Search:wo

A live recording of “Las Canciones”; a visceral celebration of the persistence of popular anonymous song based on the work of legendary socialist poet Federico García Lorca, a Granada born literary pioneer. Featuring songs from his 1931 collection of mysteriously beautiful flamenco tunes. A poetically rich collection created by Foster and Herrero for their acoustic band, formed while living in the Grenadine Sierra. “Foster’s vocals, met by husband Herrero’s frantic and raw gypsy-band orchestration, demonstrates the sense of urgency in the music’s message well and carries ‘Anda Jaleo’ to an elevated state.” The Line Of Best Fit... “The alt-folk fixture returns to more traditional material.” Pitchfork.

The 12" blue vinyl edition mastered from the original tapes does not include the three CD bonus tracks available on this disc.

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 remaking 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’.

With the ongoing early line-up of Mirai Kawashima, Shinichi Ishikawa, & Satoshi Fujinami, ‘Scenario IV: Dread Dreams’ was the band’s fourth studio album, originally surfacing in 1999. This was also notably the final title in partnership with Sigh’s then-label, Cacophonous Records. Delving evermore into the experimental side of music to conjure an interlinked gallery of twisted soundscapes; ‘Dread Dreams’ became more of a journey into the realm of psychedelia & rock over black metal, with this Zappa-inspired odyssey acting as somewhat of a direct pre-cursor to what was to follow with the celebrated ‘Imaginary Sonicscape’ opus.

‘Dread Dreams’ was once more recorded at Shinjuku On Air Studio with J. Yamada, with a selection of guests including Damian Montgomery of Ritual Carnage lending lyrics plus guest vocals, along with King Fowley (Deceased), & Killjoy (Necrophagia) supplying additional song lyrics. Cover art came courtesy of renowned artist Joe Petagno (Motörhead, Autopsy).

Continuing with Peaceville’s re-issues of Sigh’s classic works, this edition of ‘Dread Dreams’ contains a new master created by Patrick Engel at Temple of Disharmony.

The release also includes a new interview with main-man Mirai Kawashima conducted by Dayal Patterson of Cult Never Dies, with his thoughts, influences & reflections on the album & its challenges.

Relocate follows their debut album Hereby (2022), which critics announced as being one of the best guitar led trio recordings to have emerged in recent years. The first thing that strikes one about the music presented here is the intense beauty and sound of Andres Thor's guitar; lush throughout, from the introspective 'Is It Me, Is It You', to more dense tunes such as 'Tuesday Morning Coffee'. And oh, that pedal steel doubling with the electric guitar on 'Grace On High' is so mesmerising. Engineer Gestur Sveinsson deserves a feather in his cap for the excellent recording quality: warm, direct, homogeneous, with subtle use of reverb and a fantastic approach to the stereo placement of the instruments, making the music wonderfully transparent. These musicians have nothing to prove; they simply add their maturity and individual voice to the diverse tunes composed by Andres.

Having recorded with UFO, Babe Ruth, Cozy Powell's Hammer, Paice Ashton Lord and on countless chart hits for RAK Records as Mickey Most's studio session guitarist, Bernie was a founding member of Whitesnake. in just four years, Whitesnake became firmly established as one of the very biggest British rock bands, racking up multiple chart singles and albums.After leaving Whitesnake in 1982, Bernie Marsden was almost constantly writing, recording or touring. Although a revered guitarist of exquisite touch, which mercifully is preserved for us to enjoy on hundreds of studio recordings, it was on stage where his charisma and wit was best enjoyed.

Mexican producer/musician MONSIEUR VAN PRATT returns to our TSTD shores with his second two track Edit trip into the world of Mexican obscure, super rare Coverversions.
His first 7 Inch (with an amazing Edit of a Cover of Bobby Caldwell's "What You Won't Do For Love") has been the most repressed and highest selling Issue in our long ongoing TSTD EDIT Vinyl series.
For the upcoming 7 inch he delivers two brandnew fun reworks:

Side A is a slow disco edit of a super rare Mexican late 70s cover version of Bill Withers' classic love song "Just The Two Of Us".
Side B is a midtempo Rework of a Mexican cover of "Upside Down" by Diana Ross w/ Nile Rogers

There is a kinetic energy that binds drummer and producer Karriem Riggins and singer-songwriter, rapper, and producer Liv.e, the spark that happens when instinct meets flow and spirit finds rhythm.

Their collaborative debut as GENA (short for “God Energy, Naturally Amazing,” and loosely inspired by Gina from Martin), The Pleasure Is Yours feels like a playful, soulful conversation between two kindred improvisers: Liv.e’s smoky, unpolished vocals glide through Riggins’ warm, percussive universe. Rooted in jazz, soul, and hip-hop, Liv.e brings a raw, experimental approach to R&B, while Riggins known for his work with Common, Erykah Badu, The Roots, Madlib, and his close kinship with J Dilla, extends his lifelong dialogue between jazz improvisation and beat science.

Together they create a world that’s analog and ethereal, percussive and poetic, bridging eras without settling in one, the sound of two artists finding a new shared language rooted in rhythm, vulnerability, and exuberance.

Pressed on 180g vinyl, the album comes in an embossed sleeve and is avaible in red and black splatter.

Hatchback is the alias of Samuel Milton Grawe. Sam creates music that sings of the Cosmos, full of deep resonant tones, glistening arpeggios, lush pads and harmonic motifs. ‘Phaser For The Ocean, Chorus For The Moon’ is his magnum opus, a sprawling masterwork that encompasses ambient, new age and environmental music to wondrous effect. Soaked in Californian consciousness, the album is a balm like no other for these troubled times.

