Yo No Se return after a 5-year hiatus since their last album, Soma. Their
new album Terraform continues on from the dystopian world created in
Soma but this time taking the narrative to the stars. Terraform explores
the ideas of making a fresh start on another planet but the same
problems creep in…. Greed, corruption and hate. Exploring more of a
grunge feel along with some hard psych the band recorded with Dom
Mitchison (as well as Alex doing guitars and vocals at home), mixed with
Ali Chant and mastered again with grunge godfather, Jack Endino.
The band have toured across Europe in support of Soma in the last 5
years and gained a reputation for their loud and energetic shows. The
album has 3 drummers under its belt and countless breakdowns on the
road. With the pandemic kicking in just as the band started touring, they
had plenty of time to finally record (and find another drummer).
Terraform is a record 5 years in the making due to sheer bad luck.
Hopefully, their luck will change as the band are already working on their
follow up record.
The first single Black Door approaches the subject of corruption
amongst 'leaders'. The idea comes from Boris Johnson getting Brexit
'done' to forward his own career without thinking about the impact it will
have on peoples lives. We’ve had enough and we're ready to tear down
the establishment. The idea being that these problems we now face will
follow us wherever we go unless we stamp them out, here, on earth.
The artwork for the cover is by renowned sci-fi artist Bruce Pennington.
„In My Own Words“ ist eine Hommage an herausragendes lyrisches Storytelling, echte Emotionen und
geschmeidige Choreografien, die jeden Song unterstreichen. Obwohl Ne-Yo bereits als Songwriter für
andere erfolgreich war, machte ihn das 2006 erschienene Album „In My Own Words“ der Welt als Künstler
bekannt. Mit Hitsingles wie „So Sick“, „Sexy Love“ und „When You’re Mad“ stellte dieses Album nicht
nur sein erstaunliches Songwriting, sondern auch sein unglaubliches Gesangstalent unter Beweis. NeYos Debütalbum war ein kommerzieller Erfolg, erreichte Platin-Status und etablierte ihn als einen der
einflussreichsten R&B-Künstler dieser Ära.
out of Stock
Last delivered 4 months ago available to reorder, subject to availability
Folksongs and Ballads by Tia Blake & Her Folk-Group, is more than just a “lost classic”. As clear and honest as can be, Folksongs and Ballads is a magnetic record, a refuge like only Nick Drake, Nico, and a few others have been able to create. A graceful, delicately minimalist approach to classic Appalachian and British folk songs.The perfect balance between melancholy and daydream. Originally released only in France in 1971, Ici Bientôt is very pleased to present the first-ever reissue on vinyl.
When she recorded her only album, Tia Blake was nineteen years old and had just arrived in Paris a year and a half beforehand. She spent most of her time at Disco’Thé, a record shop in the Latin Quarter, a free space, peaceful and inspiring, a hub for students as well as the local artistic community.
There, Tia would occasionally sing—when she managed to overcome her shyness. Two young guitarists who were passionate fans of folk music and regulars at the shop began to accompany her, forming “Her Folk Group.” One year later, they cut 11 tracks at Pierre Barouh’s Studios Saravah.
Folksongs and Ballads is composed of traditional tunes that have been covered many times, but they’re not the best-known folk standards. A collection of stories ranging from the Middle Ages to the 1960s, bringing together sublimely doleful ballads, lamentations for a lost lover, and an unexpected, brilliant version of the road anthem “Plastic Jesus.”
Tia Blake's haunting, unaffected voice captivates and comforts us, wrapping us in its cool embrace. Meanwhile, the tasteful, stripped-down, mellow acoustic arrangements provided by the guitarists, reminiscent of Bert Jansch and John Renbourn, occasionally supported by a kena flute, have created the space Tia Blake needed to reinvent these traditional songs.
Folksongs and Ballads is a timeless record, deep and unique, a longtime companion for repeated listening, in the vein of works by Sibylle Baier, Bridget St. John and Vashti Bunyan.
Over the last decade and a half, Rotation Sound System’s annual gathering in the Staffordshire countryside has become one of underground dance music culture’s true success stories – an intimate gathering of like-minded friends and partygoers, powered by a custom-built six-way sound system, with music provided by a carefully curated line-up of dusty-fingered diggers, selectors and hand-picked live performers.
At the heart of the collective’s unique and much-loved approach lies a dedication to finding and sharing lesser-known gems and audio obscurities – fantastic records whose charm and quality has long been overlooked.
Last year, the core members of the crew – founders Dean Meredith and Ben Shenton (renowned for their productions as Mind Fair), and Wrekin’ Havoc trio Rob J, Stuart Robinson and Rich Hall – offered a snapshot of their unique musical approach via debut compilation Everything You Are About To Hear Is True, Volume 1, in the process introducing a global audience to some of the countless unknown mid-tempo classics nestled in their collections.
Fresh from another sold out edition of their acclaimed micro-festival, they’re back with volume two, another must-have collection of slept-on classics, loved-up shufflers and wide-eyed Balearic beats, all of which have played a part in Rotation’s story over the last 13 years.
Appearing on gatefold double vinyl with extensive liner notes telling the stories behind the tracks, Everything You’re About To Hear Is True, Volume 2 is full to bursting with music that sounds mind-blowing on the crew’s high-end sound system.
For proof, check the analogue-rich intergalactic shuffle of Paul Atreides’ 2015 jam ‘Arrakis Walk’, the relaxed boogie-soul of Rocky Winters’ Chaz Jankel produced ‘Vicious Circle’, the easy-listening-jazz-rock bliss of Vincent Maclin’s ‘Should’ve Took a Chance’, the 80s soul squelch of ‘Ecstasy (Centurion Mix)’ by Endgames and the immersive British dub drift of Sigma’s ‘Remember (Dub Style)’.
Everywhere you look, you’ll find eye-opening and ear-pleasing delights. There’s Pinky’s lightly acid-flecked, breakbeat-fuelled, acid house-era street soul classic ‘I Wanna Be The One (Instrumental Groove)’, the 1992 new age downtempo seduction of Linda Myers (‘Shine On Me’), the Clavinet-and-synth sporting jazz-rock/space-rock fusion of Wolfhound (1984 gem ‘Another Moon Song’), the Gallic colour of Buzy’s ‘Keep Cool (Version Maxi)’ and the guitar solo-laden electrofunk explorations of mid-80s UK act Lifesighs (‘Get Serious’, here presented in its extended instrumental form).
We're thrilled to present a very special vinyl release that's sure to bring back some amazing memories. It's been exactly 20 years since the 2 Black scored an incredible hit in Italy and abroad with their unforgettable track "Waves of Luv" - you know, the one that takes us “in alto mare"!
To celebrate this milestone, we're releasing a commemorative vinyl that's packed with goodness. On Side A, you'll find the two most-played original versions: the Soulstatic Radio Mix and the Mattara Vs Vtraxx Extended Mix. These are the classics that made us fall in love
with the track in the first place.
But wait, there's more! Flip it over to Side B, and you'll discover three brand new, super-fresh remixes that bring "Waves of Luv" right into 2024:
This vinyl is the perfect blend of nostalgia and contemporary sound. It's a must-have for any dance music enthusiast, and it'll be the perfect addition to your summer playlists. Don't miss out on owning this piece of dance music history!
Get ready to ride the "Waves of Luv" all over again!
‘It opens with hypnotic, dubwise low-end pressure; then Guess What pushes into Bristol techno territory. Next up the syncopated bass mutations of You’d Never Know; before Swollows Sunshine drifts into electro, ambient melancholy.’
If you dig deep enough into the internet's lower depths, you'll find a shaky video shot on a camcorder. In 43 seconds, we see a makeshift drum kit built out of backyard Ostbahnhof trash, hear distorted vocals, and feel the anarchic energy of band and ravers dissolving into each other. It's now been twenty years since Bonaparte played their very first show at the legendary Bar25 on Berlin's Spree river. The ringmaster of this unhinged musical theater was Tobias Jundt then, and it's Jundt again now bringing the Bonaparte extravaganza back to the stage. New and nostalgic sit close together when the party's been going this long. Or, as they put it: "PARADISE IF YOU CAN STAND IT."
From late October through mid-November, Bonaparte will tour Germany, Austria, and Jundt's native Switzerland at full intensity, the full lineup - band to burlesque. Since their 2006 debut through their supposed farewell in 2019, Bonaparte played over 800 shows in 28 countries. Bottom line: "Too Much" isn't enough to properly celebrate a body of work like this. And the new songs from "PARADISE IF YOU CAN STAND IT" are far too significant not to bring to the stage. The lo-fi trash-punk of Bonaparte's earliest records has been built out with added layers, in production (largely alongside British avant-garde electronic artist HELiX) and in the songwriting itself.
The world certainly hasn't gotten any simpler since 2006. Tracks like "EVERYBODY PRESiDENT," loosely riffing on Zoe Leonard's poem "I Want A Dyke For President," and the corrosive "BRAiN ROT" mirror the social chaos we find ourselves in 2026. "OBEY (THERE iS STiLL A RiOT GOiNG ON)" is just as furious, though here the principle of hope still holds, as a multigenerational choir concludes "everything will be okay." Jundt speaks across generations again on "i LOVE YOU (MORE LATER)," dedicated in equal measure to his parents and his daughters: "Let the echo chamber bleed - from here into eternity."
The reconciliation and hope Bonaparte allows for and tends to, amid violence and all that noise, make "PARADISE IF YOU CAN STAND IT" a singular document of an artist grown wiser. Separation and grief don't cancel out love and vitality - they depend on each other. Ultimately, the album is a record of searching for and finding a home. To arrive, you have to let go.
And what better place to let go than in step with Bonaparte's wild, hedonistic party circus, finally back to gently terrorize our cities?
We worked closely with surviving members of The Nerves, Paul Collins and Peter Case along with Jack Lee's daughter Cynthia to bring The Nerves - Best Collection to you.
Unlike previous releases that often relied on secondary copies or rips from vinyl and CDs, we were able to locate the original source recordings and have Warren Defever master/remaster them at Third Man Mastering in Detroit for this release. This is what makes this record so special—it features the definitive versions of these tracks as they were originally intended, some have not been heard since the day they were recorded. We hope you enjoy it.
Time to turn on and turn it up, theres a brand new Carlton Melton in the offing… its been a good couple of years since the West Coast space/sike travellers have dropped new music.
‘Phantomize beyond the window, into the portal, the panes of eternal returns, wooden spirals, roots into the realms of everything and nothing, the reason beings’
With Anthony Taibi fully ensconsed in the metaphorical Melton Dome, this four piece is ready to soar, go deeper and wider into the sike psyche than on previous recordings, now fully recording live with drums, bass, guitars and keys...recorded at 3D Light in Freshwater, CA by Anthony Tiabi in 2025, and mastered by the inimitable John Mcbain in 2026.
We have a single LP of 40+ minutes spanning 4 tracks, that have textures, and waves and patterns to lull you into some fever dream of motorik psych! Touchstones like Träd, Gräs Och Stenar / Kandodo / Guru Guru / Eno & Fripp / Birds of Maya / Parson Sound come into view.
There are moments of gentle ambience bordered by speaker shredding guitar soloing, whole passages of Krautrock inspired jams that have form and focus.. you blink and your live flashes before you, the record ends, you want more..
There are moments of gentle ambience bordered by speaker shredding guitar soloing, whole passages of Krautrock inspired jams that have form and focus.. you blink and your live flashes before you, the record ends, you want more.. Carlton Melton masterfully blend hypnotic, long-form psychedelic jams with drone and Krautrock influences.
Band:
Rich Millman
Andy Duvall
Clint Golden
Anthony Taibi
Announced to celebrate summers solstice.. released on the Autumn equinox.. with a full UK tour to boot..
IRST ALBUM IN 10 YEARS.
TOURING WITH TROPICAL FUCK STORM IN NOVEMBER (DATES BELOW).
PRODUCED BY DAN LUSCOMBE (THE DRONES) WHO IS ALSO PART OF THE LIVE BAND.
PREVIOUS ALBUMS ON HARDLY ART/SUB POP AND REMOTE CONTROL.
VERY LIMITED BLACK VINYL AND INDIES ONLY PINK VINYL . NON-RETURNABLE.
‘Jarrod Quarrell, creator of Lost Animal, is one of the most underrated songwriters in Australia and one of our all-time favourites. He creates poetic expressions. His work is very interesting in a highly original way and richly emotional. The songs reveal themselves more over many listens and always feel fresh. His powerful, beautiful, transformative, and unforgettable songs possess the vast depth of the human spirit.’ - GIMMIE GIMMIE GIMMIE ZINE
‘Quarrell has developed a collaged techne that embodies a heart-on-sleeve attitude. Lush melodic delays wash with an influx of lyrics that pierce with uncanny imagery and diction.’ - VICE
It’s not every day you hear about a new Lost Animal album. In fact, it’s been ten years between drinks. The debut Ex Tropical (Hardly Art/Sub Pop) was released in 2011, and followed by You Yang (Remote Control) in 2016. So what happened, and where’s frontman/mastermind Jarrod Quarrell been for the last ten years?
