Cerca:thom

Last Summer, Kelly Finnigan made you a mixtape. It was an eclectic mix of ideas. Now, Colemine Records is excited to share two of those tracks on vinyl for the first time. The A-side 'Leave You Alone,' is a stone-cold classic R&B soul cut, and a certified ear worm. It tells a love story from the female perspective, inspired by the soulful sounds of Bettye Swann. This track features the Ramey Brothers (of Monophonics, The Ironsides) and highlights Kelly on all other instruments. TheB-side, 'Thom's Hartbreak' is at hank you letter to Thom Bell & William Hart, two names that are synonymous with the 60s/70s "Philly Sound". This instrumental tune is an homage to a sound thats haped American music and left an indelible mark on the future of soul.

Im Januar wurde bekannt, dass Thom Yorke den Soundtrack für Daniele Luchettis Film "Confidenza“ komponiert hat, eine Adaption des italienischen Dramas, das auf dem gleichnamigen Roman von Domenico Starnone basiert. Der Film feierte seine Premiere auf dem Internationalen Filmfestival in Rotterdam und wird am 24. April in die italienischen Kinos kommen. Produziert wurde der Film von Indiana Production und Vision Distribution, der Vertrieb erfolgt durch Vision Distribution. Erscheinen wird der Soundtrack am 26. April zuerst digital. Am 12. Juli folgt die Veröffentlichung auf Vinyl und CD. Schon heute erscheint das Musikvideo zur Single "Knife Edge" mit Elio Germano und Federica Rosellini in den Hauptrollen, das eine neu geschnittene Sequenz aus dem Film sowie einen B-Seiten-Track mit dem Titel "Prize Giving" enthält. Der Intro-Track "The Big City" wurde von Yorke im Februar in seiner Playlist für BBC 6 angeteasert.

"Confidenza“ folgt auf Yorkes vorherigen Score zum "Suspiria“-Remake. Dafür erhielt Yorke eine GRAMMY-Nominierung für den besten Song für visuelle Medien erhielt. Produziert von Sam Petts-Davies (Suspiria, The Smile Wall Of Eyes), arbeiten Petts-Davies und Yorke bei "Confidenza“ erneut mit dem London Contemporary Orchestra und einem Jazz-Ensemble zusammen, zu dem auch Robert Stillman und sein Bandkollege von The Smile, Tom Skinner, gehören. 2019 steuerte Yorke Musik zu Edward Nortons "Motherless Brooklyn“ bei und 2022 schrieb er zwei Songs für das Serienfinale von "Peaky Blinders“.

Zuletzt war Yorke mit The Smile (Tom Skinner, Jonny Greenwood, Thom Yorke) auf Tour, die im Januar ihr zweites Studioalbum "Wall Of Eyes“ veröffentlichten,
das auf das 2022 erschienene Debütalbum "A Light For Attracting Attention“ folgt.

Im Januar wurde bekannt, dass Thom Yorke den Soundtrack für Daniele Luchettis Film "Confidenza“ komponiert hat, eine Adaption des italienischen Dramas, das auf dem gleichnamigen Roman von Domenico Starnone basiert. Der Film feierte seine Premiere auf dem Internationalen Filmfestival in Rotterdam und wird am 24. April in die italienischen Kinos kommen. Produziert wurde der Film von Indiana Production und Vision Distribution, der Vertrieb erfolgt durch Vision Distribution. Erscheinen wird der Soundtrack am 26. April zuerst digital. Am 12. Juli folgt die Veröffentlichung auf Vinyl und CD. Schon heute erscheint das Musikvideo zur Single "Knife Edge" mit Elio Germano und Federica Rosellini in den Hauptrollen, das eine neu geschnittene Sequenz aus dem Film sowie einen B-Seiten-Track mit dem Titel "Prize Giving" enthält. Der Intro-Track "The Big City" wurde von Yorke im Februar in seiner Playlist für BBC 6 angeteasert.

"Confidenza“ folgt auf Yorkes vorherigen Score zum "Suspiria“-Remake. Dafür erhielt Yorke eine GRAMMY-Nominierung für den besten Song für visuelle Medien erhielt. Produziert von Sam Petts-Davies (Suspiria, The Smile Wall Of Eyes), arbeiten Petts-Davies und Yorke bei "Confidenza“ erneut mit dem London Contemporary Orchestra und einem Jazz-Ensemble zusammen, zu dem auch Robert Stillman und sein Bandkollege von The Smile, Tom Skinner, gehören. 2019 steuerte Yorke Musik zu Edward Nortons "Motherless Brooklyn“ bei und 2022 schrieb er zwei Songs für das Serienfinale von "Peaky Blinders“.

Zuletzt war Yorke mit The Smile (Tom Skinner, Jonny Greenwood, Thom Yorke) auf Tour, die im Januar ihr zweites Studioalbum "Wall Of Eyes“ veröffentlichten,
das auf das 2022 erschienene Debütalbum "A Light For Attracting Attention“ folgt.

Last Summer, Kelly Finnigan made you a mixtape. It was an eclectic mix of ideas. Now, Colemine Records is excited to share two of those tracks on vinyl for the first time. The A-side 'Leave You Alone,' is a stone-cold classic R&B soul cut, and a certified ear worm. It tells a love story from the female perspective, inspired by the soulful sounds of Bettye Swann. This track features the Ramey Brothers (of Monophonics, The Ironsides) and highlights Kelly on all other instruments. TheB-side, 'Thom's Hartbreak' is at hank you letter to Thom Bell & William Hart, two names that are synonymous with the 60s/70s "Philly Sound". This instrumental tune is an homage to a sound thats haped American music and left an indelible mark on the future of soul.

Thom Yorke ist Sänger, Songwriter und Sprachrohr der Alternative-Institution von der Insel. Mit "Ok Computer" lieferten Radiohead einst ein massenkompatibles Rockalbum, mit "Kid A" zeigten sie sich von ihrer avantgardistischen Seite, um mit "Hail To The Thief" wieder zugänglicher und dafür politisch ausdrücklicher zu werden. Welche musikalische Richtung sie auch einschlugen, die Fans folgten. Nun warten die Eingeweihten seit einem Jahr auf Neues aus dem Radiohead-Camp, und der Kopf überrascht erneut: mit einem Soloalbum, das Split-Gerüchten neue Nahrung geben könnte. Und mit Musik, die auch auf einem Radiohead-Album entzückt hätte.

Singer-songwriter Thom Morecroft releases his sophomore album, “Waiting For Leo.” Drawing inspiration from the rich songwriting style of 1970s folk-rock and infusing it with the distinctive aesthetic lens of Glasgow’s C86 scene, Morecroft delivers a captivating lo-fi experience that pays homage to the past while carving its own unique path. Think Crosby, Stills, Nash & Young meets the infectious energy of Teenage Fanclub’s “Bandwagonesque.” During the pandemic-induced lockdowns of 2020 and beyond, Thom embarked on a remarkable creative journey, offering his Patreon subscribers a new digital album every month. It is within these prolific collections that the songs for “Waiting For Leo” were born. With an abundance of time and the freedom to explore his creative impulses, Morecroft crafted a collection of songs that are reflective, philosophical, and deeply personal. Some look towards the future with hope, others reminisce about the past, while some capture the essence of the present moment, and a few wander into realms of pure fantasy. As Thom navigated the challenge of selecting the final tracklist, he honed and refined each composition, adding production elements and creating a cohesive sonic tapestry. “Waiting For Leo” is an album that manages to strike a delicate balance, emanating a sense of contentment and carefree spirit while simultaneously delving into themes of family, alcoholism, grief, and loss. The introspective nature of these songs, born out of a period devoid of external stimulation, allows listeners to embark on a thought-provoking journey alongside Morecroft. Reflecting on the album’s title, Thom shares, “The album is called ‘Waiting for Leo’ because the songs were written and recorded during the period before my partner and I discovered we were expecting our son. There is also the famous Samuel Beckett play called ‘Waiting for Godot,’ which I must confess I have never seen. Is it good?” “Waiting For Leo” stands as a testament to Thom Morecroft’s artistic growth and showcases his ability to merge captivating songwriting with a distinct sonic aesthetic. As listeners immerse themselves in the intimate world he has created, they will discover a tapestry of emotions that resonate deeply.

Thom invites us on an epic journey, carried by strong bass lines and robust drums, that guides us from our inner world to the outer world.
Thom Draft presents his first EP entitled "Breathtaking", the fruit of his first musical sketches. This EP transports us into a world of ambiences, sensations and emotions, taking us on a journey through landscapes where we feel at home, defining the contours of a tumultuous and intense voyage. It invites us on an epic journey, carried by strong bass lines and robust drums, guiding us from our inner world to the outer world.

Der Radiohead-Frontmann meldet sich solo zurück Thom Yorke veröffentlicht sein neues Album "ANIMA".
Passend zum Album hat der preisgekrönte Regisseur Paul Thomas Anderson einen Kurzfilm gleichen Namens gedreht, der am 27.06.19. um 21.00 seine Premiere bei Netflix feierte. Der 14-Minüter enthält drei Songs aus Thom Yorkes neuem Album. "ANIMA" wurde von Thom Yorke geschrieben und von Nigel Godrich produziert. Das Album beinhaltet 9 Tracks und auf der Vinly-Version einen exklusiven Bonustrack.

Thom Morecroft’s new live single 'The Beast' is unafraid to show the scars. Liverpool, UK — Thom Morecroft’s new 7 inch single ‘The Beast’ has
already been described by writer Paul Du Noyer (NME, Q, Mojo, Word) as “that killer finale”. Recorded live at Studio2, Parr Street, it captures the Shrewsbury-born singer-songwriter closing the launch of his latest album in his hometown of Liverpool.
Following the release of the rich and layered ‘Feng Shui and the Sushi’ album, ‘The Beast’ brings everything back home to an acoustic guitar, the raw voice and a captive audience. A personal story of family alcoholism and mistaken identity, it captures a
young artist at his most direct and vulnerable; giving just a little too much away.
After a UK album tour cut short (and the thrill of a huddled audience for many a distant memory) Thom wanted to reach out with a song that could only really be heard live.
Available on 7” Vinyl and across all digital platforms. For more information, promo requests, or to arrange an interview, get in touch via details at the top.

Thom Yorke is soundtracks Luca Guadagnino's reimagining of the 1977 Dario Argento horror flick, the
soundtrack is a mix of score work, interludes and songs featuring Thom singing.

