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Celebrating their 40th anniversary in 2025, Japan's ska scene pioneers The SKA FLAMES － still going strong and continuing to exert a huge influence
both domestically and internationally － will release five 7-inch singles over three consecutive months!!
The second wave also features two titles released simultaneously!
This time, it includes two original compositions by Michihisa Ishikawa: “DOWNBEAT OFF MINOR” and “LAST BORELO.”
These beloved tracks, often performed live and cherished by fans, are now available on 7-inch vinyl.

To mark what would have been Mikis Theodorakis' 100th birthday in 2025, Intuition released a very special album: 'Lost Songs' - fourteen previously unpublished compositions by the world-renowned Greek composer, presented here for the first time in a remarkable solo piano version by German pianist Henning Schmiedt. A remarkable moment took place in 2009 at Mikis Theodorakis' studio in Athens: Henning Schmiedt personally played his piano arrangements of the 'Lost Songs' to Theodorakis himself. Some of the melodies sparked the composer's memory, while others did not - but he listened attentively, offered comments and gave guidance that directly influenced the final versions of the pieces.

As such, 'Lost Songs' can be considered a posthumous release with the composer's blessing. These pieces offer a glimpse into Theodorakis' expressive power and artistic maturity from a very young age - most of the 'Lost Songs' were written in the early 1940s and provide a compelling window into the formative years of one of the most important composers of the 20th century.

'Lost Songs' is available on 180g vinyl and digipak CD editions.

The new DIEVERSITY album "IV" can only be described in superlatives! The songs on "IV" definitely set a new benchmark in songwriting and production for DIEVERSITY! The new album "IV" is modern metal par excellence, that easily stands up to any international comparison and operates entirely at the pulse of the times. DIEVERSITY from Germany – as sharp-edged as ever, but with a new razor-sharp blade! Listen to the album and you will get addicted immediately"! Be prepared for something BIG!

“There's a clarity here that feels hard-won. Honing ideas first explored with his Organic Music series, Tiago Sousa unlocks the final puzzle pieces on Sustained Tones Vol 1. This music is enchanted, the way each layer moves in conjunction with the others: complex structures that feel less constructed than discovered, like stumbling upon ancient mechanisms still whirring beneath the earth. "Readily Reliance" opens as an effervescent sea, waves gilded in neon creating an enveloping sense of eternal motion. Bright organ timbres throw silhouettes and cast Sousa as the deft puppeteer keeping everything moving with an effortless precision. These evolving shapes suspend listeners somewhere between the physical and the cosmic, held in place by nothing but intention and sound.

Drones build rippling foundations in other places, using slower tempos to construct immersive, off-kilter sound worlds where minimalism becomes emotive, almost poignant. The fluctuating tones have a gossamer sheen, creating this interesting sonic dichotomy: a solid surface with fragile rotations beneath. It's music that commands attention; it is so much more than simply aural furniture. Sousa writes these beautiful sequences that are all interconnected, intricate sonic architecture that pulls us further into some kind of unknowable ether.

On the piano pieces, "Smooth Flow Into It" and "Swirling Mist and Thin Dust," Sousa shines sunlight through all the cracks. Washes of melody are effervescent, clouds clearing to reveal the day has not gone. Not yet. Positioned in the middle of Sustained Tones Vol 1, these pieces ground the album in something transcendent yet still earthen: moments of breath inside all that cosmic drift. Darkness finds its way through on "Restlessness," where Sousa smears sinuous electronics into a ghostly sonic mesh that seeps through the skin. It feels like a slow inhale, time suspended long enough to take note of where we are and how we feel before moving forward. Expressive, almost sparkling synth arrangements return to send us back into reality on closer "Becoming a Landscape." Its title hints at larger concepts at play throughout this album, where lines between our physical beings and the wider environment are blurred. The tones that echo throughout these six pieces mirror the echoes inside our bodies, from heartbeats and voices to something quieter, something much smaller and more elemental. By immersing us inside these mesmerising, beautiful soundscapes, Sousa immerses us within ourselves.’’