From the horse's mouth, “I don't give a fuck about productivity”. A humbling reply. It confirms Quarrell's MO: here’s an artist as a non-conformist. And when he does see fit to bless us with his unique vision of what music can sound like, it has the ability to completely charm and disarm. Amongst a sea of rock bands, LA is essentially a solo act. Simply put; LA is JQ. But on the other hand, amongst an ocean of solo acts, LA possesses the grandiosity of a full band, punk in spirit, but without being fast, or heavy.
Armed with keys and synths, timbres align more with what a toucan might listen to, as opposed to what's heard commonly throughout Melbourne's gig economy. Strings are gently plucked and horns are tenderly blown. These are the colourful brush strokes that decorate the upper frequencies. They’re the ticket to a far away land;exotic, and potentially very dangerous. If the crew from Hear My Eyes are reading this, consider Lost Animal performing Give Some Get Some as the soundtrack to the next time you screen The Hangover Part 2. Yeah, the one where shit gets super fried in Thailand.
The album examines the underbelly of what a ten year journey might rub up against. As one may expect, a lot of that action is below the belt. Tracks like Do That Thing, and In
Rewinding, a few things have happened in the past ten years that are worth illuminating. Shags is no longer commandeering the bass full time. Though he does make an appearance on a couple tracks. The main difference from present day to yesteryear LA is Dan Luscombe (The Drones). Luscombe has jumped into the role of producer (and also part of the live band). One could say he’s a producer of the Spector-ilk: playing a hands-on approach and assisting Quarrell's song crafting. He may have suggested to add a chorus or two, but the chord progressions remain distinctly Lost Animal. You'll recognise them easily by their beauty, combined with either fragility or rigidity. Luscombe is arguably the defining force that made this album happen. Perhaps he had Quarrell at gunpoint. Yet to be confirmed. Regardless, thank fuck for Luscombe because it may have been another decade.
But the album's defining feature is arguably Quarrell's lyricism. He may not cross-examine where he's been, but his voice does unmask where he is: absolved and reincarnated. The decade-long journey has resulted in him looking inwards and unlocking himself. The album's many mantras suggest that he may be a bird (I'm a Bird Now), or that he is living on another planet (Never is Forever). Whatever and wherever he may be,
Give Some Get Some invites the listener to reflect on their own journey over the past decade. Because the game's got a price. So ask yourself what have you taken, and what have you given? Life ain't a box of chocolates. It's a bowl of berries. And when fruit symbolizes temptation, get some.
IRST ALBUM IN 10 YEARS.
TOURING WITH TROPICAL FUCK STORM IN NOVEMBER (DATES BELOW).
PRODUCED BY DAN LUSCOMBE (THE DRONES) WHO IS ALSO PART OF THE LIVE BAND.
PREVIOUS ALBUMS ON HARDLY ART/SUB POP AND REMOTE CONTROL.
VERY LIMITED BLACK VINYL AND INDIES ONLY PINK VINYL . NON-RETURNABLE.
‘Jarrod Quarrell, creator of Lost Animal, is one of the most underrated songwriters in Australia and one of our all-time favourites. He creates poetic expressions. His work is very interesting in a highly original way and richly emotional. The songs reveal themselves more over many listens and always feel fresh. His powerful, beautiful, transformative, and unforgettable songs possess the vast depth of the human spirit.’ - GIMMIE GIMMIE GIMMIE ZINE
‘Quarrell has developed a collaged techne that embodies a heart-on-sleeve attitude. Lush melodic delays wash with an influx of lyrics that pierce with uncanny imagery and diction.’ - VICE
It’s not every day you hear about a new Lost Animal album. In fact, it’s been ten years between drinks. The debut Ex Tropical (Hardly Art/Sub Pop) was released in 2011, and followed by You Yang (Remote Control) in 2016. So what happened, and where’s frontman/mastermind Jarrod Quarrell been for the last ten years?
From the horse's mouth, “I don't give a fuck about productivity”. A humbling reply. It confirms Quarrell's MO: here’s an artist as a non-conformist. And when he does see fit to bless us with his unique vision of what music can sound like, it has the ability to completely charm and disarm. Amongst a sea of rock bands, LA is essentially a solo act. Simply put; LA is JQ. But on the other hand, amongst an ocean of solo acts, LA possesses the grandiosity of a full band, punk in spirit, but without being fast, or heavy.
Armed with keys and synths, timbres align more with what a toucan might listen to, as opposed to what's heard commonly throughout Melbourne's gig economy. Strings are gently plucked and horns are tenderly blown. These are the colourful brush strokes that decorate the upper frequencies. They’re the ticket to a far away land;exotic, and potentially very dangerous. If the crew from Hear My Eyes are reading this, consider Lost Animal performing Give Some Get Some as the soundtrack to the next time you screen The Hangover Part 2. Yeah, the one where shit gets super fried in Thailand.
The album examines the underbelly of what a ten year journey might rub up against. As one may expect, a lot of that action is below the belt. Tracks like Do That Thing, and In
Rewinding, a few things have happened in the past ten years that are worth illuminating. Shags is no longer commandeering the bass full time. Though he does make an appearance on a couple tracks. The main difference from present day to yesteryear LA is Dan Luscombe (The Drones). Luscombe has jumped into the role of producer (and also part of the live band). One could say he’s a producer of the Spector-ilk: playing a hands-on approach and assisting Quarrell's song crafting. He may have suggested to add a chorus or two, but the chord progressions remain distinctly Lost Animal. You'll recognise them easily by their beauty, combined with either fragility or rigidity. Luscombe is arguably the defining force that made this album happen. Perhaps he had Quarrell at gunpoint. Yet to be confirmed. Regardless, thank fuck for Luscombe because it may have been another decade.
But the album's defining feature is arguably Quarrell's lyricism. He may not cross-examine where he's been, but his voice does unmask where he is: absolved and reincarnated. The decade-long journey has resulted in him looking inwards and unlocking himself. The album's many mantras suggest that he may be a bird (I'm a Bird Now), or that he is living on another planet (Never is Forever). Whatever and wherever he may be,
Give Some Get Some invites the listener to reflect on their own journey over the past decade. Because the game's got a price. So ask yourself what have you taken, and what have you given? Life ain't a box of chocolates. It's a bowl of berries. And when fruit symbolizes temptation, get some.
Tresor Records announces GODSPEED, a new EP from NVST, out on October 23, 2026. From its origins in the Motor City and through to the themes of interstellar travel, techno has always been a genre focussed on forward movement, a tradition that GODSPEED continues boththrough music and title.
The EP is a collection that brings to mind the spirit of early, non-conformist releases on Tresor, full of hypnotic synth loops, spacious FX, and breakbeats, yet with a crisp and modern sonic palette. Side A embarks with two tracks that combine a low, buzzing bassline with trippy melodies and percussion that ventures close to breaks and electro, while the B-side moves intothe fast lane with driving acid and more regimented drums. Digital bonus track "Firliner" combines both approaches across its seven-and-a-half minutes, as a buzzy bassline and spluttering beat ignite into a steady trance-induction.
The EP title arrived the way the best ones do: not so much chosen as absorbed from the aether, the word kept popping up during the creative process until it became the ideal name for this collection, given its connotation with setting out on a journey.
"You remember the nights where you've been on the floor for hours without realising how much time has passed, the conversations you can't fully recall, or how unexpectedly open you've been to everything around you. The music speaks the language of substance not as a statement, but as a way of describing perception. It's about experimenting with yourself, your body, your hearing, your emotions. About reaching a point where things that once felt permanent suddenly lose their grip, even if only for a moment. These recordings come from that place. They capture moments where movement replaces thought, memories blur into feeling, and vulnerability becomes part of the process. They're documents of a very
specific time, but also of something much more familiar: trying to lose yourself just enough to find a different version of who you are." NVST
This fast-paced forward travel is implicit in the word speed, but once this word indicated power or prosperity so that godspeed is a wish for success, forming an appropriate double meaning for this first full release of NVST on Tresor.
It’s rare for a hardcore punk band to make four full-length albums, and rarer still for the fourth album to be the band’s masterpiece. Yet Paratiisi, the fourth album from Helsinki punks Kohti Tuhoa, stands as the undeniable coup de grâce of a catalog overflowing with classic hardcore punk. If you’re already a fan, it’ll comfort you to know Paratiisi leans heavily on the strengths Kohti Tuhoa has possessed since their earliest releases: a timeless sound that combines UK82 drive and hooks with dramatic metal flourishes; a captivating vocalist with the perfect balance of grit and clarity, who can both howl like a banshee and carry a tune; and a particularly Finnish way with a driving, medium-fast tempo. But for all the continuities with Kohti Tuhoa’s excellent previous records, Paratiisi almost feels like the work of a new band. The riffs and choruses that anchor the album are impossibly catchy; Paratiisi bulges with huge moments that practically force you to air guitar and sing along (even if you don’t speak a word of Finnish), the band’s peerless chops and the rich and clear recording driving these climaxes to dizzying highs. But while the hooks are memorable, there isn’t a moment on Paratiisi that feels dumbed-down or overly familiar.
In fact, the album feels notably ambitious, pulling influences from across punk’s historical and aesthetic breadth and digesting them seamlessly into Kohti Tuhoa’s distinctive sound. The lyrics (don’t worry: English translations are included!) meet the same high bar as the music. They’re direct, assertive, and punk, but they’re also subtle and insightful, whether they’re tackling huge issues like microplastics or sharing a very personal account of a sexual assault and its aftermath. And then there’s Paratiisi’s most unexpected moment, “Eliitin Psykopatia,” a free punk freakout in the tradition of “Why (Reprise)” and “L.A. Blues.” If Kohti Tuhoa’s brief foray into free jazz tries your patience, though, don’t worry, because after three minutes of building tension, they reward you with what is bound to be the best riff of 2026, a clash of chords potent enough to blow holes through walls the world over. Paratiisi is the sound of one hardcore punk’s most exciting bands at the height of their powers.
This special 3LP clear vinyl collates the “Back To Black” era in a definitive package. Featuring the original studio album, 4x unreleased demos, rare B-sides and demos, alongside the notable live performance from Paradiso, Amsterdam (February 8th 2007) from the Back To Black tour, never released in full and on vinyl.
This edition features brand new alternative cover artwork, including Amy’s handwritten lyrics, and never-before-seen photos by original album photographers Mischa Richter and Alex Lake, plus brand new, exclusive liner notes from Mark Ronson and Salaam Remi.
2026 celebrates the 20th anniversary of the 5x Grammy award winning album “Back To Black”, universally regarded as one of the greatest, most important and influential albums in pop history.
Strawberry Guy’s new album ‘Give Me A Dream’ unfolds as a tender, fragile and intimate record. The 14 track album arrives as the ultimate hopecore long player, in a time when we need it most. It's a guiding light, healing for the mind, exploring the tight-rope balance that is making it through life intact. Strawberry Guy evolves from the dreamy indie-pop home recordings to a perfectly formed crystalline vision, utilizing an immersive studio approach. Shifting from sparse & fluid piano parts to rich, engulfing layered strings, infectious melodies and an exquisite rumination on manhood from fraught emotional states. Give Me A Dream is a big step up, brimming with ideas, glistening production, and a tender heart.
Ediciones Espectro Oculto returns with EOD003, its third release and the opening instalment of a new Split Series — a side each for two artists who deal in the shadows: Mick Wills & Blackmoon77.
Mick Wills handles the A-side in familiar territory, mining the margins of European DIY synth culture for cuts & edits. A1, “Six Six Six Sex”, resurrects a forgotten wave track laid down in 1983 by Venlo duo Carin & Henk, Carin Kollenbrander’s conspicuous, sexed-up vocals carrying the unmistakable spirit of the early-’80s minimal synth underground. A2 cuts “New York” by MCL a new beat staple first issued on German’s Boy Records, tightened into a playful, dancefloor-ready tool. Closing the side, Mick Wills turns to Folkvett’s “Kommando Kamprad” — originally out on Pater Noster Ltd. in 2012 — an ethereal, out-of-body drift that pulls the mood inward.
On the flip, Blackmoon77 doubles down on their signature across three originals: dark, raw and hypnotic wave built for bold & audacious DJs and fierce dancers.
All tracks mastered by Alden Tyrell.
As always, this is a one-time pressing of 250 copies — no repress, and no digital until the vinyl is gone.
Get Used To It, a “uniformly excellent” album (PopMatters) first released in 2006, marked the return of N’Dea Davenport, whom The New Yorker described as “a lithe dynamo with a sensuous voice and an arresting presence.” Her voice remains inseparable from The Brand New Heavies’ classic sound, “an accessible hybrid of soulful grooves and smooth funk,” as The New Yorker put it
Ossie lands back on Heist after his 2025 hit ‘Are U still smiling?’ with a 4 track EP featuring Miraa May.
How on earth do you follow up your debut when that record got dancefloors moving across the world and picked up radio & dj plays from dance music’s finest selectors?
Many producers would get instant writer’s block, but not Ossie. His new EP on Heist is full of joyous melodies, catchy vocals and euphoric dancefloor moments. Across 4 tracks, Ossie takes us on a trip through rolling electronics, catchy UK sounds and big room anthems.
His Heist debut in 2025 did not go by unnoticed, and Ossie kept a busy calendar since, with regular shows in London and Hï Ibiza with Skepta’s Mas Tiempo crew, his own Supercali imprint as well as his appearance alongside heavyweights Louie Vega, Kerri Chandler, Cinthie and more on Heist’s ‘House of House’ much celebrated compilation.
