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A Lost Hi-NRG Gem Returns – After 38 Years!

Another iconic diamond of German electronic disco is finally back on vinyl after 38 years! This is no ordinary reissue – it’s a Mike Mareen production, the mastermind behind the legendary “Love Spy”. Released under his Night’n’Day Records, a label that ruled the ’80s dancefloors, this track is pure Hi-NRG gold.

Enter “Roadrunner”, a high-energy banger from Jeff Harrison, this time hiding behind the alias U.K.. Packed with playful synths, an electrifying tempo, and Jeff’s dynamic vocals, this track is made for the dancefloor—like a fitness trainer hyping you up for that final rep!

But that’s not all! This special edition also includes never-before-released versions straight from the original recording session. Stored on tape, buried in a drawer for 38 years, and now – FINALLY – ready to hit your turntable.

Get it. Spin it. Feel the energy!

Felix's impassioned F minor quartet was the fiercely personal response to his
sister's death in 1847, only a few months before his own
The Takacs Quartet frames it with equally committed accounts of a much earlier
work, and Fanny's own important contribution to the genre.

Now available on LP for the first time

Limited white vinyl ! RIYL: Guided by Voices, Pavement, Terry, The Chills, The Clean, The Verlaines. Whoosh is The Stroppies first proper debut album and breezes along with boundless energy, a refrained pop strut, infectious grooves and the sort of jangling guitar melodies that sound like a prime-era Flying Nun band. The Melbourne-based band formed together around a kitchen table in 2016 with a heavy focus around the essence of collaboration and a DIY ethos. After a home recorded cassette release "Whoosh" is their proper studio debut. It's a record that possesses all the spunk and gusto of a young band hurtling forward yet also knowing when to take their foot off the accelerator. It's an album that simultaneously feels young and fresh but wise beyond its years by combining taut post-punk rhythms, indie jangle, seamless melody and sugary pop.

Ltd Classic Black Vinyl with bonus 7inch, DL card. Monde UFO, LA-based duo of Ray Monde and Kris Chau, are a monochromatic sunset for the senses. A sonic journey through psychedelia, space rock and jazz. A cosmic space where Spacemen 3 meets Vanishing Twin, by way of Sun Ra. 7171 perfectly embodies the framework of lo and hi-fi sounds which have helped define the band. Included in this expanded package is Four Songs, Monde UFO's radical interpretation of Fugazi's music, housed for the first time on LTD 7" with new artwork. In a downtown Los Angeles warehouse, on 7th Street, Ray Monde began writing songs on an old Yamaha church organ for a project that eventually became Monde UFO. Utilizing the organ as a bass, alongside keyboards and a drum machine, he began making demos on a four-track cassette recorder. Heavily influenced by the musician Sandy Bull, sonically landing in a similar no-man's land of Worldly Jazz and Psych Folk. Monde experimented with the themes mostly of meditation and UFO lore. In time Ray moved in with the artist Kris Chau. With little crossover in musical tastes, they exclusively started listening to jazz, ambient and new age music in the house. Increased interest in sound baths and experimental music led to seeing music in a different light. Envisioning something that would sound like Don Cherry making a record with Yo La Tengo. '7171' is an amalgam of influences, interpretations and otherworldly sounds channeled through genre bending experimentation. This expanded edition of '7171' includes the sought after 'Four Songs' EP, a reimagining Fugazi's early classics, songs that take on a life of their own, lost amongst the haze and sugar sweet psych. Ray Monde explains, "Long Division was one of my favorite tracks off 'Steady Diet of Nothing' the first Fugazi record I ever owned; more than ever, it also feels truly poignant in the times we live in.Version 2 is our interpretation of Version from 'Red Medicine', my favorite Fugazi Record." "A slice of low-key bedroom pop-psychedelia in the vein of Syd Barrett." Aquarium Drunkard "Monde UFO wander through a humid mist of exotic samba shuffles, shamanic whispers, and reverberating laser beam synthesizers." New Commute

Zum 10. Jubiläum farbiges Vinyl! Es war unvermeidlich: seit ihrer ersten Zusammenarbeit im Jahr 2012 für den Track "Tá bom" kreuzten sich ständig die Wege des MC und des Trios, entweder im Studio oder auf der Bühne. Es war dann an der Zeit, anlässlich des 10. Jahrestages des Labels auf der schönen Insel Réunion, bei einem Glas Rum und einer Zigarre, dass die Entscheidung getroffen wurde: Das Album "The Journey" wird im Herbst 2015 veröffentlicht und die Reise gestartet. Für die Produktion griffen die drei "Chinesen" ganz tief in die Plattenkkiste: Banjo-Methode, 30 Jahre Musik, Flöten aus den Anden, das Ziel ist einfach: aus dem geohnten Gebiet der Sample Digger auszubrechen und sich so weit weg wie möglich von Hip Hop zu entfernen, um dann wieder mit neuen Perspektiven zu starten. Die Texte von conscious rapper TUMI schwanken zwischen Ironie und Bitterkeit. Fünf der Titel wurden von Chinese Man produziert und eingespielt, einer von Leyan und Tomapam. Oben drauf runden sechs Instrumentalversionen das Album ab, darunter Beiträge von Hugo Kant, Le Syndicat Du Chrome und der Scratch Bandits Crew.

Brandneue Auflage auf brauenm Doppelvinyl: Mac Millers zweites Album "Watching Movies With The Sound Off" aus 2013 mit den Singles "S.D.S.", "Watching Movies" und "Goosebumpz", das auf #3 der Billboad 200-Charts einstieg und auch in Deutschland die Top 50 knackte.

Demonstrating the poignant power of experience + human connection + innate musicality + operating in the present moment, Jeff Mills' Spiral Deluxe collective unveil their second album - The Love Pretender. Driven by the free expression and creativity of improvised performance, Spiral Deluxe is an electronic jazz fusion project comprised electronic music visionary Jeff, along with legendary keyboardist Gerald Mitchell (Underground Resistance/ Los Hermanos), Japanese rocker Yumiko Ohno (Buffalo Daughter/Cornelius) on Moog synthesizer and the Japanese bassist, adopted New Yorker, Kenji "Jino" Hino - son of Terumasa Hino, the world famous jazz trumpeter. Together, the four key players formed a band centred around completely improvised journeys through sound.

During their unrestrained performances, what Jeff describes as sonic "conversations" arose between the musicians, as they each contributed to full-length live shows, and studio sessions. Within the boundless parameters of freeform spontaneity, they developed an unspoken understanding of one another, finding balance and poise within the unplanned performances. The resulting recordings have been used for three releases so far: Two EPs, Kobe Session (2016) and Tathata (2017), and their debut album Voodoo Magic in 2018. With The Love Pretender, we're presented with another stunning collection of "tracks" extracted from one long improv session.

With each musician proficient in their specialism and, of course, an all-out music lover, the communication between the group members became almost telepathic. Very little preparation was needed, and their performances flowed naturally and organically. This can be heard, and felt, throughout The Love Pretender. Tracks like 'The Soloist' evolve effortlessly, each new shift subtly influenced by one of the musicians nudging the conversation into a different phase, and the rest responding accordingly, or vice versa. It's music that embodies the true nature of mindfulness and letting go of fear. In their unstructured, liberated cocoon the artists thrive and create musical moments that have, fortunately, been captured for us all to immerse ourselves in. Jazzy notes fill the air, combined with electronic bass, synthesised beats, sparkling keys and an all-round warm and welcoming atmosphere, with the slight edge you can only get from improvised performance.

Sylvain Luc's posthumous appearance on the album is of significance too. The French guitarist died in March 2024 at the age of 59. His natural flair adds another dimension to the album, bringing a touch of that laid back 1980s American California Coast feeling to tracks such as 'Society's Man'. These contributions to the LP, recorded separately, add character - a final sprinkling of humanity to complement the aliveness and presence of this body of work. Three other musicians also added their creative energy to the project. They were; TOKU, a Japanese jazz musician who specialises in wind instruments, especially the cornet, trumpet and flugel horn. And there's Masa Shimizu, who also has wide-ranging with the guitar, as well as being a producer.

Themes on the album include the optimism one can have by simply trusting the process and trusting that everything will work out in the end. By playing together in the way they do, Spiral Deluxe place their trust in the mystery of what will happen next. Getting comfortable with not knowing is key to a sense of peace with regard to the future and this energy is vital to their collective musical output. By embracing the notion of the unknown, you become an eternal optimist, living in the moment, rather than projecting into the future. This cultivates excitement, an antidote to anxiety.

Meanwhile, the title alludes to the shifts and changes that have occurred in today's society, whereby it's possible to achieve success through pretending. The superficiality, and falsehood, that can often be presented via social media, can lead to questions about what's real and what's not. From AI to the fake personas that populate the dominant platforms, The Love Pretender speaks to a process that is symbolic of the time we're living in. Behaviour that has become acceptable in today's world, which may not have been as welcomed a few decades ago. But this is part of the cycle of life...

Jeff's intention with this music is to present it in high-fidelity, to be listened to over and over and over again. In post-recording he worked for hours to ensure the audio quality was as high as it could be. The goal is to create music that people can live with their entire lives, from his solo work to these masterful improvisations. Music that comes to life, music that has a voice we can replicate with our own vocals. Expressive, unstructured, and alive...

With The Love Pretender Jeff Mills continues his mission to experiment with music outside the bounds of what is typically expected. It's freeing, enlivening, vibrant and uniquely human. As ever, Jeff's visionary outlook and bold approach to musical performance and recording has produced a body of work that epitomises his often revolutionary capabilities. There's no pretending here, just pure unadulterated sonic transmissions from a wonderfully daring, inspiring and optimistic ensemble...

All The Hits is the speedy follow up to Myriad Myriads’ debut album, Shardcore (released on Trilogy Tapes in September 2024). 200 vinyl pressed. Myriad Myriads was FKA Bass Clef. Wrong Speed Records have released two albums by Bass Clef (the 2020 limited vinyl reissue of 2011 cassette Inner Space Break Free and 2021 album Magnetic Chapters). Both organic and beautiful, both differing takes on electronic dancefloor - from 70's Germany, late 80's UK, and 90's Detroit. Myriad Myriads closed out the 2024 Wrong Speed Fest Weekender in the back room of a rowdy pub in Glastonbury (real Glastonbury, not Pilton). To watch up close and see the physicality was rapturous, to hear this music at volume positively transformative. All The Hits, recorded in Myriad Myriad's hometown of The Hague, Netherlands, is Carl Stone meets Sonz Of A Loop Da Loop Era. Carl Cox meets Harmonia. It's a headphone monster. Through a PA it will destroy. At home it's a living room shuffle, a synapse burster. It's a privilege for us to somehow be in the position to release records by Myriad Myriads / Bass Clef. We've known him for a long time. He's remixed a couple of Hey Colossus tunes. Check out the recent Patrick Cowley/Jorge Socarras covers 12" You Laugh At My Face on State 51 Conspiracy. His 22-minute-long reworking is a masterpiece. We love to be connected. We love Wrong Speed Records switching from Part Chimp to Myriad Myriads and on to Deep Cabaret via Jacken Elswyth. All come from the same place, if you feel it you know. This is our record collection

I wrote The Shit Punx Hate for Realicide in 2005. This version was made for Decide Today around a decade later, maybe 2015? It was about the pathetic narrow-minded dogmas that were common in Cincinnati punk, being discriminated against when our approach defied dominant aesthetic criteria, chronically misunderstood and rejected without consideration.

This experience in my formative years led to a long path of thought as I entered adulthood. Those feelings of being "other"ed, treated poorly based on who I was, started to seem less significant compared to the prejudices I saw friends faced with. Targets of bigotry due not to a subcultural choice, but aspects of themselves they were born into. Of course I mean things like race, gender, class, abilities. If being dissed by punk rockers sucked for me, imagine what it must feel like being the only black kid in a social circle that can't even recognize its own racism, the only woman in places misogyny is the celebrated standard, having a non-white family at risk of deportation, growing up "male" or "female" when you've always known they are wrong about you, etc. This was my mental gateway into prioritizing these struggles, wanting to become an ally, then even more so an accomplice.

Revolutionary Reason was written in 2018 during my time working with Mass Action for Black Liberation, and revised abruptly this year while recording for this record, as it was inconceivable not to address the epitome of merciless colonial atrocity orchestrated by the state of Israel. While I write this, the IOF is massacring families in the West Bank. The death toll in Palestine is currently estimated at around 41,000 and it hasn't even been a year since this modern Nakba began. I hope these songs help make apparent that whatever you said you "would do" during Jim Crow America, Nazi Germany, Apartheid South Africa, any archetypal history now synonymous with wrongness, yes I can confirm NOW IS THAT TIME to do it ...if you were for real about it that is.

