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Underground Pacific is back with a new double vinyl compilation titled ‘The Only Good Wave is a Dead One’ that confirms, once again, its uncompromising taste for bold electronic music, psychedelic textures, and raw, electrified rock ‘n roll. This release brings together a varied group of artists, each of them adding something special to the journey.

The trip begins with “Excursions” by Gregory Moore, a piece that floats into a humid sonic world, between the nostalgic tones of vintage video game soundtracks, the Fourth World atmospheres of Jon Hassell, and the shimmering calm of ’90s Japanese ambient à la Takashi Kokubo.

Next comes Talee, the Rotterdam-based regular of the label, with “Makes Me Wonder”. Here, grunge-soaked vocals meet a tight dark disco groove, pierced by crystalline guitar chords that shimmer at the track’s heart. A song with its soul in the past and its feet in the club.

Label founder Cantor teams up once again with German duo New Hook on “Achtung! Achtung!”, an homage to the eponymous track by Italian producer Black Saagan. Fueled by vintage drum machines, punk-infused vocals, and melodies echoing the krautrock minimalism of Cluster, the track channels pure Cold War disco energy.

On “Scavengers”, Berlin based World Wild Web and Rasp Thorne deliver a pure mix of electro-rock noir – Suicide by way of David Lynch. Picture a never seen before episode of the series where Martin Rev and Alan Vega are playing live at the Roadhouse in Twin Peaks, while Laura Palmer slowly moves her head to the music, with a devilish smile on her face.

All the way from Grenoble to Berlin, H.L.M. deliver a dirty bass-driven anthem called ‘Fronde’. French spoken vocals spitfire over layers of distorted drones and hypnotic rhythms. The result is rough, hypnotic, and brings to mind the grooves of Death in Vegas.

New Hook return, this time solo, with ‘Unity’: a blend of groovy downtempo percussions, melancholic guitar riffs, and their signature brand of spoken word, a style that’s quickly become their sonic fingerprint.

Then it’s the turn of mexican-wave exponents Montessori featuring Vongold on “Ad Libitum”: a techy sunrise piece with soft pads, subtle build-ups, and an ecstatic sense of endlessness. After-party music for vast, open spaces.
Next up are SX2 from Ireland with their ‘Buttons’, offering a rolling tech-house banger laced with desert guitars. Psychedelic FX’s and whispered vocals drenched in delay slow the pace in a breakdown full of tension, preparing the floor to an euphoric release.

A dream from the pandemic era reappears: Cantor’s “Hannett’s Dream”, originally released in 2020 by Modular’s Project’s imprint ‘Nothing Is Real’ together with their own reworked version present also in two very limited vinyl-collector editions released by Underground Pacific. The introspection and hypnotic structure of the original cut here is replaced by a more stripped down arrangement, with a four-to-the-floor groove that is perfectly crafted for peak-time ignition.

Closing out the release is “Carissima” by the man behind iconic label Wonder Stories, Aimes – a Moroder-esque bassline and sensual vocals play on top of a warm groove that suddenly fractures into jazz-tinged, breakbeat mood, in the style of early Warp Records, just in time to get back into its disco-ish swing.

Contrary to what the title of this release might suggest, the wave isn’t dead at all. It’s well alive in the underground, reanimated by labels like Underground Pacific who are always ready to welcome artists who aren’t afraid to crash genres together and, above all, who are driven by the desire to make free-form, inspired pieces of music.

Rotterdam-based duo Merkelbach & Nathan Homan strike with the first release on their label, Beau Brummel. Aimed for the dance floor, this record is based on their unique sound.

The Swinsung EP contains four tracks that will make you throw your hands in the air, whether you're at a house party, a club, or a big festival. Ranging between House and Techno, this EP features banging 909s, catchy vocals, and quirky basslines that will definitely make you bounce.

