quête:the word

Out of Buenos Aires, Argentina the ever-consistent Manuel Sahagun comes
correct for Sounds of Style Records with our 6th release titled “Feed The
Flame EP”.
With excellent releases on Freerange, Pomme Fritte and Fortunea we are
excited to welcome Manuel to the team!
We start off with a jam that's funky and moving titled “Stressed Out’ that’ll give
the heads something to think about while the dance floor boogie’s. Next up is
“1000 Shamans” with a nice spoken word over a funky chugger that will turn
out the heads whether its early in the night or full-on boogie till the sun comes
up.

The B side starts off with our title track “Feed The Flame” which gets to the
feels of classic House music that we love so much! We round out the ep with
“Younger Brother” that ties a catchy spoken word over solid chord work and
bumping low-end to round out this quality record!
Already getting play by DJ Sneak, Toomy Disco, Jay West, DJ Dazy, Mateo
Dufour, Cory Wells, Sound Process & more.
Up next, we have Eddie Leader ”Need To Pivot EP” that is due out January 30th!

Echonomist drops debut Rekids EP with ‘My Religion’. He follows his recent remix for Frankey & Sandrino on the label with collaborations with OVEOUS and Ede.

Greece’s Echonomist, aka Petros Manganaris, returns to Rekids with the ‘My Religion’ EP, arriving 30th January 2026 and featuring collaborations with OVEOUS and Ede. It follows his 2025 remix for Frankey & Sandrino, which won plays from HAAi, John Digweed, Auntie Flo, and more, alongside recent music on labels like Habitat, Innervisions, and its sublabel, Exit Strategy.

Echonomist’s ‘My Religion’ EP opens with the title track, where he teams up with Hyper Soul founder OVEOUS for a loopy, hypnotic cut driven by an alarm-like sequence and tripped-out spoken word vocal. OVEOUS returns on ‘We Surrender’, adding psychedelic, warped phrases over deep bass and an infectious clap-led groove. On the fl ip, Echonomist joins fellow Innervisions artist Ede for ‘The Heat’, a heavy-hitting, party-starter packed with larger-than-life
sirens, big snare rolls, and funky sample work. Petros closes the EP solo with ‘Master Groove’, pairing the drums back while echoing spoken lines ride above an irresistible bassline, rounding off a versatile release built to land with adventurous listeners and on peak-time fl oors alike.
Greek DJ, producer, and live performer Petros Manganaris became Echonomist in 2008 and has since become known for his prolifi c output on labels Innervisions, Afterlife, Kompakt, TAU, and more, alongside collaborations with the likes of WhoMadeWho and numerous top-tier remix projects for Âme, Ry X, and Stephan Bodzin.

Following her compelling debut EP Mending, Frida Touray returns with Homebody, a work of raw emotional clarity, crafted duringa time when her voice was literally fighting back. Diagnosed mid-process with a rare condition that forced her into silence andstillness, Touray chose not retreat, but rebuild. From the quiet corners of domestic life, she’s shaped a collection of songs thatradiate warmth, vulnerability and quiet endurance.Musically, Homebody expands on Touray’s jazz-soul foundations with sparse, atmospheric production that amplifies her voiceand message. There’s a newfound looseness in her phrasing, a deeper sense of presence in every word she sings. You can hearthe letting go, of perfection, of control, and the deepening of purpose in its place. Each track lands with unfiltered intimacy andemotional architecture, a subtle act of defiance wrapped in softness.This is music built on stillness and shaped by resilience. A reflection on self-worth, illness, femininity, community and healing.Songs that speak to the unseen parts of recovery and the small rooms we build ourselves back up in. Homebody is a record foranyone rebuilding from the inside.

St. David Unleashes 'Deep House Damage EP' on Definitive Recordings.

Definitive Recordings is proud to present a brand-new four-track outing from Italian house innovator St. David, titled 'Deep House Damage EP'. Following his acclaimed remixes earlier this year for label classics like 'Good Music' (John Acquaviva, Dan Diamond, Alex D'Elia, Nihil Young) and 'Do It' (Las Americas), St. David now steps forward with a full EP that delivers nothing less than pure oldschool house fire.

The release opens with 'Touch Me (Sexy Hard Dub)', a shuffling house cut with a vintage edge, driven by a rolling bassline and a sensual spoken-word female vocal that sets a playful, club-ready tone. 'I Like It Deep' heads into deep house territory, pairing organ stabs and a steady oldschool beat with both male and female spoken-word phrases, creating a hypnotic, afterhours mood. On 'Dub Swagin'', the energy kicks back up with stomping drums, chopped samples, and filtered percussion. All wrapped in unmistakable 90s house flavor. Closing things out, 'Gonna Work It' is a peak-time smasher stacked with classic vocal samples and grooving organ chords that lift the track into euphoric territory.

Born in Bari, St. David (real name Davide Disanto) has carved a reputation as one of today's most authentic purveyors of oldschool house. Deeply inspired by the American house scene, his tracks blend groove, funk, and raw analog warmth, consistently topping vinyl charts and earning support from global heavyweights like The Martinez Brothers, Riva Starr, Jovonn, and Chris Stussy. He is the founder of Theory of Swing Records, a vinyl-only label dedicated to preserving the magic of 90s house. His music has been featured on Cinthie's DJ-Kicks and he has released on respected imprints including Snatch! Records, Body N' Deep, Heist Recordings, Skylax, and Let's Play House.

With 'Deep House Damage EP', St. David confirms his role as one of the most vital voices in contemporary house, channeling the spirit of the past into tracks made for the dancefloors of today.

Jaime Fennelly, as Mind Over Mirrors, makes music that pushes the known to the lip of the unknown, where it rocks precariously and in exhilaration. He scrambles the familiar and tweaks the comfortable, not through aggression, but a throbbing estrangement. When placed at a distance, these require longer reaches to grasp. The reward for this effort is an enlarged field of perspective, experience, and also of feeling. This is deeply feeling music to feel deeply.

In all of Jaime’s records—and, arguably, especially in Particles, Peds, & Pores—there’s a seed of the pastoral, some ancient shepherd’s song ringing through nearby hills and groves, but one also yearning to plumb the uncanny and the creative possibilities of disintegration. “Farewell to woods,” the grieving Damon sings in Virgil’s eighth Eclogue. “Let all be ocean now.” Fennelly sounds vast, enveloping wildernesses and the thrilling disquiet of their echoless grandeur. (Maybe Burroughs speaks to the borders of these zones: “Pulsing mineral silence as word dust falls from demagnetized patterns.”) There’s something of the heroic at work here, too, although the hero’s instinct has been suitably tempered—or awed—to know not to fly too close to the sun.

Best known as the frontman of the influential indie rock trio Dinosaur Jr., J Mascis has also been a solo artist, producer, and film composer. Getting his start as a founding member of the hardcore band Deep Wound, Dinosaur Jr. was founded in 1984 and the group emerged among the most highly regarded alternative rock. By introducing volume and attack in his songs Mascis shed the strict limitations of early 1980’s hardcore, becoming an influence on the burgeoning grunge movement. Mascis’ body of work continues to inspire a generation of guitar players and songwriters today.


In 1997, Dinosaur Jr. disbanded and Mascis released More Light, his first recording under the moniker J Mascis + The Fog. Members and collaborators of The Fog have included Mike Watt (Minutemen / fIREHOSE), Ron Asheton (The Stooges), Robert Pollard (Guided By Voices), Kevin Shields (My Bloody Valentine), Dave Schools (Hard Working Americans / Widespread Panic) and Kyle Spence (Harvey Milk).

CER009 finally brings Pumphouse Gang – “Welcome Back Into My Life” back to the 7inch format, a killer slice of Irish modern soul perfection from 1979. Originally pressed in tiny quantities and barely escaping dublin, it’s one of those records that rarely becomes available. A favourite of label boss miche, it’s in his words “an unbeatable soul track, that really fills a dancefloor with smiles”

On the flip, Medlar steps up once again, this time sending his mix straight from the Cayman Islands — a dubbed-out, Part 2-style reprise that stretches the groove, teases the rhythm, and gives the track a second life for late-night dancefloors.

As always, Celestial Echo digs deep into the overlooked corners of soul and disco, unearthing some of the best soul records and giving them a new lease of life. Each release is remastered with care and presented with the respect these recordings deserve.

Merzbild Schwet, the second album opus released in 1980, is considered one of Nurse With Wound's major releases, and is part of the famous "Silver Edition" on Rotorelief Records, with a luxurious chrome-plated cover in double Gatefold sleeves, and sumptuous 200g vinyl discs issued in 300 copies on silver and black vinyl, and 700 copies on black vinyl.

The first track, Futurismo, begins with clanking rhythms, record skip clicks, and horn riffs before veering off into a crazed quilt of women singing, laughing, and talking in French. About halfway through, wild screeches of distortion disrupt the piece, and then more bizarre sounds take over before the piece ends with a collage of over modulated electronic hum and rambling piano. The other cut, Dada X, goes further into weirdness with lots of silences, creepy creaking noises, tones that build up and collapse, and scattered spoken word in French and English from Eve Libertine from the political punk band Crass, and the piece certainly lives up to the Dada of its title.

Here comes a special project with the late great Milton Henry, recorded in New York for Black Redemption a few months before his transition. Two rootikal rddims by Birmingstrong’s King Stanley set the tone and provide a perfect backing to Milton Henry’s poetic voice. ‘My Story, My Song’ back to back with ‘Lake Of Fire’, each with a dub version, ready for your stereo… his works, words and voice will live on forever more!

,Dirt Buyer III" fängt mit einem Song über Sport an. "Baseball/ Is somethin'/ I'll never get, but I/Sleep on it/ Wake up/ And try again", singt Joe Sutkowski zu einer zunächst langsamen, dann dröhnenden verzerrten Gitarre. Aber natürlich weiß jeder, der mit der emotionalen Tiefe der Musik von Dirt Buyer vertraut ist, dass Sutkowski nicht einfach nur über Amerikas Lieblingsfreizeitbeschäftigung singt. ,Es geht darum, mit bestimmten Erwartungen aufzuwachsen und sich an sie zu halten, nur weil man gesagt bekommt, dass man das tun soll", erklärt Sutkowski. ,Der Song handelt davon, Autonomie und Unabhängigkeit zu erlangen." Gleich zu Beginn kehrt Dirt Buyer III zu den Ursprüngen zurück, zu den in der Kindheit fest verankerten Brüchen, um ein Album zu schaffen, das von da an ein viszerales Dokument der Bewältigung derselben Prüfungen im Erwachsenenalter ist. Als ,Dirt Buyer II" 2023 erschien, hatte es bereits drei Jahre lang in der Schublade gelegen. Zu diesem Zeitpunkt hatte Sutkowski bereits alle Songs für ,Dirt Buyer III" geschrieben, während einer besonders turbulenten Phase seines Lebens. Anstatt wie früher die für ein Album notwendige Anzahl an Songs zu schreiben und dann direkt ins Studio zu gehen, hatte er hier mehr als zwei Dutzend Tracks angesammelt. Nur wenige Wochen, nachdem "II" veröffentlicht worden war, nahm Sutkowski "III" auf. ,Ich war so bereit, etwas anderes zu machen", erklärt er. Er war bereit, diese Jahre hinter sich zu lassen. Genauso wie es einen klanglichen Sprung von den selbstgemachten Aufnahmen von "Dirt Buyer" zum moderaten Studio-Polish von "Dirt Buyer II" gab, hat Sutkowskis Musik zwischen den Alben wieder eine logische, aber substanzielle Entwicklung durchlaufen. Das Grundgerüst ist dasselbe: zerklüftete Akustikgitarren, elektrische Riffs, die mal herbstlich, mal bissig und übersteuert klingen, Schlagzeug, das mit dem selben verzweifelten Tempo vorwärts taumelt, mit dem Sutkowski diese Jahre durchlebt hat. Und dann seine Stimme über allem: klagend, sich windend, manchmal brüchig und manchmal voller neuer Kraft. Getragen von den soliden Strukturen dieser Songs und einer kraftvolleren Produktion präsentiert Dirt Buyer III die bisher vollendetste und eindringlichste Version von Sutkowskis Sound. Im Oktober 2023 traf sich Sutkowski mit seinen Freunden Hayden Ticehurst und Chris Cubeta im Brooklyn Studio G. Er zeigte ihnen alle Demos, und gemeinsam wählte das Trio die ,stärksten Stücke aus der Reihe" aus, wobei sie sich auf die 11 Kompositionen konzentrierten, die auf "III" zu hören sind. ,Wir wussten, welche Songs es werden würden, und haben uns direkt an die Arbeit gemacht", sagt Sutkowski. Trotzdem nahmen sie sich Zeit, um alles genau richtig hinzubekommen, und verteilten die Aufnahmen, das Abmischen und die letzten Feinheiten über ein ganzes Jahr. Das Ergebnis ist ein Dirt Buyer-Album, auf das Sutkowski so stolz ist wie nie zuvor. Er sagt: ,Es spiegelt am besten wider, wo ich als Songwriter gerade stehe ."

