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Over the course of more than four decades, Andrew Chalk has created one of ambient and experimental music's most distinctive, influential, and enduring bodies of work. Though his recordings have taken many forms—from the raw, post-Industrial sounds of Ferial Confine in the 1980s to the fragile guitar meditations, blurred keyboard studies, and richly textured collages that populate the Faraway Press catalogue—they remain united by a singular sensibility: an uncommon attentiveness to atmosphere, nostalgia, and the power of restraint.

Mystical Obscurant offers a rare opportunity to encounter the expansive character of that oeuvre in miniature. Rather than documenting a single period or methodology, it functions almost like a survey of Chalk's musical language—a collection of new music that illuminates the breadth of his practice while distilling the singular vision that unites it.

“The Sea of Sorrow” and “Peacemaker” feel cut from the same cloth as the sacred guitar minimalism of The River That Flows Into the Sands, while “Against the Tide” would sit naturally alongside the smudged and distant keys of Blue Eyes of the March. Other pieces draw upon environmental sound and loop-based constructions, hallmarks of Chalk's more recent, vignette-like compositions. Though these recordings emerge from different moments in his long creative journey, each inhabits a recognizable world: one where melodies drift in diffuse, unhurried forms and sound gathers with painterly grace.

What is most striking when these pieces are heard together is not their difference but their coherence. Across changing instruments, collaborators, and approaches, Chalk has consistently pursued a subjunctive music of suggestion rather than declaration, creating spaces where memory and imagination are allowed to unfold at their own pace.

Layered guitars, synths and wordless vocals set the scenery in this epic, beautiful and introspective solo debut by musical wanderer Lynn Wright.

Wright, who has mostly eschewed developing a fixed artistic identity throughout his already long career, has preferred to remain on the periphery of collaborative projects and behind the scenes. It took until recent times for him to make “Before The Sinking Plains”, which arrives as his first solo recording after decades of traversing underground scenes in New York and beyond. Wright defines the album as “a collection of atmospheric compositions structured as songs or songs masking as atmospheric compositions.”

The album began during a long neurological illness as guitar loops Wright would make each morning in his apartment and let play quietly in the background. At some point he began recording the ones he liked and adding layers of treated guitars, vocals, and synths, and then, eventually, giving them defined structures. The album features none of the aggression of his louder bands and improvisatory projects, but retains the dark hues.

Before The Sinking Plains lives on the familiar peripheries of our post-everything sound world, with elements of everything from washed-out dream pop and atmospheric drone works to sparse noir folk and minimalist vocal composition moving within the linings of Wright's subtle yet grand pieces, creating a perfect backdrop for watching the sky merge with the vast open fields.

Since relocating to Berlin some years ago from New York, he has worked closely with composer Simon Goff, who mixed his current album, as an editor, engineer and composer on various film and recording projects. He also plays lap steel guitar in Swans bassist Dana Schechter’s band Insect Ark. This is just the top of the iceberg when it comes to Wright's collaborations and projects throughout the years.

For the first time, Fakear has released an album that speaks primarily of humanity, emotions, and himself. Simultaneously imbued with nostalgia and hope, love and anger, loneliness and celebration, it takes the form of a sensitive autobiography rooted in the adolescence of an emo metalhead skater searching for his place in the world. Facing him, the adult writing these tracks tries to convince himself that he has found his balance. If we were to place this album within the current landscape, we would have to look towards the resurgence of bass music and emotional electronic music championed by artists like Fred again.., Four Tet, Bonobo, Sammy Virji, and Camoufly.

Minions & Monsters is the brand new 2026 installment in the popular Minions franchise. The animated adventure follows the Minions as they find themselves caught up in a world of larger-than-life creatures, unexpected challenges, and the kind of chaotic situations that have made the franchise a global success. The film expands the Minions universe while staying true to the humor and charm that audiences have come to love.

The movie’s original score is composed by Oscar-nominated composer John Powell, whose work on How To Train Your Dragon, Shrek, and Kung Fu Panda has earned him a place among the most acclaimed composers working in film today. For Minions & Monsters, Powell delivers a lively orchestral score that complements the Minions on their adventure and brings it to life.

Minions & Monsters is available as a limited edition of 1,000 copies on yellow (LP1) and turquoise (LP2) vinyl, and includes a 4-page booklet with liner notes by John Powell.

In den letzten 15 Jahren hat sich Ryan Gustafson von The Dead Tongues zu einer der markantesten Stimmen des modernen Folk entwickelt. So eigenwillig und geisterhaft die Songs manchmal auch waren, hat Gustafson seine Visionen und Texte stets mit solchen Ohrwürmern verknüpft, die man wie Talismane verstaut, um sie im Notfall wieder hervorzuholen. Auf ,Montana" hat Ryan Gustafson den Sound von The Dead Tongues erweitert. Indem er Einflüsse aus der Old-Time-Musik der Appalachen und dem primitiven Drei-Finger-Gitarrenstil in seinen bereits etablierten, einfachen und doch unkonventionellen Ansatz beim Songwriting einfließen lässt, schafft Gustafson ein facettenreiches, unverkennbar amerikanisches Patchwork, das zwischen idyllischer Wärme und seltsamer Intensität schwankt. Mit dem bei den Fans beliebten Titel ,Wildflower Perfume" ist dieses geliebte Album zum ersten Mal auf Vinyl erhältlich.