When I first was getting into the creative side of music making in my teens, I was heavily influenced by concept albums like ‘Quadrophenia’ and ‘The Lamb Lies Down on Broadway’, as well as epic pieces that took up an entire side of a record: Pink Floyd’s ‘Echoes’, Yes’ ‘Close To The Edge’, Klaus Schulze’s ‘Nowhere Now Here’, Miles Davis' ‘Shhh/Peaceful’ and ‘He Loved Him Madly’. In the extreme, these ideas coalesced in double albums where each side of each record is occupied by a single title - Yes’ ‘Tales From Topographic Oceans’, and Tangerine Dream’s ‘Zeit’ being primary examples. When I returned to making music after moving back to Northern California in 2020, the first piece I recorded landed around the 20-minute mark, and the idea of creating three other long pieces to realize a full album felt like a natural - if indulgent - goal. From there, each new piece followed sequentially. Four songs. My fourth album. - Sam Grawe

‘Phaser For The Ocean Chorus For The Moon’ is a pure expression, informed by a lifetime of deep listening unbound by algorithms or AI.
These are songs for the sunrise and the sunset - and every colour in between.

a 01. And The Walls Became The World All Around [18:53]
[b] 02. Phaser For The Ocean, Chorus For The Moon [21:48]
[c] 03. Other Desert Cities [20:19]
[d] 04. Friendship Fountain [18.33]

Coming in hazy and heady, an end-of-summer cosmic jammer from Nick Mitchell Maiato, full of big choruses, blazing guitars, country honk, and deep grooves—replete with funky horn section. It’s been four years since Poolside, the last release by One Eleven Heavy (Mitchell Maiato’s sometimes-band with James “Wooden Wand” Toth), and that time has clearly been used for some serious woodshedding on the auteur’s part. On Náquera, named after the Spanish pueblo in which he resides, Mitchell Maiato’s songwriting, vocals, and guitar playing all come into sharp focus as he mans the wheel on an ocean drive of interwoven electric guitar dueling, funky multi-movement jams, bittersweet odes to uncomplicatedness, and rolling rockers. Featuring an effortlessly graceful preface by Macon, GA piano prodigy Gavin Rushing, “Riki Rachtman” is a cosmic americana ballad examining the state of heavy metal in contemporary pop culture from the perspective of a disgruntled first-person narrator. “Critical Mass” is a soaring, two-chord ode to dropping out, with an opening organ salvo by Grateful Dead midi-tech Bob Bralove, a monster, key-changing guitar duel at its core, and a fat, snaking bass groove by Otto Wilberg (Mitchell Maiato’s former colleague in Desmadrados Soldados De Ventura).“Flamebait” is one of the record’s big surprises with its almost Lennon-esque rock-and soul slab of technocracy bashing, its woozy, three-part horn section, and its improvised, sun-scorched guitar solo slap-dab in the middle.And, on “The Angle,” we get an homage to rock-and-roll pool hustler narratives framed within an expansive country-funk jam that nods to Mitchell-Maiato’s love of Parliament and Grateful Dead in equal measure.

a1 One Vision 5:50
a2 Tie Your Mother Down 3:52
a3 In the Lap of the Gods...Revisited 2:43
a4 Seven Seas Of Rhye 1:18
a5 Tear It Up 2:12
a6 A Kind Of Magic 8:41
b1 Under Pressure 3:41
b2 Another One Bites The Dust 4:53
b3 Who Wants to Live Forever 5:16
c1 I Want To Break Free 3:34
c2 Impromptu 2:57
c3 Brighton Rock Solo 9:11
c4 Now I'm Here 6:20
d1 Love of My Life 4:49
d2 Is This the World We Created? 2:58
d3 (You're So Square) Baby I Don't Care 1:36
d4 Hello Mary Lou (Goodbye Heart) 1:51
d5 Tutti Frutti 3:24
e1 Gimme Some Lovin' 0:55
e2 Bohemian Rhapsody 5:51
e3 Hammer to Fall 6:04
e4 Crazy Little Thing Called Love 5:59
f1 Big Spender 1:06
f2 Radio Ga Ga 5:57
f3 We Will Rock You 2:48
f4 Friends Will Be Friends 2:06
f5 We Are The Champions 4:01
f6 God Save the Queen 1:32

¡Hola amigos! ¡Dieciséis guarniciones de chile picante, peyote loco y tequila helado! ¡Hermoso!
If there's one thing I'm good at it's finding records. It doesn't matter where in the world I am, I find records, the best records, the rarest records. And always in Mint condition. I have a knack for it. One place I like to hunt for records is South of the Border, in Mexico. You can find great records there, way out in those pequeños pueblos del desierto. Another great thing you can find is cactus.
Mexico is famous for cactus. You got your Ariocarpus, your Turbinicarpus, your Mammillaria. You got cactus of all kinds, big and small. Little ones like Eplithelantha, psychedelic ones like the peyote Lophophora, and rare ones like Aztekium. But my favourite is Mammillaria humboldtii. Now this one is very hard to find. The villagers over in Hidalgo know where it is, and they go high up in the mountains to look for it.

Now these guys, they take their time. But when they come down from those mountains, they bring back the most beautiful specimens. I really mean it, they're beautiful. They're like clumps of fluffy white golf balls, and they have these cute little pink flowers. Beautiful I tell ya. I pay precio alto for a good specimen of Mammillaria humboldtii.