2026 Repress

Do you know what time it is It's debut o'clock. Emitting his first material for Pampa, it's &ME - craftsman of all things deep and sturdy, at the same time connoisseur of emotive touch and virtuoso of sure instincts, one of the scene's central characters for a good amount of years now and one of the main figures of Berlin's Keinemusik-crew. The man has been hitting the bulls eye of public perception several times in the past, meeting everything it takes to get a crowd going with an intent on the detail when it comes to his arrangements and sound. These new two cuts seem nothing less than the essence of his abilities.

There is "In Your Eyes", the name lending A side to this EP, showcasing a rather pensive mood. It's just a few bars for the compound of kickdrum, tuned hi-hat tambourine and shimmering background noise until the first chords of an improvised piano-piece are tenderly laid upon the beat. Add a synth-motive coming back and forth and you'll have the main ingredients to this - in every sense of the word - floor-moving tune. Accordingly, the arrangement won't aim for an all too obvious sensationalism and rather opts for a flowing and intertwining call and response of its elements, ultimately resulting in a staggering impact anyway.
In comparison, "As Above So Below" on the flipside is adding a fair amount of emphasis. It unfolds in a dry and dense sounding beat-architecture that's suspense-packed with shaker sounds and subtextual field recordings. Most certainly, a slip-proof ground for this tune's centre-piece, a scale-riding synthbass sparking an almost anthemic trigger for floor-ecstasy. While details like subtle reverberating tapping and sparkling ambient textures sound like recorded deep down in a dripstone cave, the overall energetic layout pushes relentlessly to the heights of peaktime-grandeur. There you have it: "As Above So Below" - this tune works on every level.

repress !

A defining moment in dance music history was the day that Roy Davis Jr. teamed with vocalist and writer Peven Everett in 1997 to create this deep, ethereal, soul-music gem that helped launch an entire musical movement known affectionately as Speed Garage. The "Live Garage" mix is the most popular but the other mixes have grown in popularity over time. It is hard to believe that this record is almost 20 years old yet it still sounds as fresh today as it did so long ago. Truly a classic that deserves to be celebrated by a new generation of dance music lovers. Gabriel Play!

Since the turn of this century, perhaps no other modern composition has had a more resonant healing effect than The Disintegration Loops. Composer William Basinski’s deteriorating analog tape loops evolved from melodic symphonies to melancholic silence over a span of time that uncannily turned passing minutes into pensive lifetimes. In her foreword for the new box set reissue of The Disintegration Loops, the pioneering multimedia storyteller Laurie Anderson describes the impact of this transformation in poetic detail: “These dissolving sounds, this emptying space, has gained my complete confidence. They are taking me somewhere. I am willingly following these sounds, becoming more and more transparent.”

The Disintegration Loops – Arcadia Archive Edition is an expansive new box set that includes the entire 5-hour suite of iconic work. Newly remastered from the original recordings by Josh Bonati, the hefty package includes eight vinyl records (or four CDs for the less analog-inclined) in sturdy full-color jackets featuring the restored original artwork, and a new 1000-word foreword by Laurie Anderson – all housed in a striking heavyweight, case-wrapped box. It is the ideal encapsulation of one of the 21st century’s most truly transcendent works. As Anderson concludes in her foreword, “this music has created another world, a world to be carried away in.”

Audio taken from a live performance by Anar Band (Jorge Lima Barreto and Rui Reininho) with E.M. de Melo e Castro in November of 1978 at Cooperativa Árvore, Porto. The performance was filmed. A segment was included in »Obrigatório Não Ver«, a weekly programme presented by Ana Hatherly on Public Television’s Second Channel. It was not possible to determine the exact date of the event, and no documentation seems to be available in the relevant archives.

»Encontro que Tenho« and »Profissões«: these titles are specific to this release. Having failed to locate the respective poems after a thorough search in E.M. de Melo e Castro’s body of work, it was deduced both texts were created for the occasion.

Even without a full contextualisation, the sound transmits the spirit of cultural agitation proper to these sessions. When this show happened, Anar Band were Jorge Lima Barreto (ARP Odyssey synthesizer) and Rui Reininho (Ibanez double-neck guitar), with the addition of E.M. de Melo e Castro, whom we shall call a poet but whose creative intervention was far reaching. Besides poetry, also continued his efforts in linking up diverse artistic areas (painting, drawing, collage, performance, video) and his official training in textile engineering. He was one of the artists featured in Henri Chopin's »OU Revue« in 1966, establishing his natural connection to the European concrete/visual/sound-poetry avant-garde. Melo e Castro was also proficient in the agitation of minds and political awareness. A good example in »Profissões«, where initially separate professionals (an intellectual, a fisherman, a soldier, a factory worker) are gradually mixed in a show of interdependency. Symbolically, through his words one listens to a transformation of society, although the same conclusion arises twice: surplus always finds its way to the hands of the capitalists.

That was the state of affairs many were looking to change, an economic and social malaise that the 1974 Revolution in Portugal fully uncovered, when dissident voices could finally be heard in public. Each in his own way, all three participants in this recording were non-believers in the structure of society such as it was presented. Through his books and press writings, mainly concerned with Jazz, Jorge Lima Barreto pushed his way into Portuguese artistic and critical circles since the late 1960s. Consciously and unwittingly, he collected enemies and pointed them by name, people he labelled as reactionary, people who delayed progress, social and cultural mixes, the avant-garde; they even delayed the chaos from which new forms and attitudes arise.

Rui Reininho, a non-conformist by heart, experienced incomprehension from an early age. His anarchic ways, a tendency to baffle others, were revealed through the choice of clothes and accessories, public behaviour, and »real life« performances. Just as Lima Barreto, and even together with him, he enjoyed provoking the extremes: Maoists on one side, right-wing conservatives on the other. He translated leftist books and joined Anar Band precisely on the day a duck or swan or goose (one of them) was thrown on stage in Porto, 1976.

This record documents a concrete action, a snapshot of the agitation, something we have no problem calling punk activism, something which allowed two people with little to no musical training to play and record music. By then, Anar Band had managed to release their only LP in 1977. It’s this performance, however, that reveals the naked rawness of the music: improvisation, mutual listening, and choice of intervention between both musicians and Melo e Castro, clearly sensing when the synth has to change tone, the voice has to make pauses, the guitar punctuates both and finds the space to… scream. The sound was captured by the film crew, adding to the rawness: the instruments are palpable, the voice often too close to the mic. Everything was preserved. First time on disc.

Ace’s small but ever-evolving “Black America Sings…” series has been quiet of late, but it springs back into action this month with the 2-LP and CD releases of “Highway Of Diamonds” – a second dip onto the catalogue of Bob Dylan, as reimagined by some of the foremost African-American artists of the 20th century.

From almost the start of his songwriting career, Dylan’s words and music have impacted on black American music, with ‘Blowin’ In The Wind’, speaking to an America that was still mostly segregated and becoming an anthem for all colours and creeds. As Dylan’s own career progressed, so did the number of covers he received, with a significant amount coming from what might be termed ‘non-traditional’ sources such as those heard here.

The 20 songs on “Highway Of Diamonds” continue the story that was told in part on the earlier “How Many Roads” compilation, with an almost entirely different selection of artists lending their voices to some of the best songwriting of the 20th century, and an almost entirely different selection of songs (with the exception of ‘Blowin’ In The Wind’ itself, which provides a common thread linking the story told across the two sets).
Big names from the worlds of soul, gospel and jazz, timeless songs and, for many, new ways of appreciating ever-durable material make “Highway Of Diamonds” as essential a purchase as its predecessor.

As ever, the great audio is complemented by a handsomely illustrated package on both CD and double vinyl, with a plethora of illustrations and in depth song-by-song-and-track-by-track annotation by Ace legend Tony Rounce.

From Ace Records’ early days, there’s always been a place in our hearts for music’s feminine side. A year having flown by since the release of our last compilation spotlighting the US girl group sound of the 60s – think castanets, anguished teen sirens, Svengali-esque producers and mini-sonatas about dreaming, dancing and moody boyfriends (sometimes deceased) – means the time has come for a new vinyl-only volume.

As 1968 drew to a close, the golden age of girl groups had seemingly been and gone: the Shangri-Las, Ronettes and Chiffons, for example, hadn’t had a hit record of note since 1966. Then along came ‘Condition Red’, a cleverly produced psychodrama performed by the Goodees, who grace the front cover and open the top side of this new comp in dramatic style. Over on the generally more soulful second side, Les Chansonettes are first up with ‘Don’t Let Him Hurt You’, a big production stomper written with Martha & the Vandellas in mind.

Elsewhere, Beverly Williams performs the very Lesley Gore-like ‘One Way Street’; ‘Go Away’ by the Murmaids (of ’66) is a lavishly produced number with a chamber pop vibe; ‘What Did You Do Last Night’ by the Drake Sisters was recorded in Phase-O-Phonic Sound; the lyrics of Denita James’ ‘Wild Side’ call to mind genre classics such as ‘He’s A Rebel’, ‘Out In The Streets’ and ‘Chico’s Girl’; and the Sweathearts close the show with a gorgeous harmony-filled update of the mid-50s oldie ‘Eddie My Love’. As usual in this series, the inner sleeve features a picture-packed 4,000-word track commentary by long-serving compiler Mick Patrick.

"Brooklyn-based pianist Eva Novoa returns with The Freedom Suite: Novoa / Carter / Mela Trio, Vol. 2 — the second radiant release from her compelling trio with saxophone icon Daniel Carter and celebrated drummer Francisco Mela. This marks Novoa’s sixth album with 577 Records. The trio first came together live in 2021, followed by a series of performances, including appearances in Cambridge (Boston) and later at the Brooklyn edition of the NY Forward Festival.
"The Freedom Suite is an homage to jazz titan Duke Ellington — particularly his masterful big band suites and legendary orchestra featuring Johnny Hodges and other luminaries who helped define an era of jazz greatness. In contrast, Novoa presents her Suite in a more intimate format: the piano trio. The album comprises twelve pieces — mostly brief — with a few extended tracks such as Free to Be Free and Cyborgs.
"For this recording, Novoa also steps in as a vocalist on several tracks, including Mainstream Media, Big Grande, Global, Free to Be Free, Dream, and Cyborgs. These pieces often feature a vocal dialogue between Novoa and Mela, whose expressive, word-infused style draws from rich Cuban traditions.
'Words are powerful,' says Novoa. 'They define who we are, where we come from, and who we hope to become. Without words, there is no conversation — and without conversation, there is no real sense of time, space, or connection.'
The Freedom Suite emerged from deep philosophical and creative conversations — spoken, written, and improvised — between Novoa, Carter, and Mela. In the studio, Novoa introduced printed texts that served as thematic foundations for spontaneous, in-the-moment musical interpretation. The result is an urgent and organic interplay, where instruments speak to one another in a language as fluid as it is fearless.
"Standout track Cyborgs begins with Novoa’s percussive piano, exemplifying the trio’s dynamic, conversational energy. Creative Destruction features Novoa on electric harpsichord in a wild, electric exchange. While Free to Be Free stands out as the album’s leading single, it also captures the essence and message of the entire Suite.
"Recorded in 2021 at New York City’s legendary Sear Sound Studio, the album captures a creative explosion of sound and spirit. Novoa dazzles on piano, Fender Rhodes, electric harpsichord, Chinese gongs — even whistle — showcasing her expansive sonic palette. Together, the trio embodies the power of free improvisation and emotional storytelling.
"Originally from Barcelona, Spain, Eva Novoa has been cultivating her distinctive voice since childhood. Now a staple of the New York creative music scene, she has performed across the globe and collaborated with some of the most adventurous voices in jazz and beyond."

