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Tomos is no stranger to reinvention. Over the years, his sonic explorations have spanned genres, yet one thread has remained constant—his deep-rooted connection to house music. His earliest co-releases under the alias Vanguard were high-energy French House cuts, built on the foundations of crate-digging and sample collage, channeling the spirit of Daft Punk and the wider French electronic movement.

Now, 15 years later, he returns to those techniques with a fresh perspective, releasing his latest EP Soul Feels Good through the esteemed Noire & Blanche.

Soul Feels Good isn’t just a nod to the past—it’s a showcase of the vast influences that drive his ever-evolving sound. Tomos weaves together an intricate patchwork, merging the meticulous sampling techniques of his early career with a broader, more mature musical palette. The result? A genre-fluid blend of Jazz, House, Dub, Soul, Gospel, Broken Beat, Downtempo and Disco—stitched together with the finesse of an artist who has spent years honing his skills.

For listeners who appreciate the craft of sampling and fans of genre-defying, groove-driven music - Soul Feels Good is a record that demands attention.

All Nice Records returns with NICE005, the second release from label co-founder Bobby Dreams--a five-track excursion through deep, functional, and emotionally rich house music. Opening with The Signal, a peak-time piano workout laced with congas and classic Chicago house energy, the record sets an infectious tone right away. Let It Be Real follows with smooth, warm textures perfect for early or late hours. On the A3, Stranger Than Fiction delivers a pure 303 exercise--acid lines twisting and mutating over a tight, hypnotic groove. Flip the record for New Horizon, a hopeful, driving cut built for forward momentum, and Enter The Simulation, a deep, late-night closer with a touch of mystery and tension. Crafted for selectors, designed for the floor--NICE005 is house music for any hour of the night. All nice, all night!

LP, Opaque Pink Vinyl, w/ download card

Mexico City’s Sunset Images emerge with their most daring and immersive work to date, Oscilador, arriving January 23 on Dedstrange. Known for pushing the boundaries of noise rock and psychedelic experimentation, the band plunges deeper into their raw, unrelenting sound—crafting an album that thrives in chaos, distortion, and hypnotic repetition.
Oscilador captures Sunset Images at a new creative peak: jagged guitars dissolve into swirling feedback, fractured rhythms pulse like machinery on the brink, and vocals echo through layers of reverb as if channeled from another dimension. The record balances intensity and atmosphere, offering both catharsis and transcendence. It’s a sonic free fall that feels at once destructive and redemptive—like watching a city crumble only to find strange beauty in the ruins.
The album title reflects the band’s fascination with constant motion and instability, the oscillations of sound and life itself. Across the record, Sunset Images embrace the extremes: minimal passages expand into walls of noise, meditative drones are shattered by bursts of primal energy, and every song teeters on the edge of collapse. This restless spirit makes Oscilador not just a collection of songs, but a visceral experience—one that mirrors the tension and electricity of Mexico City’s underground scene.
Joining forces with Dedstrange, Sunset Images step onto a global stage while staying true to their uncompromising vision. For fans of A Place To Bury Strangers, Sonic Youth, or My Bloody Valentine, Oscilador delivers the thrill of pure immersion—music that doesn’t just demand to be heard, but to be felt in the chest, the bones, and the subconscious.
With Oscilador, Sunset Images invite listeners to lose themselves in noise, distortion, and dissonance—and to find clarity within the chaos.

" Shake away " After many hours of work, the no wave, synth punk crooner has produced his best album yet. The voice is soulful and deep, and each track seems paradoxically spontaneous and thoughtful, while the production is perfect for bringing out all these catchy hits.It inevitably brings to mind Alan Vega at his best, but with that Australian touch that makes this album so personal .

The only album by Descendants Of Mike and Phoebe, a family band made up of Bill Lee and his brothers, who are also known as the father of Spike Lee, the director of films such as 'Crooklyn' and 'Do The Right Thing'. A Sprit Speaks. The great song 'Coltrane' by Bill Lee, also famous for his performance of Clifford Jordan, is a miraculous balance of dignified and beautiful piano tones and a heavy waltz beat. M3 'Chick Chick', which seems to have been dedicated to Chick Corea, is an up-tempo, fast-moving song. From there to the last track, 'Too Little, Too Late', a beautiful, tear-jerking piece that conveys the depth and greatness of 70s spiritual jazz!

Elvis Back In Memphis is an album by Elvis Presley, released in 2023. Elvis Back In Memphis includes a.o. the following tracks: “ Inherit The Wind”, “ Stranger In My Own Home Town”, “ You'll Think Of Me”, “ Without Love (there Is Nothing)” and more. The album is a Coloured Vinyl, High Quality rock & roll LP.

Bert At the BBC is a comprehensive collection of Jansch’s appearances at the BBC, featuring over eight hours of rare and unreleased recordings, including live-on-air spots, studio sessions and full concerts straight from the BBC vaults, delving further into this legendary performer’s canon. Bert Jansch was the very essence of folk music, providing inspiration for everyone from Paul Simon and Neil Young to Led Zeppelin and countless folk revivalists. This unparalleled limited-edition compendium is available as a 4xLP and 8xCD set, housed in a coffee-table book set with a lavish 40-page book tracing the recordings from Bert’s earliest moments at the BBC. It includes interviews and insights from Lauren Laverne, Jools Holland, Johnny Marr, Jacqui McShee, Bob Harris, Bernard Butler, Mark Radcliffe and many more. Twenty broadcasters, producers and collaborators contribute at length to the booklet, with great affection for this gentle, maverick genius. Bert’s BBC legacy remains the most significant and exciting untapped reservoir of his music. The undeniable advantage of recordings made for broadcast is that they were, by their nature, created for public consumption and, barring live-on-air appearances – which might go well or go badly, but were going out either way – were explicitly signed-off by the artist as representations of his art that were good enough to be heard. The set is compiled by Colin Harper, author of Dazzling Stranger: Bert Jansch and the British folk and blues revival (Bloomsbury, 2000), who contributes detailed liner notes to the package. The release is mastered by IFTA award-winning engineer Cormac O’Kane. The vinyl release features 48 tracks on LP and is accompanied by a download card with over six hours of extras spanning 1966–2009, including BBC4’s St Luke’s concert (2003), and a complete Queen’s Hall, Edinburgh concert (2004) for BBC Radio Scotland. It is also available as a special 8xCD set containing all 147 tracks and encased within a coffee-table book. Bert Jansch At The BBC is an epic and enduring trail, 45 years in the making. “He was that rarity, a musician who really did deserve to be regarded as a legend.” The Guardian // “As a guitar player there was no one like him. He was jazz and blues and folk but there was a whole world in there that was just him, esoteric”

"Deep Purple's Greatest Hits, released in 2009, is a comprehensive compilation showcasing the legendary band's most iconic tracks. Spanning their groundbreaking career, the album features classic live versions of hits like ""Smoke on the Water,"" ""Highway Star,"" ""Child in Time,"" and ""Black Night,"" offering a perfect introduction to Deep Purple's influential sound. Known as pioneers of hard rock and heavy metal, the band’s virtuosic guitar solos, soaring vocals, and dynamic keyboard riffs shine throughout this collection. Greatest Hits captures the essence of Deep Purple's heyday while celebrating their timeless appeal. It highlights the band’s ability to blend powerful rock energy with intricate musicianship, making them a cornerstone of the genre. For longtime fans and newcomers alike, this compilation is an essential addition to any rock music collection, solidifying Deep Purple’s legacy as one of the most influential bands in rock history. Greatest Hits is available as a limited edition of 1500 individually numbered copies on purple coloured vinyl."

The original trio featured Liz McClarnon, Natasha Hamilton, and Kerry Katona. Just weeks before the release of their breakout single "Whole Again", Katona departed and was replaced by Jenny Frost, a pivotal change that coincided with the group's meteoric rise. "Whole Again" soared to number one on the UK Singles Chart in 2000 and topped charts in 18 other countries, cementing Atomic Kitten's global appeal. Their follow- up single, "Eternal Flame", cover of The Bangles' 1989, became their second number one in both the UK and New Zealand, with strong international chart performance. Originally released in 2000, their debut album Right Now was partially re-recorded following Frost's arrival. The revamped edition featured three new tracks: "Eternal Flame", "Tomorrow and Tonight", and "You Are". Jenny Frost's vocals were also added to updated versions of "Right Now", "Whole Again", "Hippy", and "Bye Now". Celebrating it's 25th Anniversary, the reimagined album reached number one in the UK, earned double platinum certification in 2001. Right Now is available on vinyl for the first time and includes an insert with credits.

