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ROLE MODEL kündigt sein drittes Studioalbum Chuck Timely & The Hourglass an. Das Album beschäftigt
sich mit der Angst, dass die Zeit davonläuft, mit vergangenen Fehlern, unerfüllten Hoffnungen und der
Sehnsucht nach einer Zukunft, die vielleicht nie erreichbar scheint. Im Zentrum steht Chuck Timely, keine
klassische Alter-Ego-Figur, sondern ein eigenständiger Charakter, der die Themen des Albums verkörpert.
Charmant, schwer greifbar und zeitlos bewegt sich Chuck zwischen Nostalgie und Gegenwart, als jemand,
der überall Eindruck hinterlässt, vertraut wirkt und trotzdem unerreichbar bleibt. Visuell bewegt sich die
Figur zwischen klassischer Vintage-Ästhetik, nostalgischer Ikonografie sowie bewusst chaotischen Lo-Fiund Grunge-Elementen. Genau dieses Spannungsfeld aus Vergänglichkeit, Sehnsucht und Liebe prägt das
gesamte Album, das sich musikalisch um Zeitdruck, Vergangenheitsbewältigung und Reue dreht.
ROLE MODEL, bürgerlich Tucker Pillsbury, steht für eine neue Form moderner männlicher Popmusik:
emotional offen, selbstironisch und charmant leichtfüßig. Nach ausverkauften Tourneen, einem SNL-Debüt,
einem Platz auf der Forbes-„30 Under 30“-Liste und einer Rolle im Netflix-Film Good Sex zeigt sich ROLE
MODEL auf Chuck Timely & The Hourglass auf dem bisherigen Höhepunkt seiner kreativen Entwicklung

Neon Pink Vinyl, limited to 350 copies. Brand new LIVE ALBUM of the Argentinian cult doom band MEPHISTOFELES. Recorded during the band's first ever European tour in 2025. Twenty live tracks, recorded at their shows in Barcelona and Arnhem that prove this occult doom trio has become an incredible live band. Heavy as Hell!

ROSE KEELER-SCHAFFELER

UNIVERSAL LANGUAGE

Magic Hollow (MH002)

Before we learn language, we learn the voice.

Universal Language is the second release on Magic Hollow and an exploration of the voice before song and before speech. Written and recorded during pregnancy and early motherhood, Rose Keeler-Schaffeler's album draws inspiration from the earliest forms of human communication: coos, cries, sighs and instinctive vocalisations that precede language yet already contain the seeds of music.

Best known as Keel Her, the cult DIY songwriter, producer and NTS Radio DJ whose fiercely independent body of work helped define a generation of bedroom pop, Rose reveals a strikingly different side of her musical practice here. Produced by Daniel O'Sullivan, Universal Language places the human voice at its centre, treating it not as a vehicle for lyrics but as the raw material from which music, language and relationships emerge.

With the exception of a handful of bass vocal parts performed by O'Sullivan, every voice heard on the album is Rose's own.

Across twelve meticulously composed pieces, layered vocal arrangements intertwine with subtle electronics, tape manipulation, synthesizers and understated drum machines. At times the music evokes the luminous purity of medieval sacred music; elsewhere voices dissolve into hazy ambient textures or unfold through hypnotic loops that blur the distinction between singer, choir and atmosphere.

The album was recorded during the first year of her son’s life. Many of its melodic contours and vocal gestures were inspired directly by his earliest sounds. His pre-linguistic attempts at communication became compositional material, guiding Rose towards a deeper exploration of the voice at its point of origin.

Deeply personal yet reaching towards something universal, Universal Language is a meditation on the human voice: our first instrument, our first language and our first experience of belonging.

Spectral death metal conjurations will grasp you with their doom-tinged tendrils from the onset of this record. The gritty, booming riffs open a chasm of darkness for the punishing drums to cast skulls into. Met by otherworldly vocals, this is certain to grip any fan of sepulchral music with its enchanting and intense abyssal atmosphere. Do not be fooled by the slower lumbering moments into thinking this will be an easy listen. Stampeding ferocity and wild madness soon erupt from the charnel openings to give a burst of frantic psychopathy to the experience. Churning doomed violence and convulsive bestial onslaughts entwine around each other to project forth arcane death metal violence with huge dynamics and an utterly savage feeling to every second. With a natural, organic production to convey the filthy nature of the music perfectly; this is not a record that will hold your hand rather drop you into a void of souls with malicious intentions.

From the devastating drum work and monstrous riffing to the wickedly contorting bass lines; each instrument complements the others in this storm of triumphant vitriol while the commanding vocals spew malice to superb effect. The low end murmurings and rusted blades of the leads are an idyllic balance of inhospitable sounds that will surely satisfy any real underground lunatic seeking dark music. These five pieces clock in at 35 minutes and the sheer intensity is upheld for every second. Crypt-lurking doomed despair and utter ferocity become companions while the groove of the more mid tempo sections tie everything together. There is certainly nothing missing for an impactful and memorable experience. Allowing itself to decay and reform throughout; you will see, hear, feel, smell and maybe even taste the stages of cranial decay and the anguish of the brain matter breaking down into nothingness. This is a record which doesn’t follow predictable patterns nor rules but wildly possesses you with the malignant spirits from death metal’s darkest corners…

