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Limited Gray Marble Vinyl. This vinyl edition includes two EPs, one on each side: 'By the Ash Tree' and 'Upstream Dream', originally recorded and released in 2020 and 2021 respectively. To connect these compositions, Matt Kidd (Slow Meadow) composed new segues/crossfades from song to song, allowing the pieces to be experienced in one cohesive and harmonious flow. From Marc Weidenbaum's 'Disquiet' review: "Slow Meadow's new album, 'By the Ash Tree', opens with cascades of delays and proceeds through three tracks of reflective piano". The title track of 'By the Ash Tree' is one of Slow Meadow's most popular and enduring compositions. 'Upstream Dream' was composed around the time of 2019's Happy Occident. Soft electronics, bearing otherworldly tones and, at times, a sense of playful mischief, subtly shift expectations and bring discovery and wonder at every turn. It bookends a period of creative output that introduced Kidd's vision of calming and meditative ambient music. With a foundation of piano, string orchestration, and an ever-evolving electronic palette, Slow Meadow traverses the borders of neoclassical and minimalist electronics and delivers a deeply personal and transportive experience that speaks directly to the ebbs and flows and mundanity and marvels of life.

Ten of the selections on this set are compiled from two separate performances. None of the performances on the album have previously been available. The A-side consists of tracks recorded in
1970. The B-side collects a couple from 1965 and is rounded out with four tracks from 1971. The 40- minute live collection LP will be pressed on black vinyl with rare photos and liner notes

Orphans of the Ash is the ongoing collaboration of Zal Cleminson and Billy McGonagle. Their music
has been described as Glasgow Grunge, Misanthropic Metal, Dystopian Angst, Subconscious Jazz.
The band says that their main goal is to continue to make music with a back to basic approach and
perhaps perform live…

A side is from Mr Rêve, a tune orginally produced on his own label with the hand of Will Apocalypse... legendary track.... With its crazy outro... ambient hidden second tune.

After this full side of emotion comes the Venin 6Tem 01 B-side : Ash is the Ash... a dark tune with a long clap call intro, really good as a DJ tool... and then the tune opens on a banging downtempo Industrial new-wave feeling...

Both tunes are 130/140 BPM and both are bloody weapons to play... One side per track with a Simon The Exchange cut... You ask me if it sounds good ?

A devil project really...

ENJOY !

The Ember, The Ash is 鬼 from Unreqvited’s post blackened death metal project that explores the heavier, darker, deeper and weirder sides of the DSBM genre. "Throughout all of Unreqvited’s manifestations, 鬼’s roots in post-hardcore ring out in the form of bright, building riff-walls that welcome the dawn of a new day. More of a DSBM artist through his general emotional intensity that escapes the prison of despair, Unreqvited becomes a candle in the depths of darkness. Surely, there needs to be a place to store overwrought feelings in order to arrive at a place of hope, and that’s where The Ember, The Ash comes in. 鬼 has added the new band to his list of rock and metal ventures, and it is arguably the gloomiest yet. While his songwriting still very much mimics the building of a staircase, it is one that aims steadily downward to the pits instead of upwards to the heavens." - INVISIBLE ORANGES

Departure Lounge welcomes Andy Ash to the lineup with his four-track EP, "When The Sunlight Comes." Warm and deep - Andy traverses the euphoric realm, as well as acid influences on the a-side, before a slung out b-side cements a satisfying reflection of his range. Over a year in the making, this is a truly special release, and a testament to Andy's craft. As a final touch, Flabaire closes out the record with a tasteful remix of "Sunrise Acid."

Drum and bass reggae legends, Sly Dunbar and Robbie Shakespear, are the featured strongholds of The Revolutionaries, a conglomeration of many of reggae's finest studio musicians, brought together to create some of the best dub of the late 70's.

"Black Ash Dub" is a wonderful example of the group at its peak. Sly's drumming prowess is at its best on this lp, complete with his famous crash cymbals on the 4th beat in 4/4 time versus the 1st beat. His skills are legendary due in large part to the bass playing of Robbie. His grooves are intense, yet very supple, and perfectly augment Sly's grooves.

Each track is a tribute to a drug; the 2 major club hits are "Marijuana" and "Cocaine".

All cut at the legendary Channel One recording studio in Kingston and mixed by the genius touches of dub masters Scientist and Prince Jammy.

Originally released in 1980 on the mighty Trojan Records, "Black Ash Dub" is today widely heralded as one of the finest dub collections of the era and considered an essential addition to the collections of all serious fans of the genre.

PRODUCED BY: Jah Thomas RECORDED AT: Channel One MIXED BY: Prince Jammy, Scientist MUSICIANS BASS: Robbie, "Flabba" DRUMS: Sly Dunbar, "Santa" RHYTHM GUITAR: Bo Pee, Bingy Bunny HORNS: Bobby Ellis, Deadly Headley PIANO: Gladdy ORGAN: Ansel Collins PERCUSSION: Sticky, Skully

