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This authorised vinyl reissue of the ultimate Finnish death metal cult LP comes with the original cover art and all the lyrics. In the late days of the early life of death metal in the early nineties, the death metal "community" had strayed from an appreciation of the majestic possibilities of sound, and were making a mundane product instead. They wanted the most "brutal" sound so the largest crowd could hear it, consider themselves "extreme," and go back to work with a hangover. This made the music escape its tiny audience, but killed off exploration as well. In addition, it was defensive and under-confident, feeling its chops lagged behind the rock, blues and jazz genres. Stagnation struck even as the genre accelerated. Enter the dark horse, Demilich. These inventive Finns reintroduced amazement at the possibilities of music. Where most people look at a forest and see wood for sale, a death metal fan after Demilich sees an intricate organism in itself, with the smallest details corresponding to the broadest concepts. The labyrinthine riffs of Demilich corresponded to a worldview that saw the connection between details as a design, and a design as conferring a purpose to life, cycling between birth and death as it spelled out the cryptic intricacies of ancient mysteries. Demilich was like finding a submerged city, or discovering a new path through the mountains, or even confronting a glowering enemy on the open plain. It brought risk, uncertainty, ambiguity and a sense of sublime beauty back to death metal, pulling it away from the slump in which it treated itself as a hammer and every listener as a nail.

»Mother Nature« is the debut solo album by Berend Intelmann, a key figure in the German indie music scene since the late 1980s. Having made his name as a member of groups such as Hallelujah Ding Dong Happy Happy, Guther, and Paula, Intelmann most recently focussed on his work as a producer for artists such as Jens Friebe, MissinCat, or Fotos. »Mother Nature« sees the multi-instrumentalist and singer navigate between pop sentiment and his penchant for classical music on these eight pieces, three of which feature additional contributions by Karaoke Kalk label mate Marla Hansen, synth pop iconoclast Der Assistent, and the versatile Mieke Miami, respectively. »Mother Nature« combines a sense of playfulness with cunning compositional rigour to stunning effect.

Intelmann took full creative licence and worked with the instruments that he feels most comfortable using: the drums, synthesizers, and his voice. While inspired by his life-long passion for pop music in all shades, he also took some cues from his more recent passion for classical music. »The synthesizer melodies are arranged like string quartets, while the songs are presented as musical themes strung together so that they form a coherent story,« he explains. The resulting sound isn’t quite as »krauty« as someone called it, instead the artist prefers to call it »slow-kraut—1980s synth sound with 1970s George Duke-style beats,« though of course he never attempted to fit in one specific genre or replicate a certain sound: This is simply the essence of Berend Intelmann as a composer and storyteller.

The lyrical matter of »Mother Nature« is inspired by life and death. This informs an album that masterfully creates contrasts and utilises the friction generated between them to tell its stories. The album opener and second single »All Gone« greets its audience with the couplet »In the long run / We’re all gone,« but sets this to soothing sounds that form a joyful counterpoint to the fatalism of the words. Also the slowly-unfolding first single »Life Of Another One« sets the stage for a reflection on memories that have become so distant that they feel like belonging to another person altogether with sombre, intertwined melodies. However, these darker tones slowly give way to laid-back grooves, Intelmann’s smooth vocalisations and whirling synthesizer sequences.

The collaborations—a vocal duet with Marla Hansen on »A Focused Mind,« Der Assistent’s subtle theremin contributions to »The Less We Cared« and Mieke Miami flute and saxophone playing on »Mother Nature«—further enrich this album that the artist claims has been »co-produced by friends and family.« Indeed, »Mother Nature« might be Intelmann’s solo debut proper, but he remains a teamplayer at heart.

An endling is the final member of a species. When an endling dies, the species is extinct. Pakistani-American composer Qasim Naqvi returns with Endling. Written as a modular synth prequel to his 2023 BBC Concert Orchestral work, God Docks at Death Harbor, Endling takes the listener on a 43-minute odyssey through an intense and beautiful landscape, set hundreds of years into the future. On the album"s centrepiece "Power Down the Heart," featuring Moor Mother, our character stumbles upon an A.I. being that is in the final moments of its life. As a kind of last rites, this ancient artificial consciousness describes the beauty, sadness and horror it has observed for hundreds of years. Qasim Naqvi is a percussionist, composer and synthesist. Along with being the drummer of lauded cult minimalist trio, Dawn of Midi, Naqvi is an accomplished solo artist and his passion for multidisciplinary work has brought him into the world of film, dance, installation art, and the stage of orchestral and chamber music. His concert music has been commissioned and performed by The London Contemporary Orchestra, The BBC Concert Orchestra, Crash Ensemble, Bang on a Can All Stars, Jennifer Koh, Stargaze, The Cello Octet of Amsterdam, The Helsinki Chamber Choir and others.

After a three year hiatus, Mutual Response returns for its long awaited second release, by talented artist and close friend of the label, Dockett Eddy.
Moving through fresh yet familiar combinations of drum patterns and melodies, his first EP displays the beginnings of a unique, honed style.

Calling on a varied palette of reference from the last 30 years of electronic music, the atmosphere of the release is established somewhere between the skipping, dream-like rhythms of ’00:04’ and the rough, driving drums of ‘Delayed Response’. The gritty awkwardness of the title track, Monofly, builds to an unexpected, ethereal moment, in what is the worthy climax of all four tracks.

The record sets an ominous tone, consolidating itself as a recognisable contribution to the label’s evolving output, but at the same time demonstrating a sound which is entirely the producers own.

Spectral Bounce’s fifth instalment comes courtesy of L.A.’s rave archivist and dancefloor operative Dreams, A.K.A. Jesse Pimenta. Throughout his decade-long career the California native has inspected, dissected and concocted all manner of dance musics, leaving his mark with drops on Apron Records, Pinkman, BANK NYC and his own imprint Dance Data. On SPEC05 — Dangerous When Wet — he hijacks the synapses with 4 accomplished productions, plotting a high BPM course through manifold styles using the raw aesthetic that characterises his output.

