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Antorcha are one of the best-kept secrets of the Mexican underground rock scene. Their influences came from Iron Butterfly, Black Sabbath, Blue Cheer, Vanilla Fudge, and others. At times they also sounded like MC5, with whom they shared an anarchist and anti-establishment spirit. After a brief period during which they recorded only a couple of 7-inch singles for the Orfeón label that had a very limited distribution, Mexican rockers Antorcha fully embraced a DIY approach to managing their own career. They had evolved into a heavy psychedelic rock group, with no metaphors and no compromises. Anarchists in a country that could barely utter the word without trembling. It was the final years of the 1960s. They recorded five self-produced EPs, sold exclusively at their live performances, passed from hand to hand as if each record were a clandestine act. While MC5 stirred the streets of Detroit alongside the White Panthers, Antorcha was doing much the same in a Mexico that preferred to look the other way. The band operated as a cooperative: agreements were reached collectively, and income was shared equally. Antorcha became a forgotten band in their own country, overlooked even by Mexican rock experts. Yet their legacy proved influential on an organizational level for later groups in the independent scene, which followed Antorcha's model of self-releasing and self-managing their work. This compilation brings together the best of their discography, collecting self-released 7-inch records originally issued between 1971 and 1976, along with material that never appeared on their EPs. Includes an insert featuring liner notes by Carlos Icaza "Tropicaza" and photographs of the band.

Eero Koivistoinen's debut album reissued in July Eero Koivistoinen is a wide-ranging composer and a talented musician – one of the all-time greats of the Finnish jazz. In 1965 Koivistoinen founded a trio that played avant-garde and fusion jazz together with Pekka Sarmanto and Edward Vesala. In 1967–68 he was a member of Blues Section – a group that is regarded as the first progressive rock band in Finland. Valtakunta (“Kingdom”) was originally released in 1968 and is Eero Koivistoinen’s first jazz LP. The songs of the album are based on the lyrics written by Finnish poets Pentti Saarikoski, Tuomas Anhava, Hannu Mäkelä and Jarkko Laine. The vocalists are Eero Raittinen, Seija Simola, Vesa-Matti Loiri and Koivistoinen himself. He also plays the tenor saxophone, piano and vibraphone, and is joined by a vast selection of legendary Finnish musicians, including Seppo "Baron" Paakkunainen, Pekka Sarmanto, Ronnie Österberg, Hasse Walli, Juhani Aaltonen, Antero Jakoila, Kaj Backlund, Esa Pethman, and Reino Laine among many others. All compositions are by Koivistoinen. The album reflects well the forthcoming compositional repertoire of Koivistoinen with its wide style spectrum. Valtakunta was reissued on vinyl in 2016 via Svart and the pressing quickly found a new home on the turntables of record collectors worldwide. After ten years, it's time to bring back this quintessential piece of Finnish psychedelia, avant-garde, free jazz, and progressive rock on wax and CD again.

The third release on Uprising pairs a sax-driven rockabilly thumper with one of the coolest dance craze records of the mid-60s. ‘Red Hot Car’ was Bobby Verne’s only recording and came out on the tiny Californian Doc Holiday label in 1962. Judging by the current price and collector demand for an original copy only a small quantity were pressed. This is a powerhouse of a tune that has been filling dancefloors across the globe for some time now.
As for the flip, in 1965, Buddy Wayne added self-penned lyrics to Gary Paxton’s rendition of the James Bond theme. Released on the Big Ben label – that only put out four records − it sat unwanted for decades. Then the rockabilly scene picked up on it in a big way when they discovered that it was the perfect stroller. This was closely followed by the northern soul and mod scenes. Today, it is at last crossing over to a more mainstream audience.

"Fuera del cielo" (1975) is an art rock/space jazz masterpiece infused with prog scents from one of the true legends of Argentinian rock. The sounds of floating acoustic pianos, organ and harpsichord, basslines and even bandoneon combine with Litto's own voice and create a unique blend of deep and delicate beauty. 'La Balsa' was the first Argentine massive rock hit. In 1967 Los Gatos became the most famous local rock band with this song. At the front, as composer and singer, was Litto Nebbia. Although this milestone has remained eternally linked to Nebbia's name, almost eclipsing the rest of his work, it is really his solo career that unveils the artist's overwhelming talent and his determination to create music freely, regardless of commercial considerations. It is an album to be filed next to the highly acclaimed "Bazar de los milagros" and "Cosas que no quieren morir", released the following year, creating an outstanding body of work that represents Nebbia's talent at its best. Nebbia's genius transcends beyond the Southern Hemisphere. The international scene of DJs and vinyl collectors shows signs of its taste for Litto Nebbia recordings, now highly sought after in their original editions, probably as part of a rediscovery of little-explored global sounds, within a journey through music always hungry for exciting new sounds. First time vinyl reissue, remastered sound.

