Search:unearth

A little mystery goes a long way, but it's fair to say the appetite for unearthing those secret tunes and lost classics has rarely been stronger...

A LOVE THAT NEVER DIES give us a peek inside their formidable archive with four wonderful pieces of coveted music, in very short supply in their original form

One super limited, clear vinyl pressing.

Celebrating a Decade of Dark Entries with a compilation titled ‘Tens Across The Board’. We revisit our roster and chose 10 songs from 10 bands from 10 different countries spanning the years 1981-1993. The songs flow in chronological order and have never appeared on vinyl, with 7 of the songs previously unreleased.

The compilation begins in 1981 with Parade Ground from Belgium, the duo of brothers Pierre and Jean-Marc Pauly with help from Patrick Codenys and Jean-Luc of Front 242. “The Light’s Gone” was one of their earliest experiments and employs a stark minimalism with modular synthesizers, guitar reverb and tape delay. Next we venture to Granada, Spain in 1982 to meet the trio of Diseño Corbusier. Influenced by Cabaret Voltaire and Dadaism, “La Esperanza está en Antenas” was the band’s take on melancholic pop fueled by a robotic DR-55 bass-line. Sailing the Mediterranean Sea to Athens to meet Greek electronic goddess Lena Platonos who shares a demo from 1983. “Μια Γάτα Σασ Περιμένει Στη Γωνία” translates to “A Cat Is Waiting On The Corner” and is possibly the witchiest sounds we’ve shared yet, ending with a blood curdling scream. Frozen in 1983 we cross Ionian Sea to Messina, Italy and visit Victrola, the duo of Antonino “Eze” Cuscinà and Carlo Smeriglio. They’ve unearthed a melodic instrumental version of “Luca” fueled by a Korg Polysix and TB-303. Traveling across the Adriatic to Slovenia circa 1984, where Borghesia are working on their album ‘Ljubav Je Hladnija Od Smrti’. “Magla” translates to “Fog” fitting for the thick, somber electronics of Aldo Ivancic providing a dense atmosphere for the baritone vocals of Dario Seraval.

On Side B we go down under to Sydney and excavate a hidden Tom Ellard song recorded in 1984 under the alias Lord Metal, an anagram of his name for copyright reasons. “Ga Duum Blitzfonika” is a slow-motion, unadulterated dance groove originally released on the cassette compilation "Independent World”. Skipping ahead to 1986 in Tours, France we salute X-Ray Pop the minimum new wave duo of Didier "Doc" Pilot and Zouka Dzaza. They contribute the hypnotically fragile “Corto Maltese” that originally appeared on the cassette compilation ‘Plop’. Crossing the German boarder we arrive in Dortmund at the apartment of Andreas Sippel of Second Decay who recorded the instrumental demo “Lübeckerstrasse” in 1988 with partner Christian Purwien. Utilizing an TR-808, SH-101 and Arp Odyssey this cold slice of futurism was named after the street Andreas lived on. Traveling westward to England, specifically Basildon, Essex to the teenage bedroom of From Nursery To Misery, the trio of identical twin sister vocalists Gina and Tina Fear and keyboard player Lee Stevens. “Contentment” is an introspective, ethereal pop song with child-like vocals that originally appeared on the Belgian tape compilation ‘Heartbeat Vol.4’ in 1989. Finally, we return home to San Francisco and close out the compilation with Cyrnai the moniker of multi-instrumentalist Carolyn Fok. “Digital Grit Box (Demo)” was an outtake from the ‘Transfiguration’ album sessions recorded in 1993, utilizing dark dance drum beats made with MIDI sequencer programs Studio Vision and Sample Cell.

All songs have been remastered by George Horn at Fantasy Studios. The vinyl is housed in a custom designed jacket by Eloise Leigh featuring our label’s colors black-white-red with connect-the-dots pattern linking the 10 songs via maps/timeline/location, all relating to the reissue process, plus source images from San Francisco, our hometown. For this landmark release we've also printed a 2-sided fold-out wall poster that includes every artist we've released in our first 10 years 2009-2019 in black, red and silver metallic ink, plus an 8x11 insert with lyrics, notes and photos.

The first in a new collaborative series between Theo Parrish & Prime Direct Distribution unearthing some of Theo’s most sought-after edits, backed with the fully licensed original, both remastered and cut loud on either side of a 12 inch. Kicking things off we have one of Theo’s most treasured cuts, his ‘Ugly Edit’ of Made In USA - Never Gonna Let You Go, bootlegged endlessly in the past and racking up prices of up to £144 on Discogs it’s a high time an official reissue came around.

As iconic an edit as they get, ‘Never Gonna Let You Go’ encompasses everything great about Theo’s energy behind the decks - extending grooves for longer than anyone else even dare, working the EQ’s like a god and throwing in a bit of that raw magic that only he knows how. Taking the original’s sumptuous breakdown, Theo works it into a spirited, high energy disco workout looped into a near 10-minute stomper, big on the bass and brass fire whilst keeping the vocals to short and sweet snippets.

On the B side the original ’77 Made In USA version is laid out in all it’s glory. Funk powered, horn-laden disco goodness with breath-taking vocals from the Stateside troupe.

'World' is the debut album dreamt up by Barcelona based DJ / Production duo Memorial Home. Comprising of Paul Roux (France) and Jeremy Pinchasi (Belgium), 'World' is the exciting result of their shared desire to push the limits of their own brilliant musical foresight. It's an ambitious 20 track longplayer which effortlessly showcases the incomparable sonic space shared between both musical masterminds.

Sitting somewhere just to the left of Nicolas Jaar, Radiohead, Massive Attack, Mike Dehnert and Ostgut Ton, Memorial Home has managed to craft an album absolutely unique to their sound, impossible to categorise and sure to catch the attention of music lovers of all shapes and sizes. Techno without a dancefloor, experimental electronica fit for the warehouse raves. It's an exciting, perfectly confusing album which simply works wonderfully.

Heavily textured in incredible atmospherics, dub effects and crisp, clear percussion, 'World' spreads over an excellent array of individual tracks full of groundbreaking musical magic. Incorporating a stunning fusion of live instrumentation and electronic craftsmanship, 'World' is an audio adventure into emotive soundscapes, with a clear focus on the subtle saturation of melancholy. It's a soundtrack for a dystopian film yet to be written. A sonic painting for the coming winter months where the trees are all but dead and frozen; and the ground a thick layer of glowing white snow.

Memorial Home are the founders of the independent label Rapid Eye Movement, which has seen a breadth of incredible EPs riding the balance between experimental Techno and introspective electronica. They first met by random chance in their newly adopted home of Barcelona, Spain. This unexpected encounter quickly developed into a full-fledged musical kinship through their shared interest in crafting cinematic, experimental techno music. Each release from the label and duo showcase their clear passion to unearthing sounds beyond the expected. With their debut LP about to drop, the future is looking certain for the duo, the label, and the changing face of modern day electronic music.

Legalize Lambada step up for their 4th outing with four delectable afro disco edits from Sputnik.

'Superlove' see's Sputnik channel a South-African take on early garage house before melting 'Feeling Fine', the reggae tinged, afro boogie gem.

On the flip side, 'Groove Me' unearths some feel good Cameroonian disco gold complete with killer guitar solo, whilst 'Rick' closes out the e.p. dropping the tempo for a synth soul, slow jam.

With early support from Hunee, Lexx and the likes, LEG004 is shaping up to be one of the summers standouts.

There is a way to reach into the pulse of everything. It comes when ideas
are stripped down to their bare essentials, blossoming then into massive monoliths that are designed with elegant simplicity. Such is the path taken on our next limited 7", led by Chronicle veterans Staffan Linzatti and new comer to the stable, Arnuad Le Texier. Entitled "Far Behind The Line", it embarks
with a sense of soaring weightless that only Arnaud can provide. "Radar"
is a statement of futurism, thrusting the listener forward and farther into the in nite. It's sonic qualities mimic radio towers, satellites, and frequencies transmitted from the far reaches of the unknown. "Destination" acts as the perfect counter, disrupting the psyche in all the right ways with dissonant wails and unearthly chimes. Together they come as a distinct package, presenting an impressionistic interpretation of what may come, or what already has.

Unearthing the 15 year old lost gems by Ilker Soylu’s longstanding Philogresz moniker that might surprise the micro tech kids of the recent years. Now taking pre-orders!

Corona Vinyl, Limited to 1000 copies. To celebrate the 20th anniversary of their album Carnival of Rust, Poets of the Fall will release a special new vinyl edition of the record. The anniversary pressing features a previously unreleased single, "Black Waters", presented as a final added chapter to the album's story. Unearthed from the original recording sessions and completed in the present day, the track feels less like an outtake and more like a voice that finally found its moment. The anniversary vinyl will also feature a newly edited cover design, offering the audience a fresh visual take on the classic record.

Neue 2026er-Auflage in neuer Farbe! Das neue Album der doom-meets-stoner-meets-metal Legenden! Solace entstand aus den Columbia-Künstlern Godspeed und ist eine der tragenden Säulen des Stoner Metal! Konstante musikalische Integrität und Live-Auftritte über mehr als zwei Jahrzehnte hinweg sorgen für eine treue Anhängerschaft und relvanten Szene-Status. South Jersey's SOLACE halfen mit ihrem zeitlosen Debüt "Further", die erste Welle des US Stoner Metal zu gründen, indem sie alle paar Jahre musikalisch 50 Tonnen-schwere Alben mit Next-Level-Riffage raushauten, bis hin zu ihrem gefeierten "A.D."-Album im Jahr 2010. Eine epische Rückkehr, "The Brink" ist ein glorreiches Doppelalbum - NWOBHM-zweifach-Gitarrenattacken, gewichtige Doom-Power und rifftrunkene Sea Shanties. Luxuriöses farbiges Vinyl plus wunderschönes Gatefold-Sleeve für Fans von Monolord, Haunt, War Cloud, The Obsessed, The Necromancers, The Atomic Bitchwax, Uncle Acid. Das letztes Album 'A.D.' wurde von iTunes (neben High on Fire, Monster Magnet, Unearthly Trance) zu einem der besten Metal-Alben des Jahres 2010 gekürt, "The Brink" auf Blues Funeral wird vielleicht eines der besten des Jahrzehnts.

Isella doesn’t flinch from the horror stitched into the fabric of the feminine experience. Citing writers like Plath Margaret Atwood, and Mona Awad as germinal influences on her lyricism, Isella plunges into the underbelly of expectations of good-girlhood, of valiant womanhood. In her songs she splays out the stakes of it all, plumbing the viscera, unearthing the blood, guts, dirt, and decay lurking beneath. By the time she hit fifteen, Isella’s taste had expanded and grown darker and more mature. Artists like Nine Inch Nails and Tom Waits became a conduit for the kind of raw intensity she’d always been drawn to, and gave her permission to push herself to new depths of expression. This is evidenced on her latest EP; That freedom that Reznor et al. endowed to the songwriter are evidenced on her latest EP; Something is a shell . Isella’s vocals swing from coolly detached to emotional detonation, often in the span of the same song. She brings listeners into a world colored by feminist hyper-realism, challenging listeners to re-define ideas of femininity, and safety; to see that things are not okay.

Unearth a rare funk gem from Snapdragon! In 1975, El Carey, a pivotal member of the Crowd Pleasers, launched a solo career and released this 45 that became a local underground hit. Recorded, produced, and performed by El himself, these tracks are now re-released by Regrooved Records for funk enthusiasts worldwide. 'Hardluck' embodies the essence of 70s psychedelic funk with its irresistible groove and soulful vibes. Dive into the groove and secure your piece of musical history with this essential 7" record. Experience the magic of El Carey's unparalleled artistry today.

Perro Bueno is back with a sixth volume of edits that will only heighten his reputation in underground circles. Side A's 'BLRF' brings big but raw jazz-funk energy thanks to the blazing horn and that unmistakable Bueno swing. Flip it over, and 'NFSA' unearths a long-lost Afro groove that has been lovingly reimagined with deep respect for its roots and a sharp ear for the dancefloor. The art here is merging crate-digger nostalgia with fresh club energy that cuts through contemporary dance floors. Bueno's groove is also a defining factor and unstoppable as ever as his edit story keeps on rolling and keeps it thrilling.

Isella doesn’t flinch from the horror stitched into the fabric of the feminine experience. Citing writers like Plath Margaret Atwood, and Mona Awad as germinal influences on her lyricism, Isella plunges into the underbelly of expectations of good-girlhood, of valiant womanhood. In her songs she splays out the stakes of it all, plumbing the viscera, unearthing the blood, guts, dirt, and decay lurking beneath. By the time she hit fifteen, Isella’s taste had expanded and grown darker and more mature. Artists like Nine Inch Nails and Tom Waits became a conduit for the kind of raw intensity she’d always been drawn to, and gave her permission to push herself to new depths of expression. This is evidenced on her latest EP; That freedom that Reznor et al. endowed to the songwriter are evidenced on her latest EP; Something is a shell . Isella’s vocals swing from coolly detached to emotional detonation, often in the span of the same song. She brings listeners into a world colored by feminist hyper-realism, challenging listeners to re-define ideas of femininity, and safety; to see that things are not okay.

HYPER GAL are restless. Since 2019, Kansai’s minimalist duo has been in persistent, perpetual motion.

