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Finally on vinyl, a compilation of two of Effys fan favorite EPs 'The Highest Level' and 'FOR THE CLUB'

Gilles Peterson presents International Anthem is a compilation chronicling the legendary London-based radio host, DJ, label head, curator and cultural impresario"s long-standing affinity for and interaction with artists and music from the Chicago-born record label International Anthem. The tracks on this compilation were chosen by Peterson via an extensive review of track lists from his broadcasts on BBC Radio 6 Music, Worldwide FM, and various syndicated radio programs. The compilation also includes a previously unreleased track recorded live on the Peterson-founded online radio station Worldwide FM. This album is released via International Anthem as part of their "IA11" series of releases and events - where the label celebrates their eleventh year of existence by looking back on their first ten years while establishing new standards for the next ten years.

More Fire 005 is here!
This time we’re bringing the heat with a blazing new 4-track selection straight from the jungle trenches.
On the A-side, FeyDer kicks things off with "Riddem Again", a full-throttle ragga jungle banger that brings nothing but pure fire. Pygmalion follows up with "Protofire", delivering deep atmospheric vibes that take you on a journey through space and breaks.
Flip to the B-side for some serious dancefloor damage: Tropmanga unleashes "Come Again", and Bman closes things out with "Soundbwoy Big Tune" — both heavy-hitting ragga jungle weapons guaranteed to get your feet moving.

Sleeves is Serygraphied

3XL’s first new release in 2025 by Italian trio Cortex of Light is a synapse-tickling dose of classic FSOL-era world-building that takes in gloopy trance cooked down with sub-heavy, vaporous dub, mutant acid, breakbeat rave, Artificial Intelligence and a Mark Fell-style algorithmic brainmelt.

You'll know if you've spent any time following Piezo's output that the Milan-based producer and Ansia boss has a knack for lysergically enhancing any club template he sets his sights on. With releases on Idle Hands, Wisdom Teeth, Loefah's 81 and most recently Dekmantel, Luca Mucci has blottered up dubstep, hard drum, 2-step and minimal techno, here re-convening with fellow Milanese journeymen Aitch and primordial OOze/xàr num as Cortex of Light to blur those edges even further

'ILLUMINOTECNICA' isn't the trio's first release, but it's their most substantial and easily most developed. If 2024's 'Aeon Is A Child At Play With Colored Balls' showed off their aptitude for threading their luminous soundscapes into a horizontal soundtrack, then this album is a proper chance for Cortex of Light to show off their versatility in a different setting, matching dancefloor hallucinations with expertly sculpted sound design.

Psilocybin-tainted soundscapes scrape into breathy flute sounds and chest-thumping bass drops on the opener, haunted by a vision of electronic music that's been contrived in back rooms, squats and outdoor raves for decades at this point. Like so much of the rest of the 3XL catalog, there's a drive and coherence here that comes from classic dub techno and chill-out room fodder (think The Black Dog or Pentatonik), but always infused with something that dates it to the present era, be it a tactile sliver of Visible Cloaks-style neo-new age ambience, or a sort of mescaline-dipped take on Photek's bass-heavy, meticulously hazed 'Solaris' period downtempo gear, chopped 'n screwed into the uncanny.

He's back !
With one long never give up old school track on the B side ... and 2 fresh on the A side.

enjoy !

Returning to the Bordello, and the seven-inch, is Real Velour. This secretive figure reappears with two tracks of indie dance that bend and re-shape elements of italo disco, minimal pop and synth wave to create an utterly unique experience. Sleazy basslines and tropical percussion give way to heavily vocodered words in “Lover”, machine amor breaking to spoken human voice as melodies twirl. The romance described is one of passion, of friendship and of fidelity; but, with a hint of control. Clever and addictive, the composition cherry-picks bittersweet sounds to depict this relationship. The flip, “Look What You’ve Done”, maintains the candystore keys of the A-Side; the tone shifting as lyrics adopt a brazen and fortified vigour. It appears maybe that the promises of “Lover” have been shattered. While the love story turns to hurt feelings and regret, Real Velour keep the energy high to revel in the final break-up.

First 2x12" record with UPR by Le Talium.
The tunes were too good not to press them all !!
LIMITED QUANTITIES.

A familly story... sound is as noise as clear, and ritch as minimal...
Industrial Hardcore (end speedcore) is the thema, Even if industrial could be the domain.

Hypnofreak : un bon speedcore mental, très fin, qui embarque dans des vagues acides longues en bouches, soutenues par un kick de moins en moins discret :)

Go HardCore : si je ne me trompe pas on dirait du vieux Epiteth, avec une petite pointe d'indus à la Test-Dep dans les sons.. (mais là faut chercher longtemps avant de tomber sur "Brith Gof Goddodin" ^^).

Last Chance : Le kick sec, sans reverbe, dur dur ! Hardcore encore :)

Digital Error : Allez, on y va dans le noiseux speed, marque de fabrique du Talium :) Et son gros kick qui vient vous récupérer après des drops glissants...

No Planet : Dédoublons les kicks et voyons ou ça nous mène :)

Non Conforme : Prenez un kick et mettez le dans shaker. enregistrez les bruits du moteur. Et vous obtiendrez un truc dans le genre.

