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Shiken Hanzo is an artist not easily forgotten. His sound splices the fractious traditions of jungle with more ambient touches and this hybridisation has us incredibly excited to bring you his first full length album - ‘Fate Worlds’. In doing so, his boundless creativity is brandished through complete artistic freedom. The result is a special blend of foreboding atmospherics and tightly-bound percussive force, an odyssey of an album which takes influences from across the jungle spectrum and twists them into a unique musical journey. Hanzo's record on label's like Samurai Music and Cylon Recordings is clearly audible, a palpable legacy that has given breadth to his current creative purpose: to make ever-evolving music with no respect for conventions or boundaries.

Fünf Jahre nach ihrem gefeierten Album 'forevher' meldet sich die britische Sängerin Shura mit ihrem dritten Studioalbum 'I Got Too Sad For My Friends' zurück. Eine Mischung aus Kammerpop, 60er-Jahre-Folk und Lagerfeuer-Americana, die Shuras introspektives Songwriting in eine weite Landschaft ausdehnt - ruhiger als der gefühlvolle Schwung von 'forevher' und rustikaler als der grüblerische Synthie-Pop ihres Debüts 'Nothing’s Real' aus dem Jahr 2016.

Obwohl das Album Themen wie Isolation, Traurigkeit und Depression bearbeitet, klingt es aber alles andere als niedergeschlagen - Shuras kristallklarer Gesang trifft auf eine warme, erdige Produktion. Shura dazu ganz selbst-ironisch: „Auch wenn es nicht unbedingt eine maximalistische Platte ist, was den Sound angeht, war der Ansatz für mich, die Platte mit maximaler Freude aufzunehmen - was urkomisch ist, denn es geht darum, unglücklich zu sein!“

Angegangen wie eine „Old-School-Platte“, die eher eine Performance als eine Produktion einfängt, wurde ein Großteil des Albums live aufgenommen, wobei Keys, Bass, Gitarre und Schlagzeug in einem Rutsch aufgenommen wurden. Nur der Gesang wurde separat aufgenommen - mit Ausnahme des sanften Funk-Tracks Ringpull.

Two long-awaited tracks which hold a special place in the label’s soundsystem, rich with rhythms and encouraging melodies: morning hours synthy Phoenix by the Ukrainian scene godfather Borys and a bassy, Memphis-like, minimalistic techno from Unai Trotti hiding under the new alias Yzer, on the flip side.

In dark and difficult times, the music of Barney Lister and Kojo Degraft-Johnson lifts us up. As MRCY, the production and vocal duo are confronting the many crises of modern life with a fresh sound full of punchy instrumentation, enveloping orchestration and lyrical honesty. On their latest project, VOLUME 2, Barney and Kojo deliver emotive music that surprises as much as it comforts, referencing timeless sounds as much as a sense of the cutting edge. Channeling soulful vocal melody alongside afrobeat polyrhythms, jazz soloing and driving, distorted grooves, tracks like "Man" address the challenges of modern masculinity, while standout number "Fear" drives a message that encourages us to fight the terror we might feel about the state of the world with optimism. Following the acclaimed release of their 2024 debut project VOLUME 1, which saw the duo nominated as Rising Stars at the Rolling Stone Awards and named as one of DIY's Class of 2025, MRCY returns with vital music that addresses the complexities of being alive today. "We're trying to extinguish fear with optimism and worry with love," Barney says. "VOLUME 2 breaks the mould to present a bigger picture of who we are - something with angst, surprises and more guts. The main feeling of the project is that the world is fucked but let's dance through it."

Shirley Collins' Debütalbum "Sweet England" von 1959 wird in ihrem 90. Lebensjahr in remasterter Qualität neu aufgelegt. Originalexemplare dieses British-Folk-Juwels sind heute äusserst rar und werden für über 1.000£ gehandelt. Die Neuauflagen erscheinen im restauriertem Original-Artwork, dem limitierten Vinylformat liegt eine Postkarte bei.

Als Watchtower im Jahre 1985 ihr Debütalbum "Energetic Disassembly" veröffentlichen, stellen sie die Metal-Welt auf den Kopf. Das Material setzt völlig neue Maßstäbe. Innovativer (und extremer) geht zu dieser Zeit niemand zu Werke. Unbeholfene Stilbeschreibungen wie "Jazz Metal" oder "Techno Thrash" werden kreiert. Ursprünglich werden Watchtower im Mai 1982 in Austin, Texas, aus der Taufe gehoben. In jenem Monat schließt sich Sänger Jason McMaster Bassist Doug Keyser, Schlagzeuger Rick Colaluca sowie Gitarrist Billy White an. In ihrem frühen Stadium zeigen sich Watchtower stark von der NWOBHM inspiriert und spielen Songs von Iron Maiden, Angel Witch und Raven nach - dazu natürlich etliche Nummern der kanadischen Prog-Götter Rush. In der Folge entwickelt die Band sukzessive ihren individuellen Stil und nimmt Demos mit eigenen Stücken auf. Aber die Plattenfirmen wollen nicht anbeißen. Aus diesem Grunde entschließt man sich dazu, auf dem eigenen Label Zombo Records das wegweisende Album "Energetic Disassembly" zu veröffentlichen (gepresst werden 3.500 LPs und 1.000 Kassetten).
"Ich kann mich noch lebhaft daran erinnern, wie ich Demokassetten an Fanzines verschickt habe und nahezu täglich Briefe mit Tapetradern ausgetauscht wurden," erinnert sich Sänger Jason Mc Master heute. "Ich erhielt u.a. Briefe von Gene Hoglan, Mike Portnoy, Jason Newsted und sogar Alan Tecchio Die Reaktionen waren fantastisch, aber wir klangen einfach so andersartig. Die Labels wussten nicht, wie sie uns seinerzeit hätten vermarkten sollen. Waren wir zu extrem? Ich denke schon." Pünktlich zum 40. Jubiläum von "Energetic Disassembly" erscheint über High Roller Records nicht nur eine De-Luxe-Edition des originalen Albums, sondern auch eine neue Abmischung. Die Re-Mixes wurden im Jahre 2009 von Jared Tuten, einem engen Freund von JasonMcMaster, in den Top Hat Studios angefertigt. Als Sahnehäubchen gesellen sich dazu vier Bonus-Stücke: eine Art Drum-Soundcheck namens "Rick On Parade", das kurze Gitarren-Instrumental "BW115" sowie frühe Fassungen von zwei Songs, die später auf dem zweiten Watchtower-Album landen sollten, hier aber noch mit Jason McMaster am Gesang - "Instruments Of Random Murder" und "The Eldritch". Jason McMaster verließ Watchtower im Jahre 1988 in Richtung Dangerous Toys. Sein Nachfolger war Alan Tecchio (von Hades). Zusammen mit ihm wurde 1989 in West-Berlin das zweite Album "Control And Resistance" für Noise Records aufgenommen.

