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Limited Edition 2026 Black Vinyl Repress.
The Milk of Human Kindness is Dan Snaith's third studio album, originally released in 2005. It marked the first record credited to the Caribou name, after Snaith dropped his previous Manitoba moniker following a threatened lawsuit from Handsome Dick Manitoba of The Dictators.
Rather than start from scratch, Snaith folded the two sides of himself together - the icy precision of Start Breaking My Heart and the sun-drenched sprawl of Up in Flames - into something both hypnotic - influenced by French progressive rock and German krautrock of the 1970s - and pastoral.
The record was met with strong critical acclaim, and its singles, "Yeti" and "Barnowl," remain fan favorites to this day. Against the backdrop of the legal name change it is simultaneously the end of a chapter while also quietly setting the stage for the run of albums that would follow.
Tracklist:

On their seventh studio album, Lost Cause Lover Fool (due April 24th on Far Cry/Thirty Tigers), The Milk Carton Kids deliver 9 songs that, more than ever, invite listeners to lean in close and hover in the small moments the album magnifies. Much has changed since The Milk Carton Kids — Los Angeles-based singer-songwriters Kenneth Pattengale and Joey Ryan — burst on the Folk scene in 2011. And The Milk Carton Kids have changed too. But at least one constant remains. Pattengale and Ryan continue to make music that entices us turn down the volume on a chaotic world and dwell as long as possible on what matters most. With rootsy arrangements, Lost Cause Lover Fool expands on the duo’s signature minimalist sound their fans love while also, somehow, making it even smaller. Lost Cause Lover Fool begins with the lonesome pluck and strum of the banjo on “Blue Water.”

Often employed either for lightning-speed or rhythm, here the banjo is handled carefully, with reticence, so that it feels more like light cast across a stretch of grass than a whole bluegrass instrument. Lyrically, this album-opener zooms in on a snapshot of a man walking along a riverside, remembering the child that used to lay on his chest who has now grown to share his worried mind. It’s a moment so small it might easily have been dismissed, except that it holds an emotion as universal as it is fleeting. Lost Cause Lover Fool magnifies many such small moments, turns them into mesmerizing worlds, and reminds us — pleads with us — to pay attention to them as they go by.

Critically acclaimed folk duo The Milk Carton Kids are back with I Only See The Moon. Produced by Kenneth Pattengale, this full-length album features a collection of timeless and traditionalist tracks with hauntingly lovely and rich vocal melodies and lyrical content spanning the themes of time, nostalgia, heartbreak, sadness, love, nature, grief, loss, freedom, solitude, and relationships. Founded in 2011, The Milk Carton Kids swiftly emerged as a major force in the American folk tradition, blending ethereal harmonies and intricate musicianship with a uniquely powerful brand of contemporary songcraft. 2013’s ANTI- debut The Ash & Clay proved their national breakthrough, earning The Milk Carton Kids their first Grammy Award nomination for Best Folk Album. A second Grammy nomination for Best American Roots Performance followed in 2015 for the track “The City of Our Lady” from band’s acclaimed third studio album, Monterey, and 2018’s All The Things That I Did And All The Things That I Didn’t Do was nominated for Best Engineered Album, Non-Classical. The band’s most recent album, 2019’s The Only Ones (out now via Far Cry Records in partnership with Thirty Tigers), was the subject of extensive praise, with Rolling Stone proclaiming that “Kenneth Pattengale and Joey Ryan get back to the beautiful basics with The Only Ones,” while NPR’s “World Café” noted that “even though Joey and Kenneth are not related, their voices together create a sibling-like harmony...the duo has a strong sense of respect and reverence for the musical traditions that they've grown from.”

Wah Wah 45's are proud to present "Cages", the third album from southern soul boys The Milk. Having released "Favourite Worry", their critically acclaimed sophomore album and first for independent label Wah Wah 45's, in 2015, the band are able to trace the seeds of the latest LP back to their recording sessions with producer Paul Butler (Andrew Bird, Michael Kiwanuka, Nick Waterhouse) almost five years ago, blending elements of soul, funk and rock together to create their own unique sound, inspired by some of their favourite artists such as Bill Withers, Traffic and the Isley Brothers.

"I can't wait to hear you write songs that look outward" - these words from Paul subconsciously had a lasting impression on the band. To atone for more inward-looking sentiments on "Favourite Worry", there had to be a shift in perspective. During the formative stages of the new album The Milk started pursuing a Nichiren Buddhist practice. The values and principles they discovered during this have informed every aspect of the record.

"We wanted to write an album that looked outside of the walls, to people, society and the environment - embracing real freedom in musical expression by utilising more complex rhythmic structures, extended harmony and dissonance to paint an original and authentic-sounding record" explains If their debut, "Tales from the Thames Delta", was inspired by hedonism and "Favourite Worry" by introspection, "Cages" is an impassioned conversation with the world. Racism and division are all on the rise. British society is being pulled apart by forces that seek to divide us and rip the compassion and empathy from our minds and hearts. We have become distracted from the more urgent challenges of boundless consumerism, climate change, and the mental health emergency reeking havoc on our streets.

We are the birds in the cage, tied by cheap thrills and fake news to a limited world vision that is no longer fit for purpose. The good news? We can all choose to challenge this view. "Cages" is equal parts the dark black shadow of how far we've fallen and the blazing sunlight whose rays of hope can still change the world. Four life-long friends, Ricky Nunn (vocals), Mitch Ayling (drums) Luke Ayling (bass) and Dan Le Gresley (guitar) formed their first band when they were still at school in Essex, playing countless working men's clubs, and finally became The Milk.

The band have built up a following of dedicated fans around the UK, which has resulted in them selling out venues such as Scala, Koko and Shepherds Bush Empire. Keen to get back on the road where they feel most at home and where the guys really shine, the band offer up a compelling set of diverse styles, matched with an ability to effortlessly intertwine songs together, gives their music a continuous feel to it. Since signing to Wah Wah 45's, the band released their second album "Favourite Worry", which became one of BBC 6 Music's albums of the year, sold out London's Union Chapel, toured with the Fun Lovin' Criminals and completed a sell-out UK tour climaxing at London's KOKO in Camden town. ... More live dates coming very soon!

Federico Albanese is a composer born in Milan, Italy in 1982, and currently based in Berlin. His musical versatility is a natural gift that pushes him to explore music in all its facets. Albanese's compositions are airy and cinematic, blending classical music, electronics and psychedelia. Federico started studying piano and clarinet as a child before becoming fascinated by rock music. As a teenager he studied bass and became a self-taught guitarist and soon became one of the leading figures of Milan's underground scene, performing in several bands. Influenced by black music, folk, electronic, modern and contemporary classical music his skills as a composer soon emerged, He worked for 5 years as prop man in several film sets. This experience made him understand the power of the connection between music and images and helped him to develop his personal musical path. In 2007 Albanese met singer and songwriter Jessica Einaudi and together they founded the avant-garde duo ""La Blanche Alchimie"". Composing songs with Jessica he rediscovered his love for the piano, which from that moment on, became his main instrument. Since then Federico has scored several films, short films and documentaries, including a documentary on a project commissioned by Ermenegildo Zegna in the National Museum of XXI Century Arts in Rome. In February 2014, Federico Albanese will release his debut album entitled ""The Houseboat and the Moon"". He found a place, an imaginary place, where, whenever he wanted to, he could jump on and just float away. On this moving shelter, traveling across memories and imagination, lulled by water and led by the moon, Federico wrote the 13 compositions of his debut. He recorded all of the piano parts with a 1969 German tape recorder, the Uher Royal Deluxe, which allowed him to catch all of the tiny hidden shades, the imperfections, the noises of the piano and its surrounding space. Federico melts this rarefied sound with electronics, live recordings, strings, and homemade instruments. The result is a combination of contrasts and colors with a variety of atmospheres that wonderfully represents Federico's musical universe. Vinyl: thick gatefold covers, 180g vinyl,free download.

