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In the wake of the release of Swedish post-rock luminaries OH HIROSHIMA's 6th studio album And The Dead Tree Gives no Shelter, Pelagic is reissueing OH's Oscillation (2019) and Myriad (2022) on vinyl. Myriad captures OH HIROSHIMA at their most focused and ambitious. The album moves between crushing despair and fleeting moments of catharsis weaving heart-wrenching melodies into towering walls of noise and explosive crescendos. The incorporation of trumpet, cello and trombone adds new dimensions to the band's sound, resulting in a record that resonates far beyond the post-rock scene and highlights the band's continued artistic evolution. Following the departure of bassist Simon Forsberg in early 2021, OH HIROSHIMA were reduced to a duo _ a shift that challenged the band to rethink and expand their creative approach. While Myriad remains firmly rooted in post-rock, brothers Jakob Hemström and Oskar Nilsson use the album as an opportunity to push beyond the genre's familiar boundaries, drawing from a far broader musical palette than ever before. To get a sense of what the album has to offer, watch the music video for "Humane". Guitarist & vocalist Jakob Hemström comments: "Humane might be the most direct and intense song we've created as a band. For us it marks a somewhat new direction that we wanted to explore and we're very proud of how it turned out. We felt right away that this was the first song of the new album we wanted our listeners to hear. The lyrics revolve around themes of human hubris and the video was filmed, directed and edited by our drummer, Oskar." Recorded by Kristian Karlsson (pg.lost, Cult of Luna) and once again mixed and mastered by Magnus Lindberg of Cult of Luna, Myriad blends soaring melodies with immense emotional weight and dynamic intensity and stands as a compelling testament to the band's continued evolution. Classic black or rosé (Dead Flamingo) vinyl available. FOR FANS OF Alcest Mogwai God Is an Astronaut Karnivool pg.lost

OXO 86: Jau, wir haben es tatsächlich getan und einige unserer Songs auf Englisch neu aufgenommen. Das war gar nicht so einfach für uns, denn unser Schulenglisch aus DDR-Zeiten reicht gerade mal für ein Gespräch auf dem Schulhof. Also haben wir ein paar englischsprachige Freunde gebeten, uns ihre Stimmen zu leihen (die Aufnahmen entstanden gemeinsam mit Sänger Willy und der ganzen Band!). Mit dabei waren Freunde aus anderen Bands, wie Greg von ,Bishops Green", Chris von ,On the Job", Ole von ,Brutal Bravo", einige Musiker bekannter Ska-Bands usw. Unglaublich, aber wahr OXO 86 sings English! CD sowie schwarzes, klar-gelbes mit schwarzem Splash und klar-rotes mit schwarzem Splash-Vinyl gibt's aktuell!

OXO 86: Jau, wir haben es tatsächlich getan und einige unserer Songs auf Englisch neu aufgenommen. Das war gar nicht so einfach für uns, denn unser Schulenglisch aus DDR-Zeiten reicht gerade mal für ein Gespräch auf dem Schulhof. Also haben wir ein paar englischsprachige Freunde gebeten, uns ihre Stimmen zu leihen (die Aufnahmen entstanden gemeinsam mit Sänger Willy und der ganzen Band!). Mit dabei waren Freunde aus anderen Bands, wie Greg von ,Bishops Green", Chris von ,On the Job", Ole von ,Brutal Bravo", einige Musiker bekannter Ska-Bands usw. Unglaublich, aber wahr OXO 86 sings English! CD sowie schwarzes, klar-gelbes mit schwarzem Splash und klar-rotes mit schwarzem Splash-Vinyl gibt's aktuell!

Das 1981 erstmals erschienene Album „Give the People What They Want“ setzte den Erfolg der Kinks
aus den frühen 80er-Jahren mit ihrem direkten, gitarrenlastigen Sound und pointierten, zeitgenössischen
Themen fort. Als eines ihrer erfolgreichsten Alben in den USA enthält es herausragende Titel wie „Destroyer“, „Better Things“ und „Around the Dial“. Diese Edition von 2026 wurde von den Originalquellen
neu gemastert und bietet verbesserte Klarheit, Definition und Ausgewogenheit, wobei der Charakter und
die Energie der Originalmixe erhalten blieben.
Das 1979 erstmals veröffentlichte Album „Low Budget“ markierte mit seinem härteren, stadiontauglichen
Sound einen Wendepunkt in der späten Karriere der Kinks. Es avancierte zu einem der stärksten US-Alben
der Band und gilt bis heute als eines der prägendsten Alben ihrer späten 70er-Jahre.
Diese Edition von 2026 wurde von den Originalquellen neu gemastert und bietet verbesserte Klarheit, Ausgewogenheit und Dynamik, ohne den Charakter des Originalmixes zu beeinträchtigen. Titel wie „(Wish I
Could Fly Like) Superman“, „Catch Me Now I’m Falling“ und der Titelsong profitieren von einer detaillierteren und fokussierteren Wiedergabe.

Das 1981 erstmals erschienene Album „Give the People What They Want“ setzte den Erfolg der Kinks
aus den frühen 80er-Jahren mit ihrem direkten, gitarrenlastigen Sound und pointierten, zeitgenössischen
Themen fort. Als eines ihrer erfolgreichsten Alben in den USA enthält es herausragende Titel wie „Destroyer“, „Better Things“ und „Around the Dial“. Diese Edition von 2026 wurde von den Originalquellen
neu gemastert und bietet verbesserte Klarheit, Definition und Ausgewogenheit, wobei der Charakter und
die Energie der Originalmixe erhalten blieben.
Das 1979 erstmals veröffentlichte Album „Low Budget“ markierte mit seinem härteren, stadiontauglichen
Sound einen Wendepunkt in der späten Karriere der Kinks. Es avancierte zu einem der stärksten US-Alben
der Band und gilt bis heute als eines der prägendsten Alben ihrer späten 70er-Jahre.
Diese Edition von 2026 wurde von den Originalquellen neu gemastert und bietet verbesserte Klarheit, Ausgewogenheit und Dynamik, ohne den Charakter des Originalmixes zu beeinträchtigen. Titel wie „(Wish I
Could Fly Like) Superman“, „Catch Me Now I’m Falling“ und der Titelsong profitieren von einer detaillierteren und fokussierteren Wiedergabe.

