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Dana Schechter: Lap Steel Guitar, Bass, Electronics. - Paul Wallfisch: Piano, Organ, SOMA Pipe, Guitaret. Music from the Vienna Volkstheater production of Wolfram Lotz's play "Die Politiker" directed by Kay Voges; performed live in the theatre, spring 2022. These 2 beautiful exiles travel limbic landscapes and underwater dreams with a map that disintegrates instantly when viewed. Their fractured sounds dissolve and reconfigure endlessly in our cochlea and infest our imaginations with spiked armies of ultra-vivid, sentient and carnivorous coral predators, atavistically intent on devouring the sweet meat hiding deep in the center of the amygdala. Michael Gira (SWANS). Wallfisch has played in bands like Firewater and Little Annie, while Schechter has logged time with American Music Club, Angels of Light and her own Insect Ark, among others; both spent time touring and recording with SWANS. They've been friends since meeting in New York in the 1990s. Years later they forged a stronger connection as bandmates in Botanica. They renewed their artistic partnership in 2021, when Paul invited Dana to Vienna to develop the music for a theatrical spectacle called Die Politiker written by Kleist prize winner Wolfram Lotz. The music from the production provides the foundation for the duo's first album, The Heart of A Whale. Across its six intense tracks one can detect a subtle homage to storied Berlin musical traditions, as the pair puts a raw, often brutal veneer on songs steeped in Weimar cabaret (a la Tom Waits) but updated with a visceral mixture of noise, post-punk, and industrial elements. Performed on a panoply of instruments from bass, organ and lap steel to SOMA Synths, Guitaret, a variety of electronics and a grand piano hammered with a shoe, the music reflects the New York- Berlin nexus they've both been part of for decades. Echoes of Swans, Einstürzende Neubauten and The Birthday Party, but also hints of Throbbing Gristle, Eno and even William Basinski and Michael Gordon. The music can't be contained by any single tradition, with a decidedly experimental bent that ruptures the fixed rhythm of rock for something more theatrical and emotionally harrowing.

For the seventh installment of his Hardspace series, Len Faki selects three standout tracks from his personal vault - polishing them up with signature flair for maximum impact.

The A-side features a powerhouse mix of Jimmy Edgar´s Strike. Len Faki brings extra drive and spatial depth to the mix: sizzling hi-hats pan sharply across a tight stereo field, vocal chops flicker in and out, and the groove is stripped, slick, and forceful. A subtle reverb treatment adds atmosphere without compromising punch.

On the B-side, Faki dives into Robert Armani's 1994 album Right to Silence, revisiting two Chicago-style jacking tracks that are nodding to the Dance Mania era.
Up rides on a fierce hi-hat shuffle and a pounding stomp, centered around a bold vocal loop that captures the rough, battle-cry attitude of classic Chicago jack tracks. Faki's edit sharpens the angles and tightens the structure, giving the track even more bite.
Road Tour originally leaned on a harsh, detuned lead synth. Len´s Hardspace version removes the abrasive top line and lets the looping arp take center stage, which subtly shifts in tone and pans across the stereo field. The groove doesn't push forward so much as it sways side to side, creating a warped sense of motion. A pitched-up vocal sample-half command, half tease-injects just the right dose of jack attitude.
HS007 channels the raw, functional energy of vintage Chicago trax through Faki's modern lens - respectful to its roots, but fully tuned for today's sound systems.

Turning heads with their unique blend of garage, psych, punk rock Bad Bangs played across notable festivals and club shows throughout a 23 show run in 2024. Making waves at Left of The Dial (NL), Leffingeleuren (BE), Truenorayo (ES) and Gliding Barnacles Festival (PT) Bad Bangs make a charging return to the 2025 European Summer festival circuit. Their 2024 sophomore release Out Of Character was the first offering since their debut album Character Building. Somewhere between punk and country, folk and psych, Bad Bangs find themselves Out Of Character. The Melbourne based outfit's sophomore album bends across genres to form a unique soundscape of their own. Live tracking with the masterful Paul Maybury (Cash Savage & The Last Drinks, The Murlocs) captured the bands enigmatic live energy, whilst mastering by Jim Diamond (Ghetto Recorders, The White Stripes, The Dirtbombs, The Gore Gore Girls) secured the signature gritty sound of Bad Bangs. The album arrives with the punchy, punk-laced opening track Contest, which questions the fabric of an industry hell bent on image and conformity, and concludes with the psych infused Wild Mess which laments the shifting state of the natural world. Themes of social and environmental unrest swirl in the undercurrent of an album reflecting on immediate frustrations and personal reflection. With a staple cult following in their hometown of Melbourne, Bad Bangs have supported a high caliber of contemporaries over the years such as Shannon and The Clams, The Murlocs, Rolling Blackouts Coastal Fever and Chastity Belt. Bad Bangs Out Of Character is set for re-release through Beast records (FR) and locally released via Blossom Rot Records (AU&NZ) (Snowy Band, Cassie Ramone and more) Bad Bangs are part of Ya Ya Yeah's booking roster throughout EU. Bad Bangs members are Shelby De Fazio, Tim Ryles, Sophia Lubczenko and Gab Portocarrero.