Brad Rose, 2025

2026 Repress

P.E.A.R.L.'s Falling Ethics imprint reaches release number 25. For this special occasion he invites personal favourite and good friend, icon of the Spanish techno scene, Oscar Mulero. After a first appearance on the label back in 2019 it was long overdue to present their follow up split EP. Both producers are known for their forward-thinking, optimized techno pressure and on 'Above Us Today' they show nothing less. Four perfectly shaped, effective techno hitters in their own iconic style. Mulero with his twisted hypno swing and P.E.A.R.L. working his impeccable high-energy grooves make this an essential techno pack.

With her new album, Spira (Sprout), Olof Arnalds has found her joy in writing songs rekindled. In many ways it harkens back to her debut: it is exclusively in Icelandic, the arrangements are markedly stripped back compared to her last two records, and it is mostly recorded in single takes in the control room of Sundlaugin, much like Vio og vio. Although a classically trained singer and violinist, Olof has been an active practitioner of popular music for thirty years, the watershed moment was the 2007 release of her debut solo album Vio og vio (Now and Again, wider international release in 2009), produced by Sigur Ros' Kjartan Sveinsson in the band's converted swimming-pool studio Sundlaugin. It seemed to appear fully formed out of the ether, and became a local classic almost overnight, winning accolades such as 'Best Alternative Album' at the Iceland Music Awards, named 'Record of the Year' by Iceland's principal daily newspaper and recognised as one of the decade's 100 best albums by eMusic. Spira is produced by Skuli Sverrisson, who also contributes bass and guitar. His mind-melting resume includes musical direction for Laurie Anderson, recordings with Blonde Redhead and work with artists such as David Sylvian, Jon Hassell, Ryuichi Sakamoto, Bill Frisell and Arto Lindsay. Davio por Jonsson contributes piano and guitar to the record-much as he did during Olof's busiest touring schedule nearly fifteen years ago when the two of them toured the world for months on end. There is hardly a jazz musician in Iceland he hasn't played with but lately he is perhaps best known for his close collaboration with Ragnar Kjartansson, one of this century's most celebrated visual artists.

Following the release of their album, Soulwax return with ‘All Systems Are Lying / Run Free (Nite Versions)’. A reimagined evolution of their sound. Driven by deep basslines, hypnotic synths, and the duo’s signature sound, these Nite Versions transform the originals into electrifying, immersive soundscapes built for the nightclub.

DIN SYNC DUB is an exploration of communication through sound. Six tightly packed experimental dub tracks use bass-heavy vibrations to rattle both body and mind, pushing the limits of self-expression in the hope of fostering deeper human connection.

The drive for more efficient and precise communication tools—whether between man and machine or machine and machine—has been a foundational force in the evolution of technology. This duality, the way we interface with computers and the way we speak to one another, is at the heart of DIN SYNC DUB. For this album, N1_SOUND looks back to 1980, drawing inspiration from Roland’s Din Sync—a 40-year-old synchronization technology once used to link musical machines in perfect harmony. While connecting machines to produce precisely sequenced music is nothing new, it’s the tension between perfection and imperfection—the mistakes of both man and machine—that gives DIN SYNC DUB its voice, its emotional rawness.

The journey begins with “Horizontal Hang”, which crashes through the door with a relentless bassline and crystalline synths. “Such Love” introduces a throbbing, guitar-driven groove, while “Intuition Dub” channels the spirit of Jah Shaka, offering a rhythmic pulse that echoes dub’s deep roots. “Us All” provides a moment of introspection with its sparse, three-dimensional melodies, before “Joy” reintroduces chaos, creating a post-dubstep soundscape that dismantles everything in its path. The album closes with “Mauzy” , a hopeful yet fragmented conclusion, reflecting the ever-evolving nature of technology and connection.

By the mid-to-late 1980s, Din Sync was superseded by the more widely adopted MIDI, yet obsolescence is built into the nature of all technology. Just as our relationship with machines shifts and fades, so too does our understanding of how those changes shape us. Before we can grasp the impact, the world has already moved on.

DIN SYNC DUB, the first full-length LP from Spiritual World, pulses with energy, on the edge of malfunction—a manifestation of the tension between the digital and the organic, the past and the present.

