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Vinyl gatefold jacket includes a 12x12 insert reproduction of the original LP jacket art.Recorded in 1956 and released in 1957, Supersonic Jazz is arguably the first long-playing album by Sun Ra and His Arkestra on his Saturn label. However, it was not recorded as a debut. Rather, the album was assembled from tapes recorded during a number of sessions at two Chicago studios (RCA Victor and Balkan), and several tracks had been released as singles before their inclusion on this album. (Sunny's first fully realized commercial album was 1957's Jazz by Sun Ra, produced by Tom Wilson on his short lived/soon to be defunct Transition label.) Prior to these sessions, Sunny was still arranging for the Red Saunders Orchestra and singer Joe Williams, in addition to arranging for and coaching doo-wop ensembles. As Sunny's ambitions achieved liftoff, the Arkestra coalesced, began building a repertoire (mostly of Ra's originals), and making forays into studios. Deciding it was time for commercial releases, Sunny and business partner Alton Abraham launched Saturn (sometimes called El Saturn) as a record company in 1956. As a first offering, Supersonic Jazz is a pinnacle Sun Ra release. While reflecting many prevailing bebop, Latin, and R&B conventions of the mid-1950s, it's evident that Sun Ra's musical voice and vision were starting to propel him away from the jazz mainstream. Biographer John Szwed finds on these recordings "characteristics which seemed alien to swing, bebop, or the new, more soulful and hard-edged music which was coming to be called hard bop."

“Godzilla just walked into the room. People just stood there with their eyes and mouths wide open.” To hear Randy Holden describe the audience’s reaction in 1969 to his solo debut performing with a teeth-rattling phalanx of 16 (sixteen!) 200 watt Sunn amps is about as close as one will get to truly experience the moment heavy metal music morphed into existence. However, at last Riding Easy have unearthed the proper fossil record. Population II, the now legendary, extremely rare album by guitarist / vocalist Holden and drummer / keyboardist Chris Lockheed is considered to be one of the earliest examples of doom metal.

Though its original release was a very limited in number and distribution, like all great records, its impact over time has continued to grow. In 1969, Holden, fresh off his tenure with proto-metal pioneers Blue Cheer (appearing on one side of the New! Improved! Blue Cheer album and touring for the better part of a year in the group), aimed for more control over his band. Thus, Randy Holden - Population II was born, the duo naming itself after the astronomical term for a particular star cluster with heavy metals present. “I wanted to do something that hadn’t been done before,” Holden explains. “I was interested in discordant sounds that could be melodic but gigantically huge. I rented an Opera house for rehearsal, set up with 16 Sunn amps. That’s what I was going for, way over the top.” And over the top it is. The six-song album delves into leaden sludge, lumbering doom and epic soaring riffs that sound free from all constraints of the era. It’s incredibly heavy, but infused with a melodic, albeit mechanistic, sensibility.

Troubles with the album’s release bankrupted Holden, who subsequently left music for over two decades. It was bootlegged several times over the years, but until now hasn’t seen a proper remaster and has yet to be available on digital platforms. “The original mastering just destroyed the dynamics of it,” Holden says. “They flattened it out. Now we got a really nice remaster that should be the closest thing to the original recording.”

Alvorada is Montanha’s first long play: an ambient-leaning work, nocturnal in mood yet touched by electricity, tracing a journey from waking activity into dream logic. Recorded mostly in the late hours of the evening with windows open to the city, letting its air and sounds influence the music, it sometimes reached the early moments of sunrise. The title, meaning “dawn,” reflects both the liminal hours of its making and the band’s own renewal. These tracks are closer to drawings than songs: narratives written between instruments, moments of tension and release, fragments of memory and dream. The tracklist follows this nocturnal voyage with the patience of Eno, the disquiet of Uematsu, and the madness of Miles Davis’ Decoy, oscillating between streets and sleep, routine and reverie.

Montanha was formed in 2010 by André Azevedo, Nuno Oliveira, João Sarnadas, and Tito Silva, bonding over architecture school all-nighters on videogame soundtracks (Age of Empires, Super Mario). They began as a psychedelic rock combo and in 2013 released their self-titled EP which introduced a raw, improvised energy. But the album that was meant to follow was abandoned as the band entered hiatus. The four members turned their creative drive towards co-founding Favela Discos, where experimentation with media and form reshaped their ideas of music, and developed their taste, their way of playing, and a more personal sound that was more open and disconnected from a defined genre.

