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For here lies one of the most influential bands in the realm of gothic metal, a group with doom and death metal roots that has flourished for over three decades, boasting thirteen albums that have garnered devoted acclaim. This injustice is now being set right by The Circle Music , beginning with the vinyl release of the classic album "Burning: A Wish", which emerged twenty-four years ago. "Burning: A Wish", released in the twilight of the year 2001, stands as a dark reliquary of dreams lost to the velvet fog of melancholy. To revisit it now, two dozen years later, is to unseal a time capsule of gothic ache, doom- laced longing, and the tormented tenderness that only Lacrimas Profundere could conjure at their creative height. It was a candle-lit corridor between worlds. A slow fall into velvet shadows. A scream muffled by rain.

By the time "Burning: A Wish" was released, Lacrimas Profundere had already begun to evolve from their early death- doom origins, shaping their identity with the sophistication of seasoned mourners. The death growls had receded, replaced by the haunted, baritone croon of Christopher Schmid, whose voice is an echo from a chapel ruined by time. Yet, while the growls faded, the emotional gravitas remained intact, transmuted into melody, into baroque gloom, into something more sorrowfully refined. Produced with lush, theatrical clarity, the album never drowns in its own atmosphere, it breathes with it, moves with it. The soundscape is dominated by somber guitar textures, languid tempos, and subtle orchestral touches. From the very first notes, it is clear that this is music for ruined lovers and moon-drenched graveyards.

This is the hallmark of Lacrimas Profundere 's style: an emotional minimalism that does not explain or elaborate, but merely opens wounds and lets them breathe. That this album has remained, until now, absent from the warm embrace of vinyl is both tragic and oddly poetic. For what format better suits a record such as this than the one that cracks and hisses like an old seance? Vinyl is tactile, intimate. It requires attention, reverence. To place Burning: A Wish on a turntable is to light a candle in the dark.

Rather than yielding to despair in these troubled times and offering listeners a rope to hang themselves, Zimmermann (trombonist for Claude Nougaro, Manu Dibango, and Tony Allen) playfully grants them another option - a humorous sarcasm! He mocks the vain shelters of the powerful with the tune "My Little Sweet NZ Bunker", denounces the manufacture of one- track minds with "Les maximiseurs de PI", and escapism with the classic satirical Mose Allison's song "Stop This World (let me off" (translated and sung in French) In more tender moments, he reflects on the intimate consequences of this global unraveling.

Daniel Zimmerman's style, both as a composer and soloist, is that of a melodist above all else; disregarding concepts, he sings and seeks to go straight to the heart. He was voted 'Trombonist of the Year' by Jazz Magazine (Frances most influential jazz publication) in 2021, 2022, 2023 and 2024.

The beauty, confusion, complexity, and intensity of their youth - lived under the shadow and around the scars of conflict - are entangled in the industrial dance-punk hybrid encoded in the record's DNA, aptly entitled Crystalpunk. "This record is us waving a flag for that generation -- the ones who inherited confusion, resilience, and a fractured sense of self." They're waving that flag as intensely as possible too. For the uninitiated, Chalk mainlines the reaction between genres, eras, and cultures, commuting this collision into their sound. The Belfast group could comfortably power an underground warehouse party after-dark, incite a mid-day festival mosh-pit, or shake an arena on any given evening.

Their power has seamlessly translated to the stage with the group packing venues and delivering alternately sweaty and electrifying performances to a growing rabid fan base. As a group, they've sold out shows across the UK, EU and USA, notched festival performances such as Glastonbury, SXSW, BBK, Trans Musicals and more across 11 countries and were handpicked to tour alongside IDLES and Fontaines D.C.. Coming from dissimilar backgrounds and rallying together naturally, Ben and Ross first crossed paths in film school. As the story goes, Ben had noticed a framed poster of Dublin disruptors Gilla Band in one of Ross's Instagram photos and felt a kinship before ever actually speaking to him.

"Nobody else at our school was into experimental noise guitar bands, so that was all I needed to see," laughs Ben. Emerging in 2022, Chalk initially made waves with songs like "Them," "Velodrome," and "Static." Ultimately, they come-of-age and tell a story that resonates beyond borders. Not just a portrait of the band, but one of their home, a complicated place where the sacrifices made and risks taken by activists, artists, ravers and punks created the only environment that a band like Chalk could emerge from. Crystalpunk is not about choosing a side, it's about choosing the future.

