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2026 Repress
Originally released in South Africa in 1983, In The Music......The Village Never Ends is one of those holy-grail African records that barely needs any introduction. Featuring the enormous 'Nomalizo', it's a record that aficionados around the world have been waiting many years for. Now, Be With Records proudly presents the hugely anticipated vinyl reissue of this bonafied classic.

This release is officially licensed and has been lovingly mastered for vinyl by Simon Francis (Claremont 56 mastering engineer) It has been pressed on audiophile 180gram vinyl for the first time and features the original, rarely seen artwork.

South African singer Letta Mbulu possesses one of the most beautiful voices the world has ever known. Her immaculate voice emits a sweetness that radiates from deep within, brimming with a joy of life and inspiring a spirit of hope and happiness. On this album, her voice soars over a strident musical force that veers between disco, soul and pop music of the most incredible kind. The gleaming guitars recall disco's finest hours while the thump of the beats anticipate 80s British soul.

News of this limited reissue has already been causing a significant stir amongst those in the know so do not sleep on this - you have been warned!

There's something about summer that makes everything fall into place. Maybe it feels even more significant to us, especially if you know MM Discos through its Balearic leanings. It's that time of year when the whole scene reaches its peak, with everyone dreaming of being in Ibiza-or at the very least, somewhere on a forgotten beach or island in the Mediterranean.
For that very moment, Desert Island Disco make their MM Discos debut with a record tailor-made for the summer of 2026. Splitting their time between London and Lisbon, the collective have already shown a deep affinity for African-rooted midtempo sounds through releases on Shades of Sound and Mister T Records, alongside a steady stream of sought-after self-released edits on their Bandcamp.
This time, Desert Island Disco dive headfirst into South Africa, drawing deeply from the worlds of Kwaito and Bubblegum to deliver a record steeped in the warmth, groove and unmistakable spirit of both genres.
From its South African foundations, *World View* reaches far beyond, weaving together tropical textures, Caribbean flavours and Balearic sensibilities into something fluid and difficult to pin down. A borderless collection where geography becomes secondary to feeling, yet every track remains firmly rooted in the dancefloor.

the iconic project returns late September with its milestone 10th studio album, ‘I Wrote You A Letter’.

Twenty-five years after his debut, M83 (Anthony Gonzalez) stands as a genuinely era-defining electronic act, renowned for pushing indie-electronic into the mainstream while maintaining absolute critical credibility. With a massive catalog compounding billions of streams—anchored by the timeless “MIDNIGHT CITY” (1.5B streams)—the iconic project returns late September with its milestone 10th studio album, I WROTE YOU A LETTER’.
Recorded between Los Angeles and Paris alongside BENOIT DE VILLENEUVE, this new record follows the highly acclaimed ‘FANTASY’ (2023) and features striking artwork by celebrated Australian photographer BILL HENSON. This release marks a historic chapter, encapsulating a quarter-century of sonic evolution.
Commercially, M83’s power lies in an unmatched ability to transcend generations. Synonymous with cinematic emotion, nostalgia, and immense scale, M83’s sound is virtually a genre of its own, heavily sought after for film, TV, and sync. Live, the act holds top-tier global status, proven by headlining slots at major festivals like Coachella, Glastonbury, and Primavera.
‘I WROTE YOU A LETTER’ delivers exactly what M83 does best: big emotional scale, breathtaking cinematic atmospheres, and sharp hooks, all pushed into a fresh, modern palette.

Fünfundzwanzig Jahre nach seinem Debüt gilt M83 (Anthony Gonzalez) als ein wahrhaft epochaler Elektro-Künstler, der dafür bekannt ist, Indie-Elektro in den Mainstream zu bringen. Mit einem riesigen Repertoire, das Milliarden von Streams umfasst – angeführt von dem zeitlosen „MIDNIGHT CITY“ (1,5 Milliarden Streams) – kehrt das ikonische Projekt Ende September mit seinem wegweisenden zehnten Studioalbum „I WROTE YOU A LETTER“ zurück.

Das neue Album, das gemeinsam mit BENOIT DE VILLENEUVE in Los Angeles und Paris aufgenommen wurde, knüpft an das hochgelobte „FANTASY“ (2023) an und besticht durch ein eindrucksvolles Cover des gefeierten australischen Fotografen BILL HENSON.
Diese Veröffentlichung markiert ein historisches Kapitel und fasst ein Vierteljahrhundert klanglicher Entwicklung zusammen.
Kommerziell liegt die Stärke von M83 in der unübertroffenen Fähigkeit, Generationen zu verbinden.
Als Synonym für filmische Emotionen, Nostalgie und immense Größe ist der Sound von M83 praktisch ein eigenes Genre, das für Film, Fernsehen und Synchronisation sehr gefragt ist.
Live genießt die Band weltweit Spitzenstatus, was durch Headliner-Auftritte bei großen Festivals wie Coachella, Glastonbury und Primavera unter Beweis gestellt wird.

„I WROTE YOU A LETTER“ liefert genau das, was M83 am besten kann: große emotionale Bandbreite, atemberaubende filmische Atmosphären und eingängige Hooks, alles verpackt in einer
frischen, modernen Klangpalette.

Norman Blake und Raymond McGinley machen seit 37 Jahren gemeinsam Musik bei Teenage Fanclub, und auch wenn manche Aspekte des Bandlebens mit der Zeit einfacher geworden sind, können ihnen die einfachsten Dinge immer noch einen Strich durch die Rechnung machen. Blake sagt dazu: "Es ist schwierig, wenn es darum geht, sich einen Namen für ein Album auszudenken. Vor allem, wenn man schon 12 davon gemacht hat." Der Titel ,Do Not Dare To Dream" leitet sich ab von Blakes ,I Do Not Dare To Dream", einem mitreißenden, hymnischen Song, der von klangvollen Akustikgitarren getragen und am Ende von einem Duell elektrischer Gitarren begleitet wird, die sich wie eine beruhigende Umarmung umeinander schlingen. Blake erklärt, dass der Titel jene Memes verspotten soll, die die Menschen dazu auffordern, zu träumen, was für ihn irgendwie lächerlich ist. "Ich glaube nicht, dass die Welt so funktioniert." Das 13. Album von Teenage Fanclub ist voller Songs, die ruhig und entschlossen sind und eine Bestandsaufnahme des angespannten Zustands der Welt vornehmen, ohne der Verzweiflung zu verfallen. Blakes warme, von Orgelklängen untermalte Midtempo-Ballade ,Day In The Sun" und Raymond McGinleys ,Over And Over" sprechen beide davon, wie jeder einen neuen Sinn im Leben finden kann, indem er sein Herz öffnet. "Wir können immer noch fröhlich und optimistisch sein, auch wenn die Lage nicht gerade rosig ist", sagt McGinley. Blake und McGinley werden auf ,Do Not Dare To Dream" von ihren Bandkollegen Euros Childs (Keyboards und Gesang), Francis Macdonald (Schlagzeug) und David McGowan (Bass) begleitet. Dieses Quintett spielt nun schon so lange zusammen, dass keiner der beiden Hauptsongwriter und Gitarristen von Teenage Fanclub das Bedürfnis verspürt, sich vor dem Gang ins Studio über ihre Songs den Kopf zu zerbrechen oder Arrangements auszuarbeiten. Sie warten lieber auf die Beiträge der übrigen Bandmitglieder. Die Aufnahmen fanden im Black Bay Studio in der Ortschaft Kirkibost auf der schottischen Insel Great Bernera in den Äußeren Hebriden statt. Wie langjährige Fans wahrscheinlich wissen, nimmt Teenage Fanclub jedes Album an einem neuen Ort auf, damit die einzigartige Atmosphäre dieses Ortes die Musik beeinflussen kann. Great Bernera war ihr bislang abgelegenster Aufnahmeort, was der Band half, sich auf die Arbeit zu konzentrieren, sie aber auch in einen Zustand der Ehrfurcht versetzte, da sie von der tosenden See und antiken Ruinen umgeben waren. Das Ergebnis ist eine Sammlung von Liedern, die von der richtigen Perspektive von Musikern durchdrungen ist, die schon eine Weile im Geschäft sind, aufgenommen an einem Ort, der schon noch länger existiert. Wie Blake es ausdrückt: ,Ich glaube, es läuft einfach so ab, dass man von einer Sache zur nächsten übergeht, und ehe man sich versieht, sind 30 Jahre vergangen." McGinley fügt hinzu: ,Ja, es ist schon eine ganze Weile her, seit wir mit dem angefangen haben, was wir tun, aber für uns kommt es uns vor, als wäre überhaupt keine Zeit vergangen. An dem Ort, an dem wir das Album aufgenommen haben, wurde schon vor Tausenden von Jahren gesungen. Das Leben ist kurz, aber die Musik ist ewig."

