Search:sweet

For the first time ever, Los Campesinos! are proud to offer new pressings of their first three studio albums on their very own record label; Heart Swells.
2026 marks the 20th anniversary of LC!’s formation, and coincides with the band being more popular and relevant than ever before. The 3 albums are available for the first time since 2020, on brand new colour ways, on 12” vinyl and CD, with updated artwork and packaging.

What the press said:

"This debut is unusually taut and polished, with hooks, crescendos, and clever turns of phrase nearly always in the right place. ” 8.4/10 - Pitchfork

“captures more believable, crackling punk energy than most hardcore bands.” 10/10 - AV Club

“Recommending this album seems too light a course of action; requiring it may be more apt. Consider Hold on Now, Youngster...highly required, then.” - 9/10 - All Music

“They write ridiculously knotted, satisfying hooks… they have great lyrics, great videos, their live show is phenomenal, and most importantly and intangibly (like all great bands) they somehow summon up a world through their music, until it feels as if everything in life is here.”
9/10 - Popmatters

Soul Music legend Candi Staton returns to her down-home Alabama roots on her 32nd album, Back to My Roots. The twelve-track Americana set features an array of Staton-penned originals and some well-chosen covers.

"These songs represent my roots," Staton adds as she reflects on her many trials and triumphs. "Even the new songs on some level represent something I've experienced and that's what real soul music is about." Back to My Roots was produced by Staton with her second eldest son, Marcus Williams, a professional drummer who has toured with the likes of Peabo Bryson, Isaac Hayes, and Tyler Perry. They brought in Mark Nevers of Lambchop fame, who produced three of Staton’s prior Americana albums for Honest Jon’s and Thirty Tigers, to sweeten certain tracks. “Some of the first songs I ever heard were songs like `Peace in the Valley’ and `It’s Gonna Rain,’” says Staton. “The new songs or cover songs are tracks that remind me of that era when I was growing up as a child and evolving as a young woman. That’s why I named the album Back to My Roots because I’m going back to the roots that made me who I am.”

Staton received the Americana Music Association UK’s highest honour, the International Lifetime Achievement Award, at the UK Americana Music Awards ceremony at Hackney Church in London last year for her southern soul work that stretches from her 1969 Muscle Shoals hits to her more recent collaborations with the likes of Americana kings Jason Isbell and John Paul White.
The album opens with a mid-tempo Bonnie Raitt-styled contemporary blues “I Missed the Target Again” that finds Harry Connick Jr.’s longtime guitarist Jonathan DuBose Jr. (aka the Prophesying Guitarist) showing off his skills that set the tone for the song and the album.

Staton’s older sister, Maggie Staton Peebles (who alongside Staton was a member of the Jewel Gospel Trio in the 1950s), joins her for two duets. The first, “It’s Gonna Rain,” features just a drum, steel guitar and vocals. “My mother used to sing that song to us all the time when I was a child,” Staton recalls. “It’s a really soulful kind of song I wanted to revisit.” They then take turns leading Thomas Dorsey 1939 gem “There Will Be Peace in the Valley” that Elvis Presley popularized in the 1950s.

“Hang on in There” is a new, mid-tempo song that has an old school gospel flavour and features vocals from veteran bluesman, Larry McCray.
While in Europe in 2023 for her farewell concert tour that took her to the Glastonbury Festival and Love Supreme, Staton and her British band, PUSH, went into a London studio to record a new version of The Rolling Stones’ 1972 gem, “Shine A Light.” “I love the way that came out,” Staton says. “We put a big choir on it and put our own twist on it.”
From there, Staton revives another Thomas Dorsey classic, “The Lord Will Make a Way Somehow,” with a bluesy vibe. When Al Green started recording gospel in the early 1980s, he re-introduced this song into the culture.

“God’s Gonna Use Me Anyway” is a new mid-tempo blues with subtle Caribbean influences.

The mood takes a turn on “1963.” It’s a poignant, spoken-word reflection on September 15, 1963, when four black girls were killed in the Birmingham Church bombing. “I was in the city that day and I remember the chaos and horror after the bombing,” Staton recalls. “Just thinking of how racism and hatred caused those men to kill those girls was so emotional for me that I could only do it in one take.”

It's a perfect segue into "Reach Down and Touch Heaven," a haunting, plea for divine intervention into the affairs of mankind. "That's straight Baptist," she says. "I used to be a church pianist back in the 1960s. I've never played piano on one of my records before so that's a unique song for me because I’m finally playing on one of my records. The message of that song is about the homeless. It came to me when a homeless person on the street asked me for $5. When God touches your heart to help somebody else that’s heaven to God’s hears. So, when we reach into our purse or wallet to help someone, we’re touching heaven."

Staton offers love as an antidote to hate on the bouncy, Motown-styled, “Love Breakthrough.”

Her publicist brought Aaron Frazer & the Flying Stars of Brooklyn NY’s 2017 cut “My God Has a Telephone” to Staton’s attention. She shifts the track from a retro 1960s groove to more of a 1980s Malaco Records arrangement, a subtle but distinct variation. Staton brought in her longtime friend and STAX Records legend, William Bell (“I Forgot to Be Your Lover” and “Trying to Love Two”), to add raspy seasoning to the track.

The album closes with the wistful, “In God’s Hands We Rest Untroubled,” that was originally written and recorded by the late country star, Lari White, who died in 2017 at the age of 52. “Lari sent me that song to consider at least ten years ago and I always loved it,” Staton says. “The record label didn’t want it on the album or something, so I just held it.”
Staton says, “I grew up hearing a lot of these old songs when they were new songs. I toured with the Jewel Gospel Trio in the 1950s and we got to know people like Mahalia Jackson, Sam Cooke and others who sang these types of songs. So, I’m sort of paying tribute to them and the influence they had on me by refreshing these songs and making new songs in the old style.”’