Red Dwarf Star emerges as a striking new chapter for Coley Taylor of famous US/CH based MASERATI, a new project that captures a deeply personal arc that spans continents, relationships, and creative reinvention. Working largely alone, Taylor embraced a deliberately stripped-down approach, navigating unfamiliar technology with joyously unpolished determination. Much of the material was recorded in a modest, direct manner that prioritizes feeling over finesse. This DIY ethos is balanced by key collaborations that elevate the record's sonic depth. Drums were recorded in Los Angeles by Kellii Scott, whose distinctive style adds weight and clarity, while contributions from Allen Epley and Jenna Fournier introduce subtle vocal textures that expand the emotional range of the songs. Despite its introspective origins, Red Dwarf Star is not intended to remain a solitary endeavor. What began as a personal outlet is evolving into a fully realised band, with a lineup assembled to bring these songs into a more expansive, dynamic setting. This shift signals not only a new phase for the project, but also a broader artistic trajectory. Taylor is known best for his work with Maserati, a legendary outfit that leans into collaborative, rhythm-driven expanses rooted in krautrock and electronic psych. Through Red Dwarf Star Taylor's lineage of influence is felt, echoing the raw emotional immediacy of `90s alternative, post-hardcore, and the textured atmospheres of jagged dream-pop that bleeds. These are sounds that have lingered in Taylor's creative subconscious for decades, now resurfacing with renewed urgency. For fans of MASERATI, FAILURE, SLOWDIVE, QUICKSAND, SHINER, HUM Black or coloured vinyl LP or CD available

Somewhere in the Wind is the third record that Loren Connors and I have made together. Of the three, it’s the first that consists exclusively of electric guitar duos and it’s the first that was recorded live. To me it feels very much like a live record; this music happened in crowded rooms in Brooklyn on two dates in 2025 and there’s an urgency to connect with others and a pleasure in doing so that can be heard on both of these tracks. On the first of our duo records (Arborvitae, 2003) I primarily play piano, and on the second (Evening Air, 2024) we switch off on piano and guitar. Both of those albums bespeak the privacy of the recording studio, where time is suspended and one can explore the quietest of sounds. By contrast, Somewhere in the Wind is the noisiest, most raucous and most free of our duo records. It’s the sound of us taking it to the stage.

I became a fan of Loren’s playing from the moment that I first heard it, after happening upon a beat-up copy of In Pittsburgh circa 1992 in a used bin in the Dr. Wax record store in Chicago where my then-bandmate Bundy K. Brown worked. Everyone has taken a chance on a record because it looked interesting and wouldn’t set you back too much. In that regard In Pittsburgh was the find of a lifetime. I had just switched from playing in a postpunk power trio (Bastro) to making mostly drummerless respect-your-neighbors music (Gastr del Sol), and Loren’s pacing and touch and his lovely, unaffected compositions had me from the first listen. Not long after that, Jim O’Rourke and I reissued In Pittsburgh on our Dexter’s Cigar label, and I fondly remember first meeting Loren in New York’s Grand Central Station—so glamorous for this country mouse—and taking the train upstate with him where he shared a bill with Gastr del Sol. During soundcheck, Jim, Loren, and I played together for a bit and Loren’s approach to the instrument was something that one could instantly sink into, the kind of situation where there are no mistakes. I still feel that when we play together.

David Grubbs

BABON is a psychedelic instrumental band from Indonesia, formed in 2023 by Wahyudi T. Raupp, Rayi Raditia, and guitarist Rori Jiwa Putra. Their music blends traditional Indonesian genres such as Keroncong and Dangdut with global influences like Middle Eastern grooves, Latin rhythms, Spaghetti Western motifs, and Afro-funk, creating a sound they call "Tropical Desert" music. Their debut album, Tropical Desert, follows the 2024 release of the singles "Desert Rose" and "TNT" on London-based label Batov Records. Beyond their genre-bending sound, BABON is deeply rooted in environmental advocacy, using instrumental music and visual storytelling to address ecological issues. They are currently producing a live session featuring four tracks from the album, set against cinematic footage highlighting Indonesia's natural landscapes and environmental challenges.

BABON's distinctive sound has earned them strong international recognition, with radio play from major stations including BBC Radio 3 and Soho Radio (UK), RBB Radioeins and Byte FM (Germany), CBC Radio One (Canada), Triple R and 2SER (Australia), and WYEP and KALX (USA). Their 7-inch vinyl release was nearly sold out, further signaling their growing global appeal. The album's cover and packaging were created by Indonesian retro surrealist Christian Candra, contributing to the band's cohesive artistic vision. BABON is represented worldwide by PR and radio agency Only Good Stuff, helping to amplify their message and music to audiences across the globe.

BLUES NOW! The title says it all. Blues in all caps – honest, emphatic, and raw. This collaborative album unites GA-20, one of today’s most celebrated young Blues trios, and Charlie Musselwhite, a legendary statesman of the genre. Musselwhite’s name is synonymous with the Blues, a harmonica virtuoso and esteemed vocalist with a 60-plus year career forged in authenticity and excellence. GA-20 burst onto the scene in 2018, garnering a quick reputation for dynamic live performance, built on a deep respect for the originators and an enduring commitment to carrying the torch forward. Together with BLUES NOW (New West Records), the Grammy award winning Musselwhite and Billboard chart-topping GA-20 shine with a chemistry that blends the spirit of the Blues pioneers with an electrifying modern energy.

