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On Squirrel Flower's new album, Say a Prayer to the Gods of Getting Going, songwriter and multi-instrumentalist, Ella Williams, delivers her most transcendent and instantly classic record to date. It's an album full of hope and beauty, with themes of staying in constant motion, electric love, and knowing when to leave, but also when to stick around. After touring in support of 2023's Tomorrow's Fire, Williams remained on the road, following instinct over itinerary_passing through Gary, Indiana; Los Angeles; Putney, Vermont; Silver City, New Mexico; and Hudson, New York. Each stop became a site of creative renewal. She ended up recording the album at two locations: a makeshift studio in rural Wisconsin, and at Drop of Sun in Asheville, NC, featuring friends and collaborators such as Dimitri Giannpolous (Horse Jumper of Love), Sofia Jensen (Free Range), Clay Frankel (Twin Peaks, Hazel City), and many others along the way. Standouts like "Reelin" and "Highway Woman" showcase the push and pull of life as a musician; the constant need for embarking on a hero's journey in search of reflection and freedom. Others like "Not Me" and "Cleveland" are classic Squirrel Flower, but with a sharper and more concentrated writing style paired with some of Williams' strongest vocal delivery of her career. Mixed and co-produced by Alex Farrar (MJ Lenderman, Wednesday), Say a Prayer to the Gods of Getting Going is the sound of cosmic rebirth, looking behind to illuminate what's ahead. "Pack your life and your guitar," Williams sings on "Highway Woman." "You can change it as you go. You do not plan on dying." In addition to her seemingly nonstop DISABLED touring across North America and Europe, Squirrel Flower has been featured in outlets such as Pitchfork, Rolling Stone, The NY Times, Paste, and many others, as well as performances at NPR's Tiny Desk & KEXP. Williams' music has been streamed millions of times around the globe, proving her to be an undeniable force as a songwriter. FOR FANS OF Indigo De Souza, Soccer Mommy, Katy Kirby, Julia Jacklin, Tomberlin, Hand Habits, Phoebe Bridgers, Waxahatchee, PJ Harvey, Grouper, Chelsea Wolfe, Moses Sumney, Cat Power, Liz Phair, Alex G, Mazzy Star, Julie Byrne, Big Thief.

5 x LP
60-page hardback book
Black vinyl
Printed labels
Printed inners
Slipcase
A2 poster
Slipmat

Originally released in 1990 by Happy Mondays, Pills ‘n’ Thrills and Bellyaches captured the chaotic, euphoric spirit of the Madchester movement, blending indie rock, acid house rhythms and funk grooves into a sound that helped reshape British alternative music. Featuring era-defining tracks such as “Step On” and “Kinky Afro,” the record became both a commercial breakthrough and a cultural snapshot of a generation fuelled by dance culture and Northern nightlife.

More than three decades later, its grooves, attitude and genre-blurring production still resonate strongly with contemporary audiences, influencing modern indie and electronic artists alike.

5LP Edition. All original audio remastered from Factory Records master tapes. Includes original album, Hallelujah + Madchester Rave On, Baby Big Head Bootleg Album (Live at Elland Road, 1991), classic and new remixes, 60-page hardback book with brand new essays from James Brown and Central Station designers, fold-out A2 tour poster and Madchester slipmat.

Originally released in 1990 by Happy Mondays, Pills ‘n’ Thrills and Bellyaches captured the chaotic, euphoric spirit of the Madchester movement, blending indie rock, acid house rhythms and funk grooves into a sound that helped reshape British alternative music. Featuring era-defining tracks such as “Step On” and “Kinky Afro,” the record became both a commercial breakthrough and a cultural snapshot of a generation fuelled by dance culture and Northern nightlife.

More than three decades later, its grooves, attitude and genre-blurring production still resonate strongly with contemporary audiences, influencing modern indie and electronic artists alike.

1LP Red Edition. All original audio remastered from Factory Records master tapes. Includes original album and brand new liner notes by James Brown.

For our second release, we bring you Jamie Leather from the north west of England.

When playing this record, feel the thrill of an ancient artifact heist in "Temple Run". Peek from behind the curtain at mystic societies in "Ibiza | Opera". Wake up panting, heart racing, eyes darting in "Dreams Remembered". Then witness the death of an old-school cowboy under a full moon in "Goodbye Gary". Peace.

Gary Sullivan's Bodega Pop project returns to DINTE with a cassette-only collection of traditional sounds plucked from CDRs found in the night-markets of Savannakhet, Vientiane, and Luang Prabang.

"In Lao PDR, music was seemingly everywhere. Walking through an open field outside Savannakhet to the sound of someone playing a khaen on a distant porch, the bracing rush of electronic molam from of one of Vientiane’s many aging malls, the awkward blending of the blind so u player’s voice with the bustling sounds of Luang Prabang’s night market.

It was in that UNESCO World Heritage Site that I found most of the CDs and CD-Rs from which I’ve ripped the tracks for this compilation. I’m almost certain I picked up a thumb drive at the night market that held many hours of additional music that could have been included, but if so, I’ve misplaced it, lost it for good, or simply misremember purchasing it in the first place. What I do remember is that these discs were literally the last copies in the cafe, museum, bookstore, and night market where I bought them, and not all of them played all the way through without sonic deterioration.

The sounds compiled here play in stark contrast to the more contemporary recordings I found in Laos, most of which featured some form of upbeat digital workstation molam or children’s songs. In addition to the ever-present khaen, this collection includes recordings of the sanai, a single-reed instrument fashioned from a water buffalo horn, the ceremonial khong nyai gong, the pi and similar free-reeds, and at least a dozen more traditional instruments played by Lao and ethnic minority artists. While some of these tracks were laid down in Vientiane or Luang Prabang, most were recorded near where the artists lived, from the legendary Vat Phou in the far south to the former Pathet Lao capital Xam Neua in the northeast.

Unlike Laurent Jeanneau’s more focused Lao collections for Akuphone and Sublime Frequencies, which remain among my favorite albums of all time, the present cassette-only selection is literally all over the PDR map. The sequencing is entirely in response to rhythm and texture and includes recordings from the 1970s, 80s, 90s, and early aughts. This may frustrate those with more of an ethnomusicology bent, but my hope is that the listener experiences something akin to wandering for the first time through this majestic country, encountering the last copies of forgotten recordings one after another, and hearing in these remains fragments of the past and a living musical landscape."