Iconic return with “II”, a second album that doesn’t just continue the band’s journey — it defines it. Where their debut introduced the chemistry between five world-class musicians, II sharpens that vision into a clearer, heavier, and more confident sonic identity, delivering a sound that is more powerful, more direct, and unmistakably rock. At the heart of the album lies the electrifying guitar partnership of Joel Hoekstra and Michael Sweet, delivering a masterclass in soaring melodies, blazing solos, and muscular riffs that perfectly balance technical brilliance with pure hard-rock attitude. Beneath them, the rhythm section of Tommy Aldridge and Marco Mendoza drives the record with thunderous authority, creating a groove that is both massive and relentless. The album kicks off with “Cry No More”, a high-octane opener that immediately sets the tone — an energetic slice of hard rock packed with driving riffs, explosive drums, and a chorus built to stick. On the other side of the emotional spectrum, “Tears Keep On Falling” showcases the band’s dynamic range, unfolding as an electrifying power ballad where melody, atmosphere, and intensity come together in dramatic fashion. Towering above it all is Nathan James, whose performance on II is nothing short of extraordinary — powerful, soulful, and commanding, elevating every track with unmistakable presence. With bigger riffs, deeper grooves, and a stronger sense of identity, II captures Iconic at full force: a band no longer introducing itself but fully owning its sound.

New 2026 Remix
Sun-drenched groove of the Caribbean meets the sensual pulse of Detroit house: “Kryé Mwen”, the standout hit by David Walters produced by Patchworks, finally available on 12" with a brand new Disco Club remix.

Limited copies

Korlakang are four young friends from Thonburi, the quieter, canal-laced western bank of Bangkok, where temple bells and river rhythms shape everyday life. Formed from a bond that stretches back to high school hallways and shared university years, the band came together with a sound rooted in Thai traditional music and the warm haze of psychedelic rock.

Their debut 7-inch, Samong Sai, is that rare thing: a record that seems to arrive already aged, carrying the grain and warmth of a forgotten 70s pressing. It seeps in slowly, sweet and chill, like sound faintly coming through a neighbour's window. The kind of music that makes you stop what you're doing just to hear a little more of.

Repress of the 13th chapter of this highly acclaimed compilation series, originally released in 2017.

As usual FSOJ is compiled by Compost head honcho Michael Reinboth with a solid sense of leftfield tracks, punchy floorfillers, ghostly, cinematic, balearic, frazzled, bitter-sweet or mind-shaking hybrid tunes.
Several magazines voted FSOJ as the one of the best compilation series of all time. With this series starting 1995 the term Future Jazz became a genre landmark.

FSOJ 13 including some exclusives, sought-after tracks and previously unreleased tracks. Some highlights are: First of all the Van Hai track in a Ripperton remix is a perfect opener into a tranquil music venture. A sheer bliss tune. Montezumas Rache „Wu Du Wu“, which was only released on vinyl before - still difficult to find the original 12“ - is a freaky outstanding funk hybrid. Karim Sahraoui – with a punchy Detroit-ish track, picked up from Derrick May’s Transmat label - is currently in the works with a follow up 12“ later in 2017 on Compost. Acid Pauli delivers a brand new dubby balearic remix, which he recently did for Matanza, a live band from Chile. Peter Kruder came up with something special exclusive, a warm breath in the open air tune, which drives listeners into a chilled wormhole. Beside new names, bigger names like Axel Boman, Tony Allen with a Ricardo Villalobos & Max Loderbauer remix, you’ll find more lefties tracks from respected labels like Studio Barnhus, Innervisions, Lovemonk, Transmat, Mule, Tru Thoughts, Rebirth, Ninja Tune and m.o. next to other exclusive deliveries by Manuel Tur, Marsmobil, coupled up with semi exclusives: the first time on vinyl or digital.

By the time Mayday Parade began work on Sugar, the closing installment of their three-part album series, they had pushed themselves further than ever before.Following Sweet (April 2025) and Sad (October 2025), the pop-rock quintet committed to a relentless cycle—write, record, tour, repeat—building a body of work that captures the full scope of their sound across nearly 30 songs.

Sugar brings the trilogy to a close in powerful fashion, emphasizing both reflection and forward momentum through the driving emo pulse of first single “Blame It on the Youth,” the hypnotic piano ballad “What Happens Next,” the glossy melodic groove of “Two Hearts,” and the nostalgic energy of “Sweet Sad Sugar,” which reflects on the Tallahassee roots that shaped the band.
Just as importantly, the project marks the beginning of a new era defined by autonomy. Released independently, the set sees Mayday Parade taking full control of their creative output—a full-circle moment for a group that first built its audience by selling CDs in Warped Tour parking lots and quickly became a leading voice of the late-2000s emo wave thanks to gold- and platinum-certified singles like Jamie All Over and Miserable at Best.
It's this willingness to chase something ambitious, no matter how daunting, that has defined them from the very beginning. Now, with the trilogy complete, Mayday Parade find themselves in a position few of their peers can claim: still creatively restless, still evolving, and still finding new ways to win.

The night before Ella Fitzgerald walked into Konserthuset in Stockholm and recorded what became The Stockholm Concert,1966, the Pablo Records live album now considered among the essential documents of her late career, she played two concerts at Falkoner Theatre in Copenhagen. Ella is backed by the Duke Ellington Orchestra and the Jimmy Jones Trio.

Like many other Black American jazz musicians of her era, Denmark felt like home to Ella. It was a country where they found a degree of respect that the United States too often denied them.

Colemine Records is proud to present a brand new 45 from Aaron Frazer featuring two tracks from his debut LP. The funky and drum heavy "Bad News" has a timely message at a time when people willfully ignore the warnings about everything from climate change to systematic racism. Frazer recorded the tune in Nashville and he brought together a bevy of talented musicians, including members of The Memphis Boys, who backed Dusty Springfield on "Son of a Preacher Man" and Aretha Franklin on "Natural Woman." On the flip, "Done Lyin'" shows Aaron's vulnerability throughout the song. Heavy and tough production from Dan Auerbach paired with Frazer smoothly singing his heart out is a match made in sweet soul heaven.