Skyjoose and Johnnie Clark set out to push the boundaries of UK Garage and 2-Step, crafting a sound that was raw, souldful, and ahead of its time. The project became known as The Stalker – a name that would quietly echo through the underground. Though countless tracks emerged from those sessions, only two saw the light of day on the original Stalker EP released in the year 2000.

Now, 25 years later, The Stalker returns from the depths of the DAT archives – remastered, reawakened, and ready to move dancefloors once again. This special repress features the two original vocal mixes from the Stalker EP, plus four additional club weapons forged in those same legendary sessions – three of which have never been released…until now.

Following Camille’s international success with the soundtrack of the film Emilia Pérez, which earned her an Oscar, a César Award and a Golden Globe, Camille returns with a new original album titled “The Sound of Milk”. It will be her first album in nine years and is conceived as a triptych :

Following Camille’s international success with the soundtrack of the film Emilia Pérez, which earned her an Oscar, a César Award and a Golden Globe, Camille returns with a new original album titled “The Sound of Milk”. It will be her first album in nine years and is conceived as a triptych :

LIMITED EDITION (500 COPIES) 20TH ANNIVERSARY REMASTER, AVAILABLE ON VINYL (2LP) FOR THE FIRST TIME IN ALMOST TWO DECADES. HOUSED IN GORGEOUS GLOSSY GATEFOLD SLEEVE AND PRESSED ON RED & ORANGE VINYL TO COMPLIMENT THE ARTWORK
City Calls Revolution is our second full-length album, created as we absorbed the new wave revival and math rock movements that emerged in the early to mid-2000s, while simultaneously reconstructing elements of classic progressive rock, hard rock, and experimental music in our own way.
The album strongly reflects the attitude we cultivated as a live band—deeply influenced by the American and Japanese bands we shared stages with at the time—and embodies the punk spirit that shaped us.

Recorded and mixed in March 2005 at Headgear Studio in Brooklyn, New York, by Paul Mahajan (known for his work with Yeah Yeah Yeahs, TV on the Radio, and others), the album was originally released in May of the same year on both LP and CD by Beta-lactam Ring Records, then based in Portland, Oregon. Long out of print, it now returns two decades later as a newly remastered edition to be released by Riot Season Records in the UK.

In 2026, GREEN MILK FROM THE PLANET ORANGE celebrates its 25th anniversary—and also marks 10 years since Damo joined as our current bassist. It is a joy and an honor to have this album, filled with songs we still play live today, reissued in such a milestone year.

Starting January 2026, we will bring this LP on tour across 27 shows in 11 European countries, including the UK. We look forward to seeing all of you at the venues.
/// 2026 Winter European Tour ///

A limited edition, full-length split album celebrating a 2024 co-tour of Japan by underground cracked-psych purveyors Fuckwolf from San Francisco and legendary prog-benders Green Milk From The Planet Orange from Tokyo. Green Milk stretch a live performance of one of their extended signature jaw-droppers “Concrete City Breakdown” relentlessly across an entire side of LET’S SPLIT (裂けても) while Fuckwolf delve into a 6-part abstract song cycle, ranging from stoned incense burners to blown out fuzz rippers, echoes of Faust Tapes, Les Rallizes and 70’s mid-west outsider proto-punk abound. Green Milk From The Planet Orange formed in Tokyo in 2001 and continue to tour, record and perform some of neo-psychedelia’s most ambitious and masterfully performed rock music. Fuckwolf formed in San Francisco in 2002 and most recently released the criticallylauded underground scuzzy art-rock gem of 2022 ‘Goodbye, Asshole’ on Silver Current Records. LET’S SPLIT (裂けても) releases March 22nd on limited edition vinyl and digital from Silver Current Records. Catch Fuckwolf and Green Milk From The Planet Orange on tour together in Japan in late March and April 2024, including a Tokyo release party.

A limited edition, full-length split album celebrating a 2024 co-tour of Japan by underground cracked-psych purveyors Fuckwolf from San Francisco and legendary prog-benders Green Milk From The Planet Orange from Tokyo. Green Milk stretch a live performance of one of their extended signature jaw-droppers “Concrete City Breakdown” relentlessly across an entire side of LET’S SPLIT (裂けても) while Fuckwolf delve into a 6-part abstract song cycle, ranging from stoned incense burners to blown out fuzz rippers, echoes of Faust Tapes, Les Rallizes and 70’s mid-west outsider proto-punk abound. Green Milk From The Planet Orange formed in Tokyo in 2001 and continue to tour, record and perform some of neo-psychedelia’s most ambitious and masterfully performed rock music. Fuckwolf formed in San Francisco in 2002 and most recently released the criticallylauded underground scuzzy art-rock gem of 2022 ‘Goodbye, Asshole’ on Silver Current Records. LET’S SPLIT (裂けても) releases March 22nd on limited edition vinyl and digital from Silver Current Records. Catch Fuckwolf and Green Milk From The Planet Orange on tour together in Japan in late March and April 2024, including a Tokyo release party.

For the first time ever, Neutral Milk Hotel's much-beloved, endlessly influential 1998 album In the Aeroplane Over the Sea is available on cassette. On too many "best albums of the 1990s" lists to recount, In the Aeroplane Over the Sea gives us Jeff Mangum's powerful solo acoustic work, full horn-section marches, history, religion, and sex _ everything you hoped for and more!













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It features compositions by the great Stan Tracey - The Godfather of British Jazz - inspired by Dylan Thomas' drama 'Under Milk Wood', including the timeless "Starless and Bible Black" with its acclaimed solo by tenor saxophonist Bobby Wellins.

Like Thomas's characters, the themes vary greatly in tempo, in mood, in dramatic depth. The title song is a triumph, not only because it stands by itself as a beautifully conceived jazz ballad, but because it sets the scene for the rest of the writing and playing. Some of the other themes are impressionistic and highly subjective sketches of Thomas seen through the prism of jazz.

It was awarded 69th place in Jazzwise magazine's The 100 Jazz Albums That Shook the World: "Tracey is indispensable, a one-man mission statement. Here he showed how much could be achieved within the basic jazz quartet format.

Reaction at the time seems to have been along the lines of where on earth did this come from? Coherent, vital and mind-stretching."
"The haunting Starless and Bible Black remains probably the finest single recorded performance by a British jazz group." - The Observer