Psyché is an eclectic project rooted in the Neapolitan music scene. Conceived in 2018, the project includes Marcello Giannini (Nu Genea Live Band, Guru, Bassolino, La Famiglia), Andrea De Fazio (Nu Genea Live Band, Parbleu, The Funkin Machine), and Paolo Petrella (Nu Genea Live Band, Fratelli Malibu). They were recently joined by Roberto Porzio (Parbleu, Fitness Forever, 24 Grana, The Funkin Machine).

"Hurriya (We Must Resist)" is a sonic bridge crossing the Mare Nostrum, connecting the shores of Naples and Tunisia.

At the heart of this fusion is the voice and soul of Tunisian musician Ziad Trabelsi, whose Arab roots intertwine with the psychedelic, Mediterranean sound of Psyché.

In this track, Afrobeat and Arabic sonorities meet to create a hypnotic journey, one where Ziad's oud weaves an evocative groove that gallops like horses in the desert.

The song carries the echo of the ancient dominations and cultural exchanges that have shaped Naples—a millennia-old crossroads of civilization—where traces of Arab and North African influences continue to resonate in its streets and, most notably, in its music.

"Hurriya"—the Arabic word for freedom—is an anthem of resistance and resilience, a dialogue between East and West that dissolves the rigid boundaries of geography and politics. It is a collective song for the freedom of all peoples, against oppression, abuse, and injustice everywhere in the world. As Psyché emphasize: "Even if life tests us severely, and we often feel like giving up in the face of injustice, we must resist. We must refuse to disappear."

The single is available digitally and physically, on January 23rd, as a 7" vinyl. The B-side of the physical release includes an exclusive, extended version of "Hurriya (We Must Resist)", available only in this format.

Then known as Catacomb, their early recordings of unusual gothic doom metal were to quickly gain the band interest. It was around 1993 that the brothers decided that a name change was in order & Novembre was born. Following swiftly on the back of 2006's 'Materia' release - Novembre's first album for their then new label, Peaceville - & in the wake of the great acclaim the band was receiving at the time for its highly captivating blend of atmospheric, emotional & progressive rock/metal, arrived the follow-up opus, 'The Blue', in 2007.

Featuring among the band's strongest compositions to date & with twists of doom/ gothic which brought to mind classic bands such as Opeth, 'The Blue' was a flawlessly executed opus of soaring majestic anthems in the unmistakable Novembre style. 'The Blue' was recorded at Outersound Studios, Italy, by the band & mixed at Finnvox Studios in Finland (Nightwish, Finntroll, HIM). Artwork was created by Travis Smith (Katatonia, Opeth). Following the recent release of the band's stellar 'Words Of Indigo' album, this edition of 'The Blue' is presented on black vinyl with printed inner sleeve featuring lyrics & arrives on the vinyl format for the first time.

Large Music is proud to announce the highly anticipated reissue of the iconic collaboration between Roy Davis Jr. and Jay Juniel: Transitions. Originally released in 1997, this seminal piece of Chicago house music has been remastered and is set to return to the world with the same raw energy and grit that made it a classic in the late '90s.

Coming on the heels of Roy Davis Jr.’s legendary hit Gabriel, Transitions captures the raw, emotional intensity of Chicago's underground house scene. Blending soulful melodies with thumping basslines, the EP brought forth an undeniable sound that resonated with house music fans globally. A testament to Davis’s versatile talent, Transitions also introduced Jay Juniel, who contributed his own dynamic flair to the project, creating a distinctive fusion of deep, experimental rhythms, intelligent spoken words and a vibrant club-ready pulse.

The reissue of Transitions offers fans both the original tracks and newly remastered audio to further elevate the listening experience. The gritty, hard-hitting vibe that defined the late '90s Chicago house movement is unmistakably present, from its throbbing basslines and kick drum to the smooth, haunting melodies. This release not only pays tribute to the timeless influence of Chicago House but also serves as a reflection of the ever-evolving nature of the genre itself.

Faellesskab reveals their most critical and emotionally charged work to date, a deeply personal voyage into the heart of Nordic black metal, where raw emotion and melodic depth keep reveling in sorrow and longing beauty. Translating to "Community", Faellesskab's six tracks weave a strong musical oeuvre within the Afsky canon; their walls of haunting melancholia, interwoven with vital intensity, have never been more powerful. Yet, this new work also sees the band at its sharpest in social criticism, as Ole Luk of Afsky notes: Faellesskab - Overture to the Downfall. Here, community is praised like herd animals fleeing responsibility.

A parade of moral superiority, where truth is trampled in the name of consensus. Where unity means silence, and doubt is a crime. Six songs of shame disguised as care, of freedom suffocated, and of the solitary few who still dare to question. A chorus of hollow words, where silence screams the loudest. Welcome to the celebration - the curtain hasn't just risen, it's been torn away! Afsky will mark the release with a special show in Copenhagen on October 17, graced by a full European album release tour kicking off the following week. Two singles are set to be unveiled in the lead-up to the release. While Afsky continues to refine their signature sound, this release is set to be another landmark in the band's uncompromising discography.

This album is about growth... Living and learning, having fun, wordplay, heartbreak, and moving on. Flashes in the dark is pretty much a testament to what can be done with two turntables and a mic to create something different yet brilliant in the hip hop space. The album also shows maturity and a certain vulnerability not being expressed by a lot of other artists at this time.
There is so much going on in the world and this album is J Scienide's expression of what was going on in his world during the time of recording. "As soon as I got beats from Giallo if I was up in the wee hours of the night, I was writing and recording. To me this album shows that even in the darkest hours there's always flashes of brilliance that shine through".

This album is about growth... Living and learning, having fun, wordplay, heartbreak, and moving on. Flashes in the dark is pretty much a testament to what can be done with two turntables and a mic to create something different yet brilliant in the hip hop space. The album also shows maturity and a certain vulnerability not being expressed by a lot of other artists at this time.
There is so much going on in the world and this album is J Scienide's expression of what was going on in his world during the time of recording. "As soon as I got beats from Giallo if I was up in the wee hours of the night, I was writing and recording. To me this album shows that even in the darkest hours there's always flashes of brilliance that shine through".

Ghetto Pop Life was Danger Mouse’s first full length album on Lex and a hip hop classic, harking back to the sound of the early 90s East Coast and resurrecting Brooklyn’s most soulful thug MC, Jemini The Gifted One. Incorporating a full church choir on the title track, Danger Mouse also brings in heavy hitting guest rappers J-Zone, Tha Alkaholiks, The Pharcyde and Prince Po. In the words of the NME "Ghetto Pop Life is a funk-fuelled hip hop record that virtually orders you to get down’. LEX010LPRT was originally an exclusive variant but now available to all.

Ghetto Pop Life was Danger Mouse’s first full length album on Lex and a hip hop classic, harking back to the sound of the early 90s East Coast and resurrecting Brooklyn’s most soulful thug MC, Jemini The Gifted One. Incorporating a full church choir on the title track, Danger Mouse also brings in heavy hitting guest rappers J-Zone, Tha Alkaholiks, The Pharcyde and Prince Po. In the words of the NME "Ghetto Pop Life is a funk-fuelled hip hop record that virtually orders you to get down’. LEX010LPRT was originally an exclusive variant but now available to all.

Ailise Blake explains the deep, personal meaning behind the album's title, "Soave": "I titled this album "Soave" not only because of the sound of the word itself, which to my ears sounds like the wind, but because for me, soave is what we perceive silently beneath the action of everyday life, that veil of calm and stillness found when we stop to listen to ourselves; it represents the light and the tenderness, yet it is still and untouchable, it is alchemical, it is transcendental, it gives a sense of peace completely subjective to the mind that perceives it."

SAGENBRINGER weaves fantasy and emotion, joy and sorrow into the 12 stories on ‘Zwischen den Welten’ (Between Worlds) through words and sound. All of this is packaged in a modern musical guise that has been forged from folk and metal elements into a hot iron. Stories are everywhere. They are countless and come from all corners of the worlds we know and don't know. But they always manage to stimulate the mind, touch the heart or send the soul on a journey. This is the calling of SAGENBRINGER: to spread these stories and not let them fall into oblivion. After establishing themselves in the German folk and pagan scene with their first two albums, ‘Sagenbringer’ and ‘Zeit der Geschichten’, and becoming a recurring name on festival posters across Germany, the young skald troupe are now releasing their third studio album on 30 January 2026. Zwischen den Welten (Between Worlds) transports listeners to the most diverse corners of mythology, legends and human emotions.

Hey, Hey! Kicking off the 60th anniversary of The Monkees with a first-ever compilation of all their singles released between 1966-1970. Take a deep dive into The Monkees discography with needle-drops and original artwork from the original 7" singles, along with new liner notes by Andrew Sandoval.

Yesterday it started to rain…

The smell of damp tarmac rising up through open windows, a smell which is uniquely evocative for us all depending on our individual histories: a suburban pavement, a school playground, a basketball court.
The rain cut through a band of low pressure that had been lying over the city for days, pinging rhythmically off metal, causing rolling tyres to hiss and spit.

The music that soundtracked this meteorological shift was the debut full length from Rain Text (Giuseppe Ielasi & Giovanni Civitenga), simply titled III. Scattered throughout the nameless eight tracks there are moments of low-end pressure relieved by the fizz and clatter of metallic rhythms; there is static, there is discord, there is release.

The individuals comprising Rain Text have a long history of manipulating sounds for evocative ends, Giuseppe Ielasi has been making music as one half of Bellows for many years, each album stretching and destroying their sound in beautiful increments. He has also released reliably inspirational music either solo or in collaboration for the likes of Editions Mego, Shelter Press and Faitiche. His sensitive ears are also in high demand as a mastering engineer. It is worth perusing the 800+ releases he has technical credits for on Discogs: from classics of the avant-garde to the freshest faces of the Swedish underground, the chances are some of your favourite albums are included.

Giovanni Civitenga helms the SKYAPNEA long-running NTS show. Joining him, you can enjoy the fruits of a lifetime of deep listening through shows that flit between the industrial and the devotional, a space that is fully explored on III.

The album was recorded quickly over three fertile days in Ielasi’s studio in Monza, but of course results like this can only be achieved at such a pace by spending a lifetime obsessing over the mechanics and possibilities of sound.

Those who are enamoured by the rain—who are returned by it to the surfaces, smells and sounds of a lost and idealised youth; who feel themselves restored—are known as ‘pluviophiles’. Their response to rain may well have a biological explanation: when rain hits tarmac negative ions are released into the air, which are thought to result in feelings of wellbeing and positivity. All the more reason, then, to return to the vivid ecosystem that Rain Text has so carefully cultivated for III."

Words by The Dengie Hundred – August 2024

Mit Secret Love legt die Londoner Band Dry Cleaning ihr bislang reifstes Werk vor. Das dritte Studioalbum, produziert von Cate Le Bon, ist eine konzentrierte Momentaufnahme der besonderen Chemie zwischen Florence Shaw, Tom Dowse, Nick Buxton und Lewis Maynard. Aus intensiven Sessions in Peckham, Chicago, Dublin und schließlich im Black Box Studio in Frankreich entstand ein Werk, das Vertrauen und Verletzlichkeit ins Zentrum stellt - die Bande zwischen den vier Musiker*innen ebenso wie das fragile Verhältnis zwischen Nähe und Manipulation in der Gesellschaft. Musikalisch schlägt Secret Love eine Brücke zwischen den paranoiden Untertönen des frühen US-Punks, dem coolen Strut der Stones, Stoner-Rock, No-Wave-Experimenten und zarten, fast pastoralen Gitarrenfiguren. Die Stücke atmen gleichermaßen Schärfe und Verspieltheit, immer getragen von Shaws unverwechselbarem Sprechgesang, der präzise auf die dynamischen Soundlandschaften ihrer Band reagiert. Damit knüpft sie an eine Tradition von Spoken-Word-Künstlerinnen wie Laurie Anderson an, erweitert sie aber um eine ganz eigene Mischung aus Absurdität, Empfindsamkeit und lakonischem Humor. Die erste Single "Hit My Head All Day" zeigt exemplarisch, wie Secret Love gesellschaftliche Themen - etwa Desinformation und Einflussnahme - mit persönlicher Unsicherheit und existenzieller Fragilität verknüpft. Doch trotz aller Schwere bleibt das Album von einer spielerischen Offenheit geprägt: Ideen wurden ausprobiert, verworfen, neu zusammengesetzt - bis ein Sound entstand, der gleichzeitig roh, elegant und unerwartet warm klingt. Secret Love ist ein Album über das Vertrauen - in Freundschaften, in Musik, in sich selbst - und über die Risiken, die damit verbunden sind. Es markiert für Dry Cleaning den Schritt zu einer Band, die ihre avantgardistische Energie zu einem unverwechselbaren Ausdruck verdichtet hat.

