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Das anglo-australische Indiepop-Quartett Allo Darlin' meldet sich nach über zehn Jahren mit dem neuen Album ,Bright Nights" zurück. Es ist die Rückkehr ihrer intelligenten, schönen Popmusik mit Texten, in denen Erfahrung mitschwingt, und Melodien, die klingen, widerhallen und schweben. Da sie sich und die Musik, die sie zusammen gemacht haben, vermissten, kündigten Allo Darlin' an im Oktober 2023 ein paar Konzerte in UK zu spielen, und die Reaktion der Fans war überwältigend. Die Tickets waren innerhalb Minuten ausverkauft, und die Fans reisten aus der ganzen Welt an, so dass die Band ihr Konzert in London in einen doppelt so große Halle verlegen musste. Es schien, als hätten ihre Fans Allo Darlin' genauso vermisst wie sie sich selbst. In diesem Jahr war die Band außerdem Headliner einer exklusiven Deutschland-Show auf dem Cologne Pop Fest und antwortete auf die herzliche Einladung mit einem speziellen Song mit dem Titel "Cologne". Bright Nights folgt den emotionalen Gezeiten der vorangegangenen zehn Jahre: "Es ist ein Album, das von Herzen kommt und sich mit Themen wie Liebe, Geburt und Tod beschäftigt - "Dinge, über die wir mehr nachdenken als bei unserem ersten Album. Ich hoffe, dass das Album zeitlos und fröhlich klingt, aber auch nachdenklich und emotional", sagt Songschreiberin und Sängerin Elizabeth Morris Innset. Inspiriert von einer Mischung aus klassischem (Indie-Guitar) Pop, Folk und Country, knüpft Bright Nights dort an, wo Allo Darlin' mit dem We Come From The Same Place von 2014 aufgehört hat, und erinnert an den selbstbewussten und anspruchsvollen Sound ihres zweiten Albums Europe. "Wenn ich es höre, denke ich an die Wüste, aber ich kann das Meer sehen. Die süßen Klänge der hellen Sommernächte in der nördlichen Hemisphäre, aber auch das Bewusstsein, dass der Winter eines Tages zurückkehren wird". Die Aufnahmen auf dem Album sind Live-Aufnahmen, die nach Meinung der Band die beste Art war, diese neuen Songs aufzunehmen. Allo Darlin' bringen uns an einen Ort, an dem wir uns geliebt fühlen. In einer wechselhaften Welt ist die warme Umarmung ihres neuen Albums ebenso notwendig wie willkommen. "Breezy rom-pop brilliance." 8/10, NME - "Classic indie pop... doesn't rewrite the formula for wistful bedsit charm as much as show that it can still be carried out masterfully." Pitchfork - "A masterclass of modern cult pop." The Guardian - "Terrific, witty and heartfelt, like a less moody Belle & Sebastian." The New York Times

Emerging from the Kansai underground with a sense of ritual and restraint, G Version III returns with a slab of meditative pressure, carved for sound systems. Following last year’s cassette release on Digital Sting, the Kyoto-based producer deepens his exploration of experimental steppers and sacred low-end science.

TRK 1 treads heavy—medium-tempo four-to-the-floor steppers, soaked in 80s/90s UK dub DNA and wired with flickers of celestial synth energy, edged with something unknown.

TRK 2 drifts off-grid—a 100bpm oddity conjuring sacred synth rituals and off-beat spatial tension. Droning and eerily weightless, it hangs like a vapor of frozen scent in an echo chamber.

Flip the plate and TRK 3 and 4 ignite—raw, unrelenting steppers built to test the physical limits of the rig. No compromise, no decoration—just ritual voltage for the floor.

Riddim Chango’s 16th release channels something ancient through circuitry, born for the weight.

For her second full-length as Plume Girl, Sowmya Somanath crafts a space where boundaries of language, feeling, and sound start to dissolve. ‘Unnameable Glory’ ruminates on the limits of expression, and the luminous freedom that emerges when we let go of the need to name. Elaborating on the exploratory songs of her debut, Plume Girl continues to bring together Hindustani classical improvisation, ambient soundscapes, and experimental pop.

Somanath’s voice—from gentle murmur to radiant call—guides the listener through dreamlike arrangements: sunrise guitar arpeggios, humming choirs, heartbeat kickdrums, and synths tremble. Elsewhere field sounds and old family recordings are collaged, a woman’s giggle transposed into a piano melody, a sloshing body of water mirrored by synth bleeps. Plume Girl conjures moments of revelation, drawing from the natural beauty and intuition, that unnameable glory.

Is there a divinity or a wholeness that exists beyond language, belief, or tradition? Unnameable Glory both celebrates and gently challenges the notion: Can we honour the creative richness of culture while also seeing through the divisions it creates? Can we meet the world—and each other—without assumption, without fear, with eyes made new? In these songs, the sacred is found not in grand gestures, but in the anonymous freedom of simply being: the iridescence of oil and water on a street, the smile of a stranger, the hush that settles by a creek.

At the heart of the album is a sense of curiosity and surrender—a willingness to listen without judgment, to let the moment be unnameable, to allow wonder to arise and dissolve. And yet, as Somanath notes, there’s an impulse to capture that’s tough to ignore; a need to replicate and remember. Unnameable Glory dwells in this tension: between holding and letting go, between the urge to define and the beauty of what cannot be contained. There is a quiet, revolutionary joy in simply living and sensing together. Music becomes a meeting place for the whole, the holy, and the unnamable.