Quad Grinder : Une fois encore, le dédoublement de kick est au centre de l'affaire, ce morceau me semble dans l'esprit du
01100010 de No Name sur Fischkopf 16).. Mais c'est un feeling de Deejay ^^

XB09-Part One : toujours dans l'esprit du shaker, avec de grosses nappes ambient qui posent grave... Un contraste qui peut faire penser à du Flashcore... mais ou est la part 2 ? ^^

En gros ce skeud est une balle, ça pourrait bien être un des meilleurs skeuds de speedcore indus depuis un sacré bail !

BIG UP UPR !

"Three years ago, Jérôme Leclercq and I from Mediatoon Licensing came up with the idea of creating a cinema concert to celebrate the 20th anniversary of Naruto. Why a cinema concert? The music is part of the success of the licence and fans have a particular attachment to the credits and the original soundtracks. The originality of the music by Toshio Masuda, the composer of Naruto, comes from the clever mix of traditional Japanese instruments, such as the Shakuhachi or the Shamisen, with guitar and other pop/rock instruments. So we came up with the idea of bringing this music to the stage with a 50-strong orchestra, accompanied by an original montage of the best moments from the anime. This orchestra is made up of three parts: symphonic instruments, pop/rock instruments and traditional instruments.

To do this, we approached the ODINO orchestra and its conductor Sylvain Audinovski. The ODINO orchestra is one of those capable of mixing musical styles while maintaining a very high level of performance. We have also chosen traditional Japanese instrumentalists to complete the orchestra's core, especially for the show.

The arrangements and musical direction are the fruit of a collaboration between Quentin Benayoun, Sébastien Caviggia and myself. My two accomplices, with whom I formed the group P.U.S.S. in 2007, have a great mastery of rock and orchestral music writing. This mix is essential to keep the promise made to the fans of the series and required several months' work to select the music and write the scores for the whole orchestra.

How do you tell the story of Naruto to fans, but also to those who don't know the anime? That's the real challenge of this unique film-concert. How do you select the best moments in the story of this young ninja apprentice from the vastness of the first 220 episodes? Six months of selection and research enabled me to choose the key images in the narrative, while preserving certain dialectics to match the anime's incredible music.

This original film-concert, lasting almost 2? hours, is a real Rock-Symphonic show paying tribute to the work of Masashi Kashimoto and the music of Toshio Masuda."

First part of the Drexciya re-issue series! Drexciya might need an introduction for some, for others it is the most influential techno project ever. Part of the heritage of Detroit's Underground Resistance, Drexciya explored techno music like no-one else before. Raw and uncompromising music that reflects the harsh environment of the city where Drexciya was conceived. The aesthetics and the mythical approach combined with the unique music made this one of the biggest cult projects in techno music. Drexciya arguably stands for the darker side of techno and electro, music not only made for the club scene, but a further development of the music as an expression and extension of the mind. 20 years after the release of ''Deep Sea Dweller'' (their first release), and 10 years after ''Grava 4'' (their last), we present ''Journey Of The Deep Sea Dweller''. This series is an almost complete collection of their early works, and is remastered from the original master tapes. Since the original releases have such a strong character, appeal and stand on their own, this re-issue can never re-create the magic of those originals. So instead we stirred up the catalogue taking the tracks out of their original context, giving the 'in the know' listener a fresh experience and the new listener a document that is the best possible introduction to the aquatic world of Drexciya.

Metal Hall of Fame inductee, Blaze Bayley, releases a brand new studio album Entitled `Circle of Stone'. The album features guest vocalist Niklas Stalvind of Swedish metalheads Wolf, alongside a variety of additional vocal & instrumental contributors. Having started his career as a professional singer with Wolfsbane in 1984, Blaze went on to front Iron Maiden, touring worldwide and releasing two studio albums - `The X Factor' and `Virtual XI', both of which achieved top twenty status in many countries. During his time with Iron Maiden, Blaze co-wrote the single `Man on the Edge' (from `The X Factor' album), a top ten hit in the UK, as well as charting successfully across Europe. Following his exit from Iron Maiden he has pursued a solo career, beginning with his now legendary solo debut album `Silicon Messiah' in 2000, followed by a further eleven studio albums, including especially his sci-fi based `Infinite Entanglement' trilogy (released in consecutive years 2016-2018) and the critically-acclaimed `War Within Me' released in 2021. Starting in 2013 and exclusively since 2016, Blaze records and plays live with Manchester (UK) melodic metal band Absolva, featuring lead guitarist Christopher Appleton and his brother LukeAppleton who is formerly of American metalheads Iced Earth. This consistent line-up is completed by drummer Martin Mcnee and bassist Karl Schramm.

Formed in the town of New Mills, Derbyshire in 1980, Oi legends Blitz revitalised the UK punk scene of the era, their incendiary debut Voice Of A Generation a massive commercial success, but the 1983 follow-up Time Empire Justice had a different line-up and new wave orientation, pointing to fissures in the group; then, in 1990, guitarist/multi-instrumentalist Nidge Miller teamed up with former Attack frontman Gary Basnett for The Killing Dream, a studio swansong that revived the name with Nidge fully in control. Devotees will love the sterling guitar work on this final piece of the Blitz jigsaw.