Kaninchenbau label head The Funk District has joined forces with Argentinian keys specialist Sokur for a new four-tracker that collides bluesy samples with sleek electronic grooves. 'Till My Feet Got Numb' kicks off with waves of synth energy run through with sampled vocals that hark back to Robert Johnson. 'Never Satisfied' is another mix of funky drums, jazzy pianos and crackly blues vocals that is unusual but effective. 'Took My Babe Away' repeats this combination, this time with hints of St Germain in the melancholic spoken words and ever more thumping and acid-laced beats. 'Sunshine From The Sky' completes the quartet with more hurried grooves laced with wonky synth work. It's peak time stuff with plenty of deeper meaning.

On »Empty Room,« David Granström works with slow transformations, cyclical and isometric patterns as well as just intonation as a way to create harmonic stability, allowing his long-form pieces to develop their own unique temporal and spatial qualities. A prolific figure in Stockholm’s experimental drone scene and a collaborator of Hallow Ground label mates Maria W Horn and Mats Erlandsson, the Swedish composer navigates through moments of quietude and crushing volume on these five tracks. Sonically and atmospherically, the pieces on »Empty Room« simultaneously call to mind Fennesz’s most meditative work or the physical experience of seeing Sunn O))) live, blending guitar recordings and synthesised sounds with forceful effects similar to those of Mario Díaz de Leon’s Oneirogen project while still being as moving and delicate as Alessandro Cortini’s solo work. The album is marked by melodies and harmonies that are the product of a peculiar working process that turned the composer into an intent listener collaborating with, rather than simply using technology.

Having been invited by the self-organising artist group The Non Existent Center for a residency to Ställbergs Gruva, a defunct iron ore mine in Sweden’s Bergslagen region, Granström took his guitar as a starting point for his compositional work that heavily relies on real-time sound synthesis. »I seldomly use the instrument as a sound source in the final compositions and rather transcribe and orchestrate the harmonic structures using sound synthesis,« he explains. »On this album however, I chose to include the actual recordings of the guitar in order to extend the spectra between non-referential synthetic sounds and embodied referential sounds.« Working with precise tunings in order to blend the timbre of the synthesis with the harmonic structures of the composition, he created composite sound objects in which the harmonic elements blend into each other.

Through the re-amplification of synthetic musical materials from the inside of the abandoned mine, his original compositions were enriched with site-specific sound qualities before he further refined them in a singular working process. Granström works with algorithmic and generative processes, using the SuperCollider programming environment and thus blurring the lines between generative and creative forms of composition. »One of the things that I like about this way of working is that it creates a distance between myself as a composer and myself as a listener of the music that is produced entirely by the system,« he says. Granström’s technologically aided eschewing of the conventions of composing doesn’t make the end result any less personal, however. By listening again and again to the newly generated output, Granström simply took on a different role in the process of finalising the music, with the technology and the sounds becoming his co-authors.

By creating systems that generate music, he gains a new perspective on (musical) time, says Granström. »There doesn't have to be a fixed length to the music at all,« he explains. »And by writing music with this in mind, my focus tends to shift towards writing cyclical structures that gradually change and transform over time.« Simple parts, in other words, that emerge as the five complex wholes that form »Empty Room,« a record that itself seems to take on different forms with every new listen.

In a World of deep paradoxes unrestrained by time, mysterious new corporations appear; tagged with the words 'Sunrise Inc.' ... For the first chapter in Childhood Intelligence's Sub-Division Corporation "Sunrise Inc.", Future vinyl Artifacts from Inf0 - Sheffield, UK - have been collected; 6 Traxx showcasing visions of Dark Mystique, from Dreamy Auras and Lush Soundscapes, to Outer Space - all in Pulse with Fresh Acid Saturation and Electrobass. Limited copies...

One of the leading Japanese alternative rock band, GEZAN’s leader, MahitoThePeople’s director debut film, i ai was released in March 2024, and it is an atypical coming-of-age film decorated with tinge of red.

　The film takes place in Akashi and Kobe, Hyogo prefecture. This film’s main characters are Ko (Kentaro Tomita), a rookie member of a band and a brother-like figure of his, Hee (Mirai Moriyama) who Ko idolizes and the story of this movie is based on their struggles with life and death. The story is also based on Mahito's real-life experiences and while reality and fiction are duplicated, the boundary between them slowly melts away. The film co-stars Honami Satoh, Kazuki Horike, Mitsuru Fukikoshi, Eita Nagayama, Kyoko Koizumi, K-BOMB, Ichi Omiya and many other unique personalities. It should also be noted that the transparent images filmed by photographer, Masafumi Sanai gives the film, a special emotional quality.

　The film is not bound by any film theory but it poses a theme common to GEZAN's recent works and Mahito's writing activities: How can we live in a crumbling society while interacting with others? We can never live alone but living with others is also never easy. How can we overcome this time of extreme division of the world?

What left quite a strong impression in this film that not only Mahito personally directed but also wrote the script and composed the soundtrack as well was the main theme song, entitled “i ai”. This new piece of GEZAN is an extension of the work that this band has continued doing over the last few years. This 12" single, contains the song, “i ai” and it will be the first time released on vinyl.

Led by soft guitar arpeggios, the song gradually builds to a fever pitch, condensing the mood of the film which encompasses both tranquillity and intensity. The chorus of ineffable, multiple voices united together sounds like a lament that has spilled out of society or a cry of joy. GEZAN's collaboration with the 15-member chorus group, Million Wish Collective has been in development of late and the cultivated sensibilities through their activities are put to use in this song.

The song can also be considered a slow, relaxed dance track that lasts 9 minutes and 8 seconds. It has something in common with organic dance tracks from South America and other regions, and it is significant that GLOCAL RECORDS which represents glocal music from around the world in Japan are releasing it as a DJ-friendly 12-inch single.

The B-side features a remix by COMPUMA who is also closely associated with GEZAN. The song starts with an African styled percussion, with a thumb piano in the middle of the song and then returns to that memorable chorus. This song feels like a 18 minutes and 18 seconds long short movie like suite, with some dizzying changes from the beginning to the end. It is remix filled with enormous drama!

The cutting and mastering of this 12” was done by TOREI who is also active as a DJ and the artwork was created by jvnpey, a visual artist and graphic designer based in Tokyo. Their loving work also makes this 12" very special.

When I asked AI to find a synonym for the word, “division,” it displayed in succession, a series of words: “integration,” “consolidation,” “unification,” “unity”, and “reconciliation". All of these phrases are somewhat whitewashed and embarrassing but the mirage-like chorus echoing in the song, “i ai” seems to be trying to find a new word, that is a synonym for the word, "division. In this film, “i ai”, the message, “Let's live together after the end roll” was thrown out but included in this 12-inch, the message, “Let's live together after the music stops”, emerges.

Diese limitierte 7"-Single erscheint in Tandem mit ,I Will Swim to You: A Tribute to Jason Molina" und enthält MJ Lendermans Beitrag zur Compilation (ein Cover von Songs: Ohia's ,Just Be Simple") und eine Rarität aus den Jason Molina Archives. Diese Demoversion von ,The Last Three Human Words" dauert knapp über 5 Minuten, fängt aber exemplarisch die Intimität von Jasons ganzem Werk perfekt ein. MJ Lendermans Cover von ,Just Be Simple" verleiht dem Song eine neue Dringlichkeit, indem es seine twangigen Bekenntnisse mit der Energie der gesamten Band verbindet. Sein unverkennbarer North-Carolina-Akzent vibriert vor poetischer Überzeugung und interpretiert Molinas Original mit Ehrfurcht und Entschlossenheit neu. Das Cover spielt mit der emotionalen Tiefe beider Künstler und gibt den Ton für ein Projekt an, das auf Tribut und Transformation basiert.

Als gäbe es noch nicht genug Drama auf dieser Welt, schickt sich die Bremer Postcore-Band Dramatist an, diesem Drama ihr ganz eigenes Kapitel an die Hand zu geben und euch auf ihren Trip mitzunehmen. Dramatist hauen uns ihr Debütalbum "Wasting Words" nur so um die berühmten Ohren und werden ihrem Namen zu 100% gerecht, denn Dramaturgie wird hier sowohl textlich als auch musikalisch mit großer Spielfreude gelebt. Dass sie dabei durchaus auch politisch daherkommen, zeigt vor allem die erste Single "Fat White Families" und auch die fast gleichnamige englische Band war sicher ebenso wenig für leichte Kost in musikalischer und textlicher Hinsicht bekannt. Produziert wurde "Wasting Words" von Kurt Ebelhäuser (Blackmail, Dontos, Pascow), sowie Gregor Hennig (Muff Potter, Bela B., Herrenmagazin).

First Word Records are proud to bring you 'Penny Ballads', a 5-track EP from Royce Wood Junior. Royce Wood Junior is a Grammy & Mercury Award-nominated musician, songwriter and record producer from London, currently based in Brighton. As a multi-instrumentalist, he's collaborated with a litany of brilliant artists over the years, such as Jamie Woon, Nao, Disclosure, Jessie Ware, Olivia Dean, Joy Crookes, Jamie Lidell and Jordan Rakei, additionally to touring with the likes of the legendary Thomas Dolby. He's released two acclaimed solo albums to date ('The Ashen Tang' in 2015, and 'No Two Blue Ticks' in 2021). 'Penny Ballads' demonstrates RWJ's varied talents, with a collection of alternative soul compositions, each one as unique as the next. It includes the first two singles, the Poplife-Prince era flavoured 'Go Get Your Money', and the double-time future funk adrenaline shot, 'Clean Up', along with three previously-unreleased tracks. 'Beretta' is low-slung soul funk, beginning with quirky squelchy synths, before the soulful lead vocal of feature artist Lucey Way breezes in to melt everyone's hearts. 'Things' sweeps in next, an infectiously soulful midtempo heavy soul bop, with an instant earwork of a hook, like a modern-day Steely Dan / Doobie Brothers, complete with a head-nodding string section to end the track. The collection concludes on a more melancholy downtempo tip with 'Rolling'; an almost-folktronic anthem, with a key refrain that wouldn't be out of place on a 70's Stevie piece. RWJ (aka Jim Wood) says of this project… "Back in the 17 and 1800's Troubadours and minstrels would go from Tavern to Tavern selling Penny Ballads, single sheets of music and lyrics written quickly and frivolously to make a quick buck.. It strikes me that we're in a similar phase in the way we value music in 2025. An old Penny Ballad was cheap and dog-eared, ink-smudged, sung aloud by firelight, Now songs live in the digital ether, dissolved in the air, a ghostly breath paid in micro cents. The new era of Penny Balladry is here, and weird. This EP is a snapshot of my writing over a two year period. Focussed on minimal recording styles, one mic on the drums, generally first or second takes on parts and vocals, I wanted the music to feel like small moments with lyrics that talk about the weird nuances of being alive as a latter stage human on the cusp of the Ai revolution. Culturally so evolved, but physiologically still just a bunch of mammals walking about with primitive fears and needs. Just trying to reconcile it all moment to moment…" Previous support for Royce's music has included Radio 1's Future Sounds, BBC 6 Music's New Music Fix, Annie Mac, Clara Amfo, Jo Whiley (BBC Radio 2), Mary Anne Hobbs, Jamz Supernova, Tom Robinson, Huw Stephens (BBC 6 Music), Zane Lowe and MistaJam. There have been sessions previously for the likes of Red Bull and press from Huck, Line of Best Fit, Clash, Aesthetica & DIY magazine. Entirely self-written and self-produced, this EP gives a solid taste of RWJ's talents. A deeply funky diverse set of music from an immensely talented individual. 'Penny Ballads' is due to be released on vinyl & digital, 24th October 2025. The vinyl version also includes an exclusive additional mix of the first single 'Go Get Your Money'. TRACKLIST: 01: Clean Up (EP Mix) 02: Go Get Your Money 03: Beretta (feat. Lucey Way) 04: Things 05: Rolling 06: Go Get Your Money (B-Sharp Mix) Deconstructed Mixes

Paul Di'Anno's Warhorse release their 2024 debut full length album on vinyl now!. Led by the famed former Iron Maiden vocalist Paul Di'Anno (5/17/1958 - 10/21/2024)! Speaking about the album Paul Di'Anno said, "I'm looking forward to the release of 'Warhorse' and I hope you like it. By my standards, too much time has passed since the recording of this album and I can't wait to finally have this record in my hands." Warhorse members Hrvoje Madiraca and Ante Pupacic Pupi commented "Are you ready - Ready to rock? 'Cause we are ready - Ready to rock! As the song says! Enjoy the album, cheers!" The debut Paul Di'Anno's Warhorse album, called 'Paul Di'Anno's Warhorse', was recorded during 2022 and 2023 in Croatia and the UK... Paul sings like never before and in a way that will surprise and leave all his fans speechless, as well as heavy metal fans in general.

