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Like a head resting on a train window, gazing at the horizon without anxiety, Jesper Ryom's debut album breathes a wind of freedom and propels us toward the unknown, to no destination in particular.
Beyond the sensations of movement it evokes, this work is a marvel of unexpected mixtures. Seamlessly transitioning from progressive sounds to genuine French touch inspirations, it sails through the ages while maintaining a dreamlike homogeneity. This long-awaited offering from one of Copenhagen best-kept mysteries invites listeners on a captivating journey

South Street International return with the house goodness once again, reissuing Vick Lavender’s house anthem “The L.O.V.E. Song (From Chicago To New York)”. Originally self-released on his label Sophisticado Recordings by the Chicago producer and musician, this is one of those timeless deep house gems that’s become an underrated weapon for discerning DJs worldwide.

Lavender – known for his work with Glenn Underground as part of the legendary Strictly Jaz Unit – has been shaping deep and soulful house for over three decades, blending world music, jazz fusion, R&B and more into a sound that’s both spiritual and deeply rooted in the dancefloor. Here he brings the best of both cities into one track: the soulful musicality of Chicago, the cosmopolitan polish of New York. Warm Rhodes, fluid percussion, and vocal refrains ride over a groove that’s equally at home in a dark basement session or a sunrise terrace set.

With originals changing hands for eye-watering prices on Discogs, this official reissue makes this must have record accessible again. Lovingly remastered by The Bakehouse and presented on South Street International, This record is a must-have for fans of deep house, and anyone who believes in the eternal conversation between Chicago and New York.

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.

Swedish DJ, producer and songwriter Johan Blende debuts on Hell Yeah with a journey to the heart of a grown-up dancefloor in the Med.

Blende is a master of mixing up retro 70s and 80s sound into modern dancefloor delights. He's been doing it for two decades on a wide range of cultured labels from Studio Barnhus to Eskimo, always with a rare charm and leftfield perceptive. With this EP, he taps into the magic of hazy afternoons turning into euphoric evenings by the sea.

'Off To Mallorca' jangles with taught bass notes and sunburnt vocals. Distant synths glow, the jumbled percussion injects just the right dose of ass-wiggling funk and this playful yet sophisticated cut builds toward a blissful rapture. 'Television' ups the ante with prickly acid panning about the mix over sleazy, low-slung drums. Tension simmers as edgy synth motifs stalk the groove and anticipation builds before the whole thing explodes into a cosmic disco payoff. It's raw, unpredictable, and perfect for when things start to get a little weird.

'Como No Brasil' gazes skyward and basks in a wash of shimmering melodies and breezy, wordless vocals that drift like clouds over layered, sun-drenched rhythms. It’s a dreamy, tropical float until a surprise acid storm rolls in and moves things from tranquil paradise to dancefloor hypnosis. Finally, 'Carousel Bagatelle' is a layered, late-night trip that feels both playful and introspective. Hypnotic synths swirl around screwy acid lines and supple, dubbed-out house drums that spin you into a daze.

Blende’s debut on Hell Yeah lands like a postcard from a perfect party - sun-dazed, acid-kissed and endlessly replayable.

Halfway between the West and the East, Mozart l'Égyptien was born from the idea of producer Hugues de Courson and Ahmed El Magghrabi to create a dialogue between Mozart's work and the richness of Egyptian music. Released in 1997, this album became an essential reference in the history of musical fusion, enjoying worldwide success. It is now available for the first time on double vinyl, accompanied by a 4-page bilingual booklet (English/French) recounting the genesis and history of this unique project.

AVAILABLE FOR THE FIRST TIME ON VINYL ● 4-PAGE BOOKLETAVAILABLE FOR THE FIRST TIME ON VINYL ● 4-PAGE BOOKLETAVAILABLE FOR THE FIRST TIME ON VINYL ● 4-PAGE BOOKLET

AVAILABLE FOR THE FIRST TIME ON VINYL ● 4-PAGE BOOKLET












j 10. Ouazat al Kahira – " L'Oie du Caire " [Mozart]
[k] 11. Symphonie égyptienne [Mozart]
[Mozart / Traditionnel]

A meeting of worlds. A new kind of resonance. GODTET's upcoming release captures the alchemy of their landmark performance with the Sydney Symphony Orchestra at the Sydney Opera House.

