Buscar:su

Originally released in 1975 on Montilla Records, Fire & Sugar is a rare Afro-Latin jazz-funk gem by Cuban multi-instrumentalist Jesús "La Grulla" Caunedo. A respected yet often uncredited figure who worked alongside artists such as Tito Puente, Machito, Celia Cruz and Chico O'Farrill, Caunedo delivered here his most forward-thinking statement.

Recorded in Puerto Rico, the album blends Afro-Cuban rhythms, heavy Latin percussion, tight brass arrangements, fuzz guitar and jazz-fusion elements moving from explosive dancefloor cuts to deeper, atmospheric moments.

Long prized by DJs and collectors across Latin, funk and rare groove circles, this official reissue restores the full warmth and punch of the original recordings.

An essential 1975 Latin jazz-funk title, back in print.

Transferred from the original reel-to-reel master tapes

Includes previously unreleased track

Audiophile 180g vinyl pressing + Gatefold cover

Liner notes by DJ Bongohead

Long sought-after Afro-Latin jazz-funk

With Grammy award-winning sound engineer Katie May (MPG Sound Engineer of the Year, 2025) once again at the faders, Blank Arcades sees the same team (David Perry on guitars & church organ, Cameron Saint on double bass and Louis Spanton on percussion) reunite in atmospheric Yatesbury Church, close to the Avebury stone circle, to perform sixteen new songs on a single summer's day. A year on from its predecessor, Collodion ("hushed, haunted and shiver- inducing" wrote Alexis Petridis in The Guardian) Blank Arcades draws on themes of impeded progress and the 'entrances to nowhere' implied by the album title, a nod to Andrew's interest in ancient churches. "When you sing in a place like this, the walls join in."

Campbell Owens, Douglas MacIntyre and Mick Slaven worked on the album alongside founding members Robert 'Bobby Bluebell' Hodgens, David McCluskey and Ken McCluskey to create the new collection of tracks. The result is a stunning body of work; rich, melodic, thoughtful and infectious. First single No Pasaran! premiered on BBC Radio Scotland and in The Herald in September 2025. The Bluebells rose to fame in the 1980s as jangle-pop pioneers of the Sound of Young Scotland era with their three hits Young at Heart, Cath and I'm Falling.

Despite only releasing one readily-available album during their initial run (Sisters, 1984) the band have remained as one of Scotland's most beloved bands, currently boasting over 144,000 monthly Spotify listeners. The band enjoyed a post-breakup revival in 1993 after a Volkswagen advert featured Young at Heart, pushing the single to No.1 for 4 weeks. They have since reunited over the years, to play various festival slots and develop new material. In 2023, the band released The Bluebells In The 21st Century, their first LP in decades. In 2025, The Bluebells played Glastonbury.

One of the challenges facing the contemporary artist is how to negotiate a balance between an outward facing engagement with the wider world and an inward looking focus on a private inner realm, it's exactly this tension that gives such energy and depth to in the shade, the stunning second album from Finnish singer/composer Selma Savolainen Selma's powerful voice and her adventurous musicality are the driving forces behind a mesmerising set of songs that are rooted in contemporary jazz but use a sound-world that ranges far beyond, bringing in influences from the adventurous edges of postrock and beyond.

Critically-acclaimed North Carolina rapper MAVI's new mixtape The Pilot reveals his duality as both an interior philosopher and exterior showman, as he steps out, takes flight and proves that endurance is the truest art form Consistently hailed for his poetic lyricism and virtuosic technical abilities as a rapper, The Pilot was written amidst sobriety and signals a looser, lighter body of work that embraces spontaneity, creative freedom and collaboration. With appearances from Earl Sweatshirt, Kenny Mason, Smino and MIKE, The Pilot finds MAVI expanding his once- insular process into one defined by community and creative exchange. Conceptually, it's less a continuation of 2025's successes than a reframing of them, a project that looks forward rather than back.
Pressed on dark purple vinyl