Sometimes the only way to feel better is to spend some time feeling bad. Countless albums have provided the soundtrack for picking yourself back up, but Public Opinion are there for when you’re getting kicked while you’re down. Their sophomore album, the cheekily titled The Curse of Public Opinion, is a ten-song, 23-minute ode to frustration and disappointment–all set to some of the catchiest punk songs you’ll hear this year. Who knew swallowing a bitter pill could be this fun? Recorded with Brett Romnes (Anxious, I Am The Avalanche, Hot Mulligan), the album plumbs the depths of disappointment over a tight set of fuck-you anthems that perfectly bottle 2000s garage rock swagger, classic punk hooks, and hardcore ferocity into Public Opinion’s own sneering cocktail. "Public Opinion are making straight up, relentless, rock and roll. And thank God." -Anna Zanes, Alternative Press

Catch them on tour across the US this year with Drug Church, White Reaper and Spy.

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.

Frenchman Franck Roger is as consistent as any of the deep house greats we have all loved and appreciated for many years. He returns to Seasons Limited with another EP of perfectly timeless sounds to back that up. Opening up this latest gem is 'Don't Make Me Wait', which is shimmering and candlelit, with wispy pads and aching vocal cries occasionally bursting out of the mix. 'The Number Track' has a more pronounced groove with lumpy kicks and this time neon chords bubble through nicely for zoned-out late-night hypnosis. 'Fast Lane' closes with a more insular and dark feel that takes you back to the early days of Chicago house with a devastating synth conveying great loneliness

The legends of the golden era of Italian soundtracks and library music go by many names, but the backbone of that era’s definitive sonic identity is most often identified as I Marc 4 (also known as Marc 4 or I Marc Quattro). While the moniker might be less familiar to the uninitiated, it is a simple acronym derived from its founding members: Maurizio Majorana (bass), Antonello Vannucchi (organ), Roberto Podio (drums and percussion), and Carlo Pes (guitar). The number "4" serves to highlight the core synergy of these four master musicians. Their journey began in Rome’s vibrant jazz scene of the 1950s and early 1960s, where they honed their craft as members of the RAI national orchestra and collaborated with the most prominent jazz and pop icons of the day. However, it was their pivotal role in defining the Italian cinematic sound of the 1960s and 1970s that secured their legacy. Their unmistakable style was an eclectic fusion of beat, jazz, classical, and Latin influences—textured with early synthesizers, experimental sound effects, and a blend of electronic and baroque instrumentation. Consequently, their initials are etched into the credits of countless landmark recordings by legendary composers such as Nino Rota, Armando Trovajoli, Gianni Ferrio, Alessandro Alessandroni, Piero Umiliani, and Ennio Morricone.

Beyond their work as session luminaries, they produced a vast body of library music under their own name at the legendary Telecinesound Studios in Rome. These recordings were released through prestigious library labels like Sermi, Ricordi, and Fonit Cetra, as well as through their own imprints: Nelson Records, Silver Men, and Silver Music, spanning a definitive series of sixteen albums. Ten of these volumes were issued on Nelson Records during the 1970s, featuring the now-iconic military stencil design. Each release was color-coded: red (G.L.P. 1001), dark blue (G.L.P. 1002), gold (G.L.P. 1003), light green (G.L.P. 1004), brown (G.L.P. 1005), black (G.L.P.1006), light blue (G.L.P. 1007), yellow (G.L.P. 1008), orange (G.L.P.1009), and cool green (G.L.P. 1010). The series was completed by two elusive companion releases: S.M. 2001 on Silver Music and S.M. 2002 on Silver Men, both presented in the same distinctive brown sleeve. Rediscovered in the 1990s and 2000s, these Nelson releases have since achieved cult status among collectors, producers, and DJs worldwide. The final two installments, S.M. 2001 and S.M. 2002, remain the rarest and most enigmatic of the set.

Often overlooked, they contain some of the most profound "hidden gems" in the group’s catalog. The tracklist traverses a wide stylistic spectrum: from the rare groove and proto-hip hop energy of "Trama Nella Metropoli", "Beat Morbido", and "Candy", to the lush cinematic atmospheres featuring the ethereal vocals of Edda Dell'Orso on "Summer In Love", "On The Rain", and "Arcobaleno". The collection is rounded out by sophisticated jazz pieces like "Flauti Ensemble", "Passeggiata", and "Atmosfere Dolci”. Sonor Music Editions has meticulously curated the finest moments from these two rare albums for this first-ever dedicated reissue. Bringing together the best of Silver Music (S.M. 2001) and Silver Men (S.M. 2002), this release retains the iconic stencil artwork but introduces a striking silver finish. This design choice honors the original ten-album sequence while shedding new light on these outstanding recordings—works that remain, in every sense, golden.

In Arc, Yorkshire-born artist Kirk Barley explores alternative tunings and off-grid sequencing to shape fluid rhythmic and melodic systems that unfold into rich harmonic forms. Kirk’s fourth album under his own name and debut for Marionette continues his exploration of just intonation through a sparse but finely detailed palette of organic atmospheres, metallic shimmer and off-kilter rhythms. Across the record, glassy pads, gamelan metallophones, clarinet and guitar dissolve into fluid, dreamlike forms, suggesting vast coastal landscapes, charged air and the stillness that follows turbulence.

