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Overtoun is a Death/Thrash band based between Santiago, Chile, and Boston, MA, fusing the rich musical heritage of Latin America with the complexity and aggression of technical death metal. Founded by Agustín Lobo and Matías Bahamondes, the band solidified its lineup with Yoav Ruiz-Feingold (Atheist, Graviton) on vocals and Matías Salas on bass. Fused with Chilean rhythms, folk-inspired guitars, and memorable riffs, it features guest appearances by MAX PHELPS (CYNIC, DEATH TO ALL), ENRICO H. DI LORENZO (HIDEOUS DIVINITY), and SHANTANU VYAS (HAZING OVER). With virtuosic musicianship and a raw, organic sound that recalls the primal spirit of classic metal, Overtoun channels both precision and rage. Produced by renowned Argentinian producer MARTIN FURIA (DESTRUCTION, BARK) and released via Time To Kill Records, Overtoun asserts itself as one of the most exciting and promising Latin American Metal acts today.

Swiss artist Lukas Traxel releases his powerful debut album One-Eyed Daruma on We Jazz Records, March 10. The trio features Traxel on double bass, Otis Sandsjö on sax and Moritz Baumgärtner on drums. Compact, deep, and organic to the bone, Traxel & co's sound echoes the innovations of rhythmically driven avantgarde jazz while keeping things moving at all times. There's both drive and freedom to this sound.
ONe-Eyed Daruma features eight new compositions by Traxel, who crafted the outline for the album while dealing with the loss of his father. The group came together after an open invitation from the Zurich jazz club Moods to present a new group. The trio of Traxel, Sandsjö and Baumgärtner creates a full, symphonic, and powerful body of sound despite the instrumentation without a harmony instrument. The trio functions as a collective where the boundaries between composition, melody, and accompaniment are in flux, while keeping the common goal of creating new music together in sight at all times. Traxel reports that after playing bass in various groups with guitar and/or piano, he wanted to create a counterpoint of sorts with his new group and specifically go about it with a more sparse setup. As One-Eyed Drama proves, the idea behind the trio dynamic is a strong one and the unit makes use of their extra space in creating evocative, moody, swinging creative jazz with a distinguishable fingerprint of its own.
Lukas Traxel says:

"The process of composing this music while dealing with the loss of a loved one resulted in a writer's block at first. The notes would just not flow out of my pen until I noticed a mysterious-looking figure in the right upper corner of my piano. It was a daruma, an eyeless figure that in the Japanese tradition brings luck and prosperity. According to the myth, the first eye must be drawn onto the figure while expressing a wish. The second eye can be added only if the wish comes true. My daruma is meant to stay one-eyed as my wish, strongly connected and intertwined with my now gone father, is not meant to be fulfilled. The feeling of unfulfillment and imperfection of life serves as a common thread throughout this album, right down to its title. In a similar fashion, a composition remains incomplete until it is interpreted by musicians, and given form as music. That being said, for me playing together with this trio symbolises the upside: the sense of fulfillment in music and life.

Our musical influences include the American composer and singer Caroline Shaw, Swiss pianist Colin Vallon's trio, and composer/singer-songwriter Gabriel Kahane. In addition, I have listened a lot to the trio albums of Jimmy Guiffre and Sonny Rollins. Besides that, my musical heroes like Charlie Haden, John Coltrane, and Keith Jarrett always flow into the music. Another very important influence in the music is the work of American visual artist Agnes Martin, in whose works the imperfection of a multiplicity of repetitions results in a lively big whole in the end. (See "Wild Flower")

Live, the trio takes a lot of freedom in interpreting this music, yet we have a deeper, almost pop-like attitude towards the live performance as an experience. For me it's always important to build a strong narrative with the band while on stage."

One-Eyed Daruma by Lukas Traxel is released on 10 March 2023 by We Jazz Records on LP/CD/digitally. The LP edition is shelved in an inside-out sleeve and pressed on white vinyl. The CD is housed in a cardboard digisleeve with UV lacquer finish.

The band has released three studio albums to date, plus a string of EPs, & has primarily existed as a duo featuring guitarist Alexander Nordgaren (formerly live guitarist for Norwegian legends, Mayhem) & drummer/ vocalist Svein Egil "Zweizz" Hatlevik (Umoral, Strid, ex-Dodheimsgard) throughout their full history.

Fleurety was considered a slight oddity to the rest of the Norwegian movement at the time of their inception, for developing an altogether different style with more dynamic musical influences & obscure/ non- traditional riffing. Following on from the 'Black Snow' demo in 1993 & the 'A Darker Shade Of Evil' 7" the following year, the band presented their full-length debut to the world in the shape of 'Min Tid Skal Komme'; an exquisite & revered journey through dark & often introspective soundscapes. 'Last Minute Lies' was originally released in 1999, preceding the band's second fulllength album, 'Department Of Apocalyptic Affairs' & introduced a taste of the demented sophistication yet to come through their ongoing penchant for the strange & bizarre.

