in a new atmosphere.

Recorded by Jonas Munk (Causa Sui), the sound is rooted in a natural, anchored production, as if the band is right in front of you: Causa Sui drummer Jakob Skøtt drives the pulse and adds ghostly, sparse treatment to the mix. Nicklas Sørensen (Papir) weaves angular guitar geometry over the deep sediment of Martin Rude’s bass and baritone strings. Martin also supplies the original artwork, spreading across 4 panels (one for each vinyl side), coloured by Jakob Skøtt: A work in its own right. The final work is a massive, physical expanse: Their Quintessence.

Nat King Cole remains one of the most iconic and cherished voices in popular music, celebrated for his warmth, sophistication, and effortlessly smooth delivery that helped define a generation. Compiled here is a stellar array of his most memorable recordings, spanning romantic ballads such as "Unforgettable," "Mona Lisa," and "When I Fall in Love," as well as lively favourites like "(Get Your Kicks on) Route 66," "Straighten Up and Fly Right," and "Ramblin' Rose.

Starting with the sleeve, reminiscent of comic book style album covers from the 70’s and 80’s like The Upsetters “Return of the Super Ape” and Scientist’s “Scientist Encounters Pac Man”, you know this album is straddling the decades of ska, rocksteady, dub and reggae. King Zepha recorded vocals, sax, woodwinds, keyboards, guitar and percussion at his home studio, with his fellow touring band members adding “the stuff I can’t do particularly well” backing vocals, brass, double bass and drums

The Dresden Dolls announce the re-recorded release of Yes, Virginia... (Tailor"s Version). Guest vocalists include Jinkx Monsoon and Veronica Swift. The pioneering punk cabaret duo of Amanda Palmer and Brian Viglione enter a new chapter with a full re-recording of their 2006 album Yes, Virginia..., tracked in Boston. The title nods to Taylor Swift"s reclamation of master recordings. After a 20-year contract with Roadrunner Records, the band regained the right to re-record their catalog. The announcement comes nearly 20 years after the original release. The track list remains unchanged (with a bonus track on vinyl and CD), while performances reflect two decades of artistic and personal evolution. Known for Viglione"s orchestral drumming and Palmer"s percussive piano and songwriting-exploring sexuality, identity, addiction, capitalism, and social isolation-this version brings new depth. Songs including "My Alcoholic Friends," "Sex Changes," and "Backstabber" return with renewed intensity. Recorded in late 2025 at Mad Oak Studios, the album was tracked mostly live with Benny Grotto and mixed by Paul Kolderie. It also features artwork by Niki McQueen.

The Dresden Dolls announce the re-recorded release of Yes, Virginia... (Tailor"s Version). Guest vocalists include Jinkx Monsoon and Veronica Swift. The pioneering punk cabaret duo of Amanda Palmer and Brian Viglione enter a new chapter with a full re-recording of their 2006 album Yes, Virginia..., tracked in Boston. The title nods to Taylor Swift"s reclamation of master recordings. After a 20-year contract with Roadrunner Records, the band regained the right to re-record their catalog. The announcement comes nearly 20 years after the original release. The track list remains unchanged (with a bonus track on vinyl and CD), while performances reflect two decades of artistic and personal evolution. Known for Viglione"s orchestral drumming and Palmer"s percussive piano and songwriting-exploring sexuality, identity, addiction, capitalism, and social isolation-this version brings new depth. Songs including "My Alcoholic Friends," "Sex Changes," and "Backstabber" return with renewed intensity. Recorded in late 2025 at Mad Oak Studios, the album was tracked mostly live with Benny Grotto and mixed by Paul Kolderie. It also features artwork by Niki McQueen.

Reissue. This is MEPHISTOFELES at their druggiest best - you can practically hear the sizzle of something brown cooking on its grooves - and thankfully, they've kept their doom locked in the garage. Mephistofeles continue to maximize the ROCK aspect of their sound over the doom here, with their swagger truly something to behold as those solos just soar downward into the abyss and the rhythm section push and pull right behind. If anything, Violent Theatre is a sterling example of true ensemble playing. Mephistofeles are nothing if not dependable, but just check out the 14-minute epic "Communion of the Vile" for the band really going for it. No other words needed: MEPHISTOFELES are cult for a reason, and Violent Theatre simply proves it further.

Reissue. Violet vinyl, limited to 350 copies. This is MEPHISTOFELES at their druggiest best - you can practically hear the sizzle of something brown cooking on its grooves - and thankfully, they've kept their doom locked in the garage. Mephistofeles continue to maximize the ROCK aspect of their sound over the doom here, with their swagger truly something to behold as those solos just soar downward into the abyss and the rhythm section push and pull right behind. If anything, Violent Theatre is a sterling example of true ensemble playing. Mephistofeles are nothing if not dependable, but just check out the 14-minute epic "Communion of the Vile" for the band really going for it. No other words needed: MEPHISTOFELES are cult for a reason, and Violent Theatre simply proves it further.