Carrying on the long tradition of sentimental jangle pop songwriters, Lightheaded distil decades of lovelorn tunes into sounds for modern softies. They have the sunshine sparkle of The Left Banke and Margo Guryan, the C86 charm of Dolly Mixture and Would-Be-Goods, and the cinematic swell of Belle & Sebastian and Camera Obscura. Formed on the shore of New Jersey in 2017 by Cynthia Rittenbach and Stephen Stec, Lightheaded took time to hone their sound with a rotating crew of drummers, guitarists and backup vocalists. They found a community of like-minded bands in a vast but tight-knit international indie pop scene, which eventually led them to the iconic California label Slumberland Records. Their debut cassette EP Good Good Great!, a collection of five perfect pop songs, landed in 2023, followed by the full-length Combustible Gems in 2024. A European tour and gigs opening for bands like Heavenly, The Softies and The Ladybug Transistor rounded out their breakout year. Thinking, Dreaming, Scheming is their most collaborative and earnest release to date. A side of five brand new songs is combined with the five tracks from Good Good Great!, now available on vinyl for the first time. Recorded bi-coastally with Gary Olson (The Ladybug Transistor) and Alicia Vanden Heuvel (The Aislers Set, Poundsign) and drenched in lush reverb on tape by Fred Thomas (Saturday Looks Good to Me), the new songs are rendered in a dreamy soft focus that perfectly suits their starry-eyed themes. Adding to all the fun are the cameos and contributions from the new generation of New York indie pop goodness, featuring members of Starcleaner Reunion and Trinket, pushing the songs on this record to a high point in the young band's discography. There is something unusual about this band - something truly special.

Ron 'Bumblefoot' Thal is a celebrated guitarist, producer, composer, and educator with a career spanning over 30 years. Known for his groundbreaking techniques, Bumblefoothas performed with bands such as Guns N' Roses, Asia, Sons of Apollo, and Whom Gods Destroy. He is back with a brand-new instrumental album, 'Bumblefoot ...Returns!'. Thirty years after his debut solo instrumental album, BUMBLEFOOT revisits his roots with a 14-track masterpiece that spans genres from metal to orchestral to blues. 'Bumblefoot ...Returns!' features collaborations with iconic musicians, including Brian May, Steve Vai, Guthrie Govan, Derek Sherinian, and others, showcasing BUMBLEFOOT's innovative guitar techniques, such as his signature fretless guitar and "thimble technique." The limited edition double vinyl includes a UV-printed d-side, CD is a digi-sleeve with a single disc and a 4-panel square foldout poster, with double-sided art.

S4R49 focuses on the legendary Muscle Shoals Sound Studio and features four previously unreleased tracks: two by the wonderful Katie Love; a fabulous version of Phillip Mitchell’s "Hitch Hike to Heartbreak Road" by Curtis Wiggins; and an exquisite song from Sandra Wright’s lost session at the studio, written by George Jackson and recorded in January 1978—proof that the magic was still alive.

When the hypnotic groove of Berlin band Onom Agemo & The Disco Jumpers meets the pulsating riffs of Malian guitarist and singer Ahmed Ag Kaedy, new horizons open up.


At the centre of 'Common Stars' is Ahmed Ag Kaedy's distinctive vocals - always with poetic urgency. His lyrics, deeply rooted in the political and cultural realities of his homeland, deal with freedom, home and the search for identity. They deal with the ongoing conflict of the Tuareg in Mali, who are caught between the desire for cultural self-determination and political tensions with the central government. They also address the threat posed by Islamist groups, which have controlled parts of northern Mali and banned music since 2012. Ahmed Ag Kaedy had to flee his home country due to this repression. With his band Amanar, he shaped modern Tuareg rock and toured internationally. The collaboration with Onom Agemo began after he came to Berlin for the premiere of the film 'Mali Blues', in which he is one of the protagonists, and led to joint concerts throughout Europe.

'Common Stars' is a musical meeting of cultures that unites sounds from the Sahara to Berlin. Music that creates connections and makes different perspectives audible. The tracks are characterised by trance-like rhythms, hypnotic bass lines and shimmering saxophone and flute sounds. Pulsating synthesizers, dry-as-dust guitar riffs and improvisational outbursts interweave to create a soundscape that is sometimes driving, sometimes floating and creates a very unique, captivating atmosphere. Ahmed Ag Kaedy describes it aptly: 'Space jazz meets the rhythm of the camel.'

Repress of praised oldschool WAKO 01 !!

‘Idealism’ is an album about navigating life in the 2020s as millennial adults, and all the difficulties and uncertainties that come with that - knowing you’ll probably never be able to afford to buy a house, and that a simple grocery shop costs way more than ever before. But it’s also about all the joys and positives of modern life too - being kind to yourself, being kind to other people, and overcoming difficulties.
The band tries to capture that dichotomy on this album, hence the title ‘Idealism’, which the dictionary says is “the unrealistic belief in or pursuit of perfection”.
The album has been a long time in the making, diligently demoed before tracking across studios in London & Essex. Taking a more pop production approach, layering parts and additional keyboards, synthesisers and percussion to add a richer and fuller sound to their traditional indie rock set up.
Nostalgia has always been a running theme for Don’t Worry, as displayed on 2022’s ‘Remorseless Swing’ and 2018 debut album ‘Who Cares Anyway?’. There’s a decent dose of it on this new album still, including on the cover, with a photograph taken in their home of Harlow New Town in 2001 by Jim Brown. And in their musical influences, Pavement, Pixies, Smashing Pumpkins, The Streets, Fleetwood Mac, UK Grime and The GTA Vice City Soundtrack (alongside contemporary influences such as Fontaines D.C., MJ Lenderman, Andy Shauf).
But perhaps for the first time on this album, they push through the comfort of the past, embrace the present and look forward to the future with hope.

The lengthening days and the long beautiful evenings: it must be time to treat yourself to this wonderful (and highly limited) 10” single from Julian Cope’s Dope feat. Fuck Authority. Consisting of two 20 minute tracks, main track ‘666’ is a Deutsche sing-a-long from beyond the grave, replete with martial side drums and cacophonous orchestral strings. With raised steins, our gruff-voiced male choir recounts their bolshie nursery rhyme – a beguiling tale of a mysterious tree that predicts the future. Simultaneously traditional and avant-garde, ‘666’ will remain in people’s heads long after the vinyl has been ejected. Meanwhile, awaiting listeners on the other side of this epic release is Dope’s most overtly psychedelic offering thus far. Off-kilter and raging, this non-LP B-side is entitled ‘1381’, after the year of Wat Tyler’s Peasant’s Revolt. Unbalanced? U-Betcha! As Fat Paul’s cataclysmic FX and Holy McGrail’s Space Echo obscure and overwhelm Fuck Authority’s vast stereo bass guitar, one can only praise the poor technicians who captured it all on vinyl. Yes, with its fabulous packaging and earworm chorus, this unlikely 10” release must be a candidate for Single of the Year surely?