Released in 1976 on ABC Records, Seed Of Memory is Terry Reid's fourth studio album and marks a significant shift in his musical direction - This 180g vinyl re-issue faithfully replicates the original UK pressing including 4- page lyric insert Produced by Graham Nash, the album was recorded in California after Reid had relocated from Britain, and reflects the influence of the West Coast singer-songwriter scene while retaining elements of rock, blues, folk and soul. All eight songs were written by Reid, whose expressive vocals and guitar work remain central throughout. The recordings are enhanced by contributions from respected musicians including David Lindley on guitar and violin, Ben Keith and Al Perkins on pedal steel, and Graham Nash on harmony vocals. Lyrically, the album explores themes of reflection, spirituality, personal growth and social awareness, with songs such as "Brave Awakening" drawing on Reid's family connections to the mining industry. The relaxed arrangements contrast with the heavier sound of some of his earlier recordings, creating a more atmospheric and melodic style.

Tiffany Day has quickly emerged as one of the most compelling voices in hyper-digital pop, blending emotional chaos, internet-born edge, and forward-thinking production into a sound entirely her own. Born in Toronto and raised in Kansas, Tiffany first broke through with a viral cover of “Hallelujah,” building a YouTube audience of over 500,000 subscribers before graduating high school. She began releasing original music in college, quickly developing a devoted fanbase drawn to her wit, vulnerability, and genre-fluid instincts.

A self-directed creative force, Tiffany has made her live show a defining pillar of her artistry, fusing choreography, visuals, and electronic-driven transitions that push her beyond traditional pop performance. In 2024, she independently funded and sold out several headline shows across a North American tour. She later expanded into the DJ scene, launching BASSFLUFF, a series of standalone events that generated viral moments DJing everywhere from gyms to nail salons.

Her 2025 releases marked a sharp sonic evolution, leaning into electroclash and hyperpop textures. Singles like “BREAKUP,” “TELL ME WHAT I DID,” and “START OVER” generated millions of views across platforms and earned coverage from NME, Ones to Watch, On The Radar, and beyond, positioning her at the forefront of a new wave of digital-native pop artists.

That momentum culminates in her album HALO, released April 3, 2026 via Broke Records. The project debuted at #1 on the Apple Music Electronic chart and #25 on the Billboard Electronic/Dance Albums Chart, drawing early co-signs from artists like Laufey and Yunjin (LE SSERAFIM) alongside coverage from Pitchfork, The FADER, NYLON, LA Times, and more. To mark the release, Tiffany staged three headline shows—each of which sold out in under five minutes. With her production across nearly every track, HALO marks Tiffany's most cohesive and ambitious work to date, solidifying her not just as an artist to watch, but as a defining voice in the next era of hyperpop.

Tiffany Day has quickly emerged as one of the most compelling voices in hyper-digital pop, blending emotional chaos, internet-born edge, and forward-thinking production into a sound entirely her own. Born in Toronto and raised in Kansas, Tiffany first broke through with a viral cover of “Hallelujah,” building a YouTube audience of over 500,000 subscribers before graduating high school. She began releasing original music in college, quickly developing a devoted fanbase drawn to her wit, vulnerability, and genre-fluid instincts.

A self-directed creative force, Tiffany has made her live show a defining pillar of her artistry, fusing choreography, visuals, and electronic-driven transitions that push her beyond traditional pop performance. In 2024, she independently funded and sold out several headline shows across a North American tour. She later expanded into the DJ scene, launching BASSFLUFF, a series of standalone events that generated viral moments DJing everywhere from gyms to nail salons.

Her 2025 releases marked a sharp sonic evolution, leaning into electroclash and hyperpop textures. Singles like “BREAKUP,” “TELL ME WHAT I DID,” and “START OVER” generated millions of views across platforms and earned coverage from NME, Ones to Watch, On The Radar, and beyond, positioning her at the forefront of a new wave of digital-native pop artists.

That momentum culminates in her album HALO, released April 3, 2026 via Broke Records. The project debuted at #1 on the Apple Music Electronic chart and #25 on the Billboard Electronic/Dance Albums Chart, drawing early co-signs from artists like Laufey and Yunjin (LE SSERAFIM) alongside coverage from Pitchfork, The FADER, NYLON, LA Times, and more. To mark the release, Tiffany staged three headline shows—each of which sold out in under five minutes. With her production across nearly every track, HALO marks Tiffany's most cohesive and ambitious work to date, solidifying her not just as an artist to watch, but as a defining voice in the next era of hyperpop.

After enjoying two major hits with the singles “Maybellene” and “Roll Over Beethoven” in 1955 and 1956, it was not until May of 1957 that Chuck Berry released his debut studio album and masterpiece, After School Session. The second album ever released on the legendary Chess Records, After School Session offered a new sound to audiences, nodding to teenagers with its title and including a mix of “rockers” that set the blueprint for the rise of rock ‘n’ roll. Includes “School Day (Ring Ring Goes The Bell),” “Brown Eyed Handsome Man,” and “Too Much Monkey Business.” Bring home the sound of America’s greatest blues label in high fidelity with the Chess Records Acoustic Sounds Series. These audiophile reissues of classic albums and compilations from the Chess discography are remastered from the original analog tapes and pressed on 180-gram vinyl at Quality Record Pressings (QRP). Each disc is packaged in tip-on gatefold sleeves printed on high-grade board.

