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Berlin-based Colombian DJ, producer, and curator Edna Martinez presents a sonic journey into the electrifying world of Picó—the vibrant and dynamic sound system culture that has defined the streets of Cartagena and Barranquilla for decades. More than just a musical movement, Picó is a way of life, a bold expression of identity, community, and resistance. From its roots in the working-class neighbourhoods of Colombia’s Caribbean coast to its deep connections with Africa and the Caribbean, this compilation captures the pulse of a culture where music is played at full volume, rhythms travel across oceans, and dance is both a form of celebration and storytelling. For those unfamiliar, Picós are hand-painted sound systems, often adorned with dazzling colours and striking imagery, each with its own name and sonic identity. These mobile discos became the heart of neighbourhood bailes, where the sounds of champeta, highlife, soukous, mbaqanga, zouk, soca, and cumbia would turn every street corner, market, and terrace into a dancefloor. Initially built by local craftsmen using modified speaker components, Picós became legendary for their powerful bass and exclusivity, with DJs sourcing rare vinyl from African and Caribbean ports and rebranding them with unique piconemas—new names adapted to local slang, making the tracks instantly recognisable within the community.

This compilation brings together a carefully curated selection of these rare and sought-after tracks, tracing the deep-rooted musical exchanges between Colombia, West and Central Africa, and the Caribbean. Featuring artists like Los Corraleros De Majagual, Peacocks International Highlife Band, Pedro Lima, Zaïko Langa Langa, and more, the album also includes edits by Edna Martinez, reimagining these timeless rhythms for contemporary audiences while staying true to their original spirit.

Strut presents ‘Picó! Sound System Culture From The Colombian Carribbean’ across 2LP Vinyl, 1CD & Digital focusing on a celebration of the raw, undiluted energy of Picó culture. Through Edna Martinez’s curation, and extensive liner notes, this compilation offers a powerful and authentic glimpse into one of the most vibrant musical traditions of the Colombian Caribbean

E123 is a compilation EP.

The tracks are made between 2007 and 2017.

This 12 min. 7" with 7 tracks carries flashback excerpts from DJ Sotofett's annual improvised live concerts at Pool, Tokyo. Taken from the 2017 edition feat. Tokyo's Osaruxo playing violin and Diskomo on mono synth & efx. Glittery, twinkly & glitchy noise, abruptly booming & drawn out it carries atmospheres & counter (re-)active elements typically generated by the moment of sonic symbios & interactive attention. Spacial & girded sonics!

Just when you thought the series was over, here comes a surprise fifth 12", which includes four tracks from the compilation, re-dubbed by Dj Sotofett

After its first ever test press on Crack Records in 1999, already both sides was produced by Dj inc aka Alien5ive in the end of 1997 for the UK Based Record Label "No Smoking Records". In December 2024, Dj inc has made some effective arrangements on the original Tracks and the Repress is now scheduled for July 2025.

This Release is one of the very rare "No Smoking Records" Sounds those were high covieted in the Drum and Bass scene back in the days. The EP smashed the Dancefloor. Now you can preorder the official Repress of the Darkside E.P. fresh and straight outta the Studio. Both sides represent the fresh Club Sound from the mid to the late ninties Drum and Bass Jump Up era

Hidden Folder returns with its fourth transmission – HDF004 – featuring three original cuts and standout remixes from bullet tooth and K-LONE.

The EP further refines the label’s distinctive blend of UK-rooted club music and stripped-back dancefloor aesthetics.

Opening with ‘Matter of Time’, the title track is a peak-time speed garage weapon – driven by a menacing reese bassline, swing-heavy drums, and deep atmospheric pads.
‘Blurred Line’ follows with a more melodic, emotive touch, already turning heads with early support across the scene.
On the flip, ‘Can’t Get Over’ taps into classic UK Garage sensibilities, pairing housey drum grooves with lush Rhodes chords, chopped vocals, and a warm, rolling low-end.

Remix duties come courtesy of bullet tooth and Wisdom Teeth’s own K-LONE.
bullet tooth flips ‘Can’t Get Over’ into a modern house banger – punchy drums, a snarling peak-time bassline, and undeniable floor energy.
K-LONE takes a more minimalistic route, layering intricate percussion, loopy vocal cuts, and Rhodes stabs with his signature swing and subby finesse.

A forward-facing entry in the Hidden Folder archive – continuing the imprint’s streak of genre-fluid, system-ready club gear.

Following their debut album, Bay Area industrial duo Gridlock quickly pushed their creative boundaries. They restructured their live setup, incorporating new technology that expanded their sonic possibilities.

Their first experiment with upgraded digital tools resulted in the track Enzyme for Pendragon Records’ Quadraphobia compilation. Soon after, they embarked on a short West Coast tour before returning to the studio to craft their next album, Further.

Embracing real-time audio editing, Further developed rapidly, defined by its signature distorted percussion. Initially met with little feedback from their label, the album gained final approval after a live performance at the CMJ festival.

Released in early 1999, Further exceeded expectations, earning critical acclaim and charting in the the RPM charts. It became a landmark in the evolution of industrial music, blending emotional depth and cerebral complexity with brute force.

Gridlock continued evolving through two more albums before disbanding, leaving their work rare and highly sought after. Now, in tribute to Mike Wells, who passed away in 2022, Viasonde is reintroducing Gridlock’s music with the blessing of Wells’ family.

Following the 2024 reissue of The Synthetic Form, Further will be released on July 11th on clear vinyl with greyscale splatter. Half of the proceeds will go to the American Foundation for Suicide Prevention in Wells’ honor.

Analogue Productions' UHQR, the pinnacle of high-quality vinyl! 45 RPM Ultra High Quality Record release limited to 5,000 copies Mastered from the original tapes by Ryan K. Smith at Sterling Sound Pressed at Quality Record Pressings using Clarity Vinyl® Purest possible pressing and most visually stunning presentation and packaging!

By the time Bob Marley died, he was one of the world's first global superstars, famous and lauded from Europe through Africa and the Americas. Some even saw him as not just a reggae singer but as a folk hero, a sort of freedom fighter, and to this day his enduring image feels greater than the music he made, writes Pitchfork. In the 21st century, Bob Marley is a global cultural icon and the first Jamaican inducted into the Rock & Roll Hall of Fame. 1977's Exodus — recorded in London exile after a failed attempt on his life — turned out to be Marley's biggest-selling studio album.

Time magazine named it the greatest LP of the 20th century. Other Marley discs had bigger hits and still others had better album tracks, but the balance Marley strikes between politics, religion, and romance on Exodus — compare and contrast the urgent title track and the laid-back "Jamming" — shows a pop star at the peak of his powers.

Now, Analogue Productions presents perfection — Exodus in UHQR 45 RPM format on Clarity Vinyl. This Ultra High Quality Record release will be limited to 4,500 copies, with gold foil individually numbered jackets. After the success of 1974's Natty Dread and 1976's Rastaman Vibration, Bob Marley was not only the most successful reggae musician in the world, he was one of the most powerful men in Jamaica. Powerful enough, in fact, that he was shot by gunmen who broke into his home in December 1976, days before he was to play a massive free concert intended to ease tensions days before a contentious election for Jamaican Prime Minister.

In the wake of the assassination attempt, Marley and his band left Jamaica and settled in London for two years, where he recorded Exodus. Exodus represented a subtle but significant shift for Marley; while he continued to speak out against political corruption and for freedom and equality for Third World people, his skill as a songwriter was as strong as ever, and Exodus boasted more than a few classics, "including the title song, 'Three Little Birds,' 'Waiting in Vain,' and 'Turn Your Lights Down Low,' tunes that defined Marley's gift for sounding laid-back and incisive at once," writes AllMusic. This UHQR is remastered at 45 RPM by Sterling Sound's Ryan K. Smith from the original analog master tapes. Each UHQR will be pressed on 180-gram vinyl at Acoustic Sounds' industry-leading pressing plant Quality Record Pressings (QRP) using hand-selected Clarity Vinyl® with attention paid to every single detail. These records will feature the same flat profile that helped to make the original UHQR so desirable. From the lead-in groove to the run-out groove, there is no pitch to the profile, allowing the customer's stylus to play truly perpendicular to the grooves from edge to center. Clarity Vinyl allows for the purest possible pressing and the most visually stunning presentation. Every UHQR will be hand inspected upon pressing completion, and only the truly flawless will be allowed to go to market. Each UHQR will be packaged in a custom clamshell box and will include a booklet detailing the entire process of making a UHQR along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product.

Bob Marley & The Wailers' Rastaman Vibration Analogue Productions' UHQR, the pinnacle of high-quality vinyl! 45 RPM 2LP Ultra High Quality Record release limited to 4,500 copies Mastered from the original tapes by Ryan K. Smith at Sterling Sound Pressed on 180-gram at Quality Record Pressings using Clarity Vinyl® Includes "12 x 12" 8-page booklet featuring new liner notes by musician and Marley biographer Leroy Jodie Pierson (APO Records Direct-To-Disc AAPO 005), plus exclusive photos by Kim-Gottlieb Walker Purest possible pressing and most visually stunning presentation and packaging!

When Rastaman Vibration was first released in America in 1976 it did what some in the music industry considered nearly impossible at the time. It took Bob Marley into the Top Ten alongside disco records and corporate rock, points out Rolling Stone, which rates the album 4 stars. Despite the good cheer of the title track and the upbeat "Roots, Rock, Reggae," Rastaman Vibration contains some of Marley's most intense images of oppression, paranoia and despair. Tracks such as "Who the Cap Fit," "Crazy Baldhead" and "War" are offered by the Wailers with dire urgency as Marley's brutal visions are echoed by his own church choir, the I-Threes.

More than four decades later, neither Marley's music nor his message has lost its sting. Now, Analogue Productions presents perfection — Rastaman Vibration cut at 45 RPM in UHQR format on 180-gram 2LP Clarity Vinyl. This Ultra High Quality Record release will be limited to 4,500 copies, with gold foil individually numbered jackets. For Bob Marley, 1975 was a triumphant year. The singer's Natty Dread album featured one of his strongest batches of original material (the first compiled after the departure of Peter Tosh and Bunny Wailer) and delivered Top 40 hit "No Woman No Cry." The follow-up Live set, a document of Marley's appearance at London's Lyceum, found the singer conquering England as well. Upon completing the tour, Marley and his band returned to Jamaica, laying down the tracks for Rastaman Vibration (1976) at legendary studios run by Harry Johnson and Joe Gibbs.