Norman Blake und Raymond McGinley machen seit 37 Jahren gemeinsam Musik bei Teenage Fanclub, und auch wenn manche Aspekte des Bandlebens mit der Zeit einfacher geworden sind, können ihnen die einfachsten Dinge immer noch einen Strich durch die Rechnung machen. Blake sagt dazu: "Es ist schwierig, wenn es darum geht, sich einen Namen für ein Album auszudenken. Vor allem, wenn man schon 12 davon gemacht hat." Der Titel ,Do Not Dare To Dream" leitet sich ab von Blakes ,I Do Not Dare To Dream", einem mitreißenden, hymnischen Song, der von klangvollen Akustikgitarren getragen und am Ende von einem Duell elektrischer Gitarren begleitet wird, die sich wie eine beruhigende Umarmung umeinander schlingen. Blake erklärt, dass der Titel jene Memes verspotten soll, die die Menschen dazu auffordern, zu träumen, was für ihn irgendwie lächerlich ist. "Ich glaube nicht, dass die Welt so funktioniert." Das 13. Album von Teenage Fanclub ist voller Songs, die ruhig und entschlossen sind und eine Bestandsaufnahme des angespannten Zustands der Welt vornehmen, ohne der Verzweiflung zu verfallen. Blakes warme, von Orgelklängen untermalte Midtempo-Ballade ,Day In The Sun" und Raymond McGinleys ,Over And Over" sprechen beide davon, wie jeder einen neuen Sinn im Leben finden kann, indem er sein Herz öffnet. "Wir können immer noch fröhlich und optimistisch sein, auch wenn die Lage nicht gerade rosig ist", sagt McGinley. Blake und McGinley werden auf ,Do Not Dare To Dream" von ihren Bandkollegen Euros Childs (Keyboards und Gesang), Francis Macdonald (Schlagzeug) und David McGowan (Bass) begleitet. Dieses Quintett spielt nun schon so lange zusammen, dass keiner der beiden Hauptsongwriter und Gitarristen von Teenage Fanclub das Bedürfnis verspürt, sich vor dem Gang ins Studio über ihre Songs den Kopf zu zerbrechen oder Arrangements auszuarbeiten. Sie warten lieber auf die Beiträge der übrigen Bandmitglieder. Die Aufnahmen fanden im Black Bay Studio in der Ortschaft Kirkibost auf der schottischen Insel Great Bernera in den Äußeren Hebriden statt. Wie langjährige Fans wahrscheinlich wissen, nimmt Teenage Fanclub jedes Album an einem neuen Ort auf, damit die einzigartige Atmosphäre dieses Ortes die Musik beeinflussen kann. Great Bernera war ihr bislang abgelegenster Aufnahmeort, was der Band half, sich auf die Arbeit zu konzentrieren, sie aber auch in einen Zustand der Ehrfurcht versetzte, da sie von der tosenden See und antiken Ruinen umgeben waren. Das Ergebnis ist eine Sammlung von Liedern, die von der richtigen Perspektive von Musikern durchdrungen ist, die schon eine Weile im Geschäft sind, aufgenommen an einem Ort, der schon noch länger existiert. Wie Blake es ausdrückt: ,Ich glaube, es läuft einfach so ab, dass man von einer Sache zur nächsten übergeht, und ehe man sich versieht, sind 30 Jahre vergangen." McGinley fügt hinzu: ,Ja, es ist schon eine ganze Weile her, seit wir mit dem angefangen haben, was wir tun, aber für uns kommt es uns vor, als wäre überhaupt keine Zeit vergangen. An dem Ort, an dem wir das Album aufgenommen haben, wurde schon vor Tausenden von Jahren gesungen. Das Leben ist kurz, aber die Musik ist ewig."

NYC’s Kanyon debuts his new label “Solitary Works” with an EP paying homage to the old-school. A1-B1: 3 raw, jacking techno tracks relay Kanyon’s vision of classic loop techno revival. On B2, Kanyon flexes his live production madness showcasing an electro track which is sure to convert the non-believers.

Lunfardo presents Heroica, the fifth chapter in its conceptual series, inspired by the Three Defences of Paysandú, events that remain embedded in the city’s memory and the history of Uruguay.

Among them, the Heroic Defence of Paysandú (1864–1865) stands as the most enduring symbol: a weeks-long resistance led by Leandro Gómez against overwhelming forces during the Brazilian intervention and allied advance. Across generations, these events have come to embody resistance, sacrifice and permanence.

Heroica is Lunfardo’s tribute to Paysandú, the city where the label was born.

The release explores this narrative through the work of Andrew Lagowski, one of experimental electronic music’s enduring figures. Active since the early 1980s, Lagowski has released more than 60 albums and over 10 vinyl singles, leaving a lasting mark across electronic, experimental and techno music.

For Heroica, Lunfardo revisits selected works from Lagowski’s 1995–2000 CD era, presented on vinyl for the first time, alongside a contemporary composition produced in September 2024.

Bridging archival electronics and contemporary vision, Heroica unfolds through themes of resistance, memory and permanence.

Artwork by @estudio.polar

For more info @Lunfardo.records

Eine komplett neue Vinyl-Version des Debütalbums von Genesis, die mit Zustimmung von Tony Banks, Peter Gabriel, Anthony Phillips und Mike Rutherford zusammengestellt wurde.

Neuer Stereo-Mix von Stephen W Tayler.

Inklusiv einer 12-inch Bonus EP mit neuen Mixen der Songs ‚A Winter’s Tale‘, ‚One Eyed Hound‘ und ‚Image Blown Out‘, plus einem bisher unveröffentlichtem Song ‚Visions Of Angels‘.


„From Genesis To Revelation“ erschien ursprünglich im März 1969 und war das Debütalbum von Genesis – der erste Schritt auf einem Weg, der der Band in den 1970er Jahren und darüber hinaus zu beachtlichem Erfolg und großer Anerkennung verhalf.

Diese Vinyl-Ausgabe ist die erste Neuauflage des Albums, die mit Zustimmung von Tony Banks, Peter Gabriel, Anthony Phillips und Mike Rutherford erstellt wurde. Sie enthält einen wunderbaren neuen Stereo-Mix von Stephen W. Tayler, der das Album in einer neuen Form präsentiert, wobei der Schwerpunkt stärker auf den Beiträgen der Band liegt und die Orchestrierungen der Originalmixe weniger im Vordergrund stehen. Diese neuen Mixe sind durchaus bemerkenswert und bieten den Genesis Fans einen völlig neuen Hörgenuss.