Full of Hell Coagulated Bliss bio Full of Hell burst forth with incredible force from the small, dagger-shaped city of Ocean City, Maryland, 15 years ago. Over five full-lengths, five collaborative full-lengths, and countless splits, EPs, singles, and noise compilations, they’ve evolved at extraordinary speed, their music becoming more complicated and technical without ever slowing down or losing its soul. Everything on a Full of Hell album feels like a blur: smears of guitar, harsh noise shaken like gravel in a bag, singer Dylan Walker’s snarl and bite carrying him into outer space or into the core of the earth. They’re coiled, interlocking, impossible to penetrate, and they move with alarming speed. They have now reached terminal velocity. Having created their own context, they’re now able to walk around within it, to survey its terrain, to visit far corners and see who’s nearby. Coagulated Bliss sounds like Full of Hell, but it’s nothing like any Full of Hell record that’s come before it.

A rework and rerecording of Anthony's break out and most beloved record, Avalon.

Despite the outright denial in its title, death is present in every one of the songs on Never Die, the collaborative album from MIDWIFE’s Madeline Johnston and Matt Jencik (of Implodes, Don Caballero, and Slint’s live band). Jencik held the tenderest thought imaginable when he came up with that phrase—Never Die—the fact that the people he loves eventually would, a certainty that feels impossible and remote, until the day it absolutely doesn’t. Never Die represents Jencik’s desperate bid to hold onto everyone he loves, to keep them on Earth so fiercely that they might enter the grave with claw marks on their skin.

Johnston, who recognizes the grace of mortality (and who, as MIDWIFE once sang: “I don’t wanna live forever,” over and over) serves as the spiritual guide for the album, transmuting the fear of death into an incentive to live more keenly and dearly. Following a number of ambient drone instrumental albums, Jencik felt the need to set himself a new creative challenge: to write vocal-heavy songs. He worked on them alone in his basement, recording directly to a four-track cassette. He sent those demos to a different collaborator to tinker with before that partnership eventually dissolved. Then, he thought of Madeline: the way her voice tended to glower in her songs, as well as her commitment to minimalism, which fell squarely within the project’s aesthetic and spiritual impulses.

“I was immediately drawn to what she was doing,” Jencik says. In both of their work, Jencik and Johnston understand minimalism as a vehicle for enormous, desperate and universal emotions. Entire worlds come in and out of existence between each of their sparse notes; a great breadth of feeling is bedded into the simple structure of their songs. Never Die offers a calm confrontation with the dour inevitability that bookends our lives. When the fact of death looms over life, it tends to denature every experience we have and every relationship we know we’ll eventually have to forfeit back to the Earth. No one, no matter how hard we love, makes it out of this alive thing. But we feel anyway. And we love anyway. And we sing anyway. Here, Jencik and Johnston have sung ‘die’ over and over, snowglobing life in the process.

Mayssa Jallad is a Beirut-based bilingual singer-songwriter, architectural researcher and teacher. Her work deals with the highly personal as well as the political, as with her first solo album "Marjaa: The Battle of the Hotels", which explores the histories of urban battles that occurred before she was born, during the Lebanese Civil War, through a collaborative musical and architectural lens. "(Marjaa) is, as one might expect, a sombre affair largely comprised of Jallad's delicate vocals backed by acoustic guitar and ethereal synthesizer. Elsewhere, co-composer and producer Fadi Tabbal adds the crackle of distant artillery and a ghostly wind between the high-rise blocks." - Daniel Spicer, Songlines, April 2023 "Historical trauma, strings, drones, metallophones and buzuks wrap around powerful stories and gossamer vocals on Lebanese singer's tender, intimate debut. With shades of Nico, Jarboe and Elizabeth Fraser, '80s' 4AD fans will rejoice." - Andy Cowan, MOJO `Marjaa_' (tr. `reference') combined Mayssa Jallad's two main vocations: music and urban research/architectural history. The album was co-written with Fadi Tabbal and based on Mayssa's Historic Preservation master's thesis (`Beirut's Civil War Hotel District: Preserving the World's First High-Rise Urban Battlefield'). The thesis examined a 5-month conflict that took place within Beirut's skyscraper-laden luxury hotel district of Minet El Husn near the start of the Lebanese Civil War. Addressing a post-war generation who have never been taught this difficult history, `Marjaa_' was an attempt to process trauma, and "a call to protest for the renewal, rather than the recycling of the political class that once destroyed the country and holds us, to this day, hostage of its violence". In 2013, Mayssa founded indie-pop band Safar with guitarist Elie Abdelnour, releasing debut album In Transit with Lebanese indie label Ruptured in 2017, and follow-up EP Studies of an Unknown Lover in 2019. Both albums were produced by Lebanese producer Fadi Tabbal at Tunefork Studios in Beirut. Mayssa's most recent multi-genre collaborations include "Madina min Baeed" (2022) with electronic musician/producer Khaled Allaf; "Bi Kheir" and "Fil Aatma" (2022) with indie supergroup Baada Ab (Dani Shukri, Ezra Tenenbaum and Omaya Malaeb), released by Thawra records and Found Sound Nation. Next is the Versions version of Marjaa, which sees Civilistjävel! (aka Swedish producer Tomas Bodén) apply a stripped, dub methodology to Mayssa's original rich stems, refracting the Arabic source through the hazy prism of Northern European electronica. 140gsm vinyl, jacket printed on 20pt board with aqueous gloss coating, with a 3.5mm spine and a black paper inner dust sleeve.