On At Tubby’s Dougie Poole plays stripped down live versions of his most treasured songs in a venue beloved by musicians for its’ intimacy & acoustics as well as its’ exceptional treatment of touring musicians. This set was a natural for release as a live album as it was a special night for the band. One of those nights when the music, audience and space all come together. It was recorded right from the board with minimal mixing work in post from Dougie himself.
The version of Dougie’s live band on At Tubby’s features main stays Mike Etten on electric guitar and Connor “Catfish” Gallaher on pedal steel. On the night’s first song “Los Angeles,” Etten’s classic country licks and Catfish’s soaring slide lines perfectly compliment Dougie’s formidable acoustic work and golden baritone. You can tell these three have been playing together for years and are road tested in this formation. They tackle some of Dougie’s most loved songs, from rave-up’s (“Beth David Cemetery” & “Vaping on the Job”) to country balladry (“Must Be in There Somewhere,” “Don’t You Think I’m Funny Anymore”) and all points in between.
There are some tracks here that might be new to fans of Dougie’s recent albums. “Toshiba Sky” is a one off digital single from 2020 and “Wild Motion” is a track Dougie wrote for L.A.’s Drugdealer, who recorded it for their 2020 album Raw Honey. Live at Tubby’s also sees the recorded debut of a new Dougie composition, “Heaven Sent an Angel” which closes out the set on a heartfelt note. At Tubby’s brings the listener to a spacial place and time, and will be a thrilling listen for fans old and new.

You find yourself two thousand meters below the earth’s surface surrounded by overwhelming darkness. Cold and wet, the path has collapsed behind you. You have nowhere to go, but still you scream. You scream, and scream, echoing into the darkness, dissolving your throat like acid. It’s no use. There’s no way out. You die here. OSSUARY have made this cave for you.
“Abhorrent Worship” is a relentless, pummeling assault: 6 tracks in 37 minutes of cacophonous, suffocating evil punctuated with distorted, droning atmospheres. Hissing and dripping wet with bile, vocals incant beneath monstrous searing, chugging guitars and thunderous, pounding drums & bass at a primordial pace executed with precision and finesse.
Ossuary take their time between releases, which shows, and once again “Abhorrent Worship” is worth the wait. Once you press play there’s no going back, accept your fate happily or not. You die here. (KD)

Vice Squad are 100% DIY and record everything in their home studio with guitarist/riffmaster Paul Rooney engineering and mixing. There is nothing sloppy here; the whole album is concise and intelligent with lightning-speed diction, passion, and intent. The glorious ‘If I Knew What I Know Now’ and ‘The World Is Wrong’ are examples of Vice Squad’s ability to write instantly catchy, witty songs, and the more gut-wrenching material from their last album, ‘Battle of Britain’, showcases some enormous riffs and a voice that is a million decibels from Beki's untried teen vocals. The album opens with the deliciously effervescent ‘If I Knew What I Know Now’, followed by the sparkling old-school tongue-twister ‘Out of Reach’. Next up is the visceral ‘Get A Life’, an angry anti-suicide note to the desperate, originally the title track from their 1998 comeback album. This is followed by a shimmering version of Vice Squad's old-school classic ‘Resurrection’. While the treatment of the old songs remains true to the original teenage renditions, the upgraded versions pack more of a punch with detuned guitars and growling bass. The tribal tom-toms of ‘Allergy’ underpin just over two minutes of punk protest about the delights of pollution and asthma. Then comes the sublime ‘Sniffing Glue’, a near-perfect punk love song that would be a huge hit if not for its subject matter. ‘Ordinary Girl’ is punk-pop perfection brimming with hook lines and harmonies, warmly mocking the life that could have been chosen instead of the grindstone at the sharp end of the music industry. ‘The World Is Wrong’ is anthemic, joyous, and wonderfully contrary, and one would expect nothing less from a band that has soldiered on and grown through the decades. It’s always great when bands lead by example. In these increasingly tough times where our survival is threatened by the gargantuan greed of a few individuals, it's important to continuously stick two fingers up to the grabbers and spoilers. 'The World Is Wrong' does just that in an impassioned, melodic, and optimistic style. 'Hold your head up, stand your ground, and don't let the bastards grind you down.' Then we roar into the final single Beki wrote with original and now sadly deceased guitarist Dave Bateman, ‘Citizen’, and continue with another teenage opus, the quite brutal ‘Scarred For Life’. ‘Voice of the People’ is a bulldozer of a song, all swagger and ballsy riffs, and the chorus, ‘Freedom of speech is against the law; now we’re all criminals,’ snarls its derision at red-handed red tape. ‘Punk Police’ sneers over a catchy-as-COVID guitar riff, and the lyrics, ‘Regulation cut, you must measure up, down on the street, PR companies, monied families, running the scene,’ call out the hierarchies that now permeate Punk. Baritone guitars add extra darkness to one of the first-ever animal rights songs, ‘Humane’, and I’m struck by how relevant the older songs are. Chocks away, and the awesome ’Spitfire’ takes flight like Motörhead on extra amphetamines. Merlin engines fade into ‘Born In A War’, the second in the triumvirate of conflict-themed songs, an absolute stonker with huge muscular riffs and lyrics that roar pure outrage. Then comes the ominous Last Rockers, with all the angst of the original plus added depth and resonance. Beki: ' "Last Rockers" is a typically depressive adolescent song about nuclear war and being too young to die but too late to live. I believed Punks were the ‘Last Rockers’, the final youth cult before the Apocalypse. I was obsessed with punk, and all I wanted to do was sing in a band and be part of the movement, so I would often romanticise the idea of punk in my lyrics.' The four bonus CD tracks kick off with ‘Coward’, another teen Bateman/Bond composition. ‘No You Don’t’ is just over two minutes of vocal acrobatics over a Dexedrine-driven Devo-esque chord sequence, and the frantically brilliant ‘I Dare To Breathe’ from ‘Battle of Britain’ continues the aural assault. Then the final sombre entreaty of ‘You Can’t Buy Back The Dead’ warns us that ‘Enough’s never enough; absolute power will corrupt; the war machine still rumbles on’ before fading into the future.

