Chicken Shack are a British blues rock band founded in 1965 by Stan Webb, Andy Silvester, and Alan Morley, who were later joined by Fleetwood Mac’s Christine McVie, then still known as Christine Perfect. They signed to the legendary British blues label Blue Horizon in 1967.
In The Can, originally released in 1980, compiles tunes from their early years and all but five songs indeed feature Christine McVie on vocals and piano. She would join Fleetwood Mac in July 1970, right after recording O.K. Ken? with Chicken Shack.
In The Can is available as a limited edition of 500 copies on blue vinyl.
Cameron Winter kündigt sein erstes Live-Album "Live at Carnegie Hall" an. Das Album dokumentiert Winters historischen Auftritt im Dezember 2025, bei dem er als einer der jüngsten Solokünstler überhaupt als Headliner im Hauptsaal der legendären Konzerthalle auftrat. Ganz allein, über sein Klavier gebeugt und mit dem Rücken zu einem ehrfürchtigen, ausverkauften Publikum, interpretierte der Frontmann der Band "Geese" Songs aus seinem gefeierten Debütalbum "Heavy Metal" neu. Ein Album, das von GQ in ihrem ausführlichen Bericht über diesen Abend in der Carnegie Hall als "eine der kühnsten und selbstbewusstesten Singer-Songwriter-Platten dieses Jahrhunderts bisher, ein Fiebertraum voller Gefühle von jemandem, der die Regeln gut genug verstand, um zu wissen, dass sie ihm kaum etwas bedeuteten" beschrieben wurde.
Auf dieser berühmten Bühne präsentierte er zudem drei bisher unveröffentlichte Kompositionen, von denen jede einen Einblick in seinen Fundus an Material bot. Die gesamte Darbietung war von einem unbestreitbaren Gefühl der Einmaligkeit geprägt, das die Bedeutung des Augenblicks einfing: Zeuge zu sein, wie ein Künstler, wie er nur einmal in einer Generation vorkommt, die Bühne eines der ehrwürdigsten Veranstaltungsorte der amerikanischen Musikszene beherrscht.
The Human League is renowned for their contribution to the synth-pop genre. Originating from the experimental electronic music scene, they achieved notable success as a pop band during the 1980s. The band's lineup has undergone changes throughout the years, but Philip Oakey, Joanne Catherall, and Susan Ann Sulley have remained core members.
This limited edition BLUE vinyl release captures their performance at The Dome in Brighton on December 19, 2003. It includes their iconic hits such as "Don't You Want Me," "Human," "Mirror Man," and "Fascination." The album showcases their talent for crafting catchy melodies, employing innovative synthesizer techniques, and featuring distinct vocals.
With their memorable songs and unique musical style, The Human League truly made their mark on the Synth-pop genre.
Tracklist
A1 Daniel Bortz - I Met Her at the City Club
A2 Massimiliano Pagliara – Midnight Mirage
B1 Sam Goku - Unattached Voices
B2 Bostro Pesopeo & Tom Bioly – See You Again
B3 New Jackson – There Will Always Be This Love (OOPS POP Version)
Short Info
The third round of the Permanent Vacation XX series to celebrate the label's 20th anniversary brings together a lot of familiar faces and long-time vacationers. From Daniel Bortz, Massimiliano Pagliara and Sam Goku to New Jackson and the collaboration track between label head Tom Bioly and Bostro Pesopeo. Everyone brings his unique sound to the table, so that the EP offers a broad, yet cohesive variety of music that brings us to the essence of Permanent Vacation.
ATA00BS will be released in a Number Stamped Edition, with Full Cover Art made by Pepe and will be Sealed / Shrinkwrapped.
'Keep it simple' 103636;"Reissue- Tracklist A1. Unknown A2. Pain Is Full B1. Damaged Memory B2. Damaged Memory ( Iori Remix ) Shortinfo: Roberto Bosco has selected Kiny's music to better prepare his first 12, consisting of four tracks, named 'Damaged Memory'.The track Unknown (A1) leads off the dance of the release on Last Drop Records imprint. It's a proper exploration in an unknown sonic territory to most of the people, and also a difficult element to make out for those who are novice to the visonary component in the musical poetic of Kiny. The track starts with rounds of recurring sirens, almost deafening, framed by dark and ghostly noises. Something not easily identifiable, ambiguous and unknown, as the title itself says, is perceptible in its sound. All this helps to shape a bad presage that fades away into the mystery. On the same side we find Pain Is Full (A2) that, according to the producer, was born in a moment of pain which can be overcome only by fighting. In fact, the track is characterized by a more combative and insistent tone, made up by the sound of snare and tom entering since the start and determining an atmosphere of contrast able to shake the listener until the end. Shouts of encouragement suggest an initiation rite in which there is struggle for survival. The titletrack, Damaged Memory (B1) has more quiet register with less ghostly vocals, perceived at times, unlike the previous tracks. The sounds have a vanished effect, such as when you create a halo on a white sheet with the dust of a pencil just sharpened. You will hear a sort of democracy among the sounds held together by the voice, a metaphor of a damaged memory, as the title itself recite, that always makes the same process till the end: it commences by recalling but then forgets. Last, is the version of the producer Iori, Damaged Memory (B2), on the same side.
History has shown that the greatest bands–bands with that certain, ever elusive quality called lasting power–neither conform to nor buck the trends of their time, but rather force the times to catch up to them. Sheer Mag has such lasting power in droves. After almost a decade spent carving out a career that has already become the stuff of modern underground legend, the band’s new stand-alone single, “All Lined Up,” comes alongside the announcement of their signing to Third Man Records–their first partnership with a larger independent label–who will also be physically and digitally re-releasing the entirety of Sheer Mag’s back-catalogue, including their cult-beloved early EPs I (2014), II (2015), and III (2016), as well as their first two breakthrough LPs, Need To Feel Your Love (2017) and A Distant Call (2019). Sheer Mag’s sensibility, as fervently beloved by baseball-tee clad garage rockers and tattoo-less indie kids as it is by leather-and-stud-loyal punks, finds its strength in an unconventional mixture of refined complexity and straight-forward pop prowess. Seamlessly trading between head-turning guitar heroics and a charmingly timeless blend of disco, hard rock, and garage inflected hooks, Sheer Mag’s oft-referenced, never-replicated sound has played an undeniably large role in stoking the current resurgence of interest power-pop forward rock music. While quickly adopted as a fan-favorite amongst the sweat-caked crowds of the early 2010’s underground, time has attested to Sheer Mag’s singular cultural mutability: though never straying too far from their home-town Philadelphian origins
In January 2016, a 21-year-old Jacquees confidently stepped into the spotlight and officially shifted the climate of modern R&B. Released as a mixtape hosted by DJ Spinz, Mood wasn't just a collection of songs—it was a bold sonic manifesto. Merging classic, unbridled Southern R&B vocals with the heavy, localized bounce of Atlanta’s dominant trap scene, the project gave a generation of fans their definitive late-night soundtrack. Now, a decade after its initial release, the foundational classic is finally making its official debut on all major streaming services, as well as arriving on CD and vinyl for the very first time.