Like a pelican spotting its moment, Dimitri Andreas returns with a collection shaped by patience, precision and instinct.

Pelican marks a new chapter for a respected figure in underground electronic music. While recent years saw Andreas immersed in theatre productions, immersive audio experiences and multidisciplinary artistic projects, his fascination with rhythm, space, tension and emotion never left. It simply found different forms.

On Pelican, those worlds converge.

Across five original productions, Andreas distills the elements that have long defined his sound: hypnotic grooves, organic percussion, tribal influences, rich atmospheres and a deep sense of movement. The title track glides on suspense and anticipation, while Omenica and Mahu explore the groove driven territory that has become synonymous with his name. Cambolisa delivers a powerful melodic payoff, and Ember closes the journey with vintage synth warmth and restless energy.

The release is completed by three outstanding remixes from artists whose influence on contemporary electronic music is undeniable. Deetron reshapes Pelican into a deep and sophisticated techno excursion, Extrawelt transforms it into a cinematic and evolving voyage, while Petar Dundov expands Cambolisa into an emotional and atmospheric journey of his own.

Following a series of acclaimed MOVE Recordings releases supported by DJs including Sven Väth, Timo Maas, Jamie Jones and Fedele, Pelican arrives as a body of work shaped by years of exploration beyond the confines of club culture.

Rather than revisiting the past, Andreas brings those experiences back to the dance floor: music with patience, depth and perspective. Pelican is the sound of an artist returning not to where he started, but with everything he discovered along the way.

Already Supported by Laurent Garnier, Alexi Delano, Âme, Ilario Alicante, Just Her, Adriatique, Karotte, Danny Howells, Drumcomplex, Paco Osuna, Steve Parry, Marco Bailey, Alex Neri, Pole Folder, Amand, Calao, Neon, Gay Barone, ….

Pressed to "beer" color vinyl, features remastered audio & original packaging. The first band on Fat Wreck Chords, Lagwagon pioneered the modern pop-punk movement. Hoss (1995) is a foundational pillar of 90s skate punk that helped define the signature "Fat Wreck Chords" sound_fast, melodic, and technically proficient. Frontman Joey Cape introduced introspective, melancholic songwriting to the genre on iconic anthems like "Violins," proving aggressive punk could carry emotional weight. Furthermore, Derrick Plourde's innovative, lightning-fast drumming raised the technical bar for the entire scene, heavily influencing generations of punk drummers worldwide.

It's been a while hasn't it?! Well say 'Hello' to this new slab of wax from THEE CYBERMEN, because they NEVER SAID GOODBYE Some thirty years have passed since the last album from Dan Price (guitar & vocals) and Pete Scoundrel (bass, keys & vocals) but they didn't slip away quietly, in fact they kept on gigging and writing songs until the time was right and ladies and gents, that time is NOW! With the sterling help of rhythm dynamo Bruce Brand (MILKSHAKES, HEADCOATS etc. etc.) on drums and Surf maestro Hipbone Slim (AKA Sir Bald Diddly etc. etc.) on guitar the purveyors of pure, unalloyed BorderBeat have returned once more! This time with twelve all original tunes drenched in garage, beat, surf and attitude, recorded at Gizzard vintage analogue studio in London for that authentic sound.The long-awaited new platter from THEE CYBERMEN lands on your turntable like a fistful of fireworks displaying the band's 60s beat and Medway garage influences proudly in its grooves.

Back in November 2015, after years of collaborations with such as Ghostface Killah, Raekwon, Obie Trice, Sean Price, Kool G Rap, Eternia and countless others, Toronto-based producer MoSS released his debut producer album entitled "Marching To The Sound Of My Own Drum". Since the beginning of his career, the Canadian beatsmith, record digger and music connoisseur has been making a name for himself with his signature sound and on this record he gives an amazing display of what he's capable of doing being backed up by an all stars team that features AZ, Havoc, Slum Village, Onyx, Inspectah Deck, Ill Bill, Skyzoo, Guilty Simpson and 20+ other legendary MC's. A few years after its original release, we've decided to team up with MoSS to bring you this masterpiece on wax and, for the occasion, he's also added an unreleased bonus track called "We Here" that features Smif-N-Wessun that, together with "Emotional Redux", we've put on a 7" together with its instrumental. Limited edition of 500 hand-numbered copies, with the first 200 pressed on orange/black A-side B-side vinyl, and 300 on black vinyl.