Get ready for a musical history lesson of the wildest kind! Vancouver's garage-punk specialists THE BAD BEATS are back with a bang On their new album "Shiver and Shake - 14 Canadian Cold Cuts," released via SOUNDFLAT RECORDS, the band pays homage to the musical heritage of their Canadian homeland--with 14 hard-hitting cover versions. After proving they have the 60s "fuzz" spirit in their DNA with albums like "His Vengeful Hand" and "Off the Hook," they've now dug deep into Canadian music history. Instead of the usual hits, THE BAD BEATS present a selection of "Cold Cuts"-- raw, unpolished gems from cult bands that shaped the sound of the North. Look forward to high-energy reinterpretations of legends such as THE DEVRONS (who would later become THE GUESS WHO with the classic "She's Your Lover"), DAVID CLAYTON THOMAS & THE SHAYS (with the gripping "Take Me Back"), LES LUTINS ("Je Cherche") and of course, a tribute to the legendary NEIL YOUNG, with a gritty version of "Mr. Soul," is a must.

Coinciding with the band’s European tour in June 2026, High Roller Records re-releases “Rat God” (2021), “Fearsick” (2022), and the “Panic Prayer” EP (2023) by US death metal powerhouse Inhuman Condition.
Formed in late 2020, Inhuman Condition unites three seasoned veterans of the genre: Jeramie Kling (Overkill, ex-Venom Inc., ex-Massacre) on vocals and drums, guitarist Taylor Nordberg (Deicide, Umbilicus, ex-Massacre), and Terry Butler (Obituary, ex-Death, ex-Six Feet Under, ex-Massacre) on bass. With roots deeply embedded in the legacy of classic Florida death metal, the trio quickly established a reputation for delivering relentless, and unapologetically old-school extremity infused with modern precision and songwriting clarity.
The group’s debut full-length “Rat God” introduced their signature blend of crushing mid-tempo grooves, razor-edged riffing, and commanding vocal presence. Praised for its clear and powerful production, dynamic guitar work, and unmistakable homage to early 90s death metal, the album delivered headbanging anthems such as ‘Euphoriphobia’, ‘Crown of Mediocrity’, and ‘Planetary Paroxysm’, marking Inhuman Condition as a veritable force carrying the tradition forward.
With “Fearsick” (2022), the band sharpened their attack while staying true to their core identity. Featuring artwork by Dan Goldsworthy and produced by Jeramie Kling, the album expanded the sonic palette with atmospheric touches, crushing riff sequences, and memorable hooks, thus cementing the band’s status.
The “Panic Prayer” EP (2023) showcased three new tracks and a cover of Blue Öyster Cults ‘Godzilla’ alongside raw live recordings capturing the band’s ferocious stage energy.
High Roller Records’ 2026 re-issue campaign offers fans the chance to rediscover the early catalog in premium physical editions, celebrating the recordings that established Inhuman Condition as a modern standard-bearer of classic death metal intensity.

Multi-Instrumentalist, Produzent & The Pineapple Thief Frontmann Bruce Soord kehrt 2026 mit einem starken neuen Soloalbum zurück.

Als Gründungsmitglied und Hauptsongwriter von The Pineapple Thief hat Bruce Soord das letzte Jahrzehnt damit verbracht, seine Stimme zu verfeinern, die emotionale Direktheit mit musikalischer Zurückhaltung in Einklang bringt. »Ghosts In The Park«, sein neuestes Solo-Album, ist sein bisher persönlichstes und ungeschütztes Werk: eine Platte, die von Verlust, Erinnerung und den stillen Räumen geprägt ist, die sich offenbaren, wenn das Leben weitergeht, während alles andere stillzustehen scheint.

Das Album wurde über einen Zeitraum von zwei Jahren geschrieben, während Soord ausgiebig mit The Pineapple Thief auf Tournee war, und entstand in Hotelzimmern, fremden Städten und in Momenten erzwungener Einsamkeit. Vor diesem Hintergrund verarbeitete Soord den langwierigen Verfall und schließlich den Tod seines Vaters sowie das Fortschreiten der Alzheimer-Krankheit seiner Mutter. Diese Erfahrungen bilden das emotionale Rückgrat von »Ghosts In The Park« - Trauer in Bewegung, unvorhersehbar auftauchende Erinnerungen und die stille Entschlossenheit, weiterzumachen.