With BLUES NOW, the collaboration between GA-20 and Charlie Musselwhite embodies a living musical conversation that spans generations. It is an ongoing dialogue and testament to the enduring spirit of Blues music. It reaffirms its timeless appeal and reminds us that the Blues is a living, breathing art form. It’s also a hell of a good time.

Terri Lyne Carrington + Social Science ― Matthew Stevens, Aaron Parks, and Morgan Guerin ― delivers their sophomore project, Trip the Night Fantastic, on Candid Records. GRAMMY® nominated for Best Jazz Instrumental Album for their 2019 release, Waiting Game, this acclaimed collective returns ― boasting an illustrious roll call of emcees, spoken word artists, and instrumentalists ― this time exploring systemic and contemporary themes that demand our attention, call us to action, and add stunning breadth to the time-honored tradition of amalgamating art and activism. Women’s empowerment, climate change, immigration, gender justice, body autonomy, community building, and animal rights are all elucidated with a freshness, depth, and creative brilliance that can only be birthed from someone whose creative core is rooted in empathy and humanity.

Featured throughout this new recording are vocalists Ledisi, Arooj Aftab, Michael Mayo, Miki Howard, Fatoumata Diawara, Debo Ray, Christie Dashiell, Lizz Wright, Vuyo Sotashe, Safa, Imani Rousselle, and Ian Michael; instrumentalists Brandee Younger, Marc Ribot, Larry Goldings, Rashaan Carter, Simon Moullier, Riley G, and Brenda Navarrete; emcees Nappy Nina, Kokayi, Kassa Overall, and Khemist; and spoken word artists J. Ivy, Aja Monet, Tarriona ‘Tank’ Ball, and Moor Mother.

The collaboration we’ve all been waiting for is finally here! Thee Sacred Souls asked him to... and Victor Axelrod delivers with two massive platters sure to usher summer in with a swing.

Thoughtfully plucked from their sophomore album, Got a Story to Tell, the politically -charged ‘One and the Same’ gets a soulful reggae reboot from Axelrod and session team The Inversions.

Josh Lane’s emotional delivery and impressive vocal range meld with the raw, heavy rhythms as if preordained—transforming the beloved tracks into something exciting and fresh whilst leaving its DNA intact.

A testament to what a skilled producer can do with rock- solid compositions. Comes complete with respective HEAVY B SIDE DUB VERSIONS. Get into it!

To mark its 10th Anniversary,
discover Awa Ly's Album "Five And A Feather" (Including one previously unreleased track) On Vinyl For The First Time !

One night, Awa had a dream.

The atmosphere was enchanted, almost mystical, enveloped in a setting that summoned the moon, the Earth, and the elements. An ancestral blend of Native American and African cultures, a shamanic being was there, speaking in an unknown language, narrating stories both real and imagined. She received these tales from others, made them her own, absorbed them, shared their joy, and soothed their harbored pain or sadness.

Upon waking, the shamanic narrator had vanished, but her presence was still palpable; Awa made her the storyteller of this new album: Five and a Feather.

Five, like all things counted by fives: the senses, the oceans, the lines of a musical staff, the fingers on a hand. And feather, the magical element that connects them-the very one Awa used to write and compose the ten tracks of this new album where, under the brush of SainaSix, she becomes the first Black woman immortalized in Mucha's Art Nouveau aesthetic.

Ballaké Sissoko's kora, Paco Sery's senza, Greg Cohen's double bass, Faada Freddy's vocals, the steel guitar, or the erhu (Chinese violin) are all elements that illuminate the shamanic storyteller's tales.

Produced alongside the duo Jean Lamoot and Pascal Danae (winners of the 2015 Victoires de la Musique in the World Music category with their band Rivière Noire), Five and a Feather faithfully captures the warm atmosphere of live-recorded sessions where instruments answer and interlock with one another, creating the perfect showcase for the album's principal instrument: Awa's voice.
Words that she delicately places or lets fall onto the notes like tears of joy or sadness, flowing from that source called love.

An album written, composed, and recorded like fine lace, starry with details that only reveal themselves to those who know how to seek them out.

Discrepant presents the LP edition of Tales from the Source, the original film soundtrack by Bear Bones, Lay Low and Laszlo Umbreit.

Originally composed for Belgian-Congolese artist Léonard Pongo’s 2024 film of the same name, this release reworks the film's audio into a continuous, fluid listening experience.

The album is built on a direct contrast between heavy electronic manipulation and raw environmental audio. Laszlo Umbreit captured the foundation of the record through field recordings and additional electronics, focusing on the quiet, tactile sounds of water, riverbeds, and natural spaces. These recordings were then processed and expanded by Bear Bones, Lay Low, who layered the tracks using synthesizers, samplers and various effects processors.

Rather than acting as a standard background score, the music functions as a detailed piece of environmental sound art. The tracks are edited to blend into one another without distinct gaps, mirroring the slow pace and visual flow of the film. Through the use of tape loops, filtering, and electronic processing, the natural landscapes are systematically distorted and rearranged. The result is a dark, slow-moving suite of electroacoustic music that strips away traditional melody to focus entirely on texture,

BLUES NOW! The title says it all. Blues in all caps – honest, emphatic, and raw. This collaborative album unites GA-20, one of today’s most celebrated young Blues trios, and Charlie Musselwhite, a legendary statesman of the genre. Musselwhite’s name is synonymous with the Blues, a harmonica virtuoso and esteemed vocalist with a 60-plus year career forged in authenticity and excellence. GA-20 burst onto the scene in 2018, garnering a quick reputation for dynamic live performance, built on a deep respect for the originators and an enduring commitment to carrying the torch forward. Together with BLUES NOW (New West Records), the Grammy award winning Musselwhite and Billboard chart-topping GA-20 shine with a chemistry that blends the spirit of the Blues pioneers with an electrifying modern energy.