Als Watchtower im Jahre 1985 ihr Debütalbum "Energetic Disassembly" veröffentlichen, stellen sie die Metal-Welt auf den Kopf. Das Material setzt völlig neue Maßstäbe. Innovativer (und extremer) geht zu dieser Zeit niemand zu Werke. Unbeholfene Stilbeschreibungen wie "Jazz Metal" oder "Techno Thrash" werden kreiert. Ursprünglich werden Watchtower im Mai 1982 in Austin, Texas, aus der Taufe gehoben. In jenem Monat schließt sich Sänger Jason McMaster Bassist Doug Keyser, Schlagzeuger Rick Colaluca sowie Gitarrist Billy White an. In ihrem frühen Stadium zeigen sich Watchtower stark von der NWOBHM inspiriert und spielen Songs von Iron Maiden, Angel Witch und Raven nach - dazu natürlich etliche Nummern der kanadischen Prog-Götter Rush. In der Folge entwickelt die Band sukzessive ihren individuellen Stil und nimmt Demos mit eigenen Stücken auf. Aber die Plattenfirmen wollen nicht anbeißen. Aus diesem Grunde entschließt man sich dazu, auf dem eigenen Label Zombo Records das wegweisende Album "Energetic Disassembly" zu veröffentlichen (gepresst werden 3.500 LPs und 1.000 Kassetten).
"Ich kann mich noch lebhaft daran erinnern, wie ich Demokassetten an Fanzines verschickt habe und nahezu täglich Briefe mit Tapetradern ausgetauscht wurden," erinnert sich Sänger Jason Mc Master heute. "Ich erhielt u.a. Briefe von Gene Hoglan, Mike Portnoy, Jason Newsted und sogar Alan Tecchio Die Reaktionen waren fantastisch, aber wir klangen einfach so andersartig. Die Labels wussten nicht, wie sie uns seinerzeit hätten vermarkten sollen. Waren wir zu extrem? Ich denke schon." Pünktlich zum 40. Jubiläum von "Energetic Disassembly" erscheint über High Roller Records nicht nur eine De-Luxe-Edition des originalen Albums, sondern auch eine neue Abmischung. Die Re-Mixes wurden im Jahre 2009 von Jared Tuten, einem engen Freund von JasonMcMaster, in den Top Hat Studios angefertigt. Als Sahnehäubchen gesellen sich dazu vier Bonus-Stücke: eine Art Drum-Soundcheck namens "Rick On Parade", das kurze Gitarren-Instrumental "BW115" sowie frühe Fassungen von zwei Songs, die später auf dem zweiten Watchtower-Album landen sollten, hier aber noch mit Jason McMaster am Gesang - "Instruments Of Random Murder" und "The Eldritch". Jason McMaster verließ Watchtower im Jahre 1988 in Richtung Dangerous Toys. Sein Nachfolger war Alan Tecchio (von Hades). Zusammen mit ihm wurde 1989 in West-Berlin das zweite Album "Control And Resistance" für Noise Records aufgenommen.

Yesterday's Children emerged from the vibrant mid-60s Connecticut music scene, evolving from a garage-based instrumental outfit into one of the era's most compelling proto-heavy rock acts. As they evolved, they embraced the psychedelic and hard rock influences of the late 60s, crafting a heavier, more dynamic style. Under the determined management of brothers Dennis (vocals) & Richard (guitar) Croce's father, Dominic, the band gained regional popularity. Their 1970 self-titled album, recorded in New York with producer Warren Schatz, showcased a mix of ferocious originals like "Hunter's Moon" and "Sad Born Loser" alongside inspired covers. Though the album failed to achieve commercial success at the time, it has since been rediscovered as a cult favorite, celebrated for its raw energy and ahead-of-its-time heaviness. Known for their immersive live shows-complete with custom-built light and sound systems-the band toured the East Coast in vintage hearses, leaving a lasting impression on audiences. Despite their eventual breakup in 1972, Yesterday's Children's legacy endures, with their sole LP standing as a landmark in the transition from garage rock to the heavier sounds of the 70s. A true hidden gem, their music continues to resonate with fans of psychedelic, hard rock, and proto-metal.