Reissue for Tomorrow's Modern Boxes the eight track second solo album by Thom Yorke
Tomorrow's Modern Boxes is the eight track second solo album by Thom Yorke. The album is a sketchy laptop creation. It plays like a journey on a night bus with an edgy atmosphere of unpredictability, mixing melancholy, urban soul with some lurching monotony. Yorke's alienated falsetto mumbles and whimpers over furtive dubsteppy beats that could be coming from the headphones of the passenger beside him.Tomorrow's Modern Boxes deepens on repeated listening, with Yorke locating moments of beauty and calm in the eye of his anxiety.

Printed with a metallic silver laminate and multi-tone black, the LP format of the album is pressed onto heavyweight 180g white vinyl completed with undersize 75mm centre labels, housed within heavy white board inner and outer sleeves. (Side B contains a locked groove.)

Sascha Ring aka Apparat’s work as a producer, artist, musician, live act and DJ has always been in a constant state of metamorphosis, while simultaneoulsy always managing to stay true to his trademark musical sound.

There is a unique spirit that lives within his projects and productions or rather they all have this special vision of music which becomes more distinctive with every release and spans his ‘Multifunktionsebene’ and ‘Walls’ albums on Shitkatapult, his ‘Moderat’ album made together with the boys from Modeselektor on Bpitch Control and his DJ-Kicks mix for !K7.

Following on from Kode9 and his friend James Holden, Apparat offers a wonderful mix and insight into the tracks that have influenced and roused his passion for club productions over the years as well as his current favourites in his box.

The mix includes an exclusive track ‘Sayulita’. Together with this mix, it also symbolises a nice reference point in an important chapter in Apparat’s own history – club music. This is a chapter that is by no means finished, for the more he succeeds in re-writing the narrow parameters of techno music, the more important it remains as the driving force in his life.

Back in stock !

Welcome to Monkeytown. Berlin duo Modeselektor returns full force with a new album whose immense energy and club-boiling beats will inject the global dance community with inspiration that reverberates across the entire musical spectrum.
Tracklisting

JJ DOOM is the artist name for producer/vocalist Jneiro Jarel and British-born, mask-wearing maverick DOOM (AKA MF Doom).The nine track EP features tracks from the expanded Butter Edition of the duos debut album 'Key To The Kuffs' including DOOM collaborations with Clams Casino, BBNG, Del The Funky Homosapien, Beck, Thom Yorke & Johnny Greenwood. Originally released in 2014 as a limited edition picture disc, now available in 180g black vinyl.

"On paper, a full collaborative album from NYC's notorious rap villain DOOM and space age production from Jneiro Jarel can't fail. In practice it's even better. DOOM is in the form of his life here." Mojo
"No less quotable than he was in '99... heavy on the diabolical brainiac grifter guise that's fueled his post-KMD creativity for some 15 years, balancing knowledge and absurdity like a master." Pitchfork
"... it's poetry. The way he freeforms his verses and puts it all together, I don't think anyone else quite does it like that... GUV'NOR was my single of 2012. It's genius, that tune." Thom Yorke, Dazed

James Stewart is the host, resident DJ and co-promoter of monthly night 'Black Atlantic Club' at Le Sucre in Lyon. Borrowing the term 'Black Atlantic' from renowned scholar Paul Gilroy's 1993 book, Stewart presents 'black music' as a transnational, incredibly diverse cultural exchange. An avid lecturer on the subject and founder of the Blog Afrosouldescarga, he merges an intellectual approach with the musical and creative side of things: as an active conga player and percussionist, member of Voilaaa Sound System and showhost at Radio Nova. This EP is the work of of a mature and thoughtful musician, combining different musical influences at a high level of production. Alma Negra Records are proud to present James Stewart with his Cotonou EP!

Remixes from Ruede hagelstein & Amin Fallaha, Scuba, Julien Bracht and Tom (Alt-J) Hymn to the Night is the debut album from rising electronic post-punk duo, Lea Porcelain. The album was writt en and recorded over a two year period in Berlin's FUNKHAUS, a broadcasti ng house created under Soviet supervision that now houses the world's biggest recording studio. We are proud of what we have made and we have learned a lot through the process,' recall the band. The spectrum of the album is extremely wide.

Every song works together, playing with very different moods. We would describe it as atmospheric, cinemati c and melancholic'. Including the singles, 'Bones', 'Out Is In', and 'Warsaw Street' The song is rich in vibrant synthesizers and gentle vocals laced with percussion as lively as a marching band, creati ng a track as quixoti c as a lucid dream. - Stereogum

Ominous motorik kraut rumblings and the thudding electronic trickery of prime era Underworld. - Godisinthetvzine

Music-wise, we're thinking of smooshing together Joy Division with Echo & The Bunnymen (sure) coupled with the modern-downbeatness of The XX. So everything dressed in black basically. Brilliant stuff . - Killing Moon

An electronic duo from Frankfurt, Lea Porcelain have a dark, twisted yet oddly enti cing sound. - Clash Magazine

Repress!

FORMAT: DOUBLE 180 GRAM HEAVY WEIGHT VIRGIN VINYL PRESSINGS INCLUDES MIX CD AND HIGH QUALITY COVER ART PRINT
LIMITED EDITION 1000 COPIES WORLDWIDE

This classic late night tales release is now finally available on heavy weight double vinyl, released back in 2010 this edition has gone on to become one of the most successful albums in the series 12 year history, cut using the unique 'half speed' mastering technique's and pressed on virgin 180 gram vinyl this is the ultimate audiophile format, each beautifully pressed disc is housed in a special anti static inner sleeve and comes with a special 30cm cover art print and the package also includes the original CD mixed disc and 12 page booklet.
CD UNMIXED TRACKS (FULL REMASTERED VERSIONS)

Flying Lotus has scheduled the release of 'Until The Quiet Comes', the long awaited follow-up to 2010's Cosmogramma and his third on Warp Records, for a worldwide release on October 1st.
Composed, according to Flying Lotus, as 'a collage of mystical states, dreams, sleep and lullabies', Until the Quiet Comes has the distinct feel of this nocturnal trip. From the twitching descent into a subconscious state and the out-of-focus time-ether of the journey that follows, the sound is an unhinged, yet elegant evolution of the melodic and rhythmic interplay that is woven into the DNA of Flying Lotus' aural personae.

Mit seinem neuen Solo-Projekt „NEOCORTEX“ präsentiert Thomas D ein Werk, dessen Entstehungsprozess teilweise über ein Jahrzehnt zurückreicht. Abseits der großen Stadion-Produktionen der Fantastischen Vier liegt der Fokus hier auf einer persönlichen und inhaltlich dichten Auseinandersetzung mit dem menschlichen Sein. Im Gegensatz zu den vorangegangenen Veröffentlichungen mit der Hamburger Band The KBCS handelt es sich bei den zwölf Titeln ausschließlich um neues Material und keine Remakes.

Musikalisch setzt Thomas D erneut auf die Zusammenarbeit mit den KBCS, die für einen organischen und geerdeten Sound sorgen. Ergänzt wird das Album durch Kollaborationen mit dem Künstler Gu sowie der Liedermacher-Legende Reinhard Mey.

„NEOCORTEX“ dokumentiert eine über 13 Jahre gereifte künstlerische Entwicklung und zeigt Thomas D als Songwriter, der sich direkter und lebensnäher als in bisherigen Solo-Arbeiten positioniert.

Free As You Wanna Be", the first album by drummer Bubbha Thomas and his band The Lightmen, predates the deep-set, maverick jazz issued by the likes of Tribe and Strata East: This album is a harbinger of the collective voice of resistance to the musical and cultural status quo that emerged in the 1970s jazz underground. Drummer, bandleader and activist Bubbha Thomas had toured America with R&B revues, served as a session musician for peacock and back beat records, and played straight ahead jazz with legends before the political and social upheaval of the late 1960s led him to a path first charted by Coltrane. Most of the tracks remain strongly groove-based with a clear sense of cohesion, but a few of the performances push further out than you might expect from later Lightmen releases, revealing the band's deep roots in avant-jazz. This lineup includes a very young Ronnie Laws sounding noticeably removed from the jazz-fusion style he'd adopt in the late '70s. Alongside Thomas on drums, the ensemble is rounded out by Doug Harris on tenor sax, Carl Adams on trumpet, Kenny Abair on guitar, and Joe Singleton on trombone.

This vinyl edition of Repairing the Clock delivers five hard-edged cuts: four remixes by Thomas P. Heckmann, Umwelt, Legowelt, and Crystal Geometry, plus a raw original. Driven by analog grit and human tension, each track pushes the project into darker, heavier territory.

Already backed by Dave Clarke, Marcel Dettmann, Ben Sims, Terence Fixmer and more..

The second volume in a survey of the modern jazz & hard-bop scenes that emerged in the new cultural melting pot of post war London, with recordings from the end of the 1940s through to the early 1960s.

Featuring representations from players whose roots lay in the East-End's jewish community alongside a wealth of talent of Caribbean and African descent playing and recording in post war London during this period.

Made in partnership with the Barbican to coincide with the exhibition Postwar Modern: New Art in Britain 1945-1965.

Delsin is pleased to announce an extensive compilation series combing through the catalogue of landmark Dutch techno label Djax-Up-Beats. The series, curated by Rush Hour co-founder Christiaan Macdonald, launches with a look at the label's legacy in the development of acid music through the 90s. In total, this first entry in the Djax-Up-Beats 1990-2005 series comprises 20 tracks, presented as a main triple-vinyl album plus two additional 12" EPs. This second additional EP brings two fourteen (!) minutes long journies by Acid Junkies feat. The Doctor and by Purple Plejade, an early outing by Thomas P. Heckmann and Holger Wick. Crucially, every track featured on the series has been carefully mastered by Johanz Westerman, bringing the best out of tracks that often had very little post-production treatment before they were originally pressed to wax. With five more, equally extensive, volumes to come in this series, Djax-Up-Beats 1990-2005 is a thorough exploration of a true totem of techno culture - a renegade label that operated on its own terms and carried surprises and slammers in equal measure.

2026 sees Robert Hood going back to his minimal techno roots and then flip things forward with remastered releases from his ground-breaking label, M-Plant. Throughout this year the Perpetual Masters series has been dropping one track per week, digitally, from Hood's extensive catalogue with remastering by legendary German producer, Thomas Heckmann. Now coming to vinyl are two of these remastered tracks.

Robert Hood's "Psychic / Pole Position" is a classic which features his stripped-back minimal techno style that helped define the sound in the late '90s. Both tracks are built around hypnotic rhythms and sparse, precise grooves characteristic of Hood's influential production ethos. Originally released in 1999, the EP reflects Hood's focus on minimalist electronic structures and dance floor functionality, and has remained a sought-after piece among fans of the genre.

Genesis' Foxtrot is the band's fourth studio album, released in 1972. Regarded as one of the seminal albums of the progressive rock genre, it marked a significant milestone in Genesis' discography.