With BLUES NOW, the collaboration between GA-20 and Charlie Musselwhite embodies a living musical conversation that spans generations. It is an ongoing dialogue and testament to the enduring spirit of Blues music. It reaffirms its timeless appeal and reminds us that the Blues is a living, breathing art form. It’s also a hell of a good time.

The recordings on Volume II were captured in Copenhagen, Denmark on January 18, 2020. Guided as much by human instinct as by musical intention, the ensemble moved through the evening with a shared sensitivity…listening, responding, and trusting the moment as it unfolded. Though Morten McCoy admits to having felt quite ill that evening, nothing in the music suggests restraint. Instead, what remains is a vivid, playful exchange, where McCoy and Johannes Wamberg carry both Part I and Part II as a flowing conversation, speaking through sound rather than words.

Part I begins abruptly, almost throwing the listener back in time to the exact moment the improvisation was born. Jonathan Bremer steps to the forefront, providing a solid, melodic bassline as Kristoffer and Eliel, perfectly in sync, lay down a steady foundation for whichever voice chooses to rise above the rhythm.

This is also one of the few I Am An Instrument recordings to feature two guitarists. Johannes Wamberg leads the way, shaping the harmonic direction, while Steven Jess Borth II adds subtle rhythmic textures through muted palm work, deepening the groove without ever stepping into the foreground.

Part II unfolds with Morten McCoy on his Moog One, delivering a beautiful, expansive solo. Using a carefully chosen patch, the sound pulses through the rhythm, moving with the groove rather than above it, riding the beat like a wave through the ocean.
Shaped by trust, presence, and collective improvisation, Volume II captures a group deeply attuned to one another, allowing intuition and momentum to guide the unfolding form.
——
Volume III was recorded in Copenhagen on March 5, 2020. Little did anyone know that only days later, the world would be placed on pause for years. Captured just before that moment of global stillness, this session carries a heightened sense of presence, a final gathering before silence reshaped everything. Recorded in a space more commonly associated with a club atmosphere, the music draws on a different kind of energy and immediacy. With Eliel Lazo unable to attend, the group invited Victor Dybbroe of Girls In Airports to join on percussion, subtly reshaping the ensemble while preserving its core spirit. Part I opens with Steven Jess Borth II calling out on tenor saxophone, answered by Morten McCoy on Wurlitzer electric piano. The piece gradually unfolds into a meditative groove, patient and expansive, carrying the listener through an eight-minute journey of layered rhythm and restraint.

Part II begins with Jonathan Bremer on stand up bass, slowly joined by the rest of the ensemble as each voice enters with intention. Midway through, an unexpected vocal melody from Borth emerges, drenched in reverb and delay, later reappearing as a melodic line on the tenor saxophone.

Part III is led by Morten McCoy on Wurlitzer electric piano. His signature melodic language sets the direction, guiding the ensemble while leaving ample space for the music to breathe and evolve through collective improvisation. Reprise returns to the closing moments of Part II, its title reflecting its origin. The familiar groove reappears, transformed into a distinctly Jamaican-influenced rhythm, over which Borth delivers a final tenor saxophone solo, bringing the conversation to rest.

Any questions about any of these products feel free to get in touch and we'll help you out!

a a1. Part I [Vol.2]
[b] a2. Part II [Vol.2]
[c] a3. Part I [Vol.3]
[d] b1. Part II [Vol.3]
[e] b2. Part III [Vol.3]
[f] b3. Reprise [Vol.3]

KSRX003 introduces French producers Benales and Clotur. On the A-side, Benales delivers direct, groove-led tracks with solid low-end and tight drums, built for club use. On the B-side, Clotur takes over with a deeper, more hypnotic approach and a raw edge. The B2 switches to breakbeat, adding a different angle without losing flow. Straightforward tools for the floor.

Japanese pressing

two Japanese rare groove classics from 70's selected by DJ CHINTAM (Wamono AtoZ), both tracks are first time pressed on 7 inch.

ARCA unfolds as a modern parable, where the ancient biblical plagues become subtle echoes of the afflictions we have created. through ten distinct compositions, it explores the human shadows - hope and fear, violence and greed, resentment and perfectionism - that we cast upon the world and upon ourselves, crafting a fragile, fractured existence. each track serves as a mirror reflecting our flaws and contradictions, inviting listeners to confront the quiet turmoil within and around us.

amidst this sonic journey, the music becomes a space for reflection and reckoning, gently urging us to acknowledge these plagues not as distant curses, but as intimate truths. it is an invitation to recognize our own power offering a path toward redemption and renewal in the turbulent landscape we call home.

Bidule 2.0 is an unique reinterpretation of Pierre Henry’s little-known sound heritage combined with ErikM’s original composition. The album explores previously unused raw materials, transformed through ErikM’s highly digital approach, balancing fixed composition and unexpected sonic events, a singular sonic experience where where historical archives and contemporary creation converge.

"Bidule 2.0 is a composition by ErikM that revisits a selection of the unused sonic heritage of composer Pierre Henry, covering the period from 1950 to 1974, sourced from the Son/Ré studio and digitized by the BnF (Bibliothèque nationale de France). Over the decades, Pierre Henry and his team accumulated a vast collection of sonic materials from their studio research.This sound library, recorded on analog tape, is a testimony to the recording techniques of that era — including the quality of microphones and recording media, as well as the acoustics of the recording spaces — all of which define the sound of a time. Not wanting to create a remix from the composer’s iconic sounds, I chose instead to work with selections of raw material from unused recording sessions, 168 sequences ranging from one to twenty-two minutes each. Isabelle Warnier and Bernadette Mangin provided me with sessions of prepared piano, series of electronic sounds, feedbacks, and voice recordings. Pierre Henry’s analog sounds were, for the most part, processed through successive stages (up to five generations of transformation), using a custom electronic device: Idiosyncrasie 9.3, built on Max/MSP and Lemur." - ErikM

Ancient Infinity Orchestra return with their third album, It’s Always About Liberation, a new record that deepens the vision of their acclaimed recent work while moving into darker, more searching emotional territory.