At War with Satan ist ein Meilenstein der Metal-Geschichte. Das ursprünglich 1984 veröffentlichte dritte
Studioalbum verbindet Venoms charakteristische Mischung aus Proto-Black- und Thrash Metal mit dem
epischen, die komplette erste Albumseite einnehmenden Titelsong. Mit seiner kompromisslosen Intensität
und seinem visionären Songwriting trug das Album maßgeblich dazu bei, die Grenzen des Heavy Metal neu
auszuloten und den Weg für kommende Extreme-Metal-Generationen zu ebnen.

Continuing the primordial descent that kicked off in earnest with their 2023 debut album, Pulsations From the Black Orb, ASTRIFEROUS return with their second full-length, Atavistic Unraveling. Much like that celebrated debut, the Costa Ricans’ sophomore album is perfectly titled: truly, the sensations one finds spread across this dread landscape are an Atavistic Unraveling. Thankfully, ASTRIFEROUS’ foundation has changed little – the swarming morbidity of early ’90s Finnish death metal fused with classic South American madness – but there are (dread) developments that prove the band are just now hitting their stride.

Despite its title, Atavistic Unraveling shows ASTRIFEROUS at their tightest and sharpest, with chops and execution meeting at a nexus of impossibly horrific proportions. Duly armed, the quartet take their songwriting to strange, skronking lengths, rendering their angularity both an unsettling and utterly attacking thing. Likewise, the slight cleaning-up of production has paid dividends, allowing these malformed ruminations to fully seep into the listener’s psyche – mangling the mind, wracking the body – whilst emerging with just enough linear propulsion to land the record on the right side of art rather than riff salad.

Collectively, these changes have made ASTRIFEROUS even more world-eating than before, further cementing their homeland’s death metal scene as one of the most potent around. Atavistic Unraveling awaits those who dare…

Recorded April 17 and 18, 1993, at the Union Grove Baptist Church, Ozark, Alabama.

The Wiregrass Singers' Dewey Williams began learning the shape-note tradition in his childhood. He studied under Judge Jackson, who authored the landmark 1934 hymnbook The Colored Sacred Harp. In 1971, Williams formally organized The Wiregrass Sacred Harp Singers to preserve the music full-time. This unified troupe began touring nationally and leading workshops, which ultimately launched them onto stages at the Smithsonian and Newport folk festivals up until Williams' passing in 1995 when the group disbanded. The African-American Sacred Harp tradition in the Wiregrass region has steeply declined since the start of the 21st century, due to an aging generation of singers, and today it is largely sustained through archival preservation and occasional multi-book singing meetups.

This raw recording, made at the Union Grove Baptist Church, Ozark in mid-April 1993 finds the group singing from B. F. White’s The Sacred Harp (1844), which together with his brother-in-law William Walker’s Southern Harmony (1835) formed the musical backbone of generations of Southern music and Southern musical styles.

"On almost any Sunday between the months of March and October, the season most conducive to travel and outdoor dinner-on-the- grounds, Sacred Harp devotés join with fellow songsters at the County Line Church in Slocomb, or the Mount Sinai Church in Henry County, or the Union Grove Baptist Church in Dale County, or at any one of a dozen or so churches in the southeast Alabama counties of Barbour, Coffee, Dale, Geneva, Houston and Pike, to form the square and sing fa-sol-la. Approximately fifteen African-American Sacred Harp singings occur annually in the Wiregrass region of southeast Alabama. A singing tradition characteristically associated with white culture in the Deep South, southeast Alabama has enjoyed a vibrant African-American Sacred Harp tradition for well over a century.

On a day of a typical African-American Sacred Harp Singing, the participants arrive casually in the late morning, seat themselves in the square according to voice part, and begin to sing. A dinner break occurs in the early afternoon, and the singers enjoy a covered-dish "dinner-on-the-grounds" (or in the church basement) prepared by the women. The most intense and emotional singing typically occurs after the dinner break. Each singer takes a turn leading the song of his choice. He walks to the middle of the square, calls out the song's page number and waits for the designated tuner to key the song. Singers are discouraged by the other singers from repeating a song that has already been sung, or "used." This proscription is often dispensed with, however, if the singer is particularly young, particularly old, or if the song has special significance to the individual song leader (perhaps the favorite song of a recently deceased relative).

Every singer is given an opportunity to lead a song. Often, older or more infirm singers will request younger singers to lead their songs for them. The motions of the song leaders are highly stylistic and often emotional. Young children are taught in singing school to mark time with their right arm while holding the book in their left. Typically, a singer will stand in place at the center of the square while leading the singing of the notes. When he begins to lead the lyrics portion of the song, he will often begin to "walk time," rhythmically pacing from one side of the square to the other, being careful never to turn his back on the tenor section. This "walking time" is unique to the African-American tradition. As a singer grows more confident he develops his own distinctive leading style. During fuguing songs in particular, he may gesture to each section of the square as its part joins in. Skilled song leaders often elicit applause or other emotional responses from the group. Occasionally a singer may fall into a state of spiritual ecstasy and "get happy." The episode might include a personal testimonial followed by a repeat of the last verse or refrain from the previous song. The singings break up around 5 P.M."
—Henry Willett, 1997 credits

The world is ending, and rent is due. The empire is crumbling, and you’re late refilling your meds. War is ceaseless, pandemics go unchecked, billionaires poison the well water and cops abduct neighbors while wildfires burn… but here at the hot dog stand, relief and joy are yours for five buck ninety-nine.