At once bold and nuanced, this album explores the friction between improvisation and orchestration. Where the orchestra is anchored in fully composed material, GODTET remains free – navigating the work's harmonic architecture with instinct and spontaneity. Structures are fixed, but expression is fluid.

Orchestrated and brought vividly to life by Novak Manojlovic, GODTET's long-time collaborator and musical polymath, the work bridges the worlds of bedroom production and classical tradition. His arrangements offer not just translation but transformation. Amplifying the ensemble's rhythmic language through the rich sonic canvas of the Sydney Symphony Orchestra.

The result is a deeply textural suite that amplifies the best of both disciplines: GODTET's idiosyncratic groove and live sampling artistry converging with the symphonic weight and colour of the Sydney Symphony Orchestra.

Under the baton of Nicolas Buc,GODTET + The Sydney Symphony Orchestradoesn't just blend genres, it dissolves hierarchies. It's a declaration that music born in warehouses and bedrooms can belong in concert halls, and that authenticity transcends format. This is GODTET in full bloom, expansive, fearless, and profoundly moving.



a 01: New Sun (Live) feat. The Sydney Symphony Orchestra & Novak Manojlovic
b 02: Stepper (Live) feat. The Sydney Symphony Orchestra & Novak Manojlovic
[c] 03: The Fall Line (Live) [feat. The Sydney Symphony Orchestra & Novak Manojlovic]
[d] 04: Dub Angels (Live) [feat. The Sydney Symphony Orchestra & Novak Manojlovic]
[e] 05: Cantus (Live) [feat. The Sydney Symphony Orchestra & Novak Manojlovic]
[f] 06: Bliss Angels (Live) [feat. The Sydney Symphony Orchestra & Novak Manojlovic]
[feat. The Sydney Symphony Orchestra & Novak Manojlovic]

Pianist and singer songwriter Tilda Gebhardt creates a curious and immersive world on her debut "Come the Afternoon", a tender portrait of her upbringing in the bleak yet beautiful north west English countryside.

Telling tales that take us back to a 1936 premier of Swing Time, or inside a telescope where a man named Ernest lives, via the vast plains of the Australian desert - Gebhardt's unusual combination of playfulness, storytelling and profound reflection is carried along by her crystalline voice, and acrobatic piano.

Inspired in turn by the magic of moving images and nature, "Come the Afternoon" is like a collection of miniature films, chronicling Tilda's adventures on the fells of the langdales, hiding in the heather on the Trough of Bowland, and exploring the fields and valleys that surround her home in Lancaster.

Sounds like: Joni Mitchell, Liza Minelli and Joanna Newsom picking cockles in Morecambe Bay.
Recommended if you like: Keith Jarret, Emahoy Tsege Mariam Gebru, Issa Kobayashi, John Berger.

The stunning debut album by Peki Momés is back in store after selling out the first edition in a few weeks! This 2nd pressing has a different label design. Featuring twelve outstanding original tunes. Turkish psychedelic, global disco and outernational!

Peki Momés is a Turkish artist living in Germany - who only started to record music by accident in 2024. Blessed with style and intuition rather than formal education, her fresh and uncompromisingly authentic approach to music took hearts and ears by storm.

Ever since her debut 45 on Mocambo Records, Peki Momés has become a little sensation in and outside the organic groove scene: turntablist DJ Koco played doubles of "Göc Mevsimi" in his set, Iggy Pop announced "Rüya" on his "Iggy Confidential" show on BBC and the second vinyl single surprised everyone with a mesmerizing cover of Marco Valle's much loved "Estrelar" in the turkish language. Both records sold out quickly and are in the bags of tastemakers like Coco Maria.

Peki Momés' music is an eclectic mix of sounds from the global underground, tastefully crafted by producer Dustin Braun and a troupe of ridiculously talented jazz musicians. Dirty disco, fuzzy funk, anatolian rare grooves, experimental synth, library music and japanese city pop all blend naturally with her distinct vocals to create a unique ethereal outernational sound that is all her own.

Once dubbed as 'turkish discodelic', Peki's songs have a dreamlike, enchanted and psychedelic quality and instantly take the listener on a journey. In a poetic way, she approaches topics like "dreams and a naive fear of losing or not fulfilling them" or expresses "worries about our weary world and call for solidarity from all" - always with an outlook of hope. You do not have to speak turkish to understand - the message is transported by a universal language.

