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Legendary hard-bop pianist and composer Horace Silver (1928 - 2014) was influenced by a wide range of musical styles, notably gospel, African, Latin, and Soul Jazz. He recorded primarily for Blue Note between 1952 and 1980, resulting in 25+ album releases. Presented here is Horace Silver's fourth LP Silver's Blue taped for the Epic label during two sessions in 1956, which followed three earlier sessions he had already recorded for Blue Note. The Epic session was to be the last LP he cut for the label, following which he returned to Blue Note where he remained until 1980 with the album 'Silver'n Strings Play the Music of Spheres'. The longevity of Silver's tenure with Blue Note was down to a deep friendship with the label's boss Alfred Lion, who allowed him greater input on aspects of album production than was usual at the time. Silver's Blue includes Blue Note stable mates Donald Byrd and Hank Mobley.

One of the finest singing brother duos of all time, The Everly Brothers ' close harmonies became one of the most identifiable sounds of the early rock & roll era of the late 1950s and early 1960s. Presented here are the very best of The Everly Brothers' pop charting-singles from the peak of their career. "There have been some wonderful harmony pairings in popular music: John Lennon and Paul McCartney, Michael Stipe and Mike Mills, Marvin Gaye and Tammy Terrell, everyone will pick their own; but there is something very special about family and especially sibling harmony. A modern group like The Proclaimers took their inspiration directly from the Everleys, who borrowed something in turn from The Louvin Brothers and other acts of the time. The voices were not just in tune but shared a very particular timbre. The brothers fell out in time, as brothers do, but when they sang - and there's no need to list the songs; they're stitched into the history of rock'n'roll - they didn't sound like two men, but like one." - Brian Morton "Phil and Don were the most beautiful sounding duo I ever heard. Both voices pristine and soulful." - Paul Simon

Almost 400 multi-track tape reels, totalling 150 hours of music, were recorded during the Waterboys' famous Fisherman's Blues sessions of 1986-88. Among these were 80 tapes with no song titles, just rough notes like "jam" or "unknown." In 2024 band leader Mike Scott went through most of these, listening to them for the first time since they were recorded, and discovering in the process dozens of tracks the band had forgotten about; lost recordings, some improvised on the spot, others painstakingly worked on, that in many cases equal the quality of those on the original classic 1988 album.

Scott has compiled these into a triple CD and vinyl collection titled THE LOST FISHERMAN'S BLUES RECORDINGS. This fascinating release will gain much attention and will come with a book containing 15,000 words of Scott's own sleeve notes plus lyrics and unseen photos.

Does the complexity that defines us as individuals already have a sacred function, or do we need to connect the cells we are made of to something more? This is what the new and third album by Le Pietre dei Giganti titled Pastorale asks itself and the listener. Lorenzo Marsili (vocals, guitars), Francesco Utel (guitars, synths and samples, vocals, percussion), Niccolo Pizzamano (bass) and Francesco Nucci (drums, percussion) draw inspiration from the interaction between humans and nature, from the idea of the universe as a physical and chemical system. This inspiration melds perfectly with the cover artwork by Morgan Sorensen (See Machine), where the subject and space are represented according to a rational vision. The color red and the circle above it trigger an emotional response. Our brains follow the rules of the world around us, but culturally we associate this emotional reaction with a depth that goes beyond matter.

The band's name stems from the idea of reinterpreting and renewing what already exists: a creative drive that has underpinned their songwriting and the development of their sound from the very beginning. Following the EP/ demo 4 Little Hanged Toys (Copro Records/Casket Music), they made their debut in 2012 with Technicolor Noise (Zeta Factory), an album blending alternative rock, electronica and industrial influences. In 2015, they released Daytime Sleepwalkers on This Is Core, marking an evolution towards darker atmospheres, in which dark and new wave elements are woven more consciously into their sound. The following year saw the release of DSRMX, a collection of remixes that further expands the project's electronic dimension. After a hiatus due to personal circumstances, the band returned in 2026 with Faithless on Overdub Recordings, an intense, conceptual and political album that heralded a new artistic chapter, deeply influenced by their lived experiences.

The perennial Broadway musical My Fair Lady was based on George Bernard Shaw's Pygmalion, with book and lyrics by Alan Jay Lerner and music by Frederick Loewe. This release presents the complete recording by the original Broadway cast, taped in 1956. The recording showcases Rex Harrison and Julie Andrews in the lead roles - Harrison would also star in the 1964 film, in which Audrey Hepburn replaced Julie Andrews. This Original Cast Recording went on to become the bestselling album in the United States in 1957 where it spent 15 weeks in the Billboard chart.

