Buscar:th

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

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

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

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

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

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

A turntalsim tool.

!! LIMITED 200 !!

Finally showing what Deathchant familly and oldtimer is : from Mark N to Simon Underground, through Hellfich and Producer we have people creating Hardcore while scratching Rap.... And finally KEEPING ON DOING THIS !! Though all style that came on the plate.

HC waxerz finally have their Skip Proof weapon !

Hardtrance to Acidcore newskool style !

The Gabber masterpiece from Atomic Compressor !!!
Four massives tunes in da best old school Mokum style. Those tunes will never let you down !

TaMaHaTa from Proces Kabaal on a solo project for teknosucks !
Nederland Base !

This is a Bebert Brothers productions !

Kind of Hardfloor project... At the Hardcore frontier. With some musicians not that used to the style as Uzi or Damage Cirecuits (collab with Akouphen).
Welcoming Ratus, who we all seen live more than once I guess, but he's rare on wax !

Enjoy this banger !!!

Dark Beauty

‘An Undying Love For A Burning World follows Converge’s Love Is Not Enough this year as a pivotal metal album about acknowledging the darkness for what it is and trying to accept it.’ - the QUIETUS

‘Neurosis Know You’re Hurting. Their Stunning New Album Is a Life Preserver.
An Undying Love for a Burning World, the band’s first album with new member Aaron Turner, is a reminder of how even the darkest music can be a guiding light’ - 9/10 ROLLING STONE

Evolution can be ugly and beautiful, painful and euphoric. An Undying Love For A Burning World is the first new release from Neurosis in a decade, and a potent statement of intent and rebirth - one that marks the first new steps of resolve and resilience.

An Undying Love For A Burning World is an epic album of colossal hypnotism - beautiful, fearsome and utterly compelling in a way that only Neurosis can be. Aaron Turner (Sumac, Isis) joins the band on vocals and guitar, a name whose legacy is intertwined with the band’s own and a true kindred spirit.

“From the moment I first heard Neurosis over 30 years ago, I felt this was the music my heart and mind had been seeking but not yet heard. Now after many years travelling along various musical paths of my own, the singular sound and spirit embodied by Neurosis continues to speak to the depths of my being. It is an honor and a true pleasure to have been welcomed so warmly into a band that not only shaped my perspective on the limitless possibilities of music - but has lived and exemplified the necessity of upholding creative integrity and camaraderie above all else.” - AARON TURNER

Neurosis have never been afraid of change, and here they embrace endless regeneration, surrendering to the emotional exorcism through heaviness and distortion that their music incites. Just as the universe tends towards balance, Neurosis’cacophony of noise, rhythm and dissonance always resolves towards moments of beauty. The addition of Turner's powerful vocals and wildly creative and unhinged approach to guitar proves to be a vital force as Neurosis find themselves again at the mercy of evolution and expression.

On every song in the band’s history, Neurosis shifts restlessly between tension and relief, invoking a feeling both feral and transcendent in listeners. The band describe their songwriting process as an inescapable impulse to create with each other - a need rather than a choice. Indeed, the band insist that their return is “not a reunion - we never broke up.”

The album was recorded by Scott Evans (Kowloon Walled City, Sumac, and Great Falls) at Studio Litho in Seattle during three weekends this winter, and mixed in three days just six weeks before release at Evan's Antisleep Audio in Oakland.

Neurosis will play their first show in seven years on the traditional lands of the Blackfeet Nation in Montana as part of Fire in the Mountains festival by special invitation of Firekeeper Alliance, a non-profit dedicated to reducing youth suicide in Indian Country.

FITM, is a unique festival known for bringing epic music to epic landscapes with the intent of reconnecting and immersing oneself with the natural world, and strengthening our ancestral roots as human beings - an aim which aligns directly with Neurosis’ deep-rooted power.

Stay tuned for further news over the coming months.

PREVIOUS PRESS:

‘In less skilful hands, this relentless sonic oppression would be gruelling, but by expressing human frailty with such visceral abandon, Neurosis have once again turned darkness into euphoria.’ - 4/5 THE GUARDIAN

‘The Oakland band has evolved from gritty metallic punk to harrowing post-hardcore prog to the majestic doom of their current phase’ - 7.9 PITCHFORK

‘It’s not often an album of such stature exceeds one’s anticipations, but Honor is too astounding to not be revered.’ - The QUIETUS

“Fires Within Fires is the summation of thirty years of experimentation in tonality and texture. Yes, NEUROSIS are firmly positioned within the extreme metal underground yet their music, with its ability to generate images of beauty akin to those many of us have experienced in our own lives – not to mention the loss that accompanies them – challenges this categorization. ‘’ - WIRE MAGAZINE - FULL PAGE REVIEW.

"Their intensity remains undimmed on Fires Within Fires...The already converted will take heart from the evidence that age is unable to wither the fury of this heaviest of bands." - KERRANG! 4K REVIEW

"Every monstrous sludge riff gnashes menacingly for the right amount of time and every delicate moment of folk-inspired drift is emotionally exacting. Neurosis continue to create art without equal, and Fires Within Fires is another worthy addition to an awe-inspiring canon containing a number of truly pioneering and timeless albums." - METAL HAMMER - 8/10 LEAD REVIEW

New vinyl-only 7" series dedicated to razor-sharp edits for true heads sets it off with a cheeky dancehall flip of an unearthed hip-hop gem primed for peak-time shellings. On the flip, a jazzy house workout built for deep-cut selectors. Raw, soulful & built for sound systems.

London DJ/producer WILL B. and singer/songwriter YEUKAI fuse diverse influences to birth a truly special debut. Thick, soulful organ & ethereal vocals take this one so deep it should come with a lifeguard. Remixes from GLENN UNDERGROUND & ORLANDO VOORN make this an instant classic.

"With raw energy and uncompromising attitude, Devil's Cigarette has quickly become a rising force on Sweden's rock scene. Their music blends the nerve of classic garage rock with fresh, modern intensity - delivering big choruses, blazing riffs, and irresistible grooves.
On stage, they are more than a band: they are an explosive statement. Sweaty, intense, and unforgettable, their shows turn every night into a party where the audience is part of the chaos.
Their new album Meet Me On The Floor Tonight, recorded by Otto Perrin and refined by Robert Pehrsson (The Hellacopters, Thunder Express, Tribulation), captures youthful passion with sharper focus and dynamic sound. It proves Devil's Cigarette is not only a powerful live act but a band pushing rock'n'roll into the future.