Originally released in 1981 ‘Carry On Oi!!’ hit No.4 in the Independent Chart.
It “introduced” the likes of The Business, The Partisans, Blitz, Red Alert and The Ejected alongside ‘veterans’ such as The 4 Skins and Infa Riot

Now re-issued on vinyl complete with a gatefold sleeve and original inner bag, Previous vinyl re-issues of ‘Oi! The Album’ (AHOYLP 72)
and ‘Strength Thru Oi!’ (AHOYLP 230) have all proved strong sellers and we expect ‘Carry On Oi!’ to do the same.

IMPROX - Starlit Rebellion is the compilation of the previous 3 IMPROX vinyl releases. The physical release comes as a deluxe gatefold sleeve with a sci-fi techno comic inside which tells the story of Hacoki, Cohaki, Ferce and Lely and their battle for Eridania.
Starlit Rebellion is an adventurous ride through industrial tinged sci-fi electronics, covering ambient, bass music, drum & bass, electro, IDM, industrial and techno, all on the unusual and experimental side of the spectrum. IMPROX is a full on DIY project with a free spirit where no boundaries exist, just pure freedom in artistic expression. Call it leftfield techno?
All music made by Delta Funktionen & Napirelly. Comic written and designed by Niels Luinenburg.

SHDW's Mutual Rytm imprint is back with its third release of 2024, marking a full label debut from Sonic Propaganda with their 'Native' EP.

Sonic Propaganda comes from the collaborative minds of Earwax and Rosati, a pair who favour dark and intense techno sounds and take inspiration from Jeff Mills and Robert Hood. In the studio, they blend analog and digital technologies into smoky warehouse atmospheres and immersive journeys that connect with listeners on an emotive level, and this full EP lands following their contribution to the third instalment of the Mutual Rytm's Federation Of Rytm compilation series in February.

The powerful 'Native' opens up at high speed with tightly coiled drum loops that never let up. Sleek metal percussive sounds peel off the grooves and lock listeners into a perfect state of hypnosis. 'Soul Pressure' is just as absorbing, with a tense bassline keeping you on edge as the train-like drums march under incendiary hi-hat ringlets. There is plenty of perfect machine funk to 'Terminal', which has more rusty synth textures and chopped-up vocal fragments humanising the turbulent grooves. 'Basic Path' brings an extra skip to the kicks as they enter, scuffed up and flowing just above the groove, while vocal pulses and twitchy synth modulations bring the detail. 'Body Empire' closes the vinyl package with a deeper vibe and pensive synths that add warmth and soul to the brilliantly mechanical grooves, while digital bonus 'Acid Riot' closes with squelching acid lines amongst a swell of analog crunch and laser-sharp percussion.

Official reissue of this sought-after Canadian psychedelic hard-rock album from 1970.
Formed in Toronto in the late 60s, It’s All Meat (the name was taken from a dog food commercial!) soon caught the attention of influential character Jack London (frontman of pre-Steppenwolf band Jack London and the Sparrows) who managed the band and secured a deal with major label Columbia Records.
After recording their first 45, the proto-punk MC5/Stones sounding “Feel It”, the band started working on their first album with the tandem of Jed MacKay and Rick McKim as main songwriters.
“It’s All Meat” was released in 1970 and offered a powerful mix of garage-rock, psychedelia and early hard- rock, drawing influences from bands like the Stones, Country Joe & The Fish, Doors, Velvet Underground... tracks like “Roll My Own” or the lysergic “Crying Into The Deep Lake” are now considered classics of the genre.
Sadly, the band would split soon after the LP was released.
*Original artwork in gatefold sleeve *Remastered sound in 24-bit domain *Insert with liner notes by Plastic Crimewave and rare photos / memorabilia
*Download card with non-LP singles and rare tracks
RIYL: STONES, MC5, DOORS, JEFFERSON AIRPLANE, NEW YORK DOLLS,
“One of the classic Canadian rarities. It’s All Meat deliver ballsy Stones influenced hardrock with some psychedelic west-coast moves” - Patrick Lundborg (Acid Archives)

When you think of Scandinavia, Slamming/brutality isn't the first thing to come to mind. That's until the slam crew of DEVINE DEFILEMENT spewed onto the Icelandic scene in late 2016.

Devine Defilement draw inspiration from a variety of death metal sub-genres they have concocted a brutal cocktail of groove, slams, blasts and ferocity that has made them a force to be reckoned with!

With several releases under their belt Devine Defilement has kept busy playing shows in their home country of Iceland, as well as heading on numerous European tours.

The band has played all the major metal festivals of Iceland like Eistnaflug, Satan, Reykjavik Deathfest & Noroanpaunk to name a few, and has also appeared on notable European death metal fests such as Deathfeast Open Air & Nice to Eat You and already have a more festival appearances lined up for 2025.

Devine Defilement's live show is highly energetic, heavy and brutal as hell and it's on stage that these maniacs are in their true element!

In 2025 the band is set to release their new full-length album "Ruthless" through Time To Kill Records, and it is their most savage offering yet!

Metroplex Records welcomes Pascal Hetzel to the label. The Berlin-based producer and DJ (who is also half of the duo CYRK) delivers something a little different for Juan Atkins' label institution. The EP serves four slices of funky, dub-infused and chord-driven techno, aimed squarely at the dance floor that pay tribute to the Motor City legacy while carving out their own euphoric permutation of classic Detroit techno tropes. Four tracks to heat up dance floors worldwide!

