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Based on a Motown classic that also served as the debut song for a world-famous kids group, the long-awaited ending theme is finally getting a single release!

From the soundtrack of director Shinichiro Ueda's One Cut of the Dead, the indie film that became a social phenomenon upon its 2018 release, grossing over 3.1 billion yen, this gem of a track is now available on vinyl. While retaining the melody of the original song written by Berry Gordy Jr., Kensun Lovers (Nobuhiro Suzuki and Shoma Ito) added Japanese lyrics and a new arrangement, with actress Mayumi Yamamoto on vocals. The theme song "Keep Rolling" quickly won the support of discerning international listeners, reaching No. 1 on Spotify's "Japan Viral Chart" the week after the film's release.

On the B-side, two versions of the film's main theme "zombeat" are included, featuring hard-hitting guitar work brimming with respect for the original Zombie series.

Wild by nature, the Does of the Florian Pellissier Quintet could never be contained in a creative pen that would have forced them never to cross potential geographical limits. Travelers, spending their energy without restraint to let the hard bop of their jazz wander and export itself wherever the groove guided them, they went as far as Africa or South America, from the Cape of Good Hope to Rio. Rio, precisely where, for their last appearance, exposure to a brief electric current had carried them into outer space. A revelation.
Furious strides, exhausting gambols, the Does had done so much that they could not escape the obvious call of calm and serenity. Freed from distances, and after a stop in Colombia to mingle with the crowd at the Barranquilla carnival, it was California and its Pacific coast they reached, to rest before the peaceful immensity of the ocean.
One hundred sixty-five million square kilometers, an infinite expanse to contemplate in order to fling wide open the gates to an even vaster space. A spiritual domain conducive to the search for new sounds. That of the open sea, where measuring miles is neither relevant nor meaningful, and where the only compass becomes the musical tracks the Does follow.
Beneath their coppery hooves, to the crystalline sound of the Fender Rhodes and the sweep of electric layers, the path to take revealed itself in this meditative and abstract realm they had never before explored. Invited to join the purely organic textures, the synthetic notes distilled a few aromas of sweetness into an album of ten tracks, where the FPQ abandoned written scores on some pieces in order to be guided only by the inspiration born of a newfound freedom.
Blue when they began their journey five albums ago, their coat has now taken on the colors that illuminate the Pacific coast. That moment when, as you gaze at the horizon swallowing the sun, only glowing shades filter through—reddish, orange, violet.
Departing without haste or frenzy from one of the shores bordering the ocean, the voices of Archie Shepp, Iggy Pop, and DjeuhDjoah still resonating in their antlers, the Does may now be on the opposite shore. Carried all the way to the Japanese coast by Hokusai’s wave…

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

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

Born out of the Northern California DIY scene, Moms With Bangs started as a ragtag group of high schoolers looking to build a musical community filled with loud, chaotic, unfiltered energy. Quickly becoming known for their loud experimental sound and unhinged live shows. Moms With Bangs become legendary for being high-volume, high-energy, and having zero barrier between them and their audience. It was these qualities that caught the attention of Jello Biafra
himself, who was so impressed he signed them to his label Alternative Tentacles Records, making Moms With Bangs the youngest signing in the history of the label. Recorded at Tiny Telephone in Oakland, CA over the course of two days in January of 2024, Leo Hirsch, Michael Cook, Austin Kennedy, Axel Sanchez, and Oliver John live-tracked these songs in one large recording room, recording at the same time facing each other, to make sure the recording captured the unfiltered energy of the live show as much as possible. As for the name of the 7”? “Do What’s Delicious” came from a suggestion from Jello Biafra himself, while the band was in the studio, as a name he once considered for a Dead Kennedys release. The two tracks on “Do What’s Delicious” capture the throttling high energy rhythms of bands like Thee Oh Sees. Showcasing an affinity for the off-kilter groove of bands like Deerhoof or Black Midi. Moms With Bangs aims to disgust and delight with no limits! We couldn’t be more excited.

Their original pop-infused songs blend rock, punk, and garage rock, and--together with their wild stage presence--have made them unforgettable to anyone who sees them live. Last year, the power trio even provided the soundtrack for a Ryukyu Nissan commercial--appearing in it themselves. Now, it's time for their debut LP: "Best Answer"! The album is incredibly catchy and versatile. From wild, lo-fi punk instrumentals like "Beehive!!" and "Howling Bowl", to cool pop- punk tracks like "I Want You", "45", and "Questions- theme".

There are also danceable garage punk songs like "Brighton Beach", "Koi no yokan", and "Yoakenotori ga naita". The track "I am I" references the SONICS' guitar sound and adds cool Japanese female vocals, screams, and harmonies. The album also includes two wild, punky cover versions: the R&B classic "I Got My Mojo Working", and a charming yet incredibly cool take on Jacques Dutronc's "Les Cactus". And with "Honey Pye", they even deliver a catchy off- beat tune with a feelgood pop-punk attitude. This album is top-quality Japanese rock--from beginning to end!

US Black Friday 2025 Release. There are very few albums in the psych/punk/hard rock/private presses strata that garner the sort of universal awe and accolades that Fraction’s almighty Moonblood LP does, and even fewer records in the world that could be dubbed ‘Christian Rock’ incur such fierce devotion. Indeed some records just meteorically lift themselves out any genre tag with brilliance and sheer defiance--and Moonblood is surely one of them. Based in LA, Fraction was a ragged collection of working-class musicians--the line-up was ringleader Jim Beach--vocals; Don Swanson--lead guitar, Curt Swanson--drums, Victor Hemme--bass, and Robert Meinel--rhythm guitar. Beach himself describes those early days: “The guys met through various acquaintances that we had in LA. All of us had been in bands before, but were seeking something with more teeth. We had a small studio in an industrial complex in North Hollywood and started practicing sometimes as early as 4:30 AM. We all had day jobs, so we did what we could.”

Amazingly the recording sessions for the album were recorded similarly on the fly, as Beach further states: “The Moonblood recording took place at Whitney’s Studio in Glendale, CA, early in 1971. On a strict budget, these songs were recorded in less than three hours—all of them “one takes.” We played, all 5 of us, simultaneously-- there were no studio effects, no overdubbing or any additional sound effects added. Basically what you hear is considered ‘old school’ recording.”

This workmanlike description in no way prepares one for the pure tortured genius the session wrought. Particularly noteworthy is Beach’s vocals—as commonly stated, the spirit of Jim Morrison is conjured in his deep baritone, which gives way to unparalleled pained howls, at times bathed in delay which trails into the abyss. Fascinatingly enough, Beach cites the much punker Love as his fave LA band over the Doors, and also gives influence-nods to proto-everything rockers The Yardbirds and to Dylan, whose dark word tapestries surely inspired Beach’s lyrics (though lines from The Doors’ “L’America” pop up on the LP) Whatever the case, the man clearly has a vision, as even the stark sleeve concept is Beach’s own. Equally as integral to the Fraction sound is lead guitarist Don Swanson—his blown-out fuzz riffs set a template for what is now commonly known as “stoner rock” or “acid punk,” and his solos consist of jagged, wah-wah-ed shards of notes, with his amplifier clearly pushed to the limit.

Beach says: “Don’s guitar was always my driving force and he did everything he could to keep it over the top. You’d never know that (his sound) was coming from an old, broken down Esquire. Don kept it alive!” The other members contributions shouldn’t be underappreciated though-- drummer Curt Swanson keeps things at a constant simmer, and then boils over when the whole band launches into snarling glory. The band and LP as a whole equals something indescribably intense from start to finish—comparisons to the Detroit late 60s high-energy bands like The Stooges and MC5 abound, as well as the sort of late 60s damaged spirit lurking in biker clubs and disgruntled Vietnam vets. The song cycle on side 1 of the LP in particular cuts to the emotional core, with severely charged dark lyrics like “Extend your thumbs and burn the darkness out of her.” Which brings us to the Christian aspect--it often can confuse listeners. The Fraction/Beach world of religion is complex and perhaps a bit pagan/sinister than most---fire and brimstone, temptation, and the truth-seeker being burned by this hell on earth—or perhaps as Beach himself best put it: “Speaking for myself, as a believer, it’s been a progressive experience since my childhood.

I think we’re all basically driven to live more than religion.” The album was pressed in a run of but a few hundred to little attention in the day, but now inferior bootlegs flood the marketplace, and originals of Moonblood command thousands of dollars. So enjoy this all-inclusive reissue, which also features for the first time on vinyl, 3 lost tracks-- like the more acoustic-minded “prisms” and “dawning light,” as well as the proto-metal choogle of “Intercessor’s Blues.”

It was December 2015 when Simon Weiss delivered his first EP for Voyage Direct, an impressively intergalactic affair full of supersonic synthesizer arpeggio lines, Motor City influences and robotic drum machine hits. Two years on, the experienced Dutch producer returns to action for the first time since, in the process delivering another quartet of starry-eyed productions.
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Through releases on Deepermotions, Rush Hour and Hometaping is Killing Music, Weiss has established a reputation for combining a deep understanding of dancefloor dynamics with a sci-fi inspired futurist aesthetic. Both of these complimentary traits are much in evidence on his second outing for Voyage Direct.

Weiss blasts off via Brain Fever', where raw, mind-altering arpeggio bass, fuzzy drum machine hits, spacey chords and alien electronics thrust our hero skywards. Think of it as techno for funk-fuelled, Italo-disco loving astronauts whose journey to the end of the universe is only just underway. This intergalactic funk blueprint is explored further on the deeper and more melodious You Want A Cigarette', where Weiss's vocoder vocals wrap themselves around mutant TB-303 lines, rush-inducing chords and clattering machine percussion.

On Space Ghetto (Booty)', our hero celebrates the discovery of previously unknown worlds in the only way he knows how. With kaleidoscopic, full-throttle electronic motifs and funk-fuelled synth-bass to the fore, Weiss offers his own unique take on electrofunk. Pleasingly fuzzy and tightly wrapped in the syncopated drum machine handclaps of ghetto-house, it's a typically far-sighted and attractive proposition.

With just two minutes to go until his spacecraft touches down on alien territory, Weiss rounds things off via the melancholic chord progressions and heartfelt vocoder vocals of Intro', a beat-free excursion just tailor made for dramatic set openings and spine-tingling mix endings. He may be stepping into unknown territory, but it won't be the last you'll hear from Simon Weiss.

Limited to 500 copies Side A/B is solid red vinyl and side C/D is solid green vinyl. Track listing is different to the CD and digital. ‘Harmonics of the Night’ is the third in what he conceived of as a trilogy of recordings from guitarist Andy Summers. Following on from ‘Metal Dog’ and ‘Triboluminescence’, ‘Harmonics of the Night’ began its life as a guitar improvisation for a museum installation of Andy’s own photos. He did not like the music they had chosen in the gallery so sat down and recorded some guitar improvisations. Summers says that he built this set out from there. These songs and the photos that inspired them have become a staple of his solo guitar shows. Stand out tracks: ‘A Certain Strangeness’, ’Harmonics of the Night’ and ‘City of Crocodiles’. The music for Harmonics of the Night came from a real-life situation, which was the occasion of a retrospective exhibition of my photography at the Pavillon Populaire in Montpellier. I was able to visit the museum in advance of the opening and decided this time (instead of the usual unsuitable music being played by the whatever gallery!) that I must make a music installation to accompany the photography on the wall, a piece that could be looped and thus provide a continual musical counterpoint to the visual. I made a twenty-minute single guitar improvisation, A Certain Strangeness - This piece put a certain approach in my in my head and pointed me in the direction of eleven more tracks. These pieces which vary from minimalist approaches to African influenced dance pieces and are what I consider the sonic parallels to the photography.