The result was a mind-bending (or expanding) voyage of eccentricity within the metal genre, presenting a new masterclass in avantgarde mood- setting in the process. Also included in this special release is the rare "I Left The Planet" project recordings from 1996, where Nordgaren was joined by a number of guests for this anomaly of dark & poetic jazzy- metal, notably featuring fellow prodigy of avant- garde metal & percussionist extraordinaire, Carl-Michael Eide of Ved Buens Ende/Aura Noir. On what is the 35th anniversary of the band's formation, this edition of 'Last Minute Lies/I Left The Planet' is presented on CD format including booklet with full lyrics, with audio specially remastered by Greg Chandler (Esoteric) at Priory Studios for this release.

Blues, country and folk or funk, rock and soul – Broussard always gives his songs a very special touch; here he reaches his peak performance!

Acclaimed soul singer and songwriter Marc Broussard returns with his new studio album, "S.O.S. V: Songs Of The 50's," paying homage to the timeless classics of the 1950s. With his unmistakable, warm soul voice, Broussard interprets timeless songs by legends such as Ray Charles, Sam Cooke, Nat King Cole, and Fats Domino—complemented by his own original composition that fits seamlessly into the era. The album is the fifth installment in his successful S.O.S. (Save Our Soul) benefit series, with proceeds once again benefiting the non-profit organization Love Of People in his hometown of Lafayette, Louisiana. His latest charity album, "S.O.S. 4: Blues For Your Soul" (2023), a collaboration with blues icon Joe Bonamassa, benefited the Keeping The Blues Alive Foundation and the organization Guitars Over Guns – and debuted at number 1 on the Billboard Blues Albums chart.

Her natural command on stage, paired with a voice that feels quietly seasoned, has made her one of the most exciting young live musicians emerging from the region. Now, with her first release, a double single featuring the raw, one-take folk recording 'Poison Ivy' and the dreamlike, psychedelic shimmer of 'Forget About' -- Grant introduces the full spectrum of her sound. One track close to the bone, the other lost in a dream, both unmistakably hers. 'Poison Ivy' was recorded when Grant was just 16, in a spontaneous midnight session after finally playing her songs to her dad. With only one microphone, no click, and a single take, the track became a time capsule of her earliest songwriting voice -- fragile, real, and impossible to recreate.

Now featuring Dan Bridgewood-Hill's evocative violin, it stands as a folk recording filled with warmth, instinct and unfiltered emotion. "I tried re-recording it," she says, "but nothing touched the magic of that first take." In contrast, 'Forget About' showcases Grant's emerging production instincts. Influenced by Zero 7, the song began as a kitchen jam before evolving into a lush mix of psychedelic keys, airy electronics and indie- rock textures. Self- recorded in Logic, the track reveals a new dimension to her writing, cinematic and rhythmically hypnotic

Repress!

A true hot stepper and one of the best of its kind, this 1984 masterpiece from Ini Kamoze is heavy, real and authentic. It was actually Jamaican born artist Cecil Campbell's debut album and features spacious, slow motion dubs that invite you deep within their cavernous drums. The chattery percussion, echoing hits and loose percussion all make a real mark. "World-A-Music" has a beat fans of Damien Marley will recognise, and "General" features some of Campbells more vulnerable vocal work. For fans old and new, this is a perfect roots album with a unique perspective.

Gothenburg trio Dark Horse present their new album "Listen", released by We Jazz Records on 13 November. The band, comprising of John Holmström (piano), Alfred Lorinius (bass) and Mårten Magnefors (drums) recorded their second album in a remote cabin by the ocean in Norway, owned by Holmström's family. The natural sound of the album owes a lot to the relaxed surroundings and the result is some high degree of improvised music turning into collective composition as the music unfolds.

The album recording took place at a very active spot in the trio's calendar, following extensive touring in Europe, Japan and their native country Sweden. The two days of improvising were edited down to highlights that easily fill an album's worth of quality listening and reveal what playing live brought to the three musicians: A natural ability to react to ideas, build on them and form coherent, compositional tracks on the spot. A task much easier said than done.

"We're a non-conceptual basement band all the way", laughs pianist Holmström. "We have been moving from free form music into collective composition and this is our pinnacle recording with that idea thus far. We just set out to play as honestly as possible and this is what followed."

A testament to the power of a fixed band unit developing over time, "Listen" comes across as a work by a group constantly keeping its nose to the wind when it comes to developing their music. The long-form opener "Allas Favorit" is a monumental piece building and releasing tension along its 12+ minute length. First single "Brutet Groove" assumes a fascinating, almost mechanic-sounding swing while assembling and reassembling the pieces of the puzzle, and the closing track "Fjäll-låten" gives us something of an ever-shifting sonic landscape in glorious colors, much akin to its name ("Mountain Song" in Swedish).

"That one Fjäll-låten includes some of the best musical moments of my life so far" confirms bassist Alfred Lorinius. "It's actually an edit of a 20-minute improvised sequence, and it has the real feeling of the band coming together and doing something new and fresh in the moment. I feel it's something you can revisit as many times as you like and there's always something to find in there."

Dark Horse formed in 2012 after Lorinius joined Holmström and drummer Mårten Magnefors to complete the group. Things quickly started taking shape musically from there on, but the group took their time in honing their craft with a method they now refer to as "tryout development". Their self-titled debut album appeared in 2015 and the current We Jazz album "Listen" marks the first internationally distributed release for the trio.The roots of Dark Horse lay firmly in the buzzing creative music scene of Gothenburg, Sweden, where the members have close ties with local establishments such as the legendary venue BrÖtz, and the city's vast scene of highly-regarded musicians.

