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Containing the hits that were only deemed misses by the critics that condemned Oi! as some kind of subcultural fad that favoured football and violence way above the bloody good tunes that should by rights occupy the higher rank, 4 Skins, The Unreleased Radio & Studio Sessions encapsulates that energy at its finest. From formidable swarms of police brutality and political injustice, the underlying (and unyielding) socio-political messages experienced from the streets that resonated with every estranged clockwork skinhead of the day are bound to be ticked on every track. After the atmospheric crash of One Law for Them, dropped in amongst the Radio and blistering Bumper Sessions with Evil sitting squarely in its unpolished centre is the ska-inflected gallop of Seems To Me, an unreleased tune reinforcing the notion that there was more to Oi! than meets the laces.

Four years and one pandemic after his latest Dreams Of A Dark Building EP, the herald of dungeon synth pop is finally back from his shallow grave.

Life has not been gentle with Seattle-based solo producer Parker Lautenschlager over the past few years, imposing its unpredictability and forcing him to channel all the feelings that come with it into Profit Prison’s music.

It’s no surprise that his first full-length album Gilt marks one futher step towards the dark corners of italo / hi-nrg body music. Typical Profit Prison’s vocals and melodies, reminiscent of OG synth masters Kraftwerk, Giorgio Moroder and Orchestral Manoeuvres in the Dark, are still here, buried in the mix and waiting to haunt the listeners and drag them down in one sulfurous dancing spiral.

Lead single Sophia juxtaposes some weirdly camouflaged vocals with one heavenly chorus that seems willing to revive your fortunes while instead it literally sings “But I lost it all”. A Matter Of Tact displays pop escapism over some throbbing minimal synth tension, Seven Words sounds like a throwback to 70’s italo filtered through the eyes of a 21st century punk rocker. Katalina has a rampant synth à la Carpenter climbing over a story of loss and Katalina, An Ascetic is a solo ramble reaching for the inner light on a carpet of cold keys.

What’s more, tracks got longer in Parker’s recent songwriting, with most of the songs being now five minute long and reaching peaks of seven minutes with the closing, almost progressive disco jam of A.R.P. (Amphetamine Research Project), nothing short of a lucid dream on the floor of Studio 54.

Last but not least, the artwork by French artist Robin Roche delivers medieval-yet-punk graphic vibes to match just perfectly the sounds on this record.

'One Deep River' is Mark's sixth consecutive studio album to be recorded at his British Grove Studios and his first since 2018's 'Down The Road Wherever.' When Covid restrictions eased, Mark reconvened at BG with longtime band members and collaborators such as Guy Fletcher, Danny Cummings, Richard Bennett, Glenn Worf, Jim Cox and others, with the addition of first-time contributor Greg Leisz on pedal and lap steel and acoustic guitar.

Says Mark of the new album, which he co-produced with longtime confidant Fletcher: "It was back to the old-fashioned idea of a band making a record together in the room, which maybe in the more youth-oriented side of the industry has become quite rare, because everyone uses loads of technology. We do too, but what we do is we combine the old and the new. If it works, I use it.

"With these songs, you can see them coming together very quickly, with a band like this. You're in a game where you're making the thing and it's happening whether you like it or not. You could push the pace, but I try and give myself a little bit more breathing room. The fatal thing a lot of the time would be to want to rush everything. Something creative always happens by not panicking."

Of the track 'Ahead Of The Game,' Mark adds: "That all goes back to bands playing live. In some way, I was thinking about Nashville, because when I first went out there, it must have been in the early '80s and all the bands in the bars downtown were playing the hits. And that's fine. What I was trying to say is that's an achievement to actually get to a place where you've got employment, and you've got yourself a gig. I mean, statistically, what are the odds of making it? If you stopped to think about that, you'd hardly take a step further, would you?"

'One Deep River' is Mark's sixth consecutive studio album to be recorded at his British Grove Studios and his first since 2018's 'Down The Road Wherever.' When Covid restrictions eased, Mark reconvened at BG with longtime band members and collaborators such as Guy Fletcher, Danny Cummings, Richard Bennett, Glenn Worf, Jim Cox and others, with the addition of first-time contributor Greg Leisz on pedal and lap steel and acoustic guitar.