Neon Yellow Vinyl

High Roller Records, neongelbes Vinyl, limitiert auf 450 Stück, 425 g/m² schwerer Kartonumschlag mit 5 mm Rücken, Textblatt, 8-seitiges Booklet, Poster. Transfer, Audio-Restaurierung und Mastering durch Patrick W. Engel bei TEMPLE OF DISHARMONY im April 2025. Schnitt durch SST Germany auf Neumann-Maschinen für optimale Qualität auf allen Ebenen. Die ultimative audiophile Neuauflage!

Die hochgeschätzten Euro-Metal-Pioniere OZ wurden 1977 in der kleinen finnischen Stadt Nakilla ursprünglich als Cover-Band gegründet. Die Band bestand aus Mark Ruffneck (bürgerlicher Name Pekka Mark) am Schlagzeug, Sänger Ape DeMartine (Tapani Hämäläinen), Bassist Tauno Vajavaara sowie Kario Elo an der Gitarre.

Nachdem man in jedem Winkel des Heimatlandes Finnland live gespielt hatte, zogen OZ 1983 nach Stockholm um und unterschrieben einen Vertrag bei Börje Forsbergs Label Tyfon Grammofon AB Börje Forsberg, auch als The Boss bekannt, war der Sohn von Bathorys Quorthon.

In der Folge avancierten OZ zu einer der wichtigsten Heavy-Metal-Bands Skandinaviens und nahmen insgesamt fünf Studioalben auf, eher im Winter 1991/92 das Ende kam.

Nach »OZ« (1982), »Fire In The Brain« (1983) sowie »III Warning« (1984) war »Decibel Storm« 1985 das vierte Album der finnischen Schweden.

"Only a clarinet sings – minimal, quivering, wavering. Breathing mad notes in the cracks between notes, weaving a dazed, fuzzy kind of magic. The latest recordings by Museum of No Art are tripping – floating in suspense, somewhere out in the irrational corners of the world inhabited by the haunted elegance of Ben Bertrand or Bernhard Herrmann. But still, entirely her own – a quiet revolt of classical clichés in search of a new dawn for lunatic woodwinds. She sings through her instrument and it sings to her. It carries her, and she lets it. A distinctive timbre tumbling through tonal fog. Four freely formed compositions for dispari. One petite and tempting. Two mid-length wanderers – teetering, wobbling. And one epic piercer. All drifting in inspiring airs. Ephemeral, nebulous, fragile, like the desolate candy snowman, melting on a warm tongue, threatened with complete dissolution. Fleeting like a stolen glimpse of the intimate curve of an anonymous stranger’s neck."

The Return of 'The Nightstalker', a Childhood Intelligence endeavor written/produced by Dan Piu & Gary Rich (2022). The second album «Genetic Constitution» is the sequel of «The Tragedies Of A High-Tech World» (2020), in which the Nightstalker continues to manifest its mystic dystopian electronic prophecies. Full of haunted melodies, cinematic compositions and passages of hope and despair.

«In a damned world
dystopian and mad
we create our own sound
of the positive apocalypse

with bizarre characters
we feel connected
with the outsiders,
strangers and forgotten

in the darkest hour
the crazy sounds arise
standing on the edge
a delight for the senses

when all are gone
we have stayed
in the endless desert
good and evil at the same time

for us it is true
always to nail down
when everyone can have it
we do not want it»

Andrew Lloyd Webber’s The Phantom of the Opera is one of the most celebrated musicals of all time, and this original London cast recording from 1986 remains the definitive recording. Michael Crawford’s Tony Award-winning performance as The Phantom and Sarah Brightman’s portrayal of Christine Daaé helped make this the best-selling cast recording in history. Re-issued for the first time in decades, this classic album brings the unforgettable score to a new generation of listeners. From the title song to “The Music of the Night” and “All I Ask of You,” every track reflects the power and beauty that continue to make The Phantom of the Opera a global phenomenon nearly forty years after its debut. Since its premiere, The Phantom of the Opera has been seen by more than 160 million people in 195 cities and has received over 70 major theatre awards. It holds the record as the longest-running show in Broadway history and was the first British musical to debut at number one on the music charts. The recording has been certified Platinum in six countries.

Neues Album des US-Gitarristen im Stile eines Stevie Ray Vaughan - ist auf der Ruf Records Blues Caravan-Tour im Januar 2026

».​.​.​ihm ist zu attestieren, dass ONE FOR THE RIDE mehr als ansprechend seine Liebe zum Geschichtenerzählen über sein Leben unterwegs einfängt, dass er die musikalischen Einflüsse, die ihn geprägt haben, mit einer eigenständigen Note zusammenbindet.​« (GoodTimes, Februar/März 2026)

Limited to 250 copies !

The Deadheads had never had much luck with spaceships. Their first mission had ended in a catastrophic engine failure, leaving them adrift in deep space for weeks. This time, their craft was hardly more reassuring. A hodgepodge of outdated technology and shoddy repairs made it more of a floating death trap than a reliable cruiser. As they began their descent toward the strange planet, the hull creaked and rattled, sending a wave of dread through the crew.

"Hold on," Matt's voice crackled over the intercom, without much conviction, as if he himself doubted they would make it out alive. Outside, a thick, grayish atmosphere swirled ominously, while the planet's gravity became far stronger than anticipated.

“Fuck, we’re gonna burn at the entrance!” M yelled, his hands flailing on the console as sparks flew from the control panel. The ship’s sensors were completely jammed, and the navigation system flickered intermittently, like a dying light. Below, the planet’s surface was a tangle of lava rivers and jagged rock formations, the kind of place no sane person would ever land. But the Deadheads had never pretended to be. They lived in a state of constant emergency.

As the descent intensified, the alarms blared. On the bridge, the screens lit up with red warnings and flashing messages: "SYSTEM ERROR," "UNSTABLE TRAJECTORY," "SUIVITY SYSTEM COMPROMISED." The lines of code scrolled by too quickly to be read, while a mechanical voice repeated relentlessly: "Imminent impact. Structural integrity at twenty percent."

The once pristine shell of the vessel began to disintegrate, with shards of metal breaking away and disappearing into the atmosphere.

With a final, piercing screech, the ship crashed onto the planet's surface, sending up a cloud of dust and debris. The crew was violently thrown from their seats, stunned but barely alive. They struggled to their feet amidst the wreckage, the ship reduced to a charred shell around them.

"Well," M said, wiping the dirt off his suit with a grimace, "at least the air is breathable." Matt scanned the hostile expanse stretching before them and smiled slightly. "Perfect. Let's hope we have better luck with the planet than with our ships."

With that, the Deadheads gathered their equipment and headed into the unknown, while the remains of their ship slowly sank into the unstable soil of the planet.

Crypt of the Wizard is proud to present Ginger Wizard - The Curious Flora and Fauna of the Ancient World on vinyl and digital formats.
About ten years ago in a record store in Prague, the Ginger Wizard discovered a copy of Bo Hansson’s Lord of the Rings LP. Although initially unfamiliar with the record, the reference to Tolkien’s masterwork and the incredible cover art drew him in and, rather fittingly, sent him off on a journey of discovery that would reshape his creative trajectory.
Years later while working in cassette tape manufacturing, Ginger Wizard noticed that most fantasy-inspired music fell into two camps: metal and dungeon synth. With little interest in the former, but intrigued by the latter, he began writing a few songs imagining a beautifully packaged and tactile cassette tape. However, dungeon synth he soon realized was “the most boring music to make”.
So began the Ginger Wizard’s own mythological discography. In 2022 came The Feast for the Dead King and Other Musical Themes recorded at home in a cold kitchen, is conversely an album full of warmth drawn from sheer exploration. A year later Can I Choose My Own Psychopompos? was recorded for the legendary Stoned to Death label - a 7” séance of semi-improvised noise and melody featuring allies from the Ginger Wizard’s live backing band The Peter Jacksons. The following year with Bathysburg Tales, a new approach was needed in order to keep the project interesting. Drawing inspiration from Popol Vuh and the inclusion of vocals lent by Protomartyr’s Joe Casey and Jakob Battick, a new more cinematic sound began to emerge.
Now, we present The Curious Flora and Fauna of the Ancient World marking a step into something stranger while still channeling the spirit of Bo Hansson. The new album rejects swords and sorcery for the mythology of the natural world “the ancient stuff,” he explains in the record’s insert, “has a similar taste for me as fantasy.” These songs bloom, creep, and shimmer like forgotten plants under distant suns while rooted in something real and organic. Inspired by the myths of nature rather than heroic quests, it’s an album that feels alive, equal parts archaeological dig and psychedelic garden.
Currently at work on a soundtrack for an imagined 1970s fantasy film in collaboration with The Peter Jacksons, the Ginger Wizard continues to expand his strange universe while The Curious Flora and Fauna of the Ancient World serves as a new map to somewhere ancient, beautiful, and unknown.