“Losing Control” is a frenetic dancefloor invitation, immediately locking into a pacing groove. Beneath wild hand drums, Dreams plays with an insistent 303 bassline alternating between rasping buzz and oily squelch, while stern vocals are layered on top of breaks that have been processed to a viscerally satisfying end.

Taking things from delirious dance circle to underwater biosphere, the EP’s eponymous track explores a submerged 1980s Miami. Weighty & enveloping, “Dangerous When Wet” is pure aquatic pop-n-lock — hydraulic electro for a drowned world. Ocean floor caustics are transmuted into auditory form: arpeggios bubble up; drones shimmer mystically; hi-hats hiss like air from an open valve. Amongst the sonar bleeps, a barrage of pummeling low-end is sure to give subwoofers a workout.

“XTC Messenger” delivers an infectious paranoid dispatch, astutely balancing the sensual with the deranged. A slow-mo dial tone unfolds languidly, running counter to nervously twitching high frequencies. Its punchy percussion is tuned for maximum dopamine release; the track’s abrupt vocal chops and mechanical kick-snare pulsation evoke the leather jackets and jagged edges of 1980s industrial discotheque.

“Pressure Points” closes the EP on a heady and mesmerising polymetric trip. The parting track is a lithe yet spacious number, propelled by a rattling break. Here Dreams follows from track 2, creating an immersive environment in which sounds tightly twist and twirl. Shifting oscillators call out like tiny creatures as the bass throbs and wriggles further into your brain, long after the needle hits the runout groove.

The album "Plural" celebrates the remarkable encounters and partnerships that have shaped Gabriel Grossi"s 25-year career as a harmonica player, composer, arranger, and producer. Featuring 10 of his own compositions, Grossi"s renowned virtuosity flows with deep sensitivity through various genres, reflecting the solid trajectory of one of the greatest instrumentalists and most creative musicians in Brazilian music. Collaborating with prominent names from both the national and international music scenes, "Plural" showcases Grossi"s music without borders, offering the world a glimpse of his extensive career. For this celebration, outstanding guests were invited to join the musical journey. Including Jacob Collier, Ed Motta, Hermeto Pascoal, Seamus Blake, Omar Sosa and others.

French singer, songwriter and producer Léa Sen’s debut album Levels, is a deeply immersive journey through memory, self-discovery, and emotional growth—imagined as a surreal, liminal hotel where each room holds a different chapter of her life.

Created in collaboration with her brother, Florian Fourlin, and inspired by Léa's own coming-of-age, Levels blends experimental pop with slinky R&B, woozy trip-hop, and warm, smudged guitars. The album plays with the tension between reality and dreamlike abstraction, examining the mysterious ups and downs of existence.

Über die letzten zwei Jahrzehnte hat sich Papa Roach als echter Trendsetter im Heavy-Genre etabliert: Sie wurden für zwei Grammys nominiert, tourten weltweit mit allen von Eminem bis Marilyn Manson und erschufen die Nu-Metal-Hymne »Last Resort«, die siebzehn Jahre nach Erscheinen noch immer auf Heavy Rotation in den Rock-Radios läuft.

Dennoch markiert das neunte Album der Band »Crooked Teeth« die Rückkehr zu ihren ursprünglichen – hungrigen – Wurzeln. Aufgenommen wurde das Album mit den aufstrebenden Produzenten Nicholas »RAS« Furlong und Colin Brittain in einem kleinen Studio in North Hollywood. Furlong und Brittain sind mit der Musik von Papa Roach aufgewachsen und haben die Band dazu inspiriert, sich auf einige der Tugenden zu besinnen, die sie an Papa Roach immer besonders gemocht hatten – allen voran die bemerkenswerte Rap-Technik von Frontmann Jacoby Shaddix.

Volume 2 of the absolutely infamous (and highly sought after) Cult Sounds compilation, comprised of music done by fringe religious cults around the world. Oh, boy! Volume 2 of Cult Sounds is here, so it's time for another bad trip through the music produced by weird, extreme cults all over the world. From hypnotic Manson Family recordings to the catchy 80s pop manufactured by The Family, to jazz, psych jams, country music or plain out there musical experimentation, this second volume gets as weird, dark and mesmerizing as its predecessor, amazing.

interloot returns with a stellar compilation, assembling a cadre of versatile heads to deliver a bulletproof warehouse set for your gear bag. kicking off the a-side is »once again« by stuttgart's jakob mäder. known for his eclectic blend of ambient, disco, house and techno, mäder crafts a heavy opener boosted by a propulsive rhythm, seamlessly melding forceful chords with swirling acid echoes. »tick« by bristol-based fella thrilogy screws down the force and untwines the groove with a more mellow, bass-driven foundation and intricate percussive patterns to a subtle yet weighty synth journey through space and time. flipping to the b-side, »back on back« by renowned duo decent rides instantly slaps your face and unfolds its raw energy with a stomping infectious vibe urging forward unchecked. supplemented by delicate vocal rollbacks this guy’s a real peak-time pusher. rounding out the little concrete jungle voyage, »groove got me« by vienna’s moff & tarkin proves the name’s the product. A massive breakbeat blast tenderly detailed and beautifully arranged builds up to a complex raw and punchy climax leaving no one’s body parts unmoved. savour this collection poised to satiate the appetites of discerning nightlife buds and sistas.

"""My life began in Columbus, Ohio, USA, moved on to an English village, then to the bright lights of London. America has always been a big part of my life, my father is American.
This album is a snapshot of my experiences. The lyrics tell some of the story and the music helps to tell the rest. I grew up listening to American music and when I began songwriting I was inspired by the icons and styles from the 1950s/60s and 70s. As I wrote the songs for this album I consciously looked to represent some of the styles from artists I love including Elvis, Dylan, Neil Young and Joni Mitchell. Through the wonders of modern digital recording I was able to work with some amazing American musicians who helped me to create the authentic arrangements and styles I sought to emulate. The album is self produced but the help and advice from Pat Collier and Jess Corcoran at Perry Vale studios plus the talent and input from all the musicians was invaluable. "

A resiny slab in the grand tradition of weed-fiend odysseys from Sleep, Weedeater and Bongzilla, ready to inebriate the riff-obsessed masses. Red-eyed at the crossroads of thunderous stoner sludge and towering doom, Hashtronaut are ready to daze and inebriate the riff-obsessed masses on this planet and beyond. No Return is a resiny slab In the grand tradition of weed-fiend odysseys from Sleep, Weedeater and Bongzilla, an intoxicating and pummeling journey through time and space infused with a lungful of potent hook-doom. Pummeling and intoxcating stoner metal for fans of Sleep, Bongzilla, Electric Wizard and Monolord LP re-pressed on weedy green vinyl w/ ripple effect!