Futurismo are thrilled to present Give Thanks, the long out of press 1984 hardcore classic by Articles Of Faith. Produced by Bob Mould, and newly remastered directly from the original tapes, this powerhouse of a record is now coming on both LP and CD after being unavailable for decades. Originally released in 1984, the debut LP Give Thanks by Chicago hardcore legends Articles Of Faith, is proof a hardcore record can be both political and poetic. Fuelled by rage, introspection and a musical progression that could be seen as a blueprint for what would later become known as post-hardcore, this album ticks every box you want from a record of the era: intense, emotive, scathing, unpredictable, all topped off by the masterful production of Bob Mould (Hüsker Dü/Sugar). Give Thanks is perhaps overlooked in many top ten’s of the genre, but leaving the bands debut LP off that list would be a mistake. A demonstration in raw emotion and political angst, Give Thanks harnesses a sound that could have only happened during the Reagan era. Hardcore was of course a musical explosion built upon aggression and discontent, yet Give Thanks forcefully fuses this concept of raw power with a multitude of musical influences at a time when some of their contemporaries perhaps seemed to tread water. Whilst the principles and sonics harnessed on AOF’s debut album may have had more in common with the sounds coming out of Washington D.C., this record has an authentic Chicago savvy running through it, effortlessly projecting a street level tone whilst simultaneously aiming to show the possibilities of what a hardcore record could be. In retrospect, AOF’s debut was a hardcore album ahead of it’s time, perhaps the reason it’s fervent themes and artistry still feel so fresh and relevant. Whether that’s due to Vic Bondi’s gravelly tones geared to critique the societal regime at play, or the considered guitar work aimed to both blast and texturize, or the intense drums rhythms inspired by jazz and dub, there is a depth to the final album that feels like a band testing their parameters, one listen to ‘Every Man For Himself’ and you know you are listening to something special. Familiarity and originality rarely crossover, but in this case they coexist to leave us with a forward thinking punk record that is more interested in shouting it’s emotions from the street, than it is screaming into a vacuum.

A true American hardcore record, and a must for fans of Minor Threat, Dead Kennedy’s, Bad Brains and Fugazi.

Gloss laminated digipak CD & Limited edition pink & white colour vinyl.

In 2016, with the blessing of David Lynch and Angelo Badalamenti, Xiu Xiu released and toured the surprisingly successful album and concert, Plays the Music of Twin Peaks. Out of respect and deference to the beloved series, the band decided to put the concert to rest in 2018. After the recent and untimely passing of David Lynch, Xiu Xiu began to receive several high-profile requests to revive their interpretation of this iconic music. However, in wanting to always try to follow, honor, and continue to be inspired by the incredibly high bar of artistic challenge set by Lynch, Xiu Xiu is instead going deeper. Eraserhead Xiu Xiu is a new live concert with an accompanying film and full-length album that uses field recordings, concert-specific homemade instruments, organ, modular synths, vocals, flashlights, electrical interference, and elements of musique concrète to express the bizarre emotionality, conflicted sexuality, relentless darkness, and singularly unsettled moonscape of this most incredible of midnight masterpieces. The album itself is a masterpiece in sound collage and experimentation, with tracks like “Tetra” and “Sleep Synth” shifting from minimal auditory sensations to a clobbering, grotesque cacophony. The album’s closing track, “In Heaven,” is a beautiful rendition of Peter Ivers’ original composition, with Stewart’s delicate and soft vocals showcasing the elegance and wonder found in Lynch’s directorial debut, Eraserhead. Eraserhead’s original sound design and score by Alan Splet and Lynch guide Xiu Xiu’s expanded interpretation, reflecting their influence as fans and musicians. The original film gives birth to Xiu Xiu’s visual lens, through which audiences are baffled and pummeled by the band’s imaginary unused auxiliary footage.

Is it a short-term art installation, an exploded tribute to a cinematic triumph, an epitaph to an idol via an entirely new work? Yes. Is it intense, odd, curious, and shrouded in the gloomiest of nights? Of course. After all, it is Eraserhead.

Erstmals seit über 35 Jahren ist Clock DVAs "White Souls in Black Suits" - ursprünglich 1980 als limitierte Kassette auf Throbbing Gristles Industrial Records veröffentlicht - (in einer neu gemasterten Version) auf grauem Doppel-Vinyl und CD erhältlich, neu aufgelegt über The Grey Area of Mute und erweitert um vier Bonustracks aus derselben Zeit.