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

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

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

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

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

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

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

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

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

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

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

"Swedish modern rock unit SELF DECEPTION is set to unleash their Napalm Records debut, One Of Us, on May 15, 2026! The band is known for their fiery fusion of anthemic modern metal and powerful melodic rock. Since their 2009 debut, they have shared stages with the likes of Electric Callboy, Danko Jones, and Adept, while racking up millions of streams and video views – including their viral 2022 hit, “Fight Fire With Gasoline”, with tens of millions of streams. Written on the road during the heaviest touring of SELF DECEPTION’s career so far, One Of Us is a cohesive album full of character, made for the stage – and the pit! Bone-crushing album-opener and title track “ONE OF US” takes no prisoners, unleashing the heavy modern metal side of the Swedish powerhouse: fusing relentless hardcore energy, in-your- face lyrics, and high-voltage attitude, the track hits with unstoppable force. Following track “TIME'S UP” features an absolute hit chorus, fresh hooks and high-energy instrumentals, while emotional “DON'T B E L O N G” addresses the difficult themes of addiction and mental health battles – the combination of hauntingly beautiful melodies, multifaceted vocal performance and heavy rhythm section carry this sentimental track.

Further highlights on SELF DECEPTION's new 10-track offering include “THE WEDDING”, an energetic modern rock anthem with a particularly dark and twisted storyline, and “BREAK!"", with its heavy-hitting drums, electronic influences and yet another irresistible sing-along chorus. Final track “ENTERTAINED” wraps up the album impactfully, featuring one of the heaviest breakdowns on the album. From massive pit churners to creative storylines and choruses full of hit potential, the energy on One Of Us is unmatched. The band has a busy festival summer following the album’s release, so fans will get the first chance to experience these new tracks live at several major European rock and metal festivals. With One Of Us, SELF DECEPTION is ready to push contemporary rock to the next level!"

Cosmic Journey is the new album by Little Lion Sound, bringing together the sound system's most significant releases from the past two years. The album embodies the DNA and artistic evolution of Little Lion Sound, reflecting a deep love for reggae and sound system culture, as well as a strong ability to build bridges between generations and territories.

Born from sound system culture and firmly rooted in reggae, Little Lion Sound has developed an open and modern musical vision over the years, blending contemporary reggae with hip-hop influences while always preserving the essence of the genre. Cosmic Journey perfectly illustrates this approach through a coherent and immersive soundscape, driven by deep basslines and meticulous attention to textures and arrangements. The album also stands out for the richness of its collaborations, bringing together iconic artists and rising voices from the international reggae scene. From Jamaican foundations (King Kong, Capleton) to new generations, passing through Brazil (Jô), London (Brother Culture), and Trinidad & Tobago (Queen Omega), each contributor brings their own color, energy, and signature. The project also highlights collaborations with producers from France, Costa Rica, and Jamaica, further enhancing the diversity and balance of the album.
Cosmic Journey is a true invitation into their musical universe. A celebration of creativity, authenticity, and the collaborative spirit at the heart of sound system culture, this sonic journey is designed as a complete experience where tradition and innovation meet, uniting established artists and emerging talents.

Tracklisting:

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

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

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

* A highly influential and sought-after benchmark dub LP, originally released on the Jah Works label in 1995.

* Produced by the late Rej Forte AKA Jah Rej, who was one of the most creative minds from the UK reggae and dub scene from the last 40 years.

* The album features recognisable tracks from the Jah Works cannon, but dubbed into oblivion with special effects galore. All tracks played by humans, with the exception of a drum machine.

* Dub Crusaders feature members of Revolutionary Dub Warriors (On-U Sound, Ariwa), and Radical Dance Faction.

* Recorded at Channel One under the supervision of Martin Campbell, whose vocals feature twice on this set.

Immolation was founded after the demise of Rigor Mortis (NY), a band formed in May 1986 by Andrew Sakowicz (bass guitar, vocals) Dave Wilkinson (drums), and Robert Vigna (guitar) After recording the Decomposed and Warriors of Doom demos, Sakowicz left the band in early 1988 and was replaced by Ross Dolan, and the band's name was changed to "Immolation". The new lineup put out two studio demos, in 1988 and 1989, and gained a worldwide following in the underground death metal scene. Immolation signed a record deal with Roadrunner Records and released their debut album 'Dawn of Possession' in 1991. After leaving Roadrunner, the band released "Stepping on Angels," a compilation of demo releases and live tracks. In 1995 the band was signed by Metal Blade Records and released three albums: 'Here in After' ,'Failures for Gods', and 'Close to a World Below'. After their second album, drummer Craig Smilowski left the band and was replaced by Alex Hernandez. Their next three albums, 'Unholy Cult', 'Harnessing Ruin', and 'Shadows in the Light' were released by Listenable Records.

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

With Burn The House Down, Ghalia Volt delivers a raw and electrifying blend of blues, garage rock, and roots-driven energy. Fueled by gritty guitar riffs, hypnotic rhythms, and her unmistakable raspy vocals, the album captures the spirit of stripped-down, high-voltage rock’n’roll. Recorded with an organic and live feel, the songs pulse with authenticity and urgency, balancing infectious grooves with a rough-edged charm. Ghalia Volt’s performance is both fierce and soulful, channeling the essence of traditional blues while pushing it into a more modern, rebellious direction. Burn The House Down is a bold and uncompromising release—perfect for fans of The Black Keys, Larkin Poe, and raw, unfiltered blues rock

First new album in 6 years along with being their EVR debut album. Brett Romnes (Hot Mulligan, The Front Bottoms, Mom Jeans) produced the record along with being the drummer of the band. I Am The Avalanche features members of The Movielife, Head Automatica, Crime In Stereo, and Such Gold. Vinyl White Swirl LP limited to 250 available, Rude Records Exclusive

Back to back deep roots here. Both sides produced by Niney the Observer on one of Augustus Pablo's all time masterpieces, the 555 Crown Street rhythm. The A-side is Johnny Clarke chanting out "Warrior", then flip it over for Ranking Trevor, one of the most underrated deejays ever, breezing out over a dubbed cut with plenty of our beloved bleeps. These were undoubtedly dubplates at the time they were made in the '70s, but both first released later, the Johnny Clarke on CD in the 1990's, and the Ranking Trevor actually much earlier in 1979, when the late great Dave Hendley released it on his Sufferers Heights label. Both tunes have been issued in a couple forms since, but not in quite a while, and we just love them and felt they were too good to remain unavailable; top shelf essential material.