The Motivation EP kicks off with a bumpy UK track that somehow reminds us of Bicep early day hit ‘Vision of love’. Where the Bicep boys went for a big sample, Ossie landed a surprise studio session with Algerian born-London native Miraa May where they wrote ‘Motivation’ in a single session. The track is stripped back to its core with catchy scats and chants from Miraa May and keys that’ll stick with you far after the track is over. If you’d need any extra motivation for your daily routine, to get out of bed or to go out dancing, this is your jam.
‘Can it get any better’ is a loopy house affair with soulful vocal chants, hints of disco and a subtle piano theme that drives the track into big room territory. It’s energetic without ever getting over the top; a thin line Ossie navigates effortlessly on this record.
On the flip, we’ve got ‘Left side’; a deep groover built around a synth & disco loop and cleverly sampled vocals singing ‘I believe… oooh yes I do’. This one is definitely a lowkey banger, where Ossie turns that one simple loop into a powerful theme made to ignite dancefloors.
The EP closes with the heavy warehouse groove of ‘Don’t stop’. A cavernous low end, rough percussion and chopped synth stabs all come together on this beast of a track. Ossie cleverly plays around with vinyl backspins, vocal chops and small changeovers to keep things interesting, while the groove just keeps on going.
Ossie’s ‘Motivation’ EP has dancefloor written all over it and with all its forward energy, there’s no doubt you’ll be hearing this one a lot in clubs all over the world.
Following the international praise for their 2024 debut album Where Did You Go?, Sandman Project return with Hearts Forever, the first album entirely composed, arranged and produced by guitarist, composer and bandleader Tal Sandman. Rooted in psychedelic groove, Middle Eastern musicality, funk, jazz and desert rock, it is a record driven above all by a wider spiritual belief in music as a force for connection.
If Where Did You Go? introduced Sandman Project as a borderless, brass-heavy outfit with a cinematic sound, Hearts Forever takes that vision somewhere more intimate and self-assured. Written following Tal's move from Jaffa to Leipzig, the album reflects a period of personal and creative transformation. Arriving in Germany without knowing whether she would find the right collaborators, she gradually assembled a new band through recommendations from fellow musicians, discovering a group capable of bringing her musical vision to life. For Tal, the music is not about drawing neat lines between styles or traditions. It is about taking inspiration from wherever it appears and reshaping it into something honest and alive. "If music touches my heart, it inspires me", she says. "So much music already exists, but what we are doing is creating something new out of inspiration. You take the ingredients and make a new thing".
This is the quiet force behind Hearts Forever. Almost entirely instrumental, the album deliberately leaves space for listeners to find their own stories within it. Without lyrics, the music is never confined to one language, nationality or identity.
Following support for Where Did You Go? from All About Jazz, DJ Magazine, Bayern Radio, Greedy For Best, Pipelines Magazine, Ban Ban Ton Ton and Laurent Garnier, Hearts Forever finds Sandman Project entering a new chapter: more confident, broader in vision and more deeply rooted in Tal Sandman's own creative voice. Rich, restless and full of feeling, Hearts Forever is music for uncertain times; a record about holding on to innocence, choosing compassion and believing, however quietly, that connection is still possible.
Put your hands together and please welcome Linda Lo to Shall Not Fade's Time is Now imprint. The LA producer/DJ's new 12" EP "Masa" drops 23rd Oct 2026 and f**k is it sick.
Linda Lo fuses* mambo, samba, and salsa with UK garage, dubstep, and club rhythms to make guaranteed rewind material that is gonna light up the dance…
* imma talk about this fuses sh*t in a minute.. First we need to get a bit philosophical. Cos rewinds and fusions aside, this EP is alive. It's part of something bigger and cyclical, without a start or an end. It is music. It was part of someone else's music before and it will be part of other people's music in the future. Right now though, it's Linda Lo's music.
Too esoteric? Let me elaborate and, let's talk about fusion. There is the fusion that is – steal a bit of genre X and culture Y, chuck it on the grid and strut about professing fusion – and then there's actual fusion: Music that is something "new" and real and genuine. Music that you end up describing excitedly as a "fusion of" things (even if it inevitably ends up doing it a disservice). Music that is simultaneously one thing and not that thing, and also something else and not that something else too. Music that is just "music" to the creator but is also part of the progression and evolution of music for others. Mala wasn't making "dubstep". Skream & Benga ended up not making Garage. Like many before and after they were making their music and Linda Lo is making her music so let's hear from her about it. Big up Linda. This is real.
Notes from Linda:
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“Like Croydon by way of Havana”
“Masa, or corn-based dough used to make tortillas and tamales, is a traditional staple food for many in Mexico and throughout LatAm. In the Maya worldview, people's flesh is made out of masa. In order to make masa, corn must be dried, nixtamalized, ground, and mixed (often by hand) to create the right textured dough. I find much of my music work is a collision and a mixing of many elements, all worked into one product. In this way, I've worked these songs, transforming raw rhythms and sub bass into hand-mixed tunes. ‘Masa - EP' presents four delicious heaters. The title track explodes with a fiery double-time dubstep groove. Mambo horn stabs bite through a bass inferno. ‘Cenote' looks down upon a subterranean pool of sound—still on the surface but impossibly deep. ‘Minifalda', pure flirt and gyration, calls in cuica and other voices from a samba bateria. Finally, claves stitch across ‘Mestiza', a fusion of blooming lush orchestration and jagged 2step rhythm.
Around 1960, my grandparents were regular dancers at the Palladium in Los Angeles: young, Mexican, and falling in love to dance music, specifically big band mambo. My mom, consequently, is a fantastic dancer, and her mambo collection along with my dad's exotica records formed the base of my own vinyl collection. When I first discovered garage and dubstep, there was something indescribably familiar to me, something mambo-like about the syncopated offbeat hits and drama. Later, as I began stitching together mambo claves and 2step drums, I assumed I was trying out something totally new. The farther I go, the more I see that I was wrong.
Dubstep, garage and jungle share a parental lineage back to dub reggae, originating from Jamaica. Mambo hails from Cuba, and sister genres of salsa to NYC & PR, and bachata and meringue to the Dominican Republic. Yet, these musical genres of the Caribbean have not developed in isolation. Reggae, mambo, dancehall, salsa, even son jarocho from Veracrúz, Mexico (where my family is from), all developed together, influencing each other fundamentally. Ultimately, all musics of the Caribbean have come from West African polyrhythmic musical heritages. Garage, mambo, dubstep, and salsa are points in time along one musical continuum.
I feel very honored to be a selector working in Los Angeles (and elsewhere!). I hope I can share some music for the next generation of young people to fall in love to. "
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I'm moved by what Linda writes here. #1 Doing what you love, and finding you are part of something bigger. Creating for yourself freely and hoping to inspire others with healthy amounts of care, humility, freedom, self awareness and enjoyment. (It is inspiring and I'm honoured we are now a part of sharing Linda's music). #2 There's something wonderful about finding connection and a sense of place. A place physical, spiritual and in time. Music can help us all find connection and be part of a place. Wheel it up wherever you are.
For their eagerly awaited third album, the Parisian trio Howlin' Jaws have teamed up with Swedish producer Kalle Gustafsson Jerneholm (bassist with The Soundtrack Of Our Lives and producer for Foals, The Hives, Jose Gonzalez and Junip) and have taken a major step forward, affirmingthe universal appeal of their explosive yet elegant psych-rock. This new album, Living The Dream, crystallises just about everything we'd ever dreamt of hearing from Howlin' Jaws. Here, more than ever, their dreams take the form of unifying choruses, transforming grief ("Troubled Mind") or separation ("Do What You Gonna Do", "So Sorry") into genuine bursts of hope. Rich in texture (with the Omnichord and Mellotron featuring on the spellbinding "Miss You" and the twilight-tinged "Up On The Roof" respectively) and in wit (led by the biting "Living The Dream"), the eleven-track album is equally diverse in its range of influences. Disco looms large on "Terminal Buzz", country creeps in on "Sunset Laundromat", whilst the fiery "Maximum Speed" is a joyful reminder of King Gizzard & The Lizard Wizard's trippy flights of fancy. The trio are stunning when they're in full swing, but just as impressive when they slow the tempo down. Behind its layers of cosmic keyboards, "Time Has Come" immediately sets the scene and subtly invites introspection. Like an echo at the end of the journey, "That Kind of Pain" rubs shoulders with the stars of the French Touch (the Air school), letting the strings of the Stockholm Philharmonic Orchestra burst forth amidst its melancholic swells. All in all, whether he simmers his albums like an omelette or a beef bourguignon, Howlin' Jaws proves he's never short of imagination.
For their eagerly awaited third album, the Parisian trio Howlin' Jaws have teamed up with Swedish producer Kalle Gustafsson Jerneholm (bassist with The Soundtrack Of Our Lives and producer for Foals, The Hives, Jose Gonzalez and Junip) and have taken a major step forward, affirmingthe universal appeal of their explosive yet elegant psych-rock. This new album, Living The Dream, crystallises just about everything we'd ever dreamt of hearing from Howlin' Jaws. Here, more than ever, their dreams take the form of unifying choruses, transforming grief ("Troubled Mind") or separation ("Do What You Gonna Do", "So Sorry") into genuine bursts of hope. Rich in texture (with the Omnichord and Mellotron featuring on the spellbinding "Miss You" and the twilight-tinged "Up On The Roof" respectively) and in wit (led by the biting "Living The Dream"), the eleven-track album is equally diverse in its range of influences. Disco looms large on "Terminal Buzz", country creeps in on "Sunset Laundromat", whilst the fiery "Maximum Speed" is a joyful reminder of King Gizzard & The Lizard Wizard's trippy flights of fancy. The trio are stunning when they're in full swing, but just as impressive when they slow the tempo down. Behind its layers of cosmic keyboards, "Time Has Come" immediately sets the scene and subtly invites introspection. Like an echo at the end of the journey, "That Kind of Pain" rubs shoulders with the stars of the French Touch (the Air school), letting the strings of the Stockholm Philharmonic Orchestra burst forth amidst its melancholic swells. All in all, whether he simmers his albums like an omelette or a beef bourguignon, Howlin' Jaws proves he's never short of imagination.
Ian Pooley returns with a brand-new collection of original productions, delivering exactly what you'd expect from one of house music's true craftsmen.
Road-tested throughout his recent live shows, these tracks have already proven themselves where it matters most: on the dancefloor. Staying faithful to his unmistakable MPC-driven approach, Ian delivers groove, feel and musical restraint in equal measure. Crisp drums, warm sampling, infectious basslines and subtle arrangements come together in a way that only he can deliver.
No overproduction, no unnecessary breakdowns, no gimmicks-just pure, functional house music built for DJs. Timeless, stripped-back and effortlessly effective, this is another reminder why Ian Pooley remains one of the genre's most respected producers.
With Dogma, Hamburg-based metalcore innovators Half Me take their sound to an even darker and more uncompromising level. Building on the success of their acclaimed debut Soma, the band delivers a relentless blend of crushing riffs, hardcore aggression, industrial textures and raw emotional intensity. Featuring the previously released singles "Weather Eye", "Built On Your Blood" and "Fear Is The New Belief", Dogma is a concise yet devastating statement that cements Half Me as one of the most exciting new forces in modern heavy music.
With Dogma, Hamburg-based metalcore innovators Half Me take their sound to an even darker and more uncompromising level. Building on the success of their acclaimed debut Soma, the band delivers a relentless blend of crushing riffs, hardcore aggression, industrial textures and raw emotional intensity. Featuring the previously released singles "Weather Eye", "Built On Your Blood" and "Fear Is The New Belief", Dogma is a concise yet devastating statement that cements Half Me as one of the most exciting new forces in modern heavy music.
Soon after their 1978 debut on the Brian Eno-produced »No New York«, a compilation that defined the No Wave scene, James Chance's group Contortions had already evolved – getting sharper, tighter and just plain faster. Despite the loss of keyboardist Adele Bertei and bassist Geoge Scott (who refused to sign a new contract demanded by Chance and his then partner, band manager Anya Phillips) Contortions were firing on all cylinders, and their first full-length album, 1979's »Buy«, is a marvel of hot-wired energy.
Led by the brash yelps and free-sax squawks of Chance, Contortions spit out fiercely rhythmic tunes charged by the wiry guitar lines of Jody Harris and the dizzying slide guitar of Pat Place. With drummer Don Christensen slipping in pointillist beats and David Hofstra's infectious basslines, the songs on Buy crackle with both precision and abandon. Opener »Designed to Kill« shoots sparks of sound in all directions, while »Contort Yourself« is a nihilistic dance number wherein Chance instructs listeners to twist into knots, physically and mentally. "It's better than pleasure, it hurts more than pain," he snarls, later imploring, "You better try being stupid instead of smart."
Heavily influenced by the showman funk of James Brown (whose »I Can't Stand Myself« the band had covered on »No New York«), Contortions coined a downtown dance-punk sound that had immediate influence on subsequent No Wave bands – including Place's Bush Tetras and Bronx trio ESG – as well as the burgeoning disco movement. On »Buy«, Contortions' self-invented template is imprinted so hard into the grooves that it sounds like they're about to break, capturing a combustible band in all its fiery fury.