Conceived as a partner to It’s Always About Love, this new body of work shares its predecessor’s generosity and spiritual openness, but carries a different charge. Where the previous album focused on healing and warmth, It’s Always About Liberation is largely animated by struggle, perseverance and the desire for transformation while still offering a path to betterment. It is music made in full awareness of a fractured world, yet unwilling to surrender to it.

Like It’s Always About Love the album title draws inspiration from words spoken by Moor Mother during their 2024 We Out Here festival performance that deeply affected bandleader Ozzy Moysey: “It’s always about love / It’s always about liberation.” Those twin ideas became a framework for the two albums Ancient Infinity Orchestra were creating. If one album explored love as repair, this one explores liberation as movement, continually striving toward freedom, clarity and deeper connection.
The 16-member ensemble is led by double bassist and composer Ozzy, with a distinctive line-up that explains their sound better than any artificial genre divisions: two double basses, harp, saxophones, clarinets, violin, viola, cello, oboe, flutes, mandolin, congas, piano, drum kit, with bells, shakers and other percussion instruments scattered on the floor of live sets and recording sessions, ready for members to use whenever the spirit takes them.

This orchestration, and the overlap between membership and friendship, gives Ancient Infinity Orchestra a sound that is at once expansive and intimate, earthy, and cosmic, constantly shifting yet grounded in shared intention. The attention to intention and the inviting sonic world connects the music to artists ranging from Alabaster dePlume to Gondwana label boss Matthew Halsall.
Gradually, the Orchestra became a grounding force in the emerging jazz scene in Leeds, bringing together individuals from different musical backgrounds co-founding the Café Oto-inspired Limpet Club or co-hosting the monthly Sonic Plunge (‘a platform for adventurous experimentation’) and co-founding the Leeds Improvisers Orchestra. Additionally, the ensemble acted as a bridge between musicians in Brighton and Leeds, after Ozzy spent a stint back on the south coast between 2020 and 2022.

Their debut, River of Light, was a vibrant celebration of togetherness recorded in three days and released on Gondwana in 2023. A Maida Vale session for Jamie Cullum’s BBC Radio 2 show brought them to a broader audience, as did bookings at North Sea Jazz Festival and Gretchen, Berlin. Since then, Ancient Infinity Orchestra has become a by-word for music that could be framed as ‘spiritual jazz’. Whilst Ozzy avoids the phrase when describing his music, he’s crystal clear that his heroes are associated with those words – citing Art Ensemble of Chicago, Pharoah Saunders, Coltrane (Alice and John), and Don Cherry as major influences.

Across trance-like meditations, rising grooves, moments of grief and collective uplift, It’s Always About Liberation speaks to the battle within the mind as much as the inequalities of the wider world. It acknowledges the darkness but lets connection and creativity have the last word Ancient Infinity Orchestra is a gathering of voices, traditions, and energies converging into something timeless. Their music is a journey inward and outward, always reaching toward the universal.

Suicide Squeeze is thrilled to announce a reissue of Holy Wave's Freaks of Nurture! Freaks is a hauntingly hypnotic journey through auditory lands of melodic bliss and passively happy psych rock hallucinatory dreams. Holy Wave is a band of multi-instrumentalists from El Paso, TX. Since moving to Austin in 2008, they have cemented themselves as a unique national and international touring circuit force. After perennial performances at Levitation (Austin Psych Fest) and countless tours and festival appearances in the USA, Europe, Latin America, and Africa, Holy Wave is poised to continue expanding into new spaces and places worldwide. With the recent release of their latest album, Five of Cups, this is the perfect time to revisit this crucial LP.

"The LP featuring the opening theme “Makafushigi Adventure!” (performed by Hiroki Takahashi) and the ending theme “Romantic Ageru yo” (performed by Ushio Hashimoto) from the TV anime Dragon Ball, which began airing in 1986, along with the original background score composed by Shunsuke Kikuchi, is being reissued on clear orange vinyl.

A true Dragon Ball-themed analog record!"

Release 006 Eatherwaves from Deenamic on the Swiss label Imprint Léman Records.
With previous releases on respected imprints such as Neroli, Visions Recording, Freebeat, Mother Tongue, and most recently Mate Records, Deenamic returns with a powerful 3-track EP, blending organic textures with dancefloor-driven energy.
On the A-side, Sometimes sets the tone with a deep and atmospheric feel. Built around rich, heavy chords inspired by early ’90s Chicago deep house, the track creates an immersive and introspective vibe perfect for easing into the journey.
On the B1, Mirage unfolds through a hypnotic, repetitive melody that takes us straight to the Motor City. With its jazzy harmonies and deep chord progressions, it delivers a smooth yet captivating groove.
Closing the EP, Wacid Sabi brings a rawer edge. Driven by gritty drums, crunchy hi-hats, and deep chords, the track balances rough textures with a late-night groove, making it a perfect weapon for after-hours moments.

The third and final(?) 12" in the series comes in the form of this four track 'Within Without' EP.

'Invidia' & 'Deep Breath' originally released on Capture Records in 2005, these are the most wanted tracks from her small yet mighty discography. Playful, driving, emotive, pure Blueless!

