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Die japanische Metalcore-Band Crystal Lake wird ihr neuestes Album "The Weight of Sound" über Century Media Records veröffentlichen. Das Quintett ist seit langem ein bekannter Name in der internationalen Metalcore-Szene. Mit Einflüssen sowohl aus dem Metalcore als auch aus dem Hardcore verschmilzt ihr Sound die Intensität beider Genres zu einem einzigartig schweren und mitreißenden Stil, der besonders bei ihren elektrisierenden Live-Auftritten zum Tragen kommt. Während die Band intensiv auf Tour war, wurde das erste Stück ihres neuesten Albums, "BlüdGod" (feat. Taylor Barber), bereits im Mai 2024 veröffentlicht.

Die aus Japan stammende Band hat sich eine globale Fangemeinde aufgebaut, tourt weltweit und gewinnt durch ihre kraftvolle und energiegeladene Musik an Zugkraft. Das Quintett, das seine Musik in englischer Sprache veröffentlicht, hat es geschafft, sich im Laufe der Jahre eine internationale Fangemeinde aufzubauen und seit 2002 insgesamt 6 Alben zu veröffentlichen.

Ihr neuestes Album, "The Weight of Sound'", ist weniger von bestimmten Aspekten inspiriert als vielmehr eine Reflexion über die Reise der Band und ihre Lebensweise im Laufe ihrer Geschichte, wie Gründer YD erzählt: "Bevor ich es realisiert habe, war Crystal Lake 23 Jahre lang aktiv. Die Leute sagen oft: "Die Zeit vergeht wie im Flug", aber die Wahrheit ist, dass wir eine lange Geschichte mit Freunden, Bandkollegen und anderen Musikern aufgebaut haben, die Blut, Schweiß und unzählige Kämpfe geteilt haben, um diese Band aufzubauen. Das ist eine unbestreitbare Tatsache und mein Stolz. Jede Note, die wir spielen, wird zur Harmonie, und diese Harmonie wird zur Musik. Diese Musik gemeinsam mit Kameraden zu spielen, das macht eine Band aus. Und die Musik, die eine Band macht, kann eine neue Kultur hervorbringen. Unser neues Album 'The Weight of Sound' ist ein Spiegelbild dieser Lebensweise."

Das Gefühl von Gemeinschaft und Zusammengehörigkeit spiegelt sich auf dem Album auch in den verschiedenen Beiträgen wider, an denen die Band mitgearbeitet hat - vom Eröffnungstrack "Everback" feat. David Simonich von Signs of The Swarm bis hin zum düsteren, aber verführerischen "Dystopia", bei dem Jesse Leach von Killswitch Engage mitwirkt. Mit "BlüdGod" (feat. Taylor Barber), das ursprünglich im Mai 2024 veröffentlicht wurde, spiegelt das Album eine ziemlich lange Reise und einen langen Entstehungsprozess wider, der das Warten für Fans und neue Hörer gleichermaßen wert war. Gemischt und gemastert von Jeff Dune (Knocked Loose, Make Them Suffer, Currents), enthält "The Weight of Sounds" alle Elemente der Härte und bleibt dabei den rohen Emotionen, die die Band in ihren Texten ausdrückt, treu. Mit insgesamt 11 Tracks wird "The Weight of Sound" von Crystal Lake sicherlich schwer sein - musikalisch und emotional.

Multi-platinum, BRIT Award-winning, and GRAMMY®-nominated global pop visionary MIKA ushers in a bold new era with his seventh studio album, Hyperlove. Produced by MIKA alongside Nick Littlemore (Empire of the Sun) , with additional production by Peter Mayes (PNAU), Hyperlove is a vibrant and emotionally charged collection that embodies MIKA’s signature fusion of theatricality, honesty, and irresistible melody. The album captures the sound of an artist forever redefining and transcending pop on his own radiant terms. Written almost entirely by MIKA, Hyperlove also features select co-writing collaborations with Nick Littlemore, Renaud Rebillaud (GIMS), Matthieu Jomphe (Billboard) (Madonna, Dua Lipa, Ariana Grande), and Amy Wadge (Ed Sheeran’s “Thinking Out Loud”). Adding a distinctive cinematic flair, Hyperlove includes narration by the legendary American filmmaker John Waters, bringing his unmistakable wit and presence to the album’s world. With Hyperlove, MIKA continues his lifelong mission to craft pop music that is as bold and heartfelt as it is timeless, a celebration of emotion, identity, and imagination in their most vivid forms.