The Go’s Free Electricity, the group’s storied, long-lost album, finally gets a proper release! The Go appeared in Detroit in 1996, led by Bobby Harlow and featuring Dave Buick on bass and Jack White on guitar. Following the release of their 1999 debut, Whatcha Doin’, and a few lineup changes, the band hit the studio with Dion Fischer on lead guitar, John Olson (of Wolf Eyes) on saxophone, and Cary Loren (of Destroy All Monsters) to record their sophomore effort. The session found the band and their producer, Matthew Smith (Outrageous Cherry), exploring the outer edges of rock and roll, with blaring lead guitars, copious amounts of reverb, and a heavy jazz influence thanks to a heavy diet of ‘60s free jazz. The results erupt from the speakers with a cavernous sound, like some haunted frequency beamed across the time barrier from the Grande Ballroom circa 1968, often sounding more like records by Pharoah Sanders and Sun Ra than the records being made by The Go’s peers in the ‘00s rock and roll scene.

Free Electricity was written, composed, and arranged by Bobby Harlow (except track one, which was written by Harlow and Dion Fischer; and track five, written by Harlow and Cary Loren). Free Electricity was mixed and produced by Matthew Smith, engineered by Jim Diamond at Ghetto Recorders, and mastered by Jim Kissling at Jim Kissling Mastering in Detroit, Michigan. Guest appearances by folks from Destroy All Monsters and Wolf Eyes only reinforced the album's musical direction. Weird or not, this was an inspired recording made by an inspired group of musicians. There was a feeling of excitement and adventure happening at these sessions, it shines through mightily on this album.

Classic Johnny Clarke album from 1980 restored and re-mastered for best ever sound. Features the hit singles "Every Knee Shall Bow" , "Can't Keep A Good Man Down" along with the Jah Shaka sound system anthem "Bad Days Are Going".
Produced by mixed at Channel One, King Tubby's and NYC by Bunny Lee, Brad Osbourne & Johnny Clarke
'Originally Mr Clarke' delivers in full on every track making it one of THE essential reggae album releases.
Jamaican artist of the year in both '75 & '76 Johnny signed to Virgin Records and released two highly acclaimed albums for Virgin's Front Line label. Still performing and recording today, Johnny also tasted crossover success when his 'Everyday Wondering' hit made number 2 in the UK charts with it's Rupie Edwards 'Irie Feelings' dub deconstruction while Johnathan Richman turned Johnny's Earl Zero penned 'None Shall Escape The Judgement' hit into the international chart topper 'Egyptian Reggae' in 1977.

Defining the moment in sound and vision, Immersion are a snapshot of ‘the now’. Through constant reinvention, they have honed their sound into a startling present that references their past but refuses to live in it.

This perfect synthesis of their styles boldly creates a brave new world for core couple Colin Newman and Malka Spigel, along with satellite musicians Matt Schulz (Holy F*ck), whose drumming strongly features on many tracks, and Ed Chivers (AK/DK), who makes a guest appearance drumming on ‘Breaking Free, Diversity, Evolution’.

What Is Lost Will Return is the second ‘pure’ Immersion release in as many years and heralds their third UK tour since 2024. It follows 2025’s acclaimed WTF??, with the title reflecting the fact you can only say “What The F*ck??” so many times before looking beyond to see what endures.

With What Is Lost Will Return, the ever-productive ‘life and art partner’ duo present a reflective album of modular moods and stripped-down electronic psychedelia, leavened by a clipped guitar that you can nonetheless dance to, defying these chaotic times. It perfectly captures the yin and yang of the moment – or as Colin and Malka explain, “The emotion we feel the album invokes is a poignant mixture of joy and melancholy.”

“What Is Lost Will Return is an album of grooves, observational snapshots, hypnotic repetition, joyful creation, intoxicating melody and mystery, all threaded together by a fascination with new sounds and textures. It's both an underground gem and an album that bends pop into new shapes.”
John Robb, June 2026, MCR

Originally unleashed in October 2004, Ape to Angel took the momentum of Pitch Black’s preceding albums to new levels, with the sound becoming fuller and the bass more driving. The duo tweaked the sounds of club culture around the dub heart of the album, blending sinuous bass lines, simmering rhythms and echoing acidic synths to electrifying effect. They also wrote their first fully vocal song, Elements Turn, with singer Sandy Mill, and sampled Estonian satellite transmissions for Lost in Translation.

Critically acclaimed, with DJ Mag awarding it five stars, the release of Ape to Angel led to a 42 date tour round the world which included their North American debut. Tracks from the album were also picked up for use in CSI: Miami and HBO¹s True Blood, the latter featuring Freefall in a vampire orgy scene - perfect.