At the mixing board for the sessions were Sylvan Morris and Errol Thompson, Jamaican engineers of the highest caliber. Of the material on Rastaman Vibration, "War," for one, remains one of the most stunning statements of the singer's career. Though it is essentially a straight reading of one of Haile Selassie's speeches, Marley phrases the text exquisitely to fit a musical setting, a quiet intensity lying just below the surface. Equally strong are the likes of "Rat Race,""'Crazy Baldhead," and "Want More."

These songs are tempered by buoyant, lighthearted material like "Cry to Me," "Night Shift," and "Positive Vibration." Not quite as strong as some of the love songs Marley would score hits with on subsequent albums, "Cry to Me" seems like an obvious choice for a single and remains underrated. This UHQR is remastered at 45 RPM by Sterling Sound's Ryan K. Smith from the original analog master tapes. Each UHQR will be pressed at Acoustic Sounds' industry-leading pressing plant Quality Record Pressings (QRP) using hand-selected Clarity Vinyl® with attention paid to every single detail. These records will feature the same flat profile that helped to make the original UHQR so desirable. From the lead-in groove to the run-out groove, there is no pitch to the profile, allowing the customer's stylus to play truly perpendicular to the grooves from edge to center.

Clarity Vinyl allows for the purest possible pressing and the most visually stunning presentation. Every UHQR will be hand inspected upon pressing completion, and only the truly flawless will be allowed to go to market. Each UHQR will be packaged in a custom clamshell box and will include a booklet detailing the entire process of making a UHQR along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product. In addition to the UHQR booklet the package will contain a 8-page 12" x 12" booklet containing new liner notes by musican and Marley biographer Leroy Jodie Pierson as well as exclusive photos by Kim-Gottlieb Walker. Pierson is a past performer for Blues Masters at the Crossroads, the two-night historic blues festival at Blue Heaven Studios in Salina, Kansas. He's also recorded a Direct-To-Disc blues album for APO Records. (AAPO 005) Rastaman Vibration — now a landmark production on 180-gram 45 RPM Analogue Productions UHQR Clarity Vinyl!

M.in & Steffen Kopp deliver Heartbeat Symphony on Music is the Answer’s 18th release — a four-tracker tailored for the club.



From the deep pulse of the title track to the uplifting Finding Love, the rhythmic flow of Right Love, Right Time, and the raw bounce of The Aaah Groove, this EP brings variety without losing the focus.



Strictly limited vinyl. No digital. For selectors only.

Red Laser Records switches on the smoke machine and strobe light, dishes out the high grade poppers and continues with the most unprofessional approach in the biz as they celebrate their FIFTIETH fuckin' release - a double disc photon torpedo diving into the label's roster and featuring all new tracks from RL stalwarts across the ages.

Marking this half century milestone, their in-house graphics team have been on a strict diet of kryptonite and engine oil, conjuring up one of the most lavish (and budget destroying) gatefold sleeves to date; alongside personal insights (and an in-depth cigar review) on their 13 year journey from label heads Il Bosco and Pharaoh Brunson.

Eight, sizzling, white hot MANCTALO jams that'll have knickers dropped, shirts lifted, fists pumping and your room stinking of fried circuit boards quicker than you can say #inabiteveryoneelse.

Friction’s best-selling album "Afterdark" just got even bigger.

Back by popular demand, the legendary Drum and Bass pioneer returns with a brand-new deluxe edition featuring 4 exclusive remixes from some of the scene’s most cutting-edge producers.
From high-energy reworks to deep, atmospheric flips, these fresh takes breathe new life into the tracks you love, while staying true to the pulse-pounding spirit of the original.

Whether you're a longtime fan or new to the world of Friction this is a must-have addition to your collection.

Collector ! Last copies ! Voodoo mix homage to Cerberus, his Dog. A fat 3 trackers to check !

The fourth installment of Secretsundaze’s 9FINITY imprint releases the tectonic ‘get now EP’ from Irish, via Berlin dancefloor expert eoin dj. Their eclectic sets draw from all hues of the dance music spectrum, from psychedelic techno, indulgent hard house, pumping tech cuts and beyond.
eoin’s latest record pulls all of these influences into a tight, rolling house-centric EP that brings everything from the raucous to the utterly sexy. Thundering 909 Toms and gliding synths across A1’s ‘spin flip contrast a more percussive, hedonistic voyage through A2’s ‘skin on skin’.
Banging through the B-side with ‘faux baddy’, a mean dancefloor cut that draws the crowds forward for a slice of tribal hard-house. B2’s ‘get now’ is a certified club moment, with eoin’s punky vocals and sludgy reese bass line sliding throughout the uplifting drums and synth chords. A final moment emerges with the digital bonus track ‘the rapture channel’, a progressive groove blending buoyant percussion and large synth licks – an indispensable tool for any time of the night.

Following the release of Ghibli Jazz and Ghibli Reggae comes a brand new compilation of Ghibli covers from underground hip-hop producer Grey October Sounds.
Lofi Ghibli is the definitive Ghibli cover album - a 10-track record containing covers of Carrying You (Castle in the Sky), a Town with an Ocean View (Kiki’s Delivery Service),
Yasashisa Ni Tsutsumareta Nara (Kiki’s Delivery Service), and other iconic Ghibli songs. Grey October Sounds’ deft production takes classic Ghibli melodies and melds them
with hip-hop instrumentation, adding an all new dimension of chill to Joe Hisaishi’s compositions. With homages to both Ghibli and the aesthetics of lo-fi hip-hop, the artwork
by illustrious illustrator Rika Nagatani is the cutest thing to ever grace P-VINE’s catalog! With one of our iconic obi-strips attached, this is sure to be one for the collectors!
So put this on your turntable, take a deep breath, and chill out.

Jung Jaeil's haunting and innovative score for Netflix's global sensation Squid Game finally arrives on vinyl this summer! For three seasons, Jung's (of Parasite and Mickey 17 fame) iconic music has been essential in creating the intense atmosphere and emotional impact of the series. For this vinyl release, Jung Jaeil has exclusively compiled the best moments from three seasons of Squid Game. On this double LP, you'll hear Jung's mastery of blending classical, electronic and minimalist elements to create a soundscape that reflects the psychological tension and moral complexity of the show. From eerie piano motifs to unsettling ambient textures, the soundtrack heightens the suspense and emotional gravity of the survival drama. Tracks such as “Way Back Then” and “Pink Soldiers Redux” have become iconic for their chilling simplicity and dramatic impact. Squid Game's soundtrack not only complements the show's gripping visuals, but also stands as a masterclass in modern TV scoring. Jung Jaeil's work has received widespread acclaim, cementing his reputation as one of the most visionary contemporary composers. Squid Game is a limited edition of 3000 individually numbered copies on green (LP1) & pink (LP2) coloured vinyl. The records are housed in a limited edition POP-UP sleeve and include a 4-page booklet with liner notes by Jung Jaeil.

Jung Jaeil's haunting and innovative score for Netflix's global sensation Squid Game finally arrives on vinyl this summer! For three seasons, Jung's (of Parasite and Mickey 17 fame) iconic music has been essential in creating the intense atmosphere and emotional impact of the series. For this vinyl release, Jung Jaeil has exclusively compiled the best moments from three seasons of Squid Game. On this double LP, you'll hear Jung's mastery of blending classical, electronic and minimalist elements to create a soundscape that reflects the psychological tension and moral complexity of the show. From eerie piano motifs to unsettling ambient textures, the soundtrack heightens the suspense and emotional gravity of the survival drama. Tracks such as “Way Back Then” and “Pink Soldiers Redux” have become iconic for their chilling simplicity and dramatic impact. Squid Game's soundtrack not only complements the show's gripping visuals, but also stands as a masterclass in modern TV scoring. Jung Jaeil's work has received widespread acclaim, cementing his reputation as one of the most visionary contemporary composers. Squid Game is a limited edition of 3000 individually numbered copies on green (LP1) & pink (LP2) coloured vinyl. The records are housed in a limited edition POP-UP sleeve and include a 4-page booklet with liner notes by Jung Jaeil.

Shiver Records returns with another club-ready whitelabel by Frankfurt based Porco Rosso.
4 track EP with an oldschool vibe, analog feelings and jacking moments all patched together in a serious but not serious manner. Add playful samples, softer keys and casual glitchy whistles - a gliding tool with a powerful spank for the record bag.

Vinyl only handstamped 180g whitelabel with clear outer sleeve.

Logo stamp on one side & graphic stamp on the other side.

Repress of praised oldschool WAKO 01 !!

Teknambul is back !!! Supported by the Metek crew ! 4 tracks for pityless Tribe mixes... Selecta !

LSB returns with another EP on his imprint, Footnotes. His first solo release since his mini-album project in 2022, this time Luke returns with a few regular vocalists in store. MC Sense follows up the track ‘Pandora’ with ‘World of Ours’, while Bazil of Kinross and Luke work together for the first time since the multi-million time streamed ‘Roots’, this time with Sydney Bryce providing a female compliment.

The title track ‘Home’ and first track ‘Give You Up’ have been regulars in LSB’s sets now for over a year, and are sure to delight those who love Luke’s mix of piano, strings and melancholy at 174bpm!

Anile returns with his first release since the 2019 No Code. Ceremonial represents a welcome return for the UK based producer. The 4 track EP reflects the varied style of the producer who has previously released albums on Hospital Records imprint ‘Med School’ as well as releases on The North Quarter and this represents the return to footnotes.

An understated return avoiding the over exposed nature of modern music promotion the EP has already received DJ support from DJ’s such as Marky, Workforce, Jubei, LSB and Pola & Bryson

Madlib’s WLIB AM: King of the Wigflip Returns on Double Vinyl via BBE Music BBE Music is thrilled to announce the long-awaited rerelease of WLIB AM: King of the Wigflip, the final installment in the legendary Beat Generation series from none other than Madlib. Originally released in 2008, this masterful collage of dusty loops, raw beats, and left-field soundscapes remains a high-water mark in the Stones Throw producer’s sprawling discography.