“An extremely dynamic and creative release — Roadhouse combines acoustic and electronic music with a strong balance to invoke the complexity and confusion of a growing planet earth.” - Delroy Edwards, 2021

“‘Supernatural XS' is more bombastic (than its predacessor, ‘Aladdin Sales’). Imagine if French prog-dogs Heldon grew up on a diet of Hip Hop and high fructose corn syrup, or a mid-point between early Blues Control and Foodman's blissful mutations of Footwork. This Southern Indiana self-identified producer shows no particular allegiance to any lineage and evokes a couple they potentially aren't even privy to. Like Footwork, this music feels new and unique without outwardly attempting to break new ground, or inheriting any technological innovation. While I’m stoked on new music every single goddamn day, Roadhouse makes me particularly excited for the future of creativity, even if the odds are against it. Contemporary "Fusion" at it's best!. Very, very recommended!” - Repressed Records

Joaquin Joe Claussell Presents the Second Installment of His Acclaimed Alias: BlackSalsoul

Brooklyn, New York City — Renowned producer, DJ, and spiritual music visionary Joaquin Joe Claussell returns with the second chapter of his celebrated alias, BlackSalsoul. Continuing his lifelong exploration of deep, soulful soundscapes, this latest release focuses on edits and reinterpretations across Spiritual Jazz, Soulful Disco, and African Dance traditions.

Following the success of the debut 7” (Cat# UEDNEXT.1), which sold out within weeks and remains a one-time pressing despite overwhelming demand, the BlackSalsoul series reaffirms its commitment to exclusivity. Each edition will be available strictly on limited 7” and 12” vinyl—a tribute to the physicality and ritual of true record culture.

Blending the warmth of analog production with Claussell’s signature spiritual energy, this release bridges eras and continents, honoring the roots of soulful expression while speaking directly to today’s dance floors.

For fans of Fusion Jazz, Soulful Disco, and Afro-inspired Edits, the new BlackSalsoul record offers another essential journey through rhythm, emotion, and transcendence.

Planet Beyond – Selected Cuts Volume 1 marks the first release on Ruiger Records, presenting the distinctive world of ES — a Dutch producer, multi-instrumentalist, and visual artist whose work flows effortlessly between live performance and studio creation.

Selected from an ever-growing archive built over the years, the music emerges from a deep vault of unreleased recordings spanning a wide range of moods and ideas. This collection offers a deeper look into a vivid creative universe of sound and feeling — a story that unfolds through rhythm, tone, and emotion. Each track adds a new shade to the journey, like a jigsaw falling into place, revealing new dimensions with every turn.

The music moves through eras and atmospheres — carrying echoes of ’90s electronic music and shaped by the spirit of ’70s jazz & funk. It’s expressive, natural, and percussive, full of motion and detail, where live playing, studio craft, and imagination merge into one seamless flow. The sound drifts from deep, funky electronic grooves to spacious, cinematic, and cosmic landscapes — music that invites you deeper with every listen. It sounds both new and familiar — as if rediscovering something ageless, still unfolding.

Stormzone were formed in Northern Ireland in 2004 as a heavy metal band. In 2007 They released “Caught in the Act” on the Escape Music label, and it was met with critical acclaim. They have since released another 3 albums on different labels, all of which have firmly put them on the map. In more recent years the band have taken a heavier direction and attracting fans of the NWOBHM genre. Stormzone have played at many festivals including Sweden rock, Firefest and Wacken open air to name but a few, as well as playing many shows. They have also played as support to many big names, such as Saxon, Y & T, Stryper, Tesla and White Lion. They have always had a loyal following which continues to grow. Their debut “Caught in the Act” featured artwork by the Rodney Matthews art studio, who have worked with album covers by YES, Bob Catley, Magnum and many others. The distinctive style of art is a firm favourite with many, and it is with great pleasure that we announce that “Immortal Beloved” shall also enjoy such outstanding artwork. This latest Stormzone chapter boasts 13 tracks of classic heavy metal, and it will be a much anticipated release to start the new year..