The two full-length records that Jeff Mangum made as Neutral Milk Hotel sound both in and out of time. Like translations of a shared subconscious, 1996's On Avery Island and 1998's In the Aeroplane Over the Sea give voice to the perennial spirit of youthful epiphany, of beginning to see the world clearly, to process and express it-no matter when you encounter them. With lo-fi indie rock, accordion, singing saw, tape collages, the so-called "zanzithophone" and beyond, Neutral Milk Hotel created an eternal entry into their Elephant 6 scene and an enduring feeling of possibility. Mangum was born in the small city of Ruston, Louisiana, in 1970, coming of age within the '80s and '90s indie and punk undergrounds, a movement of teenagers recording in their bedrooms, sharing zines and trading tapes, listening to hardcore and experimental music on college radio. For all the mythology Mangum's elusive persona has accrued-particularly during the 15 years immediately following Aeroplane, when he abruptly left the band behind-it's the beguiling songs themselves that have resonated so deeply for generations. In 2011, Mangum collected nearly all of the band's recorded output in a limited-edition box set (self-released under Neutral Milk Hotel Records, a small operation helmed by Mangum and his mother) which is now re-pressed by Merge. // CONTENTS: Black matte box is a 2-piece telescoping casewrapped package. Outer shrink-wrap includes a front sticker with "Neutral Milk Hotel," and a back sticker listing box contents. The box set includes 2 folded posters, each printed one side and each 24 x 24 inches when flat, and 1 postcard, printed front and back with box set information and sized 3.75 x 5 inches. Vinyl records: 1. In the Aeroplane Over the Sea: LP is 11 tracks pressed 33RPM to black vinyl in a gatefold jacket + printed insert for full album download. --- 2. On Avery Island: 2-LP is 12 tracks pressed to double black vinyl in a gatefold jacket + 11 x 11 printed insert + printed insert for full album download. Sides A, B and C pressed 45RPM. Side D pressed 33RPM. --- 3. Live at Jittery Joe's: 12-inch picture disc is 11 tracks pressed 33RPM to a full color picture disc in a heavyweight poly jacket + printed insert for full album download. --- 4. Ferris Wheel on Fire: 10-inch is 8 tracks pressed 45RPM to black vinyl in a printed jacket + postcard insert + printed insert for full album download. --- 5. Everything Is: 10-inch is 7 tracks pressed 45RPM to black vinyl in a printed jacket + postcard insert + printed insert for full album download --- 6. "Little Birds": 7-inch is 2 tracks pressed 45RPM to black vinyl in a printed jacket + printed insert for full album download 7-inch housed in a heavy-weight poly jacket. --- 7. "You've Passed": 7-inch is 2 tracks pressed 45RPM to black vinyl in a printed jacket + printed insert for full album download. 7-inch housed in a heavy-weight poly jacket. --- 8. "Holland, 1945": 7-inch is 2 tracks pressed 45RPM to black vinyl in a printed jacket + printed insert for full album download. 7-inch housed in a heavyweight poly jacket.

In celebration of 20+ years since their classic debut Uptown Saturday Night, Bronx duo Camp Lo present a special double-album 2XLP with On The Way Uptown & The Get Down Brothers. On The Way Uptown features a collection of demos and unreleased songs made between 94' - 95', leading to their official debut in early 1997. Aside from the early versions of their hits Luchini (AKA This Is It),' Sparkle,' Black Connection,' and Coolie High', other standouts include World Heist', Coolie High Is Life' & A Piece of the Action'.

On The Get Down Brothers, Camp Lo completely pivot away from their 90's nostalgia into a much more futuristic and experimental sound. Although the production is different, their signature tongue-twisting and hype flows remain, creating a unique and seamless fusion packed into 10 dynamic tracks.

Repress!

Stix Records is a sub-division of Favorite Recordings, recently launched with a first official single by Taggy Matcher Birdy & Nixon (STIX033), who pleased us with two Reggae-Rocksteady renditions of the famous Black Keys. Precisely specialized in the exercise of producing covers with a Reggae twist,
the new label presents his first album entitled "Disco Reggae". Many artists faithful to the stable of Favorite Recordings and its various sub-labels are invited for the occasion: The Dynamics, Blundetto, Grandmagneto, 7 Samurai, John Milk or Taggy Matcher. All came and brought their respective touch to this first compilation, with among other things some of the rarest titles from their Big Single Records' years, but also 4 new and exclusive productions. Each of them delivers a great isco-Reggae version of classic hits by some artists as diverse as Madonna, Herbie Hancock, Justin Timberlake, The Commodores, The O'Jays, Curtis Mayfield, Harry Nilsson or Sugarhill Gang. Whatever the genre or the period, nothing can resist their inventiveness and creativity, to the point sometimes we confuse between originals and covers. Everything is remastered and cut at Carvery Records (UK), known for their expertise in Caribbean and Disco music. The vinyl LP comes in a deluxe version, housed in an old-school Tip-On Jacket.

Floating Points' personal collection of global soul, ambient, jazz and folk treasures form the latest in the warmly revered Late Night Tales series.

Sam Shepherd aka Floating Points' music taste is notoriously tricky to define, ranging from ethereal classical at one end to coruscating techno at the other, united only in a firm belief in the transcendental power of music to move hearts, minds and - yes - feet. Similarly, his production career has ranged from early experiments in dance music with breakout records such as the 'Shadows EP' and collaborating with legendary Gnawa master Mahmoud Guinia to his expansive album 'Elaenia', which met with critical acclaim upon its release in 2015.

This Late Night Tales excursion into the depths of the evening reflects his broad tastes. The globally-travelled producer has collected untold treasures on his travels from dusty stores in Brazil to market stalls near his hometown. There's the gorgeous 'Via Làctea', culled from Carlos Walker's debut album, Abu Talib's (Bobby Wright) plaintive 'Blood Of An American' and Robert Vanderbilt's gospel reworking of Manchild's 'Especially For You'. Raw soul and feeling oozing from each song's pores.

At the other end of the music scale are the modernists, such as Québécoise Kara-Lis Coverdale who weighs in with the indelible 'Moments In Love', Kaitlyn Aurelia Smith whose 'Milk' is an exercise in tranquility, while Sarah Davachi's meditative mix-opener offers respite from a weary world.

We have some exclusive tracks for Late Night Tales; alongside Davachi's offerings there is also Toshimaru Nakamura's 'Nimb #59', as well as the now traditional cover version. hepherd delved into his childhood
memory for this one, a track taken from the first album his parents bought him, Kenny Wheeler's 'Music For Large & Small Ensembles': Sam offers up his interpretation of 'Opening Part 1'. Wheeler also contributes horns to Azimuth
track The Tunnel, written and performed by Norma Winstone and John Taylor who, coincidentally, are the parents of Floating Points' drummer Leo Taylor. Closing the album, Lauren Laverne reads the suitably nocturnal poem 'Ah! Why, Because The Dazzling Sun' by Emily Brontë.

'I tried to find music that reflects the stillness of night. And because my musical interests lie all over the place, it's quite difficult to distil that notion down to just a few songs. I was quite keen to have some electronic music in there but I also really wanted to have some soul music mixed in, so I had to try and find a pathway between all of this different music.' - Sam Shepherd (Floating Points) March 2019

As co-founder of Fuck Buttons; the highly-influential noise-electronic duo, Andrew Hung has toured extensively with headline shows at the Kentish Town Forum, Glastonbury and Greenman Festivals, been featured on the

2012 Olympics opening ceremony and all three albums have featured as Best New Music on Pitchfork Media. His production work has included Zun Zun Egui's 'Shackles Gift' and cowriting/

co-producing the critically acclaimed 'Kidsticks' by Beth Orton. In 2016 he soundtracked the multiple-award winning film 'The Greasy Strangler ', and was nominated for Best Soundtrack at the Empire Awards. His debut solo

album, Realisationship was released via Lex records in October 2017. An Evening With Beverly Luff Linn is the soundtrack to Jim Hosking's directorial follow up to The Greasy Strangler and stars Aubrey Plaza, Jemaine Clement,

Emile Hirsch, Craig Robinson and Matt Berry.

Stix Records is a sub-division of Favorite Recordings specialized in the exercise of producing covers with a Reggae twist. Acclaimed in 2013 with a first official single by Taggy Matcher Birdy & Nixon (STIX033), quickly followed by the first volume of Disco Reggae (STIX035) compilation, Stix is back in 2014 with a scorching Disco Reggae Vol.2.

Following the success of its first volume, the Disco Reggae series also expands with this 9 tracks compilation, composed with 8 new and exclusive versions by artists such as Taggy Matcher, 7 Samuraï, Mato, or John Milk, and the classic cover of Tainted Love' by Grandmagneto. But this time, if they still explore famous hits like Watermelon Man' by Herbie Hancock or Happy' by Pharrell Williams, they also dug within the home labels' catalog,
taking over some of the finest titles by Mr Day, Lee McDonald, Lucas Arruda or The Joubert Singers.