CODA is proud to present the premiere vinyl release of Atli Örvarsson's award-winning score for the first season of Apple TV+'s SILO. The score earned an Emmy nomination and won the BAFTA Television Craft Award for Original Music, establishing it as one of the most celebrated television scores of recent years.

This definitive 2LP edition is pressed at 45RPM on Blue-in-Green Color-in-Color vinyl and is limited to 700 copies, Featuring a stunning lenticular cover, with artwork by Sara Deck and design and layout by Alan Hynes, as well as exclusive liner notes from both Atli Örvarsson and SILO creator Graham Yost.

The second volume of this (already) cult series of British proto-metal compilation albums. Every artist on here was a regional band in their local underground scene of the late 1960s/early 1970s. The main thing that differentiates this series to any other, is the fact that none of the artists included had any kind of commercial release during their existence (apart from Fusion Farm, who self-released an extremely rare private press LP titled 'Rush Job' in 1971). All the artists were discovered after extremely lengthy searches of old music magazines, local newspapers, concert posters, government agencies.... By any means possible! It was a lot of work, but the results speak for themselves. The one thing that joins all these bands together (apart from being exclusively British), was their desire to play as loud and heavy as possible. This was a magical era in rock music, where Black Sabbath were the undisputed kings, but the industry simply didn't want to recognise the countless other band that existed in their gloomy wake. All of the recordings on Yeah Man, It's Bloody Heavy! are taken from demos, whether originating from crusty old 1/4 inch tapes, dusty acetate discs or third generation cassette tapes. Basically, whatever format was available. As a result, sound quality varies, though we did our utmost to get these precious artefacts sounding as killer as possible. For instance, Bonehead were close friends of Led Zeppelin. Their guitarist/vocalist Paul Lockey had previously played with Robert Plant and John Bonham in the Band Of Joy. Their track, 'Free To Escape', was actually an audition tape for Atlantic Records, which had been instigated by Robert himself. Unfortunately, the band broke up not long after the recording. So, their recording is top notch, whereas others were taken from rehearsal tapes (such as Fusion Farms' - Keys To Hell). But the main thing is, there's a spirit that unites them all. Sit back, roll up a fat one and let your mind be blown by the obnoxious sounds and sheer weight of vintage gravity that is: 'Yeah Man, It's Bloody Heavy! Vol 2'.

ELEPHANT is an album that doesn’t ask for space, it takes it.
Built on weight, grit, and undeniable presence, ELEPHANT moves like its namesake: loud, heavy, and impossible to ignore. There’s a swagger to it, a confidence that leans into chaos, desire, and the pull of living all the way, even when it leaves a mark.
But like an elephant, it’s not all brute force. Beneath the heavy stomp is something more human. There are moments of vulnerability, cracks where emotion slips through, where longing, doubt, and reflection take over. The album balances power with sensitivity, and strength with softness. A notion that even the biggest presence can feel deeply.

Like the massive creature pushing through brush and unbroken paths, ELEPHANT is about confronting what’s right in front of you; the noise, the weight, the truth, and choosing to move through it anyway.

On her debut album Switchbacks, Nashville-based artist Hannah Cole finds inspiration in the image of the switchbacks – sinuous twists in the road that obscure what's ahead. For a young artist making her way in the music industry, it's a powerful image: we can't really know what's ahead for us but – as Cole has learned – you should honk your horn to tell the world you're coming, and otherwise just enjoy the ride. Melding shoegaze and alternative rock with infectious pop melodies and strains of 90s nostalgia, Switchbacks is a commentary on the pursuit of success and how to protect the pure joy and love that lives at our core.

Across the ten tracks of Switchbacks, Cole swings her gaze at many unsettling aspects of the scramble toward success. Lead single "MMA" explores the ugly side of the music industry through the image of Las Vegas. On the brightly off-kilter "Give," she sings, "I feel like I've become an actor, / A TV pastor / climbing up a topless ladder," explaining that "the pursuit of success can feel like buying lottery tickets all the time for money that you'll never see." "Mechanical Bull" seethes with rage as Cole grapples with being seen as just the "girlfriend" in music settings and not being perceived as an equal to her partner, while on "Pitcher," she's paralysed in the face of wanting to achieve perfection. Later, she shrugs off the need to impress on "100 Bucks," reminding herself that she's enough for the people she loves.

Switchbacks is not only a finely-crafted debut album but also a deeply human artifact, tracing an arc that blazes like a comet to the height of ambition and then leaves you in the shimmer of self-acceptance and contentment. "Success is a moment that comes and goes," Cole concludes, "but I think the joy and experience that comes with making music is something I can take with me forever."

Confessions of a Sinner builds on the foundation of Rebirth and pushes further into the chaos: heavier, sharper, and more confrontational.

Native James continues to carve out his own lane: grime-rooted vocal delivery over full-throttle alt-metal production. Still breaking the mould on his own terms, but now with serious industry attention and a rapidly growing live audience off the back of extensive touring.