Paul Di'Anno's Warhorse release their 2024 debut full length album on vinyl now!. Led by the famed former Iron Maiden vocalist Paul Di'Anno (5/17/1958 - 10/21/2024)! Speaking about the album Paul Di'Anno said, "I'm looking forward to the release of 'Warhorse' and I hope you like it. By my standards, too much time has passed since the recording of this album and I can't wait to finally have this record in my hands." Warhorse members Hrvoje Madiraca and Ante Pupacic Pupi commented "Are you ready - Ready to rock? 'Cause we are ready - Ready to rock! As the song says! Enjoy the album, cheers!" The debut Paul Di'Anno's Warhorse album, called 'Paul Di'Anno's Warhorse', was recorded during 2022 and 2023 in Croatia and the UK... Paul sings like never before and in a way that will surprise and leave all his fans speechless, as well as heavy metal fans in general.

Brooklyn-born David Forman was steeped in soul music and Brill Building songcraft in the early 1970s while earning his living as a Hollywood set builder. He developed a soul singing style through his friendship with Aaron Neville, with whom he used to sing and jam on his apartment rooftop. He met Jack Nitzsche through his work on the 1972 film Greaser’s Palace (for which Nitzsche created the soundtrack) and later asked Nitzsche to produce this album. Forman’s original record deal with Davis was shepherded by the critic Stephen Holden of Rolling Stone and later the New York Times, and later by Paul Nelson, also of Rolling Stone.Fun fact about Forman: He was an assistant to Phillip Petit on his daring tight rope walk between the twin towers in 1974. And Forman later became a jingle writer and wrote and sang the famous Tums theme song (“Tum tum-tum-tum, TUUUUMS."This release features remastered audio, a plethora of archival photos, and a 24-page booklet with a 5500-word essay from noted journalist and producer Joe Hagan, a staff writer at Vanity Fair and producer of the 2022 compilation 'Earl's Closet' for Light In The Attic. Hagan is also fully committed to promoting the release through his network of key media gatekeepers, as well as his personal connections with legendary musicians, writers, and other cultural tastemakers.

SF's Fog Lamp have been at it for a few yrs now, repping heavily around the local environs, garnering a solid word-of-mouth reputation. Originally a trio sans tubs, the synth-driven iron gulp of their early days was like Animal of Anti-Nowhere League crashing a Cabaret Voltaire rehearsal. 'Power to the paradox' I like to say, or in the immortal words of Tug McGraw, "Ya Gotta Believe!" So after a couple tapes & whatnot, Siltbreeze got clued in & have solidly backed their debut vinyl lp, Still Entangled. Along the way, the band enlisted the solid drumming prowess of Rachelle Hughes & by doing so, Fog Lamp have zoned in an intensive, beguiling churn of Dossier era Chrome slipping into The Sleepers panic-creep of 'Sleepless Nights'. Their hauntingly dense & layered murk is as authentically Bay Area as a bowl of Cioppino. Look for them on tour (West Coast only) in Jan. of 2026. Flannel is the new Goth

Marking 50 years of David Bowie’s groundbreaking tenth studio album, the limited-edition picture disc LP is pressed from the same master and includes an exact reproduction of the original promotional poster used at release.

For this anniversary edition, the Half Speed Master album has been recut on a customised late-model Neumann VMS80 lathe with fully recapped electronics, sourced from 192kHz restored masters of the original Record Plant master tapes. No additional processing was applied, delivering the closest possible representation of the album’s original sound.

Das ursprünglich 2016 erschienene Album "Laugh Tracks" der amerikanischen Metalcore-Band Knocked Loose erscheint auf Vinyl in neuer Farbe.

At the end of the Sixties, the production of soundtracks for small and big classics of Italian cinema is now joined by another business which has proved to be less profitable but more creative and, in best case, free from the constraints imposed by clients on duty: the composition of music libraries. Almost all of the artists for the eighth art have finalized at least one or more music libraries. Names famous and not, old and young composers, real outsiders and meteors, usually hidden behind pseudonyms: this is the case, for example, of Braen and Peymont. The first needs no introduction, it was the one adopted by the former arranger, multi- instrumentalist, singer and composer Alessandro Alessandroni. The second is closely linked to the mysterious American composer, but resident in Italy, David Hoyt Kimball. The two are authors in different measure of an interesting album with an experimental background, “Paese Sotto Inchiesta” (1971), originally published by Flirt Records.

The titles of the tracks appear in connection with the socio-cultural climate of Italy after 1968 and can be relocated as a background for journalistic-like images. The latter is a hypothesis not supported by facts, but some titles seem to be referred to the perception of a subsisting economic backwardness of the southern regions compared to the other ones; to a situation of collective tension, thanks to the global revolutions; in addition to the new concerns with an ecological background. Overall, the seventeen tracks on the album are mostly 'dirty', characterized by an even atonal setting, with long repetitions in a noisy key, more fundamental reverbs and echoes for the different keyboard instruments. In a few words, abstract sounds, some guitar notes, echoes of Gruppo Di Improvvisazione Nuova Consonanza, flute melodies and proto- ambient intuitions. Composers like Alessandro Alessandroni and David Hoyt Kimball deserve to be rediscovered.

*Following the essence of the work, for this press, MPI release a 100% recycled vinyl that reduce waste, minimize environmental impact and support the planet*

Rochelle Jordan is proudly stepping into her diva era. To those in the know, the Los Angeles-based British-Canadian singer and songwriter has long been an underground force coaxing together the mutually flirtatious scenes of daring alt-R&B and heart-pumping electronic music. With her longtime creative director/producer KLSH, she’s cultivated a singular marriage of sound — mixing soulful sensuality, house bump, DnB wildness, hip-hop swagger, and pure experimentalism — that’s spread not only through certain circles, but also to the mainstream. At the same time that her gauzy 2014 single “Lowkey” was going viral in 2023 — racking up 21 million streams on Spotify alone — she was in the studio cooking with tastemaking beatsmiths like KAYTRANADA and Sango, quietly preparing to melt dance floors and headphones alike.

Now, as the timelines merge, Jordan is approaching success with the sparkle of a brand new star and the stance of someone who’s earned everything she has. Her new musical chapter aims to carry forward the magic that fans feel in her coquettish vocals and bold soundscapes even as she reaches deeper into her pop bag. The fact that her first single of 2025, the darkly dazzling “Crave,” was produced by Chicago house legend Terry Hunter (Janet Jackson, Mariah Carey, Beyoncé) speaks volumes to this exact moment in Jordan’s ascendent trajectory.

“My goal when I first started making music was to bring back something that I felt had started to fade away for me,” says Jordan. “That certain essence or sound that would give me butterflies in my stomach when I’d listen to music — it would unleash some kind of chemical that would make me feel happy and excitable and curious, something that would make my soul shine. My number one goal is always: How do I give people that feeling when they listen to my music?”

Jordan grew up in Toronto raised by British-Jamaican parents. She remembers hearing one of her older brothers cycling through a variety of music at maximum volume in the room next to hers. “Reggae to soul to drum and bass to garage music to gospel,” Jordan recalls. “It was all intertwining for me at such a young age.” She developed her own sound quietly, and soon met KLSH through MySpace. They traded multiple songs back and forth daily until he flew her out to L.A. to record what would become her debut project, 2011’s R O J O. That collaboration hasn’t faltered since, resulting in sonically surprising, subtly infectious sets like Jordan’s breakthrough 2014 album 1021 (with “Lowkey”) and 2021’s dance-steeped revelation, Play with the Changes.

“If you’re talking about Rochelle Jordan, you’re talking about KLSH,” she says. “It’s one and the same. We come from the same inspiration source.” With him at her side to this day, Jordan is crafting new listening experiences as radiant as refracted light glimmering through a prism — an incredible space from within which to explore love in all its iterations — from romantic infatuation to self-affirmation, and strength in womanhood to pride for what she’s accomplished thus far.

More than a decade into her career, Jordan has arrived at a new stage of life and creativity — she’s a seasoned professional, a fully realized woman, and she’s excited to continue growing. “I know my story isn’t necessarily a new one,” she says. “I look at 2 Chainz, who became 2 Chainz way later on in his life. I look at Tina Turner, who became Tina Turner at 40. I want to be another story of resilience for people.” As she prepares to unveil more of her vision, and fans clamber for a long-awaited fourth album, Rochelle Jordan is casting aside self-doubt, and appreciating and underlining her status as a verifiably influential reigning diva in her one-of-one sonic space.

In 2023 Ace Records released the album “28 Little Bangers From Richard Hawley’s Jukebox” where the acclaimed Sheffield musician, singer and songwriter compiled together some of his favourite records. These were instrumentals and vocals records that he had collected over the years and found musically addictive. The album received fantastic reviews and allowed his
extensive fanbase to discover and enjoy tracks like Ronny Kae’s ‘Swinging Drums’ and King Curtis’ ‘Hot-Rod’ that were on the juke box in his home.

Now, three years later, Richard has lifted the lid, taken those 7” out and replaced them with another favoured selection. One again, this second version of “Little Bangers” is full of cracking records such as Chet Atkins ‘Boo Boo Stick Beat’, Frank Minion’s ‘Watermelon’, Johnny Todd’s ‘Pink Cadillac’, Sunshine Theatre’s ‘Mountain’, Jet Harris’ ‘Man From Nowhere’, Tracy Rogers ‘Baby’ and the Ventures ‘Fuzzy And Wild’.

A with the first album there are 28 tracks spread across two albums or shoehorned onto one CD. The extensive liner notes see Richard discussing each and every track and what the record or artist meant to him. As he states himself in the introduction, “the record you hold in your hand is the result of a lifetime obsession.”
Listen for yourself and you will discover that this was time well spent.

'3 x hullo, hullo' is the latest work from Jeugdbrand, the duo of Dennis Tyfus and Jeroen Stevens. A collection of fragmented snapshots, with odd phrases and playful remarks colliding, while musical ideas are tossed about with ease. Instead of a clear narrative, it's a series of disconnected sketches--emotions shift quickly, laughter turns to tears, and the ride is anything but smooth.

Two vocal tracks and two instrumentals. The classic EP structure reflects the class act that is Fred Ventura and Paolo Gozzetti. Italoconnection are back at the Bordello weaving their synthesizer magic. And those analogue lines are what immediately wash over the listener in “Like A Star.” Crisp percussion and sailing melodies break to a glorious hook before Ventura’s unmistakable voice takes hold. Paying homage to Moroder’s “From Here To Eternity”, Italoconnection deliver a vocoder dipped love affair as smouldering vocals pitch ever higher. The instrumental strips back all lyrics, but allows the breathy keys to remain and keep that human touch amidst the addictive chords and rich textures. Bold machine brass introduces “Make It Real.” These blasts form the melodic backbone for this ballad to self-belief where Ventura’s impassioned words are impeccably coupled with Gozzetti’s sparkling synthwork. That synthwork comes to the fore in the finale. With lyrics pared back, the machines sing a different song as that energy packed melody is charged with even more intensity. Quality through and through, as always with Italoconnection.