GO-BIN TONY COOK PRODUCTIONS featuring some of his rarest releases with:MARLON JACKSON You Wanna Jam You Wanna Party (Dance Mix), (Power Radio Dub Mix) BONUS : My Girl TONY COOK - I Ain't Going Nowhere (Club Mix), (Radio Mix), (Unreleased Mix)

Mit ,A Constant Charade" nimmt der Künstler und Produzent Elujay aus Oakland die Maske von seinem facettenreichen, genreübergreifenden Schaffen ab. ,Einer der talentiertesten Singer-Songwriter der Bay Area" (Hypebeast) gibt sein Solo-Debüt beim kunstorientierten Indie-Label drink sum wtr mit einer risikofreudigen LP, die auf fast ein Jahrzehnt einzigartiger Arbeit in der zeitgenössischen Pop-Landschaft folgt. Er sieht seinen Stil als eine Fusion unerwarteter Einflüsse: R&B gemischt mit Rhythmen aus Yacht Rock, Sophisti-Pop, Dancehall, Al Jeel, Lovers Rock und den Klängen seiner trinidadischen Wurzeln. ,A Constant Charade" ist eine dynamische Sammlung, die von Verletzlichkeit und Ehrgeiz geprägt ist. Die Themen berühren soziale Signale, Verhaltensmuster und die Art und Weise, wie wir uns anderen gegenüber verhalten, ,einfach beobachten, wie ich mich fühle, wenn ich unter Menschen bin", sagt er. "Ob ich nun den Code wechsle oder mich anders verhalte ... wir alle tun das, es ist eine Farce." Mit seinem charakteristischen Gesang und den bisher stärksten Arrangements, zusammen mit einer Reihe von Mitwirkenden und Co-Produzenten, durchbricht Elujay die Spielchen, um echt zu sein. Aufgenommen an verschiedenen Orten über einen Zeitraum von drei Jahren, krönt "A Constant Charade" ein bahnbrechendes Jahr 2025, das mit der zweiten Folge von GEMS IN THE CORNERSTORE von JEMS! begann, seinem von dsw unter Vertrag genommenen Projekt mit J. Robb. Wie GEMS lehnt sich das neue Album stärker an den Einflüssen karibischer Musik und Leftfield-Elektronik an, von Dance bis Ambient und einem Dutzend Stilrichtungen dazwischen. ,Ich denke, es ist wichtig, einfach zu erkennen, dass diese Leute, mit denen man zusammenarbeitet, den neuen Sounds, die man entdeckt, eine gewisse Glaubwürdigkeit verleihen", sagt Elujay. Er schreibt einen Großteil der nostalgischen Qualität von "A Constant Charade" Nicholas Creus zu: ,Er ist Jazzgitarrist und ein großer Fan von The Police und Yacht Rock, er ist einfach überall auf diesem Album zu finden." Ebenso wie den langjährigen Mitstreitern Martin Rodrigues, Jaden Wiggins und Ben Yasemsky, die Elujay seit seiner Kindheit kennt. ,Benji ist einfach ein stiller Killer, ein großartiger Gitarrist, Produzent und Finisher, der immer in letzter Minute alles aufräumt." Wenn es um die Zusammenarbeit mit anderen geht, ,habe ich kein Ego, es geht nur darum, dass die beste Idee gewinnt. Letztendlich geht es um die Menschen, wir wollen einfach nur die bestmögliche Musik machen."

Celebrate the 35th anniversary of Squeeze’ sole Reprise album from 1991 with the first US pressing. With only four official members instead of five, this expanded album will include 4 non-album singles tracks. On Black Vinyl.