Says Mark of the new album, which he co-produced with longtime confidant Fletcher: "It was back to the old-fashioned idea of a band making a record together in the room, which maybe in the more youth-oriented side of the industry has become quite rare, because everyone uses loads of technology. We do too, but what we do is we combine the old and the new. If it works, I use it.

"With these songs, you can see them coming together very quickly, with a band like this. You're in a game where you're making the thing and it's happening whether you like it or not. You could push the pace, but I try and give myself a little bit more breathing room. The fatal thing a lot of the time would be to want to rush everything. Something creative always happens by not panicking."

Of the track 'Ahead Of The Game,' Mark adds: "That all goes back to bands playing live. In some way, I was thinking about Nashville, because when I first went out there, it must have been in the early '80s and all the bands in the bars downtown were playing the hits. And that's fine. What I was trying to say is that's an achievement to actually get to a place where you've got employment, and you've got yourself a gig. I mean, statistically, what are the odds of making it? If you stopped to think about that, you'd hardly take a step further, would you?"

James’ longevity – with over 25 million albums sold over their 42-year career and their celebrated reunion period since 2007 earning them more Top 20 album placings and faster ticket sales than their whirlwind initial run from 1982 to 2001 - is miraculous itself, but with simple cause. James, you see, are more than a band; they’re sonic belongingYummy – the band’s 18th studio album – is a quintessential James record: comforting yet adventurous, electronic yet human, dark yet life-affirming, experimental yet familiar, heart-warming yet deeply introspective on both the personal and human scale. “This record is really uplifting and joyful, but a lot of that comes from the music,” says singer Tim Booth of a career-high album that confronts ageism, conspiracy theory, AI control, the mental health pandemic, ecological apocalypse, mortality and modern love in all its shades. “Some of the lyrics are pretty hard-nosed.” UK Arena tour with special guests Razorlight in June 2024. 'Yummy' has already received 4/5 in MOJO, 4.5/5 in Classic Pop Magazine and 7/10 in Uncut

City Gates is the album by the George Adams-Don Pullen Quartet released in 1983. The quartet consisted of George Adams on tenor sax and flute, Don Pullen on piano, Dannie Richmond on drums, Cameron Brown on bass, and together they recorded five jazz-bop tracks. All tracks were either written by George Adams or Don Pullen, except for the traditional African American spiritual song “Nobody Knows The Trouble I’ve Seen” which was arranged by Adams and Pullen.

City Gates is available as a limited edition of 500 copies on white coloured vinyl and contains liner notes on the back sleeve by music journalist Frits Lagerwerff

Warehouse Find

As well as being able to introduce and push brilliant up and coming artists such as Ben Sun or Tornado Wallace, we're equally proud to bring you brand new material from a bona fide master of his trade here on Delusions Of Grandeur. Someone who has been releasing amazing music for almost two decades and a man whose integrity, ingenuity and raw talent have seen him rise to the upper echelons of underground dance music. With releases on esteemed labels such as Rush Hour, Peacefrog, Planet E and Sonar Kollektiv, Matt 'Recloose' Chicoine continues to impress ensuring he stays in demand whether it be as a DJ, live as Recloose or as part of Carl Craig's Innerzone Orchestra. On top of this he still manages to find time to provide the revered weekly radio show Hit It And Quit It on his home town of Auckland's George FM.

Sundub Society - featuring Josephine Nightingale, Ally Garrido, Tiago Saga, Naomi Falcon, Cutty Wren, Hedvig Larsson. The Bahama Soul Club are a German-based group whose unique blend of soul, jazz, funk, blues, bossa nova, afro and Caribbean influences has firmly put them on the map as one of the most exciting contemporary outfits of the black music scene. Inspired by the blissful energies of the sun drenched coast and the multicultural verve of tattooed wave riders, spiritual seekers, rainbow healers, mystic maidens and dreadlocked beauties, .... and of course the funky smell of sandy flip flops. Lush arrangements painted with sun-soaked brushes, captivating hangout vibes, shuffling bits of Reggae, woven threads of 70s roots, traditional rhythms and beats and sounds of the South Western Algarve. Sincere, artistic, full of spirit and definitely unique. No striving for the worldly charts. An album recorded mainly with the local legends. Stoned troubadoures, poetic pirates, authentic rebels. The songs were born from a vague idea after the release of "Bohemia After Dawn", the last album on which a few artist friends from the Algarve had already contributed. There is always a special magic in the neighborhood when sunny midday jams morph to sundown sessions to party-till-dawn skanks. We then just put those jams on tape. So, ten sundubby love songs to 'Oh, those sandy beaches'!