Both remastered for an extra bit of punch. On the inner tracks we have 'The Pleasure Is All Mine' & 'Much More', which came to life a lot more recently with some help in the studio from Oliver.r.
Two sun shining jams, moving and grooving, house music for all.

Thank you Blueless, for the music new and old, and giving us the opportunity to shine a much deserved light on them!

The music of La lucha es un poema colectivo was conceived and composed during a long artistic residency at IRCAM in Paris in November 2023 and will be released by Superpang. ‘In November 2023, we were in residence in Paris when we found ourselves in the midst of protests and strikes by workers at the Centre Georges Pompidou. They were demanding the respect of their rights. Entering that place as outsiders, making art while hundreds of people outside risked losing their jobs, was disorienting.

This is the starting point for the title of this album, evocative yet at the same time tangible. A phrase, as often happens, borrowed from those who had, in turn, borrowed it before us, words that are not and
cannot be only ours. Words too heavy to be slaves to context or syntax, yet words that resonate within us, move us, and open rifts in our history as a group. A strange plunge, strange despite the fact that the premises were clear from the start, with well-defined lines of a unified design. And if we ask ourselves, looking around, not so much what but rather with whom we would like to share it, we imagine the music of this album within that groove, in that intangible bond that unites a collective of people who, upon reading this sentence written on a wall, in a street, pause for a moment, slow down, rest their gaze, and know they are still alive.”

For the first time ever on vinyl Four new instrumental tracks, produced, recorded, composed & played by Dam-Funk. Pitchfork described “Free” the EP closer “… distills his daily inspirational thoughts into a breezy, sun-kissed glow, delivered with his usual cool sincerity. Of course, the style is purely West Coast, but the message is universal: funk is freedom. And in Dâm's world, funk is the future.”

“Passion” is back! The new track from producer/DJ Beltran and The Flirts (including some “Native Love” by Divine) has quickly become a fan favorite in his sets and online, with 500k+ views already. Now available as a special 12″ vinyl release, featuring an exclusive Ben Liebrand 12″ vinyl version made especially for this edition and only available on the 12″.

The release is shaping up to be Beltran’s biggest since his breakout club hit “Smack Yo’”, supported by Michael Bibi, Mochakk, John Summit, Pete Tong, Dom Dolla and more, and now boasting 100M+ streams. It follows a huge year for Beltran, including tours across the US, UK, Europe, Australia and South America, with standout appearances at Coachella, CircoLoco Ibiza and KOKO London. Expected shipping: 2nd week July.

Enamour returns to Crosstown Rebels with his latest EP ‘What U Said’, featuring SAM SHI. Featuring a remix from recent Crosstown signees Bonafique, the US producer continues his evolving relationship with the label following his 2025 contribution to SPIRITS VII and earlier remix work for bullet tooth.

LA-based DJ/producer Enamour has long operated outside of fi xed lanes and guidelines, shaping a sound defi ned by melodic depth and a psychedelic edge that translates across both club systems and through headphones. With regular support across his work from the likes of Solomun, CamelPhat, Hernán Cattáneo, Lee Burridge, and Damian Lazarus, alongside remixes for RÜFÜS DU SOL, RY X, and Lane 8, his catalogue reflects a balance of reach and individuality.

"What U Said" is about the moment language turns physical; when words create a chemical reaction you can’t take back” says Enamour. “It taps into the same quirky energy as my other records on the label, which I think heightens the feeling of surprise as the instrumental meanders underneath SAM SHI’s vocal It’s a track that pairs Enamour’s textured, immersive production with fellow LA-based artist SAM SHI’s vocal presence, shifting through atmospheres and rhythmic drive.

Making a return to the label, in-demand duo Bonafique step in on remix duties, reworking the original into a more hypnotic, groove-led interpretation built for deeper club moments. Closing track ‘Dip’ has already become a fixture in Enamour’s sets, operating as a trippy counterpoint to the vocal-led A-side and employing commanding drums, oscillating synths and a driving energy made to capture dancefloors. “‘Dip is a fan favourite and secret weapon that’s been a staple in mine and others’ sets for quite a while now,” he adds. “Balancing out the release with this one felt like the right time to finally get it out into the wild.”

Repress of the 13th chapter of this highly acclaimed compilation series, originally released in 2017.

As usual FSOJ is compiled by Compost head honcho Michael Reinboth with a solid sense of leftfield tracks, punchy floorfillers, ghostly, cinematic, balearic, frazzled, bitter-sweet or mind-shaking hybrid tunes.
Several magazines voted FSOJ as the one of the best compilation series of all time. With this series starting 1995 the term Future Jazz became a genre landmark.

FSOJ 13 including some exclusives, sought-after tracks and previously unreleased tracks. Some highlights are: First of all the Van Hai track in a Ripperton remix is a perfect opener into a tranquil music venture. A sheer bliss tune. Montezumas Rache „Wu Du Wu“, which was only released on vinyl before - still difficult to find the original 12“ - is a freaky outstanding funk hybrid. Karim Sahraoui – with a punchy Detroit-ish track, picked up from Derrick May’s Transmat label - is currently in the works with a follow up 12“ later in 2017 on Compost. Acid Pauli delivers a brand new dubby balearic remix, which he recently did for Matanza, a live band from Chile. Peter Kruder came up with something special exclusive, a warm breath in the open air tune, which drives listeners into a chilled wormhole. Beside new names, bigger names like Axel Boman, Tony Allen with a Ricardo Villalobos & Max Loderbauer remix, you’ll find more lefties tracks from respected labels like Studio Barnhus, Innervisions, Lovemonk, Transmat, Mule, Tru Thoughts, Rebirth, Ninja Tune and m.o. next to other exclusive deliveries by Manuel Tur, Marsmobil, coupled up with semi exclusives: the first time on vinyl or digital.