BONUS 7”

A1. Emotional Redux (feat. Big Gov, Guilty Simpson, Jon Connor, Vstylez, Willie The Kid)
B1. We Here (feat. Smif-N-Wessun) UNRELEASED
B2. We Here (Instrumental)

"Your prayers have been answered: less songs about Bush and more songs about Jesus!" 20th anniversary pressing of Wolves In Wolves' Clothing. Released in 2006, NOFX's tenth studio album is a blistering blend of aggressive political satire and melodic skate punk. Capturing the sociopolitical anxiety of the second Bush presidency, frontman Fat Mike sharpens his pen to target organized religion, corporate greed, and blind patriotism. Fan favorites like "Seeing Double at the Triple Rock" and "Leaving Jesusland" showcase their signature fast tempos, tight harmonies, and dark humor. Back for good in 2026 on yellow vinyl! Produced by Bill Stevenson at Blasting Room NOFX's critically-acclaimed tenth studio album, songs that go good with a drink! Originally charted at #46 on Billboard 200 and Top 40 in 8+ territories worldwide Features hit singles "Seeing Double At The Triple Rock", "USA-Holes" and "Leaving Jesusland"

"Your prayers have been answered: less songs about Bush and more songs about Jesus!" 20th anniversary pressing of Wolves In Wolves' Clothing. Released in 2006, NOFX's tenth studio album is a blistering blend of aggressive political satire and melodic skate punk. Capturing the sociopolitical anxiety of the second Bush presidency, frontman Fat Mike sharpens his pen to target organized religion, corporate greed, and blind patriotism. Fan favorites like "Seeing Double at the Triple Rock" and "Leaving Jesusland" showcase their signature fast tempos, tight harmonies, and dark humor. Back for good in 2026 on yellow vinyl! Produced by Bill Stevenson at Blasting Room NOFX's critically-acclaimed tenth studio album, songs that go good with a drink! Originally charted at #46 on Billboard 200 and Top 40 in 8+ territories worldwide Features hit singles "Seeing Double At The Triple Rock", "USA-Holes" and "Leaving Jesusland"

"Originally released in 1979 on Sly & Robbie's Taxi label, this album was Black Uhuru's second LP. Recorded at Channel One it set forth a new sound in recorded music technology. The songs blend into dub versions and the mixing is simply stunning. The track Shine Eye Gal also features guitarist Keith Richards"
(but hey, nobody's perfect).

"Hear the meticulous song writing of Michael Rose, joined by Puma Jones & Duckie Simpson, to complete the vocal line-up.

Sly & Robbie and the Taxi Gang created a sublime sonic masterpiece at Channel One studio in Jamaica. They were at their absolute peak of their powers, before being launched as global superstars with Grace Jones.

Black Uhuru went on to be an extremely popular live outfit, touring endlessly around the world, breaking down barriers and making new inroads to territories previously unknown to Jamaican artists.

This Classic reissue is a must for all reggae collectors."

"The 1969 self-titled album by Koko Taylor cemented her place as Chicago’s undisputed Queen of the Blues. Scouted by Chess Records house bassist and producer Willie Dixon at Chicago’s legendary Sylvio’s Lounge, Dixon provided his new protégé with “Wang Dang Doodle,” a song that would sell more than a million copies and become her signature tune. Drawing heavily from her recent run of hit 45s, Koko Taylorfeatures, in addition to “Wang Dang Doodle,” Dixon-penned classics including “Twenty-Nine Ways (To My Baby's Door)” and “Yes, It’s Good for You,” alongside Taylor’s own “Nitty Gritty,” highlighted by Johnny Shines’ poignant slide guitar. Koko Taylor remains a cornerstone of Chicago electric blues.
Bring home the sound of America’s greatest blues label in high fidelity with the Chess Records Acoustic Sounds Series. These audiophile reissues of classic albums and compilations from the Chess discography are remastered from the original analog tapes and pressed on 180-gram vinyl at Quality Record Pressings (QRP). Each disc is packaged in tip-on gatefold sleeves printed on high-grade board."

Clear vinyl. Originally released in 1999, The Sacred Talisman is the highly-acclaimed third studio album from Swedish power metal stalwarts Nocturnal Rites.

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 :

In 2026 viert Eva De Roovere het 20-jarig bestaan van “De Jager”. Ze trekt er op uit en speelt haar succesalbum integraal. Met klassiekers als “Fantastig Toch” (35 miljoen streams !), “Laat Me Je Lied Zijn” en “De Jager” wordt deze concertreeks vanaf het najaar een groot feest van herkenning en vernieuwing, met als kern: liefde voor muziek én publiek.

Want wat is er mooier dan de 20ste verjaardag van een album vieren met… een nieuw album? ‘Sluit De Nacht’ (productie Koen Gisen) wordt een eigentijdse mix van levenslied en liefdeslied: een ode aan poëzie, melodie en ritme. Een zoektocht naar verbinding en troost in deze woelige tijden. Eigen werk en ook straffe songs geleverd door of samen geschreven met Gert Bettens, Rick De Leeuw, Dirk Blanchart, Sabine Tiels, Wouter Berlaen, Lennaert Maes, Vincent Pierins… Ingespeeld door Eva zelf en Ward Dhoore: gitaren, Eva Hautekiet: akoestische en electrische piano, Philippe Thuriot: accordeon & bandoneon, Lara Rosseel: contrabas en Kobe Proesmans: percussie & drums.