Big respect to my Arab friends who are so patient while I learn the stuff my school conveniently omitted, to my Jewish friends tirelessly combating the violence of their ethnicity being shackled to a cult of Zionism, to native resistance across Turtle Island that articulates so well that this fight is also still/always very domestic, to contemporary hiphop telling today's stories while rock music often merely offers retro fashion, and of course to Kieren and Borg my homies in OZ.

All my love to intifada direct action everywhere dismantling the imposed global suicide pact that is white supremacist capitalism.

~ Robert Inhuman 28 August 2024

Blend Mishkin & Soul Sugar - Theory of Mind
Cultural Collaboration Sparks New Sound:
Athens and Paris Unite for Soulful Jazz-Reggae Fusion Album.

A collaboration between two creative musical minds, Blend Mishkin from Athens meets Parisian Soul Sugar to co-create a genre-bending album titled “Theory of Mind”
This album features nine compositions which uniquely fuse vibes of jazz, soul, reggae, afro-beat and even some 70’s b-movie soundtrack all brought to life through the warm tones of vintage keyboard instruments such as the Hammond Organ, Clavinet and Fender Rhodes electric piano, played by virtuoso keyboardist Soul Sugar aka Guillaume Metenier paired with flawless orchestration, arrangements and production by Blend Mishkin.

Soul Sugar, a disciple of jazz master Dr. Lonnie Smith on the Hammond organ, known for his
intricate reggae-jazz masterful improvisation, brings a distinctive mellowness and complexity to the album. His use of the Hammond organ, Clavinet and Fender Rhodes electric piano adds a layer of depth and authenticity that transports listeners back to the golden age of soul and reggae. Blend Mishkin, a versatile artist, who has mixed and moved across reggae, dub, soul, as well as world music, introduces elements of funk and reggae rhythms to the mix. His production techniques, combined with the rich, analog sound of the vintage instruments, creates a sonic landscape that is both timeless and inspired.

Guest vocalists are featured in four out of nine tracks. Greek-French funk powerhouse Georges Perin delivers a heavy soul tune called “I Miss Those Days” , Fae Simon from London lays a velvety vocal on an old school steppers groove, Thaliah from Athens brings her smokey jazz flavour with “Moonlit Letter” and Jeffrey Diop from Senegal adds the perfect chant in “Big Boss in a Small Town”.

The recording sessions, split between Athens and Paris, were as much about cultural exchange as they were about musical experimentation. The result is a collection of tracks that resonate with the energy of live performance, while also echoing the rich musical background of both artists.
"We wanted to create something that felt organic and real," says Guillaume. "Using these incredible vintage instruments allowed us to tap into a sound that feels both timeless and brand new."
Blend adds, "This album is about mixing our roots, our sounds, and our experiences. It's a celebrationof music that transcends borders and eras."

“Theory of Mind” it's a cross-cultural journey. The project emerges from the vibrant, sun-soaked melodies of Athens with the sophisticated, urban grooves of Paris, resulting in a sound that is both nostalgic and refreshingly modern.

De Ti Depende is salsa legend Hector Lavoe’s second solo album, released on Fania Records in 1976, in which he steps out as the leader of his own orchestra for the first time. Hit tracks include Tite Curet Alonso’s “Periódico de Ayer,” the ever popular anthem “Hacha y Machete” and Perucho Torcat’s uplifting “Vamos a Reír Un Poco.” Featuring (AAA) lacquers cut from the original master tapes, this remastered reissue is pressed on 180-gram vinyl and housed in a classic tip-on jacket.

Since the first release 5 years ago, Jazz Room Records has released an eclectic and interesting selection of releases.

From the Jazzy commercialism of the Take Vibe version of The Stranglers "Golden Brown" (5,000 vinyl single sales) to the 1960's Headshop Sounds of West Coast Fluteman Eric Ghost.

Other notable releases on Jazz Room include the critically lauded album by Vibraphonist Khan Jamal "Infinity", a compilation of Japanese tough funk fusionists indigo jam unit put together by DJ Colin Curtis, Nuyorican Latin House from Tata Vasquez, Jazz Dance Madchester Rave from Cruisic and some South African Holy Grail grooves from Abacothozi! The latest release is the Underground Latin J-Jazz of Copa Salvo, first introduced to London by DJ & Music Legend Jean-Claude.

Next up is an in demand Jazz Funk Obscurity from Educator and Trumpet Player John Lamkin whose self released album "Hot" saw the light of day in 1984 then disappeared into the Rare Jazz ether.

Currently changing hands for €300 and upwards it's again about to see the light of day in 2025!

This is an album that is aptly named with all the elements we love: Latin, Funk, Soul, Jazz and all round Double Hipness. What a Hot item it is too. From the Funky as it gets opening bars of "Ticket" through the Rio bound flight "722", taking in a visit to Wonderland with some Soul Jazz Vocal stylings on "Flower Power" and the Funkiest 17 minute Journey to Trumpet Enlightenment in the Title track "Hot" which is, true to its name, Scorching by the finish line is reached.

Already getting Big Ups on UK Jazz Funk Scene Founder Colin Curtis's Cult Radio Show "Jazz Dance Fusion" it's gonna be getting plenty of plays worldwide at the "Hottest" radio stations and funkiest jazz dance nights near you soon!

Ross Allen: It's brilliant!! Perry Louis: Massive! Dr Bob Jones:I Love Big Time!Colin Curtis: Killer!

This re-issue of the Cocteau Twins' 1993 album has been remastered by Robin Guthrie and is pressed onto high quality 140g vinyl . Cocteau Twins vocalist Elizabeth Fraser, guitarist Robin Guthrie, and bassist Simon Raymonde formed in Grangemouth, Scotland in the late 70s. The brainchild of Guthrie and original bassist Will Heggie, by 1981 they had added Fraser and the following year signed to 4AD, one of the most illustrious of the indie labels. With Raymonde replacing Heggie in 1983, the trio went on to create some of the most unique and otherworldly music of the 80s, built around Guthrie's chiming guitar and Fraser's unmistakable soprano. By the early 90s, the group had just released their most successful album, the commercial Heaven or Las Vegas, but the relationship with 4AD was coming to an end. Mercury imprint Fontana was going through something of a purple patch, signing former underground bands, and by 1992, Cocteau Twins had joined The Fall and the House Of Love. The group's debut album for Fontana, Four-Calendar Cafe, was released in October 1993. Its gossamer melodies and largely upbeat pop bely the turmoil the group were going through. Barney Hoskyns, writing in Mojo, said that Four-Calendar Caf was "the most poignant, heartrending Cocteaus record of all, an album of naked confession and raw beauty . . . Sadness never sounded so luscious." Simon Raymonde agreed: "I think in time people will realise what a great album Four-Calendar Caf is. Because I think it's beautiful." Led by the single Evangeline, the reached No 13 in the UK album chart and is much-loved by fans.

Texas jazz, funk and soul group PHYREWORK were signed to Mercury Records in 1978 releasing an acclaimed self titled album. They measure up to the bands that inspired them: Sly and the Family Stone, Earth Wind & Fire, Tower of Power - to name a few.

PHYREWORK recorded a plethora of songs that went unreleased - this record documents the legacy of this brilliant band. We are proud to present eleven dazzling songs circa 1977 - 1982, nine of which are originally unreleased and two from the elusive early 80s 7” single.

We are honoured to have the liner notes written by David Ritz, author of the definitive books on Ray Charles, Marvin Gaye, Aretha Franklin, and many more.

Texas jazz, funk and soul group PHYREWORK were signed to Mercury Records in 1978 releasing an acclaimed self titled album. They measure up to the bands that inspired them: Sly and the Family Stone, Earth Wind & Fire, Tower of Power - to name a few.

PHYREWORK recorded a plethora of songs that went unreleased - this record documents the legacy of this brilliant band. We are proud to present eleven dazzling songs circa 1977 - 1982, nine of which are originally unreleased and two from the elusive early 80s 7” single.

We are honoured to have the liner notes written by David Ritz, author of the definitive books on Ray Charles, Marvin Gaye, Aretha Franklin, and many more.

STRUKTURSTRUKTUR's “the Gestalt” is a statement toward their search for their own aesthetic and
conceptual perception and is at the same time descriptive of their music.

* 12” orange vinyl, 3mm spine sleeve, inner black bag, 180Gsm
* Following on from the success of the 'Ram Reloaded' repress vinyl series, we are pleased to announce our next project in collaboration with Ram Records. As part of Ram Records’ 30th anniversary, we have put together a series of new remixes and VIP’s of some of the labels biggest releases from the early 90’s.

* The Touch (Ant Miles Remix)
Being one half of Origin Unknown alongside Andy C, Ant Miles located the original floppy Akai sample disks from way back in 1993 and was able to load them up into his Akai sampler. He went on a mission to not only recreate the sound and vibe of the original A side of RAMM004, but to then go on to enhance and tweak all the elements, including various elements from the 'Part 2 mix' that came out later in 1993. 

* The Touch (Ruff and Ruffer Remix)
Two DJs also from Hornchurch in Essex, have already lined up their debut 12" which will be released later this year on Out Of Romford Records. From the strength of this forthcoming Hardcore tear out 12" they were invited to submit a remix of 'The Touch'. Being long-time fans of the Ram and Liftin Spirit labels, they took the samples and went in with a passion to create a twisted up and slammin’ remix which so far has blown everyone away with its energy and overall technique. These two brothers are ones to watch out for in 2024.

* Valley of the Shadows (New Decade Remix)
New Decade (Out Of Romford Records) follow up their run of outstanding remixes; 'Cold Fresh Air' and 'The Big Bang' this time visiting the anthemic 'Valley of the Shadows' a.k.a. Long Dark Tunnel. Encapturing the sound and vibe of the 1993 original, New Decade have taken it further, enhancing and twisting the hypnotic atmospheres, yet keeping the original rolling feel of the drums and basslines whilst also including the occasional nod to the remixes that appeared throughout the 1990’s. The initial reception of this remix has been exceptional and has completely stunned and transfixed the masses, being commented on by many as perhaps the best of the four remixes that have landed over its 31 years.

* Valley of the Shadows (Awake '96 Mix)
This was the second remix to appear three years after the original in 1996 and has been carefully remastered with today’s technology for this final Ram Reloaded 2024 12" release. Andy C & Ant Miles took the original and slightly sped up the tune utilising subtle tweaks and enhancements with the added vocal 'Awake in Another Dimension'. This mix featured prominently on Kiss FM and Radio 1 back in the day.

Repress!

VERY LTD 100 COPIES UK

‘Indian Wedding Sweetmeat Celebrations’ transparent Yellow vinyl.** Ten years on from its original release, Ample Play Records will release, the ground breaking ‘Cornershop And The Double ‘O’ Groove Of’ album by Cornershop feat. Bubbley Kaur on vinyl for the first time. The LP, pressed as a stunning limited edition of 500 copies on ‘Indian Wedding Sweetmeat Celebrations’ sticky transparent Yellow vinyl in a gatefold sleeve with poster insert, will be available via mail order direct from the group and in all good independent record shops from 3rd December 2021. Cut for vinyl at optimum levels by Fluid Mastering, the same clever folk who mastered both the celebrated ‘England Is A Garden’ and ‘England Is A Garden Instrumentals’ albums. It’s a vinyl release that Rough Trade Shops have petitioned us for years to action and we’re pleased to report they consider the audio results to be “topknotch, an amazingly defined cut”. After many a time in the studio, under lab conditions Cornershop originally released the album in 2011 featuring the incredible double sugar-coated vocals of Bubbley Kaur. When Tjinder and Bubbley decided to work with each other, she had not recorded a note of music. They had met very fleetingly, years ago at a cellar gathering in Preston Lancashire, where Tjinder & Benedict studied. So it was much surprise when a taxi driver friend introduced him to a lady that liked singing, worked in a local launderette, and was the same lady he had met in a northern cellar bar. They then met a good many times at Tjinder’s house where they would listen to and discuss traditional Punjabi Folk Music, and slowly Bubbley came out writing her own original lyrics, which were set to a varied range of modern musics. ‘Natch’ was the first song she recorded, followed by ‘Topknot,’ and together they became the first double ‘A’ single on Rough Trade Records. The complete recordings were made in their own good time. Tjinder explains “There was no need to quickly put the album out, but there was a need to make it top rank and evergreen, especially as I have wanted to do an album like this for 20 years.” Benedict & Tjinder set up their own label, Ample Play in 2009 to release the highly acclaimed album ‘Judy Sucks A Lemon For Breakfast.’ The way Tjinder & Bubbley met was like a hindi movie script, and the outcome of the music is like an Asian version of The Kids From Fame – totally upbeat, giving rise to new ways of expressing yourself.