Not much is known about De Frank Kakra - let alone his birth name or where he is today. A few liner notes scattered across his records give a glimpse of his career as a backing vocalist and percussionist on the Ghanaian highlife scene of the 1970s, notably with Vis-A-Vis, K. Frimpong's band (Cubano Fiestas). He later formed his own bands, The Professionals and The Diggit Ways, alongside Sammy Copper, recording throughout West Africa. His recordings have now been unearthed, remastered and compiled in a triple LP anthology of his musical works. Although much remains unknown, RastaPastaRecords' goal is to ascertain several discoveries made about his life during the production of this record and to continue the research. "Call Me Frank" is a funky take on 1970s highlife set to a vintage Afro - rock fusion that evokes a time when West African dance floors vibrated with raw energy and relentless groove. "Psychedelic Man" is a full dive into the De Frank Kakra sound. With its hypnotic guitar riffs, cosmic organs and head- nodding drum rhythms, this infectious anthem will plunge you into a state of nostalgic psychedelia.

Two tracks from Priori’s This But More album are reimagined through the emotive, minimalistic lens of Loidis — the alias of Brian Leeds (aka Huerco S., Pendant, West Mineral). These extended versions deepen the textures of the originals while amplifying their rhythmic core. Eyes closed, head down — dancefloor experiments in full effect.

Hailing from the southwest side of Detroit, Michigan, Dusty Rose Gang makes music that sounds like a celebratory summer evening with friends on the beach of the city’s crown jewel, Belle Isle. The band’s feel-good rock & roll rests its laurels alongside many of the city’s musical heavyweights, bringing a swagger and heft present in the best of the MC5 and the Stooges, while balancing the subtle tones and attitude found in prime-era Sabbath, Queen, Jimi Hendrix and the Flower Travellin’ Band. It should be no surprise that the band’s songwriter, Dusty Rose, haunted the same high school halls as the MC5 at Lincoln Park High, as much of the attitude, poise and spirit can be found on the band’s A-One From Day One long player debut for the legendary Riding Easy Records. The songs shimmer and shake, shredding through solo after solo, while packing just enough hazy 70’s influence to make it sound like Dusty Rose Gang has been here all along. This is Detroit rock n’ roll made by lifers for lifers, the no-bullshit real deal that the Motor City has been breathing since before Gene Simmons coined the term “Detroit Rock City." A-One From Day One was produced and recorded by Warren Defever at Free Party Bar, Hamtramck and mastered at Third Man Mastering. Engineered by Cam Frank. The album was recorded with Brett Donlon (bass), J. Rowe (drums, percussion), Kara Meister (backing vocals), and Warren Defever (mellotron, organ). The current line-up of Dusty Rose Gang features Dusty Rose (guitar, vocals), Brett Donlon (bass), Blake Hill (drums) and Josh Budiongan (guitar).

COMPUMA's new new album “horizons”now available on vinyl via his own label Something About!

The album “horizons” is a further development of COMPUMA's “horizons EP”, which was released in July 2023 as a digital-only EP on his Bandcamp. The songs are inspired by the scenery and environment of Lake Ezu, Kumamoto, where the artist's roots lie, and by his walks in various places around Japan.

Horizons 1”, in which the undulations of electronic sounds seem to represent a leisurely walk across a clear expanse of sky and lake scenery, and the vocoder voice somewhat reminds us of people's activities, and the piece changes to a more minimalistic play of rhythms and electronic sounds, as if focusing on introspection in the midst of walking. The album also includes “horizons 2,” which changes with exquisite salinity, “horizons 3,” which pays homage to early electronic music, and “horizons 4,” a more stoic minimal electro-dubwise piece that seems to be immersed in the act of walking, The last track on the album, “horizons 5,” is a non-beat ambient track with a hint of the waterfront, as if the artist is gazing at the vast sky, as if the steps of the first half of the album are expanding into a faint memory, and is accompanied by a field recording. The album includes “horizons 5”, a non-beating ambient taste that is covered by field recordings and depicts the atmosphere of a wandering waterfront, and five versions of “horizons” that remind us of the days of “walking”, sometimes immersed in the scenery and walking, sometimes lost in thought, with “horizons interlude” in between, which reminds us of the surface of a bobbing lake, and is a self-titled version of “View 2” from the previous album, “A View”. The album contains seven songs in total, including a self-remix of “View 2” and an electro version of “view 2 electro”, reminiscent of the shimmering surface of a lake.

Personally speaking, this work reminds me somewhat of Kraftwerk's “Autobahn,” which depicted the countryside of West Germany with minimal electronic sounds, and this work also seems to depict a scene of a “walk” with electronic sounds. However, what is different from “Autobahn” is that there is an element in the middle part of the album that seems to go into introspection in the midst of walking, and it is a work that shows various views (including feelings) throughout the album. From a macro perspective, this album is a new response to the recent environmental music revival and generalization of ambient music, which he has introduced as a DJ and record buyer for a long time.
The album was co-produced by hacchi, who also works with Deavid Soul, Urban Volcano Sound, and as a recording/mastering engineer, and mastered by Nakamura Soichiro of Peace Music, a studio that has produced many masterpieces, including Shintaro Sakamoto's solo work. The package artwork is by designer Seiichiro Suzuki. The package artwork is by designer Sei Suzuki. （The package artwork was designed by designer Sei Suzuki.)