In brief, "Listen" presents Dark Horse gloriously putting into use their musical philosophy what they describe "improvising as composing together".

"Listen" by Dark Horse is released by Helsinki's We Jazz Records on 13 November 2020 on vinyl and digitally. The vinyl comes in a heavy duty tip-on sleeve and the album design features the painting "Overwhelming Structure" by the Helsinki-based visual artist Maija Lassila.

Islaja presents her new album ”Angel Tape”, her debut release on the new Helsinki-based label Other Power. Drawing inspiration from childhood epiphanies while listening to an alleged recording of angels singing, Islaja has crafted an album that stands out as a major work in her expansive and celebrated catalogue, which includes previous releases on labels such as Ecstatic Peace!, Fonal and Svart.


Islaja, aka Finnish artist Merja Kokkonen, describes her new album as a “counterwork” to her most recent albums, where the mode of composing was more song-based. This time around, she goes more in the direction of vast fields of sound where the human voice is a key ingredient of music that breaks free of strict stylistic guidelines and traditional song forms. Rough around the edges, atonal and otherworldly, "Angel Tape” is the result of a lifetime of inspiration from something beyond the immediate realm of our experience, an attempt to catch the elusive essence of musical otherness.


”As a child, I listened to the ’angel tape’ my mother played, and I never thought that the human voices I heard on it were angels singing. Instead, all the aural debris lying just beneath the surface caught my attention as I thought it was mysterious and something from a different world than ours, and so that was probably what was referred to as the ’angels’ so miraculously caught on tape”, Kokkonen explains. ”I think this was one thing that led me on this lifelong quest to find new sounds and forms in music.”



The tape she is referring to, a mid-80s church recording, was passed around in religious circles. Each time the tape was copied, it became slightly more distorted. It was believed that this recording of religious music had accidentally captured for the first time the voices of actual angels singing. The tape was rumoured to have originated in Kansas City and to have made its way to Finland.


Whereas Islaja has often thought of albums as being collections of recent songs presented together, ”Angel Tape” has a strong sense of conceptual coherence. The music comes from a place. That doesn’t mean that one must take a single path from one place to the next, as close listenings of the album reveal layers upon layers of not only sound but also of mood and meaning. From the human voice in its barest form, to the rising dense walls of sound moving and reshaping, ”Angel Tape” is a captivating album that unveils new contours with each repeated listening.

Haf is the third album from Carwyn Ellis & Rio 18 in little over a year, no mean feat in and of itself but especially considering Carwyn’s work with other artists (including Edwyn Collins and the North Mississippi Allstars) this year too.

The album picks up where their last (Fontana Rosa) left off, with around half the album being recorded analog to tape at Gizzard Studios in London, with one last tune remaining from their sessions at the legendary (but now closed) Toerag Studios.

There are echoes here of their first album, Joia! - the recordings were once again instigated by the great Brazilian producer and multi-instrumentalist who happened to be visiting London earlier in the year. He suggested doing something.... so they did. And there is a return to more definite Brazilian influences too - Tonnau Ar Tonnau is an homage to ‘Onda’ by Cassiano, Keep On Smiling has a distinct samba / chorro feel. Gwenyn y Gwanwyn (about helping a bee out if you see it struggling) is very much a nod to the psychedelic samba funk of Antonio Carlos e Jocafi. But other Latin styles still loom large: on the sultry salsa of Bella Estrella or the melancholic Andean ballad, Lagrimas Frias.

Anglo-Brazilian singer Nina Miranda features on the Lalo Schifrin goes samba Shades of Red, while new addition to the Rio 18 family (at least on record), Miriam Isaac adds a real RnB edge to the record, along with some beautiful duets: the Salsoul banger Como Te Amo and the gorgeous Whistling Sands (about a beach in North Wales) are standouts.

In reverse to how Carwyn made the first two Rio 18 albums, Haf was recorded in London
and Wales and mixed over five hectic days in Rio. Three days later, it was mastered and at
the pressing plant. Time doesn’t wait for Carwyn Ellis & Rio 18!!

Finally, the song ‘Haf’ and the album itself are dedicated to Haf Morris, Carwyn’s late music teacher - he says, “her focus, guidance and patience shaped me like no other. I hope she’s enjoyed my musical journey, from wherever she’s watching. Diolch, Haf”.

With a career spanning over 50 years, Earl Sixteen is one of the major artists in the history of Jamaican music. He has been produced by some of the biggest names in the business, from Studio One to Jah Shaka, Lee ‘Scratch’ Perry and Mad Professor. Earl Sixteen has always stood out for the accuracy of his performances and the smooth depth of his voice.

Today, in collaboration with Switzerland most active studio group of the last decade, The 18th Parallel, he presents his new single ‘My Son’, written by the genius lyricist Marc Ismail. The lyrics touch on the harsh reality of the younger generations in Jamaica who grow up in precarious conditions and, in some cases, have no choice but to turn to crime. Here, the elder's voice urges young listeners to take a hard look at themselves and weigh the consequences of their decisions.