We are pleased to confirm the latest release on the ECHO EDITS label with the third slice of action from THE PREACHER.

Since we first heard these break laden edits earlier this year, we’ve been super excited to unleash these beaty-beauties ASAP

Nicely timed to coincide with LA based - Greg Belson’s current U.K. Tour of clubs, radio stations and slots at Glastonbury - preorders go live now - with an official release date of 4th July 2025

‘With Time, We Learned To Ask Less’ is the first duo album by Giuseppe Ielasi and Riccardo D. Wanke after decades of friendship and the occasional artistic collaboration. Working with only electric guitar and electric piano as well as a gentle dose of reverb, these improvisation-based recordings showcase the rapprochement of two artists whose interests are perfectly aligned. Their carefulness, attention to detail, and shared desire to sculpt space through music instead of just occupying it create a unique harmony between these two exceptional musicians who consistently stay mindful of the old adage that music is the space between the notes. Following up on solo albums sees them seamlessly combining the sparse but lush aesthetics of those experiments throughout these 44 minutes. Having lived close to each other in Northern Italy, where the prolific mastering engineer Ielasi still resides to this day, he and Wanke were members of the group Medves together with Andrea Belfi, Renato Rinaldi and Stefano Pilia before Wanke relocated to Lisbon. When Ielasi, who had mastered Wanke’s recent solo albums including 2023’s »i« for electric pianos, was invited to play a concert in the Portuguese capital in the summer of that year, the two took the opportunity to go on stage together. Infatuated by the results of this fully improvised set, they organised a two-day session in Ielasi’s Monza studio shortly thereafter and edited the recordings over the course of the following months. The resulting album shows them moving slowly through sonic space and time, complementing and counterpointing each other’s playing. They leave each other room in which to unfold and let short moments of silence speak for themselves. ‘With Time, We Learned To Ask Less’ is the closest you will get to hearing the air sing.

Heat Death Vinyl is Clear w/ Black Splatter. The drowsiest and earliest inklings of the slowcore movement can be traced to Codeine's 1991 debut. Combining the Louisville scene's relaxed tempo with doom metal's distorted slurry, the album is a depressing masterpiece of hushed vocals, noisy guitar, and punishing drums. Remastered from the original analog tapes and recreated in painstaking detail, Frigid Stars LP is the NYC trio's fuzziest and most affecting work. "A deft musical approximation of the sound of water turning to ice, the guitars are so weighed down with distortion that they struggle to march from one chord to the next." _ Pitchfork

Washed Up Color Vinyl is Clear w/ White Splatter! A white ship sailing in a sea of blackness, Codeine's swan song arrived in 1994 amid grunge's ascension to alt radio's godhead status. John Engle's guitar alternates between crystalline and sludge, and Stephen Immerwhar's distorted bass floats on top of punishing drums from newcomer Doug Scharin (Rex, June of 44), resulting in nine perfect meditations on the loneliness and uncertainty of early adulthood. "Codeine's unyielding numbness creates its own kind of warmth _ the feeling of cold water running for so long that it suddenly feels hot." _ Spin

Smut is the project of lyricist Tay Roebuck, guitarists Andie Min and Sam Ruschman, drummer Aidan O’Connor, and bassist John Steiner. Roebuck, Ruschman and Min started the band a decade ago in Cincinnati, Ohio. Since then, they’ve played alongside Bully, Wavves, and Nothing. After years in the Cincinnati DIY scene, they made their Bayonet Records full-length debut, How the Light Felt. The record was a revelation. Pitchfork called it “a rigorous, decade-spanning study,” and a “well-oiled spin on late-’80s guitar pop.” Under the Radar called it “pop perfection,” that “blends subtle hooks with wistful lyrics.” It was a record that explored grief through the lens of melancholic dreampop, using drum machines and layered, intricate melodies.
Tomorrow Comes Crashing, Smut's first record with O'Connor and Steiner, sees the band re-energized and trained on the limitless potential that comes with making music with people you love. Galvanized with a new lineup, Smut focused on creating a record that possessed the same towering intensity as the records that first got them into music: Three Cheers for Sweet Revenge, Relationship of Command. The outcome is ten of their most intense, bombastic, and focused songs to date.
Catharsis bursts through the seams throughout Tomorrow Comes Crashing. “Syd Sweeney, ”inspired by the actress, is the record's centerpiece. It's about how profoundly strange it can be to be a woman, to be misunderstood by people who don’t even know you. The song is driven by chugging guitars and big, rolling drums. In other words: stadium rock about perception. Paramore meets Dookie. “She connects to the youth and the girls in the water/All she amounts to is someone’s daughter,” sings Roebuck in one particularly poetic moment. The song comes to a thrashing metal-inspired breakdown. It’s ecstatic.
To make the record, Smut recorded “as live as they could,” alongside Aron Kobayashi-Ritch(Momma) in a studio in Red Hook, Brooklyn, over the course of ten days. “We have so much energy right now,” says Roebuck. Right before they went off to New York, Roebuck and Min got married, with the rest of the band by their side. The recording was a true labor of love — driving from Chicago with all their equipment, returning from 12 hour studio days to sleep on friends' couches and floors, Roebuck completely blowing her voice by the end. Smut has always been DIY. Because they love it. Because they have to do it–there’s no other option. Tomorrow Comes Crashing is the culmination of that DIY spirit: making a record that completely encompasses the intensity, moodiness, and emotion of their journey so far.