This is PEASANTS REVOLT, the latest album from trans folksinger Creekbed Carter Hogan. Playing the part of court jester in the halls of a dying empire, Hogan croons, hollers, and grins in the face of despair as we feast together on one last humble supper before everything falls apart.

A rollicking medieval-Americana manuscript, Hogan’s new work anchors itself in transitions. PEASANTS REVOLT was written living and moving between the North and the South; sung by a body both pre- and post-trans affirming healthcare; and recorded during a time of genocide, federal occupation, and workers’ uprisings. Decorating its margins are influences spanning time and medium. Here, 14th century king-killer ballads sit next to Appalachian strike songs. Labor and union songs find kinship with Ethiopian jazz records. Hogan’s work echoes with historical struggle, too, from the Haitian Revolution to the struggle for trans rights to the surreal futurism of Rio Grande Valley writer Fernando A. Flores. This album takes the entwinement of the personal and the political seriously, a path often walked by everyone from Hazel Dickens and John Prine to ANOHNI. The 10 tracks of PEASANTS REVOLT are themselves endlessly transitioning, hinging on mid-song shifts and building into wildfires that crackle and sputter with the courage of momentum and catchy hooks. By centering this work so deeply in the tumult of change, Hogan illuminates all of capitalism’s attempts to isolate us — and the power that we regain when we refuse to face our lives and our selves alone.

Exxûl emerges as a massive, brooding monument to the tradition of high-stakes Epic Doom. Founded by Phil Tougas (Zeicrydeus, Chthe’ilist, Atramentus), the project serves as a vital expansion of his established conceptual multiverse, carrying forward the intricate lore of his previous works into a new realm of tragedy and weight. However, Exxûl is a formidable collective in its own right, featuring a lineup of elite musicians from across the extreme metal spectrum. Their debut album, 'Sealed Into None', eschews the frantic pace of the modern world for a deliberate, regal march toward oblivion. Their debut album is a regal march, drawing inspiration from the technical majesty of early Fates Warning, the thundering conviction of Manowar, and the frost-bitten heroics of Scald and Solitude Aeturnus. It is an uncompromising work of architectural doom, serving as the definitive companion to the Zeicrydeus mythos and a new pillar in a vast, dark narrative.

For fans of: Solitude Aeturnus, Fates Warning (Early), Scald, Manowar, and Zeicrydeus.

2026 Repress

Although he's released on numerous labels since debuting almost a decade ago, Eduardo Barbi aka Gledd returns to his own reliable imprint Saint Wax. On his fourth vinyl missive for the imprint, My Church Is On Fire, the Italian producer delivers a quartet of cuts that happily boast samples from vintage gospel cuts. It's a simple idea, brilliantly executed, as proved by the righteous, spiritual, organ-rich stomp of opener 'Let It Shine', featuring guest lead vocals from Steve Salmaso. Elsewhere, 'Mama Don't Preach' is a whirlwind of sampled gospel soul vocals, expansive piano solos and chunky deep house beats, 'Be Real' is a heavily electronic slab of gospel-house deepness, and 'Back on My Stay' is a locked-in, late-night delight with an effortlessly soulful finish.

In a world currently defined by unrest, uncertainty, and cultural fracture, acclaimed saxophonist, composer, and bandleader Isaiah Collier returns with Joy, a 5-track EP that reframes one of humanity’s most nuanced emotions both as a devotional grounding and political act.

Collier’s deeply personal compositions present joy as an act that isn’t rooted in escapism or abstraction, but rather, as something hard-won rooted in lived experience, shaped by transformation, and sustained through connection. Throughout the album’s five compositions, Collier positions joy as a guiding light during challenging times, an expression of challenging yourself to utilize your gifts, an affirmation of love and discovery, and as an affirmative source of reassurance.

“We are in a paradoxical time, where so much is being revealed to us,” Collier shares. “Everything feels political from every scope… our collective hearts feel the heaviness in the air. Yet I say to you all—don’t despair. For right now, the most political thing we can do is share joy.”

That ethos is made clear in the opening title track and lead single “Joy.” A pulsing rhythmic motif anchors the melody with a sense of both searching and certainty. Collier conceived the piece around 3 years ago reflecting on a time where many people in his life were experiencing loss of family and friends and experiencing profound life transitions. “Everything just felt like it was falling apart with no aim in sight,” he reflects. “Yet, there is a light at the end of it all.”

As he played the chords with a sense of urgency, he could feel the vibration of yellow in the piece. That initial triplet motif serves as the guiding light on the piano and the only word Collier could hear was Joy. In addition to Collier at the helm singing and playing piano and tenor sax on the track, it features an expansive 11-piece ensemble with a full horn and string section allowing Collier’s propensity for composition and arrangement to shine with an eclectic sonic palette.