Re- Release in Transparent Blue Curacao Vinyl

With governments finally admitting that UFOs do in fact exist, and humanity attempting to heal from a state of recent crisis, the timing couldn’t be more appropriate for the newest addition to the HYPOCRISY catalog: WORSHIP, due to be released Fall 2021 via Nuclear Blast Records. Aptly titled, the album cover shows a mass of humans reaching up mindlessly to the sky as glowing spaceships shaped like the HYPOCRISY crosses sigil beam down to descend upon earthen civilizations and Mayan temples. Designed by artist Blake Armstrong (Kataklysm, In Flames, Carnifex, etc.), WORSHIP’s artwork speaks to the history of the relationship between humanity and extraterrestrials. “They’re coming back to collect,” explains founder and HYPOCRISY mastermind Peter Tägtgren.
A track entitled CHEMICAL WHORE breaches the subject of pharmaceutical addiction, and those who engineer it. “We are all chemical whores. We regularly consume prescriptions and drugs because we think we need it; we use one pill to heal the damage done by another medicine... it’s a vicious cycle.” Musically, it’s the only song that was written by all 3 core members of the band and translates into a recognizable, mid-tempo HYPOCRISY sound much like ERASER or FRACTURED MILLENIUM. Traveling from Sweden to Russia, the band also shot an official music video for CHEMICAL WHORE.
The DEAD WORLD music was written by Peter Tägtgren’s son, Sebastian. “We actually started to write an album together, something like 11 or 12 songs, but we never put any vocals in there and we just sort of set it aside. Then when I started writing HYPOCRISY I realized I really liked the song… it feels fresh. I think my kid got some new blood in there.” While the song comes equipped with a modern feel, the writing is still old fashioned at its core. Going into detail about the illuminati and black ops government, the lyrics examine how miserable these figureheads and theories can make us. “Call it fantasy, call it sci-fi, there are plenty of conspiracies in the world but I find these ones interesting,” explains Tägtgren.
GREEDY BASTARDS is another track outlined by simplicity and catchiness. Chugging riffs encapsulate a sound that almost verges on the realms of thrash while still keeping its feet firmly planted in the world of death metal. The lyrics touch on the greed and methods of control that we see various governments around the world today; how they manipulate people against one another and abuse the masses.
For Tägtgren, the inspiration to write new HYPOCRISY comes in waves. “I believe we were out on tour for another project and I began to get hungry again. I started spitting out some new riffs and when I had 7-8 songs done, I invited the rest of the guys to join me and contribute, and from there we started putting everything together. We had a break for a few months, continued recording, went back on tour… it never stops. There was a lot of jumping back and forth, and then COVID came and things got really weird.”
Tägtgren was one of the many musically inclined who was forced into sudden isolation upon the onset of COVID 19, only for Tägtgren, this is common practice when creating new songs. “A lot of things in the world stopped, and it was time to finish everything I hadn’t finished.” As usual, all recording and mixing took place at Tägtgren’s home studio in Sweden.
It has been 8 long years since the last record, and HYPOCRISY fans can feel the itch. WORSHIP is 11 tracks of precise, ferocious musicianship. Commonly inspired by the fusion of the modern and the ancient, HYPOCRISY has once more found a way to combine innovative ideas with classic sound in order to deliver something metalheads can enjoyably consume with awe and brutal vigor. HYPOCRISY is Peter Tägtgren (Lead Guitar & Vocals), Mikael Hedlund (Bass Guitar), and Reidar “Horgh” Horghagen (Drums).

The Steel Woods - The Lexington Tapes (Live) This was never meant to be a record. This is exactly how the band sounded in 2017. We found the recording digging through old files and brought it back to life. Recorded live in Lexington, KY, The Lexington Tapes captures The Steel Woods raw, loud and locked in. Jason “Rowdy” Cope is at the center of it. This is the band at full force.

Black Marble erwachte im Herbst 2012 zum Leben, inspiriert vom Synthwave-Revival der frühen 2000er Jahre in New York City. Heute, vierzehn Jahre später und sieben Veröffentlichungen weiter, macht Chris Stewart weiterhin Platten, während er über Maschinen gebeugt sitzt, die sich beim Einschalten warm anfühlen und die man überreden muss, um in der Stimmung zu bleiben. Seine Alben, die ausschließlich von Stewart geschrieben, aufgenommen und veröffentlicht werden, bleiben einzigartige Visionen, mit Songs, die versuchen, ein diffuses Pastiche zu vermitteln, das nun von dem Wunsch geprägt ist, das Ganze in eine Botschaft zu hüllen, die davon erzählt, wo er gewesen ist und wohin er gehen will. In seiner neuesten Vision, ,Life in Small Spaces", kommentiert Stewart die Musikindustrie und seine Rolle darin und reflektiert darüber, wie sich Underground-Musik im Laufe der Zeit verändert hat und wie ein Leitbild, die Dinge einfach zu halten und sich selbst treu zu bleiben, das einzige Ideal für das Leben in dieser komplizierten Landschaft ist. Stewarts Wunsch, die Zeit mit intakten Idealen zu überbrücken, zeigt sich im Songwriting, das die Pop-Sensibilität des Projekts beibehält und gleichzeitig neue Tricks in den Hut zaubert. ,Life in Small Spaces" tauscht Synth-Wände gegen mehr Gitarre ein und greift dabei auf frühe amerikanische College-Radio-Staccato-Gitarrenlinien zurück, die an Pylon, The Necessaries und R Stevie Moore erinnern, sowie auf Live-Drum-Samples - eine Anspielung auf den einfachen, metronomartigen Stil von Wire. Stewart erklärt den Grund für die Veränderung als einen Weg, ,diese glockige, hypnotische Qualität zu erzeugen. Wie ein Radio-Drehknopf, der zwischen zwei Sendern steht." Visuell zeigt ,Life in Small Spaces" Stewart allein auf dem Cover in einem kargen Raum, umgeben von einer Explosion aus Konfetti - ein Bild, das eine in sich geschlossene Welt widerspiegelt, die zwar klein, trostlos und überladen wirken mag, aber ganz und gar seine eigene ist. Ein passender Rahmen für ein Album, das Begrenzung als eine Form der Klarheit begreift und die Geschichte davon erzählt, sich für ein einfaches Leben zu entscheiden, Stabilität und Komfort aufzugeben zugunsten einer Existenz voller mutiger und fesselnder Verbindungen. Dies spiegelt zudem Black Marbles Vertrauen nicht nur in seine Kunst wider, sondern auch in die Gemeinschaft, die sich im Laufe der Jahre um das Projekt herum entwickelt hat. ,Life in Small Spaces ist das, worüber ich als Künstler sprechen möchte. Es ist genau dort, wo ich mich in diesem Moment befinde, und ich weiß, dass ich mit meinen Gefühlen nicht allein bin." Dieses Gefühl ist kein Vorbehalt. Es ist der springende Punkt. ,Life in Small Spaces", mit seiner introspektiven Lyrik, die geschickt in Black Marbles strahlender Musikalität verborgen ist, ist eine ernsthafte Analyse der Belastungen, die Künstler prägen. Es ist eine Einladung, einen minimalistischeren Lebensstil zugunsten kreativen Ausdrucks und Freiheit zu akzeptieren und bewusst zu wählen - und niemals deine Werte für die verlockende Illusion von Erfolg opfern zu müssen.