In January of 2024, SKiN GRAFT Records introduced HYPER GAL to western audiences, giving the previously self-released album “Pure” a worldwide release. It was followed by “After Image”; a new full-length record; in September of that same year. In short order HYPER GAL left Japan to embark on a month-long European tour, performing at festivals such as Left of the Dial in Rotterdam and Le Guess Who? in Utrecht.

Consisting of Koharu Ishida (vocals) and Kurumi Kadoya (drums), HYPER GAL craft a sound all their own, characterized by avant-garde rhythms, looping landscapes, and hypnotic vocals. Their music resists traditional genre boundaries to carve out a truly singular sonic space.

With their fourth album “Our Hyper”, HYPER GAL thrust their sound into a deeper, harder core. Songs unfold into surprising shapes, embracing shadowy turns emboldened by a heavier low-end, while unearthing sharp takes on Japan’s harsh noise roots. The drums have grown even more acrobatic and unorthodox, while the vocals take on new colors, shifting from mesmerizing repetition to melodic, pop-tinged expression.

The album’s artwork is no less adventurous and features masks created by contemporary artist Tokiyoshi Akina and photographed in the band’s own hands, signaling resistance to the performative dualities of social media and a commitment to authenticity.
Despite the lean, unadorned two-piece setup, HYPER GAL’s music attains an intense and unmistakable presence - an unwavering momentum driven by an unrelenting intent. “Our Hyper” is HYPER GAL amplified.

"With each release they appear as mirage sculptors, using simple tools (drums, keyboards, vocals) in craft of multi-genre spanning work which only becomes more captivating the simpler their execution becomes...”
– MYSTIFICATION

American Steel is the last great band to come out of Berkeley's 924 Gilman scene. Forged in the same ¬res as Operation Ivy, Crimpshrine, and Rancid, these soulful punks have at long last decided to unearth their self-titled album from 1998. AmSteel evolved into one of the most artful and sophisticated punk bands around, but this quartet began as a truly raw and wrathful DIY outfit, and we're grateful for the opportunity to share this 17-song hidden gem. We have been begging the band to release this material since Red Scare first began. Literally pestering them for twenty years. Listen to this dynamic debut and you will understand why.

Orange Vinyl with exclusive illustrated notes/lyric insert ltd to 300 w/w.“Zimmerman conjures up a kind of Arcadian folk surrealism that is utterly his own” MOJO Never released before collection featuring Ian A Anderson & Maggie Holland recorded 72-80 is among Tucker’s finest - Free-ranging, Playful, Intimate - his Songpoet imagination unbound and in full bloom now on colour Vinyl for first time with (exclusive to this version) illustrated lyric insert with notes from Tucker.Recorded between 1972-80 this is the first ever release for ‘I Wonder If I’ll Ever Come True’ a stunningly beautiful, homegrown collection by Songpoet Tucker Zimmerman and friends. The range and depth is astonishing. From the heady surreal journey of ‘It All Depends’ Upon the Pleasure Man’, to the uplifting Gene Clark-esque 'So It Goes’, to some of his most beautiful & touching love songs in ‘Let’s Start Over Again’ & ‘Song’. Only one song has seen the the light of day before now - ‘Taoist Tale’ from his 1984 album ‘Word Games’. This recording from a decade earlier loses no power in its folkier stripped down style driven by Tucker’s strong narrative.

While living in bucolic seclusion in Belgium with Marie-Claire, Tucker invited visiting musicians (Derroll Adams, Wizz Jones, Maggie Holland, Dave Evans, Ian Anderson) into his home studio to play and live tape whatever songs he had at hand. Maggie Holland and Ian A Anderson feature, while Tucker found a freeing simplicity in just guitar, ’70s organ, bass and piano. We are so grateful to Ian A Anderson, who carefully kept and curated these recordings from 50 years ago. “Every time I would leave, Tucker would hand me another tape full of songs”. Ian worked with Tucker and ourselves to present this wonderful album. The collection is among Tucker’s finest - free-ranging, playful, intimate - his Songpoet imagination unbound and in full bloom. The ethos, the playing, the freedom, feels like Ronnie Lane’s time in the Welsh Borders. Unhurried, liberated, down-home and cosmic. Extraordinary music made among friends.
"Startling collection of intimate, home-recorded songs from the cult singer-songwriter adored by David Bowie and Big Thief alike.

When I first interviewed Tucker Zimmerman back in 2015 neither of us had any idea that, a decade later, he would be venerated by a new coterie of young fans, touring with maximal folk-rockers Big Thief and recipient of a concerted reissue campaign by the wonderful Big Potato Records. Last year I eulogised the “Arcadian folk surrealism” of his 1974 LP *Over Here In Europe but, if anything, this informal collection of intimate home-studio recordings is even better. Recorded between 1973 and 76 whilst living in Belgium and hosting such visiting folk musicians as Derroll Adams, Wizz Jones, Maggie Holland, Dave Evans, and Ian A. Anderson this is the kind of assured, organic freewheeling folk music that has the mellow, introspective rough-edged feel of some lost private-press LP, the kind rightly revered by Endless Boogie’s Paul Majors as “real people” music. A true find.” Andrew Male MOJO 4/5
“Here's a charming oddity: an unreleased album dating from the mid-Seventies by an American-born songwriter beloved of David Bowie and, more recently, Adrianne Lenker of the folk-rock band Big Thief. Zimmerman's a bohemian type who eschewed the big time for a life of gigging around Europe. He, his wife, Marie-Claire, and a handful of friends recorded these songs in seclusion in the Belgian countryside, and what songs they are. Slide On could have come from the Byrds when they discovered country music, Let's Start Over Again captures the dreamlike experience of being in love with unsettling clarity. This is a real unearthed gem.” 4/5 The Times

From the quiet desolation of earlier Iterum Nata now rises something heavier – more aggressive and defiant. With “Heartwood”, Finnish multi-instrumentalist Jesse Heikkinen (The Abbey, Henget, ex-Hexvessel) reshapes his progressive rock and neo-folk foundations through the crucible of metal, layering doom-laden riffs and blackened textures upon the project’s introspective core.

To give this vision its pulse, Heikkinen enlisted Ukrainian drummer Yurii Ciel (Stoned Jesus, Cailleach Calling, ex-White Ward), whose expressive performance transforms “Heartwood” into the most visceral Iterum Nata release to date. Together they carve a sound both expansive and immediate: progressive journeys steeped in folk atmosphere, driven by the weight and force of metal.

The record also features rare guest appearances: King Dude lends his commanding voice to “Forgiveness Undone”, Alexander Kuoppala (ex-Children of Bodom) unleashes a searing solo in “I Have Been Sacrificed”, and Sami Hynninen (Reverend Bizarre) delivers an unearthly vocal in “Only Ash and Bones Remain”.

“Heartwood” is an album hewn from fury yet tempered by revelation. Where past Iterum Nata releases drew from solitude and sorrow, here the wellspring is anger – but anger that points beyond itself, toward beauty, hope, and transcendence. It is a meditation on the spiritual war within the collective unconscious, channelled through music that flows between Anathema and My Dying Bride, Opeth and In the Woods…, Pink Floyd and Green Carnation.

MEMORIALS jump off the waterslides and head above the clouds with their stunning second album proper, 'All Clouds Bring Not Rain'. The duo of Verity Susman and Matthew Simms (formerly of Electrelane and WIRE) locked themselves away in a studio in a barn secluded deep in the woods in southwestern France and re-emerged with a beautiful, unusual record that is both melodic and unconventional. For such an ambitious album it's striking that it was written, performed, recorded and mixed solely by the two of them. Sounding like an unearthed classic, MEMORIALS twist their influences into their own unmistakable sound. Imagine Nico singing with Can produced by David Axelrod and you're somewhere in the right ballpark. The record draws inspiration from a wide range of music including folk, dub, post punk, experimental tape music, 60s soul, garage rock, 70s spiritual jazz and Canterbury prog. Verity's distinctive, unadorned singing is a focal point of the record, moving from tender to wild. Her vocal melodies quickly become earworms, providing the tuneful heart around which the songs' more unorthodox elements are arranged, which is where Matthew's unconventional approach to recording and production comes to the fore. With their adventurous arrangements, classic songwriting skills and innovative production techniques, MEMORIALS have created another mesmerising listen that's accomplished and compelling in its unique approach yet remains dizzyingly immersive - just like their acclaimed live shows. "Exciting and unpredictable" The Guardian "Everything you'd expect from a duo adept in the strange and esoteric, while also in thrall to pop music's melodic bent." The Quietus "Stunning, kaleidoscopic tunes" Electronic Sound "Engagingly eclectic" UNCUT "Divinely tuneful yet confrontational" The Wire "Kaleidoscopic art-pop and adventurous psych-rock with an immersive, experimental aura." KEXP.

In many ways, OLDE OUTLIER rise from the legacy of Australia’s late Innsmouth — a cult band whose 2014 debut Consumed by Elder Sign endures as an underground classic. The connection is more than symbolic: guitarist Askew, vocalist Appleton, and bassist Greenbank all passed through Innsmouth’s ranks, while Beau Dyer now leads this new incarnation after years spent shaping the sound of Innsmouth and the earlier project Grenade.

From Shallow Lives to Shallow Graves marks OLDE OUTLIER’s recorded debut, a four-track, thirty-five-minute descent into their own cavernous realm. While faint echoes of Innsmouth’s inspirations — Armoured Angel and early Samael — linger, the band draw from a broader and far more obscure constellation. Shades of Amon Goeth, Martyrium, Head of the Demon, and Florida’s Equinox collide with the spectral drift of Ophthalamia and early Katatonia and Tiamat, all eroded and blackened into something untraceable.

Despite these depths, OLDE OUTLIER avoid any sense of technical indulgence. Their sound carries a rough, deliberate simplicity — a raw and smoky power that pushes each of the four long tracks forward with unhurried certainty. The songwriting unfolds through patient repetition and subtle shifts, allowing motifs to seep into place and gradually hypnotise. Appleton’s low gutturals bring a grim, expressive edge reminiscent of early Septic Flesh or Thou Art Lord, while the more open, lead-driven riffing imparts a distinctly archaic heavy metal aura that separates this band from their origins.

At many moments, that union of grit and atmosphere surpasses even Innsmouth’s achievements. Accented by well-placed clean and chorused guitar lines, From Shallow Lives to Shallow Graves becomes an immersive and strangely timeless work — a glimpse into an ancient, dimly lit world where OLDE OUTLIER feel less like a new formation and more like something unearthed from a forgotten past.

Opaque Pink Version

Bubble Bath for Giants is an ode, a Tribute, a reverence for Oceans, for the Mighty Magnificent Power of Fairies, to the energy that we are all everything, whole, well, but in different sized and shaped vessels at times . . . It is a Celebration of Gentleness and of incredible Force, and Charge . . . These, I sea as the same. The Yang Springs from the Yin and together they ever reflect, dance, and express themselves . . .

Many Bells, Bowls, Ceramics, Chimes, Cymbals, Drums (Bass, Sakara, Surdo, Tom, and many more,) Gongs (Chao, Cup, Indonesian, Sun, and Symphonic,) Keyboards (Metal, Synthesizer, and Wooden,) Percussion, Plant Leaf Bundles and Fronds (Bamboo, Eucalyptus, and Palm,) Ratlles, Shakers, Voice, Whistles, and Sound Design by Carlos Niño.

Featuring:
Luis ​Pérez Ixoneztli, Bernard Xolotl, ​Aaron ​Shaw, Surya ​Botofasina, Nate Mercereau, Laraaji, Darius ​Jones, Sheila Govindarajan, ​Idris Ackamoor, Deantoni ​Parks, André 3000, ​Marshall Allen, Sam ​Gendel, Sibusile ​Xaba, Mia ​Doi Todd, ​Anisia Uzeyman, Saul Williams, Jojo Abot, Jowee ​Omicil, Aztlan ​Unearthed

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Cover Photo by Carlos, from in the Maui Waters
Art Direction, Design and Original Art by Nep Sidhu
Layout Production by Jonny O'Hara

Recorded by Carlos Niño in Topanga, California, and by some of the Artists named above, from their Homes . . .

Mastered by David Allen

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- For all fans of the Wamono series!

- All tracks selected by DJ Yoshizawa Dynamite. Includes the first ever vinyl release of The Peanuts' "Ohara Bushi" track, originally released only on tape in 1970.

- Fully licensed King Records masters.

- Mastering and lacquer cut by Jukka Sarapaa at Timmion Cutting Lab, Helsinki, Finland.

- 180g heavy vinyl pressing, reverse board jacket.

- Artwork by Nicolas Kerembellec (Nker).

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Active as a professional DJ in Japan since the late eighties, DJ Yoshizawa Dynamite is also a renowned remixer, compiler and producer. An avid record collector and an expert of Wamono music, Yoshizawa has published in 2015 the now-classic Wamono A to Z records guide book, which instantly sold-out. The book unveiled a myriad of beautiful and rare records from a highly prolific, but still then unknown, Japanese groove scene. He has also selected a large part of the music in our highly acclaimed Wamono compilations.

For this brand new chapter in the series, Yoshizawa explores King Records' legendary catalog and unearths exceptional, rare and unknown musical gems. King Records has been releasing music since 1931 and is one of the most prestigious labels in Japan. Traditional Japanese music, known as "Minyo", are ancient songs once sung by fishermen, coal miners and sumo wrestlers. They are reimagined here with vibrant afro latin, rock, rare groove and funky arrangements in this killer selection of music released on King between 1963 and 1979. Also worth mentioning is the track Ohara Bushi by The Peanuts, which was released only on tape in 1970 and is now available for the first time ever on vinyl format.