First Word Records are proud to bring you 'Penny Ballads', a 5-track EP from Royce Wood Junior. Royce Wood Junior is a Grammy & Mercury Award-nominated musician, songwriter and record producer from London, currently based in Brighton. As a multi-instrumentalist, he's collaborated with a litany of brilliant artists over the years, such as Jamie Woon, Nao, Disclosure, Jessie Ware, Olivia Dean, Joy Crookes, Jamie Lidell and Jordan Rakei, additionally to touring with the likes of the legendary Thomas Dolby. He's released two acclaimed solo albums to date ('The Ashen Tang' in 2015, and 'No Two Blue Ticks' in 2021). 'Penny Ballads' demonstrates RWJ's varied talents, with a collection of alternative soul compositions, each one as unique as the next. It includes the first two singles, the Poplife-Prince era flavoured 'Go Get Your Money', and the double-time future funk adrenaline shot, 'Clean Up', along with three previously-unreleased tracks. 'Beretta' is low-slung soul funk, beginning with quirky squelchy synths, before the soulful lead vocal of feature artist Lucey Way breezes in to melt everyone's hearts. 'Things' sweeps in next, an infectiously soulful midtempo heavy soul bop, with an instant earwork of a hook, like a modern-day Steely Dan / Doobie Brothers, complete with a head-nodding string section to end the track. The collection concludes on a more melancholy downtempo tip with 'Rolling'; an almost-folktronic anthem, with a key refrain that wouldn't be out of place on a 70's Stevie piece. RWJ (aka Jim Wood) says of this project… "Back in the 17 and 1800's Troubadours and minstrels would go from Tavern to Tavern selling Penny Ballads, single sheets of music and lyrics written quickly and frivolously to make a quick buck.. It strikes me that we're in a similar phase in the way we value music in 2025. An old Penny Ballad was cheap and dog-eared, ink-smudged, sung aloud by firelight, Now songs live in the digital ether, dissolved in the air, a ghostly breath paid in micro cents. The new era of Penny Balladry is here, and weird. This EP is a snapshot of my writing over a two year period. Focussed on minimal recording styles, one mic on the drums, generally first or second takes on parts and vocals, I wanted the music to feel like small moments with lyrics that talk about the weird nuances of being alive as a latter stage human on the cusp of the Ai revolution. Culturally so evolved, but physiologically still just a bunch of mammals walking about with primitive fears and needs. Just trying to reconcile it all moment to moment…" Previous support for Royce's music has included Radio 1's Future Sounds, BBC 6 Music's New Music Fix, Annie Mac, Clara Amfo, Jo Whiley (BBC Radio 2), Mary Anne Hobbs, Jamz Supernova, Tom Robinson, Huw Stephens (BBC 6 Music), Zane Lowe and MistaJam. There have been sessions previously for the likes of Red Bull and press from Huck, Line of Best Fit, Clash, Aesthetica & DIY magazine. Entirely self-written and self-produced, this EP gives a solid taste of RWJ's talents. A deeply funky diverse set of music from an immensely talented individual. 'Penny Ballads' is due to be released on vinyl & digital, 24th October 2025. The vinyl version also includes an exclusive additional mix of the first single 'Go Get Your Money'. TRACKLIST: 01: Clean Up (EP Mix) 02: Go Get Your Money 03: Beretta (feat. Lucey Way) 04: Things 05: Rolling 06: Go Get Your Money (B-Sharp Mix) Deconstructed Mixes

Japanese black metal legends Sigh formed in 1989/1990. The genre-classic debut ‘Scorn Defeat’ followed on Euronymous’ Deathlike Silence Productions in 1993 & with each subsequent release, Sigh grew to become one of the country’s greatest & most revered metal exports. With a journey through the strange & the psychedelic, incorporating a whole eclectic mix of genre styles & experimentation throughout their career, Sigh has remained a vital creative force in the avantgarde field whilst maintaining their old school roots, as witnessed with the stellar 2022 album, ‘Shiki’. 2025 also saw Sigh reimagining their ‘Hangman’s Hymn’ album for a release on Peaceville as part of the band’s 35th anniversary celebrations, in the shape of ‘I Saw The World’s End: Hangman’s Hymn MMXXV’.

Maintaining the core trio of Mirai Kawashima, Shinichi Ishikawa & Satoshi Fujinami & on the back of the epic & darkly symphonic opus ‘Infidel Art’ (1995), Sigh adopted a more boundary-defying approach to their writing, whilst still keeping the dark foundations & traits of the band’s fundamental sound. The result was ‘Ghastly Funeral Theatre’ which surfaced in 1997 & draped in Eastern & horror-based atmospherics, the band also embraced elements outside of metal with what was their most experimental offering to date; utilising instruments such as the saxophone as well as acoustic passages & notoriously drawing comparisons to the moods of bands such as The Beatles at times, featuring catchy hooks & structures in line with the rock music genre, but masterfully woven into Sigh’s unique blackened metal tapestry.

Continuing with Peaceville’s re-issues of Sigh’s classic early ( & until now, hard to find) works, this edition of ‘Ghastly Funeral Theatre’ contains a new master created by Patrick Engel at Temple of Disharmony, featuring a new transfer from the original DAT source.

The release also includes a new interview with main-man Mirai Kawashima conducted by Dayal Patterson of Cult Never Dies, delving into the history & inspirations behind ‘Ghastly Funeral Theatre’.