Released in 1970 the band's only album, the extraordinary Afreaka!, demonstrates their excellence in playing psychedelic soul, dub- heavy funk, progressive rock, afrojazz and black acid rock. Demon Fuzz these days are amongst the most bootlegged and sampled bands from the early 70s British underground. It was a Billboard "4- STAR" selection in June 1971.

The band's name means "devil's children or bad policemen". They originally played soul, but the music they heard during a trip to Morocco lead to a change in their style to what has been described as a blend of funk, rock, jazz, and African music. Afreaka! is now available as a limited edition of 2000 individually numbered copies on purple translucent coloured vinyl. The sleeve has a nice linen laminate finish

Oinimod Records proudly presents its first-ever vinyl release, Gravity EP, a statement of intent rooted in deep grooves, timeless house aesthetics, and club-driven energy.

Written and produced by Duccio Lopresto, Gravity EP delivers two original cuts that explore different shades of House music, complemented by a powerful remix from Gearmaster, one of Estonia's most respected House talents.

“Gravity” opens the EP with a deep and groovy House journey inspired by the classic Detroit House legacy. A strong rhythmic foundation drives hypnotic acid lines and rich, expressive synths, creating a track that is both raw and elegant, built for the dancefloor yet deeply musical.

“Mirage” reveals a more dreamy and introspective atmosphere. This Deep House track flows with a timeless rhythm, warm grooves, and relaxing yet melodic elements, offering a soulful and immersive listening experience that transcends trends.

Closing the EP, Gearmaster delivers a pure Club House banger remix of Gravity, reinterpreting the original material with precision and power. Tight rhythms, infectious groove, and a modern club sensibility turn the remix into a peak-time weapon, showcasing Gearmaster’s unmistakable touch and deep understanding of the dancefloor.

Gravity EP marks the beginning of Oinimod Records’ vinyl journey — a release that bridges classic influences and contemporary House music, crafted for DJs, collectors, and true House music lovers.

2026 Repress

Turbotito and Ragz's electrifying Naya Beat label has curated a cultured list of remixers to add their spin to the work of legendary Indian vocalist Asha Puthli. This essential remix album features Yuksek, Maurice Fulton, Psychemagik, Kraak & Smaak, Jitwam, and Turbotito & Ragz.

Naya Beat, which translates from Hindi as 'new beat', is focused on uncovering foundational electronic sounds from the subcontinent and South Asian diaspora through reissues, remixes and compilations. It found quick success with its first release, 'Naya Beat Volume 1: South Asian Dance and Electronic Music 1983 - 1992', followed by a rare 1985 Hindi New Wave album by Pinky Ann Rihal and more recently a ground-breaking compilation ‘Awaaz’ uncovering Bollywood electro and leftfield 80s original soundtrack recordings.

Hot off their highly sought after EP of Dimitri From Paris’ seminal remixes of Asha Puthli’s iconic track ‘Space Talk’, the label now offers up the first of two full-length releases based around her music. Cosmic disco pioneer, Studio 54 icon and jazz improviser Asha Puthli has recorded, sung or shared the stage with the likes of Roy Ayers, Alice Coltrane, Grace Jones, Barry White, Andy Warhol and many more. From David Mancuso's The Loft, to Giorgio Moroder's early work with Donna Summer, to hip-hop where she has been sampled extensively, Asha's musical influence and impact is profound. She was the first artist of South Asian descent to successfully crossover and make a mark on dance, jazz and pop culture in the West.

For this LP, Naya Beat tracked down the long mythologised original stems and recordings of Puthli's most seminal albums, including ‘The Devil is Loose’, and working closely with Asha, they have tasked a series of producers inspired by her work to remix her music.
Yuksek opens up with a pumping disco remix of 'I Am Song (Sing Me)' awash with uplifting synths and big claps next to the original vocals, which soar to the heavens. The seminal 'Space Talk' is remixed by Maurice Fulton into super steamy and late-night territory. The live drums and jumbled percussion are lit up with soulful chords as Puthli's carefully delivered vocals seduce up top. 'Lies' (Kraak & Smaak Remix) rides on fat-bottomed drums and bass that unfold with a dub swagger beneath a nebulous eco-system of cosmic synths and dramatic vocals. Label heads Turbotito & Ragz flip 'One Night Affair' into a leggy disco celebration with sweeping synths and bright effects, and Psychemagik's 'Right Down Here' is a pulsating mix of dark, snaking bass and drums with deep space ambience and raw hits making for a turbulent and tense atmosphere. Lastly, Jitwam closes out with a smooth disco sound laced with dynamic drums and cruising chords next to another sensuous top line from Asha Puthli.

