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These days – on the new, ninth Fink album – Greenall is operating within a lineage of authentic, quietly revolutionary artists from England’s verdant southwestern toe. Artists like Michael Chapman. In 1970, the elusive acoustic guitar wizard released an album called Fully Qualified Survivor. The cult-classic served as a lodestar for Greenall – along with bandmates Tim Thornton and Guy Whittaker – as he began jigsawing together The City Is Coming to Erase it All, the follow-up to 2024’s Beauty In Your Wake. He even considered covering a song from it, but in the process, inadvertently stumbled into what became the album’s opener. ‘Wishing For Blue Sky’ circles a universal teenage ache: waiting for life to start. “No point dying of patience” goes the first lyric as crunching footsteps cue a resonant, open-tuned acoustic swaying into view. By 18, Greenall was fed up with waiting, so he left suburban Bristol and saw the world, sending postcards from the edge, waiting tables, squirreling away tips for the next flight. Thornton had similar experiences when the guitarist/drummer busked across Eur

This is nowstalgia more than nostalgia, though; there’s a parallel between these 18-year-olds and Fink’s autumn-aged family men. “You’re expected to be boring and settling down at this age,” Thornton says. “But we’ve still got this tremendous wanderlust. We want to go and discover, and also achieve things. It’s a nice life – home and family – but fuck, I can’t wait to get back out there.” City is a product of this hunger for discovery, and idolatry of the album as a form – like we had in 1974. City’s cover mirrors its interior, the first song is the greeting, the instrumental closer the conclusion. It’s a story. It’s a record for people who, like its creators, are curious. People who happily face a little cold for music, who light a crackling fire back home, who sit with these songs until they’re ready to chase after their own blue sky

Entombed's 2003 inferno burns anew. Remastered and reignited, this definitive edition unleashes one of the band's dirtiest, most aggressive, and groove-soaked records - where gritty riffs, doom-laden heaviness, and punk-edged energy collide.
Produced and mixed by Per Gunnefeldt (Fireside, also associated with Viagra Boys), the album now returns with a powerful new remaster by Magnus Lindberg (Redmount Studios, known for The Hellacopters, Cult of Luna, Refused, Alcest, and more). The result is sharper, denser, and more forceful than ever - preserving the grainy guitars and thick low-end rumble that define Entombed's trademark sound.
A longtime fan favorite and a bold detour in their catalogue, Inferno showcases Entombed's ability to weave raw death 'n' roll power with punk grit and a heavy, sinister swing. Signature tracks like ""Retaliation,"" ""The Fix Is In,"" ""Incinerator,"" ""Young & Dead,"" and ""That's When I Became A Satanist"" mark the album's feral intensity.
As Swedish Music Hall of Fame inductees and founders of Scandinavian death metal, Entombed forged a legacy that shaped generations of heavy music. Inferno stands as one of their darkest, most visceral statements - now restored for maximum sonic impact.
Formats:
* 2LP + Cassette editions feature 14 tracks, including the bonus cut ""When Humanity's Gone"" between ""That's When I Became A Satanist"" and ""Nobodaddy.""
* CD edition includes 13 tracks, closing with ""Night For Day.""
1. Retaliation 2. The Fix Is In 3. Incinerator 4. Children Of The Underworld 5. Thats When I Became A Satanist 6. When Humanitys Gone 7. Nobodaddy 8. Intermission 9. Young & Dead 10. Descent Into Inferno 11. Public Burning 12. Flexing Muscles 13. Skeleton Of Steel 14. Night For Day

Entombed's 2003 inferno burns anew. Remastered and reignited, this definitive edition unleashes one of the band's dirtiest, most aggressive, and groove-soaked records - where gritty riffs, doom-laden heaviness, and punk-edged energy collide.
Produced and mixed by Per Gunnefeldt (Fireside, also associated with Viagra Boys), the album now returns with a powerful new remaster by Magnus Lindberg (Redmount Studios, known for The Hellacopters, Cult of Luna, Refused, Alcest, and more). The result is sharper, denser, and more forceful than ever - preserving the grainy guitars and thick low-end rumble that define Entombed's trademark sound.
A longtime fan favorite and a bold detour in their catalogue, Inferno showcases Entombed's ability to weave raw death 'n' roll power with punk grit and a heavy, sinister swing. Signature tracks like ""Retaliation,"" ""The Fix Is In,"" ""Incinerator,"" ""Young & Dead,"" and ""That's When I Became A Satanist"" mark the album's feral intensity.
As Swedish Music Hall of Fame inductees and founders of Scandinavian death metal, Entombed forged a legacy that shaped generations of heavy music. Inferno stands as one of their darkest, most visceral statements - now restored for maximum sonic impact.
Formats:
* 2LP + Cassette editions feature 14 tracks, including the bonus cut ""When Humanity's Gone"" between ""That's When I Became A Satanist"" and ""Nobodaddy.""
* CD edition includes 13 tracks, closing with ""Night For Day.""
1. Retaliation 2. The Fix Is In 3. Incinerator 4. Children Of The Underworld 5. Thats When I Became A Satanist 6. When Humanitys Gone 7. Nobodaddy 8. Intermission 9. Young & Dead 10. Descent Into Inferno 11. Public Burning 12. Flexing Muscles 13. Skeleton Of Steel 14. Night For Day