Ash sind seit 30 Jahren zusammen, aber es waren die zwei Jahre, die sie voneinander getrennt waren, die sie zu ihrem brillanten neuen Album inspirierten. Wie der Rest der Welt wurden auch Tim Wheeler (Gitarre/Gesang), Mark Hamilton (Bass) und Rick McMurray (Schlagzeug) von der Pandemie überrumpelt. Es war nicht nur die erste längere Auszeit, die die Band in ihrer unglaublichen drei Jahrzehnte währenden Karriere hatte, sondern auch die längste Zeit, in der die drei sich nicht gesehen hatten, seit sie sich in der Schule in Downpatrick, Nordirland, erstmals begegnet waren. Tim Wheeler - wie man es von einem der größten Songschreiber seiner Generation erwarten würde - hatte während Ashs Zwangspause weiter Songs geschrieben. Zum Reboot-Camp der Band erschien er bereit zum Loslegen mit einem Rucksack voller Hard-Rock-Hymnen. Und schwere Zeiten verlangen schließlich nach härterer Musik. Das selbst produzierte "Race The Night" - das achte Studioalbum der Band - ist in jeder Hinsicht herausragend. Aufgenommen im Oh Yeah-Studio in Belfast und mit neuem Fokus, kombiniert die Platte die unwiderstehlichen Rock-Riffs von "Meltdown" (2004) mit der melodischen Meisterschaft von "Free All Angels" (2001) - und das alles verpackt mit einem deutlichen Twist ins Jahr 2023. Und mit den fernen Anzeichen eines oft beschworenen Rock-Revivals am Horizont, könnte es das essentielle gitarrenzentrierte, hymnenreiche Album sein, auf das die Welt gewartet hat. Seit Ash als Teenager mit ihrem Nummer-Eins-Debütalbum "1977" aus Downpatrick auftauchten, ist die Band ein vitales, wachsendes Anliegen. Die meisten ihrer Zeitgenossen sind verschwunden oder haben sich zumindest aufgelöst, bevor sie zurückkehrten, aber Ashs Licht leuchtet so hell wie eh und je. Für dieses Album sind sie sogar zu Fierce Panda Records zurückgekehrt, die eine ihrer ersten Aufnahmen, "Punkboy", auf der 1994 erschienenen Crazed And Confused EP veröffentlicht haben.

Ash sind seit 30 Jahren zusammen, aber es waren die zwei Jahre, die sie voneinander getrennt waren, die sie zu ihrem brillanten neuen Album inspirierten. Wie der Rest der Welt wurden auch Tim Wheeler (Gitarre/Gesang), Mark Hamilton (Bass) und Rick McMurray (Schlagzeug) von der Pandemie überrumpelt. Es war nicht nur die erste längere Auszeit, die die Band in ihrer unglaublichen drei Jahrzehnte währenden Karriere hatte, sondern auch die längste Zeit, in der die drei sich nicht gesehen hatten, seit sie sich in der Schule in Downpatrick, Nordirland, erstmals begegnet waren. Tim Wheeler - wie man es von einem der größten Songschreiber seiner Generation erwarten würde - hatte während Ashs Zwangspause weiter Songs geschrieben. Zum Reboot-Camp der Band erschien er bereit zum Loslegen mit einem Rucksack voller Hard-Rock-Hymnen. Und schwere Zeiten verlangen schließlich nach härterer Musik. Das selbst produzierte "Race The Night" - das achte Studioalbum der Band - ist in jeder Hinsicht herausragend. Aufgenommen im Oh Yeah-Studio in Belfast und mit neuem Fokus, kombiniert die Platte die unwiderstehlichen Rock-Riffs von "Meltdown" (2004) mit der melodischen Meisterschaft von "Free All Angels" (2001) - und das alles verpackt mit einem deutlichen Twist ins Jahr 2023. Und mit den fernen Anzeichen eines oft beschworenen Rock-Revivals am Horizont, könnte es das essentielle gitarrenzentrierte, hymnenreiche Album sein, auf das die Welt gewartet hat. Seit Ash als Teenager mit ihrem Nummer-Eins-Debütalbum "1977" aus Downpatrick auftauchten, ist die Band ein vitales, wachsendes Anliegen. Die meisten ihrer Zeitgenossen sind verschwunden oder haben sich zumindest aufgelöst, bevor sie zurückkehrten, aber Ashs Licht leuchtet so hell wie eh und je. Für dieses Album sind sie sogar zu Fierce Panda Records zurückgekehrt, die eine ihrer ersten Aufnahmen, "Punkboy", auf der 1994 erschienenen Crazed And Confused EP veröffentlicht haben.

For our latest project, on side A you'll find 3 tracks, here Ian Ash's cover of I Want to Thank You, originally sung by Ms Alicia Myers and here performed by Ella May. Surrounded by fantastic musicians such as Mathieu Karcher, Olivier Magarotto and Jérôme Billeter, I was able to give my all to offer my vision of this track! No samples, everything is played from A to Z! Welcome to Ian Ash's "Boogievision"

The remix of my cover of I Want to Thank You, originally sung by Ms Alicia Myers, by the offensive combo of Mr Doris and D-Funk. I've always loved the energy Mr Doris puts into his dj sets, his science of the dance floor and his always positive attitude. I've also always been a fan of D-Funk's productions & the instrumental version

On the B-side, originally created by Fostin with Jessie Wagner, I was able to get permission to do my own Acid-Jazz version. Jessica needs no introduction, thanks to her enormous vocal prowess. She has toured the world with the Famous "Chic" , Lenny Kravitz , Kid Rock and Duran Duran. To name but a few & the instrumental version

„All The Colours“ was a concept that came about from Andy Ash bringing together his music and visual art in an attempt to try and identify the common ground between the two. In both mediums, Andy attempts to convey the full range of human identity – at first you see and hear euphoria and playfulness, but look a little closer and you will also notice anger, sadness and tension. On this album, Andy approaches house music as the vehicle to convey many different feelings. These tracks are designed to be played on the dancefloor and bring people together – this is what house music has always been about!

The whole album was made over a two-year period in Andy’s home studio using a mixture of analogue hardware and samples. During this period, Andy was suffering with some significant mental health problems and this album represents his attempts to channel this energy into something productive. This is also the first time Andy has worked with vocalists, bringing a new dimension to his music. Whether it is the old school inspired „The sound“ which features vocalist Erik Rico, or the deep and moody „I’m Here“ featuring Liverpool vocalist Amber Kuti, this album brings many different shades of house music to the table! A real statement!