Co-founder of Pond and touring member of Tame Impala, Jay Watson, also makes music as GUM. “GUM is my brain, unfiltered,” Watson says. A labour of love and an exercise in joy, written and recorded with Ambrose Kenny-Smith, best known as the mesmeric harmonica-player, keyboardist and vocalist with King Gizzard & The Lizard Wizard and The Murlocs. The debut collaborative album between the two is a 10 track exploration into groove, blues and soul, deeply hypnotic from start to finish.

A mix of metallic doomgaze, epic gothic soundscapes and post punk attitude. Loud and crushing, yet sharp enough to stick in your head for days. There are two kinds of heavy bands: the ones that make a lot of noise and the ones that drag you somewhere you didn't know you needed to go. Cwfen (pronounced 'Coven') are the latter, and Sorrows is a record that doesn't just crush - it haunts long after the final note. The allure of Cwfen's sound lies in contrasts: the glacial ferocity of Amenra, with the velvet-and-razor vocals of King Woman, and the rotting grandeur of Type O Negative. It's as hypnotic as it is harrowing, but somehow even better than the sum of those parts. Since emerging from Glasgow's underground just 18 months ago, Cwfen's reputation is growing, selling out shows and pulling growing audiences into their doom-laden fever dream. Released in October, the band's debut single 'Reliks' was a hit with fans and critics, landing a spot on Kerrang!'s release of the week playlist. And rightly so. Their sound devours and delights in equal measure. "Cwfen have emerged from the darkest depths of the Caledonian underground with a beguiling blend of doom metal and gothic post-punk for those who like to live deliciously." Kerrang! Sorrows lives in the space around doom where the weight of the riffs is matched by the weight in your chest, where the lyrics and the songwriting are as important as the music itself. Loud and crushing, yet sharp enough to stick in your head for days. It builds, burns, collapses, resurrects. Big on riffs, bigger on feeling. The kind of songs you carry with you. Singer and rhythm guitarist Agnes Alder bears her claws one minute, then whispers the next, as the band follows like a storm front, rising, breaking, drowning you in the weight of it. From the guttural Penance to the lush Whispers, to the feral Wolfsbane and the insurrectionist Rite. It includes a long reworking of Embers and Bodies, the two self-recorded demos that launched them into the scene with a bang and their growing legion of fans already adore. Intricate vocal arrangements, heavy and harsh guitars, a mix of atmosphere and heft, it undoubtedly punches above its weight for a debut. As Agnes says: "When we stopped trying to fit into any one space, what came out was this beautiful mix of dark and light. Something visceral and cathartic." This is a band that sits right in the boundaries between the heavy genres, pulling in everyone from the young goths and to the die-hard metalheads alike and 'Sorrows' truly does deliver in spades. Make no mistake, Cwfen are set to be one of the names to watch in 2025. FFO: Chelsea Wolfe, Zetra, King Woman, Type O Negative, Alcest, Faetooth, Liturgy. Limited vinyl pressing, 500 copies in transparent red vinyl. Full colour Gatefold outer sleeve, with a full colour printed inner sleeve, Full download included as well.

Now, with a new chapter in his musical journey, Pete Blaker presents his first-ever LP of Original Music, an eight track 2x12" masterpiece on the esteemed label Love Universal.

This isn't a collection of edits, but a deep, personal exploration of the Balearic/Deep House sound, a testament to his decades-long immersion in its eclectic and free-spirited essence.

The album invites listeners on a sublime journey, where laid-back grooves and atmospheric synthesisers create a rich mix of sound. It’s an album that perfectly captures the "anything goes" spirit of the Balearic beat, where elements of funk, jazz, ambient, and world music swirl together to create a sound that is both transportive and timeless. A1. RICHIE

A.Wild plots the course.

Goes Without Saying.

4 intricate signals for late-night movement. Remix from Eversines.

Club Blanco steps into a more finely wired zone with CBR004, a tightly detailed transmission from young Bristol producer A.Wild – a record that reveals itself slowly, layer by layer, like a signal sharpening in real time.