Full of joy, they ran to meet him.
Then threw one of the shirts over each of them,
and when the shirts touched their bodies they were transformed into swans,
and flew away over the woods.
The record is comprised of a series of improvised recordings made over the course of an evening in Autumn ’23, captured at the Jabu home studio, south Bristol while Teresa was staying in town for a show. Everything was recorded into the desk in a single take and left as it was, no editing or overdubs, instruments were swapped around and effects units left buzzing ground hum scattered over the floor.
Teresa and Guest (Jasmine of Jabu) provided the vocals, taking words from anything at hand - poetry books, an old copy of the Whole Earth Catalog - their voices winding together, echoing out each other’s melodies. This approach is mirrored by the instrumentals, anchored by something at times - a bassline, one of Birthmark’s synth drones or a fizzing chord but always on the edge of collapsing in on itself or floating away. The tracks become more soporific as the record goes on (and as the night got later), ending on a refrain of ‘say you think its true’ as the instrumental finally dissolves the pedals get dialled up to 11 and Birthmark’s drones turn into distant lasers in a last swan song of feedback.
Recorded Sep 2023 in Bristol, BS3, by:
Teresa Winter (vocals, fx)
Guest (vocals, guitar, fx)
Birthmark (synth, fx)
A.Childs (samples, bass, guitar)

Over two decades later, the underground classic that lit the fuse on indie hip-hop’s next era finally gets its vinyl debut. Originally dropped in 2001, Table Scraps is a gritty, no-frills compilation of unreleased tracks and lost sessions from the formative years of MHz, the Columbus, Ohio hip hop crew that helped define an era before the mainstream caught wind of the underground. Recorded between 1997–2001, the album is raw, urgent, and packed with early glimpses of the greatness that would follow.
The core lineup is fully intact and fully in form: Copywrite flexes his unmatched wordplay and delivers two self-produced heaters, “The Funnel” (co-produced) and “Combustion Spontaneous,” proving he’s just as deadly behind the boards. Tage Future brings futuristic cadence and sharp delivery, Jakki Da Motamouth stays unapologetically rugged, and the late Camu Tao is in rare, untamed form, a creative force whose brilliance only grew from here. Holding it all together are beats from RJD2, Mighty Mi, Camu, and Copywrite himself.
Pressed on vinyl for the first time ever, Table Scraps is more than a collection, it’s a time capsule from a crew that helped shape the underground before it had a name.

WARNING celebrates 20 years of their groundbreaking album Watching from a Distance with a deluxe gatefold 2xLP/CD. Led by guitarist and vocalist Patrick Walker, every moment of WARNING's Watching from a Distance feels monumental; the album is widely considered to be one of the most emotionally-driven and profoundly Doom Metal records. From the onset, the album's eponymous opener crawls with a sombre melody that carries the emotional heft of WARNING's musings on love and longing. The band's classic track "Footprints" showcases Walker's ability to match his colossal riffs with a visceral, gut-wrenching vulnerability that was previously unheard of. Walker ruminates about his weakest moments; his vocal deliveries ranging from dejection to despair. The end result is truly "heavy" in every sense of the word - and a timeless take on the genre with thundering drums, lead-pipe backing bass, and swirling guitars. Fast-forward to the present day, and WARNING's introspective sensibilities resonate as hard as they ever have. Watching from a Distance showcases a band and moment in time that honed in on what "Doom" could really be. "I leave behind me the ruins Of the fortress I swore to defend I leave behind me foundations, I'll leave you a man I'll need you to mend And through all the battles around me I never believed I would fight, Yet here I stand a broken soldier, Shivering, naked, in your winter light" Short: WARNING celebrates 20 years of their groundbreaking album Watching from a Distance with a deluxe gatefold 2xLP/CD. FFO: Yob, My Dying Bride, Katatonia, Candlemass, Pallbearer, Pagan Altar, Khemmis

Limited repress of the white vinyl pressing. Includes unlimited streaming of all digital tracks from Arlo Parks' first and second EP's, PLUS a free spoken word poem 'London' only available with Vinyl purchase. The artwork sleeve is reverse board black - and includes the 'London' poem written by Arlo Parks. Artwork sleeve both front and back created by Arlo Parks. Includes Sophie.”Sophie' is a song about "crumbling under expectations and feeling helpless, but with a persistent, quiet sense of hope underpinning it”. True to form, it's a melodic and beautifully articulated sonnet, cementing the notion that she is overwhelmingly considered the majestic voice of Generation Z

Editions Mego presents The Psychologist, the sophomore album by the Istanbul born and raised, Berlin based electronic music composer and sound artist Hüma Utku.

As the title suggests, The Psychologist, is a series of sonic essays based around themes of psychological phenomena and can be read as a musical enquiry into the human condition. With Utku’s background as a graduate of Psychology and her current practice as a conceptual music composer we see the two main threads in her professional career intertwine on this unique and ambitious release.

Including recordings of Buchla 200 from Utku’s Elektronmusikstudion residency in October 2020,The Psychologist is a genre aversive work that embodies elements of synthesiser music, electroacoustic, experimental techno, industrial, modern composition and spoken word. Piano, string compositions and vocals hold weight throughout a number of pieces providing a dramatic acoustic edge to the psychological explorations contained within.

The foreboding mood of much of this release is the product of investigation that lends the unsettling theme of anticipatory grief to the mood of the tracks Light of All Lights and Continuing Bonds. Islands of Consciousness refers to Jungian metaphor for consciousness whilst the unnerving Rüya twists around dream analysis in Gestalt psychology. Fuel For The Flames proceeds as a buzzing and swirling representation of alchemy and psychological symbolism. Dissolution of I is haunted by a strange sensation of dissociation whilst defense mechanisms support the sublime Sublimation. The bright shapes of Chironian Wound represent archetypes and analytical psychology whilst the fried soundscapes and rhythms of Ataxia encapture neurological states.

The results unravel with both the clockwork rhythms of the human body and the unpredictable nature of the psyche, the pieces follow arrhythmic patterns in a harmonious way. It tells the raw and intimate story of the human experience with a new work whereby the predictable operates in parallel with the unexpected and like human experience itself, is dark and complex.

Composed, Written & Produced by Hüma Utku
Piano by Hüma Utku
Vocals by Hüma Utku
Double Bass performed by Adam Pultz Melbye
Cello performed by Florina Speth (aka Schloss Mirabell)
Violin performed by Marta Forsberg
Cover photography & art by Gözde Güngör
Design by Eloise Leigh

This new chapter marks Gordon’s first solo release as Leaving Laurel - a deeply personal and instinctive body of work born from a period of rediscovery. The record began as an open exploration of whatever music naturally came through, a process that became both freeing and revealing to Gordon. The album is a wordless love story told through sound. An emotional arc that mirrors the stages of falling for someone: the spark, the curiosity, the vulnerability, and the quiet realisation that your heart has opened without you even noticing. The album carries an uplifting, hopeful energy, reflecting both personal growth and newfound love - ‘our lives entwined' is a tribute to Gordon’s journey of finding “the one.” Following the loss that inspired ‘when the quiet comes’, Gordon’s eulogy to his late friend and musical partner Pierce, this album finds light emerging from grief. Where the previous record lingered in somber reflection, this album begins in that same emotional landscape but quickly blooms into something more vibrant and full of life. The opening track transitions from the cold, atmospheric tones of mourning into a more radiant energy - a sonic awakening symbolising the shift that came after meeting someone who changed everything. Sonically, the record expands Leaving Laurel's signature sound while embracing new textures. Gordon moved away from the lo-fi experimentation of earlier works, leaning instead into a more expressive palette driven by synths and fresh instrumentation, while still preserving the nostalgic warmth that defines Leaving Laurel. The result is a collection that feels both renewed and rooted - a reflection of growth, optimism, and the timeless beauty of connection.

The Kolony Gorky label kicks on with a fifth outing and this one is from AHU, who drops a couple of tasty and heady jams on his 'Editz' EP. 'Searchin Equinox' is a late-night cruiser with far-sighted cosmic pads and seductive spoken words that bring to mind classic Ron and Trent jams. 'Mana' is no less cavernous and atmospheric, this time with more bold drums and sci-fi motifs driving about the mix for pure intergalactic escape in the dead of night. A superb pair of timeless cuts.

Alchemy: An Index of Possibilities ist das zweite Soloalbum von David Sylvian, entstanden zwischen Brilliant Trees und Gone to Earth. Das Werk vereint verschiedene Projekte zu einem atmosphärischen Klangkosmos, in dem Sylvians charakteristische Stimme auf experimentelle Soundscapes trifft.

Für diese Edition wurde die jüngste Remaster-Version verwendet. Sie erscheint als Corona Gold Opaque Red Vinyl – ein Sammlerstück für Fans von Sylvian und Liebhaber außergewöhnlicher Pressungen.

Montreal indie rock trio Plants and Animals announce "The Jungle", their fifth studio album set to be released October 23rd via Secret City Records. Their shortest album yet and certainly their boldest, "The Jungle" is eight acts in a world full of noise. The album is auto-produced and was recorded at Mixart, their studio in Montreal. The band explains : "We started working on this a couple of years ago. Warren was afraid for a friend's health. He thought he was self-medicating too much and not taking care of himself. He couldn't let go of this image of an overworked dude swallowing too many sleeping pills and falling asleep with the stove on. So it began as the place next door, sometime before Greta Thunberg turned the expression into a rallying cry, where Earth is the house and the people are sleeping. It's terrifying, and on the whole we're not unlike this friend, are we?" "The Jungle" starts with electronic drums that sound like insects at night. A whole universe comes alive in the dark. It's beautiful, complex and unsettling. Systematic and chaotic. All instinct, no plan. Voices taunt,"yeah yeah yeah." This tangled time in which we find ourselves is reflected back in shadows. Every song is such a landscape. The first one grinds to a halt and you become a kid looking out a car window at the moon, wondering how it's still on your tail as you speed past a steady blur of trees. You watch a house go up in a yellow strobe that echoes the disco weirdness of Giorgio Moroder, Donna Summer and David Bowie. You get pummelled by a rhythm then set free by a sudden change of scenery_the wind stops, clarity returns. You're under a streetlight in Queens, soft-focus, slow motion, falling in love. You speak French now too, in case you didn't already. Bienvenue. These are personal experiences made in a volatile world, and they reflect that world right back at us, even by accident. There's one song Nic sings to his teenage son who was dealing with climate change anxiety and drifting into uncharted independence. The band carries it out slowly together into a sweet blue horizon. Warren wrote the words to another shortly after losing his father. It's about the things we inherit not necessarily being the things we want. In a broader sense, that's where a lot of people find themselves right now.

"I want nothing more than to be a loner," Emily Kempf sings early on Flower of Devotion, the new album by Chicago trio Dehd. It's a startling admission coming from a songwriter who, just a year ago on Dehd's critically acclaimed Water, wrote eloquently about the joys and pains _ more than anything, the necessity _ of love, compassion, and companionship. But then, "admission" isn't really the right word here, given the stridency of Kempf's tone. "Loner" is a declaration. The record ups the ante on Dehd's sound & filters in just enough polish to bring out the shining and melancholy undertones in Jason Balla and Emily Kempf's songwriting, even as it captures them at their most strident. Balla's guitar lines at times flirt with ticklish cosmic country, while at others they reflect the dark marble sounds of Broadcast. Kempf, meanwhile, establishes herself as a singer of incredible expressive range, pinching into a high lonesome wail, letting loose a chirping "ooh!," pushing her voice below its breaking point and letting it swing down there. When she and Balla bounce descending counter-melodies off one another over McGrady's one-two thumps, or skitter off over a programmed drum pad, they sound like The B-52s shaking off heartache. What makes Flower of Devotion so impressive is how its creation seems to have strengthened its creators, both as individuals and as a unit, even as they've stared down their own limitations. It's also striking just how much fun they seem to be having in the process. "It's okay to be lighthearted in the face of despair," Kempf says. It's a theme that runs through the album, from the opening back-and-forth build of "Desire" to the click-clacking chorus of "Haha," which finds them deflating their own history. Flower of Devotion was recorded in April and August of 2019 in Chicago. It will be released on Fire Talk Records on July 17th 2020.

