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Because of the large demand for a vinyl reissue of THE OCEAN's first instrumental studio album "Fogdiver" (2003), Pelagic Records now brings you a limited edition repress of the original, which has been sold out in 2004 and then again in 2011 - including new artwork by Martin Kvamme (who designed the covers of all following THE OCEAN albums). "Fogdiver" was the band's first proper studio album - over two decades have passed since its release and yet the songs still sound surprisingly fresh and exciting. This may be due to the fact that most of the songs on "Fogdiver" were newer at the time than most of the tracks that ended up on 2006's ,AEOLIAN" album: ,The chronology of our early albums is misleading", comments the band: "When we decided to do an instrumental debut album, we wrote all brand new tracks for it, although we had already written most of the material for the consecutive "Fluxion" and "Aeolian" albums - but this material didn't work without vocals, so we decided to hold it back and release our newest mterial first". The band decided to keep the rough yet powerful sound of the original recordings, which took place at the band's Oceanland basement catacombs in Berlin-Kreuzberg, an old aluminum factory where panels for submarines were manufactured during world war II.

Because of the large demand for a vinyl reissue of THE OCEAN's first instrumental studio album "Fogdiver" (2003), Pelagic Records now brings you a limited edition repress of the original, which has been sold out in 2004 and then again in 2011 - including new artwork by Martin Kvamme (who designed the covers of all following THE OCEAN albums). "Fogdiver" was the band's first proper studio album - over two decades have passed since its release and yet the songs still sound surprisingly fresh and exciting. This may be due to the fact that most of the songs on "Fogdiver" were newer at the time than most of the tracks that ended up on 2006's ,AEOLIAN" album: ,The chronology of our early albums is misleading", comments the band: "When we decided to do an instrumental debut album, we wrote all brand new tracks for it, although we had already written most of the material for the consecutive "Fluxion" and "Aeolian" albums - but this material didn't work without vocals, so we decided to hold it back and release our newest mterial first". The band decided to keep the rough yet powerful sound of the original recordings, which took place at the band's Oceanland basement catacombs in Berlin-Kreuzberg, an old aluminum factory where panels for submarines were manufactured during world war II.

Belgian singer-songwriter Emma Hessels releases her debut EP 'Constant Distance' on October 24 via Unday Records. With a voice that lingers long after the song has ended and lyrics that feel like pages torn from a diary, Hessels has quickly carved out her place in the Belgian scene. She was named laureate of Sound Track in 2023, went on to play intimate yet arresting sets at Ancienne Belgique, Botanique, and the prestigious Cirque Royal, and appeared at Best Kept Secret this summer.

Milestones that signaled the arrival of a singular new voice in folk and soul.

'Constant Distance' gathers six songs bound by a recurring undercurrent: the presence of distance in its many forms - absence, longing, loneliness, the fear of loss, but also the desire for belonging. The songs weren't conceived around a single theme, but when brought together, a pattern revealed itself. Loss implies distance, longing implies distance, even love can. Yet the EP closes on 'Breaking', a gospel-tinged anthem of connection and alignment, written during a women's writer's retreat where community and music became inseparable.

Musically, 'Constant Distance' moves between folk and soul, carrying the feel of modern blues and occasionally leaning into gospel's call-and-response. The atmosphere is warm and nostalgic, drawing inspiration from Laura Marling, Damien Rice and Big Thief as much as from Aretha Franklin, Nina Simone and Richie Havens. Emma's voice remains the constant thread: soulful, unforced, quietly commanding. "I hope my songs can be like a warm blanket, something that keeps you company, that makes you feel a little less alone."

Though written solo on guitar, often during long train rides, the songs expanded into layered productions through collaboration with Aram Santy, Nard Houdmeyers and Fender Mackenson Rooms, with additional contributions such as Marthe van Droogenbroeck's evocative trumpet. Recorded over two intense days at Studio Beertje, the EP captures both intimacy and expansiveness. The result is music that carries the weight of Emma's fears and questions, but also the joy of collective creation.

With 'Constant Distance', Emma Hessels doesn't just deliver a debut - she opens a world where fragility and strength coexist, and where music becomes a way of closing the gap between people.