Produced primarily by Nash B, Mood captured an artist on the precipice of superstardom. Backed by executive support from Birdman and the Cash Money Records family, the project features a powerhouse lineup of mid-2010s royalty, including standout guest verses from Kevin Gates, DeJ Loaf, Rich Homie Quan, Kirko Bangz, and Young Scooter.
For years, Mood lived in the digital underground of mixtape websites and YouTube rips, passed around by R&B purists like a treasured secret. Whether you're streaming it on the go, spinning the rich analog grooves of the vinyl, or popping the CD into your car, this release honors the timeless body of work that cemented Jacquees as the King of R&B.
A new sub-division from Earth Dog Records, reissuing overlooked gems from the North American underground
The ‘90s to early 2000s saw US dance music experience a uniquely innovative gold rush. Records from that period narrate a burgeoning rave-obsessed sub culture, experimenting with the psychedelic sounds of tech house and progressive, with further flirtations with trance, breaks and beyond.
Many of those era’s artefacts have been increasingly difficult to find, and even rarer to hear out in the contexts they were constructed for. Relik exists as a means to preserve the legacy of this formative era, honouring the artists and labels that helped shape an ethos and sound unique to North America, and pivotal to the Earth Dog vision, while exposing this music to a new generation of listeners.
Each reissue will be released with permission and in collaboration with the original artists.
R001: The Vortex Archives
Volume one shines a light on Gainesville’s legendary Vortex Records.
Founded in 1996 by Boyd Westerman and Kyle Hogan, lifelong underground innovators (with Boyd remaining the undisputed king of the Discogs comment section). Vortex was home to a catalog of sounds that helped define a unique tech house and progressive flavoured corner of the North American underground.
Vortex Archives compiles four of our favourite cuts from the label’s discography, that for our money showcases their unmistakable sound best; a seamless fusion of progressive house, tech house, trance and breaks.
Nearly three decades on, these tracks (and the label from where they came) are as timeless and prescient than ever. We’re honored to certify their legacy by bringing them back into circulation.
A huge thank you to Boyd for trusting us with this release and helping to bring a sample of the Vortex catalog back into the world.
Endless respect to all the OGs who archived their catalogues, continued to make incredible music and subsequently paved the way for future generations. We wouldn’t be here without you.
Written during and after a year touring the world, Sweet American Boy
expands the raw honesty that built honestav's audience while pushing his
sound into bigger, rock-driven territory - heard on Can't Let Go, Storm In
This House, and Crash First.
Across 16 tracks he wrestles with family history, addiction, grief, love, and
the complicated reality of chasing - and catching - the dreams he once
chased. It’s honestav at his most vulnerable, self-aware, and ambitious: an
evolution of his signature storyteling that feels larger, louder, and more
unfiltered than ever before.
• MGK co-sign Multiple dates on MGK's Lost Americana Tour; Crash
First (with mgk) on the LP
• Deeply engaged fanbase: 1.8M TikTok • 1.2M Spotify monthly
listeners
• A bigger, bolder chapter: Rock-driven evolution of his sound, with a
headline tour on the way
Landing suitably on co:clear, At the Right Place at the Right Time is the spellbinding debut record from luminary figures of the Roman underground, Portamento.
As DJs and promoters of Scivoliii, the duo of Filipo Tosti and Álvaro Labao Garcia has been peddling a range of sounds over the last years. This time though, their attention firmly turns to transportative ambience, where melodic lines and mummering voices are rarely paired without weighty sub-bass. It's absolutely an ‘ambient’ record but the (soft) influence of the club sometimes peeks through.
Written between Forum Studios (fka Ennio Morricone Studios) and Álvaro’s tiny apartment in Trastervere during Rome’s torrid month of August, its sound owes itself as much to burning intimacy, as it does to the weariness of distance. It truly operates in those moments of devotion/desire between the late-night/early-morning, like a candle at the end of its wick that flickers, before it's finally extinguished as your eyes become too heavy to resist sleep.
TRjj is made up of several people that meet regularly since 2016. It is practiced collectively with interchanging names and roles, so the full control about disguised authorship would be guaranteed. Everyone involved was set to meet half way. TRjj is a filter for the kinship of many. Its the freedom attained, once you have gotten rid of yourself. This heteronomic practice would be ideal to advocate against reasons which are claimed, biographies that are scripted, economies that are fueled and histories that are written to be recognized as something apparently truly valid and fully finnished.
„Nowawes2“ marks the second chapter for the label, staying true to its sound without repeating itself. Poul Verner delivers another limited hand-stamped two-tracker built around warm analog textures, organic grooves and understated depth. No unnecessary tricks, no oversized moments. Just two carefully crafted cuts that unfold in their own time. The A-side, „Choose Your Future“, settles into a deep 120 BPM groove, drifting through layers of dub delays, tape noise, subtle pads and restrained chords. Equal parts dub techno and deep house, it leaves plenty of space for atmosphere to do the talking. Flip it over and „Choose Life“ raises the tempo to 130 BPM without sacrificing its hypnotic flow. Stretching across 12 minutes, it builds patiently without ever rushing its destination. More drive, more momentum, yet the same sense of space. Dreamlike, immersive and made for those moments when the dancefloor locks into a rhythm of its own. „Nowawes2“ continues to explore the space between laid back house and organic techno with patience, restraint and an unmistakably analog character. Built for long blends, late hours and selectors who know that the most subtle records often leave the deepest impression.