“Landscape of Dreams” finds Collier serendipitously leaning into utilizing his gifts as a multi-instrumentalist. While he had a sketch of the piece going into the studio, a traffic delay caused musicians to be late arriving at the studio. Never one to waste time in the studio environment, Collier stepped into new creative territory and took up the challenge of executing playing all instruments himself as an act of trust and experimentation. “I’ve never done this before, and so it was a leap of faith for me,” he asserts. “I always dream of doing stuff like this, and being part of the small percentage of people who can do it like Prince, Steve Lacy, Frank Zappa, and Stevie Wonder. The end result finds Collier immersed in a hypnotic soundscape playing layered flutes, drums, Metatron, Wurlitzer, and auxiliary percussion.

Another layer of joy is revealed in “Where I’m Loved” that serves as a love letter and leaning into the process of stepping into the willingness to explore life and love with a partner. On the intimate meditation of vulnerability and connection, Collier's vocal prowess is on full display, exerting effortless falsetto reminiscent of D’Angelo over soulful Wurlitzer and guitar as he crosses over into more R&B-inspired realms. “I believe everyone deserves this feeling or to honor the memories of it. Furthermore, I believe you should also go where you’re celebrated and not tolerated.”

“When the Dust Settles” captures the electricity of live collaboration and Collier further steps out of being confined to any specific genre. He had just gotten a microKORG keyboard from co-producer Sonny Daze and was exploring the vast array of sounds on the instrument. Collier plays synth bass on the microKORG joined by the electrifying improvisation of Cole Runge on guitar and the combustible rhythm of his brother Jeremiah Collier on drums with additional post-production work from Sonny Daze.

The album’s final track “God’s By Your Side” reflects on perseverance and artistic legacy, directly inspired from the passing of D’Angelo, whose life’s work was a huge part of Collier’s childhood growing up in the late 90s and early 00s. With gospel flavor and direct influence both from D’Angelo’s vocal and instrumental arrangements, the track speaks to resilience and persistence in the face of obstacles—an affirmation of source and reassurance. “And what’s better than having God by your side, right?” asserts Collier.

Joy is a through-and-through expression of the arc of joy in its truest form. Joy transcends fleeting happiness and is conscious gratitude shaped by taking chances, leaning into your gifts, fostering community, and lived experiences.

“Joy is partially happiness,” Collier explains. “But to me it means happily being grateful for family, friends, lovers, teachers, and good times. These are the things that anchor us.”

The release of Joy comes off the heels of significant momentum for Collier, whose work continues to garner accolades and resonate across cultural spheres. He was featured on the cover of DownBeat’s April 2025 issue, where he was named “The Next Sax Giant,” and profiled on NPR’s Jazz Night in America for his ambitious 13-movement interdisciplinary suite The Story of 400 Years, that traces 400 years of Black American History. He released two full-length albums in 2024 with The World Is on Fire highlighted in The New York Times’ Fall Arts Preview and The Almighty named among the publication’s Best Jazz Albums of the year.

Beyond performance and recoding, Collier’s influence is recognized in broader cultural and intellectual spaces as he was the recipient of the Jazz Journalists Association’s 2025 Up and Coming Artist of the Year Award, the 2024 Chicagoan of the Year in Jazz, and was named a Steve Jobs Archive Fellow joining an elite cohort of the next generation of artistic visionaries through a yearlong program.

In addition to the release of Joy, Collier is touring his “Collier Plays Coltrane” program throughout 2026 in honor of John Coltrane’s centennial. Rather than presenting Coltrane’s expansive catalog as repertory, Collier approaches this music as something living, reshaping it in real-time with a sense of space and improvisational dialog reflecting both reverence to the past and present times.

Magyar Posse’s third album Random Avenger out on vinyl for the first time ever in July via Svart Records Looking back, it was the golden age of Magyar Posse. The album Kings of Time had received a tremendous response from both critics and music lovers. The band was touring intensely in Finland and abroad. By now, the band was a well-oiled machine, ready to capture the successor to their celebrated second album. The band decided to follow a different path compared to the creation of Kings of Time: they would record their third album alongside the well-known, slightly eccentric engineer and producer Jani Viitanen. The recognizable Magyar Posse style was present in the pieces of Random Avenger, but something was slightly different. The new music was more rhythm-based, more riff-based and in places more joyous than the dynamic minor key avalanche of Kings of Time. Consciously or unconsciously, the band members saw that they had travelled the Slavic melancholy road as far as possible with the previous album. The success of Kings of Time felt like a positive push, not an extra pressure on their shoulders. It was only natural to strike again while the iron was hot. Many of the pieces had been already developed by the time Kings of Time was released, which eased the production of Random Avenger. After the meticulous but relatively swift mixing and mastering process, the band members were satisfied with the result. The only component that made some of them blush was the cover art – graphic designer Tom Backström had glaringly used photos of empty stages in forgotten community centres and the like. The beauty or the ugliness is once again in the eye of the beholder. Right after its release, Random Avenger got a very positive response, but not as overwhelming as Kings of Time – which was to be expected, as the previous Magyar Posse album had probably been the most universally praised Finnish album of the whole decade. Mikko Elo, musician / journalist, Pori, Finland, March 1st 2026