Lemon Vinyl. Black Screen Records and Kaizen Game Works have once again teamed up for the vinyl repress of About That_ Paradise Killer B-Sides, the follow-up release to Barry "Epoch" Topping's vibrant funky city pop/vaporwave soundtrack to the open world adventure game Paradise Killer, which has proven to be a true essential release for itself. The record is featuring three new songs, vocal tracks, instrumental versions, remixes and piano arrangements along with a number of amazing guests, which are Fiona Lynch, Kyle Murray-Dickson, Fabian Hernandez, Ged Cartwright, Thomas Temple, MEEBEE and Okumura. Now available on lemon coloured vinyl with gorgeous cover art by José Salot. The sounds of Paradise. The music of a cosmic dream. Tunes from another reality. The tempo of the crime to end all crimes. The beat of long dead alien gods. The playlist of the investigation freak. Let the music take you away to Paradise. Feel the sun scorching your skin. Smell unbearably hot concrete. Savour the sweet taste of crime committed on a tropical island in another reality. Remember when we danced along the beach? Along the streets of Paradise? You made me this mix tape on the roof of your apartment block. We stared at the moon. You said you'd kill the moon. I didn't believe you. I was wrong.





e 5TO THE HEART [VOCAL VERSION]
[f] 6HOUSE OF BLISS [VOCAL VERSION]

[h] 8LEAVING [PIANO ARR.]
[i] 9LADY BLUE [MEEBEE & OKUMURA. REMIX]

[k] 11ABOUT THAT... [INSTRUMENTAL]
[l] 12PARADISE (STAY FOREVER) [INSTRUMENTAL]





[e] 5TO THE HEART [VOCAL VERSION]
[f] 6HOUSE OF BLISS [VOCAL VERSION]

[h] 8LEAVING [PIANO ARR.]
[i] 9LADY BLUE [MEEBEE & OKUMURA. REMIX]

[k] 11ABOUT THAT... [INSTRUMENTAL]
[l] 12PARADISE (STAY FOREVER) [INSTRUMENTAL]

Picture disc, artwork by C. Bedford Black Screen Records and Kaizen Game Works have teamed up for two new vinyl editions of Barry "Epoch" Topping's vibrant funky city pop/vaporwave soundtrack to the open world adventure game Paradise Killer. Topping's incredible soundtrack will be available on brand new picture discs as well as rosé & crystal clear with white marbled vinyl. The LPs are housed in a gatefold sleeve with beautiful 80s anime- & city pop-inspired artwork by Mizucat - additional art and layout by Kaizen Game Works, Barry Topping and Dane Baudoin. The picture disc artwork was crafted by C. Bedford as well as the one for the included folded A2 Crimson Acid poster. The sounds of Paradise. The music of a cosmic dream. Tunes from another reality. The tempo of the crime to end all crimes. The beat of long dead alien gods. The playlist of the investigation freak. Let the music take you away to Paradise. Feel the sun scorching your skin. Smell unbearably hot concrete. Savour the sweet taste of crime committed on a tropical island in another reality. Remember when we danced along the beach? Along the streets of Paradise? You made me this mix tape on the roof of your apartment block. We stared at the moon. You said you'd kill the moon. I didn't believe you. I was wrong.

Clouds

Picture disc, artwork by C. Bedford Black Screen Records and Kaizen Game Works have teamed up for two new vinyl editions of Barry "Epoch" Topping's vibrant funky city pop/vaporwave soundtrack to the open world adventure game Paradise Killer. Topping's incredible soundtrack will be available on brand new picture discs as well as rosé & crystal clear with white marbled vinyl. The LPs are housed in a gatefold sleeve with beautiful 80s anime- & city pop-inspired artwork by Mizucat - additional art and layout by Kaizen Game Works, Barry Topping and Dane Baudoin. The picture disc artwork was crafted by C. Bedford as well as the one for the included folded A2 Crimson Acid poster. The sounds of Paradise. The music of a cosmic dream. Tunes from another reality. The tempo of the crime to end all crimes. The beat of long dead alien gods. The playlist of the investigation freak. Let the music take you away to Paradise. Feel the sun scorching your skin. Smell unbearably hot concrete. Savour the sweet taste of crime committed on a tropical island in another reality. Remember when we danced along the beach? Along the streets of Paradise? You made me this mix tape on the roof of your apartment block. We stared at the moon. You said you'd kill the moon. I didn't believe you. I was wrong.

Welcome to the ROOTS REGGAE SOUND. A period in Reggaes history that followed the two year supremacy of Rocksteady, that began to tail off around the end of 1968. The Reggae sound many say did not come initially from the chop of the guitar but from the stabs from the Keyboard/Organ that produced that jeggae/jerking feel. The Roots element can be heard in the heartfelt lyrics and the stories told in the songs. So sit back and enjoy some Roots Reggae straight from the heart of Jamaica….

King Tubby and Producer Bunny ‘Striker’ Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a ‘serious joke’ (more of which later...) they went on to release the first pressings of this new musical genre namely ‘Dub Music’. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard... the Remix / Version cuts to an existing vocal tune.

Osbourne ‘King Tubby’ Ruddock was born in Kingston, Jamaica on 28th January 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston’s National Technical College and also on two correspondence courses from the U.S.A... When he had qualified Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother’s home. His work in the early days included winding transformers and building amplifiers for Kingston’s Sound Systems. Tubby built his first Sound System in 1957 playing jazz and Rhythm & Blues at local weddings and birthday parties. His reputation as a man who knew and understood both electronics and music grew steadily and as the sixties drew to a close. Tubby purchased his own basic two track equipment. He installed this alongside his dub cutting machine, a homemade mixing console and his impressive collection of Jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room.

Tubby and Striker were at Treasure Isle Studio’s one day while Ruddy from Spanish Town was working with the engineer Byron Smith....