Now, for the first time in years, fans can experience the album in all its analog glory with this deluxe double vinyl edition, carefully remastered to preserve Madlib’s signature warmth and grit. A tribute to pirate radio culture and late-night airwaves, WLIB AM weaves together a rich tapestry of hip-hop, jazz, and soul, featuring an all-star cas t of collaborators, including Talib Kweli, Guilty Simpson, MED, and Oh No. Each track showcases Madlib’s uncanny ability to blur the lines between genres, effortlessly flipping obscure samples into hypnotic, off-kilter rhythms. From the hypnotic bounce of “Blow the Horns on ‘Em” to the smoked-out groove of “The Plan Pt. 1,” this is Madlib at his most playful, unpredictable, and inspired.

This special double vinyl edition, released exclusively via BBE Music, brings one of the Beat Generation series’ most celebrated albums back into circulation for crate-diggers and collectors alike. With original artwork and a high-quality pressing, this rerelease is a must-have for Madlib aficionados and vinyl lovers who appreciate raw, unfiltered beat craftsmanship. Don’t miss your chance to own a piece of hip-hop history—WLIB AM: King of the Wigflip is back and sounding better than ever.

Facing Realities releases its first vinyl EP, and it's with the label creator. Sakro delivers 4 tracks on this occasion; the first side features two tracks, one a reinvention of "Midnight Talking" that was released in the digital version, and another original track named The Basement. Side B includes two collaborations with friends of the label, namely Louie Fresco and Chklte.

A deep excavation from the archives of Italy’s electronic vanguard, Navigators finds Franco Falsini—founder of the seminal Interactive Test label—charting bold, genre-defying territory at the dawn of the internet era. Created in 1997 with an Amiga Tracker interfaced via MIDI to Roland samplers, the EP reflects a hands-on, forward-thinking production approach that sidestepped industry norms of the time.

Named after Netscape’s iconic browser, Navigators is imbued with the spirit of early digital exploration. Ethereal vocals from Ashram’s Bettina and Ilaria Ciampolini drift through intricate, off-grid arrangements, while contributions from Riccardo Falsini, Ubj, and Atma Lai add rich, unconventional textures. The result is a collection that resists simple classification, bridging ambient, trance, and proto-techno with a distinctly Italian sense of depth and atmosphere.

Tremendo Recordings proudly reintroduces this timeless work—unmistakably personal, quietly radical, and ahead of its time.

Shuffle Valley kicks off its vinyl journey with a debut EP from label head Donnie Cosmo, presenting three original cuts that move through groove, breaks, and deeper sonic moods—plus a refined remix by Christopher Ledger.

The A1 sets the tone with a warm, groove-driven track aimed squarely at the dancefloor. Elastic basslines and shimmering percussion give it a rolling energy, while subtle psychedelic flourishes invite a kind of movement that’s both physical and inward.

Let Yourself Go ventures into the breakbeat territory, playing with loose, broken rhythms before smoothly transitioning into a steady 4/4 pulse. It’s a shape-shifter—fluid, unpredictable, and full of momentum.

The third original dives deeper. Hypnotic and introspective, it leans into a more mental space—spacey yet grounded, contemplative yet still groovy.

Closing the EP, talented Christopher Ledger offers a sleek rework of A2, adding space, clarity, and emotional weight. His remix floats with precision, enhancing the atmosphere while staying true to the original’s mood—a fitting final note for Shuffle Valley’s first vinyl chapter.

The 14th release on Ohm Series features tracks by Bluetrain aka Steve O'Sullivan, Fletcher, Rai Scott and Anthony Georges Patrice!
This is one of the strongest releases so far on the series, curated again by label boss Bjarnar Jónsson aka OHM.
Don't miss!

Compiled by Philip King
“And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated
machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese
passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang
bang but with a cheap, synthesized, emasculating whimper.”
NICK KENT, NME.

All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the
underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip
King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop
Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with
new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new
music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare
tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter
chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure.
Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks
were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master
tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the
emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels
that exploded with the advent of punk music in 1976. While the music that sprouted out all over the
globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led
revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms,
ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels
jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course)
these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio
and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother
of invention.

At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an
orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The
Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning
of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his
female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records).
The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future
and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that
included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian
North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a
tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not
Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased
track You Will See, released April 12th 2025.

There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were
featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk /
underground music that also featured The Petticoats. Selwin Image were from San Francisco and
featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy
The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now.
Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division
instrumentation, previously only released on a long-forgotten and super rare, self-released EP.
Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to
make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD
gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist
Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7”
and lost until now.

The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even
fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy
London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major
label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like
this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with
doomed chord progressions and massive sounding drums turning into at least 3 different songs in the
course of the track. Before you wonder what’s going on the song resolves with a glorious return to the
main refrain.

The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s
Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The
Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was
later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco
Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl
compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have
sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes
imagined a computer programming people to dance - how prescient - and ended up with a propulsive,
robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up
by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master
demands the listener to “come to paradise!” In a frankly terrifying manner.
All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth
and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School
Daze Records describe a much more complicated world: along with the austere, Brutalist children of
Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a
plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label
punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the
two things are interchangeable. What if it’s all science fiction?

JOE T. VANNELLI, one of the world's leading exponents of house music, creates
two new remixes featuring two House DIVAS, two powerful and iconic voices:
LOLEATTA HOLLOWAY and EARTHA KITT! Loleatta Holloway's track "Sensation,"
in Club and Melodic House versions, makes the dancefloor vibrate thanks to
Vannelli's touch, offering two high-impact versions aligned with current global
trends. On the B-side, EARTHA KITT and her scratchy voice are remixed in the 2025
version of "Where is My Man" with electronic and funky sounds in the first track,
and in the iconic version that became famous in the Milanese nights of New York
Bar (1999) in the second.

odh Teri is back with a brand-new chapter.
The Return of Neela Devi kicks off a vinyl-only series where the iconic characters from Deep In India finally take center stage. With the Sampadan era behind us, a bold new sound is rising.
Leading the way is Neela Devi herself, across three genre-spanning tracks that cover everything from vintage disco to spaced-out synths and slow-burning indie dance. There’s something here for every kind of listener – the groover, the dreamer, and the deep digger.
We open with “Maalgaadi 54” – a relentless disco heater drenched in ’70s glam, trippy layers, and hands-in-the-air energy.
Next comes “Cosmic Dirt” – dusty, mysterious, and dripping with attitude. Think desert synths, dark disco grooves, and a mood straight out of an Indian spaghetti western.
Closing the record is “Beauty Blues” – a dubby slow-burner that gently builds before locking into a bouncing, blissed-out groove. A cheeky take on a classic that’ll leave you smiling from start to finish.Those who dig a little deeper into the wax will uncover a secret locked groove Visually, the record is a stunner. The artwork is helmed by Soju Aduckathil, with creative direction by Manoj Kurian, the visionary behind Masala Movement.
Marking the sixth release on the Masala Movement label, this vinyl-only beauty is just the beginning – with plenty more surprises lined up for 2025.
The new era has arrived. Ready to dive in?

Swiss percussionist Julian Sartorius and UK electronic artist Dan Nicholls team up as Clay Kin, presenting their debut record on Squama.
They had never planned to make an album yet through pure improvisation and spontaneity, Clay Kin have crafted Vevey. An album of seven tracks, distilled from over seven hours of improvised percussion and electronics. Recorded mostly outdoors––on pedalo boats, up mountains and deep in forests near the namesake Swiss town of Vevey, it is imbued with the soft fascination of birdsong, rushing water and chattering children.
Vevey resists genre. As musicians, Sartorius and Nicholls bridge the divide between acoustic and electronic soundscapes. Sartorius’ raw, organic percussion interweaves with Nicholls’ keyboard-triggered samples and harmonic landscapes, creating a dialogue where the lines between rhythm, melody and noise dissolve. Clay Kin identify their outfit as an audio-visual collective, with visual artist Lou Zon (Louise Boer) rounding out the group, creating videos to accompany both the recorded music and the live experience.

Compiled by Philip King
“And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated
machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese
passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang
bang but with a cheap, synthesized, emasculating whimper.”
NICK KENT, NME.

All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the
underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip
King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop
Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with
new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new
music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare
tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter
chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure.
Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks
were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master
tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the
emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels
that exploded with the advent of punk music in 1976. While the music that sprouted out all over the
globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led
revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms,
ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels
jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course)
these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio
and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother
of invention.

At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an
orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The
Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning
of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his
female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records).
The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future
and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that
included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian
North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a
tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not
Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased
track You Will See, released April 12th 2025.

There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were
featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk /
underground music that also featured The Petticoats. Selwin Image were from San Francisco and
featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy
The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now.
Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division
instrumentation, previously only released on a long-forgotten and super rare, self-released EP.
Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to
make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD
gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist
Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7”
and lost until now.

The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even
fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy
London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major
label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like
this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with
doomed chord progressions and massive sounding drums turning into at least 3 different songs in the
course of the track. Before you wonder what’s going on the song resolves with a glorious return to the
main refrain.

The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s
Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The
Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was
later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco
Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl
compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have
sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes
imagined a computer programming people to dance - how prescient - and ended up with a propulsive,
robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up
by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master
demands the listener to “come to paradise!” In a frankly terrifying manner.
All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth
and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School
Daze Records describe a much more complicated world: along with the austere, Brutalist children of
Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a
plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label
punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the
two things are interchangeable. What if it’s all science fiction?