Magyar Posse’s third album Random Avenger out on vinyl for the first time ever in July via Svart Records Looking back, it was the golden age of Magyar Posse. The album Kings of Time had received a tremendous response from both critics and music lovers. The band was touring intensely in Finland and abroad. By now, the band was a well-oiled machine, ready to capture the successor to their celebrated second album. The band decided to follow a different path compared to the creation of Kings of Time: they would record their third album alongside the well-known, slightly eccentric engineer and producer Jani Viitanen. The recognizable Magyar Posse style was present in the pieces of Random Avenger, but something was slightly different. The new music was more rhythm-based, more riff-based and in places more joyous than the dynamic minor key avalanche of Kings of Time. Consciously or unconsciously, the band members saw that they had travelled the Slavic melancholy road as far as possible with the previous album. The success of Kings of Time felt like a positive push, not an extra pressure on their shoulders. It was only natural to strike again while the iron was hot. Many of the pieces had been already developed by the time Kings of Time was released, which eased the production of Random Avenger. After the meticulous but relatively swift mixing and mastering process, the band members were satisfied with the result. The only component that made some of them blush was the cover art – graphic designer Tom Backström had glaringly used photos of empty stages in forgotten community centres and the like. The beauty or the ugliness is once again in the eye of the beholder. Right after its release, Random Avenger got a very positive response, but not as overwhelming as Kings of Time – which was to be expected, as the previous Magyar Posse album had probably been the most universally praised Finnish album of the whole decade. Mikko Elo, musician / journalist, Pori, Finland, March 1st 2026

In the wake of the release of Swedish post-rock luminaries OH HIROSHIMA's 6th studio album And The Dead Tree Gives no Shelter, Pelagic is reissueing OH's Oscillation (2019) and Myriad (2022) on vinyl. Myriad captures OH HIROSHIMA at their most focused and ambitious. The album moves between crushing despair and fleeting moments of catharsis weaving heart-wrenching melodies into towering walls of noise and explosive crescendos. The incorporation of trumpet, cello and trombone adds new dimensions to the band's sound, resulting in a record that resonates far beyond the post-rock scene and highlights the band's continued artistic evolution. Following the departure of bassist Simon Forsberg in early 2021, OH HIROSHIMA were reduced to a duo _ a shift that challenged the band to rethink and expand their creative approach. While Myriad remains firmly rooted in post-rock, brothers Jakob Hemström and Oskar Nilsson use the album as an opportunity to push beyond the genre's familiar boundaries, drawing from a far broader musical palette than ever before. To get a sense of what the album has to offer, watch the music video for "Humane". Guitarist & vocalist Jakob Hemström comments: "Humane might be the most direct and intense song we've created as a band. For us it marks a somewhat new direction that we wanted to explore and we're very proud of how it turned out. We felt right away that this was the first song of the new album we wanted our listeners to hear. The lyrics revolve around themes of human hubris and the video was filmed, directed and edited by our drummer, Oskar." Recorded by Kristian Karlsson (pg.lost, Cult of Luna) and once again mixed and mastered by Magnus Lindberg of Cult of Luna, Myriad blends soaring melodies with immense emotional weight and dynamic intensity and stands as a compelling testament to the band's continued evolution. Classic black or rosé (Dead Flamingo) vinyl available. FOR FANS OF Alcest Mogwai God Is an Astronaut Karnivool pg.lost

In the wake of the release of Swedish post-rock luminaries OH HIROSHIMA's 6th studio album And The Dead Tree Gives no Shelter, Pelagic is reissueing OH's Oscillation (2019) and Myriad (2022) on vinyl. Myriad captures OH HIROSHIMA at their most focused and ambitious. The album moves between crushing despair and fleeting moments of catharsis weaving heart-wrenching melodies into towering walls of noise and explosive crescendos. The incorporation of trumpet, cello and trombone adds new dimensions to the band's sound, resulting in a record that resonates far beyond the post-rock scene and highlights the band's continued artistic evolution. Following the departure of bassist Simon Forsberg in early 2021, OH HIROSHIMA were reduced to a duo _ a shift that challenged the band to rethink and expand their creative approach. While Myriad remains firmly rooted in post-rock, brothers Jakob Hemström and Oskar Nilsson use the album as an opportunity to push beyond the genre's familiar boundaries, drawing from a far broader musical palette than ever before. To get a sense of what the album has to offer, watch the music video for "Humane". Guitarist & vocalist Jakob Hemström comments: "Humane might be the most direct and intense song we've created as a band. For us it marks a somewhat new direction that we wanted to explore and we're very proud of how it turned out. We felt right away that this was the first song of the new album we wanted our listeners to hear. The lyrics revolve around themes of human hubris and the video was filmed, directed and edited by our drummer, Oskar." Recorded by Kristian Karlsson (pg.lost, Cult of Luna) and once again mixed and mastered by Magnus Lindberg of Cult of Luna, Myriad blends soaring melodies with immense emotional weight and dynamic intensity and stands as a compelling testament to the band's continued evolution. Classic black or rosé (Dead Flamingo) vinyl available. FOR FANS OF Alcest Mogwai God Is an Astronaut Karnivool pg.lost

„There Is A Hell, Believe Me, I’ve Seen It. There Is A Heaven, Let’s Keep It A Secret“ ist das dritte
Album der britischen Metal-Band Bring Me The Horizon und erschien ursprünglich im Jahr 2010. Diese
Neuauflage ist die erste Pressung für Europa und Großbritannien seit einem Jahrzehnt.