Aaron Frazer - der in Los Angeles lebende Sänger, Songwriter, Multi-Instrumentalist und Mitglied der gefeierten Gruppe Durand Jones & the Indications - lässt mit "Into the Blue" eine gewagte Mischung aus Soul, Psychedelia, Spaghetti-Western, Disco, Gospel und Hip-Hop auf sein hochgelobtes Debütalbum "Introducing_" aus dem Jahr 2021 folgen. "Into The Blue" repräsentiert die beeindruckende Bandbreite von Frazers klanglichen Talenten. "Es ist das klarste Porträt dessen, was ich als Künstler bin", sagt Frazer über sein zweites Solo-Album, auf dem er die unverwechselbare Falsettstimme und das klassische Songwriting beibehält, für das er bekannt ist, aber mit einer Hip Hop inspirierten Mentalität im Kern, die Genres und Produktionstechniken miteinander verwebt und "Into The Blue" somit fest im Hier und Jetzt verankert. "Into The Blue" ist das Ergebnis eines gebrochenen Herzens. Nach dem Ende einer langen Beziehung zog Frazer quer durchs Land von Brooklyn nach Los Angeles und begab sich auf eine Reise, die sich in den Themen des Albums widerspiegelt: Trauer, Einsamkeit und die Suche nach Heilung. "Into The Blue" enthält Momente mit überragenden Arrangements, die an David Axelrod und Ennio Morricone erinnern, wird aber durch die Rohheit von iPhone-Aufnahmen und One-Take-Vocals ausgeglichen. Als Co-Produzent für das Album konnte Frazer den Grammy-Gewinner Alex Goose gewinnen, der für seine Crate-Digging-Samples und die Zusammenarbeit mit Hip-Hop-Künstler*innen wie Freddie Gibbs, Madlib und Brockhampton bekannt ist. Frazer experimentierte auch zum ersten Mal mit Samples, die er aus unerwarteten Quellen wie der R&B-Gruppe Hi-Five aus den 90ern bezog. Und Obwohl "Into the Blue" aus Herzschmerz entstanden ist, hofft Frazer, dass es die Zuhörer*innen mit einem Gefühl des Optimismus zurücklässt. "Weißt du, man kann auch an einem Tag, an dem man trauert, lachen", sagt er, "es gibt keine Gipfel ohne Täler" - aber mit "Into The Blue" erreicht Aaron Frazer neue Höhen.

The Germany-based band Rikas' new album, "Soundtrack For A Movie That Has Not Been Written Yet," promises to be their most cohesive and contemplative project to date

Comprising 11 brisk yet beautiful tracks, the album showcases the band's tight tempos and mellow delivery. "We started this record just to have fun. It's not been that easy, because so much change has happened," guitarist and keyboardist Sascha Scherer reflects. "We've had to learn to adapt... This record is more inward-looking. We were reflecting. " Scherer further explains, "I think a lot of bands have trouble staying still. When you stop touring and moving to a new city each day, you feel lost. I feel like our new album is capturing that feeling of go, go, go." This feeling of inertia contains layers: there's a sense of restlessness, but also brotherhood and camaraderie-- feelings Rikas aim to depict in each of the album's videos. "For our sophomore album, we wanted to create a very homogeneous one," Scherer continues. "Which was not easy to achieve because we have made the experience that throughout all of our records every song differs from each other. We have four songwriters who happen to be also multi-instrumentalists in our band, and that's why we don't have to put much effort into diverse record making. Instead, we had to put pressure on ourselves to make something consistent. But we also didn't want to make every song sound the same. So the concept of the album lays in its topics."The songs for "Soundtrack For A Movie That Has Not Been Written Yet" were written over the past year, adapting and shaping old snippets and ideas, as well as creating songs completely from scratch. "For some reason, when we started writing and listening back to the songs, they all shared a similar feeling of cruising, traveling, being in motion," Scherer says. "This wasn't intentional at first, but felt more and more suiting as we proceeded with the writing. We found we'd enjoy the songs most while driving in our van, looking out the window, seeing the landscapes passing by. This has something very meditating to itself already, amplified even more by a suiting soundtrack. This is the soundtrack we tried to write. The album in its entirety is supposed to feel warm, hugging, like 'being bedded in cotton.'" For the visual content of the album, the band decided to travel to San Remo, northern Italy, to capture some of the late November sun. "In a way, you could say we tried to film the first part of the movie whose soundtrack we had just written," Scherer concludes. "Soundtrack For A Movie That Has Not Been Written Yet" is a testament to Rikas' ability to adapt and reflect on their journey, offering listeners a meditative and immersive experience that captures the essence of being in motion.

Brixton Heights Records proudly presents the brand new single ‘Am I the Same Man?’, a soulful roots-reggae gem featuring a heavyweight all-star lineup including: Mafia & Fluxy on drum and bass respectively, the Ital Horns on brass, Gussie Clarke on mastering and Gaudi on falsetto vocals + BVs, dub mixing, piano and co-production alongside The Brixton Heights Orchestra.

Drawing inspiration from the timeless instrumental groove ‘Soulful Strut’ by Young-Holt Unlimited, the track channels vintage soul through a deep lovers-rock lens. A fresh and earnest reinterpretation of Barbara Acklin’s 1968 classic ‘Am I the Same Girl?’, this version flips the narrative with an adaptation on the lyrics voiced by none other than Gaudi singing in falsetto, resulting with a smooth, dub-infused love song that combines classic soul and international reggae into a modern masterpiece.
Gaudi is not stranger to falsetto-singing and backing vocals, in fact he has lent his distinctive vocal talent to albums by reggae giants such as Steel Pulse, Horace Andy, Lee “Scratch” Perry, Don Letts, Johnny Clarke, Mad Professor, Hollie Cook, Michael Rose, Creation Rebel, Africa Unite, Awa Fall, African Head Charge, Lion D & Capleton.

Mixed and co-produced by Gaudi at his Metatron Studio in London UK and mastered by Gussie Clarke at Anchor Studios in Kingston Jamaica, ‘Am I the Same Man?’ is more than a cover version, it’s a heartfelt transformation that captures the emotional core of the original song while creating a whole new vibe that speaks to today’s lovers and soul seekers alike.

The B-side presents a meticulously crafted dub version by Gaudi, produced exclusively with analogue equipment and vintage studio hardware. The mix brings forward the intricacies of the original instrumentation and enhances the lyrical elements through spacious delays and warm, analogue textures. Last but not least, in order to maintain the highest level of authenticity and an organic sonic texture, all recordings were done at 432Hz, tuned to resonate naturally.

In the year 3091, scientists from Stereo 45 headquarters develop jump-drive technology capable of folding space-time. A research team consisting of gyrofield, Sun People, Om Unit & Comfort Zone venture out into the vast depths of the cosmos to document their discoveries.

This is the first new Andy Boay album since 2013’s In The Light. I recorded it in January 2024 to a Yamaha MT8X 8-track cassette recorder in my room at the New York Center for Creativity & Dance in the East Village of Manhattan.

I mixed it in June 2024 with Joe Santarpia and Roberto Pagano at the Idiot Room in San Francisco. The three songs on Side A (“HBM,” “If I Ever Come Off,” and “You’re In The Air Now”) were initially arranged over several live performances using a multi-track looper. When I then sat down to track them to my tape machine, I meticulously sang and played out all repeating parts, layering and ping-pong-bouncing each doubled take to another tape-track. In this way I hoped to maintain the hypnotic quality of the looped parts while keeping them organic, singular, and fleeting. Side B is a triptych of more carefully arranged pop songs: a tremolo & mod-delay elegy to youth called “Careless,” bookended by two variations on the same theme — the stark, mellotron prayer of “One & One” and the lonesome after-hours funk of “I Want More”. The line “You took that walk for the two of us” has a dual meaning. In 2011, my friend Spencer Gilley took a long walk through Montreal while listening to demos I’d recorded.

He described the experience to me as magical, ecstatic, inspiring. His encouragement from that moment still echoes every time I sit down to write or record. Less than a year later, I met Florida musician Thomas Fekete. We formed a deep, brief friendship that lasted until his death in 2016. Thom entered my life during a chaotic time and helped me find direction and courage. He took me on a tour that shifted the course of my life. We bonded over surviving cancer as young men, Florida’s noise scene, and the strange lives we led as touring guitarists (he in Surfer Blood, me in Mac DeMarco’s band). Thom could always warmly anticipate all of my joy, humor, and curiosity—and all of my pain, anxiety, and fear. In this way, it felt like he was also taking that walk for the two of us—gently guiding me down a path he had already traveled. Andy Boay (Andy White) began playing and recording music as a teen in Orlando during the early 2000s, exploring noise, psych, and pop in bands and solo projects.