Originally released in 1989 on the band’s own Thwart Productions label, Tangle was the first vinyl release from Thinking Fellers Union Local 282. Coming after their debut cassette, Wormed, By Leonard, it shows the band leapfrogging stylistically into a more mature phase of their patented surreal compositional modus operandi. Tracks like the opener, "Sister Hell," foreshadow the band's later evolutionary mutations and was a minor hit in the underground circuit at the time. The rest of the album is a sleek maelstrom of crackpot dissonance, noise-rock power balladry, schizo-telepathic improv and some of the finest underground music of the era. In short, Tangle is a template and Proclamation of Intent that presages TFUL's classic 90s releases. Originally produced by their longtime engineer and thaumaturge, Greg Freeman, this reissue is impeccably remastered from the original master tapes by Mark Gergis. New and contemporary artwork ties a saucy bow around this astonishing reissue.

"World of Pooh immensely brightened the dark corners of San Francisco, California during the years 1983-1990, with their most recognized guise being the MMF trio that existed & thrived during the years 1986-1990. This is the lineup you’ll hear documented on this exceptional collection of 45s, compilation tracks and assorted ephemera. The band has ranged from being a footnote for some (“is that the band Barbara Manning was once in?”) to a fondly-regarded memory for others (“the Land of Thirst album is a forgotten classic”) to a turnstile, door-opening band for still others — like me. They arrived in my life as they were slowly exiting theirs, and I eagerly attended a half-dozen shows of theirs circa 1989-90 around San Francisco moments after I moved there. They were instantly my favorite local band, one I was instantly duty-bound to see whenever & wherever they played. Their jagged and discombobulated take on underground pop music was exceptionally fertile, feral and fetching, and it served as a personal gateway drug that flowered my own appreciation for many different kinds of subtle musical tension.
I also spent at least five glorious years watching Jay Paget, who drummed for World of Pooh and later the Thinking Fellers Union Local 282, ply his rhythmic trade with much aplomb. He was always a steady hand behind the musical wheel of innovative bands who often threatened to careen off course. And I’ll admit to an untoward admiration of (and fascination with) World of Pooh founder, guitarist and singer Brandan Kearney from the moment I met the guy. Not only was he exceptionally friendly and welcoming to a carpetbagging interloper quickly trying to horn in on his scene (me), he was at once one of the most quick-witted, self-deprecating, highly intelligent & musically conversant people I’d ever met. Everything he and his band were doing, along with the mind-boggling DIY gunk he was pushing through his record label, Nuf Sed, and via his multiple other bands (among them: Caroliner & Archipelago Brewing Company, with several more to follow), made me extremely curious and not a tiny bit jealous about these wiser, weirder and musically more daring freaks who were making art, love & war in the relatively grittier & non-gentrified San Francisco of the day.
What I’ve learned in the 35 years since the band broke up is just how highly regarded they were (and remain) by not only those who saw them, but by a now-considerably larger group of humans who’ve subsequently heard & loved their records. I know that their place in the late 1980s was a small but special one, and I’ve seen plenty of online clamoring for more, more, more about this ephemeral and poorly-documented band. And rightly, here it is, lovingly assembled: their two hard-to-come-by 45s, a handful of comp tracks, and a quartet of phenomenal songs just coming to light for the first time, including that Half Japanese cover that dimly existed in my memory as a live song they naturally pulled off with sangfroid, from a time and space when we were all a little younger. - Jay Hinman"

The drowsiest and earliest inklings ofthe slowcore movement can be traced to Codeine's 1991 debut. Combining theLouisville scene's relaxed tempo withdoom metal's distorted slurry, the albumis a depressing masterpiece of hushedvocals, noisy guitar, and punishing drums.Remastered from the original analog tapesand recreated in painstaking detail,FrigidStars LPis the NYC trio's fuzziest andmost affecting work."A deft musical approximation of thesound of water turning to ice, the guitarsare so weighed down with distortion thatthey struggle to march from one chord tothe next."-Pitchfork

Originally issued on Hut Records in June 2000, Alone With Everybody was eagerly anticipated, as it was Ashcroft's first recordings since the demise of the group he founded and led, The Verve - This re-issue replicates the 2000 UK first pressing and is available on audiophile 180g double vinyl in gatefold sleeve.

Opening the album with its string overture, "Song For The Lovers" signalled Ashcroft's intent immediately. Intensely melodic, anthemic, it picked up exactly where The Verve's 1997 multi-platinum album Urban Hymns left off. Lifted as a single, it reached No 3 in the UK and spent most of the summer on the charts.

Recorded at Olympic Studios and Metropolis in London, big, bold and frequently beautiful, Alone With Everybody raced to No 1 in early July; it played to all of Ashcroft's strengths, memorable hooks, catchy choruses, beats subtly influenced by dance music; the brass-blazing bold hoedown of "Money To Burn" was the album's second single; other highlights include the ballad "Slow Was My Heart", the upbeat joy of "C'Mon People (We're Making It Now)" and the reflective, string-enrobed "You On My Mind In My Sleep".

Originally issued on Hut Records in October 2002, Human Conditions built on the success of Alone With Everybody, retaining the new fans he had gained with that record - This re-issue replicates the 2002 UK first pressing and is available on audiophile 180g double vinyl in gatefold sleeve.