ENG

In 2026, Eva De Roovere will celebrate the 20th anniversary of “De Jager.” She’s hitting the road to perform her hit album in its entirety. Featuring classics like “Fantastig Toch” (35 million streams!), “Laat Me Je Lied Z?n,” and “De Jager,” this concert series starting this fall will be a grand celebration of familiarity and renewal, centered on a love for music and the audience.

After all, what could be better than celebrating an album’s 20th anniversary with… a new album? “Sluit De Nacht” (produced by Koen Gisen) is a contemporary blend of life songs and love songs: an ode to poetry, melody, and rhythm. A search for connection and comfort in these turbulent times. Original material as well as powerful songs written by or in collaboration with Gert Bettens, Rick De Leeuw, Dirk Blanchart, Sabine Tiels, Wouter Berlaen, Lennaert Maes, Vincent Pierins… performed by Eva herself and Ward Dhoore: guitars; Eva Hautekiet: acoustic and electric piano; Philippe Thuriot: accordion & bandoneon; Lara Rosseel: double bass; and Kobe Proesmans: percussion & drums.

10” black vinyl + DL card.

Josephine Foster's peculiar 2000 home recorded debut There Are Eyes Above is an essential introduction to her music that’s unfolded now for over two decades. Released for the first time on vinyl, this limited edition 10-inch pressing comes packaged with brand new artwork and is adorned by one of Josephine’s illustrations. Lo-fi and unaffected by tradition or commercialism these initial recordings are sepia-tinted, folk-art music with powered by uke minimalism; it’s outsider music that still doesn't fit in. Just 30-minutes caught in time before her 2001 follow up Little Life - this humble first incarnation includes here for posterity super personal lullabies and a glimpse into her songwriting evolution. It’s music from an era that only exists in your mind, with a bow to Tin Pan Alley for good measure. This super rare collection, originally only released on CDR and sold at shows, remains an essential part of the curious oeuvre of this unique songwriter and singer. “A dissonant soprano and lyrics about benevolence and old-time faith, Foster expertly weaves ancient and modern” The Guardian. Track listing: Side A 1 One Hundred Songs I Sing 2 Emily Told Me 3 Teeter Totter 4 Little Life 5 I Am A Guest In Here. Side B 6 Robber Song 7 Hey Matthew 8 There Are Eyes Above 9 Godcake 10 Yippee I'm Leaving 11Two Not One

Back by popular demand, Shawn Ward's sought-after Forward Motions EP returns on vinyl, giving collectors and DJs another chance to secure a modern deep house favourite.

A respected figure in underground house for more than two decades, Ward has developed a distinctive sound built on warmth, musicality and understated sophistication. Forward Motions EP continues that tradition with four impeccably produced cuts that balance dancefloor energy with timeless listening appeal.

With original copies becoming increasingly difficult to find, this long-awaited repress makes an essential release available once again for a new generation of listeners, while giving longtime fans the opportunity to replace worn copies or finally complete the collection.

505 Games und Laced Records präsentieren die mitreißende Musik von „WUCHANG: Fallen Feathers“ auf Doppel-Vinyl.

Die gesamte Musik wurde von Joe Caithness speziell für Vinyl gemastert. Das Gatefold-Cover ziert ein Artwork des Entwicklers Leenzee, das den Protagonisten Bai Wuchang darstellt.

Die Handlung spielt im Land Shu während der Ming-Dynastie, und die Filmmusik spiegelt eine Welt wider, die von kriegführenden Fraktionen, einer mysteriösen Krankheit und monströsen Kreaturen heimgesucht wird. Die Musik fängt die feierliche Schönheit der Landschaft und die darunter lauernde Furcht ein und verbindet traditionelle chinesische Instrumente und kraftvolle Gesangsdarbietungen mit grandiosen Orchesterarrangements und unheilvollen Gesangseinlagen.

Zusammen bilden Musik und Artwork ein Werk, das sich zugleich elegant und unheilvoll anfühlt – ein Artefakt, das der untergegangenen Dynastie, die es repräsentiert, würdig ist.

Das in den USA ansässige Trio ist seit 2013 aktiv und besteht aus Ryan Lott, Ian Chang und Rafiq Bhatia. Getragen von Neugier und der Suche nach einem Gleichgewicht zwischen roher emotionaler Intimität und akribischen elektronischen Kompositionen lässt sich Son Lux, wenn nötig, den Genres Experimental Rock, Post-Rock und Electronic Rock zuordnen.