A hill repeating its own name.

Ben Beinn — mountain mountain — an imagined summit, recursive and unstable.

Poole’s new album Ben Beinn follows 2024’s In a River Shadow, and deepens his exploration of environment, voice, and abstraction. If the previous record moved with flowing water and submerged hymns, Ben Beinn climbs into elemental instability: passing storms, coded skies, and sodden ground.

Across ten tracks, Poole entangles the Celtic New Age sound world — traditional instrumentation (flute, low whistle, bagpipe, piano, strings) — with synthesis, environmental recordings, and abstracted voice. The sound palette is tactile — marked by microtonal harmony, swelling dissonance, and a breathy naïvety. Voices in Gaelic, Norwegian, and English surface and dissolve, stretched beyond recognition — more weather than word.

The album’s title refers to a tautological hill — Ben Beinn, or “mountain mountain” — a recursive site where motifs surface, fracture, and re-emerge. On 365 Days of Rain, rainfall data becomes a rhythmic lattice that slips from metrical order. 1000 opens the record in cinematic emergence: mountain icicles and frozen streams swell into strings and breathy melodic weight. Pulling from the connective folktales of hill and mountain trolls — “Dance for a thousand years,” Poole writes, “for jeg har sovet tidlig så lenge.”

Recorded in Scotland between 2024–2025, Ben Beinn draws from environmental recordings of frozen hill passes, storm drains, and peat bogs using contact mics and hydrophones. Rather than simply reflecting place, these recordings press against it — layering the sonic materiality of landscape with synthesis and song. An inflection point between fabrication — folk music as performed identity, a carrier of story — and its obfuscation through digital networks, where tradition is refracted into plural forms.

Musical reference points include the emotionally saturated textures of Inoyama Land, the folk-electronic hybrids of Eli Storbekken, the hyperrealist collage practices of Noah Creshevsky, and the disquieting sonic simulations of James Ferraro. While Ferraro captures the uncanny surfaces of networked life, Ben Beinn turns inward — toward a located listening, shaped by weather, memory, and terrain.

The second in a triptych that began with In a River Shadow, Ben Beinn continues Poole’s excavation of environmental and folk material through contemporary methods. If the first record submerged itself in flowing water and submerged hymns, this one is shaped by the slow pressures of land and sky — a music of erosion, recurrence, and elemental presence.

"Bandleader Lina Langendorf has been known in Sweden for a long time as one of the most skilled and forward thinking saxophone players. She has been staying in both Mali and Ethopia for longer periods and has performed in concerts with legendary artists like Alemayehu Eshete, Vieux Farka Touré and...Mulatu Astatke who, at his club African Jazz Village (in Addis Ababa/Ethiopia), introduced Lina to people in the audience with the words: 'Amazing saxophone player, big respect! We should play together some day'. Some minutes later they go on stage together. Joined by the legendary piano player Dawit Yifru and the bass player from Roha Band, Giovanni Rico Bonsignori. 'Fantastic. You're so strong. Everybody loves you, they say you are ethio-jazz' was Mulatu's words after the jam session.
Lina has also been invited to the live club Le Hogon in Bamako numerous times for jam sessions and concerts with Toumani Diabaté and his band. And for Lina, these jam sessions in Addis and Bamako has been a crucial part of shaping (and sharpening) her musical vision. Last year she was also touring the UK as part of James Yorkston, Nina Persson and the second hand orchestra.
But it wasn't until feb 2023 we got to hear her own music. The debut album with her newly formed band Langendorf United was co-released between Italian label Black Sweat records and Swedish label Sing A Song Fighter and it immediately resonated with music lovers around the world (Radiohead drummer Philip Selway called it 'as if Tinariwen and Fela Kuti had a Blue Note session').
But the band is not just the composer/Saxophone star and band leader Lina Langendorf. Oh, no. The other four musicians are all highly praised musicians in various jazz bands in Sweden and Norway and together they form this sacred thythmic unity with the pulsating bass at the centre.
Langendorf United's music is vibrant and spiritual and on fire!"