Die Akustikgitarre steht im Mittelpunkt des Albums, oft in rohen Erstaufnahmen, die direkt in Hotelzimmern aufgenommen wurden, bevor sie sorgfältig mit Studioaufnahmen kombiniert wurden. Diese Spannung zwischen Zerbrechlichkeit und Kontrolle bestimmt den Klang des Albums. Tracks wie »Concepción«, »Meet Me On The Downs« und das Titelstück entstanden an bestimmten Orten - Chile, Hamburg, Oberhausen -, wobei jeder Ort einen subtilen Eindruck in der Musik hinterlässt. Parks, Häfen und anonyme Räume werden zu wiederkehrenden Schauplätzen, an denen Vergangenheit und Gegenwart nebeneinander existieren, durchschnitten von flüchtigen Momenten der Klarheit inmitten der Unordnung.

Das Album wurde fast vollständig von Soord selbst eingespielt, mit Bassbeiträgen von Jon Sykes bei »Kept Me Thinking«, und wurde in einer Kombination aus Hotelzimmeraufnahmen und Studiosessions aufgenommen, um die Unmittelbarkeit seiner Ursprünge zu bewahren. »Ghosts In The Park« wurde von Steve Kitch gemastert und ist ein starkes, reflektierendes und evolutionäres Gegenstück zu Soords gefeierten früheren Soloarbeiten

Multi-Instrumentalist, Produzent & The Pineapple Thief Frontmann Bruce Soord kehrt 2026 mit einem starken neuen Soloalbum zurück.

Als Gründungsmitglied und Hauptsongwriter von The Pineapple Thief hat Bruce Soord das letzte Jahrzehnt damit verbracht, seine Stimme zu verfeinern, die emotionale Direktheit mit musikalischer Zurückhaltung in Einklang bringt. »Ghosts In The Park«, sein neuestes Solo-Album, ist sein bisher persönlichstes und ungeschütztes Werk: eine Platte, die von Verlust, Erinnerung und den stillen Räumen geprägt ist, die sich offenbaren, wenn das Leben weitergeht, während alles andere stillzustehen scheint.

Das Album wurde über einen Zeitraum von zwei Jahren geschrieben, während Soord ausgiebig mit The Pineapple Thief auf Tournee war, und entstand in Hotelzimmern, fremden Städten und in Momenten erzwungener Einsamkeit. Vor diesem Hintergrund verarbeitete Soord den langwierigen Verfall und schließlich den Tod seines Vaters sowie das Fortschreiten der Alzheimer-Krankheit seiner Mutter. Diese Erfahrungen bilden das emotionale Rückgrat von »Ghosts In The Park« - Trauer in Bewegung, unvorhersehbar auftauchende Erinnerungen und die stille Entschlossenheit, weiterzumachen.

Die Akustikgitarre steht im Mittelpunkt des Albums, oft in rohen Erstaufnahmen, die direkt in Hotelzimmern aufgenommen wurden, bevor sie sorgfältig mit Studioaufnahmen kombiniert wurden. Diese Spannung zwischen Zerbrechlichkeit und Kontrolle bestimmt den Klang des Albums. Tracks wie »Concepción«, »Meet Me On The Downs« und das Titelstück entstanden an bestimmten Orten - Chile, Hamburg, Oberhausen -, wobei jeder Ort einen subtilen Eindruck in der Musik hinterlässt. Parks, Häfen und anonyme Räume werden zu wiederkehrenden Schauplätzen, an denen Vergangenheit und Gegenwart nebeneinander existieren, durchschnitten von flüchtigen Momenten der Klarheit inmitten der Unordnung.