Still anchored with a raw, restless pull, A.Wild works with a more intricate palette here: interlocking rhythms, delicate textural shifts, and micro-melodic flickers that shimmer beneath weighty, rolling low end. These are tracks that breathe, evolve, and reward close listening just as much as late-night movement.

If previous releases moved through the static in broad strokes, CBR004 traces its own circuitry — precise, hypnotic, and quietly complex – mapping new routes through the Club Blanco continuum.

Italy-born, Dublin-based Lerosa is back on Assemble after eight years. With releases on labels like D1, Millions of Moments, Ostgut Ton, Acid Test, Uzuri, Hotmix and Ferox, he now returns to Assemble Music with his second solo EP. Four tracks crossing deep techno, acid, electro and breaks. Analog stuff!

Brochure is back for the first 12” in our Soft Rock for Hard Times series, transforming Holly Near’s iconic soft rock stepper “Back Off” into a synthesizer driven disco dancer. Rebecca Felix joins the band to sing lead vocals and nails the stern yet blasé delivery that makes the original so captivating.

After wrapping their cover, Brochure returned to the studio to produce the Paradise Mix which has its sights on Italian shores, winding seaside roads and open air night clubs.

On side B, Jex Opolis’ Good Timin’ Dub delivers a hypnotic house groove that is guaranteed to put evil thoughts in your mind and happy steps in your feet.

Dreems rounds out the record with an echo and delay fueled odyssey for his Risky Connection Dub which takes the song on a deep, dubby trip.

Psychotronics is arguably one of the finest creations from a quite unique Dutch formation called Normally Invisible. In the primordial, early nineties phase of what we now call electronic music, a fellowship of students at the prestigious The Hague Institute for Sonology was formed. Not to become superstars, as there was no real commercial scene to speak of, but driven by sheer artistic curiosity and intrinsic passion for this new way of musical expression.

Nico, Olaf, and Thiemo demonstrate their interest in a broad range of tempos, feelings, and styles across their discography, with Psychotronics as one of the more dance floor oriented releases. Anacalypto Records brings you this former promo EP in a transformed and remastered official re-release. To complete the label's 5th release, the B-side of Psychotronics is topped off with the formerly unreleased "Cookie" from the same year, 1995.

Emerging artist Beifer presents his highly anticipated debut album "constant.transition": an eclectic fusion of electronic music with strong influences from dubstep, garage and drum&bass, enriched with captivating jazz elements. This cross-genre work takes listeners on a journey through dark atmospheres and avant-garde soundscapes, brought to life by the artist's complex percussion layers and interesting chord structures.
With great experimentation and a desire to break new ground in electronic music, Beifer has created an album that captures the listener's attention with its unique textures and unconventional soundscapes. Each track is an exploration of musical possibilities, with Beifer masterfully blending a wide variety of genres while creating a cohesive and infectious atmosphere.

The album also features notable collaborations with renowned musicians. Wanja Slavin, Moritz Stahl (Ark Noir/Lyder) and vocalist Enji have collaborated with Beifer to add an additional dynamic and layered dimension to the album. Their unique talents and empathy blend seamlessly with Beifer's vision, opening up new worlds of sound for the listener. Beifer has managed to push the boundaries of electronic music and make an impressive artistic statement with his debut album.

"constant.transition" is the first release on the newly founded tunnel.visions label. Starting as a event-series, the three members of the electronic alternative experimental jazz band Ark Noir have made it their mission to present progressive, contemporary music that includes acoustic and electronic instruments, takes up compositional and improvisational concepts and thus breaks down the boundaries between academic and autodidactic practice.
Over the past year, Ark Noir has featured Beifer several times at concerts and brought the music of "constant.transition" to the stage with live instrumentation. The program was enthusiastically received by the audience.

Narthex means railed-off western portico or ante-nave in earty Christian churches for women, penitents and catechumens.

Narthex is also a trio featuring (at the beginning) Daniel Denis (Universe Zero, Art Zoyd), Alain Neffe (Pseudocode, Human Flesh, Bene Gesserit) and Nicolas de Villemarqué (Nuwage Music). They had a very different musical background, mostly electric-electronic rock, and decided to work in the field of acoustic music recorded live (two microphones + portable DAT) in churches of their area. After several recording sessions, Nicolas de Villemarqué decides to leave the group. ln order to complete the trio, Daniel Denis and Alain Neffe ask the participation of some of their friends. Anna Homler, Michel Berckmans and Daniel Malempré have accepted the challenge and succeed to fit into their musical universe.