2024 feiern die Broilers ihren runden Geburtstag: 1994 - 2024, 30 Jahre Broilers. 30 gemeinsame Jahre bedeuten Wachsen und Zusammenwachsen. Auch miteinander streiten und zusammen streiten – für die gute Sache. Zusammen feiern und zusammenstehen, in den Besten aller Zeiten und den Schlechtesten aller Zeiten. Und weil es für jede gute Geburtstagsparty auch die passende Musik geben muss, hat die Band zum ersten Mal alle ihre Hits und Lieblingslieder auf einem Album versammelt. Und nicht nur das, die Broilers machen sich selbst ein Geschenk: Zehn der 22 enthaltenen Songs, nämlich alle, die vor 2011 eingespielt wurden, haben sie noch einmal komplett neu aufgenommen. So erstrahlen legendäre Broilers-Klassiker in zeitgemäßem Glanz, ohne ihre Wurzeln zu verleugnen. Die Broilers sind ein Phänomen: Seit über einem Jahrzehnt gehören sie konstant zu den erfolgreichsten Rockbands im deutschsprachigen Raum. Millionen verkaufter Konzertkarten, Nummer- 1-Charts-Platzierungen, Edelmetallauszeichnungen in Folge, kaum ein Superlativ, den die Gruppe sich noch nicht zu eigen gemacht hätte. Ein paar Schulfreunde aus den Vierteln am Stadtrand von Düsseldorf gründeten 1994 eine Band, die sich am ruppigen Sound einer Streetpunk-Variante orientierte, der schon Anfang der 80er-Jahre unter der Bezeichnung „Oi!“ auf der britischen Insel das Licht der Welt erblickte. Die bedingungslose Liebe, die ihnen bis heute von vielen ihrer Anhängerschaft entgegengebracht wird, hat ihren Ursprung in dieser Zeit. Neben den Liedern, mit denen sie über die Jahre ihren Hörern stets aufs Neue aus dem Herzen sprachen, führte aber auch die Kombination der individuellen Charaktere der einzelnen Musiker an die Spitze: Wie fünf Superhelden aus einer Comicserie bündeln sie als Team ihre Kräfte, begeistern so die Fans und können aus dieser Unterschiedlichkeit Kraft schöpfen und spenden. Die Broilers haben keine Angst vor Pathos, Emotionen und Kontrasten: In ihrer Musik sind wuchtige Bläsersätze, Offbeats, da ist Soul und Rocksteady, da sind Flirts mit Power-Pop und Kitsch und das alles, als wäre es das Logischste und Normalste auf der Welt. Diese eklektische Mischung trauen sich nicht viele. Die Broilers wollen es sich anders gar nicht mehr vorstellen. »Jolly Good Fellas – Best of Broilers 1994 - 2024« legt davon eindrucksvoll Zeugnis ab!

Tiki for the Atomic Age feels like a mid-century transmission intercepted from a parallel timeline—one where hi-fi futurism, Polynesian fantasy, and postwar optimism never lost their sense of wonder. Kava Kon isn’t recreating exotica so much as reviving its original promise: escape, elegance, and possibility, rendered in warm, widescreen stereo.

Built on shimmering vibraphones, reverb-drenched guitars, analog organs, and ritual-leaning percussion, these tracks move at an unhurried pace. This is oceanic music—designed for dim lights, glowing glassware, and time stretched just enough to breathe. The lineage is clear: lounge exotica, bachelor-pad modernism, space-age pop. But this isn’t pastiche or museum work. It’s retro-futurism with intention, imagined from the future looking back.

The “Atomic Age” isn’t just aesthetic shorthand. It speaks to contrast—leisure in the shadow of anxiety, beauty alongside uncertainty, fantasy as a necessary technology. Kava Kon understands that tiki was never about geography; it was about psychology. A constructed elsewhere. A permission slip to slow down.

Pressed on vinyl, Tiki for the Atomic Age comes fully alive: tactile, immersive, and meant to be lived with. For listeners drawn to mid-century dreamscapes and modern exotica that honors the past without freezing it, this is an invitation—step sideways out of the present and into something more elegant.

Special poster on 250gram paper. Postcard with photo taken by Sandrien. Hand-numbered sticker. Shrinwrap

After more than a decade without releasing new music, Amsterdam DJ and producer Sandrien returns with her debut album Compass, released on her own new label, inspi. Created during a stay in Spain, where she finally found the space to create freely again, the album marks a new chapter: no genres, no expectations, just music made purely on feeling. Compass is an album about finding your own path, personally and musically, a cycle of searching and finding, letting go and beginning again. Lead single 'Life' laid the foundation for it all. The visual world of the album is just as personal: photographs Sandrien took around her house formed the basis for its artwork and imagery. With 27 years of experience behind her, Compass proves that mastery doesn't lead to routine, but to exploration. This double LP includes a beautiful double-sided poster featuring two original artworks of ‘Compass’ by Dutch artist Pieter Jan Boterkoek. Releases October 9, 2026 Written and produced by Sandrien Mixed by Julien Chaptal Mastered by Giuseppe Tillieci at Enisslab Artwork by Studio Pieter Jan Boterhoek This album is made with love in Spain, Volkshotel Amsterdam and Groenekan.

“Simply put, it’s unlikely we’ll encounter a mix that leaves a cultural footprint and defines the sound of a generation quite like Northern Exposure again. Both mixes are absolutely 100% astoundingly brilliant”

DJ Mag

“Their best-loved mix CD is a trippy traipse through the verdant world of progressive house, a genre with one foot in the rave and the other somewhere in the great beyond” Rolling Stone - The 30 Greatest EDM

Albums Of All Time

Originally released on 27th September 1996, ‘Northern Exposure’ is widely regarded as one of the greatest mix compilations ever made. Thirty years on, it sounds as vital as ever - a testament to the fearless vision that went into its creation.

At a time when DJ culture was still writing its own rules, Sasha and John Digweed pushed against the grain. Drawing on sounds discovered during early trips to America - from Rabbit in the Moon to Future Sound of London - they built something that prioritised atmosphere over dancefloor convention. DJ Mag panned it on release. History changed their tune.

Northern Exposure Redux marks the 30th anniversary with a definitive reissue of both original mixes. The CD version also includes a newly created ambient mix. Shaped by the spirit of Bill Laswell and Mad Professor, it explores the deeper, more hypnotic DNA that always ran beneath the surface. Northern Exposure Redux North includes classic tracks by Keiichi Suzuki, The Future Sound Of London, and Banco de Gaia. Northern Exposure Redux South includes classic tracks by Dope On Plastic, Pete Lazonby, and a newly recreated version of ‘Dark And Long (Dark Train)’ by none other than Darren Emerson himself. Both vinyl versions also include a download code for both the North And South mixes, as well as the individual tracks.

Canonical then. Essential now.

“Simply put, it’s unlikely we’ll encounter a mix that leaves a cultural footprint and defines the sound of a generation quite like Northern Exposure again. Both mixes are absolutely 100% astoundingly brilliant”

DJ Mag

“Their best-loved mix CD is a trippy traipse through the verdant world of progressive house, a genre with one foot in the rave and the other somewhere in the great beyond” Rolling Stone - The 30 Greatest EDM

Albums Of All Time

Originally released on 27th September 1996, ‘Northern Exposure’ is widely regarded as one of the greatest mix compilations ever made. Thirty years on, it sounds as vital as ever - a testament to the fearless vision that went into its creation.

At a time when DJ culture was still writing its own rules, Sasha and John Digweed pushed against the grain. Drawing on sounds discovered during early trips to America - from Rabbit in the Moon to Future Sound of London - they built something that prioritised atmosphere over dancefloor convention. DJ Mag panned it on release. History changed their tune.

Northern Exposure Redux marks the 30th anniversary with a definitive reissue of both original mixes. The CD version also includes a newly created ambient mix. Shaped by the spirit of Bill Laswell and Mad Professor, it explores the deeper, more hypnotic DNA that always ran beneath the surface. Northern Exposure Redux North includes classic tracks by Keiichi Suzuki, The Future Sound Of London, and Banco de Gaia. Northern Exposure Redux South includes classic tracks by Dope On Plastic, Pete Lazonby, and a newly recreated version of ‘Dark And Long (Dark Train)’ by none other than Darren Emerson himself. Both vinyl versions also include a download code for both the North And South mixes, as well as the individual tracks.

Canonical then. Essential now.

2026 Repress

Celebrating 50 years since the release of the iconic Cathedrals album, U.S. disco legend D.C. LaRue returns with never-before-released remixes of all four original classics—pressed on strictly limited vinyl.
Top contemporary disco producers The Reflex, Dr. Packer, and Mannix breathe new life into LaRue’s 1976 masterpiece:
The Reflex (Stevie Wonder, Cerrone) delivers dancefloor-driven edits using digitized analog multitracks.
Dr. Packer (First Choice, Loleatta Holloway) reinvents one of LaRue’s biggest hits with fresh, soulful energy.
Mannix, head of Dafia Records, adds deep, dubby textures to complete this dynamic remix package.
Each track is respectfully reimagined—maintaining the emotional depth of the originals while enhancing clarity, rhythm, and relevance with modern production.
Bonus: Includes two standout remixes from LaRue’s second LP The Tea Dance—"Overture" (The Reflex) and "O Ba Ba" (Mannix).
These remixes aren’t just nostalgic—they’re timeless. Essential for collectors, DJs, and anyone who lives for disco.
Grab your copy before it’s gone.