Put the needle on the record, turn up the volume and dig right now into the Wamono sound - the cream of the Japanese funk, soul, rare groove and disco music developed throughout the years since the end of the fifties in Japan!

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180GWALP08 - Manufactured and distributed by 180g.

MIXED SUGAR - GANGSTER GIRL b/w IT’S A BAD FEELING / I’M SAD WE’VE BROKE UP.

MIXED SUGAR were a 70s soul group from Flint, Michigan led by Regional Garland - The main man toiled in obscurity for years writing, singing and producing a series of revered 70s & 80s soul songs, as in The Perfections, 21st Generations, Vann & Reggie and Brilliance.

All three tracks on this 7” appeared on the 2012 compilation, ‘Regional Garland - Mixed Sugar The Complete Works,1970 - 1987’ from reissue imprint masters, Now Again Records.

Two of the tracks were previously unreleased until this wonderful collection unearthed them. The raw, funky and soulful ‘It’s A Bad Feeling’ came out on F.G.S. Records in 1974 and commands a £500 price tag.

We are highlighting ‘Gangster Girl’, a song with a great storyline and now taken to a new level with an extended edit - wah wah effects, swirling strings and there’s a killer instrumental break!

Represss!

Z Records continues its commitment to unearthing the obscure and
long forgotten tracks from the last 40 years through the ever-popular
Under The Influence series. Following on from Red Greg, Nick The
Record, Sean P, Faze Action, and last years Alena Arpels. It’s now the
turn of one of the scene’s most impressive collectors & DJs; Rahaan

Hailing from Chicago his love affair with muzik started in the late 70’s early 80’s, listening to muzik on the radio combined with his mom and dad playing their records every weekend. In the early 80’s on the South side of Chicago, he started hearing something a bit different, what they called ‘house muzik’. A combination of Disco, Jazz, Soul Funk, New Wave and Italo Disco. Here Rahaan digs deep into his impressive record collection that he has collected, built up and crafted over his many years of travelling, networking and DJin to showcase 22 of his finest and rarest cuts. Many of the tracks on the album would cost hundreds and that’s if you were even able to find the originals! As always with ZR compilations a lot of time and effort has been spent on creating these masters from the original vinyl, cleaning them up, removing all the clicks and pops resulting in the cleanest sounding copy possible.

2026 Repress

This new EP on OCD is once again another project into which we’ve poured all our love and attention, carefully working with the artist to compile a release that would, at least in our vision, stand the test of time.

Our friend Harsh (Reformed Society) caught our attention through his outstanding double EP on Basic Moves. A subsequent, very synchronistic real-life encounter with him in Barcelona led to this EP, which pays homage to the early 2000s Progressive House era.

This era played an important role in our musical journey, as it did in Harsh’s own. Within this project, he fuses the influences of that time with his own refined taste, resulting in three tracks that could easily pass as unreleased material unearthed from old dusty DATs from that era.

Mai Mai Mai’s artistic path has never rested on laurels, it’s been a constant evolution, a profound and poetic research, a dark and dusty journey through awareness and collaborations where the heart of the process has always been about building connections and understanding people and their rituals. Mai Mai Mai’s new album ‘Karakoz’ was mostly recorded in Palestine (Ramallah and Bethlehem) in 2024 during an ongoing genocide and follows his acclaimed Southern Gothic double-album ‘Rimorso’. The album opens a new chapter for the Roma based artist, a deeply personal record where his traditional industrial miasma flows into a weeping vortex of spiritual hymns, Mediterranean hauntology and Middle Eastern chants of sorrow, carrying the despair of a battered population and matching the fighting hope with echoes of ambient bliss. Recorded during his artistic residency in collaboration with Radio Alhara and Wonder Cabinet, the album is the result of an immersive six-week residency between January and May 2024, in Bethlehem and Ramallah, where Mai Mai Mai delved deep into the traditional music of Palestine, meeting and collaborating with local musicians, exploring archives, and recording the resonances of the land. This deep engagement allowed him to unearth the intricate layers of Palestinian sonic heritage, weaving them into his own sonic language.

While it remains a remarkable achievement, Mavi’s breakthrough debut album Let The Sun Talk was the work of an artist still coming into his own, recorded when the gifted emcee was a teenager attending Howard University. After touring with Jack Harlow and working with artists like Earl Sweatshirt and Pink Siifu, the Charlotte, North Carolina wordsmith returned three years later with the acclaimed follow-up Laughing So Hard, It Hurts, an emotional meditation on life’s complex duality. Embedding his dense flows within lush instrumentation and stuttering percussion, Mavi unearthed new lyrical depth on the album, navigating through joy and sorrow, grief and hope, pain and healing. While many artists have struggled to match the heights of a beloved debut, Laughing So Hard, It Hurts proved that Mavi would only continue to elevate his virtuosic self expression with each new release. Eloquently cascading rhymes reveal an artist searching for truth through a vast scope of thought, floating atop serene production from Monte Booker, Dlyvinci, Ovrkast, and more. After very limited initial pressings, this classic 2022 collection is now receiving its most extensive vinyl release to date.

As far as disco bangers go, they don't come much better than 'To Be With You Again'. The shock is hits is actually a brand new tune on a new label rather than an unearthed old gem. It's a heart-swelling sound with symphonic strings and swooning energy all finished in magnificent style by the stunning vocals from the Choir of Angelic Disco Angels. Getaway Jones adds the tight bassline and some superb keys to make this a must-cop 12" this is guaranteed to fly off the shelves. An instrumental on the flip is just as moving, but it's the vocal-fuelled A-side that really soars.

APORIAMOR noun 1. The death of love’s contradiction.
| “Embody APORIAMOR”

Etymology
aporia-: an irresolvable internal contradiction or logical disjunction in a text, argument, or theory. from Greek aporos ‘impassable’, from a- ‘without’ + poros ‘passage’
-amor: love. Sentimiento intenso del ser humano que, partiendo de su propia insuficiencia, necesita y busca el encuentro y unión con otro ser. Del latín amor.
-mor: latin for death.

APORIAMOR explores the affective ontological and organic processes of love and lust in the turmoil of an urban existence, through the female lens. It expresses the process of strengthening through heartbreak in its various forms.

With her debut EP The Art of the Concrete, elsas knew that by giving that name to a record which was ironically expansive and experimental, she would be calling for a distilled and clearer path further down the line. This is what she’s been incorporating into the sonic world of this new EP, APORIAMOR, signifying the birth of a more matured and distilled version of herself as an artist.

With APORIAMOR (“the death of love’s contradiction”) elsas conveys a personal process of healing in the romantic space. Through different experiences of heartbreak, elsas builds a language - a coping mechanism attached to its subsequent artistic expression – that isn’t founded on hardness or a closing-off, but instead, on a playful but profound reckoning, and learning of self-worth.

APORIAMOR embraces the complexities of being a lover-girl: of moving through life with an open heart. It celebrates the clarity, sweet hindsight, and detachment that come from processing emotion. APORIAMOR is both an affirmation and a release.

elsas makes canonical blends with a forward boundary-bending vision. Her sound in this record is naturally referential of both her Mediterranean heritage and UK alternative music — intrinsic parts of her lived experience. She has had the opportunity to collaborate with artists she deeply admires, each exchange enriching her creative world.

The experience of working hand-in-hand with Sampha for the last 3 years and ongoingly has been a core of her evolution as an artist. She has also collaborated in many forms with artists like Florence + the Machine, Little Simz, Jordan Rakei, Jockstrap, Obongjayar, Black Country New Road, Genevieve Artadi (KNOWER) and Duval Timothy. Additionally, her ongoing work with the Idrîsî Ensemble, of which she is a core member, continues to inform her artistic depth.

The making of this largely self-produced record unfolded over four years — “it’s a well-kneaded dough,” she says. These songs evolved through exposure to multiple environments: from early writing sessions in her childhood home in the Spanish countryside, to stages across the U.S. while on tour supporting Sampha.

Experimentation and modulation are an intrinsic part of elsas’ method, conceiving songs as organisms that respond to their surroundings. Collaborators on this collection of songs include Shrink, Will Lister, Gabriel Gifford, Ethan P. Flynn and more. The record was mixed by David Wrench (a long-time supporter of elsas’) and Nathan Boddy, and mastered by Matt Colton.

With APORIAMOR, elsas creates a visual world from the fabulation of the past, as an act of playful historical revisionism in which she embeds herself as both subject and storyteller. The songs function like an archive of her experiences across various years, each one unearthed and presented as some sort of archaeological artifact. Through this body of work, elsas begins to conceptualize herself as a legacy artist: one who honors the archive of her own becoming while emerging as a distinct and resonant voice in today’s musical landscape.

On one hand, it could be bumming out the people who enjoyed hearing what the band evolved into. On the other hand, nostalgia sells...and daddy needs to eat! So...Nevermind 2! Broken Bones and Bloody Kisses has seen a few vinyl pressings in the past, but landing a physical copy of You Are My Canvas (which was only released on burned CDs, crafted in the Lovat- Frasers' basement) is almost impossible. And ooooooh boy...the pre- demo demo (or PDD) versions of "Sketch Artist Composite" and "The Anatomy of the Journey"? Those puppies - with me (Connor...hi!) on vocals/drums and Jeff playing everything else - were only available on the Y2K version and basically only used to recruit other band members. Smash all these old chestnuts together in one release and see what happens! Why not? It perfectly captures the whole spirit of early BOYS NIGHT OUT. But what title does one bestow upon such a sonic siphonophore? There are 3 versions of "Sketch Artist Composite".

Do you call it Sketch Artist Composite Plus Other Songs? Do you go all in on a lyric- based title like Fuck Us Where We Breathe? Decisions, decisions! Probably best to follow Costa's sage advice and go with Nevermind 2. So, almost exactly two decades after our first show - July 19, 2001 @ The Oakville Pine Room with Sky Came Falling, Unearth, and Rise Over Run - may we present unto you, Nevermind 2! What's old is new again, probably?

Wood White Sessions, the new sub label of Berlin based Sushitech Records dedicated to laid back, atmospheric dub presents its second release.
Roots For Your Soul, the new 12” album from Bristol’s Tubby Isiah, marks their second full length outing.
Featuring right stunning tracks, the record blends fresh material with carefully unearthed, previously unreleased archive sessions.
Together, these pieces form a heartfelt dub journey, rich with warm textures and unmistakable sonic character that define the Tubby Isiah’s sound.
Mastered at Wood White Studios and beautiful finished with artwork by in-house designer Scott Cottrell.

Wood White Sessions, the new sub label of Berlin based Sushitech Records dedicated to laid back, atmospheric dub presents its second release.
Roots For Your Soul, the new 12” album from Bristol’s Tubby Isiah, marks their second full length outing.
Featuring right stunning tracks, the record blends fresh material with carefully unearthed, previously unreleased archive sessions.
Together, these pieces form a heartfelt dub journey, rich with warm textures and unmistakable sonic character that define the Tubby Isiah’s sound.
Mastered at Wood White Studios and beautiful finished with artwork by in-house designer Scott Cottrell.

includes unearthed fragments of Bladder Flask by Richard Rupenus, circa ’80s, The paths of Nurse With Wound and Bladder Flask first crossed in 1980 and the following year Bladder Flask’s debut album One Day I Was So Sad That The Corners Of My Mouth Met & Everybody Thought I Was Whistling (Orgel Fesper Music) was distributed by United Dairies. Following the aborted project for a second Bladder Flask album, scheduled for 1981, some forty years later, Richard Rupenus approached Steven Stapleton to use fragments of old recordings he’d unearthed from “Bladder Flask”, an invitation that Stapleton accepted, and rather than simply remixing or reworking existing Bladder Flask tracks, Steve Stapleton and Andrew Liles have succeeded in reinforcing Nurse With Wound and Bladder Flask’s sense of the absurd in this new opus “Backside”.

CER009 finally brings Pumphouse Gang – “Welcome Back Into My Life” back to the 7inch format, a killer slice of Irish modern soul perfection from 1979. Originally pressed in tiny quantities and barely escaping dublin, it’s one of those records that rarely becomes available. A favourite of label boss miche, it’s in his words “an unbeatable soul track, that really fills a dancefloor with smiles”

On the flip, Medlar steps up once again, this time sending his mix straight from the Cayman Islands — a dubbed-out, Part 2-style reprise that stretches the groove, teases the rhythm, and gives the track a second life for late-night dancefloors.

As always, Celestial Echo digs deep into the overlooked corners of soul and disco, unearthing some of the best soul records and giving them a new lease of life. Each release is remastered with care and presented with the respect these recordings deserve.

Man O To from the elusive producer NU is finally set to be released as a single on Crosstown Rebels, featuring remixes from Parisian producer Pépé Bradock who producers two amazing takes on the original. Since its inclusion on Acid Pauli's Get Lost Compilation in 2012, the track has gained huge support and become a modern-day electronic classic.
A nomad of modern times, NU has travelled the continents with his diverse music to unearth his imitable style. Represented heavily in Man O To, where instruments amalgamate with electronic production to become solid rhythms. An extra spark come from its lyrics, outtakes from an old Persian poem from the well known poet Rumi, who speaks of true happiness in love here performed by Ghazal Shakeri from an original recording made by renowned French composer Armand Amar.
Julien Auger aka Pépé Bradock is a widely respected producer best known for his ground breaking remixes and releases on labwes such a Avatisme, Classic and Versatile Recordings. As a DJ, he has spun in almost every major club in the world and is known for his versatile, and mesmerising style. Bradock conjures a trippy remix and dub version of Man O To and fitting ode to the original.

agoya-based multi-instrumentalist and rising DJ Hiroyuki Kato returns to the ever-consistent Flexi Cuts with Life 今 (FLEX 031), a record that perfectly distills the artist’s layered approach to sound and the label’s instinct for unearthing voices that carry both groove and depth. Having built a relationship with the label over the past two years—already signing an EP and a single—Kato now delivers a project that feels like a culmination of that dialogue: four tracks on wax, complemented by an additional cut exclusive to the digital edition.