Musician and visual artist Andy Ash has been around for quite some time and may be considered as a „hidden gem“. With his forthcoming album „All The Colours“, this will change! Andy fuses differnet styles from past to present easily and this teaser 12“ is just an small bit of what will blossom on the album. Andy has worked with vocalists, bringing a new dimension to his music. Whether it is the old school inspired „The sound“ which features vocalist Erik Rico, or the deep and moody „I’m Here“ featuring Liverpool vocalist Amber Kuti, these tracks are designed to be played on the dancefloor and bring people together – this is what House Music has always been about!

- 180 GRAM AUDIOPHILE VINYL
- FIRST PRESSING OF 750 NUMBERED COPIES ON
ORANGE VINYL

Fronted by ace drummer Sly Dunbar and his venerable sideman, bassist Robbie Shakespeare, The Revolutionaries were a conglomeration of many of reggae's finest studio musicians. At the time of recording Black Ash Dub, the group were in their prime, boasting a stellar line-up that included the fanes Riddim Twins
alongside such luminaries as Ansel Collins on organ, Bingy Bunny on guitar, Gladstone Anderson on piano.

The LP provides ample evidence of their talents, harnessed by leading producer Jah Thomas, with revered dub masters, Prince Jammy and Scientist, mixing the
killer selection.

Originally released in 1980 and featuring 2 major club hits in Marijuana' and Cocaine', Black Ash Dub is today widely heralded as one of the finest dub collections of the era and considered an essential addition to the collections of all serious fans of the genre.

Available in a limited first pressing on 'Trojan' orange vinyl!

The first release from Certain Sound is a collaborative effort, the result being two stellar tracks from the dynamic duo; Producer, DJ and label owner Barry Manalog, with MC and all-round wordsmith Ash The Author.

Side A, Cloud Riders, is a light and poetic number. The production oozes those jazz stylings reminiscent of that classic Hip Hop vibe, something to nod your head to on a late night. Ash's lyrical content is hopeful, and dream filled, rising above the clouds like Superman with his Lois Lane. Smooth as butter, the production and vocals go together effortlessly.

Side B, Extraterrestrial, completely flips the script! Whilst side A had us riding through the clouds, Side B completely blasts off and takes us out of this world! The production is gargantuan, heavy drums, haunting samples, it hits you like a slap in the face! Ash comes in on exactly the same tip, a relentless barrage of wordplay and punchlines. Venomous, but still with that slice of wit we've come to love him for, Ash's hunger really comes through on this track! To top it off, we have some seriously ferocious cuts from veteran turntablist DJ Chud, from the legendary Steel Devils crew.



DJ/Radio Support
All City Show/ with interview, Blatantly Blunt, Disorda, Fatp, Realness Radio, 1XTRA, Hatter Saturday Sauce, Boot Records show, Chud on KANE FM, Cypher Lounge Show, BBC Intoducing,Trackside Burners, DJ Madhandz Itch FM, Captain Co, Brick Celly, Hellfire Corner, Deejay Random, Jazz T, DJ Format, Soup (J5), DJ Madhandz.

The fifth issue of Blacksilk sees the return of label head Marc Ash. Following the debut of his one-project moniker Plovdiv in 2016, a tape EP on Clan Destine and appearances on labels such Helena Hauff's 'Return to Disorder', he now comes forth with a work that reveals a deeper side of his obscure and multifaceted vision of electronic music.

Rejecting any fixed musical categorization, the listener is left free to decide how to deal with these compositions, each one exploring different areas of Marc's approach to existence through seductively articulated synth lines.

A work of self-reflection and a stark celebration of controversial times of uncertainty and doubt.

Deadpan vocals extracted from Godard films, eerie Teutonic fairytales and Marc's own deconstructed voice take the listener by the hand on a rollercoaster of anxiety and active resignation to the absurd post-everything age in which we live.

Silent Servant's reinterpretation of 'Take your Judgments' crowns the EP with a shadowy march built on repetitive sequences, abruptly waking us up from the sinister dream and leaving a sweet yet sour taste in our mouths.

The electronic pioneer and founding father of synthpop, Gary Numan, celebrates his 40th anniversary as recording artist. During these 40 years, Numan's impact made itself felt; his dark, paranoid vision, theatrically icy alien persona, and clinical, robotic sound were echoed strongly in the work of many goth rock, wave and industrial artists

Wave Tension Records invited 7 contemporary dark wave, gothic and dreampop artists to honour their inspirator with an exclusive tribute. The album opens with Agent Side Grinder's nostalgic analogue rendition of 'I'm an Agent', followed by Ash Code's fresh sounding fast paced post-punk/dark wave version of 'Down In The Park'. Shad Shadows turn 'Metal' into a whispering heated darkwave track. On the last track of side A, Box & The Twins create warm and dreamy soundscapes in their version of 'Complex'. SUIR opens side B with a hypnotic psychedelic slowed down art-punk version of 'Cars'. Synths Versus Me turns Numan's monster hit 'Are Friends Electric' into a fresh synthpop & EBM take with Art of Noise-esque vocals. The album's closing track is a gothic rock rendition of 'My Name Is Ruin' by Swedish rockers Then Comes Silence, which encourages you to sing along