Apex militant late '70s style here, if you think you are into steppers you should have this one firmly in your sights. One of Mr. Smart's hardest records, this originally appeared only as an album track, but also had some fame as a dubplate played at the time by Jah Shaka and others. We've long had that cut in our sights, and while some nice new re-mixes of this tune appeared in the last few years, here is the real thing from '79 steel. The A-side features the raw dubplate cut vocal, no horns or other adornment, HARD to the point stepping drum and bass style. The B-side features the original Gussie Clarke dub mix aptly titled "Hot Steppers", also previously released only on album. This cut as well was run on dubplate back at the time, a killer mix with full horns but no vocal. Leroy Smart is one of our all time favorite artists and we take pride in having re-released a handful of his all time best records, this one now added to that list.
Die lang erwartete, auf 1.000 Exemplare limitierte Neuauflage des begehrten Debütalbums auf durchscheinendem lila ,Ritual Wine"-Vinyl - zum ersten Mal seit über 8 Jahren erhältlich. Erstmals wieder mit dem Original-Cover kehrt die ,Original Messe Noire" zurück. Zum ersten Mal seit ihrer unheiligen Geburt erhebt sich "Twin Temple (Bring You Their Signature Sound... Satanic Doo-Wop)" erneut aus der Gruft. Das Debütalbum von Twin Temple ist ein brillantes, blasphemisches Meisterwerk, das die Grenzen des modernen Rock 'n' Roll neu definiert. Durch die nahtlose Verschmelzung der klassischen amerikanischen Klänge der Girlgroups der 1950er- und 1960er-Jahre mit einem unerbittlich kompromisslosen, zeitgenössischen satanischen Ethos schafft das Duo ein Hörerlebnis, das zugleich schockierend originell und zeitlos ist. Das Album wurde unter Verwendung traditioneller analoger Techniken aufgenommen, unter anderem durch eine Live-Aufnahme auf Band in nur zwei Tagen, die die Essenz der Live-Qualitäten von Twin Temple brilliant einfängt.
For more than two decades, Vidmantas ?epkauskas has occupied a singular position within European underground culture. As the driving force behind Opium Club and gallery 1986 in Vilnius, founder of Ant Bangos, Alfavilnius and OLE festivals, curator, label owner, promoter, DJ and artist, he has spent much of his life creating the conditions for other people's music to be heard.
It makes sense then that he has no shortage of friends and collaborators in play. Across ten tracks, V presents shades of Italo, krautrock, post-punk, minimal synth, industrial pop and neon-noir romanticism, arriving somewhere between the dancefloor and a dream-state. The cast of collaborators both contextualize and help sharpen the vision.
First and foremost, much of the album was crafted alongside Frankfurt's Philipp Lauer, whose friendship with V grew through marathon studio sessions. Curses lends his unmistakable blend of dark romance and theatrical energy to "Is This What You Want?", Australian cosmic journeyman Dreems joins for the kaleidoscopic "Blitz Disc," Domenique Dumont brings their unmistakable emotive touch to "Avventura," while Lithuanian artists Noyus and Ruta MUR, both distinctive voices from the country's queer scene, whose vocals add another dimension to the record's emotional palette. As V puts it, "These are the people I've been vibing with."
That he finally delivers a full-length LP with such elusive qualities is more than a clue to his character. The title itself, a nod to Magritte's famous paradox and his years living in Brussels, suggests that any attempt to define V through a single image is destined to fail. At once playful and philosophical, 12:55 (Ceci n'est pas une V) questions ideas of identity and artistic value while marking the closing chapter of the musical persona that followed ?epkauskas' earlier success as Vidis. Neither retrospective nor statement of intent, it feels like a connected set of reflections spanning a lifetime of influences.
,Bands Like It When You Yell `YAR!' At Them" war ursprünglich eine Promo-EP von Minus the Bear, die 2002 als Vorgeschmack auf das Debütalbum ,Highly Refined Pirates" erschien. Was als einfache Werbe-CD begann, entwickelte sich schnell zu einem Fan-Favoriten und erscheint 2026 erstmals offiziell auf Vinyl. Die Veröffentlichung zeigt die Band in ihrer frühen Hochphase und vereint ihren charakteristischen Mix aus Indie-Rock, Math Rock, Funk, verspielten Gitarrenfiguren und elektronischen Elementen. Neben frühen Albumtiteln enthält die EP mit ,Drop It Like It's Hot" auch einen exklusiven Song, der die kreative Experimentierfreude der Band eindrucksvoll dokumentiert. Heute gilt ,YAR!" als wichtiges Zeitdokument der Anfangsjahre von Minus the Bear und als perfekte Ergänzung zu ,Highly Refined Pirates", einem der prägendsten Indie-Rock-Alben der frühen 2000er-Jahre. Von Bernie Grundman für Vinyl remastert und mit bei 45 U/min geschnittenen Lackplatten trägt diese limitierte Auflage von 1.000 Exemplaren auf "San Juan Sands" Vinyl dazu bei, die aufregenden Anfangsjahre einer der beliebtesten Bands des amerikanischen Indie-Rock zu dokumentieren und zu bewahren.
Zur Feier des 10-jährigen Jubiläums veröffentlicht LP eine erweiterte Deluxe-Edition ihres vierten Albums,
mit dem ihr der große Durchbruch gelang. Neben dem klassischen Titelsong „Lost on You“ – der kürzlich in
den renommierten „Billions Club“ von Spotify aufgenommen wurde – enthält die neue, erweiterte DeluxeAusgabe den bislang unveröffentlichten Track „Strange (Live at Harvard and Stone)“. Darüber hinaus sind
bisher unveröffentlichte Remixe von „Lost On You“ enthalten, die von DJ Pantelis, DiPap, MANSTA und
Lolos stammen.
Unsighted is a remarkable New Yorker mentored by legendary New Yorker, ALONZO. Unsighted’s understanding of rhythm, funk, and texture is world class and welcomed into the Kraftjerkz family of USA electro. Kid Ginseng’s Punk Funk Remix rounds out the 12” EP nicely. Some would say that Kraftjerkz is USA’s answer to Bunker Den Haag. Let the DJ’s decide. Salute!
80 g vinyl + 60 x 60 cm poster of original Big city life artwork)
Stirring the cauldron of sound. From the acclaimed album Big City Life, artists that Smerz admire put those songs through themselves, to become a friendly mirror and or an alternative documentation.
With Yrdloop, Astrid Sonne, NEW YORK, Haloplus+, Molina, Erika de Casier, Fine, They Are Gutting a Body of Water, MIKE, Zack Sekoff, Elias Rønnenfelt, Fousheé, ML Buch, Clarissa Connelly, Cezinando, Toxe, VVTZJ and Clairo.
It was in the year 2008 when Too Much came out: a 15-track debut that turned Berlin's underground upside down and made excess into a musical principle.
The album sounds like a party that has already gone off the rails - and is getting better because of it. Tobias Jundt's deadpan, heavily accented delivery collides with jagged guitars, rattling bass, vintage synths and restless dance grooves. Rock'n'roll, electroclash and dance-punk blur into something that never quite sits comfortably in any genre.
The songs are deliberately ridiculous, catchy and hedonistic. Too Much is full of party anthems, absurd one-liners and hooks that get stuck in your head whether you want them to or not. The title track itself became one of Bonaparte's signature songs - one of the early Myspace-era tracks that helped turn the band into a genuine underground sensation.
But Too Much was never just a record. Bonaparte's world extended into circus costumes, provocative performances, striptease, queer aesthetics and wildly excessive live shows. What began with illegal gigs under Alexanderplatz quickly moved to the Montreux Jazz Festival, international tours and legendary parties - with the band becoming one of the most distinctive acts to emerge from Berlin in the late 2000s.
Now Too Much returns on vinyl. A document of a particular Berlin moment - chaotic, funny, sweaty and impossible to ignore.
15 songs. Zero restraint. Still too much.
My Chemical Romance's "The Black Parade (20th Anniversary Edition) vinyl" includes the original fourteen-track album. Released in October 2006, The Black Parade follows The Patient through his reflections on life and his passage into the afterlife, built on the concept that death visits people in the form of their earliest cherished memory.
Pressed as a single LP on Concrete Grey vinyl in a single-pocket jacket with a new art insert and printed inner sleeve.
My Chemical Romance's "The Black Parade (20th Anniversary Deluxe Edition) CD" includes the original album plus six bonus tracks: three live performances from The Black Parade World Tour (2007), never before released on physical music formats, and three rare B-sides. The live performances include "Someone Out There Loves You," long referred to by MCR fans as "Stay," performed on the tour but never officially recorded. Released in October 2006, The Black Parade follows The Patient through his reflections on life and his passage into the afterlife, built on the concept that death visits people in the form of their earliest cherished memory.
Packaged in an O-card and wallet with a 16-page lyric folder and new art insert
Limitierte Auflage von weltweit 666 Exemplaren. Dale Crover sieht Neil Young sehr ähnlich so sehr, dass Neil ihn selbst engagiert hat, um die, ähm, junge Version von sich selbst im legendären Harvest Moon"-Video zu spielen. Es ist schwer, sich jemanden vorzustellen, der besser geeignet wäre, den Song zu covern als Crover, dank seiner Präsenz im Video und seiner langen Karriere als Solokünstler sowie seiner 43-jährigen Zugehörigkeit als Schlagzeuger bei den Melvins, dieser Rock-Institution aus dem Pazifischen Nordwesten. Crovers Version von Harvest Moon" eröffnet seine neue EP Get Yer Ba-Ba's Out" und geht nahtlos über in eine Interpretation des Melvins-Klassikers The Bit" aus dem Album Stag", denn Crover hat den Gitarrenpart geschrieben er ist in der gleichen Tonart, und warum auch nicht? Die EP enthält außerdem Akustikversionen von drei Songs aus Crovers Soloalbum Glossolalia" (Doug Yuletide", Rings" und Jane"), einen aus dem 2021 erschienenen Rat-A-Tat-Tat!" (I Can't Help You There") und den brandneuen Titelsong. Diese intime Inszenierung von Crovers Songs steht hier im Kontrast zum elektrischen, mit Gastmusikern gespickten Glossolalia", aber man kann diese Musik kaum als ausgemustert" bezeichnen. Es fühlt sich eher wie eine Weiterentwicklung des glam-beeinflussten Power-Pop an, den Crover seit The Fickle Finger of Fate" aus dem Jahr 2017 produziert. Die Arrangements von Produzent Toshi Kasai füllen den verfügbaren Leerrum mit Slide-Gitarre, Maultrommel, verschiedenen Glocken und anderen Idiophonen. Der Geist von Crovers Musik war noch nie deutlicher ein rastloses Verlangen, Neuland zu erkunden, kombiniert mit einer tiefen Liebe zum Rock 'n' Roll, dieselbe, die die Melvins zu einer der interessantesten und einflussreichsten Bands ihrer Generation gemacht hat.
After decades contributing to records where a single riff could transform a dancefloor, Charlie May turns that instinct inward on Trusted Farms.
For over thirty years, Charlie has occupied a position that seems increasingly rare in electronic music: the musician’s musician, the person behind the machines, the extra pair of hands in the studio, and quite often, the person responsible for the melody you end up carrying around in your head for weeks on end.
Alongside Duncan Forbes as Spooky, Charlie helped shape some of the most important electronic music to emerge from the UK in the early ’90s. That partnership would also sow the seeds for one of Sasha’s defining records: the central riff behind Xpander began life in Spooky’s live material, before Charlie brought the idea into the studio with Sasha and helped transform it into one of electronic music’s most enduring anthems.
Listen closely to Charlie’s work and there’s a particular instinct that keeps returning: knowing when a simple synth line is enough. Knowing which note needs to change. Knowing when repetition stops being repetition and starts becoming the entire reason a track works. More recently, as one-third of Quiet Places on ASIP, he’s taken those same instincts somewhere looser — beatless, gridless and led by improvisation.
Trusted Farms puts those instincts front and centre.
Tiny melodic phrases appear and refuse to leave. Synth lines repeat just long enough to become lodged in your head. Parts rub against each other without being tidied into submission. There’s a sharpness and directness to it all amongst the purposeful analogue warmth.
Some of these tracks feel almost ridiculously simple at first. But simplicity is difficult when you’ve spent decades learning every possible way to complicate something. Many of the parts on Trusted Farms were performed live with minimal editing. A synth line might be doubled, distorted, re-recorded and pushed back through another piece of equipment, but it remains the same idea. Instead of filling the gaps, Charlie works on the weight and character of what is already there. The melodies become physical; slightly worn around the edges.
For someone whose fingerprints can be found across some genuinely monumental moments in electronic music, Charlie has spent decades knowing what to add.
Trusted Farms is about knowing exactly what to leave alone.
Available on black 12”, mastered by Andreas Lupo LOOP-O Lubich and featuring artwork by Peter Skwiot Smith,
Blume presents The Days Pass Quickly Immersed in the Shadow of Eternity, a new work by Lea Bertucci commissioned by the ZKM Center for Art and Media Karlsruhe and premiered in Karlsruhe in November 2025. Written for, and created in collaboration with, the flutist Norbert Rodenkirchen, it draws on his collection of Renaissance, Medieval, and Neolithic instruments, harnessing sounds that have been largely absent from the modern world. What does it mean to employ one of humanity's oldest known technologies, the flute, appearing in human hands tens of thousands of years before the advent of the wheel, within an experimental, electroacoustic composition that is inherently forward-thinking?