With her debut album, Peki Momés is now telling her full story. Displaying a young Peki on the cover, the artwork hints at the freshness and enthusiasm of the project. We should consider ourselves lucky that Peki chose to disrespect rules in favor of self-empowerment and made this wonderful longplayer that you never knew you needed.

Sur cet album, Neniu développera l'histoire d'une chenille qui devient papillon, au-travers de plusieurs vidéos à destination des réseaux sociaux (TikTok : 27k followers, 1M likes cumulés ; Instagram : 6k followers), qui intégreront directement la musique de l'album.



Chaque single reprendra chaque phase de la métamorphose de la chenille (via la pochette notamment), et culminera avec la sortie de l'album qui marque sa transformation finale.

Muddy Monk's Ultra Tape is being released on vinyl for the first time



Originally released in 2020, this project, conceived as a mixtape, condenses five tracks that are both radical and raw, for a quarter of an hour of a ghostly and thrilling ride. Compressed and melodic, dark and iridescent, lyrical and modern, Ultra Tape offers, according to the artist, ‘a somewhat desperate view of life and the world, with a little note of hope added’.



The cover, designed by Swiss illustrator Dexter Maurer, extends Muddy Monk's unique visual universe. Created at a time when Dexter was beginning to get involved in musical projects, this collaboration was a seminal encounter between two Swiss sensibilities that are both melancholic and futuristic.

Over the course of 2025 IARC will be celebrating their eleventh year of existence by revisiting some of the most celebrated (and hard to find) entries in their decade of releases. These LP packages will be presented with new liner notes, new insert booklets, and the fresh 2025 redesign of their iconic obi and dome logo. They will also be at a price point intended to help make it easier for stores to stock and sell these essential pieces of their catalog.

After touring the globe all year playing sold out shows opening for Djo, Post Animal give their new album the deluxe treatment, titling it the Iron Expansion Pack. The Expansion Packincludes two previously unreleased songs “Leave Overjoyed” and “Something Drive” which were recorded during the initial Iron sessions.

Iron finds Post Animal reconnecting with founding member Joe Keery (Djo, Stranger Things)and getting back to their roots with all original members writing, singing and performing on the album. Iron marks the first time that all original 6 members entered the studio together in nearly a decade. The product of a few straight weeks together, Iron not only finds them reunited with Keery but is the embodiment of 30 days of camaraderie and unbound musical exploration, their renewed connection ironclad.

Built from the ends of Kunas's mind, steeped in raw, dark, underground UK laced bass comes "Lost Potential" A mature representation of melancholic sentiment, serious introspection and the culmination of growth, spatial awareness and undeniable London / UK bass grit. Reminiscent of the morbid nostalgia of the "Bristol" sound, Kunas effortlessly focuses sounds of the past all weaved into a modern, authentic, contemplative EP in "Lost Potential"

Demi Riquísimo reveals the latest EP on his Semi Delicious imprint No Given Time featuring collaborations with Tesselate founders The Trip, stalwart of East London's Queer scene Michelle Manetti and Belfast favourite Hammer.

With the signature Semi Delicious sound demonstrated throughout the package, the warm and groove-driven productions are designed with the dancefloor firmly in mind. Opening with the solo title track ‘No Given Time’, Demi sets the tone with lush synth work and lashings of 90s house flavour. Collaboration with The Trip ‘Infinite Room’ follows, with elastic basslines and an unmistakable blend of the artists’ sonic aesthetics, while ‘Only Love’ sees Demi team up with Michelle Manetti for a slice of joyous uplift with dreamy soundscapes. Closing out the EP is ‘Lime House’, in collaboration with Belfast’s Hammer, as the pair bring in prog-style chords and dizzying synths that take you well into the afterhours.

“Collaboration is important because it opens you to new ideas and thought processes while learning new tricks and techniques,” Demi explains. “It’s also a lovely way to bond and build relationships with other producers.”

One of the founding figures of Amsterdam's underground Techno culture Dimi Angelis has been shaping the scene in the late 90s, throwing warehouse raves living up to the underground standards. Until today his approach remains unchanged: uncompromising, opinionated, and never aimed at easy pleasing.
Drawing from decades of crate-digging and an encyclopedic knowledge of Techno's evolution, Dimi crafts sets that feel familiar a reveal unexpected depths on closer listening.
These tracks follow that same philosophy as they are straightforward and honest on the surface, but wrapped in something appropriately unexpected.