After recording the Decomposed and Warriors of Doom demos, Sakowicz left the band in early 1988 and was replaced by Ross Dolan, and the band's name was changed to "Immolation >>. The new lineup put out two studio demos, in 1988 and 1989, and gained a worldwide following in the underground death metal scene. Immolation signed a record deal with Roadrunner Records and released their debut album 'Dawn of Possession' in 1991. After leaving Roadrunner, the band released "Stepping on Angels," a compilation of demo releases and live tracks.

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

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

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

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

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

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

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

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

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

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

Limited Apricot/Rose Vinyl. After being only available on his "North America & Japan Tour 2025", Black Screen Records is excited to release the second pressing of VK Blanka's latest studio album "Knightclub" on 1xLP Rosé / Apricot Split Vinyl. The album comes with an exclusive vinyl bonus track "Black Catcher - Piano Version" and includes a lyrics sheet. The Japanese singer-songwriter and multi-instrumentalist also announced his return to AnimagiC 2026. The convention will be held from July 31st - August 2nd in Mannheim, Germany. Black Screen Records will also return and bring the Knightclub vinyl to the event. Since expanding his activities overseas in 2023, he has performed electrifying live shows in new territories, including North America, Europe, Saudi Arabia, and Latin America. At Brazil's largest anime convention, Anime Friends Sao Paulo 2024, he captivated a staggering audience of 10,000, their voices rising in fervent chants of his name, as he closed out the event as the final act of the night.










[j] 10OLD RIVALS [A SELF-COVER OF RIVALS!]
[k] 11BLACK CATCHER PIANO VERSION [BONUS TRACK]

David Gray with The Best Of, a 16-track greatest hits collection featuring highlights from Draw The Line, 2011’s Foundling, and 2014’s Mutineers, alongside classic songs from David’s three #1 albums, including the Grammy-nominated White Ladder.

Work of Art is not merely a sophomore album; it is a victory lap run with the precision of a master artist. Following the stratospheric global ascent of his debut, Mr. Money with the Vibe, Asake faced the kind of pressure that usually demands a pivot. Instead, he treated that intensity like clay, sculpting a project that feels at once more expansive in scale and more intimate in spirit. Released in 2023, the album serves as a definitive statement on Asake’s sonic identity, deepening his signature fusion of Amapiano, Fuji-inspired percussion, and Afrobeats while moving with a newfound sense of deliberate poise.

If his debut was a high-octane sprint to introduce his sound to the world, Work of Art is a confident stroll through his own creative museum. Anchored once again by the masterful production of Magicsticks, the album serves as the perfect architectural space for Asake’s erratic, infectious flows. The record feels richly textured—brimming with pulsating log drums, soulful samples, and the specific, ecstatic chaos of Lagos nightlife. Asake successfully bridges the gap between traditional Yoruba heritage and the deep, percussive basslines of South African Amapiano, resulting in a sound that feels simultaneously ancestral and futuristic.

The project thrives on a unique duality: it is introspective, yet undeniably club-ready. Tracks like "Amapiano," featuring Olamide, provide the anthemic energy his fans crave, while cuts like "Basquiat" showcase a lyrical swagger that frames his life as high art set to a relentless four-on-the-floor beat. By leaning into his "Mr. Money" persona with added vulnerability and a clearer focus on the craftsmanship of his vocal delivery, Asake avoids the dreaded sophomore slump entirely. He proves that he isn't just making pop songs; he is curating a moment. Ultimately, Work of Art captures the feeling of an artist standing at the peak of his powers, looking out at the landscape he has helped reshape, and confirming that, indeed, he belongs there. It is not about reinventing the wheel—it’s about proving that the wheel he built is a masterpiece.

New album by french rapper Sheldon, including featurings with Chilly Gonzales, Jazzy Bazz, Tuerie, Asfar Shamsi...



Monsters are never where we expect them to be. They take shape in silences, in vague fears, in the baggage we carry without always understanding it. Sometimes, we also encounter them along the course of a life. On this new album, Sheldon chooses to dance with them, to tame them with wit, grace, and a sense of peace.



Following a powerful return with Grünt 75, an iconic format to which the 75e Session collective brought particularly ambitious visual staging, Sheldon unveils a fourth album that unfolds across fourteen tracks like a chiaroscuro landscape, revealing the full depth of his emotional and musical range. Through intimate narratives, the record explores identity (Être une fille), family and fatherhood (La Fenêtre and Les Monstres, the title track), as well as friendship (Eh le reuf). These are themes that run through all of us, approached here with writing that is vivid, demanding, and deeply sensitive.

Driven by a strong narrative arc, the album features songs like Être une fille, which challenges and questions us. On it, Sheldon reflects on his relationship to gender, his doubts and discomfort with the codes of masculinity, and the idea that he has sometimes imagined himself elsewhere. Tracks like La Fenêtre and Avec ça illuminate the album like moments of communion, sincere, warm, and unifying, carried by a childlike lightness that makes tomorrow disappear.

True to his open minded and ever curious artistic approach, Sheldon draws from a wide range of musical genres while keeping rap as the album’s guiding thread, giving each song its own singular identity and contributing to the balance of the whole. To shape the project, Sheldon surrounded himself with a new generation of musicians and beatmakers whose influences span rap, indie rock, pop, and experimental music. Among them are Johnny Ola, who has notably composed for Zamdane, Jazzy Bazz, and Edge, Rodolphe Babignan, Carbonne’s flamenco guitarist, and Jeune Oji, an artist signed to Friends of Friends Music. Together, they bring melodic and acoustic richness, as well as a collective generosity that deepens the album’s intimacy.

This new album also opens the door to new collaborations.

On L’école primaire, Chilly Gonzales joins Sheldon for an unconventional piano and vocals piece, driven by cinematic, deeply intimate storytelling. Using his primary school as a point of reference, Sheldon retraces his path from childhood to adulthood, somewhere between nostalgia and serenity.

On Cowgirl, Tuerie joins Sheldon for a soft, melodic ballad with an 80s tint, capturing the weightlessness of a sunlit summer.

On Sidequest, Sheldon reunites with Asfar Shamsi, who had already appeared on his Grünt. Over a delicate cloud trap production, the two artists open up about everyday pain, finding in introspection a way to put things into perspective.

Finally, Vol de nuit brings Jazzy Bazz and Sheldon together for an intimate exchange over an ethereal, mysterious production, as both artists look back on their journeys with calm and clarity.

