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Hania Rani is a pianist, composer and musician who splits her life between Warsaw, where she makes her home, and Berlin where she studied and often works. She has written for strings, piano, voice and electronics and has collaborated with the likes of Christian Löffler, Dobrawa Czocher and Hior Chronik, and released an album with her Polish group teskno last year. She has performed at some of the most prestigious venues in Europe - from the National Philharmony in Warsaw, to Funkhaus in Berlin, to The Roundhouse in London (where she made her debut at the Gondwana 10thanniversary festival last October) and at festivals such as Open'er, Scope Festival and Eurosonic. Her compositions for solo piano were born out of a fascination with the piano as an instrument, and her desire to interpret its sound and harmonic possibilities in their entirety and in her own way.

LP comes with heavy weight reverse board sleeve including a double sided printed insert plus digital download code.

Esja is her debut solo album and for Rani it is her first, real, personal statement as an artist. "No hiding behind the "collaborations" or "projects" anymore. For the very first time, finally - just me, as I am".

Recorded at Rani's apartment in Warsaw (the piano room has a beautiful reverb and the space has become part art studio and part sound laboratory for Rani) and at her friend Bergur Þórisson'sstudio in Reykjavik, Esja is a series of beautiful melodic vignettes. Sensual, sensitive, rhythmic, atmospheric, free but harmonious, beguiling and hypnotic, collectively they project a sense of unlimited space and time.

Expect support from accross the media spectrum from Mojo to Uncut and Gilles Peterson and Mary Ann Hobbs on 6 Music to Radio 3 and beyond. Full servicing to the Gondwana Records datebase.

2024 repress

In February 2021, Jan Jelinek's seminal album "Loop-Finding-Jazz-Records" turned 20. The anniversary repress, a double LP with two bonus tracks (B-sides from the Tendency EP, 2000), is a little late to the party.
What the press said about Loop-Finding-Jazz-Records:
“Don’t be misled by the title, though for there isn’t a finger-snapping rhythm c bebop lead anywhere on the album. Instead, Jelinek chooses to explore the visual effect moiré - two shifting patterns creating an implied third dimension - in the audio realm.” (Alternative Press)
“The title acts as explanation for the studio technique that provided the basis for this album, snippets of other people’s arrangements deconstructed through a sampler into loops and then splashed onto an audio canvas.” (ATM)
“Jelinek’s sound evolved out of his dislike for (and inability to play) keyboards.” (RPM)
“Jelinek has abstracted his sources beyond recognition, looping his millisecond samples into flickering patterns of sonic moiré laid atop a dub Techno framework. (...) Jelinek might as well have sampled a horn player’s hissing intake of breath – it would have been ‘jazz’ enough for his purposes.“ (The Wire)
“It’s a perfect inversion of conventional music, a sonic negative. Everything that would typically be foreground is moved back or pushed off the screen altogether, and the flecks of sonic debris that would normally be covered by other sounds are left to carry the melody and rhythm.” (Pitchfork)
“All you need to know is that these onomatopoeic non-specific songs (...) are warm, paradisical creations”. (NME)
“Listen carefully and you’ll hear textures slowly unfolding and mutating. Presuming you’ve not fallen asleep of course.” (iDJ)
“At times, it’s all a bit dripping tap Japanese water torture; so sedentary it drowns in its own motionlessness” (DJ)
“Loop Finding Jazz Records' is a genuine modern classic whose re-release is anything but a cynical mortgage repayment exercise. Consider this a second chance, then pretend you had it all along.” (Boomkat)
PS:
“I’ve been fortunate enough to see Jan Jelinek live once, at Tonic NYC (...). Wearing a black and white striped shirt, he looked like a nihilistic Charlie Brown.” (beachsloth)

San Francisco Power Violence underground legends, Spazz. 64 tracks from 1993-1996 compiled from splits with Charles Bronson, Brutal Truth, Rupture, Floor, and more plus the debut EP, tracks from a bunch of comps including “Better Read Than Dead” and live at KFJC and 924 Gilman St. Everything remastered, or in some cases mastered for the first time by Dan Randall at Mammoth Sound. Originally released on Slap A Ham Records in 1997 and out of print for over 15 years.

REMASTERED version of the Earthless epic live at Roadburn 2008- "This double gatefold LP, recorded at Roadburn Festival in 2008, celebrates the psychedelic powerhouse that is Earthless in all their mind-splitting live glory. In fact they put in one of the best live performances I'd ever seen." - The Sleeping Shaman

Orange vinyl, limited to 200 copies. REMASTERED version of the Earthless epic live at Roadburn 2008. "This double gatefold LP, recorded at Roadburn Festival in 2008, celebrates the psychedelic powerhouse that is Earthless in all their mind-splitting live glory. In fact they put in one of the best live performances I'd ever seen." - The Sleeping Shaman

Helsinki's We Jazz Records presents "Ateneum 2019", part 2 of their ongoing "We Jazz Live Plates" series documenting the label's live activity. Recorded at the historic Ateneum Art Museum in Helsinki during spring 2019, the intense live compilation brings together three acts on the label's roster: Timo Lassy & Teppo Mäkynen, OK:KO and Alder Ego, each performing two tracks here.

OK:KO opens proceedings with their sound electrified by Toomas Keski-Säntti changing from piano to Fender rhodes, a little touch that opens up new avenues in their sound. The band who made a big splash with their 2019 debut album "Syrtti", present energetic new versions of the title track and the looping "Piik". Alder Ego, led by drummer Joonas Leppänen, shifts gears with a new deep version of their 2018 album track "Cubism", and add a new track "Mystery Room Nr. 6" into the mix. Timo Lassy & Teppo Mäkynen strecth out their compact tracks "Fallow" and "Goldenrod", which grow into new lenght and depth in the live setting.

"Ateneum 2019" released together with "Lonna 2019", We Jazz Live Plates vol. 3, is an inspiring example of the active and high quality jazz scene in Helsinki.

Just as the traditions of great folk-country songwriting come around again to newfound popularity via Zach Bryan, Tyler Childers, Sierra Ferrell and other practitioners, Barsuk releases a 20th-anniversary pressing of Rocky Votolato’s brilliant and beloved album Makers. Featuring “White Daisy Passing,” “Portland Is Leaving,” “Tinfoil Hats,” “She Was Only In It For The Rain” and 8 more indie classics, the release is packaged in a gatefold jacket with updated artwork, a lyric insert and a beautiful multicolored black & blue with white splatter vinyl pressing. Download code features the full album and 10 bonus tracks: the 3-song End Like This EP plus 7 previously-unreleased tracks including 4 demos, 2 never-before-heard outtakes, and a heartbreaking cover of Jeff Buckley’s “Lover, You Should've Come Over"

The sunshine of Andalucía has come to the Bordello. The musical magpie that is Daniel Monaco arrives with just a hint of a Spanish accent and a daring record under his arm. Known for finding the intersections of boogie, disco, italo and house, Monaco is going that bit further with Manuel Rodriguez for the Flamenca EP. Melting the percussive drive of his machines with the spirit of Southern Spain, the four tracks on offer are a journey into a sound and style that is inspiringly original. Ruffled hi-hats and smooth basslines are the foundation for the title piece. The soul of the Sierra Nevada and the warmth of Granada pour forth through Rodriguez’s unparalleled performance. The claps of Chicago are reimagined as an interplay of melody and rhythm awakens; the traditions of Flamenco married with a modern groove. Talent and technique are coupled with pure passion in the intense instrumentation of “Fantasia” before the flip shifts with “Sìnteme.” The culture of Italy and Spain combine, taut string plucks peppered in handclaps before the Only Bee’s vocals descend. Ardent, the lyrics tell of our shared humanity through the dialect of Ischitella from the southern tip of Italy. The homes of our musicians are the inspiration for the finale. Blending the decadent splendour of Napoli with the old-world romance of Granada, Rodriguez’s guitar is the focus of “Granapoli.” Bitter-sweet, blissful and sorrowful, a lone beat wandering through the winding melody that twins these great cities. From Italy and Andalucía to Amsterdam, a 12” like few others.

Loaded with tension and anchored by bold textural and stylistic contrasts, Sam Slater’s third solo full-length finds the British sound artist, composer, and engineer grappling with his creative contradictions head-on.

Having spent a life time in bands and producing records, Sam transitioned somewhat by accident through his work with Johan Johansson into working as a composer on high profile projects such as his collaboration with Hildur Guðnadóttir on the Grammy Award-winning Joker and Chernobyl, and with Pulitzer Prize-winning journalist Mstyslav Chernov on the soundtrack to the lauded 2000 Meters to Andriivka. Having a vast set of interests and influences is an asset when helping realise a directors vision for a soundtrack, but one's own musical voice can end up being constrained. In Lunng, Slater has gone back to his wildly divergent range of influences and rather than shy away from the extremes, he's used them to create a singular vision.

Take the opening track “Heatsick”: Slater imagines an extravagant fusion of 2000s drone metal and vintage British brass, welding ear-splitting overdriven drones and blown-out choral vocals to stirring trombone swells from veteran player Hilary Jeffery. On paper, it’s hard to imagine—but Slater’s intentionality conducts these polarizing elements into a surreal blur of sonic extremes, with the guitars’ relative harshness softened by Jeffery’s eerily nostalgic colliery echoes.

His last solo album, I do not wish to be known as a Vandal (Bedroom Community, 2022), showcased this breadth by assembling a team of collaborators including Sam Dunscombe and Yair Elazar Glotman. On this record he’s linking up with acclaimed multi-instrumentalist Maria W. Horn, idiosyncratic sax virtuoso Bendik Giske, versatile percussionist Adam Betts, and the aforementioned Jeffery, Slater ushers these players toward a lattice of calculated confutations.

Working to explore the tension between the divergent practices of his collaborators—Lunng was meant to be challenging. On “Praya”, Giske’s familiar overblown horn phrases are almost vaporized, vanishing among Slater’s weightless synths and Horn’s chillingly hoarse vocals. There are traces of Horn’s Funeral Folk project, but Slater shifts the emphasis, letting her voice brush past the other elements like a hallucination.

Slater’s use of extremes isn’t just in the micro; dynamics drive the album’s overall flow. “Praya” sets the stage for the record’s heaviest, most prickly moment: “Passengers”. Here, Horn’s voice cracks, rasps, and gurgles over serrated synths and Betts’ ritualistic drums. Slater turns an industrial symphony into a folk opera—dark, dramatic, and strangely beautiful—etched with Giske’s fluttering phrases.

But the mood soon shifts. Slater careens toward chaos, unleashing double-time rhythms and piercing textures familiar to anyone with a soft spot for classic black metal. These grotesque incongruities are deliberate; Slater surveys years of musical conflict and leans in, using dissent as fuel to build kinetic energy.

The weight of sentimentality bears down on “Black Metal Rewind (Night Drive Astra, 2006)”, melting teenage memories into hypnagogic ambience—shoegaze dreams whirled with angelic choral delusions. On “Death by Nostalgia, 1688”, he ventures further into polarizing territory, distorting AutoTuned voices with cryptic strings and medieval tonalities, unsettling any stable sense of past or present.

In this record Slater focuses on pure energy, color, and mood. Lunng distills years of listening into a bracing brew—boiling each sound down to its essence, then serving it with unflinching intent.

John Twells, 2025

Splendid Hardcore musicians meeting !
Defenitely sexy beats and sounds shaped into a double LP full of love !