Since her emergence within New York City's Noise scene during the early 2010s, Bertucci has balanced a fierce dedication to the DIY ethos and immediacy of the underground with a refined sense of creative rigor and ambition, moving from brittle, challenging compositions for saxophone, electronics, and tape toward investigations of acoustic phenomena, site-specific resonance, and complex harmonic interplay. Following her return to the rural environments of Upstate New York where she was born and raised, her work has entered a more introspective phase, with an expanded instrumental, technical, and vocal palette that has found her increasingly composing for others, as on 2023's Of Shadow and Substance and on Fata Morgana, a work for organ released earlier this year.
The piece grew from a meeting with Rodenkirchen after a performance by the early music ensemble Sequentia, to which he belongs. Struck by his ability to conjure "spirits from deep within human memory, as a clarion call into the present", Bertucci began a series of conversations that led the pair into the studio at ZKM in the summer of 2024. Conceived for ZKM's 42.4 speaker system, grouped into 8 discrete outputs before being mixed down to stereo, the work aligns with the collaborative process she has honed alongside her solo efforts, in duos with Ben Vida, Lawrence English, and Olivia Block: a dialog with personal and responsive agency offered to both musicians.
It carries forward her inquiry into the fundamentally human aspects of listening ("I am looking for sounds that call from somewhere deep within the listener and that tap into archetypal human knowledge and feeling") and her investigation of psychoacoustic phenomena and otoacoustic emissions through a meticulous alignment of pitches and timbres. Where many of her most celebrated efforts played, and played with, the room, this one is rooted in an implied space: the flutes recall and blur the boundaries between the eras and environments in which those instruments were originally played, from acoustically engineered Renaissance and Medieval halls to the naturally reverberant caves of the Neolithic, and those of the present.
Bertucci is not the first to bring ancient sound sources into experimental music: Harry Partch's instruments drew on Greek, Chinese, and Japanese precursors, Alvin Curran regularly plays a conch shell, and Walter Maioli has spent decades working at the borders of experimental music and archaeology. Her piece occupies a more rarefied position through its hybridity, combining advanced technology with archaic sound sources while sidestepping the exoticism and romantic primitivism that can hobble such efforts. Compared with its closest cousin, Phill Niblock's Four Full Flutes, where the instruments are manipulated beyond clear recognition, here the flutes remain recognizable and embrace the layers of history they carry. The result is an electroacoustic work that largely forgoes the auditory signifiers of the idiom: it could easily pass for a live ensemble, and only attentive listening reveals that it could only have been made through advanced technology.
As Rodenkirchen's playing interweaves with Bertucci's computer-facilitated arrangements of flute samples, ranging from pulsing clusters to dense combinations of sustained tones, timbres, and distances, the piece draws connections with folk and spiritual traditions across human history: Medieval polyphonic ecclesiastical music, Sardinian canto a tenore, Pygmy vocal music, Buddhist chant. By conjoining one of our earliest known technologies with our most advanced, Bertucci proposes that our tools are not the message, but rather the unending continuum of humanity itself. Issued by Blume in a highly limited vinyl edition of 300 copies on transparent light blue vinyl, with newly commissioned liner notes by Bradford Bailey.
Recorded spontaneously in Brooklyn and created entirely without written compositions, this album is an essential release for fans of ambient music, spiritual jazz, meditation, and deep listening. Features Isaiah Collier on drums and tenor sax and produced by Sonny Daze.
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A spontaneous musical transmission exploring healing, unity, laughter, and limitless possibility.
Recorded in Brooklyn, New York in 2025, Openness is a fully improvised full-length album from legendary ambient pioneer and sonic mystic Laraaji. Created without pre-written compositions or arrangements, the recording captures a rare moment of collective presence, where every sound emerges from intuition, listening, and trust in the unknown.
Guided by what Laraaji describes as a state of openness, the album unfolds as a meditation on timelessness, inexhaustible supply, right guidance, seamless unity, prosperity, healing, gratitude, understanding, relationship, and transformation. Moving fluidly between meditative vocals, Fender Rhodes, Moog synthesizer, zither, gong, and piano, Laraaji channels a deeply personal yet universal musical language intended for a global audience seeking connection, renewal, and inspiration.
A defining element of the recording is Laraaji's celebrated Laughter Meditation, woven throughout the performance as both a musical and spiritual practice. His joyful vocal expressions become an instrument unto themselves, creating moments of release, playfulness, healing, and communal connection. The laughter serves as a reminder that openness is not only a path toward deeper awareness, but also toward celebration, recreation, gratitude, and collective well-being.
The session features acclaimed saxophonist and composer Isaiah Collier on drums and tenor saxophone, bringing a responsive, exploratory energy to the recording. Producer Sonny Daze opens the album with a spoken invocation and shapes its expansive atmosphere throughout with the legendary Roland Space Echo RE-201, adding warmth, depth, and cosmic texture to the music's unfolding journey.
Described by Laraaji as a "vital music transmission," Openness was revealed spontaneously in the studio while remaining fully present to each new moment. The result is an immersive listening experience that feels both ancient and immediate—a celebration of right community, right recreation, right medicine, and the transformative power of creative freedom.
"This music is revealed and recorded spontaneously in Brooklyn, NY, with the attending presence of dear Sonny Daze and dear Isaiah Collier. Being totally in the new moment and allowing fresh communication to arrive, I remained open while touching various studio instruments. Being in channeling mode throughout the recording session, I sensed the world audience for whom this vital music transmission is intended."
Special poster on 250gram paper. Postcard with photo taken by Sandrien. Hand-numbered sticker. Shrinwrap
After more than a decade without releasing new music, Amsterdam DJ and producer Sandrien returns with her debut album Compass, released on her own new label, inspi. Created during a stay in Spain, where she finally found the space to create freely again, the album marks a new chapter: no genres, no expectations, just music made purely on feeling. Compass is an album about finding your own path, personally and musically, a cycle of searching and finding, letting go and beginning again. Lead single 'Life' laid the foundation for it all. The visual world of the album is just as personal: photographs Sandrien took around her house formed the basis for its artwork and imagery. With 27 years of experience behind her, Compass proves that mastery doesn't lead to routine, but to exploration. This double LP includes a beautiful double-sided poster featuring two original artworks of ‘Compass’ by Dutch artist Pieter Jan Boterkoek. Releases October 9, 2026 Written and produced by Sandrien Mixed by Julien Chaptal Mastered by Giuseppe Tillieci at Enisslab Artwork by Studio Pieter Jan Boterhoek This album is made with love in Spain, Volkshotel Amsterdam and Groenekan.
2026 Repress
Oh yes! First ever official reissue of the positively sublime and very rare Butterfly LP, recorded in Tokyo in 1979 by Japanese songstress Kimiko Kasai and jazz legend Herbie Hancock.
Due to it's super-rare status as a Japan-only release, this exquisite collection of covers never got the recognition it deserved at the time, despite incredibly inspired performances from Kimiko, Herbie and the supremely talented musicians assembled for the project. From heavenly drummer Alphonse Mouzon and renowned organist Webster Lewis to bassist Paul Jackson, reedman Bennie Maupin and the master percussionist Bill Summers, the legendary performers crafted amazingly good vocal versions of Herbie / Headhunters jazz-funk. Unsurprisingly, it has been heavily in demand for many years.
The LP opens with Kimiko's highly desirable version of "I Thought It Was You", an elegant take on Herbie's own anthem. Other superb re-workings include the delicately soulful "Butterfly", jazzy groover "Sunlight", the smooth and sexy "Tell Me A Bedtime Story" and the beautiful ballads "Maiden Voyage" and "Harvest Time". A wonderful example of perfectly understated and masterful jazz-funk soul fusion that shouldn't be missed, the set closes with a jaw-dropping version of Stevie Wonder's "As".
This lovingly curated reissue enables a long overdue reappraisal of this hitherto unavailable masterpiece. The stunning artwork which adorned the original jacket - complete with OBI strip and sumptuous
4 page folded insert - has been faithfully restored. Simon Francis' sensitive mastering elevates the sound throughout and, as ever, it has been pressed at a reassuringly weighty 180g. Essential.
Muss sich alles ständig so schwer anfühlen? Claud Mintz ringt ständig mit dieser Frage. Und zwar nicht in Form von höflichen kleinen Wortgefechten, sondern in Form von großen, langwierigen, existenziellen Kämpfen - von der Art, die einen letztendlich dazu bringen könnte, den Kurs des gesamten Lebens zu ändern. Die 10 Songs auf seinem facettenreichen und glanzvollen dritten Album ,Me and the Music" zeigen den 27-jährigen Singer-Songwriter und Produzenten aus Brooklyn, wie er sich mit dieser Frage auseinandersetzt und schließlich triumphierend zu etwas gelangt, das einer Antwort nahekommt: Die Dinge können schwer sein, aber das bedeutet nicht, dass man keinen Spaß haben kann. Das Leben kann schwer sein, aber das Bier in Ihrer Hand ist es nicht - warum sollten Sie es nicht für einen Moment in die Höhe recken, mit den Freunden um Sie herum mitsingen und Ihre Sorgen für die Dauer eines perfekten Indie-Pop- Songs vergessen? ,Me and the Music" ist Clauds erstes Album seit drei Jahren, seit dem 2023 erschienenen, hochgelobten ,Supermodels". Sowohl ,Supermodels" als auch ,Super Monster" aus dem Jahr 2021 waren weitgehend inspiriert von ,dieser einen unklaren Beziehung", von der er irgendwann während des Schreibens von ,Me and the Music" erkannte, dass sie ,eigentlich nie wirklich etwas war". ,Supermodels" war ein so ernstes Album, und ,ich habe einfach so lange in meinen Gefühlen geschwelgt", sagt Claud. ,Es gibt einen Unterschied zwischen Aufrichtigkeit gegenüber dem Leben und dem Leben zu ernst zu nehmen." Diese Erkenntnis veränderte alles: Im Titelsong von ,Me and the Music" singen sie: ,Das ist der letzte Song, den ich von dir ruinieren lasse", und das meinten sie auch so. Nachdem Claud diesen Song geschrieben hatte - in den berühmten Electric Lady Studios zusammen mit ihren Freunden Hank Heaven und Annie DiRusso -, begannen sie, sich völlig befreit zu fühlen. ,Dadurch wurde viel Bedauern losgelassen, das ich mit mir herumgetragen hatte, und es ermöglichte mir, zu denken _ das macht so viel Spaß", sagen sie. ,Musik zu machen macht so viel Spaß." Das Markenzeichen von Me and the Music sind also Songs, die die Komplexität des Erwachsenwerdens und des Lebens in der Welt einfangen, ohne dabei den Sinn für Verspieltheit oder Spaß zu verlieren. Es ist ein typisches ,Slice-of-Life"-Album , das neue Romanzen, Insider-Witze, Gap-Werbespots, die Band ,America" und das Land Amerika thematisiert und all diese Dinge mit Sorgfalt und Rücksicht behandelt. Die Lead-Single ,She Doesn't Love Me" von ,Me and the Music" ist in vielerlei Hinsicht der Kern des Albums - ein leichtfühliges Lied darüber, wie es ist, in den 2020er Jahren in Amerika queer und trans zu sein. (Es ist eine kraftvolle, mitreißende Hymne, die vor Schmerz nicht zurückschreckt - und trotzdem Lust macht, wie Claud in dem Titel singt, die ,Biere in die Luft zu recken".) Als Claud den Song gemeinsam mit Heaven und DiRusso schrieb, waren sie fest davon überzeugt, dass es ein Yacht-Rock-Song werden sollte; das Demo klang letztendlich dennoch ,Lo-Fi und Indie". ,Me and the Music" wurde von Claud und John Congleton (Alvvays, St. Vincent) produziert und bedeutet für Claud, dass sich der Kreis schließt: Mit diesem Album hatte Claud endlich das Gefühl, als Produzent selbstbewusst genug zu sein, um die Rolle des Co-Produzenten zu übernehmen (und hat seitdem eine Reihe viraler Singles von Romy Mars produziert). Die Zusammenarbeit ist natürlich ein wesentlicher Bestandteil von Clauds Arbeit - wer wären wir ohne unsere Freunde? Neben Claud gehört er zu einem Viertel zu Shelly, einer Band, die er gemeinsam mit Clairo, Noa Getzug und Josh Mehling gegründet hat. Auf ,Me and the Music" arbeitet Claud bei dem Titel ,The Legend" erneut mit ihrem langjährigen Kollaborateur Dan Nigro (Olivia Rodrigo, Chappell Roan) zusammen. Der Song thematisiert das Gefühl, tief in jemanden verliebt zu sein, der nicht mit einem gesehen werden möchte, sagt Claud: ,Es geht gewissermaßen um eine beschissene Beziehung und den Wunsch, die Liebe zur Schau zu stellen, ohne jedoch dazu in der Lage zu sein ", erklären sie. Doch wenn es auf ,Me and the Music" ein echtes Liebeslied gibt, dann ist es ,I Owe You", ein Dream-Pop-Road-Song, der hingebungsvoll und facettenreich ist. Er fängt den Geist von ,Me and the Music" als Ganzes ein: die Dinge Tag für Tag zu nehmen, Bilanz über das zu ziehen, was einen umgibt, und die schönen Dinge anzunehmen, wenn sie sich bieten. Das fühlt sich gar nicht so schwer an.