Unter der Leitung des visionären Adi Newton bleibt Clock DVA eine der geheimnisvollsten und wandlungsfähigsten Bands aus Sheffield. Ihr Repertoire umfasst Mutant Funk, Noir Jazz und Coldwave-Elektronik. "White Souls in Black Suits" bietet zusammen mit den zusätzlichen Tracks einen Einblick in die frühe Morphologie ihres Sounds. Das Album umfasst eine Besetzung mit Newton (Gesang, Synthesizer, Klarinette, gestrichene E-Gitarre und Tape-Bearbeitung), Gründungsmitglied Steven James Turner (Bass-Bearbeitung), David J. Hammond (Gitarren-Bearbeitung), Charlie Collins (Saxophon, Flöte und Percussion), Roger Quail (Percussion) und Simon M. Elliott-Kemp (Synthesizer).

Das Album wurde im Western Works Studio von Cabaret Voltaire aufgenommen, ist locker strukturiert, weitgehend improvisiert und stark von der frühen Industrial- und Goth-Szene Sheffields beeinflusst. Es beschwört eine Welt der Überwachung, Besessenheit und psychologischen Zersetzung herauf - ein Debüt, das den Ton für die sich ständig weiterentwickelnde Vision von Clock DVA angab und ein essentielles Dokument der ursprünglichen Industrial-Ära ist.

Format: Schwarze 2LP

Lockhart is a new melodic rock/AOR band from Canada, fusing synthesizer-fueled eighties arena rock with classic hard rock. The trio consists of Devon Kerr (vocals, guitars, keyboards), Jason Junop (bass) and Fabio Alessandrini (drums). Jason is best known for his work in Cauldron and Goat Horn. Devon’s main band is Axxion, and Fabio plays or has played in Bonfire, Enforcer, Annihilator, Hardline and many others. Lockhart issued their debut EP »No Chance« in 2022, followed by the single “City Pulse” in 2025. The band has signed with High Roller Records, and their first full-length album »City Pulse« is now ready to be unleashed to the public. It's hard to describe the specific sound of Lockhart in all its details but on »City Pulse« you will certainly hear a lot of Journey, Boston, Toto, Foreigner, REO Speedwagon, and maybe even some Starcastle. “The influences are endless,” comments the vocalist, guitarist and keyboard player Devon Kerr, “and they go deep. I appreciate the comparisons. These bands are monumental. Lockhart has a sound of its own though. Bands that existed during the times you mentioned definitely provide influence! However, if you look past the surface (overdriven guitars and old synthesizers), you’ll hear influences from 50s doo wop, legends like Brian Wilson, and straight up choral music, too.” Compositions such as “The Dose That Made You Poison”, “Under Fire”, “Before The Fall’” or “Together As One” are very well constructed and flawlessly performed. “For me, songwriting is a deliberate process,” explains Kerr. “I set out a time and carve out the songs. Lyrics are written last. Once the song is ready, it undergoes hours of polishing to mold the perfect choir parts, guitar leads, and so on. Everything is very deliberate and carefully selected. Nothing was written by accident.” You can clearly hear that on »City Pulse«. With their melodic, at times even poppy approach Lockhart may stand out a bit on High Roller Records. Devon Kerr: “Our music has so many elements that traditional metal fans value, but with something very different, too. Something that might be new for some of the High Roller Records fanbase. I mean for those unsure, we’ve got Nick from Municipal Waste shredding guitar leads on ‘You Wouldn’t Know Love’, and Ian from Cauldron on ‘Can’t Shake It’ …”

Joseph Tholl is widely known as a Swedish multi-instrumentalist, singer and songwriter. He gained international recognition as a founding member and guitarist for the speed metal band Enforcer (officially leaving in 2019). Following his time with Enforcer, he formed Black Trip (later Vojd) and is currently playing guitar for Tribulation. Following 2019’s »Devil’s Drum«, »It Might Be Art« is his second solo album (and the second for High Roller Records). It was recorded and mixed at Humbucker Studio, which he co-owns with Robert Pehrsson (who’s also on High Roller Records). On »It Might Be Art« Joseph Tholl is singing, playing guitar and most of the bass, he also handles piano and synthesizer parts. Robert Eriksson (The Hellacopters) and Jakob Ljungberg (Second Sun) share drum duties on this album. Besides that, there’s a few guest appearances by musicians such as Johannes Andersson (Tribulation), Tobias Lindkvist (Tyrann), Pia Stjärnvind (Serpent Omega), Adam Zaars (Tribulation) and Robert Pehrsson (Dundertåget, Robert Pehrsson’s Humbucker). Joseph Tholl thinks that despite its broad variety »It Might Be Art« is still suitable for heavy metal fans: “I couldn’t see why not. I mean it’s not heavy metal. But I hope people will like it for what it is, a very honest and well-crafted melodic rock album.” “»It Might Be Art« is both darker and brighter than »Devil’s Drum«,” compares the Swede both his solo albums. “Musically it probably sounds a little brighter and poppy overall. But then there’s songs like ”I’m In A Darkness” or ‘The Burial’, which are very dark.” At times, influences of Sisters Of Mercy, The Cure, New Model Army and Midnight Oil can be detected on »It Might Be Art«, leading Joseph Tholl to ponder: “It’s incredibly hard to name a few bands as influences, there’s just too many. Besides those bands you mentioned, there’s a mix of grunge, heavy metal, Swedish pop/rock, AOR etc., that I mold into my own kind of rock n roll.”