He has played in the duo Tonstartssbandht with his brother Edwin since 2007. He spent six years playing guitar in the touring band for Mac DeMarco. Andy Boay’s music taps the euphoric and the sorrowful, both onstage amongst friends and strangers, and tracking alone at his 8-track in the studio. These days he lives and works in the East Village neighborhood of New York City.

[m] b5 Sometimes [stories Of A Stranger Sessions]
[n] b6 Heard The World [live At Pnc Bank Arts Center July 22 2005]
[o] b7 Lay Down [live At Pnc Bank Arts Center July 22 2005]
[p] b8 About Mr. Brown [live At Pnc Bank Arts Center July 22 2005]

Dimelow label boss Bony Fly steps forward with a seven-track cassette + digital release for Equiknoxx Music, marking a heavyweight link-up that’s been years in the making. No stranger to the Equiknoxx universe, Bony Fly has long been part of the extended family—hosting the crew in Geneva and premiering “Rivers Odyssey” on the collective’s NTS show back in April 2020. Since then, plans for a larger project have been quietly taking shape.

Now, in 2025, the vision arrives fully formed: seven Dancehall-meets-Reggaeton scorchers, built for sound systems, clubs, and global dance floors. Bony Fly’s long-time undisputed sparring partner Androo steps in on Dancehall Science to close off the project with style and elegance. A true cross-continental connection—Guatemala City meets Kingston City in fine style, delivered through Bony Fly’s unmistakable global-club energy.

Imagine curating a dream lineup of MCs and producers from every corner of the rap world—sounds impossible, right? Not for artist and illustrator Gangster Doodles, who has been bringing this vision to life for the past decade. Now, with “Gangster Music Vol.3”, the trilogy reaches its grand finale, and it’s bigger, bolder, and more unpredictable than ever before. Gangster Doodles himself puts it best: "It’s hard to believe that I’ve been actively working on this Gangster Music series for the past 10 years. The most gangster music trilogy of ALL TIME is almost complete!! And in my humble opinion Vol.3 is the most exciting out of the 3, both from a music standpoint (special shout-out to all my music heroes on Vol.3) and artistically speaking this is the most fun I’ve had in years”

Since launching Volume 1 in 2019 and following up with the second volume in 2022, Gangster Doodles has been shaping the Gangster Music series into a one-of-a-kind sonic universe—an unfiltered mix of underground titans, unsung legends, and rising stars. Volume 3 is the biggest installment yet, boasting a staggering 30 tracks that traverse the entire spectrum of rap and beat culture.

This time around, the lineup is as eclectic as ever. From legendary pioneers like Lee Perry and Tommy Wright III, to veteran producers such as Mr. Scruff and Peanut Butter Wolf, the album pays homage to hip-hop’s roots while pushing forward into fresh territory. The roster also includes established up-and-comers like Devin Morrison, Low Leaf, DJ Harrison, Quelle Chris, Homeboy Sandman, and Suzi Analogue, ensuring a mix of classic flavors and new-school innovation. The bubbling underground is well represented too, with artists like Raz Fresco, Atlanta’s 645AR, and Pro Era’s Chuck Strangers bringing their own distinct heat.

From pioneering SoundCloud rappers like Pouya to genre-bending composer John Carroll Kirby, from Birmingham’s Romderful to Chile’s RVYO, the album encapsulates a truly global soundscape, proving once again that Gangster Doodles’ ear for cutting-edge talent is second to none.

Comprising of sisters Eva and Grace Tedeschi, The Cords are the brightest new indiepop band from Scotland and this is theri debut. They started playing drums when they were little kids and later found that they liked 80s and 90s indie music more than their peers did, and so formed a band, just the two of them, with Grace on drums and Eva on guitar - and the songs started to flow. With only a cassette and a flexi single released so far (both of which sold out in a matter of hours), Eva and Grace honed their skills by playing a whole series of gigs with some of the biggest names in Scottish pop. Their first show was with The Vaselines, and since then they have played with Camera Obscura, Belle and Sebastian, BMX Bandits and others, while also sharing stages with the new generation of indiepop stars: the Umbrellas, Chime School, Lightheaded. Like all great pop bands, The Cords have taken familiar ingredients and created something utterly fresh. Older indie fans will hear echoes of The Shop Assistants, The Primitives, Tiger Trap and Talulah Gosh, but they will hear something else too: a yearning, dreamy melodic power that takes the songs into darker, stranger places. Younger pop fans won't care about these old reference points: what they will hear is the sound of two young women doing something utterly exciting: playing loud guitar and loud drums, taking analogue instruments and hitting them hard in the service of immediate and infectious pop tunes, and not giving a second thought about the digital world that wants to own everything we do. The Cords sound free: they remind us that pop music, played right, is expressive, liberating, joyful and deeply personal. First single `Fabulist' is a sweet and catchy pop song that races along, so headlong and hooky that, on first listen, you could miss the fact that it's a wholehearted take-down of people who lie for a living. And the album is a fun rollercoaster ride from that point onwards, with the real stars of this record being Eva's sinuous guitar and silky vocals, and Grace's clattering, expressive sing-song drums. It's the sound of two sisters having an intense musical conversation with each other, pushing each other on to greater heights, exhilarated by the set of perfect pop songs they have magicked up. DIGIPAK CD, LP on BABY BLUE VINYL.

Pierce the Veil is an American rock band from San Diego, California. Formed in 2006, the band was founded by brothers Vic and Mike Fuentes after the disbandment of the group Before Today. Other members of the band include Jaime Preciado (bass) and Tony Perry (lead guitar). To celebrate the 10-years anniversary from ‘A Flair For The Dramatic’ original release Rude Records is delighted to present the album in a new and refreshed format with remixed and remastered audio. The band extensive touring action saw them perform multiple times on Vans Warped Tour stage from 2008 on. Being one of the most influential names in the alternative scene, expect continuously touring to support their eagerly anticipated fourth studio album ‘Misadventures’ which was released on May 13, 2016.

A song about Colostomy - from the opening bars you might think so. but it gets worse. 'X rated' stuff.
the label say 'Djoko is no stranger to Voyage Direct. Having first appeared on the label way back in 2012, he's returned numerous times since, becoming an integral member of the imprint's growing family of artists. Elsewhere, he's delivered material on Tuskegee, Mobilee and Leftroom, amongst others, developing an approach that takes inspiration from numerous styles of house and techno. However, little he's previously released can match the raw, eyebrow-raising lust and sexually charged funk of Dirty Talk'.

Driven forward by Djoko's sleazy, whispered spoken word vocal, the original version combines the rubbery, bass-heavy rhythms of classic, Dance Mania-style ghetto house, the delay-laden guitar flashes of vintage NYC proto-house, and the kind of darting, funk-fuelled keys - provided by fellow Dutch producer Kid Sublime - that recall the glory days of '80s electrofunk. Djoko provides an alternate version in the shape of the thrusting, stripped-back Club Dub', with his breathy Accapella' rounding off the A-side.

On the flip, two Voyage Direct stalwarts take it in turns to rework the track. First up is label boss Tom Trago, who builds on Djoko's elastic percussion with some dense new drum hits of his own. These are combined with spacey synths and sharp string stabs, giving Dirty Talk' a more classic techno/house fusion flavour. In contrast, Werner uses the opportunity to turn in a triple-X-rated interpretation full of bounding, Chicago-influenced beats, intergalactic pads, sleazy acid lines, and sweaty, surging drum fills. It's a fittingly breathless remix.'

Formed in 1993 & hailing from Monaco, Godkiller was the vision of multiinstrumentalist & sole founding member, Duke Satanael, who between 1996 & 2000 released an EP & 2 studio albums under the Godkiller name, commencing with the black metal cult classic debut 'The Rebirth Of The Middle Ages'. Though initially more a death metal inspired act in the formative years, Godkiller quickly developed into a project fully engulfed in the spirit of 1990s black metal, bringing to mind acts like Emperor & Satyricon for the implementation of such strong atmospherics, though on later releases Godkiller incorporated more industrial & electronic elements into the compositions as part of its creative evolution. 'Deliverance' was Godkiller's second studio album & final release before the project was laid to rest & ventured into a more electronic & industrially metallic direction for what could be considered a more contemporary & expressive take on Godkiller's established brand of darkness.

After touring the globe all year playing sold out shows opening for Djo, Post Animal give their new album the deluxe treatment, titling it the Iron Expansion Pack. The Expansion Packincludes two previously unreleased songs “Leave Overjoyed” and “Something Drive” which were recorded during the initial Iron sessions.

Iron finds Post Animal reconnecting with founding member Joe Keery (Djo, Stranger Things)and getting back to their roots with all original members writing, singing and performing on the album. Iron marks the first time that all original 6 members entered the studio together in nearly a decade. The product of a few straight weeks together, Iron not only finds them reunited with Keery but is the embodiment of 30 days of camaraderie and unbound musical exploration, their renewed connection ironclad.