With the album Resonant Behaviour, URI pushes his sound into new territory, blendingbouncy Hard Trance, rolling Psy, and driving Hard Techno. In this 11 track story the 303Acid sounds play a leading role. On this album he brings his own style together withsounds from multiple collaborations. The balance between euphoric synths, bouncybasslines and trancey arrangements will bring together different genres into one story.
More than just a collection of tracks, Resonant Behaviour is about connection-movingtogether, feeling together. You Are I.

Double Italo Header incoming! Hailing from Turin in northern Italy, we have a new artist on Frank Music named Hey Cabrera! who presents his dance single "The Moment", which has it all: The ever-familiar bassline, melodies, and pianos for days and topped with additional catchy vocal phrases. It's exactly this kind of unique vibe you only hear when it's truly made in Italy. Label boss Giovanni Francesco Alberto—a.k.a. Johannes Albert—steps in with a sizzling club mix to keep the vibe afloat. Who wouldn't want to live in "The Moment"? We sure do! Flip it over, and the B-side "Exposed" carries the same high-energy tradition—more vocals, even punchier pianos, and for the J.A. club mix, a dash of 808s for that extra groove. Housed in a fully printed cover and ready to soundtrack your summer nights. Grazie mille, Gianluca! The power of Italo Disco—often imitated, never duplicated.

For the first time ever available in record stores, the redesign recalls the mysterious, multi-layered sound of Flashy Python's Skin And Bones. The hidden covers revealed by die-cut and semi-transparency as well as translucent rouge vinyl pay tribute to the haunting yet playful spirit of an album that could (and should) have been another CYHSY record. The limited deluxe reissue is being released in the wake of the 20th anniversary of Clap Your Hands Say Yeah, the classic self- titled debut album, and its celebratory 2025 worldwide tour.

Shattered Pieces Of The True Cross is the latest long player from Alabama's haunted artists, The Pine HIll Haints, a collection of southern psychedelic tunes captured and recorded live at the legendary Muscle Shoals Sound Studio, engineered and mixed by Single Lock founder and Grammy-winning producer/engineerBen Tanner.

After a three year hiatus, Mutual Response returns for its long awaited second release, by talented artist and close friend of the label, Dockett Eddy.
Moving through fresh yet familiar combinations of drum patterns and melodies, his first EP displays the beginnings of a unique, honed style.

Calling on a varied palette of reference from the last 30 years of electronic music, the atmosphere of the release is established somewhere between the skipping, dream-like rhythms of ’00:04’ and the rough, driving drums of ‘Delayed Response’. The gritty awkwardness of the title track, Monofly, builds to an unexpected, ethereal moment, in what is the worthy climax of all four tracks.

The record sets an ominous tone, consolidating itself as a recognisable contribution to the label’s evolving output, but at the same time demonstrating a sound which is entirely the producers own.

Mindustries is back, ready for a new chapter!

This journey has not been easy, after the loss of his partner in crime Yuri, it is now time to move on forward. With deep respect for everything they built together, this new release looks to the future.

Bringing you a new wave of music fueled by the sounds of all that came before, with the same energy and attitude that Mindustries is known for. Yet, with this release, reaching beyond the limits of what you expect!

Dark, timeless, raw and energetic hardcore in all its diversity.
This is Mindustries.

After two years, Bekkler returns to the BKHS Catalog with his debut album, Utopie. The vinyl features five tracks that radiate dreamy melancholy while delivering finely tuned bass frequencies to the dancefloor-ranging from the heavy and pounding Hauptsache Nicht Anhalten to the smooth and warm Kakerlaken Komitee. The record was cut by Bekkler himself, aiming for the highest-quality vinyl sound and maximum volume on the disc.

Remedy Entertainment und Laced Records präsentieren die wegweisende, unvergessliche Musik des preisgekrönten Videospiels 'Alan Wake 2' auf Vinyl.

Remedy und sein Creative Director Sam Lake sind wohl unübertroffen in ihrem Engagement für die Musik in ihren Spielen. Für den Soundtrack verfolgten sie vier kreative Hauptstränge: Der langjährige Mitarbeiter Petri Alanko (Alan Wake, Quantum Break, Control) kehrte als leitender Komponist zurück und lieferte einen bissigen und doch gefühlvollen dramatischen Horror-Score sowie die bei den Fans beliebte Hausmeister-Ballade „Yötön Yö“, gesungen von Martti Suosalo (Ahti).

Der Musikkünstler POE und Sam Lake haben sich zusammengetan, um vier Teile des spiralförmigen, melancholischen Epos „This Road“ zu schaffen, das das Ende von Wakes Reise durch den Dark Place darstellt.

Die Poets of the Fall schlüpften erneut in die Rolle der alten Götter von Asgard und schufen mehrere Prog-Opera, darunter das monumentale „Herald of Darkness“ mit dem Gesang von Matthew Porretta (Alan Wake) und David Harewood (Mr. Door).

Schließlich versammelte die Musikproduktionsfirma Fried Music in Zusammenarbeit mit Nordic Music Partners eine kleine Armee außergewöhnlicher Songwriter-Talente, um die vielseitigen, atmosphärischen und im Universum angesiedelten „Chapter Songs“ zu komponieren.