Man @ Work Volume 2 is the sequel to his 2002 best seller, Man @ Work, and offers
fans an impeccable set of favorites from across Hay's rich catalog, including Men at
Work classics, solo album highlights, and new material. The album opens with "Into
My Life," featuring Gregg Bissonette (Ringo Starr and His All Starr Band) and Cecilia
Noel. The song originally appeared on Hay's 1990 debut solo album, Wayfaring Sons,
and exploded in Brazil in the 90s as the theme song of a popular soap opera, growing
to rival the anthemic "Down Under" as Hay's most popular song in South America. Hay
reaches back to Men At Work's 1983 release, Cargo, for a new recording of the reggae
infected "Blue for You," which segues into a stripped-down version of the infectious
"Come Tumblin' Down" from his 2017 release Fierce Mercy. Other standout tracks on
the album include "We the People" featuring rapper Derrick "Solpowa" Rice, which Hay
was inspired to write in the midst of the polarizing US presidential election in 2024,
and with a haunting performance of "Next Year People" from the 2015 album of the
same name. This version of the song features Hay on acoustic guitar and vocals,
augmented by a string quartet.

The CD version will be released via Rotten Roll, while the vinyl will be exclusively
available through Kernkraftritter - two titans of the extreme music scene joining forces
to deliver pure goregrind chaos!
What can you expect?
A relentless onslaught of brutal riffs, blistering blast beats, and the unmistakable
vocals that have made Rectal Smegma legends. Perfect production, intense artwork
and tracks that will rip your eardrums apart.
A strong contender for the grindcore release of the year!
Join the celebration!
To properly unleash this masterpiece, an Epik release party will take place on March
29, 2025, in Braunschweig! Together with Kernkraftritter Rectal Smegma will turn the
venue into a battlefeld of infatable animals, toilet paper, and pure chaos!
Stay tuned, follow Rectal Smegma on social media, and prepare for the grindcore
apocalypse! In the meantime, Rectal Smegma will stay on duty To Serve And Protect.

THE FIRST LADY OF SONG With her extraordinary voice, Ella Fitzgerald be- came a legend during her lifetime. She is considered one of the best singers of all time. Yet Ella actually wanted to become a dancer. However, she was too nervous to dance at a dance competition and sang instead. She won the first prize. The rest is history. With her Christmas album „Ella Wishes You A Swinging Christmas,“ Fitzgerald pioneered and paved the way for modern Christmas music. Everything that came af- ter would have been unthinkable without her. Rolling Stone lists the album first on its „40 Essential Christ- mas Albums“ list. This version also includes two bonus tracks: „Christmas Island“ and a medley.

A Deep Dive Into Rock Royalty - The Many Faces of Deep Purple (2 LPS)
Step into the legendary world of Deep Purple with this exclusive double vinyl release, The Many Faces of Deep Purple. More than just a tribute, this compilation is a curated journey through the band's extensive musical legacy, featuring collaborations, rare recordings, and side projects from key members like Glenn Hughes, Joe Lynn Turner, Nicky Simper, Ian Gillan, Don Airey, and Jon Lord. Pressed by MPO for optimal sound quality, this deluxe edition includes 20 tracks across four sides, each selected to reveal a new facet of one of rock’s most influential bands.
Unreleased Gems, All-Star Collaborations & Classic Covers
This collection uncovers the band’s wider universe, from early recordings by Episode Six and Warhorse to powerhouse tracks by Trapeze, Funky Junction, and Quatermass II. Glenn Hughes lends his unmistakable voice to standout perfor- mances, including Piece of My Heart and Freak Out Tonight, while Joe Lynn Turner teams up with guitar icon Leslie West for a searing version of The Seeker. Listeners will also discover rare studio tributes and pre-fame moments, such as the spirited Deep Purple covers by Thin Lizzy members under the Funky Junction moniker.
A Must-Have for Collectors & Classic Rock Fans
Packaged in a striking gatefold sleeve and featuring liner notes that contextualize each track, The Many Faces of Deep Purple is a collector’s dream and a sonic treasure trove. Whether you’re a longtime fan or a new listener exploring rock’s golden age, this double LP release delivers an immersive and essential experience that celebrates the talent, evolution, and influence of the Deep Purple legacy. Available now in limited quantities, don’t miss your chance to own a unique piece of rock history.

Nach dem überwältigenden Erfolg seiner globalen Smash-Single "Ordinary", die auf Platz 1 der Global Charts landete, Platz 3 der Deutschen Single Charts erreichte und bislang über 650 Millionen Streams generierte, ist Alex Warren bereit, die Musikwelt erneut im Sturm zu erobern: Für den 18.07.24 kündigt er nun sein mit Spannung erwartetes Debütalbum "You'll Be Alright, Kid" an!
Neben den Titeln des ersten Album Parts, wie z.B. die Standout Tracks "Carry You Home" und "Before You Leave Me", enthält das neue Werk die Erfolgssingle "Ordinary" sowie seine neueste Single "Bloodline" mit Jelly Roll - und natürlich viele weitere brandneue Songs!