Following on from last year's acclaimed ‘R.O.I.’ album, Manchester’s favourite sons Aerial Salad are set to return to the fray with a brand new 5-track EP titled ‘Roi de l’herb’ to be released June 27th via Venn Records.
Having released their ‘Dirt Mall’ album during lockdown, which was a pretty grim time to put an album out, the release still eventually opened up some exciting doors for the band and captured Aerial Salad at their most Aerial Salad; loud, brash, silly and emotive.
This led swiftly to 2024’s ‘R.O.I.’ album that marked a real evolution in the band’s sound and songwriting.

“R.O.I. is a concept album but rather than being about a band, it’s from the perspective of an individual pushed to the brink of insanity by the ever-present quest from commercial success,” explains singer and guitarist Jamie Munro. “The idea came from my job; I’ve been working in the tech industry in ‘sales’. ‘Return on investment’ was probably my most uttered phrase for a few years, I was sick of it, sick of having no positive impact on the world and sick of the tech bro, double espresso, thirsty thursdays, work hard - play hard bollocks culture that comes with it. ‘R.O.I.’ is me saying ‘know what, you can actually earn a lot of money in life, even without the fallacy of educational infrastructure and financial privilege, however, it comes at the cost of your soul, time and energy. ‘R.O.I.’ is called such because it’s in the opposite pursuit, it’s not about a return on a financial investment, it’s about doing something with your life that’s enjoyable.”
This brings us crashing into 2025, no longer in the same line of spirit destroying work, with some seriously exciting gigs on the horizon, Aerial Salad wanted to kick off the next era of the band with a short, fast and hard EP and have served up 5 absolute bangers that sit somewhere between ‘Dirt Mall’ and ‘R.O.I.’ The EP is called ‘Roi de l’herb’ because of the track ‘King Of The Grass’: “We tour and play a lot in France, we’ve played most of our “best” gigs in France, so out of curiosity I wanted to see if the title would translate well, naturally, when the translation contained both “ROI” and l’herbe” - I though, fuck it, that’s about as spot on a title for this EP as we can possibly muster.”
‘King of The Grass’ is about the band’s bassist Mike Wimbo who works for Rochdale council on the greens team, which means he spends his life in the pouring rain chopping down overgrown hedges and mowing lawns. Elsewhere on the EP, ‘Inject Your Blood’ is another romantic love song inspired by the TV series ‘True Blood’ (“I’d inject your blood, into mine just to feel you close”), ‘Wires’ rages against the world of AI and GPT, whilst the EP’s opening track ‘My Girl’ is a chaotic, high energy catchy punk song, nothing profound, nothing complicated. It’s a punk song as god intended, a few chords and a load of shouting.
“The EP is like the teaser for what’s next,” summarises Jamie. “The overall hook for this EP is one of hope, that by sticking to what you believe in you can do anything.”

Repress!

In the mid-1970s, a force of nature swept across the continental United States, cutting across all strata of race and class, rooting in our minds, our homes, our culture. It wasn’t The Exorcist, Goodbye Yellow Brick Road, or even bell-bottoms, but instead a book called The Secret Life of Plants. The work of occultist/former OSS agent Peter Tompkins and former CIA agent/dowsing enthusiast Christopher Bird, the books shot up the bestseller charts and spread like kudzu across the landscape, becoming a phenomenon. Seemingly overnight, the indoor plant business was in full bloom and photosynthetic eukaryotes of every genus were hanging off walls, lording over bookshelves, and basking on sunny window ledges. The science behind Secret Life was specious: plants can hear our prayers, they’re lie detectors, they’re telepathic, able to predict natural disasters and receive signals from distant galaxies. But that didn’t stop millions from buying and nurturing their new plants.



Perhaps the craziest claim of the book was that plants also dug music. And whether you purchased a snake plant, asparagus fern, peace lily, or what have you from Mother Earth on Melrose Avenue in Los Angeles (or bought a Simmons mattress from Sears), you also took home Plantasia, an album recorded especially for them. Subtitled “warm earth music for plants…and the people that love them,” it was full of bucolic, charming, stoner-friendly, decidedly unscientific tunes enacted on the new-fangled device called the Moog. Plants date back from the dawn of time, but apparently they loved the Moog, never mind that the synthesizer had been on the market for just a few years. Most of all, the plants loved the ditties made by composer Mort Garson.



Few characters in early electronic music can be both fearless pioneers and cheesy trend-chasers, but Garson embraced both extremes, and has been unheralded as a result. When one writer rhetorically asked: “How was Garson’s music so ubiquitous while the man remained so under the radar?” the answer was simple. Well before Brian Eno did it, Garson was making discreet music, both the man and his music as inconspicuous as a Chlorophytumcomosum. Julliard-educated and active as a session player in the post-war era, Garson wrote lounge hits, scored plush arrangements for Doris Day, and garlanded weeping countrypolitan strings around Glen Campbell’s “By the Time I Get to Phoenix.” He could render the Beatles and Simon & Garfunkel alike into easy listening and also dreamed up his own ditties. “An idear” as Garson himself would drawl it out. “I live with it, I walk it, I sing it.”



But as his daughter Day Darmet recalls: “When my dad found the synthesizer, he realized he didn’t want to do pop music anymore.” Garson encountered Robert Moog and his new device at the Audio Engineering Society’s West Coast convention in 1967 and immediately began tinkering with the device. With the Moog, those idears could be transformed. “He constantly had a song he was humming,” Darmet says. “At the table he was constantly tapping.” Which is to say that Mort pulled his melodies out of thin air, just like any household plant would.