Again this time, their swaying renditions seem straight out of the smoky studios from Kingston or Montego Bay, while also remembering the 80s Pop-Reggae sound of artists like Grace Jones or the less famous Earons.
Everything is mastered and cut at Carvery Records (UK), known for their expertise in Caribbean and Disco music. The vinyl LP comes in a deluxe version, housed in an old-school tip-on jacket.

Jam Money is the shared musical vision of Kevin Cormack and Mathew Fowler. Mathew (Bons) and Kevin (Half Cousin, Harry Deerness) first began collaborating as part of the Blank Tape Spillage Fete, an ongoing collective project of art and music which focuses on the creation and perpetuation of small DIY exhibitions, related events and limited releases that celebrates the hobbyist nature of home recording.

Jam Money revolves around a passion for the simple and sometimes restrictive nature of four-track cassette recording. Using old half-broken guitars, clarinets, charity shop keyboards, toys, family heirlooms, zithers, home-made percussion, and household objects a shared dialogue appears, involving both mark making and musical mishaps, allowing the makers to be carried along as the music finds its own way.

Genre definitions melt away in Jam Money's music as ambient dissolves into lo-fi rock, noise into fragile naive classroom melodies. Creativity beyond easy categorisation.The first recordings titled 'Blowing Stones' were self-released in 2014. The cover and insert artwork for this record featured abstract paintings by the artist Aimée Henderson whose work and process is a great influence on their music. Having played gigs alongside kindred spirits National Bedtime and Plinth, the tail end of 2015 saw the the band travel to Germany to play with the Notwist and Le Millipede for a series of 'Alien Disko' nights organised by Alien Transistor, a label with a shared kinship of both the weird and wonderful.

'A Gathering Kind' is the second album by Jam Money: a journey of sound and colour, subliminal images and narrative. The roots of this collection found Fowler and Cormack using an earthier, more instinctive language, making it a rougher-edged sibling to their other recordings, with parallels to the home-spun worlds of Flaming Tunes, Pumice, Maher Shalal Hash Baz and World Standard. Aimée's artwork features again, both paintings and music forming a collective language of dream-like adventure.

"Poignant and exploratory. Melting together acoustic and electronic elements, the narrative throughout is one of a ghostly world heading for winter. A firm fan favourite Stephen Pastel (The Pastels & Monorail Music) on Blowing Stones.

"Created in question and answer form, their songs exist like little sculptures - wayward and peaceful, sometimes whirring into automatic life under the pair's combined attention."

2015 Vinyl reissue incl CD - LIMIÑANAS 4 existing albums re released - FIRST TIME ON LP+CD package!

Here we go. The second "Home Sweet Home Sessions" lies upon the table! That means: Upon You is celebrating its second anniversary and is looking back on another successful year. Again- this fine compilation puts together a selection of the members of the inner circle of production, with whom they've been sharing the nightlife and the love to electronic dance-music.

The sun sat high above the desert outside Joshua Tree on October 17, 2024, baking the rocks and shrubbery outside the Farrington Observatory as a small group of invited guests ventured up a steep path towards the telescope. Kyle Simon, the artist and printmaker who founded the Observatory, was standing outside the print studio sat below the towering cylindrical building, greeting friends alongside his wife Sarah and lifelong friend Brian Weitz, the musician widely known as Geologist of Animal Collective. Simon and Weitz had spent the previous day testing and retesting a system that would transform the light of the oncoming full moon captured by the gigantic telescope into a signal that would modulate the control voltage of Weitz’s modular synthesizer. As the sun dipped below the horizon line, the audience gathered on a small wooden patio surrounded by speakers while Weitz readied himself behind the array of patches and knobs. Simon addressed the group, presenting the history of The Sirens, the sonic exploration of the night sky’s mystical and scientific significance about to unfold.

The music conjured under the Hunter’s Moon that night is now documented on this first official release of The Sirens, which was conceived by Simon and Weitz as a recurring performance piece and sound installation. Over a decade ago, Simon began immersing himself in literature on humanity’s sonic relationship to the celestial realm, including Homer’s Odyssey, Plato’s “Spindle of Necessity, ” Kepler’s Harmonices Mundi, and the field of astroseismology. He fitted homemade telescopes with photodiodes and optical sensors to make the images audible, finding latent patterns in the noisy sonic signals he began receiving from the stars. With Weitz, the process expanded as the signal was routed through an analog amplifier and set to modulate the pitch, filter, and other elements of his synthesizer. Together they developed a system of improvisation, with Simon adjusting the telescope to change the intensity of the light based on its relationship with the moon’s position (imagine a theremin player moving their hands in subtle, meaningful motion), and Weitz responding to that input in real time: bending it, amplifying it, or letting it stand on its own. The duo debuted the piece at the Integretron in Joshua Tree in 2018, providing a crucial proof of concept for the performance at Farrington featured here.

The first thing the listener hears on The Sirens is the opening of Farrington Observatory, the cranking of motor and metal. As the lens of the telescope is exposed to the evening air, a wavering drone emerges from the synthesizer, flickering at the margins, the tuning of the oscillators adjusting to the rapidly cooling desert air. The piece progresses and the drone becomes a luminous, spherical constant, bathing the listener in pure tone as Weitz draws out harmonically ambiguous melodies that spiral upwards. Electronics crackle and convulse, coalescing into dense dissonance before widening out into an open octave. Just as the moon orbits the Earth and the stars shift as the planet rotates, so each sonic element appears in flux, interrelationships slowly forming and falling away. Divided into two parts, The Sirens flows as a continuous conversation between the artists and the starlight completing its thousand-year journey across the galaxy.

The Sirens belongs primarily to a lineage beyond music: of sea captains navigating by looking skyward, of astrophysicists studying the formation of the Milky Way, of the modern myths of werewolves, of the stories embedded in constellations. As Simon writes in the album’s extensive liner notes, “These stories and explorations reveal a collective yearning to become conscious of our connection to the universe, our deep-seated desire to understand how we fit into it all.” This music underscores the history of the night sky as the place where poetry and science find common ground, where exploration hinges on the imagination. Driven by curiosity and ingenuity, Weitz and Simon look up and wonder.

Bloodhound Gang’s irreverent brand of comedy-rock and rap-rock is collected here on this essential 1LP hits package, pressed on exclusive Milky Clear vinyl and including a collectible poster. Featuring the band’s biggest and most enduring tracks, the set is led by the international smash “The Bad Touch”, a multi-million-selling single that reached No.1 in Germany, Sweden and several other European territories, while also hitting the UK Top 5. Also included are fan favourites “Fire Water Burn”, “The Ballad Of Chasey Lain”, “Along Comes Mary”, “Foxtrot Uniform Charlie Kilo”, “Uhn Tiss Uhn Tiss Uhn Tiss” and “I Hope You Die”, spanning the band’s most successful era from the platinum-selling Hooray For Boobies through to Hefty Fine. Bloodhound Gang have sold millions of albums worldwide, with Hooray For Boobies reaching No.1 in both Germany and Austria and achieving Platinum certification in the US. Combining the group’s biggest chart hits, cult classics and live favourites, this specially curated single-LP edition delivers the definitive Bloodhound Gang experience in a concise, collector-friendly format.