The message is enhanced by Earl Sixteen's performance and the extraordinarily powerful rhythm section of The 18th Parallel. B side features a scorcher dub by Westfinga: 'Hear My Dub'. A masterpiece of contemporary roots reggae!

Vintage recording equipment has long been a bit of a fetish, but to sound pioneers Voka Gentle, even the most magical machines are a means to an end. The band, made up of twins Ellie and Imogen Mason, along with Imogen’s husband, William J Stokes, are a family band in the truest sense. Whilst they started as a folk trio, their new album Domestic Bliss is an album of throat-grabbing, avant-garde indie rock songs studded with eccentric choices: a synth with its keys jammed, playing a tune of its own making; field recordings – Morris dancers, motorbikes – captured on binaural headphones.

Domestic Bliss is concerned with power: the abuse of it, being on the cusp of it, and what it really means. The album is
teaming with imaginary people in picaresque scenes that reveal the band’s rich cultural storehouse. The songs draw on history, literature, everyday life and pop culture references (specifically Jude Law’s 1995 Vogue cover), with tracks like Cheddar Man reflecting on climate change and prehistory and Creon I tracing the unease of authority through the lens of Greek mythology.

Recorded in the orchestral studios of City University, the album folds intimacy into scale, from phone-recorded vocals and samples of breath to heavy, tribal electronics in grand acoustic spaces. The result is by far their most refined record yet, where the band treat the recording studio like an instrument.

Drummer/producer Teppo Mäkynen's 3TM returns with a new album, "Lake", on 29 November on Helsinki's We Jazz Records. The album is the much awaited follow up to 2017's successful 3TM debut "Form", which was awarded as the "Jazz Album of the Year" in Mäkynen's native Finland. "Lake" was preceded by the ambient electronic album "Abyss" in August, which set the mood for what's to come next: A compact yet far-reaching body of work bringing together the trio's acoustic jazz sound and ideas rooted in abstract electronic music in a remarkably boundless way.

"Lake" is a collection of 9 Mäkynen-penned originals ranging from the looping, hypnotic compositions such as first single "Laws Of Life" to the delicacy of tracks such as "Woods". There is a sense of long form narrative here, evident in glorious, slowly evolving tracks such as "Lake" and "A Pile Of Broken Dreams". The overall sound is swinging, melodic, deep and futuristic. It's acoustic jazz and abstract electronic music understood deeply and used as the base of a new sound, which goes beyond the usual distinctions of "acoustic jazz" or "electronic music". This is music for the present day, moving forward.

3TM's "Lake" will be available as white and black vinyl versions, complete with printed inner sleeve featuring Mäkynen's essay about the theme of the album. On vinyl, "Lake" will also be available as a 2LP bundle with "Abyss", and the CD version includes both discs, "Lake" and "Abyss".

In the 3TM trio formation Mäkynen is joined by sax man Jussi Kannaste and bassist Antti Lötjönen, both Finnish scene mainstays. The band will celebrate their new release at Helsinki's We Jazz Festival on 7 December.

JAF Trio emerges on Helsinki's We Jazz Records with their debut LP on 3 July. The young Finnish-Danish band includes saxophonist Adele Sauros (of Superposition), bassist Joonas Tuuri (of Bowman Trio)
and drummer Frederik Emil Bülow. After a string of lauded live performances over the past couple of years (the band was awarded with the "We Jazz Rising Star" accolade at We Jazz Festival in 2017), the trio is now ready to present their first studio work.

Sound-wise, JAF Trio has an approach which brings the band very close to the listener, "loft jazz" style. The sax, bass and drums are right there at the forefront together, creating a remarkably strong presence. The original material of the band has depth and groove alike, at times leaping forward with giant steps, at times calming things down to really stretch time. The music is very melodic and rhythmic, as withnessed by single tracks "Ninth Row of the Fifth Floor" and "Dark Sparkle". There's a sense of playfulness in the repetitive riffing on "Something New" and an air of sombre melancholy on "Shades of Tomorrow".

"JAF Trio" will be released by We Jazz Records on 3 July on vinyl, CD and digital. The vinyl version comes in a heacy-duty "old school" tip-on sleeve. The cover design features the artwork "Red" by Finnish visual artist Maija Lassila.

LP, Green Slime Vinyl

The Portland, ME trio returns with Feels Like Hell, their most self-assured and emotionally charged record yet. Despite the title, the album is a celebration of personal growth, creative freedom, and defiant joy in the face of a chaotic world.

Coming off the burnout and frustration captured in their 2021 album Quitter, Feels Like Hell finds Sonia Sturino (vocals/guitar), Annie Hoffman (bass/vocals), and Adam Hand (drums) leaning into clarity, gratitude, and renewed purpose. Sturino’s lyrics are as raw and honest as ever, but now they reflect strength rather than despair. It’s an album that drags existential dread into the daylight and sets it on fire.

“I decided to stop being such a sad-sap negative person,” Sturino says. “Now I practice being grateful, being proud, being happy, and not being envious.” That mindset shift shapes the tone of Feels Like Hell, which looks at darkness but chooses not to be consumed by it.