Rote splatter Vinyl. Nach über 16 Monaten ohne frische Musik sind KAFFKIEZ zurück und kündigen direkt ein neues Album für den 30.01.2026 an. Noch vor 5 Jahren waren die Shows dieser Band nur von Freunden & Verwandten besucht. Mittlerweile finden die Familientreffen der Rosenheimer Bande in großen Hallen statt und die ansteckende Leichtigkeit der Band verbindet weit über ihre Musik hinaus. Wie die Nachbarsjungs, mit denen man immer noch gerne eine Runde um den Block dreht, stehen KAFFKIEZ für eine durchdringende Befreiung von Alltagslasten und ein Augenzwinkern, das die Sorgen auf morgen vertagt. Die Jungs der Band machen klar, um was es ihnen geht. WIR. Ein Album das Zusammenhalt und Gemeinschaft durch und über die Musik hinaus manifestiert. Eine Einladung an alle Fans von lebenshungrigen Gefühlen, langen Sommerabenden und treibender Leichtigkeit. Wer schon länger Teil der KAFFKIEZ Family ist, wird sich über die gut bekannten und unaufhaltsam nach vorne marschierenden Rhythmen & die schrammelnden Gitarren direkt abgeholt fühlen. Doch der Sound des kommenden & dritten Studioalbums der Band hat an Druck und Kraft gewonnen. Elemente wie Bläser und Synths strecken die Hände in neue Richtungen aus ohne zu vergessen, wo sie herkommen. Ein Familienausflug der Extraklasse.

Clear Red with Black Splatter

The Ruins Of Beverast narrate fables of the darkest secrets in human history and present. ‘Tempelschlaf’ is The Ruins Of Beverast’s seventh full-length output and sees the band continue with their sonic morbidity, noises and melodies of a human habitat in its sunset era, while maintaining and refining the widescreen low end that has been sustaining their sound from the beginning. On the instrumental side, ‘Tempelschlaf’ is stripped of some fat, forging the songs with a reduction in length and layers, cautiously leaning towards the stage part of things. While synths and samples have always played an adamant role in The Ruins Of Beverast’s sound, they reach yet another level of psychedelia and insanity on ‘Tempelschlaf’. The Ruins Of Beverast were formed in early 2003 and named after the most bloodcurdling occasion of the collapse of the giant bridge Bifröst. This incident bears analogy to the musical aura of The Ruins Of Beverast, which builds a sonic landscape of massive, surreal, barren mountain formations. Seven full-length albums and several EPs, splits and compilation releases have been published through Ván Records so far. As a live act, The Ruins Of Beverast became a strong force after Roadburn 2013, a festival the band have played again since with exclusive shows. The Ruins Of Beverast have embarked on several European tours with acts like 1349, Grave Miasma and King Dude, as well as a highly acclaimed US tour that eventually concluded with an iconic show at Fire In The Mountains festival. The band have played such well-established club shows and festivals as Hellfest, Inferno, Incubate, Party.San Open Air and Beyond The Gates, to name just a few.

In 1991, Chris Whitley made his debut with the beautiful album Living with the Law, which immediately showcased his brilliant songwriting and unique guitar playing. Blending blues, roots and folk, the debut was positively received by critics and aficionados of these more traditional genres. Growing up, Whitley listened to Southern radio, which played artists such as Muddy Waters, Howlin' Wolf, Bob Dylan and Jimi Hendrix. His career started by playing with artists like Arto Lindsay and Michael Beinhorn. Interestingly, Whitley lived in Belgium for a short time in the 1980s, where he started his career playing guitar for 2 Belgen and Nacht und Nebel. In the 1990s, he started his solo career at Kingsway Studio in New Orleans, owned by none other than Daniel Lanois. The result was an album characterized by the use of traditional instruments such as the slide guitar and banjo. All of this is accompanied by his splendidly timbred voice and honest lyrics exploring themes such as freedom, desire and human struggle. Sadly Chris Whitley passed away in 2005, but his influence on contemporary songwriters and blues artists remains strong. a_Living with the Law is available as a 35th anniversary edition of 1000 individually numbered copies on gold coloured vinyl and includes an insert.

Released in partnership with our friends at Neon and Filmtrax to release Edo Van Breemen’s score to Osgood Perkin’s latest horror hit The Monkey. Based on the Stephen King short story produced by James Wan (The Conjuring, Saw), The Monkey is a new trip by Longlegs writer/director Osgood Perkins. When twin brothers find a mysterious wind-up monkey, a series of outrageous deaths tear their family apart.

Twenty-five years later, the monkey begins a new killing spree, forcing the estranged brothers to confront the cursed toy. The score is as playful as the movie itself, whimsical when it needs to be, but also managing to be terrifying and tense.

Lenticular edition strictly limited to 1000 copies pressed on brown & green split vinyl, housed in a printed outer O-Card. Composer Edo Van Breeman told us that when they were recording the score, "Mr. King’s Monkey haunted our process for the entire duration of post-production on this film while Mr. Perkins possessed us to mutilate sounds and arrangements in a manner beyond our control. We hope you enjoy this record, and if not... shit, man, that sucks.”

Although they emerged from Melbourne bayside outer suburbs onto the local live scene with their fresh and spirited indie-rock update of the garage-beat sounds of The Easybeats, Kinks and early Beatles only a year or so ago, Gnome actually started out as a bedroom solo project for teenaged singer/songwriter/ guitarist Jay Millar a few years back. Jay, playing everything himself, started recording and releasing a steady succession of material - quite a few albums' worth - on his own Goblin Records label via Bandcamp. Realizing he needed a band to start playing out, Jay approached some like minded players from Frankston's rehearsal hub Singing Bird, and with Jay on lead vocals and lead guitar, Ned Capp on guitar, Olly Katsianis on bass, and Ethan Robins on drums, Gnome became a band.

Early in 2025, the last solo Jay recordings released under the Gnome name caused something of an international underground sensation when the Bandcamp only I Like It EP - four songs of kranked up Kinks-style mono riffage - was posted by a Spanish garage-punk YouTube page and quickly clocked up over 50,000 views.



At the same time, the band quickly began gaining attention on the thriving Frankston scene and around Melbourne. They started breaking out, sharing bills with the likes of Drunk Mums, Skegss, Split System, The Prize, The Unknowns, Cosmic Psychos, Hockey Dad, Guitar Wolf, The 5.6.7.8's, The Breadmakers, Loose Lips, fellow Frankstoners/Singing Bird alumni The Belair Lip Bombs, and, on a quick trip to Sydney, Cammy Cautious & The Wrestlers.

And now, finally, we have The Gnomes' debut album. Twelve killer tracks that combine the best of the '60s with the best of today. Twelve killer tracks that show off assertive and accomplished songwriting, singing and playing and an explosive and authentic swinging group sound. Twelve killers slices of raw rock'n'roll running the gamut from the savage Rhythm & Blues of "Play With You" and “Better With You” to the vibrant beat pop of "I'll Be There" and "I'm Not The One", with forays into the heavy reverb psych of "Stung", the Cavern/Star Club stylings of "Flippin' Stomp" and the first flyte jangle of "Time Will Tell" along the way. There’s more of course, including a new version of that Kinks-style kranker “I Like It” for good measure.

Frankston’s Fab Four are taking their sound to the world. Join them for the ride!

On Air is the second solo release by Alan Parsons following the split of The Alan Parsons Project. One of the creative forces was APP long-time guitarist Ian Bairnson. The concept of the album revolves around the history of airborne exploration.

The theme of “Too Close to the Sun” is escaping the labyrinth of the Minotaur. “Brother Up In Heaven” is an emotionally driven song, about the unfortunate death of Ian Bairnson’s cousin. “One Day To Fly” is a song about Leonardo da Vinci’s search to design a flying machine.

A who’s-who of lead vocalists are featured on this album; Christopher Cross, Eric Stewart, Neil Lockwood, Steve Overland and Graham Dye. The amazing looking artwork was recreated for this vinyl edition by none other than Peter Curzon of Storm Studios. Although On Air might be the most underrated Alan Parsons albums, many consider this as one of his best albums. The package includes an insert with lyrics and pictures.

Technological agitation. Narcissism fatigue. A galaxy of isolation. These are the new norms keeping Weyes Blood (aka Natalie Mering) up at night and the themes at the heart of her latest release, And in the Darkness, Hearts Aglow. The celestial-influenced folk album is her follow-up to the acclaimed Titanic Rising. (Pitchfork, NPR, and The Guardian admiringly named it one of 2019's best.) While Titanic Rising was an observation of doom to come, And in the Darkness, Hearts Aglow is about being in the thick of it: a search for an escape hatch to liberate us from algorithms and ideological chaos. "We're in a fully functional shit show," Mering says. "My heart is a glow stick that's been cracked, lighting up my chest in an explosion of earnestness." And in the Darkness, Hearts Aglow opens with the wistful, winsome "It's Not Just Me, It's Everybody," a song about the interconnectivity of all beings, despite the fraying of society around us. "I was asking a lot of questions while writing these songs. Hyper-isolation kept coming up," Mering says. "Our culture relies less and less on people. Something is off, and even though the feeling appears differently for each individual, it is universal." Other tracks follow in kind. The lullaby-like "Grapevine" chronicles the splintering of a human connection. The otherworldly dirge "God Turn Me into a Flower" serves as allegory about our collective hubris. "The Worst Is Done" is an ominous warning, set against a deceivingly breezy pop melody. "Chaos is natural. But so is negentropy, or the tendency for things to fall into order," she says. "These songs may not be manifestos or solutions, but I know they shed light on the meaning of our contemporary disillusionment."

5 Year Anniversary of Jme's follow up to Integrity; a release like no other.......over half a dozen videos, an exclusive cinema screening tour, which had a physical only release launch featuring various limited formats and much more.....the rules of a 'release' were broken once again.
Features on the album include Skepta, Giggs, Wiley, P Money, Big Zuu, Shakka, President T and Merky Ace whilst production comes from the likes of Preditah, Tre Mission, S-X, Blay Vision, Lewi B, Splurt Diablo, Deeco and of course Jme himself.

After being part of the inner circle of the ESHU family for many many years, finally it's time for Yasin Engwer's solo debut EP. His first contributions date from 2012 when SYS released their first EP on ESHU, the production trio consisting of Sinan Alakus, Steven Siwalette and Yasin. Also a recent collaboration with Jocelyn was released on ESHU and he's an important part of the mega producer crew Dilated Pupils that has been releasing beats since 2014. His long going career and hard work now finally gets rewarded with his own Onyx EP. A carefully curated club pack of razor sharp, minimalistic dub house. It's been selected by digging through 10 years of unfinished beats on long lost hard drives. And of course, it also includes collabs with his SYS crew and fellow Nijmegen producer Space Ventura. It's a classy collection of dub driven, forward pushing, tech grooves in typical ESHU fashion. An EP that's been long overdue, but perfect on time.

A vinyl soundtrack for GQuuuuuuX (Geku Axe) is now available!

"Mobile Suit Gundam GQuuuuuuX" is a new Gundam series, a collaboration between Studio Khara, the creators of the "Evangelion" series,
and Sunrise, the creators of the Gundam series. The pre-release theatrical version was released in January of this year, becoming a huge hit,
grossing approximately 3.4 billion yen and attracting over 2.06 million viewers.
The TV broadcast began in April, and it became one of the most talked-about anime titles of the spring.
A vinyl record featuring a selection of the soundtrack from "Mobile Suit Gundam GQuuuuuuX," including the music used in the pre-release theatrical
version, is now available. The music was co-produced by Junsei Terui, known as a member of the bands "Haisui no Nasa" and "siraph" and
Masayuki Hasuo, also a member of "siraph," and composer of the anime "Jujutsu Kaisen" series and the live-action film "Showtime Seven"
The music, which includes pop, electronica, and minimal music that fits the worldview of the work, will allow you to experience a new "Gundam"
sound. The LP label side is colored vinyl (splatter disc) and it is a set of two discs!