If you have kept a keen eye on what is going on in German thrash these days, you cannot have missed the comeback of Protector, legendary thrash/death outfit from Wolfsburg, Lower Saxony. Formed in 1986, Protector first called it a day in 2003, only to return in 2011 and releasing their “Reanimated Homunculus” on High Roller Records in 2013. Protector are widely regarded as one of the most underrated outfits from the prolific German thrash/death scene of the Eighties. Their debut-EP “Misanthropy” from 1987 is a thorny gem of uncompromising thrash metal, raw and fast, and with a strong feel of evil blackness. This first official release laid the base for Protector's reputation as “Germany’s most brutal band”, as some people called them. Protector? Really? Some band from some far out place in Lower Saxony? It’s true, Protector never rose to the same heights of fame as Kreator, Sodom and the likes, but back in the days, they made a name for themselves by playing not only fierce and sharp thrash metal, but always being extremely harsh, brutal and very very evil. “Misanthropy” is a perfect testimony for this: In its six-tracks-brevity, Protector’s debut-EP is a violent attack on the listener, giving you six razor sharp cuts and leaving you behind, crushed and bleeding. “Misanthropy” was recorded in the summer of 1987 at the White Lines Studio in Braunschweig. While the band's main influences at that time were Slayer’s “Reign in Blood”, Possessed’s “Seven Churches” and Exodus' “Bonded by Blood”, “Misanthropy” actually sounds like none of these albums – but very unique; In part this is due to Martin Missy's extraordinary extreme vocal performance, which always bordered on the verge of death metal growls and thus added a lot to Protector’s very own way of evil. The reactions to “Misanthropy” were mixed: Fans and the underground media celebrated the release, while the bigger magazines were sceptical about Protector's brutal and aggressive style and sound. Anyway: “Misanthropy” made people aware of this four-piece who lived in the shadow of the then still intact German Wall, far away from the Ruhr-Area, the heart of Teutonic thrash. For the High Roller re-release, nothing will be changed about the sound, which makes total sense, given that “Misanthropy” is great just as it is. Instead, “Misanthropy” comes with a very special feature: To make the release as complete as possible, High Roller includes the two songs from the demo from 1986, “Protector of Death” and “Apocalyptic Revolution”, something Martin Missy totally appreciates: “I think this is a great thing to do. That way the fans get an idea about what Protector sounded like before the EP was recorded.” One thing is already clear: Protector never got any more aggressive, sharp and shattering than on „Misanthropy”.

Sacred Leather is a traditional heavy metal band from the heart of Indianapolis, consisting of Dee Wrathchild (vocals), Lynn St. Michaels (lead guitar), Cvon Owens (rhythm guitar), Magnus Legrand (bass) and Don Diamond (drums). Following a privately manufactured live cassette, 2018’s debut album »Ultimate Force« and numerous (digital) singles, the new »Keep The Fire Burning« is the band’s most definite statement yet. Produced by the legendary Arthur Rizk (Eternal Champion, Power Trip), every track on the record is a call to arms. High-octane compositions such as “Spitfire At Night”, “Phantom Highways” or “Malevolent Eyes” show that Sacred Leather are true defenders of the faith. All songs breathe the raw power of classic 80s metal. Bassist Magnus Legrand comments: “Judas Priest has been a massive influence on us - not just aesthetically or stylistically, but in their ability to cover a wide range of sounds while always remaining unmistakably themselves. That balance is something we actively strive for: to explore every facet of heavy metal without ever losing our identity. The same can be said for KISS, Scorpions, and Queensrÿche - bands that can rock, rip, soar, go epic, or strip it down to something tender, all while keeping their signature intact. That versatility, anchored by a strong sense of self, is the standard we hold ourselves to.” According to Magnus Legrand, »Keep The Fire Burning« is a clear progression from the debut album »Ultimate Force«: “It’s sharper in its songwriting, stronger in its musicianship, and more focused in its execution. Where »Ultimate Force« laid the foundation, this record pushes further into those same territories with greater intent and refinement. It builds on what we established before, expanding the scope while tightening the strike. As a whole, »Keep The Fire Burning« is a relentless ride through the heart of traditional heavy metal - familiar in spirit, but undeniably Sacred Leather in execution.“