Die LP wird mit einem 48-seitigen Hochglanz- Booklet geliefert. Das Kunsthaus Bregenz freut sich, ,Wish You Were Gay" von Anne Imhof anzukündigen. ,Wish You Were Gay" ist eine sehr persönliche Ausstellung, die mehrere neue Werkgruppen präsentiert, die eine Reihe von Kernelementen reflektieren und weiterentwickeln, die seit Beginn an das Repertoire von Imhof geprägt haben. In der Ausstellung untersucht Imhof Vorstellungen von Endlichkeit, Realität und Künstlichkeit, Zufall und Schicksal, Abwesenheit und Anwesenheit vor dem Hintergrund einer postapokalyptischen Isolation. ,Wish You Were Gay" umfasst brandneue Skulpturen, Gemälde, Klangarbeiten und eine Serie von sechs bisher unveröffentlichten Videoarbeiten, in denen die Künstlerin auf frühes Material aus den Jahren 2001-03 zurückgreift, einer entscheidenden Übergangsphase im Leben und Werk der Künstlerin. Zu dieser Zeit waren Imhofs Leben und Werk eng miteinander verbunden und manchmal nicht zu unterscheiden, was der aktuellen Ausstellung einen deutlich biografischen Charakter verleiht und Themen wie die Wahlfamilie anspricht, eine Realität für viele queere Menschen. Mit dem Aufkommen von handlichen digitalen Camcordern, bei denen der Bildschirm zum ersten Mal gedreht werden konnte und die Vorläufer der heute allgegenwärtigen Frontkameras sind, nutzte Imhof diese neue Technologie als Spiegelaufnahmegerät, vor dem sie Bewegungen und Gesten ausführte, um die Szene zu beleben und zu gestalten. Mit ihrem Körper als Medium, zusammen mit anderen provisorischen Mitteln wie geliehenen Gitarren und Verstärkern, und der Aufnahme von Liedern und ihrer Stimme als Mittel, diese zu finden, schuf sie Kunst mit ihrer Gemeinschaft Freunden, Liebhabern, Mitarbeitern - und nutzte dabei die Rohstoffe des Lebens, wie es sich gerade entfaltete. Diese Videoarbeiten vermitteln ein unterschwelliges Gefühl der Dringlichkeit, verkörpern Kraft durch Beharrlichkeit und Präsenz, die sich in kontinuierlichen Proben und Improvisationen manifestiert. In den folgenden zwei Jahrzehnten verwebte Imhof diese Elemente - durch unzählige Spiegelungen, Verdopplungen und Variationen der Motive aus dieser prägenden Zeit - zu einer tiefgründigenPraxis der Bewegung, die den Körper in den Mittelpunkt stellt. Rohe Momente werden manchmal auf surreale Weise verlangsamt, in eine Stille versetzt, die voller Spannung und Potenzial für explosive Handlungen ist, etwas, das in ihren eigenwilligen Performance-Stücken, die von anderen aufgeführt werden, wiederkehrt und ihre skulpturale und malerische Praxis prägt.

Selfish Machines, the second album by Pierce the Veil, explores themes of love, longing, and self-awareness through a blend of post-hardcore energy and melodic intricacy. The album features standout tracks like "Caraphernelia," which includes guest vocals by Jeremy McKinnon of A Day to Remember, and "Bulletproof Love," a fan favorite known for its dynamic instrumentation and heartfelt lyrics.Produced by Mike Green (Paramore, All Time Low), this record showcases the band’s technical skill and ability to balance intensity with softer, emotive moments. With its layered arrangements and polished sound, Selfish Machines offers a thoughtful take on the complexities of human emotion.

At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler.



In 1968, the saxophonist and flutist recorded his first album under his own name: It’s Not Up To Us. The following year he came to Paris in the wake of… Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again.

On Palm Records (Gilson’s label), he would release four albums: Us, Mother Africa, Exactement and Funny Funky Rib Crib.



A few months after recording “Us”, Lancaster recorded “Mother Africa” along with Clint Jackson III, a trumpeter, partner of Khan Jamal or Noah Howard on other recordings.

On march 8th, 1974, Lancaster and Jackson headed up a group composed of Jean-François Catoire (electric and double bass), Keno Speller (percussion) and Jonathan Dickinson (drums).


Together, they create an immediate impression. From the first seconds of “We The Blessed”, they develop a free jazz which rapidly abandons any virulence under the effect of blues and soul based interventions.

When Gilson’s composition “Mother Africa” begins, listeners are transported into the studio, listening to the musicians setting up: chatting and joking… Then comes the melody: a dozen or so notes of a repeated theme which is accelerated and deformed according to their whims… The jazz played by the association Byard Lancaster / Clint Jackson III is rare: creative AND recreational. “We the blessed”, is apt listening to this again today!

This CD edition contains a bonus track, the magnificent “Love Always” that was originally released on the fourth (and last) volume of the Jef Gilson Anthology series released in 1975.


Recorded on 8th March 1974, it is a beautiful 15-minute-long modal jazz piece. Four notes from the bass (the relentless Jean-François Catoire, who makes up the rhythm section alongside drummer Jonathan Dickinson and percussionist Keno Speller), and the group is up and running!

On piano, Gilson shows the subtle tact of a sideman, leaving the lions’ share of the place to the horns. This allows us to hear the trumpet of Clint Jackson III and the alto (which sometimes sounds almost flute-like) of Byard Lancaster each staking their claim in a long hallucinatory march which moves from moments of direct exaltation to profoundly sensitive collective playing.

Introducing: Temporary Blessings, the new project by stalwart Naarm / Melbourne trumpet player and composer Liam McGorry.

Assembled to realise McGorry's compositions drawing on 1960s Italian & French soundtrack music, Temporary Blessings brings together trusted instrumentalists and fellow travelers from Melbourne's rich enclave of cinematic soul. With Liam at the helm, the group is composed of members of Surprise Chef, Karate Boogaloo, Saskwatch and Let Your Hair Down.

The resulting recordings realise McGorry's sonic visions of film noir, giallo, library music and cinematic soul, captured live in one room with what the maestro describes as "a shared spirit". The recordings, produced by paragon Henry Jenkins, bring together emotive string arrangements, tough horns and a steadfast rhythm section with an acute attention to detail McGorry has developed over years in the saddle.

Liam says: "I find great comfort in collaborating with good friends and playing together in the same room and taking these blessings as they come."

A veteran of Melbourne soul, McGorry's steady hands have touched some of the city's most revered projects over the last 15 years; McGorry-led projects Saskwatch, Dorsal Fins and Ex-Olympian sit aside Sampa The Great, Ella Thompson and Adrian Eagle on Liam's heavy list of credits and collaborators. He has contributed more than his fair share of bricks to the great structure of Melbourne soul, always playing the background, true to his humble nature.

LP available in black or orange and brown splatter vinyl.

Introducing: Temporary Blessings, the new project by stalwart Naarm / Melbourne trumpet player and composer Liam McGorry.

Assembled to realise McGorry's compositions drawing on 1960s Italian & French soundtrack music, Temporary Blessings brings together trusted instrumentalists and fellow travelers from Melbourne's rich enclave of cinematic soul. With Liam at the helm, the group is composed of members of Surprise Chef, Karate Boogaloo, Saskwatch and Let Your Hair Down.

The resulting recordings realise McGorry's sonic visions of film noir, giallo, library music and cinematic soul, captured live in one room with what the maestro describes as "a shared spirit". The recordings, produced by paragon Henry Jenkins, bring together emotive string arrangements, tough horns and a steadfast rhythm section with an acute attention to detail McGorry has developed over years in the saddle.

Liam says: "I find great comfort in collaborating with good friends and playing together in the same room and taking these blessings as they come."

A veteran of Melbourne soul, McGorry's steady hands have touched some of the city's most revered projects over the last 15 years; McGorry-led projects Saskwatch, Dorsal Fins and Ex-Olympian sit aside Sampa The Great, Ella Thompson and Adrian Eagle on Liam's heavy list of credits and collaborators. He has contributed more than his fair share of bricks to the great structure of Melbourne soul, always playing the background, true to his humble nature.

LP available in black or orange and brown splatter vinyl.

The stunning debut album by Peki Momés is back in store after selling out the first edition in a few weeks! This 2nd pressing has a different label design. Featuring twelve outstanding original tunes. Turkish psychedelic, global disco and outernational!

Peki Momés is a Turkish artist living in Germany - who only started to record music by accident in 2024. Blessed with style and intuition rather than formal education, her fresh and uncompromisingly authentic approach to music took hearts and ears by storm.

Ever since her debut 45 on Mocambo Records, Peki Momés has become a little sensation in and outside the organic groove scene: turntablist DJ Koco played doubles of "Göc Mevsimi" in his set, Iggy Pop announced "Rüya" on his "Iggy Confidential" show on BBC and the second vinyl single surprised everyone with a mesmerizing cover of Marco Valle's much loved "Estrelar" in the turkish language. Both records sold out quickly and are in the bags of tastemakers like Coco Maria.

Peki Momés' music is an eclectic mix of sounds from the global underground, tastefully crafted by producer Dustin Braun and a troupe of ridiculously talented jazz musicians. Dirty disco, fuzzy funk, anatolian rare grooves, experimental synth, library music and japanese city pop all blend naturally with her distinct vocals to create a unique ethereal outernational sound that is all her own.

Once dubbed as 'turkish discodelic', Peki's songs have a dreamlike, enchanted and psychedelic quality and instantly take the listener on a journey. In a poetic way, she approaches topics like "dreams and a naive fear of losing or not fulfilling them" or expresses "worries about our weary world and call for solidarity from all" - always with an outlook of hope. You do not have to speak turkish to understand - the message is transported by a universal language.

With her debut album, Peki Momés is now telling her full story. Displaying a young Peki on the cover, the artwork hints at the freshness and enthusiasm of the project. We should consider ourselves lucky that Peki chose to disrespect rules in favor of self-empowerment and made this wonderful longplayer that you never knew you needed.

12" splattered Vinyl EP incl. Beiblatt, Bierdeckel und DLC Im Jahr 2015 lieferte die Rockgruppe Die Buben im Pelz einen gewagten musikalischen Stunt ab: die Übertragung des hünenhaften rockgeschichtlichen Referenzalbums The Velvet Underground & Nico ins Wienerische Idiom. Ein mutiger Versuch, der mit einem heftigen Bauchklatscher und darauffolgender, noch schmerzhafterer Schadenfreude des Publikums hätte enden können. Aber nein, die Buben haben ihre Sache wirklich sehr, sehr gut gemacht und ihrerseits ein Referenzalbum der lokalen Wiener Rockmusik vorgelegt. So groß war die Freude über die gelungene Immigration von Lou Reeds New York ins heutige Wien, so anhaltend die Begeisterung für das Oeuvre des amerikanischen Meisters, dass 2023 auch dessen Album Transformer dem Regelbuch für große Coverbands entsprechend für das einheimische Publikum verwandelt wurde. Nun folgt mit dieser köstlich verpackten EP ein finaler Nachschlag, eine Erweiterung zum dreigängigen Menü sozusagen. Und ein mehr als gelungener Abschluss einer nahezu epischen Hommage an eine der wichtigsten Bands und einen der größten Songwriter der Rockgeschichte. Nun befinden wir uns in der letzten Runde: noch einmal VU/Reed, diesmal in Form einer Vinyl-EP. Vier Songs von Frauen, deren Leben irgendwann ins Nicht-ganz-so-Gute abgebogen ist. Vier menschliche Tragödien, zeitlos, poetisch, fundamental traurig mit einem kleinen Funken Hoffnung. Noch einmal Warhol, denn: was sollte man denn einem thematisch so stringenten Tonträger sonst für ein Cover schenken? Noch einmal Kulinarisches: die Campbells-Suppendose natürlich, neben der Banane ein weiteres weltberühmtes Tribut Warhols an das kulinarische Alltagsleben. Aber: wie übertragen wir das ins Wienerische? Eigentlich ganz einfach: indem wir uns aus dem Sortiment des Lokalmatadors, also der Firma Inzersdorfer, versorgen. Die Inzersdorfer-Konservendose, diese Ikone der österreichischen Konsumkultur und Lebensmittelindustriegeschichte ist ein mehr als geeigneter Ersatz für die amerikanische Tomatensuppe. Genauer gesagt: passt. Wie die Faust aufs Strizziauge. Köstlich! Der Grafikdesigner Peter Hirth hat zwei historische Inzersdorfer-Dosen zu einem wunderbar geschmacksintensiven Coversujet verarbeitet. In der Kunstdruckinstitution Quint Screen Print in 1230 Wien wurden daraus im händischen Siebdruck eine farbenprächtige Hommage an die seriellen Arbeiten Warhols aus den 1960er und -70er Jahren gefertigt. Farblich perfekt abgestimmt wurde dazu das Vinyl, klarerweise ebenfalls aus heimischer Produktion. Da haben die Fachleute bei in 8350 Fehring wieder einmal ganze Arbeit geleistet. Und der geschätzte Musikerkollege Austrofred wiederum hat zwischen zwei Festivalaufritten Zeit gefunden, über einem schönen Teller Gulaschsuppe meditierend einen Begleittext zu verfassen, der keine kulturhistorischen Fragen offen lässt. Weder in musikalischer noch in kulinarischer Hinsicht. Mahlzeit!