180g Orange Vinyl LP

Lack Of Afro feiert das 15-jährige Jubiläum seines bahnbrechenden Debüts ""Press On"" mit einer neuen LP-Edition auf orangefarbigem 180g Vinyl im Gatefold samt 8-seitigem Booklet mit Linernotes von Radio-DJ Craig Charles (BBC 6Music) und Bassist Damon Minchella (Paul Weller, Richard Ashcroft, Ocean Colour Scene), einer Track-by-Track-Anleitung von Adam Gibbons selbst sowie unveröffentlichten Sessionfotos. Ein Album, das jede Tanzfläche zum Kochen bringt - mit den Cut-Up-Jazz-Drums von ""Rodrigo"", dem groove-geladen-mitreißenden ""The Outsider"" oder dem ultra-heavy Arctic Monkeys-Cover ""When The Sun Goes Down"". ""A musical brother...and I only f*ck with the best!"" - Madlib

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.

Coke Bottle Clear vinyl. Jun 25, 2021 (EST) CD MRG755cd 673855075525 $6.00 Jun 25, 2021 (EST) LP - Black MRG755lp 673855075518 $11.00 Dec 02, 2022 (EST) LP - Coke Bottle Clear MRG755lp-dlx-C1 673855075556 $12.50 TOTAL Quietly Blowing It was written and arranged by Taylor in his home studio_his 8' x 10' sanctuary packed floor to ceiling with books, records, and old guitars_as he watched the chaotic world spin outside his window. "Writing became a daily routine," he explains, "and that was a ballast for me. Having spent so much time on the road over the past ten years, where writing consistently with any kind of flow can be tricky, it felt refreshing. And being in my studio, which is both isolated from and totally connected to the life of my family, felt appropriate for these songs." Between March and June, Taylor wrote and recorded upwards of two dozen songs_in most cases playing all of the instruments himself_before winnowing the collection down and bringing them to the Hiss band. In July, the group of musicians, with Taylor in the production seat, went into Overdub Lane in Durham, NC, for a week, where they recorded Quietly Blowing It as an organic unit honed to a fine edge from their years together on the road. "We all needed to be making that music together," he recalls. "We've all spent so many years traveling all over the world, but in that moment, it felt cathartic to be recording those particular songs with each other in our own small hometown."

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.

HECKSPOILER - Bock auf Stress

Stress? Ja klar. Wir bieten dir die volle Ladung. "Bock auf Stress" ist kein Titel, sondern Ansage - laut, direkt, kompromisslos. Heckspoiler liefern wuchtigen, rohen Punk mit Haltung zwischen Frust, Humor und der puren Lust an Eskalation. Texte, die treffen, Riffs, die schieben, kein Platz für Mittelmaß.
Wer Ruhe will, ist hier falsch.

DJ Support: Laurent Garnier, Radio Slave, Carl Cox, Eliza Rose, Peggy Gou, Carlita, Skream, Hi Fi Sean, Riva Starr, Anja Schneider, Terry Farley, Heidi Lawden, Marcel Vogel, Alan Dixon, Mele, Jovonn and more

London-based DJ and producer Hilit Kolet is defining the sound of 2025’s fiercest dancefloors.

With a stacked discography on labels like Rekids, Bush, COD3 QR and Defected, and a track record of private re-edits being picked up for official release, her reputation as the go-to name for high-energy, forward-thinking club cuts is undisputed.

The brand new 'Hot M3ss Edits' series kicks off with three of HK’s most sought-after re-edits - once secret weapons in her sets - just in time for the party season.

Limited pressing - grab them while they’re hot!

It's been 10 years since Pomegranates - Nicolás Jaar's unofficial/alternative soundtrack to Sergei Parajanov's 1969 film The Color of Pomegranates - was first released, and to highlight this occasion we are reissuing the album on vinyl, with the first edition (a collaboration with the label Mana) having long been out of print.

Longer and slower-releasing than his other albums, Pomegranates often parallels the cinematic epic on which it’s based, with ideas pursued over long timelines and across dark landscapes, assembling elements and moods from the aesthetic and folkloric landscapes of Armenia. Jaar’s identity is perceived within this, folding in his heritage as Palestinian and Chilean as he attempts to build a musical architecture outwards that frames as much of the mess and sprawl of life as possible; using a language that investigates the movement and fluctuation of his own artistic career and character similarly to the film’s tracing of the coming of age of the young poet, Sayat-Nova.