Lina Langendorf - saxophone
Daniel Bingert (son of legendary South American musician Hector Bingert) - keys, guitars
Martin Hederos (The Soundtrack Of Our Lives, Tonbruket) - keys, viola
Ole Morten Vågan (Trondheim Jazz Orchestra) - upright bass
Andreas Werliin (Fire!, Wildbirds & Peacedrums) - drums

Swedish trio Death And Vanilla follow their much-praised re-imagined soundtracks to `Vampyr' (2017) and `The Tenant' (2018) with their interpretation of the soundtrack to cult 1968 TV show `Whistle And I'll Come To You'. Ltd White Vinyl LP, Soundtrack / Electronic / Indie At a time when post-ambient electronica and bedevilled folk music are co-habiting, and the public's interest in Pagan rites and rituals has been sparked by a new generation of fans. The bizarre storyline of Whistle And I'll Come To You seems even more pertinent_ and strangely haunting. The Jonathan Miller-adapted 1968 ghost story was originally part of BBC's Omnibus series and featured Michael Horden as a fussy professor who discovers an ancient whistle which summons up the spirits. A black and white folkloric tale in the style of The Wicker Man, the original TV programme received rave reviews. The esoteric live score was recorded at the Hypnos Theatre in Malmö. The 42-minute soundtrack utilises stuttering tape loops on `Intro' before breathing new life into the primitive John Carpenter-like drum machine on `Supernatural Breakfast', while `Walk On The Beach 2' sounds like a hauntological rendition of a Broadcast classic. Indeed, that effect is amplified on `Nightmares', with its swirling wind and other-worldly choral effect, before the feeling of some supernatural presence is suggested on the penultimate cut `Evidence Of Spiritualism'.

Victor Démé loved life, music, friends, his hometown of Bobo Dioulasso, and above all, his family — by blood and by heart. Jovial and generous, he would have been delighted to see his world gathered once again in celebration: with concerts, unreleased tracks, live recordings, and a podcast retracing his finest musical years. Ten years after his sudden passing, this album carries the simple ambition of honoring his music and memory.

Victor passed away on September 21, 2015, in Bobo Dioulasso, during the coup d’État in Burkina Faso. The hospital he rushed to for malaria treatment was closed… His third album was due to be released just days later, but he never had the chance to sing it on stage.

A prolific and unique songwriter, Victor often revived songs he had composed in his youth during sessions at the OuagaJungle studio. With his guitar, he would breathe new life into them, refining them with his musicians — making the final choices sometimes difficult. Among the previously unreleased tracks on this record are Djilon, a reggae piece from Abidjan; Sira, a radiant yet solitary blues; Ambideu, a crooner-style ballad reimagined as an elegant cello-and-voice duet; Mousso mina mousso, a love song meant for a djandjoba celebration; and Bara, a heartfelt choral tribute to the workers of Burkina Faso.

These songs remained in the studio after Victor’s passing and have now been brought to life by the talented musicians Clément Petit, Alex Finkin, and Max “Blundetto” Guiguet. On Side B, the album captures the energy and sincerity of Victor and his band live on stage, with recordings from the May 19, 2009 concert at Théâtre de la Ville in Rouen. The performance opens with Labanko — a song never recorded in studio — followed by several classics, including the iconic Djon Maya, delivered here in its most blues-infused version, carried by Issouf Diabaté’s magical guitar.

Unforgettable memories for his musicians and for all who had the chance to applaud him live. We can only hope that, wherever he is, Victor is smiling and dancing as we celebrate him once more through music.

Zelienople frontman Matt Christensen returns to Miasmah with Constant Green - a record of reverberant country inspired songs that puts the weight somewhere between Johnny Cash and Slowdive. Matt pours out his soul through flashes of life - small and large. His voice roaming over the guitars in a way which feels like a floating poetic deluge.

Appearing fresh from last years Zelienople album Hold You Up, Matt has made a very personal record that arrives as perfectly as it could be. It is full of beautiful sparse moments that capture the feeling of time standing still while simultaneously flashing in front of your eyes. As a child of the 70ies, growing up with country influenced AM rock on the radio, riding around in cars without seatbelts, Matt creates this nostalgic feeling of free riding through the city streets at dusk : a dream world where one can see green as a symbol for humanity and optimism. Not to say the album doesn't have it's share of darkness. Christensen always lingers deep in melancholy, driving his fears and anxieties out through music.