„Suicide Season“ ist das zweite Album der britischen Metal-Band Bring Me The Horizon und erschien
ursprünglich im Jahr 2008. Mit dieser Neuauflage ist das Album erstmals seit einem Jahrzehnt wieder in
Europa und Großbritannien auf Vinyl erhältlich.

„Count Your Blessings“ ist das Debütalbum der britischen Metal-Band Bring Me The Horizon und erschien
ursprünglich im Jahr 2006. Diese Neuauflage ist die erste Pressung seit einem Jahrzehnt für Europa und
Großbritannien sowie die erste seit 2018 für Nordamerika.

„Legend“ von Clannad ist das mit einem BAFTA-Award ausgezeichnete und ikonische achte Studioalbum
der Band aus dem Jahr 1984, das als Soundtrack für die britische Kultserie „Robin of Sherwood“ diente. Das
Album fängt die mystische und atmosphärische Essenz der Serie auf eindrucksvolle Weise ein und verbindet
dabei traditionellen irischen Folk mit zeitgenössischen Klängen. Clannad sind bekannt für ihren ätherischen
und eindringlichen Musikstil; sie setzen eine Mischung aus akustischen Instrumenten, üppigen Harmonien
und Synthesizern ein, um eine reichhaltige, jenseitige Atmosphäre zu erschaffen. Die Bandmitglieder –
Ciarán Brennan, Máire (Moya) Brennan, Pól Brennan sowie die Geschwister Noel und Pádraig Duggan
– gestalten eine Klanglandschaft, die den Hörer in die sagenumwobene Welt von Robin Hood entführt.
Schlüsselstücke wie „Robin (The Hooded Man)“ und „Together We“ demonstrieren Clannads Fähigkeit,
Erzählung und Melodie nahtlos miteinander zu verweben, und spiegeln dabei den Abenteuergeist und die
Romantik der Robin-Hood-Legende wider. Der Einsatz von Máire Brennans ätherischem Gesang verleiht
der Musik eine bezaubernde zusätzliche Ebene und verstärkt so die mystische Qualität des Albums.

Das 1981 erstmals erschienene Album „Give the People What They Want“ setzte den Erfolg der Kinks
aus den frühen 80er-Jahren mit ihrem direkten, gitarrenlastigen Sound und pointierten, zeitgenössischen
Themen fort. Als eines ihrer erfolgreichsten Alben in den USA enthält es herausragende Titel wie „Destroyer“, „Better Things“ und „Around the Dial“. Diese Edition von 2026 wurde von den Originalquellen
neu gemastert und bietet verbesserte Klarheit, Definition und Ausgewogenheit, wobei der Charakter und
die Energie der Originalmixe erhalten blieben.
Das 1979 erstmals veröffentlichte Album „Low Budget“ markierte mit seinem härteren, stadiontauglichen
Sound einen Wendepunkt in der späten Karriere der Kinks. Es avancierte zu einem der stärksten US-Alben
der Band und gilt bis heute als eines der prägendsten Alben ihrer späten 70er-Jahre.
Diese Edition von 2026 wurde von den Originalquellen neu gemastert und bietet verbesserte Klarheit, Ausgewogenheit und Dynamik, ohne den Charakter des Originalmixes zu beeinträchtigen. Titel wie „(Wish I
Could Fly Like) Superman“, „Catch Me Now I’m Falling“ und der Titelsong profitieren von einer detaillierteren und fokussierteren Wiedergabe.

Das 1981 erstmals erschienene Album „Give the People What They Want“ setzte den Erfolg der Kinks
aus den frühen 80er-Jahren mit ihrem direkten, gitarrenlastigen Sound und pointierten, zeitgenössischen
Themen fort. Als eines ihrer erfolgreichsten Alben in den USA enthält es herausragende Titel wie „Destroyer“, „Better Things“ und „Around the Dial“. Diese Edition von 2026 wurde von den Originalquellen
neu gemastert und bietet verbesserte Klarheit, Definition und Ausgewogenheit, wobei der Charakter und
die Energie der Originalmixe erhalten blieben.
Das 1979 erstmals veröffentlichte Album „Low Budget“ markierte mit seinem härteren, stadiontauglichen
Sound einen Wendepunkt in der späten Karriere der Kinks. Es avancierte zu einem der stärksten US-Alben
der Band und gilt bis heute als eines der prägendsten Alben ihrer späten 70er-Jahre.
Diese Edition von 2026 wurde von den Originalquellen neu gemastert und bietet verbesserte Klarheit, Ausgewogenheit und Dynamik, ohne den Charakter des Originalmixes zu beeinträchtigen. Titel wie „(Wish I
Could Fly Like) Superman“, „Catch Me Now I’m Falling“ und der Titelsong profitieren von einer detaillierteren und fokussierteren Wiedergabe.