Battle of Clontarf collects a remastered series of late-90s guitar jewels by Loren Connors, most appearing on vinyl for the first time. At its center is an unrealized double 7" from 1996, Battle of Clontarf, named after the bloody battle fought outside Dublin in 1014. Gestures of blistered guitar billow, but underneath a defiant elation prevails. Loren’s partner Suzanne Langille composed and performed the poem in Part II and the song in Part V of the Clontarf sequence. The six pieces are followed by a curated circlet of recordings from around the same period, including the complete 1994 EP The Five Points (originally issued by Table of the Elements) and several other short works from the years surrounding Connors’ notable albums Airs (1999) and Lullaby (2001). These recordings occupy only a few minutes at a time, but manage to convey such vulnerability. Each seems to find its way toward the next, like a chain of small amulets.
The collection continues with the Star of Bethlehem suite from 2000, and concludes with Connors’ arrangement of Gershwin’s “I Love You, Porgy.” The latter is a personal favorite, with a breathtaking cadence that shares the beauty of Billie Holiday’s version, but transmitted from the solitude of a dream. Battle of Clontarf gathers all these scattered parcels of Connors’ work into one fluent LP, released on Recital alongside Connors’ new art book Wildweeds Vol. II in celebration of his 77th birthday in late October.
Originally released in 1990, as a triple album in box set with probably the best work THE KLINIK ever did. A selection of their musical works all recorded between 1984 & 1988 and never released before, the box came as a limited edition in 1990 and was sold out in no time, and therefor very rare and hard to find.
Now Antler Records has revisited the box, remastered into a sound experience like you never had before; 6 sides packed in newly designed inner sleeves with band photo's (by Inge Bekkers) that have never been published before. 6 sides, three heavy weight vinyl albums in one extra broadened single album sleeve. Cold electronics, shivering spheres, minimal and highly atmospheric, a soundtrack for a still to be made film. A sound experience like you never had before!
The Klinik is Marc Verhaeghen-Music & Dirk Ivens-Lyrics
All Tracks recorded in the Lab between 1984 & 1988
Digitally Remastered in 2026 by Pieter De Wagter(Equus)
CFUNK 050 is presented as a special collector edition commemorating the 50th Cyberfunk release. The package celebrates more than two decades of the label's music, artwork and visual identity.
The accompanying booklet brings together artwork from across the Cyberfunk catalogue, including labels from some of Quest's biggest and most memorable releases, alongside a personal retrospective from DJ Quest looking back at the creation of the label, the artists who shaped it and the journey back to vinyl.
Dedicated artist pages introduce DJ Quest, Paket, Destroyers, Code BreakerZ and Groovebox, connecting the artists behind release 050 with the wider story of Cyberfunk and the international breakbeat community that continues to support it.
More than simply a four-track 12", CFUNK 050 is designed as a physical celebration of Cyberfunk: its records, its artwork, its artists and the people who have kept the sound alive.
Cyberfunk reaches release number 50. To mark the milestone, DJ Quest opens up the Cyberfunk archives for a special four-track vinyl release featuring new interpretations from Paket, Destroyers, Code BreakerZ and Groovebox.
CFUNK 050 connects the label's original UK Bassline Breaks foundations directly with a new generation of producers. Each artist has been given the freedom to reinterpret classic Quest material in their own style while retaining the character, bass pressure and dancefloor attitude that made the originals unmistakably Cyberfunk.
From Paket's reworking of Muffled Mayhem and Destroyers' take on Cybanet, through to two very different versions of Back To The Old Skool from Code Breakerz and Tech House maestro Groovebox, the release moves across modern breaks, heavyweight club production and rolling groove-led territory.
It is both a celebration of 50 Cyberfunk releases and a statement about what comes next.
A1. DJ Quest feat. Yoof - Muffled Mayhem (Paket Remix)
Spanish breaks heavyweight Paket takes on Muffled Mayhem, retaining the attitude and personality of the original while rebuilding it for contemporary dancefloors with heavyweight drums, powerful bass and the polished low-end pressure that has made him a leading figure in the new generation of Andalusian Breakbeat.
A2. DJ Quest - Cybanet (Destroyers Remix)
Destroyers turns his attention to Cybanet, pushing one of Quest's darker electronic productions firmly into modern club territory. Futuristic electronics, heavyweight rhythm programming and serious dancefloor pressure meet the machine-driven character of the original.
B1. DJ Quest - Back To The Old Skool (Code BreakerZ Remix)
Code BreakerZ completely re-engineer one of Quest's defining tracks for a new generation. Their acid-tinged, hard-hitting approach injects fresh energy into Back To The Old Skool while keeping the hooks and attitude that made the original such an important Quest record.
B2. DJ Quest - Back To The Old Skool (Groovebox Remix)
Groovebox closes the release with a deeper, tech house, groove-led interpretation. Built around movement, rhythm and rolling dancefloor momentum, his remix takes the original somewhere different while preserving the unmistakable old-skool spirit at its core.
Mit ihren ersten beiden Alben verwandelten Dream Unending die vertraute Architektur des Death Doom in einen eigenen Ort. Eine Sprache, in der tiefste Schwere mit Progressive Rock, Ambient-Musik, jazzinspirierter Improvisation und unverblümter emotionaler Offenheit koexistieren konnte.
Auf dem neuen Album 'Certain Uncertainties' bleibt dieser Ausdruck intakt, doch der Blick hat sich verändert. Wo frühere Werke oft nach oben und außen zu greifen schienen, kehrt dieses auf die Erde zurück: schlanker im Aufbau, rauere Kanten und von einer ausgeprägt nächtlichen Atmosphäre geprägt. Man könnte es vielleicht 'Adult Contemporary Doom' nennen; Musik von erheblichem Gewicht, die dennoch gelernt hat, wie viel gesagt werden kann, indem man bestimmte Dinge ungesagt lässt.