Ihren ersten Durchbruch erlebten sie mit dem Titel „Easy“, einschließlich Alternativversionen von Woodkid (2013) und Lorde (2014). Nominiert für den Oscar® und den BAFTA in der Kategorie „Beste Originalmusik“ für Everything Everywhere All at Once (2022 – Daniel Kwan). Son Lux traten bei den Oscars anlässlich ihrer Nominierung für den besten Song gemeinsam mit David Byrne und Stephanie Hsu auf. Weitere Filmmusiken: „Thunderbolts“ (Marvel).
Im Jahr 2026 arbeitete Son Lux mit Poppy und Harmony Korine an einem neuen Song und Video für Bungie Studios „Marathon“ (Videospiel). Zahlreiche Synchronisierungen, darunter „The Vow“ (HBO), „Skins“ (UK) (E4), „Baby“ (Netflix), „Good Girls“ (NBC) und „American Horror Story“ (FX)...
Lott und seine Bandkollegen – Gitarrist Rafiq Bhatia und Percussionist Ian Chang – stürzten sich in das rhythmisch opulenteste und textlich eindringlichste Son-Lux-Album, das es bisher gab. In fast zwei Jahrzehnten hat sich Son Lux einen Ruf für Pracht und Schwung erworben, doch 'Out Into' ist etwas anderes: eine kraftvolle Suite aus greifbaren, detailverliebten Songs, die aus schillernden Momenten kollektiver Improvisation entstanden sind.

Camille Thomas’ neues Album Philip Glass: For Cello entstand auf persönliche Einladung des Komponisten
selbst. Anlässlich seines 90. Geburtstags vereint dieses einzigartige, von der Künstlerin initiierte Projekt
eine Auswahl der bedeutendsten Werke von Philip Glass sowie seine Originalkompositionen für Cello – mit
neuen Arrangements, die seine Musik in einem neuen Licht erscheinen lassen.
Das Album wurde mit dem Brussels Philharmonic unter der Leitung von Oscar Jockel aufgenommen und reicht vom selten aufgeführten Ersten Cellokonzert bis hin zu einer neu interpretierten Version von Naqoyqatsi
– der ursprünglichen Filmmusik, die das Zweite Cellokonzert inspirierte –, neben neu arrangierten Etüden
und ikonischer Filmmusik, darunter The Hours, und gipfelt in einem einzigartigen neuen Arrangement von
Truman Sleeps (The Truman Show). Zusammen offenbaren diese Werke die Tiefe, die Lyrik und den
inneren Puls im Herzen von Glass’ musikalischer Sprache und bieten zugleich eine zeitgemäße Reflexion
über Themen, die auch heute noch von auffallender Relevanz sind

Ursprünglich 1961 veröffentlicht, erscheint diese neu remasterte Ausgabe von „The Hawk Relaxes“ des
Tenorsaxophonisten Coleman Hawkins nun im Rahmen der neuen Moodsville Acoustic Sounds Reihe. Mit
Ronnell Bright (Klavier), Kenny Burrell (Gitarre), Ron Carter (Bass) und Andrew Cyrille (Schlagzeug) gilt
das Album als eines der besten Alben aus Hawkins’ später Schaffensphase. Diese Neuauflage erscheint auf
180-Gramm-Vinyl, gepresst bei QRP, mit vollständig analogem Mastering von den Originalbändern und in
einer Tip-On-Hülle.

Diese neu remasterte Ausgabe des Albums „The Frank Wess Quartet“ des Tenorsaxophonisten Frank Wess
erscheint im Rahmen der neuen Moodsville Acoustic Sounds Reihe. Das Album, das ursprünglich 1960
veröffentlicht und in den berühmten Studios von Rudy Van Gelder in New Jersey aufgenommen wurde,
umfasst außerdem Tommy Flanagan (Klavier), Eddie Jones (Bass) und Bobby Donaldson (Schlagzeug).
Diese Neuauflage erscheint auf 180-Gramm-Vinyl, gepresst bei QRP, mit vollständig analogem Mastering
von den Originalbändern und in einer Tip-On-Hülle.

Diese neu remasterte Ausgabe von „The Red Garland Trio + Eddie ‚Lockjaw‘ Davis“, auch bekannt als
„Moodsville Volume 1“, erscheint im Rahmen der neuen Moodsville Acoustic Sounds Reihe. Auf dem
Album, das ursprünglich 1960 veröffentlicht und in Rudy Van Gelders Studio in New Jersey aufgenommen
wurde, sind Red Garland (Klavier), Eddie „Lockjaw“ Davis, Sam Jones (Bass) und Art Taylor (Schlagzeug)
zu hören. Diese Neuauflage erscheint auf 180-Gramm-Vinyl, gepresst bei QRP, mit vollständig analogem
Mastering von den Originalbändern und in einer Tip-On-Hülle

„Tommyland: The Ride“, ursprünglich 2005 veröffentlicht, ist Tommy Lees zweites Soloalbum. Es erschien
seinerzeit zeitgleich mit seinem gleichnamigen Buch sowie seiner Reality-TV-Serie „Tommy Lee Goes To
College“. Die zweite Single des Albums, „Good Times“, diente als Titelsong der Serie. Zu den Gastmusikern
auf dem Album zählen unter anderem Butch Walker, Chad Kroeger und Nick Carter.
Unter dem Titel „Tommyland Rides Again“ ist das Album nun erstmals auf Vinyl erhältlich; es enthält die
neu gemasterten Originaltitel sowie den brandneuen Song „Stupid World“ (feat. Chad Tepper) – inklusive
eines neuen Musikvideos – und präsentiert sich zudem mit einem überarbeiteten Artwork.