Following his debut EP God Iz Enough, South London artist Tomi Ahmedeus unveils “Sereniti Praya” a striking new chapter that deepens his sonic identity. Once again collaborating with Grammy Award-winning engineer IRKO, Ahmedeus crafts an immersive soundscape where brutalist textures, cinematic layers, and visceral rhythms converge. At it's core, Sereniti Praya is both dance driven and emotionally resonant: intricate sampling and percussive detail form the cadence of a project that speaks to love, loss, and self-discovery.

It is a record that moves between the personal and the ephemeral, designed as much for reflective listening as for the energy of the dance floor.

We are excited to present Griffé's next release, a powerful solo debut from BOOH. Following his recent appearance on a split EP with Outdom, this marks his first full solo project. BOOH is also the founder of BooOOo Recordings, a label he created with his sister Bousti. His music, blending electro and techno, is designed for the dancefloor—pulsing, energetic, and meticulously produced. A fresh but prolific talent, BOOH’s sound is one to watch, and you can expect more from him soon on other prominent labels within our scene.

A chopped-and-screwed love letter to the sounds of rebajada – half-speed cumbia, pioneered by Sonido Dueñez in the 1990s, and born from an overheated turntable motor that didn’t make the crowd stop dancing. With Debit’s treatment, rebajada becomes an ethereal, at times intense ambient tapestry that’s also a history lesson.

Spend any amount of time pacing the streets of Monterrey, the bustling city in the north of Mexico where Delia Beatriz, aka Debit, grew up, and you’ll be sure to catch traces of cumbia echoing from Bluetooth speakers, DIY soundsystems, or car stereos. An Afro-Latin dance form and »practica cultural« originating in Colombia in the early 19th century, cumbia evolved rapidly in the early 1900s, as a localised sound played on drums and flutes quickly modernised to integrate European instrumentation like the accordion. When it reached Mexico in the 1940s, the sound shifted again, fusing with mariachi styles and integrating further vallenato folk elements. Eventually, cumbia spread across the entirety of Latin America, splintering into a spectrum of different musical styles such as chicha in Peru, and cumbia villera in Argentina. And over in Monterrey, cumbia inadvertently found its own idiosyncratic groove.

From the 1950s to the 1970s, waves of immigrants from across Mexico and Latin America headed to Monterrey to find work, making a home in Colonia Independencia. Colombian cumbia records, shipped in from Mexico City, Houston, and Miami, became the soundtrack of the neighbourhood, relaying familiar stories to a rural working class adjusting to their new industrial reality. The sound struck a chord with locals, and huge street parties hosted by ramshackle soundsystems known as sonideros unified the diverse community. So when cumbia rebajada materialised serendipitously in the 1990s, it emphasised and highlighted the memory distortions at the heart of the immigrant experience. Local record collector, selector, and sonidero Gabriel Dueñez had been playing cumbia for hours one night when disaster struck: his turntable’s motor overheated and slowed down, turning the music into a warped groan, with half-speed voices echoing over wobbly accordion drones and splashy drums. But the crowd kept dancing, and Sonido Dueñez realised he’d struck gold – cumbia rebajada was born.

Over the next few years, he dubbed a popular series of mixtapes, hawking them at the flea market on the dried-up Santa Catarina riverbed beneath El Puente del Papa, the bridge that links downtown Monterrey with Independencia. These woozy archives became the stuff of legend, poetically but subconsciously shadowing DJ Screw’s series of epochal cassettes that appeared over the border in Houston. Beatriz uses Sonido Dueñez’s first two tapes as the starting point for »Desaceleradas«, entering into a dialogue with time, culture, and geography as she recalls the sonic ecosystem that surrounded her decades ago, long before she emigrated to the USA. If 2022’s acclaimed »The Long Count« was an attempt to recover concealed pre-Columbian history in the face of colonisation, »Desaceleradas« jumps forward, figuring out how memory and shared celebration can resist a more contemporary form of cultural erasure. As AI systems scrape, blend, and decontextualise culture around us, leaving vapid slop, »Desaceleradas« proposes a slower, more careful, and ultimately more human kind of engagement. It’s an archive with a pulse.

HiIDAS ist ein instrumentales Trio aus München, das sich im Doom Metal verortet, aber dessen Grenzen gerne überschreitet. Gegründet hat sich die Band im Frühjahr 2023, Flo Bätz (Gitarre), Christoph Mühlbauer (Drums) und Richard Noyn (Bass) haben allerdings schon in verschiedenen Bands zusammengespielt und machen somit schon jahrelang Musik zusammen. Dies zeigt sich darin, was für eine tighte Einheit sie sind und das erlebt man am besten auf einem ihrer Live- Konzerte. Die vermeintliche Lücke im Sound und Storytelling einer Instrumentalband verstehen Hidas durch ihr intelligentes Songwriting nicht nur zu schließen, sondern zu ihrer Stärke zu machen.

Our director, Joe Stephenson, was looking for a bold, gothic, and dramatic score mixing traditional Hammer Films tropes with a modern sensibility.

Much like Jekyll and Hyde, this is a score of two parts, recorded with two different orchestras - the Budapest Art Orchestra and The Royal Scottish National Orchestra.
This helped to emphasise the split personality of the score: switching from sparse, haunting horror to the operatic gothic explosions we hear towards the end of the film.

A 30-person choir helped achieve a sense of scale where needed, and Hyde’s textural effects are performed on a variety of rare archaic instruments such as the Viola Da Gamba and Stroh Violin which help to evoke the sense of an ancient evil.

With a gorgeous smoky coloured vinyl, and Sean Longmore’s stunning bespoke artwork, this is a limited release that I’m eagerly awaiting to display on my own shelf.
The future of Hammer Films is bright, and I’m thrilled that fans can celebrate its rebirth with a score that honours the past while eagerly stepping into a new era." - Blair Mowat

Die Musik von Bobby Krlic (aka The Haxan Cloak) und Daniel Pemberton für den Film Eddington auf rot-blauem Split-Vinyl. Mit Original-Artwork von Matt McCormick. Kommt mit einem ,Keep Honking"-Autoaufkleber. Eddington ist eine schwarze Komödie und ein moderner Horror-Western von Ari Aster. Der Film mit Pedro Pascal, Emma Stone, Austin Butler und Joaquin Phoenix in den Hauptrollen spielt in einer Kleinstadt in New Mexico während der Corona-Pandemie. Der Film feierte im Mai 2025 bei den Internationalen Filmfestspielen in Cannes seine Premiere und wurde dort für die Goldene Palme nominiert und kam im Juli 2025 in die US-amerikanischen und im November 2025 in die deutschen Kinos.

“Innovative, hooky and full of depth” - Far Out Magazine

“Songs that lodge into your brain in the opening ten seconds” - Brooklyn Vegan

“Breezy, melodic… a clear ear for a hook” - UNCUT

“Playful and unexpected, emotional but not overstated” - CLUNK

‘Crows’ is the new single from Bristol’s Langkamer and the first to be revealed from their new album ‘No’, which is due for release on 22nd January 2026. Their fourth album in as many years, ‘No’ saw the prolific band taking to the mountains at the invitation of veteran producer Remko Schouten (Pavement, Personal Trainer, Bull). The much loved Bristol band holed up for a week in the wilds of Southern Spain at his brand new Zarzalico studio. Over a week, under the Murcian heat, they laid down the perfectly formed eleven tracks that make up ‘No’.

Since the band’s conception, Langkamer have worked out of anywhere affordable and available, whether it be the basements of renowned venues (‘West Country’, ‘Red Thread Route’, ‘Langzamer’) or secluded cottages (‘The Noon And Midnight Manual’). Over the years, their frenetic pace and quality of writing has earned them fans across the world, plaudits at UK media, and built an ever-growing musical community around them - not least via Breakfast Records - the independent label that is home to Getdown Services - formed by Langkamer’s Dan Anthony and Josh Jarman in 2006 alongside acclaimed singer-songwriter Jasmine 4.T.

To call Langkamer ‘your mid-level indie bands favourite mid-level indie band” sells them short. They have always scraped by on irregular incomes, plagued both by daily financial pressures and the occasional cash sinkhole so well known to any musician in the current impossible climate. Once Schouten offered to host them at his new studio (Zarzalico), they couldn’t refuse. A relentless recording schedule found the group only breaking for the daily long lunch and to occasionally fire an airgun across the hills. If the last half a decade had been a pressure cooker of constant touring and recording, their brief time in the remote Zarzalico could not have been more symbolic. Lead single ‘Crows’ perfectly captures this nervy balance and is a wiry slice of atmospheric proto-punk, drawing from the shadows of the late-70s UK landscapeit also defies these conventions, striking an anthemic chord from beginning to end. From the scaling chromatic guitars at the breakdown, to the final chants of ‘suffer’ and ‘struggle’, there’s a loud desperation and defiance to ‘Crows’ that lends it an unparalleled urgency. As singer/drummer Josh Jarman states:

“Crows is a song about the crazy shapes we contort ourselves into trying to create art in the era of late-stage capitalism. Working a thousand jobs. Writing songs with the left hand while writing emails with the right hand. Your day is already doomed the moment you open your eyes. Everything’s a bad omen.”.

With ‘No’ arriving early next year, ‘Crows’ is the perfect introduction to Langkamer, a band that has only taken new bold steps with each release, always hiding a keen experimentalism behind a charming hook. It is also the surest sign yet that they are ready to step up, and take on the road once again vision unclouded.

Splattered LTD EDITION

Trackwahser side bring a crazy romance, mystic call for a tribal dancefloor banger ! Legend !
Second tune, in collab with Boubou, member of Antinorm-17 Sound System back in the years... The oldschool Acid excitation supported by a thick Hard Techno kick. Put some electricity in the air, be Deter-Mina !

With Roland K side you will get 2 Hardtek missiles !
The first track delivers a high-energy, fast-paced, and punchy vibe, perfect for rocking the dancefloor.
The second, a collab with Darth Leng, takes the energy even further with an explosive mix of styles and unrelenting power.
Tracks designed to get parties rocking and boost good vibes to the max!

2026 Repress

P.E.A.R.L.'s Falling Ethics imprint reaches release number 25. For this special occasion he invites personal favourite and good friend, icon of the Spanish techno scene, Oscar Mulero. After a first appearance on the label back in 2019 it was long overdue to present their follow up split EP. Both producers are known for their forward-thinking, optimized techno pressure and on 'Above Us Today' they show nothing less. Four perfectly shaped, effective techno hitters in their own iconic style. Mulero with his twisted hypno swing and P.E.A.R.L. working his impeccable high-energy grooves make this an essential techno pack.

Before he turned 20, Lô Borges released one of the most captivating albums to come out of Brazil's rich musical landscape - a record that somehow flew under the radar at the time but has since become a cult favorite for listeners around the world. Recorded in the same whirlwind year as the legendary "Clube da Esquina" - the groundbreaking collaboration with Milton Nascimento and Beto Guedes - this self-titled solo debut finds Lô Borges in full creative flight. Pressured by Odeon Records to deliver a solo project, Borges responded with a burst of youthful brilliance, sometimes writing a song in the morning and laying it down in the studio that very night. The result? An album that's spontaneous, heartfelt, and sonically stunning. From the shimmering guitars of 'Você Fica Melhor Assim' to the dreamy melodies of 'Cançao Postal' and the jazz-infused groove of 'Calibre,' the album blends Brazilian popular music with rock, soul, and subtle psychedelic touches. It's got the intimate spirit of a bedroom recording, but with the musical sophistication of legends - with collaborators like Toninho Horta, Tenorio Jr., Nelson Angelo, and of course, Beto Guedes helping bring Borges' vision to life. Fans of Caetano Veloso, Gilberto Gil, or early Nascimento will feel right at home here - but Lô Borges brings his own voice, at once tender and electrifying, to every track. The guitars are fuzzy, the harmonies rich, and the songwriting nothing short of magical. Though it didn't make a splash in 1972, "Lô Borges" has only grown in stature over the years. It's the kind of album you discover once, then return to again and again - a timeless treasure from a young artist who helped redefine Brazilian music from the ground up. If you're into warm, soulful songwriting with a touch of experimental edge, this record is waiting for you. Give it a listen - and see why "Lô Borges" is considered one of Brazil's most underrated masterpieces. Reissue on 180g vinyl.