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

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

Transparent Purple vinyl. Sometime in 2005, a lone box of master tapes escaped an estate sale and made its way through a network of collectors, record dealers, and "junkers" into the hands of leading Ohio soul expert Dante Carfagna, who linked them to Columbus, Ohio's mysterious Prix label (See: Eccentric Soul: The Prix Label). A bit of research turned up Prix proprietor George Beter, who identified most of the unlabeled material. All it took was an endless series of phone calls and letters and two fields trips in Columbus. But one complete mystery wended its way onto our final Prix compilation. "You and Me," a simple but irrepressible demo credited only to Penny & the Quarters, was found tacked onto a mixed studio reel. Our survey of every willing lifer left on the Columbus soul scene, including retired DJs, producers, and important local artists, produced not so much as a glimmer of recognition at the name Penny & the Quarters. Though we loved the song from the first play, it may've ended up a bit buried on our original compilation, as #18 of 19 tracks.Four years later, Eccentric Soul: The Prix Label hadn't exactly become a huge seller, although listeners had repeatedly told us that the unfiltered studio demos that fill out the record's back half were true diamonds in the rough. But neither Penny nor her Quarters had appeared to claim credit for their efforts. Then, completely out of left field, we heard from respected screen actor and avowed Numero fan Ryan Gosling that Penny's piercing bit of stripped down doo-wop was being considered for inclusion in Derek Cianfrance's indie-weeper film Blue Valentine. What we didn't know was that "You and Me" had won a major role in what became an indie circuit hit, and that Penny & the Quarters would instantly assume the role of world's most famous unknown doo-wop group.Every week is a slow news week in Columbus, Ohio, and early January 2011 found the city recovering from the thrill of elevating Ted Williams_the formerly homeless guy with the awesome voice for radio_into a national news sensation. But both major daily newspapers in town, as well as the city's alternative weekly, also ran stories about how a lost and unknown Columbus soul group had become the musical centerpiece of a film already garnering Oscar buzz. That mainstream spotlight aimed at Blue Valentine and Penny & the Quarters did the trick: we finally made contact with the widow of Jay Robinson, lead Quarters' singer and songwriter. Robinson, it turned out, had also been the leader of Columbus doo-wop pioneers The Supremes (later known as "The Columbus Supremes," for reasons which should be obvious). Jay Robinson never did give up on the dream of writing a hit record; even so, the posthumous realization of his dream is cold comfort for his widow and daughter. With their blessings, we returned to those estate sale masters and pulled down another neglected track ("You Are Giving Me Some Other Love") from the still-unknown Penny and her now-partly-known Quarters. "You and Me" is a song that could not be suppressed: not when Prix failed to release it; not when Penny & the Quarters were forgotten; not when Numero stuck it at the bitter end of a much overlooked compilation. Its evolution from estate sale trash to silver-screen gold has finally returned it to big-hole 45, where it probably should have lived all along.

Coke Bottle Clear vinyl. Jun 25, 2021 (EST) CD MRG755cd 673855075525 $6.00 Jun 25, 2021 (EST) LP - Black MRG755lp 673855075518 $11.00 Dec 02, 2022 (EST) LP - Coke Bottle Clear MRG755lp-dlx-C1 673855075556 $12.50 TOTAL Quietly Blowing It was written and arranged by Taylor in his home studio_his 8' x 10' sanctuary packed floor to ceiling with books, records, and old guitars_as he watched the chaotic world spin outside his window. "Writing became a daily routine," he explains, "and that was a ballast for me. Having spent so much time on the road over the past ten years, where writing consistently with any kind of flow can be tricky, it felt refreshing. And being in my studio, which is both isolated from and totally connected to the life of my family, felt appropriate for these songs." Between March and June, Taylor wrote and recorded upwards of two dozen songs_in most cases playing all of the instruments himself_before winnowing the collection down and bringing them to the Hiss band. In July, the group of musicians, with Taylor in the production seat, went into Overdub Lane in Durham, NC, for a week, where they recorded Quietly Blowing It as an organic unit honed to a fine edge from their years together on the road. "We all needed to be making that music together," he recalls. "We've all spent so many years traveling all over the world, but in that moment, it felt cathartic to be recording those particular songs with each other in our own small hometown."

DJ Support: Laurent Garnier, Radio Slave, Carl Cox, Eliza Rose, Peggy Gou, Carlita, Skream, Hi Fi Sean, Riva Starr, Anja Schneider, Terry Farley, Heidi Lawden, Marcel Vogel, Alan Dixon, Mele, Jovonn and more

London-based DJ and producer Hilit Kolet is defining the sound of 2025’s fiercest dancefloors.

With a stacked discography on labels like Rekids, Bush, COD3 QR and Defected, and a track record of private re-edits being picked up for official release, her reputation as the go-to name for high-energy, forward-thinking club cuts is undisputed.

The brand new 'Hot M3ss Edits' series kicks off with three of HK’s most sought-after re-edits - once secret weapons in her sets - just in time for the party season.

Limited pressing - grab them while they’re hot!

The piano recital/album sans retour forms the concluding part of Croene's 'Trilogy of Hopelessness' (Cortizona). The overarching theme is the sense of doom inherent in our responses to climate change. After the doomed indulgence in nostalgia ('cul de sac', 2019) and the doomed yearning for landscapes lost through climate change and human mismanagement ('solastalgia', 2022), he now presents 'sans retour': the doom of the inevitably failed fantasy of escape.

Six piano pieces serve as an in memoriam for six fearless aviation pioneers who ultimately lost their lives in plane crashes. The album opens with a sound recording of the communication between Yuri Gagarin and mission control one minute before the launch of the first manned space flight. At the end of Side A and the beginning of Side B, excerpts from the conversation between Richard Russell and air traffic control can be heard.

Conceived as a single, Beethovenian composition, Croene once again demonstrates the wide range of sound palettes a piano can produce. The common thread is a melody based on the 'Dies Irae', which takes six different forms to embody the in memoriam concept.

Los Problemas kehren mit ihrer zweiten Album zurück und klassischen Punkrock plus frühen Oi!, mit rohen, ehrlichen und eindringlichen Texten. Los Problemas melden sich mit ,Nuevas Batallas" eindrucksvoll zurück. Das Album festigt ihren musikalischen Ansatz, der in klassischem Punkrock und frühem Oi verwurzelt ist, mit rohen, ehrlichen und viszeralen Texten. Aufgenommen in den Estudios Santuario Sónico, produziert von Ready For Trouble (Chile) und vertrieben von Smith & Miller Records (Deutschland), vereint dieses Werk 12 Songs, die sich intensiv mit Themen wie Eingeschränktheit, Frustration, Loyalität, Marginalisierung, alltäglicher Gewalt, Entwurzelung und Widerstand auseinandersetzen, immer aus der Perspektive der Arbeiterklasse. Das klassisch schwarze Vinyl kommt mit beigelegtem A2-Poster!

The inimitable Richard Youngs returns to Black Truffle with this third full-length for the label, Hidden. Like CXXI and Modern Sorrow, Hidden unfolds across two side-long pieces at once eminently listenable and possessed of the ‘bloody-minded’ dedication to ‘having an idea and sticking with it’ that Youngs himself has identified as one of the key qualities of his work.

At the core of both pieces are rapid, randomised arpeggios generated with a Moog Grandmother, hypnotic patterns that wouldn’t be out of place on a Berlin School classic. Alongside these arpeggios, across the seventeen minutes of the first side-long piece Youngs builds an airy structure of shakers, synthetic handclaps and a brief, repeated sample, impossible to identify but sounding like a glitched foghorn. Over the top we hear his unmistakable voice, repeating single syllables—Ha, Ho—with a slow delay, something like a lonely one-man-band take on Anthony Moore’s Pieces from the Cloudland Ballroom or a more musical elaboration of the hypnotically overlapping delayed phonemes of Anton Bruhin’s Rotomotor. Like much of Youngs' work, the arrangement of sounds is sparse, each layer punctuated by spaces that allow others to shine through, in a way that seems to have more to do with dub or early hip-hop than high-brow models of musical reductionism.

On the flipside, the arpeggios return, now accompanied by ringing, filtered guitar chords and long flute tones. The use of a similar ground layer across the two pieces with strikingly different overdubs calls up Youngs' first solo record, the classic Advent, reminding us of how consistent ‘theme and variations’ is as an approach in his enormous body of work. Joined by handclaps and a chiming sound, the piece almost feels like it is about to achieve dance-floor lift-off at times, only for the percussion to disappear and leave the listener once again floating among the guitar and flute, now joined by occasional cut-off vocal snippets, like a radio turned quickly on and off. The suspension of these disparate elements over the steady foundation of the Moog arpeggios might remind some listeners of the free-form studio explorations of Moebius & Plank and Holger Czukay or even give a nod to Youngs’ formative encounter with Cabaret Voltaire.

Like some of Youngs’ much-loved work with Simon Wickham-Smith, Hidden approaches relatively familiar sounds and instruments from skewed angles, delighting in loose structures of interaction that border on gleeful incoherence while remaining outwardly beautiful. Coming up to almost four decades of persistent activity, like little else in contemporary music Youngs’ work beams with the simple joys of exploration and experiment.



"We're in the joy business," says frontman Ketch Secor, who launched the Grammywinning band in 1998. "From the very start, a lot of the virtues of Christmas -- the revelry, the singalongs, the happiness -- have been present in our show." Nowhere is that more apparent than OCMS XMAS , the group's first holiday album. Decorated with seasonal spirit and string-band stomp, it's the rare breed of Christmas record that packs a punch all year long, shining new light on the band's chart-topping version of American roots music. Old Crow Medicine Show aren't just reinterpreting their favorite yuletide standards; they're adding new songs to the canon, too, from "Jolly Man" -- a country-blues number inspired by Mississippi John Hurt and laced with harmonica, sleigh bells, and resonator guitar -- to the Zydeco- flavored "All About A Baby." They're telling fresh stories, too. On "Corn Whiskey Christmas," a bootlegger drives his Chevrolet through the snow on Christmas Eve, bringing moonshine to those craving a cup of cheer. On the John Prine-worthy "Bethlehem, PA" -- a sly reimagining of Jesus' birth story, with lyrics that substitute Steel Country for Jerusalem -- the band heads to the Keystone State to witness the Nativity, making stops at Wawa and Motel 6 along the way.