The Plantae kingdom grew to its height by 1976, from DC Comics’ mossy superhero Swamp Thing to Stevie Wonder’s own herbal meditation, Journey Through the Secret Life of Plants. Nefarious manifestations of human-plant interaction also abounded, be it the grotesque pods in Invasion of the Body Snatchers or the pothead paranoia of the US Government spraying Mexican marijuana fields with the herbicide paraquat (which led to the rise in homegrown pot by the 1980s). And then there’s the warm, leafy embrace of Plantasia itself.



“My mom had a lot of plants,” Darmet says. “She didn’t believe in organized religion, she believed the earth was the best thing in the whole world. Whatever created us was incredible.” And she also knew when her husband had a good song, shouting from another room when she heard him humming a good idear. Novel as it might seem, Plantasia is simply full of good tunes.



Garson may have given the album away to new plant and bed owners, but a decade later a new generation could hear his music in another surreptitious way. Millions of kids bought The Legend of Zelda for their Nintendo Entertainment System back in 1986 and one distinct 8-bit tune bears more than a passing resemblance to album highlight “Concerto for Philodendron and Pothos.” Garson was never properly credited for it, but he nevertheless subliminally slipped into a new generations’ head, helping kids and plants alike grow.



Hearing Plantasia in the 21st century, it seems less an ode to our photosynthesizing friends by Garson and more an homage to his wife, the one with the green thumb that made everything flower around him. “My dad would be totally pleased to know that people are really interested in this music that had no popularity at the time,” Darmet says of Plantasia’snew renaissance. “He would be fascinated by the fact that people are finally understanding and appreciating this part of his musical career that he got no admiration for back then.” Garson seems to be everywhere again, even if he’s not really noticed, just like a houseplant.

Originally released in 2005, Street Education is the explosive debut from Street Life - longtime Wu-Tang Clan affiliate and Method Man’s onstage partner-in-rhyme. Executive produced by Method Man, the album delivers raw street wisdom, classic East Coast grit and features production from Rockwilder, Allah Mathematics, Inspectah Deck and Fantom of the Beats. Tracks like “Can’t Stop, Won’t Stop,” “A Star Is Born,” and “What’s Up”
showcase Street Life’s sharp lyricism and his undeniable chemistry with Method Man.

THIS SPECIAL 20TH ANNIVERSARY EDITION ARRIVES IN
TANDEM WITH THE WU-TANG CLAN’S ENTER THE FINAL CHAMBER FAREWELL TOUR, A GLOBAL EVENT
CELEBRATING THE LEGACY OF ONE OF HIP-HOP’S GREATEST COLLECTIVES.

Originally released in 2005, Street Education is the explosive debut from Street Life - longtime Wu-Tang Clan affiliate and Method Man’s onstage partner-in-rhyme. Executive produced by Method Man, the album delivers raw street wisdom, classic East Coast grit and features production from Rockwilder, Allah Mathematics, Inspectah Deck and Fantom of the Beats. Tracks like “Can’t Stop, Won’t Stop,” “A Star Is Born,” and “What’s Up”
showcase Street Life’s sharp lyricism and his undeniable chemistry with Method Man.

THIS SPECIAL 20TH ANNIVERSARY EDITION ARRIVES IN
TANDEM WITH THE WU-TANG CLAN’S ENTER THE FINAL CHAMBER FAREWELL TOUR, A GLOBAL EVENT
CELEBRATING THE LEGACY OF ONE OF HIP-HOP’S GREATEST COLLECTIVES.

Originally released in 2005, Street Education is the explosive debut from Street Life - longtime Wu-Tang Clan affiliate and Method Man’s onstage partner-in-rhyme. Executive produced by Method Man, the album delivers raw street wisdom, classic East Coast grit and features production from Rockwilder, Allah Mathematics, Inspectah Deck and Fantom of the Beats. Tracks like “Can’t Stop, Won’t Stop,” “A Star Is Born,” and “What’s Up”
showcase Street Life’s sharp lyricism and his undeniable chemistry with Method Man.

THIS SPECIAL 20TH ANNIVERSARY EDITION ARRIVES IN
TANDEM WITH THE WU-TANG CLAN’S ENTER THE FINAL CHAMBER FAREWELL TOUR, A GLOBAL EVENT
CELEBRATING THE LEGACY OF ONE OF HIP-HOP’S GREATEST COLLECTIVES.

Launched in London in December 1976, punk stalwarts 999 are one of the most successful and long-lasting acts of the upstart movement. Third studio album The Biggest Prize In Sport was their first for Polydor, the band's competency at a peak, despite the temporary appearance of fanboy drummer Ed Case, drafted in from the Southall Crew supporters when Pablo LaBrittain broke his arm. Often ranked as the greatest album of their entire career, The Biggest Prize In Sport had noticeably smoother edges than their earlier work, yet still holding plenty of bite, the combination pushing it into the Billboard top 200 in the USA. Unmissable!