Conceived alongside Sheldon’s closest circle, the project celebrates family, friendship, and love as its founding pillars. Sheldon chooses to step away from the images, allowing his story to be embodied instead through the faces and gestures of those around him. This approach runs through all of the project’s visuals. Rejecting the excess of spectacular image making, he chose instead to hand a camera to his loved ones so they could offer their own vision of a song from the album. By opening a small window onto his intimacy, and that of the people closest to him, Sheldon finds a way to say a great deal with very little, turning deeply personal trajectories into something universal.

Like the music videos, the album cover is rooted in a deliberately simple approach, where the fantasy of childhood disrupts reality. Designed by Tenzin, the graphic designer behind Sheldon’s recent projects, Ptite Sœur, and also work for Jul, it is based on an archival photograph taken during a traditional carnival in Tenzin’s native village. With no staging involved, the image captures children in costume mid parade, caught in a spontaneous burst of movement, embodying the free innocence of childhood.



Les Monstres marks a new chapter in Sheldon’s journey. Like a rainbow after the storm, this fourth album reveals new colours in the artist’s discography, as he delivers a record that is both demanding and accessible, intimate and open, one in which music becomes a love letter to friendship and to love itself. Set for release on April 24, 2026, the album will be followed by a tour culminating at La Cigale in Paris on December 3, 2026.

JoeyStarr is the co-founder of the famous French rap duo Suprême NTM. Originally starting out as breakdancers and graffiti writers, the duo is known for representing the perspective of minorities residing in the underprivileged neighbourhoods of Paris and beyond through dark, gritty, politically-conscious lyrics. Despite achieving record sales with their four albums, they split in 1998.

After a few detours away from the music business, in 2006 JoeyStarr dropped his first solo album. Egomaniac, released in 2011, is his second album and includes some high-profile collaborations; on "Mamy..." he works together with Nicoletta on a rework of her 1971 hit single "Mamy Blue" and the interlude "Appel À La Resistance" features a speech by leading left-wing politician Olivier Besancenot. After its initial release, the vinyl edition went out of print so we're happy we can finally make it available again.

Egomaniac is available as 15th anniversary edition of 1000 individually numbered copies on orange vinyl and includes an 8-page booklet.

The Wings of War (2019) finds Overkill at the peak of their thrash metal power. The album blends aggressive riffs, driving drums, and Bobby “Blitz” Ellsworth’s unmistakable vocals with melodic hooks. Each track delivers energy, precision, and raw intensity, from rapid-fire assaults to grooving mid-tempo songs. A relentless, powerful release honoring the band’s legacy while sounding fresh and modern. Now reissued as Ltd. Edition Vinyl. Pressed on clear Vinyl with crushed black and green splatter, housed in a gatefold sleeve.

Prism Shores return with Softest Attack, produced by Scott "Monty" Munro, the album blends '90s power pop crunch and shoegaze shimmer in their most collaborative and ambitious release yet. Montreal janglers Prism Shores return with a sharper, more immediate follow-up to their acclaimed 2025 breakthrough Out From Underneath. While the previous record leaned into atmosphere, this new album doubles down on hooks, maximalist guitars, and the pure strength of their melancholic songwriting. Produced by Scott "Monty" Munro (Preoccupations) and mixed by René Wilson, Softest Attack blends jangle pop, '90spower pop, and shoegaze with clear echoes of The Wedding Present, Teenage Fanclub, and My Bloody Valentine all filtered through the band's Dunedin-inspired indiepop sensibility. For the first time, all four members contribute lyrics and lead vocals, marking their most collaborative and ambitious effort yet. Softest Attack is Prism Shores' boldest attempt to craft a top-tier indiepop record: bigger, brighter, and overflowing with guitars, but always anchored by undeniable melody.

The new Twins Hardcore is as well the No New Style 10 !!

2025 Repress


First released in 2011 on Winding Road Records, Lovebirds Feat. Stee Downes – “Want You In My Soul” hit No. 1 in the dance charts for 6 weeks and has since become a deep house classic with nearly 30M Spotify streams.

Still championed by legends like Gilles Peterson (closing track at Worldwide Festival multiple times), Groove Armada (Glastonbury 2025), and praised in a recent post by Kevin McKay (Glasgow Underground) as “the song of any summer,” demand has kept original vinyl copies selling for up to £250 on Discogs.

Now, for the first time since its 2011 release, this timeless classic is back. Winding Road have re pressed from the original lacquers with the same artwork, mixes, and etching—identical to the 2011 issue.

A-side: iconic vocal mix on the B-Side: rare bonus track Give Me A Dubf*ck + Hot Toddy’s Detroit-inspired remix

Limited stocks – grab it while you can - before you have to resort to the Discogs mafia again!

Not all 'All Stars' style releases live up to their name, but this multi-artist extravaganza from Demuir's Purveyor Underground Ltd label most certainly does. The Canadian artist has snapped up tracks from some genuinely impressive deep house talents, with predictably fine results. For proof, check the deliciously dreamy, hazy and rolling opener from Atlanta star Byron The Aquarius, the jazzy bass, locked-in beats and lightly psychedelic layered aural textures of Fred P's 'Sunny Rain Drops (Cosmic House Edit)' and the softened DJ Sneak-style sample-rich peak-time bump of Demuir's own 'Alone In Chicago'. Elsewhere, M Squared reaches for elongated electric piano chords, eyes-closed samples and jazzy house grooves on 'Dance', before Justine Joe delivers an exquisite exercise in jazz-house jauntiness ('AFaOA (As Far As Our Attitude)').

First ever vinyl release of this massive classic psychedelic black rock funk compilation. Lovingly reproduced for audiophiles on black vinyl and packaged in a fully artworked sleeve and labels and shrinkwrapped. Limited edition vinyl press! “One of the best compilations of formerly released material ever made. A classic” “The whole compilation is pretty damn sweet, but anything dug up by Iron Knowledge is essential listening”!

In the rapidly shifting tectonic plates of the global Afrobeats scene, few arrivals have been as seismic as that of Ahmed Ololade—better known to the world as Asake. With his breakout project Mr. Money With The Vibe, the artist didn’t merely debut; he effectively recalibrated the tempo of the Nigerian pop soundscape. The EP functions as a masterclass in synthesis, pulling from the ornate, percussive history of Fuji music and grafting it onto the driving, bass-heavy architectures of contemporary Amapiano. It is a calculated, deeply rhythmic hybridization that manages to feel both nostalgic and jarringly modern.