At times, Pomegranates feels profoundly intimate, as though looking through the archive of a friend’s music and discovering the accent and common currency that lives within each of these tracks. Much of Jaar’s most elegant and touching melodic work is nestled here, its power residing in its simplicity and willingness to speak to the heart and not the mind of the listener.

In the text document included in the first freely distributed version of the album in 2015, Jaar writes that the album was conceived during a moment of change, and that the pomegranate became an icon that heralded that passage of time. The physical publication of Pomegranates closes one door whilst opening another, keeping promises and marking a significant point in the career of an artist who restlessly reinvents himself, with a document that illustrates a common language of lyricism, freedom, and emotional resonance linking his many paths and projects

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.

'In collaboration with the children of Nico Kasanda, better known as Docteur Nico, Planet Ilunga proudly presents an anthology dedicated to African Fiesta Sukisa, available as a 3LP set and a digital release with bonus songs. This release is the result of many years of preparations and was realized in close partnership with Liliane Kasanda, Nico’s eldest daughter. Marking forty years since his passing, we felt that the year 2025 was the right time to honor Docteur Nico’s legacy with this original collection.
'Almost all of the African Fiesta Sukisa songs were released on Nico’s Sukisa label which translates in Lingala for “the final accomplishment”. The music on Sukisa, crafted by Nico and legendary vocalists such as Chantal, Sangana, Apôtre, Mizele, Lessa Lassan and Josky, embodies the essence of that powerful phrase with genius, class and depth. The label ran between 1966 and 1975 and released approximately 280 songs. Ngoma also issued the group between 1967 and 1971 and, in addition, reissued material from the Sukisa label. Many of these songs have become part of the collective memory of Congolese society and are still heard, discussed, and analyzed daily across digital platforms worldwide, as well as on numerous Congolese radio and TV stations.
'The album we put together features some of Nico’s signature songs alongside never before reissued tracks from the Sukisa catalog. It furthermore contains a large booklet with song commentary, testimonial interviews from well-known musicians, journalists, fans and Nico’s entourage, besides never before published photography about his personal and musical life.
'Alastair Johnston, author of the book ‘A Discography of Docteur Nico’ and longstanding Planet Ilunga collaborator, designed a stylish booklet and cover using all our collected material. Audifax Bemba, longtime admirer, compiler and connoisseur of Nico’s music, and the author of most of the song commentary in our accompanying booklet, offers his portrait of Docteur Nico:
“After displaying technical virtuosity with African Jazz, expert and accomplished guitar with African Fiesta, which musicologist Sylvain Bemba described as a dream guitar, Nico Kasanda was consecrated ‘dieu de la guitare’ by the public in the late sixties. With his band African Fiesta Sukisa, Docteur Nico displays his wide palette of unusual sounds. While exploring the Hawaiian guitar with its clear, airy, plangent, psychedelic effluvia, he continues to replicate the piano comping technique, and adds two missing strings to his bow: a simulation of the sanza (likembé or thumb piano), whose sounds he reproduces right down to the noisemakers of the tiny tin rings, on the one hand, and the sounds of the Luba balafon on the other. The right note, in the right place, at the right time, is the triptych on which Nico Kasanda’s playing is based, a note dressed in the perfect sound. A guitar of pure emotion. With African Fiesta Sukisa, his playing takes a ‘Chopin-esque’ turn, sending out more notes in a sublime adagio. The true artist is the one who simplifies everything. Docteur Nico is a genius of our time, whose style makes him the supreme exponent of the most important guitar school in Congolese music. He is recognized by his peers as the greatest African solo guitarist of all time. Sculpting sound in a tireless quest for beauty, Nico Kasanda has sublimated the guitar throughout his career.”






























[xd] Kamulangu [Outro] (Dr. Kasanda – Sukisa 135) Folklore Baluba

Nach einem kurzen Intermezzo bei Art Blakeys Jazz Messengers und einigen gemeinsamen Aufnahmen mit
dem Altsaxofonisten Gigi Gryce gründete Donald Byrd 1958 sein erstes eigenes Quintett, das er gelegentlich
auch zum Sextett erweiterte. In der Bläserfront stand dabei oft der Baritonsaxofonist Pepper Adams an der
Seite des Trompeters. Wie heiß diese Band zu swingen verstand, zeigte sie im November 1960 bei einem
zweistündigen Auftritt im New Yorker Half Note Café, der auf zwei separaten LPs veröffentlicht wurde.