Dieses Meisterwerk wurde 1958, etwas mehr als ein Jahr vor Lester Youngs Tod, aufgenommen und veröffentlicht und zeigt den Saxofonisten bei einer seiner letzten Studioaufnahmen. Auch wenn sein Ton weicher
geworden war, bleibt Youngs Phrasierung fließend und ausdrucksstark, wobei er Subtilität der Kraft vorzieht.
Produziert von Norman Granz, vereint diese Aufnahme die Trompeter Roy Eldridge und Harry ”Sweets”
Edison, deren gegensätzliche Stile – feuriger Drive und entspannte, bluesige Zurückhaltung – einen fesselnden musikalischen Kontrast schaffen. Begleitet von Hank Jones (Piano), Herb Ellis (Gitarre), George
Duvivier (Bass) und Mickey Sheen (Schlagzeug) verbindet die Session den Swing kleiner Besetzungen mit
einem ausgefeilten Studio-Feeling. Zu den Höhepunkten zählen ”They Can’t Take That Away from Me”
und ”Salute to Benny” – eine Hommage an Benny Goodman, der Young seine erste Klarinette schenkte –,
wobei beide Titel seltene Klarinettensoli von Young aus seiner späten Karriere enthalten.

Im Jahr 2025 feiert Chess Records sein 75-jähriges Jubiläum. Anlässlich dieses historischen Meilensteins
wird Chess im Oktober dieses Jahres eine umfassende Jubiläumsreihe mit einer kuratierten Auswahl audiophiler Vinyl-Neuauflagen starten.
Die fortlaufende monatliche Serie wird Veröffentlichungen von legendären Künstlern aus dem renommierten
Chess-Kader präsentieren.
Das Album „Howlin’ Wolf“ von Howlin’ Wolf, das wegen der Abbildung eines Schaukelstuhls auf dem
Cover liebevoll als „The Rockin’ Chair Album“ bezeichnet wird, rockt in mehr als einer Hinsicht. Diese
Platte fängt den wahren Sound des Electric Blues ein und versammelt Singles, die ursprünglich zwischen
1957 und 1961 veröffentlicht wurden. Mit den Talenten der Chess-Stammbesetzung, darunter Willie Dixon,
Hubert Sumlin, Sam Lay und Jimmy Rogers, liefert das Album einen kraftvollen Sound. Zu den herausragenden Titeln zählen unter anderem „Little Red Rooster“, „Spoonful“ und „Back Door Man“.
„Muddy, Brass & The Blues“ markiert einen Wendepunkt in Muddy Waters’ Karriere. Obwohl das Cover
Waters mit einer Gitarre zeigt, sind es seine Talente als R&B-Sänger, die auf dieser Platte zur Geltung kommen. Er erkundet einen neuen Sound, der klassische Blues-Elemente mit Bläsern verbindet. Das Ergebnis
ist eine beeindruckende Interpretation des Blues, die frisch und gewagt wirkt. Zu den wichtigsten Titeln
gehören „Corine, Corina“, „Black Night“ und „Sweet Little Angel“

Im Jahr 2025 feiert Chess Records sein 75-jähriges Jubiläum. Anlässlich dieses historischen Meilensteins
wird Chess im Oktober dieses Jahres eine umfassende Jubiläumsreihe mit einer kuratierten Auswahl audiophiler Vinyl-Neuauflagen starten.
Die fortlaufende monatliche Serie wird Veröffentlichungen von legendären Künstlern aus dem renommierten
Chess-Kader präsentieren.
Das Album „Howlin’ Wolf“ von Howlin’ Wolf, das wegen der Abbildung eines Schaukelstuhls auf dem
Cover liebevoll als „The Rockin’ Chair Album“ bezeichnet wird, rockt in mehr als einer Hinsicht. Diese
Platte fängt den wahren Sound des Electric Blues ein und versammelt Singles, die ursprünglich zwischen
1957 und 1961 veröffentlicht wurden. Mit den Talenten der Chess-Stammbesetzung, darunter Willie Dixon,
Hubert Sumlin, Sam Lay und Jimmy Rogers, liefert das Album einen kraftvollen Sound. Zu den herausragenden Titeln zählen unter anderem „Little Red Rooster“, „Spoonful“ und „Back Door Man“.
„Muddy, Brass & The Blues“ markiert einen Wendepunkt in Muddy Waters’ Karriere. Obwohl das Cover
Waters mit einer Gitarre zeigt, sind es seine Talente als R&B-Sänger, die auf dieser Platte zur Geltung kommen. Er erkundet einen neuen Sound, der klassische Blues-Elemente mit Bläsern verbindet. Das Ergebnis
ist eine beeindruckende Interpretation des Blues, die frisch und gewagt wirkt. Zu den wichtigsten Titeln
gehören „Corine, Corina“, „Black Night“ und „Sweet Little Angel“

“Leviathan’s Desire” was Protector’s first release with Olly Wiebel as the new man on the microphone, and he brought in a new and different style, one no less gruff and aggressive than that of his predecessor. With the “Leviathan’s Desire” EP, Protector left the musically mid-paced path they had followed on “Urm the Mad”, turning back to their key skills and delivering a short but sweet-and-extreme thrash metal attack. The EP contains a revised and extended version of “Kain and Abel” that fits in perfectly with the new tracks, which are full to the brim with raging riffs and violent hooks, relentlessly delivered by a band that’s fully aware of its great skills and abilities both with regard to song-writing and performance – rhythm changes, breaks and bridges are all thoroughly worked out and excellently delivered. But do not fear! There are no signs of giving in to any ideas of embracing the “progressive” side of Protector. This is still pure Teutonic Thrash to the bone. “Leviathan’s Desire” was recorded in the Phoenix Studio Bochum in 1990 and originally released by German label Atom H (based in Witten, North Rhine-Westphalia) in the same year. Ralph Hubert of Mekong Delta fame took over production duties of the record. Olly is very glad to see the vinyl re-release of “Leviathan’s Desire”, which has been mastered for vinyl by old comrade Patrick W. Engel at Temple of Disharmony. Protector also opened up their dusty cabinets to present us with a selection of previously unreleased pictures from those still good old days, which will be gracing the High Roller edition of “Leviathan’s Desire”.