Probably the first experiment in mixing hardcore attitude with OI! songwriting ever made within the UK punk movement, Attak were born as a four piece in New Mills in l98l, but immediately reversed to a trio when their singer left for school commitments and released two incredible singles on the No Future label in this form, right before recruiting a new guitarist and record “Zombies”, that came out in l983 on the same label. Known for featuring Mackie from BLITZ’s sister on drums, (and sounding a lot like his band!), Attak definitely split up in late 1983. This criminally underrated classic gets reissued on vinyl with his original artwork and fully remastered. Limited to 500 copies on Color Vinyl, complete with big 60x40 cm folded poster!

“Extremely highhgrade psych” (MOJO, 2024) “Immaculate sounding new psychedelia“ (Maggot Brain, 2024) “Alexander succeeds in capturing the post-psych grandeur that he’s aiming for while also creating one of his headiest offerings yet” (Raven Sings The Blues) “Psych lifer in a bloozy Americana mode. The whole thing hangs loose like a frayed rope tied to a river tube… essentially, a choogler’s dream.” (Viking’s Choice / NPR Music) “Plug in and space your face” (Aquarium Drunkard) Originally on Tape via Arrowhawk (please go check more releases on this wonderful label) - Now on Vinyl Presented in a high gloss laminated outer sleeve with artwork by Jake Blanchard - Both sets of art joining together to complete the picture. 36 minutes of sonic bliss for your ears and brain. Side 1 - Dark Star Side 2 - Dark Star (continued) "Jeffrey Alexander is a lifer. He has been flirting around the underground for the past thirty years - starting in Baltimore in the mid-90s and later percolating in Providence, Pittsburgh, San Francisco and, now, Philadelphia. Throughout this span, he has run various record labels, worked in a bunch of record shops, organized music festivals, managed live venues, FM deejayed, jammed econo, booked endless tours and performed in a gaggle of groups from Black Forest / Black Sea to Dire Wolves to Jackie-O Motherfucker to The Iditarod and points in-between. And now we have The Heavy Lidders. Jeffrey Alexander + The Heavy Lidders takes the freaked improvisation of Alexander’s instrumental band - DWLVS / Dire Wolves Just Exactly Perfect Sisters Band - into the world of song. Heady songwriting, ethereal jazz and Trad Gras-y blues stomps all feature. Backed by members of Elkhorn and Kohoutek. This vinyl (in 2 volumes) you hold in your hands is a collection of live Lidders that will surely wax your stem, and how! When Record Crates United invited JA+THL to perform at their inaugural garden party, not only did the Lidders show up with a one-off Live/Dead cover as a surprise gift for Keith and Sarah, but they rolled in with the Jesse Sheppard mobile multi-track truck, as well. Fucking pros, mate. Most of the material here was captured that sunny afternoon in suburban New Jersey - and thank the Godz that we have this plastic burner. I missed the set, but Kenneth Higney was there and gave it two thumbs up! I know them Lidders have a deluxe studio LP lined up for September, but til then, this little box will comfortably help you break on through. But don’t be fooled into thinking this is a mere EP. It’s SEVENTY SIX minutes of pure medicated goo. Now dose your capstan and pinch your roller. Shit is about to get Lidded." - Glen Burnout (on Sun Ra’s arrival day 2023)

This is the second release that DJ Diplomat made all the way back in the early 90’s. His first release was repressed by Vinyl Fanatiks in 2019. This second repress we are doing for him was originally recorded in 1993 and engineered by Secret Squirrel AKA Hellfish who went on to create the Deathchant label in 1997, a label which Diplomat also recorded for. He was also responsible for the mega mixes on the Street Sounds electro series when it was relaunched in the noughties.

Enthused by the support his first repress received Will Diplomat decided to get back into the studio and start making fresh hardcore that sounded like it was made back in the day for the Vinyl Fanatiks sister label Amen Brother. His first release sold out many moons ago but his collab with former partner in the old 1993 hardcore group NARC (DJ Beagle) under the name Diplomat & Beagle is still in stock via Sequence.

Now check his examples of many samples!

This album is one that is always going to be reissued until the end of time. It's pure, raw, inescapably good soul music that was popularised in recent years by Floating Points and his Melodies International label. The 1976 debut album by Chicago soul, rare-groove and jazz-funk fusionists Tomorrow's People was led by the Burton Brothers. This reissue comes on red vinyl for the first time and is full of a dynamic blend of styles-from the sax-driven disco-funk of 'Let's Get Down With The Beat' to the doo-wop-tinged 'Hurry Up Tomorrow' and the fiery 'Hurt Perversion'. The 20-minute title track, Open Soul, is a mesmerising space-soul journey which kicks off this highly sought after gem in style.

San Francisco artist Ross Hogg has been doing his do for many years and here he serves up more of his signature flips for his own self-initialled label. First up is 'Hollywood Squabble' which marries East Coast flow with a classic funk instrumental that results in a red-hot party starting bumper. On the reverse, a female MC does her thing on 'Coolie Dancin' In A Nissan Altima', which rides a bright, bold dancehall rhythm. Two very different but equally effective jams.

Devendra Banhart's 3rd and 4th albums, originally released yb Young God, together as a 2xLP

Black Truffle is pleased to announce a new edition of Kassel Jaeger’s Fernweh, returning François J. Bonnet’s electroacoustic project to the label five years after the acclaimed Meith (BT069). Originally released on Giuseppe Ielasi and Jennifer Veillerobe’s impeccably curated Senufo Editions in 2012, Fernweh stands near the beginning of the gradual expansion of Bonnet’s approach after the austere acoustic textures of Aerae and Algae (both released on Senufo), leading to the lush, layered environments of recent solo works on Shelter Press and the epic electronic expeditions undertaken in duo projects with Stephen O’Malley and Jim O’Rourke.

