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Uncle Slam, featuring former members of Suicidal Tendencies and Warrior, was a politically-minded thrash act from the 90's. Their list of influences shouldn’t surprise anyone with a passing familiarity of the genre: early Corrosion of Conformity, Dark Angel, Testament, Megadeth and of course Suicidal Tendencies.

Will Work for Food, originally released in 1993 by Roadrunner Records in Europe, with cover art by the legendary Ed Repka, will now be a available on vinyl for the first time ever.

This album features an iconoclastic take on Led Zeppelin’s “Dazed and Confused” which is one of the record’s highlights, These guys are turning that song’s proto-punk into actual punk. The rest of the album is a blast of antigovernment aggression, and is ready to be rediscovered 30-odd years later!

Will Work For Food is for the first time available on vinyl as a limited edition of 750 individually numbered copies on purple vinyl and includes an insert.

The collaborative project of Lawrence English and Werner Dafeldecker has consistently been concerned with processes of transformation. This is all the more true for »Fathom Tides,« the duo’s second album for Hallow Ground following up on »Tropic of Capricorn« from 2023. Using field recordings collected from diverse coastal environments made by English and later treated extensively by Dafeldecker, the two sound artists explore cyclical changes in nature across these seven pieces. Through its abstracted soundscapes, »Fathom Tides« poses concrete questions: What impact do we have on the world we inhabit?

»Tropic of Capricorn« was based on material English had recorded around Australia to highlight the country’s colonial past. On »Fathom Tides,« water and tides provided a conceptual framework for the duo’s remote working process—notions of states of action and tidal dynamics becoming guiding principles in their work with the source material. English and Dafeldecker were led by the question how the morphing of solid forms into more liquid states might be captured and used as compositional guides for their respective preparations treatments and the addition of electronics to the source material.

While eroding coastlines, river systems, and glacial transformation served as inspiration, the seven pieces resulted out of the two sound artists paying close attention to seemingly minute details through which immediate and distant histories peek through often in the most unexpected and rewarding ways. Hence, »Fathom Tides« does not provide a macro view on the catastrophic changes humans have facilitated on Earth. It is its own sound world guided by both the pace of its subjects and a recognition that time is fluid—a reminder that our clocks are not those of the world around us.

Cowboy Junkies are set to release Open to Beauty, a collection of songs from their 21st century albums to date. This "Best Of" set will revisit selected tracks from albums "Open", "One Soul Now", "Early 21st Century Blues", "At The End of Paths Taken", "Renmin Park", "Demons", "Sing In My Meadow", "The Wilderness", "All That Reckoning", "Songs of the Recollection" and "Such Ferocious Beauty". Speaking about the new collection, Cowboy Junkies" Michael Timmins said: "We are now 25 years into this century, the beginning of which saw us leave the world of major labels and return to making music as an independent band. We figured this was as good a time as any to look back, reassess, and reflect on the music that we have recorded over these past two and a half decades and, hence, "Open to Beauty - The Best of the 21st Century".

Follow-up to their distinct sold out eponymous debut in 2023, and a vibrant expression of their singular song craft - Produced by Ringlets and Michael Logie (The Mint Chicks) in Auckland at The Lab and mixed by Isaac Keating at Abbey Road Studios - Opened/supported in NZ for the Foo Fighters, Black Country New Road, Water From Your Eyes

Soulbound with their new album "Addicted To Hell" from 2020 stand for urban, end-time Industrial Metal. They don't renounce their roots from Alternative Metal and keep their trademark despite all harshness: catchy melodies with dystopian and socially critical lyrics. Stomping beats combine heavy guitars and aggressive synths to an apocalyptic mix of Gothic, Metal and Industrial which in this form is still unparalleled. Here comes the album for the first time as a limited edition vinyl neon orange/black dust gatefold.