Visions of being able to move anywhere, picking his mother up from jail, family matters, change, the small things in life - all outtakes from what he sings about. Although it's hard to pick up on unless you really listen, as his ramblings can at one moment be fully clear while in the next drowned or muffled - becoming a mere meditative element to the music. Steady collaborators Brian Harding and Eric Eleazer from Zelienople accompanies on pedal steel and keys to further fill the sound into a warm dream, following in the footsteps of Matt ́s previous Miasmah album Honeymoons (2016). That said, while Honeymoons used drum machines and vast open spaces, Constant Green is another step closer towards the classic singer-songwriter folklore. Timeless gold from an artist that never stops creating.

“Electronic / Funk Yacht Rock testament to the carefree teen spirit of the 80s”

In 1985, a young and ambitious Britt Cobble, fresh out of school, ventured to Florida to have his debut solo album Maiden Voyage mastered by none other than reggae legend Touter Harvey, known for his work with Bob Marley. The result is Spinnaker – Maiden Voyage, an Electronic / Funk Yacht Rock album infused with the carefree teen spirit of the 80s.

Anchored by its central motto, “Love the coast, it’s there for you,” the album captures the essence of youthful exploration and the allure of the open sea. With slick production and an undeniable air of nostalgia, Spinnaker invites listeners to escape into a world of sun-soaked coastlines and endless horizons. Britt elevates yacht rock to new heights, serving as both a testament to youthful ambition and a celebration of the era’s smooth, coastal vibes.

Blues for the Modern Daze is an album by American blues rock musician Walter Trout, focussing more on the "traditional" blues, and taking a more straightforward approach to songwriting. The album reached #1 on the UK Jazz & Blues Chart and #4 on the Billboard Blues Chart.

It was produced by Trout himself together with Grammy-nominated producer Eric Corne. Some of the highlights on this album include the tracks "Saw My Mama Cryin'", "The Sky Is Fallin' Down" and "Pray For Rain"._x000d__x000a_Blues for the Modern Daze is available as a limited edition of 1000 numbered copies of translucent pink & blue marbled vinyl. It is housed in a gatefold sleeve and includes a 4-page booklet with lyrics.
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On their new album The Besnard Lakes are the Ghost Nation, Montreal’s The Besnard Lakes return with their post-rock psych; but this time around, with a lightness and optimism at play.

Unique among their furrowed brow peers, The Besnard Lakes are unafraid to marry textured, questing headphone sonics to the honeyed pleasure of radio hits past: the rapture of My Bloody Valentine entwined with the romance of Fleetwood Mac. Imagine dreamy Beach House riding Led Zeppelin dynamics, with unabashedly androgynous vocal harmonies; a melodic yet mountainous sound world.

In a crowded leaderboard of their own making, The Besnard Lakes are the Ghost Nation might just be their best album yet; a strive for hope when it is needed most.

Steve Hauschildt returns after 6 years with a new album titled Aeropsia. After a transcontinental relocation from the US to Tbilisi, Georgia, the electronic composer emerges from a personal and global transformation to explore themes of perceptual distortion, disconnection, and renewal.

Aeropsia (which roughly translates as “seeing the air”) refers to a visual phenomenon in which objects appear to float or shimmer, often due to changes in pressure, perception, atmospheric shifts or neurological disturbance. This becomes a metaphor for the liminality that informs the record: blurry visions, dreamlike displacements, and the fragile membrane separating what is seen from what is felt.

In the years since his last solo release, Hauschildt’s world has been marked by relocation and a growing sense of global turbulence. These experiences became the raw material for a work that navigates institutional haze and uncertainty itself. The result is music that employs decay as method, structure as entropy, and mutation as expression.

While Aeropsia remains subjective in its vision, Hauschildt invited two previous collaborators to expand the album’s gravitational pull. Cellist Lia Kohl, who previously performed on Nonlin, returns and brings a tactile warmth to select tracks, while guitarist Michael Vallera threads spectral harmonics into the mix. The album’s electronic foundation and its tactile elements meet in a state of luminous suspension to navigate the shifting in physical and psychological terrain.