The instruments Church organ, harmonium, sitar, saxophone, oboe, bassoon, zither, valiha, senzas, tarang, voice, percussions, metal clarinet, classical guitar, mew's harp, ongolok, violin, dulcimer, mouth organ, etc.

The music Often dark, sometimes repetitive or experimental, sometimes rhythmical and exotic, always based on emotion inducted by the sound. One could define it as dark age music (as opposite to new age music), a sort of minimal come back to the roots and purity of acoustic sound without the cultural background linked to the 'academic' use of some instruments (for example African senzas are transformed and tuned to sound like Indonesian instruments, sitar or harmonium are used as rhythmical instruments, vahilla is played with a bow).

The places Churches located in an area of 20 kms in the region where Daniel Denis and Alain Neffe live for years and where they feel at home (and feel the vibrations. Every church, place emotionally loaded, has its own specific resonance and sound structure. Every church gave to the musicians a particular inspiration and fill the sound of the instruments with a natural reverberation/echo. The place but also the moment is important. They had the privilege to be allowed to record in the Ecaussines church at night lightened only by candles. lt was one of their most productive recording sessions.

Step into the wild heart of New York"s underground avant-garde jazz scene with Voyage from Jericho. Recorded in 1974, release in 1975, this landmark session finds the Charles Tyler Ensemble pushing boundaries with fearless improvisation, deep spiritual yearning, and a raw emotional fire. Joined by top-tier collaborators - including Arthur Blythe, Earl Cross, Ronnie Boykins, and Steve Reid - Tyler shapes a sound that fuses avant-garde intensity with soulful depth, creating a powerful celebration of freedom and expression. This is music that demands attention and rewards deep listening. Whether you"re a devoted explorer of the avant-garde or a curious listener seeking something beyond the mainstream, Voyage from Jericho offers a journey both challenging and transcendent. In short: if you"re ready to move past comfort zones and into the outer reaches of jazz, Voyage from Jericho is a voyage worth taking.

Daniel Lopatins (Oneohtrix Point Never) Soundtrack für Marty Supreme, gepresst auf schwarzem und transparentem Vinyl. Kommt mit japanischem Obi-Band und doppelseitigem "Koto Endo / Marty Supreme Offizieller Ball"-Poster. Der Film Marty Supreme ist eine Abenteuerkomödie von Josh Safdie aus dem Jahr 2025 und ist lose vom Leben Marty Reismans inspiriert, die in den 1950er-Jahren spielende Geschichte ist jedoch fiktiv. Die Hauptrolle des titelgebenden Tischtennisspielers übernahm Timothée Chalamet. Gwyneth Paltrow, Odessa A'zion, Kevin O'Leary, Tyler Okonma, Abel Ferrara und Fran Drescher ergänzten das Schauspielensemble. Marty Supreme ist der erste Film von Josh Safdie nach Beendigung der kreativen Zusammenarbeit mit seinem Bruder Benny. Das Werk wurde Anfang Oktober 2025 im Rahmen des New York Film Festivals uraufgeführt. Der US-Kinostart war an Weihnachten 2025. Ende Februar 2026 soll der Film in die deutschen Kinos kommen. Die Filmmusik von Daniel Lopatin wurde im Jahr 2025 für einen Hollywood Music In Media Award (HMMA) nominiert. Im Rahmen der Critics' Choice Movie Awards 2026 wurde Marty Supreme in die Shortlists für die Kategorien Casting & Ensemble", Szenenbild", Kamera", Kostüme", Filmschnitt" und Filmmusik" aufgenommen. Im Dezember 2025 gelangte der Film auf die Oscar-Shortlists für das beste Casting, die beste Kamera, das beste Makeup & Hairstyling und die beste Filmmusik. (Quelle: Wikipedia)

Soft Echoes presents the first physical edition of ‘In a Few Places Along the River’ by Abul Mogard as a limited run of 500 vinyl copies. Originally released digitally in 2022, the album now appears in its intended form, marking the label’s second release.

Three long pieces, composed between 2019 and 2022, emerged from Mogard’s meticulous experimentation with analogue and digital instruments. Slowly evolving harmonic fields of layered drones and spectral textures drift across the record. They are enhanced by reverb from Scotland’s Inchindown oil tanks, which hold the longest reverberation of any man-made structure, giving the music a haunting resonance and a sense of suspended space.