This edition of ‘Ghastly Funeral Theatre’ is presented on black vinyl.

Japanese black metal legends Sigh formed in 1989/1990. The genre-classic debut ‘Scorn Defeat’ followed on Euronymous’ Deathlike Silence Productions in 1993 & with each subsequent release, Sigh grew to become one of the country’s greatest & most revered metal exports. With a journey through the strange & the psychedelic, incorporating a whole eclectic mix of genre styles & experimentation throughout their career, Sigh has remained a vital creative force in the avantgarde field whilst maintaining their old school roots, as witnessed with the stellar 2022 album, ‘Shiki’. 2025 also saw Sigh reimagining their ‘Hangman’s Hymn’ album for a release on Peaceville as part of the band’s 35th anniversary celebrations, in the shape of ‘I Saw The World’s End: Hangman’s Hymn MMXXV’.

Maintaining the core trio of Mirai Kawashima, Shinichi Ishikawa & Satoshi Fujinami & on the back of the epic & darkly symphonic opus ‘Infidel Art’ (1995), Sigh adopted a more boundary-defying approach to their writing, whilst still keeping the dark foundations & traits of the band’s fundamental sound. The result was ‘Ghastly Funeral Theatre’ which surfaced in 1997 & draped in Eastern & horror-based atmospherics, the band also embraced elements outside of metal with what was their most experimental offering to date; utilising instruments such as the saxophone as well as acoustic passages & notoriously drawing comparisons to the moods of bands such as The Beatles at times, featuring catchy hooks & structures in line with the rock music genre, but masterfully woven into Sigh’s unique blackened metal tapestry.

Continuing with Peaceville’s re-issues of Sigh’s classic early ( & until now, hard to find) works, this edition of ‘Ghastly Funeral Theatre’ contains a new master created by Patrick Engel at Temple of Disharmony, featuring a new transfer from the original DAT source.

The release also includes a new interview with main-man Mirai Kawashima conducted by Dayal Patterson of Cult Never Dies, delving into the history & inspirations behind ‘Ghastly Funeral Theatre’.

This edition of ‘Ghastly Funeral Theatre’ is presented on black vinyl.

Brooklyn-born David Forman was steeped in soul music and Brill Building songcraft in the early 1970s while earning his living as a Hollywood set builder. He developed a soul singing style through his friendship with Aaron Neville, with whom he used to sing and jam on his apartment rooftop. He met Jack Nitzsche through his work on the 1972 film Greaser’s Palace (for which Nitzsche created the soundtrack) and later asked Nitzsche to produce this album. Forman’s original record deal with Davis was shepherded by the critic Stephen Holden of Rolling Stone and later the New York Times, and later by Paul Nelson, also of Rolling Stone.Fun fact about Forman: He was an assistant to Phillip Petit on his daring tight rope walk between the twin towers in 1974. And Forman later became a jingle writer and wrote and sang the famous Tums theme song (“Tum tum-tum-tum, TUUUUMS."This release features remastered audio, a plethora of archival photos, and a 24-page booklet with a 5500-word essay from noted journalist and producer Joe Hagan, a staff writer at Vanity Fair and producer of the 2022 compilation 'Earl's Closet' for Light In The Attic. Hagan is also fully committed to promoting the release through his network of key media gatekeepers, as well as his personal connections with legendary musicians, writers, and other cultural tastemakers.

"Eau" is the lovely new album from aus, the solo project of Tokyo-born composer and producer Yasuhiko Fukuzono, who has gained attention, in Japan and overseas, for his thoughtfully paced and sensitively skillful music as well as his intriguing sound design for exhibitions and experimental cinema. Having worked primarily with keyboards and electronic sound up to this point, "Eau" is a slight yet fascinating shift for aus; the album, while still primarily an electronic work, revolves around the sonic world of a stringed acoustic sound source, the koto, that most characteristically Japanese of musical instruments. The very accomplished Eden Okuno provides the delicate-yet-rich koto sounds on offer here; Fukuzono, in the liner notes, acknowledges the importance of Okuno's artistry to the project.