“Danny Elfman’s musical score was to die for, and
it was incorporated into ‘Wednesday’’s joyfully
bleak coming-of-age story so brilliantly.” -

 Double LP on Purple Goth with Smoky Shadow
vinyl, with full colour gatefold sleeve and inner
sleeves.
 Composed by four-time Oscar nominee, two-time
Emmy winner Danny Elfman (‘Milk’, ‘Big Fish’,
‘Men in Black’, ‘Good Will Hunting’, ‘Live from
Lincoln Center’, ‘Desperate Housewives’, ‘The
Simpsons’) and three-time Emmy nominee Chris
Bacon (‘The Tick’, ‘Bates Motel’, ‘Smash’,
‘Gnomeo & Juliet’, ‘Sherlock Gnomes’,
‘Immanence’).
 Elfman also composed music for Tim Burton’s
‘Beetlejuice’, ‘Batman and Batman Returns’, ‘The
Nightmare Before Christmas’, ‘Mars Attacks!’, ‘Big
Fish’ (for which Elfman earned one of his four
career Oscar nods) and ‘Alice in Wonderland’,
among others.
 Chris Bacon is a protege of the great James
Newton Howard, and won an HMMA for ‘Gnomeo
& Juliet’, which he shared with James and Bernie
Taupin (Elton John).
 Online - Promoted through all Lakeshore Records social
media.

Limited repress of 1000 LPs Milky Clear Vinyl, exclusively for Germany. Falling In Reverse's latest full length "Popular Monster".

After a five-year-long hiatus, CVBox is back with six tracks between techno, acid, electro and IDM that are more suited to those super dark times we're currently living through than ever before. On "Pattern Based On", the Dresden-based artist and long-running Uncanny Valley-comrade (four EPs and one album) proves that he hasn't lost his touch when it comes to creating electronic cyberspaces that might drive you mad a bit. With majestic sounds and constantly evolving arrangements, the tracks are strangely entertaining on the dancefloor while you can't help but still feel a queasy sensation in your stomach. While some describe the tunes as milky, permeated by translucent membranes, for others they are an aural embodiment of urban landscapes in the post-apocalypse. Only two things are true: No one sounds like CVBox and all his tracks sound like CVBox. The title refers to structures derived from repetitions, sequences and, indeed, patterns. Although the sounds within these patterns usually follow clear paths, they are allowed to overlap and falter. At the same time, it is music through which CVBox comes to terms with his time as a paramedic. The artwork extends this idea with a special twist. A medical-based test pattern with its clinical functionality is set against a backdrop that is clearly placed in a natural environment. A process that creates a kind of artefact and triggers immediate reflection on what will remain of us many decades from now. What role will music play in defining this?

X Clan emerged from Brooklyn, New York as one of the most distinctive and politically charged groups of the early 1990s. The original lineup, Anthony “Sugar Shaft” Hardin, Claude “Paradise” Gray, Jason “Brother J” Hunter, and Lumumba “Professor X” Carson, became the driving force behind the Blackwatch movement, a collective that also included artists such as Lin Que aka Isis and Queen Mother Rage.

Renowned for their Afrocentric vision, militant activism, and unmistakable sonic identity, X Clan quickly rose to prominence. Their 1990 debut album To The East, Blackwards sparked both acclaim and controversy, reaching No. 11 on Billboard’s Top R&B/Hip-Hop Albums and No. 97 on the Billboard 200. The record delivered several standout singles, including “Heed The Word Of The Brother” backed with “Raise The Flag”, “Funkin’ Lesson” backed with “Shaft’s Big Score”, “Grand Verbalizer, What Time Is It?”, and the funk-driven, sample-heavy track “Verbal Milk”.

The group’s original formation dissolved in 1995, and tragically, both Sugar Shaft and Professor X passed away later that year.

To The East, Blackwards is now reissued on vinyl for the first time since 1991, honouring one of hip‑hop’s most influential and culturally resonant albums.

It’s a rare occurrence for a band to continue making music into their fifth decade, even fewer top off that achievement with one of their most recent albums being named one of “2023’s Best Albums” by a venerable magazine like SPIN. But The Church did just that with The Hypnogogue, an album so adored by critics and fans alike that it ushered in an entirely new era for the Australian band.

Now armed with their 28th album Lacuna, the psychedelic dreampop legends continue to evolve and transform, remaining not only relevant but consistently delivering music that is innovative yet true to their signature sound. “Intense, forlorn, and exultant,” is how bassist/vocalist/founder Steve Kilbey describes the album.

With a measured command of melody and instrumentation that only comes with experience and age, it’s an album rife with indelible musical clasps that fasten hold of your attention and refuses easy surrender. It’s a steadfast talent that Kilbey hosts close to his chest that’s been ever-present in the 27 albums that preceded it (best evidenced by the jubilant, nearly sold out 2025-2026 Singles Tour legs across Australia and North America, featuring night after night of incredible three-hour sets).

Starting in 1980, The Church continued expanding their highly cinematic and atmospheric blend of indie rock, shimmering post-punk, icy dreampop and psychedelic post-rock without retreading their steps. Beginning with classic early albums Of Skins and Heart, The Blurred Crusade, and Heyday which built a sturdy foundation, 1988’s Starfish broke into the mainstream and gave The Church the international hit “Under the Milky Way.” The hit single has been regarded as one of the most influential and recognizable Australian rock anthems of all time.