There are two version of the LP - limited to 100 numbered copies with transparent wax and classic black wax edition. Both 180g with special OBI strip.

Maciej Envee Goliński is an artist who probably needs no introduction. He has been working with U Know Me practically since the label's inception. His last album ("Time & Light") made a huge impact worldwide, but we had to wait eight years for the next vinyl release. In the meantime, Maciej has certainly been busy – he has released numerous club singles under several aliases, and has helped record and mix numerous albums from the world of jazz, soul, and electronica. "Wyszymory" is a carefully crafted concept album, inspired by our roots. "Wyszymory" is an album on which every open-minded listener will find something that has been playing in their soul for a long time...


"Of all things visible and invisible, my life is most filled with music and a fascination with sound. It matters not whether they are natural or artificial, isolated or resonating through space. Sounds that evoke
memories, as well as those entirely new. Some of them have resonated unchanged for thousands of years. Certain resonances and rhythms have remained unaltered for generations so distant that they have left no other trace in human civilization.

This bond with our ancestors truly fascinates me. Ever since I realized it, I have become more attuned to inspiration. Listening to traditional and classical music, I kept finding new anchor points. I was constantly surprised by new invitations to ponder what connects – or divides – the pulse of our region’s traditional music with the rhythms of Africa, the tribes of the vast East, or the frozen North. My great authority, Tomasz Stańko, in interviews conducted by Tomek Michałowski, used beautiful parables of love and creativity to bring me closer to the ­Cro-Magnon cave artists. The Icelandic literary magician Andri Snær ­Magnason, in his book On Time and Water, captivated me with the fascinating observation that through emotional contact, words, ideas, or memory, we reach back and forward two or even three generations – spanning a period of about 270 years. Then there is Sam Kowalski, who with his wonderful obereks played on the gitalele, took me on a hypnotic journey, from which one returns with a deep admiration for the art of musical storytelling, passed down from generation to generation. Finally, my own children surprise me with talents, behaviors, and increasingly distinct features of those generations that now dwell only in my hazy memory and on old photographs.

I wanted the protagonists of this album to be the very phenomena that modern humans share with their ancestors, ­regardless of the level of civilization. Most vital among them is the relationship between humans, nature, and their own emotions. Wyszymory has nothing to do with an academic study, though I did delve into Slavic mythology, archaeology, and history in search of inspiration. Nor is it an album of traditional music, even if such music is present thanks to wonderful instrumentalists. I managed to invite artists who cross boundaries daily, working not only with Polish music but also with Hindu and African traditions, and even jazz, with its long history of blending influences. Naturally, the album became a kind of sonic comic book, where individual scenes and stories – the sounds, pulsations, and ideas on how to use them – came to me over time, often under unique circumstances and in inspiring contexts."
Envee

Featuring Robert Roth, the visionary songwriter and frontman behind Truly, alongside Hiro Yamamoto, co-founder of Soundgarden, and Mark Pickerel, founding drummer of Screaming Trees, Twilight Curtains captures the collaboration of three influential figures from Seattle's underground music scene. Gathering rare, unreleased and alternate recordings from 1991-1997, this long-overlooked collection documents the band's most creative years and is available on vinyl for the first time ever. Originally released in 2000 as a CD-only collection, Twilight Curtains gathers rare, unreleased and alternate recordings captured between 1991 and 1997, documenting the band during its most creative and exploratory period. More than simply another Seattle group, Truly forged a singular sound that blended heavy psychedelic rock, grunge-era intensity, damaged pop and expansive melodic textures. Featuring the contributions of three key figures from the Pacific Northwest underground, this collection offers a fascinating glimpse into the band's evolution through alternate versions, lost recordings and previously unavailable material. An essential companion to Fast Stories_ From Kid Coma and Feeling You Up, Twilight Curtains finally makes this missing piece of the Truly catalogue available on vinyl.

This is terrific.
Brimming with saudade, an atmospheric, engrossing, organic blend of the gorgeous folk music of northern Ecuador’s indigenous communities, and tentative, crafted, soulful electronica.
‘Mala Fama is a Kichwa sound-artist from Ibarra, Ecuador, inhabiting — and creating — multiple worlds at once, while being rooted in Indigenous pride and power. Jichushka is a Kichwa word meaning lonely, or abandoned. Here, grief is re-cast as a pathway to liberation.
‘The album was recorded between 2016-2022. Home studio sessions facilitated close collaboration with a network of artists drawn from Andean musical lineages such as marimba, vallenato, and cumbia — including Afro-Ecuadorian group Duo Anjoa, vocalist Catalina Ortiz from coastal Esmeraldas, Ibarra-based multi-instrumentalist Luis Lema, and Quixosis. The album builds on peaceful ambient compositions as much as heavy sequencing, inviting melancholic remembrances of times and spaces that no longer exist.’
Warmly recommended. Like nothing else. Check it out!

Fiat Lux return with Desire & Belief, their third album of new material this millennium, following their acclaimed comeback LPs Saved Symmetry and Twisted Culture. The trio—Steve Wright, Will Howard, and David P Crickmore—combine modern production with vintage synths and instruments rooted in their Polydor-era beginnings to craft ten tracks that span cinematic atmospheres, synth-pop anthems, and moody electronica. Tracks like "Clear Sky " and "Turn Me Around" offer hook-laden synth-pop, while "Summer Solstice " and "Am I Dreaming " delve into ambient and darker tones. Desire & Belief is a natural progression for Fiat Lux—retaining the spirit of their 1980s Northern roots in synth, goth, and indie, yet confidently stepping into new sonic territory for long-time fans and new listeners alike. RIYL: Blancmange, OMD, Scary Thieves, Tears For Fears

The world is ending, and rent is due. The empire is crumbling, and you’re late refilling your meds. War is ceaseless, pandemics go unchecked, billionaires poison the well water and cops abduct neighbors while wildfires burn… but here at the hot dog stand, relief and joy are yours for five buck ninety-nine.

This is PEASANTS REVOLT, the latest album from trans folksinger Creekbed Carter Hogan. Playing the part of court jester in the halls of a dying empire, Hogan croons, hollers, and grins in the face of despair as we feast together on one last humble supper before everything falls apart.