Available 13 June 2025 on double translucent orange vinyl, Trios captures the magic of Buddy Rich's legendary three- man jam sessions-- performances that have never been officially released until now. Recorded live during international concerts in 1976 and 1977, Trios showcases Rich alongside extraordinary talents: bassists Jon Burr and Tom Warrington, and young piano prodigy Barry Kiener. These trio interludes--recorded by Rich's alto saxophonist Alan Gauvin--feature Rich playing with brushes in an intimate setting, spotlighting his dynamic range and nuance. "These trio sets were often played to give the brass section a break," says Gauvin. "But what Buddy did with those moments was extraordinary. It was a masterclass in restraint, creativity, and musical interplay." Among the album's ten tracks are beautifully reimagined standards such as "Just Friends," "Stella by Starlight," and "My Romance." Each performance highlights Rich's desire to step back and allow the piano and bass to shine--something unheard of for a drummer of his stature. The release also serves as a tribute to Barry Kiener, the immensely gifted pianist who tragically passed away at 30. "Barry had been like a son to him," remembers Buddy's daughter Cathy Rich, who serves as an Executive Producer. "This album is a rare glimpse into Barry's brilliance and the deep musical bond he shared with my father." Trios was recorded and produced by Alan Gauvin, mastered by Tom Swift, with cover art by Michael Patterson, the award-winning visual artist and USC professor known for his work on a-ha's iconic "Take on Me" video.

In Marking A Boundary With The Turning Point, Ard Bit and Radboud Mens explore the tension between stasis and movement. Operating within the realm of drone and electroacoustic music, they construct a sonic landscape where sustained tones and microscopic events constantly shape and reshape each other. What initially appears static reveals itself to be rich with detail: tiny acoustic shifts breathe life into apparent stillness, inviting focused and attentive listening. The album emerged from a process where sound research, improvisation, and sound design merge. Self-built instruments, the search for timbre and texture, and recordings of the learning process itself form the foundation of these compositions. Rather than following a traditional musical structure, the result is a sonic field in which the minimal continually transforms, depending on the listener's perspective. Ard Bit (Ard Janssen) is a composer, sound artist, and field recordist based in Rotterdam, trained at the Institute of Sonology in The Hague. His work moves between improvisation and system-based composition, exploring the space between ambient, drone, and sound art. Radboud Mens is a sound artist with a decades-long practice grounded in minimalism, acoustic subtlety, and physical resonance. His work focuses on the perception of sound, the materiality of audio, and the creation of spatial listening experiences. Together, they present a layered and handcrafted album that doesn't narrate but questions. Marking A Boundary With The Turning Point is not a boundary, it's an invitation to listen beyond expectation.

Pierre Bastien and Michel Banabila return with Nuits Sans Nuit, their second collaboration following their Baba Soirée debut from 2023. Recorded as an intuitive exchange between Rotterdam and Valencia, the album emerged from a simple ping-pong process: Banabila sculpted sounds and atmospheres, to which Bastien responded with his distinctive instrumental palette: flute-augmented cornet, mechanised log drum, and more. Mixed by Banabila, the result is a raw yet immersive work that resonates with a somnambulant, wide-awake presence. Nuits Sans Nuit unfolds through shifting shades of melancholy. "I don"t know how to describe the feeling of these crazy times we live in," says Banabila. "Les plus désespérés sont les chants les plus beaux," Bastien quotes De Musset. Wordless yet deeply expressive, the album invites listeners into a space of contemplation, where meaning emerges through immersion - like ritual music carrying an unspoken message. Echoes of saudade, blues, fado, and soleá surface in the duo"s playful noise, reimagined through their singular vocabulary.

The visionary Walter Maioli (Futuro Antico, Aktuala) and the eccentric electronic musician John Zandijik first met in 1984 when they both gravitated toward the experimental Sound Reporters collective, participating in the release of Ethnoelectronics (1986). Shortly afterward, the two met at Zandijik's studio in Rotterdam, where they completed their journey of exploration to the edge of the Universe in just three nights. The recordings were made only after 3 a.m., when psychic energy is at its peak, and inspiration belongs solely to the realm of dreams. It was a ritual of long galactic fluctuation, where the mystical sound of the flute was filtered and expanded by the Aureal system, a device capable of breaking it down into cascades of aureal harmonies. Through its extemporaneous approach, the music transforms perceptions of ancient pyramids or tropical forests into phosphorescent nebulae, luminous fountain openings, and unprecedented planetary interstices—interstellar portals leading to new archetypal-ancestral visions. It feels like sailing through colored orbits in the red gases of Jupiter and Mars, lost and dissolved forever in the engines and gears of the most secret cosmos. Between Pink Floyd-esque psychedelic flashes and Tangerine Dream-inspired sidereal architectures, Maioli and Zandijik reveal the most phantasmagoric and unknown side of Sound Reporters.