True to its title, Life 今 exudes immediacy and presence. Kato draws on his background as a polyrhythmic player, folding live instrumentation into supple house frameworks, always with a subtle melodic sensibility. The vinyl selections range from the quietly propulsive to the rhythmically expansive, each tune infused with that warm, unhurried Flexi aura. Basslines strut with understated confidence, chords shimmer with daylight energy, and the arrangements move with a natural, unforced flow.

What stands out across the EP is Kato’s ability to balance the organic and the synthetic, never leaning too far into polish or rawness but finding a fertile middle ground that feels both contemporary and timeless. It’s the sound of someone equally at home behind a guitar as in the DJ booth, someone who understands that club music gains power not just from rhythm but from emotional resonance.

Flexi Cuts has long been a home for thoughtful, groove-driven records, and Life 今 is no exception. It is music that doesn’t demand attention with force, but rewards close listening with detail and atmosphere. At once intimate and club-ready, grounded yet expansive, it’s a confident statement from Hiroyuki Kato, an artist steadily carving his space within Japan’s evolving electronic landscape and beyond.


~~~~*
Written and produced by Hiroyuki Kato in Seto City, Japan
Mastered by Francesco Brini at Spectrum, Bologna
Distributed by Rubadub, Glasgow.
Designed by Galluzzi
A&R Simone Guerra aka Relative

Flexi Cuts, Italy 2025.

2026 Repress

HOLY GRAIL ALERT!!! Following on 2021’s massive reboot of Midnight Magic’s seminal classic Beam Me Up, Razor-N-Tape have now unearthed a bit of NYC indie disco history with 'I Found Love.'

Although recorded over 10 years ago in Midnight Magic’s nascent early period that produced many of their legendary hits, the song never received an official release; until now it has been heard only by select ears and lucky concert-goers. The package comes with a grip of luminous remixes by Dimitri From Paris & DJ Rocca, Sophie Lloyd, Perel, some solicited at the time of recording and some brand new, but all exceptionally fresh!

Here are some words about the song by the band:

“'I Found Love' was recorded in a fever on the heels of releasing 'Beam Me Up' New York dance music wizard Tommie Sunshine approached us about a co-write saying we should go as big as possible. So we did, it is one of our all time favorite vocal performances from our singer, Tiffany Roth. We had big plans, too, for a release but nothing quite felt right until meeting the Razor N Tape crew almost a decade later. Finally the stage is set, the lights are on, and we're ready. This song is very special to us because it is the last unreleased recording of our original lineup. We dedicate its release to our late bandmates Andrew Frawley and Jason Disu.”

“Godzilla just walked into the room. People just stood there with their eyes and mouths wide open.” To hear Randy Holden describe the audience’s reaction in 1969 to his solo debut performing with a teeth-rattling phalanx of 16 (sixteen!) 200 watt Sunn amps is about as close as one will get to truly experience the moment heavy metal music morphed into existence. However, at last Riding Easy have unearthed the proper fossil record. Population II, the now legendary, extremely rare album by guitarist / vocalist Holden and drummer / keyboardist Chris Lockheed is considered to be one of the earliest examples of doom metal.

Though its original release was a very limited in number and distribution, like all great records, its impact over time has continued to grow. In 1969, Holden, fresh off his tenure with proto-metal pioneers Blue Cheer (appearing on one side of the New! Improved! Blue Cheer album and touring for the better part of a year in the group), aimed for more control over his band. Thus, Randy Holden - Population II was born, the duo naming itself after the astronomical term for a particular star cluster with heavy metals present. “I wanted to do something that hadn’t been done before,” Holden explains. “I was interested in discordant sounds that could be melodic but gigantically huge. I rented an Opera house for rehearsal, set up with 16 Sunn amps. That’s what I was going for, way over the top.” And over the top it is. The six-song album delves into leaden sludge, lumbering doom and epic soaring riffs that sound free from all constraints of the era. It’s incredibly heavy, but infused with a melodic, albeit mechanistic, sensibility.

Troubles with the album’s release bankrupted Holden, who subsequently left music for over two decades. It was bootlegged several times over the years, but until now hasn’t seen a proper remaster and has yet to be available on digital platforms. “The original mastering just destroyed the dynamics of it,” Holden says. “They flattened it out. Now we got a really nice remaster that should be the closest thing to the original recording.”

Unearthed from the original DAT at Strange Weather Studios in South London, Get Fucked's Unearthed Stash traces a chronological journey through the legendary group's earliest recording sessions, from the raw chaos of their 1999 debut album to the more refined dub house explorations that led into their second LP.

Sourced from the best surviving master DATs this collection brings together remastered classics, lost versions and previously unreleased edits, offering unfiltered look into one of the UK underground's most fearless creative period.

Each track has been carefully remastered to preserve the saturated punch, tape grit and raw energy of the original sessions, while expanding definition for modern sound systems.

Pressed on 180g heavyweight black vinyl, Unearthed Stash is strictly for collectors and true heads preserving the energy and attitude that made Get Fucked pioneers of the London underground sound. A raw document of a lost era, revived.

Archival Gold. From The Source. Unearthed at Last.

2026 Repress

Atmospheric Vol 2 is the second single to be taken from Deepchord's latest full length but sees him stray from the album tracks, bringing 3 exclusive pieces to the vinyl, keeping in the same musical vein as Ultraviolet Music.

Exploring the North & Pinewood Lodge see Rod Modell on more Deep Techno excursions as beautifully sweeping pads and glistening synths drift by ever evolving, perfectly processed atmospheres. Deepchord's unique use of subtle field recordings throughout give both of these tracks a real heady/druggy quality and his seamless loops allow you to drift of into his fully developed dream world. Shot Point delves into straight up ambient territory with Deepchord striking an unearthly balance between the natural and synthetic world. Yet more flawlessly collected field recordings wash away on an ocean of reverb soaked pads, drowning the listener within its mesmerising tides.

Tooflie's shadowy crate-diggers return for their sixth expedition, this time unearthingmelodic relics from the sands and stone of the SWANA region. The A-side opens with acharismatic locally-well-known Boris Timur from Azerbaijan, reshaping his half-crimechanson half folk music into a slinky, percussion-driven anthem that sways betweenmysticism and dancefloor intent. A2 dives deeper into the vaults: a cryptic cut built onearly hip-hop and electro intonations, stitched together from dusty Middle Easterngroove samples, looping like a mirage between past and future.
Turn to the B-side and the spotlight falls on a modern folk icon turned global cult heroOmar Souleyman. The first interpretation is a peak-time techno weapon, packed withfrenetic energy and built for ecstatic release. The closing track shifts gears in a slower,contemplative breakbeat journey that delves more deeply into the dabke tradition,stretching its spiraling melodies and communal pulse into a pre-dawn dreamstate.Once again, Tooflie fuses archival echoes and electronic invention into a spellbindingvinyl-only dispatch for dancers and diggers alike.

DarkSonicTales is a project by Rolf Gisler and his eponymous album his first for Hallow Ground. Having been granted an artist residency by the label in a 300 year-old farm house in the Swiss countryside in autumn 2019, the Lucerne-based musician and sound artist explored the peculiar sonic environment of the building and its surroundings through the use of field recordings, modular synthesizers, guitar, bass, kalimbas, a singing saw as well as self-built instruments. "DarkSonicTales" starts with kalimba sounds and field recordings, setting the stage for "Sonic Darkness"- a self-referential spoken word piece whose sinister jazz-like sound calls to mind Bohren & der Club of Gore. The following "Spring Feelings" contrasts insect sounds with harsh noise elements, elegiac drones and a throbbing rhythm. It's not quite what you'd expect from a piece with such a title, but the stories that Gisler tells throughout the record are more concerned with uncovering the hidden histories underneath what meets the eyes than (re-)creating idylls. The nine minute-long "I Still Believe" further underlines that by bringing together glistening synthesizer notes with industrial-like drones and field recordings that give it a palpable effect before Gisler unexpectedly changes course and quite literally bursts into song. Towards the end of "DarkSonicTales," the music becomes notably more minimalistic. Gisler experiments with the dynamics of modular drones on "Kind of Restless," juxtaposing birdsong and ominous electronic noises on "Best Buddies" before a mid-tempo beat emerges, making the record close on a decidedly hopeful note. These dark sonic tales, they have a happy ending. "DarkSonicTales" is an organic album in more than one sense of the word. Reacting to and reflecting the world around him as well as expressing his inner one, Gisler gives the sounds at the core of his multifaceted compositions space and lets them breathe. Working along stark contrasts and with surprising twists, he also shines a light on the atmospheric and emotional ambiguity of the world he encountered during his solitary artist residency-unearthing the hidden layers underneath what is perceivable.

2025 Repress

We're glad to share another vinyl relic by adept veteran Feral. 'Woodland' takes us on a trip through his immaculate craftsmanship and inimitable sound, lacing contemporary minimalist deep dub techno with tribal psychedelia.

Feral consistently carries a thread of spirituality throughout his work. Embodying the sound of deep techno through his passion for audio engineering, hardware experimentation and fascination for percussive instruments, as well as an affinity for the shamanic becomes apparent when we swirl in tribal timbres and rhythms.

Finding comfort in the solitude of his studio; the sounds of Feral unearth the path of his multidimensional world, transporting the listener to a haunting, yet grounding refuge within.

The record will be pressed in two color alternatives and come sheathed inside our custom cut hansaboard sleeves, printed in full color with an oil painting by Gabriella Holmstrom.

Detroit is where it’s at for this 8th release in the WPH U.S. Series. If we may say so we are talking Detroit royalty here, with three tracks unearthed from the 313 vaults dating back to a studio session with Moods & Grooves main man Mike Grant and the one and only Trackmaster Lou aka Lou Robinson of Scan 7 fame.

Pure, raw and dusty Detroit house grooves spread out over the three tracks ‘Music Is’, ‘Manifest’ and ‘Remember’ with a killer Reggie Dokes remix of the latter thrown in for more deepness for your buck.

It does not get more authentic than this.

The Klezmaticsare thrilled to announce the re-issue of their seminal 1990 album, "Rhythm & Jews Revisited", set for release on limited-edition vinyl LP pressed on Bio Vinyl. In 2026, The Klezmatics will be celebrating their 40th anniversary. This milestone will include the re-issue of many of their landmark recordings which will include previously unpublished material. Originally released in the pre-digital era, this groundbreaking album never made its way to modern platforms, until now. The re-issue features alternate versions of the album"s iconic tracks, unearthed from recently discovered master files, offering fans and new listeners alike a fresh perspective on this klezmer masterpiece.

Unearthed from a cache of home demos and reel-to-reel recordings, Boots No. 2: The Lost Songs is the second release of archival music from the vault of Gillian Welch and David Rawlings. Reissued on high quality audiophile vinyl for its fifth anniversary, this remarkable 48 song collection, spread over three volumes, was recorded between the making of Time (The Revelator) and Soul Journey. It is an intimate glimpse at the artist's sketchbook, containing some lifelong themes as well as some flights of fancy.

Godzilla’s/Eatin’ Dust is the most popular release in Fu Manchu’s 30 year recorded history. It is the combination of what were originally 2 distinct 10” releases: Godzilla (1997) and Eatin’ Dust (1999).In 2018, Scott Hill (vocals/guitar) found the original tapes from the Godzilla recording sessions produced by Josh Homme (Queens Of The Stone Age/Kyuss) and unearthed a secret that had been in his garage since 1996...The band had recorded 4 songs that had never been released. These extra songs are early versions of "Grendel, Snowman," "Strolling Astronomer" and "Urethane” (whose final versions appeared on 1997’s The Action Is Go) and a cover of Thin Lizzy's "Jailbreak" (which is a different version than the one which was released on 7” in 1998). The songs line up perfectly with the original tracklist, which includes the band’s crowd pleasing cover of Blue Oyster Cult’s “Godzilla” and fan favourites “Eatin’ Dust” and “Mongoose” (which was featured in a Super Bowl commercial for Toyota and included in the TV series “Sons Of Anarchy” and the films “Boondock Saints II” and “The Hot Chick”).In 2019, the band released a 2,000 unit limited edition of this new version in a triple 10" package. Due to the continuing demand after this version sold out, in 2020 the band issued a new limited edition version of 1,500 units neon green and white splatter double 12" gatefold package with 2 sided insert including the previously unreleased tracks at 45 RPM for the heaviest audio possible. Five years later, they are finally doing a repress of this 45RPM double 12” version on white with brown splatter vinyl in a limited edition run of 2000 units.

‘Unearthed Technology’ is the new EP from Introspekt, following on from her critically acclaimed debut album ‘Moving The Center’.