A rollicking medieval-Americana manuscript, Hogan’s new work anchors itself in transitions. PEASANTS REVOLT was written living and moving between the North and the South; sung by a body both pre- and post-trans affirming healthcare; and recorded during a time of genocide, federal occupation, and workers’ uprisings. Decorating its margins are influences spanning time and medium. Here, 14th century king-killer ballads sit next to Appalachian strike songs. Labor and union songs find kinship with Ethiopian jazz records. Hogan’s work echoes with historical struggle, too, from the Haitian Revolution to the struggle for trans rights to the surreal futurism of Rio Grande Valley writer Fernando A. Flores. This album takes the entwinement of the personal and the political seriously, a path often walked by everyone from Hazel Dickens and John Prine to ANOHNI. The 10 tracks of PEASANTS REVOLT are themselves endlessly transitioning, hinging on mid-song shifts and building into wildfires that crackle and sputter with the courage of momentum and catchy hooks. By centering this work so deeply in the tumult of change, Hogan illuminates all of capitalism’s attempts to isolate us — and the power that we regain when we refuse to face our lives and our selves alone.

The fifth installment in the acclaimed Killed By Hardcore series dives deep into the global underground of early hardcore punk, collecting 35 raw and obscure tracks from 1981-1988. Featuring rare cuts from legendary and cult bands across North America, South America and Europe, Killed By Hardcore Vol. 5 captures the speed, aggression and DIY spirit that defined hardcore's formative years. From the chaotic attack of Confuse (Japan) and the pioneering hardcore of Olho Seco (Brazil) to forgotten gems from Belgium, Italy, Poland, Sweden, Yugoslavia, Norway and the USA, this volume shines a light on some of the most uncompromising records ever committed to vinyl.

Chin Up, Beautiful, Jutes’ fourth album, invites fans to experience a futuristic, post-apocalyptic world, drawing inspiration from Deftones, The Neighourhood and The Walking Dead. Featuring the singles “Disassociate, “White Butterflies,” and “Chin Up, Beautiful,” the vinyl comes in a Limited Edition Silver Galaxy color, and includes 3 exclusive tracks. This August, Jutes embarks on his biggest North American tour yet, following a sold out UK/EUR tour and multiple Summer Festivals including

Chin Up, Beautiful, Jutes’ fourth album, invites fans to experience a futuristic, post-apocalyptic world, drawing inspiration from Deftones, The Neighourhood and The Walking Dead. Featuring the singles “Disassociate, “White Butterflies,” and “Chin Up, Beautiful,” the vinyl comes in a Limited Edition Silver Galaxy color, and includes 3 exclusive tracks. This August, Jutes embarks on his biggest North American tour yet, following a sold out UK/EUR tour and multiple Summer Festivals including

For nearly a decade, Lucia has been carving out her place as an artist in the UK indie scene. Her latest record, Picking Petals, is the culmination of that hard graft and bold vision — an album rooted in her Scottish upbringing and shaped by the creative community she has built around her in Glasgow and beyond, featuring collaborations with Lauren Mayberry of CHVRCHES and Abigail Morris of The Last Dinner Party. Lucia’s debut, Burning Castles, was streamlined and statuesque, built on metronomic beats and synth-led pop. The intention behind Picking Petals sharpened into focus in the face of this. This time, it was crucial to capture the essence of Lucia & The Best Boys’ live shows— loud and electric. In recent years, Fairfull has shared bills with a new wave of women in alternative music: joining Wolf Alice on their Blue Weekend tour in 2022 and, more recently, opening for the aforementioned The Last Dinner Party. In summer 2024, she toured alongside fellow Scottish icon Shirley Manson on the UK and European leg of Garbage’s live shows. The Scottish synchronicity feels poignant. This rich and historical landscape is where Picking Petals came to be, Lucia heading north to write in weather-beaten bothies alongside the band or in solitude. Likewise, the songwriter was insistent that acclaimed alt-pop producer Yves Rothman experience her stomping ground rather than sun-drenched LA, hunkering down in Mogwai’s Castle of Doom studios, a Glasgow townhouse transformed into a citadel of sound. For some people, Picking Petals will be a coming-of-age album. For Lucia & The Best Boys, it’s just coming home.

“No-one does 140 better than the UK, the way it gets done here is different and I really wanted to explore that…”

King Kashmere is an experimental musician from North West London.

Best known as a voice of distinction among the UK rap fraternity and frontman of decorated duo Strange U, much less is known about his work as a producer.

After years of fine tuning his craft, King Kashmere reveals ’Zero Point Modulations’, his first full length release as executive producer / from behind the boards.

A feature-stacked, genre-blurring spectacular that shines a powerful light on what Kashmere sees as his true calling, the 23-track release marks the start of a long-awaited shift in King Kashmere’s output; rooted in the coding boom of the mid-eighties but encapsulated in a double disc vinyl this Summer.

FEATURE LIST (in order of appearance):

Gawd Status, Joker Starr, Durrty Goodz, Flirta D, Harry Shotta, Genesis Elijah, Killa P, Dabbla, Jaz Kahina, PAV4N, Jae Mann, Jazz T, Cappo, Illaman, Ramson Badbonez, Flowtecs, Micall Parknsun, BVA, Fliptrix, Farma G, C.O.N-Vers, Verb T, AyiTe, Tommy Biz, Ray Vendetta, HPBLK, Reign MC, Confucious MC, Alecs DeLarge, TrueMendous, Raggo Zulu Rebel, AnyWay Tha God, JayaHadADream, Larwood




[d] 04 - Big [Bad] Feat. Genesis Elijah, Killa P & Dabbla

“No-one does 140 better than the UK, the way it gets done here is different and I really wanted to explore that…”

King Kashmere is an experimental musician from North West London.

Best known as a voice of distinction among the UK rap fraternity and frontman of decorated duo Strange U, much less is known about his work as a producer.

After years of fine tuning his craft, King Kashmere reveals ’Zero Point Modulations’, his first full length release as executive producer / from behind the boards.