A major work in the Kassel Jaeger oeuvre, stretching over two LP sides, Fernweh draws together synthesized and musique concrète materials into a drifting assemblage. Its title’s meaning is close to the concept of ‘Wanderlust’, fitting for this music that moves freely and unexpectedly between what Bonnet calls ‘climates’. Beginning with fizzing electronics whose rhythm of gradual approach suggests breaking waves, the clinical atmosphere is soon haunted by intangible traces of lived reality. Textures call up wind, water, insects, the crunch of feet on sand or the clinking of glasses, yet they can never be identified with any certainty. At times these concrete elements possess a vivid ‘closeness’; at others, the sounds shade into a formless distance. Though the listener forms no clear picture from the concrete sounds, these elements aerate the music, lending it their space.

Drawing from the rigorous formal language and conceptual apparatus of the French musique concrète tradition—with which Bonnet, as director of the GRM and researcher into its deepest archival recesses, is intimately familiar—the music of Kassel Jaeger is equally informed by how underground experimental music has rethought electroacoustic techniques, with Fernweh at times calling up the grit and grime of para-industrial eccentrics like Maurizio Bianchi or the Toniutti brothers, and at other moments suggesting the slow-moving grandeur of early Olivia Block. Subtle features of dynamics and rhythm act as connective tissue between the numerous ‘scenes’, with wave-like envelopes, rapid pulsations, and short, tape-loop patterns all recurring throughout the piece, shared ambiguously between electronic and concrete sounds. Amid these shifting, often inharmonic textures, the electronic elements sometimes cohere into melodic shapes and chordal patterns, cutting through the fog in distorted arcs or underpinning the layered surface with slow-moving harmonies. Like his friend and collaborator Jim O’Rourke, Bonnet displays a radical openness at odds with academic tradition, allowing unabashed emotion to coexist with rigorous experimentation. As Fernweh dies away with mysterious shudders, listeners are left at once moved and unsure of exactly what they just heard.

NSTOCK AND SHIPPING Next up on Feral Child (alongside the mighty new Lake Ruth full length) comes an absolute banger of a 45 from THE HOLOGRAM PEOPLE. Following hugely well received -and sought after- releases on Dreamlord Recordings, Library of the Occult, Up In Her Room and others, the duo of Jonathan Parkes (Korb) and Dom Keen (Studio Kosmische) release “Bongo Express” as a limited one-off vinyl pressing for Crouch End based label Feral Child. "A heady, psychedelic collision of bongos and analogue synths create a dusty mid 70's groove of masterful krautrock infused funk instrumentation. The duo’s trippy soundtrack and radiophonic leanings are at the fore across both sides of this beauty. It is anticipated that a quick sell out is on the cards, and the single looks wonderful too- dressed in Feral Childs’ new psych company bags designed by label head Dom.

‘selfsame’, the second 12” on false aralia, mirrors the structure of companion release ‘zero key’ in presenting an iterative exploration of versioning itself, unspooling a line of flight through four ascending rhythmic configurations. the objects at the center remain hard to glimpse: holographic percussion, snatches of breath, contorted blue chords, and roiling subs phase in and out of perception, interlocking, dissipating and reappearing as familiar silhouettes. the slow and quick domains of rhythm superimpose and bifurcate, perpetually just out of grasp, only visible in mutual reflection. the apparent solidity of the structure dissolves into a froth of microscopic activity upon close inspection.

2025 Repress
Growing up on the north Atlantic island of Iceland bestows one with an unusual and often intense relationship with light and colour: Summers come with endless days, Winters with scant sunlight yet increased sightings of the Aurora Borealis; the mysterious and awe-inspiring glow across the sky. Channelling these energies, Exos
comes to Tresor with his Green Light EP, a five-track collection of the sort of spectrally rich techno synonymous with the Northman’s 27-year career.
Across the EP, the five tracks fizz and pulsate driving ever forward, making the release’s title a three-way play on words referencing the continuous travelling of photons, the verdant warping of the Northern Lights, and the universal colour for Go, for forward propulsion. Smart wordplay can also be found in titles like Grátt Silfur, a term in Íslenska (literally “grey sliver”) which signifies a tension between two parties, further extending the colour metaphor and dark/light dichotomy found elsewhere.
The digital release comes with three extra tracks that continue the dynamic energy, pushed along by the same shifting, mutating force where the music often feels like voices calling out from the darkness or the shimmer of light as the sun rises across the horizon.
Green Light EP continues this year’s blazing return from an artist who, similar to his output, is never stagnant: ever changing form yet ever moving forward.