Drawing on the feel of sample-based hip-hop, the minimalism of Terry Riley and Jon Hassell, as well as dub techno and post-rock, Kirk brings together a range of influences in a sound that feels both intimate and expansive. After first hearing Terry Riley’s Shri Camel as a teenager, he became captivated by just intonation and microtuning, inspirations that have shaped his work ever since, from his earliest Bambooman releases to the present solo works and as on half of Church Andrews & Matt Davies. Arc is his first record to be fully rooted in alternative tunings from start to finish. Longtime friend and collaborator Matt Davies appears on Ion, Sundry, Ecstatic and Fret (Haar), where his finely detailed, ASMR-like muted percussion deepens the dialogue between tactile acoustic sound and Kirk’s luminous electronic palette.

180g White Vinyl

* Following on from the hugely popular ‘Klavirni’ (Emika’s first solo piano album in 2015) her second installment of piano solos are a magical cluster of melodies, dreamy effects, obscure production mistakes with tape echo’s and other old analog gear.

* The pieces were recorded during the time she was pregnant with her first child Silvy, to whom she has dedicated this record ‘To Silvy who heard it first from the inside’.

* The collection of ‘Dilo’s’ which means moment in Czech, were recorded ‘in a state of ultra hyped up creativity combined with a massive fear about losing my identity or creativity as an artist once I would become a mother’ - says Emika about the album process.

* A truly personal affair and in keeping with the original style of the first Klavirni, all the Dilo’s were recorded improvisations by the composer on her home piano, this time in Berlin.

* Dilo 7 from the first album has been streamed more than 15 million times on Spotify and there will also be a ‘Red Edition’ repress of the album on vinyl.

* This release marks the 5 year anniversary of Emika Records, celebrating 5 years of independence since her days with Ninja Tune.

* Dilo Variations EP (not released previously before on vinyl) will come with the anniversary releases on a cute little 10’’ with updated artwork.

* This is also the final release in her Emika Records catalog before starting a new venture in 2020 with more details to follow later in the year.

* ‘Klavirni Temna’ which means dark piano in Czech, explores the relationship between dark and light, good and evil, death and rebirth.

* ‘Music is a powerful and sometimes unexplainable force.’ - Emika

Weapons Of Desire is back with its first vinyl release in three years. WOD032 sees label misfits Auto Sound City and Iron Blu collaborate once again with a four tracker kick ass release that turns music upside down!

Nach seiner ersten Netflix-Hauptrolle meldet sich Fatoni mit neuer Musik zurück. „Drama endet nie“ geht den Weg weiter, den das Vorgängeralbum „Wunderbare Welt“ (2023) schon eingeschlagen hatte: eingängige Melodien, ohne in eine unangenehme Seichtheit abzudriften, Produktionen, die auf der Höhe der Zeit sind, ohne sich ihr anzubiedern, und immer der Spagat zwischen Tiefsinn und Leichtigkeit, den keiner so gut beherrscht wie Fatoni. Es geht um Trennungen, es geht um Neuanfänge, es geht um den Versuch, im alltäglichen Wahnsinn nicht zu verzweifeln. Um Vespas und Hollywood, Algorithmen und Raubüberfälle. Wie immer ohne Netz, aber mit doppeltem Boden. PS: Eat the rich!

Der Track erschien ursprünglich am 1. Januar 2020 als reine Digital-Single zum Jahreswechsel und kam zu einem Zeitpunkt heraus, als die Welt gerade erst begann, sich aus dem Griff der Pandemie zu befreien. Im März 2020 folgte eine limitierte, nur in der EU erhältliche 7-Zoll-Pressung, die seitdem auf dem Sekundärmarkt sehr begehrt ist. Angetrieben von einem erneuten Popularitätsschub - ausgelöst durch das offizielle Musikvideo auf YouTube, das über 9 Millionen Aufrufe verzeichnet und weiter wächst - kehrt die Single nun in einer brandneuen Pressung zurück. Diese Ausgabe verfügt über eine bedruckte Hülle mit dem Original-Artwork und ist auf nur 500 Exemplare limitiert. Der Track selbst ist eine Neuinterpretation des Songs mit voller Bandbesetzung, der ursprünglich ihr 2018er Album ,Golden Days" abschloss, wo er in einem reduzierten Arrangement mit Klavier und Gesang erschien. In seiner volleren Form strahlt der Song Hoffnung, Freude und die Euphorie eines Neuanfangs aus - er fängt ein Gefühl von Optimismus, Chancen und der Vorfreude auf bessere Tage ein. Diese Themen sind bezeichnend für den Sound und den Geist von Mamas Gun. Ebenfalls aus dem Album ,Golden Days" stammend, bildet die B-Seite ,Strangers on a Street" eine perfekte Ergänzung - sie rundet die Single mit Wärme, Positivität und einem gemeinsamen Gefühl menschlicher Verbundenheit ab.