By 2017, Montanha had returned to the studio with new experience, no longer a rock band in the traditional sense but a project devoted to improvisation and electronic soundscapes. An ever gentrifying city forced them to abandon acoustic drums, and they embraced electronic beats instead, and became mobile; one guitar dissolved into full synths, leaving the other to converse with bass. Improvisation remained their compass. In improvisation there are no mistakes, only missed opportunities. Montanha found their opportunity in the routine of the studio to break routines of pop and experimental. The result is a body of nearly fifty hours of recordings, sculpted into an album.

Alvorada is not only Montanha’s first LP but also the dawn of their new phase. Improvised yet carefully sculpted, the record expands the territory of the song into nonlinear narratives, letting the language of night, dream, and city seep into its form.

This holiday season, Harlem’s Capo, Jim Jones, brings At the Church Steps to vinyl for the very first time — and it’s more than just a reissue. A founding member of The Diplomats, platinum-selling artist, and a pioneer of NYC street rap, Jones has long been a voice of the hustle, style, and raw authenticity that define East Coast hip-hop. With over 2 million records sold and a deep-rooted influence on music and culture, At the Church Steps is now set to become a collector’s essential — reimagined for vinyl in a way no fan has ever experienced.

This limited-edition, audiophile-grade 2LP set is crafted for true connoisseurs. Pressed on premium Neotech 100% virgin vinyl, the release uses exclusive mastering technology that employs predictive analysis to correct groove deformation — delivering unmatched clarity, fidelity, and warmth. Every detail, from the sonic depth to the physical finish, speaks to the cult following Jones commands. Tailored for both the streets and the crates, this vinyl is a tribute to legacy and craftsmanship. Store it upright, keep it out of direct sunlight — and know you’re holding a piece of hip-hop history made to last.

Key Marketing Highlights:
Available on vinyl for the first time as a limited numbered 2LP set on Audiophile-Grade, COllector's Quality Vinyl
Brand new studio album from Jim Jones now available on 2LP
Jim Jones is a member of legendary hiphop group The Diplomats

The pinnacle of total art pop, "yes, mama ok?", celebrates its 30th anniversary.

The album includes a 14-track best-of LP featuring a comprehensive selection of tracks released between 1995 and 2000 on labels like LD&K, Nippon Columbia,
and Etiquette Recordings; a 26-track cassette tape featuring more best selections; a 7-inch single featuring the band's best killer tunes; and a long-awaited
two-disc CD featuring the works of legendary songwriter Takeshi Kongochi. These four titles, overseen by Takeshi Kongochi and Wataru Sawabe (Skirt), who
self-proclaims himself the world's biggest fan, are officially released in celebration of the band's 30th anniversary.

The long-awaited "yes, mama ok?" best-of album, a 14-track vinyl LP, is now available!

To celebrate the one-year anniversary of Summer of Love, originally a Bandcamp-exclusive, Torus released it on all streaming platforms in September. The limited edition vinyl is now available for preorder. The 12'' double-sided black vinyl is packaged in a double-holed front sleeve and complemented by a custom orange inner sleeve, paying homage to the double sun motif featured on the digital cover. The A-side displays a printed tracklist in the center label area, while the B-side is marked by a unique hand-drawn, hand-cut design made by the cutter.

Deey, a native of Futenma, Okinawa, is one of the most popular artists today, known for his collaboration with Leo Iwamura on "Deep Blue," and EVO, who has
made a name for himself with The Anthem, hosted by IMUHA BLACK, and is attracting attention. This LP features a remarkable album by three artists at the forefront
of Japan's underground hip-hop scene, all produced by MrRn, whose popularity is rapidly rising in the Kansai region.

"Working with these three artists, I was able to bring out the best in myself and express my passion for swaying, nodding, and communicating. "Sunshin" in particular
is a song I want everyone to listen to and feel for its vibe and message!" -- Deey

"The album title, 'Amon', literally means 'Gate of Asia.' When we listen to music, we're usually drawn to the sound and groove first, so we created a record that
will resonate worldwide, regardless of the current domestic scene. I'm not really into forming and organizing a crew, so I'd like to continue working with friends
who share Amon's concept, not just in music, but in other areas as well." -- EVO

"When you hear it, it'll hit you like lightning. Creating it with my friends, supporting each other, learning from each other, I've managed to express myself more

authentically than any other production I've ever done." – MrRn

IS THE BEST is the manifestation of Prontaxan's collective mindset as a music group formed by visual artists, musicians, producers, and filmmakers.

IS THE BEST tells a story about release — how the constraints of routine can break free through celebration, and how Funkot becomes a universal language to speak about resistance, pressure, and acceptance of reality within the context of today's working class.