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Compuma is a Tokyo-based log-serving DJ whose extensive knowledge of obscure and left-field music across so many genres and different regions of the world established himself as one of the most respected record buyers in Japan,
a country well known as record collectors’ paradise. While he built his career in record business over decades, he has also been sharing his expertise in music as a DJ just as long. Not only the breath and the depth of where his selection derives are hard to compete, the way he blends them all together is also a state of art. Often intricately layered and collaged, Compuma is capable of sculpting something entirely new with bits and pieces of existing tracks in various forms such as ambient soundscapes to dubbed out club sets. In 2017, his unique ability caught the attention of Berlin Atonal directors and he was invited to play at the festival in Berlin.

He extends his skills into remixing which can be heard on the released from EM Records - “Compuma meets Haku” (2015) and “Bangkok Nights” (2017.) In June 2022, he released his first solo album, A View.
He is also an active member of a DJ trio called Akuma No Numa (which translates to “devil’s swamp”) in which he explores darker and more psychedelic periphery of dance music.

Vita est Morte est Vita is the band’s debut full-length; recorded, mixed, and mastered by Wayne Adams at Bear Bites Horse Studio, London. The four tracks of the album are a dynamic and richly textured journey through the human psyche – inviting the listener to Discover, Enter, Understand, and Become.

In addition to the cover artwork by the band’s own Stuart Hodgkinson, each track is accompanied by individual artworks by Steve Burns, Justin Fink, Eduardo Canalejo, and Lauren McIvor.

Offending everyone since April 1st, 2013,Brutal Sphincter(BE) has, over the years, established themselves as one of the leading acts in the current goregrind scene.

Bringing political themes into their music, they dub themselves "POOlitical" and, through offbeat and satirical humor, take a stand against all forms of extremism while championing freedom of speech.

Despite their extreme musical style, they are one of those rare acts that can seamlessly fit into any type of event or festival.

They have proven this time and again, performing at some of the biggest metal gatherings in Europe, such asHellfest, Summer Breeze Open Air, Alcatraz, Motocultor, Party San, Metaldays, and more, as well as at the most extreme metal events likeObscene Extreme, DeathFeast Open Air, Meh Suff, Kaltenbach Open Air,andNetherlands Deathfest.

BEWARE!Party, dance, groove, and brutality are the elements they always bring with them to every show.

For his last solo record ‘Through a Room’, Bill Nace shifted his usual saturated guitar sound and added tapes, hurdy gurdy, doughnut pipe, bird calls and the mysterious Japanese taishōgoto. Setting up for the final night of his three day residency at OTO with only the taishōgoto soundchecked, Nace hoped that Parker would arrive with his small soprano as its opposite. “I’ve been interested in state change, you know, playing until there’s a shift in time.” Known for his development of multiphonics to produce a constantly shifting pattern, Evan Parker has evolved an instantly recognizable sound - his work the soprano most distinct. Happily, it was the soprano Evan brought with him and as soon as the two start to play they entwine - taking off in a double helix of keys and reed primed for endless reconfiguration. Space warps under the velocity of playing, the pitch rising unrelentingly. It felt like unending lift off in the room, sheer energy until the last note makes remember your feet have been on the floor the whole time. Total time bending shredding.

Perth’s finest, Psychedelic Porn Crumpets, continue their onslaught on 2025 with the release of a brand new single & announcing details of their 7th record due in May 2025. ‘Carpe Diem, Moonman’ promises to be another weird & wonderful journey through the mind of Jack McEwan, the talisman of the Perth 5-piece. It’s announced alongside brand-new single ‘Weird World Awoke’, another ferocious blast of inimitable rock & roll, with a lyrical rollercoaster to keep pace with the relentless tempo & guitar slaloms.
McEwan himself had this to say about the new record: “Carpe Diem, Moonman” is an entanglement of chaos, the bi-product of excessive touring, an explosion of doubt, wonder, excitement, dog bites, Greek philosophy, death, weekend benders and a partridge in a pear tree, a mongrel of sorts. There’s so many genres, flavours, cream crackers and fairground amusements packed into CDM. It blasts out the gates, takes you for a spin then leads you off into somewhere beautiful, fun and enthralling. I want people to come back and find something new with each listen.”

- 2025 repress -

French self-taught producer 'La Kajofol' has been known for her "Mystical Techno" sound since 2019.

She now debuts on the leading 'Rave Alert' imprint with her 'Moonchild' EP.

Her talent shines through her use of her own voice, creating hypnotic music that captivates audiences.

This limited 4 track EP is printed on glow in the dark vinyl.

Phunk Returns – Remastered & Stronger Than Ever! A deep, electrifying banger in Phunk—a groovy, hard-hitting stabber packed with pulsating energy, hypnotic rhythms and unstoppable momentum that keeps you locked in, rocking and craving for more!

In 2005, Innersphere aka Shinedoe dropped Phunk on Intacto Records, a track that became a classic anthem, setting dancefloors on fire across festivals, clubs, and radio stations worldwide. With iconic remixes by Steve Angello, Ricardo Villalobos, and Mark Broom, it secured its place as a true techno classic.

Now, 20 years later, Phunk and Astrophunk are making a powerful comeback—remastered, re-energized, and re-released on MTM (Music That Moves), the label founded by Shinedoe. A deep, electrifying banger in Phunk—a groovy, hard-hitting stabber packed with pulsating energy, hypnotic rhythms and unstoppable momentum that keeps you locked in, rocking and craving for more!

On the flipside, Astrophunk (2004) makes a powerful return, hitting with full force. This relentless, hard-hitting dancefloor weapon is built to ignite the crowd and keep them in a euphoric frenzy with its raw, pounding groove—stronger than ever!

Shinedoe is a driving force in the global techno scene for nearly three decades, known for her hypnotic grooves and uncompromising vision. Through MTM, she continues to push the boundaries of electronic music, releasing tracks that ignite dancefloors and evolve the genre. Phunk and Astrophunk (Remastered 2025) embodies this spirit, delivering a fresh take on a timeless classic. The legend returns—ready to move a new generation!