Mexico’s Phantom bring raw, unrelenting energy to speed and thrash metal, and their 2022 “Hellspeed Death” demo is now hitting a wider audience with a High Roller Records re-release, complete with two bonus tracks. “Hellspeed Death” remains a true demo in spirit: raw drums, gritty vocals and guitars that cut with sharp precision. The songs are steeped in old-school influences — early Slayer, Venom, Tank, Motörhead and Voivod — but still full of the band’s own ferocious personality. Tracks like ‘Payback,’ ‘Reaper’s Bane,’ and ‘Death Crusade’ race forward with galloping, punk-tinged thrash energy, while ‘Onslaught’ and ‘Speedhammer’ deliver blackened, high-velocity assaults that leave no room for compromise. Phantom write what matches the mood of the music: fast, loud, and aggressive themes like war, revenge, horror, and dark chaos, aiming to leave a mark and revitalize the underground. At this stage, the band had already experienced moments that hinted at bigger things to come. Thus, the new edition of “Hellspeed Death” showcases a fledgling band full of energy, attitude, and DIY ethos. Their mission has been clear from the outset: to push their music as far as it can go, play relentlessly, and prepare for a debut album (“Handed to Execution”, 2023) that eventually turned quite a few heads.

After few years of collaboration, Stinging Ray and iRiE iTES Records, have joined forces to produce this brand new album entitled The Man From Beijing.

Comprising 16 tracks, this album showcases the amazing voice of this Reggae singer rising from the east. His music dives into a wide spectrum of themes, reflecting both personal depth and global realities-from faith and friendship to love, money, and an uncertain future. Through sharp, conscious lyricism, he sheds light on social inequalities and challenges the influence of the powerful, urging listeners to rise above limitations and stay true to their values.
The Man From Beijing is an album that will undoubtedly mark Stinging Ray's career, and will undoubtedly be one of his landmark albums. A must-have for all Reggae Roots fans!

2026 Repress

Luca Olivotto returns to Groove Culture with "Underground Ensemble," a solid four-track EP built for the heads.Blending heavy classic influences with a sharp, modern dancefloor edge, Olivotto delivers a masterclass in timeless House music. Each cut balances deep, nostalgic vibes with a cutting-edge production style, making this a versatile essential for any record bag. Whether you're looking for warm, early-evening grooves or peak-time energy, this EP provides a brilliant sonic journey from start to finish.

DJ Support – Luke Una, Justin Stauss, Heidi Lawden, Jon Dasilva, Horse Meat Disco, Fingerman, Colleen Murphy, Dicky Trisco, Greg Wilson, Ian Ossia

One of Talking Heads best-loved tracks, but not a club play until now. Brilliantly reimagined for the dancefloor by Loveface, and right on topic given its original title, ‘Life During Wartime’. This is a surefire proven party favourite following pre-release plays, coupled with ‘Tarot’, an early-‘80s Italo gem, which was brought back into circulation 22 years on, via an Idjut Boys re-edit, and now, another 22 years down the line, Misui’s wonderfully fluid take on this mesmeric track brings it back into focus.

CROWD welcomes Gina Demarchi with 'Other Side', a driving 4-track EP that adds a new voice to the label's growing roster. Born and raised in Buenos Aires, Gina Demarchi has spent the last nine years refining her signature hypnotic blend of tribal-infused grooves, rolling percussion and emotionally charged energy, showcasing a sound rooted in 2000s techno and dubbed chords. As a resident at the event series Fungi and founder of her own label Seduction, she has built a strong reputation through performances all across South America, Europe, Australia, Asia and beyond. Opening track 'Never Enough' immediately sets the tone. Powered by a tom-driven bassline, huge open hats and uplifting chord melodies, it moves with a propulsive forward energy that plants the listener firmly on the dancefloor from the first bar. Next up on the A-side is 'I'm In Love', where endlessly echoing warm chords churn above a pulsing low end while marching claps and driving percussion lock the track into pure peak-time territory, serving as a reliable anchor for any uncompromising techno set. The title track 'Other Side' leans deeper and groovier, combining a gliding bassline with swinging chord stabs and crisp percussion that give full focus to the track's powerful low-end movement. Sitting somewhere between hypnotic and relentless, it is perhaps the clearest expression of what makes Gina Demarchi's sound so compelling. Closing cut 'Lonely' strips things back but lands with maximum impact: fast-paced chord repetitions, tight closed hats and sub-heavy drums generate a sense of momentum, creating a track that feels explosive and intense without relying on excessive speed. With 'Other Side', Gina Demarchi delivers a high-impact debut that reflects both the raw spirit of her unmistakable sound and the identity of the CROWD universe. The 11th release of the label is another statement from a label that has consistently refused to follow trends, instead carving out a singular identity rooted in raw energy. Join us for a high energy release party on July 5th 2026 al Le Sucre in Lyon!