A box of this limited 7” showed up in the post, The Dahlmanns’ new single.. Norwegian power pop masterminds scoring dues from their whole rock and roll journey, Suzi Quattro, Dictators, Stooges, and all the great Scandinavian power pop / garage rock scene. Its been 15 year ssince their debut, and they still have a knack for perfect pop tunes wit ha hard edge. The A-side is a classic power pop, clap along to this… Line says ”the lyrics are inspired by the images of Finland’s Touko Laaksonen. It’s about a ”Tom of Finland” type character meeting up with his gang to attend shows at Max’s Kansas City in New York”. And on the flip, the Dahlmanns have turned a Prince classic into one of their own, Line explains, ”In my early teens, around the time of the release of his ”Sign O’ The Times” album I was obsessed with Prince. I never cared much for the over-the-top, experimental funk stuff but I liked ”Controversy” and ”Dirty Mind”, the latter includes another pop gem, ”When You were Mine”. ”Dirty Mind” was released on October 8th 1980, Johnny Ramone’s birthday and also mine. Such coincidence in life makes me happy”. A new album is pending, but jump in quick to get ahold of one of these 7”s.

**2010 Grammy Award Winner: Best Traditional Folk Album **

‘Marvelous…exuberant’ - Rolling Stone

Nonesuch Records releases a fifteenth anniversary edition of Carolina Chocolate Drop’s 2010 Grammy Award-winning album Genuine Negro Jig, featuring founding band members Dom Flemons, Rhiannon Giddens, and Justin Robinson. The reissue includes the original album and nine bonus tracks: seven previously unreleased tracks plus a 2025 remaster of ‘City of Refuge’ and a 2025 mix of ‘Memphis Shakedown’. This release marks the album’s first time on vinyl since its original pressing in 2010.

Genuine Negro Jig was released on February 16, 2010, reaching the top ten on the Billboard Folk chart and the top of the Bluegrass chart. It won the 2011 Grammy Award for Best Traditional Folk Album. Produced by Joe Henry, it was the first of three releases on Nonesuch followed by The Carolina Chocolate Drops/ Luminescent Orchestrii EP (2011) and the Grammy nominated album Leaving Eden (2012), produced by Buddy Miller. Widely acclaimed as one of 2010’s best, Genuine Negro Jig appeared in year-end lists of NPR, Paste, and more, and was featured in Rolling Stone’s 25 Best Country-Soul Albums in 2024.

“Genuine Negro Jig remains fresh fifteen years later not only because of the Carolina Chocolate Drops’ influence on American popular culture but also because it’s an excellent record in itself,” says Dr. Dwandalyn Reece and Dr. Steven Lewis of the Smithsonian National Museum of African American History and Culture in the album’s liner notes.

Carolina Chocolate Drops formed after band members Dom Flemons, Rhiannon Giddens, and Justin Robinson met at the Black Banjo Gathering in Boone, NC in 2005. All three trained in the Piedmont banjo and fiddle musical tradition under the tutelage of Joe Thompson, who was one of the last musicians of his era and his community to carry on the southern Black string band tradition. While old-time Southern string music is often associated with Caucasian musicians from Appalachia, Giddens pointed out in an NPR interview that “it seems that two things get left out of the history books. One, that there was string band music in the Piedmont, period. And that Black folk was such a huge part of string tradition.” Carolina Chocolate Drops sought to not only correct this misunderstanding but also to keep the centuries-old string music tradition alive and developing.

The members of Carolina Chocolate Drops, who came from diverse musical backgrounds, shared singing duties and swapped instruments throughout their sets. The band recently reunited for a single show at Rhiannon Giddens’ Biscuits and Banjos festival in Durham, North Carolina in April 2025. In celebration of the 20th Anniversary of the Black Banjo Gathering, the documentary Don’t Get Trouble In Your Mind: The Carolina Chocolate Drops’ Story by Filmmaker John Whitehead was released on Amazon Prime, Apple TV, and YouTube Free4all streaming platforms.

After three decades of musical escapades as both a solo artist and 1/4 of The Four Owls, Verb T returns with his most ambitious offering to date in the shape of ‘To Love A Phantom’.

Reuniting with Canadian producer Vic Grimes on the follow up to their 2023 LP ‘The Tower Where The Phantom Lives’, the duo leave the traditional ‘rapper + producer’ stereotypes at the door on an insanely adventurous LP; Vic Grimes expertly soundtracking Verb T’s low fantasy across a double album 26-tracks steeped in suspense and intrigue.