Black Marble erwachte im Herbst 2012 zum Leben, inspiriert vom Synthwave-Revival der frühen 2000er Jahre in New York City. Heute, vierzehn Jahre später und sieben Veröffentlichungen weiter, macht Chris Stewart weiterhin Platten, während er über Maschinen gebeugt sitzt, die sich beim Einschalten warm anfühlen und die man überreden muss, um in der Stimmung zu bleiben. Seine Alben, die ausschließlich von Stewart geschrieben, aufgenommen und veröffentlicht werden, bleiben einzigartige Visionen, mit Songs, die versuchen, ein diffuses Pastiche zu vermitteln, das nun von dem Wunsch geprägt ist, das Ganze in eine Botschaft zu hüllen, die davon erzählt, wo er gewesen ist und wohin er gehen will. In seiner neuesten Vision, ,Life in Small Spaces", kommentiert Stewart die Musikindustrie und seine Rolle darin und reflektiert darüber, wie sich Underground-Musik im Laufe der Zeit verändert hat und wie ein Leitbild, die Dinge einfach zu halten und sich selbst treu zu bleiben, das einzige Ideal für das Leben in dieser komplizierten Landschaft ist. Stewarts Wunsch, die Zeit mit intakten Idealen zu überbrücken, zeigt sich im Songwriting, das die Pop-Sensibilität des Projekts beibehält und gleichzeitig neue Tricks in den Hut zaubert. ,Life in Small Spaces" tauscht Synth-Wände gegen mehr Gitarre ein und greift dabei auf frühe amerikanische College-Radio-Staccato-Gitarrenlinien zurück, die an Pylon, The Necessaries und R Stevie Moore erinnern, sowie auf Live-Drum-Samples - eine Anspielung auf den einfachen, metronomartigen Stil von Wire. Stewart erklärt den Grund für die Veränderung als einen Weg, ,diese glockige, hypnotische Qualität zu erzeugen. Wie ein Radio-Drehknopf, der zwischen zwei Sendern steht." Visuell zeigt ,Life in Small Spaces" Stewart allein auf dem Cover in einem kargen Raum, umgeben von einer Explosion aus Konfetti - ein Bild, das eine in sich geschlossene Welt widerspiegelt, die zwar klein, trostlos und überladen wirken mag, aber ganz und gar seine eigene ist. Ein passender Rahmen für ein Album, das Begrenzung als eine Form der Klarheit begreift und die Geschichte davon erzählt, sich für ein einfaches Leben zu entscheiden, Stabilität und Komfort aufzugeben zugunsten einer Existenz voller mutiger und fesselnder Verbindungen. Dies spiegelt zudem Black Marbles Vertrauen nicht nur in seine Kunst wider, sondern auch in die Gemeinschaft, die sich im Laufe der Jahre um das Projekt herum entwickelt hat. ,Life in Small Spaces ist das, worüber ich als Künstler sprechen möchte. Es ist genau dort, wo ich mich in diesem Moment befinde, und ich weiß, dass ich mit meinen Gefühlen nicht allein bin." Dieses Gefühl ist kein Vorbehalt. Es ist der springende Punkt. ,Life in Small Spaces", mit seiner introspektiven Lyrik, die geschickt in Black Marbles strahlender Musikalität verborgen ist, ist eine ernsthafte Analyse der Belastungen, die Künstler prägen. Es ist eine Einladung, einen minimalistischeren Lebensstil zugunsten kreativen Ausdrucks und Freiheit zu akzeptieren und bewusst zu wählen - und niemals deine Werte für die verlockende Illusion von Erfolg opfern zu müssen.

2026 Repress

The latest album in the series of "Beats and Knowledge" from Marc Mac. This episode focusing on the thousands of Black soldiers who fought in the Second World War, their efforts and stories hidden and forgotten for a lifetime. Marc's style of soulful Hip Hop beats are woven through the dialogue setting the scene for this mixtape style long player. Part six in the series of albums and limited to 400 vinyl copies worldwide.

It’s no disrespect to the man to not believe, in part or in whole, every word that Ray Wylie Hubbard writes, sings, or speaks — and frankly, he’d probably respect you a little less if you did. As celebrated songwriters of the outlaw poet/down-home-country-blues persuasion go, Hubbard’s credibility is unimpeachable. And to be fair, even as a somewhat notorious raconteur, his overall truthiness is a lot more bankable than your average politician or fundamentalist grifter.

But fold your cards every time he goes all in across a table from you, or swallow as fact every nugget of wisdom he sharpens into verse or stretches into a yarn without catching the gleam in his eye or wry tell between the lines, and odds are you’ve been played. But honestly, that’s all just part of what makes Hubbard so damn fun. “You know, a lot of artists when they put out a record, they go, ‘This is the best record I’ve done up to this point,’” the Americana legend considers sagely after a pause when asked how to best sum up Reel 2 Reel 4 Real, his 20th album in a recording career stretching back to the mid-70s. “But I’m not going to say this is the best record I’ve done. I’ll say it’s the best record I’ve ever heard.” No matter how many awards and Hall of Fame inductions others might honor him with (he’s a member of both the Austin Music HOF and the Texas Heritage Songwriters HOF), Hubbard never swaggers or sings his own praises without keeping his tongue planted firmly in cheek.