Anvar Kalandarov is a music archaeologist, musician and producer from Tashkent, Uzbekistan with a focus on unearthing rare and hard to find gems from across Central Asia. Last year he compiled Synthesizing the Silk Roads: Uzbek Disco, Tajik Folktronica, Uyghur Rock & Tatar Jazz, released in collaboration with Ostinato Records. He also runs his own label Maqom Soul Records. Digging Central Asia is a mixtape that journeys through the psychedelic landscapes of the Silk Road, featuring recordings recorded between the 1970s through to the early 1990s.

Limited edition Gatefold LP version on 180g Red/Black Marble Vinyl with 16-page lyrics booklet. El Pez Que Volo (The Fish who Flew) is a musical quest to unearth the divine gem hidden within oneself. A cartoonish collection of desires, phobias, pathologies and virtues which are funnelled to create an ambivalent moral mishmash of East and West traditions. This zoomorphic, naïve & messianic hero's journey is infused with a psychedelic aura that invites us to dream the impossible... Act II - The Cave: After leaving the nest, Teezûck feels he's ready to fly, but in his premature attempt he hits a bump and fails, falling back to the bottom of the sea and plunging into the darkest and most terrifying cavern of all: the subconscious mind. Reality, fiction, memories, myths and legends intertwine in this dark, acidic mirrored circus where Teezûck will have to learn to meditate and master his psyche. The El Pez Que Voló series feature a capricious, free mixture of musical styles, genres, production values and aesthetics, which serve as narrative devices to highlight moments, characters & emotions across this highly unconventional sonic expedition.

Until The End (The Lost Album) features recordings made by Wil Malone throughout 1970, possibly intended as a follow-up to Wil Malone – Wil Malone, which was recorded in mid-1969 and mastered for release on Fontana Records on July 5, 1969.
Recently unearthed from the Morgan Blue Town tape vaults, these tracks offer a compelling mix of ’60s pop and bubblegum, diverging from the original album’s string-heavy, progressive-psych sound. All the material comprises either demos or finished masters, recorded over several months. With the exception of the brass parts — performed by session musicians — all instruments were played by Wil Malone himself.
It’s a shame the debut didn’t achieve greater commercial success, as it might have brought these follow-up recordings to light much earlier, back in the 1970s.

The faultless Scruniversal has sent certified digger, Los Protos, deep into Brazil on a mission to unearth rare gems and connect with local talent. The result? A fresh discovery in the form of DJ EL OHIM, a native digger and producer with a sharp ear for a serious edit. For this latest in the SCRULSD (Scruniversal Local Sugar Diggers) series, he collides vintage Brazilian grooves with some contemporary edge and flair. 'Mentiu Pra Mim (Re-Percussao edit)' is a snappy, breaks-driven funk workout with soulful MPB vocal hook up top. 'Vamos Juntos Nesse Funk' (Re-Percussao edit)' is harder and more edgy with booming drums and Latin percussion sprinkled over the mix. Steamy tackle for summer fun.

The latest release from the music project "Tokimeki Records," which has garnered worldwide attention for its covers and unearthing of classic J-pop songs
from the 80s and 90s, with a focus on city pop, is a cover of the 1987 hit "Tsuteibo" by 80s singer and gliding writer Nina Atsuko.

Tokimeki Records has taken the original song's arrangement, which evokes the classic 80s AOR, and created a sparkling, summery 2025 sound.
The groovy medium beat and brass ensemble are a perfect match for the seaside at the end of summer.
Hikari (Mime) features on vocals. Based on a neo-soul style, the lyrics and melody evoke 80s city pop, and are expressed in a cool and solid way.

The jacket is an artistic surf photo by surf photographer Sasao Kazuyoshi, which seems to capture the world of the song.
This single is from the surf music compilation "SALT... meets ISLAND CAFE -Sea of ​​Love 3-," supervised by the magazine "SALT...," which proposes new
values ​​for beach lifestyle and surf culture.

Another future-grail rarity unearthed by Chicago's own Star Creature, remastered and reissued for the first time as a giant 2 sided 7 inch slice. TZ & Co have been pushing both sides hard over the last 5 years and judging by the recent discogs history on the OG, the world is starting to catch up. Originally an extremely limited 1-off house 12" EP the demand has been creeping up especially turning heads on the net as a track ID? requests during TZ's opening sets on the Jamie XX tour earlier this year. An overall Hardcore Punk Funk, pre-house experiment from prehistoric primitive era of the genre, this one is finally ready to debut and go global.

Developed over three years across residencies, tours, and periods of deep listening, “Your Whistle Tells of Landscape” finds Australian sound artist Alexandra Spence continuing her investigations into the perceptual entanglements of sound, place, memory, and imagination. Like much of the artist’s work, it unfolds at the liminal edge between the real and the imagined — between what is heard and what is remembered.

Composed from a constellation of materials gathered across sites and seasons — snowscapes recorded in Vancouver, insect choruses from a Sydney backyard, ceramic fragments unearthed while mudlarking with tinysound — it renders an intimate cartography of experience: one shaped equally by ecological resonance and internal drift. Each piece traces a kind of imaginary geography, where sonic ephemera become proxies for topography, weather, or myth.

The album is informed by time spent at EMS (Stockholm) and MESS (Melbourne), where Spence deepened her engagement with microtonality and tuned feedback systems, and by dialogues with sympathetic artists such as Tashi Wada and Patrick Farmer. Sound materials were sourced from Serge Modular systems, a custom lyre built by Tim Wall, amplified objects, handmade electronics, and Spence’s own field recordings captured within rockpools, beneath sand, and among a flock of sheep in the French Pyrenees. On “Magenta,” a collaboration with Delphine Dora, the domestic and mythic intertwine, as layers of voice, environmental recordings, and Halldorophone feedback drift in and out of one another like overlapping weather systems.

Despite its diverse material palette, the album resists spectacle or accumulation. Instead, it moves with a quiet sense of continuity and a rich interiority — less a sequence of compositions than a set of situated attunements. Across its duration, sounds seem to murmur, glint, or hover right at the edge of presence, invoking a listening practice that is as much about orientation as it is about reception. These are pieces not simply about place, but of place — etched with the grains of time, vibration, and breath.

Following the reissue of their acclaimed debut album in July - Rocket Girl Records is proud to announce the second transmission in the triptych of releases from Welsh sonic alchemists, White Noise Sound (WNS): an exultant, transmutational remix album celebrating the band’s admired self-titled inaugural LP featuring Pete Kember/Sonic Boom, Cian Ciaran (Super Furry Animals), Phil Kieran (techno producer/DJ), Sean Johnson (Hardway Bros) and Timothy J Fairplay (Andrew Weatherall’s Scrutton Street Circle).

WNS’s cult 2010 self-titled debut saw the band channelling their own chimeric wall-of-sound - an incantation in layers of feedback, kosmische rhythms and celestial distortion.  Now, that spell is rewritten.

Fold In Time - WNS1 Remixed sees an extraordinary line-up of artists from across the psychedelic and electronic spectrums dive deep into the band’s original recordings, dynamically reimagining the sonic architecture - unearthing new forms, hidden frequencies and arcane resonances.

Furthering the mythology of an album revered in underground circles - by peers and critics alike - these remixes push the band’s hypnotic, feedback-soaked sound into entirely new dimensions.  Expect deep psych, repetitive beats, acid purity, expansive dubbed-out landscapes and spectral ambient drones.  Tracks collapse and re-emerge, shimmering with new light.

“We wanted to honour the spirit of the original album while inviting some of our favourite artists to completely destroy it,” says White Noise Sound’s Adam Tovey.

Elektorni presents two unearthed 1994 Ismistik tracks straight from the DAT tapes. Accompanied by fresh Rolando Simmons remixes.

STANDFIRST Titanic, the project spearheaded by Mabe Fratti and Hector Tosta (aka I. la Católica), return with a sumptuous and life-affirming new album.



In her sensational 1929 biography Tiger Woman, dancer and socialite Betty May claimed her ‘coster’s eye’ meant she liked to wear as many colours as possible. “Colours to me are like children to a loving mother. Each is my favourite, yet I can never bring myself to deny the others by preferring one.” May’s bold and inclusive strategy is one that manages to transfer itself, almost a century later, to Hagen, the new record by Titanic.


Many will know Titanic as the Mexico City-based brainchild of cellist and singer Mabe Fratti and multiinstrumentalist Hector Tosta who is now operating under the pseudonym, I. la Católica, (taken, rather unusually, from the name of the street the pair live on). With Hagen, and their previous release, Vidrio, (2023), the pair are creating a distinctive signature sound in modern alternative pop music. Nobody else sounds quite like them. Both records have an open hearted nature and simple, winning melodies that play off against a taste for drama, spectacular orchestration and a feeling of otherworldly mystery. Hagen is the more ambitious, sometimes more mystical effort. From the opening handclaps of ‘Lágrima del Sol’, (a wonderfully uptempo playground chant translating as a tear from the sun but, surely, not referencing the brand of pineapple wine?), the record dances its way through various mid-to-late-eighties inspirations, lush and widescreen passages of melancholy and vertiginous contrasts.


Mystery is often found in the simple but slightly odd song titles. English translations of various track titles give, ‘you swallowed the gum’, ‘leak’, ‘a tear from the sun’, ‘raising the trophy’ ‘digging dimensions’, ‘the owner’, ‘the decapitated hen’ and ‘the trap is exposed’. All denote striking images, metaphysical hints and emotional cues or simple, even childlike actions. Though Fratti and Tosta don’t reveal its provenance, the album’s title could even be a crafty play on words: the listener would be forgiven in thinking the moments of brash contrast and eyebrow raising theatricalism in the music constitute a musical nod to German punk chanteuse, Nina Hagen.


On Hagen, singer and cellist Mabe Fratti once again displays her brilliant knack of speaking to us directly. There is never the suspicion of her playing to the gallery, and the directness of many of the lyrics don’t allow it. Parallel to this, Fratti has an almost magical ability to give Hector Tosta’s melodies, and her and Tosta’s lyrics ones imbued with an insight and meaning that feels otherworldly. Tosta admitted it was “pretty wild to hear Mabe take the interpretations to a different place” and the listener can pick up on the delight Fratti takes in (literally) adding a voice to the many narratives.


Two examples can be shown here: ‘Gotera’ (Leak) uses harsh slashes of cello and tough, gunfire-like guitars and drums and multiple vocal lines that could be acting as a Greek chorus. They play off brilliantly against Fratti’s soft, slightly baleful vocal take that delivers lyrics such as: ‘nobody knows where the leak is / but I know where it is / they fight in front of the door and / nobody can go in’. With ‘La Gallina Degollada’ the somewhat blithe melody melody line, sung with what could be sarcastic brio by Fratti, plays against an itchting rhythm and rasping guitar part. The punch comes when you see that the song is about a chicken that has been decapitated and read lyrics such as: ‘I already saw it, it moved, the decapitated chicken’ / ‘could it be that I'm broken’ and ‘Two people hurt each other by thinking that they no longer agree’/ ‘Hours pass and the chicken represents what scares me’.


There may be death and fights to deal with, but there is also a quality of chirpy self-reliance about Hagen that is a key part of its nature. Like Betty May and her colourful outfits, Hagen’s sound often revels in its own sense of richness. Throughout, the record delivers vaulting string sections or glutinous guitar squeals that could, like the powerful, driving ‘Escarbo Dimensiones’ (Digging Dimensions) have come directly from a glossy 1980s TV series. Fratti sees this “glam sound” developed by Tosta on the aforementioned track and ‘Te Tragaste el Chicle’ (You Swallowed The Gum), as moments that were truly “revealing” for the album as a whole during its making.


What else? The thud and thump of ‘La Trampa Sale’ (The Trap is Exposed), and its sudden change of tempo and mood betrays a monstrously ambitious piece of music, the players almost greedily creating the sounds. Other moments are heart wrenching: ‘Libra’ ends on a poppy chord switch that cleverly ramps up the emotion inherent in the music’s notation. You could almost imagine a teenager in a bedroom forty years ago, rewinding the track over and over on a small, cheap cassette player, unable to get enough of that sugarsweet switch. Elsewhere, Oneohtrix Point Never adds stardust and an unearthly sense of space on the changeable, slightly moody meditation, ‘Pájaro de Fuego’ (Firebird). The record ends with ‘Alzando el Trofeo’ (Lifting the Trophy), a track that could soundtrack a state wedding, what with its beautiful cascading piano parts, a sugary vocal and short triumphal guitar riffs that add a rich patina to the overall sound. Fratti: “When I doubled those vocals on ‘Alzando el Trofeo’ I felt there was an epiphany happening, right at that moment.”


Making a good record is a team game. Tosta and Fratti recall seeing Randall from Circular Ruin Studios in NYC “tweak the drums in ‘Libra’ to make that amazing effect of the gated reverb”, or the shaping of ‘Gotera’, “when (recording engineer) Nate Salon added some synths to the track.” Drummer Eli Keszler, “an amazing and versatile player” had the songs down pat in a couple of days” and, according to Tosta, Oneohtrix Point Never “just came to one of the sessions and we hung out, and after all the recordings he and Nate were together in some studio and out of nowhere they sent us some beautiful tracks for ‘Pájaro de Fuego’! Fratti concurs. “He decided that he wanted to record because he was listening to the record (Nate works closely with him) and he really liked it! It was a total honour, indeed!”