For the first time ever, Los Campesinos! are proud to offer new pressings of their first three studio albums on their very own record label; Heart Swells.
2026 marks the 20th anniversary of LC!’s formation, and coincides with the band being more popular and relevant than ever before. The 3 albums are available for the first time since 2020, on brand new colour ways, on 12” vinyl and CD, with updated artwork and packaging.

What the press said:

"This debut is unusually taut and polished, with hooks, crescendos, and clever turns of phrase nearly always in the right place. ” 8.4/10 - Pitchfork

“captures more believable, crackling punk energy than most hardcore bands.” 10/10 - AV Club

“Recommending this album seems too light a course of action; requiring it may be more apt. Consider Hold on Now, Youngster...highly required, then.” - 9/10 - All Music

“They write ridiculously knotted, satisfying hooks… they have great lyrics, great videos, their live show is phenomenal, and most importantly and intangibly (like all great bands) they somehow summon up a world through their music, until it feels as if everything in life is here.”
9/10 - Popmatters

For the first time ever, Los Campesinos! are proud to offer new pressings of their first three studio albums on their very own record label; Heart Swells.
2026 marks the 20th anniversary of LC!’s formation, and coincides with the band being more popular and relevant than ever before. The 3 albums are available for the first time since 2020, on brand new colour ways, on 12” vinyl and CD, with updated artwork and packaging.

What the press said:

"This debut is unusually taut and polished, with hooks, crescendos, and clever turns of phrase nearly always in the right place. ” 8.4/10 - Pitchfork

“captures more believable, crackling punk energy than most hardcore bands.” 10/10 - AV Club

“Recommending this album seems too light a course of action; requiring it may be more apt. Consider Hold on Now, Youngster...highly required, then.” - 9/10 - All Music

“They write ridiculously knotted, satisfying hooks… they have great lyrics, great videos, their live show is phenomenal, and most importantly and intangibly (like all great bands) they somehow summon up a world through their music, until it feels as if everything in life is here.”
9/10 - Popmatters

“Released on Joe Boyd’s Hannibal label here was a band rooted in Thompson/Swarbrick Fairport but also a snatch of the Velvet Underground and a sprig of The Byrds. The Eighteenth Day Of May evoked a legendary era, and now they are a justifiably legendary band too.” – KLOF Mag

Beginning life as a trio in London, 2003, the original line-up consisted of Allison Brice (vocals, flute), Richard Olson (acoustic guitar) and Ben Phillipson (guitar, mandolin) before expanding the following year to include the rhythm section of Mark Nicholas (bass) and Karl Sabino (drums, autoharp) and finally Alison Cotton (viola).
This being the mid zeros, the independent music scene in the UK was reluctant to embrace a sun-dazed folk band but this, their sole album, has gradually feathered a bed of affection amongst international folk fans. Twenty years on, the album is now rightfully seen as a trailblazer for the myriad alternative/psych folk bands that emerged in its wake.
Andy Childs who signed the band originally takes up the story. “I first heard their music on a cover mounted CD with the much missed Comes With A Smile magazine and as far as I could tell no-one was making music like this anymore, certainly not with such panache and confidence. To my jaded ears it all sounded so uninhibited - old weird folk songs, Americana, original psych-folk, minimalist drones. Great melodies and all six of them could sing! A joyous, unfettered sound that could in one moment conjure up flashes of The Byrds and then effortlessly the spirit of Velvet Underground would drift through. They even covered a Spacemen 3 song. I loved the fact that they had the aplomb to tackle traditional folk songs like Lady Margaret and Flowers In The Forest and not be afraid to stamp their own identity on them.
Signing them to the Hannibal label was straightforward. If anything the album somehow sounds fresh and undated, even better than it did in the day when perhaps eclecticism was out of synch with the times; its subtleties have become more apparent.”
“Their rendition of Lady Margaret builds to a headswirling crescendo that challenges anyone who claims Shirley Collins, Buffy Sainte-Marie or Trees have recorded the definitive version and the hallucinatory The Waterman’s Song To His Daughter raises an already brilliant album to an unholy level” - IT’S PSYCHEDELIC, BABY Magazine

Terri Lyne Carrington + Social Science ― Matthew Stevens, Aaron Parks, and Morgan Guerin ― delivers their sophomore project, Trip the Night Fantastic, on Candid Records. GRAMMY® nominated for Best Jazz Instrumental Album for their 2019 release, Waiting Game, this acclaimed collective returns ― boasting an illustrious roll call of emcees, spoken word artists, and instrumentalists ― this time exploring systemic and contemporary themes that demand our attention, call us to action, and add stunning breadth to the time-honored tradition of amalgamating art and activism. Women’s empowerment, climate change, immigration, gender justice, body autonomy, community building, and animal rights are all elucidated with a freshness, depth, and creative brilliance that can only be birthed from someone whose creative core is rooted in empathy and humanity.

