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Featuring a collection of 10-new tracks produced by Boney, the album marks a high point in the chart- topping, smooth jazz icon's remarkable three- decade career, one that includes a long list of accolades; four GRAMMY nominations, three NAACP Image Award nominations, a Soul Train Award for Best Jazz Album and four RIAA Gold Record certifications, to name just a few. A Simple Man also features guest contributions from guitarist Larry Carlton, trumpeter Marquis Hill and vocalist Ledisi.

The Modern Jazz Quartet had become a jazz institution by the time Pyramid was recorded. Formed out of the rhythm section of the Dizzy Gillespie Big Band (1946 -48), founding of the members The MJQ , pianist Lohn Lewis and vibraphonist Milt Jackson , brought a sophisticated blend of jazz and classical music to audiences around the world. Active from 1952 through to 1997 (with a seven- year break in between), the MJQ's 38- year reign counts as being among the most enduring ensembles in jazz history. Presented here is their classic album Pyramid , featuring three compositions by the quartet's pianist John Lewis (including his hit 'Django), alongside jazz standards by Ellington, Ray Brown ('Pyramid'), and Jim Hall; plus, a unique take on the Nancy Hamiton & Morgan Lewis' popular standard, 'How High The Moon'.




[d] Vendome [Original 1952 Version]



[h] Django (John Lewis) [original 1954 Version]

Miles Davis' quintet formed in 1955 is widely regarded as one of the greatest combos in jazz history. Each of its members was an individual creative force and each could easily have been the leader. Cookin' was the first in a series of four albums featuring this classic all-star combo: Miles Davis, John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones. Like its followers ' Steamin ', ' Workin' and Relaxin' , ' Cookin' is the product of two massively productive recording sessions during May and October of 1956, sessions required to fulfil Davis's contractually obligations to Presage Records before moving to Colombia Records. . A quartet version of the song 'When Lights Are Low' from a previous session has been added to this special edition as a bonus.



[c] When Lights Are Low [Quartet Version]

Presented here is the complete 1962 album Evidence, Steve Lacy's fourth album as a leader. It presents him in a piano-less quartet with Don Cherry on trumpet, Carl Brown on bass, and Billy Higgins on drums. The repertoire consists exclusively of compositions by Lacy's heroes, Thelonious Monk and Duke Ellington. Includes the bonus tracks 'Day Dream' and 'Ask me Now'. "This album has a great deal to recommend it. Lacy's dry tone provides a nice contrast to Cherry's richer trumpet sound. The improvising is first rate." - ***** Harvey Pekar, DownBeat

Co-founder of Pond and touring member of Tame Impala, Jay Watson, also makes music as GUM. “GUM is my brain, unfiltered,” Watson says. A labour of love and an exercise in joy, written and recorded with Ambrose Kenny-Smith, best known as the mesmeric harmonica-player, keyboardist and vocalist with King Gizzard & The Lizard Wizard and The Murlocs. The debut collaborative album between the two is a 10 track exploration into groove, blues and soul, deeply hypnotic from start to finish.

Der Antwerpener Songwriter Noonzy (Arnaud Stockbroekx) schlägt mit seinem Debütalbum Plan Is Bad (VÖ: 2. Oktober 2026) ein neues Kapitel auf. Nach seinem selbstproduzierten EP Post-it-tapes (2022), dem Finale von De Nieuwe Lichting und dem gefeierten Album Puppies (2025), entwickelt er seinen Sound konsequent weiter: weg von DIY-Lo-Fi, hin zu mutigem, experimentellem Indie-Pop.
Gemeinsam mit Produzent Nathan Jenkins alias Bullion (Ben Howard, Nilüfer Yanya u. a.) entstand ein Album voller eingängiger Melodien, grooviger Produktionen und überraschender Wendungen. Plan Is Bad verbindet Feel-Good-Energie mit alternativem Anspruch und vereint spielerische Leichtigkeit mit tiefgründigem Songwriting.
Das Ergebnis ist ein frischer, facettenreicher Sound, der Noonzys künstlerische Entwicklung auf den Punkt bringt – vertraut, überraschend und voller Entdeckungen. Seine musikalische Welt ist längst größer geworden als er selbst: ein kreativer Raum, in dem Zusammenarbeit, Spontaneität und Neugier den Ton angeben.

Eine Zündflamme ist eine kleine Flamme – eine Zündquelle für einen Gasbrenner, die traditionell ständig brennt. Für den Singer-Songwriter Liam Kazar dient sie als treffende Metapher für die Liebe, selbst wenn die Beziehung längst vorbei ist. Aus diesem Schimmer entsteht auch Liams lang erwartetes zweites Album, das nachdenkliche und elegant arrangierte „Pilot Light“. Produziert von Sam Evian. Mit Beiträgen von Sam Evian, Hannah Cohen, James Elkington, Spencer Tweedy und anderen.