From a critical vantage point, Mr. Money With The Vibe is defined by its brevity and density. Asake treats each track as a focused vignette, utilizing a vocal delivery that oscillates between a melodic, almost liturgical chant and the staccato urgency of a Lagos street orator. The production—characterized by sharp, frenetic percussion and deceptively simple melodic loops—creates a high-intensity atmosphere that mirrors the relentless pace of urban life. He avoids the pitfall of bloated experimentation; instead, he doubles down on a "street-pop" ethos, prioritizing accessibility without sacrificing the complex rhythmic interplay that gives the genre its distinctive texture.

Ultimately, Mr. Money With The Vibe stands as a pivotal document of the current era, capturing the transition of Afrobeats from a regional powerhouse to a dominant global force. By blending the aspirational "hustle culture" narrative with an increasingly sophisticated sonic palette, Asake established a blueprint that has since influenced a new wave of artists. The project is a testament to the idea that authenticity, when paired with relentless precision, remains the most effective currency in contemporary music.

"It transported me back to 1979. Me as a 17 year old post-punk kid at Futurama Festival in Leeds watching PiL, Killing Joke, The Fall and Cabaret Volatire." Lubomir Jovenovic - Leeds Jazz Festival Curator.

Born out of a chaotic Saturday night in Hastings. A raucous double bill between Leeds Jazz troupe and Kent post punks resulting in feedback, mosh pits and a breakneck rendition of The Stooges TV Eye. A plan was hatched right there to record an album together.

"Really f**king happening. I dig this big time." Mike Watt (Minutemen, The Stooges)

In a patchwork of IRL sound fragments, humming ambience and sub bass brushstrokes, Bobby Ingham debuts on Sneaker Social Club with a social-realist inversion of soundsystem music that relishes negative space while telling a street-level story.

Bobby Ingham is a 24-year-old multidisciplinary artist whose creative practice across film, music and sculpture was shaped by formative experiences in his native Leeds. Having started to experiment with spoken word, poetry and electronic sound production, he sharpened his focus after moving to London. Homesickness moved him to recreate the sensory impression of his hometown through sound, using snippets of his every day experience with his friends and family as well as archival recordings online related to Leeds. The particular lilt of regional dialect became central to the character of his work — a direct portal into a personal world that could only be rendered by someone who has lived it.

Ingham’s work chimes with that of SSC’s own Low End Activist. Where LEA has repeatedly taken us around the Oxford council estate he calls home, on Angel of the North Ingham lets us stay a while on the streets and in the houses that made him. It’s intimate from the very start — opening track ‘Lynne’ features Ingham’s own grandmother, while ‘I Feel So Good I Swear I Could Fly’ finds Ingham voicing his own poem as he retells personal experiences in a disarmingly mythological manner.

‘1st Memory Of Love For DRXSJKFL ft. Pretty V’ invites Wakefield, West Yorkshire-based artist Voldy Moyo to lay down a spoken word piece that evokes the dehumanising nature of military service and those left behind by it. Where there are no words, Ingham instead speaks with brittle machine rhythms and blocks of texture, swooning synthesised beauty and any emotional shade you care to mention in between. It’s a work that takes you right into the heart of the artist — someone committed to telling an honest story from a viewpoint that seldom gets a second thought.

Das Erste, was man hört, ist eine einsame, klare Gitarre und ein sanfter Gesang, der von "city scenes caught up in the moment" erzählt, bevor das Schlagzeug einsetzt und es losgeht! So beginnt die atemberaubende, kraftvolle Eleganz von The Spatulas neuestem Album ,A Blue Dot". The Spatulas, das sind im Wesentlichen Miranda Soileau-Pratt und wer auch immer sie rekrutiert, um ihre Vision zu verwirklichen. Alles begann in Oregon, wo frühere Veröffentlichungen wie ,March Chant" und ,Beehive Mind" mit dem Schlafzimmer-Schmerz von ,Beyond the Implode" und der wackeligen Psych-Magie von ,Garbage and the Flowers" glänzten. Doch obwohl diese Elemente nicht verschwunden sind, ist ,A Blue Dot" ein ganz anderes Kaliber. Ein Umzug nach Cambridge, Massachusetts, und eine notwendige personelle Veränderung haben das, was einst eine beständige, schimmernde Lockerheit mit voller Rockdynamik war, verwandelt. Die neue Besetzung (Gitarrist Luke Einsiedler, Bassist Elijah Bodish und Schlagzeuger Greg Witz) hat ihren Sound zu einer lauten Masse aus harter und stimmungsvoller Jangle-Explosion verdichtet. Der Post-NZ-Glory-Pop von Barbara Mannings SF Seals ist hier zu finden, ebenso wie der dichte Wirbel von Rain Parade. Fachmännisch aufgenommen im Suddenly Studio von Emily Robb, gemischt von Evan Mersky und von Sarah Register zu vollendeter Kohäsion gemastert, klingt das Ganze laut und stolz. Seit der Fertigstellung dieses wunderbaren Albums sind Miranda und Elijah nach Indiana gezogen, wo glücklicherweise eine neue Besetzung gefunden wurde. Aber ein noch glücklicheres Ende ist, dass diese spezielle Crew noch nicht fertig ist mit dem gemeinsamen Musizieren, und hoffentlich wird diese elende Welt noch lange genug existieren, um im Sommer 2026 eine Tour an der Ostküste mitzuerleben. Man kann sich im Leben wenigstens auf eine Sache freuen! - Max Milgram

After some time, The Don returns to the series for number 4, with 3 previously unreleased tracks all recorded between the 90’s and early 2000’s. Remastered from the original CD and ready to spin many years later.

Limited to 300 copies.

Remastered & cut with Marco at Analogcut.

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


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

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


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

Błoto’s bold 2020 debut brought forth three albums in just twelve months. This prolific creative burst, followed by an ongoing tour and involvement in other projects, meant that fans had to wait over three years for the next release. During this time, new ideas took shape, and the vision for their fourth LP crystallized. The wait for Błoto's new album is nearly over. As always, autumn signals the arrival of Grzybnia (Mycelium).

The idea for the album had been simmering within the band since the release of Kwasy i zasady and finally took shape in late January 2023 at Warsaw's Studio Pasterka, under the careful guidance of Piotr Zabrodzki. It was by far the most fruitful session in the group's history, with ideas flowing in abundance. The chosen tracks not only resulted in two well-received singles, Szlam / Ścieki and Bakteria, but also provided enough material for an EP set to drop next year.