2026 Repress

ANNE & SERA J return for the second edition of their Symbiosis series on Mutual Rytm.

ANNE, known for potent techno on the likes of Soma and Hardgroove, and Nechto and Life In Patterns associate Sera J, have had standout years that have seen them put out a stream of essential club tracks. They are partners in both life and music, and the first volume of 'Symbiosis' on SHDW's Mutual Rytm imprint was their first release together. Delivering an honest representation of their innermost feelings, having also contributed to the label's 'Federation Of Rytm III' VA in February, this new six-track EP (plus bonus cuts) presents a 'mature and refined connection between their souls'.

The second instalment of 'Symbiosis' reflects not only their deep personal connection, but also their collaborative synergy as musical peers with the same goals. The EP captures the essence of their mutual artistic journey and showcases the strength of their bond both in life and through their shared creative vision - to create a storyline through sounds coming from their souls and convey a narrative that many listeners may find relatable.

SERA J kicks off with the lithe and melodically elegant techno of 'Your Soul Is Art' which will have both heart and heels dancing. 'Illusions' is a more heavy and dubby cut with paired back grooves and pulsing synths, while 'Glacial Pace' is an urgent deep techno roller with turbocharged stabs and huge icy hi hats locking you into a trance.

ANNE steps up on the B-side with 'Floating Waves' exploring physical, chunky drum funk and raw synth textures. 'Planetary Dust' is a dark and moody astral techno journey to the stars, before 'Sweet Seventeen' brings a more melodic cut with a sense of hope and joy in the bright pads that shimmer above the glitchy grooves.

Both artists also offer two digital bonus cuts with SERA J's 'Syncrosonix' and 'Space Velocity' delivering perfectly reduced minimal techno monsters, while ANNE's 'Gentle Loop' and 'Starburst' are interplanetary trips with widescreen cosmic synths.

Odisea is the new album, actually the real debut from Los Retros, out in April on Stones Throw. It draws inspiration from 1980s Japanese City Pop, and marks a new creative chapter from Mauri Tapia shaped by growth, reflection, and renewed purpose. It's been a journey since Tapia first captured hearts with the lo-fi magic of "Someone To Spend Time With", recorded at the age of 17 on a humble four-track in his parents' living room. Now 25, the Oxnard native has stepped into an entirely new season of life - he married his high school sweetheart, became a father to two daughters, and embraced spiritual faith. Earlier this year, he revisited his start with Early Days (2016-2019), a compilation of unreleased music from Mauri's teen years. "Jazz fusion has become my favorite genre and greatest inspiration of all time," Mauri says. "I made this album for the version of me that first fell in love with music. It's my full-circle moment - a sonic hat tip to my beginnings - as well as a nod to the forefathers of jazz fusion and city pop for leaving us with great music." Through it all, he's kept the same DIY spirit, writing and recording every note himself, only now in a home studio of his own. On Odisea, Tapia blends neon-lit City Pop with the melodic sensibility of Latin American soft rock. Mauri's deep love for 70s and 80s jazz fusion records anchors the album, yet Tapia filters those influences through a modern lens. Odisea features two Japanese vocalists, - Hikari and HITOMITOI. Also check out Los Retros new compilation "Early Days" released simultaneously. RIYL soul, bedroom pop, indie, modern jazz, downtempo, soft rock, Mac DeMarco, Thee Sacred Souls, Skinshape, Men I Trust

Byard Lancaster released no less than 4 albums on the Palm Records, label in the 1970s: Us, Mother Africa, Exactement and Funny Funky Rib Crib. On Exactement, Lancaster performs alone for the most part– swapping instruments and occasionally joined by percussionist Keno Speller.

At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler.

In 1968, the saxophonist and flutist recorded his first album under his own name: It’s Not Up To Us. The following year he came to Paris in the wake of… Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again.

On Palm Records (Gilson’s label), he would release no less than four albums: Us, Mother Africa, Exactement and Funny Funky Rib Crib. The recording of Exactement required two sessions in the studio: on the 1st February and the 18th May 1974 – in between the two dates, Lancaster recorded, alongside Clint Jackson, the excellent Mother Africa.

On the cover of Exactement, there are two names: Lancaster (Byard) and Speller (Keno). OK. But for what reason ‘Exactement’? Perhaps because Byard Lancaster wanted to be precise, moving regularly from one instrument to another: piano, to begin, which was the first instrument he learned. Sur "“Sweet Evil Miss Kisianga”", his inspiration is first and foremost Coltrane (even if leaning more towards Alice than John) but this announces the storm to follow.

It is Lancaster’s horn-playing which really stands out: on alto (the sound of which is transformed by an octavoice on one track, "Dr. Oliver W. Lancaster") or soprano saxophones, as well as on flute or bass clarinet, the musician walks a tightrope making the most of all the risks he takes. Using the full register of his instruments, he has fun with the possibilities.

Then, Lancaster invokes or evokes Ornette Coleman, Eric Dolphy and even Prokofiev, before even going into a danse alongside Keno Speller on percussion. But above all he makes us aware of a unique sound. We can go on to say that on "Exactement", that perhaps Byard Lancaster, on whatever instrument and by continually seeking, ends up always hitting the right note… ends up by playing exactement the note he had to play.

The Natural Yogurt Band presents a new 7-inch record containing twenty short tracks full of calories with chunks of drum breaks, sweet melodies and crunchy effects. These biscuits are scratch and sample friendly, and better enjoyed with a cup of tea.

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.

