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The second volume of Bollywood Nuggets is a 14-track collection of instrumental gems spanning three decades, blending legendary composers with hidden talents for a rich musical journey. Volume 2 of this series focused on the amazing sonic treasures Bollywood music has to offer. This second volume is centered on the incredible instrumental gems that populate Hindi cinema soundtracks. 14 tracks of pure Bollywood instrumental genius to continue the dive into the mind-blowing world of Hindi cinema music. Covering a time span of 3 decades, this compilation mixes well-known names (like S.D. and R.d. Burman or O.P. Nayyar), with lesser-known talents from the endlessly thrilling vaults of Hindi movie soundtracks and throws a couple of delicious covers for a truly unforgettable sonic experience. Includes liner notes.

Another side of Steve Rachmad. Preceeds and album of archive tracks that shows the far reaching talents of this master producer.. TIP!


Some things are just too good to be hidden from view. That's certainly the case with 'Things To Think About', the first album from Dutch electronic music legend Steve Rachmad's lesser-known Sterac Electronics project.

Rachmad first rose to prominence in the late 1990s, spearheading a surge in Dutch techno that was heavily inspired by the futurist intent and machine soul of Detroit. Since then, he has continued to successfully explore a wide range of dancefloor-centric electronic styles under a dizzying array of aliases.

It's a while, though, since the public has been treated to a heavy dose of Sterac Electronics
material. He first established the alias at the turn of the millennium, primarily as an outlet for hardware-driven electro music shot through with funk and soul.

A handful of highly regarded 12' singles were released on Music Man and Interpersonal XP, before Rachmad began focusing on other projects. When inspiration struck, he returned to the project, jamming out tracks using a mighty collection of vintage synthesizers and drum machines.

Recently, Rachmad and Tom Trago decided to revisit the Sterac Electronics archive, discovering a killer collection of cuts created at different points over the course of the last 15 years.

Now 9 of those spellbinding hardware jams have been gathered together for the first time on 'Things To Think About', a warm, rich and evocative collection of electro-fuelled workouts that giddily pay tribute to the music of Rachmad's youth.

'Things To Think About' will be released as a limited-edition double album, preceded by this 12' single featuring another previously unheard gem from the vaults.

It was December 2015 when Simon Weiss delivered his first EP for Voyage Direct, an impressively intergalactic affair full of supersonic synthesizer arpeggio lines, Motor City influences and robotic drum machine hits. Two years on, the experienced Dutch producer returns to action for the first time since, in the process delivering another quartet of starry-eyed productions.
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Through releases on Deepermotions, Rush Hour and Hometaping is Killing Music, Weiss has established a reputation for combining a deep understanding of dancefloor dynamics with a sci-fi inspired futurist aesthetic. Both of these complimentary traits are much in evidence on his second outing for Voyage Direct.

Weiss blasts off via Brain Fever', where raw, mind-altering arpeggio bass, fuzzy drum machine hits, spacey chords and alien electronics thrust our hero skywards. Think of it as techno for funk-fuelled, Italo-disco loving astronauts whose journey to the end of the universe is only just underway. This intergalactic funk blueprint is explored further on the deeper and more melodious You Want A Cigarette', where Weiss's vocoder vocals wrap themselves around mutant TB-303 lines, rush-inducing chords and clattering machine percussion.

On Space Ghetto (Booty)', our hero celebrates the discovery of previously unknown worlds in the only way he knows how. With kaleidoscopic, full-throttle electronic motifs and funk-fuelled synth-bass to the fore, Weiss offers his own unique take on electrofunk. Pleasingly fuzzy and tightly wrapped in the syncopated drum machine handclaps of ghetto-house, it's a typically far-sighted and attractive proposition.

With just two minutes to go until his spacecraft touches down on alien territory, Weiss rounds things off via the melancholic chord progressions and heartfelt vocoder vocals of Intro', a beat-free excursion just tailor made for dramatic set openings and spine-tingling mix endings. He may be stepping into unknown territory, but it won't be the last you'll hear from Simon Weiss.