The compositions on the album are designed to balance the sound of the koto, with its subtly variable attack and flickering resonance, with the timbre of other instruments. The delicate decay and metrical flexibility of the koto is enveloped by sustained synthesizer sounds and contrapuntally constructed piano melodies, creating a flowing ambience with absorbing undercurrents, a languid and liquid quality that reveals the suitability of the title.

Avid fans of contemporary Japanese music might hear the influence of pioneering works such as the the 1979 Hiroshi Yoshimura composition "Clouds for Alma", realized by koto player Tadao Sawai, and the 1993 album "Koto Vortex I: Works by Hiroshi Yoshimura" which featured performances of Yoshimura's works by the Japanese koto quartet Koto Vortex. These works attempted to remove the koto from its traditional context and place it within the context of ambient and techno. "Eau" is available on CD/LP/cassette/digital, with E/J liner notes by aus. "Eau" is the first collaborative release by EM Records and FLAU, the label run by Yasuhiko Fukuzono (aus).

Soul Visions is an instrumental journey into the world of Deheb, who, after several years of continuous sound research, continues to draw inspiration from jazz, soul, funk, and progressive rock records, first discovered through his father and then through his fellow collectors and DJs, including his partner DJ Marrrtin from Funky Bijou.
The Breton artist is renowned in the beatmaking world for his collaborations in New York in the mid-2000s (Moka Only, Sean Price, Torae, Tye Phoenix, Apani B, etc.) and for his album “LEAF”, released in 2015 with Swiss producer Chief. He is best known for producing classic Funky Breaks in the global breakdance scene with Marrrtin under the name Funky Bijou, whose tracks have been played at the world's biggest breakdance events since 2011 (Battle Of The Year, Red Bull BC One, etc.). All their tracks have been listened to more than 30 million times on various platforms and social networks.
A prolific artist who draws much of his inspiration from funk and jazz, he is based in Nantes and has collaborated with groups from the French Neo Soul scene, such as J-Silk from Bordeaux, Jo Wedin from Sweden, and Keysuna from Nantes. Close to the dance scene, he has also collaborated with dancer and choreographer Mackenzy Bergile, which led him to join the CCNRB's choreographic project “Earthbound” by choreographers Saïdo Lehlouh and Johanna Faye in 2023.
Deheb has also been composing for documentary projects since his first collaboration with director Shyaka Kagamé in 2015 for “Bounty”. In 2024 and 2025, he worked on two critically acclaimed projects: “Boulevard du village noir”, produced by Radio Television Suisse, and “IMIHIGO, le pacte rwandais”.
This year, 2025, he brings us “Soul Visions”, a journey through the cinematic sound of the early 1970s to the soul funk and jazz funk of the late 1970s, a pivotal period in his own musical identity that contributed to the funk sound of his guitars and the texture of his synthesizers and electric pianos.
Soul Visions is first and foremost a tribute to the artists and composers, the geniuses of that era, such as the Mizell brothers in “Larry and Fonce”, the Bell brothers in “Ron and Don”, and giants of the genre such as Isaac Hayes, Yuji Ohno, Roy Ayers, and Clarence Reid. All these masters of the genre had their own distinctive sound and arrangements, which were easily recognizable and which are among Deheb's major inspirations.

NEW VERSION ON WHITE VINYL! After turning heads with the relentless 2024 EP Råtner på rot, Jordsjuk are back with their full-length debut: Naglet til livet (translates to 'Nailed to life'). Across twelve tracks and 36 minutes, the band delivers a visceral strike of raw, uncompromising metal - free of gloss, gimmicks and nonsense. Naglet til livet is a kaleidoscope of destruction, decay, and ugliness, the band states. From the thrash-fueled chaos of "Grovt skadeverk" and the suffocating aggression of "Parasitt", to the punk-driven decay of "Rennestein" and the gloomy introspectiveness of "Svikter den neste", this is the sound of filth, concrete, ruin, and rage. Twelve tracks of in-your-face, riff-driven and organic metal. Jordsjuk consists of Renton (drums), Mannevond (vocals), Sagstad (guitars), and Larsen (bass) - seasoned musicians from the Norwegian underground. Their sound sits somewhere between black, death, thrash, punk, and rock, forging a sonic identity as raw as it is deliberate. The lyrics, written in Norwegian, dive into personal collapse, trauma, and apocalyptic despair, delivered with uncompromising honesty. Drums were recorded at PhatCat Studios (Rygge, Norway), with the rest captured at various locations in Oslo. Mixing was handled by Kurt Ballou (Converge) at God City Studios (Salem, MA), while Brad Boatright took care of mastering at Audiosiege Studio (Portland, OR). The result is exactly what it needs to be: dirty, sharp, and heavy. Jordsjuk is necro music for necro times, says the band, and after hearing Naglet til livet, it's hard to disagree. The band were booked to by:Larm festival and Midgardsblot in 2025, and it's on stage that their sonic violence truly takes over. For those who've seen them live, expectations are high. For everyone else - prepare to be run over.