Fust--the lyrical powerhouse Southern rock band from Durham, North Carolina--announce their new album Big Ugly, out March 7th on Dear Life Records, the record label that launched the careers of MJ Lenderman and Florry and that has become a haven for contemporary songwriters. Big Ugly arrives after the release of 2024's Songs of the Rail--"one of the best alt-country compilations_in a long, long time" (Paste) -- and 2023's standout Genevieve, which unassumingly introduced new listeners to Fust's unmistakable blend of "small-town poetry" (Mojo) with a familiar yet probing "country-tinged folk-rock" (KEXP) that made it "one of the most fun rock records of the year" (Pitchfork). Genevieve was their studio debut, recorded with producer Alex Farrar (Manning Fireworks, Rat Saw God, Tomorrow's Fire) in Asheville, North Carolina. The reception was far better than the band expected, stirring them to immediately start working on Big Ugly, their second collaboration with Farrar. Recorded over ten days in June of 2024, Big Ugly is the explosive sound of Fust uncovering a freedom within their sincere form of loose and fried guitar rock, realizing more than ever before an intimacy within bigness. The members -- Aaron Dowdy, Avery Sullivan, Frank Meadows, John Wallace, Justin Morris, Libby Rodenbough, Oliver Child-Lanning--weave their voices alongside guests like Merce Lemon, Dave Hartley (The War on Drugs), and John James Tourville (The Deslondes) to form a music that sounds like a conversation between old friends. And that's exactly what it is. At its heart, Big Ugly is a story cycle, following tough-skinned characters who seem to inhabit a shared and fictional small town--Big Ugly--that in reality gets its name from a lowly populated and unincorporated area in southern West Virginia around where Dowdy's family has deep roots. The album cover_a mural from the Big Ugly Community Center just off the Big Ugly Creek--was painted by locals for a 2004 play performed by the children that interpreted their elders' stories. In a way, Fust's Big Ugly does something similar as it takes the same area as its backdrop and reimagines a life depicted in the mural between the bars, gas stations, general stores, and double-wides. Throughout the album, we join the characters in finding history and meaning in the banal theater of their own private jerkwater.The songs on Big Ugly are hearteningly varied, moving from beer-fisted radio country to elegiac drones to deconstructed ballads. Songs like "Spangled" take up the theme of past traumas and present desensitizations colliding, of the small and cosmic coinciding in the life of a heedless protagonist. "Bleached" finds the soul-searching narrator recalling the feeling of inner vacancy in their childhood: thoughtless, speechless, herded around like cattle in backseats. And "Mountain Language" laments the poverties of Southern life at the same time that it promotes a higher poverty, a country utopia that's just out of grasp, where we could live if we could only "make it up the mountain again." The mystical hermeticism and the dime-store everyday are two sides of every insignificant thing in the town of Big Ugly.

Arny Margret, Iceland’s remarkable and poetic upcoming singer-songwriter, is due to release her second album ‘I Miss You, I Do’ on March 7th via One Little Independent Records. The follow-up to 2022’s celebrated, minimalist folk debut ‘they only talk about the weather’ sees her working with new producers in America to develop and hone a sound that’s more textured, expansive, and mature.

‘I Miss You, I Do’ incorporates sessions from Arny Margret’s trips to New York City, North Carolina, and Colorado, as well as those recorded in Iceland. During extensive international touring, she wrote prolifically and spent time getting to know producers and musicians who each brought their own unique and individual talents to the project. Arny’s atmospheric and introspective material has been layered with country-inflected full band ensembles, keys, banjo, harmonium, slide guitar and more, adding an ambience that only enhances her natural ability to convey crystal-clear imagery within thematically rich writing.

In pursuit of her creative vision, Arny enlisted producers Josh Kaufman, Andrew Berlin, Brad Cook, and Guðm. “Kiddi” Kristinn Jónsson. Josh Kaufman is best known for his work with Grateful Dead founder Bob Weir, The National, This Is The Kit, Hiss Golden Messenger, Josh Ritter, and The War on Drugs. Andrew Berlin, GRAMMY nominated for his work on Gregory Alan Isakov’s record ‘Evening Machines’, also mixes national punk rock staples such as A Wilhelm Scream, Rise Against, and Teenage Bottlerocket. Brad Cook served as a producer for Bon Iver, Big Red Machine, Waxahatchee, Hand Habits, Kevin Morby, and Whitney amongst others. Arny also returned to Iceland to record with her long-time collaborator and friend Kiddi Jónsson in Reykjavík, Iceland.

Waxwork Records is proud to release THE TEXAS CHAIN SAW MASSACRE Original Motion Picture Score by Tobe Hooper and Wayne Bell.

In celebration of the iconic film’s 50th Anniversary, the long-awaited score album is now available for the very first time in any format.
The film’s original score by Tobe Hooper and Wayne Bell is an experimental exercise in music compo- sing and performance that utilizes
non-traditional instruments such as suspended cymbals, aluminium saucepans, a children’s toy percussion set, various wildlife calls, whistles, shakers, and more. Waxwork Records’ release of The Texas Chain Saw Massacre by Tobe Hooper and Wayne Bell marks the first time the official score will be made available anywhere.

Waxwork Records is proud to release THE TEXAS CHAIN SAW MASSACRE Original Motion Picture Score by Tobe Hooper and Wayne Bell.

In celebration of the iconic film’s 50th Anniversary, the long-awaited score album is now available for the very first time in any format.
The film’s original score by Tobe Hooper and Wayne Bell is an experimental exercise in music compo- sing and performance that utilizes
non-traditional instruments such as suspended cymbals, aluminium saucepans, a children’s toy percussion set, various wildlife calls, whistles, shakers, and more. Waxwork Records’ release of The Texas Chain Saw Massacre by Tobe Hooper and Wayne Bell marks the first time the official score will be made available anywhere.

Cindy Lee, Arthur Russell, Viagra Boys, On-U Sound. In the discourse around new albums from singular, world-building artists, the phrase “a big step forward” can often be a blinking red warning sign. You know you’re about to be pulled somewhere new against your will. Inertia is a hell of a thing. It’s nice here. Surely, the party’s not over yet? JJULIUS’ Vol. 3 album is a big step forward, or a step up, out of the murky basement of the preceding two volumes. There’s no time to acclimate. A spindly violin grabs you by the hand and pulls you into the pastoral bounce of “Brinna ut,” which, in spite of its meaning (“Burn out”), creates the kind of blind positivity and warm stomach feeling less cynical people might find in self-help seminars. For us, we have records like this. And, inertia be damned, Vol. 3 has charm like a balm. JJULIUS records have always arrived like meteors from another planet, an impression hammered home by the fact that they’re titled like compendiums of artifacts. And while Vols. 1 and 2 carried that notable tinge of darkness, Vol. 3 has (almost!) cast that shadow, adding elements of disco (“Dödsdisco”) and dream-pop (“Etopisk hallucination”) to his forever favorites Arthur Russell, African Head Charge, and The Fall. Some of that new car smell could be attributed to a change in process. Each song was written over beats played by Tor Sjödén of the wild-eyed Stockholm group Viagra Boys, beats that were themselves inspired by tracks from the likes of Patrick Cowley, CAN, Count Ossie, Black Devil Disco Club and others that Julius would send to him as inspiration. Unless you’re Mark E. Smith, fervor fades. Eventually we all crave a lie down in some nice grass, a few minutes to gaze at the sky and wonder if everything is actually all that bad. Vol. 3 gives you 35 of those respiting minutes. “No looking back, no misery, no talking trash, no enemies.”

Samuel Locke Ward and Jad Fair are two of the most prolific musicians working today. Fair is a founding member of the band Half Japanese, and has released over 200 albums, including albums with Yo La Tengo, Daniel Johnston, Moe Tucker, Kramer, Teenage Fanclub, The Pastels, R. Stevie Moore, DQE, Tenniscoats, The Tinklers, Naomi Ishimaru, Jason Willett, Mosquito, and Strobe Talbot. Samuel Locke Ward has released over sixty solo albums as well as a myriad of collaborations with Bob Bucko Jr, Miracles Of God, SLW cc Watt (with Mike Watt) and the cult new age noise group Boundless Relaxation (with Joe Jack Talcum and The Bassturd). He is a cartoonist for Little Village magazine and like Jad Fair, his style musically and visually is wholly his own Pure Candy is the pair’s third album together following 2023’s Happy Hearts and Destroy All Monsters, both issued by Kill Rock Stars. Pure Candy is an album of love songs and is the feel good album of the Summer, Winter, Spring and Fall. The music was composed and performed by Ward who’s love of pop music and avant stylings offer seventeen unexpected turns over the course of a three minute song. The vocals and lyrics are by Fair, lyrics overflowing with words of love, joy, happiness, tenderness, hope and inspiration. Uplifting words for a time dearly in need of some upliftings. As with the previous two albums by Fair and Ward, this album was mixed and mastered by Jonathan Hansen and is being co-released on LP by Shrimper Records (who last worked with Fair on his collaborative three cassette box set Wonderful World) and Chicago’s Stationary (Hearts) Recordings.

Waxwork Records is thrilled to release PHANTASM Original Motion Picture Score by Fred Myrow and Malcolm Seagrave. In celebration of the iconic Horror film's 45th Anniversary, this special triple LP features the complete score sourced from the original 1979 master tapes for the first time in any format, a full LP of never before released cues from the Phantasm score recordings sessions, and the newly re-mastered original 1979 score album.

Directed by Don Coscarelli, Phantasm has become a horror classic due to its surreal and unconventional storytelling. Filming on weekends over the span of a year, and working with a budget of only $300,000, Coscarelli and his crew created a bizarre, gorey, and entirely original horror film. Some of the most famous aspects of the film, like the floating silver orb, come directly from Coscarelli’s dreams, which give the film an even more ethereal feel. Composers Fred Myrow and Malcolm Seagrave were inspired by the horror scores of Goblin (Suspiria) and Mike Oldfield (The Exorcist) to create the haunting sounds of Phantasm. Myrow and Seagrave were working with synthesizers in the early days of the instrument. Says Coscarelli, “The synthesizers we used back then were so primitive that you couldn't repeat something; you would program the synthesizer, which means setting all of these dials to create a sound, and you went back and tried to get it again and forget it - it was impossible.

"I recently received notice that our long-term film storage vault in the basement of the historic Howard Hughes Headquarters building on the corner of Romaine and Sycamore in Hollywood was being permanently closed. During the process of moving out our negative materials, I came across the original three reels of Ampex 456 analog tape used in the Phantasm score recording sessions. Listening now to the score, including the outtake tracks, I am impressed with how inventive and adventurous Fred and Malcolm were in their approach to scoring Phantasm."

Waxwork Records is excited to release the definitive PHANTASM Original Motion Picture Score by Fred Myrow and Malcolm Seagrave as a deluxe 3xLP with features including the expanded and complete score sourced from the original 1979 master tapes, never before released score cues from the Phantasm recording sessions, and the newly re-mastered original 1979 score album. Each disc is pressed to "Silver Sphere" metallic silver colored vinyl and housed in a heavyweight triple gatefold jacket. Also included are exclusive liner notes by Phantasm writer, director, and producer Don Coscarelli, an 11""x11"" insert, and full album artwork by Graham Humphreys.

"Belgians most hidden melodic black/death metal jewel SLAUGHTER THE GIANT will release their follow up to their successful album ""DEPRAVITY"", this time through Swedish upcoming label AT DAWN RECORDS. ""ABOMINATION"" is a six-track mini album. Their music embodies a captivating blend of modern and old school melodic black/death metal from both Scandinavia and America. Reminiscent of bands like The Black Dahlia Murder, Dimmu Borgir and Necrophobic to name a few."

"Belgians most hidden melodic black/death metal jewel SLAUGHTER THE GIANT will release their follow up to their successful album ""DEPRAVITY"", this time through Swedish upcoming label AT DAWN RECORDS. ""ABOMINATION"" is a six-track mini album. Their music embodies a captivating blend of modern and old school melodic black/death metal from both Scandinavia and America. Reminiscent of bands like The Black Dahlia Murder, Dimmu Borgir and Necrophobic to name a few."

IN+OUT Records veröffentlicht den zweiten Teil dieser wunderbaren Kompilation, liebevoll zusammengestellt von Frank Kleinschmidt und Thorsten Scheffner, mit Songs aus Alben, die auf Organic Music erschienen sind ("You’ve Changed", "Underground System", "My Time" und "Tears"). Ein Best-of-Album der letzten Dekade, mit Originals wie "Moon Dancer" oder "The Key", unsterblichen Standards wie "In Your Own Sweet Way" und "Here's
That Rainy Day" sowie den Ray Charles Classics "I Got A Woman" und "Hallelujah I Love Her So".