AllMusic's Stephen Thomas Erlewine says Foxtrot is where where Genesis began to pull all of its varied inspirations into a cohesive sound. The startling thing about the opening "Watcher of the Skies" is that it's the first time that Genesis attacked like a rock band, playing with a visceral power, he writes, giving the album a 5-star review.

"There's might and majesty here, and it, along with 'Get 'Em Out by Friday,' is the truest sign that Genesis has grown muscle without abandoning the whimsy. Certainly, they've rarely sounded as fantastical or odd as they do on the epic 22-minute closer "Supper's Ready," a nearly side-long suite that remains one of the group's signature moments. It ebbs, flows, teases, and taunts, see-sawing between coiled instrumental attacks and delicate pastoral fairy tales. If Peter Gabriel remained a rather inscrutable lyricist, his gift for imagery is abundant, as there are passages throughout the album that are hauntingly evocative in their precious prose." — AllMusic

This is the rare art-rock album that excels at both the art and the rock, and it's rightly celebrated for its enduring impact on the progressive rock genre, making it an essential listen for Genesis fans.

Analogue Productions has given Foxtrot the deserving full reissue treatment: Mastered directly from the original master tape by Chris Bellman at Bernie Grundman Mastering and cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

For her new and most radical album »Electroacoustic Works for Halldorophone«, Martina Bertoni used the electronic instrument at EMS Stockholm to create four pieces that are massive in scale and incredibly intimate, sonically restrained and emotionally overwhelming—almost ambient and always demanding your full attention.

Martina Bertoni returns to Karlrecords with »Electroacoustic Works for Halldorophone,« her most radical album yet. The foundation for the four electroacoustic pieces was laid during a residency at Stockholm’s legendary Elektronmusikstudion (EMS) that the Berlin-based cellist and composer used to explore the curious instrument, originally designed by Halldór Úlfarsson in 2008, as an algorithmic system in order to examine tunings and the mathematical relationships between Aiming to analyse and understand their interaction beyond the composer’s control, Bertoni sought to engage more deeply with the concepts of time, tuning, and, most importantly, control. Accordingly, her four »Electroacoustic Works for Halldorophone« seem both massive in scale and incredibly intimate, sonically restrained and emotionally overwhelming— almost ambient and always demanding your full attention.

While the halldorophone—famously used by Hildur Guðnadóttir for her »Joker« score—roughly resembles a cello and can be played like one, it is an electronic instrument. The vibration of its strings is being picked up, amplified, and then routed through a speaker. This creates a feedback loop that becomes increasingly complex depending on how much gain is added to individual strings. Úlfarsson gave Bertoni a carte blanche for how to handle the instrument, but she stresses that she relied on »minimal interventions—some string strumming and plucking« that set the interactions of different sounds and frequencies into motion. »I decided to not approach it like a cellist would,« she explains. »Instead I used it as a kind of generative organ by turning it into a feedback machine, with tuned feedback triggering more feedback depending on the tuning, which was based on tetraphonic scales that I could apply on the four main strings as well as the sympathetic group of strings.«

Bertoni recorded the material in the EMS studio, later composing and arranging the four complex pieces in her home in Berlin, after which they were mixed and mastered by Ciaran O’Shea. While this can be considered a compositional abstraction process, traces of her concrete work as a performer are firmly ingrained in the music. »The halldorophone doesn’t have a line output, just a double set of speakers, which is why I recorded all sounds with two microphones in the EMS studio,« she explains. »That’s why there’s plenty of breathing sounds here and there—label owner Thomas Herbst and I jokingly refer to the album as my ›chamber music record‹.« And indeed, there is a striking sense of intimacy to these four pieces throughout which individual sounds, harmonic frequencies, and even subtle rhythmic figures seem to move both on their own accord but also according to a underlying vision that steers their interplay.

Indeed, »Electroacoustic Works for Halldorophone« is an album built on and marked by contrasts. The soothing polylogue of single sounds in the higher register on opener »Omen in G« is counterpointed by massive bass drones, while the second piece, »Nominal in D,« plays a cunning game of repetition and difference by combining thick textures with all kinds of rhythmic elements. »Fades in C«—the longest of the four pieces, clocking in at 17 minutes—unlocks the emotional potentials of the sonic qualities of the halldorophone, sounding at once serene and anthemic, and »Organon in D« closes the album by underscoring how Bertoni’s unconventional approach allows her to seamlessly transform simple, quiet tones into complex, towering walls of sound.

»Cosmogonical Ears« is Amosphère's first album for Hallow Ground. Following her contribution to the Swiss label’s »Epiphanies« compilation and her 2021 full-length debut »More Die of Heartbreak« on 33-33, it features three expansive pieces. The Paris-based composer and multidisciplinary artist delves deeper into themes of time, space, cosmology, human perception, and psycho-physical effects, crafting profound sonic meditations. Drawing on a minimalist approach while blending electronic and acoustic elements, Amosphère’s long-form compositions are living, breathing entities whose sonic richness and evocative power unfold gradually over time, putting »Cosmogonical Ears« in direct kinship with previous Hallow Ground releases by artists such as Kali Malone and FUJI|||||||||||TA.

The album opens with its longest piece, »Land of eternal delight,« composed for the Buddha10 exhibition at the Museo d'Arte Orientale in Turin. Written during three years of isolation—a period in which Amosphère explored meditation practices and diverse belief systems—it merges mythology with personal transcendental experiences, reflecting on a challenging time for humanity. »By blending Buddhist philosophy and sculpture with my own meditation practices, I sought to explore a way for people to transcend the boundaries of space and time—not as a believer, but as an observer,« she explains. Featuring handmade ceramic instruments and recorded by Thomas Lefevre, the piece combines Amosphère’s electronic organ with Marc Lochner’s flute contributions, creating a sound that is simultaneously minimalist and expansive.

The concept of teleportation and how it challenges traditional notions of time and space serves as the foundation for the second piece. »Recent advances in quantum physics suggest that teleportation might be possible through quantum entanglement,« Amosphère notes. »What if science fiction is becoming reality—or has already existed in ancient times?« Drawing inspiration from theories proposed by physicists such as Roger Penrose, Amosphère again worked together with flutist Lochner, this time using her VCS 3 synthesizer. »Teleportation« weaves single notes into intricate, non-linear patterns that defy conventional logic, creating a complex auditory tapestry. The last piece »Black hole in, white hole out« was recorded on Corsica and features Miao Zhao’s bass clarinet drones alongside Amosphère’s church organ. It imagines the possible sound of crossing a black hole while also suggesting the study of its theoretical exit and its potential applications for large-scale time and space travel.

The questions posed by »Cosmogonical Ears« do not yield straightforward answers. Instead, Amosphère’s restrained yet intricately layered compositions require full immersion and concentration from the listener. As expressed by the album’s title—which envisions the birth of a new universe through listening—»Cosmogonical Ears« offers an experimental approach to auditory perception as a tool for seeking truth, freedom, and harmony between the outer world and the inner self.

There’s no direct English translation for the word “hiraeth”. In the Welsh language, it describes a form of longing for an intangible something, somewhere or someone that no longer exists. Sofie Birch and Antonina Nowacka draw on the concept to guide their second collaborative album, a suite of vulnerable, open-hearted improvisations and reflections that attempt to grasp an image of the past that’s chimeric, dissolving almost as soon as it materializes. The duo’s process follows the same distant beacon; unlike Languoria, their critically acclaimed debut, Hiraeth is, at heart, an acoustic record, informed by in-person improvisations with voices and string instruments that gesture to an era before computers, AI and DAWs. It’s just as lush, but Hiraeth is warmer and more muted than its predecessor.
Nowacka and Birch conceived the album in the wake of a slew of collaborative live concerts, spurred on by serendipitous improvisations and an interest in paring down their setup. Unsound arranged a retreat in Sokołowsko, an idyllic village nestled in the verdant hills of Southern Poland, close to the Czech border. Sokołowsko surrounds a large ruined sanatorium that’s rumored to have inspired Thomas Mann’s 1924 novel The Magic Mountain, and has long been a magnet for artists. The two took the opportunity to rethink their approach completely, arriving with just a guitar, a zither and a portable Nagra reel-to-reel machine. Recording directly to tape, they sketched out ideas with just their voices and instruments, reflecting their surroundings without being distracted or mediated by modern technology.
“We wanted to get away from screens as much as possible,” says Birch, “to bring to the world something vulnerable and honest. Without advance preparation, every day we went out into the open air, finding places to sit, during sunset or the midday sun. We discovered new tunings on our instruments, picked up a melody, and started the machine, playing over
and over till we got a take.” In the autumn, they met again in a Copenhagen studio, sparingly and carefully layering old synths and organs to add more depth without muddying the mix.
Both Nowacka and Birch sing throughout, their voices threading the acoustic instruments and tangling with each other, almost becoming one. But it’s the environment of Sokołowsko, “the birds and the light, even the wind playing against the harps,” that’s woven into the music’s lining. Affected by time spent meditating and in nature, as well as the fact that Birch was pregnant whilst recording, the album feels alive and remarkably present. Even the sound quality of the tape machine gives Hiraeth a tactile, organic quality, as Nowacka puts it, “like being in a warm bath.”

They still have the raw recordings from Sokołowsko on old reels, physical souvenirs of their time spent making music in a “habitat for intuitive songs, a little ecosystem, alive and spirited.” The outmoded gear and remote setting helped the duo disengage from the modern world for a few moments and imagine an existence that’s been lost to time and nominal progress. With digital technology receding into the background, Nowacka and Birch had space to make “intuitive connections with frequencies and people,” as Birch explains. Hiraeth is a testament not to nostalgia, but to the power of kinship.

Collecting Orders For 2026 Repress

It's reissue time for one of the most in demand records from the Trelik catalogue, featuring Baby Ford and Thomas Melchior under their Sunpeople alias. The flip side's opening track 'Check Your Buddah' is probably the best known of the four tracks here, with its spacious echoes, mantra-like voices and heads down beats, but there's plenty to be said for the other three. 'Lovers Eyes' is an equally dubby techno affair, but pinned down by sturdy, infectious beats, 'Sungods Wedding' is blessed with churning, warm bass action and just a smidge of cowbell and 'Make It Right' is properly hypnotic 3am gear that's a dream to mix and draws in the listener with its imperceptible builds and three note bleep magic. Worship the Sun!

d 4 Siena (64kbit/s) feat. Raelle Meron


g 7 Crimson (64kbit/s) [feat. Raelle]



[k] 11 24h (Joyride) [feat. Jerome Thomas]




[d] 4 Siena (64kbit/s) [feat. Raelle Meron]


[g] 7 Crimson (64kbit/s) [feat. Raelle]



[k] 11 24h (Joyride) [feat. Jerome Thomas]




[d] 4 Siena (64kbit/s) [feat. Raelle Meron]


[g] 7 Crimson (64kbit/s) [feat. Raelle]



[k] 11 24h (Joyride) [feat. Jerome Thomas]




[d] 4 Siena (64kbit/s) [feat. Raelle Meron]


[g] 7 Crimson (64kbit/s) [feat. Raelle]



[k] 11 24h (Joyride) [feat. Jerome Thomas]

NOW That’s What I Call 70s Soul brings together 50 era-defining tracks from one of the most powerful decades in soul music, featuring classics from Motown legends, Philly Soul pioneers, smooth balladeers and funk innovators – all pressed across 3LPs on beautiful blue vinyl… Out April 24th!