Picking up where the previous album left off, ‘To love A Phantom’ sees the duo expand upon their collective love for the language of cinema; each track expertly blurring the everyday with the supernatural; spectres and spirits swirling around our protagonist as he exits the tower and extends his arc…

A deeply emotive, visceral and visual listen, the plot thickens with the help of a supporting cast of featured artists from across the UK underground, each adding their own distinctive flair to the wider narrative.

A truly unique universe of sight and sound, ‘To Love A Phantom’ is a shining example of Verb T & Vic Grimes at the height of their collective powers

After three decades of musical escapades as both a solo artist and 1/4 of The Four Owls, Verb T returns with his most ambitious offering to date in the shape of ‘To Love A Phantom’.

Reuniting with Canadian producer Vic Grimes on the follow up to their 2023 LP ‘The Tower Where The Phantom Lives’, the duo leave the traditional ‘rapper + producer’ stereotypes at the door on an insanely adventurous LP; Vic Grimes expertly soundtracking Verb T’s low fantasy across a double album 26-tracks steeped in suspense and intrigue.

Picking up where the previous album left off, ‘To love A Phantom’ sees the duo expand upon their collective love for the language of cinema; each track expertly blurring the everyday with the supernatural; spectres and spirits swirling around our protagonist as he exits the tower and extends his arc…

A deeply emotive, visceral and visual listen, the plot thickens with the help of a supporting cast of featured artists from across the UK underground, each adding their own distinctive flair to the wider narrative.

A truly unique universe of sight and sound, ‘To Love A Phantom’ is a shining example of Verb T & Vic Grimes at the height of their collective powers

After three decades of musical escapades as both a solo artist and 1/4 of The Four Owls, Verb T returns with his most ambitious offering to date in the shape of ‘To Love A Phantom’.

Reuniting with Canadian producer Vic Grimes on the follow up to their 2023 LP ‘The Tower Where The Phantom Lives’, the duo leave the traditional ‘rapper + producer’ stereotypes at the door on an insanely adventurous LP; Vic Grimes expertly soundtracking Verb T’s low fantasy across a double album 26-tracks steeped in suspense and intrigue.

Picking up where the previous album left off, ‘To love A Phantom’ sees the duo expand upon their collective love for the language of cinema; each track expertly blurring the everyday with the supernatural; spectres and spirits swirling around our protagonist as he exits the tower and extends his arc…

A deeply emotive, visceral and visual listen, the plot thickens with the help of a supporting cast of featured artists from across the UK underground, each adding their own distinctive flair to the wider narrative.

A truly unique universe of sight and sound, ‘To Love A Phantom’ is a shining example of Verb T & Vic Grimes at the height of their collective powers

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

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

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

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

Japanese black metal legends Sigh formed in 1989/1990. The genre-classic debut ‘Scorn Defeat’ followed on Euronymous’ Deathlike Silence Productions in 1993 & with each subsequent release, Sigh grew to become one of the country’s greatest & most revered metal exports. With a journey through the strange & the psychedelic, incorporating a whole eclectic mix of genre styles & experimentation throughout their career, Sigh has remained a vital creative force in the avantgarde field whilst maintaining their old school roots, as witnessed with the stellar 2022 album, ‘Shiki’. 2025 also saw Sigh reimagining their ‘Hangman’s Hymn’ album for a release on Peaceville as part of the band’s 35th anniversary celebrations, in the shape of ‘I Saw The World’s End: Hangman’s Hymn MMXXV’.

Maintaining the core trio of Mirai Kawashima, Shinichi Ishikawa & Satoshi Fujinami & on the back of the epic & darkly symphonic opus ‘Infidel Art’ (1995), Sigh adopted a more boundary-defying approach to their writing, whilst still keeping the dark foundations & traits of the band’s fundamental sound. The result was ‘Ghastly Funeral Theatre’ which surfaced in 1997 & draped in Eastern & horror-based atmospherics, the band also embraced elements outside of metal with what was their most experimental offering to date; utilising instruments such as the saxophone as well as acoustic passages & notoriously drawing comparisons to the moods of bands such as The Beatles at times, featuring catchy hooks & structures in line with the rock music genre, but masterfully woven into Sigh’s unique blackened metal tapestry.

Continuing with Peaceville’s re-issues of Sigh’s classic early ( & until now, hard to find) works, this edition of ‘Ghastly Funeral Theatre’ contains a new master created by Patrick Engel at Temple of Disharmony, featuring a new transfer from the original DAT source.