William Onyeabor was born outside Enugu, a small, rural town in Eastern Nigeria, he created his own genre of African electronic funk in the late 70s and early 80s, making music completely unique for his time. Today, he is reaching cult status among a growing list of admirers, including everyone from Damon Albarn and Hot Chip to Carl Craig and Madlib, with some likening him to the Kraftwerk of West Africa, or a precursor to LCD Soundsystem.

Among the crate-digging few that knew of him, he is considered a complete myth. While he has never performed live and almost never given interviews, his fantastical biography is scattered and has to this day not been verified. And he refused to speak about anything regarding the past.

According to various rumors, he left home following the Biafran War and went to study cinematography in the Soviet Union, returning in the mid-70s to start his own film company and record label, Wilfilms. He then self-released eight remarkable records from 1978-1985. He wrote and produced everything on his own, and possibly played every instrument himself. Then, at some point of his life, he became born again and denounced his earlier music, deciding it is something he would never speak about.

PUREST FORM pulls visceral dance-punk music from modern-day angst and unrest. The newly formed Los Angeles trio—vocalist Story Beeson, guitarist/programmer Madi Woodward, and bassist Riley Oikawa-Dahlson—draws on their respective backgrounds in hardcore bands and a shared love of industrial and techno, splicing the intensely heavy with the playful and sensual.

RESISTANCE, their debut with Dais Records, delivers a potent, six-track anarchist assault on the system, fueled by collective anger amidst late-stage capitalism and a year of nonstop trauma in Los Angeles, from the fires to ICE.
RESISTANCE builds on the promise of their self-titled 2024 EP, a sonic blueprint that Stereogum likened to Nine Inch Nails' Broken. RESISTANCE is more agile and charged-up, a cataclysmic set with structural jumps and hard left turns, confronting sonic and societal constructs. Serrated riffs meet fractured breakbeats, basslines, and body-quaking feedback, with nods to death metal and acid house in equal measure, all punctuated by Beeson's urgent, anthemic narration, often shouted to near shreds.

The late Matt Watts was an American songwriter/storyteller and performer from Montana residing in Antwerp and Brussels, Belgium. He ws the son of a catholic priest and mother with Cherokee roots in the Carolinas.

He first began using the electric organ to write songs and also recording them on cassettes when he was 11 years old. When he was 13 his mother bought him an electric guitar from a pawn shop in South Carolina. Using a karaoke machine as an amplifier, he began writing and performing and recorded his first album at age 15 in a small studio in Great Falls, Montana.In addition to writing and performing his own music, he began performing and touring with various local Punk & Noise bands.

In 2007 when he was 19, he moved to Antwerp, Belgium. Since his arrival he has worked and performed with Zita Swoon Group, become a member of Rudy Trouvé's I H8 Camera, translated Simon Allemeersch and Rudy Trouvé’s critically acclaimed piece SCREEN into English, formed The Calicos (now Humo’s Rock Rally winners under Quinten Vermaelen) as a one time backing band, worked with many artists and songwriters (including Emillina Torini & The Colorist, The Love Substitutes, ..) and toured and released various widely acclaimed solo albums and a duo album with Nicolas Rombouts on Starman Records.

Highlights for sure were “How Different It Was When You Were There” (2017 - **** De Standaard), produced by Nicolas Rombouts (ex-Dez Mona) and featured guest performances by Nathalie Delcroix and Bjorn Eriksson (Eriksson Delcroix) and Stef Kamil Carlens. Its excellent successor “Queens” (produced by Stef Kamil Carlens and Nicolas Rombouts) featured a.o. the late Sandy Dillon and Jim White.

Sadly Matt Watts passed away too soon in June 2024. “Restless Kind” is the final album readied shortly before his death in a production by Bai Kamara Jr. Another astonishing collection of intimate Americana songs with lyrics as fascinating miniature novels.

Lily Allen’s era-defining iconic debut album Alright, Still celebrates its 20th anniversary with this limited-edition picture disc. Housed in a gatefold sleeve with silver foil featuring new anniversary artwork, the tracklist includes the hits 'Smile', 'LDN', 'Alfie' and 'Littlest Things', plus the bonus track 'Nan You're a Window Shopper'.

PRESIDENT delivers the highly anticipated debut album Blood Of Your Empire - 10 tracks that delve into a world in crisis challenging mortality, faith and more.

Shadows & Light - The Spirit of Mozart (limited Red Gold colour Vinly) Vom spritzigen Witz der Wiener Bühne bis hin zur stillen Zuflucht seiner intimsten Sonaten – diese Sammlung fängt das facettenreiche Genie von Wolfgang Amadeus Mozart ein. Begeben Sie sich auf eine Reise durch die pulsierende Energie von Die Hochzeit des Figaro, den ätherischen Dialog des Flöten- und Harfenkonzerts und die herzzerreißende Feierlichkeit seines Requiems. Ob es nun der verspielte Charme von Papagenos Arie oder die erhabene Ruhe des Klavierkonzerts Nr. 23 ist – jeder Titel wurde sorgfältig ausgewählt, um ein Vermächtnis zu präsentieren, das heute noch genauso lebendig ist wie vor über zwei Jahrhunderten.