Lemon Vinyl. Black Screen Records and Kaizen Game Works have once again teamed up for the vinyl repress of About That_ Paradise Killer B-Sides, the follow-up release to Barry "Epoch" Topping's vibrant funky city pop/vaporwave soundtrack to the open world adventure game Paradise Killer, which has proven to be a true essential release for itself. The record is featuring three new songs, vocal tracks, instrumental versions, remixes and piano arrangements along with a number of amazing guests, which are Fiona Lynch, Kyle Murray-Dickson, Fabian Hernandez, Ged Cartwright, Thomas Temple, MEEBEE and Okumura. Now available on lemon coloured vinyl with gorgeous cover art by José Salot. The sounds of Paradise. The music of a cosmic dream. Tunes from another reality. The tempo of the crime to end all crimes. The beat of long dead alien gods. The playlist of the investigation freak. Let the music take you away to Paradise. Feel the sun scorching your skin. Smell unbearably hot concrete. Savour the sweet taste of crime committed on a tropical island in another reality. Remember when we danced along the beach? Along the streets of Paradise? You made me this mix tape on the roof of your apartment block. We stared at the moon. You said you'd kill the moon. I didn't believe you. I was wrong.





e 5TO THE HEART [VOCAL VERSION]
[f] 6HOUSE OF BLISS [VOCAL VERSION]

[h] 8LEAVING [PIANO ARR.]
[i] 9LADY BLUE [MEEBEE & OKUMURA. REMIX]

[k] 11ABOUT THAT... [INSTRUMENTAL]
[l] 12PARADISE (STAY FOREVER) [INSTRUMENTAL]





[e] 5TO THE HEART [VOCAL VERSION]
[f] 6HOUSE OF BLISS [VOCAL VERSION]

[h] 8LEAVING [PIANO ARR.]
[i] 9LADY BLUE [MEEBEE & OKUMURA. REMIX]

[k] 11ABOUT THAT... [INSTRUMENTAL]
[l] 12PARADISE (STAY FOREVER) [INSTRUMENTAL]

Picture disc, artwork by C. Bedford Black Screen Records and Kaizen Game Works have teamed up for two new vinyl editions of Barry "Epoch" Topping's vibrant funky city pop/vaporwave soundtrack to the open world adventure game Paradise Killer. Topping's incredible soundtrack will be available on brand new picture discs as well as rosé & crystal clear with white marbled vinyl. The LPs are housed in a gatefold sleeve with beautiful 80s anime- & city pop-inspired artwork by Mizucat - additional art and layout by Kaizen Game Works, Barry Topping and Dane Baudoin. The picture disc artwork was crafted by C. Bedford as well as the one for the included folded A2 Crimson Acid poster. The sounds of Paradise. The music of a cosmic dream. Tunes from another reality. The tempo of the crime to end all crimes. The beat of long dead alien gods. The playlist of the investigation freak. Let the music take you away to Paradise. Feel the sun scorching your skin. Smell unbearably hot concrete. Savour the sweet taste of crime committed on a tropical island in another reality. Remember when we danced along the beach? Along the streets of Paradise? You made me this mix tape on the roof of your apartment block. We stared at the moon. You said you'd kill the moon. I didn't believe you. I was wrong.

Picture disc, artwork by C. Bedford Black Screen Records and Kaizen Game Works have teamed up for two new vinyl editions of Barry "Epoch" Topping's vibrant funky city pop/vaporwave soundtrack to the open world adventure game Paradise Killer. Topping's incredible soundtrack will be available on brand new picture discs as well as rosé & crystal clear with white marbled vinyl. The LPs are housed in a gatefold sleeve with beautiful 80s anime- & city pop-inspired artwork by Mizucat - additional art and layout by Kaizen Game Works, Barry Topping and Dane Baudoin. The picture disc artwork was crafted by C. Bedford as well as the one for the included folded A2 Crimson Acid poster. The sounds of Paradise. The music of a cosmic dream. Tunes from another reality. The tempo of the crime to end all crimes. The beat of long dead alien gods. The playlist of the investigation freak. Let the music take you away to Paradise. Feel the sun scorching your skin. Smell unbearably hot concrete. Savour the sweet taste of crime committed on a tropical island in another reality. Remember when we danced along the beach? Along the streets of Paradise? You made me this mix tape on the roof of your apartment block. We stared at the moon. You said you'd kill the moon. I didn't believe you. I was wrong.

Feiern Sie 45 Jahre der berüchtigtsten Band der Welt: Mötley Crüe! Erhältlich als limitierte 5LP-PictureDisc und 5CD-Deluxe-Boxset. Enthalten sind die ersten fünf Multiplatin-Alben von Mötley Crüe: Too Fast
For Love, Shout At The Devil, Theatre Of Pain, Girls Girls Girls und Dr. Feelgood. Mit den legendären
Hits: „Live Wire“, „Too Fast For Love“, „Looks That Kill“, „Too Young To Fall In Love“, „Smokin’ In
The Boys Room“, „Home Sweet Home“, „Girls, Girls, Girls“, „Wild Side“, „Dr. Feelgood“, „Kickstart My
Heart“, „Don’t Go Away Mad (Just Go Away)“ und viele mehr!

Lance Ferguson (The Bamboos, Menagerie, Rare Groove Spectrum) presents his lush Exotica inspired 2016 album on LP for the first time in a limited edition deluxe gatefold sunset swirl coloured vinyl edition, with each pressing having a unique pattern.

For fans of Air, Martin Denny & DJ Shadow.

'The Double Sunrise' is a re-imagining of Exotica seen through Ferguson’s own lens, which includes Pop and Hip Hop elements plus samplers, synths and drum machines thrown into the mix. That combination of beats and lush cinematics owes as much to Exotica pioneer Martin Denny as it does to Air and DJ Shadow.

Guest vocalists include Melanie Pain (Nouvelle Vague), who brings a sweet Francoise Hardy and Jane Birkin influence to her songs, and Australian singer Meg Washington. As well as her own successful career, Bamboos fans would know Washington from her vocals from “The Wilhelm Scream” and “King Of The Rodeo”, as well as “Beautiful Trash” from the 2011 Lanu album ‘Her 12 Faces’.

Ferguson's own instrumentals are also gems of lush, nostalgic delight.