The release also includes a new interview with main-man Mirai Kawashima conducted by Dayal Patterson of Cult Never Dies, delving into the history & inspirations behind ‘Ghastly Funeral Theatre’.

This edition of ‘Ghastly Funeral Theatre’ is presented on black vinyl.

Japanese black metal legends Sigh formed in 1989/1990. The genre-classic debut ‘Scorn Defeat’ followed on Euronymous’ Deathlike Silence Productions in 1993 & with each subsequent release, Sigh grew to become one of the country’s greatest & most revered metal exports. With a journey through the strange & the psychedelic, incorporating a whole eclectic mix of genre styles & experimentation throughout their career, Sigh has remained a vital creative force in the avantgarde field whilst maintaining their old school roots, as witnessed with the stellar 2022 album, ‘Shiki’. 2025 also saw Sigh reimagining their ‘Hangman’s Hymn’ album for a release on Peaceville as part of the band’s 35th anniversary celebrations, in the shape of ‘I Saw The World’s End: Hangman’s Hymn MMXXV’.

Maintaining the core trio of Mirai Kawashima, Shinichi Ishikawa & Satoshi Fujinami & on the back of the epic & darkly symphonic opus ‘Infidel Art’ (1995), Sigh adopted a more boundary-defying approach to their writing, whilst still keeping the dark foundations & traits of the band’s fundamental sound. The result was ‘Ghastly Funeral Theatre’ which surfaced in 1997 & draped in Eastern & horror-based atmospherics, the band also embraced elements outside of metal with what was their most experimental offering to date; utilising instruments such as the saxophone as well as acoustic passages & notoriously drawing comparisons to the moods of bands such as The Beatles at times, featuring catchy hooks & structures in line with the rock music genre, but masterfully woven into Sigh’s unique blackened metal tapestry.

Continuing with Peaceville’s re-issues of Sigh’s classic early ( & until now, hard to find) works, this edition of ‘Ghastly Funeral Theatre’ contains a new master created by Patrick Engel at Temple of Disharmony, featuring a new transfer from the original DAT source.

The release also includes a new interview with main-man Mirai Kawashima conducted by Dayal Patterson of Cult Never Dies, delving into the history & inspirations behind ‘Ghastly Funeral Theatre’.

This edition of ‘Ghastly Funeral Theatre’ is presented on black vinyl.

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

Zombie Club presents a re-edition (new sleeve art) of "Mambo Calypso" another volume of sonic Caribbean Cruise. Following the approach of the first volume and understanding the Caribbean as a region is not limited to a strictly geographical demarcation but rather a demographic and cultural space where countries, islands and coastal areas may fall into a common Mare Nostrum even arrives in New Orleans. The influence of African drum and the "Cuban clave" makes different music beyond its specific components be they Latinos, Anglos or Frenchie's - look at themselves and recognize a certain family. This is not a coincidence, since the slave trade brought African music from the port of Havana to Cartagena de Indias, Nassau, Port-au-Prince, Salvador de Bahía and the southern United States. The same Blackness, the same rhythm, the same festive mood, spirit of resistance and struggle. And so, Arsenio Rodriguez can be heard without jumps next to a Calypso of Blind Blake, or a tasty Pacho Galán's coastal Cumbia crossover with Dave Bartholomew's Mambo or a Latin Swing of Lalo Guerrero, where the Dominican Merengue sounds Joseíto Mateo in line with that of its Haitian neighbor Nemour Jean Baptiste. A very spicy musical "melting pot," a gumbo of percussion and languages, to enjoy and dance. Re-board the Zombie Club Cruise, mixing different genres of Caribbean music with a high dance and rhythmic component. This selection designed for collectors, Dj's & calypsofied zombie dancers.

The tenth release of a series of EPs containing some of the best originally unissued Motown tracks, now available on vinyl / 7" for the first time.

Dan O'Farrell & The Difference Engine's fourth album (recorded and produced by Andy Lewis ) arrives at the start of 2026 like a cold, sharp bucket of water in the face. Bracing and troubling - like a tongue returning to a sore tooth - these songs probe life's dark waters: loss of family, faith, community & self- confidence - but also remains empathetic and rousing, ultimately cathartic. Once you've scraped the bottom, the only way is up. Creation is always an act of joyful defiance. Based in Southampton, and formed from the ashes of John Peel-endorsed indie-band Accrington Stanley , the band bring layers of warmth and subtlety to the uncompromisingly lyrical alt-folk songs of Dan O'Farrell, English-teacher by day and angry, leftist complainer by night.