Aaron Dilloway kehrt mit ,No Skill Comedy Mind Reading" zu Dais Records zurück - seinem ersten echten Album in voller Länge seit 2017, einer Sammlung von typisch verstörendem, absurdem Material. Geprägt von seinen typischen Verzerrungen und Verformungen - von Feedback umhüllte Fundstücke, Feldaufnahmen und Gesangsimprovisationen - versammelt ,No Skill" fast ein Jahrzehnt ausgewählter Soloarbeiten und wirkt dennoch ganz und gar zeitgemäß: ein sprunghaftes Produkt der Unbeständigkeit, zugleich hart und humorvoll. Nur wenige zeitgenössische Experimental-Künstler des letzten Vierteljahrhunderts sind so produktiv und verehrt wie Dilloway, ein Pionier der amerikanischen Noise-Szene im Mittleren Westen, ehemaliges Mitglied von Wolf Eyes und Gründer des in Oberlin ansässigen Labels und Plattenladens Hanson Records. Doch trotz seines immensen Gesamtwerks hat er nur zwei richtige Solo-LPs veröffentlicht, neben einer regelmäßigeren Produktion von Kassettenveröffentlichungen und Kollaborationsprojekten. Mit ,No Skill" vollendet er nun eine vieldeutige Albumtrilogie, die mit seinem wegweisenden Werk ,Modern Jester" aus dem Jahr 2012 begann. ,Ich habe fast das Gefühl, dass sie irgendwie Teil eines Ganzen sind. Alle drei Alben versuchen, in den schlimmstmöglichen Situationen Humor zu finden. Je nachdem, wer zuhört und wie die jeweilige Einstellung ist, könnten sie als lustig oder einfach nur als grauenhafte, schreckliche Alben empfunden werden." Halb im Ernst fährt Dilloway fort: ,Für mich ist dieses hier das Ergebnis von, na ja, verkorksten Sachen: psychische Erkrankungen, Medikamente, Scheidung, komischer Scheiß. Das Eintauchen in seltsame Dinge fasziniert mich immer auf die eine oder andere Weise." Neben den bereits erwähnten Einflüssen aus der menschlichen Erfahrung greift ,No Skill" auf verschiedene technische und ästhetische Kuriositäten zurück: das methodische Sounddesign von Alvin Lucier, Andy Milligans Low-Budget-Kult-Horrorfilm ,The Weirdo" aus dem Jahr 1989 und die pop-exzentrische Art des Filmkomponisten Hugo Montenegro. Dilloway stieß bei einer Lagerraumversteigerung auf dessen skurrile Habseligkeiten, darunter Notizen zu den frühen elektronischen Experimenten des Komponisten. Einige der beunruhigendsten Momente des Albums, wie das Lachen, das ,Bring Me The Head Of The Unknown Comic" heimsucht - klanglich eine Anspielung auf die Avantgarde-Größen Nurse with Wound und thematisch auf den Komiker aus den 1970er Jahren mit der Papiertüte über dem Kopf -, lassen sich auf den Einfluss dieses wahrhaft ungewöhnlichen Fundes zurückführen. ,No Skill" knüpft zudem an Dilloways jüngste künstlerische Ausflüge an: seine Umsetzung von John Cages 88-Band-Loop ,Rozart Mix"; die Originalmusik für ,The Absence of Milk In The Mouths of the Lost"; Gemeinschaftsalben mit Lucrecia Dalt (Lucy & Aaron) sowie Kim Gordon & Bill Nace (Body/Dilloway/Head). Während er an diesen und anderen Projekten arbeitete, legte er in Gedanken einen Ordner für sein nächstes Dais-Album an und sammelte Aufnahmen, die zu einer ziemlich vagen Vision passten. ,Dieses Album hat mich irgendwie völlig in Beschlag genommen, seit ich ,The Gag File` 2017 fertiggestellt habe. Zuerst dachte ich, es würde eher ein Pop-Album werden, aber dann hat mir das Lucrecia-Projekt diese Idee irgendwie aus dem Kopf getrieben. Es begann, eher wie meine Live-Sets zu fließen." Er entschied sich für eine Abfolge, die den Hörer ein wenig im Ungewissen lässt - ob erschrocken, amüsiert oder verwirrt; der Effekt soll absichtlich den Eindruck erwecken, dass etwas kaputt ist. Das Album beginnt mit schrillen Kreischen, bevor es in Drone-Passagen eintaucht, die durch zwei aneinander geriebene nepalesische Sarangi-Bögen entstehen, begleitet vom ersten Auftauchen seiner ogerartigen stimmlichen Präsenz. Anschließend werden mehrere Minuten von weißem Rauschen verschluckt (,Forced Auctioneer"). Dilloway verweist auf The Weirdos seltsamen Einsatz ausgedehnter Übergänge mit schwarzem Raum und seine lebenslange Liebe zum Bandrauschen. Er bekam Kassetten von älteren Kindern und hörte diese Geräusche als Teil der Songs, nur um später zu erfahren, dass es sich um klangliche Artefakte handelte, die von Generationen des Kopierens auf Kassette übrig geblieben waren. ,Ich stehe total auf die Idee, all diese Schichten aufzubauen und sie in etwas anderes zu verwandeln. Wenn ich zum Beispiel live spiele, kann es rauer zugehen als bei meiner aufgenommenen Musik, und dafür wollte ich genau dieses Gefühl einfangen - dass diese Ausbrüche laut sind, aber ein bisschen gedämpfter. Dieser totale Rauschklang, fast so, als wärst du unter Wasser." Dilloway sammelt Tonpoesie-Platten, und obwohl er seine eigene Arbeit nicht gerne in dieses Genre einordnet, spricht die Absurdität dieses Handwerks - die Verwendung von phonetischen Lauten und nonverbalen Geräuschen als Ersatz für traditionelle semantische Bedeutung - durch sein Werk. Auf ,Possession Audition Tape" liest er verschiedene Passagen aus einem Buch vor, das von einer französischen religiösen Gruppe aus dem 18. Jahrhundert handelt, die zu öffentlichen Unruhen neigte, und schneidet diese digital auseinander, wodurch er im Mix seine eigenen, echoartigen Stotterausbrüche erzeugt. ,No Skill Comedy Mind Reading" endet mit einem Stück aus Synthesizer und Orgel-Rhythmusmaschine, das auf Musik basiert, die er für den Film ,Supporting Actor" von Pieter Schoolwerth und Phil Vanderhyden komponiert hat - in dem ein Avatar von Dilloway in ein Portal gezogen wird. Dort trifft er in einem fantastischen Club auf posthumane Wesen. Die Szene, die sich irgendwie auf Audio übertragen lässt, versetzt das Set in einen passend verwirrenden Traumzustand. Ein Star der Noise-Musik, ein moderner Hofnarr, der aus dem Unbekannten berichtet.

Children of Zeus return with their third studio album ‘As The World Burns…’

Five years on from their highly-acclaimed sophomore album ‘Balance’, Manchester’s kings of hip hop soul, Tyler Daley and Konny Kon, bring us a brand new 16-track opus.

Sonically the duo continue their story where they left off; crafting an amalgamation of street soul, alternative r&b and boom bap hip hop, with a sprinkle of flavours taken from their original multi-genre pirate radio influences, and a dash of forward-thinking new sounds, ensuring all tracks are destined to become future classics.

The features are sparing but powerful, enlisting the talents of revered UK rapper Knucks (‘Before We Drown’), Colorado-native Young Old Soul (‘Dopamine’), MCR family K S R (‘Do You Want To Get High’, & Australian/Mauritian up & comer Anieszka (‘Water & Vibes’).

As with previous projects, this album is largely produced by the duo themselves, though there are guest productions from previous collaborators too, including Grammy Award-winner Beat Butcha, Grammy-nominated Teo, and broken beat pioneer K15, along with an assortment of new players making moves in the underground neo-soul & beats circuit.

Conceptually, this project continues on with the story to date. An eternal search for sunsets and soulfood, as a respite to the anxieties of the modern world; personally, professionally and globally. Assertive swagger is matched with brutal but sincere candidity. As ever, it encapsulates the rough with the smooth, with reflections on where they’ve been, where they’re at and where they’re headed. There’s no preaching to be found here; just an acceptance of things as they are, an embrace of the environment and people they were nurtured by, and a celebration of some of the finer things in life; slow jams, weed & rum, water & vibes. Raps for listeners, blunt heads, fly ladies and prisoners. All packaged together as another perfect sonic love letter to sound system culture. 50 minutes of big people music.

Since the release of their anthemic debut single ‘Still Standing’ a decade ago, to the subsequent EP ‘The Story So Far’, and their critically-lauded debut album ‘Travel Light’, the duo have received numerous accolades, including nominations for AIM Awards & Worldwide Awards both, along with tons of ‘Album of the Year’ nods care of Clash Magazine, Bandcamp, Complex, Wordplay and many more. This along with huge swathes of support from DJs, radio stations, press outlets, tastemakers, luminaries & fellow artists across the globe.

Children of Zeus have performed sessions for COLORS, Soulection (Apple Music), DJ AG, Boiler Room, BBC 6 Music and at the infamous Maida Vale studios for BBC 1Xtra as well as touring across Europe, Australia and South Africa. This is in addition to collaborating & touring with Mercury Award Winner’s Ezra Collective, including a Wembley Arena show. Other collaborations over the years have included Shy FX, Juls, Goldie, Black Milk, Kofi Stone and the late great Lenzman.

From the Broke ’n’ English / Hoodman-era, to the present day, Children of Zeus have been omnipresent in the fabric of British black music. Proud ambassadors of Manchester music, and of UK soul, it really is “Zeus to the world”.

Children of Zeus have been adorned with plenty of flowers over their career. The unbridled quality and poignance of the music and the message on display throughout this project will see the algorithmic needle move some more. It’s undoubtedly set to be a Zeus Summer. As the world burns…

Available on all digital platforms and physical formats, Friday September 4th 2026.







t 07: Do You Want To Get High? (feat. K S R ) - Children of Zeus03:26







t 07: Do You Want To Get High? (feat. K S R ) - Children of Zeus03:26







[t] 07: Do You Want To Get High? (feat. [ K S R ]) - Children of Zeus03:26







[t] 07: Do You Want To Get High? (feat. [ K S R ]) - Children of Zeus03:26







[g] B3 | Do You Want To Get High? (feat [ K S R ]) - Children of Zeus03:26

Praised by Rolling Stone, NME and the New York Times on release — the1996 debut from the members who went on to form bright eyes & cursive. Back on vinyl for its 30th anniversary!

Blanket Warm is a genuine buried-treasure reissue: a record contemporary critics compared to the Rolling Stones, Guided by Voices, and Tindersticks, and one a new generation of listeners has rediscovered as a missing link to Neutral Milk Hotel and Sufjan Stevens’ chamber-folk.