LP1 opens with one of the decade’s most recognisable love songs: Al Green’s ‘Let’s Stay Together’, a US #1 and UK Top 10 hit that became his signature recording. It’s followed by Marvin Gaye’s ‘What’s Going On’, the socially conscious masterpiece and title track from his landmark 1971 album, and Diana Ross’ Ain’t No Mountain High Enough’, which topped the US chart and became her first solo #1. Stevie Wonder’s ‘Signed, Sealed, Delivered (I’m Yours)’ remains one of Motown’s most joyful recordings and comes before Commodores’ ‘Easy’ introducing Lionel Richie’s smooth ballad vocals. The side also includes Bill Withers’ timeless ‘Ain’t No Sunshine’, a Grammy-winning classic, and The Stylistics’ lush ballad ‘You Make Me Feel Brand New’, a UK Top 3 smash, before closing with Rose Royce’s beautiful ‘Wishing On A Star’, one of the most loved soul ballads of the era.

Flip the LP over and The Jackson 5’s ‘I Want You Back’ – the group’s explosive debut single opens the side. Smokey Robinson & The Miracles’ ‘The Tears Of A Clown’ became a UK #1 and is followed by The Supremes’ Nathan Jones’ showcasing the group’s evolving psychedelic-soul sound. Northern Soul classics from Frankie Valli & The Four Seasons with ‘The Night’, Chairmen Of The Board’s Top 3 smash ‘Give Me Just A Little More Time’ and The Trammps’ ‘Hold Back The Night’. The O’Jays’ joyous ‘Love Train’ leads to The Blackbyrds’ Walking In Rhythm’, before the side closes with the romantic classic ‘Always And Forever’ from Heatwave.

LP2 opens with The Temptations’ epic ‘Papa Was A Rollin’ Stone’, a Grammy-winning US #1 remains one of the most stunning recordings from the Motown catalogue, is followed by Isaac Hayes’ ‘Theme From “Shaft”’, an Academy Award-winner and a US #1 smash. More funk follows from Ike & Tina Turner, James Brown with one of his key tracks ‘Get Up (I Feel Like Being A) Sex Machine’, Edwin Starr’s powerful anti-Vietnam protest song ‘War’, and Sly & The Family Stone’s hugely influential ‘Family Affair’. The Delfonics’ sublime ‘Didn’t I (Blow Your Mind This Time)’ comes ahead of Billy Paul’s timeless ‘Me And Mrs. Jones’ which closes the side…the other side begins with the 1977 #1 from The Floaters with ‘Float On’, before the breathtaking vocals of Minnie Riperton on ‘Lovin’ You’. The Isley Brothers’ Summer Breeze’ and William DeVaughn’s ‘Be Thankful For What You Got’ have become enduring classics and are followed by a run of ‘80s pop-chart crossover hits completing LP2 from Detroit Emeralds, The Moments Raydio and The Tymes’ #1 ‘Ms. Grace’.

LP3 opens with the unmistakable voice of Barry White and his US #1 hit ‘Can’t Get Enough Of Your Love, Babe’, before Aretha Franklin’s ‘Until You Come Back To Me (That’s What I’m Gonna Do)’, delivers one of her smoothest performances. Al Green’s ‘Tired Of Being Alone’ and Gladys Knight & The Pips’ ‘Midnight Train To Georgia’ are followed by minimalist soul classic ‘Why Can’t We Live Together’ from Timmy Thomas, and the side closes with a trio of defining ballads:- George Benson’s ‘The Greatest Love Of All’ Diana Ross’ ‘Theme From Mahogany (Do You Know Where You’re Going To)’ and The Jackson 5’s ‘I’ll Be There’, their biggest hit…while over on the final side…Freda Payne’s #1 ‘Band Of Gold’, opens alongside Ann Peebles’ influential and much covered ‘I Can’t Stand The Rain’.Marvin Gaye’s sensual ‘Let’s Get It On’ became another US #1, while Harold Melvin & The Blue Notes featuring Teddy Pendergrass deliver the contemporary standard ‘If You Don’t Know Me By Now’. Three massive UK #1s are next…The Stylistics with ‘Can’t Give You Anything (But My Love)’, The Three Degrees’ peerless ‘When Will I See You Again’ and Deniece Williams’ ‘Free’. This amazing collection closes with two timeless ballads: Earth, Wind & Fire’s ‘After The Love Has Gone’, a Grammy-winning classic, along with ‘Three Times A Lady’, a huge worldwide #1 for the Commodores.


NOW That’s What I Call 70s Soul, 50 defining tracks from one of music’s greatest decades. Out April 24th.

Angelo De Augustine kehrt mit ,Angel in Plainclothes" zurück, seinem fünften Album und bisher inspiriertesten Werk - eine tief empfundene Darstellung seiner mehrjährigen Reise der Heilung und Erneuerung. Das Album präsentiert De Augustines kraftvolle Melodien und ergreifende Texte in Titeln wie der eindringlichen Elegie ,Empty Shell", dem hoffnungsvollen ,Spirit of the Unknown" und dem herausragenden psychedelischen Country-Stück ,Mirror Mirror". Die Themen befassen sich mit der Zerbrechlichkeit des Lebens, zweiten Chancen und dem Wiederaufbauen seines Lebens, nachdem eine nicht diagnostizierte Krankheit ihn zwang, grundlegende Fähigkeiten neu zu erlernen: ,Ich versuche herauszufinden, wer ich jetzt bin", sagt De Augustine. ,Ich habe das Gefühl, dass mir eine zweite Chance im Leben gegeben wurde, und ich möchte sie leben." Das Album wurde vom Künstler in seinem Aufnahmestudio ,A Secret Place" in Südkalifornien geschrieben, aufgenommen, arrangiert, produziert und gemischt. Es ist das erste Mal seit Jahren, dass er wieder mit anderen Künstlern zusammengearbeitet hat, darunter der Streicharrangeur Oliver Hill (Kevin Morby, Helado Negro), den Harfenisten Leng Bian, die Backgroundsängerin/Percussionistin Wendy Fraser, den Produzenten Thomas Bartlett (der De Augustines ,Tomb" sowie St. Vincent und Bebel Gilberto produziert hat) und den Co-Produzenten Jonathan Wilson (Angel Oisen, Father John Misty) bei ,The Cure". Das Ergebnis ist ein kraftvolles Statement der Hoffnung: ,Eine der größten Hilfen, die mich am Leben gehalten haben, waren die Menschen in meinem Leben, die mir gesagt haben, dass letztendlich alles gut werden würde. Ich hoffe, dass diese Songs die gleiche Wirkung auf die Menschen da draußen haben und ihnen helfen zu erkennen, dass Wunder möglich sind."

Seit nunmehr über zwanzig Jahren als Duo zusammen, setzen Hammock ihre bemerkenswerte Reihe klanglicher Entdeckungsreisen mit The Second Coming Was A Moonrise" fort. Der Titel fängt einen Moment der Entdeckung ein, als Byrd und ein Freund in seinen späten Teenagerjahren unter dem Einfluss von Psychedelika den Mondaufgang für die Wiederkunft Christi hielten. Byrd und Thompson, beide in erster Linie Gitarristen, haben festgestellt, dass ihre musikalische Verbundenheit immer stärker wird, während ihre gemeinsame Arbeit im Laufe der Jahre noch dramatischer und reichhaltiger wird, auf der Suche nach einem Gefühl von mitreißender, schimmernder klanglicher Ehrfurcht, das sich niemals einfach als etwas anderes als sich selbst zusammenfassen lässt. The Second Coming Was A Moonrise" setzt diese Empfindungen der Entdeckung fort und fühlt sich gleichzeitig wie eines ihrer intimsten Alben an, während es das reiche Gefühl von Erhabenheit erforscht, das sie im Gegenzug erschaffen können. Ein Großteil von The Second Coming" ist instrumental oder fügt nur wortlose Gesangssenken und Texturen hinzu, wenn auch immer mit Titeln, die bewusst gewählt wurden. Byrd greift mit Chemicals Make You Small" erneut auf seine drogenbefeuerten Fluchtversuche zurück, wobei zwei namhafte Gäste mitwirken: Wayne Coyne und Steven Drozd von The Flaming Lips, die Gesang und Keyboards beisteuern. Zu den weiteren wiederkehrenden Gastmusikern gehören der regelmäßige Mitstreiter Matt Kidd von Slow Meadow, der Streicher und Gitarre beisteuert, Matthew Doty von Deserta an Synthesizern und Gitarre, Christine Byrd von Lumenette mit engelsgleichem Gesang, Chad Howat am Keyboard und Bass sowie Jake Finch mit bemerkenswertem Schlagzeugspiel.

One which lyrically questions some of the radical changes affecting society. A society of increasing division and tension. Social media, influencers, online dating, the distraction of mobile phones, young adults financially trapped in the family home, AI, and bullying: are all scrutinised. Musically, the style has moved on since the last album, 'Things Are Getting Stranger On The Shore'. New members, Luxagen (keys, vocals) and Steve Thompson (bass) have added their considerable musical talents to an already strong line up of Mordecai (vocals, guitar) Tabitha (Sax, clarinet) and Michael Creech (drums, percussion). The new direction tips a nod to the "Art Rock" and "New Wave" music of the 1970's, with plenty of modern innovation in store to keep things sounding fresh and exciting. Previously, Mordecai Smyth has worked with Terry Bickers (House of Love/Levitation) and recently played live shows supporting Bickers' new band. He has had three albums released by Mega Dodo and has written soundtracks to historical films for the British Film Institute. 'Gather The Scattered Mind' is limited to 100 copies, comes in a gatefold sleeve with lyric insert.

Presenting the 2nd in the series of Persian remix EPs, following the bumping Dub House remakes from Picasso, the label is joined by Yorkshire’s own young electronic folklore master, a fast-rising name, Miles J Paralysis.