The seemingly chemical title of the album Kwasy i zasady (Acids and Bases) ultimately referred to interpersonal relationships, describing traits that prevent harmony. The album embodied the polarization of societies in the 21st century. The metaphor of Grzybnia (Mycelium) goes a step further. It emphasizes the importance of cooperation as a fundamental skill that can yield various results (fruits, fungi)—both good and bad. Above all, it underscores the power of collective action beyond divisions.

In a complex, unstable modern world that is breaking apart into pieces, the concept of mycelium offers a powerful model. Mycelium thrives in degraded, seemingly lifeless environments created by humans. A key aspect of the broader significance of mycelium is that cooperation benefits all involved parties, where each contributes something and receives something in return. Mycelium is a symbiont, meaning it forms a symbiotic relationship with certain tree species through mycorrhiza, where the roots of the trees and the mycelium exchange essential life-sustaining substances. This results in mutual benefits. The world of mycelium exemplifies cooperation.

A single mushroom, like a person, dies, but mycelium endures, much like humanity itself. Thus, similar to culture, it is immortal. Błoto operates in a manner akin to mycelium. It undoubtedly belongs to the underground realm, embodying the essence of the underground. It is also a destructor of music. In what sense? The Polish Nobel laureate Olga Tokarczuk noted in her book Primeval and Other Times that “... Mycelium thrives by drawing the last remnants of life from what dies, decomposes, and seeps into the earth. Mycelium is the life of death, the life of decay, the life of what has died.” In the same way, Latarnik, Cancer G, Wuja HZG, and OlafSaxx, through their collaboration, process cultural products to create entirely new and surprising combinations. The result of this work is both edible and poisonous mushrooms, manifested in the form of fat beats, house, spiritual jazz, improvised music, illbient, organic techno, and genre-defying electronics.

The peak mushroom season in Poland occurs in autumn, which is why Grzybnia will be released on October 11, 2024, via Astigmatic Records.

Darauf haben die Fans gewartet: Tank and the Bangas lassen nach “Green Balloon“ (2019) und “Red
Balloon” (2022) mit “The Last Balloon” jetzt den dritten, besonders energiegeladenen und tanzbaren
Albumballon steigen. Die Band aus New Orleans wird von der charismatischen Frontfrau und Lyrikerin
Tarriona ”Tank“ Ball angeführt und gewann letztes Jahr den Grammy für das ”Best Spoken Word Poetry”-
Album.
“The Last Balloon” ist erneut ein knallbunter Mix aus Soul, Hip-Hop, R&B und Jazz und präsentiert Kollaborationen mit den Sängerinnen Ledisi und Jelly Joseph, der Musikerin Iman Omari und dem Pianisten Tane
Runo. Das Album balanciert zwischen Momenten tiefer Verletzlichkeit und Ausbrüchen überschäumender
Energie – ganz im Sinne der legendär dynamischen Live-Auftritte der Gruppe.

Reissue. Dead Rock Commandos is the fifth studio album by Greek band Nightstalker, released in 2012. The album is considered a milestone in the European stoner rock scene, characterized by heavy riffs, groovy rhythms, and a "raw rock 'n' roll" attitude. The release blends desert rock sounds with psychedelic influences and classic hard rock à la Black Sabbath.

Reissue. Dead Rock Commandos is the fifth studio album by Greek band Nightstalker, released in 2012. The album is considered a milestone in the European stoner rock scene, characterized by heavy riffs, groovy rhythms, and a "raw rock 'n' roll" attitude. The release blends desert rock sounds with psychedelic influences and classic hard rock à la Black Sabbath.

Collecting Orders For 2026 Repress

We are thrilled to present the latest EP by renowned artist Satoshi Tomiie, released under the esteemed Phonogramme label. This captivating vinyl takes you on a journey into the pulsating realms of techno and dub techno, showcasing Satoshi Tomiie's unparalleled talent in electronic music production. Three meticulously crafted tracks delivering an immersive and captivating auditory experience. Powerful rhythms, striking basslines, and mesmerizing sonic textures seamlessly blend together, creating a breathtaking sonic voyage. Satoshi Tomiie, has captured the essence of techno and dub techno through this release. By collaborating with Satoshi Tomiie, the french label Phonogramme continue to solidify their reputation as a source ofinnovative and exciting electronic music. This vinyl record is an essential addition for techno and dub techno aficionados, as well as for all electronic music enthusiasts seeking new sonic experiences.

The resurrection of the originators of Black Industrial. The limited edition 10" 'Ulvens Broder' is taken and adapted from the forthcoming album and features a very special B-side with Tomas from Ordo Rosarius Equilibrio.

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

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

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

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

Transferred from the original reel-to-reel master tapes

Includes previously unreleased track

Audiophile 180g vinyl pressing + Gatefold cover

Liner notes by DJ Bongohead

Long sought-after Afro-Latin jazz-funk

Nora Brown, at 15 years of age, plays with beauty and depth in the
performances captured on her new album, ‘Sidetrack My Engine’.
Recorded in a large 19th century stone cellar, below the streets of Brooklyn, the
songs, and instrumentals on this record draw the listener in: They are poignant
and transformative, challenging listeners to allow this old and “outsider” music
into their present day life.
Nora is joined on several songs by Jerron “Blindboy” Paxton and Jackson Lynch.

Jesse Royal was nominated for a GRAMMY award in 2022 for his second album, ROYAL Since then, he's continued a relentless touring pace, building up audiences around the world; dropped an anthemic elegy for his good friend Jo Mersa Marley ("Blessing"); and taken on an even bigger role within his community in Jamaica as a leader, mentor, and ambassador.

NO PLACE LIKE HOME is the full-length follow-up album which he has been writing and recording for the past few years. Singles released over the past two years, like "Blessing," "Light Of Mine," "Hope" (feat. Romain Virgo), and "Your Soul" are here, along with 6 new powerful tracks. New guest features include Canadian soulstress Melanie Fiona, GRAMMY winner Kabaka Pyramid, and Perfect Giddimani. NO PLACE LIKE HOME finds Jesse focused on his beloved island of Jamaica, trying to bring wisdom and inspiration especially to the youths of his country and beyond.

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

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

Finally after multiple issues ad a 2 years long process the third Vinyl is ready !

For this one, Blockchain Records Residents teamed up to provide a 6 tracks Vinyl album with some industrial & hard techno sounds.

You probably already heard some of those tracks in the last 2 years since the promo tracks were played couple of times in noticeable events.