The Tubs' second album, Cotton Crown, sees the Celtic Jangle boyband venture into darker, more personal territor y while continuing to hone their highly addictive brand of songcraft. It 's a true level up album which sees the band expand their sonic palette to take in a kaleidoscopic range of influences: everything from soulful pub rock (Chain Reaction) to Husker Du aggression (One More Day) to melancholy sophisto-pop (Narcissist) gets a look in. As Pitchfork noted, The Tubs see jangle as a `vast world of moods and muses' and Cotton Crown sees them continuing to explore this world and creating a distinctly Tub-ular sound in the process. This is in no small part down to Owen `O' Williams' vocal performance- often compared to a young Richard Thomson- and his frank, bleakly funny lyric writing. Cotton Crown sees him delve further into his favourite themes of love-psychosis, unsympathetic mentally ill behaviour, and the humiliations of being a musician in London. This time around, however, there's a palpable sense of risk in his self assessments/confessions. No more so in the track's closing track Strange- an accounting of the clumsy, intrusive, well-meaning social interactions that took place in the period following the suicide of his mother (the folk singer Charlotte Greig.) As Williams says: "I'd tried a few times to write a song about it. The result had always seemed either mawkish, simplifying or like I was hawking my trauma. But then this one came out, and it felt right because it looked at something smaller: the weird, unsatisfying, strangely funny ways everyone, including myself, acted after the dust settled." The album artwork features an image of Williams as an infant being breastfed by Greig in a graveyard- a promotional shot taken around the release of her debut album (the re-issue of which was featured in The Guardian in 2023.) The essential trick Cotton Crown plays is to offset Williams' lyrical bleakness with joyous, hook-laden blasts of pop perfection. This is largely down to the guitar work of George Nicholls, who, across the album, effortlessly slips between the virtuoso jangle of Marr, the driving folk-rock of Pentangle and the chorus-heavy hi-fi grooves of contemporary bands like Tops or The 1975. Add to that the breakneck rhythm section of Taylor Stewart (Drums) and Max Warren (Bass)- who attack each song with power-pop ferocity, recalling Guided by Voices at their drunken-yet-tight best- and you've got yourself a recipe for indie rock greatness. The band's debut `Dead Meat' was a word-of-mouth sensation that saw the band earn accolades from Pitchfork, The Guardian, MOJO, SPIN and more. They even gained some celeb fans: the inimitable Mark Proksch (The Office (US), Better Call Saul, What We Do in the Shadows) starred in the video for their "Round the Bend" single & punk legend Iggy Pop has praised them on his BBC 6Music radio program. Standing in opposition to the UK norm of post punk, and hookless high-minded indie prog, the album was described by Kitty Empire (Observer) as a "shot in the arm for indie rock". The band's hard touring and raucous, beer y live show have seen them stand out at festivals like Greenman, End of The Road, Melbourne Rising and Canela Party. The band (minus Stewart) were previously members of Joanna Gruesome- who won the Welsh Music Prize, toured the UK and US extensively, and were praised in Pitchfork, Rolling Stone, The NY Times, The Guardian and others. Lan Mcardle (Joanna Gruesome, Ex-Void) also provides backing vocals on several tracks. The Tubs are part of the Gob Nation collective- the London-based network of bands, writers and promoters who were recently profiled in The Guardian.

The Tubs' second album, Cotton Crown, sees the Celtic Jangle boyband venture into darker, more personal territor y while continuing to hone their highly addictive brand of songcraft. It 's a true level up album which sees the band expand their sonic palette to take in a kaleidoscopic range of influences: everything from soulful pub rock (Chain Reaction) to Husker Du aggression (One More Day) to melancholy sophisto-pop (Narcissist) gets a look in. As Pitchfork noted, The Tubs see jangle as a `vast world of moods and muses' and Cotton Crown sees them continuing to explore this world and creating a distinctly Tub-ular sound in the process. This is in no small part down to Owen `O' Williams' vocal performance- often compared to a young Richard Thomson- and his frank, bleakly funny lyric writing. Cotton Crown sees him delve further into his favourite themes of love-psychosis, unsympathetic mentally ill behaviour, and the humiliations of being a musician in London. This time around, however, there's a palpable sense of risk in his self assessments/confessions. No more so in the track's closing track Strange- an accounting of the clumsy, intrusive, well-meaning social interactions that took place in the period following the suicide of his mother (the folk singer Charlotte Greig.) As Williams says: "I'd tried a few times to write a song about it. The result had always seemed either mawkish, simplifying or like I was hawking my trauma. But then this one came out, and it felt right because it looked at something smaller: the weird, unsatisfying, strangely funny ways everyone, including myself, acted after the dust settled." The album artwork features an image of Williams as an infant being breastfed by Greig in a graveyard- a promotional shot taken around the release of her debut album (the re-issue of which was featured in The Guardian in 2023.) The essential trick Cotton Crown plays is to offset Williams' lyrical bleakness with joyous, hook-laden blasts of pop perfection. This is largely down to the guitar work of George Nicholls, who, across the album, effortlessly slips between the virtuoso jangle of Marr, the driving folk-rock of Pentangle and the chorus-heavy hi-fi grooves of contemporary bands like Tops or The 1975. Add to that the breakneck rhythm section of Taylor Stewart (Drums) and Max Warren (Bass)- who attack each song with power-pop ferocity, recalling Guided by Voices at their drunken-yet-tight best- and you've got yourself a recipe for indie rock greatness. The band's debut `Dead Meat' was a word-of-mouth sensation that saw the band earn accolades from Pitchfork, The Guardian, MOJO, SPIN and more. They even gained some celeb fans: the inimitable Mark Proksch (The Office (US), Better Call Saul, What We Do in the Shadows) starred in the video for their "Round the Bend" single & punk legend Iggy Pop has praised them on his BBC 6Music radio program. Standing in opposition to the UK norm of post punk, and hookless high-minded indie prog, the album was described by Kitty Empire (Observer) as a "shot in the arm for indie rock". The band's hard touring and raucous, beer y live show have seen them stand out at festivals like Greenman, End of The Road, Melbourne Rising and Canela Party. The band (minus Stewart) were previously members of Joanna Gruesome- who won the Welsh Music Prize, toured the UK and US extensively, and were praised in Pitchfork, Rolling Stone, The NY Times, The Guardian and others. Lan Mcardle (Joanna Gruesome, Ex-Void) also provides backing vocals on several tracks. The Tubs are part of the Gob Nation collective- the London-based network of bands, writers and promoters who were recently profiled in The Guardian.

The Tubs' second album, Cotton Crown, sees the Celtic Jangle boyband venture into darker, more personal territor y while continuing to hone their highly addictive brand of songcraft. It 's a true level up album which sees the band expand their sonic palette to take in a kaleidoscopic range of influences: everything from soulful pub rock (Chain Reaction) to Husker Du aggression (One More Day) to melancholy sophisto-pop (Narcissist) gets a look in. As Pitchfork noted, The Tubs see jangle as a `vast world of moods and muses' and Cotton Crown sees them continuing to explore this world and creating a distinctly Tub-ular sound in the process. This is in no small part down to Owen `O' Williams' vocal performance- often compared to a young Richard Thomson- and his frank, bleakly funny lyric writing. Cotton Crown sees him delve further into his favourite themes of love-psychosis, unsympathetic mentally ill behaviour, and the humiliations of being a musician in London. This time around, however, there's a palpable sense of risk in his self assessments/confessions. No more so in the track's closing track Strange- an accounting of the clumsy, intrusive, well-meaning social interactions that took place in the period following the suicide of his mother (the folk singer Charlotte Greig.) As Williams says: "I'd tried a few times to write a song about it. The result had always seemed either mawkish, simplifying or like I was hawking my trauma. But then this one came out, and it felt right because it looked at something smaller: the weird, unsatisfying, strangely funny ways everyone, including myself, acted after the dust settled." The album artwork features an image of Williams as an infant being breastfed by Greig in a graveyard- a promotional shot taken around the release of her debut album (the re-issue of which was featured in The Guardian in 2023.) The essential trick Cotton Crown plays is to offset Williams' lyrical bleakness with joyous, hook-laden blasts of pop perfection. This is largely down to the guitar work of George Nicholls, who, across the album, effortlessly slips between the virtuoso jangle of Marr, the driving folk-rock of Pentangle and the chorus-heavy hi-fi grooves of contemporary bands like Tops or The 1975. Add to that the breakneck rhythm section of Taylor Stewart (Drums) and Max Warren (Bass)- who attack each song with power-pop ferocity, recalling Guided by Voices at their drunken-yet-tight best- and you've got yourself a recipe for indie rock greatness. The band's debut `Dead Meat' was a word-of-mouth sensation that saw the band earn accolades from Pitchfork, The Guardian, MOJO, SPIN and more. They even gained some celeb fans: the inimitable Mark Proksch (The Office (US), Better Call Saul, What We Do in the Shadows) starred in the video for their "Round the Bend" single & punk legend Iggy Pop has praised them on his BBC 6Music radio program. Standing in opposition to the UK norm of post punk, and hookless high-minded indie prog, the album was described by Kitty Empire (Observer) as a "shot in the arm for indie rock". The band's hard touring and raucous, beer y live show have seen them stand out at festivals like Greenman, End of The Road, Melbourne Rising and Canela Party. The band (minus Stewart) were previously members of Joanna Gruesome- who won the Welsh Music Prize, toured the UK and US extensively, and were praised in Pitchfork, Rolling Stone, The NY Times, The Guardian and others. Lan Mcardle (Joanna Gruesome, Ex-Void) also provides backing vocals on several tracks. The Tubs are part of the Gob Nation collective- the London-based network of bands, writers and promoters who were recently profiled in The Guardian.

VICK LAVENDER returns with a super ltd white label featuring the magical "A SPACE OF MY OWN" (tribute to DEXTER WANSEL). A deeper jazzy jam paired with an african disco dub entitled "MR. SPORTY" along with the "DRUMS & LIFE mix". This three track EP is on limited coloured vinyl.

When the late Jazz impresario and trailblazer Meghan Stabile first launched the Revivalist platform and Revive Da Live concert series in NYC, the goal was to bridge the gap between younger Hip-Hop audiences and traditional Jazz purists. Born from this vision in 2010 was the Revive Big Band, an inventive 20+ piece ensemble led by artistic director, trumpeter, and composer Igmar Thomas. Merging tradition with groundbreaking creativity since its inception, the multi-generational band’s world-class cadre of musicians unites for Like A Tree It Grows. As the Revive Big Band’s official full-length debut, this album represents not only a 14-year timeline of the Revive collective’s journey, but also a deeper tribute to the Black American Music lineage. It’s a celebration of community that uses the timeless power of music to tell a story of cultural legacy, innovation, and artistic collaboration. From original compositions like “R&P” and “The Coming”, to reinterpretations of classic records paying homage to musical legends (e.g. Wayne Shorter, Dizzy Gillespie, etc.) Like A Tree It Grows showcases Thomas’ intricate arrangements that blend Jazz, Hip-Hop, Soul, and a range of genres from the lineage of Black American music. With guest features from Talib Kweli, Dr. Lonnie Smith, Terrace Martin, Jean Baylor, Bilal, and more, the album provides a bridge between past and future, inviting listeners to explore the roots of Black music while reimagining its possibilities.

The Helsinki-based five-piece rock band Us has been winning over British ja Japanese audiences with their unique blend of garage rock, punk, and rhythm 'n' blues. Their explosive live energy and catchy rock songs have been brilliantly captured on their debut album Underground Renaissance, originally released in the fall of 2024. Underground Renaissance is now being released on vinyl by Playground Music sublabel Lördag. In 2024 the band played nine shows at Glastonbury festival in the UK and six shows at Fuji Rock Festival in Japan. During the same year Us also released their debut album Underground Renaissance. The album has received praise from such magazines as Rolling Stone Japan, Mojo Magazine, Shindig! and Classic Rock Magazine. The songs have also enjoyed numerous plays on BBC 6 radio. In live reviews Us has been compared to early Arctic Monkeys and The Hives with Mojo Magazine describing their "blistering 3 AM show" at Glastonbury as "Dr. Feelgood-style punk-blues with the vigour of peak Ramones". In 2024 alone, Us have performed at Eurosonic and Bigpop festival (the Netherlands), Glastonbury (UK), Fuji Rock (Japan), Sziget Festival (Hungary), and Transmusicales (France), as well as headline a run of UK dates.