Star Wars: Die Rache der Sith 2LP Sonderausgabe für Sammler, zur Feier des 20-jährigen Jubiläums des
Films. Musik komponiert und dirigiert von John Williams. Aufgeführt vom London Symphony Orchestra.
Ab dem 5. Dezember erhältlich!

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.

Das 1967 veröffentlichte Album "Jazz Raga" ist mehr als nur ein Album - es ist ein furchtloser Sprung in unbekanntes musikalisches Terrain. Gábor Szabó, der ungarische Jazzgitarrist, der für seinen grenzüberschreitenden Stil bekannt ist, liefert mit diesem Meisterwerk eines der faszinierendsten Alben seiner Karriere in diesem Genre. "Jazz Raga" vereint Jazz, Rock, psychedelischen Folk und östliche Einflüsse - mit Sitar-Melodien und lateinamerikanisch angehauchten Rhythmen, die dem legendären Funk-Schlagzeuger Bernard Purdie zu verdanken sind - und lässt sich keiner Kategorie zuordnen. Es ist eine hypnotische Fusion, in der europäische Tradition auf den Gegenkulturgeist der 60er Jahre trifft, alles verbunden durch Szabós unverkennbaren Gitarrensound. Vom verträumten Groove von ,Walking On Nails" über die wirbelnde Mystik von ,Mizrab" bis hin zu seiner eindringlich originellen Interpretation von ,Paint It Black" der Rolling Stones schafft Szabó eine Klanglandschaft, die sowohl gewagt als auch zutiefst gefühlvoll ist. Sein Spiel ist elektrisierend - voller ungewöhnlicher Akkorde, fließender Improvisationen und einer ganz eigenen Stimme. Auch Jahrzehnte später ist ,Jazz Raga" noch immer ein Meilenstein kreativer Freiheit und globaler Einflussnahme - ein Muss für alle, die Musik suchen, die Grenzen und Erwartungen überschreitet. Wenn Sie diesen Kultklassiker noch nicht kennen, ist es jetzt an der Zeit, dass Gábor Szabó Ihren musikalischen Horizont erweitert. Neuauflage auf 180-g-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.

French musician, producer, and live artist Contre Soirée aka Olivier Decodts makes a significant return to Veyl with 'Psychiatry', a four-track EP shaped by deeply personal experience and emotional intensity. Rooted in post-punk, the release blends electronics with guitar parts, everything performed by Olivier himself.
What may have initially sounded like a PR stunt quickly revealed itself as anything but: ’Psychiatry' was conceived, completed, and sent to the label during Olivier’s stay in a psychiatric hospital. The first three tracks form a raw and honest narrative, tracing the events and emotional journey leading up to his hospitalization and explore the boundaries between vulnerability and resilience.
Closing the release is a cover of the Pixies' 'Gauge Away', a long-time favorite of Olivier’s. His rendition pays tribute to the original while placing it firmly within the emotional and sonic context of the EP, a final note of reverence and catharsis.
'Psychiatry' is a fearless expression of personal truth, pushing beyond the dancefloor to uncover something more intimate and affecting.

The inimitable Richard Youngs returns to Black Truffle with this third full-length for the label, Hidden. Like CXXI and Modern Sorrow, Hidden unfolds across two side-long pieces at once eminently listenable and possessed of the ‘bloody-minded’ dedication to ‘having an idea and sticking with it’ that Youngs himself has identified as one of the key qualities of his work.

At the core of both pieces are rapid, randomised arpeggios generated with a Moog Grandmother, hypnotic patterns that wouldn’t be out of place on a Berlin School classic. Alongside these arpeggios, across the seventeen minutes of the first side-long piece Youngs builds an airy structure of shakers, synthetic handclaps and a brief, repeated sample, impossible to identify but sounding like a glitched foghorn. Over the top we hear his unmistakable voice, repeating single syllables—Ha, Ho—with a slow delay, something like a lonely one-man-band take on Anthony Moore’s Pieces from the Cloudland Ballroom or a more musical elaboration of the hypnotically overlapping delayed phonemes of Anton Bruhin’s Rotomotor. Like much of Youngs' work, the arrangement of sounds is sparse, each layer punctuated by spaces that allow others to shine through, in a way that seems to have more to do with dub or early hip-hop than high-brow models of musical reductionism.