IS THE BEST is an expression of this phenomenon — where a masterpiece is one that breaks out of its shell to shine, be admired, discussed, and criticized by its audience.

IS THE BEST is born as Prontaxan's remedy for electronic music lovers across the globe.

Das 2024er Album des irischen Indie-Folk-Singer/Songwriters Fionn Regan wird erstmals auf Vinyl erhältlich: "O AVALANCHE" ist voller schwebender Intimitäten, abstrakt und intuitiv, durchdrungen von einem Gespür für die erhebende Verbindung zwischen Umgebung und Emotionen. Zwischen sonnendurchfluteten Kulissen und leuchtenden Arrangements entstand eine Reihe wundervoll-erhabener Songs. Koproduziert mit Ian Grimble (Travis, Manic Street Preachers, Texas), schafft Regans abseits gelegenes Gespür für Klima und Landschaft einen weiteren kreativen Höhepunkt und ein Album, in dem man sich verlieren kann.

Future pop unit "Mononkuru" has released their first album in nearly seven years since their previous album, "RELOADING CITY," on vinyl!
"Bokura wa Warai at a Dead End," a brand-new pop album featuring guest appearances by AAAMYYY and Daichi Yamamoto, is here!

Seven years after their last album, Mononkuru has finally released their long-awaited new album. Known for their jazz-infused pop, the band has changed their
name to "Mononkuru" in katakana and updated their sound. In addition to the innovative modern pop disco they showcased on recent releases "GINGUA"
and "HOTPOT," this album is packed with highlights, including "Futari Shibai feat. Daichi Yamamoto," a bold new work featuring a featured artist for the first time
for Mononkuru, and "Who am I feat. AAAMYYY," which debuts on an album.

Celebrating their 40th anniversary in 2025, Japan's ska scene pioneers The SKA FLAMES － still going strong and continuing to exert a huge influenceboth

domestically and internationally － will release five 7-inch singles over three consecutive months!! First release features two titles simultaneously!
This release includes “I WON'T NEVER LET YOU GO” left behind by BLUES BUSTERS and a self-cover of The SKA FLAMES' classic early track
“GOOD MORNING” recorded with Daisuke Ono on drums!"

Astropolis Records — the label born from the legendary electronic French festival — celebrates a decade of electronic devotion with a generous and deeply emotional anniversary compilation - a bit late, but never short on flair.

This double vinyl gathers the many faces of the Astropolis galaxy: in-house artists, long-time companions of the festival, and rising voices from a perpetually vibrant French scene. Across 18 artists, listeners are invited on a sonic journey where rave legacy, electronic dreamscapes, and collective fervor intertwine — true to the DNA of a festival that’s never known boundaries.



The record opens with grace and wonder courtesy of Rone, whose electronic touch channels both the intimate and the infinite. Between electronica and downtempo, The Dolphin Ambassador bathes in luminous melancholy, offering a moment of calm before the storm. In the same contemplative vein, we’re proud to unveil one of the first productions from Célélé alongside Théo Muller: Drum and Drift, a subtle blend of dubby vibrations and sunlit textures.


Astropolis has always thrived on happy collisions — and this compilation is proof of it. The unlikely meeting between Mézigue and Swooh sends house spiraling into a g-tech vortex on Broken Roll To Venice, a playful burst of groove, hybrid energy, and cheeky mischief. The same spirit of alchemy fuels Belaria & Madben, whose Into The Void burns bright as a 90s rave-meets-EBM anthem wrapped in hypnotic trance. Zaatar & Trunkline bring raw intensity to Come Into The Light, a sweaty, visceral banger at the crossroads of techno, dark disco, and EBM.


French techno pillars Scan X & Electric Rescue deliver a masterclass in elegant machine soul on Lost In Time. When Manu Le Malin teams up with Kmyle, the result is as sharp as it is cinematic: Little Big Man pulses with dramatic tension, balancing raw emotion and restrained fury. Elsewhere, Oniris & Benjamin Rippert reconnect with the melodic techno spirit of the label’s early days on Sonate, guided by a craftsman’s sense of harmony.
For the machine lovers, Legowelt & Cuften resurrect the spirit of early electroclash on Liar, a carnal fusion of analog synths and DIY attitude. And for the diehard dancefloor devotees, KiNK finally releases a cult track from his live sets: Give Me, a breakbeat-meets-vintage-house stormer tailor-made for those late-night sweats.

This anniversary compilation reaffirms the label’s openness to new generations and hybrid sounds, while paying tribute to the techno roots that shaped its foundation. Like the festival itself, it embodies sincerity and collective energy — a small manifesto linking generations, aesthetics, and territories, celebrating roots without nostalgia and the future without bending to trends.