“Tubby and myself was talking when Ruddy was cutting some dub but Smithy (engineer) made a mistake through we were talking and forgot to put in the voice. It was two track recording in those days. Ruddy said ‘No Man! Make it stay! and so they cut the rhythm. When I went over to Ruddy’s that Saturday night a dance was in progress and when they played the vocal to the tune... then he said we’re going to play ‘Part Two’. They never called it ‘Version’..and then he played the rhythm track. The song was a catchy song and everybody started to sing along and the deejay started to toast so everything went down well. On Monday morning I went up and I said ‘Tubbs the mistake we made was a serious joke. It mash up Spanish Town! The people went wild. So you have to start to do that now ‘cause when the man put on the ‘Part Two’ everyone start singing this song. It played about twenty times. I said you try Tubbs!’...Well the next Saturday night now when Tubby strung up down the farm U Roy said he’s going to play ‘Part Two’ but Tubby did it different now. He started with the voice then dropped it out and let the rhythm run and then he brought in the voice in the middle and from there Tubby started to get really popular.’’
Bunny ‘Striker’ Lee

Dynamic Sounds upgraded to sixteen track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee. The old four track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby’s dub plate experiments began to make it on to vinyl and the first ever long-playing King Tubby releases would feature a collection of his mixes to a selection of Strikers rhythms. So please sit back and enjoy this historic set of sounds, mixed by King Tubby and Mr Prince Phillip Smart and another set of scorcher Bunny Lee rhythms.

Delroy Wilson’s rich vocal tones always added magic to any song put his way. The ‘Cool Operator’ as he was affectionately named, after he worked on a tune with the legendary Jamican producer Bunny Lee.

A match made in heaven that you will hear on the album where he was put against some of the finest rhythms made in what would be a high point in Reggae’s history.

Delroy Wilson (b.1948 Kingston, Jamaica) began his musical career at the school which was Coxonne Dodd’s Studio One label. His first release at the tender age of 13 was the Lee Perry produced ‘Joe Liges’. This Ska enhanced tune gave the young singer his first hit
and the follow up single ‘Spit in the Sky’ that also flew out the record store doors.

After a brief stop in 1969, Delroy began working for producer Sonia Pottinger’s Tip Top label which gave him more hits including ‘It Hurts’ and ‘Put Yourself in My Place’.

The 1970’s saw Delroy Wilson’s arrival at Bunny ‘Striker’ Lee’s door and what would turn into a winning formula, scoringhit after hit.
It is from this great period in Delroy’s career that we have compiled this selection of killer tracks, cut with drum and bass rhythm kings themselves Sly Dunbar and Robbie Shakespeare.

A great dub set mixed at the one and only King Tubby’s studio … We hope you enjoy the set …

”What Parts & Labor have figured out how to do, in a way no one else really has, is to make noise anthemic.” —PITCHFORK “Visions of disaster sound more optimistic with every album.” —THE NEW YORK TIMES “Parts & Labor is … creating rock albums that everyone who cares about rock music should own.” —CHICAGO TRIBUNE ”Part psychedelia, part noise, part all-out rock... exhilarating stuff.” —THE GUARDIAN ”East Coast art-punk with a 21st-century overhaul.” —Q ”A joyous explosion of sound.” —MOJO After a 14-year hiatus, prismatic noise-punk fireworkers Parts & Labor, a beloved institution of Brooklyn's '00s underground, re-emerge with a double-drummer lineup and colossal double album. The 79-minute Set of All Sets (July 10, Ernest Jenning Record Co.) is an expansive, blown-out gush of apocalypse-pop that imagines utopias and confronts the overwhelming weight of the infinite. Their first album since 2011, Set of All Sets finds the band re-energized, rebooted and expanding their punk-kosmische, matching their skyscraping melodies and squelching electronics with hypnotic rhythms and frenzied tumbles of percussion. Parts & Labor co-founders Dan Friel and BJ Warshaw are joined by the simultaneous battery of drummers Christopher Weingarten and Joe Wong — asynchronous members during their critically acclaimed four-album run on indie rock titans Jagjaguwar. The power trios that made 2007's breakthrough Mapmaker and 2011's swan song Constant Future have merged into a single four-piece, at once a brand new vision, a clamorous continuation and a recapturing of the deafening sound of their "final" two shows in 2012. With eight weaponized limbs from two veteran drummers, Parts & Labor surges forth with rhythms inspired by Tanzanian singeli, ecstatic free improv and the motorik of vintage krautrock. Friel and Warshaw beam with the most majestic and triumphant melodies of their career, windswept cascades of bubblegum Boredoms and Big-Music-gone-hardcore.

Legendary lyricist AZ returns with Doe Or Die III, the long-awaited next chapter in one of hip-hop’s most revered album series, Doe Or Die III delivers polished production, razor-sharp storytelling, and the timeless sophistication that has defined AZ’s career.

Blending classic East Coast grit with modern finesse, Doe Or Die III features standout collaborations and lush, cinematic beats that complement AZ’s signature smooth delivery alongside features from Nas, Jadakiss and more. A must-have for collectors and fans of elite lyricism.

Das Album wurde während der Konzertreihe der Band in der Coventry Cathedral im Jahr 2019 aufgenommen und enthält ihre Hits:
„A Message To You Rudy“, „Ghost Town“ und „Too Much Too Young“.
Als eine der letzten Aufnahmen der Band mit Terry Hall wird das Album höchstwahrscheinlich die wirklich
letzte Veröffentlichung von The Specials sein und als Hommage an ihre gemeinsame Karriere dienen.
Eine Sky-Arts-Dokumentation über die Konzerte wurde 2024 mit großem Erfolg veröffentlicht und kann
online auf Abruf angesehen werden.