‘Clyppan’ is an Old English verb meaning “to embrace” or “to clasp.” It also referred to an ancient ritual in which people gathered in a circle, singing together around a sacred shrine. It’s a fitting title for the latest release from Newcastle’s Smote – a visceral document of the band’s electrifying live set, captured within the walls of London’s Bear Bites Horse recording studio.
Following the release of their acclaimed 2024 album ‘A Grand Stream’, Smote embarked on an intensive tour schedule, refining their live performance along the way into something transcendental – a full-spectrum psychic voyage. Anyone who caught them at Supernormal, Supersonic, or this year’s Roadburn Festival can attest: Smote are an unforgettable sonic presence, a near religious experience.
Recognising the urgency and potency of the band’s current live form, Rocket Recordings encouraged Smote’s founder and sonic architect Dan Foggin to document their live set in the studio. It was a sound too powerful to be left undocumented – it was something that needed to be clasped for future generations.
On January 22, 2025 – the day before their thunderous performance at London’s ICA alongside labelmates Teeth Of The Sea – the four members of Smote entered Bear Bites Horse studio. With producer Wayne Adams at the controls, they laid down a live set brimming with raw, elemental power.
What emerged is ‘Clyppan’ – four drone-and-repetition driven incantations, distilled from the primal essence of Smote’s sound. These tracks channel something ancient and urgent, summoning spirits and revelations in their wake. It’s music as ritual, as invocation – pure aural sorcery.
So gather together. Form a circle. Join hands. And embrace the ecstatic, untamed energy of Smote in their most untethered and primal form.

The Just Joans' new album Romantic Visions of Scotland finds the Glasgow band in characteristically melancholic form, pairing shambling indie pop with sharp observations on romantic pratfalls and everyday dis-appointments, all delivered with sardonic Scottish wit, fronted by siblings David and Katie Pope, whose wry lyrics and heartfelt vocals remain at the heart of the band’s distinctive sound.
Originally inspired by a grandiose exhibition title spotted on Glasgow buses in 2019 for a show at the Nation-al Museum of Scotland called Wild and Majestic: Romantic Visions of Scotland, the new album arrives six years later as a collection of semi-autobiographical snapshots from the Central Belt of Scotland. Whilst some of the details have been exaggerated for comic (or tragic) effect, the songs are based on personal experience of mundane failings, bitter regrets and missed opportunities that make up an unremarkable life.
Recurring themes of nostalgia for a bygone era and the fear of being left behind by lovers, friends and peers run throughout the album. Musically and lyrically, the band channels Village Green-era Kinks, with nods to The Television Personalities, The Smiths and Dolly Mixture.
In the past they have always recorded by themselves in a variety of bedrooms, living rooms – and the occasional toilet. For the first time they have abandoned their DIY recording practices to create what songwriter David Pope calls, “a corporate behemoth in an actual studio.” The album was recorded at Chem19 in Blan-tyre with Paul Savage, who is best known as a founding member of local legends The Delgados. He has also produced and recorded the likes of Teenage Fanclub, Arab Strap and Camera Obscura, and has captured a slightly more muscular version of the band while retaining their ramshackle charm.
The album artwork by vocalist and painter Katie Pope depicts Motherwell Train Station – an ordinary, boring place that speaks to the subject matter of the songs, but with a hint of potential escape. As David Pope ex-plains, “For me, the painting reminds me of the ending of Billy Liar in which Billy tries and fails to leave his hometown for the bright lights of London. Half the band also live in Motherwell, so it seemed appropriate.”
Funded by Creative Scotland, the recording allowed the band to bring in bass and cello arrangements, adding depth and a sheen of musical proficiency to their signature sound.
About The Just Joans - The Just Joans were formed in Glasgow in 2005 by songwriter David Pope. Early demos were collected together and released as a loose concept album, Last Tango in Motherwell, in 2006. Chris Elkin joined on guitar and was followed shortly after by David’s younger sister, Katie, on vocals and Fraser Ford on bass. Over the years they have released EPs and albums on WeePOP! and Fika Records and have gained a cult following as Scottish pop miserabilists.
The current line-up consists of Katie Pope (vocals), David Pope (vocals, guitar), Chris Elkin (lead guitar), Fraser Ford (bass), Arion Xenos (keyboards) and Jason Sweeney (drums).
Press Quotes:
“They fit snugly into the scratchy, low budget Scottish indie tradition of The Delgados and Arab Strap… There’s mischief in this miserabilism.” - Mojo 4*s
“Glasgow’s The Just Joans have documented the romantic pratfalls of a generation of indie kids with sardonic wit and a shambling musical style where Stephin Merrit lies down with The Vaselines.” - Uncut
“Funny and sad, it’s the kind of song that made Red House Painters, The Magnetic Fields and The Wedding Present’s early albums so easy to embrace; an unpretentious sharing of relatable gloom.” - Record Collector