The sixth album from legendary hip-hop group Souls of Mischief, There Is Only Now, is a unique cinematic 90s crime tale of love, loss, and revenge. A conceptual collaboration with producer Adrian Younge and the first release on his freshly launched Linear Labs Records label, There Is Only Now gets its inspiration from a near fatal incident involving group members A-Plus, Opio, Tajai, and Phesto early in their careers. Set in 1994, There Is Only Now serves as a bookend to two decades of music since the release of their seminal debut album, `93 Til Infinity. Souls of Mischief and Adrian Younge have created a hip-hop album like no other. The result of a special moment for all involved, There Is Only Now proves that after two decades in the rap game hip-hop's Fab Four remains committed to the expansion of their legacy as hip-hop innovators and pioneers. Enthält unbegrenztes Streaming von There Is Only Now über die kostenlose Bandcamp-App und außerdem den hochwertigen Download als MP3, FLAC und mehr.

Elegante Popmusik. Gewaltige Hooks. Voller Streichersound. Das L.A. Musikerkollektiv Storefront Church um den Phoebe Bridgers-Schlagzeuger Lukas Frank nahm sein 2024er Album ""Ink & Oil"", das erstmals flächendeckend erhältlich wird, mit einem kompletten Live-Orchester auf. Textlich bewegt sich Lukas auf der Schattenseite der Straße. Musikalisch ist er der Hammer. Erinnerungen an Scott Walker, Nick Cave, Brian Wilson und den frühen John Grant werden wach. Die Mitglieder treten - ähnlich Broken Social Scene oder Black Country, New Road - in wechselnder Besetzung auf, darunter Laetitia Sadier, Phoebe Bridgers, Zachary Cole Smith (DIIV), George Clarke (Deafheaven), Circuit Des Yeux, Lauren Auder, Cassidy Turbin (Beck), Sam Wilkes und ein Dutzend weitere. Storefront Church steuerten den Song ""The Gift"" zur Netflix-Serie ""The Queen’s Gambit"" bei und nahmen den Roxy Music-Klassiker ""More Than This"" als melancholische Gothic-Version auf.

Mit Secret Love legt die Londoner Band Dry Cleaning ihr bislang reifstes Werk vor. Das dritte Studioalbum, produziert von Cate Le Bon, ist eine konzentrierte Momentaufnahme der besonderen Chemie zwischen Florence Shaw, Tom Dowse, Nick Buxton und Lewis Maynard. Aus intensiven Sessions in Peckham, Chicago, Dublin und schließlich im Black Box Studio in Frankreich entstand ein Werk, das Vertrauen und Verletzlichkeit ins Zentrum stellt - die Bande zwischen den vier Musiker*innen ebenso wie das fragile Verhältnis zwischen Nähe und Manipulation in der Gesellschaft. Musikalisch schlägt Secret Love eine Brücke zwischen den paranoiden Untertönen des frühen US-Punks, dem coolen Strut der Stones, Stoner-Rock, No-Wave-Experimenten und zarten, fast pastoralen Gitarrenfiguren. Die Stücke atmen gleichermaßen Schärfe und Verspieltheit, immer getragen von Shaws unverwechselbarem Sprechgesang, der präzise auf die dynamischen Soundlandschaften ihrer Band reagiert. Damit knüpft sie an eine Tradition von Spoken-Word-Künstlerinnen wie Laurie Anderson an, erweitert sie aber um eine ganz eigene Mischung aus Absurdität, Empfindsamkeit und lakonischem Humor. Die erste Single "Hit My Head All Day" zeigt exemplarisch, wie Secret Love gesellschaftliche Themen - etwa Desinformation und Einflussnahme - mit persönlicher Unsicherheit und existenzieller Fragilität verknüpft. Doch trotz aller Schwere bleibt das Album von einer spielerischen Offenheit geprägt: Ideen wurden ausprobiert, verworfen, neu zusammengesetzt - bis ein Sound entstand, der gleichzeitig roh, elegant und unerwartet warm klingt. Secret Love ist ein Album über das Vertrauen - in Freundschaften, in Musik, in sich selbst - und über die Risiken, die damit verbunden sind. Es markiert für Dry Cleaning den Schritt zu einer Band, die ihre avantgardistische Energie zu einem unverwechselbaren Ausdruck verdichtet hat.

Mit Secret Love legt die Londoner Band Dry Cleaning ihr bislang reifstes Werk vor. Das dritte Studioalbum, produziert von Cate Le Bon, ist eine konzentrierte Momentaufnahme der besonderen Chemie zwischen Florence Shaw, Tom Dowse, Nick Buxton und Lewis Maynard. Aus intensiven Sessions in Peckham, Chicago, Dublin und schließlich im Black Box Studio in Frankreich entstand ein Werk, das Vertrauen und Verletzlichkeit ins Zentrum stellt - die Bande zwischen den vier Musiker*innen ebenso wie das fragile Verhältnis zwischen Nähe und Manipulation in der Gesellschaft. Musikalisch schlägt Secret Love eine Brücke zwischen den paranoiden Untertönen des frühen US-Punks, dem coolen Strut der Stones, Stoner-Rock, No-Wave-Experimenten und zarten, fast pastoralen Gitarrenfiguren. Die Stücke atmen gleichermaßen Schärfe und Verspieltheit, immer getragen von Shaws unverwechselbarem Sprechgesang, der präzise auf die dynamischen Soundlandschaften ihrer Band reagiert. Damit knüpft sie an eine Tradition von Spoken-Word-Künstlerinnen wie Laurie Anderson an, erweitert sie aber um eine ganz eigene Mischung aus Absurdität, Empfindsamkeit und lakonischem Humor. Die erste Single "Hit My Head All Day" zeigt exemplarisch, wie Secret Love gesellschaftliche Themen - etwa Desinformation und Einflussnahme - mit persönlicher Unsicherheit und existenzieller Fragilität verknüpft. Doch trotz aller Schwere bleibt das Album von einer spielerischen Offenheit geprägt: Ideen wurden ausprobiert, verworfen, neu zusammengesetzt - bis ein Sound entstand, der gleichzeitig roh, elegant und unerwartet warm klingt. Secret Love ist ein Album über das Vertrauen - in Freundschaften, in Musik, in sich selbst - und über die Risiken, die damit verbunden sind. Es markiert für Dry Cleaning den Schritt zu einer Band, die ihre avantgardistische Energie zu einem unverwechselbaren Ausdruck verdichtet hat.

2026 Repress

HOLY GRAIL ALERT!!! Following on 2021’s massive reboot of Midnight Magic’s seminal classic Beam Me Up, Razor-N-Tape have now unearthed a bit of NYC indie disco history with 'I Found Love.'

Although recorded over 10 years ago in Midnight Magic’s nascent early period that produced many of their legendary hits, the song never received an official release; until now it has been heard only by select ears and lucky concert-goers. The package comes with a grip of luminous remixes by Dimitri From Paris & DJ Rocca, Sophie Lloyd, Perel, some solicited at the time of recording and some brand new, but all exceptionally fresh!

Here are some words about the song by the band:

“'I Found Love' was recorded in a fever on the heels of releasing 'Beam Me Up' New York dance music wizard Tommie Sunshine approached us about a co-write saying we should go as big as possible. So we did, it is one of our all time favorite vocal performances from our singer, Tiffany Roth. We had big plans, too, for a release but nothing quite felt right until meeting the Razor N Tape crew almost a decade later. Finally the stage is set, the lights are on, and we're ready. This song is very special to us because it is the last unreleased recording of our original lineup. We dedicate its release to our late bandmates Andrew Frawley and Jason Disu.”

At the end of the project’s 20th anniversary celebrations, ROME tolls in the next era of the band with two fresh and visionary albums: ‘The Hierophant’ and ‘The Tower’. Whatever the great poets have affirmed in their finest moments is the nearest we can come to an authoritative religion or truth. It is in this spirit that ROME welcomes the listener into the temple of ‘The Hierophant’, ROME’s final album of its second decade of existence.

‘The Hierophant’ represents the enigmatic accompanying piece to the more introspective and seclusive recent work (of ‘The Tower’). Starting its journey during ‘Days of Assembly’, from the opening ‘Secret Harbour’ along ‘On Sorrow's Embankment’ to its logical finale in the mythical North with ‘Apollo of Hyperborea’, ‘The Hierophant’ is a spiritual travelogue seeking out the word and world of this ‘My Frail Ambassador’, the proclaimer of the sacred truce, interpreter of the ancestral laws and our guiding light through these darkened times.

Rancid is without question one of the most successful and influential punk bands ever, not to mention being among the most prolific. Their nonstop songwriting and marathon studio sessions often result in far too many songs to fit onto their albums. True Rancid fans know that in addition to their classic long players, many of their finest tracks have been released as single B-sides, bonus tracks, on compilations, or in some cases have remained in the band's vault. That is why B sides and C sides is no mere throwaway record, but an essential part of this classic band's catalog. The songs collected here represent a cross section of everything that has made this band so beloved worldwide, including their creative genre hopping from blazing punk rock to danceable ska, to reggae, rockabilly, and more, all executed with some of the most impressive playing in the history of underground music. The songs range from fan-favorites like "I Wanna Riot" to obscure hidden gems from rare or hard-to-find compilations, and a handful of studio recordings that were completely unreleased before this album, several coming from the fertile recording sessions for the band's sprawling 1998 masterpiece Life Won't Wait. Originally released on CD in 2007, most of the tracks range from the band's early days through their sixth album, Indestructible, although the 2012 track "Fuck You," from the Pirates Press Records compilation Oi! This is Streetpunk! Volume 2 was added to place a definitive final word on the collection when it was pressed on vinyl. With the album being out of print and hard to find in its own right for the past ten years, Pirates Press Records is thrilled to partner with our friends in Rancid to remedy that situation and make this essential piece of punk rock history available to their many fans across the globe - this time as an incredible double 12" with super deluxe coloured vinyl and matching sleeve art!

The notion of home isn’t precise, even a dictionary will offer multiple definitions. A home can be a place where you live, a place where you belong, where you originate from or a place where you’re given care; it can be a physical space, a land, a people or even a person. The concept isn’t completely universal, but everyone possesses a unique idea of what home means to them. On her fifth album, Ziúr considers not just what home symbolizes from her perspective, but the word’s resonance to the diverse community that surrounds her, and how their stories have impacted her over the years. Indeed, it’s the first time she’s felt it necessary to examine her own nationality. In the past, she’s deliberately avoided labelling herself as German, feeling disconnected from her country’s politics, culture and even the German language itself. In 2025, the idea of Germanness is in flux and progressives are under attack from all sides. The country’s politics aren’t only being turned inward by the growing throng of far-right voices, but by scared moderates, opportunists and those blinded by comfort, willing to ignore hatred to maintain their privilege. Stepping up to provide a different narrative, Ziúr scours her soul, writing and singing in German for the first time and proposing growth and evolution, not fear and regression. “I never considered being part of Germany,” she explains. “But I am.”

A solemn mood permeates the album’s opening track ‘Brown is the Color’, and Ziúr sings in measured, slow-motion breaths over noisy synth oscillations and doomed piano flourishes. Already, it’s a significant departure from her last run of releases, veering away from the frenetic, satirical chaos of 2023’s Hakuna Kulala-released ‘Eyeroll’ or its fantastical, dubby predecessor ‘Antifate’. Ziúr pulls on real world insights here, tracing her oldest, dearest musical inspirations to present her origins to anybody who might be listening. “Cold world is holding up,” she laments with a metallic crunch. “To let go of your heart, let me go.” And her voice emerges from the shadows completely on ‘Tame’; unprocessed, Ziúr sounds naked and vulnerable on ‘Tame’, curving her precise words around broken, lopsided rhythms and jangling new wave guitars. It’s pop music in its own way, inverted and reconstructed to fit snugly into her well-established sonic landscape. On ‘No Yawn’, brittle, downsampled hi-hats and industrial scrapes ping-pong around distorted riffs, provided by James Ó Ceallaigh aka WIFE; “You fail to sugarcoat your half-ass attempt,” she deadpans, “to build your promised wonderland on quicksand.” Even the beatless ‘All Odds No Chants’, a collaboration with Elvin Brandhi and Sara Persico, reveals another room in Ziúr’s autobiographical suite, mirroring György Ligeti’s enduringly influential choral works with its gnarled, dissonant vocal harmonies.