Released in 2011, Komba is Buraka Som Sistema"s second studio album - their fusion of Angolan kuduro and bass music reaching further across the globe, absorbing new rhythms along the way. Among the standout tracks: "(We Stay) Up All Night" and "Hangover (Bababa)". This limited vinyl reissue - pressed on coloured wax for the first time - remains faithful to the original release, including the bonus track "Burakaton" featuring Colombian outfit Bomba Estéreo.

Leo Mas is a true icon, who was there at the start of the Ibiza revolution in the 80s, he is the protagonist and witness of the birth of Ibiza as the World Capital of Clubbing alongside Dj Alfredo Fiorito at Amnesia (Ibiza) during the years of 1985, 1986, 1987, 1988 and 1990, thanks to his unique sound and innovative set he is as one of the Pioneers of House and Techno music and one of the Balearic Beat Originators.

Leo Mas - The Dark Side (Irreverent Mix)

Amnesia was the club that changed the European and later the global club scene in 1987, thanks in part to the support of London DJs Paul Oakenfold, Danny Rampling, Nicky Holloway, Johnny Walker, and Nancy Noise, who came to Amnesia for the first time that year. At the time, Amnesia was still an open-air club, and the group was amazed by the unique, eclectic, and irreverent style of Alfredo and Leo, who played the new House Music imported from the United States along with a genre-blending sound that would later become known as Balearic Beat. When he returned to London, Paul Oakenfold bought all the records that were being played at Amnesia, with the help of Nancy Noise, and together with his friend Ian St. Paul opened the one-night event Future, “The Original and Only Balearic Club.” This later became Spectrum on Mondays, and eventually evolved into Land of Oz, where in the VIP chillout room, the White Room, the DJ was Alex Paterson, later known as The Orb. Danny Rampling and his wife Jenny wanted to recreate their Ibiza experience by opening Shoom, while Nicky Holloway would go on to open The Trip. All of these clubs transformed the London club scene and, in turn, had a worldwide influence. During the second half of the 1980s, Amnesia was also the favorite club of Sven Väth, who was a regular customer there.

This one-hour long recording is an essential snapshot of a pivotal point in dance music history. The records’ selection was, deliberately a mix of Indie Rock, Gothic Synth-Pop, Subversive Electro, Industrial, Belgium New Beat, Techno with Poetry, EBM. A magical moment in time that could never truly be repeated, yet lives on through this tape, now finally available to music lovers everywhere, including those who only ever dreamed of experiencing it firsthand.

The release comes with liner notes by Robert Harris (Dr. Rob), DJ, music writer and author of the well-known book, IBIZA DJ 1976 - 1988, released in 2019, during his collaboration with Paul Byrne (Test Pressing)

Ri-tape & ELSI Berlin produced a very limited run of 50 tapes, be quick!

Lonely Man's Dream marks a milestone for Forager Records: our tenth release, and perhaps our most personal. More than a compilation, it is a self-portrait. A reflection of the musical obsessions, late-night discoveries, and restless digging that have defined this label from our first record to this latest one.

Spanning the dreamy psychedelic folk of the 1970s to the cool shimmer of 1980s synth pop, Lonely Man's Dream traces a decade of curatorial wandering. Eleven artists. Eleven songs. Each one rare, obscure, or otherwise lost to the margins of music history. Among them, two tracks surface here for the very first time: “Never Say Goodbye” by Cocktails and Dreams, a synth pop transmission from Norway, luminous and weightless as the skies on the cover. “True Love” by Keith Jones, a drum machine backed demo that pulses with a late night intimacy.

What unites these songs across genre and era is the same quality we have always chased; a transporting ache, the sound of someone searching, or the feeling of a memory you can't quite place. Like every record before it, this one asks nothing of you but your full attention and an open ear.

Ten releases in, we are still looking for the same thing we started with. We hope you feel it too.

* Featuring a selection of songs sourced from rare records of the 70s & 80s reissued for the first time.
* Includes 2 unreleased songs from the 80s
* Original artwork by Eric Thompson
* Very limited initial first pressing

Leading Danish contemporary jazz label April Records is proud to present Well, actually..., the third album from Polish acoustic jazz quartet O.N.E. Grounded in the spirit of democracy andcollective improvisation, the album offers a tightly woven set of original compositions that blur the lines between modal jazz lyricism and the raw energy of free improvisation.The band name O.N.E. is a clever double entendre: in Polish, "one" (pronounced oh-neh) means "they" in the feminine plural - an apt nod to the all-female lineup. In English, of course, it signifies unity. Both meanings reflect the band"s egalitarian, leaderless approach and cohesive group sound.Almost three years after the recording of their previous release Entoloma(Audio Cave), the group reunited in December 2024 at Studio S4 in Warsaw to record a fresh set of ten compositions. Spread over two sides, the album captures the continued evolution of a band that thrives on interaction, trust, and shared purpose - even in a society fractured by post-pandemic socio-economic uncertainty and political ambiguity. Featuring contributions from all four members - pianist Kateryna Ziabliuk, saxophonist Monia Muc, bassist Kamila Drabek, and drummer Patrycja Wybranczyk - the recordreflects their commitment to artistic democracy. Each voice is given space, yet the music always feels greater than the sum of its parts. Even on the miniature solo track solo form, the other three players remain present, supportive, and responsive. From Ziabliuk"s percussive piano textures and dreamlike voicings on tracks like Osloand Berio, to Muc"s expressive, woody tone on alto and baritone sax, each piece explores dynamic interplay and shifting emotional landscapes. Drabek"s resonant, grounded bass - by turns lyrical and propulsive - provides a central thread, while Wybranczyk"s drumming fizzes with precision and imagination, as heard on Cipherand the angular closer Sneaking Around.Together, these four distinctive creative forces have developed a shared language built on mutual respect, long-term collaboration, and deep listening. Their concerts across Europe (including Jazzahead, B-Jazz, Umea, and the Edinburgh Jazz & Blues Festival) haveaffirmed their standing as a boundary-pushing group with something new to say.