GIRASOLES is the ninth studio album from multi-platinum singer-songwriter Jay Wheeler. In what many will find is some of his most personal work to date, it’s clear that music is his refuge, with the album representing the birth of a renewed version of himself. The moving 15-track album musically represents three stages: difficulties faced in life (represented by planting a seed), a period of transformation (growth), and maturity (a full bloom). GIRASOLES represents the feeling of being stuck, life’s challenges and the moments where personal growth seems impossible. However, as you mature through time, overcoming challenges and obstacles, you bloom into something beautiful. The message is clear: “Never settle and keep working on yourself, show love to others, and continue to evolve despite difficulties, just as sunflowers continue to grow toward the light,” Wheeler expressed. “People talk about outcomes, but no one talks about the process of getting there. This is ‘Girasoles,’ an album full of emotions, showing my evolution as an artist and a man. I want fans to identify with each track and make it their own,” shared Jay Wheeler about “Girasoles”, an album dedicated to the three most important women in his life: Zhamira (his wife), Aiunii (his daughter), and his mother. 2xLP, pressed on Canary Yellow Vinyl and housed in a Gatefold Jacke

With this new EP called "Last Night A Bassline Saved My Life", again released on Unsure, Stefan Schwander further refines the philosophy and sound of his latest concept While My Sequencer Gently Bleeps. Following his idea of reduction Schwander used only the Elektron Monomachine to shape four amazing tracks, beautifully balanced, searching for the perfect groove, stripped of all unnecessary.
"Compromise", the first track, may even be a reminiscence to Schwanders legendary releases as Antonelli Electr, supertransparent and supercrisp, yet still warm, deep and human, an understated wonder of a track! "Persona" and the title track got those dubby chords and effective synths, an inimitable tightness and basslines that can save your life indeed. And on "Escalator" Schwander comes up with extraordinary rolling and twisting rhythms and some sonic essentials that only the master of the sequencer can deliver. Distinguished.

As part of Ace 50 BGP has hooked up with our old friends at Concord Music to reissue one of the most important albums in our story. In 1987 as the dance jazz scene morphed into acid jazz Billy Hawks ‘Oh Baby (I Believe I’m Losing You)’ was filling the dance floors where either Gilles Peterson or Baz Fe Jazz were playing.

The Prestige Records album, “Heavy Soul!”, that featured the track, was impossible to find, and frustrated DJs were desperately trying to find a copy. BGP - the Ace label that the two DJs helmed - reissued the album and put the in-demand track onto a 12 inch single. With supply sufficient it became a club smash, crossing over to become a mod classic and one of the most important cuts from our scene.

In the ensuing years the track's status has remained undimmed and the album has never turned up in significant numbers, and yet it has never been reissued since. With an attention to detail that has always been the Ace way, we have carefully mastered the record to be as close as possible to the sound of the original Van Gelder mastering of 1967, and created and accurate representation of the album and label cover art.

Hawks never lived to be rediscovered, but through our musical detective work we tracked down his brother and found out as much of his story as feasible and we also unearthed a couple of pictures. The Virginian born organist with the amazing voice was a fixture on the North-Eastern lounge bar circuit, which was the entertainment backbone off Black American music at the time, and his full story is told on the illustrated inner sleeve that comes with this release

Plying refracted rhythms with an exacting poise, Aerae arrives on Samurai Music with a fully formed sound that plumbs the depths between techno immersion and D&B beat science.

An accomplished, palpable tension runs throughout Nefanda, Aerae's second solo release. Following up on the meditative pulse of her debut album on Annulled Music last year, the Paris-based artist digs deeper into ominous atmospheres filled with evocative reverb decays and taut, dynamic drum work - tools she wields to Redner tracks with specific meaning, coded by the Latin framing that runs through all aspects of her musical output. Contemplating the ancient language as an inescapable part of her European roots, on Nefanda Aerae ruminates on external trials and inner impulses, and conjures a jaw-clenching soundtrack to match.

'Mons' (translation: 'Mountain') speaks to challenges, strength and spiritual ascent, marked out by an urgent thrum of conga slaps and a 4/4 kick around the 170 BPM mark that finds power in minimalism even at the relatively high tempo.
The title track opts for a more broken framework, pivoting pointed percussion around a deft sub pulse while turning up the intensity with an exacting poise.

'Nefanda' translates as 'unspeakable,' or 'too horrific to name,' and the fraught, synthetic wraiths contorting through the track convey the dread the title implies.
'Fovea' (translation: 'pit') burrows deeper into spatial design with a looming low end rumble and subliminal sound sculpture, shaping out a dark, introspective chasm tipped towards disassociation. It's a powerful statement in any setting, but the all-consuming bass feels especially crafted for full, physical sound system immersion.

'Phrenesis' (translation: 'frenzy') rounds the EP out in fierce form, building up a high-pressure arrangement from ambient beginnings with ruthless control. There's a sense of duality in motion between half-time and double-time rhythmic elements, every incremental shift adding to the intensity of the track with the elegant, impactful touch that has fast become Aerae's calling card.

Finding her own language within the dialogue between techno, D&B and dark ambient, Aerae's music makes a vivid impression thanks to the ideas and intention that drive her in the studio. Nefanda confirms her status as a leading light in deep, psychedelic dance music, making something extremely personal that also reaches out beyond notions of the self like all the best transcendental music.

This was Don Thigpen's first recording as an artist, but he was no stranger to the studio. In fact he was the individual behind many heavy tunes that came out of the Jackson area. He and good friend Sam Anderson also cut a record on his CJR labelb (Capitol Jackson Records) called "Shirley Baby", also a highly coveted record if you got a copy to sell or record let us know). The name "LEO" became Dons preforming pseudonym. Leo was also his zodiac sign, which he deemed edgy enough to marquee this electro heavy track "Fee Fi Fo Fum". The inspiration for the song came from the computer craze of the 80s. Much like Zapp & Roger's track "Computer Love" an inanimate object is worshipped and then romanticized by a love affair. The song literally depicts a computer falling in love with a woman and attempts to communicate with her by seductively flashing the words "Fee Fi Fo Fum" on the screen.

The Mighty Rootsmen features the unparalleled talents of Reggae superstars
Toots Hibbert, Luciano, Gregory Isaacs, Michael Rose, and the rhythmic prowess of Sly & Robbie, Mikey Chung, Robbie Lyn, and Sticky Thompson, alongside Zap Pow Horns members David Madden, Calvin ‘Bubbles’ Cameron, and Glen DaCosta. A groundbreaking collaboration – it is a celebration of reggae’s iconic artists, seamlessly blending the genre’s rich rhythms with rock and soul classics.

Brought together by producer Ralph Spall (Paul McCartney, Billy Joel, Cat Stevens) and recorded at the famous Anchor Studios in Jamaica. The album’s unique sound comes from the decision to let the musicians’ instincts drive the creative process, striking a balance between homage and innovation. Featuring classic tracks from the likes of Tom Petty, The Steve Miller band, The Eagles and Fleetwood Mac. It is produced with a reverence for authenticity and musical mastery. This once-in-a-lifetime project brings together a dream team of Jamaican legends, paying tribute to their artistry and the art of collaboration.

This is Timeless classics with a reggae supergroup. Tracks like “Fly Like an Eagle” showcase Steve Miller’s unexpected, soulful guitar work layered over a reggae groove. Meanwhile, Mike Campbell’s guitar on “I Won’t Back Down” deepen the album’s connections to rock royalty. Yet, the project remains firmly rooted in reggae. "My intention was to try to do something that hadn’t been done in reggae before by putting these giants of the genre together to make a record that leaves you with good feelings, they’re very recognisable as the songs they are but have a distinct reggae feel and stamp.” reflects Ralph.

The Mighty Rootsmen stands as a tribute to the enduring power of reggae music—an album that brings joy, good vibes, and a profound connection to musical history.

Enjoy The Ride Records in conjunction with Paramount Pictures proudly presents the score to Top Gun (Music From The Motion Picture), Composed by Harold Faltermeyer. After decades of being locked in the vault, the iconic full score wa finally released to the public last year on a limited edition CD by La-La Land Records, and we are excited to bring it to our favorite format for the first time! This 2xLP 140g vinyl set has the full score, along with 4 bonus tracks including the original May 1985 demo of the Top Gun Theme, two unused tracks, plus an extended album mix of the iconic Top Gun Theme. Top Gun (Music From The Motion Picture) is housed in a gatefold jacket featuring the iconic film poster, as well as stills from the film.

DJ Support: Rossi., Chris Stussy, Marco Corola, Joseph Capriati, Michael Bibi

Jansons makes his debut on HMGRWN with "Yeah Yeah Yeah", a stripped-back, groove-heavy roller with a captivating vocal hook... A peak-time track that's been a huge play for ROSSI. in recent months... The track is already gaining huge support in the run up to the release, with artists such as Chris Stussy, Marco Carola, Joseph Capriati, Michael Bibi, Franky Rizardo and many more...

Hot Chocolate’s ‘Every 1's a Winner’ now on 1LP Black vinyl, is the fourth studio album by British band Hot Chocolate, released in April 1978. Selling over a million copies in the U.S. The album features nine tracks, including the hit singles "So You Win Again"—the band’s first UK number-one and "Every 1's a Winner".

Magenta & Blue Swirl Vinyl. Electric Youth ist ein in Toronto ansässiges Duo, bestehend aus Austin Garrick und Bronwyn Griffin, die erstmals mit dem Soundtrack zu dem 2011 für den Oscar nominierten Film "Drive" (mit Ryan Gosling in der Hauptrolle) bekannt wurden. Ihr mittlerweile ikonischer Erkennungsmelodie "A Real Hero" unterlegte mehrere Schlüsselszenen des Films und wurde von Kritikern hoch gelobt. Ihr Debütalbum "Innerworld", das die beliebte Single "A Real Hero" enthält, ist seit einigen Jahren auf Vinyl vergriffen. Zum 10-jährigen Jubiläum der Veröffentlichung kommt eine neue Pressung auf "Magenta & Blue Swirl Vinyl", die zudem 6 Bonus Tracks enthält - drei neue Songs und drei Remixe, u.a. von den legendären französischen Elektronik Künstlern Lifelike und Fred Falke.

Rising electronic star Yet More returns with a two-track EP via HABITAT that masterfully fuses the essence of house music's golden era with contemporary innovation. Building on his breakout hit "Erotic Trip," the Parisian producer with Levantine and Persian roots delivers a sonic journey where classic house foundations—violin stabs, staccato piano—intertwine with bass-driven textures and Loleatta Holloway's soul-stirring vocals. "Just Wanna" unfolds with deliberate tension while "Ladies Man" delivers raw emotional power, striking a perfect balance between nostalgia and forward-thinking production that speaks to both seasoned house connoisseurs and new-generation clubgoers.