'Stop the Racists Now' is a clear message about the rise of right wing that is spreading through the towns and rest of the country whilst the flip is an ode to that first beer in the pub with your mates. Joyous, upbeat indie with a nod to the 2- Tone Ska Movement from on of the UK's emerging singer / songwriters.

Entombed's 2003 inferno burns anew. Remastered and reignited, this definitive edition unleashes one of the band's dirtiest, most aggressive, and groove-soaked records - where gritty riffs, doom-laden heaviness, and punk-edged energy collide.
Produced and mixed by Per Gunnefeldt (Fireside, also associated with Viagra Boys), the album now returns with a powerful new remaster by Magnus Lindberg (Redmount Studios, known for The Hellacopters, Cult of Luna, Refused, Alcest, and more). The result is sharper, denser, and more forceful than ever - preserving the grainy guitars and thick low-end rumble that define Entombed's trademark sound.
A longtime fan favorite and a bold detour in their catalogue, Inferno showcases Entombed's ability to weave raw death 'n' roll power with punk grit and a heavy, sinister swing. Signature tracks like ""Retaliation,"" ""The Fix Is In,"" ""Incinerator,"" ""Young & Dead,"" and ""That's When I Became A Satanist"" mark the album's feral intensity.
As Swedish Music Hall of Fame inductees and founders of Scandinavian death metal, Entombed forged a legacy that shaped generations of heavy music. Inferno stands as one of their darkest, most visceral statements - now restored for maximum sonic impact.
Formats:
* 2LP + Cassette editions feature 14 tracks, including the bonus cut ""When Humanity's Gone"" between ""That's When I Became A Satanist"" and ""Nobodaddy.""
* CD edition includes 13 tracks, closing with ""Night For Day.""
1. Retaliation 2. The Fix Is In 3. Incinerator 4. Children Of The Underworld 5. Thats When I Became A Satanist 6. When Humanitys Gone 7. Nobodaddy 8. Intermission 9. Young & Dead 10. Descent Into Inferno 11. Public Burning 12. Flexing Muscles 13. Skeleton Of Steel 14. Night For Day

Christian Prommer – producer, drummer, DJ and multi?instrumentalist best known for his work with Trüby Trio, Fauna Flash, Drumlesson, Voom:Voom (with Peter Kruder), Prommer & Barck (with Alex Barck), and as the producer of DJ Hell’s Teufelswerk – presents his new album Rhythmic Nocturne, spanning spiritual deep house, jazz, balearic trip?hop and hypnotic rhythm explorations. A must for fans of St. Germain, Floating Points and refined grooves at all speeds.

This album distills ten years of Berlin into a twilight drift between order and abandon. Daytime studio sketches are pulled apart at night, reshaped by shifting perspectives that swing between jazz harmony, textural experimentation, and the heavy gravity of techno basslines and analog drums. Intimately close-mic’d piano, drums, percussion, cello, and strings are constantly recontextualized—dropped into new rooms, resonances, and imagined spaces—so their meaning keeps mutating. Room noise, human breath, and accidental sounds are folded into the pulse, turning spill and imperfection into rhythm. Even a piano lid thudding shut on “Dark Matter” is claimed as part of the beat, underscoring an album that embraces freedom, spontaneity, and the beautiful lack of accountability that defines this city at night.

"It began somewhere between sleep and memory.
After first meeting in dreams, in Brussels and Berlin, on landscapes that felt strangely close to Vilnius, Marija Rasa aka emer and Ugnė Uma leisurely rewrote those visions into songs.

What followed became a collection of moments suspended in idle summers, familiar faces, gentle motions, skin touched by golden sun. These songs wander through closeness and distance, tracing the delicate emotional shifts between us, who almost understand each other completely.

‘you and me’ lives in the space where magical realism meets everyday intimacy: honey-colored evenings, recurring thoughts, and the slow surrender to things unfolding on their own."

After a long hiatus from his world of Edits & Overdubs, Joaquin Joe Claussell brings you this Limited Edition 12" sampler taken from the forthcoming Joe Claussell "Praise" 6xLP box set. Joe raids the vaults of the legendary Savoy Records, the Strictly Rhythm of Gospel music! On the A-Side he takes the mid-tempo stomper 'So Much to Live For' by Myrna Summers and invokes the Holy Ghost, fortifying the drums and rearranging the vocals so you are left humming the chorus long after it has ended. The hook 'So Much to Live For' in itself sums up all of the 'Praise' series, a cry to instill hope and meaning in what is often perceived as the mundane of daily life. On the flip is a previously unreleased Joe Claussell takes of 'Jerusalem' by Bishop Jeff Banks. Here the sermon takes off right from the jump, a floor filling call and response four to the floor version finished in classic Claussell style. Wailing organs, driving percussion and vocals that will make you want to jump out of your skin. Both sides cut LOUD at 45RPM!

Very limited one time run of special color vinyl.

Remco Beekwilder makes a powerful return to EMERALD with his 'Rhythm Pressure EP'. Channeling old-school energy through a modern lens, he hits real and direct with a dash of funk.

2026 Repress

Marlon George is a British DJ and producer based in London renowned for his "slightly spacey, casually jazzy, and fully groovy house music," with support from names as illustrious as Kyle Hall and Jimpster. But really, if he's getting signed by the legendary Trelik, then that's all you need to know about his skills. He lays them bare across three tasteful cuts here, starting with the liquid dub of 'My Secrets Are Safe With Me' with its wispy shards of light piercing the water's surface and glistening against the dusty hi-hats. 'Najagen' has more drive but no less depth and warmth to it and 'Do The Rha!' is another smoky, minimal, heady dub house roller that sneaks right under your skin.