Four years and one pandemic after his latest Dreams Of A Dark Building EP, the herald of dungeon synth pop is finally back from his shallow grave.

Life has not been gentle with Seattle-based solo producer Parker Lautenschlager over the past few years, imposing its unpredictability and forcing him to channel all the feelings that come with it into Profit Prison’s music.

It’s no surprise that his first full-length album Gilt marks one futher step towards the dark corners of italo / hi-nrg body music. Typical Profit Prison’s vocals and melodies, reminiscent of OG synth masters Kraftwerk, Giorgio Moroder and Orchestral Manoeuvres in the Dark, are still here, buried in the mix and waiting to haunt the listeners and drag them down in one sulfurous dancing spiral.

Lead single Sophia juxtaposes some weirdly camouflaged vocals with one heavenly chorus that seems willing to revive your fortunes while instead it literally sings “But I lost it all”. A Matter Of Tact displays pop escapism over some throbbing minimal synth tension, Seven Words sounds like a throwback to 70’s italo filtered through the eyes of a 21st century punk rocker. Katalina has a rampant synth à la Carpenter climbing over a story of loss and Katalina, An Ascetic is a solo ramble reaching for the inner light on a carpet of cold keys.

What’s more, tracks got longer in Parker’s recent songwriting, with most of the songs being now five minute long and reaching peaks of seven minutes with the closing, almost progressive disco jam of A.R.P. (Amphetamine Research Project), nothing short of a lucid dream on the floor of Studio 54.

Last but not least, the artwork by French artist Robin Roche delivers medieval-yet-punk graphic vibes to match just perfectly the sounds on this record.

Speed Dealer Moms, the combustible live electronics duo comprising John Frusciante (Red Hot Chili Peppers) and Aaron Funk (Venetian Snares) is over a decade into their idiosyncratic run. On "Birth Control Pill," the duo's third release, the parameters of the chaotic and elegant project come into focus.

If there are virtuosos patching modular synthesizers and slicing up breakbeats, then they were in the room when these two tracks were recorded. The epic title cut is perhaps the most "functional" track the duo has ever recorded. This is ruffneck dnb business, but it's also the Speed Dealer Moms, so there is the requisite descent into chaos. The track's precise melodies are unceremoniously dunked into Funk's signature, ripping breakcore, the drums picking up speed until the crash test dummies hit the wall—a thrilling, extratone breakdown.

More madness lurks on the B-side, "Benakis," which seemingly nods to the visionary Greek composer. With its unconventional time signature and intricate melodies, this song cycles through breakcore and hard techno before eventually giving the listener a reprieve with a dreamy, beatless outro.

Speed Dealer Moms drive their own, crooked road built on friendship and a telepathic musical connection—the collaboration and encouragement of Funk ushered Frusciante into the dense world of hardcore machine funk. The results of these sessions don't sound quite like anything else, they are electronic records made in fearless pursuit of the new. Funk and Frusciante follow ideas to an illogical endpoint, and this hurtling approach has now resulted in the best and most concise Speed Dealer Moms record yet.

Cardiff's Buzzard Buzzard Buzzard returns with Skinwalker - a garage- rock romp and follow-up to their Welsh Music Prize nominated debut album Backhand Deals.

Taking raw rock 'n' roll cues from tracks frontman Thomas Rees produced for emerging talent - such as Panic Shack, Do Nothing and The Bug Club - and teased by recently released singles "Chew" and "Therapy", the record marks the band's move towards a heavier and disquieting sound, inspired by Rees' revitalised devotion to acts such as Ty Segall, Thee Oh Sees and Black Sabbath.