Das einzige Trennungsalbum, das Sie jemals besitzen müssen. Mit seinen schwebenden Harmonien, taschenraubartigen Rhythmen und den in der Ferne um 2 Uhr morgens heulenden ,Krankenwagen"-Gitarrensoli verbreitete sich Idas zweites Album aus dem Jahr 1996 von Brooklyn aus über herausnehmbare Auto-CD-Player und Mixtapes von Fernliebenden. Ursprünglich auf dem traditionsreichen Label ,Simple Machines" veröffentlicht, enthält diese zum 30-jährigen Jubiläum erschienene Deluxe-Edition von ,I Know About You" bei Numero ein halbes Dutzend Extras, eine Fülle an fotografischem Material sowie neue Einblicke von Jenny Toomey und Sara Marcus. Taschentücher sind nicht im Lieferumfang enthalten.

Das einzige Trennungsalbum, das Sie jemals besitzen müssen. Mit seinen schwebenden Harmonien, taschenraubartigen Rhythmen und den in der Ferne um 2 Uhr morgens heulenden ,Krankenwagen"-Gitarrensoli verbreitete sich Idas zweites Album aus dem Jahr 1996 von Brooklyn aus über herausnehmbare Auto-CD-Player und Mixtapes von Fernliebenden. Ursprünglich auf dem traditionsreichen Label ,Simple Machines" veröffentlicht, enthält diese zum 30-jährigen Jubiläum erschienene Deluxe-Edition von ,I Know About You" bei Numero ein halbes Dutzend Extras, eine Fülle an fotografischem Material sowie neue Einblicke von Jenny Toomey und Sara Marcus. Taschentücher sind nicht im Lieferumfang enthalten.

Amsterdam producer Baril returns to Intercept with his most personal work to date. In Between Highs was written in a short, turbulent stretch of 2024, a year marked by family illness and personal loss. Rather than dwell in despair, Baril channels the in-between state into something hopeful: music that acknowledges pain while reaching for escape, relief, and euphoria.

In Between Highs marks a valley, framed optimistically, kind of like the calm before the next ascent. Through warm, melodic textures and rhythmic flow, Baril offers both personal relief and a shared refuge for listeners navigating their own dips.

It follows a steady arc of releases on Intercept. His debut EP One More Rush (2020) introduced his dreamy, emotive production style. For You, Forever (2023), his first full-length, expanded that vision into a deeply atmospheric blend of ambient, breakbeat, and house. With In Between Highs, Baril sharpens the focus: the sound is organic, euphoric and unfiltered.

Eine komplett neue Vinyl-Version des Debütalbums von Genesis, die mit Zustimmung von Tony Banks, Peter Gabriel, Anthony Phillips und Mike Rutherford zusammengestellt wurde.

Neuer Stereo-Mix von Stephen W Tayler.

Inklusiv einer 12-inch Bonus EP mit neuen Mixen der Songs ‚A Winter’s Tale‘, ‚One Eyed Hound‘ und ‚Image Blown Out‘, plus einem bisher unveröffentlichtem Song ‚Visions Of Angels‘.


„From Genesis To Revelation“ erschien ursprünglich im März 1969 und war das Debütalbum von Genesis – der erste Schritt auf einem Weg, der der Band in den 1970er Jahren und darüber hinaus zu beachtlichem Erfolg und großer Anerkennung verhalf.

Diese Vinyl-Ausgabe ist die erste Neuauflage des Albums, die mit Zustimmung von Tony Banks, Peter Gabriel, Anthony Phillips und Mike Rutherford erstellt wurde. Sie enthält einen wunderbaren neuen Stereo-Mix von Stephen W. Tayler, der das Album in einer neuen Form präsentiert, wobei der Schwerpunkt stärker auf den Beiträgen der Band liegt und die Orchestrierungen der Originalmixe weniger im Vordergrund stehen. Diese neuen Mixe sind durchaus bemerkenswert und bieten den Genesis Fans einen völlig neuen Hörgenuss.

Larry June has built a career on making hard work look effortless, and his album Who Coppin’ stands as a masterclass in smooth, lifestyle-driven West Coast hip-hop. The album delivers a high-grade mix of Bay Area luxury, entrepreneurial motivation, and unbothered charismatic flows. Spanning a laid-back audio palette designed for early-morning juice runs and late-night freeway cruises alike, Uncle Larry balances the discipline of a hustle-first mindset with warm, sun-drenched production anchored by crisp organic instrumentation and heavy-knocking bass.

The album features a tightly curated roster of collaborators who align seamlessly with Larry's signature aesthetic. Spoken-word encouragement from Wallo267 sets an intentional tone on the opener "Go Outside Intro," framing the record around execution and focus. Soulful contributions from Jhené Aiko on "California Dream" and Musiq Soulchild on "Pretty Green Eyes" provide lush R&B textures, while NorCal legend B-Legit and longtime partner DJ.Fresh reinforce June’s deep West Coast roots. Meanwhile, Swizz Beatz injects high-energy bounce into "Flex," offering a vibrant contrast to Larry’s understated, cool-headed cadence.

Behind the boards, top-tier producers like Cardo, Teeko, Beat Butcha, Jay Versace, and June Santana craft a nostalgic yet modern backdrop filled with warm sample flips, smooth G-funk synthesizers, and relaxed soul grooves. The project builds to an emotionally grounded conclusion on "God Got Us (Ain't Too Many)," where June strips away the flexes to offer direct encouragement to his audience, proving once again that consistency, self-belief, and steady progress remain the ultimate luxuries.

2xLP, Gatefold Jacket, 18x24 Poster Included

Fans waited up to 14 years for these tracks … the wait is finally over!

Ian Pooley returns with a brand-new collection of original productions, delivering exactly what you'd expect from one of house music's true craftsmen.
Road-tested throughout his recent live shows, these tracks have already proven themselves where it matters most: on the dancefloor. Staying faithful to his unmistakable MPC-driven approach, Ian delivers groove, feel and musical restraint in equal measure. Crisp drums, warm sampling, infectious basslines and subtle arrangements come together in a way that only he can deliver.
No overproduction, no unnecessary breakdowns, no gimmicks-just pure, functional house music built for DJs. Timeless, stripped-back and effortlessly effective, this is another reminder why Ian Pooley remains one of the genre's most respected producers.

2026 Repress

December 2012 I showed up totally exhausted in Vancouver BC after touring stupidly and relentlessly for however many straight months and got a job at a call centre raising money for the Red Cross. It was a scent free office but one time this woman cooked a piece of fish in the microwave for 10 minutes on low and hot boxed the whole office - we got sent home early no pay. There was the other woman I named the Call Centre Coltrane because her pitch and routine usually involved improvised flights of fancy that went off in both directions at once somehow landing back down with a credit card number and a donation. I used to sleep under the desk. I was there a few months and at the time I reconnected with John Brennan who I had played with briefly in Montreal at the Mutek Festival. In Montreal John was running an experimental music night at a burrito shop downtown called Garbage Night. While in Vancouver I began connecting with the music scene there and would go hang out with the Shearing Pinx lads who I think lived with Sydney the bass player at the time. I knew Nic and Jer from an AIDS Wolf Tour and was so stoked to get to know them both better. I really fell in love with that era of Vancouver's music scene.
Fast Forward to today. 2024
Actually it was the dying days of 2023 but you get it and John asks if I'll sit in with Earth Ball and I keep thinking about Earth Balance, the vegan butter everyone eats here. I brought my aching bones and my ipads on the beautiful ferry named the Queen of Oak Bay and out to Nanaimo BC, home of the nanaimo bar (a dessert treat - special to this region - that seems to be more popularly found under the weird glass sneeze guards in office building deli's out east in Ontario.... anyhoops ). No one in Nanaimo wants to talk to me about the famous treat. I asked a couple of people. Silence. Nanaimo is like London, Ontario but more fried and by the sea. The town is filled with blown out old sea dawgs with tin coffee pots and loose leaf tobacco, then there's the usual streetfolk you find in this part of the Canadian Pacific Northwest and a bunch of bohemians who I guess have left Vancouver behind - that fine city having become uninhabitable for those not making over 100k a year. And then up the way are all the retirees.
Yup Nanaimo is a strange one. They mined the shit out of this region and Nanaimo is surely haunted by those buried in mining shafts or maimed by the heavy machinery or blown up by accident in the explosives store house. And when Earth Ball fire up the amps in Izzy and Jer's basement you can hear the voices of the ghosts hum through electrical lines and out the speakers, Kellen's hued feedback, Izy's sturdy basslines, Jer's paperbag guitar tone and rumble pack zaps, Liam's (aka the Kid) sheets of sound and Brennen's multidirectional drums.
You wouldn't guess Earth Ball was auto-composing and from what my rat brain can tell - the lyrics are improvised too...Improvising lyrics and singing them is the hardest thing to do in all of music.. Izzy and Jer are pros. And their attitudes are pro too.
The live show is scorched and without naming names they've been known to make headliners nervous. Lucky ones will get to see them live as they tour this beast of a record entitled ‘It’s Yours’ (out May 17th on Upset The Rhythm) and I hope I'm one of them.
But now you, fan of fun but totally fucked up music, have the opportunity to Ball with them thanks to Upset The Rhythm. Enjoy
-Alex Moskos, Montreal QC, Feb 2024