Stainless starteten offiziell im Jahre 2022 in Portland, Oregon. Aktuelle und frühere Musiker waren vorher bei lokalen Underground-Bands wie Black Breath, Long Knife, Lebenden Toten, Halt, Bellicose Minds, Nightfell, Malikili und Ripper aktiv. Das erste Lebenszeichen der Band war die in Eigenregie gepresste 7" Single "Snakebite"/"Too Hot To Steal". Nun erscheint als Nachfolger das Mini-Album "Nocturnal Racer" mit dem Titelstück sowie "Shot For Shot", "Believer" und "The Evil Lies". Die vier Songs wurden 2023/24 in den Red Lantern Studios (Portland) von Larissa Cavacece (Gesang), Mira Sonnleitner (Bass), Joe Sugar (Drums) und Jamie Byrum (Gitarre, Gesang) eingespielt. Mittlerweile ist Joe Sugar durch Terrica Catwood von der Band Time Rift ersetzt worden. "Ich würde uns als Hardrock oder Heavy Rock bezeichnen", weiß Gitarrist und Sänger Jamie Byrum. "Es gibt zwar viele Elemente des Heavy Metal in unserer Musik, aber es wäre wohl missverständlich, uns als reinrassige Hevy-Metal-Band zu bezeichnen. Die erste Single war im Gegensatz zu "Nocturnal Racer" noch viel mehr im Blues verwurzelt." Frontlady Larissa Cavacece, die von Kanada nach Portland gezogen ist, prägt mit ihrer messerscharfen Stimme irgendwo zwischen Leather Leone und Wendy O. Williams den Sound von Stainless nicht unwesentlich. Jamie Byrum: "Ihre Einflüsse gehen weiter als Chastain und Plasmatics. Allerdings weiß ich, dass sie es ehrt, in einem Atemzug mit den beiden genannt zu werden. Larissa besitzt einen Goth-Background, schwört aber auch auf Crust-Bands wie Amebix und Sacrilege. Des weiteren ist sie ein großer Bowie-Fan und liebt den Rock der Siebziger. Passenderweise hat ihre Karriere als Sängerin in einer Plasmatics-Coverband begonnen." Laut dem Gitarristen/Sänger sind "Sex, Schlangen, Motorräder, schnelle Autos, Rock 'n' Roll, Standhaftigkeit, das Böse und Heavy Metal geeignete Themen für Stainless." Davon wird es in absehbarer Zukunft wohl noch mehr zu hören geben, denn Stainless arbeiten derzeit am Material für ihr erstes vollständiges Album.

After a five-year absence following 2020’s creative elevator-punk explosion Roundelay, Ashley Eriksson, Eli Moore, and Andrew Dorsett of LAKE return with Bucolic Gone, a mature and polished album that is at once groovy, upbeat, meditative, and slow-rolled. As LAKE’s 10th official full-length release, Bucolic Gone is a cohesive work of sophisti-pop that embodies an adult, contemporary sound—intimate, serene, mournful, and hopeful in equal measure.

The multi-instrumental trio is joined by an impressive lineup of collaborators, including guest vocalists Nicholas Krgovich on “Glad Rags” and Daisy Jaberi of Suver with original lyrics on “Love Is Deeper.” Frequent contributors also make appearances: Karl Blau delivers standout shredding on “Ferrari,” Mark Buzard of The Format provides guitar textures across multiple tracks, and New York jazz musician Eric Vanderbuilt-Matthews contributes intricate woodwind arrangements. Steve Moore (Earth, Sunn O))),

First Aid Kit, Sufjan Stevens) adds trombone to “Love Is Deeper,” while legendary Canadian singer Jenn Grant lends her unique vocals to the outro of “Ferrari.” Recorded at The Anacortes Unknown Recording Studio by longtime collaborator Nicholas Wilbur and in the band’s own home studios, Bucolic Gone marks another step forward for Eli Moore in production and mixing. His meticulous attention to arrangement and balance—alongside an arsenal of distorted “whatchamacallits”—creates a rich, layered sound. Celebrating 20 years of ethereal, yearning pop songs, LAKE’s latest effort is their most produced but also most intimate album. Now signed to Don Giovanni Records, the band is ready to continue delivering jams. While the world has changed since LAKE’s last official release, Bucolic Gone shows that time has been on their side.

The very first Grammy winning artist in Reggae history, MYKAL ROSE is the voice of the greatest days of Black Uhuru. He’s responsible for hit songs such as ’Guess Who’s Coming To Dinner’, ‘Sinsemilla’ or ‘Sponji Reggae’. Thanks to Sly & Robbie, Mykal Rose and Black Uhuru have been a turning point into Reggae history, giving to the four corners of world the raw and brutal sound of Jamaica early 80’s violent political crisis, far from Bob Marley refined and sophisticated music.

40 years after he left the group, Mykal Rose returns with ‘Rain And Blood’, a new single that could have been taken from another Sly & Robbie-produced Black Uhuru album. In a 1986 proto- digital reggae style, Swiss reggae powerhouse THE 18TH PARALLEL recorded an early dancehall-roots-reggae riddim with none other than the legendary Robbie Shakespeare himself on bass. Mixed by today’s finest sound engineer from Jamaica, Gregory Morris (Protoje, Lila Ike, Mortimer,...), ‘Rain And Blood’ combines the best of modern reggae sound with an impeccable groovy riddim inspired from back in the days. On top of this, the finest horns section of the new Jamaican music scene, TOPP BRASS, graces us with a timeless instrumental cut called ‘Red Sky’. This is heavyweight reggae at its best!

11th press limited to 500 copies on brown vinyl. - The early Lorenzo `Baby' Woodrose/Uffe Lorenzen with mates from ON TRIAL! - When released in 2013 the Spids Nogenhat album Kommer Med Fred (roughly translated to We Come In Peace) no one could know it would turn into the most popular release on Bad Afro Records in many years. But it did. The band became very popular in Denmark winning two Danish Music Awards (Grammies) for Best live band of the year and Best Rock album of the year and playing sold out shows. They also received two Steppeulven (the association of critics at the Danish newspapers) awards for Best band of the year and Best Live band of the year. Spids Nogenhat have their own take on how psychedelic rock should sound and are deeply rooted in Danish acid rock of the early 70's that somehow had a special sound compared to what was happening in the rest of the world at the time. The band is featuring members of Baby Woodrose, On Trial, Dragontears and Vilde Græs. - Oh yes, Spids Nogenhat means liberty cap - the most potent mushroom in this part of the world.

Repressed LP on Neon Orange Vinyl. “ESG's fusion of sweet soul and punk attitude with an intuitive understanding of dance music remains.” The Guardian “This is still funk with an alien otherworldliness the likes of which George Clinton never envisioned, stripped to its barest essentials for maximum impact.” All Music “ESG are as cool as ever.” The Guardian Pumping their way out of the South Bronx of New York in the early 80s, this rhythm and dance-punk outfit made unforgettable funk that was also unusually rooted in post-punk. This powerhouse of raw and cutting edge music ultimately made them ahead of their time. ESG enjoyed success sharing stages with PiL and Gang Of Four and have been heavily sampled as many musicians including TLC, Wu-Tang Clan, Beastie Boys and Liars.

Previously available for RSD ’24. The Endless Coloured Ways is a collection of songs by legendary singer/ songwriter, Nick Drake, performed and recorded by over 30 incredible artists from a range of different backgrounds, genres, age groups and audiences. From Fontaines D.C to Guy Garvey, and Aurora to Feist, each artist has offered their own incredible take on a timeless classic. 7" Singles Boxset includes eleven tracks across six 7" singles from the original campaign and housed in a brand new exclusive and limited-edition collector's box, including an exclusive double-sided pull-out poster insert.

3. Januar 2025 (Los Angeles, CA) - Oceanside Countryside ist das letzte der großen »verlorenen« Alben von Neil Young, das als Teil seiner Analog Original Series (AOS) veröffentlicht wird. Das Album wurde von Mai bis Dezember 1977 aufgenommen und ging der Veröffentlichung von Comes A Time im Jahr 1978 voraus. Die beiden Alben haben den gleichen Country/Folk-Sound, und drei Songs (»Goin' Back«, »Human Highway« und »Field of Opportunity«) sind auf beiden Alben enthalten.

Die Vinyl-Veröffentlichung von Oceanside Countryside enthält einige Titel, die auf der gleichnamigen CD in Neil Young's Archives Vol. III enthalten sind. Diese Titelliste ist jedoch diejenige, die ursprünglich für die Veröffentlichung von Oceanside Countryside geplant war und nun zum ersten Mal überhaupt auf Vinyl erhältlich ist. Es handelt sich um die Originalabmischungen, die zum Zeitpunkt der Aufnahme gemacht wurden.

Young erklärt: »Dieses analoge Originalalbum wurde 1977 aufgenommen und war damals unveröffentlicht. Diese Songs sind die Originalabmischungen, die zur Zeit der Aufnahmen gemacht wurden. Ich sang und spielte die Instrumente auf Oceanside, in Florida in den Triad Studios und in Malibu im Indigo Studio. Ich habe gesungen und mit meiner großartigen Band von Freunden im Crazy Mama's in Nashville auf Countryside aufgenommen. Ich hoffe, dass Ihnen dieser Schatz einer analogen Originalaufnahme genauso viel Spaß macht wie mir.« - Neil

NO COVER!

Für Fans von Britpop, Shop Assistants, The Charlatans, C86, Tallulah Gosh, Kinks, frühen Velvet Underground... und
den Primitives!
In den letzten 14 Jahren gab es so viele Veröffentlichungen. Von den vier Songs, aus denen die mittlerweile
legendäre EP von 2011 bestand, „Never Kill A Secret“, bis zu der Single, die wir vor ein paar Wochen beworben
haben, „Sweet Sister Sorrow“. Von dem Song, der auf der Girlsville-Compilation-Kassette herauskam, über die
Singles, die auf dem in Georgia ansässigen Label Happy Happy Birthday To Me (HHBTM) veröffentlicht wurden, bis
hin zur Radiosession der Part Time Punks, die sie selbst auf einer EP veröffentlicht haben (und die auch als GedenkVinylsingle für die 30-Jahr-Jubiläumstour in Japan für ihr Album „Lovely“ herauskam). Und natürlich gibt es unzählige
Singles, Maxis, Vinyls und andere Songs (wie dieses Juwel für das Weihnachtsalbum, das wir 2012 herausgebracht
haben), die bei Elefant Records erschienen sind.

“Where is this? It looks like the grounds of a shrine. Like a deep, dark, forest. I'm wandering around. I can't get over the feeling that I've been to this place before. The temple and the tower look much bigger than usual, and I feel as if I were lost in a world of immensity. It's very dark with no sky up above, like being in the depths of the Earth. Anyway, it's a world I know.” - Leisure, the Sonorous Dream

For schuttle’s next unearthly contribution, we invite you to slip into the reassuring comforts of the simulated realm. Herein lies an open invitation to all of those tentative travellers willing to join us as we revel in four slices of post-biological optimism.

The world building begins with “Splan”. schuttle’s navigation vessel hovers steadily above a fractal landscape until a divine arp propels us skywards. We burst through the latent cloudsphere to marvel at the boundless synergy of the interlocking polygons. The sunburst gradient barely has time to load before an oscillating wriggle plunges us into a strangely familiar stomping ground. Hedonistic NPCs begin spawning at random, splurging joyful machine funk at each other before walking gleefully into walls. Finally, with a little help from a well known toad, schuttle unleashes the full might of his Mana on the nascent gathering.

We dock next in ‘Melonweed Musick’. Our vessel gently stirring the reeds as we descend into the marshland. The potent aroma of the swamp fills our nostrils, various apparitions seem to wriggle into view. What have we been inhaling? No time to consider, the loose murk of the breakbeat is starting to take effect and it’s all we can do to keep one foot squelching after the other. As we submit wholeheartedly to the sheer depth and clarity of the bassline, a kindly angel sweeps above the sphagnum, spraying a succession of cleansing chords over our slimy bodies. Refreshed with some useful navigation advice we continue.

In ‘Kitchen Sync’ our craft’s speedometer is tickled up to a cruising 120bpm. The world outside our window begins to swim with colour, prickly forms materialise then dissipate around us. The familiar shape of our old friend, the high priest 303 appears before us, steadying the ship. Its resonant flame warming our hearth, and our hearts too. Then begins a beautiful communion of the domestic and the otherworldly, through the interplay of acid under glimmering keys. Provoking within us an uncontrollable desire to open our curtains, to cast off our slippers and embrace the infinite morrow.

Our voyage concludes with ‘Inspo 2000’. Scintillating landing lights guide us toward our destination, our descent beckoned by woody and playful percussion. We tumble through the troposphere, our landing cushioned by the buoyancy of the gated chords, the kicks juicing what's left of our dwindling fuel supply. A luxurious breakdown brings the ground into focus. Perhaps this is home? The simulation is now so accurate that it seems pointless to question it, it is a world we have always known.