Featured throughout this new recording are vocalists Ledisi, Arooj Aftab, Michael Mayo, Miki Howard, Fatoumata Diawara, Debo Ray, Christie Dashiell, Lizz Wright, Vuyo Sotashe, Safa, Imani Rousselle, and Ian Michael; instrumentalists Brandee Younger, Marc Ribot, Larry Goldings, Rashaan Carter, Simon Moullier, Riley G, and Brenda Navarrete; emcees Nappy Nina, Kokayi, Kassa Overall, and Khemist; and spoken word artists J. Ivy, Aja Monet, Tarriona ‘Tank’ Ball, and Moor Mother.

Yup, he’s finally done it. Afters years of releasing some of your favorite DJ’s dance floor ammo, Sweater has started his own label. The inaugural release on Sauna Records is produced by the new label boss himself and features 4 tracks he’s held close to the chest for a bit of time now while testing dance floors, tweaking arrangements, and getting these baselines just right to ensure a hot & steamy dance floor experience.

The A1 “Chemical Reactions” races out of the starting line with a swampy bassline peak time heater full of classic rave sounds contrasted by Sweater’s signature lush pad and lead work creating a mad chemist’s auditory dream. A2’s “Yaoguai” bubbles with a thoughtful and playful bounce over an ear-worm bassline. B1’s “On & On & On” is the proggy tech piece of kit you didn’t know you needed to ensure “that” moment in a set. B2’s “One Chord” lands the EP in a calmer manner, acting as a production experiment to see if Sweater could keep you interested with one chord playing in the background the entire track. The result is an introspective, eyes closed, thoughtful bop.

We hope you enjoy Sauna Records first offering and use this record for the physical and mental detoxification through sweat therapy on a dance floor near you.

After a critically acclaimed trilogy of albums and a 10-year hiatus, Romain Turzi, the underground pope of uncompromising French music, returns to the helm to compose and produce his new opus “Drop!”. He is joined on vocals by his longtime friend Oliver Gage, whose autobiographical and melancholic writing brings to life an intimate and redemptive musical epic, woven with oblique pop songs and club tracks that reconcile punks and dancers.



An album of diverse influences, it draws on the masters of film music (Goblin, Angelo Badalamenti), the titans of electronic and techno music (808 State, Dopplereffekt), the hedonistic spirit of ’80s Brit rock (Happy Mondays, The Stone Roses), the finely crafted melodies of timeless folk singers (Woody Guthrie, Neil Young), and the sonic power of My Bloody Valentine or the productions of Andrew Weatherall.



A record born of friendship and fearless creative freedom, “Drop!” is an invitation to escape the heaviness of the present and brush against a form of utterly necessary ecstasy.

There are enough fools and malignant actors trying to conquer the world right now as ever. Do we as humans always need to conquer, subjugate, destroy in a never
ending cycle? Kill animals, nature, each other? Or can we finally conquer our own limitations in perceiving our place on this planet?

Maybe we can borrow from an organism that is aspiring to be the true ruler of Gaia and who might just decide to take back it’s reign from us. Can we conquer ourselves and our limits with a wider vision, decompose the barriers, build rhizomes and enhance consciousness? Or will we be the conquered?

Another gem from the east after VC 029 and the track on MSTR 13. This one further explores a psytrancey current in Mental Tribe with a pumping bass and crystal clear, minimal sound design. Unashamed innocent melodies frolicking thru the forest, oblivious to the judgement of the elders. The uptempo pace between 165 and 170 beats makes for a smooth lift off.

For the first time in its 27-year history, Defected compile its greatest hits, underground anthems and bonafide house music classics into a 5 volume triple vinyl collectors series.

Spread over the three records, Volume Three collects twelve of Defected’s most established and sought after releases. Featuring the UK No.1 hit; MK’s remix of Storm Queen’s ‘Look Right Through’, Bob Sinclar’s anthemic ‘I Feel For You’ that has seen an Ibiza revival this summer, Jamie Jones’ ‘My Paradise' and Pete Heller’s classic ‘Big Love’, plus productions and remixes from Inner City, Louie Vega, Dennis Ferrer and more.

The anthem that needs no introduction. “World A Music”, restored to its rightful 7-inch glory for early 2026. Timeless, iconic, and absolutely essential. A cornerstone record, back where it belongs

The music of La lucha es un poema colectivo was conceived and composed during a long artistic residency at IRCAM in Paris in November 2023 and will be released by Superpang. ‘In November 2023, we were in residence in Paris when we found ourselves in the midst of protests and strikes by workers at the Centre Georges Pompidou. They were demanding the respect of their rights. Entering that place as outsiders, making art while hundreds of people outside risked losing their jobs, was disorienting.

This is the starting point for the title of this album, evocative yet at the same time tangible. A phrase, as often happens, borrowed from those who had, in turn, borrowed it before us, words that are not and
cannot be only ours. Words too heavy to be slaves to context or syntax, yet words that resonate within us, move us, and open rifts in our history as a group. A strange plunge, strange despite the fact that the premises were clear from the start, with well-defined lines of a unified design. And if we ask ourselves, looking around, not so much what but rather with whom we would like to share it, we imagine the music of this album within that groove, in that intangible bond that unites a collective of people who, upon reading this sentence written on a wall, in a street, pause for a moment, slow down, rest their gaze, and know they are still alive.”