Reviews for ‘The Double Sunrise’

“Even with the clear influence of South Pacific exotica, this second LP is still typical Ferguson: tight, snappy and doused in retro airs.” - Rolling Stone Magazine

“Bamboos supremo Lance Ferguson uses South Seas exotica as a jumping-off point for a record that deftly crosses datelines. Giddy effervescent soundscapes such as “Tiny Dots” sit back to back with breakbeat grooves like “Nightmarchers””. The Age

“This is one of those summer albums you will return to every year. Stunning.” The Daily Telegraph

“The concept for The Double Sunrise is very specific, but it's executed brilliantly...It's one of those records that evokes a place and a feeling that most of us only ever dream about.” - Double J Radio (Feature Album)

o Standard Edition black heavyweight vinyl
o 44 tracks from the 2025 sci-fi RPG
o Each disc covers one of the game's major factions
o Art Nouveau-inspired artwork
o Widespined outer sleeve
o Printed inner sleeves

Obsidian Entertainment, Xbox, and Laced Records present the official vinyl release of The Outer Worlds 2 Original Soundtrack, a sanctioned audio record of Arcadia's most influential systems, ideologies, and approved listening experiences.

The specially mastered tracks span three LPs presented in deluxe Art Nouveau-inspired packaging. The collection captures daily life in the colony-where progress is monitored accordingly, optimism is responsibly distributed, and deviation is resolved through established channels.

Volume 001: Truth, Justice, & Dispute Resolution introduces the sound of arrival of the Earth Directorate. Sweeping orchestral themes and restrained electronic textures underscore exploration, investigation, and the reassuring sense that Arcadia's instability is both anticipated and accounted for.

Volume 002: Wireless Free Arcadia represents Auntie's Choice at peak efficiency. Bright melodies, big band swing, and relentlessly cheerful compositions promote comfort, productivity, and sustained consumer confidence. Freedom is included. Continued satisfaction indicates proper use.

Volume 003: Mental Enlightenment & Refreshment pairs the Protectorate and the Order of the Ascendant. The Protectorate asserts control through ceremonial authority, rigid rhythms, and formal arrangements devoted to discipline, doctrine, and public order. The Order of the Ascendant follows with colder, more abstract compositions focused on empirical certainty, controlled experimentation, and outcomes unburdened by sentiment.

Composed by Oleksa Lozowchuk, Antonio Gradanti, and Jim Bonney, the soundtrack of The Outer Worlds 2 blends cinematic scoring, period-inspired styles, and sanctioned cultural messaging to reflect a colony guided by ambition-and the systems entrusted to manage it.

First Word Records are proud to bring you the debut EP from papaya noon - ‘through the moods’.

papaya noon are a Cardiff-based duo comprised of vocalist Annie Mirza and multi-instrumentalist Greg Marriott.

Formed five years ago, they make jazz-infused R&B music that incorporates their mutual love of classic soul, hip hop & electronica.

The duo have already amassed an impressive fan-base online, garnering over 80,000 followers across their socials, and receiving praise from such luminaries in the US as Missy Elliot, Snoop Dogg, Queen Latifah, 9th Wonder, Bootie Brown & the late great Fatman Scoop.

This is a result of their unique style, captivating grooves & deeply catchy hooks, encompassing a distinctive blend of soul music, from retrospective 90s vibes to alternative futuristic flavours, creating a sonic palette that’s wonderfully contemporary, yet very much their own.

All their music is written, performed & produced single-handedly by the duo themselves, who’ve managed to create a magically powerful potion from their plant-filled Cardiff studio space, and generated huge anticipation for their future output in-turn.

The future is NOW, as papaya noon are finally ready to unleash their music into the world.

‘through the moods’ is a 6-track EP of delicious alternative r&b vibes, already set to become future soul classics.

Sonically rooted in warm, textured instrumentation & layered harmonies, the duo have triumphantly built a huge soundscape that feels simultaneously nostalgic & futuristic. Smoky late-night ballads nestle alongside infectious uptempo jams, leaning into their jazzy boom-bap & neo-soul influences, whilst showcasing their phenomenal spread of talents as performers and songwriters both.

The duo explained that the EP navigates “neurodivergence, trauma & loss, with tenderness & honesty. Rather than presenting trauma as a spectacle, we’ve attempted to approach it with the softness and complexity that it merits”.


From the first single release ‘blush’, to the downtempo sweetness of ‘blindside’ or ‘morning light’, to the pacier ‘on your side’ & EP closer ‘crybaby’, each track on this project exemplifies their unbridled ability to produce deeply infectious earworms, whilst thematically encompassing unflinching lyricism that’s deeply personal.

Already hailed by some as “the Welsh Moonchild”, papaya noon were named as one of Clash Magazine’s “must-see” acts at FOCUS Wales in 2025, bringing their music to life on stage with their 5-piece live band, additionally performing at Brick Lane Jazz Festival, The Great Escape, Inglefest, Nowadaze, Swn Festival & Good Vibrations Society, as well as NXNe and BreakOut West in Canada, and supporting the likes of Hot 8 Brass Band & Reel People.

With everything already pointing to the duo swiftly becoming one of the hottest new soul acts in Britain, this is only the beginning of the journey for papaya noon…

‘through the moods’ will be released on vinyl & all digital platforms on Fri 10th July.

Step into the golden era of soul-jazz with the long-awaited vinyl reissue of “Vibrations” by Roy Ayers Ubiquity — a record that captures the unmistakable warmth, groove, and sophistication that defined Roy Ayers’ sound at its peak.

Originally released in 1976, “Vibrations” stands as a cornerstone in Ayers’ catalog, marking a moment where his signature blend of jazz, funk, and soul reached a refined, deeply cohesive form. Building on the foundations laid in earlier works, this album presents a tighter, more focused musical vision without sacrificing the lush textures and emotional depth that made his music resonate worldwide.

Roy Ayers was a pioneering vibraphonist, composer, and producer whose influence stretches far beyond jazz into R&B, neo-soul, and hip-hop. Often referred to as the “Godfather of Neo Soul,” Ayers crafted a sound that feels both timeless and forward-thinking, pairing silky vocals with hypnotic grooves and rich instrumental arrangements. His work throughout the 1970s helped shape the sonic DNA of modern Black music, and “Vibrations” is one of its purest expressions.