Welcome to this wild ride of cheese, wooden shoes, green gold and a whole lotta Dutch rock 'n roll attitude! This album is a high-octane compilation where today's garage, beat and rock'n'roll artists pay tribute to the rich history of Nederbeat and pop Each covering a classic Dutch tune with their own twist, companied with their own original. Think of it as a musical time machine with a detour through the gritty, reverbing walls of Studio Teepdek, guided under strict supervision by studio guru Arjan Spies and released by Soundflat Records / Topsy Turvy Records; home of the best contemporary Dutch artists. Buckle up, because you're about to hear the Netherlands' musical past and present collide in a glorious explosion of sound with a shot of cheap adrenaline.Enjoy the ride and to turn it up to 11.

The Krontjong Devils:The Greatest thing to come out of Holland since the Dutch Treat! Playing Surfmusic since 1991 and still going strong! Mooon: This young power trio consists of brothers Tom and Gijs and their cousin Timo. These cats take you to the Golden Age of pop music: the psychedelic boom of the 60's and 70's. The Kryng:Three jinxed no-good guys with an insatiable appetite for great popsongs. Their ace in the hole is singer/ guitarist/ cult- hero Mark ten Hoor, an extraordinary craftsman //when it comes to writing catchy and powerful songs. Fleur:She has the looks, the moves and a voice that sounds like a cool breeze on a hot summer day. The Heck:High pace, hectic, energetic and wild 60's garagepunk outfit all the way from Klazinaveen. Feel free to place them somewhere in between The Sonics and Reigning Sound. Frankie:The young and aspiring talent Frankie from the Eindhoven writes double edged songs like a head in the clouds and roots from your feet. Written like a dream but grounded in reality. Les Robots: Mechanical men from outer space, stationed in Rotterdam, presumably programmed by legendary producer Joe Meek to make astonishing instrumental music.

Lynn White hails from Mobile, AL and started singing at the age of six in her local church. She worked in Ike Darby’s record store where she would sing along to the sounds that were playing, and it wasn’t long before the owner decided to record her on his local label Darby Records in 1978 at the age of 25. Three singles and the highly collectable album “Am I Too Much Woman For You” ensued, but they didn’t bring much success to the label, which folded shortly afterwards. They did get married though.

Her sultry bluesy Darby-penned/produced “I Don't Ever Wanna See Your Face Again” was released in 1982 on another local label, Sho-Me Records, and it quickly came to the attention of Willie Mitchell, who signed her immediately to his Waylo imprint. A fruitful period followed with 7 albums and 12 singles released for the Memphis-based label during the rest of that decade. Her mid-paced “See You Later Bye” was a huge favourite with the modern soul scenes in Europe, and it was a pleasure to see White as part of Waylo’s A Memphis Soul Night - Live In Europe in 1990 when she appeared with Otis Clay, Ann Peebles and David Hudson, performing in Amsterdam, Rotterdam, Berlin and London; each artist doing a solo spot then all four joining together for some rousing soul medleys.

By now a Memphis resident, she switched to S.O.H. Distributions in 1990, which gave her more control of her output, and these two sides are from that period; “I Don’t Know Why” (1993), clearly her most popular track was only available as a 12” single, and featured the amazing but uncredited vocals of Farris Lanier Jr., who was lead singer of another Waylo act, Lanier & Co. Now very hard to find, this will be an eagerly awaited release as a 7” single. The flip is a gorgeous stepper written by George Jackson (previously recorded by Otis Clay) and from her CD only album The New Me (1990). White’s version just oozes with soul and makes for an essential double-sider.

Scheurneus EP is Vunks latest 12 inch vinyl release on his own legendary imprint Moustache Records. This release is a tribute to the underground scene, no hipster house only pure electro techno acid EBM sounds. This release is part of his 30 year anniversary as a DJ. Produced in his atomic basement Baan Studios downtown Rotterdam. A1 has a crazy funky 303 bassline, 606 hi-hats, 909 toms and more cowbell, vocoder voices and some italo-ish Legowelt-ish melody , this all blends together for this "You Sexy Bassline". When David played it in a B2B with Tom Trago, Tom said are you kidding me, is this your track? A2 "Sorry ain't enough" is a musical tribute to the legendary Emmanuel Top from Belgium. Electro acid and a building up deep track. Expect some extra cut off frequency and resonance. Already played on National Dutch Radio 3FM by the best and funniest radio DJ the Netherlands has to offer; Justin Verkijk. B1 provides a tribute to the EBM wave scene, originally made for a VA compilation that was never released. Now brought to you on Moustache Records because we don't want you to miss this! Expect TR909 hats, vocoders, modular Fenix 4 system and more modular. A hit from the legendary Paradisco Festival in Belgium. B2 is filled to the brim with Flangers, TR 606 Drums and a sharp bassline form the Roland SH101, Davids first and favorite synthesizer ever! He paid 37,50 euro for it back in the days SH101 :) This is a tribute to Robert Armani and Chicago house pumping, jacking and goes up, up, upper, upperst! A pure club banger.