2025 Repress


Canadian-born, London-based producer, songwriter and vocalist Chloé Raunet aka C.A.R. releases her third album, 'Crossing Prior Street', on Ransom Note Records. Full of bruised-but-ultimatelyhopeful electronic art pop, the album tells Chloe's story of escaping a broken childhood in Vancouver, and finding her way to the lonely streets of East London, at the tender age of 16.

No Speakers scores a major coup here by signing a Detroit legend from Underground Resistance's Galaxy 2 Galaxy. This guy's shared stages with figureheads like Jeff Mills, Carl Craig and Goldie so his creds cannot be questioned. His signature fusion of jazz and electronic fire burns bright here with A-side bangers 'Layers to This' and 'Bridgehouse' primed for future classic status as well as peak-time destruction. Flip it for South London's L.A. Synthesis remix. No stranger to dropping their own iconic techno, their take twists and turns into otherworldly soundscapes. Label boss El Prevost closes the EP with a savage twist of 'Bridgehouse' that is dark and twisted in all the right ways.

DJ Feedback

Kai Alce:
"Bridgehouse is just that, a bridge to the future."

Chris Udoh:
"Bridgehouse is an exceptional cut! "

Kosh:
"Nice release."

D'Julz:
"Best EP I heard in a long time. Lovely."

Radio Slave:
"So good to see La Synthesis here !!! and another great EP. from Jon. Full support."

ICYKOF:
"This is really fun. Love the first track."

Barbara Preisinger:
"The original tracks are sounding great to me and will go into the box. Thanks a lot!"

Orlando Voorn:
"Dopeness, all killer no filler."

Okain:
"Classy stuff."

Cristi Cons:
"Very nice, thanks."

Ryan Crosson:
"El Prevost remix is great, also enjoying the la synthesis remix."

Harri:
"Nice, will play and support."

Domenic Cappello:
"Jon is Detroit royalty, love this."

DJ Hutch:
"Love this release. Bridgehouse remix is crazy."

Harvey Sutherland:
"Bridgehouse is hot, thanks!"

Colin Dale:
"Excellent EP. All the cuts rock."

Greg Gow:
"Nice soulful tracks full support."

Laurent Garnier:
"Cool deepness."

Aleqs Notal:
"Jon Dixon, always on fire!!!"

Man Power:
"Layers to this is great."

DJ Bone:
"Smooth and funky release. Very nice."

Straight out of the local mud of the city of Antwerp comes dancing this next Souvenirs from Imaginary Cities slab of free-flowing bits of electronic wonder : Schönen Abend by Simon B. Just in time to ease you out of this endless winter and right into springtime. Like the previous hit by Purple Uncle, this flower takes some time to bloom and fill up your head and body with it's ear wormy fragrance.

It's hazy and cinematic, makes you think of Italian electronic pioneers and their library magic, Patrick Cowley's School Daze and Haruomi Hosono in some kind of gothic manner. It's quite stripped and lush at the same time, rhythms like minimal mechanics make you fly above the river and land just outside reality. It's a nice place where soft jazz tingles right around the dark corner, and that particular mix of exotica and melancholia — the trademark of this port city's best electronic auteurs is definitely in the air. The river still shines, but she’s deeply poisoned. The old town has lost every bit of fresh air but keeps on digging for old gold. This bitter pill is served with delicacy and lightness, the wound is dressed up seductively — feet in the mud, head in the air. Stuff is sensuous, with quiet places reminding of the good side of those times when the big wheel stopped turning ever so madly. A strange quietness whistles through the leaves. Some things take time to unfold. In or out of C.

Four years in the making, this is the solo debut LP of Simon B, a longtime contributor to Antwerp's improvised music scene (Groovecats Deluxe, Wij Blij Trio ). Primarily a double bass player, he also has a deep-felt passion for offbeat electronica and the rainbowy side of American minimalism, which takes front here. The smoky voice on the last track belongs to Nina-Joy Thielemans, Nina-Joy is part of Particals, a trio working with live electronics and field recordings, releasing an lp on Ultra Eczema later this year. Furthermore, you can hear the tenor and soprano saxophone of Adia Van Heerentals on 4 tracks, deepening out Simon's naturally flowing compositions and playing around with his melodies. You may know her from Bodem and her strong presence in the Belgian jazz scene lately.

Simon's electroacoustic experiments — using a clarinet and some outboard effects — were important tools in finding the very specific colour of this record. There's this airy character, like wind blowing through old layers of bricks and over the river, anchored with a deep sense of bass, gathering ages of dust and memories in these eight elegantly wobbling tracks, forming a perfect whole that’s really coming together in one deep listening from A to Z.

The centrepiece is perhaps Come to Me, instrumental and reprise with vocals, but no fillers on this one. Every part of the mystery is needed to come to its end and back again. It's a record that works in the morning, to open up a day and in the quiet corners of the night, with it's sleazy quirkiness, smiling towards you from the right corner of the eye. A perfect compagnon for your long-form wandering habits, light reflections on a wet surface obsessions, coffee slurping in the morning and the forgotten art of beachcombing. Quite essential these days, witnessing a world going apeshit.

Germany’s DJ Swagger returns to Dr Dubplate’s Original Pirate Material vinyl series. The fourth release on the celebrated sub-label nods towards a continued evolution in the ec2a sublabel’s sound - rooted in the darker corners of the bass, garage and 140 realms, OPM blurs the lines between genres - its main focus on bringing serious energy to the club. Continuing to showcase talented producers handpicked from the new wave pool of talent on Original Pirate Material, OPM004 comes following February’s celebrated release FTRRLT (Future Reality. No stranger to the ec2a / OPM camp. DJ Swagger’s second offering on the imprint is a majestic return, perfect for the heads-down, hands in the air return to the club.

Nora is back! This is a brand-new 2025 EM Records re-pressing of Nora Guthrie's ultra-rare "Emily's Illness", a lost gem of songcraft originally released in 1967, in the same 7-inch vinyl format (b/w "Home Before Dark") as the original. Featuring the radiant vocals of the then-17-year-old daughter of Woody Guthrie, "Emily's Illness" was written by Eric Eisner (The Strangers) and impeccably arranged by Artie Schroeck. A romantic amalgam of psychedelia, pop, and acid-folk, informed by the harmonic and rhythmic subtleties of João Gilberto and jazz. Both songs here are wistfully melodic gems, framed by lovely orchestration.

Their first full length LP, Khana Bierbood are a fresh Thai band with their hearts in a lot of musical places. . Produced by Go Kurosawa (Kikagaku Moyo) in Tsubame studio in Tokyo.Starting track Rustic Song, from the jet sound at beginning, you will realize that you arrived in Thailand. Followed by Track 2 Starshine, you can find surf vibe but it’s different than the West coast surf music. The topnotch is the B1 track Badtrip where you can hear lo-fi garage with heavy doomy fuzz jam part. For fans of Oh Sees, La Luz, or Thai’s morlam music. Khana Bierbood (translated as Strange Brew in Thai), formed in 2012, in Bangsaen Beach in Thailand. After hours of jamming together they started create their unique sound influenced by 60’s surf music, 70’s garage rock with Thai traditional music. Current line up is: GOB Yutthana -Vox,Guitar, JAY Rathchanon-Bass,Backing vocal, OHM Chanutpong – Drums, Peep Sirimit -Percussions, Keys, and MO kittinan- Guitar.

Rufus Wainwright's I'm a Stranger Here Myself - Wainwright Does Weill is a compelling tribute album that delves into the rich and complex songbook of German-American composer Kurt Weill. Known for his theatrical flair and vocal prowess, Wainwright brings a unique interpretation to Weill's compositions, which are celebrated for their fusion of classical, cabaret, and jazz elements. Premiering in May 2023 at New York City's Café Carlyle, "Wainwright Does Weill" marked Wainwright's first extensive exploration of Weill's repertoire. Rufus Wainwright’s fascination with Kurt Weill’s music goes back for decades — in his early twenties he wore out the vinyl grooves of Teresa Stratas’ famous Weill album. While Weill‘s musical influence can be heard in Wainwright‘s own songs, he had never dedicated an entire evening to singing the German musician’s songs, until now. With the Pacific Jazz Orchestra under the baton of Chris Walden, he has expanded the orchestral palette for his approach to Kurt Weill.