Not only were Derek Cannon and Hardy Thrower a music /songwriting duo from San Diego in California, they were also cousins. Its not often our paths come across such a duo that didnt sing on their own compositions.

Derek Cannon a prolific Trumpet player and Hardy a lyricist put these tracks together circa 1981 with a view to getting them a record deal. They paid for the sessions themselves and went into Golden track studio's located in Santee East San Deigo with a host of singers and musicians.

What came out was just two stunning mid temp hanuting ballad songs with exquisite playing and vocals. From the opening west coast waves crashing on the into of "Think It Over" you are already closing your eye's and painting a picture of the unfolding love story. James Higgins was hired for the vocals on this track and delivers such subtle tone's that are complimited by keyboards by Bill Santos.

Then wait until the flute solo by Ken Abady. Boy i fucking love this song. Its what soul music should be about. Love it stuff like this got recorded in 1982 when their heads could have easily been turned by what was happening in the music world.

"Im In Love With You" is slightly more uptmepo but not by a whole heal. Cannon And Thrower were far too soulful to just throw a 4/4 drum beat on the hope of a top ten winner. They cut way more deeper and soulful than that. Roosevelt Carter was hired for this vocal performance and not letting the duo down performs a beautiful take of the duo's love song. I think special shout out must go the female backing singers of Julie Reyes, Cynthia Hammond and Jamice Garcia.

The two songs were sent to none other than Lou Rawls in hope he may sign them to his record company. This never happened and the tape was later sold on an estate sale of Lou's. The buyer was Christian Peintner who was so kind to lend us the tapes and make this 45 happen. So thanks to him for allowing us to preserve the Cannon And Thrower legacy.

Australian black metal force, Faustian, have been referred to as a super group of the Antipodean extreme metal scene; the members of this formidable three-piece having set their demons loose with the likes of Werewolves, The Berzerker, The Amenta, The Antichrist Imperium, Psycroptic, Abramelin and more. However, when confronted with the atmospheric, majestic inferno that is the sound of Faustian, whatever else its creators may have achieved is inconsequential - nothing else matters beyond experiencing the firestorm they unleash in this particular incarnation to its fullest enticing, exhilarating, unnerving extent. With a new deal signed with Apocalyptic Witchcraft, the band are now prepared to unveil their latest collection of unholy hymns. Following in the scorched earth wake of 2023s We Come As Angels, Faustian present Parable Of The Sewer_ From the first, breathless assault of 'I Curse You', with its storm torn atmosphere, dramatic darkness and furious speed, to the warped denouement of 'The Rot Shall Inherit The Earth', a sickly melodious foretelling of putrefaction and degradation, Parable Of The Sewer careers through fear-filled twilight and tenebrous realms of profane secrets. A combination of powerfully evocative lyrics and soul scarring music creates an unequivocal, yet irresistible invitation to damnation. From the indefatigable velocity of the wicked 'Cephalophore' to the precision guitar patterns and chanted revelations of 'Immaculate', the cruel, haunting and surely damned 'We Do Not Use Names Here' to the cold menace of 'Tenements (Only The Wicked Walk In Circles), steeped in the sweat and stench of terror, every moment of Parable Of The Sewer is a masterful expression of black metal art. Sinister and insidious, overwhelming and darkly glorious, walking the edge of a sacrificial blade between repulsion and temptation, Parable Of The Sewer is music at its most potent and dangerous.

One of the biggest “re-discoveries” of obscure eighties US Metal/Hard Rock are Ashbury from Tuscon in Arizona. The band, led by brothers Randy and Rob Davis, did originally record two very hard to find albums: »Endless Skies« in 1983 and the (belated) follow-up »Something Funny Going On« (issued in 2010). However, the roots of the band go way back to the late 1970s, when multi-instrumentalist Randy Davis formed his very first band (called Ashbury South) in Southern Oklahoma in late 1977. The original vinyl edition of »Endless Skies« came out in 1983 (with a circulation of 1,000 copies). ”It was a complete indie project all the way,” states Rob Davis. “We worked mostly on a budget of $ 5,000 for the entire project. Our distribution was through Tower Records in the western United States.” Ashbury's sound has sometimes been compared to Jethro Tull and the Davis brothers are indeed not too unhappy about this comparison: ”We both have a big smile on our face with that question,” they explain. “Yes, we are proud to be compared with Jethro Tull.” Ashbury's first album does feature an iconic artwork. Who was responsible for it and what does the cover signify? ”The cover signifies Creation, and the choices we all make,” elaborate Rob and Randy. “The cover obviously coincides with the opening song 'The Warning', about the Prophet who warns against bad choices, evil and greed. The final touch was a 'fantasy' setting, a look just off from any real world appearance.” Randy and Rob Davis are playing as brothers in Ashbury, they have always been the core of the band: ”We would not continue performing as Ashbury without both being involved. We write independently, and also together, therefore the very creation of the music would be different if one of us left the band. We also both sing lead vocals, so the sound of the band would be altered. I might refer to a recent tour concerning Styx - touring without Dennis DeYoung - therefore it's NOT Styx.”

GoldFord’s soul music is rooted in truth. His raw, unvarnished songs are a balance of introspection and catharsis, grappling with heartbreak, healing, and the quiet revelations that come with growth. After spending a decade in corporate America, the St. Louis native (now based in Los Angeles) turned to music as a means of survival following a devastating personal loss. “I was more afraid of dying with regret than I was of failing,” he says of his decision to finally choose the path at 30, a choice that set his entire trajectory in motion.

That initial fearlessness has since fueled extraordinary momentum. With over 4 million monthly listeners on Spotify, GoldFord has rapidly become one of the most compelling emerging voices in contemporary music. His breakout EP, Orange Blossoms (Oct 2024), has surpassed 100M streams, and his latest project, Space of the Heart (Sept 2025), has already generated 90.8M streams, 2.7M saves, and over 153,000 pieces of user-generated content across TikTok and Instagram. The standout track “Easy Does It” has reached 43.5M streams and continues to accelerate with more than 250K new weekly discoveries on Spotify.