Kesha’s sixth studio album, . (PERIOD) – yes, it's just a period. – is an unapologetic, unfiltered declaration of artistic freedom and fearless authenticity from the 2x GRAMMY® Award-nominated pop icon. Conceived, co-produced and co-written by Kesha, the 11-song collection transcends pop norms to create a raw, daring, and intensely personal sonic journey, a defiant act of self-expression that refuses to adhere to expectations or play it safe.
More than just a new album, . (PERIOD) is Kesha at her most powerful best, turning her experiences into vibrant, audacious art with a spiked heel at the neck of pop culture.
Among its many exhilarating highlights, . (PERIOD) includes 2024’s blockbuster hits “JOYRIDE” and “DELUSIONAL,” both available everywhere now. Currently boasting over 103M streams at Spotify alone, “JOYRIDE” proved a true sensation since its Independence Day release, reaching #6 on Billboard’s “Bubbling Under Hot 100 Singles” and “Hot Dance/Electronic Songs” along with the top 30 on “Pop Airplay” and chart success around the world from the UK to New Zealand. Produced by Zhone and co-written by Kesha, Zhone, and Madison Love, the track marked the triumphant first chapter of a milestone new era for Kesha, celebrating both her long overdue empowerment as an independent artist as well as a powerful sonic evolution following 2023’s critically acclaimed fifth studio album, Gag Order. Along with its popular achievement, “JOYRIDE” has been met by high-profile critical applause from the likes of Rolling Stone, Variety, and Vulture, to name only a few. Perhaps NYLON said it best: “Everything about ‘JOYRIDE’ is a trip…The original glitter-faced party animal of the 2010s is back with a fiery vengeance.”
“JOYRIDE” joined by an equally acclaimed official music video streaming now on YouTube.
Directed by Dimitri Basil (Kylie Minogue, Vance Joy), Cooper Roussel (Unknown Mortal Orchestra, Miami Horror), and Laura Gorun (Joywave, Kings of Leon), the high-octane visual received wide-ranging attention from major publications and top online outlets around the globe, including Billboard, Vulture, and Rolling Stone, the latter of which raved, ““Kesha is taking her foot off the brakes and going full-speed ahead on her new video for ‘JOYRIDE.’ The video sees Kesha racing through the desert in a hot red convertible while being chased by a helicopter, gun-toting assassins, and a shirtless dude hell-bent on catching up to the pop diva.”

Kesha’s sixth studio album, . (PERIOD) – yes, it's just a period. – is an unapologetic, unfiltered declaration of artistic freedom and fearless authenticity from the 2x GRAMMY® Award-nominated pop icon. Conceived, co-produced and co-written by Kesha, the 11-song collection transcends pop norms to create a raw, daring, and intensely personal sonic journey, a defiant act of self-expression that refuses to adhere to expectations or play it safe.
More than just a new album, . (PERIOD) is Kesha at her most powerful best, turning her experiences into vibrant, audacious art with a spiked heel at the neck of pop culture.
Among its many exhilarating highlights, . (PERIOD) includes 2024’s blockbuster hits “JOYRIDE” and “DELUSIONAL,” both available everywhere now. Currently boasting over 103M streams at Spotify alone, “JOYRIDE” proved a true sensation since its Independence Day release, reaching #6 on Billboard’s “Bubbling Under Hot 100 Singles” and “Hot Dance/Electronic Songs” along with the top 30 on “Pop Airplay” and chart success around the world from the UK to New Zealand. Produced by Zhone and co-written by Kesha, Zhone, and Madison Love, the track marked the triumphant first chapter of a milestone new era for Kesha, celebrating both her long overdue empowerment as an independent artist as well as a powerful sonic evolution following 2023’s critically acclaimed fifth studio album, Gag Order. Along with its popular achievement, “JOYRIDE” has been met by high-profile critical applause from the likes of Rolling Stone, Variety, and Vulture, to name only a few. Perhaps NYLON said it best: “Everything about ‘JOYRIDE’ is a trip…The original glitter-faced party animal of the 2010s is back with a fiery vengeance.”
“JOYRIDE” joined by an equally acclaimed official music video streaming now on YouTube.
Directed by Dimitri Basil (Kylie Minogue, Vance Joy), Cooper Roussel (Unknown Mortal Orchestra, Miami Horror), and Laura Gorun (Joywave, Kings of Leon), the high-octane visual received wide-ranging attention from major publications and top online outlets around the globe, including Billboard, Vulture, and Rolling Stone, the latter of which raved, ““Kesha is taking her foot off the brakes and going full-speed ahead on her new video for ‘JOYRIDE.’ The video sees Kesha racing through the desert in a hot red convertible while being chased by a helicopter, gun-toting assassins, and a shirtless dude hell-bent on catching up to the pop diva.”

Misty Lane paves a path to Dark Entries to deliver some quirky Quebecois disco pop. In 1983, producers Michel Bibeau, perhaps best known for his work on Pluton & Humanoids’ “World Invasion,” and Fitz Roy aka Ralph Mashats teamed up with singer Elaine Desjardins, the eponymous Misty Lane.

Mashats reminisces about bringing his Roland TR-808 and TB-303 to Michel’s Studio 21 in St. Eustache, two units he regretted later selling for “a slice of bread.” Michel added hooks with his Roland Jupiter 4 and various studio effects. Their sessions produced “Energy” and “Contrôle,” two cuts of slinky synthpop with French-Canadian flair. “Energy” pops off with proto-house vibes thanks to snappy 808s and Desjardin’s naive-but-enthusiastic vocals, and would fit right into a mid-80s WBMX Radio mix. “Contrôle” is a mid-tempo groover with tropical atmospheres, sitting perfectly next to to Junior Byron’s “Dance to the Music,” which was another Bibeau production.