A feature-stacked, genre-blurring spectacular that shines a powerful light on what Kashmere sees as his true calling, the 23-track release marks the start of a long-awaited shift in King Kashmere’s output; rooted in the coding boom of the mid-eighties but encapsulated in a double disc vinyl this Summer.

FEATURE LIST (in order of appearance):

Gawd Status, Joker Starr, Durrty Goodz, Flirta D, Harry Shotta, Genesis Elijah, Killa P, Dabbla, Jaz Kahina, PAV4N, Jae Mann, Jazz T, Cappo, Illaman, Ramson Badbonez, Flowtecs, Micall Parknsun, BVA, Fliptrix, Farma G, C.O.N-Vers, Verb T, AyiTe, Tommy Biz, Ray Vendetta, HPBLK, Reign MC, Confucious MC, Alecs DeLarge, TrueMendous, Raggo Zulu Rebel, AnyWay Tha God, JayaHadADream, Larwood




d 04 - Big [Bad] Feat. Genesis Elijah, Killa P & Dabbla




[d] 04 - Big [Bad] Feat. Genesis Elijah, Killa P & Dabbla

“No-one does 140 better than the UK, the way it gets done here is different and I really wanted to explore that…”

King Kashmere is an experimental musician from North West London.

Best known as a voice of distinction among the UK rap fraternity and frontman of decorated duo Strange U, much less is known about his work as a producer.

After years of fine tuning his craft, King Kashmere reveals ’Zero Point Modulations’, his first full length release as executive producer / from behind the boards.

A feature-stacked, genre-blurring spectacular that shines a powerful light on what Kashmere sees as his true calling, the 23-track release marks the start of a long-awaited shift in King Kashmere’s output; rooted in the coding boom of the mid-eighties but encapsulated in a double disc vinyl this Summer.

FEATURE LIST (in order of appearance):

Gawd Status, Joker Starr, Durrty Goodz, Flirta D, Harry Shotta, Genesis Elijah, Killa P, Dabbla, Jaz Kahina, PAV4N, Jae Mann, Jazz T, Cappo, Illaman, Ramson Badbonez, Flowtecs, Micall Parknsun, BVA, Fliptrix, Farma G, C.O.N-Vers, Verb T, AyiTe, Tommy Biz, Ray Vendetta, HPBLK, Reign MC, Confucious MC, Alecs DeLarge, TrueMendous, Raggo Zulu Rebel, AnyWay Tha God, JayaHadADream, Larwood




d 04 - Big Bad Feat. Genesis Elijah, Killa P & Dabbla




d 04 - Big [Bad] Feat. Genesis Elijah, Killa P & Dabbla




[d] 04 - Big [Bad] Feat. Genesis Elijah, Killa P & Dabbla




[d] 04 - Big [Bad] Feat. Genesis Elijah, Killa P & Dabbla

Pacific Northwester Drew Sullivan is the man behind the Slow Dancing Society and on his latest album, he interrogates nostalgia with clearer eyes while sculpting analogue glow, treated guitar and patient ambience into scenes that breathe. Tracks drift like headlights through snow - hums, howls, bass rumbles, rain-veiled keys all feature, each motion subtle, deliberate and devastating. The record's power lies in restraint: chord changes feel meteorological, melodies arrive as messages, then vanish. It's ambient music with a spine, grief without spectacle. By the time 'Blue Suburban Skies' lifts into Twin Peaks-levels of ache, Sullivan has rebuilt a world you want to hide away in forever.

Ancient Infinity Orchestra return with their third album, It’s Always About Liberation, a new record that deepens the vision of their acclaimed recent work while moving into darker, more searching emotional territory.

Conceived as a partner to It’s Always About Love, this new body of work shares its predecessor’s generosity and spiritual openness, but carries a different charge. Where the previous album focused on healing and warmth, It’s Always About Liberation is largely animated by struggle, perseverance and the desire for transformation while still offering a path to betterment. It is music made in full awareness of a fractured world, yet unwilling to surrender to it.

Like It’s Always About Love the album title draws inspiration from words spoken by Moor Mother during their 2024 We Out Here festival performance that deeply affected bandleader Ozzy Moysey: “It’s always about love / It’s always about liberation.” Those twin ideas became a framework for the two albums Ancient Infinity Orchestra were creating. If one album explored love as repair, this one explores liberation as movement, continually striving toward freedom, clarity and deeper connection.
The 16-member ensemble is led by double bassist and composer Ozzy, with a distinctive line-up that explains their sound better than any artificial genre divisions: two double basses, harp, saxophones, clarinets, violin, viola, cello, oboe, flutes, mandolin, congas, piano, drum kit, with bells, shakers and other percussion instruments scattered on the floor of live sets and recording sessions, ready for members to use whenever the spirit takes them.

This orchestration, and the overlap between membership and friendship, gives Ancient Infinity Orchestra a sound that is at once expansive and intimate, earthy, and cosmic, constantly shifting yet grounded in shared intention. The attention to intention and the inviting sonic world connects the music to artists ranging from Alabaster dePlume to Gondwana label boss Matthew Halsall.
Gradually, the Orchestra became a grounding force in the emerging jazz scene in Leeds, bringing together individuals from different musical backgrounds co-founding the Café Oto-inspired Limpet Club or co-hosting the monthly Sonic Plunge (‘a platform for adventurous experimentation’) and co-founding the Leeds Improvisers Orchestra. Additionally, the ensemble acted as a bridge between musicians in Brighton and Leeds, after Ozzy spent a stint back on the south coast between 2020 and 2022.

Their debut, River of Light, was a vibrant celebration of togetherness recorded in three days and released on Gondwana in 2023. A Maida Vale session for Jamie Cullum’s BBC Radio 2 show brought them to a broader audience, as did bookings at North Sea Jazz Festival and Gretchen, Berlin. Since then, Ancient Infinity Orchestra has become a by-word for music that could be framed as ‘spiritual jazz’. Whilst Ozzy avoids the phrase when describing his music, he’s crystal clear that his heroes are associated with those words – citing Art Ensemble of Chicago, Pharoah Saunders, Coltrane (Alice and John), and Don Cherry as major influences.

Across trance-like meditations, rising grooves, moments of grief and collective uplift, It’s Always About Liberation speaks to the battle within the mind as much as the inequalities of the wider world. It acknowledges the darkness but lets connection and creativity have the last word Ancient Infinity Orchestra is a gathering of voices, traditions, and energies converging into something timeless. Their music is a journey inward and outward, always reaching toward the universal.