Die Neuauflage der Compilation »The Collection« von Al Bano & Romina Power, die ursprünglich 1998 erschienen ist, umfasst eine Auswahl der größten Hits des Duos, darunter Klassiker wie »Felicità«, »Sharazan« und »Ci Sarà«. Diese exklusive Doppel-LP, die im Juli 2025 erscheint, enthält die komplette Trackliste der Compilation.

**silkprinted sleeve. ltd edition

Mastered by Yves De Mey

**silkprinted sleeve. ltd edition

Mastered by Yves De Mey

Editrix is a Massachusetts-rooted trio known for their wild, gnarly take on experimental rock. Blending jagged guitar riffs, unpredictable rhythms, and bursts of cartoonish eccentricity, the band creates a sound that's both chaotic and compelling. Composed of singer and guitarist Wendy Eisenberg, drummer Josh Daniel, and bassist Steve Cameron, Editrix thrives on musical risk-taking, often veering into noise-rock territory with a playful edge. On their latest release, The Big E, Editrix unleashes their fangs, resulting in a demonic wall of scuzz. But for as intense as Editrix sounds, the act is convivial and easygoing _ ingrained in deep friendships and speedy, yet jovial recording sessions. Editrix's most pummeling moments seem to be founded on a heartfelt connection, adding emotional resonance to their most feral noise. In the three years since their second LP Editrix II, Eisenberg, Daniel, and Cameron have thrived in individual states of motion _ in and away from music. New York City-based Eisenberg is an accomplished solo artist in the avant-garde realm, receiving recent acclaim for their album Viewfinder (released by American Dreams in 2024). They are also a prolific collaborator, performing in a handful of projects alongside the likes of romantic partner more eaze, Bill Orcutt, David Grubbs, and others. Cameron relocated from Massachusetts to New York City around the same time Editrix II came out, taking a slight step away from music to return to school. Daniel is the only member of Editrix left living in Massachusetts, and performs with the eclectic bands Landowner, Hot Dirt, and The Leafies. Due to Editrix being scattered, the band's new album, The Big E, found them toying with a fresh process. Editrix was quick to write off the idea of collaborating remotely, as the act relishes the warmth of happy accidents that only happen in person. The Big E sparked with Eisenberg, Daniel, and Cameron compiling a list of albums they each admire to establish a self-professed "vibe" up front. King Crimson, My Disco, and Horse Lords were a few key touchstones that shine through, their grounded grooviness balancing erraticism. Eisenberg also found themself infatuated with `70s outlaw country and Van Dyke Parks production. The Big E is titled after a comedic bit between band members, sharing its name with a prominent regional fair in Western Massachusetts, although the title-track aptly features massive E chords. When held up alongside Editrix II _ which found the act toying with Finnish death metal and harsh noise _ The Big E feels settled in its skin. Editrix recorded The Big E with legendary tech death producer Colin Marston (Krallice, Behold_, Dysrhythmia) at his soon-to-be-shuttered studio in Queens. Though these tracks sound toiled over and technical, they are very spontaneous. The majority of The Big E was captured live, with a handful of overdubs added after the fact and came to life over the course of four focused, but rewarding days. Eisenberg uses zen words like "meditative" and "evocative" to describe Editrix's methods, but the end result is crunchy, intricate, and impressively baffling. Easygoing as the band's operation may be, The Big E is a strong jump forward for Editrix inching them towards the center of the avant-rock constellation.

As a reggae producer based in Tokyo, he has hosted his own label and has provided tracks and collaborations with Reggae Deejay in Japan and overseas. This work is a 7-inch version from a self-produced cassette recorded by himself in charge of vocals.

Monster release by the Swedish Starving Insect and Japanese Miyuki Omura.

The Cinematic horror concept EP "Ningyo no Hausu" (Translated: House of Dolls) offers 4 bangers that will send shivers down your spine.
The theme track Hausu has both a Techno and a Hardcore version as well as A remix By label boss Tripped himself.

The "Disturbing, haunting & Scariest and strongest music" (as quoted in Kanji on the cover art)
dares you to indulge on this journey but remember "In this house... evil itself pulls the strings."

Release 18 on Atom Trance Force, this time from label favourite Micropulse. Here they deliver three rip roaring hard trance tracks in the form of 'Ecco', 'Evil Twin' and title track 'Heaven's Gate' that take no prisoners, with an ode to yesteryear, just how we like it!

Heaven's Gate & Ecco channel classic hard trance energy with high pace and melodic. Evil Twin slows it down to 140 for a more serene yet driving take.

Support from:

Adam (Last Of The Mohicans) Apple FM, Ben Corner Love Summer Radio, DJ Panda, DJ Strahl Discover Trance Radio, DJs Present, Devastate Gabberhead / Uprising, Dimitri Kechagias, Giuseppe Ottaviani, Hellraiser, J.O.E Tomorrows World, J.O.E Tomorrows World, Jake Nicholls [Uprising], James Brolly, Loki [Terminal Trax], Louk / Hidden Identity, Matt Handy [Contact], Mind Control [Noise Pollution], Paul Nineham [Brisk], Paul-O [Uprising], Remnis, Renegade System, Rennz [Distorted Dreams], Rocco Jonsson [Collide / The Carnival Sweden], Spaceman [Tuned Flow], Tjerk Coers, TripleXL.

Two powerhouses of atmospheric jungle join forces for the first time!! Skanna makes a very welcome return by teaming up with ASC for Switch and Beyond Time. Both tracks perfectly crafted by James and John - showing their mastery for creating sublime, emotive music.

Wojtek Mazolewski Quintet (WMQ) - one of the most charismatic groups on the European jazz scene - returns with Live Spirit I, a new album recorded at the iconic Witold Lutoslawski Polish Radio Concert Studio in Warsaw. The release features four brand-new compositions alongside electrifying new takes on WMQ classics, including a stunning 20-minute version of "Polka", the title track from their best-selling record.

Feedasoul Records is proud to welcome South African deep house craftsman KaySoul with his debut full-length LP, Black Rose. A ten-track body of work, with six cuts specially selected for a limited vinyl release, Black Rose is as personal as it is profound - a record that reflects KaySoul’s journey into fatherhood, love, responsibility, and self-transformation.

Mutant, in partnership with Hollywood Records and Marvel, is proud to present MARVEL RIVALS: GALACTIC TUNES, the soundtrack to the highly anticipated MARVEL RIVALS video game.

The soundtrack to Marvel's first Team-Based Superhero Shooter is appropriately epic in every way. It’s heavy on guitar solos, symphonic strings, choirs, and powerful percussion, with infectious melodies that make for an endlessly listenable experience, even outside of the game itself.

The album starts with Adriana Figueroa's "Rivals 'Til the End (Main Theme),” which instantly becomes one of the best anime opening themes you’ve never heard of until today. It’s an immediate earworm that leads off a compilation of fifteen incredibly kinetic tracks, including South Korean singer Le'mon's "Fate of Both Worlds," a mid-album pop funk classic in the making.

Teddy Abrams, the Grammy Award winning conductor, composer, and multi-instrumentalist deemed by the New York Times as a “Maestro of the People,” and named Musical America’s 2022 Conductor of the Year, announces Preludes, an album of solo piano works composed and performed by Abrams and produced by Gabriel Kahane and Casey Foubert, via New Amsterdam Records.

Preludes is a contemplative, personal, and playful set of simple solo piano pieces whose recorded sonic identities were developed in collaboration with Gabriel Kahane and Casey Foubert. Kahane and Foubert “identified the personality of each Prelude and found a sound world for every track to match the intrinsic characteristics of the individual works.” The 16 pieces that make up Preludes take inspiration from the canon of classical piano works such as Bach’s Inventions and Bartok’s Mikrokosmos, yet they are imbued with Abrams’ immaculate compositional language and a depth in production uncommon to “classical” works.

Coming on the tail end of Abram’s Grammy Award Winning Piano Concerto (2023), Abrams explains: “After the crazy, frenetic, joyful energy of my Piano Concerto, I wanted to create a piano work that explored a completely different energy and soundscape. While the Piano Concerto is overtly populist, referencing American genres like jazz, funk, and Gospel music, the Preludes are meant to be introspective, intimate, and simple enough for pianists of many skill levels to play in both performance and home settings.

Joe Bonamassas Album Had To Cry Today aus dem Jahr 2004 jetzt im neuen Look. Erhältlich in limitierter Auflage auf blauem Vinyl. Diese von den Fans geliebte Veröffentlichung zeigt Bonamassa an einem entscheidenden Punkt seiner Karriere, indem er brennende Blues-Rock-Riffs mit tiefem Soul und Vintage-Sounds mischt, alles verpackt in einer rohen, emotionsgeladenen Performance.
Diese Wiederveröffentlichung auf blauem 180g-Vinyl erweckt ein Album zu neuem Leben, das den modernen Blues für eine neue Generation definiert hat. Mit herausragenden Tracks wie „Never Make Your Move Too Soon“, „Reconsider Baby“ und dem explosiven Titeltrack „Had To Cry Today“ ist diese Ausgabe sowohl optisch als auch klanglich ein Genuss.

Erlebe Joe Bonamassas Erfolgsalbum 'Redemption' aus dem Jahr 2018 wie nie zuvor mit dieser brandneuen Limited Edition Orange Vinyl. Das 13. Studioalbum von Joe Bonamassa, der für seine einzigartige Gitarrenarbeit und seinen gefühlvollen Gesang bekannt ist, verbindet Blues und Rock zu einer kraftvollen musikalischen Reise.
Diese Sammleredition, die jetzt auf orangefarbenem 180g-Vinyl gepresst wurde, verleiht einem modernen Blues-Klassiker einen neuen Look. Mit herausragenden Tracks wie „King Bee Shakedown“, „Molly O'“ und dem emotionalen Titeltrack „Redemption“ ist diese Veröffentlichung ein Muss für audiophile und langjährige Fans gleichermaßen.