On the flipside, the arpeggios return, now accompanied by ringing, filtered guitar chords and long flute tones. The use of a similar ground layer across the two pieces with strikingly different overdubs calls up Youngs' first solo record, the classic Advent, reminding us of how consistent ‘theme and variations’ is as an approach in his enormous body of work. Joined by handclaps and a chiming sound, the piece almost feels like it is about to achieve dance-floor lift-off at times, only for the percussion to disappear and leave the listener once again floating among the guitar and flute, now joined by occasional cut-off vocal snippets, like a radio turned quickly on and off. The suspension of these disparate elements over the steady foundation of the Moog arpeggios might remind some listeners of the free-form studio explorations of Moebius & Plank and Holger Czukay or even give a nod to Youngs’ formative encounter with Cabaret Voltaire.

Like some of Youngs’ much-loved work with Simon Wickham-Smith, Hidden approaches relatively familiar sounds and instruments from skewed angles, delighting in loose structures of interaction that border on gleeful incoherence while remaining outwardly beautiful. Coming up to almost four decades of persistent activity, like little else in contemporary music Youngs’ work beams with the simple joys of exploration and experiment.



Berlin-based duo Brigade returns with their sophomore effort, having spent the intervening years refining their approach to sample-based composition. Where 2022's "Hard Times, Soft Music" established their credentials as purveyors of comfort food electronics, „Unlimited Dreams Corporation“ finds the pair digging deeper into the archives, constructing elaborate sonic collages from decades of discarded vinyl.The fictional corporate framework, a company peddling bespoke dream experiences, works as an aesthetic guide, appropriate for 2025.

The fourteen tracks unfold with the patience of bedroom producers who understand that the best plunderphonic work happens in the margins. Brigade layers found sounds and field recordings with careful restraint, creating pockets of warmth that invite repeated listening. The broken beat rhythms feel lived-in rather than showy, while the more ambient moments provide necessary breathing room. It's headphone music that rewards attention without demanding it, the kind of record that reveals new details months after initial discovery.

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.

Mathew takes inspiration from the weirdness of Aldous Harding and Amen Dunes while embracing the songcraft of greats like Neil Young and Jeff Buckley. Due for release on 3rd October 2025 via Tip Top Recordings (Mandrake Handshake, Japanese Television, Pearl & The Oysters), EP 'Full Weight' is a six track offering of emotionally driven, lyrically agile, eccentrically produced indie- rock. Released on limited edition (300) heavyweight white coloured vinyl.

Mathew's journey began with a childhood guitar and quietly grew into a private archive of hundreds of songs, never meant for anyone but himself. After stints with local outfits The Velotones and Violet May, he broke away to carve out his own space, one where every note and word belonged to him. Stepping into the studio with friends and trusted collaborators, he found the freedom and confidence to let the world in. The result is 'Full Weight', a bold new chapter in Mathew's musical story. '5:32' is the natural way to introduce Mathew's gloriously unique voice and songwriting, evoking Sheffield's musical royalty such as Richard Hawley.

As the single artwork depicts, '5:32' was conceived by Mathew "in bed, during COVID, eating cereal and taking my meds. As Thom Yorke once said, 'no one is really a solo artist'". The surging, cathartic anthem 'Weight Of Love' is about a simple case of unrequited love. Mathew says, "In my case, it's a story of my dad leaving. The cover artwork is of me and my brother around the age he left" . Further tracks like 'Lady Luck' lean into a slowburning groove of shimmer and snarl, while the fully exposed 'Creature Of Comfort' is built on skeletal instrumentation. 'Full Weight' captures the duality of refusing to choose between fragility and force. It's music that aches, bleeds, and ultimately triumphs: a testament to the strength in showing your cracks. Mathew J Hall celebrates the EP with a live show on 24th October at Hallamshire Hotel, Sheffield.

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.

‘Workaround’ is the lucidly playful and ambitious solo debut album by rhythm-obsessive musician and DJ, Beatrice Dillon for PAN. It combines her love of UK club music’s syncopated suss and Afro-Caribbean influences with a gamely experimental approach to modern composition and stylistic fusion, using inventive sampling and luminous mixing techniques adapted from modern pop to express fresh ideas about groove-driven music and perpetuate its form with timeless, future-proofed clarity. Recorded over 2017-19 between studios in London, Berlin and New York, ‘Workaround’ renders a hypnotic series of polymetric permutations at a fixed 150bpm tempo.