For two decades, Pokey LaFarge has walked his own effortlessly cool road as an exceptionally iconoclastic troubadour - forthright, genuine, and markedly keen to put it all out there. Rent Money now sees him pushing forward yet again in what can be safely declared his finest collection to date, both as an heartfelt expression of personal experience and as no-nonsense social commentary.With its twanging guitars, plucky rhythms, and undeniably captivating melodies, the album soars and swings, its joyous refrains belying the inescapable undercurrent of constant worry and angst that permeates these troubled times. As always, the Illinois native deftly traverses the genre boundaries, seamlessly integrating the myriad strains of 20th-century American music with a freewheeling command of earnest songcraft, inspired performance, and subversive creativity. Rent Money stands tall as an indisputable high-water mark for Pokey LaFarge - a defining collection from a one-of-a-kind artist of rare ingenuity and uncommon candor, now as ever, determinedly crafting a sure-footed brand of deeply human music all his own. Tracklisting:SIDE AThe ThingMy Baby Loves MeHamboneRent MoneyStick TogetherSIDE BWorkStrangerCan't Take it With YouTold You NoBig Boss ManOn and On

Seit zwei Jahrzehnten geht Pokey LaFarge als außergewöhnlich ikonoklastischer Troubadour seinen eigenen, mühelos coolen Weg – offen, authentisch und mit dem ausgeprägten Bestreben, alles offen auf den Tisch zu legen. Mit „Rent Money“ setzt er nun erneut einen Schritt nach vorne und legt ein Album vor, das man getrost als sein bisher bestes bezeichnen kann – sowohl als herzlichen Ausdruck persönlicher Erfahrungen als auch als schnörkellosen gesellschaftlichen Kommentar.
Mit seinen twangenden Gitarren, schwungvollen Rhythmen und unbestreitbar fesselnden Melodien schwebt und swingt das Album, wobei seine fröhlichen Refrains die unausweichliche Unterströmung ständiger Sorgen und Ängste verschleiern, die diese unruhigen Zeiten durchziehen. Wie immer überschreitet der aus Illinois stammende Musiker gekonnt die Genregrenzen und verbindet nahtlos die unzähligen Strömungen der amerikanischen Musik des 20. Jahrhunderts mit einer ungezwungenen Beherrschung ernsthafter Songkunst, inspirierter Darbietung und subversiver Kreativität.
„Rent Money“ ist ein unbestreitbarer Höhepunkt in Pokey LaFarges Schaffen – eine prägende Sammlung eines einzigartigen Künstlers von seltenem Einfallsreichtum und ungewöhnlicher Offenheit, der heute wie damals entschlossen seine ganz eigene, tiefmenschliche Musik mit sicherem Gespür gestaltet.

Die stärksten PERKELE-Songs auf einem Album gebündelt? Mit „Best from the past“ wird dieser Wunsch Wirklichkeit, das Album versammelt 20 PERKELE-Hymnen aus allen Phasen auf einem Tonträger (Vinyl kommt sogar als Doppel-Album). Von Sänger Ron höchstpersönlich zusammengestellt und im beiliegenden Booklet mit Liner-Notes versehen. Die Story hinter dem Text. Alle Klassiker sind an Bord: Von „Cowards“, „Hang’em high“, „Yellow & blue“, „Heartfull of pride“ bis „Göteborg“, „Längtan“, „Moments“, „A way out“ etc. Erscheint nun in 2026 erneut auf Vinyl. Und weil doppelt besser hält: Als Doppel-Vinyl.

Limitiert: 500er Auflage in transparent rotem Vinyl.

Dead Poet Society haben mit ihrem aufsehenerregenden Debütalbum „-!-“ (ausgesprochen „The Exclamation Album“) aus dem Jahr 2021 und ihrem ebenso gefeierten zweiten Album „FISSION“ aus dem Jahr 2024 – beide erschienen bei Spinefarm – die Aufmerksamkeit der Rockwelt auf sich gezogen (und gehalten). Die Band verzeichnet weltweit insgesamt 200 Millionen Streams, mehrere Top-10-Radio-Singles und Platzierungen in wichtigen Playlists und trat bereits auf großen Festivals rund um den Globus auf, darunter „Welcome to Rockville“, „Sonic Temple“, „Graspop“, „Reading and Leeds“ und „2000Trees“. Dead Poet Society tourten bereits mit Alt-Rock-Größen wie Badflower, Biffy Clyro und Highly Suspect sowie weiteren Künstlern. Die Band hat sich endgültig als intensiver Live-Act etabliert, den man nicht verpassen sollte, und erhielt Lob von Medien wie der „New York Post“, „Riff“, „Rock Sound“, „American Songwriter“, „New Noise“ und „Guitar World“. Mit ihrem unverwechselbaren Sound beschreiten sie ihren ganz eigenen Weg – und genau so gefällt es ihnen.

Herausragende Aufnahmen des letzten Konzerts von Swans in ihrer „Big Sound“-Ära – die Apotheose von fünfzehn Jahren kosmischen Klangexpressionismus, zugleich himmlisch und abgründig, unmittelbar und transzendent. Über zweieinhalb Stunden Musik mit einer Fülle neuer Stücke, die nirgendwo sonst aufgenommen wurden, sowie einer DVD des Konzerts.
Auf einer Stufe mit den legendären Live-Alben von Swans verabschiedet sich diese Besetzung mit Liebe und ungezügelter Leidenschaft von einem prägenden Kapitel ihrer Geschichte.
Ein Abschied von dieser außergewöhnlichen Inkarnation von Swans: Norman Westberg, Michael Gira, Dana Schechter, Phil Puleo, Chris Pravdica, Larry Mullins und Kristof Hahn.
Einmalige Vinyl-Pressung.