Celebrating the 60th anniversary of these iconic Mojo Men recordings, this fantastic collection now comes pressed on heavyweight colour vinyl with all new artwork and liners. Produced by none other than Sly Stone (from Sly & The Family Stone) during the group"s Autumn label era, these West Coast recordings include the breakout hit "Dance With Me" (1965) alongisde other rare cuts and rock and pop gems. Sly Stone, then a rising producer and arranger, helped shape the sound of many Bay area artists during the early-mid 60s. The partnership between Sly Stone and The Mojo Men was a key chapter in both of their stories.

Returning a rockier sound after the pastoral An Crann, this will be one for playlists from the king of the riff, Damian O"Neill from the Undertones. Damian actually wrote the highest charting single "My Perfect Cousin" with a bit of help from Mickey Bradley!

Die malische Ethnie der Dogon sind für ihre Tier-Masken und rituellen Tänze weltweit berüchtigt. Auch ihr unglaubliches astronomisches Wissen - wichtige Feste orientieren sich an der Laufbahn von Sirius B, einem mit bloßem Auge nicht zu erkennenden Planeten - lassen westliche Forscher seit über hundert Jahren rätseln. Aber hat man schon jemals von der Musik dieses Mythen-umrankten Volkes gehört? Petit Goro hat als erster Musiker die traditionellen Dogon-Rhythmen für ein junges, modernes Publikum aufbereitet, ja er ist der erste Popstar der Dogon überhaupt. Wenn er sich auf einer der Freiluftbühnen von Bamako seine Gitarre umhängt, dann wirbeln tausende von Tänzern den Staub auf. Es ist ein Sound, der bisweilen so klingt, als hätte es Junior Kimbrough, R.L. Burnside und die One-Chord-Vamps des Mississippi Hill Country Blues an den Niger verschlagen. Pentatonische Akkorde. Dogon-Chants. Und der Sog seiner Band - die mit Bass, Gitarre und traditioneller Perkussion Richtung Trance reitet. Petit Goro besingt dabei den Kampf um die eigene Kultur und Identität. Der Popstar ist das Aushängeschild einer neuen Bewegung : Die jungen Dogon haben angesichts der Bedrohung, - fast jede Woche wird ein Dogondorf von Dschihadisten attackiert - ihre gefährdeten animistischen Traditionen wiederentdeckt. Überall in Bamako sieht man Jugendliche stolz ihre Dogon-Tracht tragen. Petit Goro aber trägt ihre Botschaft in die Welt hinaus, rockt archaische Traditionen mit einem nie gehörten Dogon-Blues

"""My life began in Columbus, Ohio, USA, moved on to an English village, then to the bright lights of London. America has always been a big part of my life, my father is American.
This album is a snapshot of my experiences. The lyrics tell some of the story and the music helps to tell the rest. I grew up listening to American music and when I began songwriting I was inspired by the icons and styles from the 1950s/60s and 70s. As I wrote the songs for this album I consciously looked to represent some of the styles from artists I love including Elvis, Dylan, Neil Young and Joni Mitchell. Through the wonders of modern digital recording I was able to work with some amazing American musicians who helped me to create the authentic arrangements and styles I sought to emulate. The album is self produced but the help and advice from Pat Collier and Jess Corcoran at Perry Vale studios plus the talent and input from all the musicians was invaluable. "

Banging mental pure tribe sound

Zig Zags have been an L.A. institution for over a decade, never veering from their hard-riffin punk/metal mission statement. They’ve gigged all over the globe with underground luminaries such Mike Watt, Neurosis, Pig Destroyer, Oh Sees and Feral Ohms and recorded collaborations with icons like Iggy Pop. Now the power trio is set to release their fifth incendiary full-length album, Deadbeat At Dawn, named in honor of the beloved B-movie, a no-budget action revenge flick set in the mean streets of suburban Ohio. Cult cinema is an enduring Zig Zags inspiration, with the band frequently calling out exploitation films in their lyrics, odes to teen-delinquent classics like “Over the Edge” and dystopian sci-fi such as, “Terminator” and “Total Recall”. The new album sticks to this obsession with the cultural underground, riffing on everything from demonic minions to apocalyptic visions and alien attacks. The result is the most focused, intense, and catchy Zig Zags album yet, with the timing perfect for their distinctly melodic and maniacal call to arms. Finalizing recording and mixing just as the catastrophic fires hit their hometown in L.A., Deadbeat At Dawn is the perfect soundtrack for a city rising up from the ashes of destruction. “I feel lucky that we got to put out this record when we did,” Maheu said, “It’s heavy and gnarly and kind of fucked up, but it’s also a lot of fun—which is how we feel about Los Angeles.”

Der 1999 veröffentlichte Soundtrack zu Eyes Wide Shut enthält eine einzigartige Trackliste mit Hits wie „Baby Did a Bad Bad Thing“ von Chris Isaak sowie Originalkompositionen von Jocelyn Pook, die den unheimlichen und spannungsgeladenen Ton des Films perfekt ergänzen. Ein herausragendes Stück, „Masked Ball“, wurde wegen seiner eindringlichen, atmosphärischen Qualitäten zur Ikone. Das Album wurde für einen Grammy Award in der Kategorie „Best Score Soundtrack for Visual Media“ nominiert, was die Anerkennung der Kritiker unterstreicht.

Musique Pour La Danse is proud to present the definitive edition of the highly acclaimed and globally beloved Donkey Kong Country soundtracks, meticulously recreated by composer and producer Jammin' Sam Miller. Released in 1994 for the Super Nintendo Entertainment System (SNES), Donkey Kong Country was celebrated not only for its groundbreaking quasi-3D graphics but also for its exceptional soundtrack.
The soundtrack featured a variety of compositions, and has been highly praised for its diverse and high-quality music, with tracks like "Aquatic Ambiance" and "Fear Factory" standing out as fan favorites. The influence of the Donkey Kong Country soundtrack extends beyond the gaming world, having inspired modern artists and changed the way video game music was perceived.