"Grandpa's Gone" grapples with the loss of a family figure during the holiday season, while the wicked "Krampus Night" puts a minor- key spin on the Christmas catalog, paying tribute to a folkloric creature who, according to Secor, "just might leave ya coal and steal your soul." Old Crow have thrived for more than a quarter century. Like many of their heroes, they've become torchbearers of classic folk music, reshaping those sounds for the modern world. They're creators, not replicators, and OCMS XMAS finds them tackling another tradition -- the time- honored Christmas album -- with humor, hillbilly twang, and novel ideas. Supported by the band's first-ever "Holiday Hootenanny" tour, OCMS XMAS just might be the start of a new tradition itself: a celebration of the seasonal sounds, shared joy, and holiday rituals that bring us all together. Christmas just got a new soundtrack.

London-based experimentalist Luke Younger (a.k.a HELM) returns to PAN with ‘Olympic Mess’.
Where his previous effort, 2014’s ‘The Hollow Organ,’ dealt in dense, distressed sonics, ‘Olympic Mess’ is Younger responding to a period spent engaged with loop-based industrial music, dub techno, and balearic disco. These musical references, all of which can induce hypnotic states and feelings of euphoria, inform ten evocative aural landscapes which unfurl over the course of an hour and act almost as a counterpoint to the turmoil that spawned them.
Crafted using an array of heavily processed samples, found sound and electroacoustics, personal conflict manifests in “I Exist In A Fog” and “Outerzone 2015,” where visceral noise disintegrates into veiled, ambient strata. The disquieting crescendos of “The Evening In Reverse” and “Fluid Cloak” offer no such relief, while the title track and “Don’t Lick The Jacket” are mineral, multilayered abstractions twisting around a brittle pulse.

The re-release of 'Flamma Flamma' by the Intuition Music labe was to mark the 30th anniversary and featured a remastered and re- edited version of the original album released worldwide in 1994. It's appearing for the first time on double vinyl, as well as on CD. The composer himself supervised the remastering and re-editing. After its initial release on CD in 1994, 'Flamma Flamma' climbed numerous international charts and quickly developed from an insider tip to a major bestseller and has been compared with Orff's'Carmina Burana'. The gothic world - both romantic gothic and trash gothic - also embraced the work during long 'Flamma Flamma theme weekends' in castles across Europe.

Nicholas Lens began his trilogy 'The Accacha Chronicles' (Flamma Flamma / Terra Terra / Amor Aeternus) with the first part, 'Flamma Flamma', as a search for harmony between the contradictory elements in nature and human nature. The fusion of nonEuropean musical cultures with Western classical music has been described and appreciated as highly unique. Finally, unlike almost every other requiem, 'Flamma Flamma' not only deals with grief and pain, but also presents death as anatural part of the cosmic life process.

The former conscientious objector has long used his music to denounce the abuse of power and advocate for humanity and peace. Now, at a time when war has once again become part of our daily lives - at least in the news - the successful singer-songwriter dedicates an entire album to the subject: Fra guerra e pace (Between War And Peace). " War is a dimension from which humanity has never truly freed itself. A place where destruction and annihilation intersect with other aspects of life - love, birth, hunger, or thirst," writes the artist in the foreword to the album booklet. With this musically and thematically rich album, Pippo Pollina brings us closer to the people behind the headlines, giving life to what we only hear in the news. We are confronted with fear, pain, and grief - but also with hope, love, and poetry

The album 'Sueno', produced by Kip Hanrahan, was originally released in 1989 and is one of Palmieri's more introspective and harmonically rich projects. The album seamlessly blends salsa and Latin jazz with modern jazz elements and features an outstanding line-up of musicians such as David Sanborn, Brian Lynch and Francisco Aguabella. Tracks such as 'Azucar' (a reinterpreted classic) and 'Just a Little Dream' once again showcase Palmieris genius for composition and improvisation. 'Sueno' has been remastered in excellent quality by Intuition Music for the Master Series, highlighting the album's multi- layered arrangements and rhythmic complexity. This reissue honours Palmieri's musical legacy and underscores the timelessness of his sound

Editors-Frontmann Tom Smith veröffentlicht sein Solo-Debütalbum „There Is Nothing In The Dark Which Isn’t There In The Light“

Nach zwei Jahrzehnten als Frontmann von Editors und zwei Alben mit Smith & Burrows betritt Tom Smith mit „There Is Nothing In The Dark That Isn’t There In The Light“ nun endlich Solo-Territorium. Motiviert durch den Wunsch, zu den rohen, akustischen Anfängen seines Songwritings zurückzukehren, machte sich Smith daran, etwas Intimeres und Persönlicheres zu schaffen, weg vom kollaborativen Charakter seiner Bandprojekte.
Anfangs Stand noch der Gedanke im Raum, diese Songs wieder mit seinem langjährigen Kollaborateur Andy Burrows zu schreiben, entschied sich aber schließlich für einen einsameren Weg und engagierte stattdessen den Produzenten Iain Archer. Gemeinsam schufen sie ein Album, das auf emotionaler Ehrlichkeit, akustischen Texturen und Themen wie Verbundenheit, Erinnerung und Resilienz basiert.
Auf dem gesamten Album balanciert Smith reduzierte Arrangements mit filmischen Schnörkeln und schafft so eine dynamische Bandbreite – vom minimalistischen Schmerz von „Broken Time“ bis zum mitreißenden Drama von „Life Is For Living“.
Obwohl von Melancholie geprägt, schwingt auf dem Album letztlich Hoffnung mit – es unterstreicht Smiths Entwicklung als Songwriter und seinen Wunsch, Musik zu schaffen, die das Wesen seiner Persönlichkeit widerspiegelt.

- Oxblood Single Vinyl

With great albums you can enjoy them many times and still hear new things. So how about when a great album is re-imagined and you can hear even more new twists? Chris Pope has taken the classic 1980 album by The Chords and taken a new slant on the amazing songs he wrote on it which will see the album in a new light. When re- working older songs in your back catalogue you musn't miss any of the energy and swagger that made the songs so exciting to hear the first time around and Chris, along with the other members of the band: Sandy Michie on guitar, Mic Stoner on bass and Ken Cooper on drums, have brought a new power to the songs that energised a Fred Perry wearing movement in '79 and '80. Enjoy this album and the clever way it looks at each moment on that record and a few other choice cuts

Mellow Drunk led by Leigh Gregory on vocals and guitar with co-founding member of The Brian Jonestown Massacre, Ricky Maymi and Stephen Scott Cavoretto (ex-Dora Flood). Mellow Drunk quickly established themselves as "purveyors of finely arranged melodic pop songs", as well as becoming favourites on the West Coast club circuit. Supergrass, Luna, trashcan sinatras, The Church, The Clientele, The Morning After Girls, LILYSand Gorky's Zygotic Mynci have all had the band open for them when they've passed through San Francisco.

The Brokedowns are the coolest punk band in Chicagoland and they're back with 13 new songs of fury and satire. The quartet has steadily grown in popularity and so has their appetite for mockery. We asked them about the record, and they explained the fi­rst track is a musical tribute to QAnon moms taking over the school board. Quite the tone-setter. While not a concept album, there is a thematic protagonist: Alpha Dog Serum X. No, Serum X is not a panacea to a world gone mad, it's a fi­ctional miracle drug endorsed by all the coolest billionaires and influencers. Safe to say, if dorks like Elon and Logan Paul heard this music, they would not get the joke. The Brokedowns fuse heavy rhythms with singalong melodies, and they use those tools like hammer and tongs to blast away at our societal ills. It may sound grim, but no one has more fun with our stupid culture than The Brokedowns, so you may as well get in on the roast.

Anfang 1996 veröffentlichte The Wedding Present "Mini" über Cooking Vinyl Records, eine EP mit sechs Titeln, deren Songs alle einen Bezug zum motorisierten Fahren hatten. Fast dreißig Jahre später hat David Gedge dieses Konzept wieder aufgegriffen! "Maxi" enthält sechs weitere Stücke, deren Titel/Inhalte sich alle auf diese Thema beziehen. Maxi erscheint über Clue Records und folgt kurz nach der Veröffentlichung von 40 - der Zusammenstellung, die den komplexen und faszinierenden Katalog von The Wedding Present in einem Box-Set mit vier Vinyl- und/oder vier CDs widerspiegelt. Der letzte Titel der Compilation ist "Hot Wheels" - ein Song, der nun auch auf Maxi zu finden ist, zusammen mit fünf weiteren Stücken. Obwohl Maxi dem gleichen Konzept wie Mini (1996) folgt, klingt The Wedding Present 2025 deutlich größer. Dies ist wirklich eine Band in ihrer kreativsten Phase, die sowohl die Grenzen ihres eigenen Stils/Sounds als auch die Erwartungen der Zuhörer erweitert, während die Texte auf provokative Weise Bilder zeichnen, wie es nur David Gedge kann. "Wie ich in meinen Sleeve Notes zu 40 gesagt habe, wurden die Songs, die wir für Maxi aufgenommen haben, relativ schnell geschrieben, weil ich mich besonders inspiriert fühlte, sowohl textlich - durch Situationen in meinem Leben - als auch musikalisch - durch das Schreiben mit der damals neu hinzugekommenen Rachael. Die daraus resultierenden Tracks wirken größer angelegt und stimmungsvoller als alles, was wir seit langem gemacht haben ... und sie sind dank der neuen Rockqueen von The Wedding Present und ihrem Arsenal an Gitarren und Pedalen auf jeden Fall temperamentvoller!" (David Gedge). Transparente Vinyl-10" oder CD im Digipak.

Originally released as an edition of 50 lathe-cut LPs housed in silk-screened jackets in 2020 (fast on the heels of What's Tonight To Eternity), Cat O' Nine Tails has long intrigued die-hard Cindy Lee fans with its combination of the classic songwriting that would dominate Diamond Jubilee a few years later and an actual suite of classical songs under the title itself.

Opening with the gothic soap opera theme of "Our Lady Of Sorrows" into the manic exploration of "Cat O' Nine Tails," onto the dusty western walk through Patrick Flegel's lovely guitar work on "Faith Restored," the album seems to soundtrack the coolest movie the late '60s ever produced. All of this builds to the lush and sweeping ballad of bruised hearts that introduces that beautiful voice via "Love Remains."

Side Two sees 2024 live show closer "Cat O' Nine Tails III" complete the suite to epic effect, before introducing the absolute showstopper that is "I Don't Want To Fall In Love Again." It is tender and fragile in that way that only Flegel can make both familiar and unique. Closing with the ethereal soul shuffle stomp of "Bondage Of The Mind," the album showcases nine songs from an essential time in the Cindy Lee evolution.

W.25TH / Superior Viaduct bring this collection to the larger audience as it deserves.

Toxy Kated is a free-spirited, chameleon-like band that produces different styles of music without labeling them. Dani Casarano, Camilo Castaldi, Kitty, and Galo Akun—who have known each other for over two decades—decided to join forces to create something new, without rules. Everything happens collectively, in sessions where emotion intersects with sensitivity, and improvisation coexists with intention. Their upcoming EP is a testament to this unique sonic journey, a defiant refusal to conform and a bold declaration to expand the boundaries of music.

Acclaimed Scottish composer Craig Armstrong releases his new work Pacific via his own label CMA Records. Written for piano, cello, and electronics, the three-movement piece was originally commissioned in December 2024 by Christian Kellersman, a pioneering figure in contemporary classical and jazz music, for his new live event series Berlin Confidential, co-curated with Alexander Szlovák. The series aims to promote innovative new music projects, with a particular focus on emerging musicians and composers.