Aufgenommen mit weniger Schichten und einem bewusst unmittelbaren instrumentalen Ansatz, gibt 'Certain Uncertainties' den einzelnen Darbietungen Raum zum Atmen. Derrick Vellas Gitarren bewegen sich mit ungewohnter Freiheit durch Blues-, Jazz- und Progressive-Vokabular und tragen zuweilen den offen geführten Charakter amerikanischer Roots-Musik in Gefilde, die man im Doom selten antrifft. Justin DeTores Schlagzeug ist durchgehend präsent, verleiht dem Album eine physischere Dynamik und hilft den Kompositionen, ihre Ziele mit größerer Sparsamkeit zu erreichen. Dennoch hat die Prägnanz die Vorliebe von Dream Unending für Entladung nicht geschmälert: Insbesondere das Eröffnungs- und das Schlussstück steuern auf enorme Druckpunkte zu, während die Zwischenräume Vellas Spiel zum Wandern, Reagieren und gelegentlichen Unvollkommenheiten einladen. Jeder Song funktioniert als eigene Vignette – teils Wüsten-Träumerei, teils After-Hours-Noir – durchzogen von Spuren westlicher Landschaften, dämmrigen Räumen und leeren Straßen.
Diese erdgebundene Qualität passt zu einem Album, das sich im Kern mit Instabilität und Wiederaufbau beschäftigt. Entstanden in einer Phase, in der Vella sein eigenes Vertrauen ins Risikoeingehen neu aufbaute, trägt 'Certain Uncertainties' Zweifel in sich, ohne der Verzweiflung zu verfallen. Die versehrte Balladenhaftigkeit von 'I Carry Your Burden' (mit Gastgesang von Brendan Radigan), die improvisatorische Offenheit des Titeltracks und die hässlicheren Ausbrüche des Death Doom gehören alle zum selben emotionalen Terrain: Schönheit und Unbehagen dürfen denselben Rahmen einnehmen. Wenn das frühere Werk von Dream Unending eine andere Welt jenseits der Grenzen schwerer Musik imaginierte, findet 'Certain Uncertainties' etwas ebenso Seltsames in der Welt unter unseren Füßen. Ein Album voller trockener Luft, langer Schatten, ungelöster Fragen und dem sturen Impuls, sich weiter durch sie hindurchzubewegen.
„Continue Here“ ist das Album, das es bisher noch nicht gab. „Continue Here“ schließt die Lücke zwischen „Begin Here“ und „Odessey & Oracle“ und enthält die bei den Fans beliebten Titel „I Love You“, „Leave Me Be“ und „I Want You Back Again“. Zum ersten Mal auf einem Album vereint, dokumentiert „Continue Here“ alle 18 Nicht-Album-Singles und B-Seiten aus den Jahren 1964 bis 1967 in ihrer ursprünglichen Mono-Mischung. „Continue Here (Mono Remastered)“ ist das nächste Kapitel in der Reihe der Zombies-Neuauflagen über das bandeigene Label Beechwood Park Records, mit demselben Team wie bei „Begin Here“ und „Odessey & Oracle“ – erneut unter der Leitung von Matthew und Jamie White, gemastert von Reuben Cohen bei Lurssen Mastering, mit brandneuem Artwork von Darren Evans und Liner Notes des legendären David Fricke. Die CD enthält einen Bonustrack: „I’m Going Home“.
The Five Green Moons present Moon 3. The third sphere to find its way into orbit. On its surface the evolution of a many faceted creature has taken place. Now with long, long tentacles and a million mouths the creature dances and sings. Its voice is the sound of the ghost dub ritual. The echo of spirits passing through the translucent veil. The chants of souls lost in the vampire woods. The clap, clap of its limbs colliding is the sound of frequencies being bent into fascinating new shapes by machine/ human hybrids. Post punk dubwise angular electro folk, Pastoral dub, whatever name you give to this music is of no consequence. It is alive and spinning in orbit.
The third Five Green Moons album sees Justin Robertson's sonic pallet blossoming into new exciting shapes. These 11 tracks offer a wide vista of across the frequencies including a truly remarkable and uncanny tale from celebrated author David Keenan on ' To Haunt of the Dark Earth A Spot' that brings to mind a vision of M.R. James merging with African Headcharge. Another refreshing collaboration can be found on 'Message from the Tone Generator' where underground electronic producer Nickelle adds her magical poetry to the psychedelic swirl. This is a bold and magical offering in a time of pastiche where new shapes are drawn from the sketches of the past.
If you need a sonic shorthand imagine Public Image Limited meeting the haunting chants of a new age Incredible String Band. The spiritual tones of late 70's Don Cherry. The whispering psych swooshes from Planet Gong and most importantly a solid bass foundation straight out of King Tubby's studio.
All tracks recorded at ROLL OVER STUDIOS, London. January 2004.
Features 10 Studio tracks including: It Mek, Israelites and Sing A Little Song.
Desmond Adolphus Dacres was born on 16th July 1941 in Saint Andrew Parish, Greater Kingston, Jamaica. As a youngster Desmond regularly attended his local church with his grandmother and aunt. Here would bring him his lifetime religious commitment and his enjoyment for singing.
Dekker moved to parish of St. Mary following his mother’s death as a result of illness. He later moved to St. Thomas, where he took up an apprenticeship as a tailor, before he moved back to Kingston and landed himself a job as a welder.
His co-workers encouraged him to pursue his singing career, he successfully auditioned for Leslie Kong's Beverley's record label and was awarded his first recording contract. As his career took off this was the time he decided to adopt the name Desmond Dekker instead of 'Dacres'.
Reissue. "The beauty of Acid Roulette - and about Scorpion Child in general - is the steely dedication to all that is rock. You don't sound like this unless you've been swimming in a sea of ancient vinyl your whole life." - Louder Sound
Reissue. Orange transparent vinyl, limited to 300 copies. "The beauty of Acid Roulette - and about Scorpion Child in general - is the steely dedication to all that is rock. You don't sound like this unless you've been swimming in a sea of ancient vinyl your whole life." - Louder Sound
Fall Collection pulls from the vaults. Four tracks, some long out of print, one never
before pressed, all of them worth the dig.
The A-side opens with Ty Tek’s Dirty Fusion, originally released on Gourmet Recordings
in 2005 alongside the Audio Soul Project remix two years later. Both have been
fetching serious money on the secondary market for a reason. This is tech house from
when that phrase still meant something, the walloping cadence, the sci-fi pads, the
seismic synths rolling underneath. You hear it once and it stays with you.
Departed by Wasted Chicago Youth follows. Justin Aulis Long and Mazi Namvar
started from a remix brief and promptly ignored it, building something new from scratch
in a single session. Organs, wailing lead, disco break, 808 subs, a plastic bass line
threading through all of it. Somewhere between an angry Metro Area and a more
psychedelic Jitwam, but really it’s just WCY doing what they do.