This limited edition boxset, limited to 500 copies, comes as a triple DLP set, containing Volumes 1, 2, and 3. Pressed on red, green, and blue marbled vinyl, it is housed in a hardboard slipcase featuring new and original artwork by Andrew Beltran.

Don't sleep on this ultimate release-the previous boxset edition has been sold out for a long time, and if you can find it, it's being sold for crazy money.

Using hex SPC data converted to MIDI, Jammin' Sam Miller painstakingly recreated the DKC soundtrack note by note, sourcing the original equipment used to create it. He then translated the MIDI into a modern studio context, incorporating keyboard samples, remixing the sounds with added effects, and mastering the tracks. To learn more about his process, watch the explanatory video here: cutt.ly/ulUHE6J.

A new release on this label; already the 16th in a row.
No commercial sounds can be expected ;-) and this time its limited to 100 pieces!

The debut release of Collective Direction explores the incredibly broad and fascinating variety of work of Tasti Box, operating in San Francisco in the early 90’s.

This previously unreleased album, made in the early 90’s, captures the spirit of the San Francisco free party scene that exploded around that time. DJ Harvey, Doc Martin, the Hardkiss Brothers, the Wicked Crew and a host of international guests played at legendary all-night parties at locations such as under the Golden Gate Bridge, on huge custom-built sound systems. Helping to define not only the West Coast scene but also influencing the rest of the country throughout that decade. The cultural impact of this moment in time continues to inspire today’s dance music landscape.

Opening on the delicate and melodic ambient tracks Mim and Quetzcal, the A side closes on Dr Tripi, a house-infused track preluding the uniqueness and diversity of the emblematic Tasti Box sound, explored more broadly on the B side with the triptych of Desire, U Can Fly and Box, a trippy journey melting influences from breaks, house, experimental and techno, one that can be experimented at home or in a club setting. The C side opens with the killer trancey and psychedelic club track Feel It, one expected to be definitely heard on dancefloors over the Summer. It is complemented by the almost balearic Story of O and bleepy and esoteric Electrons. On the D side, some Daisy Glow tracks, showing strong late Tasti Box influence, close the musical journey with four tracks of joyful and melodic house music, a perfect ending to a night and to the double LP.
It’s a compilation for music collectors and dancers alike and those excited to explore the history of a sound not afraid to experiment. The vinyl includes a limited edition A4 design of the artwork cover, an exclusive conversation with the artists and two vinyl exclusive tracks. One not to miss!

2025 marks the triumphant return of Sitaro, the iconic track that once lit up dancefloors worldwide. Originally released in 2007 and championed by the likes of Carl Cox—earning its place on Carl Cox Ultimate (Universal Music)—Sitaro is back with a fresh 2K25 Edition on Move Recordings.

The Belgian techno duo End-Jy & Dimitri Andreas, known for their heavyweight releases on Lupp, Intec, Terminal M, Music Man, and Systematic, deliver an updated version of this melodic anthem. The remastered original brims with Sitaro's signature sound: hypnotic sitar riffs, emotive atmospheres, and a groove that’s as irresistible as ever—a true dancefloor odyssey packed with intensity and raw emotion.

And for the remix? Who better than Dimitri Andreas himself. With an illustrious career spanning decades and releases on Systematic, Music Man, Kling Klong, and Token, Andreas takes Sitaro to new heights. His remix is a masterclass in contemporary melodic techno, drawing comparisons to the work of Guy J, Sébastien Léger, and Roy Rosenfeld. Expect driving Latin-inspired percussion, lush synths, and dreamy soundscapes that seamlessly blend piano-laden breakdowns with deep, pulsating grooves.
The result is a stunning reinterpretation—eclectic yet cohesive, powerful yet delicate. Dimitri Andreas once again proves why he remains a pivotal figure in the global techno landscape.
Press play, and let the journey begin.

Early support from Lost Desert (All Day I Dream), Timo Maas (Systematic), Adriatique (Afterlife), Nick Varon (Sudbeat), Raw Main (Lost Miracle), Dclviii Ofc (Cod3qr), Alex Neri (Wildflower)…

Français

End-Jy - Sitaro (2K25 Edition) featuring Dimitri Andreas Remix

2025 marque le retour triomphal de Sitaro, le morceau emblématique qui a illuminé les pistes de danse du monde entier. Initialement sorti en 2007 et soutenu par des DJ comme Carl Cox—qui l’a même inclus dans Carl Cox Ultimate (Universal Music)—Sitaro fait son grand retour avec une toute nouvelle édition 2K25 sur Move Recordings.

Le duo techno belge End-Jy & Dimitri Andreas, connu pour leurs sorties majeures sur Lupp, Intec, Terminal M, Music Man et Systematic, propose une version actualisée de cet hymne mélodique. L’original remasterisé regorge de la sonorité signature de Sitaro : des riffs hypnotiques de sitar, des atmosphères émotionnelles, et un groove aussi irrésistible que jamais—une véritable odyssée sur la piste de danse, remplie d’intensité et d’émotion brute.