Erscheint auf schwarzer Vinyl

I, Scvlptor is an exclusive release from Behemoth featuring 8 previously unreleased songs — 7 new studio recordings and one live track. It is an autonomous body of work that bridges the band's foundational past with their present creative _re. The release features brand-new studio material embodying the full force of Behemoth's live energy and intensity. Two tracks — Rise of the Blackstorm of Evil (from The Return of the Northern Moon, 1992) and In Thy Pandemaeternum (from Pandemonic Incantations, 1998) — are newly re-recorded versions of early Behemoth material, reshaped with modern sonics while preserving their original spirit; a tribute to the bands who had a huge in_uence on Behemoth: "In League With Satan” (originally by Venom, feat. Shagrath of Dimmu Borgir) and "The Return of Darkness and Evil” (originally by Bathory, feat. Sakis Tolis of
Rotting Christ). Available on CD, LP, MC and Limited Edition Box Set through Massacre Records worldwide.

Indie Exclusive
Erscheint auf schwarzer Vinyl

I, Scvlptor is an exclusive release from Behemoth featuring 8 previously unreleased songs — 7 new studio recordings and one live track. It is an autonomous body of work that bridges the band's foundational past with their present creative _re. The release features brand-new studio material embodying the full force of Behemoth's live energy and intensity. Two tracks — Rise of the Blackstorm of Evil (from The Return of the Northern Moon, 1992) and In Thy Pandemaeternum (from Pandemonic Incantations, 1998) — are newly re-recorded versions of early Behemoth material, reshaped with modern sonics while preserving their original spirit; a tribute to the bands who had a huge in_uence on Behemoth: "In League With Satan” (originally by Venom, feat. Shagrath of Dimmu Borgir) and "The Return of Darkness and Evil” (originally by Bathory, feat. Sakis Tolis of
Rotting Christ). Available on CD, LP, MC and Limited Edition Box Set through Massacre Records worldwide.

Doomcrusher fuse stomping industrial riffs, uncompromising gutturals and uplifting hooks - modern core with electronic depth and metal roots.

In the crucible of the apocalypticatmosphere that envelops our world, Doomerusher was forged. Born out of the deepest desire to be the harbinger of change, the band emerged with a resolute mission: to defy the impending doom that looms on the horizon. Founded by Andy Posdziech (Any Given Day), Jean Bormann (Rage), Marv Kinkel & Rob Lee, Doomcrusher's sound is a powerful fusion of stomping and heavy mid-tempo industrial riffs, seamlessly intertwined with uncompromising gutturals that resolve into unfolding and uplifting hooks. The band's sound is further enriched by sophisticated electronic elements, adding depth and complexity to their musical tapestry. The ambition is clear - to redefine modern core music while staying true to the roots of the metal genre. Their music is not merely an auditory experience; it's a journey through the realms of sound, a deliberate exploration of the boundaries of heavy music. Doomcrusher stands as a defiant force against the inevitable, a rebellion that crushes the darkness of doom with an unwavering belief in the transformative power of music. DOOMCRUSHER BIO SHORT: Forged in the apocalyptic atmosphere, Doomcrusher blends stomping industrial riffs with guttural vocals and uplifting hooks. Their music, a deliberate exploration of heavy soundscapes enriched by electronic elements, redefines modern core while honoring metal roots- a defiant force against impending doom

When Drop Nineteens disbanded in the mid-'90s, singer Greg Ackell decided he would never make music again. He wouldn't noodle around on a guitar in his basement. He wouldn't get a group of friends together just to jam. He was done with music entirely. Following the release of the shoegaze masterpiece Delaware in 1992, and the intricate experimentations on National Coma in 1993, the group disbanded. They shared stages with Radiohead, Hole, Blur, PJ Harvey and Smashing Pumpkins. They went from being teenagers in Boston to mid-twenty-somethings with a few MTV videos, a couple BBC sessions and numerous festival appearances under their belt. So when Drop Nineteens ceased to be, Ackell felt content. He had the rest of his life in front of him to figure out what he wanted to do. Music was a closed chapter.That was until 2021, when a friend from the band's early days got Greg on the phone to suggest making some music together, just to see how it felt. Instead of shutting it down like he had been doing over the years, he decided to entertain the prospect. For the first time in nearly 30 years, he picked up a guitar with intent. He immediately called up Steve Zimmerman, the band's bassist and fellow guitarist, and the two got writing. It felt effortless for Ackell, like he never stopped writing music. "We were off to the races," he says, "But also the question came up: what does a Drop Nineteens song sound like today?" Enter Hard Light, the band's stunning third record. It's the band's proverbial follow up to Delaware, a modern Drop Nineteens record that is completely singular in its sound and vision. The first task making Hard Light was, of course, getting the rest of the band back together. Drop Nineteens is an inherently collaborative project. Ackell writes the lyrics, and he works with band members Steve Zimmerman, Paula Kelley, Motohiro Yasue, and Peter Koeplin to create the sonic world. The record came together over the course of a year, recording at a patchwork of studios all around the country: Boston, Brooklyn, San Francisco, Los Angeles. When Kelley and Ackell first heard their vocals recorded together on the opus album closer "T", the chemistry was undeniable. Making music together felt natural, fluid, exciting.Hard Light is a romantic record in the literary sense. Beauty from longing; longing from beauty. You put the album on and want to be clad in a velvet dress sprawled across a fainting couch. You want to be holding someone's hand while you sit back in the tall grass. The guitars are expansive and expressive as ever. Ackell and Kelley's vocals are cool, crystalline, and luminous. "Gal" comes on like a dream. The vocals pour in when you least expect them, once in the middle, where Ackell delivers one of the strangest (and best) lyrics on the record, "And there were snakes/with cats at the wheel." Hard Light's first single, "Scapa Flow" is triumphant and an excellent example of what a modern day Drop Nineteens song sounds like. The guitars glide cloud-like, floor toms shuffle and rumble in the background, searching. Ackell and Kelley's vocals are as toned as they are bound. Hard Light is every bit the ride that Delaware was, diverse in its sounds, with surprises at every turn. Drop Nineteens have brought clarity and cool in 2023 to the genre they helped create. A portrait of a band 30 years later, as talented and dedicated to their craft as ever. To put it more bluntly, they're at the top of their game.