Die in Brooklyn lebende interdisziplinäre Künstlerin Isabel Crespo Pardo veröffentlicht unter dem neuen Namen iiisa ihr elektroakustisches Solo-Debüt „tanto te he querido“. Inspiriert von lateinamerikanischer Geschichte, Black American Art sowie queeren und trans Perspektiven, steht das Album für Verletzlichkeit, Verbundenheit und stetige Veränderung.

Das Album führt seine genreübergreifende Mischung aus Indie, Punk, Rap und Alternative in gewagte neue Gefilde. Es beschäftigt sich mit Identität, Verbundenheit, Selbstwertgefühl und Zugehörigkeit und ist sein bisher ambitioniertestes und persönlichstes Statement, vorgetragen mit der emotionalen Ehrlichkeit, der rastlosen Energie und der ansteckenden Lebensfreude, die ihn zu einer der originellsten Stimmen der britischen Musikszene gemacht haben. Als Gewinner des Ivor Novello Rising Star Award wurde sein von der Kritik gefeiertes Debüt von BBC Radio 1 (2x B-List, 2x Hottest Record, 3x Record of the Week) und Zane Lowe unterstützt. Starke digitale Präsenz (20 Millionen Streams in den letzten 12 Monaten, 550.000 monatliche Spotify-Hörer) und anhaltendes Wachstum in den sozialen Medien (Instagram, TikTok +20.000). Support-Tourneen mit Franz Ferdinand, The Streets, 5SOS und Bastille sowie ausverkaufte Konzerte in der Scala und im Electric Ballroom. Präsenz in der Gaming-Szene (EAFC ’26, Fortnite-Emote 2026) und umfangreiche Unterstützung durch große DSPs (Spotify-Out-of-Home-Werbung in London/New York).

Mit „Artifice Dissolves“ beschleunigen Dissimulator aus Montreal weit über die ohnehin schon beeindruckenden klanglichen Koordinaten von „Lower Form Resistance“ hinaus und stürzen sich kopfüber in eine zukünftige Welt, in der technologische Vormachtstellung und katastrophale Entropie im perfekten Gleichgewicht existieren. Ihr kantiger Sci-Fi-Death-Thrash hat sich zu einem noch labyrinthischeren Konstrukt entwickelt, das messerscharfe Riff-Matrizen und unbeständige rhythmische Strukturen zu einem neuralen Hack verschmilzt, der jeden Algorithmus auflöst.

„Artifice Dissolves“ treibt sich selbst voran wie ein ungebundenes künstliches Bewusstsein, das rekursiv seinen eigenen Code umschreibt, wobei jeder Song eine weitere phantastische Dimension innerhalb der bionischen Mythologie der Band enthüllt. Rasiermesserscharfe Gitarrenlinien peitschen und kreuzen sich in unmöglichen Winkeln, während die Rhythmussektion Songs wie „Alloyed“ und „Neon Metropolis“ durch Zustände unaufhörlich ansteigender Geschwindigkeit, Kollaps und Neuzusammensetzung jagt – ein unaufhaltsamer Vorwärtsdrang inmitten unbarmherziger Komplexität.

Als ehrfurchtgebietende Konvergenz aus futuristischem World-Building und hemmungsloser, technischer Aggression ist „Artifice Dissolves“ die bionische Halluzination einer Zivilisation, die in den sonnenlosen Gossen ihrer autonomen Megastädte dahinsiecht. Es sind die fiebrigen Träume einer allwissenden Gottmaschine und die bösartigen Nebenwirkungen ihrer kybernetischen Verbesserungen. Doch unter der schwindelerregenden Präzision und dem gewaltsamen Vorstoß bewahren Dissimulator das zeitlose menschliche Streben nach Ordnung und Transzendenz.

Ltd Edition! Pat Todd & the Rankoutsiders — hervorgegangen aus der Asche der legendären Lazy Cowgirls und angeführt von einem Frontmann, dessen Name seit Jahrzehnten für das raue Herz der amerikanischen Underground-Musik steht — melden sich mit ihrem neunten Album „I’ll Dream Alone“ zurück. Zwölf Songs voller lauter Gitarren, schnörkelloser Storytelling-Tradition und der bekannten Mischung aus knurrendem 70er-Jahre-Punk, Country, Blues und klassischem Rock, die die Band seit den Lazy-Cowgirls-Tagen zum Maßstab für Authentizität in der amerikanischen Rock’n’Roll-Szene gemacht hat. Aufgenommen und produziert von Gavin Ross in den Steady Studios, Burbank, CA — demselben Studio wie die letzten beiden Alben. Pat Todd hat die Songs so geschrieben oder mitgeschrieben, wie es bei den Rankoutsiders Tradition ist — manche jahrelang live erprobt, bevor sie endlich aufgenommen wurden („Ambition Street“), andere direkt im Studio entstanden, mit Texten, die erst zum Schluss dazukamen („We’re Outta Time“, „The World It Don’t Need You“ und der Titeltrack „I’ll Dream Alone“ selbst). Das Album reicht von der an Velvet Undergrounds „Loaded“ erinnernden Ballade „Mediocre Heart“ über den treibenden Soul-Beat von „Beyond the County Line“ bis zum Update eines 60er-AM-Radio-Rockers in „The Last Of Me“. Gitarrist Nick Alexander übernimmt bei „It Ain’t All My Fault“ – nach wahren Begebenheiten – ausnahmsweise den Leadgesang, unterstützt von Stephen Vigh, Kevin Keller und Pat Todd. Den Auftakt macht die erste Single „Desire Has Left Town“, gefolgt von „We’re Outta Time“ als zweiter Single und „Blood & Gunpowder“ am Release-Tag. Die Band unterstützt die Veröffentlichung mit einer Europa-Tournee vom 9. Oktober bis 8. November 2026 und bringt „I’ll Dream Alone“ direkt ab Release quer über den Kontinent auf die Bühne.