Whereas Picasso took the first Dubplate ‘Space Within Art’, here Miles J delves in to the follow up ‘Smoke Dub’, turning out a selection of dubwise cuts that build on the dark electronics of his excellent debut releases for his Crying Outcast label.

Yorkshire born and based, with a love for the Moors, as well as the teachings of lore, magick and mysticism, this young producer has been emersed in music since a young age, with a penchant of Dub, Hip Hop and Reggae.

Starting with Survival Dub, the anthemic Ragga Dub original morphs into 2 parts, first heading down Paralysis’s alley of dark and brooding production marrying perfect touches of the vocal samples, before the amen break builds the track to the light.

Smoke Mari follows, the languid Digibreaks chugger, utilizing Linval Thompson’s iconic vocals, now comes as a deep meditative Dub excursion. Stripped back to a raw essence, the vocals whirl, while hypnotic keys and dub bass complete the psychedelic mosaic.

There Is No Love is modern dub style, off beat syncopation, reverb, tape delays and heavy vocal sampling all in the mix. The breakbeats of the original are jettisoned for a Dub (Drug) Chug, the atmospherics seeking the dark corners. “These are the last days; can’t you see the sunshine…”

Zatoichi’s Troubles ends the pack, the trip hop, Depth Charge dub bass cut transforms at the mixing desk of Miles J in to Dub Techno territory, haunting, melodic. Miles J’s love of the deeper side of electronic music expanded. Club music but not produced for clubs. Made for the discerning.

Paralysis the Mystery.

Finally a repress of one of the most selling club records of the late 90s and early 00s! Timeless 12 minute long Nalin & Kane remix. Number one of the German Dance Charts. Supported by Joris Voorn, M.I.K.E. Push, Paul Oakenfold, John Digweed, Dave Angel, Umek, Mark Knight, Paul Thomas and many more.

2026 RSD Release - GREEN Vinyl

Mark Pritchard (Global Communication / Africa Hi-Tech / Reload / Harmonic 313) produced gem from 2004. Featuring Eska, Nina Miranda and other vocalists. TIP!

An expanded edition of a long out of print Far Out classic. This double vinyl edition will include the track 'Strikehard' for the first time, which was omitted from the original pressing, only released on a separate 12" and CD.

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Far Out Recordings announces the Record Store Day 2026 deluxe double LP reissue of Troubleman’s Time Out of Mind. Originally released in 2004, the album marked a distinctive turn in Mark Pritchard’s expansive career, channeling his pioneering electronic instincts through a filter of Brazilian grooves, African rhythms, and global soul. This special edition includes the underground club classic “Strike Hard” (previously unavailable on the original vinyl), alongside the album’s flawless blend of early-noughties space-age bossa, broken beat, future soul, and psychedelic downtempo.

Under the Troubleman alias, Pritchard stretched his focus outward in every direction. From the UK rave continuum to Brazil, the US, Africa, and beyond, he drew on the psychedelic soul of Dorothy Ashby and David Axelrod, the Afrobeat drive of Fela Kuti and Tony Allen, and the samba-doido energy of Azymuth. Filtering golden-era seventies influences through early-2000s pop, club, and rave lenses, the album moves effortlessly between club-ready tracks like “Strike Hard,” and more laid-back, tripped-out moments that highlight Pritchard’s range, shifting seamlessly from dancefloor heat to outer-bongolian cloud watching.

Featuring vocal contributions from Nina Miranda (Smoke City, Da Lata), Steve Spacek (Spacek, !K7), and Eska (New Sector Movements), the record captures Pritchard at a pivotal moment, exploring how electronic production could absorb and expand the rhythmic complexity of global sounds.

One half of Global Communication and Jedi Knights with Tom Middleton, and Harmonic 313 with Dave Brinkworth, Pritchard has since built a dense, acclaimed discography across numerous aliases and labels. His work on Warp Records has included collaborations with Thom Yorke, and his remix portfolio spans Depeche Mode, PJ Harvey, Underworld, Aphex Twin, Lamb, KRS-One, A Tribe Called Quest, The Orb, and The Beloved.

Remastered from the original sources and pressed to vinyl exclusively for Record Store Day 2026, this edition also faithfully reproduces the album’s psychedelic artwork by renowned British artist and designer Swifty.

Gap Mangione's monumentally influential Diana In The Autumn Wind. AKA BEWITH200LP. And, without question, Be With's White Whale.

They said it could never be done. And with good reason.

We've spent the past 12 years trying to license this legendary 1968 recording from Gap and, after much work, it's finally here. Remarkably, this is the first ever vinyl reissue of Gap Mangione's Diana In The Autumn Wind, produced with the full and extensive participation of Gap. An exceedingly rare album, it's been coveted by funk, soul, jazz and hip-hop sample fiends for decades.

It's unarguably *the* most sought after album for J Dilla / Madlib sample collectors. It has also been brilliantly sampled by A Tribe Called Quest, Large Professor, Ghostface Killah, Kendrick Lamar and Talib Kweli.

But this record is so much more than a sample-spotters curio. It's solid gold throughout. Bursting with killer funky-jazz grooves and tracks adorned with warm electric piano, the release is notable for featuring some extremely significant players at the very outset of their careers; Tony Levin, at 21, whose superb playing on both acoustic and electric bass was the harmonic mainstay of the trio and Steve Gadd, at 23, one of the greatest drummers of his generation.

With acceptable copies of this holy grail changing hands for $400, to call this reissue "much-needed" underplays just how vital it is. Gap's story is told in his words alongside rare photos across a sumptuously designed 2-page insert and, to augment this deluxe edition further, its all wrapped up in a beautiful, no-expense-spared luxury tip-on sleeve, as per the original hens-teeth release. And, while we're talking packaging, just take a look at that cover - a work of art in and of itself.

The tracks are short but complex, with that extraordinary rhythm section backing the beautiful piano, organ and electric piano work of Gap. It's like the best ever library funk breaks record you never heard - but all your favourite golden age rap producers were all over it, long ago. It's a stunning blend of the vibrant, driving music of the Gap Mangione Trio coupled with the sensitive composition and superb orchestration of Gap's legendary brother, Chuck Mangione, who helmed an amalgam of seemingly disparate elements – rock, big band jazz, solo improvisation and "classical" music - into a spectacularly cohesive whole that has aged wonderfully well. As Gap himself notes in the liners, "with this group I was able to explore and add new and exciting elements from rock, Brazilian and then-current pop music."

Opener "Boy With Toys" triumphantly swaggers out the gate, all big band horns, flutes and dextrous organ work. The synthesis of everything going on is nothing short of stunning. When one wise YouTube commentator called this tune "old school superhero music", Gap agreed. Rap luminaries did, too, amongst them Talib Kweli, who rapped over DJ Scratch's chopped up intro for "Shock Body" on his Quality album back in 2002.

You've barely recovered from that incredibly affecting opener when you get hit over the head with the exquisite title-track. And now you see how two of the greatest beats of all time emerged from one single track produced nearly 50 years earlier. Unforgettably utilised by Dilla for Slum Village's heartbreakingly good "Fall In Love" and then Madlib for his "Official" beat for Dilla to rap over, on the Jaylib record. Regardless of the records it went on to spawn, this is just a staggering tune in its own right. Be beguiled by the flutes and the flutter tonguing, the counter-melody from the trombones, the soprano sax solo. All of it. Simply beautiful.

The questing organ and horn workout "Long Hair Soulful" deserves a lot more attention, overshadowed somewhat by the opening two monsters but no less fantastic. It swings, it grooves and Gadd and Levin truly cook. Up next, Gap's wonderfully percussive, mellifluously piano-heavy cover of "Yesterday" by some fellas called The Beatles. It's a subtly arresting gem. "The XIth Commandment" is damn fine, with thick, gorgeous electric piano and snappy drum work underpinning chaotic soundtracky horns. To close out the side, "St. Thomas" showcases the "fourth" member of the Gap Mangione Trio, conga drummer Dhui Mandingo. Having performed with the Trio since 1965, Dhui‘s African-based and jazz-latin-influenced style amazed listeners and its way to hear why.

Opening the B-Side, standard "You're Nobody Till Somebody Loves You" breezes along in the late-night jazz club fashion before things get super deep with the outstanding and - up to now - un-sampled "Pond With Swans". It's simply heavenly, and how its moody, melancholic intro has yet to be pilfered is anybody's guess. It oscillates between gentle, sombre movements and bombastic grooves, equally hypnotic and joyous. The rendition of "You Are My Sunshine" is yet another showcase for Gap's virtuoso playing and Gadd's mastery of the pocket. Indeed Gadd's drumming on "Free Again" is nothing short of neck-SNAPPING! Ghostface took it for not one but two "Iron's Theme" tracks across his seminal Supreme Clientele. It's got that Galt MacDermot "Coffee Cold" feel. Suuuuuper cool. The frantic "Dream On Little Dreamer" hurtles along and must've surely had the whole room absolutely swinging from the chandeliers back in Rochester in the late 60s. The album closes with the magnificent Graduate Medley, featuring memorable renditions of "Scarborough Fair", "The Sounds of Silence" and "Mrs. Robinson". The warm electric piano lines of the former were sampled by The Ummah (Dilla again!) for Tribe's "Pad & Pen" from their reappraised final album, The Love Movement, as well as by Large Professor on his much-loved "The LP (For My People)".

Under the watchful eye - and extremely attentive ears - of Gap Mangione himself, the audio for Diana In The Autumn Wind has been carefully remastered by Be With regular Simon Francis, with a few much needed tweaks here and there, according to the artist's wishes. At the prestigious Abbey Road Studios, Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at the always stellar Record Industry in Holland. The artwork restoration has taken place here at Be With HQ and has that drop-dead gorgeous cover artwork popping like new. Buy on sight!

Relive three decades of Belgian clubbing history.

We're celebrating the 35th anniversary of Cherry Moon withan essential collection of the anthems that defined a generation. Hard to find tracks, classics and sounds from the underground combined in a splendid 10x12" Vinyl Box Set.

From the first beats of 1991 to the peak of the "House of House", this is the ultimate tribute to a legendary venue.

Rocksteady Disco returns with more heat for the heads, this time from Glenn Echo & Daniel Meinecke delivering a stunning 7" that bridges various eras of dancefloor magic. Their take on Sylvester and Patrick Cowley's 'I Need Somebody To Love Tonight' is pure cosmic seduction with New Orleans vocalist Mark-Anthony Thomas channelling Sylvester's spirit while Meinecke's synth work and Glenn's rich production elevate the classic into a shimmering modern anthem. Flip it and Lucky 7s takes a left turn into dub-funk psychedelia with chunky drums, low-slung bass, wild time signatures and futuristic vocoder texture. Red hot so handle with care.