Reloaded, originally released in 1995, was produced by Gossard and multiple Grammy winner Nick DiDia (Bruce Springsteen, Pearl Jam, Stone Temple Pilots, Rage Against The Machine). The album’s first single, “Dizzy,” was featured both in the film The Basketball Diaries, and on its soundtrack—sitting alongside tracks from The Doors, Soundgarden, Jim Carroll, and The Cult. CMJ New Music Monthly wrote that the “alterna-rock promise of Wonderful Virus—their debut in no way hints at the leaps and bounds by which the band seems to have grown, or the unexpected paths Reloaded follows.” Finally, 30 years later, Reloaded gets reintroduced, remastered on white vinyl and is also included on the double CD Dizzy: The Medicine Label Anthology. Its missing status on wax has been rectified, and Reloaded is ready to be loaded onto your turntable.

BUY! HERE’S WHY!
• Their sophomore release returns on white vinyl.
• Produced by Nick DiDia (Bruce Springsteen, Stone Temple Pilots, Rage Against The Machine) and Stone Gossard (Pearl Jam).
• Contains “Dizzy” which was featured in 1995’s The Basketball Diaries (starring Leonardo DiCaprio).

Australia’s Winston Surfshirt shares his fourth studio album, WINSTON, gifted to the world on July 25 via Sweat It Out. The semi self-titled record is complete with 11-tracks of doting adoration and tidbits of love told through the playful, unique sonic fusions that Winston does so well. Seamlessly sliding between smooth R&B tones and hip hop inflections to juiced up disco-house, WINSTON delivers an homage to his foundational sound while refining a new chapter in territory untouched. As the name suggests - this record is Winston to its core, more than ever before.

Each track a misty echo, carved in rhythm and space. Octal Industries drifts back to Kontakt with a solo offering - three deep, dub-soaked journeys where texture and tone intertwine in quiet elegance. For those who listen between the lines.

One of the biggest underground rap songs of the 2010s, “Look at Wrist” (ft. iLoveMakonnen & KEY!) is the viral internet sensation that made Awful Records and Father some of the most exciting names in hip-hop. The song took the media by storm, earning praise from publications like The Fader, Pitchfork, and Billboard, and capturing the attention of stars like Tyler, the Creator and Drake.

Ten years later, Father is celebrating the single that launched his career with a special edition picture disc featuring “Nokia” (ft. iLoveMakonnen & Richposlim) on the B-side—a track that has never been released on vinyl before. The record includes Father’s signature artwork on the front and an homage to the Nokia cellphone on the back. This picture disc is a must-have collector’s item for rap fans. Limited to 500 units.

Auf der Bühne ist das Trio ständig in Bewegung und explodiert oft vor purer Energieɍ Im Studio haben Meissner und seine Mitmusiker versuchtɎ MelodieɎ Textur und Stimmung zu entschärfenɍ Jede Note ist eine ErkundungɎ jedes Stück eine Einladung zu einem fein abgeɞ stimmtenɎ spielerischen und doch tiefgründigen Wechselspielɍ Die Ț hochkonzentrierten Tracks sind immer emotional involviert und nicht distanziertɎ und jeder auf eine subtil andere Weiseɍ

Reality Shock is proud to announce the release of "Mission", a brand new 7" single by Afrikan Simba, with accompanying dub mix by Kris Kemist.

Mission is the title track of the recently released third studio album from the internationally acclaimed roots reggae chanter Afrikan Simba. Originally hailing from Nigeria & residing in East London, Afrikan Simba is well established in the roots reggae world, known for his conscious, spiritual, and uplifting lyrics. With a career spanning several decades, Afrikan Simba has worked with legendary sound systems like Jah Shaka, Aba Shanti, and Channel One as well as artists like Luciano, Nereus Joseph, Little John, Earl Sixteen & many more, performing at countless shows & festivals across the globe.

Mission 7" is produced by Mercury nominated producer Patrick Williamson in collaboration with Kris Kemist of Reality Shock Records, who has been working closely with Simba for over 20 years. The song features Backing vocals by Indra & brass by Tribuman. On the flip side of the 7" is a heavyweight dub version mixed by Kris Kemist at Reality Shock Studio.

Enjoy The Ride Records in conjunction with Paramount Pictures proudly presents the score to Days Of Thunder (Music From The Motion Picture) by Hans Zimmer (35th Anniversary Edition). After decades of being locked in the vault, the iconic full score was finally released to the public for the 30th Anniversary on limited edition CD by La-La Land Records, and we are excited to bring it to our favorite format yet again to celebrate the 35th Anniversary! This 2xLP 140g vinyl set has the full score, along with six bonus tracks with five alternate takes, plus the rarely heard Rock Arrangement of the Days of Thunder main title. Days Of Thunder (Music From The Motion Picture) is housed in a high gloss gatefold jacket featuring the iconic film poster, along with stills from the film.the film.

Die erste Vinyl-Wiederveröffentlichung von „Now That I’ve Found You: A Collection” enthält die Highlights
aus Krauss’ Solowerk, Union Station-Tracks und Coverversionen. Das ursprünglich 1995 veröffentlichte
und mit Doppel-Platin ausgezeichnete Album enthält die mit Gold ausgezeichnete Single „When You Say
Nothing At All“ sowie das mit dem GRAMMY® ausgezeichnete „Baby, Now That I’ve Found You“ und
andere zeitlose Klassiker.

Between The Seed And The Timber is a cycle of six songs exploring ritual and mystical aspects of the modern era. At times both noir and psychedelic, they evoke a strong sense of nostalgia for a disappearing age. In contrast to industrial music’s dystopian semiotics, Jas Shaw challenges us to hear sounds inspired by machinery, electricity and mechanisation in a new light.

“I made the synth parts for a Swans gig,” says Shaw. “As SMD we’d supported Swans. James was away doing some production but I didn’t want to pass it up, so I offered to open solo. It turned out the gig was sooner than expected so I made all these synth things to do live.”

Shaw put the tracks to one side and forgot about them, only returning to them years later. “You know when you’ve changed as a person and you listen back to something from a different angle? I suddenly could hear what I had been after. It reminded me of experiences I’d had at Swans gigs. I wanted to achieve that energy and charge.”

Dubbing techniques are crucial to the sound of the record. “I set up a few synths on a table and had my mixer running loads of auxes back into the desk so it was all on the edge of feeding back. Then I realised that if I put a mic into the desk I’d have an extra feedback route. I found a setting where I could get it to build when I pointed the mic at the monitors but then turning it away you could put the brakes on the regen.”

Between The Seed And The Timber is Jas Shaw’s inaugural release for the London based, Kindred-affiliated TEETH label. TEETH is rooted in a reverence for texture, space, and sonic decay - amplifying experimental sounds that blend dreamlike melodies with weathered landscapes. Each release informs the next, with every track as vital as the last to complete the whole set.

Orchestrated by Jojo Mathiszig-Lee, founder of London’s Kindred, the label celebrates like-minded talent from the community, providing a platform for transgressing music.

Artworks are made by Scarlet Griffiths.

In the world of Pharaoh Overlord, little is ever as it seems. This band is less comprised of tricksters or mischief makers than fearless obsessives whose musical instincts take twisted and wild pathways. Now, fresh from forays into Italo-disco and synth-pop, they have thrown another still more mighty statement of intent into the universe. Louhi is a thunderous and majestic epic of joyful repetition and earth shaking power. A two-track minimalist-rock monolith forged from guitars, synths and hurdy-gurdy, inspired by the band’s eternal touchstone influence Outside The Dream Syndicate by Tony Conrad and Faust, and constructed around a single riff and melodic idea, it builds and evolves to fearsome pinnacles of elemental intensity.Luminaries and constant compatriots in the Pharaoh Overlord
headspace were recruited for this voyage into the ether. Vocalist and longtime collaborator Aaron Turner (SUMAC, Isis, Old Man Gloom)and Tyneside maverick Richard Dawson were equally keen to get on board, the former taking a spontaneous and improvisatory approach to his vocal parts, and the latter largely playing a part consisting of one guitar chord. Yet whatever routes Pharaoh Overlord take to their destination, a common theme is the consciousness-warping singularity of the riff and the mantra, and the temporal disorientation this can provoke mirrors the broader designs of this record, which takes traditional folk elements and transports them in the band’s singular time machine. “It’s our 25th Anniversary this year, and from time to time we hear wishes that if just we could play more of the stuff that we did twenty or more years ago” relate Jussi and Tomi. “We totally understand this. You could say we used Louhi to reset ourselves to the past, to be able to continue again to the future.” Aaron puts it another way, evoking simplicity in the chaos – “The world of Pharaoh Overlord is a magical one - every album is an invitation to enter that place and rejoice in doing so…”

Hedvig Mollestad Thomassen ist die Gitarrenheldin unserer Zeit. Ihr geschmolzener Gitarrensound stammt aus den gleichen Hochöfen wie der von HENDRIX, TONY IOMMI und JIMMY PAGE und wird zum Abkühlen in ein dampfendes Fass aus Free Jazz im Sinne von SONNY SHARROCK und FRED FRITH geworfen. Aus Tracks wie ,The Rex" und ,Lake Acid" spricht die riesengroße Riff-Wissenschaft von LED ZEPPELINs ,Kashmir" und ,Rock'N'Roll", doch angereichert mit einer Flexibilität und Intensität, die so typisch für die düsteren nördlichen Regionen ist, aus der sie und ihre Bandkollegen stammen. ,All Of Them Witches" folgt auf den 2011 Rune Grammofon Release ,Shoot!" und präsentiert das HEDVIG MOLLESTAD TRIO als Mitstreiter der neuen Welle von norwegischem Avant Rock bzw. Free Metal. Dieser letzte Batzen elektrifizierender Instrumentalstücke wurde live in der Inselumgebung des Ocean Sound Studios aufgenommen, einer hölzernen Scheune mit Grasdach am Rand des norwegischen Meers. Dort konnte das HEDVIG MOLLESTAD TRIO vor dem Frühstück im eiskalten Wasser schwimmen und mitten in der Aufnahme den Blick schweifen lassen. Es ist keine Überraschung, das solch weiten Ausblicke zu epischen Konzepten führen, so dass der erste Track ,Sing, Goddess" seinen Namen aus der ersten Zeile von Homers ,Ilias" erhält. Inspiriert vom weiten Himmel sind ,Shawshank" und ,Ghrá Rúnda" mehr nach innen gerichtet und baden im kontrollierten Feedback. Line-Up: Hedvig Mollestad Thomassen -Gitarre, Ellen Brekken - Bass, Ivar Loe Bjornstad - Schlagzeug

Following their rattling 45 Cry / I’ll Be There Now and the wiry full-length My Mother Was a Friend of an Enemy of the People, Blurt returns to All City with Mecanno Giraffe - a new 12" capturing Ted Milton’s band of beat-punk absurdists in full, surreal stride.