Diese Ausgabe des 19. Studioalbums „Magnification“ von Yes wurde mit halber Geschwindigkeit auf Lackplatten geschnitten und auf zwei 180-Gramm-LPs gepresst, um eine äußerst detailreiche Wiedergabe zu
gewährleisten. Sie ist in einem Gatefold-Cover mit neuem Artwork verpackt, das auf den Originalentwürfen
von 2001 basiert.
„Magnification“ der Progressive-Rock-Legenden Yes, das ursprünglich im September 2001 erschien, war
ihr erstes Studioalbum mit Orchesterbegleitung seit „Time and a Word“ aus dem Jahr 1970. Mit Orchesterarrangements des Komponisten Larry Groupé, eingespielt vom San Diego Symphony Orchestra, enthält
„Magnification“ den Titelsong, „Don’t Go“ und „In The Presence Of“, die auf ihrer „Yessymphonic Tour“
zur Promotion des Albums zu hören waren, während bei „Give Love Each Day“ Bassist Chris Squire den
Gesang übernimmt.
Dies ist das letzte Yes-Studioalbum mit Jon Anderson als Sänger und – da kein Keyboarder dabei ist
– das erste, auf dem nur vier Mitglieder von Yes zu hören sind.

"Psicofásicos" by The Silver Pumpkins is a unique document: an EP that is virtually impossible to find in its original edition, offering an essential glimpse into Bolivia's thrilling 1960s rock scene-raw, wild, and unlike almost anything else. Beyond the ubiquitous covers of Cream and Jimi Hendrix recorded by countless South American bands, this EP features the far less common 'Pushing Too Hard' by The Seeds and, most notably, the dark, powerful 'You're Gonna Miss Me' by the 13th Floor Elevators. Bolivia boasts an extraordinary musical legacy of raw, garage-driven '60s sounds. Alongside Peru, it was one of the South American countries where the greatest number of recordings in this style were released-captured with limited resources but overflowing with spontaneity, energy, and attitude. The difficulty of obtaining the records that were shaping the latest Anglo-American rock trends of the 1960s in many Spanish-speaking Latin American countries led to a proliferation of local bands covering their musical heroes. Well-known artists such as Cream, Jimi Hendrix, and Iron Butterfly were reinterpreted by countless groups, making these songs available to local audiences without having to rely on imported records reaching their countries. By doing so, these bands helped spread the cutting-edge rock music already making waves elsewhere in the world. What makes this release particularly unusual is that the band chose to cover second-tier cult acts rather than the obvious classics-groups that only briefly cracked the U.S. Top 50 in the late '60s, such as The Seeds and 13th Floor Elevators. Originally released on the Bolivian Psicofásico label, this exceptionally rare EP pairs The Seeds' garage anthem 'Pushing Too Hard' with the ferocious, immortal 'You're Gonna Miss Me' by Roky Erickson and the 13th Floor Elevators. The raw power of the original songs is pushed even further here by the rudimentary recording techniques and the limited instrumental skills of the very young members of The Silver Pumpkins. The result is a one-of-a-kind document-virtually impossible to find in its original pressing-that helps complete the picture of Bolivia's fascinating '60s rock scene. First-ever reissue.

A deep cut from the extensive back catalogue of South African group Splash, significant artists in the narrative of the country’s fiercely independent Gallo Record Company, CWPT presents two uplifting mixes of 1990’s ‘An Eye For An Eye’, arranged by a modern day hero of the craft, Lipelis.

Originally released in parallel with the official beginning of the end of South Africa’s decades-long Apartheid, lead vocalist Daniel Tshanda dispels the philosophy of the track’s title, instead offering a still poignant call for unity; “An eye for an eye is no good… Let’s live together as one.”

Lipelis’s carefully crafted take retains this sentiment front and centre, while nudging the arrangement toward contemporary dancefloors, enriching a steady and bubbling mix of colourful keys, bubblegum percussion and a lifting backing chorus that includes another Gallo sensation, Dalom Kids.

These same voices form the spiritual centre of Lipelis’s 12” dub version, which further demonstrates the track’s irresistible rhythm, making space for complimentary piano melodies from Lipelis, alongside collaborator Eugene Piankov. Here, sunsetting piano lines dance with the analogue techniques of Lipelis’s own production instincts, forging a blissful tribute to a potent moment in South African musical history.

This release is more than just a collection of tracks—it’s a statement of identity. Rooted in the raw energy of acid, techno, and house music, every sound, groove, and hypnotic sequence reflects a commitment to authenticity and creative freedom. In a world that constantly pushes artists to follow trends, staying true to who you are is one of the most powerful things you can do.