Nach dem erfolgreichen Release der CD „Techno 2026“ im letzten Jahr folgt nun eine exclusive Vinyl-Ausgabe.

Diese Schallplatte ist kein simples Re-Release, sondern ein kuratierter Auszug aus dem ursprünglichen CD-Projekt: Die drei DJs haben jeweils ihre persönlichen Highlights ausgewählt und daraus diese exklusive Vinyl-Edition zusammengestellt.

Treibende Grooves, hypnotische Sequenzen und atmosphärische Spannungsbögen spiegeln den Sound wider, der bereits die CD zum Erfolg gemacht hat – nun verdichtet und veredelt für das Vinyl Format

L Major, Tamen & Ocean Dawn join forces for the first full press on Basics Records. ’The Path / Melt’ displays precise drum workouts & cleverly crafted atmospherics. Club ready music with class. Mastered by the legendary Beau Thomas, This release does not disappoint.

The Path with Ocean Dawn drives forward as a heavyweight stepper, while Melt with Tamen is a powerful amen track that pays homage to the roots of the sound. Two beautifully crafted tracks that represent the Basics imprint in fine style.

Launched in 2000, Post Office quickly became a landmark compilation series, featuring artists such as Ricardo Villalobos, Daniel Bell, Robert Hood, Dimbiman, Matthew Dear, Seth Troxler, Craig Richards, Losoul, Ark, Mr Oizo and many more. Each new edition stands as both a milestone in Logistic Records’ story and a forward-looking vision of the global electronic scene.

Originally released on CD in 2006, It's A Feedelity Affair marked a formative moment in Hans Peter Lindstrøm's early career, compiling key tracks from his first wave of 12-inch releases between 2003 and 2006. Now, twenty years after the founding of his Feedelity label, the album is presented for the first time as a newly remastered vinyl edition.

"Listening back now, I hear an artist still figuring things out, but with a clear instinct for where I wanted to go. It was a period defined by freedom - no rules, no expectations." - Hans-Peter Lindstrøm

Released at a time when electronic music was shaped by extended runtimes and physical formats, It's A Feedelity Affair captured a club culture rooted in patience, atmosphere, and spatial awareness rather than immediacy. Its long-form approach remains central to the album's lasting appeal and resonates strongly with today's renewed focus on vinyl and immersive listening experiences. The album stands as a document of an era marked by experimentation, expansive club tracks, and an open-ended vision of electronic music.

Upon its original release, the album received widespread international attention, including a Best New Music rating (8.4) from Pitchfork. The track I Feel Space has since become one of Lindstrøm's most enduring and recognizable works. The album also documents some of his earliest collaborations with Prins Thomas and Christabelle, resulting in tracks such as Boney M Down and Lovesick.

Lindstrøm relaunched Feedelity in 2024, with the label returning in 2025 alongside his most recent album Sirius Syntoms and the single Cirkl, marking a full-circle moment for the imprint. A new studio album is currently in progress and expected in autumn 2026.

Das zehn Songs starke "Train On The Island" entstand erneut in enger Zusammenarbeit mit ihrem langjährigen Weggefährten John Parish (u.a. PJ Harvey, Dry Cleaning) und wurde gemeinsam mit ihm in den legendären Rockfield Studios in Monmouth, Wales, produziert. Dort entstanden bereits Hardings frühere Alben "Party" (2017), "Designer" (2019) und "Warm Chris" (2022). Unterstützt wurden Harding und Parish diesmal von Pedal-Steel-Gitarrist Joe Harvey-Whyte, Harfenistin Mali Llywelyn, Synth-Künstler Thomas Poli sowie Schlagzeuger Sebastian Rochford (Polar Bear). Außerdem mit dabei: H. Hawkline alias Huw Evans an Bass, Gesang, Akustik- und E-Gitarre sowie Orgel.

Das zehn Songs starke "Train On The Island" entstand erneut in enger Zusammenarbeit mit ihrem langjährigen Weggefährten John Parish (u.a. PJ Harvey, Dry Cleaning) und wurde gemeinsam mit ihm in den legendären Rockfield Studios in Monmouth, Wales, produziert. Dort entstanden bereits Hardings frühere Alben "Party" (2017), "Designer" (2019) und "Warm Chris" (2022). Unterstützt wurden Harding und Parish diesmal von Pedal-Steel-Gitarrist Joe Harvey-Whyte, Harfenistin Mali Llywelyn, Synth-Künstler Thomas Poli sowie Schlagzeuger Sebastian Rochford (Polar Bear). Außerdem mit dabei: H. Hawkline alias Huw Evans an Bass, Gesang, Akustik- und E-Gitarre sowie Orgel.

shubostar, originally from south korea and currently based in germany, began releasing her own works in 2018. she quickly attracted attention with releases on prins thomas’s label internasjonal.

this work, her debut release on mule musiq, presents a new disco sound that updates elements of cosmic, italo disco, and new wave for a contemporary context.

a1, “abbiamo,” is an electric disco piece reminiscent of the french disco classic magic fly by space.

a2, “gambi,” can be described as a cosmic disco track akin to a disco version of klaus schulze that might be played by dj daniel baldelli.

b1, “starlight arcade,” offers a more dub-oriented, club-friendly new wave disco sound.

b2, “tip top” appears to draw influence from artists such as jah wobble, combining uk new wave with ebm elements into a proto-house style track.

her refined production style, which stands apart from typical disco-oriented artists, may be attributed to a distinct sensibility.

this release marks the emergence of a notable new artist.

Berlin-based producer ZentaSkai returns with ‘Analog Assets Vol. 04’, a four-track vinyl-only EP focused on analog texture, dub-inflected atmospherics, and disciplined techno structure. Active since 1997 and operating Mask Records and its parent label, Zaijenroots, from his Berlin studio, he continues to refine a sound shaped by spatial control and steady, architectural pacing. Tracks unfold patiently, elements are introduced with intent, and nothing feels excessive.
Setting the tone with Cuddling Monsters’ partner, Laura Merino Allue, A1 features phased melodic textures and crisp percussion that gradually lock in the rhythm. A2 develops a filtered synth motif over a steady four-to-the-floor rhythm, revealing its full weight before pulling back. B1 is the most direct cut, driven by a firm, punchy beat and sharp rhythmic detailing built for peak-time focus, while B2 closes with rising string layers over a dub framework, balancing warmth and precision in a clean, measured finish.
With releases on Jerome Sydenham’s Ibadan Records and upcoming collaborations including Cuddling Monsters with Laura Merino Allue and a joint project with Thomas Grun for Rhythm Trax Austria, ZentaSkai’s work sits comfortably between minimal experimentation and functional dancefloor design.
Supported by artists such as Richie Hawtin, Joseph Capriati, Marcel Dettmann, Luke Slater, Laurent Garnier, and DVS1, he maintains a consistent presence within the underground without chasing trends.

Mit Schemes präsentieren Kreidler ihr neuntes Album auf Bureau B - und öffnen dabei ein neues Kapitel ihres markanten elektronischen Kosmos. Die international renommierte Band aus Berlin/Düsseldorf setzt stärker auf atmosphärische Klangräume, bleibt jedoch ihrem charakteristischen, leichtfüßigen Groove treu. Feldaufnahmen und Outdoor-Sounds spielen eine größere Rolle als je zuvor; besonders eindrucksvoll ist der Gastbeitrag von Leo Garcia, der seine Vocals spontan über urbane Field Recordings improvisierte. Das Trio - Thomas Klein, Alexander Paulick und Andreas Reihse - nutzt auf Schemes den kreativen Zufall als Motor. Leicht skizzierte Strukturen, schwebende Texturen und subtil pulsierende Sequenzen formen ein Ambient-nahes Album, das dennoch ständig in Bewegung bleibt. Jede Komposition entfaltet ihre eigene kleine Welt, zwischen spielerischem Experiment, warmer Räumlichkeit und eleganter Präzision. On their ninth album for Bureau B, the internationally renowned Berlin/Düsseldorf-based outfit Kreidler focus on atmospheric soundscapes - of course maintaining their signature rhythmic groove, which on "Schemes" is simply more buoyant and less insistent. "Schemes" is also characterised by the more pronounced use of nature/outdoor recordings. The track featuring Leo Garcia as a guest vocalist is based on just such a field recording. With "Schemes", Kreidler step into a more ambient space of possibilities, crafting an album that feels both carefully considered and delightfully unguarded. Selling Points









i 1.9Fenix [with Leo Garcia]









[i] 9Fenix [with Leo Garcia]

GER Mit Schemes präsentieren Kreidler ihr neuntes Album auf Bureau B - und öffnen dabei ein neues Kapitel ihres markanten elektronischen Kosmos. Die international renommierte Band aus Berlin/Düsseldorf setzt stärker auf atmosphärische Klangräume, bleibt jedoch ihrem charakteristischen, leichtfüßigen Groove treu. Feldaufnahmen und Outdoor-Sounds spielen eine größere Rolle als je zuvor; besonders eindrucksvoll ist der Gastbeitrag von Leo Garcia, der seine Vocals spontan über urbane Field Recordings improvisierte. Das Trio - Thomas Klein, Alexander Paulick und Andreas Reihse - nutzt auf Schemes den kreativen Zufall als Motor. Leicht skizzierte Strukturen, schwebende Texturen und subtil pulsierende Sequenzen formen ein Ambient-nahes Album, das dennoch ständig in Bewegung bleibt. Jede Komposition entfaltet ihre eigene kleine Welt, zwischen spielerischem Experiment, warmer Räumlichkeit und eleganter Präzision. On their ninth album for Bureau B, the internationally renowned Berlin/Düsseldorf-based outfit Kreidler focus on atmospheric soundscapes - of course maintaining their signature rhythmic groove, which on "Schemes" is simply more buoyant and less insistent. "Schemes" is also characterised by the more pronounced use of nature/outdoor recordings. The track featuring Leo Garcia as a guest vocalist is based on just such a field recording. With "Schemes", Kreidler step into a more ambient space of possibilities, crafting an album that feels both carefully considered and delightfully unguarded. Selling Points









i 1.9Fenix [with Leo Garcia]









[i] 9Fenix [with Leo Garcia]

Originally released in 1999 on the Duet imprint, Robert Hood's "Sophisticcato" stands as a concise but potent example of his late-'90s minimal techno philosophy. Built around four tracks, including the title cut, "The First Night" and two versions of "Cobra Seed", the record features his signature approach with stripped-back drum patterns and hypnotic loops that prioritise rhythm over unnecessary embellishment.