Composer, arranger, and multi-instrumentalist Yoshiharu Takeda's long-awaited first album, released in 2018, is now available as a reissue LP with obi strip.
He plays various instruments himself, including piano, clarinet, pedal steel guitar, and percussion.
Fantastical, crystalline melodies constructed through masterful use of multi-tracking and programmed elements.
This richly textured work possesses an organic quality, unfolding dynamically through colorful arrangements while maintaining a mysteriously serene atmosphere.
Highly recommended not only for jazz and world music fans, but also for enthusiasts of ambient and new age music.

"An Eternity Still" delves into the theme of closure, capturing the emotional journey of closing one chapter and beginning another. It evokes a stirring blend of nostalgia and the need to move forward, balancing bright memories with the desire for growth and new challenges.

For this project, Vanity Productions' Christian Stadsgaard teamed up with close collaborators Emma Acs and Malthe Fischer, who joined in the compositional process. While the album maintains Stadsgaard's signature melancholia, it also introduces a fresh sonic palette, incorporating vocals and guitar alongside the project's hallmark broken electronics and dark, evocative melodies.

The Album also features remixes by acclaimed artists Farzané and Ireen Amnes, further enriching the album's collaborative spirit and adding new dimensions to its haunting soundscapes.

“There's a clarity here that feels hard-won. Honing ideas first explored with his Organic Music series, Tiago Sousa unlocks the final puzzle pieces on Sustained Tones Vol 1. This music is enchanted, the way each layer moves in conjunction with the others: complex structures that feel less constructed than discovered, like stumbling upon ancient mechanisms still whirring beneath the earth. "Readily Reliance" opens as an effervescent sea, waves gilded in neon creating an enveloping sense of eternal motion. Bright organ timbres throw silhouettes and cast Sousa as the deft puppeteer keeping everything moving with an effortless precision. These evolving shapes suspend listeners somewhere between the physical and the cosmic, held in place by nothing but intention and sound.

Drones build rippling foundations in other places, using slower tempos to construct immersive, off-kilter sound worlds where minimalism becomes emotive, almost poignant. The fluctuating tones have a gossamer sheen, creating this interesting sonic dichotomy: a solid surface with fragile rotations beneath. It's music that commands attention; it is so much more than simply aural furniture. Sousa writes these beautiful sequences that are all interconnected, intricate sonic architecture that pulls us further into some kind of unknowable ether.

On the piano pieces, "Smooth Flow Into It" and "Swirling Mist and Thin Dust," Sousa shines sunlight through all the cracks. Washes of melody are effervescent, clouds clearing to reveal the day has not gone. Not yet. Positioned in the middle of Sustained Tones Vol 1, these pieces ground the album in something transcendent yet still earthen: moments of breath inside all that cosmic drift. Darkness finds its way through on "Restlessness," where Sousa smears sinuous electronics into a ghostly sonic mesh that seeps through the skin. It feels like a slow inhale, time suspended long enough to take note of where we are and how we feel before moving forward. Expressive, almost sparkling synth arrangements return to send us back into reality on closer "Becoming a Landscape." Its title hints at larger concepts at play throughout this album, where lines between our physical beings and the wider environment are blurred. The tones that echo throughout these six pieces mirror the echoes inside our bodies, from heartbeats and voices to something quieter, something much smaller and more elemental. By immersing us inside these mesmerising, beautiful soundscapes, Sousa immerses us within ourselves.’’

Brad Rose, 2025

“An extremely dynamic and creative release — Roadhouse combines acoustic and electronic music with a strong balance to invoke the complexity and confusion of a growing planet earth.” - Delroy Edwards, 2021

“‘Supernatural XS' is more bombastic (than its predacessor, ‘Aladdin Sales’). Imagine if French prog-dogs Heldon grew up on a diet of Hip Hop and high fructose corn syrup, or a mid-point between early Blues Control and Foodman's blissful mutations of Footwork. This Southern Indiana self-identified producer shows no particular allegiance to any lineage and evokes a couple they potentially aren't even privy to. Like Footwork, this music feels new and unique without outwardly attempting to break new ground, or inheriting any technological innovation. While I’m stoked on new music every single goddamn day, Roadhouse makes me particularly excited for the future of creativity, even if the odds are against it. Contemporary "Fusion" at it's best!. Very, very recommended!” - Repressed Records

*Repressed on yellow vinyl

45 Pounds is a record of thrilling cacophony: whirring drums meet the sound of instruments which have been twisted and bent into new shapes, all of which are paired with the arresting growls of Zack Borzone. Across the record the four-piece re-imagine what is possible within the confines of a band set up, creating music that perfectly encapsulates the information overload of our times.