The debut release of Collective Direction explores the incredibly broad and fascinating variety of work of Tasti Box, operating in San Francisco in the early 90’s.

This previously unreleased album, made in the early 90’s, captures the spirit of the San Francisco free party scene that exploded around that time. DJ Harvey, Doc Martin, the Hardkiss Brothers, the Wicked Crew and a host of international guests played at legendary all-night parties at locations such as under the Golden Gate Bridge, on huge custom-built sound systems. Helping to define not only the West Coast scene but also influencing the rest of the country throughout that decade. The cultural impact of this moment in time continues to inspire today’s dance music landscape.

Opening on the delicate and melodic ambient tracks Mim and Quetzcal, the A side closes on Dr Tripi, a house-infused track preluding the uniqueness and diversity of the emblematic Tasti Box sound, explored more broadly on the B side with the triptych of Desire, U Can Fly and Box, a trippy journey melting influences from breaks, house, experimental and techno, one that can be experimented at home or in a club setting. The C side opens with the killer trancey and psychedelic club track Feel It, one expected to be definitely heard on dancefloors over the Summer. It is complemented by the almost balearic Story of O and bleepy and esoteric Electrons. On the D side, some Daisy Glow tracks, showing strong late Tasti Box influence, close the musical journey with four tracks of joyful and melodic house music, a perfect ending to a night and to the double LP.
It’s a compilation for music collectors and dancers alike and those excited to explore the history of a sound not afraid to experiment. The vinyl includes a limited edition A4 design of the artwork cover, an exclusive conversation with the artists and two vinyl exclusive tracks. One not to miss!

From the experimental chaos of IDM to the deep, soulful chords of Detroit techno, Japanese DJ and producer Takuya Matsumoto takes us on a captivating journey through decades of musical evolution. Vertical Stories is Takuya’s debut album, and it seamlessly blends the past with the future. Get ready to dive into a sonic landscape that spans from unfiltered energy to complex, layered textures. If you’re a fan of the raw energy of Underground Resistance, the innovative sounds of Mike Paradinas, or the intricate layers of Floating Points and Pepe Bradock, to name just a few, this full-length album is for you!

We are pleased to present again this wonderful and highly sought-after album, born from a promotional campaign by the U.S. Army to encourage recruitment. The recording perfectly captures the spirit of young America through songs written by Sly Stone, Curtis Mayfield, Funkadelic, and Burt Bacharach (via Isaac Hayes, of course). High-level soul and funk performed by brilliant anonymous musicians. Virtually impossible to find in its original edition, we are now reissuing it once again thanks to a collaboration with Now Again. Pressed on 180g vinyl. Often, the most prized records by collectors hold unexpected stories. When they also feature incredibly high musical quality and only a few original copies are available, they become the holy grails of collecting. This is the case with this album, recorded by American soldiers stationed in Germany in the early 70s. During the Vietnam War, the U.S. Army organized a band competition among its soldiers. The winners would record a promotional album that would be distributed for free to encourage enlistment during such a turbulent time. The result was a double LP shared between the bands SOAP and East of Underground. Although East of Underground's repertoire consists of covers of soul and funk hits, the quality is surprisingly high: raw guitars, crushing drums, brilliant vocal harmonies... The result perfectly captures the spirit of young America through songs written by Sly Stone, Curtis Mayfield, Funkadelic, and Burt Bacharach (via Isaac Hayes, of course). High-level soul and funk performed by anonymous musicians whose final fate has yet to be confirmed. When the label Now Again tried to reconstruct the story of East of Underground, they only managed to contact one of its members after digging through documents in the New York Library and collaborating with the U.S. Army. We are now pleased to present this wonderful and highly sought-after album once again, a surprising case where the covers rival the originals, creating a unique recording that justifies its immense appeal among collectors.

Following ‘No Closer To Heaven’, The Wonder Years released ‘Sister Cities’, their most transformative work to date.
Recorded at Sunset Sound with Joe Chiccarelli (Manchester Orchestra, The Shins, Spoon) and Carlos de la Garza (Jimmy Eat World, Paramore), ‘Sister Cities’ is an album about distance, connectivity and the way humanity towers above boundaries.

What The Wonder Years do so effortlessly on ‘Sister Cities’ is no small feat; through poetic lyricism, ambient guitar swells and Jimmy Eat World-levels of crashing momentum. On ‘Sister Cities’, they take a massive, unexpected leap forward both sonically and thematically, now speaking confidently to the world at large.

Vocalist Dan Campbell on the inspiration behind ‘Sister Cities’: “It started with journals and photos. We started by documenting. We didn’t know where it would go or if it would go anywhere at all, but we wrote it all down. We took photos of everything. And
then when it came to put it altogether, we had this catalog of how we felt and what it looked like and sounded like and we built from there. Figuring out what the moments were that stayed with me the most. When did I feel most connected to the people around me and why? What did being in this place during this moment teach me? It was a difficult year personally and globally and we experienced that through this lens of being everywhere but home, kind of floating through places and seeing how being there altered our perspective.”
The album is housed in a 200-page, 13”x13”, full-colour book that includes photos, artwork, journal entries and lyrics. LP pressed onto Shinjuku Street Splatter coloured vinyl.
An overpowering sense of earnestness and vulnerability.” - Pitchfork
There is a lifetime yelled in every punk song, captured in the desperate and catchy ‘Sister Cities’.” - NPR MusicFrom the first notes, it’s already clear that The Wonder Years are stepping into uncharted territory.” - UPROXX

The album showcases Avantgarde Vak’s ability to turn old records into something completely new and mesmerizing. His signature sound of deep and low frequency beats come through vividly while maintaining the spirit of Hip-Hop through turtablelism and sampling.

Ltd edition in transparent yellow vinyl!



The Mystery Lights 2nd outing on Daptone's rock subsidiary, Wick, sees them digging deeper into their cavern of influences, taking on tips from Suicide, The Kinks and Television as they look to build on their already party fuelled, raucous sound.