Collector's Reissue der auserkauften OHL-Veröffentlichungen "Der Feind Meines Feindes" sowie der Mini-LP "Adrenalin" im Doppel-10inch Vinylformat. Erstauflage streng limitiert auf 333 Exemplare, davon 200 in klassisch schwarzem Vinyl und 133 als farbiges Vinyl im special red-black propeller design. Wiederveröffentlichung des 2017er Hammer-Albums, gekoppelt mit der ein Jahr später erschienen (damals auf 500 Stück limitierten) Adrenalin Mini-LP. Schließt nahtlos an die gnadenlose Härte der "1000 Kreuze"-Ära an, aber es gibt auch Überraschendes zu entdecken, der Song "Adrenalin" ist persönlich statt politisch. 16 OHL-Songs, die auch nach fast 10 Jahren in einer Welt voller Kriege, Einschrüänkungen der freiheitliche Grundwerte und religiösem Fanatismus leider nichts von ihrer Aktualität eingebüßt haben. Unbequem, provokant und politisch hochbrisant! Eben typisch OHL! Die 2017er/18er OHL-VÖs jetzt zusammen als Doppel-10" (limitiert) wieder erhältlich.

Collector's Reissue der auserkauften OHL-Veröffentlichungen "Der Feind Meines Feindes" sowie der Mini-LP "Adrenalin" im Doppel-10inch Vinylformat. Erstauflage streng limitiert auf 333 Exemplare, davon 200 in klassisch schwarzem Vinyl und 133 als farbiges Vinyl im special red-black propeller design. Wiederveröffentlichung des 2017er Hammer-Albums, gekoppelt mit der ein Jahr später erschienen (damals auf 500 Stück limitierten) Adrenalin Mini-LP. Schließt nahtlos an die gnadenlose Härte der "1000 Kreuze"-Ära an, aber es gibt auch Überraschendes zu entdecken, der Song "Adrenalin" ist persönlich statt politisch. 16 OHL-Songs, die auch nach fast 10 Jahren in einer Welt voller Kriege, Einschrüänkungen der freiheitliche Grundwerte und religiösem Fanatismus leider nichts von ihrer Aktualität eingebüßt haben. Unbequem, provokant und politisch hochbrisant! Eben typisch OHL! Die 2017er/18er OHL-VÖs jetzt zusammen als Doppel-10" (limitiert) wieder erhältlich.

Strut proudly presents the first-ever reissue of a landmark 1974 Ghanaian highlife classic Sikyi Highlife by Dr K. Gyasi & His Noble Kings, originally released on Essiebons.

A defining recording of the era, Sikyi Highlife bridges tradition and innovation at a pivotal moment in Ghanaian music. Deeply rooted in the classic 1950s–’60s highlife sound, K. Gyasi drew inspiration from the ancient sikyi drum-dance of the Akan people of southern Ghana, shaping the album’s rhythms around its distinctive pulse.

The vocal arrangements echo the traditional Akan modal style, grounding the music firmly in Ghana’s cultural heritage. Yet Sikyi Highlife is equally forward-thinking. As electric guitars became standard in highlife during the 1960s, the 1970s ushered in further experimentation. The Noble Kings broke new ground as the first highlife guitar band to incorporate keyboards and a full horn section into their sound, expanding the genre’s sonic possibilities while retaining its rootsy spirit.

Gyasi’s approach was part of a broader indigenisation movement among Ghana’s electric highlife bands in the post-independence era. Inspired by the nation’s ‘African Personality’ ethos and reinforced by Afrocentric messages arriving from American soul and funk, artists began reclaiming traditional forms within modern arrangements. Contemporaries included Koo Nimo, who revived the older palmwine style, and drummer Nii Ashitey, whose Wulomei band pioneered a folklorised Ga highlife sound from 1973.

Like many musicians of his generation, Gyasi was a passionate supporter of Ghana’s independence movement. In 1963, he travelled as a musical ambassador alongside Ghana’s first president, Kwame Nkrumah, performing across North Africa and the USSR and carrying Ghanaian culture onto the world stage.

The Noble Kings’ mid-’70s line-up featured some of the country’s finest musicians, including guitarist Eric Agyeman (who led the band at the time), Thomas Frimpong on drums and vocals, Ernest Honny on organ, and bassist Ralph Karikari - who was renowned for his innovative technique of translating the rhythms and tonal language of the traditional talking drum onto electric bass.

Upon its original release, Sikyi Highlife became one of the biggest-selling albums of the 1970s for Essiebons, earning Gyasi the affectionate honorary title of “Dr” from his devoted fans. Today, the album remains an evergreen classic, still cherished across Ghana and beyond.