Armstrong was among the first artists invited to perform as part of Berlin Confidential, premiering Pacific at Berlin’s historic Meistersaal concert hall in March 2025. The concert featured Armstrong on piano alongside cellist Lena Angelina von Almen and producer and musician Guy Sternberg, combining acoustic instruments with live electro-acoustic treatments to create a rich and atmospheric sound world.

Recorded in May 2025 at Lowswing Studios in Kreuzberg, Pacific continues Armstrong’s ongoing exploration of blending acoustic and electronic sound in a natural, seamless way. Over several days in the studio, Armstrong, von Almen and Sternberg developed the work’s intricate textures and dynamic interplay, resulting in a recording that captures both the intimacy and expansiveness of the original live performance.

Speaking about the inspiration behind the piece, Armstrong says: “I wrote this work during a time of great instability in the world, I wrote “Pacific” as an Elegy dedicated to the many suffering in today’s conflicts and in the hope that peace will prevail.”

Across its three movements, Pacific 1 is elegiac in nature, with the main themes stated and developed throughout the piece, punctuated by recurring piano motifs. The movement is reflective and atmospheric, with subtle electronic interventions. The second movement is arrhythmic in nature, following shifting time signatures that reflect a sense of uncertainty - the music is searching and static, ending without resolution but leaving hope for one to come. Pacific 3 moves towards peace and resolution, bringing the work to a close with quiet strength and emotional release.

When speaking about the creative process and his collaborators, Armstrong said: “Lena’s beautiful playing , tone and expression worked so beautifully on Pacific, Lena was also a great collaborator and was always willing to experiment and try new musical approaches. Lena is such a natural musician and she brought so much emotion and beauty to the piece. I wish her all the best in her future musical journey.”

He continues: Guy is a unique combination of being a brilliant engineer and mixer and a prolific very talented musician/composer. I was very fortunate to spend time with Guy in his studio in Berlin. His sensitivity to the project and his electronic programming made a wonderful contribution to the composition. His collaboration and friendship made the days working in Berlin such a great experience I would like to thank Emma Ford for her dedication, enthusiasm and guidance on Pacific”

For both von Almen and Sternberg, the collaboration was equally meaningful. Von Almen reflects on the experience of recording the piece, saying: “As a musician, it is always a great privilege to work on a piece together with the composer, and of course I felt even luckier to go through the process of creating something new with an artist like Craig Armstrong. Figuratively speaking, it felt like knitting a silk scarf: using the finest materials and taking the utmost care during the recording, we have realised another beautiful and touching work by Craig, which will bring us and certainly many others great joy. I feel very honoured to have been part of this and to have experienced this warm encounter.”

Sternberg adds: “Diving into Armstrong’s music while working on this record felt like examining a diamond under a microscope, discovering endless beauty within simplicity. Perfection and complexity emerging from simplicity, where every note, tone, noise, and gesture has meaning. I’m deeply grateful to have been part of this process, and for the freedom Craig gave me to express myself through his music, to let our sonic visions merge into one. It’s been both a lesson in music-making and in setting the ego aside, if only for a moment.”

Reflecting Armstrong’s belief in the role of music as a force for empathy and reflection, proceeds from Pacific will be donated to charities working towards peace: Médecins Sans Frontières and the Red Cross.

The limited-edition vinyl release has been pressed on Eco Vinyl at SeaBass Vinyl, a sustainable plant near Edinburgh. The record features striking cover art by Dirk Rudolph, who has designed several of Armstrong’s previous releases.

MAL welcomes Hiroshi Takakura aka Element & co-owner of Riddim Chango Records with a heavyweight session of deep roots mutations and dynamic steppers.

A truly unique and well loved character, Hiroshi is one of Japan’s key figures for dub wise experimentation and this release presents a decade of influence distilled into a selection that bridges Jamaican and UK lineages with a very personal slant.

The centrepiece, ‘Longest Summer Pt.1 & 2’, is a radical remake of the theme from Fruit Chan’s Hong Kong cult film. He flips the wistful, naïve melancholy of the original alongside deep bass weight and syncopated hats with a slink and roll that feels as well suited to the steaming tarmac of LA as any smoke laced, late night Blues dance.

Born from the momentum of live set preparation, the raw sketches that make up the ep were shaped into full-blown dancefloor weapons, particularly the percussion-heavy, tribal mayhem of the title track, ‘Motion Exchange’.

All in all the release captures a snapshot of heady obsessions: UK roots and dub pressure channeling echoes of Jah Shaka, Jamaican dancehall’s roughneck energy, and a wide selection of experimental electronic influences from the early 80’s to the present day.

Motion Exchange delivers a weighty steppers sound that honours its roots while pushing into bold, forward-thinking territory.

Like Element’s sets, this is music for the rig but has layers of detail that reveal themselves on repeat listens and in selector tradition, the EP offers multiple versions for extended play.

A further milestone in MAL’s journey, with Takakura charting heavy new territories in modern dub. RIYL 5 Gate Temple / Bokeh Versions / Lord Tusk / Seln etc.

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Back again with another release for the Meeting Of The Minds series, this time with lucky number 13!

First track on this is by me & Fez The Kid, who has been regularly sending me music for years, most of which I admit to sleeping on due to the sheer volume of demos submitted to the label. But when I was able to actually check some music that he sent me, there was one tune (at the time called All Round Juggling) of his that I gave me a few ideas on how it could sound. He was thankfully up for me working on it with him & the end result is "Skin Out Crew (Magnificent Mix)", which I've been playing a lot in sets this year.

"BDC" is a track done by me & The Last Ronin (aka Stretch & Enjoy) which they had started and I was really into it because it reminded me of some of the "ruff with the smooth" ragga jungle style tracks I'd hear on labels like Slam!, Tom & Jerry, Kemet & so on. It was really fun to work on this with them & we were also able to do a 2nd collaboration, which will be coming out on the next Defender compilation on Stretch's label AKO Beatz.

Settle Down is someone that was on my list of potential collaborators for a long long time but I just kept neglecting to reach out to him about actually doing something together. I eventually got round to getting in touch with him last year for collaborating on a track for Meeting Of The Minds, so he sent me something he had started, which I added some more to & sent back to him, so that he could add the finishing touches. The end result is "Shell Of A Man", which I like because it's quite sparse & ominous, dark but not in the typical "darkside hardcore" way.

"Altitude" by me & Flex Luthor has been through quite a lot haha. He initially reached out about working on a tune together in 2021 & at the time, I was keen but already quite occupied with other artists I was collaborating with for the series, as well as contemplating ending the series on Vol. 10, due to the amount of work it takes to compile each one (which also explains why Vol. 14 is not currently ready for release yet). But around the end of 2022, he sent me a track he had done where he said that he was struggling to get any kind of bassline that he was happy with. I liked what he sent so I asked him to send the track over for me to work on, but I then sat on the track for a whole year due to other commitments before finally working on it in 2024, during a long plane ride where I had time to actually focus on it. I was able to get the track to a place we were both happy with, until it became one of the tracks of mine that got lost when my backpack was stolen a few weeks later, with my computer inside. I didn't have the backup of the project, so unfortunately, we had to master this track for release from the mp3 file of the first & only version we had of it. I think it still sounds fine though, especially as this is not the first (or only) time I've had to send mp3 files off for mastering, but yeah, what a journey this tune has had!

Out Friday 14th June, the renowned jazz and funk trumpeter Sefi Zisling presents his third album ‘The Librarian’, blending classic elements with psychedelic funk, soul, and spiritual jazz. ‘The Librarian’ is dedicated to all things close to Sefi’s heart. The album pays homage to his musical inspirations, his wife, friends, and Eyad, a Palestinian whose story moved Sefi.

"This album was made as an ode to the people I love, and I would like to dedicate this album to them." - Sefi Zisling

Sefi Zisling first started playing the trumpet at the mere age of ten, soon after enrolling in the prestigious art school Thelma Yellin. Performing in an array of bands since his early teens, Sefi has performed and recorded sessions with almost every key player of the jazz world in Israel. His debut album ‘Beyond The Thing I Know’, released on Tel Aviv’s leading collective Raw Tapes, propelled the trumpeter onto the world stage. Sefi then found his home on Tru Thoughts for his sophomore record ‘Expanse’, an album that captured the essence of the classic jazz session and transformed his role from instrumentalist to composer.

The cover art is a painting by the late Walid Abu Shakra, a member of the Abu Shakra family who have collectively played a pivotal role in the Palestinian-Israeli art scene and are respected worldwide. Walid aimed to highlight the expropriation of Palestinian land by the Israeli state and centred his artistic career on safeguarding a disappearing landscape through his monochromatic etchings.

Selling Points
Sefi Zisling's sophomore album "Expanse" sold out on vinyl in the first few months
The cover art is a painting by the late Walid Abu Shakra, a member of the Abu Shakra family who have collectively played a pivotal role in the Palestinian-Israeli art scene
Praise from Jazz FM (Playlisting), FIP, Jamie Cullum (BBC Radio 2), Jazz Times, Jazziz, Tom Ravenscroft, Huey Morgan, Cerys Matthews (BBC 6Music), Musica Macondo, Music Is My Sanctuary, Bandcamp Weekly, Wax Poetics and much more.
Recorded intimately and live with a five-piece ensemble
The LP features a spellbinding version of Mall Waldron's jazz standard 'All Alone'
Mixed by renowned engineer George Atkins (80 Hertz Studios)

2026 Repress

There's no need to apologise - not when the vinyl in question is as good as this. If you've seen Ricardo Villabos behind the decks of late you'll almost certainly have heard him drop one or more of these superlative edits, as he's been hammering them practically non-stop. You can't blame him. 'Edit 1' is a hypotonic bongo-fest that shimmers and caresses the dancefloor with absolute confidence. 'Edit 2' is a female vocal-led disco-slanted house affair with neatly trimmed, jazzy keys and a perky bassline, while 'Edit 3' looks to the late 70s/early 80s for inspiration with a supercatchy synth motif that Vince Clarke would give his right hand for and some exotic sounding, continental male vocals that round it off superbly. Imagine that Patrick Cowley and Krafftwerk made a tune together and you're in the right area. Put all three together and, well, you've got quite the package.

The collaborations between Chet Baker and Art Pepper were originally issued in such a disparity of ways that it might seem difficult at first to think about them as a coherent body of work. Their first session, for instance, was originally segmented in a variety of compilation albums, one tune each, and many times the selections were even abridged, suppressing a solo here or there.

Along with another equally splendid session, it was included in Baker and Pepper's most famous album together, Playboys, which was also released under the title picture of heath. At the time, both Baker and Pepper were at their peaks, which is to say that each was playing as much or more on his instrument than anyone in jazz.

For its fifth anniversary, Deeppa Records presents a two-part various artists compilation exploring the theme of duality. The first part kicks off with Jehan's 'Casino Aquatique' which is a breezy and warm deep house jam with smooth vocals radiating soul. Scruscru then brings more funky drums and expressive disco melodies, and Shaka's 'That Spot Under The Sun' is pure Mediterranean vibes. On the flip comes more blissfulness from I Gemin, a starry-eyed and melodic wonder from Laroye's Cosmic Disco mix and Sunes' late-night and romantic groove, 'Don Fetti.' Four tasteful sounds that ooze class.

Hot 10” vinyl repress limited to 100 copies. Burning Up / Becoming Cyclonic from Jimpster, circa 2018. It’s Minimal, a bit twisted, but hooky as hell.

These will fly. Grab them whilst you can!