Spring 2026 saw The Proclaimers recording their new album, You May Offend. It is brothers Craig and Charlie Reid’s first album since 2022’s hugely acclaimed Denture’s Out (“Proves you don't need to be a young pretender to land hit after palpable hit,” – MOJO magazine). Their 13th studio album’s 12 tracks – punchy and punky, rousing and carousing, tender and tough – were recorded at Monmouth’s legendary Rockfield Studios with producer Dave Eringa, their crack live band – Steven Christie, Garry John Kane, Zac Ware and Clive Jenner – and frequent guest guitarist, Manic Street Preachers’ James Dean Bradfield. The result is an album, as ever, concise as well as incisive, and about looking forward. Pushing on and digging into the issues and feelings that matter to them here, now and tomorrow, not yesterday, as with the title track, and first single, a lament for the state of free speech, with Charlie approving of the fact that the title can be taken two ways: “As in: ‘Look, careful what you do, you may offend someone.’ Or: ‘OK children, you may now offend.’ Is it an instruction or an invitation? Or a warning?” A powerful accompanying video for the You May Offend single is being created by Emmy & BAFTA award winners, director Douglas Mackinnon in partnership with Peter Anderson Animation. “My favourite band of all time. They write the most spectacular songs, big hearted, uncynical passionate songs.'” - David Tennant “There is a whole other world of music behind that song that I’ve just been discovering, and they’re a wonderful, wonderful band. Now we live in the age of coolness that doesn’t mean anything, it's just quality and soul. The Proclaimers make more sense than ever.” – Chris Martin after Coldplay performed Sunshine on Leith at BBC’s The Piano Room

When The Rain Stops is the forthcoming indie pop LP from LA duo CD Ghost and marks the band’s most mature work to date. Balancing two sonic palettes — in-your-face dance beats and glossy synths alongside warm, dreamy guitars and laid-back acoustic drums — the album explores themes of fate, love, and disaster while grasping for something to hold onto as everything falls apart. Ethereal and cinematic yet vulnerable and grounded, When The Rain Stops finds CD Ghost with their head in the clouds but feet still firmly planted on the ground. For Fans of Toro Y Moi / Washed Out / Neon Indian / Beach House Nation Of Language

For more than thirty years, Hayden has built a body of work from moments in life that can easily pass unnoticed. His talent is to build grandeur around small events, not just within songs but as an accumulation across his whole career. Taken together, his ten studio albums amount to an ongoing conversation about family, memory, love, loss, absurdity, and the strange beauty hidden inside ordinary days. The realization that today’s routine may someday become the part of your life you miss most. Despite its title, Hayden's new album "The Recent Past" isn’t nostalgic so much as observant. It reflects on the strange feeling of longing for a time that wasn’t all that long ago, but it’s also about trying to stay rooted in the present while everything around us speeds up. It is a rich addition to Hayden’s continuing search for unsung moments. There’s heartache on this album, some frank declarations, a lot of comfort and danceable surprises. After years of mixing his own records, Hayden gave the final mixes to Grammy-winning engineer Tom Schick, whose work with Jeff Tweedy, Wilco, Mavis Staples and Willie Nelson had long been an inspiration. Adding subtle colours on the album are drummer Adam Hindle, pedal steel player Matt Kelly, fiddler Miranda Mulholland and upright bassist Ben Whiteley. "The Recent Past" is the perfect record to play when things are coming at you, when you want to take a breath, reflect, escape. Whatever memories or struggles play out you can hum to heartbreak, have lunch with your kid, know that trouble is out there for everyone but somehow this is still a beautiful day.

The original intention of the Builders and the Butchers was to make funeral music, but on the way to the cemetery something changed. An album, like any piece of art, is an artifact of a time. In a world where the process of listening to and obtaining music has never been cheaper or easier, vinyl is a last hold out. You can tell when you\'re holding the weight of wax in your hand, that you\'re connected to what you are doing. The first Builders and Butchers record is also an artifact of a time. Recorded in the living room of a house on SE Division St. in Portland, Oregon in 2007. It was recorded with no expectation, just wanting to document the songs folks had been gathering to sing along to since our first shows in the fall of 2005. The songs having been played only on the street up to that time. At those shows anyone who showed up was handed an instrument and quickly made part of the band. During the recording we attempted to bring that organic singalong rowdiness of the live show into the recording. We brought in about 20 close friends for a Sunday morning booze soaked choir session. We made sure that every instrument of the recording was made of wood and powered by a musician, there are no electric instruments and hardly any effects on this record.