No Home is the new album by Lane Hartley, releasing October 23rd 2026 on Royal Oakie Records. Produced in collaboration with David Hartley of The War On Drugs & Adam McDaniel (Animal Collective, Angel Olsen, Geologist), the album was recorded at Drop of Sun Studios in Asheville and features contributions from North Carolina’s tight knit music community–including Mary Lattimore, Seth Kaufman of Floating Action & Dream Sitch, David Hartley, Jack Victor Johnson, and more.
After recording his debut album Naming Horses, Lane left Los Angeles and returned home to the Carolinas, eventually landing in Asheville. It wasn’t too long until the songs started flowing and Lane found himself reaching out to Adam McDaniel at Drop of Sun Studios–a vaunted space that’s been at the heart of indie-rock the past few years, bringing to life recent albums from MJ Lenderman, Wednesday, Fust, and more. McDaniel introduced Lane to David Hartley, and what originally started with discussions to record one song quickly turned into a plan to track a whole album live with a six piece band. Once in the studio, co-producer McDaniel encouraged the group to lean on intuition–“All of the players on this record really brought it to life in such a cosmic way. They instilled so much childlike wonder and fun into the making of the album. It inspired me to keep going” says Lane.
Lyrically the album is a collection of vignettes about people who’ve become alienated from their deepest desires of connection, belonging, intimacy, and autonomy–inspired both by Lane’s own life and the lives of people he’s loved. The unique character of the album emerged when Lane made the decision to pair the dark lyrical content with bright & lush arrangements, inspired by Gene Clark’s No Other, Neil Young’s After the Gold Rush, and Amen Dunes’ Love. In Lane’s words, “The content of the songs got way darker, and my reaction was to make the songs catchier, and to lean harder into the music that influenced me. I wanted each song to feel like a room in a haunted house, with a beautiful garden growing outside”.
Album opener “I Am Not Ashamed” was inspired by the anti-memoir of actress Barbara Peyton, a 1950’s Hollywood starlet who met an untimely end; “It’s about knowing that whatever you’ve done to survive, you still deserve love” says Lane. “Mother” pairs lyrics about ancestral trauma with the sunshine-pop influence of Colin Blunstone, featuring backing vocals from Lane’s sister Barrett Hartley. “It's about coming to terms with the fact that the people meant to protect us are dealing with their own trauma…”
Meanwhile, “All Of This Is Yours” and “Tone Poem” form the spiritual center of the album, an attempt to transmute anger & pain to bittersweet acceptance in the wake of a breakup. “I feel like on the surface this is essentially a breakup album, a lot of these songs are about mourning the end of a relationship and reflecting on what went down. I was falling in love and getting my heart broken, then waking up and driving across the country and doing it all over again.” “Love Is Not A Song” was inspired by Margo Guryan’s Love Songs, pairing bright piano with playful lyrics about an old man who’s been beaten down by life but still believes his greatest love is yet to come. Last but not least, title track “No Home” sums up the album’s key theme of alienation, “It all goes back to this feeling of wanting to belong to someone or somewhere, wanting to belong in your own body.”
Released in 2024 via the usually way darker and oftentimes Hardcore / Breakcore oriented Flop Beat Disk label is this widely unrecognized 10" gem which harks back to the golden oldschool era of German HipHop vibewise.
The Munich-based duo of Misanthrop & Pay No Attention lays down a foundation of positive sample-laden grooves, pays respect to the classic BoomBap sound at times, adds a trippy, dreamy and well psychedelic vibe to their production effort and tops things off with conscious German flows and lyrics aimed at dedicated oldskool HipHop headz from all over the globe. No matter if one understands German or not - if you understand the true spirit of HipHop this is for you.
Never officially distributed before this is the first time ever this unrecognized gem is available to a wider audience, albeit in highly limited quantities.
Limited pressing of 100 copies on yellow transparent vinyl.
If the name The Midnight Hour isn't immediately familiar, the music almost certainly is. Ali Shaheed Muhammad is a founding member of A Tribe Called Quest, one of the most beloved groups in hip hop history. Adrian Younge is the Los Angeles-based composer, multi-instrumentalist, and producer who has shaped the sound of some of the most critically admired records of the past two decades. Together, they have been architects of the sound that serious listeners point to when they try to describe what great music feels like.
The music they had been making together had a life of its own. By 2018, it had become The Midnight Hour: their self-titled debut album, recorded to tape with a live rhythm section and a full orchestra, and released to widespread acclaim. In 2020, the duo were deep into sessions for a second album. But then the world shut down, the recordings were shelved. The album never came and remained unfinished and unheard. But now, via their Jazz Is Dead label, The Lost Tapes have been unearthed
If the name The Midnight Hour isn't immediately familiar, the music almost certainly is. Ali Shaheed Muhammad is a founding member of A Tribe Called Quest, one of the most beloved groups in hip hop history. Adrian Younge is the Los Angeles-based composer, multi-instrumentalist, and producer who has shaped the sound of some of the most critically admired records of the past two decades. Together, they have been architects of the sound that serious listeners point to when they try to describe what great music feels like.
The music they had been making together had a life of its own. By 2018, it had become The Midnight Hour: their self-titled debut album, recorded to tape with a live rhythm section and a full orchestra, and released to widespread acclaim. In 2020, the duo were deep into sessions for a second album. But then the world shut down, the recordings were shelved. The album never came and remained unfinished and unheard. But now, via their Jazz Is Dead label, The Lost Tapes have been unearthed
Industrial noise terrorists LARD, the legendary collision of Jello Biafra and Ministry masterminds Al Jourgensen and Paul Barker, return with the long-awaited repress of their 1990 full-length masterpiece, The Last Temptation of Reid.
A vicious fusion of industrial metal, punk rock, political outrage, and black humor, The Last Temptation of Reid remains as relevant, confrontational, and sonically devastating today as it was when it first detonated over three decades ago. From the opening assault of “Forkboy” (later featured on the Natural Born Killers soundtrack) to the twisted brilliance of “Pineapple Face,” “Drug Raid at 4 AM,” and their unhinged reinvention of “They’re Coming to Take Me Away,” (originally performed by Napoleon XIV), LARD created a collection of songs that still sounds unlike anything before or since.
This new edition has been worth the wait. After production setbacks and multiple rounds of test pressings, Jello Biafra personally halted the project to completely remaster the album, ensuring it finally received the sonic treatment it deserved. The result is the best-sounding vinyl edition of The Last Temptation of Reid ever released. As a special bonus, this edition now includes bonus one sided 12” vinyl of “I Am Your Clock.” Originally a UK exclusive 12”, it’s never been repressed until now.
Originally released on Alternative Tentacles in 1990, The Last Temptation of Reid captured the paranoia, hypocrisy, corruption, and media madness of its era with razor-sharp wit and a patented wall of noise and sonic wizardry. The unsettling truth is that it may hit even harder today.
Industrial noise terrorists LARD, the legendary collision of Jello Biafra and Ministry masterminds Al Jourgensen and Paul Barker, return with the long-awaited repress of their 1990 full-length masterpiece, The Last Temptation of Reid.
A vicious fusion of industrial metal, punk rock, political outrage, and black humor, The Last Temptation of Reid remains as relevant, confrontational, and sonically devastating today as it was when it first detonated over three decades ago. From the opening assault of “Forkboy” (later featured on the Natural Born Killers soundtrack) to the twisted brilliance of “Pineapple Face,” “Drug Raid at 4 AM,” and their unhinged reinvention of “They’re Coming to Take Me Away,” (originally performed by Napoleon XIV), LARD created a collection of songs that still sounds unlike anything before or since.
This new edition has been worth the wait. After production setbacks and multiple rounds of test pressings, Jello Biafra personally halted the project to completely remaster the album, ensuring it finally received the sonic treatment it deserved. The result is the best-sounding vinyl edition of The Last Temptation of Reid ever released. As a special bonus, this edition now includes bonus one sided 12” vinyl of “I Am Your Clock.” Originally a UK exclusive 12”, it’s never been repressed until now.
Originally released on Alternative Tentacles in 1990, The Last Temptation of Reid captured the paranoia, hypocrisy, corruption, and media madness of its era with razor-sharp wit and a patented wall of noise and sonic wizardry. The unsettling truth is that it may hit even harder today.
Thematically, the album revolves around movement - excursions, outings, journeys, and the various vehicles and vessels that make them possible. It is music for those who drive, sail, walk, and fly. For those already on the move, and for those who are about to set off.
Each track functions as a vehicle of its own, collectively built and designed for different conditions and purposes. You can travel solo or collectively. The album is introduced by the single "ULYSSE."
Tropical Soldiers In Paradise:
Lush as tropical forests inhabited by fruit bats, fluorescent frogs, and giant millipedes. Comforting as paradise beaches from a screensaver. Absurd and psychedelic as the mission of Lieutenant Colonel Channon and the First Earth Battalion, where the paranormal abilities of warrior monks revolutionize the armies of the world.
A structure without status, uniforms without uniformity, and unity powered by diversity.
Tropical Soldiers In Paradise play crooked lounge (if such a genre existed). Their music blends a generous dose of improvisation with hip-hop-rooted beats and a distinctly new-wave approach to jazz. Since 2018, TSiP have released three albums and performed countless concerts on both intimate and major stages, bringing joy and solace to audiences along the way.
Light Touches Records is devoted to shed new lights on hot rarities, unknown grooves as well as forgotten classics.
As the attention to the older volume is rising, Light Touches camp pushes things further with four uncompromising tunes.
On A side, “Do It This Way” is an intense lost disco roller with oniric string machine and thundering bass, while “It’s True” goes deeper with a relentless Philly groove with psychedelic tones. On the flipside, “Jus’ta Funky Jam” opens things up with some killer groovy arrangement, and “Dance With You” closes the release with a dreamy, mellow jazzfunk tune.
All tracks have been carefully edited without overdubs, in order to bring the spirit of classic disco manipulators to today’s dancefloors!
Now repressed on limited edition Venus Pink vinyl – 300 copies for the world Give your retinas a workout A supergroup of sorts - Fat White Family’s Lias Saoudi, Trashmouth Records’ Luke and Liam May, and Quinn Whalley of Paranoid London and Warmduscher - Decius have travelled the earth liberating people from banality since the release of Vol. I. They’ve revealed to all those they’ve encountered just what was missing in their lives: pump without borders, pump without reason - absolute pump. Decius live sets at Berghain’s 19th birthday celebrations, Block 9’s NYC Downlow at Glastonbury and Opium Club in Vilnius have set pulses racing, and they count the likes of Dixon, 2manydjs, Honey Dijon, Mochakk, Or:La, Iggy Pop and Depeche Mode as fans. Now they offer up Decius Vol. II (Splendour & Obedience). It throbs with an almost impossible sense of potential, and expands on the lexicon of molten desire. The sound has moved into new territories, with tastes of house, disco and techno, all with an underlying base note of acid on tracks such as the slippery night cruise intensity of ‘Birth of A Smirk’, where Colonel Abrams gets his nipples tortured. ‘Queen of 14th St’ is all watersports and Cybotron force from Detroit via Deptford. ‘Walking In The Heat’ struts like a sunburnt and horny Kraftwerk, while ‘Ghent’ is purest uncut ’88 acid. Vol. II is the art of seduction in damp rooms painted black. Keep hydrated from whatever source is available. Be your own pleasure centre. Vol. II is veritable selection box of booty bumps and illegal highs made at night for the night and beyond. This is music that takes pride in its walk of shame.
Aetheria marks the second chapter of this journey, where Egyptian Greyhound explores an emotional landscape shaped by house, trance and progressive influences.
Each track reveals a different facet of the same ever-evolving experience, gradually unfolding into a world of its own. Intimate and introspective at times, expansive and euphoric at others, the music moves through shifting atmospheres, hypnotic rhythms and melodies that linger long after they fade.
Rather than following a fixed path, Aetheria invites you to surrender to the moment and discover where the sound takes you. From its first breath to its final echo, the journey unfolds through emotion, movement and an immersive sonic atmosphere, leaving space for something new to emerge.
Despite the widespread popularity of reggae music in the UK, following its explosion onto the international music scene in the late 1960s, many of these in charge of Britain's mainstream media were reluctant to give the exciting new sound coverage, wither in print or over the airways.
In an attempt to counter this prejudice, Trojan Records took the bold step of embellishing recordings from Jamaica with sophisticated orchestration, with the resultant ‘commercial reggae’ sound immediately finding favour with the country’s reggae fans.
Consequently, the company not just maintained, but in fact extended the procedure, employing producers to record the country’s finest British-based reggae acts. The result was the release of an abundance of superbly crafted recordings, the production values of which rated with the best that British pop had to offer.
Mit ’Fix Your Face’ präsentiert MASEGO sein drittes Album. Auf 16 Tracks verbindet der GRAMMY
nominierte Künstler seinen charakteristischen Sound mit neuer emotionaler Offenheit, Selbstreflexion und
Spiritualität. Gastbeiträge von Buju Banton, Keyshia Cole, Leon Thomas und Musiq Soulchild unterstreichen die musikalische Vielfalt des Albums - jetzt auch auf Vinyl.