Recorded in 1997, upon The Shadow Ring’s return from their final US tour, Lighthouse captures the group at their most stripped-down and visionary. Graham Lambkin’s fractured texts conjure Folkestone’s haunted coastline—Vikings, the Morgawr, a fading Britain, the pull of the sea—under the sway of Alternative TV’s Vibing Up the Senile Man (Part One), the mechanical vernaculars of Robert Ashley and Mark Perry, and the deflated humor of Dad’s Army and It Ain’t Half Hot Mum. Originally issued in 1999 on Scott Foust’s Swill Radio, this lost masterpiece—a stark, lo-fi world of home recording and concrète capture—is once again available on vinyl. For fans of Alan Titchmarsh, David Croft, Harry Pussy, and Idea Fire Company.

When hip hop trio FU-Schnickens emerged in Brooklyn in 1992 with a unique style that combined high-speed rapping, dancehall chatting, and backward rhymes with Looney Tunes-inspired voice impressions and craftily arranged grooves, the Rap world had never heard anything like it.

Following up on their debut F.U.: Don't Take It Personal, Nervous Breakdown, originally released in 1994, proved that the Fu-Schnickens could deliver the goods. The album shows an improved lyrical maturity among all three members, but most noticeably Chip Fu, whose hyperactive flow has more hilarious, colorful cartoon imagery than ever.

From the opening track, "Breakdown," on, this is a frenzied, fast-paced roller coaster ride of originality that doesn't let up until the last song ends. The album reached the nineteenth spot on the R&B Albums chart, and managed to

Flaw is an American nu‑metal band from Louisville, Kentucky, formed in 1996 by guitarist Jason Daunt. Lead vocalist Chris Volz joined after responding to an ad in a local newspaper. Following a series of raw independent recordings throughout the 1990s, the band signed with Republic and Universal Music Group, releasing two major‑label albums Through the Eyes in 2001 and Endangered Species in 2004. Breakups, lineup changes, and internal conflicts affected the band for much of the decade, though from 2015 to 2017 they reunited with three core members to tour and write new material.

Originally released at the height of the early‑2000s alt‑metal wave, Flaw’s explosive debut Through The Eyes quickly became a defining record of the era. Led by the unmistakable voice of Chris Volz, the band crafted a sound that fused emotional intensity, sharp guitar work, and melodic hooks that resonated with a generation. The album reached #119 on the Billboard 200, and produced two singles, “Payback” and “Whole”. Another standout track, “Only the Strong”, was featured on the soundtrack of the 2002 action film The Scorpion King.

Now celebrating its 25th anniversary, Through the Eyes is available on vinyl for the first time as a double album. This edition includes an insert with lyrics and features a bonus hidden track.

Appleton announce the release of a brand new EP, 'Side By Side', which will be released Friday September 4th, marking the first new Appleton body of work in over two decades.
Nicole says: "The reaction to 'Falling Into You' and our first Appleton show in over twenty years has been incredible We feel so grateful that people still connect with these songs and are excited about what we're doing now. This EP feels like the natural next chapter." After reissuing their cult- classic 2003 album 'Everything's Eventual' on vinyl, this January Appleton returned with 'Falling Into You' their first new music as a duo in 23 years.
While nostalgia may have sparked the reunion, 'Side By Side' is firmly focused on the present. Across four original tracks, the EP blends the melodic pop songwriting and distinctive harmonies that made Appleton favourites first time around with a fresh, contemporary sound that reflects where Natalie and Nicole are today. For both sisters, the project has been a reminder of the unique creative bond they've always shared. "We've always had a special connection when we sing together" says Nicole. "Making these songs reminded us of that. It never feels forced it just feels natural." More than twenty years after they first burst into the charts, Appleton aren't looking backwards. They're simply enjoying making music together again side by side.