Poetry and music in an annually changing Frisian-international ensemble — that’s IT DEEL, a residency project by the Kleefstra brothers. After three previous sessions and releases with Jacaszek, Eivind Lønning & Espen Reinertsen, and Karen Willems, this beautiful project finds its conclusion with a fourth collaboration.
In the summer of 2024, the Kleefstras invited cellist Joana Guerra and violinist Maria do Mar de Brito Lopes for a week-long creative residency at a special location: the Thomas Church in Katlijk.
Like with the previous releases from the IT DEEL collaborations the central theme of for this work is the relationship between humans and nature, in all its beauty and complexity. It’s not a light topic, but one that is universal and deeply connecting. Each year, it’s remarkable to witness what has emerged from the Frisian soil in the dialogue between the Kleefstras and their guest musicians.

1 side features a great Hardtek tube, and the other a enormous Breakbeat hit. Melt them !

Manchester’s own The Slow Readers Club are set to embark on a special anniversary tour celebrating ten years since
their seminal breakthrough album, Cavalcade. Titled ‘A Decade of Cavalcade’, the tour will see the band revisiting the
album that set them on their path to becoming one of the UK’s most revered indie acts, while also marking an exciting
new chapter in their journey.
The tour announcement follows a milestone year for the band with their latest album Out Of A Dream landing at
UK Number 11 in the Official Charts in the first week. With growing momentum on streaming platforms and an everexpanding fanbase, The Slow Readers Club continue their upward trajectory, making A Decade of Cavalcade both a
reflection on the past and a celebration of what’s still to come.
A Celebration of a Pivotal Moment
Originally released in 2015, Cavalcade was a turning point for The Slow Readers Club, capturing hearts and minds with
its brooding, atmospheric sound and emotive lyricism. Featuring fan-favorite tracks such as Plant The Seed, I Saw A
Ghost and Forever In Your Debt, the album resonated with a generation of music lovers and laid the foundation for the
band’s future success. One of those supporters were the band James who personally invited The Slow Readers Club to
support them on a huge headline tour which brought them to a whole new audience.
Now, a decade later, the band will bring Cavalcade back to life on stage, performing it in full alongside other cherished
songs from their extensive catalog. The tour promises to be an electrifying experience, blending nostalgia with the raw
energy of and ambition that continue to define The Slow Readers Club today.

Manchester’s own The Slow Readers Club are set to embark on a special anniversary tour celebrating ten years since
their seminal breakthrough album, Cavalcade. Titled ‘A Decade of Cavalcade’, the tour will see the band revisiting the
album that set them on their path to becoming one of the UK’s most revered indie acts, while also marking an exciting
new chapter in their journey.
The tour announcement follows a milestone year for the band with their latest album Out Of A Dream landing at
UK Number 11 in the Official Charts in the first week. With growing momentum on streaming platforms and an everexpanding fanbase, The Slow Readers Club continue their upward trajectory, making A Decade of Cavalcade both a
reflection on the past and a celebration of what’s still to come.
A Celebration of a Pivotal Moment
Originally released in 2015, Cavalcade was a turning point for The Slow Readers Club, capturing hearts and minds with
its brooding, atmospheric sound and emotive lyricism. Featuring fan-favorite tracks such as Plant The Seed, I Saw A
Ghost and Forever In Your Debt, the album resonated with a generation of music lovers and laid the foundation for the
band’s future success. One of those supporters were the band James who personally invited The Slow Readers Club to
support them on a huge headline tour which brought them to a whole new audience.
Now, a decade later, the band will bring Cavalcade back to life on stage, performing it in full alongside other cherished
songs from their extensive catalog. The tour promises to be an electrifying experience, blending nostalgia with the raw
energy of and ambition that continue to define The Slow Readers Club today.

Le Corbeau, the brainchild of Oystein Sandsdalen (Serena Maneesh), has become a formidable collective. here with a trilogy of albums spanning eight years. Why such a productive group choses to release twenty-seven songs simultaneously may be a greater reflection on the myopic nature of record labels -The mystic deities of noir have returned. "The band"s sound bows to the vestiges of V.U., Sonic Youth, and Lynchian glamour- but each of the three albums show ambition to go beyond, by player freedom and improv, exploring textural layers, and nuancing each groove. Many songs remind us what we loved in 2009`s Evening Chill / Montreal of the Mind - surrealistic, seductive, draped in velvet. Some circle to the familiar with punk fuzz and playful themes, like "1000 eyed behemoth": about leaving Oslo"s night life behind. Other times, they are creators of their own classics. Opening track to VI: Sun Creeps Up the Wall, "Blossom with an Evil Light" recorded between 2017-2018, illuminates a a new path of change. The long anticipation is over- come enter the murky and magical waters of Le Corbeau." -Ann Sung-an Lee

Unreleased 80s psychedelic funk rock out of Boston, MA. Influenced by Funkadelic, Sly Stone and James Brown, to name a few.

Sherman Williams Started playing and writing music at age seven, he played through middle school.

Travelled with a group, called Total Eclipse, throughout the East Coast during his high school years.

He was on a mission to be a professional musician/singer/songwriter, of a band – he wanted heavy rhythms to match his huge guitar action, this is how Black Axess came about.

"I badly wanted to record the music that I helped to create with the Black Axess so paid out of pocket for the studio time." - Sherman Williams

From that session one single, "Tonight" was released on 7" but the lost album "The Golden Seal" sat on tape almost lost to time. That was until Robert Garcia and Daniel Mathis spoke to Sherman while tracking the "Tonight" Single, and discovered the lost LP we have here, credit to them both for sorting out and hooking us up and special thanks to Daniel for saving the tapes when UPS almost lost them, which might have been the end of it!

Lay back, light one up, and listen on loop.

It has been said of Hiroshi Suzuki, one of Japan's leading trombonists, "If you want to sound good, you need to have him as a member of your group”. Suzuki moved to the U.S. in 1971 when he was invited to play with the Buddy Rich Orchestra, and had been living in Las Vegas ever since. The album Cat was recorded when he returned to Japan for the first time in about four years, and released on Nippon Columbia in 1976. The musicians are the same as in Freedom Unity, the group Suzuki had been a member of until his 1971 departure – consisting of pianist Hiromasa Suzuki, drummer Akira Ishikawa, bassist Kunimitsu Inaba, and saxophonist Takeru Muraoka.

Cat is a kind of second chance for that group, which once had a promising future but came to a premature demise. Based on the synergy that they had cultivated together in the past, the players brought their individual technical and musical growth to the album and collectively refined their efforts even further. Each of them had been active on the front lines of the jazz scene, and the quality of their compositions, arrangements, and performances here are extremely high. Cat is one of the most revered albums in the extraordinary Japanese Jazz discography and an essential piece of any music collection.

(Text by Yusuke Ogawa - Universounds)

The 3rd and final chapter in Cochemea's epic quest to explore and express the spiritual connection between his art and ancestry. For Vol 3: Ancestros Futuros, Cochemea entrusted his vision to a core group of longme collaborators-a powerful octet composed of New York-based percussionists and members of Daptone's famed rhythm section. Gabriel Roth (aka Bosco Mann) reprised his role as producer, recording and mixing the album live to 8-track analog tape. Cochemea continues to push the boundaries of his sound, blending past, present, and future into a ritual offering-an evolving sonic narrative where memory, survival and creativity converge.

An abstract painting with expressionist hues and futurist echoes, a mix between action painting and informal art: this is the first impression from Grischa Lichtenberger's live performance recorded at the Pino Pascali Museum in Polignano a Mare. The artist, based in Berlin, makes the rhythms creak, cuts them with a laser, weaves imaginative harmonic coils, smoothes with electric razors and draws figures with echoes and industrial clangs.

Then he uses ferrous materials that, with a precision lathe, are abraded and cause sparks. Suddenly steel springs fall to the ground, generating a cascade effect. In the distance, you can hear the roar of speeding cars and the ringing of bells.

Lichtenberger pulps, compresses, dilates, mixes, electrifies, heats up, liquefies: he does all this in just less than forty minutes, treating the sound material with violence, transforming it from time to time, shaping it and succeeding in the arduous task of controlling its effects. It is as if Luigi Russolo, Alva Noto and Thomas Brinkmann were closed in a workshop on the edge of a highway, parodying the famous definition of techno.
Giosuè Impellizzeri

A glimpse through the window into the mind of Ox Omni, No Prayers to the Devil is a declaration of war against all things ungodly—an unflinching, uncompromising statement from an artist who refuses to bow. Fully produced by 94Maax and mixed/mastered by Shiggy, the album weaves razor-sharp lyricism through haunting samples, crisp drumwork, and cinematic textures. Ox Omni blends street wisdom with introspective storytelling, delivering a project that is both raw and thought-provoking.

The album features carefully curated guest appearances that enhance its immersive atmosphere. RocxNoir joins on “Paid in Full,” Rome Streetz lends his presence to “Kitchen Counter,” and Daniel Son adds his touch to *“Favorite Episode.” Each collaboration amplifies the album’s dynamic range, seamlessly shifting between moments of darkness and revelation.

The striking album artwork, created by Stab Master Arson, reinterprets Friedrich August Moritz Retzsch’s classic painting Checkmate, reinforcing the album’s core themes of power struggles, fate, and the fight for one’s soul. Just as the painting portrays a man locked in a high-stakes chess match against the devil, No Prayers to the Devil finds Ox Omni navigating the trials of life with unwavering conviction.

With its eerie production, calculated lyricism, and masterful sequencing, No Prayers to the Devil is a gripping body of work that cements Ox Omni’s place in the modern underground scene.

A transatlantic masterpiece, "Mystery Merxhant" is a vivid sonic journey that fuses the smooth, raw lyricism of Bahamian rapper Obijuan with the cinematic, dusty soundscapes crafted by UK producer Giallo Point. Together, they weave an immersive tale of introspection, hustle, and mystique.

Obijuan’s deep, measured delivery glides effortlessly over Giallo Point's expertly layered beats, which are steeped in rich samples, haunting melodies, and boom-bap drums. Each track feels like a page from an ancient, esoteric scroll, with Obijuan delivering cryptic rhymes that balance between wisdom and wit. Survival, self-reliance, and spiritual alignment blend with hypnotic loops, shadowy and noir-inspired tones and cinematic vibes.

This collaboration solidifies Obijuan and Giallo Point as formidable artists in the underground scene, bringing a fresh yet nostalgic sound that invites listeners to lose themselves in the depths of its artistry.

Progressive rock may rarely grace the mainstream spotlight, but its devoted global community continues to thrive, and few bands embody that spirit better than Airbag. Since their debut EP, Safetree (2007), and first full-length album, Identity (2009), the Norwegian quintet has steadily built a worldwide following with their cinematic soundscapes, soaring melodies, and timeless songwriting. From All Rights Removed to The Century of the Self, each release has cemented Airbag's reputation as one of the most vital acts in modern progressive rock, earning critical acclaim and packing venues across Europe and beyond. Now, 16 years and five studio albums later, Airbag returns with their first official live album, captured during a powerful performance at Poppodium Boerderij in Zoetermeer, The Netherlands in 2024. This double CD / double vinyl release showcases the band at their best, raw, immersive, and sonically stunning. The recordings have been meticulously mixed to preserve the atmosphere and authenticity of the live shows. For collectors, the vinyl edition is a must-have: A deluxe gatefold cover with an exclusive booklet and a limited first pressing on coloured splatter vinyl, a beautiful piece for fans and audiophiles alike. Whether you've followed Airbag from the beginning or discovered them along the way, this live album is a celebration of a band that continues to defy trends, connect deeply with fans, and delivers music that stands the test of time.