Originally released on Art Yard in 2017 finally back in print!

Solo album displaying a collection of foggy electronic dub meditations recorded between 2000 and 2005 by Berliner Ring member Alexander Christou under his Al Chem guise.

In 2009, the label Art Yard sent a probe into the outer regions of contemporary electronic music, releasing Berliner Ring's "Orbital" album, a dub techno hymnal for Berlin’s orbital ring road. Drawing together the disparate elements of invented instruments, modified keyboards, customized rhythm and string machines, it was built around moods and themes drawn from the Berlin landscape.

One member of the Ring, Alexander Christou, also a part of the Berlin electro rock group Elecdrones, recording for Katzensonne. The band were “not interested in the crafting of chunks of music ready to be consumed”. Christou has since been recording under the moniker Al Chem, crossing analogue and digital realms, synthesizing a kind of philosopher’s stone. As Al Chem, he released on Tummy Touch Records, and now follows with a collection of foggy electronic dub meditations recorded between 2000 and 2005 in a full album.

In the battle to harness the elements, ancient mists permeated Chem’s music. A murky, mercurial humidity saturates the project. A distinctly north European descendant of dub, a kind of Seventh Seal that Bergman could have made, if provided enough hydroponic infusions.

No Hopper is a rework of the Ras Michael song No Hoppers, from his legendary album, Rastafari Dub, Chem's version shuffles the pack of electronic percussion with organic, Moondog-like rhythms and hazy atmospheric chords; The Prophet pinpoints Chem's GPS firmly in Berlin, just as The Red Tower blurs that kick-drum parallel between reggae and house music; Baudelaire sputters digital delay, piling on the pressure, a clatter of surgical implements performing an operation out of Dead Ringers, the patient storming out of the theatre with loosely fitted mechanical body parts; the instrumental No Hopper only serves to highlight the distant gathering storm. Ladder of Perfection rounds off the set with a drone, creaking with bubbling digital mud pools

Here is the latest record from Konformer, Konformer II, the follow up to Konformer 1!

3 years in the making Konformer II is a further & deeper probe of the world of electronic influenced instrumental, psychedelic Krautrock from the Nuremberg based trio, recorded at Frank Mollena's Lonestar Studios.
Rainer Ruder (bass), Andreas Berg (drums) and & Kristian Krauss (keyboards) continue their exploration with a bass loop anchored odyssey, a trip into the future with a firm nod to the past.

Released on Before I Die 03/07/26 on limited Black Vinyl LP with a full colour art book featuring artworks from independent artists from the city.

The band will commence a short UK Tour of Southern & Northern Grassroots venues from the end of August 2026 culminating in a performance at Manchester Psych Fest on Saturday 5th September.

2026 Repress

Das Debütalbum des amerikanischen Lo-Fi/Darkwave Künstlers John Maus aus dem Jahr 2006 ist endlich wieder auf LP erhältlich.

“Leviathan’s Desire” was Protector’s first release with Olly Wiebel as the new man on the microphone, and he brought in a new and different style, one no less gruff and aggressive than that of his predecessor. With the “Leviathan’s Desire” EP, Protector left the musically mid-paced path they had followed on “Urm the Mad”, turning back to their key skills and delivering a short but sweet-and-extreme thrash metal attack. The EP contains a revised and extended version of “Kain and Abel” that fits in perfectly with the new tracks, which are full to the brim with raging riffs and violent hooks, relentlessly delivered by a band that’s fully aware of its great skills and abilities both with regard to song-writing and performance – rhythm changes, breaks and bridges are all thoroughly worked out and excellently delivered. But do not fear! There are no signs of giving in to any ideas of embracing the “progressive” side of Protector. This is still pure Teutonic Thrash to the bone. “Leviathan’s Desire” was recorded in the Phoenix Studio Bochum in 1990 and originally released by German label Atom H (based in Witten, North Rhine-Westphalia) in the same year. Ralph Hubert of Mekong Delta fame took over production duties of the record. Olly is very glad to see the vinyl re-release of “Leviathan’s Desire”, which has been mastered for vinyl by old comrade Patrick W. Engel at Temple of Disharmony. Protector also opened up their dusty cabinets to present us with a selection of previously unreleased pictures from those still good old days, which will be gracing the High Roller edition of “Leviathan’s Desire”.

Having made their back catalog available to a wider public via High Roller Records, Mexican speed and thrash metal force Phantom will release their third full-length assault „Not Midnight Yet“ via the label. Recorded and mixed once again with Héctor “Northen” Ibarra at Nehtron Studios in Guadalajara and mastered by Patrick W. Engel at Temple Of Disharmony in Germany, this new album captures the band at their most technical and dynamic. “I am never fully satisfied with my records and I try to push forward and expand our boundaries with every new material—without changing the soul and core of what Phantom stands for: Old School Heavy Metal,“ explains mastermind J.C. García. „This record puts together very well everything that we are. Because of that, I think this is a juggernaut of an album.” Tracks such as ‘Hordes Of Bats’ deliver relentless speed and riff-driven aggression, while ‘Dracula’s Curse’ and the title track lean into powerful midtempo dynamics and complex structures. ‘The Pale Remains Of Time’ stands out as one of the album’s most ambitious moments, combining melodic vocals, clean guitar interludes and subtle progressive touches. “I try to break the established formula and add more textures and layers while keeping the old school spirit,” J.C. states. “It’s a very personal record and a work I’m very proud of. I think this is the most solid Phantom record to date.” With “Not Midnight Yet”, Phantom sharpen their identity and deliver a powerful, atmospheric statement—proof that the night is far from over.

The album was inspired by the dislocation Kennan felt upon returning, after several years
away, to the rustic neighborhood northwest of L.A. where she’d grown up: “Wandering through a place where my life once existed but where everything had quietly shifted with time.”

The music conjures a mood of distance, dust, and dazed emotion, alternately lulling and unraveling. From shuffling tumbleweed vignettes (“The Lone West,” “Romantic Strings”) to sepia-tone torch songs (“Shadows,” “Reverie”) to oblique keyboard meditations (“Moonlight,” “Rain”) , Kennan’s soundworld moves with a muted, murky beauty, like alluring shapes seen through smudged glass. In her hands, haze is a transformative property, liberating melody and memory into landscapes still untraveled.