Et pour le remix ? Qui de mieux que Dimitri Andreas lui-même ? Avec une carrière illustre qui s’étend sur plusieurs décennies et des productions sur Systematic, Music Man, Kling Klong et Token, Andreas emmène Sitaro vers de nouveaux sommets. Son remix est une véritable masterclass de techno mélodique contemporaine, qui rappelle le travail de Guy J, Sébastien Léger et Roy Rosenfeld. Attendez-vous à des percussions latines entraînantes, des synthés luxuriants et des paysages sonores oniriques qui fusionnent parfaitement des breakdowns pianistiques avec des grooves profonds et pulsants.

Le résultat est une réinterprétation impressionnante—éclectique mais cohérente, puissante mais délicate. Dimitri Andreas prouve une fois de plus pourquoi il reste une figure incontournable du paysage techno mondial.
Appuyez sur play et laissez le voyage commencer.

Support de Lost Desert (All Day I Dream), Timo Maas (Systematic), Adriatique (Afterlife), Nick Varon (Sudbeat), Raw Main (Lost Miracle), Dclviii Ofc (Cod3qr), Alex Neri (Wildflower)…

From the experimental chaos of IDM to the deep, soulful chords of Detroit techno, Japanese DJ and producer Takuya Matsumoto takes us on a captivating journey through decades of musical evolution. Vertical Stories is Takuya’s debut album, and it seamlessly blends the past with the future. Get ready to dive into a sonic landscape that spans from unfiltered energy to complex, layered textures. If you’re a fan of the raw energy of Underground Resistance, the innovative sounds of Mike Paradinas, or the intricate layers of Floating Points and Pepe Bradock, to name just a few, this full-length album is for you!

M-Scape is a solo project by Japanese DJ/producer/remixer Makoto Nakatani.

Urban Reconstruction is a release that blends House, Techno and Broken-Beat in a very skilful way.

The title track is, dare we say, a Los Hermanos sounding track that holds both the energy and harmonies Gerald Mitchell would produce.
'I Do' is house on a broken beat tip while 'Freedom' got more of the M-Scape sound fusing House, Jazz and Techno.

Ending the EP is 'Let The Drums Play' which is not far from what electronic-Jazz pioneer Mark de Clive-Lowe does and a great way to end an EP that makes a stellar debut on Local Talk.

VERVE ACOUSTIC SOUNDS SERIE: komplett analog von Ryan K. Smith bei Sterling Sound von den Originalbändern gemastert, QPR-Pressung (180 g), stabiles Tip-On-Gatefold (Stoughton Printing), wattierte Innenhülle, Gatefold Sleeve

Ein Klassiker des Vocal Jazz! ”All Or Nothing At All” - was für ein passender Titel! Denn für Billie Holiday, deren Karriere sich im Sinkflug befand, ging es in gewisser Weise wirklich um alles oder nichts. Es war das letzte Album, das Norman Granz von der Sängerin auf seinem Label Verve veröffentlichte. Entstanden waren die Aufnahmen im August 1956 und Januar 1957 bei denselben Sessions wie die Holiday-Klassiker ”Body And Soul” und ”Songs For Distingué Lovers” und übertreffen diese nach Ansicht heutiger Kritiker sogar.

The promise of a Florry show, a now familiar caravan that has been honed over ambitiously trekked zig zags across America and Europe since the release of Dear Life Records debut The Holey Bible, is the redemptive promise and prodigal joy of rock and roll guitar music. Bred in the crackling warmth of the Philadelphia DIY scene, and forged with the alloys of community action, queer liberation and bedroom poetry, bandleader Francie Medosch and her absolute unit of collaborators have put in the work of sharpening their homespun tools to take up the mantle of the great lip-puckering rock and roll tradition pioneered by the likes of The Band and the Rolling Stones, but with proudly displayed Aimee Mann and Yo La Tengo bumper stickers on the rusty frame of the truck. At any second, the wheels could come off but they are steering just fine. For 'Sounds Like' Florry's sophomore effort as a fully realized band, Medosch and co. decamped to Drop of Sun studios in the nest of the Blue Ridge Mountains to record with Asheville wunderkind Colin Miller, a critical voice behind the records of MJ Lenderman, Wednesday and Merce Lemon and a powerful songwriter in his own right. Three powerhouse days in late 2023 solidified writing work done by the band earlier that summer in the now defunct Haw Creek compound under Miller's guiding suggestion. The result is a portrait of a ripping band cresting towards the height of their powers, uniquely equipped to capture a wildly loving, barn-burning camcorder clip of a turbulent trip with your best friends, without dipping into nostalgia bait. Lyrically, Medosch's utterances are both careful and excessive, the product of sifting through the rubble of classic good-time media, and finding what works for both her and her community to reach the heights of abandon. "The Jackass theme song was actually a really big influence on the new album" The expansive personnel and continent spanning footprint of Florry casts a wide net for this community. Florry the band rolls deep in the heard of North American DIY, featuring Jon Cox (Sadurn, Son of Barb) on pedal steel, John Murray on electric guitar, Collin Dennen on bass, Will Henriksen on fiddle, Katya Malison (Doll Spirit Vessel) on Vox, and Joey Sullivan (Bark Culture) on drums. Medosch's recent move to Burlington Vermont entrenches the Philly born project firmly within the ranks of fellow alt-country upstarts Lily Seabird and Greg Freeman, and gives them a vantage just outside of Pennsylvania at the thresholds of New England and the Midwest. There is a new life breathed into this music that confirms Florry as equally rooted in place work, and at home on the vast roads of America. For listeners who fell in love with Florry's infectious charm on sweeping tours with the likes of Kurt Vile, Real Estate, MJ Lenderman, Greg Freeman and Fust, 'Sounds Like', provides a refreshing memento of the band that surely left them smiling. If the support behind 'The Holey Bible' provided validation for the insistent vision of these young artists, 'Sounds Like' finds them reveling in and honing their vocabulary. Praise from outlets like Pitchfork, Stereogum, Paste, and Brooklyn Vegan touched on the potential of their wild idiosyncrasies, and accurately predicted that their next steps would see them continuing to write their own story, like a 10 car pileup that you can't take your eyes off if you tried. Florry proves that they can let the car spin just out of control whenever they want, and you are welcome to ride shotgun while Medosch does donuts in the WaWa parking lot. The ceiling, it turns out, is truly the roof.