2025 Repress

Berlin’s own Steffen Linck, a multi-instrumentalist known as Monolink, announces the 12” remixes release, due June 7th via Embassy One. ARTBAT + BEN BÖHMER + PATRICE BÄUMEL + MONOLINK – no more words needed.

Die Cut Sleeve with download. It’s a strange betweenworld, bookended by sleep and the jolt of being wide awake in a place where you wonder how you got there. You know the feeling… It seems familiar but the colours are, well, unreal. In a high-ceilinged room, a grand piano plays lush melodies as, meanwhile, somewhere, an Alice In Wonderland clock ticks, cellos are bowed, a swarm of something vibrates and the hallucinatory crowd around Rosemary’s Baby babble. An echoey electronic hum builds and falls like a 50s refrigerator passed through and effects board, things run backwards, staccato strings are plucked… and that’s not the half of it. “I’ve never been happy staying in one particular school of musical thought. The fun has been turning things on their heads, to try something you were not supposed to do.” We’re on an immersive and adventurous travelogue with the former member of the legendary Tangerine Dream, Paul Haslinger - this is a man who knows how to build tension, hold moods, illustrate contempt, lies, passion and pleasure; He can create fear, loathing and love - he’s been unlocking the nuances of such emotions in a hugely successful career as a TV and film soundtrack composer (Halt And Catch Fire, Underworld and the Golden Globe-nominated Sleeper Cell). ‘Exit Ghost’ is his long thought out opus, a moment caught in time, flicking through reference points, taking an ethereal excursion that permeates musical genres as it becomes awash with intricate sounds and cross-pollinating rhythms. Built originally from the warmth of his grand piano ‘Exit Ghost’ resonates with purity and power, from an eerie and evocative betweenworld, that’s at once expansive and rolling, then intoxicating and suffocating in equal measures; modern composition at its most uplifting; cerebral, celebratory, intense and beautiful. “The soul searching in connection with this record was extensive. Finding places of resonance, giving a colour to your memories. It was more challenging because it’s not somebody else’s narrative. Finding the core of your own story can be the most difficult task of all.” Created over the span of eight years and filled with literal and personal references, the album itself is a testament to the search - a quest filled with hints, particles and suggestions.

SPFDJ steps up for her long-awaited debut EP, Heel Thyself, out Friday 7th November on Intrepid Skin.

A core figure in grassroots techno circuits, and an internationally lauded DJ, SPFDJ's ascent reflects a passion for music governed by love and grit in equal measure. At once providing a gleefully chaotic two-fingers to dance music's self-serious establishment, whilst also flexing an ever-expanding knowledge of its roots and potentials, her musical armoury is renowned the world over for inspiring debauchery and sweat-soaked hedonism.

As an artist whose journey has been defined by challenging the norms of electronic music, SPFDJ's rebel spirit is recognised locally and globally, but guiding this attitude is a vulnerability to the realities of the music industry, and the rise of conservatism that permeates every aspect of life. And whilst sensitive to the use of buzzwords like community, it's ultimately a respect for the people who keep these scenes alive that motivates her artistry.

In releasing this EP, she taps into a more vulnerable side. The title - a nod to internal healing processes, and a play on words to motivate queers and women to 'boot up for battle' against increasingly oppressive structures - shines a light on some of the values she holds up to electronic music culture. At once playfully chaotic and deeply energising, Heel Thyself spins us through a cyclone of kicks, punches, and noise.

Opener 'Cluster B Intro' is a tempo-twisting barrage of gabber led by a robotic vocal command, setting the scene for pretty much anything to happen. 'That Stiletto Track' kicks in like a tweaked out distortion of 90s trance before spiralling upwards into a storm of heavy breaks. 'F*ckboi' is hot n heavy electro - classic in its structure, but with the added industrial touch of hammerdrill synths and razor sharp percussion. Swinging into a bouncier state, 'The Hot in Psychotic' flings ricocheting rhythms through frantic claps, with a donk to keep things moving. Rounding things off, 'Mindless Counting' flies higher with pummeling drums lifted by a touch of euphoria.