The Mystery Lights story begins in 2004 in the small town of Salinas California when friends Michael Brandon and Luis Alfonso -whose shared fondness for groups like The Mc5, Velvet Underground, Dead Moon, and The Fall (just to name a few) -decided to join forces and craft their own brand of unhinged rock and roll. From there they spent the better part of 10 years touring relentlessly before migrating to Queens, New York in 2014.

With a live show known for its raw, visceral energy and relentless assault –leaving little to no stoppage between songs –they barreled through countless NYC haunts and DIY venues, quickly amassing a fervent local following. The buzz soon caught the attention of Daptone Records execs who were in the beginning stages of launching a new rock-centric imprint, Wick Records. Impressed by the groups’ musicianship, groove, endless supply of energy, and understanding of musical history the Mystery Lights were quickly signed to Wick. Though a rock band at heart, the parallels to what Daptone Records had traditionally looked for in their Soul artists was undeniable. Soon sessions were booked with Producer/Engineer Wayne Gordon, and the release of their debut single “Too Many Girls” b/w “Too Tough to Bear” launched to mass critical fanfare.

Upon the release of their self-titled full-length on June 24th 2016 The Mystery Lights were quickly crowned “one of New York’s finest garage rock bands” by NME. Extensive touring, including multiple stops in Europe, Asia and Australia followed which found the group graduating from support slots at hole-in-the-wall clubs to headlining stages at major festivals worldwide.

After two years of break-neck, non-stop touring, the group settled back into Queens to prepare for their second full-length record, Too Much Tension(out May 2019). With Wayne Gordon in the producer’s chair and several intense writing sessions under their belt the group were back at Daptone’s House of Soul and ready to track. While keeping the hard-hitting approach of the first LP, Too Much Tension finds the group digging deeper into their well of eclectic influences, enriching their sound without echoing the past. Mixing the eerie, insistent synth sounds of groups like The Normal and Suicide, the energy and swagger of punk’s golden age, the pop sensibility of The Kinks, and the stark, deliberate execution of Television -The Mystery Lights are taking their idiosyncratic brand of rock and roll to dizzying new heights.

The visionary Walter Maioli (Futuro Antico, Aktuala) and the eccentric electronic musician John Zandijik first met in 1984 when they both gravitated toward the experimental Sound Reporters collective, participating in the release of Ethnoelectronics (1986). Shortly afterward, the two met at Zandijik's studio in Rotterdam, where they completed their journey of exploration to the edge of the Universe in just three nights. The recordings were made only after 3 a.m., when psychic energy is at its peak, and inspiration belongs solely to the realm of dreams. It was a ritual of long galactic fluctuation, where the mystical sound of the flute was filtered and expanded by the Aureal system, a device capable of breaking it down into cascades of aureal harmonies. Through its extemporaneous approach, the music transforms perceptions of ancient pyramids or tropical forests into phosphorescent nebulae, luminous fountain openings, and unprecedented planetary interstices—interstellar portals leading to new archetypal-ancestral visions. It feels like sailing through colored orbits in the red gases of Jupiter and Mars, lost and dissolved forever in the engines and gears of the most secret cosmos. Between Pink Floyd-esque psychedelic flashes and Tangerine Dream-inspired sidereal architectures, Maioli and Zandijik reveal the most phantasmagoric and unknown side of Sound Reporters.

Multi-instrumentalist and composer J.H. Burch gives new intensity to a neglected ethnographic and folklore reality: the rural Amazigh poets of the Ait Bouguemez valley of Morocco. His vision of cultural exchange led him to the vocal repertoire of the all-female Troupe Asnimer, whom for decades have been amongst the most important custodians of the various Amazigh oral art forms in the region. The Asnimer women recite in chorus songs written by numerous anonymous authors, some dating back centuries, making their tradition and a fluid and constantly evolving collective oeuvre. Each of the tribal forms has its own time and place, some like Tamawayt are poems of travel and lamentation, Timnadin of daily labour, others are sung as Sufi rites. From the Asia and the Pacific, J.H. Burch succeeds here through his knowledge of different sound traditions and a varied use of instrumentation (baglama, santur, tanpura, kamanche, organ, deyurey, electronics, percussion), and in becoming a conduit for Asnimer, frames the collaboration without distorting its ancestral and rural physiognomy. On the contrary, the songs of the Amazigh tribes of the Haut-Atlas are colored through afro-asiatic spiritual arrangements of meditative sensitivity. Limited to 200 copies.

Sophia Kennedy, the Baltimore-born, Hamburg-based artist, returns with her new album in May. Known for her genre-blending innovation and distinct vocal style, she has collaborated with DJ Koze and earned praise from The Guardian, Iggy Pop, and Resident Advisor.

Following her self-titled debut (2017, Pampa Records), a radiant dance between the glamour of the Great American Songbook, electronic textures, and clubland influences, earning her international acclaim, Kennedy released her second album, Monsters (2021, City Slang), and delved deeper into surrealism and transcendence. Now, on Squeeze Me, Kennedy and her long-time musical collaborator and co-writer Mense Reents sketch a more disillusioned commentary on the status quo of the world at large. The complexity of interpersonal relationships, questions of power dynamics, and the quest for self-determination—longstanding themes for Kennedy—run as a cohesive narrative throughout the album.
More minimalist than her previous works, Squeeze Me brims with Kennedy’s gift for catchy melodies with a certain pop appeal and psychedelic hues. The first single, "Rodeo," features hypnotic piano chords, shimmering synth basses, and glimmering choirs. 2025 will see Kennedy back on tour in Europe, supported by an international PR campaign to expand her global presence.

"All I Do Is Dreaming" is the band's third album.

A journey that takes you through various landscapes—gliding over electronic plains, climbing colorful pop hills, and occasionally venturing onto rugged indie rock trails.

Along the way, several encounters: a stop in Mexico with a remix by CLUZ, a collaboration in the UK with boundary-crossing indie artist Just Jack, and in the US with artist Pedro Blue.

Camel Power Club has never been more open to the fusion of ideas and talents—and it suits them perfectly.