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[f] b2 | [SOLO FORM]

For the very first time, the energy of So W'Happy Festival is captured on vinyl with the So W'Happy – Vinyl Sampler 2025.

Produced in collaboration with Babaorum Records, this release brings together a selection of the festival's most iconic anthems, including the official So W'Happy Festival anthems from 2022 to 2025.

Featuring tracks by Frontliner, Rayzen, DRS, Sandy Warez, Unsyn, D-Charged, JNXD and Carola, the sampler reflects the evolution of the festival through the artists and productions that have helped shape its identity. From euphoric hardstyle melodies to uncompromising hardcore and uptempo energy, every track captures the passion, intensity and atmosphere that define the So W'Happy experience.

More than just a compilation, this first vinyl edition celebrates the music that has become the soundtrack of one of Belgium's leading harder styles festivals.

French

Pour la toute première fois, l'univers du So W'Happy Festival est immortalisé sur vinyle avec le So W'Happy – Vinyl Sampler 2025.

Réalisée en partenariat avec Babaorum Records, cette sortie réunit une sélection des hymnes les plus emblématiques du festival, dont les anthems officiels des éditions 2022 à 2025.

Avec des titres de Frontliner, Rayzen, DRS, Sandy Warez, Unsyn, D-Charged, JNXD et Carola, cette compilation retrace l'évolution du festival à travers les artistes et les productions qui ont forgé son

identité. Des mélodies hardstyle aux sonorités hardcore et uptempo les plus explosives, chaque morceau retranscrit l'énergie, la passion et l'ambiance qui font aujourd'hui du So W'Happy un rendez-vous incontournable de la scène hard music.

Bien plus qu'une simple compilation, ce premier vinyle célèbre la musique qui accompagne l'histoire d'un festival devenu une référence de la scène harder styles en Belgique

Following the success of its debut vinyl release, So W'Happy Festival returns with the So W'Happy – Vinyl Sampler 2026, once again in collaboration with Babaorum Records.

Bringing together an explosive selection of artists from across the harder styles spectrum, this new edition perfectly captures the intensity and diversity that define the festival. Featuring tracks by The Dark Horror, Chicago Zone, Binum, K-Style, Jumpkiller, DJ HS, DJ Adolphe, DJ Furax, Pat B, G Sayz and many more, the sampler delivers everything from hardstyle and jump to hardcore and uptempo.

The release also includes The Dark Horror's Official So W'Happy Festival Anthem 2025, alongside exclusive reinterpretations and festival favourites, including Hysta's explosive remix of the timeless classic The Age Of Love.

Powerful kicks, unforgettable melodies and uncompromising energy make this vinyl a true reflection of the So W'Happy experience. Whether you're reliving unforgettable moments from the festival or discovering its unique atmosphere for the first time, the So W'Happy – Vinyl Sampler 2026 brings the spirit of the harder styles straight to your turntable.

French

Après le succès de son premier vinyle, le So W'Happy Festival poursuit l'aventure avec le So W'Happy – Vinyl Sampler 2026, une nouvelle fois réalisé en partenariat avec Babaorum Records.

Cette nouvelle édition rassemble une sélection explosive d'artistes emblématiques des harder styles et reflète toute la richesse musicale du festival. Avec des titres de The Dark Horror, Chicago Zone, Binum, K-Style, Jumpkiller, DJ HS, DJ Adolphe, DJ Furax, Pat B, G Sayz et bien d'autres, cette compilation navigue entre hardstyle, jump, hardcore et uptempo avec la même énergie qui anime les scènes du So W'Happy.

Le vinyle comprend notamment l'Official So W'Happy Festival Anthem signé The Dark Horror, ainsi que plusieurs morceaux incontournables et des relectures marquantes, dont le puissant remix de The Age Of Love par Hysta, véritable rencontre entre un classique intemporel et la nouvelle génération des harder styles.

Entre kicks ravageurs, mélodies fédératrices et énergie sans compromis, ce nouveau sampler retranscrit toute la puissance et l'atmosphère du So W'Happy Festival. Une sortie incontournable pour prolonger l'expérience du festival et retrouver chez soi l'esprit unique du So W'Happy.

We Could Be (Remix – Live) is a performance-driven reimagining of Simone Green’s charting R&B; single, recorded live with a 10-piece band. Produced and arranged by Sean Ali and Simone Green, the remix blends romantic vulnerability with dynamic live musicianship—bringing fresh urgency and depth to an already beloved song

Liam Sinigoi returns for the second edition of nonsono Records. A four-track dance floor geared EP, somewhere between the busy pitter-patter of UK clubland and lengthy studio sessions in solitude.