"There are two versions of this album," says Hollow Hand's Max Kinghorn-Mills. "But there's only one that exists." Kinghorn-Mills is reflecting on a period when he was at something of a crossroads. He had written songs for his forthcoming fourth album but, after coming back off tour, something needed to change. “When I listened back to where I’d left the album, it wasn't exciting enough for me,” he says. “I was like: that's not really what I want to do anymore.” Since releasing 2023’s Your Own Adventure – which drew acclaim from the likes of Mojo, Uncut, and Shindig! – he found himself touring and collaborating with a variety of other artists. Hollow Hand became the house band for Caitlin Rose on tour, while Kinghorn-Mills was also collaborating with Aoife Nessa Frances and playing in her touring band. There was countless exposure to incredible Irish bands along the way, and then came a sold-out European tour with Hollow Hand supporting MJ Lenderman.

While the sterile “professionalism” of some heavy bands can be like a clinical drone strike, Texas-based Judiciary feels personal. Like close combat with a knife. And it’s all in their chemistry. Judiciary is an amalgamation of four guys raised in the intersection of metal and hardcore—all devoted to pushing their craft further. Across two esteemed LPs, the band has proven their worth as a crucial entity in the crowded heavy music scene by evolving their sound further and further with each release. And now with the band’s latest Stalagmite Angels, due on September 4th via the venerable Closed Casket Activities, Judiciary can further showcase their status as a crucial, one-of-a-kind part of the evolution of hardcore in 2026. Life changes can bring about chaos and seismic shifts, but if Stalagmite Angels is any indication, then it’s all for the better. In the wake of the release of Judiciary’s second LP Flesh + Blood, the band called upon Juan Vazquez to pick up guitar duties, thereby changing the internal framework of the band for good, and unknowingly for the better. It’s this pivot in personnel that resulted in the band’s latest EP. “The goal with this EP was a hard reset, but we also wanted to chill the f— out a bit, have fun, and do something that felt true to the four of us,” recalls drummer Austin Looney. “We wanted time to reconfigure things and let the music come naturally–temper this new mindset that we've adopted post-Flesh + Blood.” Judiciary’s greatest strength lies in their musical singularity. Though Stalagmite Angels represents the collision of influences from across well-worn territories like metallic hardcore, death metal, black metal, d-beat and more, it’s the Lubbock-born band’s approach that makes it distinctly their own. Stalagmite Angels is a wholly new document that resembles a horde of bands ranging from Hatebreed to Carcass to Slayer to Iron Age, yet never aping any single band nor even revealing any single influence. It’s all familiar but none of it is specific. “90s hardcore and hardcore in general is always gonna be our natural inclination, but it manifests with different elements not only from song to song but within each song,” says vocalist Jake Collinson emphatically, who learned guitar specifically to help with writing new material. “Whether that’s Dying Breed or Cannibal Corpse or Crowbar or Machine Head or any number of other influences that any one of us may have, it all manifests in our work, and through our individual and collective lenses. With this EP, we transformed those ideas into the Judiciary approach.” Stalagmite Angels is an EP about anger at the world, belief in yourself, and how harnessing both in the pursuit of growth is necessary to achieve. But furthermore, it’s a concept record that envisions a subterranean world in both a literal and metaphorical sense—where hidden beauty lurks in the shadows (and in the eye of the beholder) and where triumph manifests in the ability to rise from the depths and into the world above.

The darkest, filthiest alleys of old Philadelphia, DEVIL MASTER arise once more to corrupt the children of light. Between tours and festival appearances, the masters of devilry wrote their third full-length, Bloody Dreams. Punkier, with a psychedelic lean, yet festooned with a feral black metal aura, the album gleams from the abyss. Engineered by Davis M. Shubs and Grammy-nominated engineer Eric Bogacz, Bloody Dreams dances darkly. Tracks “You Worms' Vain Delusions” to “Death Anthem,” “Sex with Succubus,” and the decaying bonnet of “Farewell Waltz to Unfortune's Palace” lead the charge, while guests include Mirai Kawashima (Sigh), former drummer Chris Ulsh (Power Trip), and Ur Èmdr Œrvn (Arkha Sva) enhance DEVIL MASTER's supernatural power. There is no shadow without light...Bloody Dreams invites you into and out of the abyss. Short: The darkest, filthiest alleys of old Philadelphia, DEVIL MASTER arise once more to corrupt the children of light with their new album, Bloody Dreams. FFO: Venom, GISM, Celtic Frost, Midnight, Discharge, Christian Death

Ohio’s 156/Silence return with From a Distance, their crushing new full-length and first release for Pure Noise Records, arriving September 4. Produced by Josh Schroeder (King 810, Lorna Shore, The Plot In You), the album expands on the breakout success of People Watching with a darker, more cinematic approach that balances punishing heaviness, eerie atmosphere, and emotional depth. Featuring guest appearances from Mike Hranica (The Devil Wears Prada) and Alex Reade (Make Them Suffer), From a Distance pulls influence from horror, prestige television, and retro game soundtracks while moving seamlessly between hard rock, experimental textures, and the band’s chaotic mathcore roots. Atmospheric, unpredictable, and unbound by genre, From a Distance pushes 156/Silence further into their own lane while cementing them as one of heavy music’s most fearless rising acts.