A debut laced with both defiance and self-reckoning, Heel Thyself finds the rebel looking inwards - vulnerable, but sharpened and ready.

Selfish Machines, the second album by Pierce the Veil, explores themes of love, longing, and self-awareness through a blend of post-hardcore energy and melodic intricacy. The album features standout tracks like "Caraphernelia," which includes guest vocals by Jeremy McKinnon of A Day to Remember, and "Bulletproof Love," a fan favorite known for its dynamic instrumentation and heartfelt lyrics.Produced by Mike Green (Paramore, All Time Low), this record showcases the band’s technical skill and ability to balance intensity with softer, emotive moments. With its layered arrangements and polished sound, Selfish Machines offers a thoughtful take on the complexities of human emotion.

Introducing: Temporary Blessings, the new project by stalwart Naarm / Melbourne trumpet player and composer Liam McGorry.

Assembled to realise McGorry's compositions drawing on 1960s Italian & French soundtrack music, Temporary Blessings brings together trusted instrumentalists and fellow travelers from Melbourne's rich enclave of cinematic soul. With Liam at the helm, the group is composed of members of Surprise Chef, Karate Boogaloo, Saskwatch and Let Your Hair Down.

The resulting recordings realise McGorry's sonic visions of film noir, giallo, library music and cinematic soul, captured live in one room with what the maestro describes as "a shared spirit". The recordings, produced by paragon Henry Jenkins, bring together emotive string arrangements, tough horns and a steadfast rhythm section with an acute attention to detail McGorry has developed over years in the saddle.

Liam says: "I find great comfort in collaborating with good friends and playing together in the same room and taking these blessings as they come."

A veteran of Melbourne soul, McGorry's steady hands have touched some of the city's most revered projects over the last 15 years; McGorry-led projects Saskwatch, Dorsal Fins and Ex-Olympian sit aside Sampa The Great, Ella Thompson and Adrian Eagle on Liam's heavy list of credits and collaborators. He has contributed more than his fair share of bricks to the great structure of Melbourne soul, always playing the background, true to his humble nature.

LP available in black or orange and brown splatter vinyl.

Introducing: Temporary Blessings, the new project by stalwart Naarm / Melbourne trumpet player and composer Liam McGorry.

Assembled to realise McGorry's compositions drawing on 1960s Italian & French soundtrack music, Temporary Blessings brings together trusted instrumentalists and fellow travelers from Melbourne's rich enclave of cinematic soul. With Liam at the helm, the group is composed of members of Surprise Chef, Karate Boogaloo, Saskwatch and Let Your Hair Down.

The resulting recordings realise McGorry's sonic visions of film noir, giallo, library music and cinematic soul, captured live in one room with what the maestro describes as "a shared spirit". The recordings, produced by paragon Henry Jenkins, bring together emotive string arrangements, tough horns and a steadfast rhythm section with an acute attention to detail McGorry has developed over years in the saddle.

Liam says: "I find great comfort in collaborating with good friends and playing together in the same room and taking these blessings as they come."

A veteran of Melbourne soul, McGorry's steady hands have touched some of the city's most revered projects over the last 15 years; McGorry-led projects Saskwatch, Dorsal Fins and Ex-Olympian sit aside Sampa The Great, Ella Thompson and Adrian Eagle on Liam's heavy list of credits and collaborators. He has contributed more than his fair share of bricks to the great structure of Melbourne soul, always playing the background, true to his humble nature.

LP available in black or orange and brown splatter vinyl.