"ROCKY AND THE SWEDEN continue to fight for their freedom of smoking weed not only by “burning spirits” approach but by “burning buds” with the same spirit. " - Maximum RockNRoll Tokyo Hardcore legends ROCKY & THE SWEDEN celebrate 30 years of weed-fueld Rock N' Roll with their return and new full-length, "Punks Pot Head! " Decades up in smoke, and the band show no signs of slowing down; ROCKY AND THE SWEDEN continue down their blazing path of fast, aggressive punk. Forever loyal to their green-motiff, tracks like the aptly titled "THC" and "Chain Smoke" burn with intensity; explosive drums detonate alongside scorching guitar leads. Short: Tokyo Hardcore legends ROCKY & THE SWEDEN celebrate 30 years of weed-fueled Rock N' Roll with their return and new full-length, "Punks Pot Head!" FFO: Lip Cream, Discharge, Bastard, Boris, Death Side, GBH

Introducing Luka Lickshot aka Luke Palmer aka the Wolverhampton Wolverine, prolific reggae DJ and genre warping producer of all things low end inclined.

In previous incarnations Luke has released hypnagogic house for labels such as Workshop and Third Ear, but with his debut LP release ‘Shots Fired’ he takes a sharp turn into the leftfield.

Sonically triangulating early 80s Manc post punk existentialism, 90s darkside trip hop and UK (On-U) sound system culture, the result is something like a more ruffneck Massive Attack jamming with Dome in the Black Ark.

‘Shots Fired’ was forged in an underground Peckham hideout, under strict parameters of time and space, fusing conventional instrumentation with digi know-how, improvised vocals, one take licks and dub fx. Pretty much impossible to pigeonhole the ten tracks but adjacent to / resonant with Giulio Erasmus, DJ Marcelle, Tricky, ‘Hex’….

Our director, Joe Stephenson, was looking for a bold, gothic, and dramatic score mixing traditional Hammer Films tropes with a modern sensibility.

Much like Jekyll and Hyde, this is a score of two parts, recorded with two different orchestras - the Budapest Art Orchestra and The Royal Scottish National Orchestra.
This helped to emphasise the split personality of the score: switching from sparse, haunting horror to the operatic gothic explosions we hear towards the end of the film.

A 30-person choir helped achieve a sense of scale where needed, and Hyde’s textural effects are performed on a variety of rare archaic instruments such as the Viola Da Gamba and Stroh Violin which help to evoke the sense of an ancient evil.

With a gorgeous smoky coloured vinyl, and Sean Longmore’s stunning bespoke artwork, this is a limited release that I’m eagerly awaiting to display on my own shelf.
The future of Hammer Films is bright, and I’m thrilled that fans can celebrate its rebirth with a score that honours the past while eagerly stepping into a new era." - Blair Mowat

With their bold blend of doom metal roots, atmospheric rock, and ethereal vocals, THE GATHERING were already reshaping heavy music in the mid-90s. But few recordings capture that electric live energy better than their iconic set at Dynamo Open Air , and now, for the very first time, this legendary moment finally arrives and it's everything fans could hope for. Expertly released by 7 Mater / Sevan Mater, this deluxe edition is limited to 500 copies each on Black and Purple vinyl, with a custom cover artwork designed by Sevan Mater that honors the spirit of the era while bringing new visual depth. It's not just a reissue - it's a resurrection. Recorded during a time when the band was ascending into cult status, the Dynamo performance showcases the perfect fusion of Anneke van Giersbergen's soaring vocals with the band's dynamic instrumental interplay. Songs like "Eleanor", and "Leaves" ring out with clarity and emotion, capturing both the power and subtlety that defined their live presence