The album flows effortlessly between moods: from the jazz-inflected elegance of ‘Searching’ to the irresistible funk pulse of ‘The Memory,’ the dancefloor-ready ‘One Sweet Love to Remember,’ and the laid-back, atmospheric title track ‘Vibrations.’ Each track showcases a masterful balance between musicianship and groove, brought to life by a stellar ensemble of collaborators who elevate every moment.

Beyond its original impact, “Vibrations” has taken on a second life through hip-hop. Its grooves, breaks, and melodies have been extensively sampled by generations of producers and artists, becoming a foundational source for crate diggers and beatmakers alike. Tracks from the album have been reinterpreted and flipped by influential names such as A Tribe Called Quest, J Dilla, Dr. Dre, and Common, cementing its legacy as a vital bridge between 1970s soul-jazz and contemporary hip-hop culture.

After almost two decades out of print, we are pleased to present this much-needed vinyl reissue of an essential album in Roy Ayers’ career. Whether you’re discovering it for the first time or returning to a beloved classic, this album remains an essential piece of musical history. Pressed on 180g vinyl.

New York-based Patrick Sullivan AKA P-Sol has long proven his credentials when it comes to editing hip-hop joints, mashing together classics, and generally pulling apart favourite jams and rebuilding them with a different perspective. Most of them come on the PS7, as does this new long player, which is a top-shelf example of how to sample properly. Tittle tracks make subtle hints at inspirations if not source material as the works through loopy, sketchy jams that are short but sweet, more club-ready rollers and loved-up beats that drip with sexuality and jazzy sophistication. A great accompaniment to a long journey or lazy afternoon.

Mr Bongo are thrilled to have one of the leading lights in contemporary soul joining the label. Melbourne-based vocalist, musician, and songwriter Ella Thompson is an artist whose name is being championed by some of the best in the business. She’s been building a reputation as one to watch, with two standout releases on Hopestreet Recordings, Domino EP in 2023 and Ripple On The Wing LP in 2024, alongside a heavy touring schedule and a stacked list of support slots and collaborations.

For this new 7” single, Ella collaborates with a selection of artists at the forefront of Naarm/Melbourne’s soulful DIY community. Featuring members of Surprise Chef and Karate Boogaloo, Liam McGorry from Temporary Blessings (College Of Knowledge) joins Ella as co-writer and co-producer, with go-to Melbourne engineer Henry Jenkins also producing and recording the track.

Bridging the worlds of classic and contemporary soul, Ella’s songwriting is drenched in emotion and personal experience. With a timeless feel that is hard to tie to any particular period, she has crafted a sound that instantly hits deep. It’s warm, tasteful and distinctly Ella. That talent has also seen her tour with Mark Ronson, and support other contemporary greats like Jalen Ngonda, Lee Fields, and Thee Sacred Souls.

‘Promise To Keep’ is the first taste of Ella’s new material on this 7” single. An irrepressible upbeat groover that echoes mid-to-late-sixties vocal groups. That influence though never overpowers Ella’s own unique creative voice or distinct sense of self. She draws from it, but the colour is all her own. The song tells a story of being carried by the current that keeps us moving, giving us courage. A commitment to oneself that speaks to action shaped by vision, and the pull of following what feels correct even when the distance is far.

The flip side finds Ella in a different mood. ‘Change Of Heart’ is a heavy sweet-soul ballad. Rich in drama, Ella’s falsetto vocals build to a stunning climax in the final section, with triumphant horns that signal the release of letting go. The lyrics reflect on temporality and impermanence, and the way moments can be missed or arrive with synchronicity. It’s that bittersweet paradox of triumph and sadness, where everything contains its opposite: absence and presence, innocence and experience. The song is underpinned by a brooding production quality and atmospheric, beat-heavy flavour that Surprise Chef and cinematic soul fans will relish.

Mixed by Wayne Gordon (Daptone, Womack Sisters), ‘Promise to Keep’ and ‘Change of Heart’ are a glimpse of things to come from Ella. Keep an eye open for more new music incoming from this phenomenal artist at the top of her game.

A superb Jazz Flavoured Latin Funk Soul album recorded in 1977 by Grammy Award Winning Carlos Franzetti when he was a struggling musician trying to get his first breaks in a tough New York Jazz scene. With a Top Notch grouping including Percussionist Ray Mantilla, Victor Venegas on Bass and Dick Meza from the Tito Puente Orchestra Carlos played all the Keyboards, wrote the numbers and was also responsible for all the arrangements.

Released by Guiness Records (No relation to the Drink) and swiftly forgotten Stateside it was picked up by the DJ's in London's early Jazz Dance scene where "Cocoa Funk" became a must have cut, eventually appearing on Soul Jazz Records seminal re-issue series "London Jazz Classics". It also became a hit in Germany after being re-issued on a double vinyl by leading label Sonorama Records.

Now available again in its original single album format and sounding as fresh as if recorded yesterday from the opening bars of the jazz inflected cut "Beatriz" via the Worldwide sounds of "Sweet And Low" to the Funky Latin Jazz of the title track "Graffiti".

Still changing hands for eye watering sums on collectors sites and now available again for a reasonable sum courtesy of Jazz Room Records.

Berlin"s Kuboraum Editions celebrates another round of its ongoing Kuboraum Sound Residency with a bumper 19-track volume of exclusive tracks from its vibrant creative community, music that challenges contemporary logic and prioritizes what really matters: experimentation, exchange and evolution. Like its predecessor, that was described by Boomkat as flowing like a "well-curated mixtape", "Kuboraum Sound Residency Vol. 2" is assembled like a proper album in the classic sense, something that"s supposed to be absorbed from start to finish.

LP edition now available!

Death Is Not The End present a collection of recordings of Sacred Harp singing (a traditional sacred choral music with origins in the American South) taken from the late 1920s through to the late 1930s.