Introversion delivers a powerful five-tracker on FJAAK's CROWD with 'Ghost Rockets', pushing his signature blend of gritty textures, stripped-down rhythms and emotional weight even further. Known for fusing 90s-rooted techno with contemporary clarity, Introversion opens the EP with 'Lights', a track that rides a relentless hardgroove rhythm before lifting off into an epic, melodic climax made for big rooms and peak-time moments. The title track 'Ghost Rockets' follows with the unmistakable CROWD signature: rolling, minimalistic grooves anchored by Detroit-inspired synth stabs and tense, driving percussion. On the B-side, 'Visitors' starts deep and atmospheric, slowly morphing into a propulsive, forward-pushing roller that balances subtlety and pressure. On 'Hessdalen' things take a darker turn: A menacing groove emerges, led by evil synth stabs that march with precision through a hypnotic, unrelenting beat. The EP closes with 'Wow-Signal', a digital-only track that begins with a long robotic intro, building tension before unfolding into a groovy, nerdy banger loaded with synthetic detail and energy. Introversion's 'Ghost Rockets' EP is a high-impact release that balances floor power with intricate design, being a perfect fit for both deep club nights and peak festival moments. The Berliner will present the release as part of the CROWD Showcase along with label-heads FJAAK on November 29th at Gew?lbe in Cologne - make sure to be there in the first row!

Transparent Purple vinyl. Sometime in 2005, a lone box of master tapes escaped an estate sale and made its way through a network of collectors, record dealers, and "junkers" into the hands of leading Ohio soul expert Dante Carfagna, who linked them to Columbus, Ohio's mysterious Prix label (See: Eccentric Soul: The Prix Label). A bit of research turned up Prix proprietor George Beter, who identified most of the unlabeled material. All it took was an endless series of phone calls and letters and two fields trips in Columbus. But one complete mystery wended its way onto our final Prix compilation. "You and Me," a simple but irrepressible demo credited only to Penny & the Quarters, was found tacked onto a mixed studio reel. Our survey of every willing lifer left on the Columbus soul scene, including retired DJs, producers, and important local artists, produced not so much as a glimmer of recognition at the name Penny & the Quarters. Though we loved the song from the first play, it may've ended up a bit buried on our original compilation, as #18 of 19 tracks.Four years later, Eccentric Soul: The Prix Label hadn't exactly become a huge seller, although listeners had repeatedly told us that the unfiltered studio demos that fill out the record's back half were true diamonds in the rough. But neither Penny nor her Quarters had appeared to claim credit for their efforts. Then, completely out of left field, we heard from respected screen actor and avowed Numero fan Ryan Gosling that Penny's piercing bit of stripped down doo-wop was being considered for inclusion in Derek Cianfrance's indie-weeper film Blue Valentine. What we didn't know was that "You and Me" had won a major role in what became an indie circuit hit, and that Penny & the Quarters would instantly assume the role of world's most famous unknown doo-wop group.Every week is a slow news week in Columbus, Ohio, and early January 2011 found the city recovering from the thrill of elevating Ted Williams_the formerly homeless guy with the awesome voice for radio_into a national news sensation. But both major daily newspapers in town, as well as the city's alternative weekly, also ran stories about how a lost and unknown Columbus soul group had become the musical centerpiece of a film already garnering Oscar buzz. That mainstream spotlight aimed at Blue Valentine and Penny & the Quarters did the trick: we finally made contact with the widow of Jay Robinson, lead Quarters' singer and songwriter. Robinson, it turned out, had also been the leader of Columbus doo-wop pioneers The Supremes (later known as "The Columbus Supremes," for reasons which should be obvious). Jay Robinson never did give up on the dream of writing a hit record; even so, the posthumous realization of his dream is cold comfort for his widow and daughter. With their blessings, we returned to those estate sale masters and pulled down another neglected track ("You Are Giving Me Some Other Love") from the still-unknown Penny and her now-partly-known Quarters. "You and Me" is a song that could not be suppressed: not when Prix failed to release it; not when Penny & the Quarters were forgotten; not when Numero stuck it at the bitter end of a much overlooked compilation. Its evolution from estate sale trash to silver-screen gold has finally returned it to big-hole 45, where it probably should have lived all along.