Celebrating ten years of independent music, Nerang Recordings returns with its sixteenth vinyl release, A Decade of Nerang Recordings - Mix Selections. Bringing together six artists from across the label’s history and extended community, the compilation showcases the diverse sounds that have shaped Nerang over the last decade. Featuring DJ Swagger, Nasty King Kurl, Subjoi, DOS, Low Tape and Moody McIvor, the release moves effortlessly between UK Garage, House, Tech House, Lo-Fi House, Electro and Synthwave while maintaining a clear identity throughout. Since its inception, Nerang Recordings has never been interested in following a single genre, scene or trend. Instead, the label has always focused on releasing music based on quality, individuality and atmosphere. Over the years that philosophy has resulted in a catalogue that crosses stylistic boundaries while remaining connected by a shared spirit. A Decade of Nerang Recordings - Mix Selections serves as both a celebration of the label’s first ten years and a statement of intent for the future. Each track represents a different corner of the Nerang universe, reflecting the sounds, influences and artists that have helped shape the label’s journey so far.

From rolling UK Garage rhythms and club-focused house cuts through to hazy lo-fi textures, cinematic synth work and darker electronic excursions, the compilation highlights the freedom that has always sat at the heart of the label. Rather than being confined by genre expectations, Nerang continues to embrace music on its own terms, allowing each release to find its own identity and audience. While thisrelease reflects on the past decade, it is equally focused on what comes next. The goal remains the same as it was on day one: support great artists, release music without limitations and continue exploring new territory wherever it may lead. Ten years in, Nerang Recordings remains committed to doing things its own way

Space Ghost returns with Back From Reality, his first solo album since 2022. Blending ambient, downtempo and house, the LP explores themes of escapism, introspection and the search for moments of calm in an increasingly overwhelming world. Out October 9th, 2026 via Space Ghost’s own Peace World Records.

Drawing influence from late '90s and early 2000s ambient and electronic music, the record channels the nostalgic atmosphere of PS2-era video game soundtracks, console startup screens, and save menus. “I used to play games like Spyro, Crash, Ape Escape, Gran Turismo. It's fun for me to reimagine songs that could have lived in games from that era. ” The project reveals Space Ghost's interest in writing music for video games, with tracks such as "System Reset" reimagining an alternate PS2 startup screen or “VGM” visualizing a stage selection screen for an imaginary game.

Visually, the project emulates the minimalist design trends of album artwork from the same era: sparse industrial landscapes paired with minimal type. Space Ghost took the cover photo himself while driving around the quiet, empty Oakland ports at night. Tracks like “Sugar Cube” and “Back From Reality” mimic these late night environments and create a downtempo zone for listeners to get lost in. “One of my favorite things to do after writing songs, is to drive around Oakland listening to them. It's almost like the final test for the songs, to see if their emotion holds up.
”
Written over the course of five years, Back From Reality reflects Space Ghost’s experience of balancing everyday life with the desire to be creative. “This album is me coming home from my day job and returning back to the place where I feel the joy and freedom in making my music. If I could, I would work on my music full time, but for now it's part time and often a form of escapism. ” Beneath its calming surface, the LP quietly wrestles with larger questions. Against the backdrop of global conflict, environmental decline, and economic uncertainty, the album searches for small moments of optimism through creativity and introspection. Back From Reality holds a moment of space away from these overwhelming times, allowing listeners to pause and recharge.

Back From Reality releases on Peace World Records October 9th, 2026

2026 Repress

In honor of the September full moon, 2017.

Early support from Cassegrain, Cio D'Or, Deepbass, Ness, Svreca, Patrick Siech, Antonio de Angelis, Arnaud le Texier, Exium, Iori, Kwartz, Nima Khak, Rasmus Hedlund, Retina.IT, Samuli Kemppi, Takaaki Itoh, Eric Cloutier, Wata Igarashi, Attemporal, Brando Lupi, Lewis Fautzi, Nobody Home, Sam KDC, Ovend and more.

Composer and multi-instrumentalist Koen Holtkamp has spent more than two decades shaping a body of work at the intersection of ambient, experimental, and electroacoustic music. Known for his role in the influential duo Mountains, as well as a solo catalog defined by texture and spatial awareness, Holtkamp has long explored how sound interacts with environment and perception. With Nightlife, he enters a new phase of that inquiry, one shaped as much by physical relocation as artistic evolution.

After leaving Brooklyn for the relatively rural setting of New York’s Hudson Valley, Holtkamp found himself immersed in nature and embracing a slower way of life, a shift that directly informed the album’s creation. Rather than rushing into a new project, he allowed the space itself to guide him, focusing on experimentation and play instead of a fixed outcome. Over time, a new instrument emerged from his modular system, built around physical modeling techniques that emulate plucked string sounds. Drawing on a deep affinity for acoustic traditions, from guitar soli to the kora and other chordophones, he began translating those influences into an electronic language, creating music that feels tangible, effusive, and even intimate, despite its synthetic nature. As the pieces took shape, Holtkamp expanded the project into a kind of imagined ensemble. Composed with specific collaborators in mind, the album features extensive contributions from drummer Greg Fox and saxophonist and flutist Matt Bauder, whose performances subtly reshape the material and draw it toward more fluid, song-like forms, alongside a guest appearance from Ben Vida on synth bass. Yet even as Nightlife occasionally resembles a band in motion, its construction resists traditional cohesion. Acoustic and electronic sources coexist to create a hyper-dimensional sense of space, with each element deliberately placed in its own distinct environment, yielding a complex yet inviting setting that feels both otherworldly and completely natural.

Much of the album was created during late-night sessions, which became a kind of personal ritual and ultimately inspired its title. Nightlife unfolds as a series of finely detailed environments, where stillness, texture, and subtle interplay take precedence over momentum. Each piece invites close listening while remaining open and unforced, reflecting both a change in pace and a deepening of focus. The result extends Holtkamp’s ongoing interest in how sound can shape, and be shaped by, the spaces we inhabit.

Beneath the sleek, confident guitar line that powers “Overdrive,” the lead single of All Over You, another guitar marks the time more impatiently, as if the groove its locked into is the timebomb- tightness of a pre-hookup heartbeat. Its energy isn’t nervous — after all, it’s hard to be nervous with Will Schwartz cooing come-ons like “I just wanna get you in the bed / Light you up like a cigarette” in your ear — but it is urgent. Excited. Titillated.


That’s the word that best describes the prospect of a new Imperial Teen record: titillating. They come out every five or six years, each new album acting as, to quote Roddy Bottum, “an episodic piece of where we are now, where the world is now, who we have become, and the geography of our collective consciousness.” There is considerable distance between Imperial Teen, its members — Bottum (guitars, keyboards, vocals), Schwartz (vocals, guitars, keyboards), Jone Stebbins (bass, vocals), and Lynn Truell (drums, vocals) — having made lives for themselves in different cities, but the collective consciousness that exists between them makes distance and time seem immaterial to the listener.