Bedazzled by the playing, the skyscraping ambition in the arrangements and the giddy moments of contrast thrown up by Hagen, we could allow ourselves a brief moment of flippancy and state that Titanic’s new record is Yacht Rock meets Aeschylus, full-on. It’s also worth speculating that, in this hyper-sensitive, intemperate age, Titanic’s music has the power, however fleetingly, to heal hurts. Hagen is a brilliant showcase for a fresh and enriching form of pop music: displaying a magpie eye for what glints and plundering what has gone before.


Like Vidrio, Hagen was partially and additionally recorded at Fratti and Tosta’s house, aka Tinho Studios in Mexico City, as well as Golden Girl Studios & Circular Ruin Studios in New York City. Mixing was done by Santiago Parra in Pedro y el Lobo Studios, Mexico City and mastered by Rafael Anton Irisarri at Black Knoll Studios, New York City. The recording engineer was Nate Salon.


Hagen featured Mabe Fratti on cello, vocals & backing vocals, I. la Católica on guitar, keyboards, prepared piano, bass & backing vocals, drums by Eli Keszler and synths in ‘Pájaro de Fuego’ from Daniel Lopatin and Nate Salon.


All compositions on Hagen are written by I. la Católica, except ‘Escarbo Dimensiones’ & ‘Pájaro de Fuego’, which were composed by I. la Católica and Mabe Fratti. The record was produced by I. la Católica and co-produced by Nate Salon & Mabe Fratti. And all lyrics are by I. la Católica except ‘Escarbo Dimensiones’, ‘Gotera’, ‘Gallina degollada’ & ‘Pájaro de Fuego’, which were written by I. la Católica & Mabe Fratti.

STANDFIRST Titanic, the project spearheaded by Mabe Fratti and Hector Tosta (aka I. la Católica), return with a sumptuous and life-affirming new album.



In her sensational 1929 biography Tiger Woman, dancer and socialite Betty May claimed her ‘coster’s eye’ meant she liked to wear as many colours as possible. “Colours to me are like children to a loving mother. Each is my favourite, yet I can never bring myself to deny the others by preferring one.” May’s bold and inclusive strategy is one that manages to transfer itself, almost a century later, to Hagen, the new record by Titanic.


Many will know Titanic as the Mexico City-based brainchild of cellist and singer Mabe Fratti and multiinstrumentalist Hector Tosta who is now operating under the pseudonym, I. la Católica, (taken, rather unusually, from the name of the street the pair live on). With Hagen, and their previous release, Vidrio, (2023), the pair are creating a distinctive signature sound in modern alternative pop music. Nobody else sounds quite like them. Both records have an open hearted nature and simple, winning melodies that play off against a taste for drama, spectacular orchestration and a feeling of otherworldly mystery. Hagen is the more ambitious, sometimes more mystical effort. From the opening handclaps of ‘Lágrima del Sol’, (a wonderfully uptempo playground chant translating as a tear from the sun but, surely, not referencing the brand of pineapple wine?), the record dances its way through various mid-to-late-eighties inspirations, lush and widescreen passages of melancholy and vertiginous contrasts.


Mystery is often found in the simple but slightly odd song titles. English translations of various track titles give, ‘you swallowed the gum’, ‘leak’, ‘a tear from the sun’, ‘raising the trophy’ ‘digging dimensions’, ‘the owner’, ‘the decapitated hen’ and ‘the trap is exposed’. All denote striking images, metaphysical hints and emotional cues or simple, even childlike actions. Though Fratti and Tosta don’t reveal its provenance, the album’s title could even be a crafty play on words: the listener would be forgiven in thinking the moments of brash contrast and eyebrow raising theatricalism in the music constitute a musical nod to German punk chanteuse, Nina Hagen.


On Hagen, singer and cellist Mabe Fratti once again displays her brilliant knack of speaking to us directly. There is never the suspicion of her playing to the gallery, and the directness of many of the lyrics don’t allow it. Parallel to this, Fratti has an almost magical ability to give Hector Tosta’s melodies, and her and Tosta’s lyrics ones imbued with an insight and meaning that feels otherworldly. Tosta admitted it was “pretty wild to hear Mabe take the interpretations to a different place” and the listener can pick up on the delight Fratti takes in (literally) adding a voice to the many narratives.


Two examples can be shown here: ‘Gotera’ (Leak) uses harsh slashes of cello and tough, gunfire-like guitars and drums and multiple vocal lines that could be acting as a Greek chorus. They play off brilliantly against Fratti’s soft, slightly baleful vocal take that delivers lyrics such as: ‘nobody knows where the leak is / but I know where it is / they fight in front of the door and / nobody can go in’. With ‘La Gallina Degollada’ the somewhat blithe melody melody line, sung with what could be sarcastic brio by Fratti, plays against an itchting rhythm and rasping guitar part. The punch comes when you see that the song is about a chicken that has been decapitated and read lyrics such as: ‘I already saw it, it moved, the decapitated chicken’ / ‘could it be that I'm broken’ and ‘Two people hurt each other by thinking that they no longer agree’/ ‘Hours pass and the chicken represents what scares me’.


There may be death and fights to deal with, but there is also a quality of chirpy self-reliance about Hagen that is a key part of its nature. Like Betty May and her colourful outfits, Hagen’s sound often revels in its own sense of richness. Throughout, the record delivers vaulting string sections or glutinous guitar squeals that could, like the powerful, driving ‘Escarbo Dimensiones’ (Digging Dimensions) have come directly from a glossy 1980s TV series. Fratti sees this “glam sound” developed by Tosta on the aforementioned track and ‘Te Tragaste el Chicle’ (You Swallowed The Gum), as moments that were truly “revealing” for the album as a whole during its making.


What else? The thud and thump of ‘La Trampa Sale’ (The Trap is Exposed), and its sudden change of tempo and mood betrays a monstrously ambitious piece of music, the players almost greedily creating the sounds. Other moments are heart wrenching: ‘Libra’ ends on a poppy chord switch that cleverly ramps up the emotion inherent in the music’s notation. You could almost imagine a teenager in a bedroom forty years ago, rewinding the track over and over on a small, cheap cassette player, unable to get enough of that sugarsweet switch. Elsewhere, Oneohtrix Point Never adds stardust and an unearthly sense of space on the changeable, slightly moody meditation, ‘Pájaro de Fuego’ (Firebird). The record ends with ‘Alzando el Trofeo’ (Lifting the Trophy), a track that could soundtrack a state wedding, what with its beautiful cascading piano parts, a sugary vocal and short triumphal guitar riffs that add a rich patina to the overall sound. Fratti: “When I doubled those vocals on ‘Alzando el Trofeo’ I felt there was an epiphany happening, right at that moment.”


Making a good record is a team game. Tosta and Fratti recall seeing Randall from Circular Ruin Studios in NYC “tweak the drums in ‘Libra’ to make that amazing effect of the gated reverb”, or the shaping of ‘Gotera’, “when (recording engineer) Nate Salon added some synths to the track.” Drummer Eli Keszler, “an amazing and versatile player” had the songs down pat in a couple of days” and, according to Tosta, Oneohtrix Point Never “just came to one of the sessions and we hung out, and after all the recordings he and Nate were together in some studio and out of nowhere they sent us some beautiful tracks for ‘Pájaro de Fuego’! Fratti concurs. “He decided that he wanted to record because he was listening to the record (Nate works closely with him) and he really liked it! It was a total honour, indeed!”


Bedazzled by the playing, the skyscraping ambition in the arrangements and the giddy moments of contrast thrown up by Hagen, we could allow ourselves a brief moment of flippancy and state that Titanic’s new record is Yacht Rock meets Aeschylus, full-on. It’s also worth speculating that, in this hyper-sensitive, intemperate age, Titanic’s music has the power, however fleetingly, to heal hurts. Hagen is a brilliant showcase for a fresh and enriching form of pop music: displaying a magpie eye for what glints and plundering what has gone before.


Like Vidrio, Hagen was partially and additionally recorded at Fratti and Tosta’s house, aka Tinho Studios in Mexico City, as well as Golden Girl Studios & Circular Ruin Studios in New York City. Mixing was done by Santiago Parra in Pedro y el Lobo Studios, Mexico City and mastered by Rafael Anton Irisarri at Black Knoll Studios, New York City. The recording engineer was Nate Salon.


Hagen featured Mabe Fratti on cello, vocals & backing vocals, I. la Católica on guitar, keyboards, prepared piano, bass & backing vocals, drums by Eli Keszler and synths in ‘Pájaro de Fuego’ from Daniel Lopatin and Nate Salon.


All compositions on Hagen are written by I. la Católica, except ‘Escarbo Dimensiones’ & ‘Pájaro de Fuego’, which were composed by I. la Católica and Mabe Fratti. The record was produced by I. la Católica and co-produced by Nate Salon & Mabe Fratti. And all lyrics are by I. la Católica except ‘Escarbo Dimensiones’, ‘Gotera’, ‘Gallina degollada’ & ‘Pájaro de Fuego’, which were written by I. la Católica & Mabe Fratti.

On December 8, 2023, Siska unveiled a first single titled Arabian Knights, a cover of Siouxsie and the Banshees, and it’s a 4-track EP that she is preparing to release on March 29.



« Diggin’ the Roots » 4 times that she was unearthed deep in her emotional discotheque; from her high school years (Arabian Knights) to her encounter with Rasta (Igziabeher), from her Watcha Clan period where she mixed Arabic and Hebrew (im Nin'alu) to the soul music that has marked his journey since his childhood (Troubles...).



This EP is produced, arranged and mixed in-house with Clem a.k.a Adelo Basileus and Soupa Ju at VLB Recordings and it’s thanks to the solidity of its foundations that the Marseille singer can continue to always move forward.



A 2nd ep of compo this time, will be released in September with 2 new productions signed by Prince Fatty and some surprises to come.

From the crypts of Parisian funk obscurity comes the long-lost Halloween holy grail, Disco Frankenstein from Ice AKA Lafayette Afro Rock Band. A teasing album of horror-disco oddities originally released as a compilation—a misnomer cloaked in mystery, as the tracks themselves hail from the group’s playful experiments in the mid-to-late ’70s.
This album unearths a twisted treasure trove of grooves, originally scattered across obscure side-projects and international pressings, brought back to life by Strut on blood-soaked vinyl exclusively for Halloween 2025.
Originally released as a 1976 Japan-only compilation featuring the Lafayette Afro Rock Band under a plethora of pseudonyms—Sweet Exorcist, Captain Dax, Hot Blood, Krispie and Co., and more, the release was masterminded by producer Pierre Jaubert and led by bandleader Frank Abel with the funk-virtuosity of the Lafayette Afro-Rock Band group, the minds behind the much sampled ‘Soul Makossa’ and ‘Malik’ albums.
Disco Frankenstein represents the band at their most creative—layering wah-wah guitars, thunderous Afrobeat rhythms, and creepy-crawly synths into a funky stew of horror-disco gold. Tracks like “Dr. Beezar (Soul Frankenstein),” “Disco Vampire,” “Zeke the Zombie,” and “Igor’s Reggae” blur the line between Halloween novelty and dancefloor fire, conjured with full seriousness by studio wizards who knew how to raise the funk.
Resurrected by Strut Records and remastered by The Carvery, this compilation finally gets the deluxe treatment it deserves: pressed on limited blood-stained vinyl just in time for Halloween 2025.

Man O To from the elusive producer NU is finally set to be released as a single on Crosstown Rebels, featuring remixes from Parisian producer Pépé Bradock who producers two amazing takes on the original. Since its inclusion on Acid Pauli's Get Lost Compilation in 2012, the track has gained huge support and become a modern-day electronic classic.
A nomad of modern times, NU has travelled the continents with his diverse music to unearth his imitable style. Represented heavily in Man O To, where instruments amalgamate with electronic production to become solid rhythms. An extra spark come from its lyrics, outtakes from an old Persian poem from the well known poet Rumi, who speaks of true happiness in love here performed by Ghazal Shakeri from an original recording made by renowned French composer Armand Amar.
Julien Auger aka Pépé Bradock is a widely respected producer best known for his ground breaking remixes and releases on labwes such a Avatisme, Classic and Versatile Recordings. As a DJ, he has spun in almost every major club in the world and is known for his versatile, and mesmerising style. Bradock conjures a trippy remix and dub version of Man O To and fitting ode to the original.

French artist Franck Roger is one of house music's most solid and consistent performers, which is why Seasons Limited has invited him back for a new EP. 'La Vie En Bleu' opens with lush 90s house drums and pensive melodies that are dreamy and wistful, while 'You're In Love' is a little more direct with dubby warmth and swirling pads for steamy sessions. 'Lost Sands' shuts down with a mix of sundown Balearic bliss, early Chicago house depths and lush Italo energy. All three of these are the sort of tracks that could be unearthed old gems, such is their timelessness. One of his best in a while which is saying something!

Heavy-weight club tracks! Activity FM launches with a bang. The first V/A EP sets a bold tone: four heavyweight cuts built for serious floors. DJ Hell leads with Scale, a pounding darkside anthem. Truncate follows with Where Do We Go - a peak-time acid weapon. Detroits DJ T-1000 delivers No Victims Only Volunteers, a fierce dose of machine funk mastery. Closing it out, UK legend Mark Broom unearths Nineties - an unreleased time capsule from 92-93, straight from the DAT vaults.
Artwork by Activity Vision.
Full support from Ben Sims, DJ Bone, Detroit In Effect, The Advent, Marcel Dettmann, Jerome Hill, Alienata, Slam, Sol Ortega, Om Unit.