The story of Suffering began in the UK's West Midlands in 2012 and since those nascent days they have released a nefarious collection of occult black metal offerings, beginning with their debut album, 11, in 2018 and most recently the Symphonies: Diabolis EP in 2024. They have also built a reputation for intense, diabolical live performances, appearing alongside the likes of Esoteric, Ghost Bath, and Mol. The band recently signed with infamous label, Apocalyptic Witchcraft, with label founder Conor Droney describing Suffering's music as "dark, unflinching, and deeply atmospheric, exactly what we stand for." And now the first fruits of that new alliance are about to be unveiled, in the shadowed form of Things Seen But Always Hidden. Things Seen But Always Hidden is an enveloping nightmarish journey through temptation and spiritual destruction, an immersion in contrasting states of terror and ecstasy - it bewilders, consumes and possesses the power to change and scar. Each song seeps into the next, binding them into a grimoire of dehumanising ritual, yet they exist as powerful individual entities. There is 'Enthralled', constructed from classic black metal riffs and raw vocal exhortations_and something more, something imperceptible but profoundly affecting; 'What Once Was Shall Be Again And What Is Shall Be No More', a glimpse beyond the veil, a fall down the endless paths of inherited memory that binds you to this album, this place constructed from arcane sound; the fear filled and imperious 'Hell On Earth New Eden', driven by a ravenous, unholy hunger_each chapter in this tome of unmaking and desecration will burn itself into your mind. A fusion of blackest metal, ritualistic doom and unsettling, distressing atmosphere Things Seen But Always Hidden will never leave you, no matter where you run. The way to Things Seen But Always Hidden will be revealed by Apocalyptic Witchcraft on November 28th. But remember, once you have set foot on this path there is no way back_

Coach Party return with their explosive second studio album, ‘Caramel’ via Chess Club Records.



Coach Party are poised to make their mark on 2025 and beyond with their new album ‘Caramel’, it is a melody packed, infectious record born from the shared experiences and unity of the bands four members: Jess Eastwood, Steph Norris, Guy Page and Joe Perry. Produced by the band’s own Guy Page, it channels the introspection and bite of bands like Hole, Sprints, Turnstile, and Amyl and the Sniffers. Clocking in at 33 minutes, it’s a sharp, melody-driven record that expands on the themes of their 2023 debut ‘Killjoy’ — heartbreak, identity, and finding your voice.



The band have built a reputation for intense, sweat-soaked live shows, touring with the likes of Queens of the Stone Age, Wet Leg and Royal Blood, and making festival appearances at Glastonbury and Rock en Seine. With ‘Caramel’, they push their sound further than ever, hook-heavy, emotionally honest, and made for the big stage.

Reissue of the very first album ever released by Sly & Robbie’s iconic TAXI label back in 1979.



"Having saved enough money during a tour with Peter Tosh to buy 4 multitrack recording tapes, Sly & Robbie asked Gregory to voice a few songs for them. Because they had played on so many of his hits, Gregory generously agreed to do it for free to help bootstrap the new TAXI label.

In 1979, Gregory Isaacs was by far Jamaica’s most popular artist, earning his "Cool Ruler" nickname many times over releasing hit after hit, most of which were produced with Sly & Robbie, who at 25 years of age were already the hottest backing band. Out of these sessions came hits like "Soon Forward", a fabulous cover of Bob Marley’s "Slave Driver" and 4 other potent tracks. There were no flimsy soul or pop covers: Gregory Isaacs, whose voice and range were at their peak, sang with clarity, depth, verve and confidence, with no unnecessary mannerisms.

A must have for any serious music fan, this crucial album features extended so-called "Discomix" versions of all the songs, providing listeners with a generous serving of the Riddim Twins drum and bass extravaganza. In addition to the original album, we have added 3 dub versions that were only released in Jamaica, as B Sides of singles, in 1979. These have never been reissued until now and provide a fascinating glimpse into Sly & Robbie's drum and bass sound, which revolutionized Reggae music at the time."

Frontman Chris Reifert was already a well-known force on the underground through his time as drummer with Florida's highly respected death metal combo Death. After playing drums on the band's debut album, the much acclaimed 'Scream Bloody Gore', Chris moved back west to the more open climate of San Francisco & formed Autopsy. The band released the demo 'Critical Madness' in 1988 & it wasn't long before Peaceville Records snapped them up in a deal initially spanning 4 albums.

The partnership kicked off in April 1989 with their debut album 'Severed Survival'; a brutal explosion of heavy riffs, tight drumming & a screaming vocal, rounded off with concepts of death, disease & diabolica. This was swiftly followed up with the equally genre-defining 'Mental Funeral' opus in 1991. Released in the autumn of 1995, Autopsy's then fourth & final album before splitting, 'Shitfun', was a glorious scatological gross out & exercise in the limits of extremity & a fitting end to one of the finest bands of a Doomed generation before their return from the grave in 2009 which has continued to go from strength to strength to the current day. This thirtieth anniversary vinyl pressing of 'Shitfun' is presented on bowel- busting limited brown marble- effect vinyl, including the original cover art & printed inner sleeve.

ROTTEN, FOUL, DERANGED!

Around the end of the 1980s and the first years of the 1990s bands like PUNGENT STENCH, DISHARMONIC ORCHESTRA, DISASTROUS MURMUR or MIASMA made a name for themselves by putting out some classic albums. "Been Caught Buttering", "Changes" or "Expositionsprophylaxe" were records spawned by Austrian hordes which were globally hailed by devotees of Death Metal. As fertile a soil Austria once seemed to be, throughout the last 30 years not one single Death Metal album was put out that would match the quality of the pioneers.

Apparently, it took Brenton, an Australian settling in Vienna, to eventually put Austria on the map again. After having founded FESSUS with 3 other members in 2023, the quartet put out their first demo "Pilgrims of Morbidity" in the same year.

Now, two years after the very promising demo, FESSUS return with their first full-length. Cryptically entitled "Subcutaneous Tomb" the album's six lengthy songs stylistically continue where the demo left off. Whereas other bands focus on hyper-speed, over-technicality and brutality, FESSUS' brand of Death Metal is mostly played in moderate tempi with outbursts of speed and aggression scattered throughout the album. The songs are foremost characterized by memorable compositions and groove. Every song literally oozes with morbidity and conjures a dense macabre atmosphere. Brenton's vocals which are partly reminiscent of NECROPHAGIA's Killjoy are one of the highlights of the album. With his performance being equal parts versatile and deranged, Brenton spews vile bile and brimstone like not many lunatics before him. Although there are hints of other bands like AUTOPSY or PURTENANCE found on the album, FESSUS actually managed to come up with a sound that’s distinctly their own.

"Subcutaneous Tomb" is a perfectly produced album that those worshipping at the altar of morbid, rotten Death Metal can't afford to miss out on.

Recording, mixing, mastering: Thomas Taube (Five Lakes Studio)

For over two decades, Dub Inc has been a cornerstone of the French-speaking reggae scene, embodying both power and authenticity. Hailing from Saint-Étienne, the band has built a strong identity, whether on stage or through their productions, always driven by the will to deliver meaningful messages that resonate far beyond borders. Dub Inc now returns with their new project Atlas, the result of a full year of creation at their new Greenlab Studio. Writing and composing went hand in hand, guided by powerful themes and a constant awareness of today's world. To enrich this record, the band invited three renowned artists: L'Entourloop, Kabaka Pyramid, and Marcus Gad. The result is an explosive fusion of reggae, world, and urban sounds - a 9th album that stays true to Dub Inc's DNA while opening new musical horizons.

Jessie J´s sechstes Studioalbum ”Don’tTease Me With A Good Time” - ihr erstes seit fast acht Jahren
- ist ein kühnes Kaleidoskop der Emotionen, das die rohen Höhen und Tiefen des letzten Jahrzehnts
einfängt. Das Album, das in den letzten fünf Jahren in Los Angeles aufgenommen wurde, ist emotional,
ungefiltert und kompromisslos, es ist Musik, die ihr Herz auf der Zunge trägt und danach verlangt, in voller
Lautstärke gefühlt zu werden. In Zusammenarbeit mit einer eingeschworenen Gruppe von Kollaborateuren
arbeitet Jessie J mit Ryan Tedder (One Republic, Beyoncé, Adele), Jesse Boykins III, Los Hendrix (SZA,
Brent Faiyaz), Marty Maro (JohnLegend, Anitta) und anderen zusammen, um ein Werk zu schaffen, das
mühelos Sold-Skool-Alt-R&B, Upfront-Pop und zeitgenössischen R&B miteinander verbindet. Das 16-
Track-Album enthält herausragende Singles wie ”BelieveIn Magic”, das zutiefst persönliche ”NoSecrets”
und die euphorische Hymne ”Living My Best Life”, die den breiten Sound und die Thematik des Albums
andeuten. Das Album endet mit der Power-Ballade ’AwardGoes To’, mit der Jessie J Anfang des Jahres
bei den BAFTA Television Awards eine atemberaubende Live-Performance ablieferte

Peach Discs’ last EP of 2025 comes from DJ & producer Leibniz. Hopefully you can hear why we chose to wait till club season is fully upon us to put this one out – "Corridor" is a deeply heads-down, groove-forward record that casts an enveloping atmosphere across its minimal, tunneling arrangements built for dark rooms and long nights.

Across the EP's four tracks, Leibniz (real name Moritz Paul) picks a vibe and runs with it – themes persist, the focus narrows and what we get is something approaching a mood. Drawing inspiration from early 2000s techno records from the likes of Archetype while combining the ambient warmth of Kompakt’s Pop Ambient compilations and GAS releases with the clarity and weight of early dubstep and 2-step, he dived into a process of self-sampling, resampling shorter demos and ideas into full arrangements, or "making in-between tracks that help make the tracks.”

The pair of tracks on the record's A-side are made up of little more than razor-sharp percussion, billowing, restless pads and an infectious bassline, but it's the way these carefully considered elements are put together that do the damage on the floor.

Flip it over and Ten Ten breaks the 4x4 spell for a moment, leaning into a heavily swung, garage-indebted sound inspired by the king of swing himself, El-B. "If my drums resemble just a bit of the ones of El-B, I‘m happy." We reckon he can be happy. Finally, TTL takes us back to the persistent, driving energy of the A-side, with just a hint of hardgroove flavour and the kind of wonked-out fx that always suits the B2 of a record.

Le Corbeau, the brainchild of Oystein Sandsdalen (Serena Maneesh), has become a formidable collective. here with a trilogy of albums spanning eight years. Why such a productive group choses to release twenty-seven songs simultaneously may be a greater reflection on the myopic nature of record labels -The mystic deities of noir have returned. "The band"s sound bows to the vestiges of V.U., Sonic Youth, and Lynchian glamour- but each of the three albums show ambition to go beyond, by player freedom and improv, exploring textural layers, and nuancing each groove. Many songs remind us what we loved in 2009`s Evening Chill / Montreal of the Mind - surrealistic, seductive, draped in velvet. Some circle to the familiar with punk fuzz and playful themes, like "1000 eyed behemoth": about leaving Oslo"s night life behind. Other times, they are creators of their own classics. Opening track to VI: Sun Creeps Up the Wall, "Blossom with an Evil Light" recorded between 2017-2018, illuminates a a new path of change. The long anticipation is over- come enter the murky and magical waters of Le Corbeau." -Ann Sung-an Lee

Le Corbeau, the brainchild of Oystein Sandsdalen (Serena Maneesh), has become a formidable collective. here with a trilogy of albums spanning eight years. Why such a productive group choses to release twenty-seven songs simultaneously may be a greater reflection on the myopic nature of record labels -The mystic deities of noir have returned. "The band"s sound bows to the vestiges of V.U., Sonic Youth, and Lynchian glamour- but each of the three albums show ambition to go beyond, by player freedom and improv, exploring textural layers, and nuancing each groove. Many songs remind us what we loved in 2009`s Evening Chill / Montreal of the Mind - surrealistic, seductive, draped in velvet. Some circle to the familiar with punk fuzz and playful themes, like "1000 eyed behemoth": about leaving Oslo"s night life behind. Other times, they are creators of their own classics. Opening track to VI: Sun Creeps Up the Wall, "Blossom with an Evil Light" recorded between 2017-2018, illuminates a a new path of change. The long anticipation is over- come enter the murky and magical waters of Le Corbeau." -Ann Sung-an Lee

Going through his music files from the past fifteen years, LFU found some unfinished and long forgotten projects. One particular track caught his attention, made by former 'Pantoffeldiertjes' VJ Bas Klompmaker, now known as Pantov. This track, called 'WannaBe', was remixed at some time by LKRT and LFU, but was never finetuned and stayed on the shelf for a long time. When you listen to the original 'Pantov - WannaBe' theme, it feels like you get caught in a magic spell. A boost of freedom and positive energy flows from the speakers straight into your brain. Pantov & Casa Meganika polished up the original track, while LKRT and LFU re-created the remixes. You simply cannot sit still when listening to LFU's catchy and mesmerizing punchy breakbeat remixes: a 7inchMix and a full version boasting even more breakbeats (how many breaks do you want?). The LKRT RMX has a trippy progressive - four to the floor - energetic feel: keep moving straight ahead!