A band that quit at the top... but now they're back! Sun-Rot was one of the most promising acts of the Hungarian indie scene with their floating, soulful, dreamy, yet psychedelic sound reaching it’s peak on their 2023 album, Mirage. Unfortunately, the band split up just after the album's release, however, after a two-year hiatus,

they have now reunited and are already working on new material. Budabeats Records is not letting Mirage be forgotten by releasing this little gem for the first time on vinyl, in the form it rightfully diserves: on 180 gram marbled vinyl, limited to 200 copies worldwide.

Credits:

Vocals: Míra Mészáros
Guitars: Péter Mónos, Gergo Balla
Bass: Gergo Dorozsmai,
Drums: Timár Benjámin
Music by Péter Mónos, Benjámin Timár, Péter Gál
Cover art by Máté Kováts, Péter Mónos
Sleeve layout: Miklós Fekete
Recorded, mixed and mastered at Tom-Tom Studios by Gergo Dorozsmai
Mastered by Anders Peterson (GS Mastering & Post)
A&R: Dj Gandharva & Von Yodi

Step into the ethereal soundscape of Mark Vernon's LP, "The Dramaturgy of Decay." Reminiscent of early fears surrounding recording technology, the album explores ghostly voices, distorted and elusive. Vernon's sonic cinema mirrors the decay found in ruined films, capturing the essence of disappearing places and voices. Amidst themes of death and environmental destruction, the album maintains a delicate balance with humor and familiarity. Through snippets of reworked audio letters, it unveils a soundscape of forgotten moments, extracting life from the transient. "The Dramaturgy of Decay" is a beautifully haunting reflection on time through sound--an otherworldly musical experience for the present.

Rich musical history of Yugoslavia reveals a long-lasting love for the music of Latin America.
Entwined in Afro-Cuban rhythms, ballrooms were shakin', swayin' and swingin', gathering musicians who were heavily into jazz bands and orchestras, most notably in Ljubljana, Zagreb, and Belgrade. Jazz could be heard on the streets of Split way back in 1919 when dancing became a symbol of freedom. Radio was the most loved household item, newest sheet music was in demand and collecting records was hip like today. In the aftermath of Second World War, jazz went underground but little by little, things changed and Ella, Satchmo, Dizzy and Miles came to visit, among others. Music festivals shaped the music for entertainment and variety of popular styles showed influences from all over the world. In the early sixties, one particular rhythm crashed on the coast of the Adriatic Sea: the rhythm of bossa nova!

In the whirlwind of various musical styles, Latin American music still played important part of the scene in the early sixties Yugoslavia. Beguine, tango, rhumba, samba, calypso, mambo and cha-cha-cha all found their place on the festivals inspired by famous Sanremo, festival of Italian popular song that largely shaped the musical taste of Europe. It was the era of instrumental rock, R & B and rock'n'roll - sounds of "imperialist America" now played freely on imported and hand-made electric guitars. While dancing halls had been turning into concert venues, bossa nova has come! Eydie Gorme with Blame It on the Bossa Nova and Paul Anka with Eso Besso (That Kiss!) tried to make us learn some new dance moves but it was Joao Gilberto's gentle singing and his new way of playing samba songs, along with Tom Jobim's modern dissonant harmonies and poetry of Vinicius de Moraes that created the magic. When American alto saxophonist and flautist Bud Shank visited Zagreb and Ljubljana in 1963 (with Boško Petrović in his quintet) "it was the first time we heard bossa nova!" remembers Stjepan Braco Fučkar. Jugoton, the biggest record company in Yugoslavia, released 4-track EP Bossa Nova by Bogdan Dimitrijević and his ensemble that same year! While not being fully accepted or understood completely, the archives of Jugoton reveal to us various interpretations of this new trend from their vast catalogue.

Vier Jahrzehnte nach ihrer Gründung schreiben Ian Astbury und Billy Duffy ein neues Kapitel in der Geschichte von The Cult. Gemeinsam mit John Tempesta (Bass) und Charlie Jones (Schlagzeug) ließen sie 2023 ihre legendäre Frühphase Death Cult für eine exklusive Konzertreihe wieder aufleben - eine Hommage an die Ursprünge einer der einflussreichsten britischen Rockbands der 1980er-Jahre. Das Ergebnis dieser intensiven Rückkehr erscheint am 16. Januar 2026 unter dem Titel "PARADISE LIVE" - ein 16 Songs starkes Live-Album, aufgenommen am 18. November 2023 in der ehrwürdigen Albert Hall in Duffys Heimatstadt Manchester. "PARADISE LIVE" erscheint als Doppel-LP im exklusiven "Black on White"-Splatter-Design, auf CD sowie digital. Das edle Artwork zeigt ein schwarz auf schwarz geprägtes Schmetterlingsmotiv - entworfen von Ian Astbury und kunstvoll neu interpretiert von Carter O"Sullivan (Beggars Art Department). Die Black-Splatter-Edition ist ausschließlich über den Band-Webshop erhältlich, während die White-Splatter-Edition im regulären Handel erscheint. Der Weg von The Cult begann 1981 mit Southern Death Cult, deren gleichnamiges Album posthum 1983 erschien. Noch im selben Jahr gründeten Astbury und Duffy Death Cult - der Beginn einer kreativen Partnerschaft, die seit über 40 Jahren Bestand hat. Bereits 1984 entwickelte sich daraus The Cult, die im selben Jahr ihr gefeiertes Debüt "Dreamtime" veröffentlichten. Mit "PARADISE LIVE" schließen Astbury und Duffy den Kreis - ein intensives, authentisches Live-Dokument, das Vergangenheit, Gegenwart und Zukunft einer außergewöhnlichen Band miteinander verbindet.

Attention Italo-disco junkies: Disco Segreta is back, and we’re kicking off our 10th-anniversary celebration in style with a release you simply can’t miss. We’re beyond excited to present the official reissue of Cecilia Rizzoli’s iconic single, “Così non va”—a tearjerker Italo-disco masterpiece that has haunted the dreams of collectors for decades.

Originally released in 1985 in an ultra-limited run of just 500 copies split on two cult labels, Scarabes Sound and Discokkio, this gem became a mythical treasure for those dedicated diggers uncovering the rarest Italo disco tracks. “Così non va” blends hypnotic Juno synth lines, punchy Linndrum beats and airy arpeggios with Cecilia’s emotionally charged vocals, creating a soundscape that’s pure melanchol-Italo perfection—ideal for winter nights and nostalgic dance floors.

For this reissue, we’ve painstakingly tracked down the original analog master, that we’ve lovingly restored and remastered to deliver the kind of pristine sound quality this track deserves. The release features the remastered original and a fresh, contemporary edit by Latino-Swedish Italo-disco legend Claudio Burgos, aka Mr. Fantasy. Secure your copy now before it disappears into collector heaven—again!

Selbst in einer Karriere voller krasser Wendungen war ,Joggers & Smoggers" (1989) echt überraschend. Während ,Aural Guerilla" (1988) ein Versuch war, die verrückte Live-Energie der Band im Studio einzufangen, was echt gut geklappt hat, war der Nachfolger ,Joggers & Smoggers" ein Versuch, fast alle Grenzen zu ignorieren. Diese 34 Songs strotzen vor grenzenlosem Eklektizismus und verbinden die legendäre Intensität der Band mit spielerischen Umwegen, literarischen Erfindungen und Referenzen sowie erfolgreichen Kollaborationen (von den Noise-Rockern Thurston Moore und Lee Ranaldo bis hin zu den in Amsterdam ansässigen Improvisatoren Ab Baars und Wolter Wierbos und einer Reihe bereits bekannter Freunde und Verbündeter). Das Ergebnis ist nicht mehr eine streng ausgeführte Reihe von Songs, sondern ein großzügiger Ausbruch von Kreativität. Auf diesem Doppelalbum kombiniert The Ex Unruhe, Verspieltheit, ethnische Einflüsse und improvisatorische Ideen, wie sie bereits auf Veröffentlichungen wie ,Dignity Of Labour" (1983) und ,Blueprints For a Blackout" (1984) angedeutet wurden. Das Ergebnis ist ihr bis dahin umfangreichstes und einzigartigstes Album, vielleicht eine ihrer wirklich ,wichtigsten Veröffentlichungen", die die Grundlage für ihre bevorstehende Zusammenarbeit mit Tom Cora bildete.

Quartet Records and MGM present the re-issue of the first official complete vinyl edition of Burt Bacharach’s timeless classic soundtrack for the 1967 James Bond spoof Casino Royale.

The infectious main theme performed by Herb Alpert and the Tijuana Brass is just the starting point of an epic comedy ride that includes such highlights as the unforgettable “The Look of Love,” sung by Dusty Springfield, or the epic fight music at the end of the film. Produced by record industry legend Phil Ramone, the original soundtrack LP offered selected highlights, expertly edited to showcase the best parts of the entire score. Thanks to the legendary sound quality of the stereo copies, this record became one of the most highly sought-after collectibles in the industry.

This straight re-issue of our 2019 vinyl edition was produced, restored and mastered by Chris Malone, rebuilding the score from the ground up. The soundtrack album has long been considered a cornerstone of an audiophile’s collection. Lauded by The Absolute Sound, the original Colgems release continues to remain in pole position as the best sounding “popular” LP vinyl disc of all time.

Malone’s work was focused on addressing unintended technical anomalies (such as filling dropouts and covering analogue splices) rather than broadly applying a modern sound palette. He has eschewed dynamic range compression and retained the brilliance of the original recording. The first LP is a fully remastered reissue of the iconic original stereo vinyl, playing in all its splendor. The second LP contains all the unreleased material, in mono, which are still the only available source to date.

This special 2xlp is a limited edition pressed on 180-gram black vinyl, all of it housed in a gatefold jacket, retaining the iconic original cover art by Robert McGinnis

2026 Repress

The clergy is pleased to introduce you to a new initiate: Birds ov Paradise. This highly anticipated Hypnus debut comes split into three separate EP's which will be released one each full moon starting October.

Some of you may be acquainted with the music of Birds ov Paradise already as he's put out two stellar records on Jens and Aniara Recordings in 2016-2017, as well as making a contribution to our podcast series The Memoir where his sound was put on a grand display. Those of you who are new to the fantastic dream world of this very talented artist will quickly get lost in the flowing rhythms that drives his magical deep techno sound.

Early support from Etapp Kyle, Ness, Slam, Iori, Refracted, Svreca, Cio D'Or and Dorisburg to name a few.

We hope that you enjoy the trip into the Bayou.

Peter Rehberg is known for his pioneering electronic work with computer software which over time evolved into a modular set up alongside running MEGO and then Editions Mego labels.

Rehberg was a prolific collaborator, with other musicians and with contemporary dance and theatre productions, most notably with French artist and choreographer, Gisèle Vienne with whom he created a series of soundtracks from Showroomdummies, released under the name DACM in 2002 (Showroomdummies MEGO 056), to Crowd in 2017. A collection of Rehberg’s solo works for Vienne was released in 2008 (Work for GV 2004-2008 EMEGO 092). The outfit KTL, with Stephen O’Malley, was initiated by Gisèle Vienne for her work Kindertotenlieder and subsequently made a series of soundtracks for Vienne’s works branching off into a prolific series of live shows. The work Rehberg did for theatre and performance teased out aspects of his practice one may not have encountered in his own solo work as PITA or that of collaborations with other musicians.