,Crusher", das Debütalbum von Sooj - einem Gemeinschaftsprojekt von Mitgliedern von Duster und Dirty Art Club. Die Platte taucht völlig unerwartet auf, wie eine schwach beleuchtete Übertragung von irgendwo zwischen Portland, Charlotte und Santa Cruz. Crusher knüpft dort an, wo ihre 2024er-Doppel-A-Seite ,Anhedonia II / Ecstasy Cowgirl" aufgehört hat, und lässt den Slowcore von Duster in die sample-lastige, collageartige Produktion von Dirty Art Club übergehen. Das Ergebnis ist weder eine Band noch ein Nebenprojekt, sondern etwas schwerer Fassbares - ein dritter Raum, erbaut aus Bandrauschen, zerhackten Erinnerungen und nächtlichen Signalüberläufen. Während seiner gesamten Laufzeit entzieht sich das Album der Anziehungskraft der Nostalgie. Stattdessen schwebt es in einer liminalen Gegenwart - teils Zusammenarbeit, teils Fluchtweg. Sooj, gegründet von Clay Parton, Canaan Amber und Matt Cagle, entstand aus einer Tour-Freundschaft, die sich allmählich zu etwas Dauerhafterem entwickelte. Frühe Gespräche führten zu gemeinsamen Sessions, wobei Cagle von North Carolina nach Portland reiste, wo schließlich der Großteil von ,Crusher" Gestalt annahm. ,Musik zu machen ist manchmal eine seltsame, ätherische Sache", erklären Sooj. ,Es kann so zerbrechlich sein, so flüchtig. So eine Art Höhepunkt eines bestimmten Moments und des gesamten Weges davor, plus all die zusätzlichen Dinge, die sich kosmisch einmischen können."

,Crusher", das Debütalbum von Sooj - einem Gemeinschaftsprojekt von Mitgliedern von Duster und Dirty Art Club. Die Platte taucht völlig unerwartet auf, wie eine schwach beleuchtete Übertragung von irgendwo zwischen Portland, Charlotte und Santa Cruz. Crusher knüpft dort an, wo ihre 2024er-Doppel-A-Seite ,Anhedonia II / Ecstasy Cowgirl" aufgehört hat, und lässt den Slowcore von Duster in die sample-lastige, collageartige Produktion von Dirty Art Club übergehen. Das Ergebnis ist weder eine Band noch ein Nebenprojekt, sondern etwas schwerer Fassbares - ein dritter Raum, erbaut aus Bandrauschen, zerhackten Erinnerungen und nächtlichen Signalüberläufen. Während seiner gesamten Laufzeit entzieht sich das Album der Anziehungskraft der Nostalgie. Stattdessen schwebt es in einer liminalen Gegenwart - teils Zusammenarbeit, teils Fluchtweg. Sooj, gegründet von Clay Parton, Canaan Amber und Matt Cagle, entstand aus einer Tour-Freundschaft, die sich allmählich zu etwas Dauerhafterem entwickelte. Frühe Gespräche führten zu gemeinsamen Sessions, wobei Cagle von North Carolina nach Portland reiste, wo schließlich der Großteil von ,Crusher" Gestalt annahm. ,Musik zu machen ist manchmal eine seltsame, ätherische Sache", erklären Sooj. ,Es kann so zerbrechlich sein, so flüchtig. So eine Art Höhepunkt eines bestimmten Moments und des gesamten Weges davor, plus all die zusätzlichen Dinge, die sich kosmisch einmischen können."

Sleater-Kinney feiern das 30-jährige Jubiläum ihres zweiten Albums ,Call the Doctor" mit einer neuen Vinyl-Ausgabe auf "Northern Light"-farbenem Vinyl. Sleater-Kinney ist eine gefeierte amerikanische Rockband, die 1994 in Olympia, Washington, gegründet wurde. Die Kernbesetzung der Band besteht aus Corin Tucker (Gesang und Gitarre), Carrie Brownstein (Gitarre und Gesang) und Janet Weiss (Schlagzeug). Sleater-Kinney waren bekannt für ihre feministische, linksgerichtete Politik und waren ein fester Bestandteil der Riot-Grrrl- und Indie-Rock-Szene im pazifischen Nordwesten. Call the Doctor ist Sleater-Kinneys zweites Studioalbum. Es wurde von John Goodmanson produziert und ursprünglich am 25. März 1996 bei Chainsaw Records veröffentlicht. Das Album wird oft als Sleater-Kinneys erstes richtiges Album angesehen, da Tucker und die Co-Sängerin und Gitarristin Carrie Brownstein zum Zeitpunkt der Aufnahmen ihre früheren Bands, Heavens to Betsy und Excuse 17, verlassen hatten. Die Besetzung bestand aus Corin Tucker (Gesang, Gitarre), Carrie Brownstein (Gitarre, Gesang) und Lora Macfarlane (Schlagzeug, Gesang). Call the Doctor landete 1996 auf Platz drei der ,Pazz & Jop"-Kritikerumfrage von The Village Voice. 2010 wurde das Album von der Redaktion des Rolling Stone auf Platz 49 der Liste der 100 besten Alben der Neunziger gewählt. ,Sleater-Kinney ist Amerikas beste Rockband" - Greil Marcus, Time (2001). ,Tauscht Sexarbeiterinnen-Rollenspiele, Puppenteile, Gender-Bending und andere gängige Female-Rock-Klischees gegen Geschichten vom alltäglichen Kampf ... Sleater-Kinney beweist, dass Punk immer noch neue Wege bietet, Nein zu sagen" - Johnny Ray Huston, SPIN

Zuperflex Records from Frankfurt is back. The label from Oskar Offermann and Porco Rosso aka Luca Hartz features a release from Oskar himself.

After a more Italo-influenced EP on Vass’s The Comfort label last year Mr Offermann hits with some old school rumble Tech vibes on Zuperflex. While the A-Side follows a more contemporary approach, the B embraces more imperfection and the maximization of the the old-school.

and the second chapter in an ongoing improvisational document recorded inside one of Santa Cruz de Tenerife’s abandoned oil tanks.