The band have become known for their stellar live performances and now with 45 Pounds they have set that electrifying feeling to record. With 45 Pounds YHWH Nailgun have created a statement that is short to cut through the modern day post-algorithmic sludge. Stay tuned for more news.

For our 13th release, we’re excited to welcome a duo that embodies the true Dutch underground spirit: Young Adults. They’ve been shaping their sound for years and have become a familiar force in their hometown scene of The Hague/Den Haag, especially at PIP. Get ready for four raw, edgy tech-house rollers tried, tested, and fully certified on dancefloors over the past year.

The time has come to unveil Lumbago’s 16th release. Written and produced by P.O. (with an additional track co-crafted with U-Died under their alias Flash FM) this EP crystallizes the long-standing artistic connection between the artists and the label. Their influence on Lumbago’s sonic evolution made this moment inevitable. Balancing light and shadow with striking finesse, P.O. delivers his signature emotional tension, while the duo’s collaboration upgrades the record with an intense, triumphant techno statement.

Casabianca launches its vinyl imprint with “Irma’s Disko,” the debut EP from Zagreb-based DJ and producer MIMI.

Channeling the deeper corners of contemporary club music, the EP moves between hypnotic percussion, atmospheric tension and moody, slow-building grooves.

“Treshold Chant” opens with ritualistic rhythm and forward-driving momentum, while “S04E04” explores a darker, more introspective space.

The B-side centers on the title track “Irma’s Disko,” where MIMI combines tight, minimal drum work with unsettling synth motifs and a steadily expanding rhythmic architecture.

Closing the record, Düsseldorf’s Tolouse Low Trax reshapes the track into his signature off-kilter style — sparse, shadowy and unmistakably physical.

Reissue for the first time of original Ethiopian 7inch with the beautiful artwork. 6 different 7inch plus a poster and 6 stickers included in a boxset. Track Selection, by Francis Falceto (ethiopiques series founder and Ethiopian music specialist).

Following the success of volume 1, sold out at the record store day 2017, Heavenly Sweetness decided with Francis Falceto to give a follow up to this boxset of Ethiopian singles. Francis plunged into his impressive collection of

Ethiopian records to bring out colourful pearls. There are great names of the golden age of Ethiopian music such as Mahmoud Ahmed, Alemayehu Eshete, Ali Mohamed Birra but also less known artists to be rediscovered as Muluquen Melesse, Alayew Mesfin or Seyoum Gebreyes.

This box is a tribute to the Ethiopian music producer Ali Tango, who produced most of these EP's.

DJ Honesty returns on Syncrophone and drops tight techno / house cuts, flipped hard by Satoshi Tomiie on the remix. Pure underground heat, wired for the floor and the heads.

Following on from the first KMS Sampler, PDD in conjunction with Armada Music & BEAT Music Fund return for Volume 2 in the series. Once again mining the delights in the expansive catalogue, Volume 2 showcases four more essential cuts. Up first is the classic MK Mix of R-Tyme’s – Use Me. Next up on the A side we have the legendary pairing of Chez Damier and Ron Trent with their remix of Inner City – Share My Life. On the flip, the D’Pac Dub of Dionne opens the B side and then rounding off the EP is the second Inner City track, this time remixed by another Detroit hero, Carl Craig.

Just like Volume 1, the audio has been lovingly remastered by AIR Studios and their team of celebrated engineers, fully utilising their mastering knowledge. Another brilliant volume from KMS!

Permanent Vacation proudly presents a double A-side collaboration from Gold Panda and Fort Romeau: El Espíritu / El Fantasma. Bringing together two distinct artistic voices, the release blends
Gold Panda’s emotional, melodic sensitivity with Fort Romeau’s refined, hypnotic dancefloor touch. El Espíritu radiates warmth and shimmering detail, while El Fantasma drives deeper into late-night territory with atmospheric tension. — a standout meeting of two producers at the height of their craft.