The record also marks the band’s first foray into co-writing, with Hoffman playing a significant role in shaping its sound. Embracing a more intuitive recording process, the trio stripped back the excess and focused on what felt right. The result is a record that’s resilient, cathartic, and brimming with creative energy.

While the world may still feel like it’s falling apart, Feels Like Hell pulses with the power of letting go. Letting go of fear, of perfectionism, of the illusion that vulnerability is weakness. With driving guitars, unflinching lyrics, and a renewed sense of purpose, Weakened Friends prove that it’s possible to stand in the wreckage and still find something worth singing about.

Official reissue. New remastering vinyl of the 1979 LP by Colin Potter + "silver edition" Gatefold cover + complete NWW list on Gatefold inner.


Chance Meeting on a Dissecting Table of a Sewing Machine and an Umbrella is the debut album by British experimental unusual and absurd music group Nurse With Wound, released on their own United Dairies label in 1979. An unusual record which blends noise and jamming.

The album's equally unusual title is a quote from the surreal, poetic novel Les Chants de Maldoror by Uruguayan-born French author Isidore-Lucien Ducasse, written under the pseudonym Comte de Lautréamont.It has been included in the "100 Records That Set the World on Fire (While No One Was Listening)" by TheWire in 1998, and is one of the records that have had a lasting impact on avant-garde, experimental and psychedelic music.It was on this record that the famous "NWW list" appeared for the first time, featuring dozens of names of musicians and groups who had influenced Nurse With Wound - a list that now serves as a treasure map for many collectors of the genre and fans of outsider music. It's been replicated here in the innersleeve of the gatefold.

Guitars On Life solves a nagging mystery about the fate of a musician who stood out as a singularly spectacular bloom even in the verdant creative fields of the San Francisco Bay Area at the turn of the century. After more than two decades of recording silence and about a dozen years away from the bandstand, Jack West is back, still immediately recognizable as a guitarist and composer but miles from the last stop on his ongoing musical journey. There’s poetic symmetry in discovering that his detour from life as a performing musician involved fruitful work devising innovative solar technologies, as he had similarly distinguished himself as an inveterately inventive musician. When we last heard from West he’d carved out a vibrant niche as a guitarist with a percussive attack and lustrous group sound. Wielding a custom-built eight-string acoustic guitar with uncommon rhythmic dexterity, he released six albums featuring his original tunes, mostly recording with his band Curvature (though he also played mesmerizing solo recitals). West’s knack for crafting glistening, minutely detailed soundscapes full of surprising twists and oddly inviting textures prompted NPR to describe his work as “a whole new sub- genre of jazz.” Drawn back to performing in recent years, West saw guitarist Walter Strauss at Berkeley’s Freight & Salvage in 2022 and suspected he’d found a kindred spirit. Intrigued by Strauss’s unusual approach to guitar, West “wondered what a musical conversation might sound like between two guitarists who had developed such uniquely different ways of playing the instrument.” An invitation to play together led to them writing the tune ‘More Guitar,’ the bravura opening track that launches Guitars On Life. Several months later they spent a week in Florida together writing intensively, resulting in most of the material for this consistently thrilling project.

Following the reissue of The Pocket of Fever, Ambient Sans presents the second chapter in Masahiro Sugaya’s visionary work for the avant-garde performing arts company Pappa TARAHUMARA.

Founded by Hiroshi Koike in 1982, Pappa TARAHUMARA blended dance, theater, music, and visual art into abstract, immersive stage worlds. Sugaya’s compositions became the sonic counterpart to this radical aesthetic—minimal yet deeply evocative, combining electronics, ambient textures, and delicate melodic gestures into a sound language both intimate and expansive.

Music From Alejo marks his first original stage score for the company: a work where repetition and silence intertwine with shimmering synthesizers and dreamlike motifs, conjuring atmospheres that feel suspended between reality and reverie. More structured than The Pocket of Fever yet equally poetic, the album reveals Sugaya’s gift for translating movement into sound, balancing modern composition with subtle echoes of Japanese tradition.

Reissued for the first time on vinyl, Music From Alejo includes a printed insert featuring an exclusive interview with the artist, alongside photographs from our visit to his home in Japan. Essential listening for anyone drawn to the ambient minimalism of Hiroshi Yoshimura, Midori Takada, or Brian Eno—reimagined here through the lens of Tokyo’s experimental scene of the 1980s.

Just as the traditions of great folk-country songwriting come around again to newfound popularity via Zach Bryan, Tyler Childers, Sierra Ferrell and other practitioners, Barsuk releases a 20th-anniversary pressing of Rocky Votolato’s brilliant and beloved album Makers. Featuring “White Daisy Passing,” “Portland Is Leaving,” “Tinfoil Hats,” “She Was Only In It For The Rain” and 8 more indie classics, the release is packaged in a gatefold jacket with updated artwork, a lyric insert and a beautiful multicolored black & blue with white splatter vinyl pressing. Download code features the full album and 10 bonus tracks: the 3-song End Like This EP plus 7 previously-unreleased tracks including 4 demos, 2 never-before-heard outtakes, and a heartbreaking cover of Jeff Buckley’s “Lover, You Should've Come Over"

Crowned Eagle is the powerful new album from Alpha Steppa and long-time collaborator Nai-Jah. Blending ten potent vocal tracks with ten heavyweight dubs, this double-sided journey is inspired by Nai-Jah’s Nigerian heritage: an exploration of ancestral wisdom, modern struggle and spiritual resilience. Musically, the album bridges old and new, weaving together roots reggae, dub, afrobeat and beyond, all through the unmistakable lens of Alpha Steppa’s signature style: deep, spacious and defiantly conscious. Following the success of their Streetdub video series across social media, which has reached millions and featured frequent high profile collaborators, Alpha Steppa and Nai-Jah are set to take their sound worldwide with a global tour in 2026.