After the release of their highly successful self-titled album in summer 2021 (#1 in Germany and Spain etc.), HELLOWEEN -- one of the most respectable German metal exports and pioneers of German melodic speed metal -- are finally bringing their new anthems to the packed arenas, leading them all around the globe with their »United Forces« tour. The creators of the albums »Keeper Of The Seven Keys, Pt. I & II« (87‘/88‘), which are considered to be among the most successful German metal records of all time and are reckoned internationally as absolute milestones of power metal, haven’t only cemented but even expanded their status as giants of the scene. Caused by the pumpkinheads‘ aforementioned triumphant wave of success, the group’s back catalogue albums are also more in demand than ever which is why Atomic Fire are now set to release a series of brand new vinyl editions including the following hot HELLOWEEN records: »The Dark Ride« (2000), »Rabbit Don’t Come Easy« (2003), »Keeper Of The Seven Keys - The Legacy« (2005), »Gambling With The Devil« (2007), »Straight Out Of Hell« (2013), »My God-Given Right« (2015), and last but not least their latest offering »Helloween« (2021).

The first in a two part series on Canopy documenting the work of the Beninoise supergroup, T.P. Orchestre Poly-Rythmo, who were responsible for an astonishing multitude of records, numbering well over 250 releases. While the group underwent numerous personnel changes over the course of their 40+ year legacy; the founder, composer, vocalist & multi-instrumentalist Clément Melome remained a constant and uniting force.

The title track, "Zo Tche Kpo Do Te", sung in Fon by bandleader Clément Melome translates as, "My Fire Will Not Go Out" and was taken from the self-titled LP "Melome Clement & L'International Orchestre Poly-Rythmo". It is here remastered and reissued by Canopy for the first time. This evocative song is a hybrid of soukous-like elements with a driving, almost disco beat and a relentless bassline shot through with funky guitars and triumphant horn arrangements. The atmosphere is given a cosmic sensibility with synth lines and psychedelic FX, culminating in a sonic cocktail that has often been described as "Voodoo-disco".

Accompanying the original version are two remixes by producers whose work Canopy has long admired.

Jose Marquez adds live bass and percussion to his "Mezcla", turning it into an uplifting opus that deftly dances the line between the original work and the modern elements, tastefully updating the sound to segue between the past and present.

Sol Power All-Stars up the ante with their powerful reinterpretation. Throbbing bass underpins a club focused yet dubbed out and psychedelic afrobeat over which Clement Melome's composition shines. The Ibibio Horns add complimentary horn arrangements and galactic synth solos. The end result is a master work in 21st century future-vintage afro funk creation.

After the success of Volume One, Jamie 3:26 returns for the second volume in the Dancefloor Damage series! Personal exclusives from his collection, these have damaged dancefloors around the world for years and are now available on vinyl for the first time ever. From the Southside of Chicago to the world. Three killer disco classics re-worked by a legend. No one does it like Jamie! Buy or cry.

Isophlux Records presents Eleuthera EP, the latest release from Miami-based electro pioneer Shad T. Scott, aka Dcast Dynamics (Gosub). After a two-year hiatus living aboard his sailboat, Scott returns with an EP inspired by Eleuthera Island’s rich history and mysticism. Available on both vinyl 12"and digital formats, the EP captures the island’s haunting energy and spiritual depth.

Drawing from Eleuthera’s voodoo folklore and deep cultural roots, Eleuthera EP weaves narrative-rich electro at 140 BPM, slowing to 135 BPM on Side B. "Ritual Ascension" opens with hypnotic rhythms, reflecting the island’s spiritual rites. "Eleuthera Shadows" delves into the darker, mysterious corners where the past lingers. Side B's "Output" nods to Scott's earlier work with its syncopated basslines and atmospheric textures, while "Lucayan Sunset" closes with a serene, reflective tone—an homage to the island’s mystic sunsets.

Scott’s work as Dcast Dynamics continues to push the boundaries of electro, blending personal experience with Eleuthera's otherworldly influence. This release offers a journey for both long-time fans and new listeners alike.

Legendary Brazilian jazz-funk trio Azymuth are set to release "Arabutã" (Daniel Maunick Dub), a vinyl-only 7" single, on December 13, 2024. The limited edition release serves as a captivating preview of the band's highly anticipated new album, set for release in 2025.

"Arabutã," which takes its name from the Tupi Guarani word for the endangered Brazilwood tree, underscores Azymuth’s fusion of timeless Brazilian jazz-funk and cosmic futurism. A symbol of both the value and fragility of Brazil’s natural beauty, Arautã reminds us of the salience of indigenous wisdom to ecological preservation.

In the hands of producer and long-time Azymuth collaborator Daniel Maunick, “Arabutã” is tweaked for a special mid-tempo 7”inch, two part, dancefloor dub mix.

The limited edition 7” single is available to pre-order exclusively from the Far Out Recordings website and Bandcamp ahead of its 13th December 2024 release date, and at shows on Azymuth’s upcoming European tour.

Seit mehr als einem Jahrzehnt hat sich Serenity In Murder fest in der Melodic-Death-Metal-Szene etabliert und setzt mit ihrem neuesten Meisterwerk
„Timeless Reverie“ erneut Maßstäbe. Nach der gefeierten Veröffentlichung von „Reborn“ im Jahr 2021 verfeinert die japanische Band ihren
charakteristischen Mix aus roher Aggression und symphonischer Eleganz weiter. Das Album durchstreift eine düstere und emotionale Landschaft und
nimmt die Hörer mit auf eine Reise durch Themen wie Zeit, Schicksal, innere Konflikte und persönliche Revolution.
Die Erzählung von Timeless Reverie ist eng mit existenziellen Fragen und der Suche nach Sinn in einer erbarmungslosen Welt verknüpft. Der Titel
selbst, Timeless Reverie, deutet auf eine Meditation über Momente hin, in denen die Zeit scheinbar stillsteht und Vergangenheit, Gegenwart und
Zukunft miteinander verschmelzen. Das Album erforscht die Zerbrechlichkeit des Lebens, die Komplexität menschlicher Emotionen und den ewigen
Kampf zwischen Licht und Dunkelheit.
Musikalisch verbindet das Album nahtlos komplexe Melodien, atmosphärische symphonische Elemente und erdrückende Härte. Mit dem furiosen
Opener God Forsaken setzt Timeless Reverie einen kraftvollen Ton an, der sich durch das gesamte Album zieht. Zugleich bietet es intensive Momente
und melancholische, atmosphärische Passagen, die den Hörer in das Erlebnis eintauchen lassen und jede Ebene aufsaugen, während die Musik in
jeder Note tief nachhallt.

After a quarter century Filmmaker are finally willing to admit they were/are an emo band. Formed in 1999 on the Great Plains of Saskatchewan, the group released an EP, an LP, and a smattering of singles and demos before quietly stepping away from the project.

During their brief tenure Filmmaker crisscrossed the country dozens of times without a phone, credit card, map, or clue. “We were just kids figuring out how to be a band in real time.” They shared the stage with the likes of Samiam, SNFU, Kevin Divine, and Propagandhi and spent countless nights sleeping in vans, on floors, and occasionally in hospitals.

Their lone album, An Invitation To An Accident, is now being released by the for the first time ever on vinyl and streaming services via Record Record Label.

The album was made at the legendary Factory Studios in Vancouver, BC with Blair Callibaba (Odds, By A Thread, Gob, Nomeansno). An Invitation To An Accident was recorded to 2” tape and contains only one edit, which was performed surgically with a razor blade. The album was originally released on July 2, 2002 by Farway Records and later in Germany on April 14, 2003 by TFR Music.

Chaz Bear (formerly Bundick) has been immersed in music from a young age, shaped by a household rich with sounds ranging from Michael Jackson and Elvis Costello to The Specials. Growing up biracial in South Carolina, these diverse influences contributed to the unique blend of styles Chaz weaves into his work. Nominated for Best Dance Recording at the 2020 Grammy Awards for his collaboration with Flume on “The Difference”, Chaz’s genre-defying sound has won critical acclaim. His journey began in earnest with early home recordings that showcased his prolific nature, leading to over 10 Toro y Moi albums released independently before signing with Carpark Records in 2009.

Chaz’s debut album under Carpark, Causers of This, was a seminal release that sparked a movement of sample-heavy bedroom recordings. Its success led to early assumptions that he was limited to this sound, but Chaz quickly proved his versatility with 2011’s Underneath the Pine, recorded between tours and featuring entirely live instrumentation. This pivot set a pattern for Chaz’s career: each subsequent release explored new terrain, from the psych rock of What For? to the R&B-influenced Boo Boo, all tied together by his signature production and melodic sensibilities.

Following Boo Boo, 2019’s Outer Peace marked Chaz’s return to the Bay Area after a year in Portland, embodying a celebratory homecoming filled with collaborations and vibrant playfulness. Featuring friends and eclectic references to contemporary hip hop, funk, Eurodance, and ambient textures, Outer Peace was a sharp contrast to the contemplative, isolation-driven Boo Boo and solidified Chaz’s place on the cutting edge of music.

Five days post-release, Chaz teased Soul Trash on Instagram, sharing a cassette titled SOUL TRASH V1 with a Dropbox link, which was later removed. The mixtape was officially released digitally on October 29, 2019, and has since garnered over 39 million streams. This album was also his first collaboration with Elijah Kessler, who later released an album on Chaz’s Company Records. Now available on vinyl for the first time, Soul Trash epitomizes Chaz's experimental spirit, featuring ambient sounds, lo-fi loops, and contributions from Old Grape God, and Caleon Fox. Released alongside more recent projects like Mahal and Hole Erth, Soul Trash bridges his past with his ever-evolving artistry, proving Chaz’s creative well is far from dry.

Muireann Bradley is a young blues, ragtime, roots and folk guitarist and singer based in Ballybofey in County Donegal Ireland. “This is my first album. Most of these tunes were originally recorded by the great blues men and women who were making records from the 1920s and 1930s right up in some cases to the early 1970s. I have also found inspiration for the renditions recorded here in the playing of some of the musicians who began recording this music in the 1960s and later, and who in some cases learned at the feet of the greats. Many of these guitarists played pivotal roles in the 1960s blues revival and subsequent “rediscovery” of many of the greats of country blues. I grew up steeped in these old blues in the hills overlooking the valley of the River Finn just outside the town of Ballybofey in County Donegal. My father would play this music constantly at home and wherever we went in the car and talk about it endlessly whether anyone was listening or not, telling stories about the lives of these musicians as if they were legend, mythology or the evening news. My father could of course play all this stuff on guitar, I remember watching him when I was very young and thinking “I want to be able to do that”. When I was nine he agreed to teach me and bought me my first little travel guitar. I worked hard to learn how to play but as time wore on I seemed to have less and less time to practice as I became more and more invested in the combat sports I was regularly training and competing in. Then in March 2020 the first Covid lockdowns happened and all contact sports were shut down. I was lost for a while but soon found my way back to the guitar. I was now listening, playing and practicing with a new intensity and focus. In a very serious moment, I wrote out a list of tunes I was going to learn. The first tune on that list was Blind Blake’s “Police Dog Blues”. I’m not sure now how long it took to get that arrangement together but when it was ready we videoed me performing it and posted it on YouTube. It ended up getting a lot of attention, I remember my parents being quite shocked and soon after that Josh Rosenthal got in touch… and here we are! Each individual track on this album was recorded live in the studio and represents one entire take with me singing and backing myself up on guitar simultaneously. Most are either first or second takes. Nothing has been added or taken away, no overdubs or modern recording tricks of any kind have been used at all so at least in some respects this album has been recorded in the same way as those classics of the 1920s and 1930s

The award-winning film Vengeance Is Mine, All Others Pay Cash (2021) is romantic drama set in a working-class neighbourhood of Indonesia’s West Java. Although the story was set in the 1980s, the film’s music director Dave Lumenta doesn’t really want to use music from that period. He doesn’t want to automatically go with dangdut, the musical genre, a mix of Malay, Indian and modern pop music, the music of choice for majority Indonesia’s working class. He simply doesn’t want the film to be stuck in the time setting and the social class. The scoring is richer, not only was it inspired by dangdut, but it was also inspired by rock as well. In order for his imagination to be free of that time and social context, he decides to make music that was based on the characters, otherwise known as leitmotif.

Lumenta is interested in vulnerability, because it is something that the audience can find in the main character Ajo Kawir, an impotent who is unable to have an erection. Another main character Iteung is someone who is very liberal in terms of her sexuality, but she also struggles with an issue as well, which is their issues, a traumatic past. The film successfully portrays the clash of these two characters. And from identifying these two characters, the composer creates a melody or leitmotif that represents each character. The use of analogue instruments is also consistent with the film’s spirit, which is also shot using analogue camera. Lumenta created the music using acoustic instruments, such as the recorder, along with other sounds from an analogue synthesizer.

The sound produced may not be perfect, just like the are grainy quality of an analogue film, due to limitation of the medium. But it is precisely due to that limitation that the eyes and ears are compelled to watch and listen actively; we must squint to catch something more perfect, or listen closely to filter out imperfections in the sound. Consuming art created with analogue tools requires a different method of listening, watching, and working process.