15th Anniversary Edition. Black Vinyl. When Dinosaur Jr. reunited, more than 20 years after their formation and legendary dissolution, the worry was that these guys were just flogging the back catalog, taking the old show on the road as a marketing gimmick. But the 2007 release of Beyond gave a hearty Marshall-driven "F**K YOU!" answer to those inquiring ears. Restoring the sound established by the unassailable hat-trick gambit of their first three albums -- Dinosaur, You're Living All Over Me, and Bug -- Beyond continued the band's march into rock greatness by making old ears smile and new ears bleed afresh. And then came Farm, the 9th full length record by the original line-up: J Mascis, Lou Barlow, and Murph. If Beyond was Dinosaur Jr.'s return to form, Farm is proof that Dinosaur Jr. could (and still do, to this day!) deliver timeless, exhilarating rock music. Farm encompasses Dinosaur Jr.'s signature palette: soaring and distorted guitar, unshakable hooks, honey-rich melodies. At times wholly 70's guitar-epic, at times perfect for sitting by a babbling brook with Joni and Neil, these songs get into your head and stay there, bouncing happily around. The ear-catching "Plans" is nearly seven minutes of classic whipped-topping rock dessert, while "I Don't Wanna Go There" is a meat-and-potatoes main dish, mixing unapologetic lead guitar with straight-ahead delivery a la James Gang or Humble Pie. This expanded deluxe edition of Farm features four songs never pressed to vinyl and never given worldwide release:"Houses", "Whenever You're Ready" (The Zombies Cover), "Creepies" (Instrumental), and "Show". "Whenever You're Ready", a cover of classic pop-rockers The Zombies, is impossibly good for a hidden gem; Murph stomps in with a sledgehammer to the kit, J and Lou layer low-end and fuzz like two halves of one brain, and right when things feel biggest, airy and colossal, there's J with a lightning bolt of a guitar solo. Pure electricity and melody like only he can make. Recorded in J Mascis' Bisquiteen studio in Amherst, Massachusetts, Farm was produced by Mascis himself, and delivers the singular, unique energy of one of America's greatest living rock bands.

Following the kaleidoscopic ambition of Djesse Vol. 4, Jacob returns with The Light For Days – a stripped-back, emotionally resonant body of work that is reflective of the quiet core of his artistry.

Recorded in just four days in the very room where his career first took flight, The Light For Days trades scale for intimacy, spotlighting Jacob’s unmistakable voice and a deepening relationship with the guitar. The result is a collection of originals and handpicked covers that feel immediate, heartfelt, and timeless.

The Light For Days is a powerful reminder of the versatility that has earned Jacob seven GRAMMYs across various genres. For those who’ve seen Jacob live, this record will feel like coming home. For everyone else, it’s an invitation to see and to hear him in a new light.

Comprising of sisters Eva and Grace Tedeschi, The Cords are the brightest new indiepop band from Scotland and this is theri debut. They started playing drums when they were little kids and later found that they liked 80s and 90s indie music more than their peers did, and so formed a band, just the two of them, with Grace on drums and Eva on guitar - and the songs started to flow. With only a cassette and a flexi single released so far (both of which sold out in a matter of hours), Eva and Grace honed their skills by playing a whole series of gigs with some of the biggest names in Scottish pop. Their first show was with The Vaselines, and since then they have played with Camera Obscura, Belle and Sebastian, BMX Bandits and others, while also sharing stages with the new generation of indiepop stars: the Umbrellas, Chime School, Lightheaded. Like all great pop bands, The Cords have taken familiar ingredients and created something utterly fresh. Older indie fans will hear echoes of The Shop Assistants, The Primitives, Tiger Trap and Talulah Gosh, but they will hear something else too: a yearning, dreamy melodic power that takes the songs into darker, stranger places. Younger pop fans won't care about these old reference points: what they will hear is the sound of two young women doing something utterly exciting: playing loud guitar and loud drums, taking analogue instruments and hitting them hard in the service of immediate and infectious pop tunes, and not giving a second thought about the digital world that wants to own everything we do. The Cords sound free: they remind us that pop music, played right, is expressive, liberating, joyful and deeply personal. First single `Fabulist' is a sweet and catchy pop song that races along, so headlong and hooky that, on first listen, you could miss the fact that it's a wholehearted take-down of people who lie for a living. And the album is a fun rollercoaster ride from that point onwards, with the real stars of this record being Eva's sinuous guitar and silky vocals, and Grace's clattering, expressive sing-song drums. It's the sound of two sisters having an intense musical conversation with each other, pushing each other on to greater heights, exhilarated by the set of perfect pop songs they have magicked up. DIGIPAK CD, LP on BABY BLUE VINYL.