Heavy-weight club tracks! Activity FM launches with a bang. The first V/A EP sets a bold tone: four heavyweight cuts built for serious floors. DJ Hell leads with Scale, a pounding darkside anthem. Truncate follows with Where Do We Go - a peak-time acid weapon. Detroits DJ T-1000 delivers No Victims Only Volunteers, a fierce dose of machine funk mastery. Closing it out, UK legend Mark Broom unearths Nineties - an unreleased time capsule from 92-93, straight from the DAT vaults.
Artwork by Activity Vision.
Full support from Ben Sims, DJ Bone, Detroit In Effect, The Advent, Marcel Dettmann, Jerome Hill, Alienata, Slam, Sol Ortega, Om Unit.

After the success of GEMS001 they have unearthed yet another GEM in the shape of Pure Science 'Sunset' EP this goes for big money on discogs now remastered and freshly pressed for 2025.

Pure Science Underground House Tech Master..

Phivo's music has been referred to as 'Other Worldly' and he has been referred to as the 'Prince Of Tech House'. Pure Science has been at the forefront of electronic music since 1990 and pushes a timeless sound which has stood the test of time.

With »Roto«, Derek Piotr revisits the aqueous terrain first explored in his 2016 album »Drono«, where the paradox of water’s stillness and perpetual motion was refracted into looping voices and glitching textures. Conceived as a »spiritual successor« and recorded in 2019, the album has lain dormant for six years before surfacing on Discreet Archive. That stretch of silence seems to have deepened its charge – the sound feels unearthed rather than made, like a whirlpool biding its time in obscurity until now.

Unlike »Drono«’s mosaic of shorter pieces, »Roto« unfurls as two expansive half-hour tracks, allowing Piotr to probe repetition with greater intensity. Vowels accumulate until they shimmer with alien sentience, drones grow dense and psychoacoustic, and the smallest digital artifacts flicker like neural sparks. The result is a work that denies familiarity; recurrence here only breeds strangeness, unspooling into a procession of hidden pulses and altered voices that resist prediction, drawing the listener deeper into a submerged, otherworldly space.

Derek Piotr is a folklorist, researcher and performer whose work focuses primarily on the human voice. His work covers practices including fieldwork, vocal performance, preservation and autoethnography; and is primarily concerned with tenderness, fragility, beauty and brutality. He has collaborated with artists including Scott Solter, Nathan Salsburg and Thomas Brinkmann across various disciplines.

He is lead archivist and creative director of the Fieldwork Archive.

Unearthing old gems, remastering and bringing them back to the forefront is what Private Parts are up to for release number 07 in the catalog. Original London Tech masters Rob Pearson & Dave Mothersole originally released Wanting You in the early 00’s, but with the extreme prices on Discogs it seemed like the right choice to get this re pressed for your pleasure.

Wanting you is everything you ever wanted from those timeless sounds of London Tech. Dubbed out vocals, tribal rhythms, pulsating acid lines and a groove to keep you locked right in.

Flipping to the B, and the biggest thank you to Rob himself for spending weeks searching old DAT tapes in his loft to find the original pre master of the driving remix from the late Iteration X. They don’t come more heads down, and hypnotic than this. Throbbing bass stabs, luscious chords and in true Iteration X style, a roller that you could keep you shaking for days on end.

It only seems fitting to dedicate this re issue to Simon Copleston, Mr Iteration X. Thank you for the music!

2025 Repress

Hypnotic Mindscapes unearths fragments from the temporal abyss with the 1998-2000 Compendium, a re-issue of selected works from LA based, Hawaii-born producer Matt K.Turner aka Kamahele. 4 deep cuts fitting for versatile use. Recorded 26 years ago, Kamahele‘s creations linger in a space where futuristic visions and dystopian longing intertwine, their relevance evading the decay of time.

Artwork painting by Abbas Rizvi.

Perro Bueno Edits has been behind some much-sought-after edit releases in recent times and this one is another of the same. The fifth entry in the cult series again looks to unearth rare Afro disco gems and rework them with precision and soul. On Side A, 'AMDS' is a hypnotic cut with a rolling bassline that radiates warmth as the original is respectfully reimagined with sharp edits and an extended arrangement built for movement. The B-side is a spiritual stunner that melds heartfelt vocals with layered rhythms and dreamy keys to back the soulful vocal. It's a dubbed-out groove perfect for late nights with some bright horns adding extra vitality.

*Long overdue reissue of the first album by The Hanging Stars to coincide with their tour support slot with Edwyn Collins – initial 300 copies come with 12 x 12 print*

“In late-Sixties California, the Byrds and Flying Burrito Brothers combined traditional country music with hippy rock to great success. The influence lingered and whatever cultural relevance it has this is a delightful, transporting listen” – The Times 4/5

London-based psych-folk outfit The Hanging Stars re-release their much-loved debut album Over the Silvery Lake on Crimson Crow. Blending folk pastoralism with swampy 60s Americana, they sound like the missing link between the California desert sun and the grey skies of London Town. The album was recorded between LA, Nashville and Walthamstow, with each of these vastly different places leaving an indelible mark on the songs.

Now signed to the Loose Records label and fronted by London-based songwriter, singer and guitarist Richard Olson (The See See, Eighteenth Day of May), The Hanging Stars are essentially a loose collective of people who weave together a blissed-out psychedelic tapestry. The rest of the core band is made up of Sam Ferman on bass and Paulie Cobra on drums, Horse on pedal steel and Patrick Ralla on banjo, guitar. They jam rather than write and hang out rather than rehearse, harnessing a kind of tipsy euphoria resplendent with luscious arrangements and glorious vocal harmonies.

During 2015, prior to this album’s original release the band released two critically acclaimed singles via The Great Pop Supplement (both of which also appear on the album). “Golden Vanity” was premiered by The Line of Best Fit who said; “you'd be forgiven for thinking you'd just unearthed a rare deep cut from the late 60s/early 70s boom of psychedelia infused Americana” and “The House on The Hill” was described by The Guardian as; "a hazy, desert-dream of a song, nicely sharpened with steely-eyed guitars, Mersey-laced harmonies and just a whiff of the Gun Club”.

There are a number of allusions to nature and the weather on the album, borne in part out of the contrasting surroundings in which it was produced. The band’s fascination with Americana led them to record some of the material Stateside, laying down some of the parts at Battle Tapes Studios in Nashville (Lambchop, Paperhead), as well as at Vision Quest Studios in Los Angeles with Rob Campanella. His work with The Quarter After, The Brian Jonestown Massacre, Beachwood Sparks The Tyde, and GospelbeacH was a perfect match to capture their sound and they even had San Franciscan legend Chrystof Certik step in on lead guitar for a couple of tracks.

Following the LA recordings, a trip to the Californian desert provided the core notion of what they wanted to produce - a shard of light that they clung on to whilst recording the rest of the album in the significantly more rain-soaked atmosphere of Walthamstow, London, under the watchful eye of Brian O'Shaughnessy at Bark Studios (The Clientele, Comet Gain). As the band explained at the time: “Ultimately we hope you can hear both the sand and the rain in this record.”

The Hanging Stars place themselves firmly as part of a long folk tradition encompassing European and North American influences – as a continuation rather than a pastiche of these styles. This is the sound of a band really coming in to their own, fully formed and in no doubt of their vision. With Over the Silvery Lake they succeeded in producing a record, which has the country, blues and folk traditions at its heart.

Can you believe it? Devendra Banhart's Cripple Crow - originally released by XL in 2005 - is turning 20 years old. This was the 5th album from the Venezuelan American artist who is considered the pioneer of the "Freak Folk" and "New Weird America" movements. To celebrate - Devendra has compiled a reissue of the out of print release that features a 3rd Bonus LP (on Clear Green Smoke Vinyl) featuring 9 bonus tracks, including 1 B-Side, 5 previously unreleased demos, 2 previously unreleased live tracks, and 1 unearthed smash hit from the recording sessions. This release is the first on his newly created Heavy Flowers label. The album received a "Best New Music" 8.4 review from Pitchfork upon its release. The release date will fall 1 day prior to the actual 20th Anniversary, which will be the first time Devendra is early for anything. Now THAT is something to celebrate! Limited to 2000 units on 3xLP with Bonus LP on Clear Green Smoke Vinyl. 36 tracks of music and 1 track of .... well... you decide! "Cripple Crow is undoubtedly impressive, vastly singular but entirely accessible, and an inspired listening experience where Banhart again proves himself as one of the more talented and charismatic forces in modern music." - Pitchfork

Wah Wah 45s present a unique moment from 1982 where New Wave and Post Punk collided with Afrobeat in the shape of Norwich DIY outfit Vital Disorders and their subversive yet instantly memorable version of the Fela Kuti classic, Zombie.

Band member Suzy Cox explains more:

"The song came to the band through our vocalist Lenneka Van Gilst who was in the group between January 1980 and December 1981. Lenneka grew up in Nigeria and had the original track on vinyl. When she moved to Trowse House, Norwich, the flat under Chris, the VD's bass player, he heard the vibes floating through the floorboards. One thing led to another and it was in our set for ages. Lenneka had left the band to travel to Mexico by the time we recorded the track. We did well to choose it as the song has really stood the test of time. Lenneka had a lot of African Beat which was a big influence on us."

The track came to label boss Dom Servini's attention having been unearthed by BBC 6 Music DJ Gilles Peterson in late 2024, and a vinyl reissue of this rare and one-off gem was the obvious choice. Rather than pairing it with its original punky B-side though, Dom enlisted new signings to the label - young Afro-dub outfit Kotoa - to record their take on the Kuti classic. The quintet delivered what is a three minute, intense take on the Afrobeat genre, complete with youthful voices of protest echoing those of over 30 years ago.

The 7-inch vinyl only release of Zombie comes with re-worked art courtesy of our award winning designer Animisiewasz, taking the home-made look of the original cover and updating it respectfully for 2025.

After the success of the first volume, “Nihon No Wave 2” continues to unearth the hidden history of Japan’s underground electronic scene from the ’80s. This second installment digs even deeper into the archives, showcasing more rare tracks from obscure artists who operated on the fringes of Japan’s independent music world.

Like its predecessor, “Nihon No Wave 2” captures the raw energy and experimental spirit of the "Nippon-wave" era—where lo-fi synths, minimal rhythms, and post-punk aesthetics converged into a uniquely Japanese take on global sounds. Many of these recordings, originally released on cassette compilations or small-run vinyl with no international reach, have remained virtually unknown outside Japan.

King Street Sounds are back again with their fourth installment in the King Street Sounds Sampler Series. This release unearths four classics from house music heroes such as DJ Romain, Mike Delgado, Dennis Ferrer, 95 North, Sabrynaah Pope and Louie Vega.

The EP kicks off with DJ Romain’s “All Day, All Night”. Originally released on “Nite Grooves” in 1996, a perfect example of New York house with a memorable vocal sure to keep you hooked hopefully all day and all night.

Next up is Mike Delgado with “Get Ready”. This track is a certified dancefloor filler, with those fast hitting highs and catchy keys. It is definitely a secret weapon that any DJ should use in case of an emergency.

Flipping over to the B side, Dennis Ferrer is returning once again in this series with “Dem People Go (DF's Kicked Out Mix)” Featuring Bola Belo. This Tribal House classic emulates being in the sun for the listeners, effortlessly bringing that block-party vibe.

Rounding off the EP is 95 North featuring Sabrynaah Pope with “Hold On” (Louie’s MAW Club). An already great track by its lonesome, but with house music icon Louie Vega’s magical touch it makes it a must have for any DJ who wants to get the dancefloor bumping.

King Street sounds have done it again! All killer and no filler.

18 tracks pressed across three vinyls. A limited-run tee. Seven digital relics, unearthed for Bandcamp only.

As always, dance floor-focused with a clear nod to the ’90s — Progressive, deep & dubby, transcending, 303s. Immersive, but never drifting. Direct, but never dry. Forward thinking, expansive.

Direct, 303s, raw — this lane’s locked down by Roza Terenzi, Cybernet, Aju, Kalani, Ash Is and Xupid, each carving out their space with raw, floor-focused energy. On A2, Xupid slips in Raindanc94 — a long-lost gem some might recognise from D.Dan’s 2021 Boiler Room. Unreleased until now, it’s finally getting the drop it deserves.

Transcending? You know it. Trance mind-melters? Always. Plastic GRNchannels that classic 90s Xpander sound, Alfred Czital drops a dance floor annihilator, while Dutch duo Match Box keeps it as bright and club-ready as ever. It’s a full spectrum of sound, each track weaving into the next with peak energy and timeless hooks.

Progression, progression, progression — it’s shaped our sound from the start. Uplifting, expanding, always pushing into the outer zones. DJ Life, Aiden Francis, Jeku, Tifra, Cosmic G and Laars are back on the label and doing the business. Whether it’s a floor-heating bopper by DJ Life or emotive, widescreen territory by Aiden Francis, this release has it all.

And of course, no 6-year celebration of ND would be complete without a deep dive. Dubbed-out rollers and hypnotic house cuts come courtesy of Baumb, Glen S, and Harrison BDP. Fresh off his second EP last month, Baumb returns with those trademark low-end orbs, guiding us through the fog with finesse. Glen S strips it back and locks into a tech-deep groove. BDP lands on F1. Sublime, heads-down deep house with that unmistakable sample finesse — pure signature gear.