Mixing meticulous FM synthesis and harmonics with crisply edited acoustic samples from a wide range of guests including UK Bhangra pioneer Kuljit Bhamra (tabla); Pharoah Sanders Band’s Jonny Lam (pedal steel guitar); techno innovators Laurel Halo (synth/vocal) and Batu (samples); Senegalese Griot Kadialy Kouyaté (Kora), Hemlock’s Untold and new music specialist Lucy Railton (cello); amongst others, Dillon deftly absorbs their distinct instrumental colours and melody into 14 bright and spacious computerised frameworks that suggest immersive, nuanced options for dancers, DJs and domestic play. ‘Workaround’ evolves Dillon’s notions in a coolly unfolding manner that speaks directly to the album’s literary and visual inspirations, ranging from James P. Carse’s book ‘Finite And Infinite Games’ to the abstract drawings of Tomma Abts or Jorinde Voigt as well as painter Bridget Riley’s essays on grids and colour. Operating inside this rooted but mutable theoretical wireframe, Dillon’s ideas come to life as interrelated, efficient patterns in a self-sufficient system.

With a naturally fractal-not-fractional logic, Dillon’s rhythms unfold between unresolved 5/4 tresillo patterns, complex tabla strokes and spark-jumping tics in a fluid, tactile dance of dynamic contrasts between strong/light, sudden/restrained, and bound/free made in reference to the notational instructions of choreographer Rudolf Laban. Working in and around the beat and philosophy, the album’s freehand physics contract and expand between the lissom rolls of Bhamra’s tabla in the first, to a harmonious balance of hard drum angles and swooping FM synth cadence featuring additional synth and vocal from Laurel Halo in ‘Workaround Two’, while the extruded strings of Lucy Railton create a sublime tension at the album’s palatecleansing denouement, triggering a scintillating run of technoid pieces that riff on the kind of swung physics found in Artwork’s seminal ‘Basic G’, or Rian Treanor’s disruptive flux with a singularly tight yet loose motion and infectious joy. Crucially, the album sees Dillon focus on dub music’s pliable emptiness, rather than the moody dematerialisation of reverb and echo. The substance of her music is rematerialised in supple, concise emotional curves
and soberly freed to enact its ideas in balletic plies, rugged parries and sweeping, capoeira-like floor action. Applying deeply canny insight drawn from her years of practice as sound designer, musician and hugely knowledgable/intuitive DJ, ‘Workaround’ can be heard as Dillon’s ingenious solution or key to unlocking to perceptions of stiffness, darkness or grid-locked rigidity in electronic music. And as such it speaks to an ideal of rhythm-based and experimental music ranging from the hypnotic senegalese mbalax of Mark Ernestus’ Ndagga Rhythm Force, through SND and, more currently, the hard drum torque of DJ Plead; to adroitly exert the sensation of weightlessness and freedom in the dance and personal headspace.

A rare gem (Rock Hard - Album of the Month)
This album is an excellent example of what good boogie should sound like, reminiscent of AC/DC in 1977-1978 (La Planète du Stoner Rock)
It's not just a comeback: it's an act of faith. And it's damn convincing (United Rock Nations)

London-based experimentalist Luke Younger (a.k.a HELM) returns to PAN with ‘Olympic Mess’.
Where his previous effort, 2014’s ‘The Hollow Organ,’ dealt in dense, distressed sonics, ‘Olympic Mess’ is Younger responding to a period spent engaged with loop-based industrial music, dub techno, and balearic disco. These musical references, all of which can induce hypnotic states and feelings of euphoria, inform ten evocative aural landscapes which unfurl over the course of an hour and act almost as a counterpoint to the turmoil that spawned them.
Crafted using an array of heavily processed samples, found sound and electroacoustics, personal conflict manifests in “I Exist In A Fog” and “Outerzone 2015,” where visceral noise disintegrates into veiled, ambient strata. The disquieting crescendos of “The Evening In Reverse” and “Fluid Cloak” offer no such relief, while the title track and “Don’t Lick The Jacket” are mineral, multilayered abstractions twisting around a brittle pulse.