"It's a beautiful world," sings Ashcroft on opening track and lead single "Check The Meaning". Its eight-minutes seem a culmination of all of Ashcroft's work to date – a haunting guitar figure, swelling strings, and subtle orchestration back a lyric that catalogues the battle of love over evil, ending with Ashcroft assuring the listener "It's gonna be alright." It is a powerful beginning to a powerful album. "Buy It In Bottles" maintains the introspection of "The Drugs Don't Work", a mood that can be also found on "Running Away" and "Lord I've Been Trying"; while "Bright Lights" and "Paradise" bring the anthemic rock.

When Brian Wilson guests on one of your albums, it suggests a certain status has been attained; Richard Ashcroft demonstrated that he could hold his own in such company; both are songwriters of the human condition, and the song Wilson appears on "Nature Is The Law", closes Human Conditions in stellar fashion.

For Earth Below 50th Anniversary Edition: 4-Disc 50th Anniversary Edition: Original 1975 Mix (2025 Remaster), 2025 Extended Stereo Mix, Outtakes & Rarities, Live in Los Angeles, 1975. Housed in DVD style media book with extended liner notes by David Sinclair featuring interviews with Robin Trower and Bill Lordan and rare photographs.

For Earth Below, the third studio album by British guitar legend Robin Trower was released in 1975 and is considered one of his most prominent works from his time as a solo artist after leaving Procol Harum. For Earth Below continued to build on the success of his previous album Bridge of Sighs, solidifying him as an arena touring artist in the States, reaching number 5 on the Billboard chart.

Following the exit of Reg Isadore, the exciting Bill Lordan (Sly & The Family Stone) joined the band shortly before the recording of this album, giving a new driving force to the outfit.

To celebrate the 50th Anniversary of this classic, Chrysalis Records are proud to present the most expanded edition of the album to date featuring the original album remastered at AIR mastering, a newly unearthed extended stereo mix of the entire record, a disc of outtakes, rarities and BBC sessions with the majority previously unreleased and a newly mixed concert taped live in Los Angeles from the For Earth Below tour, never available in its entirety before.

At the centre of the package is a booklet featuring newly written liner notes by acclaimed journalist David Sinclair and interviews with Robin Trower and Bill Lordan.

Time may be "longer than rope," as Prince Buster once said, yet certain records have such an explosive impact, everyone knows they're classics from the minute they're released and Symarip's Skinhead Moonstomp, first issued in 1969, was one of them. The intro grabbed you within seconds, and the invitation to dance was irresistible. "I want all of you skinheads to get up on your feet. Put your braces together and get up on your feet. And give me some of that o-l-d moon stomping..."

Burning Sounds are proud to re- issue a new version of the iconic album with the
original singer Roy Ellis. Includes extensive sleeve notes & Q&As with Roy Ellis +
Skinhead Moonstomp 12" version.

The Bathers' 1999 album Pandemonia is re-released by Last Night From Glasgow - Pressed on two shades of vinyl and CD.

"Is Glasgow the most romantic city on earth? The work of the Bathers can make you believe so. Kisses on tenement stairwells, Kelvingrove girls. It's the music of those Glasgow evenings where the elusive sun can make a late appearance on the red sandstone tenements and suddenly that tough old imperial city feels like the perfect place to fall in love. And The Bathers provide the soundtrack."

Featuring guest appearances from Belle & Sebastian's Isobel Campbell and Richard Colburn. Also Catherine Leroy, Mario Caribe, Neil Cameron and Bather regulars...Callum McNair, Hazel Morrison, Robert Henderson, Barry Overstreet & Iain White.

Bangladeshi Born Producer Lady Tazz, debuts ‘Sleaze’ with a killer remix from Radio Slave this June. At the heart of Lady Tazz’s mission is Mind Medizin, her label and event series that champions the sound of kindred spirits, now inviting Radio Slave to the mix this June.

Lady Tazz has overcome many cultural obstacles to achieve her rightful place as one of Toronto’s foremost electronic dance exports. A renegade of sorts, as a teenager, she would regularly visit the UK and Germany without her parents’ knowledge to attend London’s Sound Academy and to party in Berlin, whilst continuing to pursue her aspirations of becoming a DJ.

The Bangladeshi producer and DJ is proud of her heritage but is realistic about the social expectations of throwing raves in her hometown. She moved to Toronto in her teenage years, where she grew up, educating herself on music and a place that has perfected a sound that remains organic and raw. Her record label and party series, Mind Medizin, taps into an erotic lifestyle that embraces the unconventional and free-spirited, which inspires and motivates Lady Tazz on numerous artistic levels.

For Mind Medzin’s latest release, Lady Tazz will drop ‘Sleaze’ on the 27th June, to include a special remix from Rekids founder and UK godfather, Radio Slave, making his debut on her label.
Foreboding and dripping with lascivious intent, ‘Sleaze’ brazenly stalks into existence by way of warping synth fills and glitching hi-hats. The lyrical component consists of a series of smouldering vocal hooks which salaciously enrapture one’s senses, tightly wrapping around the creeping melody before succumbing to the beat’s stomping dominance.

On the flipside, Radio Slave’s remix revs and fires with shots of ringing overtones atop a deep thud, husky vocal and swooshing cymbals. Whilst upping the ante of the original, its stripped-back charm remains, culminating in a moody, chugging rework bubbling with tension and fraught with Radio Slave’s brand of dark, fractured house.