Time, especially time together, is not immaterial to Imperial Teen: it is precious. “For the last few records,” Stebbins explains, “the process has been similar. We live great distances away from each other, so initially, we get together to collaborate, write, and create. When we have enough material, we reconvene to record. Both scenarios, creating and recording, take multiple trips, sometimes with big lapses of time in between due to our various schedules.” Bottum concurs: “The biggest challenge in writing and recording is the distance between us, but the longing and desire and the ultimate coming together becomes more potent as a result.”


All Over You is a triumph of maximized moments together, four people bringing the force of their personalities to bear on years of built-up ideas. Title track “All Over You,” initially built over the computer, gained its charming sneer in the studio, where Stebbins’ buoyant, fuzzed out bassline added bounce to the song’s punchy, sloganeering lyrics, a perfect set-up for Truell to drive the song home, screaming the last line of the chorus, “We’ve got nothing to do,” like a rallying cry for a generation that’s been given nothing and told to deny themselves everything. “In my head,” Truell says, “I just went back to punk, to that feeling of prowling around looking for anything to do and being so mad about how boring everything is that you just have to yell.” The track had an attitude, it had an unexpected texture thanks to Truell’s playing improvised percussion, but her scream is what took it to the next level, transforming it into a signature Imperial Teen song.


One of Imperial Teen’s less magical concerns on All Over You is the effect capitalism has on the creation of art. This expresses itself in the headspinning rush of music industry success and disappointment that plays out in “Hands All Up,” and also in Imperial Teen’s sound. All Over You features the band’s most expansive, textured palette to date, and much of it’s steeped in — bubblegum music and boy/girl harmonies, electro beats and grungy distortion, power pop mall anthems and kiss-off lyricism — has been dismissed, at one point or another, as a fad. Time, of course, has proven otherwise, and All Over You makes a case for Imperial Teen as four of that time’s architects, inheriting, preserving, and pushing the boundaries of what pop music can be from one song to the next.


“We want to make people dance and think and feel,” says Schwartz. In all of those ambitions, All Over You crushes, brought to life by four musicians who found each other in the clubs of San Francisco over three decades ago and have remained family ever since. It is less a return from hiatus than a broadcast from the sonic utopia Imperial Teen has long ruled over, where the music is bratty and sexy and the parties don’t stop until everyone’s found euphoria. A raveup for mind, body, and soul, best enjoyed in a dark room packed with as many sweaty bodies as possible

Beneath the sleek, confident guitar line that powers “Overdrive,” the lead single of All Over You, another guitar marks the time more impatiently, as if the groove its locked into is the timebomb- tightness of a pre-hookup heartbeat. Its energy isn’t nervous — after all, it’s hard to be nervous with Will Schwartz cooing come-ons like “I just wanna get you in the bed / Light you up like a cigarette” in your ear — but it is urgent. Excited. Titillated.


That’s the word that best describes the prospect of a new Imperial Teen record: titillating. They come out every five or six years, each new album acting as, to quote Roddy Bottum, “an episodic piece of where we are now, where the world is now, who we have become, and the geography of our collective consciousness.” There is considerable distance between Imperial Teen, its members — Bottum (guitars, keyboards, vocals), Schwartz (vocals, guitars, keyboards), Jone Stebbins (bass, vocals), and Lynn Truell (drums, vocals) — having made lives for themselves in different cities, but the collective consciousness that exists between them makes distance and time seem immaterial to the listener.


Time, especially time together, is not immaterial to Imperial Teen: it is precious. “For the last few records,” Stebbins explains, “the process has been similar. We live great distances away from each other, so initially, we get together to collaborate, write, and create. When we have enough material, we reconvene to record. Both scenarios, creating and recording, take multiple trips, sometimes with big lapses of time in between due to our various schedules.” Bottum concurs: “The biggest challenge in writing and recording is the distance between us, but the longing and desire and the ultimate coming together becomes more potent as a result.”


All Over You is a triumph of maximized moments together, four people bringing the force of their personalities to bear on years of built-up ideas. Title track “All Over You,” initially built over the computer, gained its charming sneer in the studio, where Stebbins’ buoyant, fuzzed out bassline added bounce to the song’s punchy, sloganeering lyrics, a perfect set-up for Truell to drive the song home, screaming the last line of the chorus, “We’ve got nothing to do,” like a rallying cry for a generation that’s been given nothing and told to deny themselves everything. “In my head,” Truell says, “I just went back to punk, to that feeling of prowling around looking for anything to do and being so mad about how boring everything is that you just have to yell.” The track had an attitude, it had an unexpected texture thanks to Truell’s playing improvised percussion, but her scream is what took it to the next level, transforming it into a signature Imperial Teen song.


One of Imperial Teen’s less magical concerns on All Over You is the effect capitalism has on the creation of art. This expresses itself in the headspinning rush of music industry success and disappointment that plays out in “Hands All Up,” and also in Imperial Teen’s sound. All Over You features the band’s most expansive, textured palette to date, and much of it’s steeped in — bubblegum music and boy/girl harmonies, electro beats and grungy distortion, power pop mall anthems and kiss-off lyricism — has been dismissed, at one point or another, as a fad. Time, of course, has proven otherwise, and All Over You makes a case for Imperial Teen as four of that time’s architects, inheriting, preserving, and pushing the boundaries of what pop music can be from one song to the next.


“We want to make people dance and think and feel,” says Schwartz. In all of those ambitions, All Over You crushes, brought to life by four musicians who found each other in the clubs of San Francisco over three decades ago and have remained family ever since. It is less a return from hiatus than a broadcast from the sonic utopia Imperial Teen has long ruled over, where the music is bratty and sexy and the parties don’t stop until everyone’s found euphoria. A raveup for mind, body, and soul, best enjoyed in a dark room packed with as many sweaty bodies as possible

Creole Culture is the triumphant return of Dawn Richard’s King Creole era. Steeped in history but with its flag planted firmly in the future, Creole Culture pulls elements from Richard’s heritage as a Black and Native American woman who has spent a lifetime making and engaging with music. Following New Breed (2019) and Second Line (2021), Creole Culture is akin to a panel of a triptych: a fully-realized sonic and narrative universe in which Richard, as King Creole, rebuilds her hometown of New Orleans in her image. She not only honors her city for what it was or what it gave her, but stakes a claim for it as a cradle of global culture now and for all time.


Creole Culture follows two acclaimed avant-garde R&B albums with composer Spencer Zahn — the later of which, 2024’s Quiet in a World Full of Noise, found Richard exorcising the specters of grief and trauma in the wake of her father Frank Richard’s health struggles and the killing of her cousin Cisco. It is a softer take on the brass-soaked swagger of Richard’s previous King Creole efforts, an evolution brought about when she realized she had left a crucial viewpoint out of her exploration of New Orleans: her own. “New Breed was the story of New Orleans through my father’s eyes,” Richard explains. “I used his samples, his music, his cultures, his work with Chocolate Milk, his side of the family. Second Line was my mom — her interludes riddled the album with her depiction of what is meant to be a Creole woman in New Orleans. The masculine and feminine sides of King Creole had expressed themselves through them, but the story felt unfinished, like my version of the story was untold.”
That story is, for lack of a better word, complex: at turns triumphant and tragic, sexy and mournful, braggadocious and contemplative. Creole Culture presents Richard’s New Orleans as a utopian soundscape — an intoxicating blend of R&B, soul, hip-hop, pop, and jazz — that’s survived and thrived despite the dystopian circumstances visited upon it. Richard presents the melange of influence and artifact on Creole Culture with the care of a botanist nurturing new hybrids in a rose garden.