Following the success of his debut EP 'Departure', J Michael Harris returns with a dynamic neo-jazz album that marks his evolution as an artist. Bringing together legendary musicians from London, Los Angeles, and Atlanta, the album embodies elements of jazz, dance and electronica while drawing inspiration from luminaries such as Robert Glasper, J Dilla, Aphex Twin, Sampha, and Herbie Hancock.



All music written by J Michael Harris (saxophone, piano, fender rhodes, synths, EWI, clarinet, flute)

featuring

Freddy Sheed (drums, percussion, programming/ Lewis Capaldi, The Japanese House, The 1975)

Jimmy Haslip (bass/ Yellowjackets, Allan Holdsworth, Jeff Lorber Fusion)

Mo Pleasure (piano, hammond b3/ Earth Wind and Fire,

Michael Jackson, Ray Charles)

Karlos Edwards (percussion/ Nitin Sawney, Spice Girls, Mark Ronson)

Henry Collins (trumpet/ Amy Winehouse, Tom Jones, Van Morrison)



Mixed and Mastered by Guy Massey (The Divine Comedy, Kylie, The Beatles)

POEME ELECTRONIQUE was Dave Hewson (synthesisers, production), Sharon Abbott (lyrics, lead and backing vocals), Julie Ruler (backing vocals) and Les Hewson (bass), formed in 1980 by Dave Hewson in South London, UK, in 1980. Dave was studying music and as a rare kind of student species he had a deep fascination for New Wave and electronic music thus also playing and recording electronic music ever since like using the Boss DR-55, Cosmo Sound Super Drum, Elka Rhapsody 610, EMS Synthi AKS, Korg MS-20(X2)/Polysix/Polyphonic Ensemble 1000/VC-10 Vocoder, Linn Electronics LM-1, Octave Kitten, Roland RS-09/VP-330 Vocoder Plus, Simmons SDS-V Kit and Yamaha CS-80 on this retrospective POEME ELECTRONIQUE album with original material from 1981/82 only. Over the period of more than two years, Dave has remastered these tracks using the latest high-end tools making them sound better than ever before. The deluxe 2LP vinyl album comprises 16 tracks of which 14 have never been published before. “The Echoes Fade” and “Voice” are the original versions taken off their original 7” from 1982. The album “The Echoes Fade” cannot be described other than being a masterpiece and one of the best-ever early 80’s electropop records ever, and it surely has to be lined up with Rational Youth or Experimental Products’ cult albums (in terms of being minimal synth/wave scene reference albums), but to be frank, Anna thinks that POEME ELECTRONIQUE were even above their level.

Truly, they had deserved to go on the successful path like Depeche Mode, OMD or Soft Cell, but fate was against them as it seems. The main difference to other electropop groups of the time was definitely that Dave did not only master his synths technically-wise, no, he also knew how to actually play, and when you hear his amazing multi-track ‘manual sequencing’, programming skills, great harmonies and melodies throughout the tracks, along with the two girls’ performances – well they can really sing! – you will agree there is some something remarkably extraordinary in these tracks. You will find minimal electropop super hits like “Rendezvous”, “She’s an Image”, “Fragile”, or “Dilemma”; hauntingly beautiful melancholic tracks like “A Mourner’s Lament”, “This Night” or “It’s in the Atmosphere”; darkest minimal electronics on “Inside his Head”; and even more poppier tracks like “Follow”. This record will hopefully be loved by any electronic music lover and most probably marks the highlight in the growing Anna Logue Records catalogue – therefore Anna did not shy away from any costs and the album is truly an outstanding release in every single aspect including sound and artwork presentation. Apart from the bonus tracks you will find in the 2LP deluxe vinyl edition glossy inner sleeves with lyrics to all songs, as well as individual mini 7” sleeves for each song designed by our dear graphic designer Steve Lippert plus many additional group photos on the gatefold sleeves’ inner. After so many efforts and more than two years passing by, Anna is so over the moon to see this release being ready now and we have done all we could to make this an outstanding release, so now it’s up to you to give the band their final glory, but Anna is in no doubt that – at least after hearing the sound samples – you will.

Formed in 2021, the band have been maturing since their very first single. Their live performances and sonic evolution have created an undeniable buzz over the years. Recent single Cognitive Dissonance suggests this new chapter is their best yet, this confident debut album is sure to be a crowd pleaser.