If Izzy Hagerup’s new album, ‘System’, feels immediately uncompromising it’s because it was never really designed for public consumption. Released under her Prewn moniker, Hagerup describes the album as a “private journal made public”. Told across nine arresting new songs, the album chronicles a deeply personal journey through the darkness of depression, but one that’s always undercut by moments of humor, selfishness and self-reflection, a push-and-pull that feels wholly distinctive. Following on 2023’s ‘Through The Window’ LP - a collection of songs that Pitchfork hailed as a “striking example of Hagerup’s ability to sit with ugliness” - ‘System’ finds Hagerup crawling even deeper into the dense folds of the night. Written and recorded solely by Hagerup, mostly in long stretches of bedroom sessions that found her working through the small hours until she began to hear birdsong, the album reckons with a lot of the thoughts that tend to needle in at that time of night; guilt, shame, and self-absorption, as well as the societal pressures that sit at the root of such things. From a bedroom floor in the middle of the night, through a tangle of cables and complex emotions, System grew into a document of disassociation, but it comes undercut with a sense of lightness when compared to what’s come before. It doesn’t surrender to the darkness, it dives into it with a keen and exploring eye and through the gloom it finds constant realizations of the wonder and appreciation of life. That journey holds a special kind of power. There’s bravery in it, a struggle that never asks you to look away but instead to follow it down the rabbit hole. That it leads to a place of fascination is testament to the sheer force these songs hold; songs of hurt and heart, fear and fun.

On Passing Fires, his follow-up to The Weather Up There, drummer and composer Jeremy Cunningham, alongside a tight circle of collaborators, transforms intimate piano sketches, family-room recordings, and richly layered studio performances into a vivid meditation on memory, love, and change. Vibrant, emotional, and full of unexpected turns, the album darts between hypnotic grooves, psychedelic textures, and tender poetic ballads, balancing homemade warmth with striking sonic detail.

Back in print after 30 years, the 2nd and final album from Canada's Shotmaker, 'Mouse Ear Forget-Me-Not', stands as a pillar of mid 90s hardcore—balancing the crushing weight of Karp with the angular intensity of Unwound, all firmly rooted in the band's DIY hardcore ethos. Includes new photos and liner notes from the band.

A SOUNDSYSTEM COMBATING ICE PROCEEDS TO HELP FUND FRONTLINE ORGANIZATIONS THAT SUPPORT IMPACTED COMMUNITIES Contra-ICE Vol. 1: ICE OUT is a powerful new compilation album uniting legendary voices across music, spoken word, and comedy to amplify the fight for immigrant rights and stand against inhumane immigration enforcement. Featuring an all-star lineup of over 30 artists, including Ozomatli, Kathleen Hanna ft. Ad-Rock, Tom Morello, Fred Armisen, Fishbone, Money Mark, David J (Bauhaus, Love and Rockets), and Jello Biafra; this sonic journey, curated by DJ Dali, shines a crucial light on systemic injustices. Proceeds will raise vital funds for frontline Los Angeles organizations, the National Day Laborer Organizing Network (NDLON) and Unión del Barrio, to support their ongoing work defending human, civil, and labor rights for impacted communities.

Now repressed on limited edition Venus Pink vinyl – 300 copies for the world Give your retinas a workout A supergroup of sorts - Fat White Family’s Lias Saoudi, Trashmouth Records’ Luke and Liam May, and Quinn Whalley of Paranoid London and Warmduscher - Decius have travelled the earth liberating people from banality since the release of Vol. I. They’ve revealed to all those they’ve encountered just what was missing in their lives: pump without borders, pump without reason - absolute pump. Decius live sets at Berghain’s 19th birthday celebrations, Block 9’s NYC Downlow at Glastonbury and Opium Club in Vilnius have set pulses racing, and they count the likes of Dixon, 2manydjs, Honey Dijon, Mochakk, Or:La, Iggy Pop and Depeche Mode as fans. Now they offer up Decius Vol. II (Splendour & Obedience). It throbs with an almost impossible sense of potential, and expands on the lexicon of molten desire. The sound has moved into new territories, with tastes of house, disco and techno, all with an underlying base note of acid on tracks such as the slippery night cruise intensity of ‘Birth of A Smirk’, where Colonel Abrams gets his nipples tortured. ‘Queen of 14th St’ is all watersports and Cybotron force from Detroit via Deptford. ‘Walking In The Heat’ struts like a sunburnt and horny Kraftwerk, while ‘Ghent’ is purest uncut ’88 acid. Vol. II is the art of seduction in damp rooms painted black. Keep hydrated from whatever source is available. Be your own pleasure centre. Vol. II is veritable selection box of booty bumps and illegal highs made at night for the night and beyond. This is music that takes pride in its walk of shame.

Following one of 2025’s standout EPs, the CEO of the National Centre for Mark Fell Studies fires from the hip in brilliant, club-troubling motion. In step with 30 years of prism-pushing work — and particularly the »Nite Closures« EP, which signalled a concerted return to the dancefloor — Fell pulls aspects of hypermodern dance and electronic music from Chicago, Tanzania, and Japan into his own peculiar agenda.

The hugely distinctive results pull the body into thrillingly unusual, typically ascetic arrangements, activating every pointillist drum hit with attack and decay in a soberly ludic play of rhythmelodic tension and release, executed to delirious ends; 40 minutes of computer music.