On their new album The Besnard Lakes are the Ghost Nation, Montreal’s The Besnard Lakes return with their post-rock psych; but this time around, with a lightness and optimism at play.

Unique among their furrowed brow peers, The Besnard Lakes are unafraid to marry textured, questing headphone sonics to the honeyed pleasure of radio hits past: the rapture of My Bloody Valentine entwined with the romance of Fleetwood Mac. Imagine dreamy Beach House riding Led Zeppelin dynamics, with unabashedly androgynous vocal harmonies; a melodic yet mountainous sound world.

In a crowded leaderboard of their own making, The Besnard Lakes are the Ghost Nation might just be their best album yet; a strive for hope when it is needed most.

Fetter’s Body of Noise erupts at the threshold between ravey hypnosis and avant-pop experiment, slithering through the hinterlands of unconscious desire. Nine shape-shifting tracks conjure haunted landscapes where beauty refuses clarity and dancefloor logic warps underfoot. Vocals swoon, drift, and demand—stacking into fragments that multiply and weave through saturated pulses and shimmering, snarling synths.

Opening track "Like a Rose" traces a dreamer’s transition into the unstable physics of a perplexing but familiar dream world, where they gradually become lucid. “Beast” follows up humming with shadowed urgency, threading a path through self-sabotage and metamorphosis. “Spathiphyllums” drifts a while in a lush lostness, aching for something new before fracturing into wild, cathartic collapse. Side B’s “Do I Exist? (D.I.E)” and “The Longing” spiral into existential wonder, searching for a human origin story—both personal and collective—against a backdrop of uncertainty, while “Headache” thrusts forward as an absurd and insistent manifesto to stay the course and harness one’s own power within the madness.

Body of Noise is crafted not only for sweating bodies in motion, but for distorting time and opening psychic portals, where surrender becomes strategy and uncertainty transforms into ecstatic navigation. Rooted in all-hardware improvised production and shaped by Fetter’s years of boundary-blurring visual and performance art, their debut LP feels alive and in flux. Reminiscent of a spectral pop chorus trapped in a loop of broken machinery, or a lost broadcast from a dancefloor in a parallel realm, Body of Noise is a journey into chaos, transformation, and a bold refusal to be contained.

About Fetter:
Fetter makes clubby self-destructing noise pop to dance and weep to. Oscillating between ethereal and pounding, their all-hardware, largely improvised live sets take listeners through a foggy wilderness of saturated rhythms and menacing synth lines, a golden voice guiding the way through. Fetter is the stage moniker of multimedia artist Jess Tucker. Their performances take place in clubs as well as galleries, often incorporating video, installation, and interactive performance art elements to create other-worldly surrounds of mesmerizingly unhinged bodies and faces.

The Complete Blue Note 45 Sessions of Ike Quebec collects a phenomenal body of work produced between 1959–62 by a key player in the Blue Note Story. The saxophonist had recorded for Blue Note and served as a talent scout in the 1940s before personal problems forced him off the scene. Alfred Lion began to reintroduce Quebec’s music to jazz fans in 1959 with a series of 45 jukebox singles that were well received and revealed a formidable stylist very much at the top of his game with a full-throated yet relaxed sound ideally suited to a range of material from ballads to blues. The success of Quebec’s comeback inspired Lion to keep going, capturing four sessions of material with a revolving cast of musicians that yielded classic tracks.









i C1. Everything Happens To Me Short Version







[q] D4. Everything Happens To Me [Long Version]









[i] C1. Everything Happens To Me [Short Version]







[q] D4. Everything Happens To Me [Long Version]









[i] C1. Everything Happens To Me [Short Version]







[q] D4. Everything Happens To Me [Long Version]

On May 30, 2025, Pet Shop Boys will reissue their 18-track greatest hits singles collection ‘Discography : The Singles Collection’ on limited blue vinyl, featuring updated 2023 remasters. ‘Discography’ was first released in 1991. The album charted No 3 in the UK album chart and includes ‘West End Girls’, ‘Always on My Mind’, ‘It’s a Sin’, ‘Domino Dancing’ and ‘Suburbia’.