But after brushing aside his bluff with a chuckle, Hubbard gets real. “I am very proud of it,” he answers sincerely. “Everybody that played on it put a lot of work into it, and it just felt right doing it. I’m very grateful.” Set for release August 21, 2026 (with the first taste, “Cassette Mix Tape,” dropping May 29, followed later this summer by a second single, “Dog or Wolf”), Reel 2 Reel 4 Real marks Hubbard’s return after a two-album major-label joyride on Nashville’s Big Machine Records. “They treated me great, and did everything they could,” he says, “but it was kind of limited because I’m an old guy. I’m no longer a country hunk, you know?”

Mit seinem eindringlichen, klagenden Gesang und seiner in Moll gestimmten Gitarre klingt kein anderer
Bluesmusiker so wie Skip James. Dies kommt auf seinem 1968 bei Vanguard Records erschienenen Soloalbum „Devil Got My Woman“ perfekt zum Ausdruck. Die Blues Foundation lobt den Titelsong als „den
Inbegriff eines Skip-James-Songs“. Das Album, das in Zusammenarbeit mit Acoustic Sounds veröffentlicht
wurde, wurde von Matthew Lutthans bei The Mastering Lab anhand der Originalbänder (AAA) remastered
und auf 180-Gramm-Vinyl gepresst. Ein Tip-on-Hülle rundet das Paket ab.

Completes the vinyl collection of Los Mockers, alongside the reissue of their original 1966 LP, this two handful of tracks, previously unreleased or out of print, traces the journey of five teenagers who, clinging to rock & roll, became legends. Blending the raw energy of 1960s rock & roll with rhythm & blues roots and later-day musical maturity, Los Mockers left a lasting mark on the Río de la Plata scene f rom their explosive beginnings to their 21st-century comeback. REWIND brings together rare recordings spanning nearly sixty years: from mid-1960s demos and singles to reunion sessions recorded between 2006 and 2012, i ncluding deleted material and an unreleased live track. Side A captures the band's early fire, opening with a 1965 demo of "I Just Want to Make Love to You," recorded under their original name, Los Encadenados, at Radio Ariel in Montevideo. It also includes their first original singles, "I Wanna Go" and "My Baby," plus the unreleased "Girl You Won't Succeed" and a fast, distinctly Uruguayan take on "Paint It Black." Side B focuses on the reunion era recordings made in Valencia, Spain, where the band revisited their legacy with renewed strength and craftsmanship. Tracks like " Need Some Time," "40 Years Ago," and "The Chain" show a seasoned group still driven by authentic rock & roll spirit, while "25 Watts" pays tribute to filmmaker Juan Pablo Rebella. The album closes with a powerful 2012 live version of "Tell Me Something New."

"Nido de Espinas" is the fourteenth studio album by Buitres. Uruguayan Punk Rock band formed in 1989, heirs to the legacy of the iconic Post Punk band "Los Estómagos" It began to be composed in 2022 and was recorded in early 2024. The texts are inspired by the Diary of a Desperate Heart, an arbitrary overflow of feelings written disorderedly with an improvised rein, which demanded exhaustive work from the band to reach maximum expression in each track. Artistic production was handled by Ale Vázquez (Spinetta, Intoxicados and more) and Sebastián Teysera (La Vela Puerca), who landed the runaway chariot set on fire. buitres formed in late 1989, following the dissolution of the group Los Estómagos, a band that sparked a new era of Uruguayan rock in 1983. José "Pepe" Rambao, a close friend since childhood, joined the Parodi-Peluffo duo. Buitres has toured extensively throughout the entire Uruguayan territory and has participated in massive international shows both in Uruguay and abroad. Additionally, they have completed six tours across Spain, where the album En la Vuelta (CD and DVD) was released. Their discography features 14 studio albums. They have released three live albums, two documentary DVDs, and three live DVDs. Three books have been published about the band. The band has received numerous acolytes and awards, but most importantly, after more than thirty years, they continue to maintain a close and emotional relationship with their audience - one that has endured throughout their history and grows over time. For this reason, the band dedicates their absolute best effort to every new work and every performance. "Nido de Espinas" is their new Studio album. These are wild and excessive times. Perhaps this statement applies to our life history just as it did to ordinary people in bygone eras. However, we assimilate the changes, adapt, and move forward. Nothing new under the sun. We grew up assuming static realities without trying to understand that they were newborn and would not last forever. The "forever" was declining into premature obsolescence. Every accessory is fleeting in the dizzying change of language.

A deluxe double LP reissue of a rare 1997 indie cult classic, expanded with bonus material and featuring the formative recordings of musicians who would later create The Essex Green and The Sixth Great Lake. Originally released in 1997, Jeffersonville is a hidden gem of late-'90s American indie rock, blending heartfelt songwriting, melodic guitars, and the raw charm of the DIY underground. Formed in Burlington, Vermont, Guppyboy served as an early creative home for musicians who would later go on to form The Sixth Great Lake and The Essex Green, making this album an important chapter in the story of American independent music. This deluxe double LP edition presents Jeffersonville in its most complete form to date, featuring previously unreleased and non-album tracks not included on the original release. Expanding on the original album while preserving its intimate, homespun spirit, this definitive edition shines a new light on a long-overlooked cult favorite. With its blend of indie rock, power pop, and timeless melodic songwriting, Jeffersonville offers strong appeal to fans of the Elephant 6 universe and the wider American indie underground, while providing lasting catalogue value for retailers and collectors alike.

How much love for The Thermals can you squeeze onto a 7"? Turns out: quite a lot. Two bands brought together by their shared love of The Thermals, each putting their own spin on "A Pillar of Salt." It goes without saying that Hutch Harris took care of the artwork, right? Released on the 20th anniversary of The Body, The Blood, The Machine, this split 7" is our little tribute to a record that still means the world to us. Here"s your future!