Das Album wurde fast vollständig von Soord selbst eingespielt, mit Bassbeiträgen von Jon Sykes bei »Kept Me Thinking«, und wurde in einer Kombination aus Hotelzimmeraufnahmen und Studiosessions aufgenommen, um die Unmittelbarkeit seiner Ursprünge zu bewahren. »Ghosts In The Park« wurde von Steve Kitch gemastert und ist ein starkes, reflektierendes und evolutionäres Gegenstück zu Soords gefeierten früheren Soloarbeiten

Over the course of their respectively stellar careers, Jeff 'Tain' Watts, Mark Turner and Orlando le Fleming have each brought their wide-ranging musicality and powerful musical imagination to a plethora of different projects that encompass all the variety and progressive excitement of contemporary jazz Yet at the heart of their music- making is their deep understanding of the essential verities of this music, as established by the long tradition of the masters. This new vinyl- only issue of Misterioso pressed on 180g black vinyl presents three master musicians exploring the heart of that tradition - free- flowing collective improvisation over the standard repertoire, all captured in glorious sound quality exactly as it went down on the day, with no overdubs or edits.

Die 10-Jahre-Jubiläumsausgabe mit zwei Bonustracks. Das selbstbetitelte Debütalbum von Palms (2013) vereint Chino Moreno von den Deftones mit ehemaligen Mitgliedern der Post-Metal-Ikonen ISIS. Das Ergebnis verbindet schimmernde Atmosphären, weitläufige Gitarrenklänge und Morenos hochfliegenden Gesang zu einer traumhaften Fusion aus Shoegaze, Post-Rock und Metal. Stimmungsvoll und filmisch erweitert das Album das Vokabular der Heavy-Musik in ätherische Gefilde.

Fika Recordings are pleased to present Bring On The Apathy, the third solo record from Scottish songwriter Adam Ross. Adam Ross is an indie-folk songwriter based in north-east Scotland. He is a solo artist and has also led the cult indie band Randolph's Leap for over a decade, releasing music with legendary Fence Records and Lost Map as well as Olive Grove Records and Fika Recordings. He is known for his unique brand of articulate lyricism which blends humour, poignancy, wordplay and offbeat stories.. “Bring On The Apathy” was recorded onto tape, using traditional analogue techniques at Glasgow’s Green Door Studio with Samuel J. Smith. It showcases some of the most emotionally open, lyrically deft and characterful songwriting so far from one of Scotland’s most accomplished writers. The vintage recording approach brings a warmth and intimacy to a record which is in equal parts raw and organic while also beautifully arranged and performed as Adam is joined by a raft of excellent collaborators. The album itself is a reaction. Whether it be in the title, the lyrical content or the method in which the sounds were captured. “I was feeling fairly down and uninspired about the musical landscape” Adam explains. “The risk with digital recording where every instrument is overdubbed separately is that it can end up sounding metronomic, sterile and lacking personality.

I also started to get a bit freaked out by the topic of AI-generated music and the insidious, creeping impact it’s already having. I therefore decided that, as a bit of a protest, I wanted to make something that sounded extra-specially human and hand-crafted, where you could hopefully hear the interplay between musicians.” For this reason, Adam decided to record the majority of the album live, as a band, playing together in the same room without a click track. “I’d put a band together to tour my last album, Littoral Zone, and I really enjoyed the way we all worked together. Green Door Studio was chosen as the destination as it specialises in analogue sound production but it had an extra significance for Adam. “Green Door was the first studio I ever recorded in, back in 2009. This time around, the “unforgiving” nature of tape recording became an inspiration. “The musicians on the record are such great players that they rarely make mistakes, so there was a confidence there that we wouldn’t need to rely on copious amounts of editing or post-production, which isn’t always possible with tape anyway. The core band consisted of Owen Curtis-Williams on drums, Cameron Maxwell on bass, Pedro Cameron on violin, Gillian Fleetwood on harp and (long-time collaborator with Randolph’s Leap) Pete MacDonald on piano. Mercury Prize-nominated artist C Duncan was drafted in to write and perform backing vocal arrangements along with Amanda Nizich and Gillian Fleetwood. Adam says “I’d been listening to a lot of Bob Dylan, Karen Dalton and Bill Callahan records and I thought it might be interesting to apply those sorts of influences to my brand of Scottish quirk-pop”.

Absolute banger from french crew RDH originally released in 2019 on our sub label Digipirate, Lutin is really not for everyone's hands : a dull and underground atmosphere, a furious bassline and a wild mix make it truly dangerous!

Long time sold out and finally repressed, it comes this time with blank labels and minimalist stamps. Soooo cute!