Editions Mego is proud to present a previously unreleased theatre soundtrack made for Icelandic choreographer Margrét Sara Guðjónsdóttir, whom Rehberg had a decade long collaboration with until his untimely passing in 2021. The original composition for Liminal States was created by Rehberg for the performance Pervasive Magnetic Stimuli in 2018 and then revisited as a catalyst for the concepts behind Liminal States. This work is based on an ongoing artistic research conducted by the choreographer into altered states of perception through phenomenological embodiment. It is the last in a trilogy dealing with the notion of larger forces that act on us beyond our conscious mind. The trilogy consists of Pervasive Magnetic Stimuli (2018), Boundless Ominous Fields (2024) and now Liminal States (2024).

Rehberg's score for Liminal States is a vast canvas of spectral ambience at once tangible and unfathomable in its constantly shapeshifting lysergic dread. The results are a psychological journey through the mental effects of sound on space and subsequently the mind. The first part presents cascading waves of shimmering electronics laying the groundwork for the second part where the psychological illusion splinters into all manner of sonic effects taking the listener on a deep mental voyage. If references are witnessed the late period long form hallucinatory works of Coil, such as Time Machines and Constant shallowness leads to evil, are amongst a similar mind message delivered here. Unlike any other release in Rehberg’s output Liminal States is a single long form work which, despite the form, retains Rehberg’s idiosyncratic sound vision.

Guðjónsdóttir and Rehberg’s collaboration blurs that relationship into a greater force which truly enables the theme of liminal states to unfold in a brave new fashion. Rich in timbre and sonic invention this is powerful work easily holding its own outside of the intended performance whilst still complimenting the missions statement entirely. This profound collaboration has the cumulative effect where the concept and soundtrack are one and may be one of the strongest works in the entire Rehberg canon.

Pioneering experimental electronic record receives first-ever complete vinyl pressing, featuring expanded content and exclusive liner notes.

Editions Mego release the highly anticipated vinyl reissue of Get Out, the groundbreaking second album by Peter Rehberg under his influential PITA moniker. Originally released in 1999, this seminal work stands as a landmark achievement in experimental electronic music, praised for its revolutionary fusion of ear-splitting noise and melancholic melodies. Moving beyond the era's trend of pure abstraction, Get Out represents a pivotal moment when experimental electronic music began exploring new territories laying forth a path which many artists would subsequently follow.

This expansive reissue marks a significant milestone for collectors and enthusiasts, presenting all 12 tracks from the 2008 eMego CD version on vinyl for the first time. The inclusion of the rare Detroit live recording (remastered by Jim O’Rourke) provides invaluable insight into PITA's performance practice during the album's original touring cycle, whilst new liner notes from Jim O'Rourke and Chris Clepper provide further personal and anecdotal insight.

Since its original release, Get Out has been recognized as essential listening for understanding the evolution of experimental electronic music in the late 20th century. This authoritative reissue ensures that Rehberg's visionary work remains accessible to new audiences while providing longtime admirers with the definitive version of this crucial album.

The vinyl comes with a DL code which contains a 20 minute live performance in Kyoto, Metro, 25.01.1999.

"ghostholding" nennt sich das Debütalbum von venturing, dem gitarrenbasierten Alternative-Bandprojekt der US-Künstlerin Jane Remover, das im Februar 2025 digital erschien und von der Fachpresse wie Pitchfork (7.9 Wertung), The Fader und Stereogum abgefeiert wurde. "Das neue Album der Künstlerin aka Jane Remover ist voller ausufernder, furchteinflössender Schönheit, sowohl kompositorisch straffer als auch strukturell rauer als ihre früheren Ausflüge in den Rock." - Pitchfork. Streng limitierte Auflage auf Baby Pink w/ Black Splatter-Doppelvinyl.

2026 Repress

The clergy is pleased to introduce you to a new initiate: Birds ov Paradise. This highly anticipated Hypnus debut comes split into three separate EP's which will be released one each full moon starting October.

Some of you may be acquainted with the music of Birds ov Paradise already as he's put out two stellar records on Jens and Aniara Recordings in 2016-2017, as well as making a contribution to our podcast series The Memoir where his sound was put on a grand display. Those of you who are new to the fantastic dream world of this very talented artist will quickly get lost in the flowing rhythms that drives his magical deep techno sound.

Early support from Etapp Kyle, Ness, Slam, Iori, Refracted, Svreca, Cio D'Or and Dorisburg to name a few.

-Vinyl

The Ruins Of Beverast narrate fables of the darkest secrets in human history and present. ‘Tempelschlaf’ is The Ruins Of Beverast’s seventh full-length output and sees the band continue with their sonic morbidity, noises and melodies of a human habitat in its sunset era, while maintaining and refining the widescreen low end that has been sustaining their sound from the beginning. On the instrumental side, ‘Tempelschlaf’ is stripped of some fat, forging the songs with a reduction in length and layers, cautiously leaning towards the stage part of things. While synths and samples have always played an adamant role in The Ruins Of Beverast’s sound, they reach yet another level of psychedelia and insanity on ‘Tempelschlaf’. The Ruins Of Beverast were formed in early 2003 and named after the most bloodcurdling occasion of the collapse of the giant bridge Bifröst. This incident bears analogy to the musical aura of The Ruins Of Beverast, which builds a sonic landscape of massive, surreal, barren mountain formations. Seven full-length albums and several EPs, splits and compilation releases have been published through Ván Records so far. As a live act, The Ruins Of Beverast became a strong force after Roadburn 2013, a festival the band have played again since with exclusive shows. The Ruins Of Beverast have embarked on several European tours with acts like 1349, Grave Miasma and King Dude, as well as a highly acclaimed US tour that eventually concluded with an iconic show at Fire In The Mountains festival. The band have played such well-established club shows and festivals as Hellfest, Inferno, Incubate, Party.San Open Air and Beyond The Gates, to name just a few.

Aphasy, a dive into a fascinating sonic universe. A two-sided journey. Designed with a strong artistic vision, the artwork showcases a striking duality between Side A and Side B, offering a contrasting auditory experience. Side A, adorned with a delicate shade of pink, embodies the essence of deep, lyrical, and ethereal tracks. The melodies unfold with mesmerizing lightness, enveloping the listener in an atmosphere of softness and contemplation. Vibrant basslines and subtle rhythms intertwine with evocative sound textures, creating a musical landscape that invites reverie and escape. Flipping the record reveals Side B in all its dark and nostalgic splendor. The back of the sleeve immerses the listener in a more introspective and captivating world. The tracks on this side unveil emotional depth and hypnotic intensity. Darker tones, dissonant harmonies, and entrancing rhythms transport us into an enchanting atmosphere, evoking feelings of melancholy and introspection. This record embodies the very essence of electronic music, with its intricate sound textures, signed by Romain Mégroz.

The song titles on Van Halen's aptly titled Fair Warning don't lie. The likes of "Unchained," "Mean Street," "Push Comes to Shove," "One Foot Out the Door," and more indicate the mood the band channels on its double-platinum 1981 record — the nastiest, darkest, and fiercest album of the group's storied career. For the fourth time in four years, Van Halen throws down the gauntlet to all challengers and emerges victorious.


Sourced from the original analog tapes, pressed on MoFi SuperVinyl at Fidelity Record Pressing, and strictly limited to 5,000 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP set plays with unfettered clarity, dynamics, and immediacy. Benefitting from superb groove definition, an ultra-low noise floor, and dead-quiet surfaces, this vinyl edition captures what went down in the studio with tremendous realism and involving presence.

Taking a more controlled approach in the studio and still completing everything in less than two weeks, Van Halen and producer Ted Templeman relied on studio amplifiers to direct the sound. Further diverging from the live-on-the-floor approach of its earlier albums, the ensemble also employed overdubs to great effect. The result: Dense, stacked architecture that underlines the hard-hitting tenor of the songs — and which comes alive like never before on this reference edition that looks as good as it sounds.

The premium packaging and gorgeous presentation befit the reissue's select status. Housed in a deluxe slipcase, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. Aurally and visually, it is made for listeners who want to immerse themselves in everything involved with the album, including the iconic cover art adopted from William Kurelek's haunting painting, "The Maze."

Isolated frames from Kurelek's childhood-inspired work — including a man bashing his head into a brick wall, a guy pinning down an adversary as he delivers bare-fist blows to his face and others watch with apparent glee, a boy tied down on a conveyer belt and being sent through the equivalent of a meat saw — adorn the front and back covers. The sunnier visual disposition of Van Halen's prior efforts gives way to something sinister and tortured, traits reflective of the music within. The band members, too, are visually depicted not in glamorous shots but in a serious black-and-white portrait in which the quartet is clad in black leather jackets.

Tough, aggressive, stark: Fair Warning comes on like a series of bare-knuckled punches to the solar plexus and boasts lyrical narratives to match. Though not a concept record, the concise album revolves around themes of roughing it on the streets and struggling to survive amid dim prospects. Singer David Lee Roth reportedly penned many of the initial lyrics after traveling to Haiti and observing extreme poverty. The characters and situations populating Fair Warning reflect hardscrabble existence, last-chance desperation, and underlying danger.

Witness the crazies, poor folks, and hunters of “Mean Street”; the former prom queen turned pornographic actress on “Dirty Movies”; the menace and vice of “Sinners Swing!”; the streetwise hustle of “Unchained”; the isolation and alienation of “Push Comes to Shove”; the desire for escape on “One Foot Out the Door”: A carefree California beach party Fair Warning is not.

Having said he felt angry and frustrated during the sessions, guitarist Eddie Van Halen uses the forceful arrangements as a playground for his seemingly unlimited arsenal. Supported by a crack rhythm section and a hyped-up Roth, he performs with an almost impossible combination of punk-like intensity, technical finesse, lyrical fluidity, and unbridled emotion. The virtuoso was increasingly butting heads with Templeton and seeking a freedom in the studio he believed denied him.

No wonder he plays like a bat out of hell. Listen to the rapid-fire manner in which he slaps the high and low E strings on the 12th fret of his instrument on “Mean Street,” instilling the tune with funk flair and metal-spiked sharpness. For the pouty strut of “Dirty Movies,” Eddie Van Halen contributes slide guitar magic made possible after he sawed off the lower portion of a Gibson SG so he could reach further down the fretboard.

Related intensity, urgency, and daredevil momentum punctuate the surging “Sinner’s Swing!” A heavily flanged, delicately melodic introduction frames the attitudinal “Hear About It Later,” among the most creative arrangements of Van Halen’s career. And do riffs come any bigger or magnetic than those on the high-wire kick of “Unchained”? As for the out-of-left-field “Sunday in the Park,” an instrumental composed on an Electro-Harmonix micro-synthesizer: Who but Eddie Van Halen to supply creep factor in such an ingenious way?

Despite selling fewer quantities than Van Halen’s prior efforts, Fair Warning remains for many diehards the record that epitomizes all of the band’s immense strengths —Roth’s manic energy and tongue-wagging humor, Alex Van Halen’s rhythmic heartbeat-in-your-chest bombast, and Michael Anthony’s lucid bass lines included. Arriving when the New Wave of British Heavy Metal and new-wave movements were taking flight, it signaled a shot across the bow from a band determined to stay a step ahead and provide proof nobody could touch what it delivered.

More than four decades later, Fair Warning still sounds that alarm.

George Gadd + The Aftermath is a Nottingham-based Indie-emo four-piece band. George has been performing since 16 years old and was joined by The Aftermath in 2017. They are set to release their debut album ‘Too Many Ghosts...’ on 5th September 2025. This captures a decade of growth and includes fan favourites from over the years. Taking influence from acts such as Bright Eyes, Manchester Orchestra and Death Cab for Cutie, they create emotionally resonant songs built for catharsis and connection with fans. George Gadd + The Aftermath's DIY set has seen them tour across the UK & Europe, with a few US solo shows. They have performed alongside Frank Turner, Get Cape. Wear Cape. Fly, The Xcerts and more! They have made festival appearances at 2000 Trees, Y Not, Dot to Dot, Beat the Streets and Splendour. While also being confirmed for Y Not and 2000 Trees in 2025.