Für die Deluxe-Edition ihres zweiten Albums hat dodie neue Songs und Neuinterpretationen einiger ihrer
Songs aufgenommen. Die britische Singer-Songwriterin hat sich vom YouTube-Phänomen zur international
erfolgreichen Indie-Pop-Künstlerin entwickelt. Mit knapp zwei Millionen Abonnenten und rund 460 Millionen YouTube-Views verfügt sie über eine große, loyale Fangemeinde.
Ihr zweites Album „Not For Lack Of Trying“ erschien 2025 und wurde von ihr gemeinsam mit dem
Grammy-nominierten Produzenten Joe Rubel (Maisie Peters, Griff, Sigrid) produziert. Für die DeluxeEdition kommen mit „Fruit In The Sun“ und „As Far As We Know“ zwei neue Stücke hinzu, außerdem
erscheint „Maybe, Finally“ erstmals auf einem physischen Tonträger. Vier Songs aus „Not For Lack Of
Trying“ wurden zudem in den Middle Farm Studios mit Freunden und musikalischen Weggefährten komplett neu interpretiert.
Die Deluxe Edition mit sieben zusätzlichen Songs erscheint als transparente/graue 140g Eco-Doppel-LP
sowie als CD.
Bristol innovator Addison Groove has long been reshaping footwork and bass music, but now steps into an entirely new world as Astel. Shards is an album in which he explores ambient frontiers with a sense of space, emotion and hints of nostalgia on Biofield Records, a new label from Darwin designed for deeper listening. There is a weightlessness to the music, with 'Cosmic Affinity' casting you adrift in the deep unknown with smeared pads and gentle flutters of hope way off in the distance. 'Starlight Shards' is all shifting tones and feathery lines, while 'Astral Radiance' has a sandy texture as well as long, sweeping synth arcs. It's an escapist world that provides plenty of prompts for your own endlessly deep reflection.
A feeling of hope slithering from dark corners permeates most every track of Sour Widows’ new LP, Sigil. Crafted with acclaimed producer and Jay Som mastermind Melina Duterte in downtown Los Angeles, the album’s eleven songs curve in unexpected directions and are the most magnetic Sour Widows have written yet. There is a newfound immediacy to the album as if Sour Widows have urgent findings to share, and throughout Sigil, ostensible disaster ushers in a new start.
A feeling of hope slithering from dark corners permeates most every track of Sour Widows’ new LP, Sigil. Crafted with acclaimed producer and Jay Som mastermind Melina Duterte in downtown Los Angeles, the album’s eleven songs curve in unexpected directions and are the most magnetic Sour Widows have written yet. There is a newfound immediacy to the album as if Sour Widows have urgent findings to share, and throughout Sigil, ostensible disaster ushers in a new start.
“The Hollowing of Godflesh is the most complete representation of Crown Magnetar we've ever put together. We pushed every aspect of our songwriting further without losing the intensity and rawness that defines the band. We wanted to take what people expect from us and push it further by adding more atmosphere, bigger moments, and even more aggression without sacrificing anything. You’ll hear it in the insane riffing of new guitarist Rob Maramonte, who has spent time as a member of Fallujah and The Zenith Passage, as well as performed live with Thy Art Is Murder and All Shall Perish.” “The Hollowing of Godflesh is a highly sharpened version of Crown Magnetar. It delivers unrelenting brutality and is sure to please old and new fans alike.”
On their third album, FANGS, London collective HMLTD have created an entirely new genre: Götherdammerüng (or ÜberGöth). Predictably unpredictable, it could not be further away from their last outing, 2023 rock opera The Worm. The sixteen-piece orchestra has been traded in for Ableton, the timpani and violins replaced with side-chained four-to-the-floor and rave synths, and the gospel choir swapped for guttural gothic howling and black metal screams. The result is both unique and terrifying: a total reinvention and rehabilitation of the goth genre, through the looking glass of modern electronic and doomscroll-era dance music.
This new beginning was accompanied by a change in personnel, with Theo Spark and Andrei Martynchyk joining the fray alongside original members Henry Spychalski and Duc Peterman. Decamping to a ruined château in the Loire Valley, the quartet became obsessed with vampire lore, and the EBM and goth sound that inspired their early work: Fad Gadget, DAF, Nitzer Ebb, Suicide and Bauhaus. FANGS also points to more contemporary influences like Crystal Castles, German hardcore, 2000s blog-house a la Justice, and 2020s sleazepop.
The world crafted in FANGS is full of cosmic pessimism, glowing horror, imperceptible evil and digital dismemberment, ancient curses and ruined castles, Vampires. But it is also a thoroughly fun, and funny, record, as danceable as it is deep. Born of the club, some tracks would not sound out of place on Brat. Like a Smiths song which sounds happy and carefree until your brain tunes in to the misery of the lyrics, it can be listened to - and enjoyed - on two levels. One can get lost in the throb of bass and ludic synths, or tune into the horror of the lyrics which overlay them.
FANGS attempts to offer up a reflection to a culture that - like a Vampire - has lost its own. The result is something not only thoroughly modern, original, and inventive - but that feels genuinely dangerous and potent. FANGS delights in this ambiguity: simultaneously indicting decadence, decay, and moral rot, while luxuriating in its intoxication by it. Cacophonous sub-bass becomes a chthonic call of the void; seraphic rave synths become the screech of Valkyries; four-to-the-floor becomes a deathly funeral march. Vampire apocalypse.
Max Cooper delivers the latest instalment in the acclaimed fabric presents series, marking a landmark release as the first tracks to be presented in Spatial Audio. Fusing his signature blend of emotive electronica, immersive sound design and club-focused energy, the project captures Max’s ability to bridge the gap between cutting-edge technology and deeply human storytelling. Featuring exclusive material alongside carefully curated selections, the mix places him alongside previous fabric presents contributors including Daniel Avery, Overmono, Helena Hauff and Mount Kimbie, while pushing the series into new sonic territory.
Leading the accompanying EP is Flecks, a collaboration with LSB that pairs fast drum & bass breaks with Max Cooper’s unmistakable immersive production. Referencing the iconic Hurt You So break, the track fuses old-school jungle influences with a modern, spatial mix, hypnotic synth lines and subtle vocal fragments draw the listener deeper into its expansive soundscape. Also featured is Bredren’s Hash (Max Cooper Remix), a tension-filled drum & bass track built around distorting basslines and constantly evolving movement.
The EP's focus track, AO, sees Max Cooper reunite with Rival Consoles for a more introspective moment. Swapping high-tempo breaks for a slower electronica and house framework, the track unfolds through beautifully detailed percussion, organic rhythmic textures and sweeping synth melodies, culminating in a soaring central passage that showcases the pair's shared gift for emotionally resonant electronic composition.
Released via fabric Records, fabric presents: Max Cooper represents another evolution of the long-running series, a release that is equally at home on immersive listening systems and the dancefloor.
On their third album, FANGS, London collective HMLTD have created an entirely new genre: Götherdammerüng (or ÜberGöth). Predictably unpredictable, it could not be further away from their last outing, 2023 rock opera The Worm. The sixteen-piece orchestra has been traded in for Ableton, the timpani and violins replaced with side-chained four-to-the-floor and rave synths, and the gospel choir swapped for guttural gothic howling and black metal screams. The result is both unique and terrifying: a total reinvention and rehabilitation of the goth genre, through the looking glass of modern electronic and doomscroll-era dance music.
This new beginning was accompanied by a change in personnel, with Theo Spark and Andrei Martynchyk joining the fray alongside original members Henry Spychalski and Duc Peterman. Decamping to a ruined château in the Loire Valley, the quartet became obsessed with vampire lore, and the EBM and goth sound that inspired their early work: Fad Gadget, DAF, Nitzer Ebb, Suicide and Bauhaus. FANGS also points to more contemporary influences like Crystal Castles, German hardcore, 2000s blog-house a la Justice, and 2020s sleazepop.
The world crafted in FANGS is full of cosmic pessimism, glowing horror, imperceptible evil and digital dismemberment, ancient curses and ruined castles, Vampires. But it is also a thoroughly fun, and funny, record, as danceable as it is deep. Born of the club, some tracks would not sound out of place on Brat. Like a Smiths song which sounds happy and carefree until your brain tunes in to the misery of the lyrics, it can be listened to - and enjoyed - on two levels. One can get lost in the throb of bass and ludic synths, or tune into the horror of the lyrics which overlay them.
FANGS attempts to offer up a reflection to a culture that - like a Vampire - has lost its own. The result is something not only thoroughly modern, original, and inventive - but that feels genuinely dangerous and potent. FANGS delights in this ambiguity: simultaneously indicting decadence, decay, and moral rot, while luxuriating in its intoxication by it. Cacophonous sub-bass becomes a chthonic call of the void; seraphic rave synths become the screech of Valkyries; four-to-the-floor becomes a deathly funeral march. Vampire apocalypse.
Melissa Weikart and her piano have proceeded through life in step, from her early classical
training to the experimental practice that defines her work today, a blending of sounds and forms that has never been so clear—and so fully realized—as on her new album, Contact. Across twelve shifting and evocative tracks that examine the connective tissue binding us to ourselves and others, the Franco-American musician’s voice and piano navigate personal and emotional terrain with clarity and nuance, forging a rich dialogue between artist and instrument, artist and self, and artist and listener.
Winner of the 2022 Nancy Jazz Pulsations emerging artist award and the instrumentalist prize at the 2023 La Défense National Jazz Competition, Weikart has released two EPs and an album as a solo artist, and one EP and an album—Surprise and Secret—with her electronic duo Beatrice Melissa. A student of jazz and ’70s folk-pop, and a keen lover of improvisation since her time at the New England Conservatory in Boston, Weikart has always conjured the confessional candor of the singer- songwriter in her music, even as she dispenses her lyrics across rich, shifting, dreamlike tableaux.
On Contact, written and arranged entirely by Weikart (aside from “New angles”), she pushes her sound further than ever before. The album is animated by a pressing need for connection, observing what brings us together and what drives us apart, and the life-saving revelations that emerge along the way. The album’s opener, “Crash,” is a dreamy telephone-hour ode, a message in a bottle, to connections new and old. On the wistful “Mesurer le vent,” Weikart conjures Debussy or Ravel, layering contrasting sounds like an Impressionist painting. The title track begins as a showcase of Weikart’s frank lyricism, a splice-reel of missed connections and wasted time, then glides into a hazy, euphoric galaxy of pleas, circling around her thesis—“I wanted to make contact”—that ushers us into “The Intersection,” a song that recalls her the beginning of her career, when it was just Weikart and her keys. “Appétit.e” is built around a sample of her down-the-hall neighbor’s drumming—another subtle, affecting gesture toward proximity and connection—while pulsating synths reminiscent of Air lend the track an unsteady atmosphere. On the Carpenters-inspired “Expectations,” Weikart muses on the relationship patterns, universal and specific, that have always been a hallmark of her songwriting.
The psychedelic “L’amour de construit” is a slow-motion fall down the rabbit hole, as Weikart
considers the way her own emotions are captured and commodified by the confining ways we think about love. The interlude—“L’amour pt. 2”—finds her near the end of that trip, shouting into the void as a last-ditch effort to rescue herself from the fall. The drums near the end of the interlude warn us that there may be no cushion for, until she is saved, again, by the power of revelation, on the confident, resilient “Not Right”—on which a show-stopping, frenetic conversation between singer and piano is gracefully interrupted by a rush of transcendent strings, lifting her back up.
On solid ground anew, “New angles,” featuring Manu Delta, creates a percussion-less groove that relies on experimental synth sounds. The 11-o’clock stunner “Catching up”—composed in a church—meets the singer in a state of ecstatic confession, bringing her to the formative memory that propels “Bicycle,” the album’s closer. Younger, more wide-eyed, she reflects on her move from Boston to Strasbourg, those early days, when Weikart had no other companion than that loyal hunk of scrap metal that took her to the shores of her own soul. She seems to suggest, on “Bicycle,” that a backward-glance is not always troublesome, not always anxiety-producing, but can be grounding: a reminder of where we come from, so that we can keep moving forward.
Celebrating 50 years of dancing, Amnesia represents the heart and soul of electronic music in Ibiza. Telling a story that spans five decades, the 50th anniversary vinyl/CD compilation is a window into a legendary venue that has helped establish some of the world's biggest tracks.
From the iconic piano riff of Eric Prydz' 'Pjanoo' to the laid-back groove of 'Benediction' by Hot Natured. A club that spans eras and genres - the disco of Chic's 'Good Times', the synth-pop of New Order's 'Blue Monday', or the gritty electro of Alter Ego's 'Rocker'.
The soundtracks of 50 summers are represented across 50 tracks spanning 10 vinyl/5 CDs. A hand-picked selection that reflects the incredible breadth of Amnesia's cultural influence, featuring music from Calvin Harris, Donna Summer, Paul van Dyk, Candi Staton, Fred Again.., Robert Miles, Laurent Garnier, Binary Finary, and many more.