Love Thy Enemy by Wasted Chicago Youth appeared on the Chase The Devil EP back
in 2009. The bubbles, shuffles, and wobbling chords hold up, and the vocal samples hit
differently now than they did then.
ASP’s Cloud Dub closes the record. It appeared on Dubs Vol. 2 as a digital release in
2022 and has never been on vinyl, and that’s where the subsonic acid bass line and
the layered string, piano, pad, and organ groove finally get room to breathe. Deep
house the way Chicago made it in the early nineties. Bare, musical, and raw.
Track A1 written by Ty Tek. Remixed by Audio Soul Project
Track A2 written by Justin Aulis Long and Maziar Namvar
Track B1 written by Justin Aulis Long and Mazi Namvar
Track B2 written by Audio Soul Project.
Copyright Control
Fresh Meat Records 2026
Die Legenden der elektronischen Musik, Soft Cell, bestehend aus Sänger & Frontmann Marc Almond und Multiinstrumentalist & Produzent Dave Ball, veröffentlichen mit "Danceteria" ihr sechstes und letztes Studioalbum - zugleich ein Liebesbrief an das New York der frühen 80er Jahre, wo Soft Cell ihre ersten drei Alben aufnahmen. "Danceteria" ist ein großartiger, stilvoller und verspielter Abschied von 47 Jahren gemeinsamer Musikgeschichte von Marc & Dave als Soft Cell und präsentiert Darbietungen, die für die Karriere dieser Electro-Pop-Legenden prägend sind. Mit Anklängen an Sparks und die Pet Shop Boys sowie Texten, für die Lady Gaga töten würde, nimmt das Album den Hörer mit auf eine lebendige Reise durch einen Tag im New York der frühen 80er Jahre – eine Reise, die rund um die Uhr von der Nacht über den verschwommenen Tagesanbruch bis zum direkten Wiedereintritt in den Club führt.
"Danceteria" ist gleichermaßen eine Hommage an den verstorbenen, großartigen Dave Ball. Dieses letzte Album gehört zu den letzten Werken, an denen Ball als Co-Autor und Produzent mitwirkte, bevor er am 22. Oktober 2025 auf tragische Weise viel zu früh verstarb. Marc Almond führte die Reihe der Nachrufe an und bezeichnete Dave als "geniales musikalisches Genie". Die weltweiten Medien und Musikstars wie Neil Tennant & Chris Lowe (Pet Shop Boys), Daniel Miller (Mute Records), Cabaret Voltaire sowie Richard Norris aus Daves Techno-Duo The Grid würdigten ihn voller Anerkennung und Wehmut als Pionier der elektronischen Musik. Dave stellte "Danceteria" zwei Tage vor seinem Tod fertig, und ganz in seinem Sinne wurde die Veröffentlichung des Albums wie geplant durchgeführt. Auch aufgrund von Daves Tod muss "Danceteria" zwangsläufig das letzte Soft Cell-Album sein, wie Marc erklärt: "Ohne Dave kann es keine weiteren Aufnahmen von Soft Cell geben; das wäre schlichtweg unmöglich. Die traurige Realität ist, dass Dave Ball die eine Hälfte von Soft Cell war, und abgesehen von Live-Auftritten kann ich ohne ihn keine Soft-Cell-Songs schreiben."
CCCC is the collaborative album by Italian singer-songwriter Chiara Civello and producer Clap! Clap!, released via Civello's newly founded Quarter Moon Records. Across ten tracks, the record brings Civello's songwriting and distinctive voice into dialogue with Clap! Clap!'s production, moving between electronic music, jazz, art-pop, broken beat. Sung across English, Italian/Sicilian dialect and Portuguese, the album also features percussionist Mauro Refosco and keyboardist Dario Bassolino.
CCCC is the collaborative album by Italian singer-songwriter Chiara Civello and producer Clap! Clap!, released via Civello's newly founded Quarter Moon Records. Across ten tracks, the record brings Civello's songwriting and distinctive voice into dialogue with Clap! Clap!'s production, moving between electronic music, jazz, art-pop, broken beat. Sung across English, Italian/Sicilian dialect and Portuguese, the album also features percussionist Mauro Refosco and keyboardist Dario Bassolino.
For two decades, The Oscillation has occupied its own space within the psychedelic underground, continually reshaping a sound built as much from texture, repetition and atmosphere as it is from conventional songcraft. On 'Interference', released October 30th 2026 via Fuzz Club, Demian Castellanos pushes that approach further than ever, creating what he describes as "a painting of sound rather than music”. It’s an album where noise and melody constantly collide, dissolve and reform into something strangely beautiful: “I wanted it to be accessible but also quite extreme, a sort of beautiful noise. I did my best to push out the parameters whilst trying not to allow it to disintegrate into something with no meaning or focus.” Chasing an elusive balance between accessibility and abstraction, the result is a record that feels simultaneously immediate and disorientating: dense layers of drones, feedback and motorik rhythms give way to unexpected moments of warmth, colour and even uplifting euphoria. Across its runtime, chaos never overwhelms; instead it becomes another instrument, carefully sculpted into hypnotic, immersive compositions. Much of the album emerged through instinct rather than intention. Fragments originally conceived as intros, outros or abandoned ideas gradually eclipsed the songs they belonged to, with tracks revealing themselves organically through a process Castellanos likens to "playing Chinese whispers with musical instruments." Elsewhere, two long-forgotten compositions – ‘Stasis’ and ‘When You Close Your Eyes’ – finally found their place after lying unfinished for almost twenty years. Recorded and mixed by Castellanos at his home studio in the Czech Republic, ‘Interference’ also benefits from a key collaboration with Lorena Quintanilla of Mexican band Lorelle Meets The Obsolete, who provides a transformative presence. Her haunting vocal on ‘La Alusion’ (which she also wrote the lyrics and melody for) became the breakthrough moment that crystallised the album, turning an instrumental sketch into a dreamlike centrepiece and helping shape the final sequence. She also lends her voice to ‘Isolation Freeway’, adding another layer of mystery to an album that continually blurs the line between structure and dissolution. Perhaps most remarkably, ‘Interference’ was created during a period in which Castellanos had largely stopped listening to music altogether: “My hi-fi broke a couple of years ago so I kind of wanted to see what would happen if I didn’t listen to too much music.” Instead of consciously absorbing outside influences, he trusted instinct, memory and experimentation to guide the process. The result is one of The Oscillation's most adventurous and emotionally resonant records to date: a vivid collision of hypnotic repetition, spectral beauty and controlled sonic disruption that confirms Castellanos remains one of modern psychedelia's most singular voices.