"Alpha Steppa is paving the way for a generation who are keen to tread new waters." DJ Mag

“One of the most prolific and inventive dub producers around.” Wire

“A serious player in the sound system world.” Mixmag­

“Obliteratingly heavy bass.” Q Mag

Celebrate the 10-year anniversary of Prince’s 2015 penultimate studio album, available now on vinyl for the first time. The album showcases the innovative spirit of Prince, featuring popular singles like “Stare,” “This Could Be Us,” and “FALLINLOVE2NITE.” The album includes

contributions from artists such as Prince’s bandmates in 3RDEYEGIRL (Hannah Ford-Welton, Donna Grantis, and Ida Nielsen), Judith Hill, Rita Ora, and female rap duo Curly Fryz, but it was primarily a collaboration between Prince and Joshua Welton, who was a co-producer on the album

Roland Corporation's MKS-50 form 1986 is a rack-mount version of the Alpha Juno. It has the same synth engine and architecture, but with added features like 16 programmable chord memories, the ability to store velocity, volume, panning, de-tune, portamento and other similar parameters within each patch you create. The optional PG-300 gives traditional slider type control of all editable tone parameters which include DCO (digitally controlled oscillators) LFO, bend, ENV, pulse, waveforms, noise, PW/PWM, high pass filter, VCF (filter) with freq/env/res/LFO/kybd, VCA envelope, chorus, and more. Adapta delivers a project based on this legendary MKS-50 synth. Tracks created with technology from the past, aimed for the future. Techno!!

BRIAN ELLIS' "IN THE DARK" back in print for the first time in over a decade, contains 8 synthesizer manifestos that offer a glimpse through ELLIS' imagination. This repress celebrates the infinite throwdown post- sundown and is truly a classic in the modern funk world.

Timo Lassy follows up his new album "Trio" on We Jazz Records by sharing two non-album cuts from the same sessions on a new 7" vinyl single / digi release. "Mountain Man Exit" is a stormy number featuring the trio of Lassy (tenor sax), Ville Herrala (bass) and Jaska Lukkarinen (drums) in full flight plus Tuomo Prättälä (of Ilmiliekki Quartet) on synth duties. Album track "Orlo" gets a new treatment, edited for the 7" and taking shape as a tough-as-nails mix breaking new ground here without the string section.

Timo Lassy follows up his new album "Trio" on We Jazz Records by sharing two non-album cuts from the same sessions on a new 7" vinyl single / digi release. "Mountain Man Exit" is a stormy number featuring the trio of Lassy (tenor sax), Ville Herrala (bass) and Jaska Lukkarinen (drums) in full flight plus Tuomo Prättälä (of Ilmiliekki Quartet) on synth duties. Album track "Orlo" gets a new treatment, edited for the 7" and taking shape as a tough-as-nails mix breaking new ground here without the string section.

In 2008, accompanied solely by her husband, bassist Stephan Crump , and saxophonist Chris Cheek, she created reVisions in which she reimagined a collection of Stevie Wonder songs to offer social commentary on Barack Obama's historic rise to power. As much a testament to Chapin's unique artistic sensibility as a celebration of the enduring appeal and relevance of Wonder's songs, ReVisions, which also includes sensibility as a celebration of the enduring appeal and relevance of Wonder's songs, ReVisions, which also includes two self- penned numbers, puts a new spin on Wonder classics like 'Masterblaster (Jammin'),' 'You Haven't Done Nothin',' 'Higher Ground' and 'Village Ghetto Land.' Bolstered with new liner notes featuring a recent interview with Jen Chapin, ReVisions: The Songs Of Stevie Wonder is reissued in 2026 as part of the Chesky Original Masters series on 180g One Step Pressing Vinyl LP and Hybrid Stereo SACD

Celebrate the epic conclusion of Netflix’s Stranger Things with the official Season 5 soundtrack, a nostalgic journey back to 1987. Featuring iconic tracks that underscore the final battle in Hawkins.

Ukranian raw black metal debut EP from Selvnatt.

Celestial, melancholic, romantic and heart-spoken black metal spiked with piano arrangements and melodic passages. Selvatt’s debut EP has taken the black metal world by storm and shows his raw, unbristled talent on display, showing he is a true force to be reckoned with. This is the extended edition of the EP featuring two extra bonus tracks, including the single "Pale Stars" with fellow Ukranian raw black metal artist FELVUM.

For fans of Këkht Aräkh, Draugveil and other romantic black metal acts

Available on pink vinyl, includes double-side lyric sheet

Western Lore presents the second part of an absolute jaw dropper of an LP from the enigmatic L own, the producer behind 2024’s much lauded Forgotten Paradise Bootlegs (which flew out so rapidly on Bandcamp, none of the ltd run of copies made it to retail).