What emerges from that care is at once delightful and unexpected, enlisting a crew of guest stars including Big Freedia, Anjelika “Jelly” Joseph, Tarriona “Tank” Ball, and Durand Bernarr for features that play against type. Tank’s turn at spoken word verse on “l v r” serves to add dimension to King Creole’s New Orleans, as does Joseph’s undeniable voice on “chuuuurch.” “I’m not normally a features girl,” says Richard, ”but King Creole can’t build a world from scratch without help. What’s beautiful about the features here — which is also true of my band and producers — is they come from people who understand the materials of the world they’re from, they’re people I love, and they’re people who are just extraordinary at what they do. They’re part of the atmosphere of this place. You need them for the record to breathe.”
In the end, that’s what King Creole creates: a space where Dawn Richard can breathe, can be at peace with herself, and let loose with others. From finding love in opening single “enough” to relishing in the Afrocaribbean futurism of “fiesta,” Creole Culture is a tremendous, freeing breath of fresh air. It captures the resolve of a woman and a place who’ve survived the unimaginable and sees the future not as something to be endured, but as something to be created. Dawn Richard has been making that future one album at a time over the course of her career. Creole Culture is her most stunning one yet.

Creole Culture is the triumphant return of Dawn Richard’s King Creole era. Steeped in history but with its flag planted firmly in the future, Creole Culture pulls elements from Richard’s heritage as a Black and Native American woman who has spent a lifetime making and engaging with music. Following New Breed (2019) and Second Line (2021), Creole Culture is akin to a panel of a triptych: a fully-realized sonic and narrative universe in which Richard, as King Creole, rebuilds her hometown of New Orleans in her image. She not only honors her city for what it was or what it gave her, but stakes a claim for it as a cradle of global culture now and for all time.


Creole Culture follows two acclaimed avant-garde R&B albums with composer Spencer Zahn — the later of which, 2024’s Quiet in a World Full of Noise, found Richard exorcising the specters of grief and trauma in the wake of her father Frank Richard’s health struggles and the killing of her cousin Cisco. It is a softer take on the brass-soaked swagger of Richard’s previous King Creole efforts, an evolution brought about when she realized she had left a crucial viewpoint out of her exploration of New Orleans: her own. “New Breed was the story of New Orleans through my father’s eyes,” Richard explains. “I used his samples, his music, his cultures, his work with Chocolate Milk, his side of the family. Second Line was my mom — her interludes riddled the album with her depiction of what is meant to be a Creole woman in New Orleans. The masculine and feminine sides of King Creole had expressed themselves through them, but the story felt unfinished, like my version of the story was untold.”
That story is, for lack of a better word, complex: at turns triumphant and tragic, sexy and mournful, braggadocious and contemplative. Creole Culture presents Richard’s New Orleans as a utopian soundscape — an intoxicating blend of R&B, soul, hip-hop, pop, and jazz — that’s survived and thrived despite the dystopian circumstances visited upon it. Richard presents the melange of influence and artifact on Creole Culture with the care of a botanist nurturing new hybrids in a rose garden.


What emerges from that care is at once delightful and unexpected, enlisting a crew of guest stars including Big Freedia, Anjelika “Jelly” Joseph, Tarriona “Tank” Ball, and Durand Bernarr for features that play against type. Tank’s turn at spoken word verse on “l v r” serves to add dimension to King Creole’s New Orleans, as does Joseph’s undeniable voice on “chuuuurch.” “I’m not normally a features girl,” says Richard, ”but King Creole can’t build a world from scratch without help. What’s beautiful about the features here — which is also true of my band and producers — is they come from people who understand the materials of the world they’re from, they’re people I love, and they’re people who are just extraordinary at what they do. They’re part of the atmosphere of this place. You need them for the record to breathe.”
In the end, that’s what King Creole creates: a space where Dawn Richard can breathe, can be at peace with herself, and let loose with others. From finding love in opening single “enough” to relishing in the Afrocaribbean futurism of “fiesta,” Creole Culture is a tremendous, freeing breath of fresh air. It captures the resolve of a woman and a place who’ve survived the unimaginable and sees the future not as something to be endured, but as something to be created. Dawn Richard has been making that future one album at a time over the course of her career. Creole Culture is her most stunning one yet.

Danielle Ponder is done waiting for a future version of herself to arrive. Now, the Rochester-born, Atlanta-rooted singer-songwriter is unapologetically living in the moment. This realization powers Everything Has Changed, Ponder's anticipated sophomore album (and debut on Dead Oceans in partnership with Phoebe Bridgers). The LP is Ponder’s most self-assured statement to date: it was crafted through a period of immense transformation as the beloved vocalist propelled from being a lawyer to a full-fledged musical powerhouse. That artistic freedom threads the album, as heard on lead single, “Power”, which serves as both a declaration and an affirmation for the Black diaspora. Other highlights include the revelatory “Sun and Moon”, the towering blues ballad “God of You”, and the devastatingly vulnerable “Open Windows”. Everything Has Changed dismantles the stories Ponder once told herself and finds peace in what remains—all themes that have shaped much of her journey. Music was always a constant presence throughout her life, but practicality initially took over in adulthood. While performing with her family’s band and later developing her own projects, Ponder pursued a legal career focused on criminal justice reform.

It wasn’t until her late 30s that she allowed herself to seriously imagine music as more than a side pursuit. In 2021, at age 39, she finally took the leap, leaving law behind to pursue her artistry full-time. The gamble paid off: she signed her first record deal in 2022, becoming a trailblazer on her own unusual path to worldwide renown. Her debut album Some of Us Are Brave introduced Ponder as one of soul music’s most compelling new voices, thanks to singles like “Someone Like You”, “Roll The Credits,” and the empowering title track. The LP earned critical acclaim along with dozens of major sync placements, including the latest Apple campaign for the iPhone 16 Pro. She’s since had four major TV appearances, including Jimmy Kimmel Live! Ponder has also sold out shows across North America and Europe, including festival appearances at Bonnaroo, Lollapalooza, Afropunk, and the Montreux Jazz Festival.
But if that album documented her arrival, Everything Has Changed documents her evolution.

Danielle Ponder is done waiting for a future version of herself to arrive. Now, the Rochester-born, Atlanta-rooted singer-songwriter is unapologetically living in the moment. This realization powers Everything Has Changed, Ponder's anticipated sophomore album (and debut on Dead Oceans in partnership with Phoebe Bridgers). The LP is Ponder’s most self-assured statement to date: it was crafted through a period of immense transformation as the beloved vocalist propelled from being a lawyer to a full-fledged musical powerhouse. That artistic freedom threads the album, as heard on lead single, “Power”, which serves as both a declaration and an affirmation for the Black diaspora. Other highlights include the revelatory “Sun and Moon”, the towering blues ballad “God of You”, and the devastatingly vulnerable “Open Windows”. Everything Has Changed dismantles the stories Ponder once told herself and finds peace in what remains—all themes that have shaped much of her journey. Music was always a constant presence throughout her life, but practicality initially took over in adulthood. While performing with her family’s band and later developing her own projects, Ponder pursued a legal career focused on criminal justice reform.

It wasn’t until her late 30s that she allowed herself to seriously imagine music as more than a side pursuit. In 2021, at age 39, she finally took the leap, leaving law behind to pursue her artistry full-time. The gamble paid off: she signed her first record deal in 2022, becoming a trailblazer on her own unusual path to worldwide renown. Her debut album Some of Us Are Brave introduced Ponder as one of soul music’s most compelling new voices, thanks to singles like “Someone Like You”, “Roll The Credits,” and the empowering title track. The LP earned critical acclaim along with dozens of major sync placements, including the latest Apple campaign for the iPhone 16 Pro. She’s since had four major TV appearances, including Jimmy Kimmel Live! Ponder has also sold out shows across North America and Europe, including festival appearances at Bonnaroo, Lollapalooza, Afropunk, and the Montreux Jazz Festival.
But if that album documented her arrival, Everything Has Changed documents her evolution.