We are proud to introduce Trance Pearlz – the very first volume presented as “Flashback 01”. Following the massive success of the MEMORIEZ vinyl series, Trance Pearlz picks up the torch with a fresh selection of trance anthems. True to its name, this release brings together four carefully selected trance gems, presented in their full-length versions for maximum impact. Expect a perfect blend of commercial favorites and hidden treasures from the deeper side of the scene.
Each track was handpicked chosen to take you on a journey through the rich and emotional landscape of trance music. Let yourself be carried away by this first chapter and discover the magic of trance again.
Pressed in Belgium on high-quality vinyl and designed with collectors in mind, Trance Pearlz promises to be the start of a legendary new saga. This is just the beginning, the new journey starts now.

The fourth release on ALT, the sub label of Cartulis Music, sees the return of AV1, the freshly formed French duo composed of Chris Carrier and Le Loup. Following the success of Waves + Plants Pt. 1 (ALT004.1), the pair now delivers the highly anticipated second chapter, pushing the boundaries of their sonic exploration

AV1 is the result of a deep-rooted connection between two of the most respected names in the Parisian underground scene. Chris Carrier, a prolific producer and DJ since the late ‘90s, has carved out a legacy with his unmistakable approach to house and techno. Le Loup, equally revered for his refined touch and forward-thinking productions, brings his own signature style to the table. Together, they craft an electrifying synergy built on a shared love for acid, deep grooves, and classicist house/techno foundations.

Waves + Plants Pt. 2 (ALT004.2) expands on the energy of the first release, offering a fivetrack journey through a diverse soundscape. Blurring the lines between trance, techno, breaks, and experimental sounds, the EP showcases AV1’s ability to merge different sonic textures into a cohesive, cutting-edge release. From hypnotic acid sequences to raw drum programming and ethereal atmospheres, each track presents a unique side of their creative vision.

This latest installment solidifies AV1’s place as a standout project in contemporary electronic music and reaffirms ALT’s commitment to releasing forward-thinking, genre-defying sounds.

FRENÉTIKA RECORDS is a new record label based in Nova Prata/RS Brazil, bringing its second release. “MAGIA DA VUDU EP” was inspired by the experiences of friends and dedicated to a very special friend Thaina Severo, aka Vudu.. The EP features three talented artists from the new Latin generation: Molen from Uruguay, Trajano from Brazil and Alquimic from Peru.

The composition of the EP was meticulously thought out to be a complete and mature record with specific tracks and complementary aesthetics so that it could be used at all times.

Limited 300 copies!

From the underground of Buenos Aires, we present this new EP from the talented
duo Happy 707 called ‘Your Body’, with 5 tracks including a remix from the great
New York producer Black Light Smoke.

The EP contains tracks that go through Techno, Electro, EBM & industrial sounds,
heavy atmospheres with energetic rhythms that will make vibrate every place
where they are played.

Composed and arranged by Tomas Palmariello & May McLaren.
Mixing - Happy707
Mastering - Analog Cut
Artwork: Konsaro
Physical distribution - Outside In
D21 Latin America 2025

The Island Festival presents its first vinyl sampler — a celebration of groove and unity
Born from the spirit of one of northern France’s most beloved electronic gatherings, The Island Festival unveils its very first vinyl sampler on its freshly launched label, The Island.
Held annually on the stunning Île des Saules, The Island has become a beacon for house and electronic music lovers. This limited-edition record captures that magic with four carefully selected tracks, bridging international talent and local energy.

The sampler features:

• A standout cut by Italian duo The Deepshakerz (Great Stuff, Defected, Toolroom, Crosstown Rebels), bringing their trademark blend of funky, percussive house.
• A feel-good track from Etienne & Eddsax, offering sun-soaked grooves and uplifting vibes.
• A deep and dreamy voyage by The Sandman, blurring the lines between groove and introspection.
• And the iconic “Midnight in New York” by Michael Sanctorum.

This release is a sonic snapshot of the festival’s soul. From open-air euphoria to late-night intimacy, The Island Sampler EP 1 is both a collector’s item and a dancefloor weapon.


Français

The Island Festival dévoile son premier vinyle sampler — une célébration du groove et de l’unité
Né de l’esprit de l’un des festivals électroniques les plus emblématiques du nord de la France, The Island Festival présente son tout premier vinyle sampler, lancé sur son propre label : The Island.
Organisé chaque année sur la magnifique Île des Saules, The Island est devenu un rendez-vous incontournable pour les amoureux de house et de musique électronique. Cette édition limitée en vinyle capture l’essence du festival à travers quatre titres soigneusement sélectionnés, mêlant talents internationaux et énergie locale.

Ce sampler réunit :

• Un titre percutant du duo italien The Deepshakerz (Great Stuff, Defected, Toolroom, Crosstown Rebels), fidèles à leur style house percussif et groovy.
• Un morceau feel-good signé Etienne & Eddsax, aux accents ensoleillés et aux rythmes entraînants.
• Une plongée onirique et profonde avec The Sandman, à la frontière entre groove hypnotique et ambiance introspective.
• Et le classique intemporel “Midnight in New York” de Michael Sanctorum.

Cette sortie est un instantané sonore de l’âme du festival. De l’euphorie en plein air à l’intimité des sets nocturnes, The Island Sampler EP 1 s’impose comme un objet de collection autant qu’une arme pour le dancefloor.

Highly respected Brooklyn-based record store Archivio Records launches its flagship label, with the help of legendary UK Tech House pioneer Affie Yusuf.

This remarkable four track EP made up of previously unheard and unreleased gems, captured from DATs long thought lost during the mid-90s golden era of Swag Records, Wiggle, Surreal and co. delivers four distinct tracks, perfectly curated to suit the mood of the most discerning dance floors, at any time of the night!

Uba Cuba sees Affie transport you to pre-Revolution Havana, where the rum flowed and the good times rolled. A playful Latin-infused tech house roller, this track is guaranteed to put a smile on the face of everyone on the dance floor!

For the first track under his Parkwalker alias, Pashtwo is a decidedly deeper and darker excursion with a driving bassline, trippy vocals and a constant forward motion, perfect for those moments when you have the crowd really locked in.