Deep, musical, textural & blissed out jungle tekno wizardry across a range of tempos, Daybreak Survivors is a journey like no other. Emotive and dripping with nostalgia whilst sounding distinctly futuristic, L own effortlessly carves out a unique sound that shines like beacon in a sea of noise.

Miguel's breakout debut album, ‘All I Want Is You,’ makes its long-awaited vinyl debut, pressed on bold red opaque vinyl. Featuring R&B staples like "Sure Thing", "All I Want Is You", "Girl With the Tattoo Enter. lewd," and more.

Nurse with Wound's epic Thunder Perfect Mind was originally released in 1992 on United Dairies and was a sort of twin sister album to Current 93's album sharing the same title. Both albums featured contributions from Coil's John Balance, David Tibet, Colin Potter, Rose McDowall and more. A masterclass in ominous ghostly atmospheres and mind-warping psychedelic sound collage, this enhanced, extended and remastered edition has been overseen by Stephen Stapleton himself.

Between 1996 and 2003, Jack West released five remarkable albums with his evolving band Curvature. The recordings showcased West on 6 and 8-string acoustic guitar in small, acoustic ensembles including marimba, second acoustic guitar, saxophone, percussion, and pedal steel. Essential Curvature is a Best-Of Collection. Jack West’s music is a new genre of American acoustic music influenced by jazz, rock, folk, and funk, in equal measure - one that features extraordinary acoustic guitar playing.

GETTOBLASTER coming extra hot and funky on this 9 track double LP, their first full length on wax. The signature jacking-techy-bounce gets an extra level of spice from guest producers and vocalists like DJ DAN, DJ DEEON, DJ FUNK (RIP), JOHNNY FIASCO, MAD VILLA, and more.

Loaded with tension and anchored by bold textural and stylistic contrasts, Sam Slater’s third solo full-length finds the British sound artist, composer, and engineer grappling with his creative contradictions head-on.

Having spent a life time in bands and producing records, Sam transitioned somewhat by accident through his work with Johan Johansson into working as a composer on high profile projects such as his collaboration with Hildur Guðnadóttir on the Grammy Award-winning Joker and Chernobyl, and with Pulitzer Prize-winning journalist Mstyslav Chernov on the soundtrack to the lauded 2000 Meters to Andriivka. Having a vast set of interests and influences is an asset when helping realise a directors vision for a soundtrack, but one's own musical voice can end up being constrained. In Lunng, Slater has gone back to his wildly divergent range of influences and rather than shy away from the extremes, he's used them to create a singular vision.

Take the opening track “Heatsick”: Slater imagines an extravagant fusion of 2000s drone metal and vintage British brass, welding ear-splitting overdriven drones and blown-out choral vocals to stirring trombone swells from veteran player Hilary Jeffery. On paper, it’s hard to imagine—but Slater’s intentionality conducts these polarizing elements into a surreal blur of sonic extremes, with the guitars’ relative harshness softened by Jeffery’s eerily nostalgic colliery echoes.

His last solo album, I do not wish to be known as a Vandal (Bedroom Community, 2022), showcased this breadth by assembling a team of collaborators including Sam Dunscombe and Yair Elazar Glotman. On this record he’s linking up with acclaimed multi-instrumentalist Maria W. Horn, idiosyncratic sax virtuoso Bendik Giske, versatile percussionist Adam Betts, and the aforementioned Jeffery, Slater ushers these players toward a lattice of calculated confutations.

Working to explore the tension between the divergent practices of his collaborators—Lunng was meant to be challenging. On “Praya”, Giske’s familiar overblown horn phrases are almost vaporized, vanishing among Slater’s weightless synths and Horn’s chillingly hoarse vocals. There are traces of Horn’s Funeral Folk project, but Slater shifts the emphasis, letting her voice brush past the other elements like a hallucination.

Slater’s use of extremes isn’t just in the micro; dynamics drive the album’s overall flow. “Praya” sets the stage for the record’s heaviest, most prickly moment: “Passengers”. Here, Horn’s voice cracks, rasps, and gurgles over serrated synths and Betts’ ritualistic drums. Slater turns an industrial symphony into a folk opera—dark, dramatic, and strangely beautiful—etched with Giske’s fluttering phrases.

But the mood soon shifts. Slater careens toward chaos, unleashing double-time rhythms and piercing textures familiar to anyone with a soft spot for classic black metal. These grotesque incongruities are deliberate; Slater surveys years of musical conflict and leans in, using dissent as fuel to build kinetic energy.

The weight of sentimentality bears down on “Black Metal Rewind (Night Drive Astra, 2006)”, melting teenage memories into hypnagogic ambience—shoegaze dreams whirled with angelic choral delusions. On “Death by Nostalgia, 1688”, he ventures further into polarizing territory, distorting AutoTuned voices with cryptic strings and medieval tonalities, unsettling any stable sense of past or present.

In this record Slater focuses on pure energy, color, and mood. Lunng distills years of listening into a bracing brew—boiling each sound down to its essence, then serving it with unflinching intent.