We're happy to share it finally to the world

2 long Electro Techno tunes... The A side got a superb Dubstep intro turning Electro Techno while on the B side the beat brings a powerfull Bassline House beat. The record is quiet downtempo and groovy (130 BPM). Nice first release from Vibration Clandestine, THE center France free mag for music and cultures.

Ltd. Edition

The acclaimed collaboration between IranianCanadian brothers Saint Abdullah (previous releases on Planet Mu, The Trilogy Tapes and Room40) with in-demand jazz drummer Jason Nazary (International Anthem, 4AD, We Jazz) continues on their second album for ‘Disciples’, a sequel to the 2023’s ‘Evicted In The Morning’.

Saint Abdullah & Jason Nazary continue to blend dreamlike collage, snatches of radio, free jazz, Sufi chants and improvisational chops to impressive effect.

A ‘Freedom Now Suite’ for a new era of anti-war marches and state oppression.

Features guest appearances from Patrick Shiroishi and Ryan Easter.

Wenn Daniel Benyamin Musik schreibt, geht es nie nur darum, schöne Lieder zu komponieren. Es steht immer eine umfassendere Idee im Vordergrund - ein übergreifendes Konzept, eine Perspektive, durch die er bestimmte Aspekte des Lebens reflektiert. Mit seinem zweiten Soloalbum geht er jedoch über einzelne Themen hinaus und richtet seinen Blick auf das Leben als Ganzes: das Leben nach der Musik. Ein kleines Studio, hoch oben auf einer Klippe am Fuße des Olymp. Vollkommene Einsamkeit. Nur in der Ferne gibt es einen schwachen Hinweis auf Leben. Klingt so absolute Stille? ,Dolphin Palace" ist der Name des Ortes, an dem ,Life After Music" entstanden ist. Das Ergebnis ist ,Life After Music", ein Doppelalbum, unterteilt in vier thematische Seiten, das am 15. Mai 2026 über Ghost Palace Records erscheinen wird.

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

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

POMPEII // UTILITY vereint zwei seelenverwandte Rapper von entgegengesetzten Küsten mit dem weltgestalterischen Genie der SURF GANG. Als echtes Doppelalbum – MIKE auf der einen, Earl auf der anderen Seite – entfaltet sich POMPEII // UTILITY durch eine wechselnde Besetzung von Nebengästen und Charakteren innerhalb seines gemeinsamen kreativen Ökosystems. Jadasea, Anysia Kym, Niontay, Na-Kel Smith und Lerado Khalil treten alle auf und durchstreifen die weitläufige Klangwelt des Albums, während im Hintergrund die SURF GANG-Produzenten Harrison, EvilGiane, Elipropperr und Flea Diamonds (mit Unterstützung weiterer Producer) die rauen, dynamischen Beats erzeugen, die dem Album seinen Rahmen geben. Zu den früheren SURG GANG-Produktionen gehören Baby Keem, Kendrick Lamar, A$AP Rocky und Playboi Carti. POMPEII // UTILITY, das nach den 2025er Soloalben beider Rapper erscheint, wirkt wie eine triumphale Ehrenrunde, die ihre über 10-jährige Freundschaft nachzeichnet. Wo ein Rap-Battle sonst Rivalität oder Vergleiche hervorrufen könnte, bietet POMPEII // UTILITY etwas Verwurzeltes und Gemeinsames – ein geteiltes Verständnis von Fürsorge, Freude, Trauer, Verarbeitungsprozessen und Verantwortung gegenüber etwas Größerem. Ein gemeinsamer Release über die jeweiligen Labels der drei Künstler: 10k, Tan Cressida und Surf Gang Records.

RATTUS' furious sophomore album from 1984 reissued in May Rattus is one of the most legendary Finnish hardcore punk bands. Formed in 1978 and split up in 1988, Rattus returned in 2001 and are setting venues ablaze to this day. Uskonto on vaara was originally released on Poko Rekords in 1984. It's a furious album with nine killer songs; an aggressive and intense ride, a true classic in its genre. Svart Records reissued the album in 2012 and after fourteen years it's about time to bring it back to the streets with black and limited color vinyl editions. "RATTUS combustion, startling adrenaline speed and hammerhead blows of power. Featuring the new high-velocity rasping vocals of Annikki, RATTUS virtually sweep forth with sharp-edged earloads of riveting force and disorderly rapidity. Brilliant Finnish hardcore, unhesitant and explosive assaults of raw nitro energy." -Pushead, Maximum Rocknroll #7, July/August 1983

RATTUS' furious sophomore album from 1984 reissued in May Rattus is one of the most legendary Finnish hardcore punk bands. Formed in 1978 and split up in 1988, Rattus returned in 2001 and are setting venues ablaze to this day. Uskonto on vaara was originally released on Poko Rekords in 1984. It's a furious album with nine killer songs; an aggressive and intense ride, a true classic in its genre. Svart Records reissued the album in 2012 and after fourteen years it's about time to bring it back to the streets with black and limited color vinyl editions. "RATTUS combustion, startling adrenaline speed and hammerhead blows of power. Featuring the new high-velocity rasping vocals of Annikki, RATTUS virtually sweep forth with sharp-edged earloads of riveting force and disorderly rapidity. Brilliant Finnish hardcore, unhesitant and explosive assaults of raw nitro energy." -Pushead, Maximum Rocknroll #7, July/August 1983

Dänemarks Streetpunk-Aushängeschild HEROES 2 NONE liefern mit A WASTE OF TIME AND MONEY ihr bislang stärkstes Statement. Lauter, schärfer, kompromissloser. A WASTE OF TIME AND MONEY ist Streetpunk mit Haltung, Humor und Fäuste-hoch-Refrains. Produziert von Tue Madsen. Oi! lebt! Heroes 2 None ist eine Street-Punk-/Oi!-Band aus Aarhus, Dänemark, und reiht sich damit in eine lange Tradition von Bands dieser Art von dort. Geradliniger, unkomplizierter Sound, der einfach gehalten bleibt und dem Geist des Punk treu bleibt. Nenn es, wie du willst (Oi!, Street-Punk, Hardcore-Punk, Punkrock usw.) - wenn es gut klingt, dann machen HEROES 2 NONE es trotzdem, auch wenn es ein bisschen vom Genre abweicht. Die Bandmitglieder verfügen über einen reichen Erfahrungsschatz aus verschiedenen Bands wie The Zero Point, War Of Destruction, Skaloot, The Hoolies, The Guv'nors, The Outfit und Last Seen Laughing aus den letzten 35 Jahren. 180g transparent blue vinyl, 300 Stück ww, handnummeriert mit Einleger oder als CD im Digipak mit Booklet & Bonustrack.