Seven Blood make music that manages to move the listener despite its hard-hitting sounds. Metal meets Emo-Core. Their songs revive the seemingly lost connection between volume and emotionality. However, they refrain from imitating existing bands and create their own sound, which complements the music of their youth with the band's own character. It all started in spring 2023. Anfy, Azaria, and Oli were going through strong personal crises, had known each other for several years, and decided to do what helps most in such a situation: process the pain together through songwriting. Shortly after, Josi joined and completed the band. Their lyrics deal with personal struggles and observations of our society, whether it's the toxicity of individuals or the ignorant attitude of an entire species. Seven Blood embed these lyrics in a brutal wall of sound that gives their thoughtfulness a furious undertone. The combined force of drums, bass, and guitar rises behind the vocals and is complemented by the ethereal and sometimes biting sounds of fanfares and synths. All of this culminates in a musical high that gives the listener the feeling that everything, and simultaneously nothing, is okay.

Seven Blood make music that manages to move the listener despite its hard-hitting sounds. Metal meets Emo-Core. Their songs revive the seemingly lost connection between volume and emotionality. However, they refrain from imitating existing bands and create their own sound, which complements the music of their youth with the band's own character. It all started in spring 2023. Anfy, Azaria, and Oli were going through strong personal crises, had known each other for several years, and decided to do what helps most in such a situation: process the pain together through songwriting. Shortly after, Josi joined and completed the band. Their lyrics deal with personal struggles and observations of our society, whether it's the toxicity of individuals or the ignorant attitude of an entire species. Seven Blood embed these lyrics in a brutal wall of sound that gives their thoughtfulness a furious undertone. The combined force of drums, bass, and guitar rises behind the vocals and is complemented by the ethereal and sometimes biting sounds of fanfares and synths. All of this culminates in a musical high that gives the listener the feeling that everything, and simultaneously nothing, is okay.

Toyah’s 1994 solo album Take The Leap! is issued on limited edition picture disc vinyl for the first time ever.

The picture disc features colour images on each side of the vinyl and is housed in special die-cut outer sleeve containing previously unseen photography from the original album shoot.

Toyah’s 1994 studio album was recorded with Salisbury band Friday Forever and includes eight re-recordings of classic Toyah material and six original compositions.

Things Gotta Change is the fourth release by Austrian soul band SLADEK, following their debut album and
two EPs. With Loveless (2024), the group redefined their sound and secured a unique place in contemporary
soul. This new ten-track album builds on that breakthrough, blending the spirit of Curtis Mayfield, Donny
Hathaway and Marvin Gaye into a style distinctly their own.
At the core of SLADEK are David Sladek (vocals, guitar), Alvis Reid (bass) and Raphael Vorraber (drums),
joined by longtime producer Mathias Garmusch. Passionate about late-’60s soul and analog recording, they
craft a warm, deep sonic palette enriched by Taineh (backing vocals, keys), Yvonne Moriel (flute) and Tobias
Meissl (vibraphone).
The opener “Weight of the World” moves from heaviness to hope over guitar riffs, Mellotron flutes and a
powerful outro. “Stranger”, the first single, turns romantic miscommunication into an uplifting groove. “Wait for
Me” reflects on tough choices before drifting into a meditative guitar and flute mantra. “What a Little Love Can
Do” delivers a calm yet urgent call for compassion. “Here to Stay”, the second single, pairs emotional
uncertainty with steadfast resolve.
Instrumental “Lotus Eater” offers a dreamlike pause, inspired by mythic forgetfulness. The title track “Things
Gotta Change” is a heartfelt plea to break harmful patterns. “Beacon”, the ballad, urges kindness in a cruel
world. “Waking Dream” brings minor-key blues and abstract introspection, while “Bye Bye” closes with highenergy farewells and fresh perspectives.
Things Gotta Change stands as a rich, analog-crafted statement—blending timeless influences, vivid
storytelling, and a deep emotional range into one cohesive, soulful journey.

An enthralling weave of cathartic, introspective spirituality and thrumming, industrial darkness; The Wounded Healer is the first full-length from PREYRS, the new incarnation of Irish singer-songwriter Amy Montgomery and her band as one formidable entity. From the fourpiece's new janiform name; a twisting, conflicting play on the tenderness and innocence of prayer and the deadly dance of prey and predator to the band's fiercely independent journey, PREYRS is a project already steeped in story. After breathtaking album opener `Humble Eyes', lead single `Wave of Wisdom' immediately lays this concept bare as Amy's incandescent delivery of uncertainty, "lesson learned / don't know how / but here I am again / stronger than before", soars over a defiantly discordant clash of alt-folk slide guitar and Mormecha's pummeling industrial percussion. Elsewhere, the high-octane `Zeros, Ones & Lies' wrestles with the spiritual toll of being fed constant footage of atrocity and catastrophe by a media that accepts no responsibility for their part in the global race to the bottom. As such, the track bursts into furious life with urgent, double-time drums met by guitars distorted to the brink of destruction before the song all but caves in on itself as Amy quietly asks of us "Can you feel it? / like a river / it flows so silently / it flows so violently". By contrast, `Bring Ur Bruises' radiates resplendent, self-empowering positivity. Centred once again on the concept of the wounded healer, `Bring Ur Bruises' implores the listener to welcome their trauma in, to own it and wear it as a paradoxical means of ultimately letting it go as triumphant, reverb-soaked guitars soar ever higher. If it wasn't already clear, PREYRS are no strangers to doing things differently and, across every iteration, the band have always taken a DIY approach to every aspect of their existence. From covering themselves in paint and rolling over every single early album cover to, until recently, booking all of their own shows and festivals as diverse as Glastonbury, Green Man (UK), Blizzarrrd Rock (GER) and Bloodstock (UK), last year the band found themselves touring the UK as Amy Montgomery in support of musical heroes and British post-punk legends New Model Army. In November 2025 they will be joining New Model Army again on tour across Europe, but this time as PREYRS performing tracks from The Wounded Healer, the same four people but an entirely different beast. FOR FANS OF Nine Inch Nails, Chelsea Wolfe, Sonic Youth, Julie Christmas, Alanis Morissette, My Bloody Valentine, Siouxsie and The Banshees, Melvins

An enthralling weave of cathartic, introspective spirituality and thrumming, industrial darkness; The Wounded Healer is the first full-length from PREYRS, the new incarnation of Irish singer-songwriter Amy Montgomery and her band as one formidable entity. From the fourpiece's new janiform name; a twisting, conflicting play on the tenderness and innocence of prayer and the deadly dance of prey and predator to the band's fiercely independent journey, PREYRS is a project already steeped in story. After breathtaking album opener `Humble Eyes', lead single `Wave of Wisdom' immediately lays this concept bare as Amy's incandescent delivery of uncertainty, "lesson learned / don't know how / but here I am again / stronger than before", soars over a defiantly discordant clash of alt-folk slide guitar and Mormecha's pummeling industrial percussion. Elsewhere, the high-octane `Zeros, Ones & Lies' wrestles with the spiritual toll of being fed constant footage of atrocity and catastrophe by a media that accepts no responsibility for their part in the global race to the bottom. As such, the track bursts into furious life with urgent, double-time drums met by guitars distorted to the brink of destruction before the song all but caves in on itself as Amy quietly asks of us "Can you feel it? / like a river / it flows so silently / it flows so violently". By contrast, `Bring Ur Bruises' radiates resplendent, self-empowering positivity. Centred once again on the concept of the wounded healer, `Bring Ur Bruises' implores the listener to welcome their trauma in, to own it and wear it as a paradoxical means of ultimately letting it go as triumphant, reverb-soaked guitars soar ever higher. If it wasn't already clear, PREYRS are no strangers to doing things differently and, across every iteration, the band have always taken a DIY approach to every aspect of their existence. From covering themselves in paint and rolling over every single early album cover to, until recently, booking all of their own shows and festivals as diverse as Glastonbury, Green Man (UK), Blizzarrrd Rock (GER) and Bloodstock (UK), last year the band found themselves touring the UK as Amy Montgomery in support of musical heroes and British post-punk legends New Model Army. In November 2025 they will be joining New Model Army again on tour across Europe, but this time as PREYRS performing tracks from The Wounded Healer, the same four people but an entirely different beast. FOR FANS OF Nine Inch Nails, Chelsea Wolfe, Sonic Youth, Julie Christmas, Alanis Morissette, My Bloody Valentine, Siouxsie and The Banshees, Melvins

Für einige ist Pavement die vielleicht größte Band der Welt, oder zumindest Nordamerikas, ganz sicher aber die beste Band der amerikanischen Westküste. Nun veröffentlicht die mindestens mal Kultband ein "Best of"- Album für alle die, die sich immer noch Fragen wer zur Hölle eigentlich Pavement sind. "Hecklers Choice", so der Name des "Best of" leistet dabei Aufklärung und führt den Hörer aus dem Tal der Ahnungslosen in einen Garten Eden voller blühender Gitarren-Feedbacks und sprießender Indie-Riffs. "Hecklers Choice" ist die bereits zweite "Best of"-Kompilation der Band. Es ist schließlich mehr als ein Jahrzehnt vergangen und man kann nie genug gute Pavement-Songs kompakt in der Sammlung besitzen. Als "Quarantine the Past" 2010 erschien, gab es TikTok noch nicht. Diese neu überarbeitete Titelliste berücksichtigt alle viralen Seltsamkeiten der letzten Jahre ("Harness Your Hopes"), und repräsentiert gleichzeitig die zeitlosen Stücke, die über Generationen hinweg fester Bestandteil von Playlisten und Mixtapes für Liebhaber der Band geblieben sind.