‘Against a White Cloud’ and ‘In True Contemplation’ open the album with their nocturnal tones that gradually intensify into dense, immersive waves of sound. Side B is devoted to the 21-minute elegiacal piece ‘Along the River’, which flows between weight and silence, unfolding with reflective depth and moments of subtle transcendence. As one listener observed, “His music doesn't break the wilful suspension of disbelief: you stay in its trance.”

“Recording for this album began in 2019, when I was still living in London,” Mogard explains. “The first version of ‘Along the River’ was created at my studio near Brick Lane. It started with experimenting around a chord progression inspired by a classical piece I had once been recommended, though, strangely enough, I no longer recall what it was. Early in 2022, I revealed the identity behind Abul Mogard and wanted to mark this new period, so I decided to release it quickly, by myself, as digital-only.”

After returning to Rome, Mogard created the other two pieces, working with new digital instruments alongside his modular synthesiser, and integrated recordings from the London sessions. The music reveals a patient attention to texture and space, defining his usual restraint. Mogard adds, “I was trying to explore very subtle changes in the spectral characteristics of the music using extremely slow, intertwined tones.”

Described by critics as one of Mogard’s most melancholic and absorbing releases, the album maintains an austere beauty and contemplative weight, leaving a lingering impression that lasts far beyond the final note.

The music has extended beyond the album itself, with tracks appearing in films and contemporary artworks. Most notably, Swedish artist Peder Bjurman’s ‘Slow Walker’ audiovisual installation and French filmmaker Fleuryfontaine’s politically charged animated film ‘Soixante-sept millisecondes’.

Mastered by Rafael Anton Irisarri and cut to vinyl by Lupo, the record emphasises the clarity and depth of Mogard’s frequencies, with each layer precisely balanced. The cover artwork and design are by Marja de Sanctis, who has collaborated with Abul since his first cassette release in 2012.

Yamila presents her second album on Umor Rex, Noor. Following Visions, Yamila returns with a work that merges nature-experience listening with expansive musicality. Noor was born from her time in an ecologist community, where she sought refuge in stillness, learned from animals, and tried to forget the human. In this communion with nature, she discovered a new compositional approach: reducing acoustic noise to allow unheard voices to emerge, transforming music into a possibility for interspecies dialogue.

Since ancient times, sound has been used to care for herds, to call across distances, to communicate with the non-human. Noor reimagines that ancestral role in a contemporary language, where epic harmonies collide with delicate micro-tonalities, and where rhythm unfolds not only as pulse but as movement for the body, a natural extension of Yamila’s work with dance companies and choreographers.

Her voice is interwoven with electronics and the resonant strings of Echo Collective, creating sonic landscapes that radiate intensity and fragility. At times monumental, at others almost whispered, Noor oscillates between composition and spontaneity, structure and suspension.

The album unfurls as a dialogue between the organic and the artificial, where sound grows like a sprout breaking through hard soil. Yamila’s music here is not only to be heard, but to be inhabited: a choreography of air, vibration, and resonance. Noor is both shelter and revelation, a reminder that music can still be epic, luminous, and deeply human, while listening beyond the human.

All music and voices by Yamila Ríos. Recorded at Destelheide by Christophe Albertijn. Strings by Trio Echo Collective (Violin: Margaret Hermant, Viola: Neil Leiter), (Cello: Stijn Kuppens), (Arrangements: Pierre Slinckx). Mastered by Rafael Anton Irisarri at Black Knoll Studio, NY. Photos by Assiah Alcázar. Design & layout by Daniel Castrejón.

Twenty years ago, ILL BILL released “What’s Wrong With Bill?”, a raw, unfiltered snapshot of where his mind was at during a dark, creative and transformative time. Chaos and clarity in musical form, a record built from trauma, truth and the New York streets that raised him. He never imagined it would become what it did: a cult classic with a revered mystique that continues to be quoted and debated 20 years later. This album captured ILL BILL at his most urgent, most aggressive and most alert to the madness around him.

For the first time in two decades, “What’s Wrong With Bill?” is being reissued on 2LP vinyl, a complete capsule including an alternate variant cover, 20th anniversary commemorative OBI strip, and, for the first time ever, a cassette edition, alongside a remastered limited edition CD. This is more than nostalgia, it’s encapsulated arcana, proudly representative of an era when Hip Hop was dangerous, fearless and alive. This one is for the true believers who never forgot.