Throughout the year M-Plant's Perpetual Masters series has been releasing one track per week from Robert Hood's extensive music archive, remastered by legendary German producer, Thomas Heckmann. Alongside those weekly digital transmissions are accompanying vinyl drops, so following April's "Psychic / Pole Position" 12" is the "Sophisticcato" EP in May.

“Released on Joe Boyd’s Hannibal label here was a band rooted in Thompson/Swarbrick Fairport but also a snatch of the Velvet Underground and a sprig of The Byrds. The Eighteenth Day Of May evoked a legendary era, and now they are a justifiably legendary band too.” – KLOF Mag

Beginning life as a trio in London, 2003, the original line-up consisted of Allison Brice (vocals, flute), Richard Olson (acoustic guitar) and Ben Phillipson (guitar, mandolin) before expanding the following year to include the rhythm section of Mark Nicholas (bass) and Karl Sabino (drums, autoharp) and finally Alison Cotton (viola).
This being the mid zeros, the independent music scene in the UK was reluctant to embrace a sun-dazed folk band but this, their sole album, has gradually feathered a bed of affection amongst international folk fans. Twenty years on, the album is now rightfully seen as a trailblazer for the myriad alternative/psych folk bands that emerged in its wake.
Andy Childs who signed the band originally takes up the story. “I first heard their music on a cover mounted CD with the much missed Comes With A Smile magazine and as far as I could tell no-one was making music like this anymore, certainly not with such panache and confidence. To my jaded ears it all sounded so uninhibited - old weird folk songs, Americana, original psych-folk, minimalist drones. Great melodies and all six of them could sing! A joyous, unfettered sound that could in one moment conjure up flashes of The Byrds and then effortlessly the spirit of Velvet Underground would drift through. They even covered a Spacemen 3 song. I loved the fact that they had the aplomb to tackle traditional folk songs like Lady Margaret and Flowers In The Forest and not be afraid to stamp their own identity on them.
Signing them to the Hannibal label was straightforward. If anything the album somehow sounds fresh and undated, even better than it did in the day when perhaps eclecticism was out of synch with the times; its subtleties have become more apparent.”
“Their rendition of Lady Margaret builds to a headswirling crescendo that challenges anyone who claims Shirley Collins, Buffy Sainte-Marie or Trees have recorded the definitive version and the hallucinatory The Waterman’s Song To His Daughter raises an already brilliant album to an unholy level” - IT’S PSYCHEDELIC, BABY Magazine

Nach einer dreijährigen Pause kehrt der schwedische Singer-Songwriter Thomas Jonsson mit ,Give Up Together" zurück, seinem sechsten Album als I'm Kingfisher. Nach dem 2023 erschienenen, hochgelobten Album ,Glue", das größtenteils gemeinsam mit Jazzmusikern arrangiert wurde, hat sich Jonsson dieses Mal für einen etwas anderen, härteren Sound entschieden - mit einer brillanten Sammlung von Americana-Songs, die von ruhigen Drums, markanten E-Gitarren und satten Streichern umhüllt sind, während sie gelegentlich zu reduzierten Folksongs dekonstruiert werden. Als eines der bestgehüteten Geheimnisse Schwedens und als einer der besten Songwriter der nordischen Folk-Welle hat Jonsson still und leise ein mehr als beeindruckendes Repertoire aufgebaut, während er die Bühne mit Kevin Morby, Courtney Marie Andrews, The Weather Station und Damien Jurado teilte, und ist nun endlich bereit, neben seinen berühmteren Zeitgenossen ins Rampenlicht zu treten.

"It transported me back to 1979. Me as a 17 year old post-punk kid at Futurama Festival in Leeds watching PiL, Killing Joke, The Fall and Cabaret Volatire." Lubomir Jovenovic - Leeds Jazz Festival Curator.

Born out of a chaotic Saturday night in Hastings. A raucous double bill between Leeds Jazz troupe and Kent post punks resulting in feedback, mosh pits and a breakneck rendition of The Stooges TV Eye. A plan was hatched right there to record an album together.

"Really f**king happening. I dig this big time." Mike Watt (Minutemen, The Stooges)

Strut proudly presents the first-ever reissue of a landmark 1974 Ghanaian highlife classic Sikyi Highlife by Dr K. Gyasi & His Noble Kings, originally released on Essiebons.

A defining recording of the era, Sikyi Highlife bridges tradition and innovation at a pivotal moment in Ghanaian music. Deeply rooted in the classic 1950s–’60s highlife sound, K. Gyasi drew inspiration from the ancient sikyi drum-dance of the Akan people of southern Ghana, shaping the album’s rhythms around its distinctive pulse.

The vocal arrangements echo the traditional Akan modal style, grounding the music firmly in Ghana’s cultural heritage. Yet Sikyi Highlife is equally forward-thinking. As electric guitars became standard in highlife during the 1960s, the 1970s ushered in further experimentation. The Noble Kings broke new ground as the first highlife guitar band to incorporate keyboards and a full horn section into their sound, expanding the genre’s sonic possibilities while retaining its rootsy spirit.

Gyasi’s approach was part of a broader indigenisation movement among Ghana’s electric highlife bands in the post-independence era. Inspired by the nation’s ‘African Personality’ ethos and reinforced by Afrocentric messages arriving from American soul and funk, artists began reclaiming traditional forms within modern arrangements. Contemporaries included Koo Nimo, who revived the older palmwine style, and drummer Nii Ashitey, whose Wulomei band pioneered a folklorised Ga highlife sound from 1973.

Like many musicians of his generation, Gyasi was a passionate supporter of Ghana’s independence movement. In 1963, he travelled as a musical ambassador alongside Ghana’s first president, Kwame Nkrumah, performing across North Africa and the USSR and carrying Ghanaian culture onto the world stage.

The Noble Kings’ mid-’70s line-up featured some of the country’s finest musicians, including guitarist Eric Agyeman (who led the band at the time), Thomas Frimpong on drums and vocals, Ernest Honny on organ, and bassist Ralph Karikari - who was renowned for his innovative technique of translating the rhythms and tonal language of the traditional talking drum onto electric bass.

Upon its original release, Sikyi Highlife became one of the biggest-selling albums of the 1970s for Essiebons, earning Gyasi the affectionate honorary title of “Dr” from his devoted fans. Today, the album remains an evergreen classic, still cherished across Ghana and beyond.

Ein authentischer Geschichtenerzähler der heutigen Indie-Rock-Szene ist der in Tampa geborene und in New Orleans lebende Singer/Songwriter Thomas Dollbaum, und ,Birds of Paradise" ist sein bisher kraftvollstes und dynamischstes Werk. Nach seinen von Kritikern hochgelobten Alben "Wellswood" (Big Legal Mess, 2022) und "Drive All Night EP" (Dear Life Records, 2025) ist "Birds of Paradise" ein Abschiedsbrief an verlorene Liebste und sein früheres Ich. In diesen Songs sucht Dollbaum nach Akzeptanz an vergänglichen Zwischenorten: in den Kiefernwäldern Floridas, auf Nebenstraßen, die zur 1-95 führen, wo Vögel über das Wasser fliegen. Und obwohl die Geister seiner Alt-Country-Vorgänger Townes und Molina definitiv präsent sind, tritt Dollbaum auf Birds of Paradise aus ihrem Schatten heraus - er winkt der Vergangenheit zu und klingt dabei umso mehr wie er selbst. Dieser Moment - dieses Album - ist längst überfällig. Die Aufnahmen zu Dollbaums beiden vorherigen Veröffentlichungen hatten aufgrund von Umständen, die außerhalb seiner Kontrolle lagen, viel zu lange gedauert, was ihn frustriert zurückließ. Nachdem er acht Jahre lang von zu Hause weg war, war der Ort, den er verlassen hatte, nicht mehr der Ort, an den er sich erinnerte, und die Unveränderlichkeit der Natur fühlte sich wie eine Konstante an, über die er schreiben wollte. Mit einem Gefühl der Unmittelbarkeit schrieb er ,Birds of Paradise" in drei Monaten. Er rief die Musiker an, denen er am meisten vertraute und die er am meisten bewunderte - Nick Corson, Josh Halper und Jake Lenderman - und bat sie, sich mit ihm bei Dial Back Sound in Water Valley, Mississippi, mit dem Produzenten/Toningenieur Clay Jones zu treffen. Sie lernten das Album in vier Tagen ein und nahmen es auf, wobei sie einen Blitz in einer Flasche einfingen, eine klangliche Offenbarung, auf die Dollbaums Songwriting schon immer gewartet hatte. Mit der Hilfe von Lenderman, Halper, Corson und Jones ist ,Birds of Paradise" Dollbaums hart erkämpfter Durchbruch. Lebendig und nachhallend wie Gedichte und Kurzgeschichten, die man nicht vergessen kann: Kojoten heulen, Vögel fliegen nach Süden, Kinder jagen Kaninchen durch das Zuckerrohr und Zigaretten kosten vier Dollar pro Packung. Birds of Paradise erinnert uns daran, woher wir kommen - an die Dinge in uns, die wir vergessen haben - wir brauchten nur Dollbaum, um uns das zu zeigen. So blickt man ohne Angst oder Scham zurück. So sieht Authentizität aus.

Sunday in the Park with George presents the music from the original 1984 Broadway production of Stephen Sondheim and James Lapine’s acclaimed musical. Recorded shortly after the show’s premiere, the album features the original cast performing Sondheim’s layered score, inspired by Georges Seurat’s painting "A Sunday Afternoon on the Island of La Grande Jatte".

The cast of the musical is led by Mandy Patinkin and Bernadette Peters, whose performances tell a story about art, love, and artistic legacy across two time periods. The recording includes notable songs such as “Sunday,” “Finishing the Hat,” and “Move On.” Winner of the Pulitzer Prize for Drama, Sunday in the Park with George is widely regarded as one of Sondheim’s most distinctive works. Produced by Thomas Z. Shepard, the recording won the 1984 Grammy Award for Best Cast Show Album.

The soundtrack of Sunday in the Park with George is available as a limited edition on blue vinyl and includes a 4-page booklet. The 2LP is packaged in a deluxe sleeve with linen laminate finish.

Since last year's EP “rhyme09,” a quiet storm has been brewing around the label. This release is not only long overdue, but Vienna is also home to numerous new talents as DJs and producers. The label boss makes the selection here and kicks off this release with a completely crazy track that is unlike anything else out there. There is virtually nothing else like it, making this track unique with its bassline, offset kick drum, and acid grooves. The second tune on the A Side comes from Fabiano Jose’, a well-known DJ in Vienna who, with his brand “Merkwürdig” has been an important player in the local party scene for several years. A catchy tech house tune, “step in” if you can!

The first tune on the B Side is a collaboration between ZentaSkai, well known for his label MASK Berlin, and Thomas Grün, also a long-time DJ and producer in Vienna who releases house and tech house tunes also on his own label “Untitled100 records”.