more talking all that jazz, more high aiming music by fumio itabashi: mule musiq is ready to release another record by the legendary japanese jazz pianist, born in ashikaga, tochigi in the year 1949.
this time his first solo record ever: the heavy jazzing 'nature', which has never been reissued on vinyl since its birth in 1979. it has been recorded at nippon columbia 1st studio, tokyo from march 13 to 15 in the year of its release.
it features itabashi making feverish love with the piano and sharing the studio with the great bass players hideaki mochizuki and koichi yamazaki, drummers kenichi kameyama and ryojiro furusawa, soprano saxophonist yoshio otomo and vibraphone wizard hiroshi hatsuyama.
they all joined him to perform his very own songs, composed by itabashi himself and produced by ryonosuke honmura, who also produced japanese jazz heroes like saxophonist keizo inoue during his career.
but enough background information. what counts is sound. it is fresh, propulsive, twitchy and melodi-ous from the first to the last tone. sometimes the instrumentalists play a classic solo in an overall deep modal jazz atmosphere that seems to be made for cats that love the good old stars and inventors - from john coltrane to mile davis, from thelonious monk to art blakey.
'nature' also shows how deep itabashi studied the history of the genre, while keeping his very own vision of jazz alive. the man that made his professional debut as a member of the sadao watanabe quintet in 1971 and that also was a member of the elvin jones jazz machine world tour from 1985 to 1987, plays the piano in all tempos: nervous high-flying quick, deeply blue blues style slow.
besides the traditional jazz flavours, you get a feeling of mind-expanding spiritual jazz, that grand mas-ters like pharaoh sanders or gary bartz turned into a sacred music genre. a master-class record in ravishing big city jazz music, adventurous, sometimes meditative, sometimes faster than the speed of light, always grooving with a bright, pure-toned sensibility and deeply soulful melodic imaginations.
it extends the jazz history with a fine balance between tradition and innovation. and it stays infectious all the time while sounding surprisingly fresh due to a lot of thrilling musical spontaneity that touches profoundly even though all notes have been written down by fumio itabashi before he and his combat-ants entered the studio.
and maybe that's the mystery of these timeless five at times epic recordings: all notes been written on paper but each musician had the freedom to dance with them in his very own unique way. so, turn the volume loud and get ready to be steamrolled by fumio itabashi's 'nature', an inebriant album that is talking all that jazz deeply!

Close your eyes, throw your arms to the sky, and experience the magic of 'Aisha' anew with this limited-edition vinyl release of the GAIA classic. Repressed to include remixes from staple trance artists such as Aly & Fila, Ashley Wallbridge and Orjan Nilsen alongside the timeless anthem, this four-track vinyl channels the limitless wonder of a cornerstone trance track.

Ol' June & The Ashburns deliver timeless soul with a modern edge. Their new single "What's her Name?" is a slow-burning groove in 6/8, built on lush instrumentation, warm analog textures, and heartfelt storytelling.Inspired by the golden era of Soul, the track captures the mystery of a fleeting moment — the glance of a woman who lingers in memory long after the nightfades.A soulful, cinematic journey for fans of vintage grooves and contemporary soul alike new single release "What's her Name?"

"Can't Let Go" by Ol' June & The Ashburns is a modern soul ballad with a timeless 70s feel. Driven by a steady groove and heartfelt vocals, the song tells the story of a man torn between leaving and holding on to a love that's both beautiful and destructive. Nostalgic yet raw, it's soul music that lingers long after the last note

Who Cares A Lot? The Greatest Hits spotlights some of the biggest tracks released by Faith No More between 1987 and 1997. It includes massive hits such as “Epic”, “Easy”, “Evidence” and their first single “We Care A Lot.”

Presented in chronological order, this collection highlights the journey Faith No More went on, starting with tracks such as “We Care A Lot” and “Introduce Yourself”; tracks sung by original lead singer Chuck Mosley. After his departure in 1988, the band turned to current frontman Mike Patton, who’s first album with the band was the renowned “The Real Thing.”

Faith No More have maintained a cult status, being widely credited for developing alternative metal and having influence on bands such as Limp Bizkit and Slipknot. Founding member and bassist of Nirvana, Krist Novoselic, cites Faith No More as one of the bands who paved the way for Nirvana. This record presents a true celebration of Faith No More’s music and is on gold vinyl for the first time.

The band had previously announced a European tour in 2020, which had to be postponed due to the COVID-19 pandemic. These dates have now been rearranged for dates across the UK and rest of Europe during June and July of 2021, with an Australia and New Zealand tour to follow.