Urgez Untold, the second Parkwalker contribution to the EP is an airy, groovy journey designed for those after hours moments when the sunlight is creeping in and the crowd is ready to let it all go in the pursuit of euphoria. Hypnotic bass, ethereal synths and bouncy, tropical drums give this one a universal appeal and a timeless feel.

Finally, Ode Reticular is Affie Yusuf at his brilliant, inventive best, crafting an epic track with three distinct phases. Starting as a dubby minimal chugger before morphing in to a quirky, playful tech house roller, then final chapter sprinkles mystical progressive elements to take you to another dimension, without ever needing to lose your spot on the dance floor.

An essential release for lovers of the early UK Tech house sound, seeking out undiscovered gems from the glory days of mid-90s London.

With future releases featuring Mark Ambrose, Pure Science, Carl Finlow and more, this is a label to watch closely and collect religiously.

Claremont 56 founder Paul ‘Mudd’ Murphy has been in a rich vein of creative form of late. Having released his first solo album in 18 years in 2024, the effervescent and picture-perfect 'In The Garden of Mindfulness', Murphy is well on his way to finishing solo LP number three – a set you’ll be able to hear in full later in 2025. To get us in the mood, he’s offering up a two-track taster featuring instrumental takes on cuts that will appear as full-vocal songs on the final album. Both were written with, and feature instrumentation by, regular collaborator Michele Chiavarini, an Italian musician, producer, composer, and arranger who has long been part of the Claremont 56 family.

Up first is ‘Mahalo (12" Instrumental Mix)’, a languid and emotion-rich groover built around a smooth, mid-tempo jazz-funk-goes-disco groove – think crispy drums, delay-laden hand percussion and rubbery bass guitar – and all manner of ear-catching musical details. As the track unfolds, you can expect to hear lilting strings, warming electric piano chords, mazy synth solos, heady horn-style blasts and glistening, eyes-closed guitar licks. It’s a genuinely superb slab of musically rich dancefloor warmth. The track that follows, ‘Mata Ne’, is an altogether dreamier and more dub-influenced affair. Featuring some sublime piano playing from Chiavarini, it sees Murphy layer simmering strings, cascading guitar licks, spacey synths and blissed-out melodic motifs atop the kind of chunky, dubby groove that has long been one of his aural trademarks. Offering positivity and melancholia in equal measure, ‘Mata Ne’ is Mudd at his most musically majestic. His forthcoming album will be worth waiting for.

“Everytime I try” by DJ Chus & Cevin Fisher was one of the biggest worldwide club hits in Summer 2023. That catchy acid-inspired synth line, along with Chus’ signature driving percussion and Cevin’s iconic voice preaching such an inspired message was a peak hour favorite immediately upon release.

And now comes the well-deserved and much anticipated remix treatment. Wheats adds some minimal leaning deep tech flavor with an appealingly mutated effect added to the vocal; Audio Junkies retains the acid based synth line but strips it down and then builds it back up with some new melodic elements that will open up the track to a dancefloor community that looks for more eclectic house music sounds; and finally the 12” includes the Viot remix where this emerging Brazilian producer adds building hypnotic rhythmic elements that give the track an early morning feel to go along with its already established peak hour energy. Rounding out the 12” is the original DJ Chus extended mix, released on vinyl now for the first time as part of this remix package.

This release comes in special yellow colored vinyl.

Black Vinyl LP. The world has changed, we shouldn't try and pretend otherwise. While we were shut away in isolation our routines shifted, social patterns evolved, and our hopes and dreams were twisted into cobwebs we're still trying to wipe from our fingers. Ziúr tentatively approached this on her last album Antifate, an ambitious and complex hybrid pop fever dream that looked back to a Medieval escapist fantasy as the scent of revolution seemed to hum in the air. But when restrictions were eased, she found herself staring down a discombobulated society that had trapped itself in a spiral of microwaved nostalgia and detached, narcotic repetition. Eyeroll then is Ziúr's musical panacea, a tincture to wake us from our creative slumber and prompt external connection and reflection. It's a polyphonous hex that demands human interaction, and Ziúr's hand-picked alliance of collaborators - Elvin Brandhi, Abdullah Miniawy, Iceboy Violet, Juliana Huxtable, Ledef, and James Ginzburg - each provide distinct voices that together herald a bewildering sonic epoch. Ziúr's palette had to evolve to match the scope of the project, but it was pure necessity that informed the album's defining tone. Recording mostly at night, Ziúr was conscious of the noise she was making so developed a unique way to record organic percussion. Using a set of rototoms - low profile tunable drums - she scratched, scraped and gently tapped the skins to build up the undulating and unstable rhythmic backdrop for each track. It's the first sound we hear on the opener 'Eyeroll', rattling like lost marbles against Elvin Brandhi's primal croaks and screams. And when Brandhi's twisted articulations form words, Ziúr matches the energy with chaotic thuds and serrated blasts of saturated electronics. "I roll the shittiest cigarette," she squeals like she's about to start a mosh pit at Paris's GRM Studios. Without pause, Abdullah Miniawy takes over on 'Malikan', building on the promise of material with Simo Cell, Carl Gari and HVAD with corrosive trumpet blasts and charged, politically incendiary Arabic vocals. Inspired by pre-Islamic poetry and the Qu'ranic chanters he heard growing up in Saudi Arabia and Egypt, he spins labyrinthine stories that cross between the worlds, breaking down physical and spiritual borders simultaneously. Miniawy's scope is expanded even further on his second collaboration, 'If The City Burns I Will Not Run'. "If it rains and the city drowns," he utters over gaseous electronics, "I will not run away, but I will be anxious for the heart of one close to me." After a supple vocal turn from Manchester's Iceboy Violet on 'Move On' and a surreal interlude from poet- DJ-artist-theorist Juliana Huxtable on '99 Favor Taste', Brandhi returns with two more hyperactive collaborations: ,'Nontrivial Differential' and 'Cut Cut Quote'. On the former she slices into Ziúr's skeletal jazz eruptions, screaming and crooning interchangeably, fluxing between the rap battle and the cabaret. The latter is completely different meanwhile, with Brandhi settling into her role as front-woman and groaning dizzying improvised passages that sound like grunge crossed with psychedelic no-wave. Brandhi's spiky musical history has prepared her well for this collaboration; she's a prolific producer and has been using her voice spontaneously since debuting with father-daughter improv duo Yeah You in the mid 2020s. She's found an ideal foil in Ziúr, a producer who matches her restless energy and willingness to bend formality, and leaves an indelible mark on Eyeroll. But the album's most tender moments are from Ziúr herself, who winds the album down on 'Hasty Revisionism', growling over collapsible beats and cascading strings, and comes to an unexpected conclusion with country coda 'Lacrymaturity'. Its feverish amalgamation of country music and euphoric, experimental electronics might seem incongruous at first, but in context with the rest of the album is the only possible conclusion. With Eyeroll Ziúr is making a firm statement about togetherness, humanity, and the renewal of hope when all seems lost. By bringing together such a wide but philosophically harmonic team of collaborators, she's conducted a body of work that speaks to the creative fringe in no uncertain terms. Now's the time to throw away what you think you know, and build bridges you didn't think you need. Now's the time for action. She may have spent her entire career avoiding the solipsistic trappings of "queer art", but by assembling a communal statement that questions so many normative assumptions about music, politics, and beyond, Ziúr has chanced upon her queerest album yet. Cringe? Eyeroll.