"No sign of Rotten Leaves" is Selma French's second album and draws inspiration from life's paradoxes.

Selma French is a songwriter and musician renowned and revered within the Norwegian folk scene. She grew up with traditional music and has played and created music all her life. Her musical inspirations include Linda Perhacs, Nick Drake, Judee Sill, Frøkedal, Sundfør and Sandy Denny.

Her debut album Changes Like the Weather in the Mountain was released in 2022 to critical acclaim and was ranked among the top Norwegian albums of 2022 by notable Norwegian newspapers such as Dagsavisen and Aftenposten. In the fall of 2024, she did a lot of touring in the UK together with Euros Childs (Gorky’s Zygotic Mynci / Teenage Fanclub).

Selma has also toured extensively throughout Scandinavia and is a member of the bands such as Masåva, Frøkedal & Familien - (with whom she toured in the UK as special guests of Teenage Fanclub), Sondre Lerche and Norwegian Grammy award winners Morgonrode. Her music is widely recognized in her native country and has recently featured as the theme song in the hit Viaplay T.V series Furia.

Her music reflects an admiration for Norwegian and English folk music and is infused with an airy, enigmatic energy. Her rich landscape of guitars, wurlitzer, fiddles and high pitched choir voices manages to convey a roar of frustration, obscure portraits of the present and a gathering force of hope.

Jan Akkerman (b. 1946) stands apart as a singular figure in the realm of rock and beyond. A Dutch guitarist of unparalleled versatility, he earned international acclaim in 1973 when he topped the prestigious Melody Maker readers’ poll, surpassing icons like Eric Clapton (2nd), Jimmy Page (5th), and Carlos Santana (10th). His fame, however, has never defined his artistry. For Akkerman, it’s always been about the music—any genre, as long as it resonates. He’s a lifelong improviser who approaches each performance as a new adventure. Akkerman first rose to prominence with Focus, a band that embodied the grandiose instrumental rock spirit of the 1970s. Long compositions, dazzling technique, and adventurous arrangements made them a cornerstone of progressive rock. Despite the accolades, Akkerman remained true to his calling. When asked about his success, he has always brushed it aside, preferring to let his guitar do the talking. Side 1 of this record captures Akkerman’s stunning performance on July 10, 2011, at the Nile Hall in Rotterdam. Here, he showcases his ability to take listeners on a sonic journey. The mellow “Tranquilizer” offers a relaxed groove, followed by the heartfelt ballad “You Do Something to Me,” unfolding emotion without words. In “Piétons”—a gospel-tinged blues—trumpeter Eric Vloeimans delivers a fiery solo before the leader propels the piece into uncharted territory. Side 2 brings us back to an earlier moment, recorded in July 2005 at the Paul Acket Paviljoen in The Hague. “Streetwalker” delivers a funk-driven explosion featuring alto saxophonist Benjamin Herman, while “The Zebrah” sends Vloeimans soaring into the musical stratosphere, only to have Akkerman reignite the piece with blistering guitar lines, his band driving forward like a well-tuned Mercedes on an open highway. Akkerman’s live performances are as unpredictable as they are electrifying. Whether sharing the stage with legends or newcomers, his spontaneous creativity makes every concert unique—a master class in musical freedom. Jan Akkerman remains a touchstone for guitarists and fans alike, an authentic improviser whose name still elicits one universal response from any seasoned Dutch rock enthusiast: “He’s the best guitarist in the world.” The North Sea Jazz Concert Series includes officially licensed releases that will be released as standard on 180-gram white vinyl in a sleeve of heavy paper and printed on reversed board. The records are captured in mainly black-and-white artwork by Hans Pol in his signature style of the festival with inspiration from the covers of classic older jazz releases from the Blue Note label, for example. The liner notes are written by journalist and jazz expert Jeroen de Valk. For all recordings it’s a first time ever release on vinyl!

Crazy streched breakcore hardcore and speedcore ! 2 LP one 7 inch... The absolute collector !! TIP !!!