On the A1 'Orbiting Voices’, Sinigoi sparks the release with a seductive main room rocket. With a bass line and set of synths reaching for devilery, it has spirited its way into the dark rooms of London’s Fabric and beyond. This track speaks the language of well-seasoned techno journeys.

A remix sits on the A2, with Barcelona artist Ildec twisting out a driving jacking tool. A clean interpretation, nodding to its original with grit and punch to match.

In a groove-soaked minimal B1 track titled ‘Stretch’, suspense and atmosphere are toyed with as label boss Liam presents the identity of the label perfectly. A dapper lunge into deeper territories, with crunched percussion and metallic bells.

Written using the aftertaste of memorable mornings underneath trees in forest parties and global festivals, Sinigoi closes off the record with B2 ‘Darling’. The track emits a scent of cross-genre magic, progressing with fluidity throughout.

Persona proudly presents its debut release, introducing Nae – a trusted friend, dedicated producer and creative force behind the new label. Nae delivers with his deep and immersive production style, providing a powerful blend of driving bassline and crystalline drums, all the while delving into his signature atmospheric sound.

These tracks are carefully crafted to captivate the dance floor, delivering bursts of pulsating intensity, as well as more intimate, reflective moments. With four tracks and four different flavours, this EP is designed to fit seamlessly into your record bag. With only 300 copies available, this limited first release of Persona’s debut is not one to miss. Grab it while you can

2026 Repress

Kampana’s essential 7” series continues with another unmissable EP, featuring mysterious jazz and soul groove-magician Vanilla. The UK producer brings his beat-making skills to the disco format with stunning results.

'Turn Me Loose' blends an early 80s jazz funk groove, vocal chops and modern synths, creating an infectious mid-tempo disco number.

'Into My Eyes' - remastered for 2021 - features a percussive slap bass, with catchy vocals and classic filters for another timeless, uplifting anthem.

Huxley debuts on Rekids with the ‘MIND G%MES’ EP.

UK DJ, producer, and Dumb Safari label head Huxley joins Radio Slave’s Rekids for the first time with the ‘MIND G%MES’ EP, dropping 25th July 2025. The first track, ‘M%ND’, kicks off with woozy and alluring pads swirling round a cuddly but kicking Deep House groove. Soulful vocals and delicate, cosmic melodies rise out of the mix to bring it to a close in style. 'CLUB SH%T' ups the ante with zippy synths injecting some texture to slamming drums that straddle the House and Techno divide, while wispy stabs and warm daubs of sound dance around the cowbells to make this an evaluated late-night tool.

'FEAR N%THING' is a new school cut, with fi ltered loops, sugary chords, and pent-up energy all surging through the dance fl oor. Last but not least is 'ANY1', a sleazy House pumper featuring moody spoken word, a big, rubbery bassline, and slinky, Garage-infl uenced percussion.

Active in the underground music scene for two decades, former Rinse resident and sometime Aus, Shall Not Fade and Unknown To The Unknown artist has had one hell of a career. From huge breakthrough tracks like ‘Let it Go’ on Hypercolour and ‘Box Clever’ on 20:20 Vision to his 2014 ‘Blurred’ LP on Aus, he’s seen universal critical acclaim as well as massive support from DJs and dancefloors globally. In recent years, his Dumb Safari label, the online community R Trybe (co-founded by Ramin Rezaie/BAKKIS) and collaborations with Steve Bug are just a handful of his projects, while his ‘MIND G%MES’ EP for Rekids is already feeding the fi re with support from Jen Cardini, Cromby, I.Jordan, Jennifer Loveless and big room dons, Michael Bibi and Solomun.

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.

Sasha takes charge of the 200th release on his influential label, Last Night On Earth.

The two richly detailed cuts balance cinematic emotion, club functionality and meticulous sound design and arrive on vinyl alongside the digital release.

Electronic music titan Sasha launched Last Night On Earth in 2011, and for 15 years, it has been at the forefront of the melodic underground. Breaks, house, techno, ambient and progressive have all been explored by a mix of original pioneers, new school innovators and Sasha himself, either solo or often in collaboration with friends, peers and exciting emerging talents. The label swiftly became a movement, with regularly sold-out showcases around the world and exclusive merch. Enduring tastemaker Sasha remains as busy and innovative as ever in the studio and on the road, and just weeks after his last outing here with Franky Wah, he returns with another standout single.

Majestic opener 'Hollow Sun 25' is a slow-burning seven-minute odyssey with an acid-infused bassline and Sasha's signature celestial touch in the spectral vocal fragments that infuse the mix. The wavy, fl uid grooves provide a constant, gentle uplift to this widescreen, immersive gem. 'Hollow Sun 24' reworks the same cut into something with a more epic and spine-tingling breakdown that douses dancers in classic Ibizan trance synths while the bassline is darker and the groove more heads down.