“Windborne” originally released in 2018 was the debut album from young Norwegian power-trio Kanaan. With components
from jazz, fusion and post-rock they have created six extended pieces of blazing freeform psychedelia. While the band is rooted in the same spirit that gave birth to Mahavishnu Orchestra and The Eleventh House in the 1970s, there's a distinctive modern flavour to Kanaan's sonic endeavors. Their Scandinavian genealogy is apparent as well - their intricate song structures seems to be branching off the same stem as Motorpsycho, Papir and Jaga Jazzist. And no doubt the young band has the chops to carry on the pedigree! Opening track ”A. Hausenbecken” feels like a sudden blast of refreshing nordic air, with it's rolling guitar leads and growling Fender Rhodes. But Kanaan aren't afraid to get deep and heavy – the B-side dives into straight-up Sabbath territory, with ”Act Upon The Mundane World” and ”The Groke”, before ending the album with the abstract, free-flowing title track ”Windborne”. From the first note to the last the band keeps high levels of energy and creativity, and although freeform, they never sacrifice focus or direction. Ask Vatn Strøm - guitars
Ingvald André Vassbø – drums Eskild Myrvoll – bass Rhodes on "A. Hausenbecken" by Vegard Lien Bjerkan.

This album remains a fan favorite for its intimate atmosphere, featuring Susan's trademark soulful and breathy vocals set against tasteful, uncluttered arrangements. The tracklist is a masterclass in light jazz and soft pop, featuring definitive covers of eleven classics such as "Close to You," "Stay Awhile," "Killing Me Softly With His Song," and "Love Will Keep Us Alive." Every performance is delivered with a natural, immersive presence that showcases her impeccable phrasing and emotional depth. An important release in Susan Wong's career, Close to You has been remastered and will be released on 180g One- step Pressing vinyl LP, MQA-CD and Stereo Hybrid SACD, with new liner notes.

Robag Wruhme is the solo alias of Gabor Schablitzki, a quietly singular voice in minimal and house music since the early 2000s. His sound is built on precision without ever feeling rigid. Instead of chasing big moments, he lets tracks unfold through subtle movement and carefully balanced tension, always evolving but never rushing.

That same approach runs through this EP. It's about letting momentum emerge naturally, allowing each element to settle into place while the energy continues to build.

Across four tracks, Robag creates a world where rhythm and atmosphere constantly shape one another. The arrangements are rich with detail, yet nothing competes for attention. Even in the densest passages, every sound feels deliberate.

OLAHNI opens patiently, with ghostly textures and hypnotic vocal fragments setting the tone before the bassline slowly comes into focus. The arrangement keeps evolving, with subtle details drifting in and out as the groove steadily deepens.
IFTHAH takes things into darker territory, driven by a heavy rolling bassline and a looping motif that never quite loosens its grip, adding weight without disrupting the flow.

On FUMAXOHN, the groove remains tight while the mood shifts. A warm harmonic layer gradually emerges as the vocals dissolve into texture, drawing the track towards something more melancholic.
PENTHO closes the EP in its most direct form. Stripped back and driving, it lands with quiet confidence, bringing the journey to a close while holding onto the hypnotic tension that defines the record.

It's been a pleasure bringing this EP together, and we're excited to finally share it with you. We hope these four tracks draw you into Robag's world as much as they have us.

Five new edits LUXXURY’s infamous series now on wax showcasing some of the LA-based producer’s most sought after cuts: “How Does it Feel?” reworks a classic Mancunian post-punk anthem, while “A Woman’s Man” reveals additional gold hidden under the hood of a well-tread disco classic. “Crystal Visions” and “They Don’t Love You” are new exclusives LUXXURY created to kick off his weekly radio show on Los Angeles station KCRW; while “I’m a Man” disco-fies the legendary 60s UK blue-eyed soul classic.

The Womack Sisters – Kucha, Zeimani und BG Womack – sangen schon, bevor sie laufen konnten. Ihr gleichnamiges Debütalbum „The Womack Sisters“ aus dem Jahr 2026 ist der musikalische Höhepunkt der langen und kurvenreichen Reise der drei Schwestern auf der Suche nach sich selbst. In einer Sammlung von Stücken voller intensiver Soul-Power, die an eine Zeit erinnert, als Popmusik noch Substanz, Atmosphäre und Sinn hatte, kommt jede ihrer unverwechselbaren Stimmen im Rampenlicht zur Geltung.
Die Schwestern wuchsen auf der Straße auf. Ihre Schulen waren Bühnen und Studios auf der ganzen Welt, wo sie hinter ihren Eltern, Zekkariyas & Zeriiya (ehemals Womack & Womack), zusammen mit ihren vier Geschwistern sangen. Nirgendwo waren sie lange zu Hause. Egal, wo sie lebten – London, Thailand, Amsterdam, Kenia, Paris, Sydney, Zürich, Wien, Tansania, New York, Miami, West Virginia, die Bahamas – sie waren immer von Musik und Familie umgeben.
Als Enkelinnen des legendären Sam Cooke und Nichten von Bobby Womack stammen die Schwestern aus einer Soul-Dynastie, die tief in ihrem musikalischen Wesen verwurzelt ist. Das Album „The Womack Sisters“, das am 14. August bei Daptone Records erscheint, blickt nach vorne, indem es zurückblickt: Es ist eine Hommage an die Tradition ihrer Familie und schafft gleichzeitig einen Sound, der ganz und gar ihr eigener ist.

On his latest four-track EP, Marco Cassanelli presents a masterclass in deep, atmospheric dub techno. Rich in warmth, texture and groove, the release finds the Italian producer at his most refined, effortlessly balancing hypnotic rhythms with expansive chord work and immersive sound design that resonates equally on the dancefloor and in more introspective home listening settings.

For more than two decades, Marco Cassanelli has been quietly refining a sound rooted in the deepest traditions of dub techno. Emerging from Rome’s underground electronic scene, he has built a body of work defined by patience, restraint, and a profound understanding of space and atmosphere.