Energy comes in a sleeve featuring Elaine at The Chivas Club in Montreal. Fans of Italo, Canadian disco, and oddball wave will rejoice in these artfully produced gems.

Vinyl Only!

The transformation deepens with “Prolonged Resistance”; the second chapter in the Instruments Of Rapture series. The record opens with the hypnotic, slo-mo burner “Just A Memory,” luring you in before the striking hard with the uptempo, cosmic stomp of “Planets (Lost Groove).” The 12” closes out with “Better,” a mid-tempo, smoky soul bumper that lingers long after the fade.

It’s been a mere two months since Gaz released his first EP after coming back from a debilitating addiction to Greggs sausage rolls. Despite this long road of recovery, he has kept himself out of trouble and returned to furnish us with four more slabs of Steak Baked Garage Bakes!
Gary Loves Garage is a track of such pure Garage that if you knew how to take a m7/9 chord and pitch it about a bit you would be in the same ballpark. A lot of the Deep Garage Dads from his area Whatsapp Gary and on occasion, sit outside his house desperate for the library of m7/9 pad samples which Gaz has lovingly built up over many years on multiple Zip Disks. Of course, Gary would never share these m7/9’s as they form the backbone of his productions and if they got into the wrong hands there would be implications.

Gary gets a rare trip to NYC on Gary Visits NYC (BA Premium Economy). As the name suggests, Gaz splashed out on a British Airways Premium Economy ticket from Heathrow Terminal 5C but unfortunately Gaz got hammered in the Wetherspoons and didn’t realise that a 5C departure meant you had to get on the underground rail connection. He missed his flight.

Gary’s SP1200 - still a bone of contention for Gary with the lack of funds in his current life meaning an SP1200 is way out of reach. He has multiple ex-wives and various children which prove a drain on the monthly finances.

Finally -Gary’s Pad Patterns could be a paean to the aforementioned Zip disc, one of Gaz’s favourites! Zip disc 4 of 8. This has his best m7/9 chord samples on it and actually has not left the Zip reader since 1999 - apart from that one time when Gaz had to change the SCSI cable.

80s synth magic for the the four-track mind. DIY outsider Rick Cuevas was a post-punk refugee on a vision quest for a hit. Tracked at home in 1984, "The Birds" is that 40-year-delayed viral smash, one of eight retro-futurist anthems that make up Cuevas' debut album. Remastered from the analog masters, this 40th anniversary edition replicates the 200copy original for max teleportation value.

LA-based producer Real Bad Man and Detroit artist ZelooperZ release their joint album Dear Psilocybin via the pro-ducer’s own Real Bad Man Records. The album marks the duo’s first collaboration, culminating in a full-length project that also features guest appearances from Boldy James, MAVI and a verse from The Alchemist. On Dear Psilocybin, ZelooperZ invokes unconventional production out of Real Bad Man to match his own unpredictable and outlandish delivery, working outside of traditional song structures and existing in a lane of his own. The Detroit multihyphenate, who is an integral part of Danny Brown’s Bruiser Brigadecollective and also an accomplished visual artist, painted the album’s corresponding cover artwork as well.

“I definitely haven’t made anything like this before, it’s a very subtle version of my music as far as tone, ” ZelooperZ explained in a conversation with Real Bad Man for his RBM Radio show. He elaborates on the off-kilter approach to the way he recorded to say, “the album feels like a movie soundtrack for a film about a man losing his mind and getting spurts of memories along the way. ”

Speaking about how the project differs from the rest of his collaborative catalog, RBM says, “It’s trippy and it’s a little different – but the main goal was for it to be authentic to Z and his process. ” That dedication to authenticity rings true across his catalog, drawing back to the foundations of his beginnings as a producer, learning the fundamentals of sampling, experimenting with chords and learning to piece songs together by ear. RBM builds a cohesive production arc around each artist he works with, catered to their strengths as artists, working with a variety of lyrical stylists includ-ing Memphis rapper Lukah, Pink Siifu, Blu, Kool Keith, Elcamino & more.

Real Bad Man is the production moniker of visual artist and designer Adam Jay Weissman. A designer and visual artist first, he made his foray into music through his On High Alert series of imaginative, multi-generational compilations, which have featured the likes of Roc Marciano, ROME STREETZ, Pink Siifu, Maxo and more. In the years since, he’s partnered with some of hip-hop’s most talented and adventurous artists on full-length projects, refining and shaping the trajectory of some of rap’s most exciting independent artists.

Kota The Friend and Statik Selektah reunite for their third collaborative album, "Once In A Blue Moon", a stunning fol-low-up to their acclaimed projects "To Kill A Sunrise" and "To See A Sunset". This album sees the duo refining their sig-nature blend of introspective lyricism and golden-era-inspired production, creating a sonic landscape that feels both nostalgic and refreshingly modern.

Highlights include the electric energy of "BLAH," featuring rap superstar Logic, who delivers sharp, unforgettable vers-es alongside Kota. Violinist Phearnone adds a hauntingly beautiful touch to "What You Need," merging classical strings with Statik's soulful beats for a standout moment of artistic fusion.

"Once In A Blue Moon" is a musical reflection on the rarity and beauty of those transformative experiences that stay with you forever, a vivid journey, showing Kota The Friend and Statik Selektah at the peak of their creative synergy.