The A-side delivers the title track: Mecanno Giraffe, a spiky, off-kilter groove threaded with Milton’s unmistakable bark, rhythmic sax blurts, and angular momentum that feels both mechanical and oddly animal. It’s Blurt as alwaya: driving, dry-witted, and defiantly out of sync with any prevailing trends.

On the flip, Milton shifts gear with a number of spoken word pieces. Stripped bare, intimate, incantatory. More Artaud than Allen, these pieces reveal another facet of Blurt’s singular frontman, echoing threads found in recent interviews tracing his ongoing collision of poetry, punk, and performance.

Third strike on the label and still no sign of softening. Mecanno Giraffe proves that Blurt still remains gloriously out of step, part animal, part machine!.

Detroit’s DJ Slush presents his debut solo EP “Model Collapse” with five versatile tracks inspired by classic stripped down Midwest house & techno. The EP marks the launch of Polytechnic Recordings - a new sublabel of Mark Grusane’s Disctechno Music - run by Eric Schwab (DJ Slush) & Grusane. Following his productions on the Midwest Rhythms series, “Model Collapse” delivers more jacking drum machine programming, spacey & melodic synth lines, and a few psychedelic elements, with nods to the early years of deep house & proto-techno, packaged in a full color jacket sleeve.

Demon Records Single Club are delighted to introduce a reissue of
Urban Cookie Collective’s 1994 mega hit The Key, The Secret and
Feels Like Heaven.
Urban Cookie Collective was founded by Rohan Heath in the late 80s.
The Key, The Secret was the groups first single from their debut album High On A Happy Vibe. The track was an instant hit landing at the top of the charts cross Europe and today the track is widely regarded as one of the biggest dance music anthems of the 90s.
Flip it over and on the B-side is Feels Like Heaven, the follow up to The Key, The Secret. Another mega chart smash in the UK and across
Europe. Now newly remastered and with fresh artwork – an adaptation of the original High On A Happy Vibe sleeve

Japanese acid pop outfit Cho Co Pa Co Cho Co Quin Quin channel the globe-trotting spirit of Haruomi Hosono’s 1970s tropical boogie on their debut album, Tradition.

Named after one of the basic rhythms of Cuban folk music and drawing on influences from across the globe, Cho Co Pa Co Cho Co Quin Quin are quite simply a world unto itself.

Comprised of three childhood friends, Daido, Yuta and So, who reconnected during the coronavirus pandemic, Cho Co Pa initially emerged as a playful way for the three 23-year-olds to pass the time. Tapping into their youthful connection, they created a sound that exudes confidence and curiosity, a homage to the masterful world of YMO’s and Happy End’s Haruomi Hosono, rooted in the trio’s own idiosyncratic experience of the present.

Recorded at home and promoted on hugely popular DIY TikTok videos, their debut album Tradition is a technicolour exercise in armchair travelling – a kind of lockdown exotica for the housebound whose nostalgic flights of fancy are laced with a sense of whimsical melancholy for the lost freedoms of youth.

Referencing everything from Afro-Cuban percussion to lo-fi beats, Buddhist spirituality to trap, each member of the band brings different musical inspirations to the table. Latin American and Middle Eastern styles sit adjacent to a fascination for the electronic music of Aphex Twin, Dorian Concept, Underworld and Daft Punk. At times, the music verges on acid pop bliss, at others, it grooves with the instrumental funk sensibility of BADBADNOTGOOD.

“In the first place, when I create a song, my goal is to transport the listener to a mysterious place,” vocalist Daido explained in a recent magazine interview. Using lyrics as another sonic texture in the composition of ideas, Cho Co Pa paint beguiling sonic postcards of far-flung moods across 12 highly original tracks.

Marrying the organic and the electronic on rhythmically sophisticated compositions like ‘Chichibu’ and ‘Watatsumi’, it is on the album’s standout track ‘Gandhara’ that the experimental sound of Cho Co Pa comes to the fore. Referencing the ancient city of Gandhara through which Buddhism made its way from India to China, the track is a vocoder-trap-inspired, Udu drum-driven pop jam that lilts with unmistakable Balearic flair. If that’s difficult to imagine, then know simply that ‘Gandhara’ sounds like nothing else on this side of Saturn. Even Daido seemed surprised by the outcome: “I feel like we were able to create something that exceeded our abilities. That was huge!”

Hugely popular in Japan, with festival appearances lined up alongside BADBADNOTGOOD at Asagiri Jam in October, it's safe to say the success of Tradition has taken Cho Co Pa by surprise. You won’t have heard anything like it."

Cosey Fanni Tutti has announced details of a new album, 2t2, set for release on the artist’s own imprint, Conspiracy International, on 13 June 2025 on vinyl & CD. Composed, performed and produced by Cosey Fanni Tutti, the 9-track album moves between propulsive beat constructions and expansive electronic explorations, continuing themes from 2019’s acclaimed album TUTTI. It is a personal reflection; a sonic realisation of her life, drawing on her powerful inner resolve and expressing it through music. The album finds Cosey making sense of some very tough years, dealing with personal bereavements alongside swingeing world events that have impacted us all. Centring on her own strength and self will, the album’s two distinct sides – one rhythmic, one more meditative – are connected by an overwhelmingly positive mood. She explains, “My overtone chanting on the track ‘Stound’ was part of that, tapping into the inner self, to the core of your being, emotionally, physically, allowing the sounds to permeate and soothe as well as create a sense of power, resistance and resilience to what we face.” Even in the more melancholic moments, there’s a lightness that she explains is an “acknowledgement that it’s alright to be sad, that’s part of life, but there is so much joy too in our memories of people we lose and in the moments we share with each other. Joy is our resistance.” There are also threads from her most recent projects running through 2t2. Her latest book RE-SISTERS and the score she wrote for Caroline Catz’s film Delia Derbyshire: The Myths and Legendary Tapes are acknowledged, most directly on ‘Threnody’ which is dedicated to Delia Derbyshire and Andy Christian, an artist friend of Delia’s. He sent Cosey an abstract drawing of the same name, created one night from an improvised evening where he drew while Derbyshire intoned and sang softly as she looked at the drawings, as if reading a score expressing how they made her feel. Cosey’s process and the different strands that make up her work form a totality of vision. She goes on to say, “Once you get creating and listening, weaving, collaging sound it’s a wonderfully fulfilling feeling that takes you both out of yourself at the same time as essentially deep within.”

The artwork reflects this idea that the album is a “sound cameo”, reflecting the light within the music, and the buzz of life that exists within all of Cosey’s work. Musician, artist and author Cosey Fanni Tutti has continually challenged boundaries and conventions through her work. As a founding member of the hugely influential avant-garde band Throbbing Gristle, one half of electronic pioneers Chris and Cosey, and as an artist channelling her experience in pornographic modelling and striptease, her work on the margins has reshaped the mainstream. Her first solo album, Time To Tell (1983) was followed by 2019’s Tutti and 2022’s Delia Derbyshire: The Myths and the Legendary Tapes. Her debut book, the Penderyn Music Book Prize shortlisted Art Sex Music, was published in 2017, followed by RE-SISTERS in 2022 (both Faber), which will soon get a Spanish edition.

Balmat 17 marks both a return and a new frontier. It is the second album on the label from Patricia Wolf, whose 2022 album See-Through is one of the most beloved in Balmat’s catalog; it also marks the first time that Wolf has turned her hand to a film soundtrack. The results are every bit as magical as fans of the Portland, Oregon, composer’s music might expect.

Hrafnamynd—Icelandic for “raven film”—is a new feature-length documentary by experimental filmmaker Edward Pack Davee. Shot on a mix of film and digital formats, and incorporating his father’s Ektachrome slides from the 1970s, the autobiographical film works on multiple levels at once: a reminiscence of his childhood in Iceland, an exploration of landscape and folklore, and a documentary study of the island nation’s ravens—including a talking raven named Krummi.

Wolf is the perfect artist to score such an unusual film. Mixing ambient music and field recording—including extensive experience documenting bird song—Wolf brings an unusually empathic perspective to her music. In the context of Hrafnamynd, her airy melodies, pensive atmospheres, and vivid textures intuitively complement the film’s grainy film stock and blown-out colors. Friends for years, the two artists further bonded when Wolf asked Pack to film music videos for her songs “Woodland Encounter” (from See-Through) and “The Culmination Of” (from I'll Look For You In Others). Pack used Wolf’s previously recorded music as placeholders as he began assembling a rough cut of the film, which made her a natural choice to help him complete his idiosyncratic vision with an all-new, bespoke score.

But Wolf’s soundtrack also indisputably stands alone as a full-length album. Largely created using the UDO Super 6 synthesizer, it features a carefully distilled palette of warm, string-like pads and darkly glistening mallets, rounded out with the very occasional introduction of nylon string guitar. Musically and stylistically, the album’s 11 tracks represent both a continuation of the ruminative sound of See-Through and also an extension into new expressive modes. Few musicians, ambient or otherwise, are as skilled at balancing melody with atmosphere, or at finding ways to eke fresh at finding ways to eke fresh, surprising sounds out of an intentionally reduced toolkit. Meditative, immersive, and emotionally generous Wolf’s Hrafnamynd soundtrack evokes a range of ambient classics from decades past while confidently marking out its own verdant patch of ground.