Dieses spezielle Vinyl-Boxset enthält den kompletten Original-Soundtrack des Spiels sowie die DLC-Musik für Stir of Dawn und Wounds of Eventide. Der 4LP-Schuber in limitierter Auflage ist mit einem maßgeschneiderten Coverartwork von Diego Minguez sowie bedruckten Innenhüllen mit Artwork von Jesús Campos „Nerkin“ verziert.

Blasphemous präsentiert eine alptraumhafte Variante des mystischen Katholizismus und der gotischen Architektur der Heimatstadt von The Game Kitchen, Sevilla. Das angesehene Metroidvania-Spiel ist voll von verdrehter religiöser Ikonografie und esoterischer Symbolik. Die eindringliche Musik des Komponisten Carlos Viola ist untrennbar mit der einzigartigen Atmosphäre des Spiels verbunden. Er übersetzt Themen wie Leid, Schuld und Einsamkeit in eine tief emotionale Musik, die von der Tragödie zur Transzendenz drängt.

Der Soundtrack beschwört ein spezifisches Gefühl von Ort und Zeit herauf und schöpft aus den Traditionen der spanischen Folkgitarre, mittelalterlichen Chorälen und orchestralen Verzierungen, um eine Art okkulte Kammermusik zu schaffen. Geschmeidige Streicher und schwebender Gesang kreuzen Wellen kolossaler Drones, bevor sie wieder im Morast versinken. Hypnagogische Passagen pulsieren mit übernatürlicher Kraft, während klagende, beunruhigende Klavierstücke für Momente des Alleinseins inmitten des Gemetzels sorgen. Violas prächtige Kompositionen werden durch Beiträge der Instrumentalisten Sergio Carmona (Bass) und Manuel Soto "Noly" (Gitarre) sowie durch die mitreißenden Gesangseinlagen von Nadia Torres und Dolores Berg unterstützt.

Wie das Spiel selbst ist auch die Musik von Blasphemous beunruhigend und von Leid durchdrungen, aber dennoch seltsam schön und fesselnd. Schnappen Sie sich Ihr Schwert und Ihren Rosenkranz, bevor Sie eintauchen - Sie werden beides gebrauchen können.

Knallharter Crossover-Thrash! Schnelle Riffs, Hardcore-Punk-Einflüsse und energische Gang-Vocals, Themen wie Party, Bier und Trash-Humor ziehen sich durch das ganze Album. Das legendäre Album als Repress auf schwarzem Vinyl.

Just when you thought you'd heard the final word on Norwegian black metal's golden age, Sevan Mater erupts from the underground with a breathtaking reissue of TSJUDER 's Norwegian Apocalypse - now unleashed in a deluxe triple gatefold 2LP edition, pressed on stunning 500 Gold and 500 Red vinyl. Originally released as a live DVD in 2006, Norwegian Apocalypse captures TSJUDER at their most primal and ferocious. Recorded in Oslo and Sandnes in 2005, this live document is a raw testament to the unrelenting, chainsawing riffage and relentless blastbeats that made TSJUDER legends. From the first crackle of the needle, the remastering breathes new fire into tracks like "Sodomizing the Lamb" and "Helvete."

The guitars slice sharper, the drums hit harder, and Nag's vocals tear through the speakers like a storm of razors. The live energy is palpable, preserved in glorious analog fidelity that towers over previous editions. But let's talk presentation - because Sevan Mater has outdone themselves. The triple gatefold cover is a work of dark art: blood- red visuals drenched in shadow, with exclusive liner notes and rare live photos from the original shows. This is not a reprint for casual listeners. It's a statement piece, a collector's treasure, and a monument to the uncompromising spirit of true black metal. Whether you're a longtime disciple of TSJUDER or just stepping into the abyss, this reissue of Norwegian Apocalypse is absolutely essential. It's not just an album. It's a summoning.

Just when you thought you'd heard the final word on Norwegian black metal's golden age, Sevan Mater erupts from the underground with a breathtaking reissue of TSJUDER 's Norwegian Apocalypse - now unleashed in a deluxe triple gatefold 2LP edition, pressed on stunning 500 Gold and 500 Red vinyl. Originally released as a live DVD in 2006, Norwegian Apocalypse captures TSJUDER at their most primal and ferocious. Recorded in Oslo and Sandnes in 2005, this live document is a raw testament to the unrelenting, chainsawing riffage and relentless blastbeats that made TSJUDER legends. From the first crackle of the needle, the remastering breathes new fire into tracks like "Sodomizing the Lamb" and "Helvete."

The guitars slice sharper, the drums hit harder, and Nag's vocals tear through the speakers like a storm of razors. The live energy is palpable, preserved in glorious analog fidelity that towers over previous editions. But let's talk presentation - because Sevan Mater has outdone themselves. The triple gatefold cover is a work of dark art: blood- red visuals drenched in shadow, with exclusive liner notes and rare live photos from the original shows. This is not a reprint for casual listeners. It's a statement piece, a collector's treasure, and a monument to the uncompromising spirit of true black metal. Whether you're a longtime disciple of TSJUDER or just stepping into the abyss, this reissue of Norwegian Apocalypse is absolutely essential. It's not just an album. It's a summoning.

Mj Lenderman is the project of Asheville native, Jake Lenderman, whose 'Boat Songs' was released to wide acclaim on Dear Life Records in 2022. Now Dear Life is proud to offer a vinyl reissue of MJ's 2021 label debut, 'Ghost of Your Guitar Solo,' a collection of nine songs recorded and performed entirely by
Lenderman, and one live band track. The record was written and recorded quickly, songs often being fully constructed and recorded within frenzied single day sessions. Songs were born out of freewheeling jam sessions with his roommates, with Lenderman often freestyling lyrics that would later become the
foundations of the finished songs. Lenderman would write 20 disconnected lines a day, scrapping most of them but preserving a few to be used later. This process aided in what became an extremely prolific writing period for the artist in the spring of 2020. The record sounds like country music being played by a noisy punk band, unkempt and imperfect like the characters in his songs. Here, Lenderman broadened his lyrical scope beyond solemn introspection, adding humor to scenes larger than his own life. He points to authors Harry Crews and Larry Brown as inspirations, both of whom were southern, self-taught writers who balanced empathy, humor, and darkness. This leads to the erosion of the line that separates humor and sadness. The resulting songs are about over-
indulgence and drug/alcohol abuse, full of self-loathing and pity while celebrating the absurdity of it all.

Psychic 9-5 Club marks the beginning of a new chapter for HTRK. It's an album that looks back on a time of sadness and struggle, and within that struggle they find hope and humour and love. It's Jonnine Standish and Nigel Yang's first album recorded entirely as a duo— former band member Sean Stewart died halfway through the recording of their last LP, 2011's Work (Work, Work).
Though the record is instantly recognisable as HTRK—Standish's vocal delivery remains central to the band's sound, while the productions are typically lean and dubby—they've found ample room for exploration within this framework. Gone are the reverb-soaked guitar explorations of 2009's Marry Me Tonight and the fuzzy growls that ran through Work (Work Work). They've been replaced with something tender, velvety and polished. This is HTRK, but the flesh has been stripped from their sound, throwing the focus on naked arrangements and minimalist sound design.
The album was recorded at Blazer Sound Studios in New Mexico with Excepter's Nathan Corbin, who had previously directed the video clip for Work (Work Work) cut "Bendin." Inviting a third party into their world was no easy decision, but in Corbin they found a kindred spirit. The LP was then refined and reworked in Australia at the turn of 2013, before the finishing touches were applied in New York during the summer.
Of all the themes that run through Psychic 9-5 Club, love is the most central. The word is laced throughout the album in lyrics and titles— love as a distraction, loving yourself, loving others. Standish's lyrics explore the complexities of sexuality and the body's reaction to personal loss, though there's room for wry humour—a constant through much of the best experimental Australian music of the past few decades.
Standish explores her vocal range fully—her husky spoken-word drawl remains, but we also hear her laugh and sing. Equally, Yang's exploratory production techniques—particularly his well-documented love of dub—are given room to shine. They dip headlong into some of the things that make humans tick—love, loss and desire—with the kind of integrity that has marked the band out from day one. Psychic 9-5 Club is truly an album for the body and for the soul.

„Wenn alle verschwunden sind, wer fliegt dann dieses Ding?“ Demon Records präsentiert ein exklusives Audio-Abenteuer für den zehnten Doctor, geschrieben von Dan Abnett und gelesen von David Tennant, begleitet von Murray Golds mitreißender Version des bekannten Doctor Who-Themas. Die Tardis materialisiert an Bord eines bahnbrechenden Weltraumkreuzers, der von der Erde zum Planeten Eternity reist. Als plötzlich Passagiere und Besatzung verschwinden, müssen der Doctor und Flugbegleiterin Sugar verhindern, dass das Schiff abstürzt. Doch auf Eternity erwartet sie etwas Schreckliches… „…ein straff strukturiertes und durchweg unterhaltsames Sci-Fi-Thriller-Abenteuer… und das alles getragen von einer gewohnt energiegeladenen Lesung von David Tennant.“ – SFX Magazin Diese spannende Geschichte erscheint als 2LP auf durchscheinend gelbem Vinyl in einer breiten Hülle mit illustrierten Innenhüllen – exklusiv zum Record Store Day Black Friday Event.

With ten original compositions (and one well-chosen cover) to record and a schedule window of just one day in New York City to record them, there was no margin for error. For the frontline Kerry picked a pair of legends - Kurt Rosenwinkel on guitar and Jaleel Shaw on alto and soprano sax. In the rhythm section she selected NYC's busiest bassist Alex Claffy and, keeping it close to home, her partner George Colligan on drums. And in the face of delayed flights and traffic hold- ups, the album Alternate Route was created, hitting the highest standards of performance with the depth and warmth of Kerry's challenging but engaging compositions. It's a set of tough and tender tunes that combine sophisticated harmony with intricate but accessible melodies to inspire some fierce blowing from everyone, all delivered with a concise, timely precision.

The empathy and good feeling flowing between the players are audible from the first notes: "Kurt, Jaleel and Alex all have Philly roots so there's a really strong relationship there. Alex is incredibly gifted, and Jaleel is such a beautiful player with such a huge, recognizable sound. And it was such a thrill to have Kurt on the album - he's one of my favorite composers and I've been a fan for such a long time." Each player has a powerful personality and Kerry allows them free rein, yet such is the strength of her compositions, and her calmly stated but immensely powerful presence on piano, that no one player dominates the music: everyone finds their own alternate route to excellence.

This vinyl features the music from the 4th film in the Saint Seiya saga. It also includes 2 tracks from the Asgard TV series (tracks 11 and 12), one piece from the soundtrack of the 3rd film Abel, and a variation of a track from the Poseidon arc (track 13). Finally, the last track is once again a variation combining two themes from both Asgard and Poseidon.