Somewhere beyond familiar frequencies, Space Terminal opens the gates to a new transmission. The latest various artists compilation from Ovelha Trax assembles a selection of producers navigating the intersection of electro, breaks and machine-driven club music. Inspired by the aesthetics of science fiction, dystopian electronics and late-night warehouse energy, the record unfolds as a journey through fractured rhythms, powerful basslines and futuristic sound design. Each contribution offers a different perspective on contemporary electro. From razor-sharp drum programming and robotic funk to warped synth sequences, acid-infused textures and rolling breakbeats, Space Terminal moves between deep atmospheric moments and uncompromising peak-time pressure. While every artist brings their own sonic identity, the compilation remains unified by a shared vision: forward-thinking dance music built for powerful sound systems. This is the mission to an abandoned orbital station, where analogue machines continue broadcasting into the void and broken transmissions become dancefloor anthems. Drawing influence from Detroit electro, UK breakbeat and modern bass music, the release embraces both nostalgia and innovation without settling for either. Pressed on limited edition vinyl, Space Terminal is another chapter in Ovelha Trax’s ongoing mission to showcase uncompromising underground music from artists pushing electro and breaks into new dimensions. Boarding has begun. Destination unknown. For Fans Off: DJ Stingray 313 • Helena Hauff • Jensen Interceptor • Privacy • ERP • Client_03 • Versalife • Silicon Scally Detroit Influenced, Machine Funk, Broken Rhythms, Sci Fi aesthetics, Warehouse Energy, Analogue synthesis, Futurristic club music.
Joe Fujinoki centered the compositions of his latest album Glass Torso round the idea of the fragility of the human body. Fujinoki described the narrative thread of the album as that of “holding the shape of a human body as if it might shatter like glass”. The precariousness of the body, the essence of the body as defined by Fujinoki as the torso, and the object relations between the boundaries of dialectical exercises pack themselves into his creative process.
Fujinoki recorded Glass Torso exclusively with analog synthesizers, stumbling in and out of structural loops to find space for accidental discoveries. The ten pieces of recorded material feel somewhere on the edge of typified form, feeling like a vascular system pumping in and out its undulating liquidities. Maybe this is the hollowed space held together by Fujinoki’s notion of the torso where you hear a microscopic world, dubby and generative. Fujinoki is adept at organizing this realm of subtle sound sources, giving proper considerations of shared tonal space. Seemingly, this handling of the precarity of sonic material elucidates Fujinoki’s mature attention to detail.
Ambient music genre tropes often affirm the listeners vessel for escape and dissociation. It provides an intoxicating allure by respite from an overwhelming exterior reality far outside the listeners controls. Here this space becomes apolitical, or its protest vocabulary softer and subtle. Fujinoki does not aim to tackle hyperobject topics on how to course correct the world, but he does something increasingly rarer to come across. On Glass Torso an alternative space is created not as shelter, but as a meditation on negotiation and compromise. This twenty eight minutes of audio lays down a foundation for imagination, for imagining how to negotiate the fragility of the self. Zoomed out, the implications of his negotiative sonics can be a playground for broader reflections on distributive care and attention.
Fujinoki says he feels “alert” to his physicality and placement in the world amidst vast digital cultures creating impositions on him and his surroundings. On Glass Torso he creates a concretized space on a vinyl record, where the virtual and the tangible antagonize one another that create the spectacle of the listening experience. This spectacle is a soft one, a considered one, and an utmost enjoyable one. Fujinoki juggles opposing forces brilliantly, and formulates an exquisite palette of soft passing music so he can also help the listener with the exquisite burden of their own Glass Torso.”
Acclaimed harpist and songwriter Mikaela Davis’ new album, Graceland Way (due TK via Kill Rock Stars), builds an expansive, kaleidoscopic neo-western dystopia from the cozy origin point—that duality compounded by a subtle exploration of light and dark, grace and struggle, rose and thorn, as well as the mystical power found at their meeting points. The “canyon country” epic born of that work is indebted to the titular street in Chevy Chase Canyon where she recorded the album, the lineage of Laurel Canyon, the mythos of Elvis’s Graceland, and Paul Simon’s restless reinvention. “At the end of the journey, the place you were destined for all along isn’t even a place, it’s a state of mind: Graceland Way,” Davis says. Featuring an unreleased Cass McCombs track (Mizmoon) as well as contributions from Karley Hartzman (Wednesday), Tim Heidecker, Madison Cunningham, Neal Francis, James Felice (The Felice Brothers), Clay Finch (Mapache) & Hannah Read.
AMBASSADE ventures into the world of Manrira - a dark, alluring feminine presence that confronts systems driven by value, profit, and power. Emerging from dystopian structures, Manrira exists in the liminal space where organic and digital forces collide, merge, and mutate. This new audiovisual work is devoted to the enchanting acoustics of the human voice and its relationship to bodies, architectures, and shifting environments. At the heart of Manrira is the human voice - alive, breathing, and full of presence. It flows like a living instrument, shaping space and emotion. Manrira explores the voice as resonance, as body, and as spatial event. Manrira moves from dynamic song compositions into extended structures, blending live bass, neo-classical elements, ethereal vocals, drum machines, breaks, and techno-driven textures. The result is an immersive experience that invites the audience to listen closely and reconsider their connection to sound, space, and their surroundings.
*** Special edition on yellow flame colored vinyl. Comes with a poster and stickers *** AMBASSADE ventures into the world of Manrira - a dark, alluring feminine presence that confronts systems driven by value, profit, and power. Emerging from dystopian structures, Manrira exists in the liminal space where organic and digital forces collide, merge, and mutate. This new audiovisual work is devoted to the enchanting acoustics of the human voice and its relationship to bodies, architectures, and shifting environments. At the heart of Manrira is the human voice - alive, breathing, and full of presence. It flows like a living instrument, shaping space and emotion. Manrira explores the voice as resonance, as body, and as spatial event. Manrira moves from dynamic song compositions into extended structures, blending live bass, neo-classical elements, ethereal vocals, drum machines, breaks, and techno-driven textures. The result is an immersive experience that invites the audience to listen closely and reconsider their connection to sound, space, and their surroundings.
Bridgeport Records is a new venture from Windy City house heads Jerry Morrison and Vick Lavender, and they kick off with a serious EP of delicious Chicago house depths from some standout stars. Glenn Underground opens up with one of his deepest and most serene sounds in some time: 'Slander' rides a rolling kick drum and is infused with dreamy, wispy pads and gentle cosmic details that empties your mind perfectly. Anthony Nicholson brings a little funk to the dancefloor with his equally classy 'Boogie Aftermath' and its jazzy melodies, while Lavender himself offers 'Deep Funk Dance', a timeless and soul-drenched gem. Dejay Cease's closer 'Seeing Is Believing' has a more pronounced, subtly off-kilter groove with loungey piano chords and lush strings. Pure class.
Indroducing our new vinyl collaboration, a fusion of talents by Eafhm and our Co-Founder Nils Edte. Exploring the theme of "Glossolalia" or speaking in unknown tongues, they treat music as its own language. Featuring stunning remixes by MTRL & Laima Adelaide, the vinyl is not just an auditory experience but a visual one too. The cover artwork, a joint effort by Nils Edte and painter Mariano Fernandez, adorns the limited edition of 200 records. Each cover is a unique piece of the painting, making this release a truly exclusive collector's item. Immerse yourself in this blend of art and music, where sound and visuals unite in a captivating collaboration.
For South Central’s premier singer, songwriter, and producer, success was never an overnight accident; it was a blueprint executed with meticulous precision. With his highly anticipated project, Labor of Love, Blxst delivers a masterclass in modern West Coast R&B and Hip-Hop, proving that true artistry requires both sweat and soul. The album serves as a sonic manifesto on the price of ambition, the weight of loyalty, and the delicate balance of maintaining romance while building an empire. It stands as a definitive evolution of the distinct sound Blxst pioneered, blending crisp, trunk-thumping 808s with soulful, nostalgic chords and his signature, effortlessly smooth vocal runs.
Entirely self-produced and co-written, Labor of Love bridges the gap between the sun-drenched grit of Los Angeles street culture and the vulnerability of late-night bedroom playlists. From the bounce of celebratory anthems to introspective, late-night drive confessionals, Blxst curates a tracklist that feels both deeply personal and universally resonant. It explores the sacrifices made in the pursuit of greatness, paying homage to the sonic pioneers of LA while firmly cementing his own place as the vanguard of the city's modern sound. It is a celebration of independence and the self-made mentality, reminding listeners that he remains the chief architect of his own destiny.
Ultimately, Labor of Love is a testament to the grind, capturing the sleepless nights and tested relationships that pave the road to success. Blxst puts his heart on the line to show that the work itself is where the true passion lives, creating an album for the city, for his family, and for everyone who stays dedicated to their craft. More than just a collection of radio-ready hits, this project is a cohesive, cinematic experience from one of music's most reliable hitmakers. It is a definitive reminder that Blxst isn't just riding the wave—he is directing the current.
2026 Repress
In the ever-expanding universe of deep house, Julius Steinhoff is far from being a stranger. Half of the dynamic duo Smallpeople, founder and one of the steersmen behind Hamburg's Smallville empire (record store/ label/ party curator around the globe) as well as a producer and DJ in his own right, Steinhoff is closely associated with a group of like-minded people that unite fresh ideas and individualism with a certain consciousness of tradition. That 'Flocking Behaviour' is well embodied in Steinhoff's debut album by the same name. After a string of 12-inches for the likes of Live at Robert Johnson, Geography or his own-brand Smallville and the very well-received Smallpeople long-player 'Salty Days", Julius Steinhoff makes a submission that is all his. Rooted in the elegiac variety of the big three (New York, Chicago & Detroit) and a romantic concept of house music that is at times utopian, the album gathers eight tracks that evoke late nights, hazy mornings and walks on thin air. But 'Flocking Behaviour' is by no means anachronistic: Tracks like 'Under A Waterfall' could be made in just the same manner by a puerile Baby Ford in 1989 as they represent a swaying dance floor in 2014. 'Treehouse' or the title track 'Flocking Behaviour' are experiences that make you feel like meeting new people who instantly greet you like old friends. With someone that works and lives in the here and now, Steinhoff seemingly has no interest in revisionism, complains or antagonism, his approach is welcoming and caring, embracing and mesmerizing. Along the way, his musical apparatus never makes use of cheap tricks or antique clichés.
Shyam Anand is a long-term friend of Smallville and an MPC wizard with a wide-open heart. We are super happy to finally present a 12“ that is fully his own.
After an amazing contribution to Smallville 49 (check out Exerpts!), Snad aka Spandrel aka Shyam Anand presents a full 3-tracker on Smallville, packed with his irrisistible grooves, the usual unexpected twists and an overall magical atmosphere. Growing up near Philadelphia, then moving to Chicago and later exploring the global underground scenes of Berlin and Mexico City, among others, Snad is a busy man. He runs his own imprint Spandrel, co-runs We R The Aliens and has an impressive back-catalogue of contributions for several favourites like Running Back, Courtesy of Balance, Kimochi, Long Vehicle, 20:20 Vision, Phonica and many more.
On this 12" the A side belongs solely to Bubblescope - 14 and a half minutes of mesmerizing Ensoniq DP/4 Vocoder driven modular spheres, an endlessly deep bubbling piece of art that builds an intense feeling that could last for hours.
The B side sees Snad staying deep – Lukewarm Lava explores the broken beat world before taking you on a ride. The beloved B2-spot goes to Tanni - an integral part of Julius' warmup-sets since forever and thus a special one to finally put on wax.
Bubblescope comes with a Full Cover Artwork by Stefan Marx.
2026 Repress
Originally released in South Africa in 1983, In The Music......The Village Never Ends is one of those holy-grail African records that barely needs any introduction. Featuring the enormous 'Nomalizo', it's a record that aficionados around the world have been waiting many years for. Now, Be With Records proudly presents the hugely anticipated vinyl reissue of this bonafied classic.
This release is officially licensed and has been lovingly mastered for vinyl by Simon Francis (Claremont 56 mastering engineer) It has been pressed on audiophile 180gram vinyl for the first time and features the original, rarely seen artwork.
South African singer Letta Mbulu possesses one of the most beautiful voices the world has ever known. Her immaculate voice emits a sweetness that radiates from deep within, brimming with a joy of life and inspiring a spirit of hope and happiness. On this album, her voice soars over a strident musical force that veers between disco, soul and pop music of the most incredible kind. The gleaming guitars recall disco's finest hours while the thump of the beats anticipate 80s British soul.
News of this limited reissue has already been causing a significant stir amongst those in the know so do not sleep on this - you have been warned!
Ein Gefühl der Hoffnung, das aus dunklen Ecken heraufschleicht, durchdringt nahezu jeden Titel der neuen LP von Sour Widows, ,Sigil". Das Album entstand in Zusammenarbeit mit der renommierten Produzentin und Jay-Som-Mastermind Melina Duterte in der Innenstadt von Los Angeles; die elf Songs des Albums nehmen unerwartete Wendungen und sind die fesselndsten, die Sour Widows bisher geschrieben haben. Das Album zeichnet sich durch eine neu gewonnene Unmittelbarkeit aus, als hätten Sour Widows dringende Erkenntnisse zu teilen, und auf der gesamten Länge von ,Sigil" läutet eine scheinbare Katastrophe einen Neuanfang ein.