After finding fame with the Hollies and Crosby, Stills, Nash & Young, expatriate Englishman turned West Coast rock icon Graham Nash made an auspicious solo debut on this 1971 disc. It's an exemplary singer-songwriter effort, striking a vital balance between graceful introspection and political fervor — and while it's deeply personal, it still carries the harmonies, heart and politics that made CSN(Y) so essential.

With assistance from the likes of David Crosby, Jerry Garcia, and Dave Mason, highlights include the sensitive internal explorations "I Used to Be a King" and "Man in the Mirror" and the impassioned protest anthems "Chicago" and "Military Madness."

If Déjà Vu was a wild canyon party with four competing egos, Songs for Beginners is Nash's introspective morning after — a mix of heartbreak, hope, and a little bit of righteous protest. He recorded it while reeling from his split with Joni Mitchell, and you can feel that melancholy seeping through the grooves.

But don't mistake this for a wallowing breakup album — it's also a call to action, packed with the kind of folk-rock anthems that made Nash an indispensable voice of his era. If you love CSN's folk-rock harmonies but also crave a more personal, raw touch, this is a must-listen.

This Analogue Productions (Atlantic Series) reissue of Pain in My Heart is a standout for your collection. First, we turned to Bernie Grundman to cut lacquers from the original master tape. Pressing on 180-gram vinyl is by Quality Record Pressings, and the album is housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.

The world tour, including Hungary's OZORA Festival, has culminated in the completion of a new album packed with all the experiences and energy gathered
along the way － a masterpiece vibrating at the highest frequency!
A collaborative work created by KENTA HAYASHI, who plays high-vibration instruments, and Dragon Sound's inventive equipment that supports music by adding
the energy of meteorites and crystals to electricity.

Distant Lifeforms’ First Contact EP marks the launch of the new techno imprint by Lucinee and Lifka. As a split release, it includes two tracks by each artist, forming four trippy and forceful cuts that explore the outer edges of deep-space sound. With hypnotic rhythms, dense atmospheres and relentless drive, First Contact invites listeners on a journey beyond matter and mind - a bold introduction to the label’s sonic identity.

Following on from a very successful remix for the label in 2024, Dilby delivers his second EP of deep hypnotic house grooves on Sublease. Dilby's Without You EP features three fresh cuts, all infused with his signature dance floor flavour. The title track is a bouncy slab of house goodness, balancing driving stabs with atmospheric pads. Stay True is in a similar vein, tough drums and spacy washes with some classic house groove and dubby percussive synths. The final track, Elevate, keeps the
vibe alight with more of the New Zealander’s trademark deep and slinky house and including a massive breakdown.

The second expedition goes even further into the darker realms of A:G's soundscapes, where "Staying In" kicks it all off with its mysterious synth layers paired with a bassline to get the dancefloor moving in a hurry, before "Random Trance Track" shows homage to early 90s trance with a pinch of new beat and house.

Flip to the B-side where "Might Be" sets things over to electro territory, with its sizzling hats and spooky synth splashes, propelled heavily by a fast-paced bassline made to shake the bass bins and move the feet.

...and last but not least, the title track "Xylo" takes us back towards the trancier vibes, only broken up by trippy live-improvised xylophone over the steady polymeter subsonics to get those F1 rigs breathing heavily.

The FOX GOD has decreed a new prophecy: for the very first time in BABYMETAL history, the band’s four iconic albums—BABYMETAL, METAL RESISTANCE, METAL GALAXY, and THE OTHER ONE—will be unleashed as limited edition splatter vinyl.

From the explosive birth of kawaii metal to the cosmic journey across galaxies and the restoration of THE OTHER ONE, these four albums have carved the path of the Metalverse. Each one is a chapter in BABYMETAL’s legend—now reborn in a form unlike anything ever released before.

Splatter vinyl is new territory for BABYMETAL. Each pressing radiates with bursts of chaotic color, echoing the energy and intensity of the music itself. They are not just vinyl records, but sacred artifacts—collector’s editions destined for the chosen disciples of the FOX GOD. Once these limited runs vanish, their true form will never return.

This is more than a release; it is a celebration of the entire BABYMETAL saga. From the self-titled album that started the global revolution, to the second chapter declaring our Resistance, to the interdimensional odyssey of METAL GALAXY, and the rebirth told through THE OTHER ONE—every disc is infused with Kitsune Power.
The FOX GOD commands: seize this moment, honor the prophecy, and claim your relic before it disappears into legend.

Prepare your turntables. Summon your spirit. The Splatter Vinyl Apocalypse has begun.

USA Hardcore/Punk Geschichte! M.I.A. wurden 1980 in Las Vegas gegründet, zogen 1981 nach Orange County und begannen im berüchtigten Cuckoo's Nest zusammen mit Fear, Shattered Faith, T.S.OL. u.a. Shows zu spieln. Ende '81 gingen sie in ein lokales Tonstudio in Costa Mesa und nahmen an einem Nachmittag neun Songs auf, bis ihnen das Geld ausging - 300 Dollar gut angelegt! Eine Kassette wurde rasch kopiert und herumgereicht. Eine Kopie der Kassette wurde KevinSeconds bei einem Gig mit 7 Seconds in Reno gegeben. Kevin gab sie an Tim Yohannan von Maximum Rocknroll weiter. Schließlich gelangte sie in die Hände von Felix Alanis von Smoke Seven und Greg Shaw von Bomp. Mitte 1982 waren M.I.A. dann auf drei Vinyl-Veröffentlichungen vertreten: "Tell Me Why" auf der Compilation American Youth Report von Bomp, "New Left" auf Maximum Rocknroll Presents: Not So Quiet On the Western Front von Alternative Tentacles und acht der neun Tracks landeten auf der berüchtigten Split-LP mit Last Rites auf Smoke Seven. Alle 9 Tracks des ersten Tapes sind hier versammelt, zum ersten Mal richtig abgemischt. Der Begin von M.I.A. (US) und gleichzeitig das letzte Lapitel der Moder City Records-Reissue-Reihe zur Band. « ...In one corner is M.I.A., a band originally from Las Vegas, the champions of punk's positive side. They've managed to fuse a super tight thrash sound with enlightened attitudes_"I Hate Hippies" is obviously meant as a satire with a moral, and the results are absolutely stunning. » _Jeff Bale's 1982 review of the Last Rites for...-Split-LP in Maximum Rocknroll #2 Farbiges Vinyl plus 24seitigem Booklet.

Erstpressung ausverkauft, Nachpressung (schwarzes Vinyl und neue Farbe) wegen großer Nachfrage! Das schwedische Punkrock-Urgestein SATOR veröffentlicht mit den High (Rock'n) Rollern und Punkrockern THE HEADLINES eine Split EP: Eine längst fällige Herzens- und Freundschaftsangelegenheit! Schließlich war es Sator-Bandgründer Chips Kiesbye, der vor mehr als 15 Jahren das musikalische Potential und die wilde, ungestüme Power von The Headlines erkannte. Es folgten Supportshows und bis heute produziert und supportet Chips die Band im Studio. Die jeweils zwei exklusiven Songs der Bands auf der limitierten 10inch Vinyl spannen dabei den Bogen von Hard Rock, Sleaze, Glam bis straight forward Punkrock. The Headlines kehren mit "Fucked up" zu der klassischen Rock-Essence zurück, rotzig-frech verpackt in 2 Minuten mit allem was es braucht, um eine "fuckin great hymn" zu schreiben! "True Grit" - der zweite Song" orientiert sich mit melodischen Punkrock an den US-Westcoast Style: "Remember what you're fighting for!" The Headlines liebten es schon immer Gedanken über das Leben, die jeder kennt in griffige Rocksongs zu verpacken. SATOR präsentieren mit "Thanks (For nothing for all) einen vor langer Zeit geschriebenen wütenden Dampfhammer, der als Demo in den Bandarchiven irgendwie in Vergessenheit geriet. Während der Aufnahmen zu "Return of The Barbie-Q-Killers" stoplerte die Band über dieses Juwel und wurde neu aufgenommen. "Wir können uns nicht wirklich erinnern, worüber wir beim Schreiben wütend waren, aber es gibt immer etwas, das einen nervt. Wut ist nie aus der Mode." "I only want a date" wurde ebenfalls im Rahmen der Studio-Sessions für das letzte Sator-Album aufgenommen und ist ein Coversong der US-Band "The Embarrassment", die den gesuchten Song 1984 nur auf Tape veröffentlichten. Die 10inch EP erscheint streng limitiert in klassisch schwarzen oder blauen oder in limitierten zweifarbigen Swirl Vinyl und dürfte sich schnell als Sammlerstück etablieren. Swedish Alternative Rock at its best!

USA Hardcore/Punk Geschichte! M.I.A. wurden 1980 in Las Vegas gegründet, zogen 1981 nach Orange County und begannen im berüchtigten Cuckoo's Nest zusammen mit Fear, Shattered Faith, T.S.OL. u.a. Shows zu spieln. Ende '81 gingen sie in ein lokales Tonstudio in Costa Mesa und nahmen an einem Nachmittag neun Songs auf, bis ihnen das Geld ausging - 300 Dollar gut angelegt! Eine Kassette wurde rasch kopiert und herumgereicht. Eine Kopie der Kassette wurde KevinSeconds bei einem Gig mit 7 Seconds in Reno gegeben. Kevin gab sie an Tim Yohannan von Maximum Rocknroll weiter. Schließlich gelangte sie in die Hände von Felix Alanis von Smoke Seven und Greg Shaw von Bomp. Mitte 1982 waren M.I.A. dann auf drei Vinyl-Veröffentlichungen vertreten: "Tell Me Why" auf der Compilation American Youth Report von Bomp, "New Left" auf Maximum Rocknroll Presents: Not So Quiet On the Western Front von Alternative Tentacles und acht der neun Tracks landeten auf der berüchtigten Split-LP mit Last Rites auf Smoke Seven. Alle 9 Tracks des ersten Tapes sind hier versammelt, zum ersten Mal richtig abgemischt. Der Begin von M.I.A. (US) und gleichzeitig das letzte Lapitel der Moder City Records-Reissue-Reihe zur Band. « ...In one corner is M.I.A., a band originally from Las Vegas, the champions of punk's positive side. They've managed to fuse a super tight thrash sound with enlightened attitudes_"I Hate Hippies" is obviously meant as a satire with a moral, and the results are absolutely stunning. » _Jeff Bale's 1982 review of the Last Rites for...-Split-LP in Maximum Rocknroll #2 Handgedrucktes Lithographie-Sleeve, farbiges Vinyl plus 24seitigem Booklet (weltweite Limitierung 300 Stück).

After fifteen years in the making, and his first major body of work since his split with Calyx, TeeBee's debut album on Flexout is a testament to his enduring talent and dedication. This long - awaited release is a significant turning point, elevating his signature sound to new heights and solidifying his place as a pioneer in the drum & bass scene.
The album is a true love letter to the genre, meticulously crafted and rich with the experience of a seasoned veteran. It showcases a refined and evolved sound that is both a nostalgic nod to his roots and a bold step into the future. Each track is a masterclass in production, demonstrating TeeBee's unparalleled ability to weave intricate soundscapes and powerful rhythms. This isn't just an album; it's a monumental comeback, a triumphant return to form that will undoubtedly resonate with fans old and new.