The Oak Ridge Boys are paying tribute to their favorite songs without losing sight of their gospel roots in a stunning and inspiring new album, Buried Treasures. Produced by Anderson East and executive produced by Dave Cobb, Buried Treasures gathers together classic songs made popular by seminal voices such as Louis Armstrong and Nat King Cole, as well as essential songs written by Billy Joe Shaver, Paul Simon, and Bill Withers. The vocal group’s spiritual side shines through on recordings of “Deep River,” “How Great Thou Art,” and “Softly and Tenderly,” yet there’s also a hint of romance in the enduring ballad, “You Are So Beautiful.” The album’s only new song, “Buried Treasure,” was written specifically for the project by GRAMMY Award-winning songwriter Aaron Raitiere. “Every song on the album is about something that’s dear to us,” Oaks member Duane Allen says.
Repress of since last 2025 sold out box set. Ltd edition Gold vinyl, 4 X 140g LP Box set, 24pp booklet, DL card. or Ltd edition 4xCD Bookback. Trees classic albums, beautifully packaged as a four-disc anniversary edition includes 12" book with liner notes from founder member David Costa and comedian Stewart Lee - Features two new discs of alternate mixes, early demos, BBC session tracks and 2018 live recordings in London - Includes lost demos of 'Polly On The Shore' and 'Streets Of Derry' It's now over fifty years since Trees' formation and, although 'Acid Folk' has now become a sub-category in the lexicon of record dealers and music critics, and although founder member David Costa feels the original noughties reissue helped consolidate a gathering wave of curiosity, they themselves remain in the shadows. Earth's new Trees collection brings together both albums adding shiny alternate mixes of key tracks along with a selection of radio sessions and demos, all sounding brighter and cleaner than ever before. Trees first album, 'The Garden of Jane Delawney' (1970) snuggles nicely into contemporary nu-folkies' idea of the genre, and shares some of the pastoral-whimsy that characterised The Incredible String Band or Donovan, offset by some stunning interpretations of traditional material and Bias' own songs, which were somehow part of the tradition Trees had adopted. Readings of 'Lady Margaret', 'Glasgerion' and the old standard 'She Moved Thro' The Fair', and the extended fade of the group's own 'Road', presage the explosive instrumental duelling that would come to characterise the follow up album, 'On The Shore'. There's a definite shift between the records, the second being darker and more ambivalent. Here Trees don't tell you what to think. You're left to formulate your own response to this odd, opaque music. The 'Streets of Derry' session version leans into the brain vibrating drone-groove they somehow found at the traditional tune's centre. 'Polly On The Shore', another traditional tune, is one of the definitive moments of English folk rock. This special expansive collector's edition celebrates the bands 50th anniversary. "A beautiful hybrid, Trees found a unique space between intimate folk and freewheeling psychedelia. Musically ambitious yet brilliantly balanced, they have left an enduring legacy for those lucky enough to be in on the secret" - Edd Gibson, Friendly Fires
"Baby put that cheecky dress on_get your feet on the ground, shake your hips to the sound! We're dancing to the music!"_of THE MODBIRDS! Ladies & Gentleman, die Tanzfläche ist freigegeben! Spotlights an, Boxen auf Anschlag aufgedreht bis die rotierende Discokugel in 1000 Scherben zersplittert - hier kommt "Shards", der erste Longplayer der Modbirds. Einen berauschenderen Cocktail mit allerfeinsten musikalischen Zutaten wirst Du an keiner Theke finden! Der abwechslungsreiche Mix aus Ska, Soul, Reggae, Rocksteady, einer kleinen Prise Punk bis hin zu Swing und klassischen Big Band Elementen macht süchtig und vereint alles was Birdies, Rudeboys und sonstige Nachtschwärmer lieben werden. Nach ihrer Mini-LP "Spin it to win it" hat die 7-köpfige Big Band mit u.a. ehemaligen Mitglieder von The Porters und Los Placebos im Music Area Studio bei ihrem ehemaligen Bandkollegen Beagle 12 neue Songs aufgenommen und all ihre musikalischen Einflüsse und Vorlieben darin einfließen lassen. Ob Jamaica-Roots, Ausflüge in verschiedenen Waves of Ska-Äras, den typischen UK-2 Tone Sound nach Art von Madness bis Buster Shuffle oder eine einfach nur Spaß machende Reminiszenz an all die deutschen Ska-Bands von El Bosso bis Frau Doktor (mit dem einzig deutschsprachigen Song "Jogger"): Mit jeder Note und Takt merkt man diesem Album an: Die Modbirds leben und lieben diese Subkultur seit Jahrzehnten und kreieren daraus ihren eigenen Sound! Die 180g Vinyl-Edition kommt im Gatefold in klassisch schwarz oder silber mit mehrfarbigem Splatter. Limitiert auf insgesamt nur 300 Exemplare!
"Baby put that cheecky dress on_get your feet on the ground, shake your hips to the sound! We're dancing to the music!"_of THE MODBIRDS! Ladies & Gentleman, die Tanzfläche ist freigegeben! Spotlights an, Boxen auf Anschlag aufgedreht bis die rotierende Discokugel in 1000 Scherben zersplittert - hier kommt "Shards", der erste Longplayer der Modbirds. Einen berauschenderen Cocktail mit allerfeinsten musikalischen Zutaten wirst Du an keiner Theke finden! Der abwechslungsreiche Mix aus Ska, Soul, Reggae, Rocksteady, einer kleinen Prise Punk bis hin zu Swing und klassischen Big Band Elementen macht süchtig und vereint alles was Birdies, Rudeboys und sonstige Nachtschwärmer lieben werden. Nach ihrer Mini-LP "Spin it to win it" hat die 7-köpfige Big Band mit u.a. ehemaligen Mitglieder von The Porters und Los Placebos im Music Area Studio bei ihrem ehemaligen Bandkollegen Beagle 12 neue Songs aufgenommen und all ihre musikalischen Einflüsse und Vorlieben darin einfließen lassen. Ob Jamaica-Roots, Ausflüge in verschiedenen Waves of Ska-Äras, den typischen UK-2 Tone Sound nach Art von Madness bis Buster Shuffle oder eine einfach nur Spaß machende Reminiszenz an all die deutschen Ska-Bands von El Bosso bis Frau Doktor (mit dem einzig deutschsprachigen Song "Jogger"): Mit jeder Note und Takt merkt man diesem Album an: Die Modbirds leben und lieben diese Subkultur seit Jahrzehnten und kreieren daraus ihren eigenen Sound! Die 180g Vinyl-Edition kommt im Gatefold in klassisch schwarz oder silber mit mehrfarbigem Splatter. Limitiert auf insgesamt nur 300 Exemplare!