John Twells, 2025

When I first started Future Retro London, primarily as a club night, the first event was meant to take place in April 2020, but due to the coronavirus pandemic, the date got pushed to June 2020 in the hopes that venues in the UK would have re-opened by that time. They very much were not re-opened by then and navigating the various lockdown periods that occurred meant the first event didn't actually happen until December 2021.

Dead Man's Chest was part of the original lineup intended for the first event but by the time it was actually able to happen, he had temporarily relocated to Portugal & it meant he wasn't able to make it for it. Various attempts were made afterwards to try & include him in events I was doing but nothing came together until I finally had him play the 2nd joint event I did with Distant Planet in December 2024.

He runs a label called Western Lore which I've featured on previously, with 2 different remixes I did of Plastic Face by Response & Pliskin, as well as a track featured on the first Blunted Breaks compilation. It only made sense to eventually work on a joint label project as his label is a key figure in the current wave of jungle music, plus I hadn't put any music from him on Future Retro London yet so now I can finally tick him off the list!

Big up to Dead Man's Chest for his work on the collaborations & for his involvement in making this release a reality.

This album is the game soundtrack of Absolum, a fully hand-drawn world and unique lore by the team behind Streets of Rage 4, TMNT: Shredder’s Revenge... Known for Ori and the Blind Forest and Halo Infinite, the main composer Gareth Coker brings his signature emotional depth, blending dark fantasy orchestration with medieval-inspired themes and brooding atmospheres.


From orchestral soundscapes to thrilling boss fight themes, this soundtrack features guest tracks by Mick Gordon (DOOM 2016, Wolfenstein: The New Order, Atomic Heart...), Yuka Kitamura (Elden Ring, Dark Souls III, Dark Souls II), Motoi Sakuraba (the Dark Souls Series, Mario Golf, Star Ocean), and Rachel Hardy (Stray Gods, Eternal Strands), setting the tone for the events taking place in this cute but twisted fantasy world. Magic may be forbidden in these lands, but the music is still truly enchanting!

With her sophomore album JAWBREAKER, Sam Quealy cements her status as one of pop’s most daring new voices. Like the cult candy it’s named after, JAWBREAKER is bold, addictive, and dangerously fun — a sugar-coated explosion of chaos, glamour, and emotion.

Produced alongside longtime collaborator Marlon Magnée (La Femme) between their Paris home studio and the legendary Studio Ferber, the album marks a striking evolution from Blonde Venus (2023). Here, Quealy trades the sharp edges of techno-pop for a lush, disco-infused sound, blending live instrumentation and cinematic sheen with her trademark anarchic energy. The result is a record that feels liberating, hedonistic, and deeply human — a vibrant antidote to modern gloom.

From the euphoric escape of “LONDONTOWN” to the dark romance of “LOVE LASSO”, and the shimmering pop fantasy of “GIRLS NIGHT”, Quealy channels a thousand versions of herself — club queen, rock diva, dreamer, and provocateur. The ethereal duet “BY MY SIDE” with Magnée closes the album in a haze of tenderness and light.

A multidisciplinary artist — singer, dancer, performer, and visual visionary — Quealy extends her universe through spectacular music videos and high-energy live shows that merge fashion, choreography, and raw emotion. On stage, she’s magnetic: a whirlwind of hyper-femininity and power, commanding every room with unfiltered authenticity.

With JAWBREAKER, Sam Quealy delivers a fearless pop statement — an exhilarating fusion of sensitivity, chaos, and self-expression that confirms her as a genre-defying visionary ready to take over the world.

Dubcore 27 features DJ Badshape from Leipzig’s vibrant breaks and bass scene with her full vinyl debut. She already made her solo debut with Hurrican Kick on Defrostatica Records and dropped some tunes on some compilations like Bassmæssage Second Drop as well as on cassette on human togetherness. While producing tunes she dj and regularly uploads her Temper mixes on SoundCloud.

The first two tracks, “Facebreaker” and “Entitled,” were produced shortly after Bangface. Hours of waiting at Humberside Airport turned into long talks about music — the festival's energy and conversations inspired this creation. The tune “Spring Bird Symphony” is the first track I produced with the KO2 media sampler from Teenage Engineering. It was the best birthday present my boyfriend could have given me! You hear the spring fever in it? ;) Finally, “Der Fallende Bach” is an ode to the flora and fauna of the Austrian Alps, imagining the joy a drop of water must feel as it rushes down a waterfall, riding nature’s own rollercoaster.

Last Summer, Kelly Finnigan made you a mixtape. It was an eclectic mix of ideas. Now, Colemine Records is excited to share two of those tracks on vinyl for the first time. The A-side 'Leave You Alone,' is a stone-cold classic R&B soul cut, and a certified ear worm. It tells a love story from the female perspective, inspired by the soulful sounds of Bettye Swann. This track features the Ramey Brothers (of Monophonics, The Ironsides) and highlights Kelly on all other instruments. TheB-side, 'Thom's Hartbreak' is at hank you letter to Thom Bell & William Hart, two names that are synonymous with the 60s/70s "Philly Sound". This instrumental tune is an homage to a sound thats haped American music and left an indelible mark on the future of soul.