As an artist who witnessed first-hand the explosion of electronic music in early ’80s Sheffield, and its interplay with house and rave as it refracted into wild new styles during the ’90s, Mark Fell is uniquely positioned to pursue his passion for the dynamics of electronic dance music to the nth degree. »Servitude In Context« continues to develop ideas around music for movement in the mid-2020s, placing decades of keen observation — from the macro and historical to the niche and hypermodern — at the service of flexing bodies in new directions.

Long-held notions of multistability manifest in what feels like two machines playing chess on the dancefloor, attempting to adapt to each other’s playing styles and patterns in real time, anticipating and zigzagging around the next move. The result is a plethora of options for limber dancers and those who only bust a move inside their heads.

The slow-fast play of accelerating and decelerating strikes, alongside monotonic chatter in »Actuations #1 (Extended)«, acclimatises the body to a uniquely sensual physics. This develops into the rudely screwed, asymmetric angularity of »Time-Slur« and the shatterproof elasticity of »Taut Manifold«, which feels like an LLM trained on Autechre.

»Low Energy Mantra« offers the EP’s closest resemblance to melodic structure, like gamelan and footwork refracted through lab-grown diamonds. Then »Anode« flashes its teeth with a rudeness recalling the latter stages of Fell’s Pat Thomas jams, before »3 Lost Contours (Pts 1–5)« tilts into 12 minutes of proper quicksilver madness, balancing the sexiness of his Sensate Focus work with an updated, clean-hoofed step and parry.

New super-groovy one-off pressing purple double-vinyl very limited edition of Miami Sound 2 housed in gatefold sleeve, complete with two full-colour inner sleeves containing extensive text and exclusive photography from TK Records in-house photographer Larry Warmoth. Soul Jazz Records’ Miami Sound 2 is a superlative collection of 70s soul, funk, disco and boogie featuring tracks from legendary artists such as Betty Wright, Timmy Thomas, Gwen McRae, Milton Wright, T-Connection and many more, all released on the mighty TK Records musical empire based in Miami, Florida.

Throughout the 1970s founder Henry Stone’s TK Records rose up to be one of the most important forces in black music, successfully pioneering the evolution in musical fashions from the early gritty funk and soul at the start of the decade to the arrival of disco in the mid-70s. This album is a rollercoaster journey across soul, funk, disco and boogie, a party-rocking dancefloor-filling collection of monster tracks that includes million-selling hits such as Betty Wright’s classic ‘Clean Up Woman’, Timmy Thomas’s ‘Why Can’t We Live Together’, T-Connection’s ‘Do What You Wanna Do’, anthemic rare groove club hits including Gwen McCrae’s massive ‘All This Love I’m Giving’ and Milton Wright’s ‘Keep It Up’, plus a host of hard-to-find gems and rarities from the likes of Raw Soul Express, Chocolate Clay, Beginning of the End, Robert Moore, Clarence Reid, Little Beaver, Paulette Reeves and many more. TK Records functioned more like a close-knit family than a typical record company. Based in the industrial Hialeah district of Miami, music man Henry Stone surrounded himself with a host of creative artists, musicians, songwriters and producers who created an immediately identifiable TK sound as well as making musical stars out of many of its artists

XKatedral ist stolz darauf, ein neues Album in voller Länge von Label-Mitbegründerin Maria W. Horn zu präsentieren. ,Melting Pillars of Snow" ist eine Sammlung neuer Kompositionen der renommierten schwedischen Komponistin, geschrieben für Kontrabassblockflöte, Sho, Percussion, E-Gitarre, Gesang und Elektronik, gespielt von Horn zusammen mit einem Kammerensemble bestehend aus Anna Petrini, Mattias Hallsten, Magdalena Meitzner und Mats Erlandsson. Das Album enthält außerdem eine Erzählung von Horn sowie einen Gastauftritt von Michael Gira auf der ersten Single ,Scythe of Saturn". Für ,Melting Pillars of Snow" ließ sich Maria von W. G. Sebalds Roman ,Die Ringe des Saturn" inspirieren, einer poetischen Reflexion, die einem namenlosen Erzähler folgt, der an der Küste von Suffolk in England umherwandert. Während sich die Landschaft allmählich verändert, thematisiert der Text auf vielfältige Weise den Lauf der Zeit und die Distanz zwischen Vergangenheit, Gegenwart und Zukunft und spiegelt dabei sowohl weitreichende zeitliche Maßstäbe wie die Zyklen der Jahreszeiten und die tiefe historische Zeit als auch mikroskopisch kleine Momente und Fragmente wider. Mit den Kompositionen auf dieser Veröffentlichung beschwört Maria ein ähnliches Gefühl der Stille herauf - eine Umgebung, in der die Bewegung der Zeit selbst beleuchtet und beobachtet werden kann. Das Instrumentarium auf diesem Album ist Horns bislang ambitioniertestes: Sie ergänzt ihre gewohnte Palette aus maßgeschneiderter algorithmischer Synthese und elektronischer Bearbeitung um eine komplexe Auswahl an Perkussionsinstrumenten, Blasinstrumente, die an beiden Enden des musikalischen Spektrums spielen, sowie E-Gitarre, um so einen spiralförmigen, spektralen Klangteppich durch den gesamten Frequenzbereich zu weben. Die Perkussionistin Magdalena Meizner spielt spezielle Techniken auf dem Obertondreieck, dem Dubachi, den Pauken und dem Tam-Tam sowie auf gestimmten Weingläsern und gestrichenen Crotales. Die von Anna Petrini gespielte tieftönige Kontrabassblockflöte und das von Mattias Hallsten gespielte hochfrequente Sho fügen kontrastierende Akkordarrangements hinzu, die in strengen metrischen Strukturen eingebettet sind. Das Ensemble wird durch Mats Erlandsson vervollständigt, der auf E- und Akustikgitarren spielt und dabei von sanften Arpeggio-Figuren zu düsteren Drones und Feedback-Heulern wechselt.