Each track unfolds with patience and purpose, drawing listeners into a world of drifting echoes, subtle movement and finely crafted detail. Rooted firmly in the traditions of dub techno while retaining a distinctive character of its own, the EP is both deeply engaging and beautifully understated—equally suited to late-night club systems and home listening.

The final track introduces an unexpected vocal performance, adding a fresh dimension to the release and bringing the journey to a memorable close.Elegant, timeless and richly textured, this EP is a testament to Cassanelli’s enduring craftsmanship and his ability to create dub techno of the highest calibre.

Repress!

Definitely one of the greatest techno records ever made.

Bridge was to be the Edinburgh-born Kieran Warren’s debut release circa 1994 on Metatone - a short-lived techno label by J. M. Adkins (Electro Music Union) and Damon D'Cruz (Jack Trax, Chill). As fate had it, Metatone folded before the album got printed, and the music was lost in time. That is, until Adkins tipped the Cold Blow boys off while they were working on his anthology, the 2019 double LP "Electro Music Union, Sinoesin & Xonox Works 1993-1994".

Atonal’s Cithare EP last year was the world’s first glimpse at the fuzzy, warm techno archives of Kieran Warren. As a sequel, Cold Blow has restored and compiled their vision of the ‘94 “Bridge” while tapping into the same demo archives that were being scoured through by Metatone in their day.

Essential for the fans of early Aphex Twin, the album moves between warm melodic techno cuts and nostalgic ambient pieces before reaching the grand finale of Arkanoids, an 8-minute ambient epic straight from the school of Selected Ambient Works 2.

Housed in full, cosmic artwork designed by Ed Cheverton. Mastered by Keith Tenniswood.

The fourth chapter of The Third Room's curator-led series is shaped by Freddy K, one of techno's most enduring and uncompromising voices. Through decades behind the decks, an unwavering commitment to vinyl culture and his work with Key Vinyl, he has helped shape a generation of artists rooted in functionality, precision and a direct connection to the dancefloor. For his curation, the focus lies on alignment. The selection brings together artists who reflect that same discipline: a reduced but expressive approach, stripped to essentials yet rich in detail. With contributions from Toobris and Sons of Hidden, both previously featured on Key Vinyl, the release also reflects the long-standing artistic relationships behind his vision. Bat by Toobris opens the record with a powerful, straightforward statement. Driven by a steady pulse and minimal elements, the track feels alive through its control - direct, efficient and highly expressive without excess. Before Mirrors by Sons of Hidden continues this direction while expanding into a more spheric space. Tension is held consistently, with subtle accents carefully placed to shift the energy and draw the listener deeper into the track. On the B-side, Clouds Cream by Quelza stands out as a more intricate and exploratory piece. Deep and immersive, it unfolds through detailed sound design and evolving structures. Rather than relying on repetition alone, the track develops its own internal logic - balancing complexity with clarity, and allowing each element the space to contribute to a larger whole. Closing the record, Swing of Time by Jin Synth shifts into a rougher, more moody territory. Subtle pitch modulation and shifting textures create a sense of instability, giving the track a distinctive edge while maintaining its functionality. Across all four tracks, the release remains focused and cohesive - built on reduction, tension and control, but carried by small, defining moments that shape its movement. A1 Written and Produced by Lennard Miessner | A2 Written and Produced by Sons Of Hidden | B1 Written and Produced by Leo Na?t A?ssa | B2 Written and Produced by Jin Synth Mastered by Ahmet Sisman (The Third Room Studios) Artwork by Charlotte Ernst Design by Daniel Bornmann (STUEDIO.XYZ) Distribution by Clone Pressing by Matter Of Fact

One original mix, never before released on vinyl, alongside three brand new remixes from Claptrap Allstars.

Francisco D’Argento may not have been a pioneer of the Italo Disco movement that emerged in the late 1970s and early 1980s, but his sun-soaked, refined approach captured the spirit of the era with unmistakable charm.

While D’Argento received critical attention from local press and music journals, his work unfortunately never connected with a wider audience. In later years, his output gradually slowed, and his early recordings slipped into obscurity.

With the support of the D’Argento estate, this forgotten gem has been lovingly restored and remastered from the original ½-inch tape, bringing new life to an overlooked piece of Italian electronic music history.

This release presents the original version, an uptempo, high nrg direct italo cut featuring D’Argento’s own vocals, alongside the voice of his second wife, actress and model Eleanora D’Argento.

Donald Dust delivers a powerful and thumping rework for the A2 the “Squish Mix”, a stretched-out, dubbed-out interpretation built for those late-night, hot and heavy dancefloors.

Dr Valentine takes things into the cosmos with the “Nello Spazio Mix”, slowing the tempo and drifting into hypnotic space.

Closing out the EP, Vanity Project presents a darker Robotalo Remix, stripping away the original’s outer layer and revealing a shadowy, dark-disco driven version.

Buon ascolto!

Archaic Vaults is proud to present »Ley Lines«, the debut album by St Circul.

Concise collection of folkloric grime instrumentals to rise from a new moniker taken on by the elusive First Circle. A breadcrumb trail of effortlessly crafted early 2000s-era grime, trap and drill instrumentals can be found on a fairly sparse Soundcloud account and numerous NTS shows spanning the last ten years, on which he is known to play almost entirely his own material. Now a different energy takes hold on »Ley Lines«: ten tracks by the enigmatic producer to be released both on a label and in physical format for the first time.

»Ley Lines« was born from a meandering quest through South London’s more leafy dwellings. These cherished regions became a place of refuge in which to ruminate on the hopes that love and community can outlast the dwindling state of Britain’s social and political climate. Photo documentation was made which would later form the genesis for each track, and a return to the studio resulted in something which could not be fitted into the existing First Circle discography.