"Hachiku ""The Joys of Being Pure at Heart"" LP - Electric Blue Bio-Vinyl (140g)

Melbourne’s dream-pop outfit Hachiku return with their second album The Joys of Being Pure at Heart—a heartfelt exploration of vulnerability, resilience, and connection. Featuring contributions from members of the Melbourne Symphony Orchestra and collaborations with harpist Mary Lattimore, the record fuses shimmering indie-pop with orchestral touches, making it Hachiku’s most expansive and collaborative work yet.

Anika Ostendorf - the creative force behind Hachiku - shaped her inclusive, community-minded ethos by her time working at the queer-run Melbourne label Milk! Records, which also released Hachiku’s self-titled EP (2017) and debut album I’ll Probably Be Asleep (2020). The Joys of Being Pure at Heart (2025) sees Ostendorf lean into a new mode of emotional openness and radical honesty: not only with others, but with herself. As the saying goes, to be loved is to be known – with these 10 songs, Ostendorf lets her guard down and reminds us to hold onto the little joys that make life worth living in spite of it all.

Pressed on Electric Blue, GreenPower Bio-Attributed Compound "

hHead(first H silent) came to local prominence in the early 90s during a time when unsigned bands could get their cassettes and CDs front racked at HMV’s 333 Yonge street shop and get their videos on MuchMusic’s City Limits or have their songs played, nay charting, on CFNY 102.1. The support was real and the fans showed up in numbers.

hHead rode the alternative rock/grunge wave for a few years with a couple albums that are without a doubt, of that era. Complete with sonic imperfections, flannel shirts, and low-slung guitars, these tunes represent an innocent time for some wayward twenty-somethings trying to live out their rocknroll dreams.

The band has chosen their favourite songs from their Jerk and Fireman albums. The album features double A-side artwork and has been remastered for vinyl by Noah Mintz of hHead at Lacquer Channel Mastering.

Dear Life Records is proud to present the physical reissue of the self titled debut of MJ Lenderman. MJ Lenderman is a songwriter born and raised in Asheville, North Carolina. The anatomy of an MJ record might go something like this: warped pedal steels and skuzzed out guitar; a voice reminiscent of the high-lonesome warble of a choirboy; the keen observations and reflections of a front stoop philosopher. Songs snake their way from a lo-fi home recording to something glossier made with longtime friends at Asheville's Drop of Sun studios, but the recording setting doesn't seem to matter much - at its core, a Lenderman song rings true. "MJ Lenderman" was recorded, mixed and mastered for digital in 2019 by Colin Miller in Asheville NC, and was self-released online to quiet but firm acclaim. Now available as a Double LP and remastered for vinyl by Heather Jones, it offers a glimpse into the formative steps of a style; focused and precise, yet expansive and rough around the edges, that remains consistent across MJ's catalogue to date (see also 2021's `Ghost of Your Guitar Solo' (DLR 016) and 2022's `Boat Songs' (DLR 031)). Looking as firmly to the legacy of 90s slowcore as it does to the tenor of Magnolia Electric Co. and sound wall of Neil Young and Crazy Horse, these 9 songs clock in at just over an hour and offer warm, patient worlds of heavy color that blow by breezily. These are songs that wrap mysterious and urgent feeling in layers of patience and clarity that unfold anew with each timeless listen.

Once again, Decca Records have been shining a light into the recesses of their vast archive to bring you 'The Decca Years 1963', a newly compiled collection of hits and rarities from the pioneers of British Pop music, available as a 45-song 2CD set, or a 22-song 'highlights' LP. Alongside big hits and familiar favourites from Brian Poole And The Tremeloes, Billie Davis, Kathy Kirby, Jet Harris and Tony Meehan, The Tornados, and Tommy Steele, we are excited to bring you some tracks that are being made available again for the first time in more than 60 years, and a few that have never been on CD before. Both formats come in eye-catching, retro style packaging that references Decca releases from the early '60s, and feature informative track-by-track sleeve notes.

Soul Jazz Records' Studio One Showcase 45 features a roll call of classic Studio One
reggae legends including Horace Andy, Cornell Campbell, Bob Marley and The
Wailers, Jackie Mittoo, The Heptones, The Skatalites and more – seminal reggae
artists who all launched their careers at the legendary Studio One label.
The album was previously only ever released as a long-deleted limited-edition
seven-inch box set for Record Store Day. This album has now been expanded into a
super double-vinyl album edition as well as first time on CD, with both featuring a
massive eight bonus tracks of wicked Studio One classics and rarities. The album
also comes with newly commissioned sleeve and track notes by Noel Hawks.
Featuring seminal cuts like Bob Marley and The Wailer's original version of 'One
Love', Freddie McGregor's take on the classic 'Beat Down Babylon', Judah Eskender
Tafari's re-version of 'Danger In Your Eyes' plus more from The Skatalites, Lone
Ranger, Johnny Osbourne and more!

Exploding In Sound Records is thrilled to reissue Yeddo, the debut album from Boston’s Grass Is Green. Originally self-released back in 2010, the seminal record, which pre-dates the label, celebrates fifteen years in 2025, and the band will reunite to play a weekend of shows together with Ovlov, Speedy Ortiz, and special guests in Boston, Brooklyn, and Philadelphia. A truly legendary debut, this record served as a major catalyst for the formation of Exploding In Sound, and Grass Is Green’s third album, Ronson, eventually became the label’s very first release. We’re beyond excited to bring Yeddo to vinyl for the first time ever, a raw and flawless album of arty punk, post-hardcore, and math rock that feels exuberant at all times.

The Story So Far have announced their upcoming 5th studio album, I Want To Disappear, out June 21 via Pure Noise Records. Produced by Jon Markson (Drug Church, KOYO), the album features previously-released single “Big Blind” alongside nine brand new The Story So Far tracks. I Want To Disappear comes nearly six years after the band’s previous album Proper Dose, which debuted at #19 on the Billboard 200 chart.

Repressed Blood Red Vinyl of NECK DEEP's sencond full lenght proper, originally from 2015. Kerrang!: "Life's Not Out To Get You" is a must-listen for any fan of pop-punk." #31 Greatest Pop-Punk Albums of All Time - Alternative Press: "Neck Deep have solidified their position as one of the leading bands in the new wave of pop-punk. Top 10 Essential Records of 2015" - - NME: "Neck Deep have produced an album that is both anthemic and emotionally resonant." - Rock Sound: "Neck Deep have delivered their most mature and accomplished album to date." #3 on Rock Sounds Top 50 of 2015 Following "Wishful Thinking," with their second studio album, "Life's Not Out To Get You", Neck Deep, released what is easily one of their most career defining albums and one of the largest albums in the pop-punk genre. - Featuring fan favorite songs: "December," "Can't Kick Up the Roots," & "Serpents" - DIY wrote the "full-length feels both quintessential and refreshing, a modern classic_The hooks are glorious, the bounce is addictive and it's a little rough around the edges for good measure." In the little over a decade since Neck Deep formed in the Barlow brothers' spare room in Wrexham, Wales, a lot has changed. From the scrappy, naively hopeful beginnings that define the starting of so many teenage bands, the pop-punks have gone on to be one of British Rock music's most successful global exports in recent memory: top 5 records in both the US and UK, global touring, viral hits and over a billion plays, just some of the fruits of ten years spent mastering their craft. - For Fans Of | Blink-182, Green Day, & State Champs

2019 Repress of one of the most outstanding records in the history of german avantpop/punk. Originally released 1981 on the legendary ZickZack label, the debut LP by Freiwillige Selbstkontrolle soon reached cult status and became one of the most important NDW / german postpunk releases ever. Active since today (and right now working on their 13th longplayer) F.S.K. were one of John Peel's all time favourites and actually did more Peel Sessions than any other band - besides The Fall, of course. Comes with extensive liner notes by NDW-historiograph Frank Apunkt Schneider (in german).

Deep Space Vinyl (Blue, White, Dark green, Sky Blue & Black Marbled) The official soundtrack to Risk of Rain 2's second DLC "Seekers of the Storm" is coming to vinyl. The new album includes 42 minutes of music written by Chris Christodoulou with the contribution of one piece by fellow Greek composer Stavros Markonis. It will be available on limited edition 1xLP on blue / white / dark green / sky blue / black marbled vinyl, housed in a special gatefold sleeve with complementary artwork and design by Daniele Giardini

Mutant, in partnership with Hollywood Records and 20th Century Films, is proud to present the premiere physical edition of Mark Korven's terrifying score to THE FIRST OMEN. Combining the inventive and dynamic instrumentation he is best known for, Mark Korven (THE WITCH, THE LIGHTHOUSE) has created a truly unsettling and powerful score to this new chapter to the legendary series. Jerry Goldsmith's Academy Award® winning score for the original 1976 classic THE OMEN is a totemic work of horror cinema. The film is the only time a horror film has ever won an Oscar for its score. Korven clearly knows he has big shoes to fill, because he takes his scoring style to powerful new heights with this brilliant work. It helps that Mark Korven is one of our favorite working composers. His score to THE FIRST OMEN is an incredible achievement and a fitting inclusion in one of the most important legacies of Horror filmmaking. A lot has changed since 1976, but one thing that hasn't is that horror scores deserve to be played as loud as possible, on vinyl, from your home stereo. Pressed on two red vinyl 140gram discs, housed in printed inner sleeves, contained within a die-cut jacket.

“Do you still believe it?” John Ross asks that question after journeying through the wreckage. The genesis of Dulling The Horns goes back to late 2022, when Ross began workshopping new material during soundcheck on the ILYSM tour. Last summer, Wild Pink decamped to western Massachusetts to reunite with engineer Justin Pizzoferrato. Ross decided to record Dulling The Horns live in the room, in an effort to capture Wild Pink’s onstage style — rawer, grainier. Gone are the glimmering atmospherics and studio affectations of recent Wild Pink outings. Instead, Ross’ voice is haggard against the humid distortion coating every song. “I wanted to make economical songs,” Ross explains. “Music that is very much at its core three or four people rocking.” If before, Wild Pink took notes from Springsteen and Petty, they’ve now entered their Crazy Horse era. On Dulling The Horns, you can hear him rediscovering the fire in real time. Tropes discarded along the roadside, songs pulled from the formative DNA of rock music, all filtered through years of messy fog. “There is no answer to these problems,” Ross says, having eventually yielded. But as far Dulling The Horns is concerned, there’s at least one path forward: Burn it all away, and keep moving. The album was mixed by Alex Farrar in Asheville NC, mastered by Greg Obis in Chicago, IL and is out in October on Fire Talk.

When Shadows Dance is the new album from Eyolf Dale’s acclaimed trio with Per Zanussi and Audun Kleive, building on theexcitement of his previous trio album Being the Wayfarer, and his recent collaboration with the Norwegian Radio Orchestraconducted by Miho Hazama. Dale’s compositions and performances have been praised for their cinematic scope, blendingflowing lyricism with atmospheric depth, and this new release promises to push those boundaries even further.This album reflects Dale’s unmistakable style—rich in melodic and emotional narrative—while showcasing his sophisticatedcompositional approach. The trio creates dynamic landscapes, shifting seamlessly between delicate, impressionistic textures andmoments of energetic intensity. As always, Dale’s music draws from his deep connection to the Nordic tradition, while exploringnew and evocative sonic territories. His ability to craft music that feels both ethereal and grounded ensures that When theShadows Dance resonates with listeners, inviting them into a contemplative, poetic space.Known for his wide-ranging collaborations, from his trio to working with orchestras, Eyolf Dale continues to innovate, blendingelements of jazz, classical, and folk in a way that feels timeless yet forward-thinking. With the support of Per Zanussi’scommanding bass lines and Audun Kleive’s masterful percussion, this album is poised to captivate audiences, solidifying Dale’sposition as one of Norway’s most versatile and visionary musicians.

"The beauty of The Devil Makes Three is the way they take an old-time musical genre and, by putting their own imprint on it, turn it into something that lives and breathes anew, passing the torch to a new generation, just as stateside rock fans learned about the likes of pioneers Little Richard, Chuck Berry, Jerry Lee Lewis and Buddy Holly from the first wave of British Invasion bands. With their latest album, Spirits, the band continues this tradition by incorporating their signature punk, folk and bluegrass sound along with country and singer-songwriter leanings. “That’s what we set out to do. We wanted to use these musical forms to talk about current issues,” explains Pete Bernhard. “Folk music should be about what’s happening now, just as it was when Woody Guthrie and Bob Dylan did it.” The song titles alone describe the band’s return to a stripped-down, drum-less sound and songs that reflect the ongoing struggle to survive amid the uncertainties of the current volatile climate: “Dark Gets the Best of You,” “Divide and Conquer,” “Ghost are Weak,” “Hard Times,” “I Love Doing Drugs,” “Poison Well” and “The Devil Wins.” The tracks were recorded at Dreamland, part of a converted church compound outside Woodstock in upstate New York which offered some haunted moments of its own, with plenty of spooky thunderstorms and lightning. “There’s definitely a theme of ghosts and death running through this album,” acknowledged Bernhard, who lost his mother, brother and closest childhood friend while making the record. “It also has a good amount of political material, a reflection on how divided people are these days, just trying to find common ground. Not being able to perform our music live led to some deep reflections.”"