Das 1970 veröffentlichte, selbstbetitelte Debüt von Funkadelic war eine radikale Kollision von psychedelischem Rock, Gospel, Blues und Soul - ein chaotisches, genreübergreifendes Statement, das die Möglichkeiten der schwarzen Musik neu definierte. Wo Motown auf Hochglanz und Crossover-Appeal abzielte, stürzten sich Funkadelic kopfüber in Verzerrungen, Improvisationen und spirituelle Zweideutigkeiten, mit einem Sound, der so düster und unberechenbar war wie die Ära selbst. Unterstützt von einer wilden jungen Band, lehnte das Album Konventionen zugunsten von rohem Groove und existentiellem Lärm ab. Als Teil der Westbound Records Reissue Serie von Org Music stellt diese Ausgabe die volle Wirkung des Albums wieder her. Die Deluxe-Doppel-LP, die von Dave Gardner direkt vom analogen Band mit 45RPM neu gemastert wurde, bietet das bisher beeindruckendste Hörerlebnis dieses Klassikers. Gardner und die Restaurationsspezialistin Catherine Vericolli archivierten und restaurierten die Original-Masterbänder in den 54 Sound Studios in Ferndale, Michigan, mit Unterstützung des hauseigenen Ingenieurs Nick King. Neben CD, Kassette und digitalen Formaten ist auch eine einfache LP-Ausgabe erhältlich, die von hochauflösenden Bandüberspielungen geschnitten wurde. Funkadelic waren zu ihrer Zeit eine klangliche Revolution mit bleibendem Einfluss, ihr selbstbetiteltes Album ist ein bahnbrechendes Zeugnis für Musik ohne Regeln und Freiheit ohne Grenzen.

Blue Mist Vinyl. ,Free Your Mind And Your Ass Will Follow" ist das zweite Album der Funk-Pioniere Funkadelic, das 1970, nur wenige Monate nach ihrem bahnbrechenden Debüt, erschien. Das Album, das bekanntermaßen aus einer einzigen, von LSD begleiteten Marathon-Session hervorgegangen ist, zeigt die Band bei der Verfeinerung ihres Songwritings, lässt aber dennoch viel Raum für experimentelle Jamsessions. Es markierte den offiziellen Einstieg des legendären Keyboarders Bernie Worrell und erreichte Platz 92 der Billboard Pop-Charts.

POLYAMORE presents Magnetismo, a sun‑drenched blend of Mediterranean grooves, disco, funk and house from Budapest duo Pleasure Voyage. The EP includes the Original Mix, a deeper House Dub, a laid‑back Sunset Mix, and a dancefloor‑focused Disco Mix by Neapolitan producer Whodamanny, a key figure of the Neapolitan Periodica records and owner of the new imprint Biloba. Label founder Bruno Belissimo adds a groove‑driven remix infused with his signature Italo/space‑disco touch. The release closes with “Equator Funk”, a standalone cut that broadens the palette. A timeless, Mediterranean‑soaked record that moves effortlessly between dancefloor heat, sunset moods and late‑night flow.

Disco Segreta is going to make Italo disco fans very happy once again, with the reissue of one of the hardest-to-find and most coveted late Italo disco obscurities: Gabriella Bove’s “Autoblu”.

Originally written and produced by Argentine-born singer and songwriter Chaly Albert, “Autoblu” has recently caught the attention of hardcore diggers for its unmistakable ’80s Italo disco sound paired with a chilled sun & sea latin vibe, melting Italo disco with synth-pop.

Released in 1989, when the Italo disco craze was starting to fade into what would eventually become the early Italian dream house sound, “Autoblu” pairs Bove’s peculiar vocal presence with a combination of sounds that is now instantly associated with the Balearic aesthetic. Perhaps precisely because it was so ahead of its time, the record failed to find its audience upon release: of the original 500-copy pressing, most copies reportedly ended up being destroyed.

Disco Segreta reissues both original 12″ versions in a strictly limited edition, sourced from the original master tape and faithful to the tracklist and aesthetic of the original release.

Der dritte Teil der Pentimento-Trilogie. Aufgenommen am 23. Mai 2015 in der Londoner St John at Hackney-Kirche während Jon Hassells letztem Live-Konzert, gemeinsam mit Rick Cox und John von Seggern. Themen, Motive und Riffs aus Hassells letzten beiden Alben – "Listening To Pictures" und "Seeing Through Sound" – durchziehen diese einzigartigen, halb-improvisierten Variationen. Sorgfältig abgemischt und bearbeitet von Jon Hassell und seinem langjährigen Weggefährten Jeff Rona, bildet dieses Werk einen würdigen Abschluss für die Renaissance der Pentimento-Reihe in seiner späten Schaffensphase.