Chart topping British singer-songwriter Maisie Peters returns with much anticipated third studio album ‘Florescence’, co-produced with 2x Grammy Winner Ian Fitchuck with collaborators including Marcus Mumford and Julia Michaels. Florescence reflects on how the right love can help heal the wrong ones. It’s an album about perspective, self-realisation, healing, and ultimately, learning how to flourish. This lands as Maisie’s first new LP since she became the youngest solo British female artist in almost a decade to land a UK No.1 album with ‘The Good Witch’ back in 2023. Since then, she’s had the A-list co-signs via Phoebe Bridgers, Sam Smith and Olivia Rodrigo. She’s had a fiercely devoted fandom flock to headline tours around the world. And she’s played shows from Wembley Arena, to Glastonbury, to stadium slots with Taylor Swift and Coldplay.


“Florescence means ‘the process of flowering, of developing richly and fully’ and to me, this album describes exactly that. These 15 tracks depict a blossoming of myself from ages 23 to 25 and a blossoming of a true real love that anchors both me and this record. It tells the story of the last few long winters, with all of their villains and thorns, heartbreaks and rains, and it leads you, by the end, into a perfect English spring, into the hope and catharsis that comes when the first wildflower blooms. It’s a true representation of healing, of finding hope and peace and strength not just in somebody else, but in yourself. It is clear skies, cherry pits on the grass, windows flung open - it is Sussex country roads and London corner shop wine that leaves a stain when you kiss. It is the feeling of flying, then falling, then flying again. It is knowing that there was a point to all the sadness of before, and the point is the woman you see in this mirror now, and the person you see by her side. Love is weaved into every strand of every song on this album and for good reason - love is timeless, love is pure, love is organic and simple and effortless and real. I hope you find this album to be that as well.”

Today, Oakland-raised and Brooklyn-based singer-songwriter Ivy Knight announces her debut album Iron Mountain, set for release on 15 May via Scenic Route.

Ivy Knight’s songs reflect a city dreamer creating a new world to sink into: across Iron Mountain, she conjures imagery of barren Southwest American landscapes as she recounts memories that feel beamed from generations past, channeling folk melodies and old trail ballads of the late 50s and early 60s.

Much of her work has been created both within, and in reference to the Hudson Valley, where she met frequent collaborator Deer park (fakemink, Ecco2k, evilgiane) who produced, engineered and performs on Iron Mountain.

Her latest single ‘Red Rock’ follows last month’s single ‘Headlamp’, and her recent collaboration with Deer park, ‘Black Cat’, which received support from BBC 6 Music, Crack Magazine, The Face, The FADER, Pigeons & Planes, NME, The Line of Best Fit, Clash, So Young + more.

Welcome to THE VAULT for 1985. A collection that digs deeper into the year’s musical landscape – uncovering singles that may not have always reached the highest chart positions but remain essential to the rich and diverse pop story of 1985. Some were overshadowed at the time, some were highlights from albums that had already sold huge amounts, some found greater success internationally – but all deserve their place in this continued celebration of 80s pop.

45 tracks across 3-LPs – pressed in gorgeous green vinyl – NOW Yearbook – The Vault: 1985.

LP1 opens with a trio of tracks from huge-selling albums:- Bruce Springsteen’s ‘My Hometown’, the sixth single in the UK from ‘Born in the U.S.A’ - one of the best-selling albums of the decade, followed by Bryan Ferry with the stunning ‘Windswept’ from ‘Boys And Girls’ and Sting’s ‘Love Is The Seventh Wave’, taken from his solo debut ‘The Dream Of The Blue Turtles’. Next up, Go West with a U.S single release ‘Eye To Eye’, Scritti Politti with ‘Perfect Way’ – their biggest hit in America, and ABC with ‘Be Near Me’. The first side closes with two established bands; Heaven 17 and Orchestral Manoeuvres In The Dark… Flip the LP over for Adam Ant with ‘Vive Le Rock’, Midge Ure, Blancmange and the second collaboration between Philip Oakey & Giorgio Moroder with ‘Good-Bye Bad Times’. The Style Council’s ‘Welcome To Milton Keynes’ leads to LP1’s closer’s from Simply Red and Fine Young Cannibals who followed their debut ‘Johnny Come Home’ with ‘Blue’.