In 2016 an internet user discovered Panchiko’s discarded 2000 demo CD, D>E>A>T>H>M>E>T>A>L, in a Nottingham charity shop and posted it to 4chan to intrigue and fanfare. It took four years for Panchiko’s legions of dedicated fans to find the people behind the music as millions of curious listeners were swaying to the band’s adolescent creations. Upon discovering their own virality, the band reformed with original members Andy Wright (keyboardist and producer), Owain Davies (vocalist and guitarist), and Shaun Ferreday (bassist) alongside new members Robert Harris (guitarist) and John Schofield (drummer), toured the world and wrote, recorded, and released their first album in 20+ years, 2023’s Failed At Maths. But after the thrill of the whirlwind came a new question. What comes next when your dreams come true? The answer is Ginkgo, a 13-track project that finds the band making some of their most introspective, cinematic, and moving music yet. “The whole production has gone up ten-fold,” says Wright of the new album.“ Standout track "Shandy in the Graveyard" feat. rapper billy woods sees the band channeling their youth and tapping into the typical audience at Panchiko shows. That youthful spirit can be felt in the song’s sonic world, as its production genre-shifts between trip hop and orchestral folk, creating a fresh juxtaposition of soundscapes. The same wrenching honesty that attracted legions of fans to their teenage demos is the same truthful ethos that keeps them listening to new material like title track, “Ginkgo.” On it, Davies sings “You command the leaves to fall/The Ginkgo bends at will.” A rumination on the limits of control, collaboration, and fate, the song is an apt meditation for a band whose resurgence came about through a mix of luck, artistry, and then clear-eyed energy.

Wewantsounds is delighted to reissue Roy Haynes' 1971 LP 'Hip Ensemble,' recorded in New York for Bob Shad's Mainstream Records and featuring Hannibal Marvin Peterson, George Adams, Teruo Nakamura and Lawrence Killian. Together the musicians create a superb mix of jazz funk and spiritual Jazz showcasing Haynes powerful drumming and creativity. "Hip Ensemble" is reissued here for the first time on vinyl since 1971, in its original gatefold artwork with first generation photos and includes the bonus track "Roy's Tune." It comes with newly remastered audio and a 2-page insert featuring new liner notes by Kevin Le Gendre.

Als Sänger, Songwriter und Komponist verwandelt Emile Mosseri die menschliche Erfahrung in Gesang. Musikalisches Geschichtenerzählen ist sein Lebenselixier - ein Talent, das er mit Songwritern und Regisseuren geteilt hat, indem er Filme wie Minari & The Last Black Man in San Francisco vertonte - und das in letzter Zeit in den Mittelpunkt seiner Arbeit als Künstler gerückt ist. Unterstützt von einer Band, bestehend aus Meg Duffy (Hand Habits), Dougie Stu und Kosta Galanopolous, zog sich Mosseri im Herbst 2023 mit seinem häufigen Kollaborateur, Komponisten und Produzenten Bobby Krlic (Midsommar, The Haxan Cloak) nach Altamira Sound zurück, um das Fundament für sein zweites Album Tryin to be born zu legen. Das Album folgt auf sein Debüt Heaven Hunters und gemeinsame Veröffentlichungen mit Sam Gendel und Kaitlyn Aurelia Smith.

Nach der Veröffentlichung des sechsten Albums „That Golden Time“ meldet sich Conor O'Brien alias Villagers mit einer neuen Single zurück: „Mountain out of a Molehill“. Mit seinen eindrucksvollen Streichern, den perlenden Klavierklängen und O'Briens unverwechselbar weicher Stimme ist der Track eine großartige Erweiterung des Villagers-Kosmos. Die B-Seite ist der Track "A Matter Of Taste"

Tri-colour striped 2LP. LP 1: Red, Black, Blue LP 2: Yellow, Black, Green Limited to 300 copies. The classic hardcore punk album from New York's H2O, the third album is their 1990s-era trilogy, is back in print for the first time in 25 years. Featuring guest vocals from Roger Miret (Agnostic Front), Civ (Gorilla Biscuits, CIV), Freddy Crecien (Madball), Dickie Barrett (Mighty Mighty Bosstones), and Tim Armstrong (Rancid). Repackaged with a deluxe gatefold jacket and updated artwork, this 25th anniversary edition comes with a 2nd LP featuring the 1998 "Faster Than The World" demo session (17 songs), engineered by Tim Armstrong (Rancid) and previously unreleased.

Erotica Veronica - Miya Folick’s third full-length album - delves deeper into intimate, sensual, and existential themes; challenging cultural taboos and advocating for a broader, more playful understanding of eroticism that goes beyond mere sexuality. “It’s about richness of experience, a connection, an open approach to each day,” she explains, adding that sharing her fantasies feels like “an act of tenderness and intimacy.” Erotica Veronica is Miya’s first self-produced album with contributions from talented writers/producers Jared Solomon (Remi Wolf, Chappell Roan, Paramore), Brad Hale (Grimes, The Naked and Famous), and Sam KS (Lizzie McAlpine, Shawn Mendes) Through her music, Miya Folick continues to evolve as an artist, blending delicate vulnerability with bold musical experimentation, tackling complex emotions with honesty and grace. From quiet folk leaning ballads to giant distorted guitars, it’s intimate, powerful, and cathartic.

Trueno is the result of the exploration of two lovers of the unusual, the experimentation, and the noise. The product of the meetings between Martí and Oxo during various sessions recorded in 2024 in Oxo's private studio in Madrid.

Martí provided his modular synthesizer, and DIY sound generators and modifiers. A set of parts that transform electric signals into audio and deconstructs them to the smallest grains. Through synthesis processes, and the use of the sampler as an instrument, the sound is destroyed, constructed, and manipulated, generating complex sounds and structures, both rhythmic and stochastic.

Oxo is a sound engineer and experimental musician. He provided all the necessary machinery for recording and mixing and a constant creative suggestion, facilitating the process of capture, breakdown, editing, and mixing in real-time.

After twenty years of playing intensely as a recognized musician and sound artist, Martí has recorded his first reference, an LP that can never be performed, but can be listened to permanently.

Sammy Davis Jr was a singer, actor, comedian, dancer, TV host and noted amateur photographer. But, he is perhaps best remembered for his role in the iconic film Ocean’s 11 where he played a member of the Rat Pack alongside lifelong friends Frank Sinatra and Dean Martin, a role that he lived in real life.

In 1969 he had a #11 Billboard hit with ‘I’ve Gotta Be Me’ after which he signed to the mighty Motown Records in order to reach a younger audience.

The album was released internationally in 1970 and showcased Davis at his smokin’ best covering ‘Spinning Wheel’ and ‘Wichita Lineman’ with his trademark brassy tenor. At the time Davis was a top-draw act in Las Vegas alongside Elvis with whom he developed a close relationship. He appeared in Presley’s concert film That’s The Way It Is and included a superb version of ‘In The Ghetto’ on the album. The set also includes the Motown classics ‘For Once In My Life’, popularised by Stevie Wonder’, and ‘You’ve Made Me So Very Happy’ by Brenda Holloway, co-written by the Holloway sisters and Frank “Do I Love You” Wilson.

Sammy Davis Jr was posthumously awarded a Grammy Lifetime Achievement and his legacy lives on through his screen performances and his prolific recorded output.

Following the release of Drop Nineteens' first album in 30 years, Hard Light and the reissue of their 1992 shoegaze masterwork Delaware, we are excited to announce the official release of Drop Nineteens' 1991. This LP comprises the band's first two demo sessions which were mailed out via cassette to labels in 1991 finding their way to the UK music press and generating instant buzz and an ensuing feeding frenzy to sign the band. After signing with Caroline Records Drop Nineteens decided to write an entirely new record, Delaware, for their first official release, leaving the songs on 1991 behind, frozen in time. Swells of layered guitars and buried vocal harmonies adom these tracks, displaying Drop Nineteens when the comparison to their UK contemporaries like Slowdive and Ride were apt. 1991'S songs, recorded with a low fi charm, show an ambitious young band capable of writing songs filled with texture and hooks, on the eve of their breakthrough with Delaware.

Powerful works of art have traditionally sprung from some source deep within an artist and, if they strike the right tone, resonate with an audience to leave a lasting mark. But what if that equation were reversed: what if an artist were to draw their inspiration from deep within their audience, and use that to reflect those ideas, emotions, hopes, fears, pains and aspirations back to us?

Over a two year journey, audio-visual artist and electronic innovator Max Cooper has inverted the creative process by collecting hundreds of anonymous quotes, posing deep but open questions such as "What would you like to express which you cannot in everyday life?" and "What is it like to exist inside your head?"

The goal: to understand what it is truly like to be human right now. The result: his new album On Being, to be released in February 2025 with the first single "Sun In A Box" coming this September 4th.

With On Being, Cooper aimed to probe under the synthetic surface of social media to "create a snapshot of our minds these days," as he puts it by asking people to share anonymously what they dare not ever say publicly. The result is an emotionally raw and shockingly honest kaleidoscope of confessions, ranging from suicide contemplations to miserable marriages to simple pure loneliness, contrasting with hundreds of anonymous confessions of love and longing.

"I was interested in the way I interact with people for my writing process, which usually involves a one-way communication of feelings and ideas that I later find out whether they resonate with others or not," says Cooper.

"With this I could start instead with people's thoughts and feelings, what resonates for them, and make my own interpretations of those musically and visually, and then send those back out to everyone. It's more of a collaborative approach to making an album, and more intense."

Grief, hope, regret, joy, hurt and love form the basis for each track, taking Cooper's ever-evolving creative process in a completely new direction - with profoundly intense results.

"Rendering the experience of being is at the core of what I do musically - but I hadn't realised the impact that other people's words on being would have on me until I started reading the database of thoughts," he says.

"It was like finding a secret window into everyone's minds, and discovering amongst the chaos, pleasure and pain, the experiences that we all share at different times of our lives, and overwhelming emotions and connections that call out to be explored."

Despite what we see in the maelstrom of rage in the echo chambers of society ‘On Being’ reveals that humans still have an innate need to trust one another and express communal generosity - more easily done from the safety of an anonymous portal.

"The quotes carried so much weight for me - I interpreted them with my usual musical tools, but as you can hear in the music, everything got more extreme as I dove into the depths of what everyone had to say later in the record," says Cooper.

The result is a unique work of art that demonstrates unequivocally not only the power of using music without words to express emotions, but the power of words to express what seemed to be inexpressible.

On Being will continue to evolve as Cooper gathers more confessions to feed into this ecosystem of emotions and to create a new range of art projects and other accompanying works which hopefully will speak truthfully to humanity today - and of who we are and who we can become.

For Peggy Gou, recording an instalment of !K7’s DJ-Kicks series was one of the items on her list of career goals. “It’s the premier class of DJ mixes,” she says. “Some of my favourite selectors have contributed to it.” In 2019, Peggy Gou was able to tick that off her list as she proudly presented the 69th edition of the mix series.

To kickstart 2025, which is !K7's 40th anniversary year, the release is re-issued on a tigerfur-coloured 2LP. Peggy started working on the mix in 2018. It was a busy time for the then 28-year-old: she’d just scored her first Mixmag cover and her single ‘It Makes You Forget (Itgehane)’ was receiving awards and critical acclaim. Each month she would DJ in 20 nightclubs all over the world. And yet, the goal for her mix was ambitious: instead of trying to capture the energy of her DJ sets, she aimed to create a portrayal of her own musical journey.

An 18-track listening session that takes you straight into Peggy Gou’s living room where she plays you the formative tunes from her collection. No genre boundaries – she moves across disco, house, techno and electro. No tempo limits – the mix ranges from 90 to 150 BPM. And no age restriction – the earliest tunes on the mix are from 1983.

The same level of attention was brought to the arresting cover artwork, in which the well-documented animal lover references both Korean iconography and the endangered status of the creature of the country's foundational mythology, the tiger. The album artwork shows Gou posing alongside a tiger. "As the first Korean woman to contribute to the DJ-Kicks series I wanted to do something from my heritage," she said in a statement. "I chose the tiger, which is very important in Korean traditions and a metaphor for my personality. As it is inhumane to shoot with a real tiger, I and the photographer Jonas Lindstroem used a library image to make a composite. The tiger disappears when you turn to the inside-cover photo, to highlight that these beautiful animals are already extinct in my home country and in danger of disappearing from our world entirely.”