Artist’s Statement:
Edward and I have been friends for years, but we really started to get to know one another better after I hired him to make music videos for my songs “Woodland Encounter” and “The Culmination Of.” For those projects we got to spend a lot of time hiking in various locations around the Pacific Northwest with his camera, very nice lenses, and tripod. Keeping quiet, hidden, and vigilant we searched for wildlife, good light on the trees, meadows, lakes, rivers, and skies. Edward was already an appreciator of my music and I was already in awe of his filmmaking talents so it felt like a great fit. Although we work in different areas of art our styles compliment one another. We both tend toward slow and careful pacing, with a focus on emotion and introspective reflections on life and the landscapes around us. For this reason, Iknew that I could trust Edward to create videos for my music. We saw so many beautiful and unexpected things on our filming days, but I was moved to tears once I saw how magnificent and poetic it all was. His video work from the cinematography, to the editing, and color correction helped bring my inner vision to life.

A few months after that, Edward surprised me with an invitation to work on the soundtrack for his new film, Hrafnamynd. I enthusiastically said yes. I had always wanted to work on a film, and I knew that his filmmaking style would be inspiring to write music for. I had recently acquired an UDO Super 6 synthesizer but hadn't used it much. I decided that this would be the synth that I'd use for the film. It has the ability to sound very modern, but can also sound so warm and fuzzy, like a synth from the 1970s. It turned out to be the perfect instrument for this project as the film itself straddles time from the ’70s to today.

When Edward sent me the rough cut of the film, he used placeholder music to help give me an idea of the emotion and energy that he was hoping to achieve for each scene. For many of the scenes, Edward used music from my albums as temporary tracks. This told me that he trusted my work and style and therefore I should just trust my intuition with how to proceed. I wanted to make sure that everything that I made was a direct reflection of what was happening on screen, a mirror of its emotion and energy so people could really lock into the film psychologically. This process took my composing to unexpected places—like being led by a strange cat or a raven that seemed to have something to show me. I found that the approach made the music so much more dynamic than my usual style. I really enjoyed being influenced by the action and dialog on the screen. Thankfully, Edward was very happy with the work. I made sure to handle this project with the utmost care because this is about his life and his family, and an exploration of the experiences that made him an artist and filmmaker. While watching the film many times over, I found myself thinking about my own family and my early memories with them and how the place where I grew up has influenced who I have become. I found that his film invites the viewer to reflect on their own lives in a similar way. I hope that this music and film can guide others to contemplate on the history of their beingness and the people and places that shaped them.

Another aspect to this project is the splendor and wonder of Iceland itself. I had the opportunity to visit Iceland for the first time in 2023. I got to play a show there for the Extreme Chill Festival and met many friendly and brilliant Icelanders. I also got to collect field recordings that I used in the film. It's a fascinating place and culture that easily captures the hearts and imaginations of anyone who visits. Whether you spend your time in the city immersed in its impressive arts scene, or venture out into the wilderness to behold its wondrous landscape, it will leave a lasting impression. The soundtrack is also a love letter to Iceland itself.

Experience the magic of a timeless classic reborn: this exclusive 7" vinyl features a brand-new remake of the iconic "I Believe in Miracles", produced by French groove maestro MonsieurWilly and performed by the radiant soul vocalist Natalie Nova. With a perfect balance of vintage disco vibes and fresh production finesse, this release breathes new life into the legendary track, making it both nostalgic and clubready. Adding to its irresistible charm, the remake is infused with a Latin summerinspired rhythm—a driving, syncopated beat that designs the heartbeat of Latin music. Ment to be upbeat and danceable, the track incorporates percussive grooves, rhythmic guitars, and tasteful electronic elements to create a vibrant, sun-soaked atmosphere that feels right at home from beach bars to dancefloors. The collaboration between MonsieurWilly and Natalie Nova delivers a unique blend of soulful warmth, infectious energy, and rhythmic flair. Natalie Nova’s powerful vocals shine with emotion and style, while MonsieurWilly’s production wraps it all in a groove-heavy, analog-inspired soundscape. This 7" is pressed on high-quality vinyl and is ideal for collectors, DJs, and lovers of soul, disco, and feel-good summer anthems. Don't miss this limited edition release - proof that miracles still happen on wax.

Demon Records Singles Club are proud to present a reissue of the
legendary band Freestylers.
Freestylers formed in 1996 when DJs and producers Matt Cantor and
Aston Harvey joined forces. Two years later Freestylers would release
their debut album We Rock Hard on the legendary imprint
Freskanova.
We Rock Hard would become their most commercially successful
release to date and this reissue cherry picks four of the biggest tracks
from the album. B-Boy Stance, Ruffneck, Here We Go and Warning all
showcase the classic big beat and breakbeat electronica that would
remain the band's trademark sound throughout their career.
Newly remastered and now available in a 12” discobag sleeve
featuring the original artwork

A long-lost Japanese acid folk gem, Niningashi’s 1974 private press debut Heavy Way shimmers with originality, deft song writing and a dream-like groove.

Although he was training as a pharmacist, Kazuhisa Okubo was much more interested in prescribing musical medicine.
A coming-of-age album, Heavy Way captured a turning point in Okubo’s life, and Japanese society more widely as a nostalgia for the pastoral calm of the traditional life, met the cosmopolitan thrill of coffee, sex and cigarettes in the big city.
Intoxicated by Tokyo, driven by a passion for music and surrounded by a thriving acid folk scene, the young student filtered his experiences through a psychedelic cocktail of soulful influences from the US and Japan.
Niningashi was his first band, and Heavy Way was their only album. It was honest and raw, deep and strangely funky, in an off-beat kind of way. Across nine tracks, Okubo and the 6-piece band put their own spin on the new folk sound of Japan, combining witty lyrics with electric guitar-driven solos and crisp, understated grooves.

Melancholy and profound, opening track ‘Ameagari’ feels like a synthesis of Harvest-era Neil Young and Haruomi Hosono’s Happy End. Then there’s the whimsical washboard country sound of ‘Semai Boku No Heyade’; the moody, low-lit charm of ‘Restaurant’; and ‘Hitoribotchi’, a sensitive portrayal of childhood, steeped in memories of rainfall that will resonate with fans of Woo and Mac Demarco.
While Okubo would go on to taste success with psychedelic folk bands Neko and Kaze, the latter of which scored three #1 albums, little is known about his mysterious debut with Niningashi.
Self-released by Okubo in 1974, and featuring album artwork by his brother, it has slowly generated a cult following online, intrigued by its soft and enchanting sound. So few records were ultimately pressed that those remaining have fetched up to £1,500 online.

Featured on Time Capsule’s era-spanning collection Nippon Acid Folk, Niningashi’s Heavy Way is a deep-cut grail of a vibrant time in Japan’s musical history, where even the pharmacists were making jams.

2025 Repress

Kid Katana Records teamed up once again with DON’T NOD to release Lost Records: Bloom & Rage OST on vinyl.



This album accompanies the adventure of four teenage girls between 1995 and 2022, in the seemingly sleepy little town of Velvet Cove, Michigan.


With their growing friendship embodied by their punk band, music plays a key role in both the story and gameplay. In terms of music, this 18-track OST features different genres: dream pop, ambient, and punk, featuring an incredible lineup of artists and several songs with vocals: Ruth Radelet – former Chromatics front singer, Milk & Bone – acclaimed Canadian electropop duo, Nora Kelly Band – fresh Canadian alt-country / punk band.



This roster defines a dreamy and ethereal soundscape resonating with the 90s nostalgia and the Super 8 aesthetics of the game.

The physical edition is a 2LP designed in close relationship with the game studio:


- 2 colored vinyls: transparent pink & blue, matching the cover art.
- gatefold art: featuring exclusive in-game graphics
- teenage punk poster: nod to the game’s rebellious spirit & characters
- liner notes: giving insights from the game’s creative team and featured artists

Nubiyan Twist present NT Soundsystem - Dubplate Inferno, a new 9 track album reimagining tracks from their critically acclaimed album ‘Find Your Flame’, transforming them into bass-heavy, dub-infused dancefloor killers. Produced by band leader Tom Excell alongside singer Aziza Jaye, the remixes channel the raw energy of the band’s live performances, blending their signature fusion of jazz, afrobeat, soul, and reggae with the gritty, immersive sound of traditional UK soundsystem culture.

The album features some extra guests on vocals, legendary MC Horseman appears on a drum & bass version of ‘Battle Isn’t Over’ whilst newcomer SkillFul Kxng from Kingston, Jamaica, breathes some Dancehall fire on ‘Woman’, adding to contributions from the original record including Seun Kuti, Mamani Keita & NEONE the Wonderer.

This project is a celebration of collective musical innovation, paying homage to the UK’s rich soundsystem heritage while pushing boundaries with their genre-defying style.

Nubiyan Twist have built up a name as one of the forerunners of the UK Jazz scene, fusing together global grooves, soul and jazz; intertwined with electronic elements, horn-led melodies and spontaneous improvisation.

The influence of soundsystem culture has been ever present in their music, from dub sessions the band used to attend in Leeds to jungle raves of East Anglia in the 2000’s. Band Leader Tom Excell has a history of DJing and producing dance music, including with reggae side-project Chief Rockas, working with reggae giants such as Super Cat, Luciano & Turbulence.

Nubiyan Twist’s lead singer Aziza Jaye was born of Jamaican heritage and has grown up around soundsystem culture, boasting an incredibly versatile vocal style and large catalog of work alongside a plethora of producers, including recent work with Mungo’s Hi-Fi.

Danish Subnesia present their debut Vinyl release, combining tracks from their first Album 'The Beginning' (2023) & 'Range of Colors' (2025) assembling a sincere set of homespun pop beats teeming with Balearic soul, funk and jazz flavors. As Subnesia, producer Anders Ponsaing and saxophonist Michael Rune play it by ear. Following intuition rather than fixed genres or styles, the Danish duo have struck upon a creative vein of pop music that is both daring, poignant and wholly unpretentious. Strong grooves, often reminiscent of the hip-hop and r’n’b-tinged chart pop of the 2000’s, adorned with colorful instrumental leads and characteristic guest vocals.