First release from the brand new label Modular Dreams run by Sound Synthesis & UTR head honcho JDSK. This label will focus more on the deeper dreamy electro side of Sound Synthesis. MD 101 features 4 high quality cutz that will surely stand the test of time.. Limited hand stamped copies, no repress!

Mata Disk returns to Nous'klaer Audio this summer with four minimal after house cuts. The type of tracks you'd want to hear on a Monday morning of a weekend of raving, with no end in sight.

Of Course sneaked into both Ivan Smagghe and Nic Arizona’s sets after it was encountered on Valerj’s semi-lost album (in the mountains of Corsica). It proposed a straight (hypnotic) answer to the eternal question: what is house music? A track reminiscent of the hazy days of Derrick Carter’s first European gigs, the tripped-out funk of D.I.Y., or Brett the E Texan. It spoke to them.
As a true believer in those simpler times, Roman Flügel delivers a remix, staying true to the roots of the original but elevating it to impossibly higher skies. Both Say Sorry and Midnight Pulse are more of the same: house music for those who may, at times, lost faith in it.

BODJ launches his Methods Of Dance label with a long awaited personal EP titled “Methods Of Control”.

4 rolling club cuts in his signature off kilter style.

After a brief hiatus, Nuances de Nuit returns with Lucho's 'RioGroove'; a tightly woven trio of deeper cuts, perfect for the hazy dancefloor and after-hours alike.

Two Lucho originals and a stripped-back, slow burning reinterpretation from Rumps.

Abou Naïm Records 001's coming straight from Ivry, in the suburbs of Paris. 4 dancefloor-oriented tracks with their own special vibe and a signature Hip-Hop interlude.

Cover is an original analog collage by the one and only Diane Aka Marabou. Thanks for the support and Long Live Naïm!

Butter Side Up’s 15th release comes from a familiar face. DANCE PROTOCOL (FKA Midge Thompson), responsible for the label’s second release some 7 years ago, returns to the label with The Shop Floor EP, another chapter in a relationship that stretches back to the party’s earliest years.

A self professed audio nerd, Midge has been operating quietly but consistently for well over a decade in Leeds and more recently London, honing an intentional studio-craft which draws inspiration from quite literally anything he can get his hands on, from 12-bit samplers and vintage synths to YouTube interviews and iPhone field recordings.

If his productions have earned their place through character and an unmistakable sense of groove, The Shop Floor EP is a culmination, presenting perhaps his strongest work to date.

Across four tracks, subtle textures and repeated vocal samples are stretched and twisted over broken beat rhythms and heavy sub-bass. A fine balance of UK-rave tropes and European minimal sensibilities that glide patiently, building and dissipating tension. From the driving, acid-tinged The Shop Floor to the bouncy, breaksy Riding Up Front and deeper Perry Lane, there’s a breadth of moods across the EP, which peaks with the celestial The Back Bench, surely one of the BSU’s most sunrise coded tunes, an softly inviting ‘Give Me Some More’ vocal refrain accompanied with woozy chords, pads and a chunky slap baseline.

The A side opens with two ambient pieces: "Inception," gritty and haunting, built from field recordings and layered chords, and the dreamier "Regulator Dial." "Air Lock" and "DFtB" turn breaky and low-tempo, evoking early electronica. The flip moves through "Waterproof's" downtempo electro and "Make Right," the LP's most club-ready cut. Title track "Bean Soup" channels early Four Tet: bleepy, minimal, emotional, while "Sunlight" closes with blissful, calming sounds, rounding out a beautifully balanced record.

Tudor Gheorghe, aka Romansoff, is a Bucharest DJ, producer and vinyl collector with over 13 years on the capital's underground scene. Inspired by small local parties in the 2000s, he started collecting vinyl, then DJing, quickly becoming a key figure in the Bucharest club scene. Since founding his imprint Raw Tools in 2013, he's released on Lobster Theremin's Mork, Creme Organization, Les Yeux Orange and Solar Phenomena.