Lullaby for the Working Class formed in Lincoln, Nebraska in the winter of 1994, when multi-instrumentalist Mike Mogis and singer-guitarist Ted Stevens began writing together. Working from two home-recorded demos — and without having played a single live show — the band signed to New Jersey’s Bar/None Records in 1995. Blanket Warm was recorded and mixed by the Mogis brothers between December 1994 and April 1996 at their own Whoopass Recording Studio in Lincoln. Bar/None issued the album on CD in September 1996, while the vinyl LP went out through Lumberjack/Saddle Creek imprint in a pressing of just 1,000 copies — long out of print, and the edition this reissue restores to the format.

The result splits the difference between rustic and ornate: acoustic guitar, banjo, mandolin, and upright bass sit alongside a chamber ensemble of violin, cello, clarinet, trumpet, and trombone. Critics at the time reached for an unusually wide range of comparisons — the Rolling Stones, Guided by Voices, Tindersticks, Van Morrison — united mainly by the sense that nothing else sounded quite like it. Ted Stevens’ plainspoken, image-driven lyrics and unhurried delivery anchor songs that unfold with more patience and more instrumental color than the alt-country and lo-fi indie rock the band got lumped in with on release.

Seit mehr als drei Jahrzehnten zahlt Jimi Tenor zu den eigenstandigsten Kunstlern der europaischen Musiklandschaft. Der finnische Komponist und Multiinstrumentalist bewegt sich seit jeher muhelos zwischen Jazz, Funk, elektronischer Musik, Afrobeat und experimentellem Pop, ohne sich stilistisch festlegen zu lassen. Mit Wormhole Mystic kehrt er nach einer Phase intensiver Arbeit mit der neu formierten Jimi Tenor Band zu einem Soloalbum zuruck. Ausgangspunkt der zwolf neuen Stucke waren Rhythmus-Loops, die auf Vintage-Drummachines der 1960er- und 1970er-Jahre entstanden und anschließend als Fundament fur die weiteren Kompositionen dienten. Gemeinsam mit Synthesizern, Flote, Saxofon und seiner charakteristischen Stimme entwickelt Tenor daraus ein Album, das vertraute Elemente seines Schaffens aufgreift und gleichzeitig neue Wege beschreitet. Wormhole Mystic unterstreicht eindrucksvoll die anhaltende kreative Neugier eines Kunstlers, dessen Werk bis heute in Bewegung geblieben ist.

Seit mehr als drei Jahrzehnten zahlt Jimi Tenor zu den eigenstandigsten Kunstlern der europaischen Musiklandschaft. Der finnische Komponist und Multiinstrumentalist bewegt sich seit jeher muhelos zwischen Jazz, Funk, elektronischer Musik, Afrobeat und experimentellem Pop, ohne sich stilistisch festlegen zu lassen. Mit Wormhole Mystic kehrt er nach einer Phase intensiver Arbeit mit der neu formierten Jimi Tenor Band zu einem Soloalbum zuruck. Ausgangspunkt der zwolf neuen Stucke waren Rhythmus-Loops, die auf Vintage-Drummachines der 1960er- und 1970er-Jahre entstanden und anschließend als Fundament fur die weiteren Kompositionen dienten. Gemeinsam mit Synthesizern, Flote, Saxofon und seiner charakteristischen Stimme entwickelt Tenor daraus ein Album, das vertraute Elemente seines Schaffens aufgreift und gleichzeitig neue Wege beschreitet. Wormhole Mystic unterstreicht eindrucksvoll die anhaltende kreative Neugier eines Kunstlers, dessen Werk bis heute in Bewegung geblieben ist.

Pulsinger & Irl is the collaboration between Austrian producer and techno pioneer Patrick Pulsinger and Bavarian producer and sound engineer Sam Irl.

After ten years of dub-driven live explorations, Pulsinger & Irl are now focusing on a raw, uptempo, and sample-driven take on techno.
Their new album and live set is stripped to the essentials — two classic samplers, the SP-1200 and MPC2000XL, and a 16-track mixer. By pushing these machines beyond their intended boundaries, they craft a gritty and textural sound.
This is first of two 4-track EPs that will make up the entire album („AALLIIAASS“).


The duo met in 2012 at Pulsinger's Feedback Studio in Vienna, where Sam began as his assistant engineer before becoming a studio partner.
Coming from different musical backgrounds, they found common ground in experimental techno, dub, sampling culture, and analogue gear.

Since their debut album Mud (2016), they've released the EPs Function Creep/Woodpecker (2017), Exu (2018) and Retrieval (2019), along with several remixes — most recently a rework of iO's 1994 classic Claire (2024). Their music has received support from Move D, Gilles Peterson, Mr. Scruff, Lefto, among others.

They've performed at Berghain/Panorama Bar (2016–2018), Sonar Barcelona, ://about blank, Golden Pudel, Blitz, Sziget, Elevate Graz, Lighthouse Croatia, Rote Sonne, Ars Electronica Linz, Zukunft, and more.

Over the past three decades, Patrick Pulsinger has released music on his own label Cheap Records as well as R&S, M Plant, Disko B, Compost, and has produced for DJ Hell, Hercules & Love Affair, Elektro Guzzi, Fennesz and others.
Sam Irl has released music since 2007 on labels such as Freerange, Jazz & Milk, Brownswood, Pulver and Frank Music.

Wewantsounds is delighted to present the first official reissue of the highly sought-after 1979 classic, Summer-Time Love Song by The Milky Way. Originally released on the Seven Seas label in Japan and produced by the legendary Makoto Matsushita-the visionary behind the cult album First Light -the album is a premier example of the sophisticated sound that defined the era. Featuring the cream of Japanese musicians, including Yasuaki Shimizu, the record offers a superb mix of AOR, jazz fusion, funk, and bossa nova. Remastered for vinyl by Colorsound Studio, this deluxe reissue features the original artwork, an OBI strip, and a 4p booklet with a new introduction by Paul Bowler.

Stix Records, a sub-label of Favorite Recordings, is back with Disco Reggae Vol. 7, continuing a series that goes back more than 20 years, to the success of The Dynamics’ acclaimed album Version Excursions.

Born in Jamaica, reggae has always shared deep roots with Soul, Funk, R&B and Pop. Over the decades, Jamaican musicians have mastered the art of reinterpreting iconic songs through their own unique musical language. With the Disco Reggae series, Stix Records celebrates this rich tradition, bringing together fresh reggae interpretations of timeless classics from across the musical spectrum.

For this seventh volume, Charles Maurice has once again carefully curated a selection packed with gems, featuring reinterpretations of tracks by Hall & Oates, Gloria Estefan, Crystal Waters, Patrice Rushen, Cameo, Joe Smooth, and many more.

Behind the controls, the usual crew of friends is back: Taggy Matcher, Mystic Jungle, Soul Sugar aka Booker Gee, and Mato. This time, they are joined by Dub Shepherds and Slowly from Japan, who each bring their own flavour to the collection with two killer covers.

The result is another feel-good journey through Disco, Funk and Reggae, made for dancing under the stars, cruising with the windows down, or simply vibing with friends.

Disco Reggae Vol. 7 is another chapter in Stix Records’ ongoing celebration of the timeless connection between Jamaican music, classic songs and the dancefloor.