Oh so happy - A first time on 7" for the Superist Funkist band the one and only Kool & the Gang. We have picked Two Timesless club floor smashers. From the Good times LP " Rated X" which is just fire on the dance floor, and this is the first time for this killer kool & the gang track to make its way to a 45rpm, for years ..... booom!!!!
On the flip is North East South West a perfect Kool and the Gang funk vibes groove.

Following their acclaimed debut Spirits, New Zealand"s boundary-pushing jazz collective The Circling Sun return with their sophomore LP Orbits - a deeply layered fusion of spiritual jazz, analog electronics, and percussive groove. Where Spirits explored 1960s influences, Orbits shifts into the mid-"70s, drawing inspiration from Rahsaan Roland Kirk, Yusef Lateef"s Atlantic era, and the Brazilian jazz of Azymuth and Airto Moreira. The ensemble blends arpeggiating Prophet synths and modular electronics with acoustic instrumentation: saxophone, upright piano, vintage drums, and hand-played percussion. Tracks move seamlessly between danceable Afro-Cubanrhythms and expansive, ambient jazz meditations - with layered vocals and choral textures guiding the listener through an interstellar sonic journey. Lush yet accessible, Orbits appeals to both deep jazz heads and fans of ambient, soulful instrumental music.

Papa Records is excited to announce its latest release: two dancefloor ready tracks featuring the Diplomats Of Soul, Incognito, and Vanessa Haynes.
On Side A, you’ll find "Sweet Power Your Embrace," a remix of James Mason's iconic Jazz-Funk masterpiece by Terry Hunter & Emmaculate 7”.
Side B features a remix by Micky More & Andy Tee of "Never Gonna Fall In Love Again (Like I Fell In Love With You).

Includes a huge remake of James Mason’s iconic jazz-funk masterpiece – ‘Sweet Power Your Embrace’
A new 7” of soul classics by Diplomats of Soul with legendary UK band Incognito & Vanessa Haynes
Remixes courtesy of Chicago house legend Terry Hunter & Emmaculate, alongside sought after Italian production duo Micky More & Andy Tee.

Wet Leg sind endlich zurück – und veröffentlichen am 11. Juli ihr neues Album moisturizer. Parallel dazu erscheint eine 7-Inch-Vinyl mit zwei Songs daraus: „davina mccall“ und „CPR“. Beide Tracks stammen aus dem mit Spannung erwarteten zweiten Album und zeigen erneut die stilistische Vielseitigkeit der Band. „davina mccall“ glänzt als bittersüße Ballade, in der Popkultur-Referenzen auf echten Herzschmerz treffen – irgendwo zwischen Shakira und britischem Reality-TV. „CPR“ hingegen ist ein ironisch gebrochenes Liebeslied mit düsterem Unterton: „Is it love, or suicide?“, fragt Rhian Teasdale im Refrain. Der Song beginnt zurückhaltend und entlädt sich in einer kraftvollen Hook – ganz im typischen Wet-Leg-Stil: scharf, verspielt, unvorhersehbar.

From the mind of Philadelphia legend Del Jones, the jazz-funk musician and social justice activist behind Positive Vibes and The Court Is Closed, comes a cult favorite finally getting its due. Originally released on CD in 1999, Dance of 'De Elder is a late-career epic where Jones' unmistakable vocals and undeniable funk deliver his signature blend of history, justice and Afrocentrism to reinforce his timeless command: 'DANCE // RESPECT YOURSELF.’

This 12-inch marks the track’s debut on wax and features five remixes for today’s dancefloors. Lil Dave lifts the song into an uptempo, deep and soulful house jam, Pheels flips the vocals over a heavy, psychedelic and percussive dub, Sweater adds bright, crescending synths that revive Jones’ chorus as a joyful decree, Universal Cave offer an extended, dubbed out, late night acid excursion, and Street Orchestra dials in a knocking MPC beat mix that could have fit right at home on the original release.

When we found a copy of the Dance Of ‘De Elder CD, the title track quickly became a Universal Cave crew anthem that we played every chance we got. Early doors, end of night, looped over party tracks, we couldn’t get enough of it and knew it had to get out to a wider audience. We hope this release helps get Jones’ music and message out to DJs and dancers worldwide.