LP2 opens with Cocteau Twins and the dream-pop atmospherics of ‘Aikea-Guinea’, ahead of The Jesus And Mary Chain with ‘Just Like Honey’, and The Dream Academy with ‘The Love Parade’.

Brilliant with their cover of James Brown’s ‘It’s A Man’s Man’s Man’s World’ and jazz-influenced pop from Matt Bianco are up next ahead of the sublime ‘Castles In The Air’ from The Colourfield and Elvis Costello & The Attractions, who released the 1979 track ‘Green Shirt’ to promote their ‘Best Of’ collection … and the side closes with The Clash’s ‘This Is England’ which would become their last originally released hit…whilst on the other side…celebrate the dancefloor, with a vibrant mix of Hi-NRG, soul, electro and club-influenced pop:- Opening with Sheryl Lee Ralph’s ‘In The Evening’ and Barbara Pennington’s equally superb ‘On A Crowded Street’, the hi-energy continues with Miquel Brown and Hazell Dean ahead of a US hit from Laura Branigan (‘Spanish Eddie’) and Divine’s cover of ‘Twistin’ The Night Away’. LP2 finishes with a massive U.S. dancefloor smash for Eddie Murphy with ‘Party All The Time’.

The final LP kicks off with a bunch of singles that achieved bigger hit status in the US than here and opens with Billy Joel’s ‘You’re Only Human (Second Wind)’, a track written exclusively for his ‘Greatest Hits – Volume I & II’ compilation, ahead of pop-rock from John Mellencamp plus an anthemic smash from Bon Jovi. Pat Benatar’s ‘Invincible’ features ahead of The Power Station’s third US Top 40 hit…whilst back in the UK Chris Rea enjoyed his biggest chart hit to date with ‘Stainsby Girls’ and the side is completed by Marillion with ‘Heart Of Lothian’ the third hit from their huge ‘Misplaced Childhood’ album… Flip to the final side for the stellar vocals on ‘Act Of War’, the huge collaboration between Elton John & Millie Jackson ahead of dancefloor smash ‘New Attitude’ from Patti Labelle and ‘Show Some Respect’ a U.S. single from Tina Turner. Sophisticated pop-R&B from Michael McDonald and Daryl Hall & John Oates come ahead of the collection’s closers- and two outstanding vocal performances: Chaka Khan’s ‘Through The Fire’ and the U.S. breakthrough hit from Whitney Houston with ‘You Give Good Love’ – signalling the arrival of one of the decade’s brightest new stars.

NOW Yearbook – The Vault: 1985 – A deeper dive into an unforgettable year in pop.

After releasing two albums with the UK label Rocket Recordings, the Italian psych band Julie"s Haircut now release the new album on its own Label Superlove. With a title taking inspiration from the I Ching book of divination, and a six piece lineup introducing new singer and songwriter Anna Bassy joining the consolidated team formed by Nicola Caleffi, Luca Giovanardi, Andrea Rovacchi, Andrea Scarfone and Ulisse Tramalloni, Radiance Opposition collates an eight tracks cycle that generates a consistent yet multifaceted musical journey, combining psychedelia, electronica and polyrhythms - all blended together thanks to a syncretic vision juxtaposing apparently irreconcilable factors. None of this is more evident, perhaps, than in the opener "I Can See The Light", with its sudden yet flowing shift from a dark pulsating preamble to an invigorating, hypnotic coda; or in the transition from the stoner-drenched heavy chthonic blues of "Extinction Of The Sun" to the liquid nocturnal moods of closing piece "6AM Carpet Candlelight". But it is the whole record that finds a rare balance, with tracks melting deep atmospheres and summoning vocals, synth-driven shapes and dynamic cadences, noise textures and evoking chants - all of them making the album a cohesively transformative experience. Nestled in a visual frame by contemporary artist Zoë Croggon suggesting an aura of ritualistic tension and mystique, Radiance Opposition sets Julie"s Haircut in a renovated form, at once rooted in their history and rushed to a creative renascence.