Gaf & The Love Supreme Arkestra work outside conventional studio frameworks. Their music emerges from extended improvisation sessions that unfold sporadically, sometimes over several days. Built around drums, guitar, bass, modular synthesis and samplers, and expanded with vibraphone and winds (flutes, saxophone, Herreño whistle), the group continues to move between jazz, psychedelic rock and free-form experimental composition.

While Ganzfeld drew from the misty northern coast of Isla Baja, Retiro Espiritual turns toward Taganana, one of Tenerife’s most remote regions. Its isolation, Atlantic exposure and volcanic terrain inform the record’s pace and focus. The title reflects this shift: a space for retreat, collective creation and suspended time.

Sonically, Retiro Espiritual leans warmer and more reflective. Flutes drift over slow grooves, extended jams unfold patiently, and traces of 70s spiritual jazz surface throughout. The experimental core remains, now shaped by repetition, space and a calmer, sunlit atmosphere.

Another autonomous transmission from a band committed to ritual, territory and long-form collective improvisation at the edge of the Atlantic.
—
Recorded live in 2020 in Tenerife Canary Islands
Produced by Mladen Kurajica
Mixed by Jorge Lozano
Master by Daniel García
Artwork Felipe González Cabezas

'New World' is the first release from Naarm/ Melbourne based artist Coloursound, a record presenting four unconventional dance floor tracks that bridge future-facing dubstep to warped techno and everything in between. The EP is an expansive sonic landscape woven together by delicate layers of bass wobbles, chugging percussion and spaced out atmospheres. Across the EP, ethereal textures and mutilated vocals lapse between one another, rooted in dub-influenced foundations, but with a futuristic twist. Coloursound is setting a new blueprint for rhythmic experimentation with respectful nods to the history of the vast range of genres that have influenced his sound. A versatile release divinely timed to soundtrack the imminent northern hemisphere's summer solstice.

Themes of birds and flying are woven throughout the album, which includes traditional songs such as "Peace Like a River" and "Little Bird, Little Bird," as well as favorites by Bob Marley, Lou Reed, Vashti Bunyan, and Woody Guthrie. Joined by her family, including her daughter Storey and husband and Ida bandmate Daniel Littleton, Mitchell crafts an inviting, homespun sound that draws young listeners in with its warmth and tenderness. To celebrate the landmark album's 20th anniversary in 2026, it has been reissued by Smithsonian Folkways on LP for the first time.

Für sein treffend betiteltes Solo-Debütalbum "Introducing..." hat Aaron Frazer mit Dan Auerbach von The Black Keys zusammengearbeitet. Soft spoken und mit dem Aussehen eines leicht unzufriedenen Matinee-Idols aus den 1950er Jahren gesegnet, besitzt Frazer eine einzigartige Stimme, die sowohl zeitgemäß als auch zeitlos klingt. Der in Baltimore aufgewachsene, zurzeit in Brooklyn lebende Songwriter wurde als Schlagzeuger und Co-Vokalist von Durand Jones & The Indications bekannt. Jetzt tritt er mit "Introducing..." als Solist hinter dem Drumkit hervor und demonstriert nicht nur seine beeindruckenden stimmlichen Qualitäten, sondern auch sein Können als hochklassiger Songschreiber. Schon die erste Single "Bad News" sorgte für Aufsehen ("a gorgeous piece of vintage R&B" - CLASH), die sich anschließende Lead-Single "Over You" ist inspiriert von elektrisierenden Northern Soul 45s der 60er Jahre. Nur zwei Belege der erfolgreichen Zusammenarbeit zwischen Frazer und Auerbach. Die zwölf Songs auf "Introducing..." verbinden gekonnt den Soul der 70er Jahre mit Dan Auerbachs besonderer Sensibilität für Vintage-Sounds im neuen Gewand. "Introducing..." enthält klassische Message-Songs im Stil von Künstlern wie Gil Scott-Heron sowie motivierende Liebeslieder, die von Disco-, Gospel- und Doo-Wop-Einflüssen durchzogen sind. Das gesamte Album wurde innerhalb nur einer Woche in Auerbachs berühmten Nashville-Studio nach einer schnellen und produktiven Songwriting-Session aufgenommen. Auerbach holte auch den legendären Songwriter und Falsettspezialisten L. Russell Brown (schrieb früher Hits für Frankie Valli von The Four Seasons) an Bord, der den wunderschönen Opener "You Don't Wanna Be My Baby" auf dem Album mitkopmponierte. Für "Introducing..." rekrutierte Frazer eine beeindruckende Schar alteingesessener Session-Musiker aus Nashville. Darunter Mitglieder der legendären Memphis Boys (die in Dusty Springfields "Son of A Preacher Man" und Aretha Franklins "You Make Me Feel Like A Natural Woman" mitspielten), den Perkussionisten Sam Bacco sowie diverse Musiker aus dem Daptone/Big Crown Records-Umfeld.

Fedo serves up an assortment of styles wrapped in mystery and vivid texture. The dive opens with dark minimal laced with glitches and misdirection, followed by a more tech-leaning structure. From there, the overall sound design pushes into deeper realms of the trip, accessible only to experienced divers. It all closes with a deep ballad — floating pitch and colourful pads carrying you back to the surface.

After appearing on Kulture Galerie Volume 4 alongise Uncanny Valley and fellow North Marcedonian Herzel, L.O.V.D joins the Digital Artefacts series with 'Dive'.

L.O.V.D is a doctor by day, synth geek by night, set between North Macedonia and Berlin. The title track of this new EP on Kulture Galerie was being picked for a mixed comp by Voltage Lab and his sound is started to being recognised internationally with appearances at many music festivals with his live set as well as international hotspots like Kiosk Radio.

This brand new 4 tracker is a personal journey that Ljuben describes like this:

'Dive is a collection of songs that embody my perception of the complex emotions experienced between two people in love. Sometimes beautiful, sometimes sad, always heavily emotionally charged, never perfect.'

Classic Barrington Levy Album from 1984 restored and remastered for best ever sound.

Features the hit singles 'Money Move; and the Jah Shaka sound system anthem 'Praise His Name'. Unavailable for 40 years and first time ever released outside Jamaica.