Dharmacide is a Spanish band known for their eclectic fusion of genres, blending elements of shoegaze and dreampop music. Their sound is marked by intricate guitar riffs, powerful drumming, and deep, emotive vocals that create a unique atmosphere. The band, with members of Alcalá Norte and Depresión Sonora, has made a huge impact on various stages, performing at renowned venues and festivals, including iconic spots in their home country as well as internationally, earning praise for their high-energy performances and thoughtful compositions. Their latest singles have been produced, mixed and mastered by Mark Gardener from Ride. "Tougher Than the Rest" is their awaited second album. They take a step forward with a darker sound with gloomy riffs and ethereal voices in which they describe perfectly how the sound of a night full of random events -that surely, we all have experienced- would be like. Their sound is influenced by today's bands like Diiv, Warpaint or Beach House but also by classic artists like Cocteau Twins, Nick Cave and the Bad Seeds or Tom Waits. 'The Cigs, The Light, The Coffee and Crying' is the first single in which we find a powerful reverb-laden riff with a solo vocal melody in the middle of the chaos until breaking into a powerful chorus. Their debut LP "Cult Band Member" (2021) is sold out and the growing interest in the band anticipates that copies of this new album will not last long.

Riding in on an eviscerating vocal alarm call and originally released in 1988 as the final installment of her Masque of the Red Death trilogy, Diamanda Galás" You Must Be Certain of the Devil is as unflinching now as it was on release in 1988. It remains a swaggering, furious fuck-you to those who might cast aside the sick and dying in the name of faith and scripture. Often misunderstood as simply dark for its subject matter, You Must Be Certain of the Devil in fact shines a light of such total exposure it leaves nowhere to hide, forensically unmasking the fury and pain of real grief and the vast spectrum of emotions rendered by the AIDS epidemic. It is an album that looks you square in the eye, pins you against a wall and makes you look at and feel the horror the virus visited upon a person, the knowledge of certain death in a hostile environment, and the hypocrisy of those who claim to be Samaritans or protectors.

Lexachast is an ongoing collaborative work by Amnesia Scanner, Bill Kouligas & Harm van den Dorpel.
Initially birthed as a joint, improvised performance between Amnesia Scanner and Kouligas at the ICA, London in 2015, it was later recreated and extended with visual artist van den Dorpel into a 15-minute online-only audiovisual work – known simply as Lexachast. Since then, it has expanded into a live show that has been performed at Transmediale, CTM Festival, Unsound Krakow & Adelaide, Next and LEV Festival and during Paris Fashion Week in collaboration with the brand Ottolinger. Now to be released on PAN, is a new document of Lexachast in its current, full-grown form.
Whilst broadly inspired by the experience derived from and exposure to algorithmic patterns as generated by visual artist Harm van den Dorpel’s specially- devised program, the work is a sonic reference to the fallouts of avant-EDM and cyberdrone. This in turn is simultaneously mirrored by the perturbing visuals, created by a unique algorithm that sources and blends various filtered imagery from DeviantArt and Flickr in real time – with a bias towards the NSFW, extreme banality, and ornamental melancholia. The results were a perfect fit for the deliberate intention of non-intent, an anti-video of sorts, which ended up as a defining element for the project.