Mit "Milky Way" kehrt ein lange vergriffenes Juwel des Jazzrock und Fusion zurück. Das einzige Album der gleichnamigen Supergroup wurde Ende der 1980er-Jahre von dem renommierten polnischen Saxophonisten, Violinisten und Komponisten Michal Urbaniak initiiert und vereint einige der bedeutendsten Musiker des Genres. Zur hochkarätigen Besetzung zählen unter anderem Lenny White (Return To Forever), Victor Bailey (Weather Report), Randy Brecker (Brecker Brothers) und Ray Gomez. Gemeinsam verbindet die Band virtuose Improvisation, eingängige Melodien und den charakteristischen Sound des klassischen Fusion-Jazz. Ursprünglich auf Fritz Raus Label L+R Records veröffentlicht, war das Album über Jahre hinweg nicht mehr erhältlich. Diese remasterte Wiederveröffentlichung würdigt das musikalische Erbe von Michal Urbaniak und macht einen besonderen Titel der internationalen Fusion-Geschichte wieder zugänglich

Locust, das Projekt des legendären englischen Elektronikmusikers Mark Van Hoen, freut sich, das neue Album „Spectral+“ über TODO Records zu veröffentlichen. „Spectral+“ ist eine vielseitige, einzigartig ausgefallene Sammlung, die klassische Einflüsse wie Giorgio Moroder, Brian Eno, My Bloody Valentine und Boards of Canada als Ausgangspunkte für neue Wege nutzt. Mit dabei sind Musiker wie Neil Halstead von Slowdive, Olive Kimoto, Natasha Morrow, Nick Holton von Black Hearted Brother und Griff Spex, dessen industriell-elektronischer Touch dem Album eine unerwartete und mitreißende Dimension verleiht.


Die Ankündigung des Albums folgt auf große Vorfreude seitens der Fans, seit Van Hoen eine neue Live-Besetzung zusammengestellt hat, mit der er seit September an ausgewählten Terminen in den USA neues Material uraufführt – darunter als Headliner beim „Elsewhere“-Takeover von Perfectly Imperfect, beim „And Always Forever Festival“ und beim „Flower Moon Festival“ –, was ihre ersten Live-Auftritte seit ihrer Zeit als Vorband von Massive Attack in den 90er Jahren markiert.


In den letzten Jahren hat das Projekt eine beeindruckende Kult-Anhängerschaft aufgebaut. Das Publikum besteht nicht nur aus denen, die sich an seine Tourneen mit Autechre und Aphex Twin erinnern, sondern auch aus einer aufstrebenden jüngeren Generation, die Locust durch das Trip-Hop-Revival und die Präsenz in den sozialen Medien entdeckt hat.

OK, so the original pressing of the Heartstopper vinyl box set sold out in 2.5 hours.... Incredible!
We're making another version available. This is basically the same version, except it's NOT numbered. Also, this pressing will be released on October 9.

Heartstopper is the critically acclaimed Netflix coming-of-age romance that has captured the hearts of millions around the world. Based on the bestselling graphic novels and webcomic by Alice Oseman, the story follows Charlie Spring and Nick Nelson as they navigate friendship, love, identity, and growing up. Praised for its authentic representation and warmth, Heartstopper has become a cultural phenomenon, earning a devoted global fanbase and widespread critical acclaim. The series comprises three seasons, which aired between 2022 and 2024, followed by a feature-length film in 2026.

An essential part of the series’ emotional impact is its music. Across the series and film, Adiescar Chase’s music beautifully underscores the characters’ journeys, capturing the excitement of first love, the uncertainty of growing up, and the quiet intimacy of everyday moments. Her compositions have become an integral part of the Heartstopper experience, adding depth and atmosphere to the story’s most memorable scenes.

In collaboration with Netflix, Music On Vinyl proudly presents the complete Heartstopper soundtrack on vinyl for the very first time. This deluxe box set brings together the original scores from all three seasons of the series and feature film across four releases, pressed on stunning marble-coloured records in blue, pink, yellow, and orange, and housed in a beautifully crafted collector’s box. The set is complemented by an 8-page booklet featuring exclusive liner notes by Alice Oseman, four A4 art cards showcasing the original artwork from each release, and a Heartstopper diary for personal use, inspired by the series. Together, these carefully curated elements make this the definitive collector’s edition, celebrating the music and legacy of Heartstopper in a truly special format.

R.M.F.C. sound like? Let’s stay with the overused descriptors – I think R.M.F.C. is rock music band, more specifically a post-punk band. Indulge me. If you could say anything about post punk it means post-Wire, who were past punk before punk had an opportunity to codify and become everything brilliant and stupid that we’ve spent 40 years unpacking. Wire’s opening Pink Flag jab – Chairs Missing straight – and 154 hook knockout has haunted the mixing desks of ambitious post-punk bands since, and every major city in the western world has at least one Pink Flag band, one Chairs Missing band, one 154 band. Few bands manage to sound like all 3 records, but R.M.F.C. are a Rock Music Fan Club...

Anyone paying attention to underground Australian guitar overdose would relate: the R.M.F.C. Club Hits LP has been the culmination of five years of work, patience and discipline. If you’ve heard these songs live at any of their shows over the past couple of years you’ll understand – the wait is over and the result is exhilarating.

‘Bands like Devo, The Fall, and The Birthday Party have set the way for this type of post-punk rock (all in their own way). Surely, also, the rock scenes of the past fifteen years in Australia have also been influential. Thinking of bands like Royal Headache, Dick Diver, and Eddy Current Suppression Ring, there’s even been a fairly recent tradition of expanding styles of rock and roll (let alone the bigger, famous rock-centered acts). The Sydney based R.M.F.C., and the scene (or friend circle) from which it’s emerging, is carrying a torch of rock music which has the potential of a wider appeal.’ - POST-TRASH

Rocksteady Disco comes through with more tasteful and timeless edits on this fourth volume of its series which focuses on sounds from Detroit. Gino steps up on the A-side with the leggy grooves and funky bassline soft 'Funk Beyond' then 'Sunshine Ramp' pairs a classic vocal sample with a bubbly, percolating groove full of fun. On the flip, things get more textured and expressive with the busy jazz horns of DJ Righteous's '6 Minutes Of NRG' then 'Never Forget' brings heavyweight drum-first funk with warm organ chords and a busy mix of bass and melodies under the soaring vocals. Scorching stuff.

As intended from the start, Acid for the Grandma moves without a fixed direction. No clear starting point — just a path taking shape along the way.

No common ground, except the need to keep making music: instinctive, personal, at times compulsive. Each track stands as a standalone fragment, driven by the same impulse — turning tension into sound.

Raw cuts for the record.

Der Weg zu ,Welcome to Earth" von den Death Valley Girls beginnt in der Asche des Eaton-Feuers in Kalifornien. Nachdem sie ihr Zuhause in Altadena und kurz darauf auch ihren geliebten Hund Tommy verloren hatte, sah sich die Leadsängerin und Songwriterin Bonnie Bloomgarden mit Fragen konfrontiert, auf die es keine einfachen Antworten gab: Was überlebt eine Katastrophe? Was bleibt nach einem Verlust übrig? Wie baut man ein Leben wieder auf, wenn die Dinge, die es einst ausmachten, verschwunden sind? Das Album, das aus diesen Fragen hervorging, gehört zu den intimsten und tiefgründigsten Werken, die die Death Valley Girls je geschaffen haben. Im gesamten Schaffen der Band haben sie Musik sowohl als Feier als auch als Suchaktion betrachtet. Alben wie ,Glow in the Dark", ,Darkness Rains", ,Under the Spell of Joy" und ,Islands in the Sky" verwandelten ihren Space-Rock-Sound in ein Mittel zur spirituellen Suche, um inmitten des alltäglichen Chaos Momente der Transzendenz zu finden. Doch ,Welcome to Earth" unterscheidet sich deutlich von seinen Vorgängern. Es konzentriert sich weniger darauf, der Welt zu entfliehen, als vielmehr darauf, zu verstehen, wie man nach einer Verwüstung verbunden bleibt. Was dabei entstand, war nicht unbedingt ein Psych-Punk-Album über Verlust, sondern über Verbundenheit: die unsichtbaren Fäden, die Menschen, Tiere, Erinnerungen, Landschaften und Leben über die Zeit hinweg miteinander verbinden. Der Titel des Albums fungiert sowohl als Begrüßung als auch als Mahnung - ein Willkommen aus der Natur an eine Spezies, die ihren Platz in ihr weitgehend vergessen hat. Immer wieder kehren die Lieder zu der Möglichkeit zurück, dass Trennung die hartnäckigste Illusion der Menschheit sein könnte. Diese Vorstellung von Verbundenheit reicht über die Lieder selbst hinaus