This project was created without compromise, driven by a genuine passion for underground electronic music and the belief that honest expression always resonates the deepest. The acid lines cut through with intensity, the techno rhythms drive relentlessly forward, and the house elements bring soul and movement to the journey.

We truly believe in this release because it represents exactly what we stand for as artists: originality, integrity, and a dedication to the music that inspires me. This isn’t about fitting in—it’s about creating something real. Turn it up and experience the sound of staying true to your identity.

A beautifully obscure piece of European library music, Rundflug (Local Flight) captures the cinematic, atmospheric side of the Jeff Bastow Orchestra. Both tracks unfold as a concise instrumental journey, combining elegant orchestration with a distinctly nostalgic, airborne atmosphere. Light, melodic and cinematic, feeling like the soundtrack to an imaginary film you know too well, with melodies that will linger in your mind way after the music is over.

On the B-side, Castro Moore delivers a new extended version, stretching the original into a deeper and dubby journey built for the slower passed dancefloor.

Originally released in 1998 on Mononom, Sensory Overload EP captures the darker, psychedelic side of the Dutch free party scene. Robbert Latumahina builds three intense tracks from relentless rhythms, twisted sequences, heavy modulation and distorted electronics. Raw, hypnotic and experimental, the EP moves between freetekno and acid, with constantly evolving patterns that feel both mechanical and psychedelic. A powerful snapshot of the DIY spirit and uncompromising sound of late-90s Dutch tekno.

1993 Rising High classic by Caspar Pound & Laurence Elliott-Potter, blending tribal percussion, ambient techno, acid and early trance.

Originally released on the legendary Rat Records in 2000, Old Skool quickly established itself as one of the defining records of the emerging Bassline Breaks movement. Now, over 25 years later, it returns fully remastered on Cyberfunk Records, bringing this underground classic back to a new generation of DJs and listeners.
Produced by DJ Quest and Kalibre, Old Skool perfectly captures the raw energy of the era, combining infectious vocal hooks, rolling breakbeats and heavyweight basslines that still sound as fresh today as they did on its original release.
A landmark release that bridged the worlds of UK Garage and Breakbeat, Old Skool helped shape the Cyberfunk sound that would follow. This remastered edition preserves all the character and atmosphere of the original while delivering the power and clarity expected on modern sound systems.
Tracklisting
A. Old Skool (2001 Original Mix)
The original version that helped establish DJ Quest as one of the pioneers of the emerging Bassline Breaks sound. Fusing infectious old-school vocal samples, rolling breakbeats and heavyweight basslines, this timeless underground anthem perfectly captured the crossover between UK Garage and Breakbeat. More than two decades on, its unmistakable groove and dancefloor energy continue to make it a favourite with DJs and fans around the world.
AA. Old Skool (Paket Remix)
Spanish breakbeat heavyweight Paket delivers a fresh interpretation for today's dancefloors, retaining the iconic vocal hooks and recognisable feel of the original while introducing tighter drums, modern production and his trademark bass-driven energy. Respectful of the source material yet built for contemporary sound systems, Paket's remix gives this classic a powerful new lease of life.
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Originally produced over two decades ago, Wormhole returns fully remastered for 2026, pairing the unmistakable sound of DJ Quest & Odissi with a fresh remix from Spanish breakbeat heavyweights Destroyers.
The original remains everything that made early Cyberfunk stand out: deep rolling basslines, futuristic atmospheres and precision-engineered breaks that still sound ahead of their time. Alongside it, Destroyers inject modern dancefloor energy, tightening the groove with their trademark Spanish breaks sound while keeping the character of the original firmly intact.
This is another key release from the Cyberfunk vault, bridging the classic Bassline Breaks era with today's generation of producers and DJs.

Tracklisting
A. Wormhole (2026 Remaster)
A timeless Cyberfunk classic featuring Odissi, combining hypnotic melodies, heavy low-end pressure and rolling breakbeats that continue to work on modern systems.
AA. Wormhole (Destroyers Remix)
Destroyers deliver a contemporary club weapon, adding their signature percussion, energy and production polish while respecting the original's unmistakable identity.
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Formed in Bahia in the late "60s, Novos Baianos became one of the most iconic groups in Brazilian music. Mixing samba, rock, choro, psychedelia, capoeira rhythms, and communal living, they embodied a new countercultural movement that reshaped MPB. Their albums, especially Acabou Chorare and Novos Baianos F.C., are now considered pillars of modern Brazilian music, inspiring generations of artists in Brazil and worldwide. Originally released in 1973, Novos Baianos F.C. captures the band"s communal lifestyle and fearless experimentation. After the success of Acabou Chorare, the group expanded their sound into a vibrant mix of samba, choro, folk, psychedelia, and electric street-soul. With the unmistakable chemistry of Baby Consuelo, Pepeu Gomes, Moraes Moreira, Paulinho Boca de Cantor,and Dadi, the album radiateswarmth and spontaneity. Recorded in the Baianos" legendary "football club" house, it stands as a joyful snapshot of Brazilian cultural freedom in the early "70s.