The promise of a Florry show, a now familiar caravan that has been honed over ambitiously trekked zig zags across America and Europe since the release of Dear Life Records debut The Holey Bible, is the redemptive promise and prodigal joy of rock and roll guitar music. Bred in the crackling warmth of the Philadelphia DIY scene, and forged with the alloys of community action, queer liberation and bedroom poetry, bandleader Francie Medosch and her absolute unit of collaborators have put in the work of sharpening their homespun tools to take up the mantle of the great lip-puckering rock and roll tradition pioneered by the likes of The Band and the Rolling Stones, but with proudly displayed Aimee Mann and Yo La Tengo bumper stickers on the rusty frame of the truck. At any second, the wheels could come off but they are steering just fine. For 'Sounds Like' Florry's sophomore effort as a fully realized band, Medosch and co. decamped to Drop of Sun studios in the nest of the Blue Ridge Mountains to record with Asheville wunderkind Colin Miller, a critical voice behind the records of MJ Lenderman, Wednesday and Merce Lemon and a powerful songwriter in his own right. Three powerhouse days in late 2023 solidified writing work done by the band earlier that summer in the now defunct Haw Creek compound under Miller's guiding suggestion. The result is a portrait of a ripping band cresting towards the height of their powers, uniquely equipped to capture a wildly loving, barn-burning camcorder clip of a turbulent trip with your best friends, without dipping into nostalgia bait. Lyrically, Medosch's utterances are both careful and excessive, the product of sifting through the rubble of classic good-time media, and finding what works for both her and her community to reach the heights of abandon. "The Jackass theme song was actually a really big influence on the new album" The expansive personnel and continent spanning footprint of Florry casts a wide net for this community. Florry the band rolls deep in the heard of North American DIY, featuring Jon Cox (Sadurn, Son of Barb) on pedal steel, John Murray on electric guitar, Collin Dennen on bass, Will Henriksen on fiddle, Katya Malison (Doll Spirit Vessel) on Vox, and Joey Sullivan (Bark Culture) on drums. Medosch's recent move to Burlington Vermont entrenches the Philly born project firmly within the ranks of fellow alt-country upstarts Lily Seabird and Greg Freeman, and gives them a vantage just outside of Pennsylvania at the thresholds of New England and the Midwest. There is a new life breathed into this music that confirms Florry as equally rooted in place work, and at home on the vast roads of America. For listeners who fell in love with Florry's infectious charm on sweeping tours with the likes of Kurt Vile, Real Estate, MJ Lenderman, Greg Freeman and Fust, 'Sounds Like', provides a refreshing memento of the band that surely left them smiling. If the support behind 'The Holey Bible' provided validation for the insistent vision of these young artists, 'Sounds Like' finds them reveling in and honing their vocabulary. Praise from outlets like Pitchfork, Stereogum, Paste, and Brooklyn Vegan touched on the potential of their wild idiosyncrasies, and accurately predicted that their next steps would see them continuing to write their own story, like a 10 car pileup that you can't take your eyes off if you tried. Florry proves that they can let the car spin just out of control whenever they want, and you are welcome to ride shotgun while Medosch does donuts in the WaWa parking lot. The ceiling, it turns out, is truly the roof.

WHEN RIVERS MEET – BREAKING BOUNDARIES IN ROCK, BLUES & AMERICANA - When Rivers Meet aren’t just making waves—they’re blazing their own trail. The husband-and-wife duo, Grace & Aaron Bond, have carved out a unique sound that defies genres, fusing the raw power of blues-rock, the storytelling soul of Americana, and the heartfelt intimacy of folk. Their music is gritty, soulful, and electrifying, with Grace’s powerhouse vocals and Aaron’s dynamic musicianship creating something truly unforgettable. A huge part of their unmistakable sound comes from their dual vocal chemistry. Grace’s voice is raw, powerful, and deeply emotive, delivering every lyric with intensity, while Aaron’s vocals bring a rich, warm depth, perfectly balancing power with soul. Whether harmonising in haunting unison or trading lead vocals, their voices create a magnetic dynamic that sets them apart. Aaron’s expressive guitar work, especially his masterful slide guitar playing, adds another layer of grit and emotion, helping to shape the band’s signature sound—blending bluesy swagger with anthemic rock energy. Their breakthrough album, ‘Aces Are High’ (2023)—recorded deep in the heart of Suffolk—marked a seismic moment in independent music, launching them into the UK Official Album Charts Top 10, a first for an independent Rock/Blues band. Now, they’re ready to raise the stakes once again. Expect a bigger, bolder, and more dynamic sound, combining powerful harmonies, raw energy, and hard-hitting rock with foot-stomping Americana grooves. This album is When Rivers Meet at their most passionate, unfiltered, and intense. To celebrate, they’re bringing their explosive live show back to the stage: May 23 – Glasgow, Oran Mor, May 24 – Nottingham, Rescue Rooms, May 26 – Southampton, The Brook, May 29 – Norwich, The Waterfront - A SOUND LIKE NO OTHER – MUSIC THAT TRANSCENDS GENRES