In 2018 he co-founded venue Platforma Wolff, a full club by 2021, as booker and resident, hosting headliners like Prosumer, Paramida and Tornado Wallace. Versatile and creative, he stays a fixture at Bucharest's best nights. His debut LP lands this year on Bar Ton's vinyl label.

Life In Patterns welcomes Amsterdam-based live act and producer VNTM for his debut appearance on the label with “Ostbahn”, a five-track EP arriving on vinyl and digital formats on 24 July 2026. For VNTM, Ostbahn marks a departure from his usual creative process. While most of his productions are conceived and developed within the familiarity of his studio, every track on this release originated elsewhere — each one tied to a specific place, encounter, or moment beyond its walls. These external sparks became the foundation for a collection that feels both deeply personal and unmistakably geared towards the dance floor. Across the EP, VNTM explores the intersection of emotional depth and physical intensity. Dark, immersive pads and melancholic atmospheres are woven into powerful techno frameworks, driven by heavy low frequencies, tightly locked grooves, and a precise sense of movement. The result is a body of work that balances introspection with impact, equally suited to peak-time systems and solitary listening. Based in Amsterdam, VNTM has established himself as one of techno's most distinctive live performers, appearing at major festivals and clubs worldwide with a hardware-focused setup dedicated entirely to his own productions. His sound combines harmonic exploration and narrative-driven composition with distorted percussion, futuristic sound design, and a constant embrace of emerging synthesizer technologies. Beyond his performances, VNTM is the driving force behind the acclaimed Mindscape events at Amsterdam's Lofi, where he has hosted artists including Len Faki, Kangding Ray, Sterac, Âme, Recondite, Polygonia, Luigi Tozzi, Vril, and JakoJako. Recent highlights include his debut on the Awakenings Festival Mainstage, an all-night-long live set at Lofi Amsterdam, and a sold-out debut performance at Refuge in New York City. With “Ostbahn”, VNTM delivers a compelling first chapter on Life In Patterns — a release shaped by experiences beyond the studio, translated into hypnotic, emotionally charged techno built for deep immersion and maximum physicality.

Based out of Brighton, UK, Murmurations have been steadily carving their path as an essential label for distinctive dancefloor moods. The fourth record on the imprint is the launch of a new series titled 'Flock', focusing on bringing different artists together who share similar visions and tastes. Volume one features Evasive frontman Rob Pearson with Paul Donton and label founder Leo Christopher on the A-side. On the flip, you have rising Manchester talent Huw Shipps and Bubble resident The Adventures Of Dogman. This amalgamation of producers has materialised into a record that focuses on nostalgic tech house textures, infused with modern elements and deep, dub tones.

First up is Rob Pearson & Paul Donton's excursion, 'Ideas Abstract'. Slinky drums pave the way, as pensive vocals circulate around the distinct and perky drive of the track. The aptly named 'Underground' from Murmurations boss Leo Christopher teases a more mysterious energy, with pulsating bass in combination with tight drum arrangements. The emerging producer Huw Shipps kicks off the B-side with a playful outing; quirky elements splash in and out throughout the track. Finishing off the release is dancefloor heater 'Cruising Around On A Pair Of Naughty Pennies', chunky and driven as it moves, ready to do the damage, keeping the club locked in.

The Murmurations curation thus far has seen each release shine bright, with timeless music for the club, no-nonsense, heads-down action, and long may that continue.

The 12th studio album from Death Metal Veterans, JUNGLE ROT. DAVE MATRISE (Vocals/Guitars): "Let's start off by saying what an amazing accomplishment it is to hit 12 releases in my career. Never would I think I'd still be doing this 30+ years later. I guess be careful what you wish for I'm very grateful to all of our fans that have supported us for so many years and for never giving up on us. To my bandmates for all of their hard work and dedication to me and JRot over all these year’s. Cruel Face Of War will not disappoint. It's full of crushing grooves and violent hooks that will surely break anyone’s neck. We have stood the test of time. We are still here playing our trademark style of Oldschool Death Metal that has carved a legendary name for us in the underground scene today." Produced by Chris Djuricic at Bell City Sound Company. Mixed and Mastered by Dan Swano at Unisound Studio. Artwork and design by Gyula Havancsak

Reissued on vinyl for the first time this Campbell's album that was arranged and produced between 1981 and 1983 by Tappa Zukie at Dynamic Sound & King Tubby's in Jamaica. With, as engineers, Scientist and King Jammy, the legendary duo Sly & Robbie and Vin Gordon and Deadly Headly (horns). Front cover by the esteemed illustrator Limonious. ”Press Along Natty” is a mature and varied album that showcases Cornell Campbell’s vocal versatility and his ability to blend emotion and spirituality in an elegant and authentically Jamaican dancehall style.