GoldFord is stepping into a more luminous and soulful era as he prepares to unveil his next body of work. Defined by the warmth and light of his latest single, Only You Do, the music remains a dedicated exploration of mental wellness, restoration, and the profound power of human connection. From its opening chords, this new project serves as both a continuation and an elevation of his journey toward healing.

Gold & Black Yolk Vinyl. 11 bit studios and Black Screen Records are teaming up for the soundtrack release of the iconic game success Frostpunk 2 on vinyl. For the first time the award-winning score by Piotr Musial can be enjoyed in its entirety on LP and for the occasion a luxurious set was created with the music on gold and black "yolk" vinyl, packed in a gold embossed gatefold sleeve. Develop, expand, and advance your city in a society survival game set 30 years after an apocalyptic blizzard ravaged Earth. In Frostpunk 2, you face not only the perils of never-ending winter, but also the powerful factions that watch your every step inside the Council Hall. "Frostpunk 2 isn't all about the change. It's about respecting the legacy so you may expect the return of your favourite motifs." - Piotr Musia? The atmosphere of the Frostpunk series (11 million players worldwide) would not be the same without the epic music by Piotr Musia? in which desperation mixes with poignant melancholy. Without question the same composer had to return to create the OST for the sequel. The music of Frostpunk 2 still evokes the same feelings of hopelessness and despair, yet has much more space to it. As the city in the frozen wastes grows so does the music that surrounds it matures in an exceptional way. Dive once more into the post-apocalypse with this orchestral masterpiece and_keep warm.

Danny Clay is a composer who often utilizes classical instruments, open forms, found objects, analog media, and digital errata in his work. He has collaborated with musicians and ensembles throughout the US, including Kronos Quartet, Eighth Blackbird, Third Coast Percussion, Volti, the San Francisco Girls Chorus, Wu Man, Sarah Cahill, Phyllis Chen, the International Contemporary Ensemble (ICE), Ensemble Dal Niente, the St. Louis Symphony Orchestra, and others.

10 years after his last solo release on IIKKI ("Stills" IIKKI001), Danny Clay comes back with "A Moment Beyond". A new intimate and out-of-time piece evolving between ambient, chamber music and contemporary music.

Obwohl Shelly Manne (1920-1984) oft auf seine Rolle in der West-Coast-Jazzszene reduziert wird, war
er tatsächlich einer der vielseitigsten amerikanischen Schlagzeuger. In seiner Karriere arbeitete er mit nahezu allen Größen des Jazz unterschiedlichster Stilrichtungen von Swing über Bebop bis hin zur Avantgarde
zusammen und war sogar auf Alben von Tom Waits und Frank Zappa zu hören. Etwas von dieser Flexibilität
zeigt er auch auf dem 1962 aufgenommenen Album “2-3-4”, das seinen Titel der Tatsache verdankt, dass
Manne sich hier im Duo, Trio und Quartett präsentiert. Dabei kommt es unter anderem zu einer Reunion
mit zwei Musikern, mit denen er zu Beginn seiner Karriere in den 1940er Jahren in New York zusammengespielt hatte: dem Tenorsaxofonisten Coleman Hawkins und dem Pianisten Hank Jones. Neben fantasievoll
interpretierten bekannten Standards präsentieren die Musiker auch zwei lakonisch betitelte Originale: “The
Sick of Us” und “Me and Some Drums”.

Warrant was formed in 1984 in Hollywood, Los Angeles, California, and experienced success from 1989 to 1996 with five albums reaching international sales of over 10 million. The band first came into the national spotlight with their double platinum debut album Dirty Rotten Filthy Stinking Rich (1989) and one of its singles, "Heaven", which reached No. 2 on the Billboard Hot 100. The band's success continued in the early 1990s with the double platinum album Cherry Pie (1990), which provided the hit song of the same name. In 1992, Warrant released their third album the critically acclaimed Dog Eat Dog. The record achieved only moderate commercial success compared with the first two albums, but still sold over 500,000 copies reaching Gold status and charting at No. 25 on the US Billboard charts. The band's fourth album Ultraphobic (produced by a returning Beau Hill) was released in March 1995 and, featured the singles "Family Picnic", " Followed" and the ballad "Stronger Now". Now to celebrate the 30th Anniversary of their fifth album which was released in October of 1996 and the last with Jani Lane. Belly To Belly Vol. 1 has been remastered and repackaged and is available for the first time on strictly limited vinyl LP.

Jane Handcock transforms heartbreak into clarity with her new album, It’s Me Not You. Reframing the familiar breakup phrase, this release explores self-awareness,

accountability, and emotional growth with honesty and depth.

Blending atmospheric production with a steady rhythmic drive, Handcock delivers a dynamic vocal performance that moves from intimate reflection to confident,

resonant moments. The result is a mature, empowering album that captures the complexity of modern relationships.

Highlights include themes of irresistible attraction and A Beautiful Woman, a lover’s anthem that sets the tone for the album’s grown-and-sexy vibe.

Jane Handcock transforms heartbreak into clarity with her new album, It’s Me Not You. Reframing the familiar breakup phrase, this release explores self-awareness,

accountability, and emotional growth with honesty and depth.

Blending atmospheric production with a steady rhythmic drive, Handcock delivers a dynamic vocal performance that moves from intimate reflection to confident,

resonant moments. The result is a mature, empowering album that captures the complexity of modern relationships.

Highlights include themes of irresistible attraction and A Beautiful Woman, a lover’s anthem that sets the tone for the album’s grown-and-sexy vibe.