Planet Beyond – Selected Cuts Volume 1 marks the first release on Ruiger Records, presenting the distinctive world of ES — a Dutch producer, multi-instrumentalist, and visual artist whose work flows effortlessly between live performance and studio creation.

Selected from an ever-growing archive built over the years, the music emerges from a deep vault of unreleased recordings spanning a wide range of moods and ideas. This collection offers a deeper look into a vivid creative universe of sound and feeling — a story that unfolds through rhythm, tone, and emotion. Each track adds a new shade to the journey, like a jigsaw falling into place, revealing new dimensions with every turn.

The music moves through eras and atmospheres — carrying echoes of ’90s electronic music and shaped by the spirit of ’70s jazz & funk. It’s expressive, natural, and percussive, full of motion and detail, where live playing, studio craft, and imagination merge into one seamless flow. The sound drifts from deep, funky electronic grooves to spacious, cinematic, and cosmic landscapes — music that invites you deeper with every listen. It sounds both new and familiar — as if rediscovering something ageless, still unfolding.

Mala, returns on DEEP MEDi MUSIK with "the pidgin rap don" Magugu with a release that has been circulating as a mystery dub in different spaces around the world, for at least a year: whether Mala himself at Houghton, Skream in Ibiza, Sir Spyro shelling down club spaces or Four Tet laying bass weight on 80,000 ravers at HARD Fest in Hollywood.

Stormzone were formed in Northern Ireland in 2004 as a heavy metal band. In 2007 They released “Caught in the Act” on the Escape Music label, and it was met with critical acclaim. They have since released another 3 albums on different labels, all of which have firmly put them on the map. In more recent years the band have taken a heavier direction and attracting fans of the NWOBHM genre. Stormzone have played at many festivals including Sweden rock, Firefest and Wacken open air to name but a few, as well as playing many shows. They have also played as support to many big names, such as Saxon, Y & T, Stryper, Tesla and White Lion. They have always had a loyal following which continues to grow. Their debut “Caught in the Act” featured artwork by the Rodney Matthews art studio, who have worked with album covers by YES, Bob Catley, Magnum and many others. The distinctive style of art is a firm favourite with many, and it is with great pleasure that we announce that “Immortal Beloved” shall also enjoy such outstanding artwork. This latest Stormzone chapter boasts 13 tracks of classic heavy metal, and it will be a much anticipated release to start the new year..

Soul Visions is an instrumental journey into the world of Deheb, who, after several years of continuous sound research, continues to draw inspiration from jazz, soul, funk, and progressive rock records, first discovered through his father and then through his fellow collectors and DJs, including his partner DJ Marrrtin from Funky Bijou.
The Breton artist is renowned in the beatmaking world for his collaborations in New York in the mid-2000s (Moka Only, Sean Price, Torae, Tye Phoenix, Apani B, etc.) and for his album “LEAF”, released in 2015 with Swiss producer Chief. He is best known for producing classic Funky Breaks in the global breakdance scene with Marrrtin under the name Funky Bijou, whose tracks have been played at the world's biggest breakdance events since 2011 (Battle Of The Year, Red Bull BC One, etc.). All their tracks have been listened to more than 30 million times on various platforms and social networks.
A prolific artist who draws much of his inspiration from funk and jazz, he is based in Nantes and has collaborated with groups from the French Neo Soul scene, such as J-Silk from Bordeaux, Jo Wedin from Sweden, and Keysuna from Nantes. Close to the dance scene, he has also collaborated with dancer and choreographer Mackenzy Bergile, which led him to join the CCNRB's choreographic project “Earthbound” by choreographers Saïdo Lehlouh and Johanna Faye in 2023.
Deheb has also been composing for documentary projects since his first collaboration with director Shyaka Kagamé in 2015 for “Bounty”. In 2024 and 2025, he worked on two critically acclaimed projects: “Boulevard du village noir”, produced by Radio Television Suisse, and “IMIHIGO, le pacte rwandais”.
This year, 2025, he brings us “Soul Visions”, a journey through the cinematic sound of the early 1970s to the soul funk and jazz funk of the late 1970s, a pivotal period in his own musical identity that contributed to the funk sound of his guitars and the texture of his synthesizers and electric pianos.
Soul Visions is first and foremost a tribute to the artists and composers, the geniuses of that era, such as the Mizell brothers in “Larry and Fonce”, the Bell brothers in “Ron and Don”, and giants of the genre such as Isaac Hayes, Yuji Ohno, Roy Ayers, and Clarence Reid. All these masters of the genre had their own distinctive sound and arrangements, which were easily recognizable and which are among Deheb's major inspirations.