Elations Recordings presents "Return of the Airpoets", an exploratory recording from longtime collaborators Reuben Lewis (I Hold The Lion's Paw) & Adam Halliwell (Mildlife, IHTLP), occupying a unique space between contemporary experimental music and avant jazz. Engineered and mixed by Reuben Lewis in 2023, and featuring guest appearances from acclaimed Australian drummer Ronny Ferella.

"Return of the Airpoets" continues a conversation begun with 'Cygon Dance', an extended duo between Lewis and Halliwell from Halliwell's 2023 LP "Freedom Lapse"; a dialogue that stems from a shared love and respect for Jon Hassell's Fourth World music. Sonic pioneer and adventurer, Hassell's futuristic vision advocated possible musics, stressing plurality and multiplicity. Faithful to his vision, Adam and Reuben, as trailblazers rather than imitators, delight in boundless musical possibilities, adopting Hassell's futurism as stock-in-trade, making it their own while augmented with neo noir hues and hints of the tilted electro-funk of Miles Davis' collaborations with Marcus Miller.

These nine tracks flow together as a unified suite, their shadowy presence stitched from fractured narratives: imaginary crimes, murders, dreams, the unspoken. At the same time, you can detect the artists' meticulous attention to sonic detail, feel the undercurrents, the complex layering. This music has been distilled, winnowed, from extended improv sessions, with the artists - as producers - zeroing in on offcuts, shards, and splinters, seamlessly patching together fragments in post-production to construct intricately layered sound collages, taking a leaf out of Tao Macero's book, building from the ground up.

Who are these airpoets? Their mystifying trial suggests the travails of Joseph K, sentenced for unspecified crimes. But I prefer to see them as fugitives escaped from Robert Bolaño's novel, "Savage Detectives". In Bolaño's book, poet Juan Garcia Madero is granted admission to the shadowy group of poets, the Visceral Realists, whose movement has no clear aims, and whose members "walked backward . . . gazing at a point in the distance, but moving away from it, walking straight toward the unknown." Like the visceral poets, these airpoets, Reuben Lewis and Adam Halliwell, set their sights on a point on the distant horizon, setting off without map or compass, drawing nearer and moving away, towards the unknown.

Longstanding streetpunk resolutes, NOi!SE are set to release On and On, a full length collection of singles, B-sides, split 7" tracks, and a few completely unreleased songs, via Pirates Press Records, with whom the band share a long and productive history. On and On is a companion piece to the band's previous collection record, Pushing On, and like that album, it provides a bookend to a period in the band's career. This collection represents the final release from the band's lineup featuring Nate, Jesse, Kenny, and Matt, clearing the vaults and providing a fresh start for the band's upcoming recordings with their new lineup. Bringing together tracks from several rare or out-of-print releases in one place, this collection is essential to any fan of the band. Even those that have diligently collected every release will be excited by the presence of a few previously unreleased tracks, and the chance to listen to these individual songs as an extraordinarily thoughtful, unified body of work.

Bone w/ black splatter vinyl. NYC ska/reggae legends The Slackers are back with a new collection of rarities - or as they put it, "Tales of Mirth, Heartbreak, and Woe!" - from their extensive catalog with the release of Lost & Found Vol 2 on Pirates Press Records. In their well over 30-year career, The Slackers have been one of the most consistently prolific artists in the game. While that means their legions of worldwide fans are never wanting for new material, it can also mean that once in a while, even dedicated fans can miss a new song here or there. Thus, it's helpful that the band periodically collects some of these lesser known and sought-after gems for wide release under the Lost & Found banner! Lost & Found Vol 2 includes some of the rarest Slackers tunes of them all. Live versions of several songs as well as the studio track "Diskambobulated" come from ultra-rare lathe cut singles. Still others come from limited one-time-only single pressings on PPR, including two 12" singles and one collaborative 7" which features vocals by Japanese dancehall sensation Papa B. Finally, it includes a dub mix of "Time Won't Set You Free" that is previously unreleased.

For the 34th split of the series, we invited two of the best french projects of the contemporary electronic underground scene. On the A-Side, Bloody Mary, resident at Tresor Berlin and responsible of strong releases on Ovum Recordings, U-TRAX and of course her own imprint Dame-Music. On the B-Side, the exciting duo Human Rebellion aka HR101, already known for some killer EPs on Discos Atonicos, Science Cult or Earwiggle. The result is a 4-tracks EP combining acid lines, rave synths, 90's voices, mental soundscapes and catchy techno !

GOD SAVE THE PONY. Limitiertes Format der zweiten BIG SPECIAL-LP auf Yellow Splatter On Clear Vinyl - im Gatefold mit Obi-Strip.

- " Von Assi-Punk-Rap bis Gothic-Country-Ballade, die einem das Blut in den Adern gefrieren lässt, gilt: Solange Big Special nicht irgendwann glücklich werden, könnten sie richtig groß werden." - Visions
- "Mit „National Average“ bekräftigen Big Special ihren Ruf als eine der aufregendsten und unberechenbarsten Bands der britischen Szene." - Popklub.de
- "Mal erinnern sie mehr an die Sleaford Mods, mal mehr an die IDLES. Das neue Big Special Album jedenfalls, “National Average”, macht da weiter, wo sie zuletzt aufgehört haben." - Bayern 2

Picnic 012 lands with the first split EP of the series. A 4 tracker from Croatian artist Grenco and Ukrainian artist Kurilo. The EP is in many ways a stark contrast between the lighter and darker shades of house and techno with Grenco’s A side touching on a more playful, progressive house tip and Kurilo’s B side diving into the depths of early UK tech house and electro.

Working with elite keys player Ross Stanley (steadily making ripples on the world stage through his work with legends like Maceo Parker, and more recently with Robben Ford), guitarist Nigel Price says: "I've never heard Ross play a bad note, and he absolutely played out of his skin on this record." Joel Barford is one of the most exciting and vibrant young drummers on the scene today. He relishes the space and freedom of the organ trio format, which is totally evident on this new recording.

Six of the nine pieces are original Price compositions, confirming his strength as a writer, especially for this tight, powerful unit. A relaxed recording session brought out the best in these three master musicians, and the result is an exciting collection of captivating music. Nigel Price is acknowledged as one of the foremost UK exponents of jazz guitar. He has played on more than 60 albums including eight as a leader, spent 10 years with acid jazz outfit The Filthy Six, was a member of James Taylor's band, JTQ, for three years (with whom he recorded five albums) and performed with the legendary David Axelrod. Price has worked tirelessly to organise his own tours, with epic tours he's organised for the Nigel Price Organ Trio becoming the stuff of legend.

Reissue des 2013er Albums auf Splatter-Vinyl

The soundtrack to Studio Ghibli’s short film Ghiblies Episode 2 features nine tracks composed by Manto Watanobe. Lighthearted and eclectic, it includes nostalgic pieces such as ‘Mayim Mayim’ and ‘Humoresque’, alongside the insert song ‘No Woman, No Cry’ performed by Tina. The album captures the offbeat humour and charm of the film with a lively mix of classical motifs, folk influences, and pop culture references.

Vinyl Edition: Clear with Green, Yellow & Black Splatter Part four of The Dear Hunter’s long-running concept series, Act IV combines symphonic rock with narrative-driven songwriting. The multicolor splatter pressing (clear with green, yellow, and black) reflects the album’s theatrical tone and ornate arrangement style. Includes gatefold sleeve with lyric and story inserts. Format: CD Presented in standard CD format with full booklet, Act IV continues the saga’s elaborate storytelling with orchestral arrangements and progressive rock influences. Packaging includes expanded artwork and story content.

Split-7"-Single auf rotem oder grünem Vinyl (wird nach Zufallsprinzip ausgeliefert)! Diese limitierte 2025er Weihnachts-Edition ist eine spezielle 7"-Single mit zwei A-Seiten, die zwei Damaged Goods Lieblingsweihnachtslieder der letzten 30 Jahre feiert. The Courettes präsentieren eine Remix-Version ihres Klassikers ,Christmas (I Can Hardly Wait)", der schon lange nicht mehr erhältlich ist, und Thee Headcoatees, die nach 26 Jahren Pause gerade mit einem brandneuen Album zurück sind, haben die andere Seite mit ihrer Version von ,Santa Claus" von The Sonics, komplett mit einem Spoken Word-Intro von Billy Childish. Die Platte erscheint in zwei verschiedenen Farben: Weihnachtsbaumgrün und Rudolphs Nasenrot. Schnell zugreifen!

Vinyl 7inch - Split-Single: Ofisboyz/ Ghostbastardz - Non Ska-Bands from all over the world playing Ska songs: Eine türkische Oi!-Core Band aus Istanbul und eine deutsche Punk-Kapelle aus Wetzlar spielen Ska? Funktioniert! Ofisboyz "Istanbul Skinheads" The song criticizes racial prejudice, mocks stereotypes about Turks, and reclaims pride and identity in a rebellious, ironic way _ fitting into punk and skinhead traditions of standing against bigotry. Ghostbastardz "Für Skapunk reicht's" "Für Skapunk reicht's" mischt klangvollen Punkrock mit tanzbaren Offbeats - ein sommerlicher Ska- Remix, der Sonnenbrille, Bier und Rebellion in einen Soundtrack packt. Sechste Ausgabe der Ska-Split-Single-Edition, 2025, 300 Stück handnummeriert

K S R introduces X, a brand-new series dedicated to various artist collaborations, presented exclusively as split EPs. The first release brings together Sev Dah and Decka, delivering stripped-down, fierce and powerful techno weapons.

"Enter: The Conquering Chicken" ist das zweite und letzte Studioalbum von The Gits. Die Sängerin, Texterin und Frontfrau der Gits, Mia Zapata, wurde 1993 in Seattle ermordet, während die Band ein paar Wochen lang an dem Album arbeitete. Produziert von der Band und ihrem langjährigen Freund Scott Benson, kam "Enter: The Conquering Chicken" 1994 bei C/Z Records raus. The Gits gründeten sich 1986 am Antioch College in Ohio und zogen 1989 zusammen nach Seattle, als die lokale Szene langsam bekannt wurde. Obwohl ihr rauer, blueslastiger Punk, der von Mias unvergesslicher Stimme getragen wurde, nicht ganz in das Schema ihrer Kollegen aus dem Pazifischen Nordwesten passte, fand die Band sofort einen festen Platz und eine große Fangemeinde. "Enter: The Conquering Chicken" zeigt The Gits auf dem Höhepunkt ihrer Schaffenskraft. Aufgenommen am Ende einer ausverkauften Westküsten-Tournee, waren sie in Höchstform. Kreativ, inspiriert und angetrieben von der Aussicht auf ein neues musikalisches Kapitel, das man in diesen Aufnahmen hören kann. 2003 von Jack Endino neu abgemischt, zeigen Songs wie "Bob (Cousin O.)", "Guilt Within Your Head", "Seaweed", "Sign of the Crab", "The Drinking Song" und Mias atemberaubende Interpretation von Sam Cookes "A Change is Gonna Come" eine deutliche Weiterentwicklung nach ihrem erfolgreichen Debütalbum "Frenching The Bully" von 1992. ",Sign of the Crab' war der letzte Song, den wir als Band zusammen geschrieben haben", sagt Bassist Matt Dresdner. "Basierend auf Andys teuflischer Komposition und Mias brillanten, gruseligen Texten war die Musik kraftvoll, komplex und voller lustiger, verdrehter Wut. Die Songs auf Chicken geben nur einen kleinen Einblick in das, was wir damals gemacht haben." Dieses seit langem vergriffene Meisterwerk des Seattle-Punk wurde 2024 von Jack Endino für Sub Pop Records remastert und ist auf farbigem Vinyl mit neuem Artwork und Liner Notes von Tim Sommer erhältlich, der treffend schreibt: "The Gits waren eine wütende, hitzige Band, die voll und ganz im Einklang mit der Bessie Patti Smith ihrer Zeit stand und von ihr beeinflusst war, der einzigen Sängerin, die Joplin, Poly Styrene, Sam Cooke, Iggy Pop und Ian MacKaye in ein und demselben verdammten Song vereinen konnte."