Ranie Ribeiro's artistic journey has taken on new dimensions and disciplines. Formerly known by his DJ moniker D-Ribeiro (4Lux, Meda Fury), Ranie Ribeiro has solidified himself as one of the Netherlands' most unique harpists. Whereas his past releases could be defined by up-tempo, warm, and joyful beats, Ribeiro now presents his first full-length harp record, Contemplation--a delicate collection of unassuming harp compositions and improvisations. A record that has gone through multiple iterations, shapes and life-changes, Contemplation plays out like you're sitting in the room minding your own business as Ribeiro's playing fades in-and-out from the corner, accompanying your thoughts, your chores, your life as it all passes you by. In a musical world where over-processing and manipulation obfuscate intent and feeling; Contemplation is vulnerable. Putting his stake in the ground and claiming his artistic space, Ribeiro refuses to let insecurities stand in his way and his music comforts you so much it'll empower you to feel the same. Words by Gregory Markus

Electric Satie is a one-off conceptual project by Japanese composer Mitsuto Suzuki, who is mostly known for his work on Final Fantasy soundtracks. Released on CD-only in 1998, “Gymnopédie ’99” reimagines Erik Satie’s beloved piano compositions in electronic form ranging sonically from downtempo bossa-nova (featuring Brazilian percussionist Marco Bosco and vocalist Silvio Anastacio) to freestyle ambience and chillout room IDM, not far from the music featured on Music from Memory’s “Virtual Dreams II” or Warp Record’s “Artificial Intelligence.” A deeply imaginative composer and arranger, Suzuki harnesses a unique mix of drum machines, synthesizers, live percussion, soprano saxophone, piano, and spoken word to craft a lush and vividly futuristic sound world that video game soundtrack enthusiasts will easily fall into.

Rachel of chelmico's solo project “ohayoumadayarou” releases her first LP, 『Sokoni Naimono』
Featuring six tracks created alongside sound producer ESME MORI, relying on “the feeling of the moment” without a clear theme.
The drifting sound and the rhythm of words that make you pause momentarily bring to light the small discomforts and tenderness found within everyday life.

House of Harm are proud to announce the forthcoming release of their new album Playground, out December 1st, 2023. The new record builds and expands upon the three-piece’s enthralling shadow-pop sound, a mix of midnight atmospherics, 90s era jangle pop, and contagious synth drenched hooks that further elevate the transcendent vocals of lead singer Michael Rocheford. Rounded out by Cooper Leardi (guitar / synths) and Tyler Kershaw (guitar / synth), House of Harm have amassed an impressive following as something of a best kept secret among their growing fanbase, leading to sold out shows on both coasts by the power of word of mouth alone.

The band members have been drawn to music for as long as any of them can remember, and the drive to be around like-minded artists and make their own noise drew them all to Boston after high school. There they all quickly enmeshed themselves, playing in other bands before meeting each other. Ever since, House of Harm have been quietly making a name for themselves among music fans with darker pop persuasions via a steady stream of releases in single, ep and album form.

That attention to detail and workmanlike approach at the expense of chasing instant gratification seems to be paying dividends after years of steady effort. The journey of their new album Playground saw House of Harm stay true to that ethos. The band painstakingly narrowed the record down to an efficient 10 tracks that they felt made the most sense, both standing on their own as well as fitting into an LP that built a cohesive world for the listener to get lost in. The album’s name also reflects the experimentation and happy accidents that came about during the writing and recording process.

On “The Face of Grace” they set out to explore different dynamics by writing a song entirely without drums, but couldn’t help themselves from putting emphasis on the song’s 6/8 waltz time signature. “Two Kinds” is another first for House Of Harm in that it’s predominantly driven by acoustic guitar. That aforementioned vulnerability shows up in other areas of the songwriting process as well with “Two Kinds”, one of their most revealing songs to date from a lyrical standpoint, written from a place of reflection and weakness and tackling feelings uneasy to be put on display for public consumption.

Taken as a whole, the end result is an album representing a collection of the band’s most raw and expressive songs yet.

Czartificial Intelligence debuted at #1 on Billboard’s Top New Artist Albums chart when it was released in November and was the #2 most-added at Hip-Hop That also makes it the #1 debut on the chart. The wins keep coming as the record also debuted on the genreless Top 200 chart, coming in the top half of all records and a top 10 debut for the week! The third full week of airplay for the LP saw 3s all around as it earned a third week on the Hip-Hop chart and another top 3 appearance! Over at NACC top 200, the record cracked into the Top 50, 40+ spots up to a new peak and one of the top 10 greatest gainers for the week! The album peaked at the NACC 200 in Week 4, just outside the Top 40! That week it also hit a peak at Earshot, topping that chart at #1! The album earned 5 weeks at #1 NACC Hip-Hop, the record so far for the 2024 NACC Hip-Hop Chart!

CZARFACE debuted with their self-titled album in 2013 though 7L, Esoteric and Inspectah Deck first worked together on the 12" single “Speaking Real Words” in 1999. The three continued to stay in touch, periodically working together and, in 2013, Esoteric approached Deck about a possible full-length project centered around a superhero character called “CZARFACE."

Essential repress of the perennial DJ favorite now available on wax again for the first time since the original press in 2021!

The music is compiled from two rare 12" releases dating back to the early 90s produced by Jason Adkins (who we sadly lost in 2024), and co-produced by Tony Boninsegna (whose work the labels covered extensively in the 4xLP anthology Notes From Underground), and finally remastered by Thomas P. Heckmann.

The production team shared many musical inspirations, most notably Detroit techno, jacking Chicago house, EBM, the industrial funk of Cabaret Voltaire and the pioneering bleep sounds of Warp Records' earliest releases. As a result, the tracks they made brilliantly blurred the boundaries between contemporaneous electronic music styles while also adding layers of technical polish so often missing from British club tracks of the period.

The completed, released version of 'Tone Float' remains an overlooked UK classic – a gorgeous mixture of squelchy acid bass, sharp TB-303 lines, ethereal chords and whispered spoken word snippets – while the accompanying remix, which is also featured on Garden of Eden, brilliantly re-imagines the cut as a funk-fuelled, deep electro beast.

Faellesskab reveals their most critical and emotionally charged work to date, a deeply personal voyage into the heart of Nordic black metal, where raw emotion and melodic depth keep reveling in sorrow and longing beauty. Translating to "Community", Faellesskab's six tracks weave a strong musical oeuvre within the Afsky canon; their walls of haunting melancholia, interwoven with vital intensity, have never been more powerful. Yet, this new work also sees the band at its sharpest in social criticism, as Ole Luk of Afsky notes: Faellesskab - Overture to the Downfall. Here, community is praised like herd animals fleeing responsibility.

A parade of moral superiority, where truth is trampled in the name of consensus. Where unity means silence, and doubt is a crime. Six songs of shame disguised as care, of freedom suffocated, and of the solitary few who still dare to question. A chorus of hollow words, where silence screams the loudest. Welcome to the celebration - the curtain hasn't just risen, it's been torn away! Afsky will mark the release with a special show in Copenhagen on October 17, graced by a full European album release tour kicking off the following week. Two singles are set to be unveiled in the lead-up to the release. While Afsky continues to refine their signature sound, this release is set to be another landmark in the band's uncompromising discography.

Home is the new collaborative album from Xan Tyler & Dusty Stray -
Released in Autumn 2025 on pink vinyl, the album is released by Stereogram
Recordings in partnership with Last Night From Glasgow
Xan Tyler is an English vocalist and songwriter, her voice has been described as
crystalline" by Pitchfork and "extraordinary" by Uncut - Xan has had an extensive
career after getting her start as backing vocalist for Death Bang Party as a teenager.
She went on to be half of electro pop duo Technique signed to Creation Records. She
has collaborated with the likes of Timo Mass, Martin Buttrich and Mad Professor. Her
first solo album Holding Up Half The Sky was released by Last Night From Glasgow in
May 2024. Dusty Stray is Amsterdam-based, US-raised alt-folk songwriter Jonathan
Brown. He has released six albums as Dusty Stray starting in 2009. His latest solo
album is Fire Place, released in 2023. Big Takeover described the album as "brave"
and "authentic".

Lego Dave du Shit, a noble aristocrat from the vallée du Shit, traveled to the RCK JUMEAUX planet to answer the Bleast’s question: “Qui A Dub Maman?”


To do so, he had to explore the Îles Nvlles, inhabited by robots, where he learned the ancestral chant of the Witches of Good: “Which is Good.”
He’s waiting to return to Earth in September to reunite with his friend Loba from Gagra, and to take part in the LAST JAM of October.


That being said, he must also visit in November the guardian Mezacidub III, son of Mezacidub II and Valprius Organo (a clone of the Bilrituel Cyborg of Tarza Y7).


In a few words, APR7S is simply an expression used after the party – or “after” in English.

Cross merchandise with Rhymesayers, KMD, Viktor Vaughn, Madvillain, JJ DOOM, King Geedorah & Dangerdoom. LP packaging: Case wrapped tip-on gatefold vinyl jacket, new purple vinyl colour double vinyl, 2000 only for the UK. In celebration of the album’s 20th anniversary, MM..FOOD has been repackaged with all new artwork by Sam Rodriguez! Produced by MF DOOM, except "One Beer" produced by Madlib, and "Kon Queso” produced by PNS of the Molemen. Guest features include Count Bass D, Mr Fantastik, Angelika and 4ize. QR-activated immersive AR experiences with album artwork. Brand new music video for "Hoe Cakes" planned for album street date. Originally released in 2004, MF DOOM's MM..FOOD is hailed as a classic hip-hop album full of inventive production, brilliant wordplay, and unique themes. Celebrated for its seamless blend of humor, wit, and social commentary, the album ushers listeners into a bizarre world of food-related metaphors, painting a bitterly comedic portrait of a life tainted by vice, violence, and jealousy. It was a brilliant and novel concept that gave DOOM plenty of room to explore the album’s subjects. Throughout MM..FOOD, DOOM embeds complex ideas within seemingly simple narratives. Album opener “Beef Rapp” is a multi-pronged metaphor reminding listeners of the dangers involved in the glorification of conflict, especially within the rap game. “Hoe Cakes” borrows its name from the sweet, hot water cornmeal patties, which he uses as a symbol to rhyme about indulgence and excess. Continuing the motif, DOOM uses the Madlib-produced “One Beer” to fold layers of depth about escapism and ego, while the popular “Rapp Snitch Knishes” critiques the self-incrimination and contradictory behaviors of some rappers. Overall, MM..FOOD is both a social commentary and a piece of social satire, showcasing MF DOOM’s ability to blend serious themes with his unique, playful lyrical style. MM..FOOD album sales history over 820K+ units sold (RIAA-certified gold). MM..FOOD streaming history over 1.2M+ streams. MF DOOM’’s catalog sales history over 1.7M+ units sold. MF DOOM’s catalog streaming history over 3B+ streams.

Texan deep house don Rami is a real deep house favourite from Texas and a regular on this label who was last here with the Someday Will Find You back in June. This new 7" features 'Walk', one of the tunes from that long player. It's a pacey house vibe with soft, fuzzy synth textures and buoyant drums that is rooted to the floor but with its head in the stars. The JT Donaldson remix brings the US producer's signature smooth and effortlessly catchy tech drums to a more light-sounding tune that is nuanced with some spoken words. Two tasteful jams.

Although humans possess language as a means of communication, We sometimes hurt each other simply by intending to. In war, bullets kill people. If we consider words to be like bullets, they can be violent and cause mental suffering. However, when communication causes problems, the only way to solve them is through more communication. I thought: wouldn't it be wonderful if those bullets could turn int flowers instead? In everyday life, when we talk, laugh and share moments with friends and family, Those moments can be transformed into flowers. Keeping this in mind, I created this album. (Hidetoshi Koizumi aka Hybrid Leisureland)