Windy City collective Future Rootz are all about mixing up worldly electronic sounds, Latin, tropical bass and global jazz. This second volume in their new series does just that with two expressive remixes of iconic Afro-Colombian tracks. On Side A, Sound Culture delivers a modern take on Son Palenque's legendary 'A Pila el Arroz,' which was originally composed by Justo Valdez for Palenque Records. He infuses it with fresh and bubbly bass and hypnotic vocal chants. On side-B, Afroqbano reimagines 'Tropical Scenes' by adding a vibrant, rhythm-heavy twist to the original that sympathetically blends traditional Afro-Colombian sounds with electronic influences into a wiggling bit of irresistible and sunny global fusion.

Kryptograf has carved out a distinct niche by fusing the raw, heavy sounds of late 60s / early 70s rock with the intensity and aggression that doom metal and stoner rock are known for. Formed in Bergen, a city known for its robust and unique musical scene, Kryptograf debuted with a sound that resonated deeply in the underground scene. Their homage to classic rock giants and a contemporary edge has made them stand-out interpreters of that era's atmospheric riffs and gritty tones. Their upcoming third album marks an evolution in their sound, with a deepened focus on melody and dynamic songwriting without sacrificing their core intensity. The A-side carries a distinct "Scandi-rock" flavor, while the B-side's darker, doom-laden tracks suggest they're leaning even further into heavier, moodier depths. Kryptograf's unmistakable, collective vocal delivery and riff style ensure this album will retain their signature sound while showcasing a mature, nuanced approach to the genre. "Kryptonomicon" is a rich, complex listen that's still undeniably Kryptograf.

The visionary Walter Maioli (Futuro Antico, Aktuala) and the eccentric electronic musician John Zandijik first met in 1984 when they both gravitated toward the experimental Sound Reporters collective, participating in the release of Ethnoelectronics (1986). Shortly afterward, the two met at Zandijik's studio in Rotterdam, where they completed their journey of exploration to the edge of the Universe in just three nights. The recordings were made only after 3 a.m., when psychic energy is at its peak, and inspiration belongs solely to the realm of dreams. It was a ritual of long galactic fluctuation, where the mystical sound of the flute was filtered and expanded by the Aureal system, a device capable of breaking it down into cascades of aureal harmonies. Through its extemporaneous approach, the music transforms perceptions of ancient pyramids or tropical forests into phosphorescent nebulae, luminous fountain openings, and unprecedented planetary interstices—interstellar portals leading to new archetypal-ancestral visions. It feels like sailing through colored orbits in the red gases of Jupiter and Mars, lost and dissolved forever in the engines and gears of the most secret cosmos. Between Pink Floyd-esque psychedelic flashes and Tangerine Dream-inspired sidereal architectures, Maioli and Zandijik reveal the most phantasmagoric and unknown side of Sound Reporters.

Ltd edition in transparent yellow vinyl!



The Mystery Lights 2nd outing on Daptone's rock subsidiary, Wick, sees them digging deeper into their cavern of influences, taking on tips from Suicide, The Kinks and Television as they look to build on their already party fuelled, raucous sound.

The Mystery Lights story begins in 2004 in the small town of Salinas California when friends Michael Brandon and Luis Alfonso -whose shared fondness for groups like The Mc5, Velvet Underground, Dead Moon, and The Fall (just to name a few) -decided to join forces and craft their own brand of unhinged rock and roll. From there they spent the better part of 10 years touring relentlessly before migrating to Queens, New York in 2014.

With a live show known for its raw, visceral energy and relentless assault –leaving little to no stoppage between songs –they barreled through countless NYC haunts and DIY venues, quickly amassing a fervent local following. The buzz soon caught the attention of Daptone Records execs who were in the beginning stages of launching a new rock-centric imprint, Wick Records. Impressed by the groups’ musicianship, groove, endless supply of energy, and understanding of musical history the Mystery Lights were quickly signed to Wick. Though a rock band at heart, the parallels to what Daptone Records had traditionally looked for in their Soul artists was undeniable. Soon sessions were booked with Producer/Engineer Wayne Gordon, and the release of their debut single “Too Many Girls” b/w “Too Tough to Bear” launched to mass critical fanfare.

Upon the release of their self-titled full-length on June 24th 2016 The Mystery Lights were quickly crowned “one of New York’s finest garage rock bands” by NME. Extensive touring, including multiple stops in Europe, Asia and Australia followed which found the group graduating from support slots at hole-in-the-wall clubs to headlining stages at major festivals worldwide.

After two years of break-neck, non-stop touring, the group settled back into Queens to prepare for their second full-length record, Too Much Tension(out May 2019). With Wayne Gordon in the producer’s chair and several intense writing sessions under their belt the group were back at Daptone’s House of Soul and ready to track. While keeping the hard-hitting approach of the first LP, Too Much Tension finds the group digging deeper into their well of eclectic influences, enriching their sound without echoing the past. Mixing the eerie, insistent synth sounds of groups like The Normal and Suicide, the energy and swagger of punk’s golden age, the pop sensibility of The Kinks, and the stark, deliberate execution of Television -The Mystery Lights are taking their idiosyncratic brand of rock and roll to dizzying new heights.