Collecting Orders for Repress

Beam records is excited to present the debut release from enigmatic friend of the label, mystery sister. Across four tracks, the Silkworm EP explores turn-of-the-millennium tek haus and mnml, drawing on organic sound palettes and playful psychedelia. The title track, ‘Silkworm’, sets acidic breakbeat pseudoscience against brooding atmospheres, entrancing rabbits down the hole. ‘Kabel’ is a moody minimal roller, striding aimlessly into the depths of the eternal after-hours. Opening the B-side, ‘Of The Mind (Wonky Dub)’ evokes evasive tek haus, layering rhythmic bounce over bubbling, micro-dosed textures. Cue lush pads and dubtek stabs to close out the EP with ‘Of The Mind (Sunrise Mix)’, offering glimmers of afterglow optimism.

Berlin imprint Catem Records makes its debut with 001, a pure and timeless 12" that merges elements of techno, house, electro, and deep house into one coherent statement.
Driven by analog warmth and rhythmic clarity, the release captures the essence of underground club energy: deep, functional, and emotionally precise. Pressed on black 140g vinyl, CATEM001 marks a confident first step for the label, setting a clear direction toward quality, authenticity, and sound design with character.

DJ Boora is a Russian hip-hop head with a sample-driven style shaped by Soviet-era sounds and here he brings his class to Scruniversal's latest 7". Classic bits of gear like the SP-1200 and MPC define his approach here as Boora blends dusty loops and analogue realness with tight boom-bap swing, all served up with effortless finesse. 'Dedicado Ao Rei' has a sunny disposition with some Latin heat infusing the rolling breaks, then 'Party Groove' is a playful one with James Brown ad-libs and big chord stabs.

Recordings from the Åland Islands, the duo debut by synthesist Jeremiah Chiu and violist Marta Sofia Honer, is a truly unique series of pieces that marry acoustic and electronic sounds with field recordings, all captured on a trip to the titular Baltic archipelago.
By the time Åland Islands was released in 2022, Honer had already been working with Makaya McCraven and Daniel Villarreal, but this project brought her to the front as a lead artist. And Åland Islands was the label's first collaboration of any kind with Chiu, who has since released the solo outing In Electric Time and the genre-breaking debut of his co-led supergroup SML, in addition to a trio album with Honer and the late Ariel Kalma (2024's The Closest Thing to Silence).

Recordings from the Åland Islands is far more than its context within the world of IARC, however, and it’s certainly more than its context as a travel document. Here Chiu and Honer have created a new world out of an old one with work that sees them in dialogue with their own source material. Like early masterpieces by Franco Battiato or Alvin Lucier, Åland Islands repeatedly presents the listener with a palpable sense of place, only to pluck them up and drop them into an entirely new one.
“...so tranquil and beautiful...” – Jayson Greene, Pitchfork

Ten years after her first release, electronic musician Mor Elian presents her debut album Solid Space. Showing her full artistic range, the LP drifts between dream-like listening states and experimental club spaces. Written in a transitional time, these compositions arrived in emotional, unfiltered bursts. Solid Space brings together ambient textures, early IDM structures, and experimental electronics, with distant, hazy vocals converging into a single, subconscious flow. It is released by adventurous electronic music label topo2 on November 28, 2025. The record is pressed on 180 grams of ICCS-certified bio-vinyl, housed in a heavy full-colour sleeve, and comes with a download-code to the full release. Mastering is done by Ike Zwanikken, mixing by Gramrcy, artwork courtesy of Kees de Klein, and poetry written by Eelco Couvreur. Additional production and mixing on track 7 by Carrier.
—

in the half-sleep: a voice
not anyone’s, just sound.
what it touches, it mirrors
learning to name itself.

a throat opens —
to hum through bone
to say nothing correctly.

we coexist as opposites
in our mother tongue, dreaming
the things we were never meant to touch.

there is a channel
between pulse and sentence —
a being moving through
the being that once answered to me.

to feel and not own the feeling,
each of us made visible
by the other.

Tim Hutton and Thomas Melchior formed Vulva in 1993 in England. The experimental techno duo signed with the Rephlex label (home of Aphex Twin) and released From the Cockpit in 1993. Vulva's first domestic release was the Mini Space Vulvette EP, for Reflective Records. After a side project for the German Source label called Yoni ("Yoni" and My Little Yoni), Hutton and Melchior released their second full-length for Rephlex, Birdwatch, in 1996. Vulvic Yonification followed in late 1997.