Timeless – yet always fresh: Regardless of the whims of the pop business, Planet Yello has been making its rounds for almost fifty years, repeatedly whisking us away to a world where past and future greet each other and James Bond joins forces with the Man in the Moon, Dionysus and Philip K. Dick.
"To the future, through the past"—with their fifteenth studio album, "Time Lab," Dieter Meier and Boris Blank put this maxim into practice more vividly than ever. Blank meticulously crafts his imaginary soundtracks from fresh samples and found objects from his own archive, which has accumulated a vast collection of sonic fragments, riffs, and motifs over nearly fifty years of creative work. Meier immerses himself in these parallel soundscapes, discovering within them his romantic tales of robbers, mysterious night creatures, and Dadaist wordplay. Essentially, every Yello track is both ancient and brand new at the same time. This principle is perfectly illustrated by the first single, "Around the Sun." It's based on a dormant Meier recording that was cut at the last minute from the selection for "Claro Que Si" (1981). Blank gave Meier's sonorous voice a fresh sonic makeover – the result is an elegant and flexible, thoroughly Yello-esque combination of past and present, romantic wanderlust and driving percussion. "Break Out" also plays with stylistic elements that can be traced back to Yello's earliest days: a dangerously prowling bass riff, fiery percussion, and storyteller Meier in hypnotic top form.
Time begins where it ends, or vice versa. Or, as Boris Blank says: "Yello's music doesn't really know time."
Fanzine Records presents Xuntanza Vol. VIII, the eighth instalment of our series For this new chapter, Promising/Youngster, Featherstone, Jauzas The Shining, Noamm and Kafkactrl come together for a five-track release that continues the spirit of Xuntanza: bringing together different artists and perspectives around a shared passion for Electro. Xuntanza Vol. VIII will be released on October 3, 2026 Pressed on vinyl and released by Fanzine Records. Five artists. Five visions. One Xuntanza.
La Rama is hyped to bring you the debut 12” of an incredible Montreal based DJ/Producer, Ghazi aka Visionaire Not Millionaire. With some singles on VAs making it out in to the world over the last few years, it was time for Ghazi to have a maxi of his own. ‘Electrika’ arrives with a massive nu-school title track, the Bass/Break rumbler ‘L.O.S.T.’ & the dungeonous ‘Distress’. All this rounded off with our main man Marco Passarani’s second appearance on the label with a Passarani Club Dub!
Straight dance floor power for all your international party needs. Thank you for rocking with us :-)
Music & Mix by Ghazi aka Visionaire Not Millionaire. Mastered & Cut by Marco Pellegrino. Remix by Marco Passarani. Design by KG. Distributed by Mother Tongue & La Rama Records.
The Bluesville Series from Craft Recordings and Acoustic Sounds!
Inspired by the original Prestige label imprint established in 1959
All-analogue mastering by Matthew Lutthans at The Mastering Lab
Highlighting trailblazing blues musicians from legendary labels
Studio recreation of an electrifying 1961 setlist from Carnegie Hall. This album includes the enduring classic, "Bright Lights, Big City," which was included in The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll.
Released in partnership with Acoustic Sounds, the album has been (AAA) remastered from the original tapes by Matthew Lutthans at The Mastering Lab and pressed on 180-gram vinyl. A replica tip-on jacket completes the package.
Part of the Acoustic Sounds 40 Series
Releasing 40 titles to celebrate the 40th anniversary of Acoustic Sounds!
2x Grammy-winning album mastered from the original master tape
180-gram 45 RPM double LP pressed at Quality Record Pressings
Housed in a Stoughton Printing tip-on gatefold jacket
A landmark collaboration and one of the most celebrated albums in country music history, Trio brings together three transcendent voices — Dolly Parton, Emmylou Harris, and Linda Ronstadt — in a recording that's as emotionally rich as it is impeccably produced.
Originally released in 1987, Trio was both a critical and commercial triumph, selling more than 4 million copies worldwide, topping the Billboard U.S. Country Albums chart for five consecutive weeks, and earning the Grammy Award for Best Country Performance by a Duo or Group with Vocal. It was also nominated for Album of the Year. The album yielded four major country hits, highlighted by the haunting, harmony-driven remake of Phil Spector's classic "To Know Him Is to Love Him."
Produced by legendary engineer George Massenburg, Trio is a masterclass in clarity, balance, and vocal blend. Every track showcases the trio's distinct personalities while achieving a near-perfect harmonic unity-three iconic artists elevating one another through tasteful arrangements, pristine acoustics, and song-first performances.
Now, this classic shines brighter than ever. Mastered at 45 RPM and pressed on flat, ultra-quiet vinyl by Quality Record Pressings, this edition reveals rewarding insights for audiophiles, including greater nuance, texture and emotional depth with every listen.
'What feels like a dream, a portal between worlds, a shimmering of ideas – that liminal space is the departure point for Midori Takada and Jakob Bro’s ever-unfolding musical friendship.
'On their second outing From Such A Blue Sky / かくも青き空から, arriving on Copenhagen's Loveland Music in October, the compositions are transformative, and the sounds travel between immediate emotional and abstract planes.
'The classically trained Japanese percussionist Midori Takada, later dubbed an ambient pioneer for the landmark 1983 album Through The Looking-Glass (another portal), left behind her Western classical training and found her own paths, drawing on African and Indonesian drumming, minimalism, theater, environmental music and instant composing.
'Similarly, Danish composer and guitarist Jakob Bro creates otherworldly sounds and beautiful, delicate melodies through intuitive creation and collective listening.