Green Tee Latte & Cappucchino Variant. Shall we add a little milk? Black Screen Records and Toge Productions have once again teamed for the vinyl repress of Andrew Jeremy's soothing, relaxing and jazzy lo-fi soundtrack to the coffee brewing and heart-to-heart talking simulator Coffee Talk on limited edition vinyl. For the first time, the soundtrack will be available on Green Tea Latte & Cappuccino Ink Spot double vinyl and comes in a beautiful gatefold sleeve with stunning original artwork by Natto (@vulpetrope) and liner notes by the Coffee Talk developer team. "Jazzy chords, hip-hop beats, vinyl crackles, a chilled mind and heart, and a prayer, that's all you need to make music for Coffee Talk. It's soothing, relaxing, and most importantly, keeping the warmth of your heart." - Andrew Jeremy, Game Producer / Music Composer

More than two decades after its original release, "Just the Way You Are" is experiencing a remarkable global resurgence. With over 13 million monthly Spotify listeners for the original recording alone, becoming a radio and stadium anthem in new heights! To celebrate its enduring popularity, the track is returning to vinyl with an exclusive limited-edition tricolour pressing, with the added bonus of 2026 remixes.

Originally released in August 2002. While the track did not chart in the band's native Italy, it became an international hit, reaching No. 8 on the UK Singles Chart and securing Top 30 positions in Ireland, the Netherlands, New Zealand, and Romania. In the United States, the song made history as the first official No. 1 on Billboard's Dance Radio Airplay chart, having already topped the chart during its unpublished testing phase.

The song's revival gained significant momentum in 2026 following a viral remix by Australian DJ Mall Grab, which introduced the track to a new generation of listeners and sparked widespread streaming growth and social media engagement. The renewed interest was further amplified by a series of high-profile remixes from Australian electronic duo Pnau, Austrian producer Ely Oaks, and French superstar DJ David Guetta. Together, these releases have cemented "Just the Way You Are" as a cross-generational dance anthem, reaffirming its lasting influence and global appeal more than 20 years after its debut.

Mit The Techno Session setzt die renommierte Electronic Music Anthology-Reihe aus dem Hause Wagram ihre Reise durch die wichtigsten Strömungen elektronischer Musik fort. Nach House- und Deep-House-Ausgaben widmet sich diese neue Edition nun konsequent dem Techno - in all seinen hypnotischen, treibenden und zeitlosen Facetten. Die Auswahl stammt von FG Radio, einer der angesehensten Institutionen für elektronische Musik in Frankreich und seit Jahrzehnten eng mit der internationalen Club-Kultur verbunden. Die Compilation versammelt prägende Künstler und Produzenten, die Techno von seinen frühen, funktionalen Wurzeln bis zu modernen, melodischen und atmosphärischen Ausprägungen definieren. Pulsierende Grooves, repetitive Strukturen, reduzierte Eleganz und eine klare Fokussierung auf den Dancefloor stehen im Mittelpunkt dieser sorgfältig kuratierten Zusammenstellung. The Techno Session richtet sich gleichermaßen an DJs, Sammler und Liebhaber elektronischer Musik, die Techno nicht als kurzlebigen Trend, sondern als eigenständige, langlebige Musiksprache verstehen. Eine hochwertige Anthologie, die die Essenz des Genres einfängt - kompromisslos, fokussiert und cluberprobt.

Can’t go over it. Can’t go under it. Gotta go through it. And somewhere out there in the Pitch black beyond all darkness lies Peace & Purpose. The horizon you never quite crest until the inevitable end. Breathe deep — this fearful moment is the most alive you’re ever gonna feel. For the last decade, Crack Cloud’s vision has grown ever more expansive, more cinematic. Last go around, they dropped from The Heavens and then performed with their bare backs to an endless darkening desert. Now they’ve crammed all that life into some metallic and strange object called Peace & Purpose. All the terror of living. All the helplessness. All the raw human will. All glued and screwed and locked into this impossible tactile shape of dungeon dub; sour milk vox; Avant-protest music. Music arm wrestling itself to the ground. Far afield of beauty. The discordant symphony of factory farming and grim timber of the meat processing plant. The grinding din of the cogs. And yet, never giving up in spite of all good sense. Even in death, we are a coterie of survivors. Look now: There’s Terry Fox on his one-legged Marathon of Hope across The Great White North while cancer spreads through his lungs. A self-annihilating drive to feel alive. Rage against the dying of the light, they say. Well, how ‘bout it then!??! Peace & Purpose is not in any way some art project meditation on Punk Rock. It is Punk Rock. Terrifying, inspiring, vital, invigorating and most importantly, utterly unexpected. Every goddamn stupid day is a sublime slice of fresh hell. That’s the point. Gotta go through it. Wishing you Peace & Purpose — if only in that last big breath.

Some records suggest another version of themselves.

STRIKER SECRET SERVICE is an anonymous white-label series built around that possibility.

For SSS001, Hardrock Striker takes “I Feel So Free” into different territory. Across twelve minutes, the track is dismantled and rebuilt around the pulse of late-'70s electronic disco: sequenced bass, repetition, tension and gradual release. Familiar elements remain, but the arrangement opens out, the machinery takes over and the vocal slowly becomes part of the rhythm itself.

On the reverse, the full instrumental reveals the machinery underneath : an extended DJ tool built for long blends, layering and late-night sets.

Pressed on heavyweight 180g Milky White vinyl, housed in a clear poly sleeve with the STRIKER SECRET SERVICE sticker.

Vinyl only.
No repress.

Reptile Mob is proud to present 'Lost N Found' EP opening the vault to a long-awaited archive collection of unheard garage house tracks from Darlington-born and London-based producer Highrise. Unearthed from old hard drives, this EP captures a raw, unfiltered moment in UK garage, true to its name. Highrise is the alias of Dinn Warde, a name jungle heads know well as Dwarde. While he's been making increasingly large splashes on the jungle scene, his garage output as Highrise on labels like Practical Rhythms, Vibesey Records, Shuffle & Swing, and Fresh Milk Records has been equally on-point. Lost no more, found at last. The 'Lost N Found' EP is yours to discover.

Polish rapper Wiktor Zapala aka Abel has been laying down albums and EPs for 20 odd years and now features on a new 7" with apparent production debutants Sheak and RareMatthew for Milkshake Mondays. He takes care of the A-side with 'Livin' Fast', a low slung and unhurried jam with elastic bass stretched between lazy, slouchy beats with storytelling and classic-era bars unfolding up top. Sheak/RareMatthew completely flip the script on the B-side with 'La Murga,' a Latin-flavoured sound with Spanish vocals over a live instrumental topped with horns and carnival atmospheres. Two equally effective tunes.

Hannah Diamond’s debut album Reflections expanded to include Reflections Remixes and selected Reflections Instrumentals across two LPs. This upscaled edition is pressed on Milky Way Clear Glitter vinyl, in a gatefold sleeve featuring the Remixes Star artwork, and premium board inner sleeves, enhanced with metallic lavender HD monograms. It also includes a high-gloss poster insert of the original Moon artwork and lyric sheet. No secret track.

DJ support from Soul Clap (Soul Clap Records) / Walla P (Voyage Funktastique) / DJ Notoya (Tokyo Condition)

Minoru “Hoodoo” Fushimi is something of a cult favorite among purveyors of obscure Japanese sounds from the 80's. Running parallel to the city pop phenomenon but existing distinctly outside of it, Fushimi's sound is a lo-fi blend of electro synth funk, drum machine beats, & early hip hop. His “Thanatos Of Funk” album lives on many a record collector's want list, and has already been

reissued more than once. Upstart imprint Tokyo Love Song, a spin-off of XL Middleton's MoFunk label, brings one of Fushimi's signature cuts, “In Praise Of Mitochondria,” to the 7” format for the first time ever. On the flip, Middleton himself teams up with Japan's leftfield modern funk favorites Milk Talk to deliver a remake of the song, entitled “Funkin Me Up.” This quasi-cover blends XL's signature squiggly funk sound with the quirky vocal stylings of Q.i, along with guitar & bass licks courtesy of Hairkid, the other half of Milk Talk.