Harpsichord and brass samples (»A Plan Is Formed«, »Hilly Fields«) are underpinned by murky bass loops and tight militaristic percussion – motifs recognisable amongst white label grime’s most influential producers (Wiley, Skepta, Lewi White etc.) that push the formula into far more rapturous territories than any of FC’s previous productions. The more introspective moments of the album (»Wares at the Ivy House«, »Blythe Vision«) put local field recordings and devotional reverberant ambience to the forefront, alluding to St Circul’s proto-dungeon synth influences and giving the whole album a unique world all its own.

Archaic Vaults is proud to host an album which shares intrinsic roots with the label’s own South London birthplace. »Ley Lines«’ ten tracks of psychogeographic drifting are available in digital and limited cassette format via Archaic Vaults.

Mastered by Owen Pratt Design by Severin Black Artwork image by St Circul

In ein paar Jahren kann viel passieren. Für Jarred Beeler von DJ Plead bedeutet das, ein ganz neues Album aufzunehmen, es dann wegzuwerfen und schließlich etwas völlig Anderes zu veröffentlichen. ,Please" wurde zusammengestellt aus einem Ordner mit 120 Demos und Skizzen, die zwischen 2023 und 2025 entstanden sind, und präsentiert die unverwechselbare musikalische Palette des libanesisch-australischen Produzenten, die Techno, House und Dub aus dem Club mit den Dabke-, Mijwiz- und Shaabi-Klängen eines levantinischen Tanzkreises verbindet. ,Please" folgt auf ,Relentless Trills" aus dem Jahr 2020. Veröffentlicht als Teil von Boomkats ,Documenting Sound"-Reihe war diese Veröffentlichung eine Offenbarung, die über die hochintensiven Hard-Drum-Kracher hinausging, die über Livity Sound, Nervous Horizon und sein eigenes Label Sumac erschienen waren, hin zu einem eher ambienten Ausbruch seiner markanten Percussion und gewundenen Maqam-Melodien. ,Please" ist ein noch intimeres Werk, dessen Cover eine Nahaufnahme von Beeler zeigt , der in der einen Hand eine Tasse Kaffee hält, in der anderen seine Habseligkeiten. Handy, Schlüssel, Tabletten, Tiger Balm. Es ist eine zutiefst persönliche Darstellung des Alltags, die die gemächliche emotionale Resonanz der Trackliste des Albums widerspiegelt. Ein melancholischer Ambient folgt auf das verzierte Dahintuckern von ,Seven Eight, Too Late", das von Downtempo-Atmosphären heimgesucht wird. Das sanft groovende Klavier, die Gitarre und der Bass des Abschlussstücks ,Traffic" verschmelzen mit dem organischen Nachhall und Verklingen von Raum und Zeit. ,Ich fühle mich nicht ganz wohl dabei, diese Tracks zu veröffentlichen. Ich fühle mich verletzlich", sagt Beeler, der Smalltown Supersound-Labelchef Joakim Haugland als entscheidend für die Verwirklichung von ,Please" würdigt. ,Ich bezweifle, dass diese Demos jemals von jemandem gehört worden wären, wenn er sie nicht aus dem Ordner geholt hätte." Aber haben wir nicht Glück, dass er es getan hat? Die schwülen Keyboard-Improvisationen des Albums bei Höhepunkten wie ,Right On Time", ,Pa700" und ,Open Era" sind eingebettet in eine Mischung aus schwankenden Found Sounds und mikrotonalen Läufen. ,Bei einigen Songs spiele ich auch einfach nur Keyboard über einem Loop, den ich erstellt habe. Da gibt es nicht viel Produktion oder Glanz, hinter dem man sich verstecken könnte", erklärt Beeler. ,Gerade diese Tracks wirken ziemlich roh." Diese behutsamen Schritte außerhalb von Beelers ästhetischer Komfortzone aus Kontrolle und Funktion hin zu ungefilterter Offenheit erzeugen eine spannende Spannung. ,Please" nähert sich gekonnt jenem schwer fassbaren Punkt zwischen Distanziertheit und Sentimentalität, wo das Alltägliche, das Spezifische und das leicht Absurde auf das Tief empfundene und aufrichtig Bewegende treffen.

Following their eponymous 2023 debut, Chestnut People once again emerge from the Wood to deliver Volume 2, a lichen-scented batch of blissed IDM and crackling tech. While retaining the filtering step of its predecessor, Volume 2 plunges deeper into the honey pot with rich melodic density, recalling the gentle pluckings and starry-eyed glitch of 00s Icelandic electronica. The music unfurls in programmatic detail like a misted forest dream–winged creatures buzzing as brush collapses under our feet.

Boston’s Vermillion Sun Records has returned with its second offering, featuring Gummies Records boss and Steep co-founder Cutty (aka Cutwoes). As a child, Cutty was allergic to most common pets, prompting him to explore the world of amphibians, mainly…frogs. Each night as he dozed, his room was filled with the chirping of his slinking brothers and sisters. He has been immersed in sound ever since. Since traversing the deepest ravines of local music as a clubber, DJ, producer, label head and promoter, his productions, like his DJ sets, consistently bring unexpected twists and turns. Bouncy and psychedelic techy house goodness, beautiful ambient moments, downtempo groovers in the perfect time and place, breaks to make you dance and shake. VSR 002 encapsulates Cutty’s whole approach, delivering propulsive and tasteful tech house with ambient, dubby, tribal, and progressive influences.

Lillies in October sets the stage, book ended by gorgeous ambient waves before breaking into rolling tribal infused grooves. The Machine God delivers psychedelic wonk and circumstance providing the tech to soundtrack your deviousness. The B-side, Cutty provides a hypnotic and heady groove to sway away in Wooden Rollercoasters, while Wiersma delivers a remix full of funk and swing, showcasing how years on the dance floor can meld mind, movements and music. Whether as tools to assist the discerning DJ, or a journey for eyes closed and head down dancing, this is your gateway to hear what’s happening in the Boston underground.