"A spiraling and winding descent into arcane black metal pandemonium! Sounding both modern and timeless at the same time, they unleash some serious throwback Celtic Frost/Darkthrone/early Mayhem vibes while projecting its hideous aura straight into the future with a shape-shifting approach to songwriting that can’t be called anything different but “prog”, while also throwing in the mix some unexpected ambient passages and improvisational liturgic abstractions ( that yield a result of constant motion and disorienting unpredictability, as if we were facing a European version of Negative Plane or a more experimental reinterpretation of the arcane mysticism of Mortuary Drape.

All in all if you are looking for black metal with a touch of timelessness and with classic heavy metal influences mixed with a keen sense of experimentalism then KVELGEYST definitely represents one of the strongest expressions of this school of thought in black metal that’s been seen in a long time." ~ CVLT NATION

Producer extraordinaire and Italo legend Don Carlos, along with cherished London clubland phenomenon Gareth Cooke combined in 1997 to deliver two timeless HOUSE classics on one record that seen copies changing hands for £50 on a one-off label that totally makes sense when you hear them. Now on reissue label, NATSUKASHII, (a Japanese word that means happy nostalgia), you can get these ageless underground classics. Limited to 300 units.

Before Circus Lupus landed on DC’s venerable Dischord Records, the group’s original Midwest lineup recorded a full album’s worth of songs less than a year after forming. With the demise of DC’s Ignition in the late ’80s, bass player Chris Thomson headed to Madison, WI for college. Before leaving DC, he dove headfirst into being a vocalist fronting the short-lived throwback punk / hardcore project Fury. Thomson served up pointed and profound Tony Cadena-inspired screeds about betrayal, disappointment and poseurs all set to a soundtrack of furiously primitive and chaotic music supplied by members of the DC punk band Swiz. Brief yet influential, this band marked Thomson’s switch to vocals, putting him on course to front Circus Lupus and claim a notable spot in the DC punk timeline of the late 20th century. Soon after arriving in Madison, Thomson was invited to join a new project started by friends Chris Hamley, Arika Casebolt, and Reg Shrader. Circus Lupus marked a change in direction from the familiar sounds of DC punk that Thomson had been associated with for years. The newly formed group looked to noisier Touch & Go and Homestead bands for inspiration, aligning themselves with bands from Chicago, Louisville and Milwaukee. One early supporter of the band described the new group as “profoundly familiar yet uncategorizable. Like if the Germs had gone to college and never got pulled into hard drugs and suicidal behaviors.” The original Circus Lupus lineup played a dozen shows and recorded these songs with Eli Janney at Inner Ear studios in August of 1990 while on a brief tour. Within a year, the band would decide to permanently relocate to Washington DC, where they felt they had more opportunities. Shrader opted to move to Chicago and would ultimately join the Touch and Go band Seam. Old friend Seth Lorinczi (Vile Cherubs) would become their new bass player, forming the version of the band that most listeners are familiar with. While a few of these ended up on their first single, the rest were shelved, some later to be rerecorded with Lorinczi and released on Dischord. L.G. Records is proud to have helped this notable recording see the light of day. The original tapes were recovered by Ian MacKaye and transferred by Darren Edwards. Tim Green remixed and remastered the original recordings at Louder Studios in California.

Solid Nordic techno & house! **Ltd 250 copies only!**

4-track sampler feat. Phonogenic, Harald Björk (Cocoon), Båssanova and 03SIDIAN. The sampler represents Nordic techno and house tracks from Phonogenic (20:20 Vision, Moodmusic), Harald Björk (Cocoon Recordings, Studio Barnhus), and the label's own 03SIDIAN and Båssanova. These tracks have already been featured in sets by the likes of Jori Hulkkonen and Skatebård.



Includes a digital download code.

Heavy Underground Resistance and Detroit infected electro anthems! Die Gestalten! Made by a completely unknown source out of nowhere. Very limited copies, no repress, vinyl only! No promotion, no digital, no social media, no faces, no games!