Zur Feier des zehnten Geburtstags von "In Colour", dem 2015er Debüt von Jamie xx, kündigt der Londoner Produzent und DJ eine limitierte Picture Disc Version der LP an. Das ikonische Cover Artwork des ursprünglich am 29. Mai 2015 erschienenen Albums befindet sich bei der 10th Anniversary Edition direkt auf der LP. "In Colour" hat sich über die Jahre zu einem modernen Klassiker entwickelt und wird gemeinhin als eines der prägenden elektronischen Alben der 2010er Jahre betrachtet. Der kaleidoskophafte Trip durch die UK-Dance-Kultur landete bereits im Jahr seines Erscheinens in zahllosen Bestenlisten. Mit Tracks wir "Loud Places" (mit Romy), "Gosh" oder "I Know There"s Gonna Be (Good Times)" (mit Young Thug und Popcaan) wahrt das Album die Balance zwischen Crossover Appeal und Underground Credibility. Es war für den Grammy und die Brit Awards nominiert und landete auf der Short List für den Mercury Music Prize. Auch ein Jahrzehnt später brilliert "In Colour" nicht nur durch seine Produktion, sondern auch durch die emotionale Dimension, die es auf den Dancefloor gebracht hat. Es ist ein Album, das einen persönlichen Liebesbrief an die britische Clubkultur in ein globales Statement verwandelt hat.

NYC electronic music collective P.E. return with their third and final album Oh!, due October 3 on Wharf Cat Records. Oh! Is the sound of a startled exclamation punctuating an exit, and the embodiment of the music within: fun and fluorescent, fluid and flirty, dirty and a little dangerous. From their conception in 2017 through the NOPE Tape series, P.E. existed as an experiment in co-conspirited collaboration. Oh! continues to cast a wide net, featuring an expanded lineup from their original formation, including Eleanor Friedberger of The Fiery Furnaces on the lead single "Color Coordinator". The resulting music ranges wide as ever, from the jubilant grooves of the title track and "Color Coordinator" to "The Fiction Writer" - a tender duet between Veronica Torres and Jonny Campolo - through the city pop sounds of "(Do You Like) So So?" and "Purple On Time", and into the abstracted beyond. This isn't a goodbye, but a "see you around". A tear falls down the cheek of a stranger, dancing as they catch your smile in the reflection of a glass building. Ceremoniously, serendipitously, they sidewalk surf away, stepping on something sharp - "Oh!" - leaving a teardrop on the city pavement. Following the last P.E. show, Jonny Campolo fully embraced his persona of The Grayscale Clown. You can hear him crooning in pets (along with Nick Campolo and Chase Ceglie) and droning in Microfibers (featuring Keegan & Eugene of Decor). His brother Nick Campolo successfully uploaded his consciousness to the cloud. He & his simulacrum perform in the aforementioned pets and solo as Nick Nun Ca. Ben Jaffe was in a freak nuclear waste accident when his DNA merged with a puma - he is now known as The Puma Man. You can catch him prowling around NYC with Sleaze Generator and as a sax beast for hire. Bob Jones went on a silent meditation and forgot how to speak. He now quietly releases music under the name R.A. Jones (as on his recently released Whispered to A Child), and as Scythe with David West (on A Colourful Storm). Jonathan Schenke disappeared for six months without a trace; when he returned he had developed a nervous tic anytime he heard a 909 rimshot or a saxophone. His recent solo album Passages (on No Gold) features neither of the above, nor does his project Gift Horse with Matthew Hord. Veronica Torres headed west to pursue her studies, developing a ceramic polymer whose beauty has caused madness in certain individuals. Her band Cha Cha 9 is a darling of the Minneapolis scene. P.E. would like to say thank you from the bottom of our hearts to everyone who listened to our records and danced at our shows - your love is felt. Thank you so much to Wharf Cat Records for all of the support over the years. Thank you to the fans. Thank you Pill and Eaters. Mitwirkende

Wounds is the band's long-awaited fifth album - their first in six years, their most eclectic and ambitious work to date. As heavy as it is haunting, the record masterfully blends doom, post-punk, and driving krautrock in a dynamic, hypnotic maelstrom - pushing London's most exciting cult band into intoxicating new territory. "Wounds is a series of songs about the different ways people live with and process 'the wounds' of their lives," explains vocalist Maya. "A strange celebration of that formative pain we have all experienced in some way. The loss and joy of survival - the celebration of finding others like us, the gift of knowing life comes after fire." Wounds was recorded by Mike Bew, on location at Foel Studio. The band could be found working deep into the witching hours, experimenting with new sounds and filling the valleys with cantankerous wails of sound, bursting from amps borrowed from My Bloody Valentine. "The Welsh countryside has a mystical quality to it," says guitarist Adam. "We recorded in a deep, dark valley; misty days and shooting stars at night. You could wander through nearby woods and stone circles during breaks. Foel Studios is woven into this setting with a transcendence of its own - its storied history includes sessions by Electric Wizard, Hawkwind and The Fall." Synths on the album are arranged by Berlin-based Bow Church, an influential figure in the dark electronic scene and a longtime collaborator of the band. His work weaves icy and atmospheric textures into the album's tracks. While meticulously crafted, Wounds captures the visceral energy of Cold in Berlin's renowned live shows. The album's arrangements and raucous sound remain true to the unrelenting intensity and atmosphere of their stage performances - every track retains the sweat, urgency, and immediacy of a band performing in the moment.

Grim days call for fierce love. And Mavis Staples, one of the most enduring figures in American music, is laying it down. Sad And Beautiful World is the latest solo album from a national treasure and multigenerational talent. Produced by Brad Cook, Sad And Beautiful World spans seven decades of the American songbook - a range nearly as vast as Mavis" career - and includes reinventions of timeless songs by Tom Waits, Sparklehorse, Gillian Welch, Frank Ocean and more. Cook imagined an album in the tradition of Nitty Gritty Dirt Band"s Will the Circle Be Unbroken, a group of artists coming together to celebrate community - in this case, one centered on Mavis. Collaborators include Buddy Guy, Bonnie Raitt, Jeff Tweedy, Derek Trucks, Katie Crutchfield, MJ Lenderman, and Justin Vernon. Inducted into several halls of fame (Blues, Rock, and Gospel), a Kennedy Center Honoree, a winner of multiple GRAMMYs (including a Lifetime Achievement Award), Mavis is musical history. She"s collaborated with nearly every major figure of her era(s), from Bob Dylan to Prince, Aretha Franklin, and Willie Nelson - not to mention countless stars from subsequent generations.

Grim days call for fierce love. And Mavis Staples, one of the most enduring figures in American music, is laying it down. Sad And Beautiful World is the latest solo album from a national treasure and multigenerational talent. Produced by Brad Cook, Sad And Beautiful World spans seven decades of the American songbook - a range nearly as vast as Mavis" career - and includes reinventions of timeless songs by Tom Waits, Sparklehorse, Gillian Welch, Frank Ocean and more. Cook imagined an album in the tradition of Nitty Gritty Dirt Band"s Will the Circle Be Unbroken, a group of artists coming together to celebrate community - in this case, one centered on Mavis. Collaborators include Buddy Guy, Bonnie Raitt, Jeff Tweedy, Derek Trucks, Katie Crutchfield, MJ Lenderman, and Justin Vernon. Inducted into several halls of fame (Blues, Rock, and Gospel), a Kennedy Center Honoree, a winner of multiple GRAMMYs (including a Lifetime Achievement Award), Mavis is musical history. She"s collaborated with nearly every major figure of her era(s), from Bob Dylan to Prince, Aretha Franklin, and Willie Nelson - not to mention countless stars from subsequent generations.

Acclaimed electronic musicians, producers and sound architects Max Cooper and Rob Clouth team up for a new collaborative EP; a dark, playful four-track dive into ambient, breakbeat and techno’s subconscious flow, featuring a standout vocal performance from South London rapper FLOHIO.

Recorded over a series of spontaneous London sessions, “8 Billion Realities” channels years of creative exchange between two of the genre’s most quietly innovative artists and is a result of a decision between the longtime friends to refrain from conceptual overthinking in favour of instinct and joy.