Sans Merit arrives on Knekelhuis with his second album Trolley Polly. A radiant album from currently LA-based Australian musician Griffin James—one that leans into unguarded joy with a playful, disarming sincerity.

The album rocks right away into our world. Lifting off where the guitar pedals mash the gas and go. While at other moments the acoustic guitar passages carry a neofolk intimacy, like the low-voiced choir singer cast out of a pastoral world, left to wander in his own solitude. These moments are swept up by surging shoegaze episodes, slipping into hazy hypnagogic pop interludes and wiry post-punk turns, giving the record a restless, shifting pulse.

Beneath it all lies a lyrical sensitivity that grounds the album’s movement. Sans Merit reflects on the big questions in a world that feels increasingly fragile, balancing vulnerability with a self-aware, gently naïve humor, while staying attuned to the emotional undercurrents of everyday life. It’s this perspective that makes Trolley Polly feel so human—alive in its contradictions, and quietly comforting.

Seit ihrer Gründung im Jahr 2016 haben die Londoner High Vis ihre Palette an progressivem Hardcore mit Nuancen von Post-Punk, Brit-Pop, Neopsychedelia und sogar Madchester-Groove verfeinert und einen Mittelweg zwischen Hooks und Wut, Melodien und Moshpits gefunden. Sänger Graham Sayle beschreibt ihr drittes Album Guided Tour als eine Achse der konkurrierenden Kräfte: "Es versucht, eine hoffnungsvolle Platte zu sein, während es gleichzeitig wütend macht." Die Band, die von Schlagzeuger Edward 'Ski' Harper, Bassist Jack Muncaster und den Gitarristen Martin MacNamara und Rob Hammaren komplettiert wird, ist tief in der britischen und irischen DIY-Hardcore-Szene verwurzelt und wird von Rastlosigkeit und rechtschaffener Wut gleichermaßen inspiriert. Die 11 Songs des Albums umfassen das gesamte Spektrum zeitgenössischer Gitarrenmusik, die durch Erfahrung, Kameradschaft und gesellschaftliche Frustrationen geschärft wurde. Von schwungvollem Streetpunk ("Drop Me Out", "Mob DLA") über schrillen Indie-Spott ("Worth The Wait", "Deserve It") bis hin zu Heavy Alt ("Feeling Bless", "Fill The Gap") und shoegazeartigem Spoken Word ("Untethered") - die Chemie der Gruppe verwandelt jeden Stil in ihre einzigartige Intensität.

Vinyl reissue of the debut album from underground legends CEREMONIUM.
Originally released in 1995, “Into the Autumn Shade” is a landmark of ominous underground death metal, remastered for vinyl by Dan Lowndes in Resonance Sound Studio for analogue audio perfection.

The eagerly awaited return of WORM SHEPHERD, back after a two year hiatus and member shift. With new singer Ian and the addition of members of Ingested (Thomas O'Malley), Immortal Disfigurement (Harry Tadayon) and Psycho Frame (Leo McLain), DAWN OF THE ICONOCLAST is a masterclass in Blackened Deathcore. The band comment: "I’m very excited about the new lineup. I feel like we have the most talented members that we’ve had to date. Harry (Ex Immortal Disfigurement) brings so much to the table for writing and meshes with my style so well. Tom (Ingested) is an absolute workforce on the bass and really adds some flare to the rhythm guitars with his aggressive style and tones. I’m also very excited that Leo (McClain - Original drummer) is back in the band and having him back behind the kit for the Worm Shepherd sound gives some of that original tone from our first albums together. Us having this new sort of style that we’re doing, Ian (Archaic Epidemic) fits in perfectly with his aggressiveness and tonality of our new music and I can’t wait to see what people think. This is the beginning of a new era for Worm Shepherd." - Tre Perdue (Guitars)

As Corsica draws to a close, this is our homage to a space that has been our home for 18 precious years. A space that has nurtured us and allowed us to evolve - to find our own way of raving. The Rupture way. The Corsica way.

We wanted to celebrate 18 precious years with a release that truly embodies the spirit of Rupture at Corsica Studios. The music on this EP has mashed up the dance, time and time again!

Double O wrote ‘Corsica Jungle’ with the intention of capturing those peak 5am emotional Corsica vibes. Love and respect to dBridge & Skeptical for contributing to a project so close to our hearts with tracks that represent our sound so perfectly: dubwise, killer breaks and peak dancefloor energy! The EP closes with a spoken word poem from Mantra.

Viva la rave!

Corsica Forever!

Lately, it feels like the world is one endless bad news cycle. Joshua Idehen isn’t here to pretend otherwise – but on the spoken word artist’s new album, I Know You’re Hurting, Everyone Is Hurting, Everyone Is Trying, You Have Got To Try, he provides a phenomenal sonic, poetic space. Made with his creative partner, musician Ludvig Parment, the album (out 6 March 2026) is an urgent but transcendent collection that holds you through it all, filled with grief, euphoria and hope.

I Know You’re Hurting… comes after the virality of Idehen’s track Mum Does The Washing, a wry and whipsmart poem examining how the world works (which started life as a Twitter thread), set to Parment’s spacious beats. The song has seen the pair propelled beyond Idehen’s wildest dreams this past year.

Across the album, that means uplifting choirs, cozy samples and exuberant, sometimes house-tinged beats. “I am personally drawn to music that transports you to a place, or scene or mindset,” says Parment. This is topped with ruminative musings on morality and human connection; about the longer loves in life – like friendships, family – that sustain us. These come from Idehen and Parment, along with a host of friends and collaborators, including writers Leone Ross and Charlotte Manning, and vocalist Amanda Bergman, to help expand on the topics of the record without sounding preachy. Similarly, there are musical guests including saxophonist Pete Fraser and Shabaka Hutchings on flute, each helping to imbue the album with a rich warmth.

A record that feels introspective and timeless, balancing dancefloor functionality. With Early Reflections Pt. 2, Insect O. continues the journey with the same quiet confidence and emotional depth that made the first chapter so compelling. Once again rooted in Dub Techno and Dub House, this second installment feels like a natural continuation, deeper in mood, even more immersive in detail, and beautifully refined in its execution. The result is a record that feels introspective and timeless, balancing dancefloor functionality with a deeply emotive listening experience. Insect O. proves once again that true depth does not come from excess, but from restraint, sensitivity and a strong understanding of space and motion.