Moon Inhabitants is on of the most exciting new additions to the flourishing Norwegian jazz scene! A quintet with a playful and spontaneous approach to the composed material and a philosophy that anything can happen. The music is inspired by 60s free jazz, with a modern twist - and turns that will suprise you on this debut on Sauajazz. The result is an energy bomb with unpredictable cosmic improvisations and down-to-earth naivety! All put together by a selection of the most innovative musicians from the younger generation.

With S.I.K. (Sociedad Internacional de la Kumbia), Conjunto Media Luna maps a constellation of sounds, friendships, and underground connections stretching across Colombia, Mexico, the United States, and beyond.
Produced in Bogotá between 2024 and 2026 by Iván Medellín, the album draws energy from rebajada culture, low-end frequencies, vinyl obsession, rap, and the hypnotic pull of cumbia. Accordion melodies, sampled fragments, drum machines, and sound system pressure intertwine throughout the record, creating a world where tradition is constantly reimagined through contemporary urban culture.
Featuring contributions from artists such as La Gallo 3:20, Turbo Sonidero, Amantes del Futuro, Mextape, León Pardo, Mismo Perro, and Hito de Piedra, S.I.K. unfolds as a dialogue between scenes that have spent years exchanging records, ideas, aesthetics, and frequencies.
The artwork comes from Mateo Rivano, one of the key visual architects of Bogotá's experimental tropical underground, whose imagery perfectly captures the album's blend of street mythology, sonic futurism, and tropical psychedelia.
Part sound system manifesto, part love letter to the global kumbia underground, S.I.K. is dedicated to everyone expanding the culture from their own corner of the map, through music, dance, graphics, fashion, and noise.

Edition of 600 copies, not sealed

Made with Love by Little Beat More 2026
Published by Little Beat More

EXTRACELLULAR:

the space between cells where signals are exchanged & life is communicated

12" vinyl compilation of pulsing electro, jazz fragments, industrial dub & spoken abstraction featuring label friends & associates from the UK & EU.

Das Gründungsmitglied von Black Sabbath und der „Godfather of Heavy Metal“ kehrt mit seiner ersten
neuen Solomusik seit 21 Jahren zurück – zugleich seine erste vollständige Studioveröffentlichung seit dem
letzten Black-Sabbath-Album *13*. „World Alone“ ist die erste Single aus dem gleichnamigen Album;
es handelt sich um einen rasanten, gitarrenbetonten Song, der von Tonys unverkennbaren, gewaltigen
Riffs angetrieben wird. Der Track ist hart und doch eingängig, und dank des Textdichters und Sängers
Jørn Lande wirkt er zudem aufbauend. Dies ist klassischer Iommi: Er vereint alle Markenzeichen seines
legendären Gitarrenspiels mit einer modernen Note.

Das zweite Studioalbum der amerikanischen Post-Hardcore-Band – ursprünglich im Mai 2011 veröffentlicht
– erscheint nun als Neuauflage auf schwarzem Eco-Vinyl. Die Aufnahmen fanden bei Interlace Audio in
Portland, Oregon, statt. Produziert wurden die Sessions gemeinsam von Kris Crummett (der auch als
Toningenieur fungierte) und der Band. Das Album enthält die Singles „Do It Now, Remember It Later“,
„Fire“, „If You Can’t Hang“ und „A Trophy Father’s Trophy Son“.

Mit „PRIMA“ veröffentlicht ADÉLA ihr Debütalbum. Produziert von Dylan Brady (Charlie XCX, The
Neighbourhood) und Blake Slatkin (Justin Bieber, SZA, Ed Sheeran, Lil Nas X) verbindet das Album druckvolle Beats, Sounds und selbstbewusste Pop-Momente mit persönlichen Themen wie Identität, Beziehungen,
Verletzlichkeit und ihrem Weg von Bratislava in die internationale Popwelt. Die neue Single „Ain’t In LA“
gibt einen weiteren Vorgeschmack auf das Album und folgt auf „KGB“ und „Red Bottoms“ sowie ihre
ausverkaufte erste Nordamerika-Headline-Tour.

Sam Tompkins kehrt mit seinem zweiten Album ARE WE GONNA SING? zurück. Die 12 Tracks zeigen
ihn von seiner bisher ehrlichsten und persönlichsten Seite.
Entstanden in seiner Heimatstadt Eastbourne und produziert mit Manta, Humble the Great, HARGS
und Mac Jamieson, verbindet das Album emotionales Storytelling mit rohem, authentischem Songwriting.
Thematisch bewegt es sich zwischen Nostalgie, Freundschaft, Liebe und Selbstfindung.
ARE WE GONNA SING? erscheint als Standard-CD und LP