10 years after the original, The Devil Wears Prada 2 picks up in a new era of fashion, ambition, and shifting power—where old rivalries resurface and the runway is fiercer than ever. The soundtrack matches every moment with Lady Gaga, Doechii, Dua Lipa, Miley Cyrus, SZA, RAYE, Laufey, Olivia Dean, and more, delivering the perfect mix of glamour, edge, and reinvention

ABOUT THE FILM

20th Century Studios’ The Devil Wears Prada 2:

Twenty years after making their iconic turns as Miranda, Andy, Emily and Nigel—Meryl Streep, Anne Hathaway, Emily Blunt and Stanley Tucci return to the fashionable streets of New York City and the sleek offices of Runway Magazine in 20th Century Studios’ The Devil Wears Prada 2, the eagerly awaited sequel to the 2006 phenomenon that defined a generation. The film is directed by David Frankel, written by Aline Brosh McKenna, produced by Wendy Finerman, and executive produced by Michael Bederman, Karen Rosenfelt and Aline Brosh McKenna.

The second album from Chicago based Brigette Calls Me Baby firmly establishes them as a band to watch. It's fair to say that they are a band that takes a lot of influence from 1980s UK indie in general and The Smiths in particular. Opening track 'There's Always' finds vocalist Wes Leavins channelling Morrissey's finer moments; and in particular those moments when Morrissey was in thrall to the crooners of the 1950s. This is particularly poignant in relation to the themes that run through the album, most notably the idea that certain moments in your history shape your very being for the rest of your life. Clearly hearing certain records has shaped Brigette Calls Me Baby as much as those all important life-change moments. That's not to say this a band that isn't ploughing its own furrow, songs like "Slumber Party" with its relentless bassline and dance influenced drums show a band that can mix its influences are create something unique. "I Can Take The Sun Out Of The Sky' might have those darkened crooning tones from Leavins, but they can't keep a lid on the sheer positivity that his band is generating, it has the feel of a real summer anthem.

Since The Summoned announced Mama Terra as one of Britain's more intriguing modern jazz propositions, anticipation has only gathered pace, and this latest offering more than answers it, with Marco Cafolla's Glasgow ensemble stretching spiritual jazz into widescreen territory, enriched by Conrad Roberts' evocative narration on the title track and 'Bliss'. Elsewhere, 'Isha' drifts with serene assurance, then 'The Observers' gives way to a far more expansive finale. It's another bold step from a group whose musical vocabulary seems to grow richer with every outing.

First Word Records proudly bring you the sophomore EP from Ruby Wood - ‘No Rain, No Flowers’.

Ruby is a singer / songwriter hailing from Huddersfield, West Yorkshire in the UK. Her soulful yet distinctive voice has enabled her to front numerous projects over the years; perhaps best known as lead vocalist of the critically acclaimed Submotion Orchestra, since 2009.

Her first solo EP ‘Sincerely’ dropped back in 2023, and received love from the likes of Jamie Cullum, Craig Charles, Jyoty, Huey Morgan, Wordplay & saw Ruby named Mi-Soul Radio's 'One to Watch'.

The follow-up EP ‘No Rain, No Flowers’ is a personal tale of growth through adversity. Reflecting on long-term love, fleeting intimacy, grief, and the relationships that shape us. Rather than offering answers, the 8-track EP sits with life as it is. Imperfect, cyclical and shared. The title speaks to the belief that difficult experiences are not separate from growth, but essential to it.

Musically, the project encompasses contemporary flavours within the realms of r&b, soul and hip hop. It features an impressive collective of vocal collaboraters; Illa J, Devin Tracy, Abnormal Sleepz & PRIDO. Each bring their own distinct perspective, whilst complimenting the EP’s introspective tone; favouring warmth, restraint & lyrical authenticity. All are backed by a smooth sonic backdrop of beautifully rich instrumentation, produced primarily by Rob Mitchell of Abstract Orchestra.

Ruby has performed live shows with Nightmares on Wax & Abstract Orchestra as well as with r&b legend Bryson Tiller at his sell-out UK gigs, including Wembley Arena & Manchester Apollo. This is additionally to touring with Bonobo & Nubiyan Twist, and collaborating with the likes of Krept & Konan, Alfa Mist, GLXY and Roska, to name a few.

The diversity of her career, ranging from the intimate to the large-scale performances, gives Ruby a unique balance of vulnerability and musical depth, prioritising authenticity over spectacle. As a solo artist, her work is rooted in honest lived experiences, leading to a focus on songs that resonate long after first listen.

This EP offers a reflection of where Ruby is at now, informed by where she’s been before. It’s a project that embraces imperfection, recognising that those experiences that challenge us the most, shape us the deepest.

"Ultra, The 12 Singles", a collector's edition deluxe box set, contains eight 12" vinyl discs presenting four singles - "Barrel of a Gun", "It's No Good", "Home", and "Useless" with key B sides, mixes and live recordings contemporaneous to Depeche Mode's ninth studio album, Ultra, originally released April 14th 1997. Three of the 12" vinyl discs in Ultra The 12" Singles are comprised of tracks first released on CD singles throughout 1997. Each of these new 12" discs features artwork reflecting the original CD single releases, now expanded to 12" vinyl for the first time. Audiophile quality 12" vinyl, with audio mastered from the original tapes. The artwork for the exterior box sets draws on iconography inspired by the original releases, while the vinyl sleeves themselves feature the original single artwork. Very limited. Stock will be allocated.