The record tells the story of the Jesus De La Cruz Conde, who embarks on an epic journey of self-discovery after witnessing his hometown get burned to the ground. The tracks that make up this record are the very repertoire of songs sung by De La Cruz to Mezcal-soaked patrons in haunted cantinas, as he drifts from pueblo to pueblo across a desolate landscape bristling with tumbleweed. Throughout La Muerte en Realidad no Existe, Clothing conjures De la Cruz through this vampire-cowboy alter-ego creating as much a Mexican Gothic as a Latin American Giallo - a phantasmagoric fever dream of love, loss and violence - painted in neon Technicolor.

Emptyset, James Ginzburg and Paul Purgas, explore both spatial and physical properties of sound; specifically the perceptible boundaries between it and noise. They have produced installations for Tate Britain and the Architecture Foundation in London. Emptyset"s new album Dissever continues their exploration of the histories of 20th century electronic sound and media. Dissever delves into the intertwined evolution of cosmic rock, minimalism and electronic music, viewed through their prospective dreams and overlapping technological ambitions. Premiered at Tate Modern as a live performance, Dissever was part of the exhibition Electric Dreams, a large-scale survey of the global history of art and technology. The resulting album is astoundingly sublime, rich with sonics that are as thrilling and immediate as they are singular and dense with complexity.

Polish producer Newborn Jr. joins forces with the incredible vocalist Annjet for their highly anticipated debut full-length vinyl LP under the collective name Krush Klubb, set to be released through the renowned Bristol-based independent label, Shall Not Fade.

The Zone Out LP seamlessly blends the best of modern dance music, effortlessly merging the smooth, hypnotic rhythms of deep house with the frenetic energy of breaksy jungle cuts, all while showcasing the rich, captivating vocals of the talented Annjet. This dynamic collaboration not only highlights Newborn Jr.'s unparalleled production abilities but also elevates the musical landscape with Annjet's signature vocal style, which adds an emotive, immersive layer to each track.

With its intricate soundscapes and genre-defying approach, Zone Out stands as a testament to Krush Klubb's versatility and vision, offering a unique listening experience that crosses boundaries and defies expectations. The LP promises to be a perfect soundtrack for those who love to lose themselves in the rhythm of dance music, whether you're winding down or getting lost in the groove.

The Zone Out LP drops on Friday, 23rd May via Shall Not Fade, ready to leave an indelible mark on the dance music scene and introduce Krush Klubb as one of the most exciting new acts in the genre.

Drone legends Earth, the Seattle group led by Dylan Carlson, ready their first release on Fire Records. Deluxe Ltd edition 'Dark Star' effect vinyl with matte and spot UV sleeve, DL card. Unreleased live recording taken from their show at London's KOKO in 2016. Includes live renditions of fan favourites 'The Bees Made Honey In The Lion's Skull' and 'High Command'. For fans of: Sunn O))), Sleep, Boris, OM, Spacemen 3, Witch, Hawkwind, Boris, Melvins. Seattle drone-rock titans Earth release their latest live document, WEM Dominator (Live in London NW1, 2016), an unrelenting display of the band's seismic force, recorded during their performance at London's KOKO in 2016. Sharing the bill with legendary heavyweights Neurosis, Earth delivered a set of hypnotic intensity, crushing volume, and towering, glacial beauty. For over three decades, Dylan Carlson and his ever-evolving ensemble have been crafting tectonic soundscapes that defy convention, forging a path between meditative drone and colossal doom-laden riffs. WEM Dominator is an album of mesmeric modal patterns, it's a recording that captures the trio's intricate, slowly evolving euphoria in a period when their experimentation swerved through endless possibilities. From the creeping grandeur of "The Bees Made Honey In The Lion's Skull" to the ominous crawl of "Even Hell Has Its Heroes," the album presents Earth at their most immersive and powerful. This record reasserts Earth's mastery of atmosphere and weight, where every note feels tectonic, and silence itself becomes an instrument of crushing tension. It is a hypnotic, stripped down sonic symphony embracing influences as wide ranging as the Velvet Underground, Terry Riley and La Monte Young, a visceral slow-motion reading of the original sound that inspired Sun O))) and the generation that followed. The lineup of this performance was Dylan Carson (guitar), Jodie Cox (baritone guitar) and Adrienne Davis (drums), it was recorded live at KOKO, London on November 7th 2016 and is mixed and mastered by Mell Dettmer at Studio Soli in Seattle.

Destiny of Illusion is a 24-track full length debut from Pretty V (aka. Voldy Moyo, v7backin2007, #Smokesito), a prolific artist from Wakefield, UK who has been frequently performing and releasing music & videos online for the past 9 years, building notoriety for his unique sound and prolific output and gaining support from artists such as MIKE & King Krule, both of which have brought Voldy out for many shows, and for collaborations.

The album will release on the 24th April 2025, along with a release show the same day at Ormside Projects.

The album is produced entirely by aloisius, a prolific artist & producer, as well as the founder of life is beautiful records). ‘Destiny of Illusion’ is a landmark album for both Pretty V & aloisius, being their first full-run vinyl release. The album will be available exclusively on Vinyl, Cassette & CD.

This album also holds additional historical significance being that it is the first official/ full-run vinyl release for life is beatiful records.

The first pressing of ‘Destiny of Illusion’ will be limited to 397 copies.

This new album celebrates 10 years of activity by the quartet House of Echo!


Wallsdown II: Beyond Cyborgs, tECHnO Inside Us is the second part of a trilogy, following Wallsdown, released in 2020. This new repertoire, half organic, half electronic, questions the relationship between man and machine and the digital worlds of today and tomorrow. It confronts electronics and artificial intelligence with the acoustic quartet, which, throughout the album, enter into osmosis, reverse their roles, and merge.