As Nathan Fake rises from the nocturnal subterranea and rave catharsis of his previous records, on Evaporator, he resurfaces into the domain of daylight, bringing a tangible sense of air rushing against your face, of big skies, and endless landscapes. The idea of pop accessibility that trickled into 2023’s Crystal Vision is refracted here through the prism of sweeping ambient, deep electronica, and trance uplift. Evaporator is Fake’s idea of “airy daytime music”, with each track a different barometer reading across the album’s varying atmospheres, which range from vibrant sunbursts, bracing rainscapes, and fine mists of clement melodics. “It’s not overtly confrontational electronic club music,” states Fake. “It’s quite pleasant, it’s accessible. As I was progressing through making the tracklist, I called it a daytime album. It doesn’t feel like an afterparty album.” For the past decade Fake has been gingerly introducing collaborations with heroes and friends alike into his lone, idiosyncratic working process. Border Community alumni Dextro AKA Ewan Mackenzie transmutes his ferocious drumming for Pigs Pigs Pigs Pigs Pigs Pigs Pigs into the blurred choral thump of ‘Baltasound’. ‘Orbiting Meadows’, meanwhile, is his second collaboration with Clark, an eerily idyllic duet where microtonal 18EDO piano clangs slowly twirl around wailing pads. Evaporator marks the junction point of old technology and ever fresh creativity for Nathan. The trusty “dinosaur” age software, particularly Cubase VST5, that has powered two decades of music is rarely updated. “I used to sort of feel a bit ashamed of using such old software, and then I kind of had an epiphany – that’s just how I work”, comments Fake. “That’s just how I play. I’m very fond of these old tools, and I get the most joy out of them, but now I’ve incorporated new technology too.” When an artist accumulates so much synergy with their instrument, music making becomes instinctual. By Fake’s account, much of Evaporator just fell into place. The album title arrived randomly in his head (“it felt completely perfect. Airy.”), ideas looped and developed until things locked into place and just felt right. ‘The Ice House’ is a fleeting glimpse of the sonic world he taps into in this creative state, its glassy FM synths built around a counterpoint between rough-hewn crystalline arpeggios and sparse yet gravitas-bearing bass. “That riff I just wrote out on the keyboard, I just played it forever and ever and ever. The original track ended up being really short. Here you go, and it’s gone!” These unplanned channellings of sound call forth records from Fake’s past while he looks ahead, perhaps getting at the very essence of his musicianship. The opener ‘Aiwa’ (“the breeziest,” he muses) reminds of the introspection that characterised Providence, excited by the fire and grit of Steam Days’ textural experiments, its chunky slams and clatters surging into a flood of harmonic buzzing as they reach out for old wisdom. ‘Hypercube’ stampedes in a similar chronological confluence, infusing an incessant synth line reminiscent of the golden age of rave with the crackling, ecstatic energy of modern festival anthems. Like the vaporisation of liquid to particles, everything that Evaporator presents has a mutant desire to be amorphous. Sounds rarely settle; the irradiated garage beat of ‘Bialystok’ is pitched downwards to driving, rebounding effect, while ‘You’ll Find a Way’ warps static into shivering energy, cinematic synth strings building anticipation into a gradual gush of chords. This translates into a more expansive stereo field than Fake has explored before. ‘Slow Yamaha’ saves the wildest, most kinetic transformations for last with a cornucopia of crispy melodies and fried drums; a sibilance of cymbals on the left, a susurrus of shakers on the right, and kaleidoscopic lasers pulsing and fizzing all around. Evaporation culminating in pure excited atoms. In a world where music has increasingly become background content, making albums remains lifeblood for Fake: “It makes me realise how long; twenty years is ages! It’s weird to see how much the world has changed. Release day back then you did fuck all, now you spend all day on socials. When I grew up the people who made the electronic music I was into were quite mysterious, and the artwork was very abstract. There was a massive distance between you and that music, and that was a key part of it, really. Now it helps to be an extrovert, and I'm just not, but the album marks the first time my face has graced the cover art. I’ve never wanted to do this before, I'm very shy, and generally I don’t like being seen,” he professes. “But, twenty years in, I supposed I could try something new. I'm very lucky that I'm somehow surviving in this world, where the media world favours extroverts and interesting looking people. It’s not my world but somehow I’m still in it.” Evaporator continues to prove Nathan’s necessary presence, with some of his most engaging, varied, and magical music yet.

DJ DIE SOON is the apocalyptic alter-ego Daisuke Imamura, whose performances of masked malice have been a fixture in the Berlin underground for the past decade. His latest record My Brothel The Wind takes inspiration from Sun Ra at his most grotesque, conjuring a distorted phantasmagoria with an eclectic crew of compatriots like Rully Shabara, Sara Persico, and longtime collaborator Kiki Hitomi. Film director Hiroo Tanaka’s visual contributions in the album art, poster, and music video complete the album’s narrative, telling a story not of villainy but of phantom caprice in a dying world.
My Brothel The Wind shows DJ DIE SOON as an alchemist of distortion, transmuting the club-forward beats of his 2020 debut Kappa Slap and the seething horrorscapes of DIEMAJIN, his 2022 collaboration with Tokyo vocalist MA. Imamura’s obsession with noise stems from his upbringing in Tokyo, where he grew up hearing the deafening roar of trains every day. “The buildings were really tall, so the sounds reflected so much and it was so loud that you couldn’t even have a conversation on the phone. Hearing this noise every minute when living in this flat, it became a normal thing,” he says. While most would content themselves with avoiding loudness, DJ DIE SOON seeks to unpack its visceral potential.
DJ DIE SOON’s subterranean productions form a monstrous gestalt with the eclectic contributions of his network of co-conspirators. “Unfinished” and “Directions” are pulsating chimeras that highlight animalistic vocalizations from Hitomi and Shabara; Italian MC Franco Franco’s verses snake underneath the noisy onslaught. The tectonic textures of “Dandelion Crackers” are courtesy of multi-instrumentalist Laure Boer’s handmade stone synth. Sara Persico’s mangled vocables hang as fleshy reminders of human fragility on “SAQ4IME”; in the Hiroo Tanaka-directed music video, the track’s sonic uncanniness is made cinematic, with an ambient dread that references Hiroshi Teshigahara’s 1964 psychological thriller Woman in the Dunes.
While Sun Ra’s intergalactic Moog reached for the stars, DJ DIE SOON plunges into the depths of hell. “Everybody, Shake Your Body, We Chill At Party” feels like the sonic equivalent of a wax museum burning to the ground, rigid smiles melting into the fire. Rather than a vision of the future, My Brothel The Wind is a laugh-cry of despair in the face of a Hadean present. DJ DIE SOON confronts the world with a new hand-made mask, reborn in the ashes.

'Double Seven, released by Trojan in late 1973, was the last album Lee 'Scratch' Perry would release on the label for some considerable time, and it was essentially the final album project he put together before establishing his own Black Ark studio. Opening track 'Kentucky Skank' sets the tone with a slow creeper whose frying sounds underscore its role as a praise song to the Colonel's KFC recipes; the cosmic Moog blips come courtesy of Ken Elliott at Camden's Chalk Farm studio, also prominently featured on U-Roy's double-tracked, stereo-panned gambling ode 'Double Six.' David Isaacs' 'Just Enough' was cut a few years prior, which makes it slightly out of phase with the rest of the set, though the enigmatic 'In The Iaah' sounds mightily fresh, with its uncredited chorus said to come courtesy of the Wailers. Perry's own 'Jungle Lion' has hilarious roars from the maestro at the start, strangely grafted atop a reggae re-make of Al Green's 'Love and Happiness.'