MEGAPTERA, the scientific name of the humpback whale, is also the title of the new album by French producer and composer Rone.


Born from an ambitious film project, the record was largely composed at sea, off the coasts of Brittany and Réunion Island, using a modular synthesizer and melodic sketches developed for an almost unreal proposition: attempting to resonate with whales through music.


Following Room With a View—a soundtrack to a performance created with the alternative dance company La Horde, exploring collapse and rebirth—Rone continues his investigation into new imaginaries. If that earlier work emerged from reflections on ecological, social, and technological tipping points, MEGAPTERA marks a shift: away from the city, toward the sea.


Gradually, he moved away from performance toward a more craft-based approach, extending his practice beyond the studio into a wider space of listening, exchange, and fieldwork. Early footage of sailors broadcasting his work into open water—seemingly answered by whale presence—circulated online, generating fascination, but also a growing unease for the artist regarding what these projections might imply.


This tension became the starting point for a longer period of field experimentation, developed in dialogue with scientists, environmentalists, sailors, and bioacousticians. The resulting 15-track album reflects this open-ended inquiry — not only into whether human-made sound can reach whales, but also into how this process can shape a new form of electronic music, and open it towards new deep-sea soundscapes.


Rather than seeking imitation, Rone works with reduction. Drawing on research into cetacean vocalisation, he pares back his language—focusing on frequency bands, repetition, and suspended structures. Minimalism appears less as reference than as natural convergence.

Ruriko Ogami’s “Typhoon Lady” is set to be released on colored vinyl!
This reissue also includes “ONE LAST LOVE”, a track originally featured as the B side of a single and not included on the album.
The latest remastered audio comes from the album and single, archived in 2018 from the original analog master tapes at 96k/24bit.
Boosted by the popularity of Japanese grooves and further propelled when Japanese creators sampled “Sexy Woman”, the album’s reputation skyrocketed,
driving original vinyl prices to unprecedented highs. Beyond that, tracks like “Typhoon Lady”, which opens with a drum break that exudes funk, and the mellow
“Fuwari Fuwafuwa”, with its tight performance and floating vibe, remain timeless masterpieces even 40 years after their original release.

Die ehemaligen King-Crimson-Mitglieder Adrian Belew und Tony Levin haben sich mit dem Gitarrenvirtuosen Steve Vai und dem explosiven Tool-Schlagzeuger Danny Carey zusammengetan, um BEAT zu kreieren - eine kreative Neuinterpretation der drei kultigen King-Crimson-Alben der 80er Jahre: "Discipline", "Beat" und "Three of a Perfect Pair". Im Jahr 2024 spielte das Ensem-ble 65 (!) Shows in Nordamerika, bevor es 2025 mit einer ausgedehnten Tournee durch Mexiko und Südamerika weiterging. Nun wird in Zusammenarbeit mit InsideOutMusic/Sony Music das audiovisuelle Paket "Live" veröffentlicht, in dessen Mittelpunkt eine ausverkaufte Show in Los Angeles steht.Die von Bob Clearmountain abgemischte Show ist in drei verschiedenen Formaten erhältlich: als Special Edition 2CD+Blu-ray-Digipak, als Limited Deluxe 3LP-Triple-Gatefold und digital. Zusätzlich wird eine limitierte Deluxe 3CD+Blu-ray Artbook Edition erhältlich sein, die umfangreiche Fotos und eine zusätzliche 12-Track-CD mit dem Titel "Live in North America" enthält. Die Blu-ray enthält die komplette Show in Los Angeles in 5.1 Surround Sound und Stereo sowie Bonus-Interviews mit der Band.

New York-based Patrick Sullivan AKA P-Sol has long proven his credentials when it comes to editing hip-hop joints, mashing together classics, and generally pulling apart favourite jams and rebuilding them with a different perspective. Most of them come on the PS7, as does this new long player, which is a top-shelf example of how to sample properly. Tittle tracks make subtle hints at inspirations if not source material as the works through loopy, sketchy jams that are short but sweet, more club-ready rollers and loved-up beats that drip with sexuality and jazzy sophistication. A great accompaniment to a long journey or lazy afternoon.

Straight from the weedy fields of swampville Bruxelles we bring you 8 ‘tranches de vie’ of deep zone-hall by weirdtronic bass veteran Michael Crabbé’s best fitting sound costume to date: the mighty Rudi J! You might know him from earlier outfits but that’s not the main issue here. Rudi J is!

When this swamp thing touches the pads, it’s off-road after three seconds, even if you’re in the middle of Europe’s capital. Mixing analog dirt and digital sound bits in a very loose and personal take on dancehall, we’re pretty far away from the dance floor but definitely swinging. It’s a trippy affair wandering around concrete flowers with a deep ambient flavor, but it’s edgy.

A hot summer fever dream following his own lusty path, full of life and wonder but with something sinister hiding around every corner. Often reaching for the stars, a deeper shade of bass keeps things nicely grounded. These sounds are built with a sound system in mind and bass culture at heart. Even if you can definitely surf on it from your couch, picking out all of its ear-pricking details, it will very much come alive on a big sound.

A layered affair with almost jazzy and orchestral elements peeping through the stereo-field, spectral and dissonant but also playful. Like early dubstep, some of these tunes can destroy a clubsound, keeping you skunking out in pedestrian mode and snorting up the atmospherics, finally forgetting about that damn phone.