The promise of a Florry show, a now familiar caravan that has been honed over ambitiously trekked zig zags across America and Europe since the release of Dear Life Records debut The Holey Bible, is the redemptive promise and prodigal joy of rock and roll guitar music. Bred in the crackling warmth of the Philadelphia DIY scene, and forged with the alloys of community action, queer liberation and bedroom poetry, bandleader Francie Medosch and her absolute unit of collaborators have put in the work of sharpening their homespun tools to take up the mantle of the great lip-puckering rock and roll tradition pioneered by the likes of The Band and the Rolling Stones, but with proudly displayed Aimee Mann and Yo La Tengo bumper stickers on the rusty frame of the truck. At any second, the wheels could come off but they are steering just fine. For 'Sounds Like' Florry's sophomore effort as a fully realized band, Medosch and co. decamped to Drop of Sun studios in the nest of the Blue Ridge Mountains to record with Asheville wunderkind Colin Miller, a critical voice behind the records of MJ Lenderman, Wednesday and Merce Lemon and a powerful songwriter in his own right. Three powerhouse days in late 2023 solidified writing work done by the band earlier that summer in the now defunct Haw Creek compound under Miller's guiding suggestion. The result is a portrait of a ripping band cresting towards the height of their powers, uniquely equipped to capture a wildly loving, barn-burning camcorder clip of a turbulent trip with your best friends, without dipping into nostalgia bait. Lyrically, Medosch's utterances are both careful and excessive, the product of sifting through the rubble of classic good-time media, and finding what works for both her and her community to reach the heights of abandon. "The Jackass theme song was actually a really big influence on the new album" The expansive personnel and continent spanning footprint of Florry casts a wide net for this community. Florry the band rolls deep in the heard of North American DIY, featuring Jon Cox (Sadurn, Son of Barb) on pedal steel, John Murray on electric guitar, Collin Dennen on bass, Will Henriksen on fiddle, Katya Malison (Doll Spirit Vessel) on Vox, and Joey Sullivan (Bark Culture) on drums. Medosch's recent move to Burlington Vermont entrenches the Philly born project firmly within the ranks of fellow alt-country upstarts Lily Seabird and Greg Freeman, and gives them a vantage just outside of Pennsylvania at the thresholds of New England and the Midwest. There is a new life breathed into this music that confirms Florry as equally rooted in place work, and at home on the vast roads of America. For listeners who fell in love with Florry's infectious charm on sweeping tours with the likes of Kurt Vile, Real Estate, MJ Lenderman, Greg Freeman and Fust, 'Sounds Like', provides a refreshing memento of the band that surely left them smiling. If the support behind 'The Holey Bible' provided validation for the insistent vision of these young artists, 'Sounds Like' finds them reveling in and honing their vocabulary. Praise from outlets like Pitchfork, Stereogum, Paste, and Brooklyn Vegan touched on the potential of their wild idiosyncrasies, and accurately predicted that their next steps would see them continuing to write their own story, like a 10 car pileup that you can't take your eyes off if you tried. Florry proves that they can let the car spin just out of control whenever they want, and you are welcome to ride shotgun while Medosch does donuts in the WaWa parking lot. The ceiling, it turns out, is truly the roof.

The promise of a Florry show, a now familiar caravan that has been honed over ambitiously trekked zig zags across America and Europe since the release of Dear Life Records debut The Holey Bible, is the redemptive promise and prodigal joy of rock and roll guitar music. Bred in the crackling warmth of the Philadelphia DIY scene, and forged with the alloys of community action, queer liberation and bedroom poetry, bandleader Francie Medosch and her absolute unit of collaborators have put in the work of sharpening their homespun tools to take up the mantle of the great lip-puckering rock and roll tradition pioneered by the likes of The Band and the Rolling Stones, but with proudly displayed Aimee Mann and Yo La Tengo bumper stickers on the rusty frame of the truck. At any second, the wheels could come off but they are steering just fine. For 'Sounds Like' Florry's sophomore effort as a fully realized band, Medosch and co. decamped to Drop of Sun studios in the nest of the Blue Ridge Mountains to record with Asheville wunderkind Colin Miller, a critical voice behind the records of MJ Lenderman, Wednesday and Merce Lemon and a powerful songwriter in his own right. Three powerhouse days in late 2023 solidified writing work done by the band earlier that summer in the now defunct Haw Creek compound under Miller's guiding suggestion. The result is a portrait of a ripping band cresting towards the height of their powers, uniquely equipped to capture a wildly loving, barn-burning camcorder clip of a turbulent trip with your best friends, without dipping into nostalgia bait. Lyrically, Medosch's utterances are both careful and excessive, the product of sifting through the rubble of classic good-time media, and finding what works for both her and her community to reach the heights of abandon. "The Jackass theme song was actually a really big influence on the new album" The expansive personnel and continent spanning footprint of Florry casts a wide net for this community. Florry the band rolls deep in the heard of North American DIY, featuring Jon Cox (Sadurn, Son of Barb) on pedal steel, John Murray on electric guitar, Collin Dennen on bass, Will Henriksen on fiddle, Katya Malison (Doll Spirit Vessel) on Vox, and Joey Sullivan (Bark Culture) on drums. Medosch's recent move to Burlington Vermont entrenches the Philly born project firmly within the ranks of fellow alt-country upstarts Lily Seabird and Greg Freeman, and gives them a vantage just outside of Pennsylvania at the thresholds of New England and the Midwest. There is a new life breathed into this music that confirms Florry as equally rooted in place work, and at home on the vast roads of America. For listeners who fell in love with Florry's infectious charm on sweeping tours with the likes of Kurt Vile, Real Estate, MJ Lenderman, Greg Freeman and Fust, 'Sounds Like', provides a refreshing memento of the band that surely left them smiling. If the support behind 'The Holey Bible' provided validation for the insistent vision of these young artists, 'Sounds Like' finds them reveling in and honing their vocabulary. Praise from outlets like Pitchfork, Stereogum, Paste, and Brooklyn Vegan touched on the potential of their wild idiosyncrasies, and accurately predicted that their next steps would see them continuing to write their own story, like a 10 car pileup that you can't take your eyes off if you tried. Florry proves that they can let the car spin just out of control whenever they want, and you are welcome to ride shotgun while Medosch does donuts in the WaWa parking lot. The ceiling, it turns out, is truly the roof.