With Manu Script on B2, we have a debut here. With his great taste as a DJ and producer, he delivers a powerful groove. Another true Party stepper! Be ready...

Plastik People - no, not the legendary London venue that was host to dubstep's formative FWD>> parties - a garage label run out of Albuquerque, New Mexico with some seriously authentic roots. This new one kicks off with a raw, bumping Jovonn Project Boyz mix of a vocal house gem that overflows with dusty and soulful vibes. Straight & Shuffle offer the equally timeless 'Love', complete with twinkling synths, golden chords and nice undercooked grooves. The flip features Wayne Hunter's perfect US garage vibes as he flips 'Keep On Pushin'' and last of all is the super silky and speedy house of Baeka's 'All I Need.' These tunes are the very definition of oldies but goldies.

Finnish producer LAS lands on Elektorni with a sub-heavy three-tracker of dubbed out sound system music. Dug out from archived hard drives (2014-2016), mastered by Beau Thompson and pressed at 45 RPM.

Zum 60-jährigen Jubiläum von Raumpatrouille - Die phantastischen Abenteuer des Raumschiffs Orion erscheint die siebte Veröffentlichung unserer Peter-Thomas-Reihe als erweitertes, klanglich überarbeitetes Reissue auf CD und LP. Der ikonische Soundtrack gilt bis heute als einer der prägendsten der deutschen TV-Geschichte - futuristisch, rhythmisch, wagemutig. Peter Thomas verlieh der Serie eine einzigartige Klangsignatur, deren Strahlkraft weit über das Bildschirmformat hinausreicht. Der legendäre Vocoder-Countdown und Titelthema wurden zahllos gesampelt, gecovert und neu interpretiert - u. a. von Pulp, Pizzicato Five, Die Fantastischen Vier und Mousse T. In Zusammenarbeit mit Philip Thomas konnten vier bislang unveröffentlichte Stücke aus dem Nachlass des Komponisten ergänzt werden. Die LP basiert auf der Philips-Originalausgabe von 1966, erweitert um die neuen Titel - und enthält ausschließlich Musik, die in der Serie zu hören war, mit einer Ausnahme: "Bolero on the Moon Rocks", dessen Sample Pulp 1998 zu This Is Hardcore inspirierte. Die CD bietet über 60 Minuten Originalmusik, inklusive rarer Outtakes, ohne später hinzugefügtes Füllmaterial.

Zum 60-jährigen Jubiläum von Raumpatrouille - Die phantastischen Abenteuer des Raumschiffs Orion erscheint die siebte Veröffentlichung unserer Peter-Thomas-Reihe als erweitertes, klanglich überarbeitetes Reissue auf CD und LP. Der ikonische Soundtrack gilt bis heute als einer der prägendsten der deutschen TV-Geschichte - futuristisch, rhythmisch, wagemutig. Peter Thomas verlieh der Serie eine einzigartige Klangsignatur, deren Strahlkraft weit über das Bildschirmformat hinausreicht. Der legendäre Vocoder-Countdown und Titelthema wurden zahllos gesampelt, gecovert und neu interpretiert - u. a. von Pulp, Pizzicato Five, Die Fantastischen Vier und Mousse T. In Zusammenarbeit mit Philip Thomas konnten vier bislang unveröffentlichte Stücke aus dem Nachlass des Komponisten ergänzt werden. Die LP basiert auf der Philips-Originalausgabe von 1966, erweitert um die neuen Titel - und enthält ausschließlich Musik, die in der Serie zu hören war, mit einer Ausnahme: "Bolero on the Moon Rocks", dessen Sample Pulp 1998 zu This Is Hardcore inspirierte. Die CD bietet über 60 Minuten Originalmusik, inklusive rarer Outtakes, ohne später hinzugefügtes Füllmaterial.

New Stand High Patrol album, featuring Joe Yorke, Nazamba, Jah Thomas - and remixes from Mad Professor, Androo & Jeanville.


Dub and House Music. Two aesthetics born in the shadows, shaped far from the mainstream music industry. Two underground cultures where independence is often a necessity and ingenuity is essential. Two scenes rooted in the margins of society, with dance, sound systems and minorities at their heart.
From the Jamaican sound system sessions of the late sixties, through the nights at Chicago's Warehouse, to the murmurings of the New York house scene in the early eighties — history shows that house, reggae and dub share far more than many people may assume. Collective action, resistance as a driving force, music moving straight from studio to turntable, shared messages: these are the threads that bind these landmark musical movements together. It is at this crossroads, driven by the spirit of experimentation that defines them, that the members of Stand High Patrol found yet another territory worth mapping.
"Skanking & Jacking", the new Musketeerz album, reveals a side of the Dubadub sound never heard on record before. Built for the dancers and for DJs, the LP brings together the pulse of house music and the vibrant groove of reggae. Uncharted territory, never interfaced like this before. The result of a meticulous blending of styles, house, reggae and dub intertwine across 12 extended tracks. The sound is carefully crafted. Built on immersive loops and interlaced with micro-variations that give it an organic texture. Born from the interaction between being and machine. This is not about simply bringing worlds closer together; it's about mobilising influences to chart a new sonic galaxy.


Beyond it's aesthetic statement, "Skanking & Jacking" also stands out for its international cast. The most extensive Stand High Patrol have ever assembled on an album. From England, Italy, Switzerland and Jamaica, the guest vocalists, producers and MCs deepen the sense of dialogue between cultures and styles. At the mic, Joe Yorke, Marina P, Nazamba and Jah Thomas join the Dubadub Musketeerz on their explorations. Each appearance subtly reshaping the contours of the project.
Never fixed, always in motion, "Skanking & Jacking" pays tribute to the traditions that shaped it and closes, as a final nod, with remixes from Jeanville, Androo and the legendary Mad Professor. The album stands as further proof of a crew that shows no signs of stopping its reinvention. Available on stream, digital and double LP on May 29th.

When funk music exploded onto the global pop scene in the late sixties, many of Jamaica's leading music-makers were inspired to incorporate elements of the exciting sound into their work. The result was the fascinating and compelling funky reggae style that proved immensely popular with record buyers on both sides of the Atlantic throughout the early ‘70s.

Pioneers of the sound included such celebrated producers as Lee ’Scratch’ Perry and Lloyd Charmers, whose recordings are heavily represented on both the CD and LP versions of this irresistible collection.

Collected here are some of the finest examples of the funky reggae, performed by some of reggae music’s most accomplished artists, from Ken Boothe and Lee Perry’s Upsetters to British-based acts, Greyhound and The Marvels.

Depeche Mode, Yazoo, Erasure's Vince Clarke, Blancmange's Neil Arthur and the electronic producer-writer-synth-nerd Benge have joined forces to form the new project Doublespeak. Set to be released on May 29th, their self-titled debut album revisits eleven of their favourite songs from the past four decades, each reimagined and renewed in the timeless space of gleaming analogue electronica.

The 'Doublespeak' album is divided between songs from the postpunk netherworld brought blinking into the light (Fad Gadget, The Sound, Young Marble Giants), pop radio monsters ushered back down a dark stairway into the club (ABBA, David Essex, The Carpenters) and buried treasures from the 1990s onwards (The Magnetic Fields, Ed Dowie and Laptop).

Collectively, the album amounts to a shadow autobiography of the three collaborators' continuing musical education. Doublespeak is the great human songbook, synthesised.
Empathic vocals, bold arrangements and glowing analogue electronics turn familiar and forgotten songs into a personal, forward-looking electronic statement.

Emerging from a shared love of long-form storytelling and hypnotic groove, Techfui presents a stunning double album from Ada Kaleh and Wareika, a cross-continental dialogue between two singular visions of deep and micro house.
Romanian composer and sound alchemist Ada Kaleh channels his signature world of organic textures, dub-soaked spaces and slowly evolving rhythms, known from his forward-thinking work on R&S, Apollo and his own Ada Kaleh Romania imprint. His part of the productions unfolds like a ritual: subtle, detailed and endlessly spiralling, built for dancers who like to disappear inside the groove.
On the other side, trio Wareika bring their unique blend of live jazz sensibility, meditative dub and electronic body music, honed over years of improvisation and boundary-blurring club performances. Their contributions lean into fluid polyrhythms, elastic basslines and shimmering harmonies, tracks that feel alive, breathing and in constant motion.
The journey is expanded by a heavyweight remix cast: minimal house icon Thomas Melchior, Techfui founder and Bahrain mainstay Salah Sadeq, whose deep house productions are crafted to move both heart and floor, and the elusive studio force DUST. Each rework dials the hypnosis in further, stretching time and space without ever losing the warmth of the original material.
True to Techfuis ethos of bringing family, friends and fresh talent together to create honest, unconventional art, this double album is not just a collection of tracks, but a deep, carefully produced listening experience, timeless deep house and micro house for late nights, early mornings and every hazy moment in between.

Onysia delivers another deeply textured installment of its Split Series, bringing together J Gabriel, Thomas Melchior, and Bruno Pronsato for a record full of subtle detail, groove intelligence, and unmistakable late-night character. Subtle, classy and built with real understanding of space, tension and groove, ONYSIA013 is a refined underground statement for lovers of depth, detail and timeless club music.

With over 20 years of intense production work and prestigious collaborations, Irie Ites Records has established itself as one of the most respected reggae labels on the international scene. In 2025, the label continues it's strong momentum with a brand-new volume of it's flagship series: Cream of the Crop 2025. Following the success of the previous editions (2022, 2023, and 2024), which each reached several million streams and gained strong visibility in reggae media and playlists worldwide, this new release stands as a must-have for all roots & culture reggae lovers. True to it's reputation for excellence, Irie Ites Records has once again teamed up with some of the finest musicians and producers in reggae: Mafia & Fluxy, Bongo Herman, Earl "Chinna" Smith, Lone Ark, Naram, The Ligerians, King Jammy, Willy William, among others. All tracks were mixed at the Irie Ites Studio (France), ensuring a warm, powerful, and authentic sound. To conclude the album, four exclusive dub versions add the final touch to this outstanding compilation.

Pennyroyal – PYRY05

Tearoom Vibes Vol. 2 (Various Artists)

Pennyroyal returns with its fifth vinyl release, PYRY05, presenting Tearoom Vibes Vol. 2. A Various Artists compilation focused on electro, techno and cosmic-leaning club tracks, built for late-night and after-hours settings.
Featuring Mama (Exarde, Griffe), Bruno (22 Recordings), rising Egyptian artist Saharty, Thomas (Rebvs, debut release) and Gianluca Pellerano (CMDRPX). A tight and functional VA with a clear underground attitude.