Legendary singer Sandra St Victor needs no introduction as the lead voice of Family Stand and having worked with the likes of Lalah Hathaway, Chaka Khan, Prince, Roy Ayers and many more.
The US artist has a new album entitled ‘Eleven’ soon to drop on Mother Tongue and this is the double A-sider debut single.
First Sandra teams up with wonderkid EDB on ‘Life’ where she shows all her incredible vocal range over an infectious soulful groove. Exclusive to this release is a special extended version by Patrick Gibin.
On the flipside ‘Moonchild’, which is an stellar cover version of Captain Sky’s deep disco classic, sees the singer in full force with a priceless contribution from Kaidi Tatham on production, keys and even vocals.
All pressed on a limited loud twelve inch!

There are records that follow the rules, and others that rewrite them in real time. With O R G A S M A N I A, Byron The Aquarius returns to Skylax with a deeper, freer and more unpredictable statement — where jazz instinct meets raw machine funk, and structure dissolves into pure feeling. Rooted in the lineage of Detroit yet never confined by it, Byron operates in that rare zone where house music becomes expression rather than format. His sound doesn’t chase functionality — it breathes, it stretches, it resists. The EP opens with Back 2 Zion (Tomorrow), a spiritual and meditative journey built on loose drums and luminous chords, carrying a sense of elevation — early morning music where the dancefloor begins to think again. Enter the Co$mos (Fool) pushes further into abstraction, with drifting synths and broken rhythms unfolding in a non-linear structure, navigating between Sun Ra’s cosmic language and Detroit futurism. On the flip, Mr. Captain Crunchhh brings a raw, playful energy — crunchy textures, off-grid swing and an almost improvised groove, alive and unpredictable, a leftfield tool designed to disrupt expectations. Finally, O R G A S M A N I A stands as the centerpiece — hypnotic, sensual and immersive, locking into a deep repetitive groove while evolving in subtle layers, a late-night body experience guided by a sharp musical mind. Across four tracks, Byron The Aquarius confirms his unique position between jazz musician, house producer and sonic storyteller, with a trajectory spanning Sound Signature, Axis, Eglo, Apron and Shall Not Fade, continuing to resonate from Detroit to Berlin and beyond. Artwork by H5 — the iconic studio behind Daft Punk, Air and Vitalic — reinforces Skylax’s timeless and art-driven identity. This is not fast music, this is not algorithm music — this is music for those who still listen. Strictly for the heads. Vinyl only. No repress. Skylax Records.

Following releases of the UFO and Supercar soundtracks, Thunderbirds is the third in the series from Gerry and Sylvia Anderson’s iconic TV shows. It is newly compiled, mastered and designed by the creative team at Fanderson (The Official Gerry and Sylvia Anderson Appreciation Society), who have access to Barry Gray's original studio tapes.

The album features 37 tracks from 19 episodes (series 1 and 2), including the Thunderbirds main theme and closing titles. The tracks were not programmed to follow the episode order but to achieve an integrated listening experience. The best bits of the sixties’ soundscapes are here. The Thunderbirds soundtrack is an effective time capsule as Gray’s music veers into British spy genre, Latin pop, exotica, urban jazz and military marches. Beautifully composed and conducted, the score reflects the moods of the scenes, from dangerous to romantic and no-nonsense to silly.

Barry Gray was a classically trained composer and a versatile musician, and was amongst the first composers to use electronic instruments in music for television. Best known for creating the music for most of the Gerry & Sylvia Anderson television series in the 1960's and 70's (Fireball XL5, Thunderbirds, UFO, Space:1999), Barry Gray’s complete musical opus is still not commercially available in its entirety.

With Agenda EP, Tom Carruthers closes a landmark trilogy on Skylax Records, following Neutralise EP and Deepline. Three records. Fifteen tracks. One coherent vision of machine-driven house music stripped to its raw, functional core. This final chapter dives deeper into direct, club-focused energy, where groove, repetition and tension do the talking. Agenda is less reflective, more physical — built for movement, sweat, and long transitions in dark rooms. Opening track “Chrome” sets the tone: sharp drum programming, metallic pressure, and looping synth phrases that lock the body into motion. “Agenda (Raw Mix)” follows with a tougher, stripped-down approach — no excess, just pure rhythmic insistence rooted in early Chicago jack and warehouse discipline. “Beat Down” pushes further into machine funk territory, where relentless patterns and rugged textures meet in hypnotic repetition. On the flip, “Fade Away” brings a deeper, moodier tension — a late-night track where subtle emotion seeps through minimal structures. Closing cut “What You Want” is classic Carruthers: jacking drums, understated melody, and a groove that feels timeless rather than retro. As with the previous releases, the visual identity is handled by H5, whose modernist, reduced artwork mirrors the sonic philosophy: clarity, impact, and purpose. Agenda EP completes the Skylax trilogy as a statement of intent — not revivalism, not nostalgia, but dance music reduced to its essential elements.