'Overall, Double Seven melds the soul, funk, reggae and dub elements that were constant in Perry's work during this phase. His enhanced audio spectrum and endless reference points would keep his music continually apart from that made by his peers.'
—David Katz (excerpt from the liner notes)

Finally repressed. The only legitimately licensed anthology of the Iranian Psychedelic rock legend. 28 page full color booklet with an extensive, first-person treatise by Kourosh himself. 21 fully restored tracks from Kourosh's original master tapes. Contains rare photos and ephemera of Iran's 70s rock scene, many never before seen. Now-Again Records is proud to present Back from the Brink, the only legitimately licensed collection of the godfather of Iranian psychedelic rock, Kourosh Yaghmaei. Known within the Iranian diaspora simply by his first name, Kourosh's Pre-Revolution recordings were thought lost after Islamic fundamentalists took control of Iran. They weren't: Kourosh had protected them - along with key ephemera from the 70's. Their collection here - spread over 3LP bolstered by Kourosh's first person recollections of Iran's 70s rock scene and its death after the Revolution, tells the story of an immensely talented artist's desire to persevere in the face of terrible adversity. Kourosh Yaghmaei and his brothers Kamran and Kambiz were amongst the few inspired Iranian musicians determined to change Tehran's musical landscape in the late 60's and early 70's. The trio, armed with rented, second-hand instruments and records by The Ventures, The Kinks, The Doors, merged Western garage rock, psychedelia and Iranian folkloric music to create a sound unlike anything that came before them. Later, inspired by the unlikely duo of Elton John and James Taylor, Kourosh's music took a sophisticated turn, and he churned out funky, progressive rock that is as imminently enjoyable as it is impossible to categorize. His star on the rise was knocked off course by the Revolution, and its backdrop of Islamic fundamentalists burning record companies and harassing musicians. But while most Pre-Revolution musicians - including his brothers - fled Iran in 1979, Kourosh stayed, loyal to the country of his birth. He has suffered a performance and recording ban for twenty-two out of the last thirty-two years. Yet he remains stoic and resolved to continue bolstering Iranian musical tradition. Kourosh still lives in Tehran and is pleased that his story - and his glorious 70s recordings - will finally spread the world over. This essential piece of Iran's musical history is also accompanied by a full color book and contains never-before-seen photos and ephemera.

The UK’s Black Metal forerunners, WINTERFYLLETH make a stand with The Unyielding Season, coming March 27, 2026 via Napalm Records. Their ninth album is a social commentary wrapped in meticulously crafted poetry and prose. Where the preceding album, The Imperious Horizon (2024), described an ominous, malevolent force, lurking in the distance, The Unyielding Season now explores said threat becoming a reality. The raging wildfire to its predecessor’s calculating, icy cold, WINTERFYLLETH’s first offering for their new record label is a reflection and a rebellion against the turmoils tearing individuals apart. It is a cry against the unsustainable weight of fear and pressure being pushed into the world, by the agents of a unresting, and unyielding force for evil.

(Vinyl LP with obi strip and 4-page insert, pressed and printed in Japan) The legendary soundtrack of the Captain Future anime is finally getting its long awaited vinyl reissue

Composed by Yuji Ohno, renowned for his work on the Lupin the Third soundtrack, this masterpiece delivers a unique “Space × Jazz × Funk” approach, creating an unparalleled galactic groove. From the fiercely funky slap bass of “Beyond Andromeda”, to the spacey, mellow Rhodes on “Good Night, Future Men”, the iconic tracks that colored this cosmic adventure are back in all their glory

This is a must have for fans of anime, jazz-funk, rare groove, and synth sounds.

Some tracks are just too good to only feature on a compilation, even if it is a significant and celebratory set like Leng’s 15 Year anniversary album from late last year. That’s certainly the case with Payfone’s brilliantly atmospheric ‘Dime Algo’, a seductive slab of slow-motion Balearic disco featuring ‘I Feel You’ vocalist Kyd Nereida, along with Sofi Hardoy and Ludmila Rodriguez.

For this single release Black Science Orchestra, one of Britain’s most storied production collectives, deliver some truly exceptional remixes. Initially making their name with a series of sensational house jams on Junior Boy’s Own across the 1990s, BSO became renowned for the quality of their remixes as well as an ever-evolving trademark sound that put soul, organic instrumentation and references to dance music’s rich and varied past front and centre.

Comprised of Rob Mello, Ashley Beedle and Darren Morris, Black Science Orchestra work has been rare in recent years but here they deliver some magical takes on ‘Dime Algo’, blending Payfone’s original instrumentation with their own low-tempo magic. The Vocal Mix begins with sparse drums, Kraftwerkian bleeps and heavy sub-bass, building the action in waves with 303 lines, electro synths, warm chords and Nereida’s superb lead vocals combining to re-frame ‘Dime Algo’ as a deep, far-sighted slice of chugging 21st century acid-disco. The Dub Mix stretches things out with effects-laden instrumentation, acid lines and vocal snippets. Deeper and woozier, with more prominent use of the trio’s 303 trickery and Payfone’s superb original elements, it’s a heady, intoxicating and loved-up interpretation that subtly gains intensity throughout its seven-minute duration.

Gravity Pleasure's inaugural release is a rippling compilation of womxn, trans, and non-binary artists and
collaborators that invites listeners into an aqueous paraworld of fluid resistance and sonic kinship. Across 21 tracks from the likes of Yetsuby, Flora Yin Wong, Felisha Ledesma, Ursula Sereghy, tibslc, and more, Water Bodies spans a post-genre miasma of ethereal mermaid music, cathartic flows, and glistening sibilants. Inspired by a poetic prompt from Lou Croff Blake, each track is an exquisite message in a bottle of deep diving emotionality. Pulling from a wide range of musical perspectives – field recording, lovesick ballads, shimmering downtempo, post-party comedown, and percolating ambient – the compilation contains multitudes yet maintains deep sentimental coherence. Like a wave crashing in slow motion, each artist sonifies possible ways of being, insisting on the porous, the interdependent, and the deep and unruly. Water Bodies reminds us that home is a body made of water, to which we all belong.