Pet Shop Boys are an English synth-pop duo formed in London in 1981. Consisting of vocalist Neil Tennant and keyboardist Chris Lowe, they have sold more than 100 million records worldwide and were listed as the most successful duo in UK music history in the 1999 edition of The Guinness Book of Records. Pet Shop Boys have won three Brit Awards and have been nominated for 6 GRAMMY Awards. At the 2009 Brit Awards in London, they received an award for Outstanding Contribution to Music. In 2016, Billboard named Pet Shop Boys the number one dance duo or group since the chart's inception in 1976. In 2017, the duo received NME's Godlike Genius Award, and in 2024, they were awarded the Pop Pioneers award at the MTV Europe Music Awards.

10 year anniversary edition of Kreng's massive »Works for Abattoir Férme 2007 - 2011”« 4 LPs worth of slow, skin crawling cinematic ambience made for the Belgian theatre group Abattoir Fermé.

It could hardly be a better time to again dive deep into Kreng and Abattoir Fermé's disturbingly beautiful underground worlds. Through 8 full- length vinyl sides we are transported through the most terrifying, shadow- filled, down-right bizarre moments of the subconscious. What could be the sound of your darkest dreams or most surreal fantasies gradually unfolds throughout the three and a half hour duration. Exactly this is what Abattoir Fermé specialises in, and Pepijn Caudron's scores perfectly reflect and accompanies both this theatricality as well as our own fears and desires in a masterful way.

Each extended side is crafted from an arsenal of samples, disintegrating vinyl and corroded tape, and Pepijn Caudron manipulates these sounds in a way that belies the sources. Rather than allow the sounds to emerge, they stay trapped beneath swathes of noise, tape delay and oppressive bass giving us a compositions that emerge like a cross between William Basinski, Jerry Goldsmith (circa Alien) and Henryk Górecki.’ »Works for Abattoir Fermé« is not for the faint of heart, but for the rest of us it might be just what the Doctor ordered...

Marking more than three decades of one of the most influential albums of all time, five-time GRAMMY® Award-winning band Green Day releases a new colored vinyl. Dookie’s influence remains downright inescapable. It has sold a staggering 20 million copies worldwide and stands out as "the first punk album to be certified Diamond by the RIAA for North American sales in excess of 10 million.” Out of four 1995 GRAMMY® Award nominations, it notably garnered “Best Alternative Album.”Rolling Stone touted it on the “500 Greatest Albums of AllTime” and Pitchfork retrospectively christened it “one of the greatest teenage wasteland albums of any generation.” The Daily Beast remarked on “How Green Day’s Dookie Defined the 1990s and Changed Music Forever.”Speaking to its sustained impact, it has generated billions of streams to date. To put it in perspective, Dookie has lived through five presidential administrations, Y2K, social media, a global pandemic, and the birth of countless acolytes.

Explosive madness from one of the UK underground rave music scenes unsung heroes, Warlock - under his Hooverian Blur moniker, debuting on the label with a heavyweight set of bangers!

He’s the type of guy who rocks up to the shop with two bags of tunes and gets stuck right in - never takes long to get the system pumping & people moving! We were very excited when he dropped a folder of demos over last year, and had to bite his arm off so we could get them out there as soon as possible!

Huge love to all support for the shop, label, and the recent move & opening of our late night bar in New Cross - it’s turning out to be a really special place, and perfect new HQ for us and our community.

Large ups Benton, Dawl, Dwarde, Emerald, Nia Archives, Pete Canon, Sully on the early support of this one. Not forgetting Antek, Borai, Drumskull, LMajor, Mani Festo, Uncle G, WNCL & all that like it breakbeat heavy!”

Planet Wax Team
(Dexta, Lewis, D-Lo, Lis, Jenn, Roman, Errol, Castro, Lauren, Josh, Max & Chano)

The Blue Moods of Spain is the 1995 debut album by the band Spain, led by Josh Haden. It features tracks such as Untitled #1, and World of Blue. The band included Evan Hartzell on drums, Merlo Podlewski and Ken Boudakian on guitar. The album was released by Restless Records and marked the beginning of the band’s recording career.