The latest release in the series exploring the musical worlds of Gerry Anderson is the most extensive yet. Space: 1999 ran for two series from 1976 to 1977 and depicted the occupants of Moonbase Alpha and their struggle for survival when, after the explosion of a nuclear waste dump, the Moon is hurtled into space.
The series was the most expensive produced for British television at that time and the most musically diverse of all the shows made by Anderson for ITC. Gerry Anderson’s long-time musical partner in all the previous adventures was Barry Gray and Space: 1999 proved to be the last of their collaborations.
Uncut Magazine referred to Series 1 music as “Pink Floyd without the mythology”. The first recording session for Space: 1999 took place on December 11th 1973 with a 52-piece orchestra performing the opening and closing title music. For the series’ incidental music between 32 and 38 instruments were utilised at any one session, all conducted by Barry Gray. The selections from Year 1 show Gray’s skills in creating a memorable opening theme as well as dramatically evocative cues highlighting the plight of the Alphans as they became known. The Year 1 album also showcases a selection of library cues which featured throughout the series.
Barry Gray was a classically trained composer and a versatile musician and was amongst the first composers to use electronic instruments in music for television. Best known for creating the music for most of the Gerry & Sylvia Anderson television series in the 1960's and 70's (Fireball XL5, Thunderbirds, UFO, Space:1999), Barry Gray’s complete musical opus is still not commercially available in its entirety. Fanderson, dedicated to the productions of Gerry Anderson, has gained access to all Barry Gray's original studio tapes and have undertaken a major re-issue project. Together with Fanderson, Silva Screen Records is championing Barry Gray’s incredible musical opus and is releasing the material in a series of physical and digital albums and vinyl records.

Double LP pressed on Pearl Dawn vinyl. Akupara Games, Videocult and Black Screen Records are beyond stoked to release the soundtrack to Rain World: The Watcher, a DLC of the massively successful game hit Rain World. The music was crafted by year-long companions of the game James Primate and Lydia Esrig but it's also featuring works by Serpanoy, Pinpoint, snoodle, Intikus and Kaeporo. This collection of hugely talented artists makes the score an eclectic journey that at the same time follows a coherent concept that reflects on the atmosphere of the game. The wilds that await will be unlike all that's come before. The double LP on stunning Pearl Dawn vinyl, that is featuring a total of 54 tracks, presents exclusive gatefold artwork by Kelocitta with UV spot varnish. This set is not only a true beauty but also perfectly in line with the vinyl releases for Rain World and Rain World: Downpour - don't miss out to complete your collection! Rain World: The Watcher is a DLC expansion of Rain World. Journey beyond to something, somewhere only ever glimpsed. Unknown creatures stalk and climb and dive and hunt. New breeds rip and pluck and burrow and hide. Predator and prey redefined. And through the middle of it all, a lonely lost slugcat trying their best to outlast the ravages of a warped world. When the world beneath your feet cracks and crumbles, will you hold on to all you once knew? Or dive into the unknown?

Whilst scrolling through the dusty corners of the internet, the legendary producer, DJ and musical bon viveur Chris Bangs stumbled across some demo recordings of an obscure organist ‘Mose Dillon’ - intrigued but also thoroughly charmed by their obvious lack of audio fidelity, and after finding they were previously unreleased, hatched a plan to bring them to the attention of jazz, blues and soulful sound aficionados.. Recruiting Simon Ward, as a fellow multi-talented musical mind known as and for his work as Dr Rubberfunk (Jalapeno Records) / Mr Güder they combined their renowned skills to add a new sheen to the original music.

The end result is the pairing of these two newly re-invigorated jazzy Hammond B-3 tunes - a version of Rejoice In Righteousness - Bukky Leo’s spiritual tinged, jazz dance anthem of the late 80’s, and with the flip - Mighty Righteous - it’s clear whilst his story remains unknown, Mose Dillon had a thoroughly righteous mind set when he recorded that Reuben Wilson inspired groove.

Wherever Mose went - or is - we are confident he approves!”

Ingrid Schmoliner moves between the genres of new music, improvised music, free jazz, and folk music. Teaming up with the member of Zeitkratzer, RANK Ensemble, PARA, and Zinc & Copper Elena Kakaliagou, they form a Duo that creates dark interpretations of ancient songs and tales. mixed by Bilgehan Ozis_Berlin mastered by Erdem Helvacioglu_New York recorded in Ocean Sound Studios_Giske/Norway by Henning Svoren and Anders Boska special thanks to Alain Alpenfeld and Konstantin Drobil for making this album happen this album is dedicated to Jutta Lange-Butenuth, to Thomas Noll and the Nordic Sea kindly supported by Trost/Human Kind Records/Bund/Land Kärnten/SKE Ingrid Schmoliner - piano,voice Elena Kakaliagou - french horn, voice Els Vandeweyer - vibraphone on TO KE Bilgehan Ozis - electronics on PERFUME

Limited edition Candy Apple Red 7inch vinyl. DJ Because (Sushi Breaks, Dungeons & Krakens & Toxic Hamster Scratchz) teams up with UK producer Imperial to bring you another themed release. Lock in photon torpedoes - packed with fresh retro space samples to fight all your galactic scratch battles and epic beats to explore the universe with. Includes 8 skip proof phrases plus lots of extra scratch friendly samples, beats & breaks!

Archival release from Lagoss, the collaborative project between Discrepant founder Gonçalo F. Cardoso (Gonzo, Visions Congo, Papillon, Prophetas) and Tenerife-based electronic producers Tupperwear (Mladen Kurajica and Dani Tupper).

Tenerife Ghost Healing Mix ’78 draws on material originally recorded in 2020, these recordings capture an early phase of Lagoss’ sound: a humid, proto-cyber tropical zone where synthetic textures, degraded rhythms and softened melodic fragments drift into each other. Rather than foregrounding narrative or structure, the material leans into ambient saturation — layers accumulating slowly, colours bleeding, signals slightly overdriven and left unresolved.

Sonically, the mix occupies a proto-cyber tropical zone—humid, blurred, and gently unstable. Layers of noise, softened rhythms, and synthetic textures accumulate into a form of ambient saturation, where density replaces direction and repetition becomes restorative rather than functional. The approach remains rough, unhinged and no-frills: raw signal paths, little correction, and a willingness to let things run slightly out of control.