Credits Curated by Ashlynn White & Madelyn Byrd
Artwork by Dre Roelandt
Layout by Madelyn Byrd Mastered by Estle
Distributed by Rubadub
Published by Gravity Pleasure ❊ GP01 ❊ 2025

"Murk Patterns" is eighth album by Mexican producer Rainforest featuring three talented collaborators - Homemade Weapons (Samurai Music, Weaponry), David Louis (Repertoire) and Heatwave (Onset Audio, AGN7).

Rooted in jungle pressure and expanding into halftime and atmospheric drum & bass, the release unfolds as a dynamic exploration of rhythm, weight, and space. Side A presents Rainforest’s solo work, including material released under his second alias Bwoykah, while side B is dedicated to showcasing collaborative tracks.

Die britische Post-Punk-Band Wild Swans wagte sich in die Nähe von U2 auf ihrem 1988 erschienenen Debütalbum »Bringing Home The Ashes«.

Die eindringliche Stimme von Paul Simpson verleiht jedem Stück ein emotionales Gewicht; ob er nun versucht, Freude oder Trauer zu vermitteln, sein eisiger Bariton lässt einen bis ins Mark erschauern. Das Album handelt vom Erwachsenwerden, das Aufwachsen in einer Zeit des Krieges und die Suche nach Trost von Gott und der Liebe zu finden.

Die Wild Swans wurden nie als christliche Gruppe beworben, aber Simpson nutzt seine Spiritualität, um Hoffnung oder Verzweiflung auszudrücken. Die Wild Swans malen unauslöschliche Bilder: Simpsons funkelnde Stimme und Kellys ätherische Gitarren verleihen dem Album eine unbestreitbar romantisches Gefühl.

»Bringing Home The Ashes« ist in einer limitierten Auflage von 750 einzeln nummerierten Exemplaren auf Crystal Clear Vinyl erhältlich und enthält eine Beilage.

‘Warriors Of The Sea’ is the name of DORO Pesch's special release, with which the Metal Queen is shortening the wait for a new studio album for her numerous fans.

‘Warriors Of The Sea’ is now available as petrol with white and black marbled vinyl. The idea for this special release came about as a result of the two sold-out ‘Metal Queen Metal Cruises’, which were a huge hit with fans at the end of May/beginning of June and – in addition to a third cruise (06.06.26) – simply left them wanting more music.

The title track of the album was written by DORO especially as an anthem for the cruise and immediately became an absolute fan favourite at summer festivals worldwide.

The remaining nine tracks are a hand-picked selection by DORO on the themes of ‘Warriors’ and ‘Cruise’. All of them are rarities and for fans, collectors and metal pirates.

Ashley Tindall, AKA Skeptical, returns in peak form with Blimp EP — the fourth release on his Rubi Records imprint — delivering four meticulously crafted cuts of uncompromising drum & bass.

Opening with the title track, Blimp sets the tone with a deep, steppy wobbler that nods subtly to the title track from his second Rubi Records release, Capsize EP. All the signature Skeptical hallmarks are here: hypnotic, pared-back metronomic drums and shimmy-inducing, undulating subs that demand movement. Yet this time there's a noticeable shift — warm, underlying melodic pads bring an unexpected emotional depth. It's not dreamy, but it is more introspective than we're used to, showing another layer to his sonic palette.

So Good flips the script entirely. A dark, cinematic growler, it leans into ghosted vocal fragments and a futuristic film-noir aesthetic. Tense, claustrophobic rhythms and sinister textures create an unsettling atmosphere — tailor-made for those lights-out, pressure-heavy dancefloor moments.

Third comes the undeniable monster of the EP, Technology. Trademark "stink-face" Skeppiness is in full effect from the first bar. Disjointed sci-fi stabs and eerie pads collide with clinical, almost militaristic drum programming, all anchored by a devastatingly weighty bassline. Movement isn't optional — this is pure Skeptical, uncompromising and lethal.

Closing the EP is Bad Generation, a sound system–influenced weapon that finds Skeptical operating at his dubwise best. Fusing minimal D&B with heavyweight, roots-inspired rhythms is no easy task, but here it's executed with effortless authority. It's equally suited to shelling down a rave or getting lost in a deep, eyes-closed session.

Four tracks. Four distinct moods. 100% Skeptical.
Blimp EP confirms once again that his sound continues to evolve — sharper, deeper, and more refined with every release.

Support: Ben UFO, Joy Orbison, Gilles Peterson, dBridge, Break, DLR, Doc Scott, Mefjus, Kasra, Kings of the Rollers, Alix Perez, Jubei, Dub Phizix, Flight, Tasha, Loxy, Lens.

WRWTFWW Records is very happy to announce the release of Interwoven, the deeply moving collaborative album from Ken-ichiro Isoda and aus (Yasuhiko Fukuzono) — now available on limited edition transparent sea green colored vinyl LP housed in a heavyweight sleeve with selective-varnish 3D print, as well as in digipack CD and digital formats.
Recorded between Hachijo Island and Tokyo, Interwoven distills two visionary voices of Japanese ambient and electronic music into a single breath of feather-light and quietly luminous meditative sound.

Isoda is a revered figure of New-age and environmental music whose work on Oscilation Circuit – Série Réflexion 1 (originally released on famed label Sound Process) has long attained mythic status. He composes, notably with harp and wind instruments, produces contemporary music and video game scores, and crafts his very own brand of ambient music from the volcanic island of Hachijo-jima. Tokyo-based electronic composer and synth master aus is known for tender, melody-driven soundscapes. From the two artists comes a dialogue suspended between land and sea, bridging the generation gap and the physical distance between them.