'On From Such A Blue Sky the music is co-composed and created in the studio over three days, from early morning to sundown. The compositions are increasingly open ecosystems, and the range of sound sources expands significantly from the puristic Until I Met You, with Thai gongs, heavy drums, ceramic flutes, electric guitar and pedals adding to the sonic imagery of From Such A Blue Sky.
'From Such A Blue Sky is the second album in a trilogy recorded at AVACO Studios in Tokyo, a studio in Shinjuku renowned for its sound works in Japanese film since 1952. The trilogy is an ongoing continuation of their musical friendship, which has already led them to duo performances at World Expo Osaka, Tessenkai Noh Theatre Tokyo, Pierre Boulez Saal Berlin and Roskilde Festival.'
For ONO006 we welcome born ‘n’ based Palermo producer, DJ, record shop owner and label head Riccardo Schirò to the ever evolving ONO roster. The Sicilian madman plates a killer exxxtended single, Raga Della Sera, complete with a royal remix treatment from downright hero DJ Sotofett.
Riccardo’s Raga Della Sera is a ritualistic summoning of the 303s and 808s of the past, calling on the sounds of old to conjure up a thrilling 11-minute freakout. Signor Schirò combines an acid-inflected proto-trance and a certain Gregorian Giallo flavour to bring forth one truly unique piece of music. Bellissimo!
On the flip, DJ Sotofett reshapes Raga Della Sera with a signature 909 dub, tried and tested at his preferred romping grounds, Globus. The maestro contorts, unravels and reassembles the mystical original into a club demon – ferociously dance-direct and itching to possess heads around the world.
Riccardo has been producing and releasing music on his excellent Gravity Graffiti imprint since 2019, with more than 20 records under his belt he is a hard working and brilliant musician and label curator in our humble opinion. We are proud to be welcoming him to the family and have this brilliant record as a part of the ONO arsenal.
We are beyond excited to unleash this disc upon the world, with both versions coming to a dancefloor near you very, very soon! Let it rip and turn it up!
Andreas Tilliander returns to Kontra-Musik in a grand style with his second TM404 album. Titled 'Acidub', this highly anticipated release is much more of an evolution than a repetition of the first superbly self-restricted album, where Tilliander even decided to use only one of the two Roland TB-303 waveforms. Acidub is a more playful and open listening experience, no doubt inspired by his extensive live touring with the TM404 concept. In fact, you can almost hear Tilliander's flock of acid machines breaking free from the restrained modus operandi. Every sound is like a migratory bird with a heart yearning for high altitude and favourable winds. The opening track Alinge paints a lucid picture of these acid birds leaving a cold industrial landscape behind, the flickering black shadows from their wings against the white smoke rising from a forest of chimneys below. The very last seconds of Alinge even echo of the place the silver birds are longing for, but that will remain a secret between Kontra-Musik and the avid listener. Sufficient to say, we can follow these birds of passage as they're heading south towards a warmer climate, fleeing the cold discipline of the North. Mutron Mantra, for instance, brings us to a rainforest full of serpentine lianas, giant leaves dripping with moist and green pools of water bubbling with organic life. Don't Defend Mascot guides us through a steaming savannah at dusk with hundreds of yellow eyes following our every step while Pade vividly describes the perils of the flight and the pace and courage needed to press on. In all, Acidub is a surprisingly exuberant follow-up to the more introspective TM404 album. But while the musical journey of this second album is quite different, the experience of sheer aural eminence remains the same. Andreas Tilliander has done it again, and Kontra-Musik couldn't be prouder.
To celebrate the 20th Anniversary the album is to be released as a 1LP Zoetrope, featuring the original album newly remastered at Half Speed at the legendary Abbey Road Studios. Plus, different artwork designs on side A+B which bring to life original designer Sanna Annukka Smith’s illustrations in mesmerising motions created by expert Zoetrope graphic designer Drew Tetz. Strictly Limited Edition pressing.
Josh Ludlow - one half of MAKE A DANCE - one of London’s most beloved duos - steps out on his own for a rare solo outing on legendary London imprint Rhythm Section International.
A late contender for EP of the year - the record meanders menacingly across four tracks of mind-altering, dissociative Brain Music, precision engineered to transport a listener and hypnotise a crowd without losing any dancefloor impact.
Interestingly, Bradley Zero (RS label boss) and Mr. Ludlow have a connection dating back to the late 2000s, when they were both drummers in rock and roll bands...almost 20 years later - a shared love of experimental electronic music has brought them back together, resulting in this spellbinding EP.
Channelling a much darker, heads down, aggressive sound than the uplifting house M.A.D have become known for, the record begins with 'Brain Music’, which serves as a Detroit techno-inspired wormhole of a track, guiding us into a parallel, inner dimension.
Time Upside Down is next up and it becomes apparent we have entered another realm entirely. The introductory bars of the song feel like a long journey down a dark tunnel. The sound design and acoustic backdrop are so evocative you can almost see it. Obnoxious bass notes reverberate through the space created by the track, slowly giving way to flurries of high-pitched, resonant acid lines - the sum of which escape easy classification. It would be lazy to call it house music, misleading to call it techno - but it’s definitely not tech house. Elements of disco, electro, post-punk, balearic and Weatherall-esque chug are all in the mix but essentially, this is its own thing - this is Brain Music.
The record continues to the penultimate track “The Kettle”, which starts off in more familiar upbeat, bongo-house territory before the calm is betrayed by a hovering intensity which grows out of nowhere before making space for a humungous bass synth melody - so big in fact that it has never once failed to elicit club-wide bass-face; which for a mid-tempo track is no mean feat. We round things off with ‘Mean Mother’, the most playful of the bunch: a Chicago house-indebted workout reminiscent of Paranoid London at their most visceral. The track feels familiar and almost safe until the synth-work is cranked up to 11, creating a cacophonous SH-101 build-up into a disco-esque drop that would get even the most reluctant raver jumping up and down for more.
Besides all the theatrics and acoustic world building, the evocative sound design and the insatiable, no-nonsense grooves - the thing that makes these tracks stand out is the attention to detail. No two fills are alike, every embellishment is EQ’d and polished to perfection - yet no immediacy is lost. The tracks feel alive, intentional and constantly evolving. Hyperbole aside - we have a serious, generational talent on our hands whose mastery of the equipment, understanding of the dynamics of the dance and unabashed
playfulness is being harnessed into something that stands out head and shoulders above the crowd.