Assembled from outtakes, alternate versions and early sketches, the tape favours atmosphere over structure, presenting the material in a slower, more inward-facing state than earlier Lagoss releases. It functions less as a remix than as a refracted memory of the original sessions, viewed through time, heat, signal decay—and left deliberately unfinished.

HARTHBALL are an avant/noise/rock wrecking ball of a band from Nanaimo, Canada. Rooted in total improvisation, free expression, and a deeply psychedelic sensibility, EarthBall operate on pure instinct.
They hurtle onwards in a combustion of spontaneous composition, shooting from the hip, as they fall out of the sky ablaze. The group encompasses Isabel Ford (vocals, bass), John Brennan (drums, percussion), Jeremy Van Wyke (vocals, guitar, trumpet), Kellan Maclaughlin (guitar, talkbox), and Liam Murphy (saxophone). Each member brings a rich and varied musical history, with past and present projects including Shearing Pinx, Plan Your Future, Kamikaze Nurse, Eschatons, and Psychedelic Dirt. Collectively and individually, they have collaborated with artists such as Deerhoof, Raven Chacon, Chris Corsano, and William Hooker, deepening the band’s exploratory reach and collective language.
Since forming in 2021, EarthBall have released six cassettes and three fervently received LPs on Upset The Rhythm, including November’s widely acclaimed Outside Over There. Their latest release, Actual Earth Music - Volume 3 & 4, follows the first instalment in the series and captures two mind-quaking highlights from last winter’s European tour. This is EarthBall plunging to full fathom five, transforming into something rich and strange - channeling the fleeting moment as it fractures, erupts, and dissolves into the unknown.
Side A captures a thumping performance at Cave12 in Geneva. Frazzled from a white-knuckle alpine descent, the group settles into a hypnotic sprawl, stretching time and form across a colossal 53-minute set (with the first 22 minutes presented on the LP; the full performance appears on the CD edition). The Cave12 recording is a study in tension and release; ruminative, volatile, and barely contained. Drums stumble and surge, saxophone howls cut through the air, and Ford and Van Wyke’s voices briefly pull together the circle twice, before the tumult lapses into a spinning maelstrom.
Side B meanwhile presents a scorched excerpt from EarthBall’s crushing performance at Le Guess Who? Festival. As Van Wyke reflects: “Having the most excellent Dwarfs of East Agouza play before us only heightened our intention to bring the noise. Listening back, the thing that strikes me most is how we truly were operating in the ever-elusive but always sought-after ‘group mind’. Ninety-degree changes are super tight. Izzy and I are finishing each other’s sentences. Liam’s horn is cradling our outer and inner space. Kellan’s talk box rains down like the voice of a reawakened spirit, and all this havoc is safely stowed in the rumbling ox-cart of John’s solid drumming”.
Actual Earth Music - Volume 3 & 4 marks another ascent in EarthBall’s ever-expanding, totemic discography, an ecstatic storm of raw immediacy and unfiltered expression.

Under the moniker Trace Mountains, Dave Benton writes music that asks large questions in quietly profound ways. On the project’s earliest release, the 2014 compilation Buttery Sprouts & Other Songs, these thoughts appeared as lo-fi scraps of wit andtenderness. But by the time A Partner to Lean On, Trace Mountains’ debut full-length, arrived in 2018, Benton’s perceptive indie rock had matured into more existential meditations about identity, existence, and finding sense in an increasingly chaotic world.
In the two years since A Partner to Lean On, Benton’s life has undergone several large changes, namely the dissolution of LVL UP, the indie rock quartet he co-founded in college, and a move to Kingston, a small city in New York’s Hudson Valley. Composed during—but not directly inspired by—this transition, Trace Mountains’ second record, Lost in the Country, reflects Benton’s need toreconnect with his inner world.

Prompted by an urge to access a more authentic voice, Lost in the Country finds Benton digging deeper into candid songwriting. “I wanted to open myself up and write lyrics that are a little bit more direct,” he explains. “I write a lot of songs that are about myself and a lot of songs that aren’t, but on this record, the focus is turned inward either way.” The result is Trace Mountains’ strongest and most assured record yet, 10 songs driven by a desire for introspection and self-discovery. The backdrop for this insularity is an expanse of wide blue skies, seas of trees, and winding roads, ideal locales for thoughts to blossom into greater reflections of the outer world. The slow-burning “Absurdity,” which Benton modestly says is about “hiking and standing in the country,” uses the sublimity of the wilderness to comment on technology’s inescapable presence. Similarly, the driving opener “Rock & Roll” transforms the premise of a “simple song about being a rocker” into a stream-of-consciousness, apocalyptic poem about delusions, regrets, and getting lost in your own limited perspective. This self-examination culminates with the record’s ambitious and anthemic title track. Channeling the cosmic sprawl of the War on Drugs or Kurt Vile, Benton recalls a moment of deep loneliness and depression outside a concert venue in the Netherlands, and how an unexpected moment of compassion led to a moment of awakening.
Despite its frequently bucolic setting, Lost in the Country’s underlying current is an urgent commitment to Trace Mountains and “finding a creative process that requires me to be honest with myself.” “I know I sing to forget, I sing to hold my breath, to feel the thumping in my chest,” Benton sings on “Cooper’s Dream.”This line is “rooted in the importance of music in my life, it’s definitely a reflection on that and how I can keep it in my life, because if I’m not careful and I don’t nurture it, I could lose it.” The self-imposed pressure has been empowering for Benton. “I really like having full control in making a record, deciding what songs are going to be on it, as well as shaping the vibe or narrative of the whole thing,” he says. “It brings a peace of mind knowing that I am responsible for just my voice.”