An instrumental counterpart to ‘Man Kill Man’ by Lone Ark meets The 18th Parallel, ‘Kanata’ marks the debut solo release of Japanese saxophonist extraordinaire Yuko Arakawa.

A member of ZIONHILL SESSION—the collective led by Mr. Saito, who also lends his trombone to this recording—Yuko Arakawa channels a deep reverence for the legacy of Count Ossie and the pioneers of Nyahbinghi instrumental reggae. Her playing moves with a spiritual intensity, echoing the meditative roots sound of Cedric 'Im' Brooks, while igniting flashes of raw, untamed energy reminiscent of Sugar Belly. The result is a living, breathing sound—both grounded in tradition and reaching beyond it.

Roberto Sánchez delivers a deep Mutron Bi-Phase dubby mix that expands the sonic horizon of the track. True to its title, ‘Kanata’ (彼方)—a Japanese word meaning ‘far beyond’ or ‘in a distant place’—invites the listener into a meditative journey, drifting across time, space, and memory.

Lone Ark and The 18th Parallel join forces again! After the critically acclaimed debut ‘Showcase Vol. 1’ (2021), the two spearheads of the European roots reggae scene return with a powerful statement: ‘Man Kill Man’, the first single from the upcoming album ‘Showcase Vol. 2’.

Recorded on 2” tape between Geneva, Switzerland and Cueto, Spain, this new project is another masterpiece of production. It dives deep into the roots sound and playing of the mid 70s reggae with heavyweight drums and bass, razor-sharp rhythm section, and sophisticated flute and vocals arrangements.

Roberto Sánchez, the voice behind Lone Ark, sings about ongoing wars in the world justified by religious beliefs. In today’s climate, where such conflicts persist across the globe, speaking out about this issue is both crucial and deeply relevant. ‘Peace Version’ on the flip is a dub full of message mixed by the man himself, Lone Ark.

Contemplating the role of the album format in an attention-deficient society, Speedy J presents Walkman -- a constantly shifting, 90-minute soundtrack to a journey of your choice. Jochem Paap's first solo album in over 20 years is a freewheeling, 20-track testament to his decades-deep studio skill and sonic versatility, running from skewed rhythmic rabbit holes to exploratory tonal abandon. For Paap, the traditional idea of the album had become obscured by listening habits and the non-stop information barrage of our digital lives. Having moved on from his breakthrough years releasing LPs and touring off the back of them, he was more inspired to develop his many-sided STOOR project and feed into a bigger artistic body of work than the temporary shelf-life of a single release. As is natural for any artist, his perspective shifted over time and he found himself drawn back to the idea of an album, realising he connected best with longer releases while he was on a walk, out for a run or generally in transit one way or another. With an endearing call back to the humble Walkman, he selected an hour and a half of material created during studio sessions at the beginning of 2025, perfectly sized to fit on two 45-minute sides of a cassette tape. As has long been the case for his studio practice, there were no fixed intentions when sitting down in the STOOR lab to start making noise -- just a wealth of experience and an expansive set of tools to start exploring with. From hours of jams Paap pulled together standout moments and moulded them into a mixtape-like narrative ranging from two-minute beat nuggets to full-tilt techno workouts and immersive ambient drops. Every sound is intentional, but the overall delivery is instinctive and curious, showing multiple new dimensions to Paap's sound and offering unpredictability at every turn. 'Arp Amp Chasm' opens the album up in a thick blanket of humming, harmonic waves with an electric emotional charge, while 'Ctrssalms17 (Cold Render)' journeys through evocative blooms of melancholic, gritty pads and rugged, half-submerged tech funk. 'Modern Birds (Origin Edit)' reaches skywards with grand sweeps of dynamic, brilliantly rendered synthesis. From the dexterous drum science of 'Drift Vector' to 'Osc Hop (Slow Collapse)'s lurching, beatless swamp of synths, on Walkman even the briefest snapshots leave an impression that lasts beyond the quick-scan cycle of the modern music experience. With his return to the album format, Paap's message is clear --put your headphones on, get outside and lose yourself in the sound of an artist constantly committed to moving forwards.