Since first meeting as midwestern high-schoolers in 2009, Citizen have emerged as one of the most promising young bands in the alternative underground today. The band signed to Run For Cover Records in early 2012, releasing their EP Young States that year as well as a split with labelmates Turnover. In February of 2013, Citizen entered Studio 4 with producer Will Yip (Title Fight, Circa Survive, Daylight) to record Youth, their debut full-length. From the first note of album opener "Roam The Room", the fuzzy, guitar-driven rock songs bleed emotion straight through to closer "Drawn Out". Citizen have called on the ghosts of Brand New and early Nirvana, creating a sound that is familiar but immediately all its own.

With Flame Folclòre, Cocanha continues reclaiming Occitan folklore as a living, political and embodied space. For Lila Fraysse and Caroline Dufau, folklore is neither decoration nor nostalgia. It is a site of struggle, where narratives, identities and imaginaries are constantly renegotiated. Drawing from fragments of traditional Occitan music, the duo composes, reshapes and rewrites. Ancient melodies intertwine with original texts in a contemporary language that echoes both subversive Occitan memories and present-day struggles. The voice becomes a chronicle of now, a way of inhabiting the present. Driven by hypnotic polyphony and the deep pulse of stringed tambourines, the album embraces a minimal, physical and grounded aesthetic. Repetition acts as propulsion, dance as function. Cocanha"s practice is collective by nature: to gather, to move, to fuel a joyful struggle around reclaiming the commons. Produced by Raül Refree, Flame Folclòre intensifies the dialogue between memory and transformation. Voices strike, revolve and respond, opening a circular space where folklore is no longer frozen but alive and burning in the present.

Noko is a Gda?sk-based (Poland) band operating at the intersection of jazz, electronics, and club music. Their sound grows out of improvisation, but instead of following a traditional jazz narrative, it focuses on trance, repetition, and the physicality of rhythm. The band's sound is built on a fusion of acoustic instruments-trumpet, saxophone, double bass, and drums-with electronics and synthesizers. The result is a dynamic structure that works just as well at jazz festivals as it does in a club setting. ?oko's second album is a sonic residue suspended somewhere between a jazz festival and a Berlin techno club. KO is a form of recycled jazz and electronics that opens up wide, cinematic landscapes for the listener. It's deeply physical music, driven by a trip-hop groove that keeps things grounded while allowing the mind to drift into less obvious territories. For this release, ?oko invited two outstanding artists who add a unique character to the whole. Novika brings her signature dreamlike calm, while the voice of Maciej ?winiarski appears in a song about death, closing the band's improvised journeys. This is a personal record the band wants to share with you.

Through her work across five Vastum albums, Leila Abdul-Rauf has been a sonorous contributor to 20 Buck Spin’s discography for more than 15 years now. Concurrent to that she’s also amassed an impressive body of solo work whereby she could showcase the full range of her multi-instrumental artistic and vocal talents. We now bring that part of Leila’s output to 20 Buck Spin showcasing her darkest and most confrontational material to date with new album ‘Andros Insidium’. On ‘Andros Insidium’ Leila draws us into a ceremonial descent, through the architecture of shadow itself. Unfolding like a ritual text etched in obsidian, each movement traces the violent and sacred geometry of transformation. The presence and wisdom of the feminine divine looms throughout, as an ancient and uncompromising force, in conflict with everything buried, exiled and made monstrous by the machinery of societal pressures and unrealistic expectations. The album delves deep into the dark vastness of the psyche of woman: wild, ugly, vulnerable and powerful. Sonically ‘Andros Insidium’ is a mutation of the cinematic dark-ambient, industrial and ritual folk expressed in prior releases, now sharpened into something far darker, more narrative and intimate. Leila’s vocal work becomes a new focus with a wider variety of styles and characters, exorcising the demons of patriarchal fragmentation and revenge fantasy as lived myth. In its most potent moments, ‘Andros Insidium’ suggests that wholeness is not purity or light, but the terrifying act of reclaiming everything that was discarded, and learning to speak with its voice. * New solo album of Leila-Abdul Rauf of VASTUM (also has played in Amber Asylum, Hammers of Misfortune, and others) * Dark and heavy mix of Dark Ambient, Industrial, Ritual / Neo Folk, Electronic

* FFO: Dead Can Dance, Diamanda Galas, Arcana, Amber Asylum, Jarboe/Swans, Chelsea Wolfe, Cold Meat Industry