As long-time admirers of each other’s audio/visual work, Cooper and Clouth collaborated in London together after both emerging from intense, idea-heavy album cycles. What followed was a series of exploratory sessions, half-improvised, half-built around half-formed thoughts.

The result is a club-ready EP that feels alive and human: imperfect and hypnotically rich.

“Rob Clouth has been one of my favourite electronic music producers since I first heard his work in 2011,” says Cooper. “His work is more full of ideas and structure than anyone else.” “We were both coming from extensive conceptual studio albums and both in the mood for simplifying things and having some fun with the music, so that’s what we did”.

For Clouth, no stranger to Max Coopers Mesh label having previously released an array of EP’s plus his 2020 debut album “Zero Point” this record marks a new chapter, both creatively and personally.“Something pretty new for me is collaborating,” he says. “You kind of have to when to stop, because if you develop an idea all the way to its endpoint, the other person has nowhere to jump in.”

The first “A Moment Set Aside” began as a break from another idea, a live, unplanned improvisation based around arps and ambience. “The track was written in about as long as it took to play it,” says Cooper. “It was pulled from a 1 hour recording session, more or less as you hear it… the energy and excitement grew as the unplanned moment bore some magic.”

“The lesson being that sometimes it’s helpful to set aside a moment without forcing results, and let the subconscious have something to say.” What followed was darker, heavier. “Asymptote” is detuned techno. Subversive and euphoric in its descent. “We found a sort of brain mangling, half consonant, half wandering detuned techno pulse, which we started chatting about being a sort of pit of spiralling body parts we were falling into,” says Cooper. “It was a lot of fun to work on and let loose with bigger kicks than I usually ever get to unleash.”

Then came “8 Billion Realities”, featuring a standout rap performance from FLOHIO; an emerging figure in the UK grime and rap scene. The track was inspired by conversations about algorithmic echo chambers and hyper-personalised online worlds. Frantic, direct, and South London to the core, FLOHIO brings this tension to life. Her sharp, intense flow cuts through distortion and rhythm, landing the track somewhere between chaos and control instantly making it one of the most striking moments in either artist’s catalogue. “A different reality for all 8 billion of us,” says Cooper. “We weren’t sure if it would work… but there was something about the energy of the percussive idea and the story which felt like it might fit.” “Then FLOHIO had a play with it and straight off the bat absolutely killed it, not just with the lyrics and energy, but the harmonising too, it was a beautiful process.”

The final piece on the EP “Candeleda” originated from Clouth’s solo experiments with a live rig made entirely of vocals and keys, using his self-developed “cheatbox” system. “He put forward a beautiful stumbling melodic sequence which we bounced back and forth adding harmonies and synth layers,” says Cooper. “It rounds off a collection covering some of the breadth of music that we both love.”

"Imagine More is the follow-up to Lophae's acclaimed debut Perfect Strangers (January 2025).
Recorded live to 2-inch,16-track analogue tape with the band all in one room, engineered and mixed by Benedic Lamdin (Nostalgia 77), and mastered by Caspar Sutton-Jones (Gearbox Studios), this second offering from guitarist and composer Greg Sanders' quartet ventures deeper into their distinctive blend of modern jazz, psychedelic exploration, and world music flourishes.
Four gifted improvisers navigate Sanders' compositions with mercurial dialogue and musical communion, weaving melodic elegance with rhythmic complexity, creating sound-worlds that echo Jeff Parker, Joao Gilberto, and Blake Mills while channeling the sophistication of Stan Getz, Bill Frisell, and Edu Lobo.
Fizzing electric guitar, flowing saxophone lines, and skittering rhythmic interplay transport listeners from north-west London's Fish Factory recording studio to the musical capitals of New York, New Orleans, Rio De Janeiro, Bamako, and Johannesburg - anchored by Sanders' unmistakable compositional voice and the quartet's intuitive sensitivity."

Erste Auflage des Debütalbums der neuseeländischen Dream-Pop/Indie-Rock-Band Mild Orange auf schwarzem Vinyl. Das 2018 im Eigenvertrieb erschienene "Foreplay" wurde mit seinen Singles "Some Feeling" und "Mysight" schnell zum Achtungserfolg und erreichte über 100 Millionen Streams bis heute. Die neue Auflage erscheint in limitierter Stückzahl pünktlich zu ihrer Herbsttour durch Europa.

Amonita, the ethereal musician known for her enchanting compositions and captivating live performances, is set to release her latest body of work, the Rainbow EP, under Lee Burridge’s esteemed record label All Day I Dream.

Since her debut in 2017, Amonita has been on a steadfast mission to craft iconic melodies that resonate deeply with listeners, evoking emotions that linger long after the music fades. She seamlessly blends live instrumentation with electronic elements, creating an immersive sonic experience that transports audiences to a world of serenity and wonder. Amonita is no stranger to All Day I Dream; In addition to her Secret of Happiness EP in 2019 and Aura EP in 2021, Amonita has contributed tracks on two A Winter Samplercompilations, and was featured on Gorje Hewek’s 2021 Collages album released on the label.

Drawing inspiration from her time spent in Turkey surrounded by nature, Amonita infuses the Rainbow EP with the essence of the awe-inspiring beauty she experienced: sun-kissed landscapes, tranquil seas, and the vibrant hues of a majestic rainbow. Her music speaks to the hearts of true dreamers – those who believe in love, walk barefoot in the rain, watch sunsets, admire the stars, and are impressed by the mystery and beauty of the moon.

In her own words, Amonita shares, "No matter how difficult your path through storms and thunder is, after that you will see a rainbow!"
This sentiment encapsulates the overarching theme of resilience and hope that resonates throughout the EP, serving as a beacon of light in challenging times. The Rainbow EP is a testament to Amonita's boundless creativity and passion for storytelling through music. From the shimmering melodies of title track ‘Rainbow’ to the hypnotic rhythms of ‘Amulet’ to the dark and mysterious ‘Moon Dust’, each track invites listeners on a transcendent voyage of discovery.

Prepare to be spellbound as Amonita unveils the Rainbow EP on March 29th. Experience the magic for yourself and let the music transport you to a world where you can dream while awake and rainbows reign supreme.

Word is the name of the next EP which has been announced on the label as you can see right now. It was written by the prominent artist Orbet that has been making waves in his native country Russia and has played nearly all the hottest events and festivals there are and continuing doing it without any will to stop. It has been 5 years since his last vinyl release which was a sellout hit so this is an important year we marking in the artist’s life and sound output and celebrating his return to releasing the music again. The design of the record comes in the style of graffiti that is very close to the artist as Orbet is no stranger to this art being an artist of graffiti himself. The tracks have a wide range of sound and would be able to work at different times of the party whether it’s prime, warm up or the afters. The four tracks presented on this disc are ready to be worked round the clock strictly for the pleasure of the people of the underground. I think that should conclude my verbal ramblings as it’s best to test this record in action to see it for yourself.

37 years after the release of her multi-million selling debut album "Ancient Heart" Tanita Tikaram will release the sequel entitled "LIAR (Love Isn"t A Right)". The long-awaited new album reveals the emotional and societal differences between the woman Tanita was at just 18 when she made "Ancient Heart" to the woman she is today, taking in four decades of life experience. Her first album in almost a decade, "LIAR (Love Isn"t A Right)" is an album of haunting beauty and exquisite musicianship underplaying her unique voice that tells a masterful story of emotional, political and personal truths. When it was released in 1988, the multi-million selling "Ancient Heart" was the story of an uncertain 18-year-old brown gay woman living in middle England feeling like a stranger in her own home. Almost 40 years later that same woman, now feeling like a stranger in her own country as politics and society become more divisive. "LIAR (Love Is A Right)" is a full circle moment: a comment on community and its importance for all our futures and the perfect accompaniment to her classic breakthrough.

37 years after the release of her multi-million selling debut album "Ancient Heart" Tanita Tikaram will release the sequel entitled "LIAR (Love Isn"t A Right)". The long-awaited new album reveals the emotional and societal differences between the woman Tanita was at just 18 when she made "Ancient Heart" to the woman she is today, taking in four decades of life experience. Her first album in almost a decade, "LIAR (Love Isn"t A Right)" is an album of haunting beauty and exquisite musicianship underplaying her unique voice that tells a masterful story of emotional, political and personal truths. When it was released in 1988, the multi-million selling "Ancient Heart" was the story of an uncertain 18-year-old brown gay woman living in middle England feeling like a stranger in her own home. Almost 40 years later that same woman, now feeling like a stranger in her own country as politics and society become more divisive. "LIAR (Love Is A Right)" is a full circle moment: a comment on community and its importance for all our futures and the perfect accompaniment to her classic breakthrough.