Sleeve artwork design by the great Jamaican illustrator Limonius - highly collectable. Solid all-star roots backing from Sly & Robbie, Lloyd Parks.
Recorded and mixed at Dynamic Sounds and Channel One

Die ehemaligen King-Crimson-Mitglieder Adrian Belew und Tony Levin haben sich mit dem Gitarrenvirtuosen Steve Vai und dem explosiven Tool-Schlagzeuger Danny Carey zusammengetan, um BEAT zu kreieren - eine kreative Neuinterpretation der drei kultigen King-Crimson-Alben der 80er Jahre: "Discipline", "Beat" und "Three of a Perfect Pair". Im Jahr 2024 spielte das Ensem-ble 65 (!) Shows in Nordamerika, bevor es 2025 mit einer ausgedehnten Tournee durch Mexiko und Südamerika weiterging. Nun wird in Zusammenarbeit mit InsideOutMusic/Sony Music das audiovisuelle Paket "Live" veröffentlicht, in dessen Mittelpunkt eine ausverkaufte Show in Los Angeles steht.Die von Bob Clearmountain abgemischte Show ist in drei verschiedenen Formaten erhältlich: als Special Edition 2CD+Blu-ray-Digipak, als Limited Deluxe 3LP-Triple-Gatefold und digital. Zusätzlich wird eine limitierte Deluxe 3CD+Blu-ray Artbook Edition erhältlich sein, die umfangreiche Fotos und eine zusätzliche 12-Track-CD mit dem Titel "Live in North America" enthält. Die Blu-ray enthält die komplette Show in Los Angeles in 5.1 Surround Sound und Stereo sowie Bonus-Interviews mit der Band.

Music springs eternal. Recognising the enduring power of timeless albums to guide us through life, Forever Records is a reissue series dedicated to rediscovering lost musical treasures from across the spectrum of head-feeding, heart-rending electronic music.

Established by Rush Hour co-founder Christiaan Macdonald and Delsin founder Marsel van der Wielen, Forever Records places heartfelt faith in a carefully curated sequence of seminal, largely forgotten records from disparate eras, scenes and spaces within electronic music history. Tipped towards the mellow and introspective, these are albums that stop time when the needle hits the groove, stirring only when it's time to flip over before you sink back into the experience. That's what albums were always meant to be about, back then, right now, always and forever.



The Release:
Striking the sweet spot between sampledelic downtempo and earth-rooted deep house, Fila Brazillia's Old Codes New Chaos is a maverick patchwork of grooves and soundscapes. Crafted in North East England in the vibrant period before chill-out was co-opted by advertising, Steve Cobby and Dave McSherry's sharp-eared funk formula remains a cult classic suite of exquisite productions spanning deep house, broken beat and ambient shot through with wry humour.
Last physically released in limited quantities in 2002, Forever Records are revisiting this 1994 gem with an extensive reissue led by a triple vinyl pressing. As well as a new LP edition of the album, there will also be a uniquely numbered, limited edition housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased tracks.

'Chemistry' and 'Rankine', plus an exclusive print of Catherine Brennand's watercolour painting that graces the front of the album. All editions also features liner notes by veteran music journalist John McCready.

Press response to Old Codes New Chaos:
"The album that made the world finally sit up and take notice of the avant funk grooves coming from Hull's immaculately stoned tech funk magicians." Frank Tope, Mixmag, UK 1994.
"This album… stands out a mile from most of its peers as a work of untouchable genius." Bill Brewster, DJ Mag UK 1994.

"Fila works because they fit into that no man’s land, the space in your record collection where ambient seems too much like wallpaper and house seems just too braindead for your bedroom " Frank Tope, Mixmag, UK 1994.

"Having already created the perfect desert island disc, "Mermaids" and explored the darker side of sub bass on the 17-minute extravaganza "Fila Funk", Fila Brazillia have just unleashed their moving debut LP, "Old Codes New Chaos", and to be quite honest, you'd be fool to miss out this time around." Mandi James, Melody Maker, UK 1994.

“Where Cobby and Man rip up the rulebook on the four to the floor and probably make the greatest afterhours house album in the word”. Tony Marcus, Mixmag, 1996.

As long as she can remember, Jane Remover has practiced her own autonomy as much as possible. The nineteen year old songwriter is an omnivorous listener that produces everything herself. She has been lauded by fans and writers alike, for accidentally creating entire genres in the wake of her prolific two-year run.

The new album is more conceptually abstract than its predecessor as Jane sheds linear narrative writing. However, it takes place beginning at sundown and through the night, up until the next morningʼs earliest crack of dawn. Its winding songs are obtuse but carefully composed, and intimately follow Jane's train of thought.

Dynamic production is at the forefront. Noisy highs gleam, and are juxtaposed by dusky Post-Rock lullabies within the same songʼs runtime. Census Designated is a staggering display of maturation in every aspect when compared to her previous presentation, to a degree that makes it few and far between in the world of albums.

Despite the darker palette, Jane steps into a technicolor clarity for the first time. The album was made in both studios and at home—with recordings from Studio North (Kensington in Philadelphia), mixes from Kayla Reagan and mastered by Hector Vega.

A photo of her standing bareback while facing away towards the high plains, serves as the cover art for an album where she manages to simultaneously divulge her most confessional moments yet, and captivate the listener with unanswerable questions.

Ltd. Edition "Rabbit Hole" Vinyl. "A Tale" is the fifth album from the Finnish collective Onségen Ensemble. Based in the north and shaped by its environment, Onségen Ensemble has built a distinctive identity through constant transformation. Rather than a fixed lineup, the band functions as a living ensemble: a stable core surrounded by ever-changing contributors. Each album introduces new voices, instruments and perspectives, allowing the music to evolve freely and remain open to the unexpected. With "A Tale", the band's expression becomes more ethereal and profound than before. While Onségen Ensemble operates within a progressive mindset; they deliberately avoid traditional genre boundaries, creating music that moves forward by absorbing influences intuitively, free from stylistic dogma. As with their previous records, they've always introduced new elements along the way - instruments as well as musicians - and this album is no exception. "The central theme of the album is peace. In many ways, it feels like the only value that still truly holds meaning in today's world. Peace is diverse, what we dare not be."