Sleeve Records is back with the reissue of a rare and iconic Cuban album by Los Chikichaka aka "Los Caneyes".

All tracks are composed by "Maestro" Juan Pablo Torres. Get ready to enjoy latin psychedelic rhythms that intersect with afrocuban, jazz-funk, psychedelic, latin jazz and bolero.

Format Details: 12” matte jacket, orange & blue side A/B effect colour vinyl, dust sleeve & marketing sticker.

Originally released in 2002, Daylight EP was the follow-up to Aesop Rock’s critically-acclaimed Labor Days album, a cult classic released only six months prior. The EP was built around its titular opening song, “Daylight,” one of the standout tracks from Labor Days, and continued expanding upon the range and depth of Aesop’s multi-talented gifts for writing and producing. In addition to the title track, Daylight EP also included its counterpoint, “Night Light,” an alternate version in concept whose paraphrased lyrics simultaneously refer back to– and stand in stark opposition to– the original's, over darker, more menacing production. The tracklist for Daylight EP boasted seven songs plus a hidden track for a total of eight, and collectively featured production by Blockhead, El-P, Blueprint and Aesop Rock himself, as well as guest appearances from Vast Aire (Cannibal Ox) and Blueprint.
At the time of its initial release, Daylight EP was only offered in CD and digital formats, while the vinyl was stripped back, available only as a three-song 12” single. Now, Rhymesayers Entertainment is pleased to present the complete EP on vinyl for the first time ever, pressed on two-color side A/B effect orange & blue vinyl to complement the original artwork. Finally, fans and vinyl collectors everywhere can own this integral piece of Aesop Rock’s legacy and enjoy the genius behind this project.

** Comes with download code **

Compiled from over 250 tracks created between 2017 and 2024, Juxtapose is Windu’s first ever release — a freeform, shapeshifting snapshot of sound. It is released by adventurous electronic music label topo2 on March 14, 2025.

The record is pressed on 180 grams of ICCS-certified bio-vinyl, housed in a heavy full-colour sleeve, and comes with a download-code to the full release and five digital-only tracks.

Mastering is done by Isabel Schröer at Scape Mastering and artwork by courtesy of Kees de Klein. Mixing is done by our dear friend Pascal Pinkert and Poetry by equally dear friend Eelco Couvreur.

NJ/NY legend JUNIOR SANCHEZ opens his edits archive to bless the masses with four fresh reworks from the likes of SOLANGE, SAULT, and DEPECHE MODE. "ENJOY THE SILENCE" & "LOOSING YOU" are perfect peak hour hands in the air material, while "WHY WHY WHY" builds on a deeper sound. Paper sleeve.

Black Hole Superette, the latest album from Aesop Rock, delves into the invisible forces that shape our lives and psyches. It's about the small, often overlooked moments_the everyday experiences that blur the lines between the real and the unreal, waking and sleeping. Aesop's signature gift for transforming the mundane into something dreamlike gives the album a surreal quality, leaving listeners questioning what's truly real as they navigate its vivid, half-remembered imagery. Entirely self-produced, Black Hole Superette is one of Aesop Rock's most technically accomplished works to date. The album's intricate beats and complex structures provide the perfect backdrop for his expansive lyricism, balancing cerebral exploration with emotional depth. From the reflective 'Movie Night' and the eccentric 'Send Help' to the wistful 'Black Plums,' Aesop channels the spirit of a mad scientist, experimenting with sound and concept in ways that defy the ordinary. With a stellar lineup of collaborators that includes Lupe Fiasco, Armand Hammer, Hanni El Khatib, Open Mike Eagle and Homeboy Sandman, Black Hole Superette is dense and kinetic, an album that deftly navigates between complexity and instinct. It's clear this project stands as one of Aesop Rock's most multifaceted and ambitious works yet.

Way back when, Upgrade & Afterlife was the umpteenth release from the individual and collective forces of David Grubbs (known then for Bastro, The Red Krayola, Codeine, Squirrel Bait) and Jim O"Rourke (known for O"Rourke), whose further history has since numbered at least another umpteen or so essential listens. What is it though, wrapped up in delectable sonic amber here, that defines this Upgrade? To be sure, we hear these young men dashing through the joys of youth-their actual young youth-as well as a version captured in memory and relived with a performative touch. Time remembered as tones, with gravity gained via perceptions. The stuff of memory and sentiment as selective and potentially deceptive in their nature. Who needed "em? As part of its time-traveling function, Upgrade & Afterlife is a return to roots, but not always necessarily Gastr"s. They were more than happy to stand on branches up above other folks in order to see any next thing worth leaping for. In addition to the elder-statesman Conrad, Gastr del Sol drew upon a memorable spectrum of players for the sounds of Upgrade & Afterlife, including Anthony Burr, Steve Braack, Gene Coleman, Mats Gustafsson, Terri Kapsalis, John McEntire, Günter Müller, Jerry Ruthrauff, Ralf Wehowsky and Sue Wolf. When issued, this combination of players, parts and play - packaged in an impressively broad tip-on Stoughton gatefold sleeve emblazoned with Roman Signer"s instantly iconic "Wasserstiefel" image - became the fastest-moving Gastr del Sol record to date. A delightful result, to our way of thinking, of the band"s ability to push at the far boundaries of their music while consolidating upon pleasure points within sounds and songs. Gastr used these polarities to compulsively draw the listener intimately close with sudden injections of g-force and an uncanny interpolation of space.