Kid Katana Records teamed up with Digital Eclipse / Atari to bring the legendary Wizardry remake game OST, for the first time on vinyl. Winifred Phillips crafted a unique soundtrack, which was recognized by the 2025 Grammy Award Winner for Best Score Soundtrack for Video Games and Other Interactive Media.


This OST is steeped in ancient history and culture, with Phillips using authentic period instruments from around the world, including gitterns, nyckelharpas, dulcimers, and bone flutes, and a choral battle anthem in the ancient language of the Wizardry spellbook.

This 7" was pressed on pink wax in amount of 200 copies.

Funky Mamas and Papas Recordings returns to its roots and releases another 7" after the well-received ones (Michał Martyniuk, After 'Ours and Pezda/Ryć). Once again we have something unique!

Stachun Bebach, aka Stanisław Pańta and Bruno Jasieński

The double single "Byk / Składak" is based on recordings from a two-day, improvised recording session at Dwa Domy Studio in the summer of 2023.

They met a few years earlier, on stage, during Stach's first jam at Warsaw's Spatif, and began a dialogue that developed through regular performances, as a duo and in larger ensembles.

The session was recorded at a crucial time for both of them – when Stach was starting college and Bruno was expecting the birth of his child.

The Way I See It puts Raphael Saadiq's love of 60s soul on full display, with Saadiq stating it was "the culmination of a lifetime of experiences informed by the music I grew up on." Recorded on vintage equipment, the set features Motown session musicians, guest appearances from neo-soul singer Joss Stone, R&B vocalist CJ Hilton, New Orleans collective The Rebirth Brass Band, a remixed bonus track from Jay-Z, and even a guest appearance by Stevie Wonder. Throughout the recording process Saadiq immersed himself in the aesthetics and styles of the decade, watching footage of Al Green, The Four Tops, Gladys Knight & The Pops, and others for further inspiration. The end result is an upbeat collection of songs, ranging from the romantic to the mournful, but frequently beaming with hope and positivity. The Way I See It racked up Grammy nominations for Best R&B Album, Best Traditional R&B Vocal Performance, and Best R&B Performance by a Duo or Group with Vocals. To this day it is considered one of the essential records of the classic soul revival, and one of Saadiq's finest career achievements.

Second Circle returns with a reissue of ‘Rainsong’ by Gus Till, presented here alongside a new remix from Japanese producer Kuniyuki Takahashi.

Originally emerging from Melbourne’s post-punk and new wave underground in the late 1970s and early 1980s, Gus Till has spent more than four decades navigating a remarkably diverse musical path. From early electronic experimentation with Third Eye alongside Ollie Olsen, through a pivotal role in the formative years of the global psy-trance movement and collaborations with artists including Michael Hutchence, System 7, Manu Dibango, Todd Terry and Bim Sherman, Till’s work has consistently resisted easy categorisation, moving fluidly between ambient music, downtempo, house, trance and psychedelic electronica.

First released on Japan’s Dakini Records in 2006, ‘Rainsong’ captures many of these threads in a single expansive composition. Built around a pulsating bassline, layered live percussion and soaring vocal elements, the track sits comfortably between the dancefloor and more immersive listening environments. Unfolding patiently across nearly thirteen minutes, it combines hypnotic rhythmic momentum with a rich sense of atmosphere and musicality.

For the B-side, Kuniyuki Takahashi offers a distinct reinterpretation of the original. His remix gradually unfolds from a patient introduction into a deep and richly textured exploration of the track’s core themes. Subtle spatial processing, nuanced arrangement shifts and his unmistakable sense of atmosphere transform the source material while preserving its emotional core.

'Rainsong' will be released digitally and on vinyl through Second Circle on July 29th. Sleeve art and design by Michael Willis.

John Edwards’ early releases, mainly at Aware Records under the tutelage of Floyd Smith, thrilled soul lovers with his consummate vocals and impressed the multi-million selling Spinners enough to hire him to replace their revered vocalist Philippe Wynne.
Edwards’ first Aware hits, such as ‘Stop This Merry-Go-Round’ and ‘Careful Man’, led to his eponymous debut LP. As the label’s major male artist, the company followed up by recording a second album and were probably anticipating a further hit. But Aware collapsed thanks to the label owner’s criminal activities, putting paid to that proposed disc.
When the master tapes were uncovered in the ’90s, the tracks were issued on the 1996 Kent CD ‘Careful Man’ and handful of singles were issued to great acclaim.
At last, we have collected the tracks on vinyl and the beauty of ‘Tin Man’, ‘How Can I Go On Without You’ and ‘Cold Hearted Woman’ can be enjoyed as they were originally intended. Modern soul fans will be able to sleep easily again.

The Alan Parsons Project"s critically acclaimed, multi-million selling album "I Robot" (1977), is reissued in this 2LP 180gm heavyweight, 45 RPM Audiophile edition. Expertly cut by Miles Showell at Abbey Road Studios, November 2024 on a customised Neumann VMS 80 lathe at half speed using high-resolution archive transfers that were made from Eric Woolfson"s rarely played mint condition duplicate masters. The album was a worldwide hit selling in excess of two million copies, achieving platinum and gold status in numerous countries including the USA, Germany, Australia and Canada.