The Ick — a sense of sanity amidst the storm of information. This album by Archetype is an abstract scream for something quite fragile — a polarizing society, disruptive isolation, and the fading collective experience. Utilizing dramatic vocals, industrial trip-hop, and post-punk-leaning electronics, Archetype marks the new moniker by the ever-versatile Viennese Rotterdammer, Leonard Prochazka. Following his manifold of concept-driven, instinctive musical output, Archetype's "The Ick" releases in 2024, following "Strapazen und Genesung" as Geier Aus Stahl on Knekelhuis in 2022.

Industrial Hardcore Techno straight out of Rotterdam.
Under the motto 'Make Hardcore Scary again' GOPNIK delivers.
3 analog 90s infused hardcore bangers, including a nasty Tripped remix which once again, teases with double tempo early terror.

Please note that this is not contemporary 'hard techno'.
We apologise for confusing you by labeling genres correctly.

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Some time back just after then and before now, i was approached to work up a rough working script for a Punk Rock film, based on a boys entre into the whole Punk Arena and how it would affect his life. A loosely updated tale somewhere along the lines of a ‘Punk Quadrophenia’.

After many stop / starts and we are waiting for funding… etc, etc... and changing of ideas. I thought I better just get on with it. I worked up twelve tracks and put an opening script together for approval. Like some of the best made plans, as time moved on, so did the theme and the initial rush of enthusiasm rolled on to somewhere else.

A shame but lurking in the back of Punk Art studios the tapes were found and a bent up copy of the working introduction script. So here it is in all its rough and ready glory. Who knows what might have been but here is some of what could have been… hope you enjoy the idea.
Mal-One

The Rotterdam-based label and agency On Board Music proudly marks its 10-year anniversary with a carefully curated compilation of likeminded artists. This milestone release showcases those who have shaped the label's sound and identity, while also setting the tone for the years to come. On Board 10 features nine tracks on vinyl, complemented by five exclusive digital bonus tracks. The collection traverses a diverse spectrum: from the immersive depths of Altinbas' atmospheric journey Submersion to the intricate, rhythmic craftsmanship of Polygonia's drum-workout Broken Temptation, and from GiGi FM's ethereal dub-techno exploration Maova and Dorisburg's percussive, Nordic-techno gem Sensorik. The release blends introspective meditativeness with dancefloor-ready energy - a balance between home listening and club environments. It's atmospheric, trippy, dubby, broken, ambient, techno - all the sounds that define the essence On Board Music.

The 2x12" vinyl compilation brings together Altinbas, Dorisburg, Efdemin, GiGi FM, Luigi Tozzi, Massimiliano Pagliara, Polygonia, Psyk, and Steffi.

The release also includes a download card with five additional digital tracks by Ina Kacz, Jin Synth, Justine Perry, Paula Koski, and On Board Music label head Laura BCR.

"Bloodshot Bill, the Canadian hickup rockabilly Trash LoFi King of One-Man-Bands meets Gerard Van Herk from the legendary Deja Voodoo duo to create music that comes direct out of a rotten crypt and smells like an obscure trashed up rock'n'roll bad-ass delinquent." -VVR Bloodshot Bill ist eine Ein-Mann-Band aus Quebec in Kanada. Keine Computer, keine Overdubs, einfach nur seine Gitarre mit Kickdrum und ein Hi-Hat, 2020 war er Gewinner von ,Ameripolitan Rockabilly Male Of The Year". Bloodshot Bill sei ,wie Roy Orbison mit einer Kopfverletzung", sagt Reg isseur John Waters. Er hat in den letzten 20 Jahren eine Menge Musik veröffentlicht (Norton, Goner, Squoodge etc und wurde auf Platz 8 der Top 10 Rock-Gitarristen des Vintage Rock Magazine gewählt. Gerard Van Herk, Gründer und Frontmann des legendären Duos Deja Voodoo aus Montreal in Kanada, veröffentlichte seit 1981 viele Platten auf u.a Midnight Records oder What Wave. Sie waren Pioniere in Kanada und schufen ihr eigenes Musikgenre Slugabilly. 2024 trafen sich die zwei Musiker und nahmen die vier Songs dieser EP auf. ,Shot of Blood" und ,Crawl" von Gerard Van Herk sowie ,She said no" und ,Shish Taouk" von Bloodshot Bill. Die Tracks gingen verloren und es wurde nur eine dünne MP3 gefunden die dann von Matt von den Ouside Inside Studios versucht wurde wiederherzustellen. Hören Sie selbst!!!