25th anniversary edition of the widely acclaimed tribute album celebrating the music of Brian Wilson & The Beach Boys. 24 exclusive tracks. New remaster on 2 LPs in a gatefold sleeve with extensive liner notes and many rare photographs.

Remastered (StefanZMK) and recut (Simon The Exchange) and repress (Toolbox Records) from both long sides of Fenek 03 and L'arsene 01.

Legend.

Limited : printed sleeve / orange vinyl

After offering the label a beautiful closing composition on its various artists compilation Reflection EP, Rotterdam live act, producer, and DJ Mata Disk returns to Polychrome Audio with LFH-Proxy EP. Featuring two original club tracks and their interpretations by producers Eversines and Jopie, this project further cements Julian Determann’s singular musical identity while opening it up to new dimensions and patterns.

A1. Life Force Harmonizer (“LFH”) opens the dance by capturing the sweet nostalgia experienced during club morning hours. Mata Disk’s sound palette is here in full display, the energy carried by sharp drum design and a propulsive bassline is lifted by melodious pads offering the track its tenderness. On the B1, Rotterdam producer Jopie creatively re-imagined these feelings, stripping down and reshaping LFH onto a track flirting with breaks and IDM progressions.

With Proxy, Mata Disk dims the light slightly, with a drum workout track to keep the dance alive. The very progressive and low-end focused build-up paired with a tension-building synthesized lead offers the A2 track a smooth build-up. De Lichting member Eversines elegantly switches the sound narrative, transforming Proxy into a dark electro-leaning tech house track carrying the same tension. Adding emotion into the mix with an anthemic melodic lead, Eversines’ Proxy Ziggo Mix serves as a perfect closer.

Known for her delicate, subtly psychedelic approach to production - all subtlety is thrown out of the window on the opener, “Parents and God”. We are immediately confronted with a slamming Chicago house style beat in style of Mr Fingers at his most utilitarian. It slams, jerking in and out of tempo like Ron Hardy in beast mode.

Out of nowhere a soulful church organ arrives - at first for a brief respite - but then for an extended solo, which gives way to an 80s electro style breakdown before reverting back to form. It shouldn’t work, but somehow it does - to a dizzying extent - and heirin lies Mayurashka’s magic: a blatant disregard for norms and a deft touch that makes the unorthodox so compelling.

“Notango" takes another big left turn - sitting somewhere between tribal seance and rain dance, it’s mostly organic drums and otherworldly sound effects that combine to drag us deeper into the wormhole before “ Vat Murmur” takes us back into the light with its uptempo disco energy and giving way to heavy chugging bass. This one is equally for fans of idjut boys and Larry Levan.

The EP rounds off with the title track “ LSI dreaming” - to try and describe it is almost impossible, but let’s say it starts of with a mid 2000s Perlon-era tech house energy before things quickly escalate beyond all recognition and then just hover with lysergic intensity. If I ever closed panorama bar, this is the track I’d end with.

More Fire 005 is here!
This time we’re bringing the heat with a blazing new 4-track selection straight from the jungle trenches.
On the A-side, FeyDer kicks things off with "Riddem Again", a full-throttle ragga jungle banger that brings nothing but pure fire. Pygmalion follows up with "Protofire", delivering deep atmospheric vibes that take you on a journey through space and breaks.
Flip to the B-side for some serious dancefloor damage: Tropmanga unleashes "Come Again", and Bman closes things out with "Soundbwoy Big Tune" — both heavy-hitting ragga jungle weapons guaranteed to get your feet moving.

Sleeves is Serygraphied

3XL’s first new release in 2025 by Italian trio Cortex of Light is a synapse-tickling dose of classic FSOL-era world-building that takes in gloopy trance cooked down with sub-heavy, vaporous dub, mutant acid, breakbeat rave, Artificial Intelligence and a Mark Fell-style algorithmic brainmelt.

You'll know if you've spent any time following Piezo's output that the Milan-based producer and Ansia boss has a knack for lysergically enhancing any club template he sets his sights on. With releases on Idle Hands, Wisdom Teeth, Loefah's 81 and most recently Dekmantel, Luca Mucci has blottered up dubstep, hard drum, 2-step and minimal techno, here re-convening with fellow Milanese journeymen Aitch and primordial OOze/xàr num as Cortex of Light to blur those edges even further

'ILLUMINOTECNICA' isn't the trio's first release, but it's their most substantial and easily most developed. If 2024's 'Aeon Is A Child At Play With Colored Balls' showed off their aptitude for threading their luminous soundscapes into a horizontal soundtrack, then this album is a proper chance for Cortex of Light to show off their versatility in a different setting, matching dancefloor hallucinations with expertly sculpted sound design.

Psilocybin-tainted soundscapes scrape into breathy flute sounds and chest-thumping bass drops on the opener, haunted by a vision of electronic music that's been contrived in back rooms, squats and outdoor raves for decades at this point. Like so much of the rest of the 3XL catalog, there's a drive and coherence here that comes from classic dub techno and chill-out room fodder (think The Black Dog or Pentatonik), but always infused with something that dates it to the present era, be it a tactile sliver of Visible Cloaks-style neo-new age ambience, or a sort of mescaline-dipped take on Photek's bass-heavy, meticulously hazed 'Solaris' period downtempo gear, chopped 'n screwed into the uncanny.