GodSexy (the best unused track title in Prince’s sadly now dormant Future Titles notebook) throbs and bounces in all the right places. Positively sprightly whilst also oozing depth, it unveils itself layer after beautiful layer. In true Howells style, it sits alone and imperious in a world above and beyond mere genres, sonically cerebral yet simultaneously 100% dancefloor ready. Urgently uplifting, inspirationally intense.

Shut Down is House Heaven meets Danny Does Disco in characteristically off-kilter (and peerless) fashion. Driven by a twisted percussive loop and a seductive vocal sample, aided and abetted by hypnotically funky guitar licks and lush chords that duck and dive like the (original) Artful Dodger, it’s all about the tension between analogue evangelism and digital futurism.

Hotrocks, your bonus vinyl only offering, will have you heading through the door marked ‘Magic Black Plastic’ at a rate of techno-infused knots. This is serious heads down business, a rave monster, Joey Beltram and Patrick Cowley’s mystery lovechild. Blistering, breathless, bounteous, bloomin’ brilliant.

DJ Support: Mochakk, Joseph Capriati, Jamie Jones, Purple Disco Machine, Groove Armada, Marco Carola ,keinemusik, Adrian Roman, Bill Brewster, Rino, Ruben Mandolini, Terry Farley, Nicolas Masseyeff, Echonomist, Robosonic, Nuno Dos Santos, diskJokke, Dan Marciano Jody Wisternoff / Way Out West, Eelke Kleijn, Henry Saiz, Digitalism, Sister Bliss / Faithless, Innellea, Adriatique, Judge Jules, Sam Divine, TSHA, Simone Vitullo, Joris Voorn, Tommie Sunshine, Fahlberg, Stijn D'hont / DJ Neon

D Stone is a rising force in Amsterdam’s electronic music scene, blending live instruments with electronic production to create his unique take on house music. His sound bridges true house to proto-disco and deeper percussive elements, as showcased in his release Total Unison. A passionate DJ and producer, D Stone crafts infectious tracks by combining samples with live instruments, driving dance floors with his grooves. Born into a musical family, D Stone was immersed in sound from an early age. His father’s influence exposed him to diverse musical styles, sparking his lifelong curiosity. He began playing piano at eight, learned guitar at twelve, and by fifteen discovered electronic music, exploring house as a DJ. A year later, he ventured into production, gaining recognition and landing his first gigs. Inspired by 70s and 80s disco, funk, garage, and 90s tech house, his music blends energy, groove, and soul. With his foundation in live instruments and his forward-thinking approach to electronic music, D Stone strives to create more than tracks—he’s shaping moments that linger in the minds of his listeners.

Envision remixed by DJ & producer Julya Karma Emerging from Brooklyn’s underground and now rooted in Berlin, her practice isn’t about fitting into a lane, it’s about finding what is alive and letting it shape the moment.

Across diverse stages and platforms from Coachella and Lost Village to Berghain, Cercle, Space, The Brooklyn Mirage, DGTL, Time Warp, Audio Obscura, Tomorrowland, and within the orbit of Innervisions, Julya’s performances reflect a commitment to exploration over formula, earning recognition from artists like Laurent Garnier, Dixon, Âme, Adriatique, Rüfüs Du Sol, and Sven Väth.

Here comes the 2nd release on our imprint from the classy duo, this time on vinyl.

The Robinson continue their personal voyage into the shades of house never forgetting their roots deeply linked to the second wave of Chicago House and the distinctive sound of Italo House. This new effort consists in two tracks per side: two original cuts and in as many powerful remixes by the U.S. legends of the game Fred P and Trinidadian Deep.

Taste Rec. keeps the pressure high with an EP that unleash pulsating beats and groovy bass lines merged perfectly with soulful melodies, tribal percussions and a special Kora solo recorded live. Dreamy atmospheres alongside a four to the floor rhythms is the philosophy we chase and we prove it still delivering a record suitable both for clubs or private underground events.

The second installment from Sven Weisemann on the FDF DUBS series shows how incredibly he masters the genres, blending roots reggae and dub infusions with his own characteristic trademark sound. These tracks could go on forever. Timeless, deep, and built to submerge the dancefloor.

DJ Support: Zane Lowe, Annie Mac, Rob Da Bank, Pete Tong, to remix plays from Above and Beyond, Cosmic Gate, Paul Thomas, Tinlicker and many more.


For the first time on vinyl, some of Grum’s successful tracks from when he first started with over 8M Spotify Streams including a Tinlicker remix who are selling out venues worldwide.

2026 repress :)

The long-awaited repress of "Baby EP" - Ricardo Villalobos's first solo single on raum...musik under the Villalobos moniker - is finally here. Featuring two tonally and energetically distinct cuts of dancefloor minimalism that are undoubtedly Ricardo. "Baby EP" sounds as cutting-edge as when it was initially released 12 years ago.

From the slightly euphoric and light-hearted atmosphere of 'hansup' (A) to the emotionally charged groove of 'Baby' (B), "Baby EP" travels through a world of intricately layered micro/macro percussions, eloquently programmed synths, and Ricardo's own vocals spread across the frequency spectrum - an added human touch to his usual machine funk. And while rhythm seems to be at centre stage here, in usual Villalobos fashion, both tracks resolve into pure jazzy melancholy. After dragging the listener into a world of (very) human feelings so uncommon in electronic dance music, "Baby EP" makes it very clear you are listening to Villalobos.