What began as a series of sketches — impressions of water, islands, and shifting light — gradually evolved into an exchange without explanation, a correspondence of sound that dissolved boundaries. In that anonymity, both artists discovered an uncommon freedom: a place where each could move lightly and intuitively, without expectation. The music drifts with a gentle, intuitive grace: lingering piano, soft cinematic synths, and field recordings that unfold like whispered recollections, while flute and saxophone lines pass through like occasional breezes — a human presence felt as warmth more than form.

Interwoven is music for those who cherish stillness and the delicate beauty of the everyday. It’s music for admirers of Satoshi Ashikawa, Midori Takada, Satsuki Shibano, Hiroshi Yoshimura, Takashi Kokubo, Brian Eno, and all who seek a quiet refuge in sound.

DJ Support: Ashley Beedle, Phil Mison (Ibiza legend), Nick The Record, Kenneth Bager (Music For Dreams), Ross Allen (NTS, Worldwide FM), Simon Dunmore, Cedric Woo (Beauty & the Beat), Ban Ban Ton Ton, The Mighty Zaf (Love Vinyl), Femi Fem (Young Disciples), Jay Negron (NYC legend), Bruce Forest (Better Days, NYC), Bruce Tantum (NYC), Colleen “Cosmo” Murphy, Mr Shiver, Hugh Mane, Eccentrics Disco, Eclectics Disco, Fannoire Ge, Percebes Records (Lisbon), For Mankind (Pikes, Ibiza), S/A/M (Cafe Del Mar, Ibiza).

Winner of the 2020 Bob James “Black Lives Matter” remix competition on François Kevorkian’s World Of Echoes Facebook page, Love For Black Lives is available on vinyl for the first time, alongside 2 brand new mixes, on this 4-track EP. It is the debut release on Hobbes Music’s new sub-label Noetic Rhythm, dedicated to releasing music that brings people together on the dancefloor.

Leonidas debuted in 2012 with Sequential EP on Kay Suzuki's Round In Motion label, gaining praise from industry legends. He has collaborated with Hobbes on several releases, including the Balearic hit Web of Intrigue, which topped Bill Brewster’s 2017 DJ poll. His music has appeared on compilations like DJ Harvey’s The Sound of Mercury Rising Vol II, as well as BBC Radio 1 & 6 music.

Das mehrfach preisgekrönte Action-Adventure »God of War« wurde erstmals 2005 veröffentlicht, entwickelte sich aber so schnell zu einem Hit, dass Santa Monica Studio sieben weitere Versionen des Spiels entwickelte. Die jüngste Version, die 2018 für die PlayStation 4 veröffentlicht wurde, konzentriert sich auf die Reise des Hauptcharakters Kratos in der griechischen Welt zusammen mit seinem Sohn Atreus, der sich auf einen Rachefeldzug begibt, weil er von den olympischen Göttern dazu verleitet wurde, seine Familie zu töten.

Der offizielle Soundtrack wurde mit einem BAFTA Award ausgezeichnet und wurde von Bear McCreary komponiert. Er basiert auf Themen, die er rund um die Hauptfiguren des Spiels geschaffen hat. Inspiriert von der Volksmusik der Wikinger, verwendete McCreary exotische Instrumente und Sprachen aus verschiedenen nordeuropäischen Volkstraditionen.

»God of War« ist in einer limitierten Auflage von 1500 einzeln nummerierten Exemplaren auf türkisem Vinyl erhältlich. Dieses Paket enthält eine Beilage mit Liner Notes von Bear McCreary.

Following the massive success of Torment, Bidoben returns to Sciahri's Sublunar with a new EP titled Jett, a record that showcases his distinctive and forward-thinking sound design, cementing him as one of the strongest figures of the new generation.

The EP opens with Jett, a powerful and melodic cut marked by Bidoben's unmistakable sonic identity, followed by Voltage C, a refined and minimal piece with a subtle epic touch. The A-side closes with Tormented, a fierce reimagining of the atmosphere that defined Torment, demonstrating the artist's ability to evolve and expand his expressive range.

On the flip, Hypernature sets the tone with captivating grooves and cosmic melodies, leading into Ashley Origami, a solid, floor-oriented tool designed for peak-time tension. The journey concludes with Edges of Normal, the most mystical track of the release, lighter in tone but no less engaging.

Brooklyn Sway's 8th installment arrives from outside with more unexpected debuts and riotous returns to form. Experienced Barcelonian Larry Lan's epic 10-minute opener 'WTNG' is minimal goes post-punk, repurposing well-known, undisguised lyrics into an aggressive take on early Perlon and explanation enough for his recent album drop on Cadenza. BKS vets N/UM return with 'A Free Woman in Queens' showing off a reduced side of their sound adjacent to mid-00s minimal with plenty of character, its stripped intro giving way to a fuller, dubbed-out second half, with the cheeky vocal and instrumental touches joined by a swelling pad. Featuring spoken vox from Mari Blue and the debut of BKS co-head Asha Jasz alongside DeWinter and Jay Prouty, 'Acid in Your Coffee' takes the dirtier route, with layers of zapping electronics, an insistent single-note acid bass, and synths drifting between tones and textures all veering off like its vocals before eventually returning to center. LA/Bucktown scallywag $coe brings it home with 'The Devil is a MF Liar', an acid jam whose profanity-laced vocal samples don't require divine intervention to decipher. Bookended by a pair of interludes, the first on the power of repetition and the last in memoriam BK legend Big Sexy in his own words, and again featuring striking artwork from notable NYC street artist Fumero, BKS keeps that Sway from going astray.