One of Romania’s most important composers in the last half-century, Octavian Nemescu (1940-2020) is among the few that were not “part of the system”, managing to survive and compose in a world that felt more and more “empty”, fragile, confused and scarce in prophecies. The mystical approach to his art defines Octavian Nemescu as an essentialist who believed in the power of archetypes in which he found inspiration. His pieces always start from an idea that has spiritual, cosmogonic implications and often involves synthesizers, sounds from nature (buzz of bees) and the “ison” (drone). When defining “meta music” or “imaginary music”, Nemescu was an advocate of looking from above, from the top of the mountain. Silence is very important in his work in order to keep the sound flowing and to reflect on the sound from before, as a space, as a pause for thinking. Nemescu put forward another kind of music: a song that has not yet surfaced through human voice, any musical instrument, orchestra or other electro-acoustic means: an intimate, interior, introverted inner sound that focuses on the individual and the imagination. Imaginary music is a reaction, it comes in contrast to the spectacular, it is anti-show. For him, music had a ritualistic function, it served no cultural purpose.

This 3LP set collects eight pieces for variable ensemble, tape and electronics, composed between 1968 and 2015, selected together with Erica Nemescu, who also mastered the tracks. Most tracks have been previously released on different CD’s but never before on vinyl.

Dutch club jazz band New Cool Collective returns with a tasty 7" featuring two cinema classics. On the A-side, they serve up their own fresh and super funky cover of 'Enter the Dragon,' the iconic theme associated with Bruce Lee and his martial arts masterpiece of the same name. The B-side features their take on 'Misirlou' which is a legendary surf rock track by Dick Dale & The Del-Tones that was made world famous when it was used as the theme from Quentin Taranto's chef d'ouevre, Pulp Fiction. This double-sider is standout for its nostalgic movie associations but also on a purely musical level it oozes class.

Transitioning from the successful 2 Years EP (O Sótão Records, 2023), Tiago Fonseca became an up and coming Producer and DJ based between Lisbon and Porto. On the back of gigs at some of the best clubs in the country, he also transitions from Tiago A.F. to TGZ (sounding Tigz) as his moniker for what’s to come ahead. Long Shape, his latest project, is O Sótão’s first vinyl release, and the first to be delivered with higher standards of professionalism. Learning the trade, the processes, the timeframes, the costs, and having just completed 10 years of existence. A good time to go a bit deeper.

In the summer, Tiago sent me a golden playlist of unfinished projects for a second opinion. The idea for a new record started there, and from the bunch we handpicked a selection that ended up making really a lot of sense for us. We were looking for wet deepness and eternal warm ups, pulling up the fader slowly. An invitation to leave our mental capsules and divert attention towards a seductive bassline cliff-hanging a dream. Progressiveness and jazz. Long shapes and melodies in the last frontier between nostalgia and hope.

To help, we invited Miguel Tenreiro (a.k.a. Gazpa) to master the tracks, with him adding a smooth-extra-delicious pump on the beautiful original elements. Miguel also picked up the title-track for a remix treatment, breaking up the tempo with a hip-hop-electronica finale, sprinkled by a guitar solo from Zé Nuno - another great musician stemming from Mr. Bean’s bar, where we held a residency for the past year.

Long Shape will drop on March 21st. Vinyls might be only available a bit later. It will be a landmark moment for us, being Tiago’s most complete work to date, and a better representation of his rich musical influences, expanding it, as we speak, to another level. It’s also been 10 years for O Sótão, so there’s that too. To sum up, I’m just very glad that Long Shape sounds exactly where we would like to be after all this time, with a quick image of a nite-lit skyscraper cutting into a couple of rocks being dropped in the coolest whiskey glass, and the people warming up to a dream.

Edition of 100 Vinyl 12’’, Cover 3mm spine

Underoath sind seit fast zwei Jahrzehnten eine wegweisende Stimme im progressiven Heavy Rock. Nur sehr
wenige können mit ihnen mithalten, wenn es darum geht, immer wieder an die Grenzen zu gehen oder sich
kreativ weiterzuentwickeln. „Voyeurist“ ist eine Rückkehr zu Underoaths Heavy-Metalcore-Wurzeln, die sie
in den 2000er Jahren zu einer der größten Bands in der Metal-Welt machten. „Voyeurist“ ist ihr neuntes
Album und das erste, das die Band komplett selbst produziert hat. Es wurde im Studio von Gitarrist Tim
in Tampa, FL aufgenommen und enthält 10 Tracks, die schwer, aber dennoch experimentell und manchmal
wunderschön sind. Während das letzte Album „Erase Me“ aus dem Jahr 2018 eine Abkehr von ihrem
Sound war und eher ein geradliniges Rock-Album, kehrt dieses zu den beliebten Metalcore-Wurzeln der
Band zurück, von denen die Fans so begeistert sein.

Side A is home to “Dusk”: A soulful techno track that fits the criteria for multiple dance floors and at home listening. Dusk’s melodic content, tight percussion, and creeping film-like pads ensures its place as a future classic meeting that sweet spot between house and techno. Side B features “Undying Prophecy” by Keeno18. Again with a deeper vibe, the Tampa based artist continues the spirit of “Dusk” in its own unique way. The track begins with an eerie yet introspective pad arrangement before switching up into funky off-kilter sound design on the synths. Rolling hi hats and reverberated vocal chops complete the track leaving the listener with a unique atmospheric sonic experience.

LN000 presents three electro tools rooted in the essence of the D. “Black Elements”, the title track, is a hypnotic journey crafted for DJ and cruising use. The looping pads and percussive bassline entrance the listener as the bed of 808 beats keep the dancefloor busy. On the B-side, “KAH” offers an exploration in the realm of electro funk. Neck snapping snares, thunderous kicks, a tweaked out bassline, and heavy breakdowns can be found in this track; this one is for the dancers. “2 Motor” closes out the EP with an energetic electro excursion. Tight beats, an anthemic lead, crashing cymbals, a dope bassline, and some funky sound design drive this track.