Ladi6 is a singer with soul. A singer with a hip-hop background and masses of pop-appeal. A singer who first gained attention through her features with the legendary New Zealand export-band Fat Freddy's Drop, but who has also performed alongside such diverse artists as Gil Scott-Heron, Mayer Hawthorne and Mos Def. In short: A singer whose eyes have seen much and whose style is not governed by rules. As if that wasn't enough, her enormous charisma enables her to win her audience over within minutes with full support of her band of Parks and Julien Dyne (BBE).
The 30-year old has always endeavored to use music to tear down barriers and dissolve purported genre-boundaries. With her previous album, "Time Is Not Much" (BBE) which was produced by Parks and Mu (Fat Freddy's Drop), Ladi6 has already taken a perfect shot at her goal, which, combined with the interplay between the many diverse elements of the music, has a highly impressive effect. "The Liberation Of…" has already top the New Zealand independent charts for consecutive weeks and her single "Like Water" is the #1 independent New Zealand song on radio.

Long Gone (Are The Old Traditions) is a label out of London.

A label focused on DIY electronics, post punk, dub and techno from now and before.

The first release is from West London artist, singer and songwriter Tutu Ta. A mini LP of out there, dubbed up, post punk mutations meeting old sounding industrial electronics following from his highly acclaimed debut album last year.

Its already seen the light of day on soundsystems across the city and further afield as well as stations like NTS, Rinse & Tom Ravenscroft's BBC 6 New Music Fix.

Radio Slave's 'Venti' is released on Rekids on May 17th and is a twelve-track celebration of Matt Edward's most prominent alias' history. Starting life as a series of singles that began in 2023, 'Venti' sees Edwards explore lower tempos, House, Disco, and the Pop reinterpretations that birthed the moniker back in 2001.

From Venti’s opening track onwards, a glistening piece of piano-led house that's become an anthem at Sean Johnston and the late Andrew Weatherall's lauded ALFOS parties, it is clear that Edwards is keen to celebrate the past but through the lens of now. A Radio Slave favourite, 'Wait A Minute', is updated to include a powerful vocal from Nez. Kylie's 'Can't Get You Out of My Head' - a track that kicked Radio Slave into the modern dance music consciousness is reinvented as an Italo-inspired cover featuring Michael Love Michael delivering glorious vocals. 'Wild Life' and 'Wake Up', another two tracks that, as singles, dominated house and disco sets of the great and good in 2023, feel simultaneously fresh while paying homage to the origins of House - message-heavy vocals and all. A cover of Audion's 'Mouth to Mouth' and Edwards' tribute to Terry Hall, the Fun Boy Three reimagining 'The Lunatics' are keen displays of Radio Slave's knack for taking on beloved tracks and making them his own. The lasers-set-to-stun cut-and-paste nu-disco of Radio Slave’s 'Jaws' is a muscular and timely reminder that the punch of a track lies in its feel rather than tempo, while Edward's command of dub aesthetics and unmatched ability to stretch grooves into a tension-filled journey shines through on 'New Balance' and the epic closer, 'Thirty-Six'. Never one to entirely give into the throes of the 4:4, the cinematic electro of 'Stranger In The Night' and Balearic Cagedbaby collab 'Amnesia' round out 'Venti' as the whole Radio Slave experience - as intense as it is subtle.

One of the most prolific and critically lauded electronic music artists of the past two and half decades, Matt Edwards was born in Catford, London, in the early 1970s. When acid house hit the city, Edwards was deep in the scene, and he's remained there since. Residencies at the groundbreaking Ministry of Sound and an 'unofficial' residency that has seen him become one of Panorama Bar's most booked DJs during his 15-year stint living in Berlin have provided the grounding for an enviable tour diary that continues today.

His Rekids imprint, a label that has platformed some of dance music's biggest names, has been regarded as a high benchmark for two decades with Matt as sole A&R. Collaborations with legendary artists such as DJ Hell and Robert Hood, releases for Running Back, R&S, Innervisions, Figure and more, and a remixography that simply couldn't be repeated in modern music show just how important Radio Slave is.