A nod to the 9 incredible artists who feature on the release through digital exclusives — Astro alongside Ash Is, Rounds & Plastic GRN, Primitive Needs, Hotpretty, Tourman, Skinner (making his way through the Pyramid Fields portal), and Wigs — whose Trigger Step track has been getting heavy rotation from Spray and Roza Terenzi, to name a few.

Emotional Especial reaches a landmark with its 50th release. Started in 2012 as a “dancier & trippier”, club friendly spin off, sub label to Emotional Response, it has gone on to forge a path, releasing a myriad of artists including the opening release by Jamie Paton (Cage & Aviary / ESP Institute) to Richard Sen (Bronx Dogs), the debut of Khidja (Malka Tuti / DFA) and on to unearthing the breaks masters Alphonse (Klasse Wrecks) and Junior Fairplay (Crimes Of The Future), the uplifting Italo influenced Lauer (Robert Johnson), the new wave anthem of Sfire (featuring Sophie), plus perfect remixes bt Kris Baha (CockTail D’amore) and INHALT (Dark Entries), the NYC pop-rave-vox of Kim Ann Foxman, through to showcasing upcoming artists like Berlin’s Giraffi Dog (Aiwo Recs) and the global acid adventures of Akio Nagase (Chill Mountain) to most recently, the slo-mo trance muscle of 53X and post-rave uplighters of Remotif (Space Lab) and DJ 1985.

As with every 10th release on the label, the label present a various artists “Showcase” of what and where the label is. Aptly it is recent signing 53X who opens Gracias Especial with the bounce of Radar. Finland’s Jonne Lydén debut EP on Especial, Zen ’23 came out of nowhere, more than simply riding a zeitgeist of the “Trance Revival”, his all-live analogue symphonies drop the bpms, presenting widescreen beats, darkroom bass, sirens and tripped out vox all mix to propel a singularly driven.

Taking things much deeper has been the hallmark of Jamie Paton’s remixes for the label. As well as providing the opening EP in 2013, designing every sleeve and producing 20 remixes and counting another 2 for the label here, it’s impossible not to associate Especial with Jamie’s music. First, he reworks rising star DJ, but recent break out producer Chez De Milo, with a trademark dub excursion that takes the ethnic origins of Kremer to a space echo wonderland. Space is the place, the lulling beats, see you falling through the gaps, true dub style.

Alphonse makes a rightful return to Especial, with Raze Rave highlighting the allusive producers’ unique understanding of the varied history of rave culture via a techno-suite of soundscapes, perfectly mixing uplifting breaks, memory inducing vocal samples and dub bass, with a nod to the pop sensibility that rave encompassed, while being that allusive “lost chord” moment of man and machine.

The finale returns to the trance acid expanse of 53X, with the mastery of label stalwart Jamie Paton. An apt marriage, Paton takes the title cut from Lydén’s debut EP and crafts a trademark durge-dub, where TB303 and space echo intertwine with the De Witte vocal, hinting at touches of dub, new wave, trance and acid house all in one melting pot of sound the label optimistically termed “Protoid” back at inception of summer 2013.

After roughly 15 years out of the game, Marc Kushin makes a highly anticipated return with his Ely Muff project - a label favourite since its inception - debuting proper on Love Love with 4 tracker 'Human Nature'. Kushin's proto-tekno take on the early breakcore sound was a stand-out of a particularly noisy strain of hardcore which emerged in the UK in the late 90s and early 00s, releasing on the likes of Headfuk, One Inch Punch, Deathchant, as well as Kushin's own labels Kinky Stump and Dead Pig, run alongside longtime collaborator Tantrum.



Unpretentious, unserious and completely unapologetic, 'Human Nature' features four tracks of brutal hardcore spiral tekno, distorted and mangled but retaining groove and swagger. The EP features two re-released classics from Kushin's back catalogue: the pumped-up pirate radio pastiche of 'Hold Tite The P, No Need For London' and the feedback-laden blunt lobotomy of 'Automatic Predator', two decades on from their original releases in 2005 on Capsule Core and One Inch Punch. Complementing them are tracks 'Human Nature' and 'Cycle Dirty', previously unreleased spasmoid gems from the same era, unearthed and seeing the light of day for the first time.



All four tracks have been lovingly (re)mastered by Love Love's own Ben Pest for a maximal sonic experience, shining a light on this criminally overlooked corner of UK rave heritage.

Radio Free Alice klingt nach dem Gefühl von Freiheit, das man beim Mosh-Swing verspürt. Dieses schnell wachsende Sextett aus Naarm (a.k.a. Melbourne) ist unser heißer Tipp für den Sommer. Der Sound ist so süchtig machend, dass wir einfach nicht anders können, als nach mehr zu suchen. Legt Radio Free Alice auf, spielt in eurem Schlafzimmer herum und freut euch, bevor sie unweigerlich durch die Decke gehen. Impressed Recordings ist stolz, ihre zweite EP "Polyester" auf Vinyl zu veröffentlichen. "Mit einer tief verwurzelten gemeinsamen Liebe zum Post-Punk-Genre und der Welt, die es umgibt, kreieren diese fünf Musik, die euch beim Älterwerden und Navigieren durch die Komplexität dieser Welt begleitet." – Triple J Unearthed (australischer Radiosender für Independent-Musik)

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

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

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

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

At this point the vast swathes of unreleased Muslimgauze material Bryn Jones left behind when he passed away over 25 years ago is as legendary as any of his work. And sure enough, there's still some being unearthed today. The new »Single #One« is the first in a series of four (three 7"s and one 12") taken from one of Jones' customary completely unlabelled DATs he sent to labels seemingly as fast as he finished them. Both sides here indicate that, even on what might have been throwaway efforts for other artists, Jones was constantly chasing his muse around new corners.

Side A begins with the kind of tough percussion loop often found on Muslimgauze releases, but even as foreboding synths start to swell in the background, Jones introduces a rhythmic, peppy little keyboard riff far jauntier than most things he created. Side B, meanwhile, takes Jones' looped hand percussion in a dubbier direction, but unlike other times he explored that space there are some elements (phased zaps, a slightly skanking rhythm) that, while not reggae exactly, makes this feel more like a traditional dub than Jones tended to make. Both sides stand in testament to a creator who never stayed in one place for very long.

Tracks include unearthed fragments of BLADDER FLASK, circa ’80s by Richard Rupenus, a founding member of THE NEW BLOCKADERS.

STEVEN STAPLETON, ANDREW LILES, RICHARD RUPENUS.





New studio album “Backside” on vinyl by Nurse With Wound, includes unearthed fragments of Bladder Flask by Richard Rupenus, circa ’80s, also released on Cd in 2024 (there is also a DIY “lathe cut”).
Cover art by Babs Santini.


The paths of Nurse With Wound and Bladder Flask first crossed in 1980 and the following year Bladder Flask’s debut album One Day I Was So Sad That The Corners Of My Mouth Met & Everybody Thought I Was Whistling (Orgel Fesper Music) was distributed by United Dairies.


Following the aborted project for a second Bladder Flask album, scheduled for 1981, some forty years later, Richard Rupenus approached Steven Stapleton to use fragments of old recordings he’d unearthed from “Bladder Flask”, an invitation that Stapleton accepted, and rather than simply remixing or reworking existing Bladder Flask tracks, Steven Stapleton and Andrew Liles have succeeded in reinforcing Nurse With Wound and Bladder Flask’s sense of the absurd in this new opus “Backside”.



“As the closest release style-wise to classic old NWW in decades, the album’s opening track ‘Backside’ could almost be a relic of the early 1980s, full of squeaky and crunchy noises, big plate reverbs, lots of plunderphonics meets musique concrete type cut-up work, bizarre vocals and all sorts of unfathomable sonic elements. It’s quite an intense listen, but totally enjoyable. ‘Chernobyl Picnic’ feels more like ‘Cooloorta’-era NWW, as it involves more use of extended tones, with lots of liberally chopped-up and totally messed about sounds, much of it fried and modulated in the most fascinating ways, a kind of harsher and more multi-faceted ‘Soliloquy For Lilith.’ An excellent release, especially for jaded old NWW fans who want more in the style of ‘the good old days’ (Alan Freeman)”.

Pressed to limited edition other-worldly Zoetrope picture disc, Shui is the new album from Sydney based punk rock five-piece, Fangz, out via Impressed Recordings.

Since their 2019 inception, the band have released three EP’s For Nothing (2019), But No Thanks (2020), Falling Is Pretty Normal (2022), and a slew of singles, which received strong support from the likes of triple j, triple j Unearthed, Triple M, Spotify, Apple Music, Amazon Music, Metal Hammer (UK), Loudwire (USA), Classic Rock (UK), Metal Injection (USA), Louder Sound (UK), NME, Pilerats, The Guardian, MANIACS and many more.

They’ve traversed the country multiple times selling out headline shows, performing at festivals and sharing stages with the likes of FIDLAR (USA), Pennywise (USA), The Bronx (USA), Cancer Bats (CAN), RedHook, Comeback Kid (CAN) and He Is Legend (USA).
The group have also completed an East Coast in 24 hours, launched their very own line of hot sauce Fang us Some Sauce, an annually curated festival ‘FANGZstock’, and hold the Guinness world record for the most hard-boiled eggs eaten in one sitting by front man Josh Cottreau (143 eggs in three minutes and ten seconds).

Coming into 2025, the quintet have released singles ‘Wasting Time’, ‘Nothing To Lose’, ‘Same Old Story’ and ‘Wide Awake’ from their forthcoming debut album ‘Shui’ (due July 2025), plus have taken FANGZstock on the road, launching the Melbourne and Brisbane contingents.

For Earth Below 50th Anniversary Edition: 4-Disc 50th Anniversary Edition: Original 1975 Mix (2025 Remaster), 2025 Extended Stereo Mix, Outtakes & Rarities, Live in Los Angeles, 1975. Housed in DVD style media book with extended liner notes by David Sinclair featuring interviews with Robin Trower and Bill Lordan and rare photographs.

For Earth Below, the third studio album by British guitar legend Robin Trower was released in 1975 and is considered one of his most prominent works from his time as a solo artist after leaving Procol Harum. For Earth Below continued to build on the success of his previous album Bridge of Sighs, solidifying him as an arena touring artist in the States, reaching number 5 on the Billboard chart.

Following the exit of Reg Isadore, the exciting Bill Lordan (Sly & The Family Stone) joined the band shortly before the recording of this album, giving a new driving force to the outfit.

To celebrate the 50th Anniversary of this classic, Chrysalis Records are proud to present the most expanded edition of the album to date featuring the original album remastered at AIR mastering, a newly unearthed extended stereo mix of the entire record, a disc of outtakes, rarities and BBC sessions with the majority previously unreleased and a newly mixed concert taped live in Los Angeles from the For Earth Below tour, never available in its entirety before.

At the centre of the package is a booklet featuring newly written liner notes by acclaimed journalist David Sinclair and interviews with Robin Trower and Bill Lordan.

Unearthed from the vaults of funk veteran Tim Tucker, this fantastic Got That Energy EP delivers two unreleased boogie gems from the 80s that have been reworked by SoCal DJ and producer Knoe1. A lifelong musician and unsung hero of the scene, Tim always brought raw authenticity, while Knoe1 sharpens the sound for modern dancefloors. Title track 'Got That Energy' is a high-octane ass-shaker packed with punchy bass and irresistible swagger. On the flip, 'Don't Hesitate' slows the pace by blending emotional vocals and synth-soaked soul. This is pure summer heat for a range of different settings.

Glasgow-based Effective Dreaming—the solo project of Scottish artist and musician Iain Ross—unveils Dream Catalogue Vol. 1, arriving June 21st, 2025 (Summer Solstice) via Swedish experimental label Fluere Tapes.

Issued as a limited run of 50 cassettes, each adorned with hand-worked, corroded copper sheet inserts and labels, Dream Catalogue Vol. 1 feels less like a release and more like an unearthed artefact: weathered, humming, quietly alive. The materials echo the music’s exploration of fragile impermanence and erosion: oxidised metal, magnetic tape, hiss, hum. A tactile world where sound wears its decay like a patina.

Across its length, the album unfolds in a series of flickering vignettes—drifting, dissolving, reappearing. Shaped by synths, environmental recordings, tape loops, and soft drones, the pieces move like glints of light on water—never fixed, always in motion. Achingly beautiful melodies rise and vanish, tracing fragile pathways through a landscape of shifting sensations. Some moments glow with a gentle warmth, like sunlit glass or breath on a fogged mirror. Others slip into shadow: slow, submerged passages feel closer to memory than music. The album feels loose and weightless, yet dense with feeling—a presence more sensed than held.

There is no fixed narrative here—only fragments and artefacts, half-remembered places, echoes of dreams. Each track hovers just at the edge of clarity, evoking not specific stories, but moods, textures, and the quiet drift of time. It’s music that feels both intimate and remote, like overhearing a distant signal only you can understand.

The name Effective Dreaming is drawn from Ursula K. Le Guin’s The Lathe of Heaven, where a dreamer's visions alter the very fabric of reality—past and present reshaped, histories rewritten, unnoticed by all but the dreamer himself. In a similar spirit, Ross’s music inhabits a space where memory, perception, and matter blur—where each sound carries the residue of something once real, now transformed and dissolving as one drifts through the seams of the world.

Dream Catalogue Vol. 1 is a meditation on texture, transience, and the quiet resonance of what slips away.

For listeners of: Wave Temples, Dolphins Into the Future, Guenther Schlienz"