The second Jai Alai album takes its name from a track on Winners (1979) by New York band Kleeer, who evolved from Pipeline via The Universal Robot Band before becoming a major force on the soul and boogie scene; their full-length “Open Your Mind” is simply sublime.

Two originally unreleased tracks will delight completists of Aretha Franklin and Dionne Warwick. Aretha co-produced “The Boy From Bombay” with Quincy Jones — perhaps a little too quirky at the time — while Warwick’s Ashford & Simpson-produced “Someone Else Gets The Price” has all the hallmarks of a missed hit.

Philadelphia’s Pieces Of A Dream, discovered by Grover Washington Jr., were fêted across Europe throughout the 80s. Their Elektra album Imagine This (1983) yielded the wonderfully moody “It’s Time For Love”. Further mining of the Elektra vaults yields a highly collectable Phat Phili Mix of Teddy’s “Believe In Love”, alongside a jewel from Leon Ware’s Rockin’ You Eternally (1981). I was lucky to know this genius, still underappreciated as a master of sensuous soul; “Got To Be Loved” ranks among his finest.

There’s not enough space here to fully cover Gerald Levert’s “What About Me”, but my liner notes to the Jai Alai release JAR14 “Top Of My Head” detail just how talented he was — and this is further proof.

The two least-known artists make a strong impression. Andy Bey’s “I Know This Love Can’t Be Wrong” recalls Jon Lucien at his best, while Phajja — a promising Warner Bros. signing in 1997 — disappeared after just two albums; their Cutfather & Joe production here is as polished as The Emotions.
By the time Etta James recorded “Evening Of Love”, she was four decades into her career, delivering this beautiful ballad with total assurance. Truly epic Southern soul.

Southern Stars is the fourth studio album by Australian hard rock band Rose Tattoo. The album was recorded with Angry Anderson on lead vocals, Geordie Leach on bass guitar and new members Greg Jordan on slide and lead guitars, John Meyer on guitar and Scott Johnston on drums. It peaked at No. 30 on the Kent Music Report albums chart.

Southern Stars, with production by Vanda & Young (known for their work with fellow Australians AC/DC), had the band moving in a more AOR style, but retaining their hard rock, boogie blues style. Its lead single "I Wish" reached No. 32 on the Kent Music Report singles chart. It was followed by the singles, "Freedom's Flame" and "No Secrets". Rose Tattoo toured Australia in support of the album and it was well received, but by late 1985, Anderson put the band into a year-long hiatus due to his acting commitments. It was the last Rose Tattoo album, which was produced by Harry Vanda and George Young.

Southern Stars is available as a limited edition of 750 individually numbered copies on turquoise & blue swirl vinyl

5 ausgewählte Maxi Singles in einer Box. Eine limitierte Sonderauflage für unsere vielen treuen Fans.

DJ Schwede
F.E.D.O.
Slice & Case
Lewis, D. Emix
Dietbox

Ein Highlight zu einem unschlagbaren Preis!

In 1982, at just 18 years old, Barrington Levy already held a solid reputation as a singer. We at Lantern Records appreciate his early work so much that it is a pleasure to reissue Poorman Style, just as it was originally released by Trojan Records in 1982. The album features the golden era's finest musicians, the Roots Radics, in fine form and produced by Linval Thompson. Recorded at Channel One, the album features expert in-house mixing by Scientist. This is yet another essential Barrington Levy release from Lantern Records, you simply cannot miss these hot Jamaican sounds.

London based, Heavy Metal Records signees IMPERIUM deliver a powerful debut that captures the essence of modern thrash through razor sharp riffs, precision grooves and commanding vocals, rooted in the intensity of classic heavy metal. The band have built strong momentum through UK touring, international performances and a breakout appearance at Bloodstock Festival after winning Metal 2 the Masses, establishing themselves as one of the most promising emerging acts in the UK scene. Their growing profile is further reinforced by endorsements from Gibson and Kramer.



The debut album, Exodus Unknown is available on heavyweight black vinyl using Direct Metal Mastering, alongside a black polycarbonate vinyl effect CD and digital formats, offering strong appeal for collectors and dedicated metal audiences alike. For fans of modern thrash and classic 80s metal, IMPERIUM represent a new generation delivering the genre with authenticity, power and no compromise.