INCANTATION presents the Onward to Golgotha deluxe box set, celebrating over 30 years of the band's legendary debut full-length & Death Metal supremacy! The Onward to Golgotha box set features all new expanded liner notes, a live 2LP featuring 3 legendary sets remastered by Dan Swano, and the Deliverance of Horrific Prophecies and Entrantment of Evil EPs! Onward to Golgotha - Live, now newly remastered & available for the first time on physical and streaming formats, is taken from the Onward to Golgotha DVD, originally released in 2006. The live audio features sets from the Onward to Golgotha 1992 Tour at Cell Block in Bensalem, PA on March 29, 1992; from Studio 1 Show in Newark, NJ in 1992 & Flashes Show, recorded in Cleveland, OH on March 28, 1992. Entrantment Of Evil and Deliverance Of Horrific Prophecies 7"s are exclusive to the deluxe Onward to Golgotha box set. All pressed on tri color merge with splatter vinyl and come housed together in a clamshell style hard box featuring silver lamination.

Introducing: Temporary Blessings, the new project by stalwart Naarm / Melbourne trumpet player and composer Liam McGorry.

Assembled to realise McGorry's compositions drawing on 1960s Italian & French soundtrack music, Temporary Blessings brings together trusted instrumentalists and fellow travelers from Melbourne's rich enclave of cinematic soul. With Liam at the helm, the group is composed of members of Surprise Chef, Karate Boogaloo, Saskwatch and Let Your Hair Down.

The resulting recordings realise McGorry's sonic visions of film noir, giallo, library music and cinematic soul, captured live in one room with what the maestro describes as "a shared spirit". The recordings, produced by paragon Henry Jenkins, bring together emotive string arrangements, tough horns and a steadfast rhythm section with an acute attention to detail McGorry has developed over years in the saddle.

Liam says: "I find great comfort in collaborating with good friends and playing together in the same room and taking these blessings as they come."

A veteran of Melbourne soul, McGorry's steady hands have touched some of the city's most revered projects over the last 15 years; McGorry-led projects Saskwatch, Dorsal Fins and Ex-Olympian sit aside Sampa The Great, Ella Thompson and Adrian Eagle on Liam's heavy list of credits and collaborators. He has contributed more than his fair share of bricks to the great structure of Melbourne soul, always playing the background, true to his humble nature.

LP available in black or orange and brown splatter vinyl.

Introducing: Temporary Blessings, the new project by stalwart Naarm / Melbourne trumpet player and composer Liam McGorry.

Assembled to realise McGorry's compositions drawing on 1960s Italian & French soundtrack music, Temporary Blessings brings together trusted instrumentalists and fellow travelers from Melbourne's rich enclave of cinematic soul. With Liam at the helm, the group is composed of members of Surprise Chef, Karate Boogaloo, Saskwatch and Let Your Hair Down.

The resulting recordings realise McGorry's sonic visions of film noir, giallo, library music and cinematic soul, captured live in one room with what the maestro describes as "a shared spirit". The recordings, produced by paragon Henry Jenkins, bring together emotive string arrangements, tough horns and a steadfast rhythm section with an acute attention to detail McGorry has developed over years in the saddle.

Liam says: "I find great comfort in collaborating with good friends and playing together in the same room and taking these blessings as they come."

A veteran of Melbourne soul, McGorry's steady hands have touched some of the city's most revered projects over the last 15 years; McGorry-led projects Saskwatch, Dorsal Fins and Ex-Olympian sit aside Sampa The Great, Ella Thompson and Adrian Eagle on Liam's heavy list of credits and collaborators. He has contributed more than his fair share of bricks to the great structure of Melbourne soul, always playing the background, true to his humble nature.

LP available in black or orange and brown splatter vinyl.

as in, a borgesian term of imprisonment in which you come to learn that stasis is an illusion. you attune and collect evidence. long shadows swing from the room’s sharpened edges, contracting and rotating with each passage of the sun, cumulatively tilting toward the next season. the cyclical heating and cooling of the concrete inscribes what you eventually recognize as an insistent rhythm onto your skin. it feels as though you’re preparing yourself to haunt the place. the first visitation comes in winter. sound bubbles from a crack in the wall, a conversation you can’t follow and hardened repeating codes that splash off the walls like rain. it had to be, and you’re looking away.

12" splattered Vinyl EP incl. Beiblatt, Bierdeckel und DLC Im Jahr 2015 lieferte die Rockgruppe Die Buben im Pelz einen gewagten musikalischen Stunt ab: die Übertragung des hünenhaften rockgeschichtlichen Referenzalbums The Velvet Underground & Nico ins Wienerische Idiom. Ein mutiger Versuch, der mit einem heftigen Bauchklatscher und darauffolgender, noch schmerzhafterer Schadenfreude des Publikums hätte enden können. Aber nein, die Buben haben ihre Sache wirklich sehr, sehr gut gemacht und ihrerseits ein Referenzalbum der lokalen Wiener Rockmusik vorgelegt. So groß war die Freude über die gelungene Immigration von Lou Reeds New York ins heutige Wien, so anhaltend die Begeisterung für das Oeuvre des amerikanischen Meisters, dass 2023 auch dessen Album Transformer dem Regelbuch für große Coverbands entsprechend für das einheimische Publikum verwandelt wurde. Nun folgt mit dieser köstlich verpackten EP ein finaler Nachschlag, eine Erweiterung zum dreigängigen Menü sozusagen. Und ein mehr als gelungener Abschluss einer nahezu epischen Hommage an eine der wichtigsten Bands und einen der größten Songwriter der Rockgeschichte. Nun befinden wir uns in der letzten Runde: noch einmal VU/Reed, diesmal in Form einer Vinyl-EP. Vier Songs von Frauen, deren Leben irgendwann ins Nicht-ganz-so-Gute abgebogen ist. Vier menschliche Tragödien, zeitlos, poetisch, fundamental traurig mit einem kleinen Funken Hoffnung. Noch einmal Warhol, denn: was sollte man denn einem thematisch so stringenten Tonträger sonst für ein Cover schenken? Noch einmal Kulinarisches: die Campbells-Suppendose natürlich, neben der Banane ein weiteres weltberühmtes Tribut Warhols an das kulinarische Alltagsleben. Aber: wie übertragen wir das ins Wienerische? Eigentlich ganz einfach: indem wir uns aus dem Sortiment des Lokalmatadors, also der Firma Inzersdorfer, versorgen. Die Inzersdorfer-Konservendose, diese Ikone der österreichischen Konsumkultur und Lebensmittelindustriegeschichte ist ein mehr als geeigneter Ersatz für die amerikanische Tomatensuppe. Genauer gesagt: passt. Wie die Faust aufs Strizziauge. Köstlich! Der Grafikdesigner Peter Hirth hat zwei historische Inzersdorfer-Dosen zu einem wunderbar geschmacksintensiven Coversujet verarbeitet. In der Kunstdruckinstitution Quint Screen Print in 1230 Wien wurden daraus im händischen Siebdruck eine farbenprächtige Hommage an die seriellen Arbeiten Warhols aus den 1960er und -70er Jahren gefertigt. Farblich perfekt abgestimmt wurde dazu das Vinyl, klarerweise ebenfalls aus heimischer Produktion. Da haben die Fachleute bei in 8350 Fehring wieder einmal ganze Arbeit geleistet. Und der geschätzte Musikerkollege Austrofred wiederum hat zwischen zwei Festivalaufritten Zeit gefunden, über einem schönen Teller Gulaschsuppe meditierend einen Begleittext zu verfassen, der keine kulturhistorischen Fragen offen lässt. Weder in musikalischer noch in kulinarischer Hinsicht. Mahlzeit!

The collaborations between Chet Baker and Art Pepper were originally issued in such a disparity of ways that it might seem difficult at first to think about them as a coherent body of work. Their first session, for instance, was originally segmented in a variety of compilation albums, one tune each, and many times the selections were even abridged, suppressing a solo here or there.

Along with another equally splendid session, it was included in Baker and Pepper's most famous album together, Playboys, which was also released under the title picture of heath. At the time, both Baker and Pepper were at their peaks, which is to say that each was playing as much or more on his instrument than anyone in jazz.

Live recordings of Humble Pie featuring both Steve Marriott and Peter Frampton are rare. These seven tracks, recorded in excellent quality by the BBC, show Humble Pie in their element onstage. The setlist includes cover versions such as Four Day Creep, Hallelujah I Love Her So and I Walk On Gilded Splinters which were not included on any studio LP. Comes with full recording details and extensive sleeve notes.

With the grace of an ancient oracle speaking through a veil of mist, the album unfurls in movements both haunting and divine, carrying the listener into a realm where sorrow and splendor waltz as one. Orchestrated with exquisite precision and opulent depth, the ensemble breathes life into every measure. Strings sweep like celestial tides, choirs rise like prayers from cloistered ruins, and woodwinds whisper secrets from lost mythologies. The multimember orchestra does not merely accompany the compositions, it becomes the very vessel through which Autumn Tears channels their clairvoyant vision.

Rooted in the neoclassical tradition yet unbound by its walls, the album weaves baroque intricacies with cinematic grandeur, crafting soundscapes that feel both sacred and boundless. Every track is a portal: to forgotten dreams, to veiled futures, to the silent poetry that lingers in the spaces between. Crown of the Clairvoyant will be available as a digital download,a limited Leather CD Box, a limited CD jewel case package with a CD exclusive bonus track as well as a limited vinyl package with a 12 page illustrated lyric book and vinyl exclusive bonus track.

Songs for Nothing was written upon Olan Monk’s return to the west coast of Ireland. The album is imbued with the influence of sean-nós singing, Irish language songs in the “old style” that often proclaim tales of love, loss and landscape; and also heavily indebted to the late Sinéad O’Connor’s confessional songwriting. Reconstructing these influences through their unique perspective has resulted in a fragmentary album veering between collaged pop, machinic rock and slow airs, “dedicated to Conamara and all who have called it home”. The western, Atlantic-facing edge of Ireland has a particular feeling and energy, one that permeates the release: the granite pulsates, the ocean and sky reflect intensities, seaweed rots on shingle shores, plants bloom, ancient trees come up for air from the drowned forest in Galway Bay, the sun splinters through the low clouds.

All songs written and arranged by Olan Monk
Vocals, guitars, piano and tin whistle performed by Olan Monk
Drum programming by Olan Monk featuring recordings of percussion performed by Michael Speers
Vocals on ‘Down 3’ and ‘Fate (Reprise)’ performed by Maria Somerville
Cello on ‘Blank Page’, ‘Oatmilk’, ‘Pomegranate’ and ‘Fate (Reprise)’ performed by Risteárd Ó’hAodha
Violin on ‘Corp’, ‘Down 3’ and ‘Drón Feadóige’ and accordion on ‘Amhrán Mhaínse’ performed by Peadar Tom Mercier
Bodhrán on ‘Corp’ and ‘Drón Feadóige’ performed by Aindriú De Buitléir
Harp on ‘10 Days’ performed by Róisín Berkeley
Flute on ‘10 Days’ performed by Dylan Kerr
Accordion on ‘Blank Page’ performed by Olan Monk

Recorded and mixed by Olan Monk
Additional mixing on ‘Can’t Wait’ by Patrick Burniston
Mastered by Noel Summerville
Photography by Charlie Joe Doherty
Artwork by Nicola Tirabasso
Thanks to Nic Tasker

With love to friends and family for their support in making this record
Dedicated to Conamara and all who have called it home