Voltage Desire is a five-track EP from Lazer Man moving between raw tension and subtle warmth.

Side A opens with "Woman's Need", an electro house cut built around a rock-inflected bassline and guitar tones that carry a dusty, wide-open edge. "Reactivation" follows with a deeper, more hypnotic approach: pitched-down vocals loop and drift over chords that keep pulling you further in. Side A closes with "Sunris Techy", the most groove-driven of the three, a funky bassline locked in dialogue with shifting synthlines and samples.

Side B shifts into collaborative territory. "Sweet Tide", produced under the Wave Catchers alias with Baldov, is a nostalgic track that will awaken past memories and feelings. The record closes with "Idée Discousu", a co-production with Koffi that blends synthpop with a spooky edge and a story told through vocoder.

"Songs Album II" is LA musician Aaron MF Olson"s Country Thyme Records debut, the second "sung songs" album from the L.A. Takedown architect in just over a decade of releasing music. Mixing satiric, confessional and experimental lyric modes in his songs, Songs Album II is an overwhelming show of Aaron"s compositional gifts and pop sensibilities, cut from a fine cloth of head-informed, classically sweet and soft pop/rock modes. "Songs Album II" is a collection of widescreen, hi-def songs and sounds. With moments of sound laced into song, functioning both as toe-tapping sweet melodies and near-Joycean full-function index of personal reference, Aaron MF Olson"s music is meant for listening to in the spirit of listening, and higher calling.

The 2015 debut album from female punk super-group back in print on new burgundy colour vinyl! NOT SORRY is the first full-length album from all female super-group BAD COP BAD COP. Aptly titled, NOT SORRY brazenly blasts out some of the most vibrant pop-punk around today. Laden with catchy hooks, three-part harmonies that'd make The Beach Boys jealous, and tons of attitude, all 13 tracks showcase BAD COP BAD COP's uncanny ability to blend aggressive instrumentation with polished vocals. A quick glance at the band's collective resume (Compton SF, The Radio Sweetheart, The D'Maggs, The City, Angry Amputees, and Cunt Sparrer) will disabuse any doubters of the notion that BCBC can't hand with the boys. From front to back, NOT SORRY brings the rock. Tracks like "Old Dogs", "Nightmare", & "Support", display the bands' hard playing style and strong sense of melody. One listen to NOT SORRY and you'll know why BAD COP BAD COP have generated so much buzz! "This badass bunch of melodic punk rock ladies have been releasing infectious 7" records for a couple years that just play too damn quickly... The album dashes by like a vacation_over sooner than you'd like." _New Noise Magazine "California's Bad Cop Bad Cop lay down the law with an incredible authority: the tunes are concise and compact melodic punk blazers, filled with equal amounts of bite and sugar-sweet harmony." _Alternative Press "These songs are full of three-part harmonies that can make Bad Religion's Greg Graffin and Brett Gurewitz retroactively jealous, and they're catchy enough that they could easily fit onto any of the early Fat Music comps." _Dying Scene Produced by Fat Mike (NOFX) & Davey Warsop (Suedehead) For Fans of: NOFX, Dance Hall Crashers, Masked Intruder Ongoing social media push via artist and label channels Social Media and Digital marketing campaign See Bad Cop Bad Cop on tour in Europe

From the edges of a hallucinatory torpor, Rue des Garderies continue their explorations in psychedelia - Femacosmé presents here a new piece recorded live at the Pe:rsona festival, at Domaine des Éveils in the summer of 2025.



An adventure guided by blur, the intangible, the impermanent, where layers, voices, sounds, and organic and synthetic echoes resonate, emerge, then fade away, as if to deceive reality, or at least our perception of it.



More than two semi-improvised hours in which Rue des Garderies (Sweetzak, Désiré Bonaventure & Vasco Cesaretti) summon us to an astral yet motionless journey, somewhere between ambient, IDM, and post-pop.

180gm marble vinyl.
Baratro was born when Fede (Council of Rats) and Dave (Unsane) met at a show in legendary Milan squat Cox18 and started to trade riffs and song ideas. After a while they decided to shape these experiments into a proper band and got Luca (Marnero) behind the drumkit to complete the line up.
After a few months of practice and a couple of shows in Italy, the band recorded their very first six songs in the empty concert hall of Cox18, which were later released as the “Terms and conditions” EP via Sangue Dischi records (July 2021).
Given the worldwide shutdown of live performances through 2020/2021 the band focused on writing new music, and in August 2021 they started tracking down their first full length effort, “The Sweet Smell of Unrest”, which was released February 2024 via Improved Sequence.
In 2024 Baratro joined forces with cellist Matteo Bennici to experiment as a quartet, both for composition and live. With this new formation and new found chemistry, the band simply let the dynamics and trust in each other shape the outcome of the music.This new creative process led, about a year later, to the recording sessions of their second full-length “No comply”, to be released by Supernatural Cat.

BARATRO are:
Dave Curran – bass, vocals Federico Hartridge – guitar, vocals Luca Antonozzi – drums Matteo Bennici – cello

" 'Stay' by Shakespears Sister stands as one of the most creatively and commercially powerful singles of the early '90s, dominating the UK Singles Chart for eight consecutive weeks, one of the longest-running number-one hits of its era.

" 'Stay' was a defining cultural and artistic statement, the track's dramatic structure and accompanying video shifting from a delicate ballad into a theatrical, gothic climax.

" Decades later, 'Stay' continues to win new fans through chart re-entries and renewed popularity, most recently cited by Charli XCX as a key influence on her soundtrack for Emerald Fennell's 'Wuthering Heights'.

[a] A1. Stay [Radio Mix]
[b] A2. Stay [Andre Betts 12" Remix]
[c] A3. Stay [Acoustic Version]
[d] B1. The Trouble with Andre [Luke Mornay Sweeter Mix]
[e] B2. The Trouble with Andre [Luke Mornay Deeper Mix]
[f] B3. The Trouble with Andre [Chris Thomas Remix]