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Amore Libero – Free Love marks the first film score composed by Fabio Frizzi, written in 1974 for the movie of the same name directed by Pier Ludovico Pavoni. Set against the exotic backdrop of the Seychelles, the film tells the story of Simo, a free-spirited young woman played by Laura Gemser in her cinematic debut, blending sensuality and the spirit of liberation so typical of the 1970s.

Frizzi’s score perfectly captures the film’s atmosphere, weaving together evocative melodies, funky grooves, and progressive textures — an elegant, psychedelic soundscape that reflects both the tropical setting and the film’s themes of freedom and desire. The recording features the Goblin in their classic line-up: Fabio Pignatelli (bass), Massimo Morante (guitar), Walter Martino (drums), and Claudio Simonetti (keyboards), with Vince Tempera handling arrangements and orchestral direction.

Long regarded as a true holy grail for collectors, now, for the first time ever, it is officially reissued on vinyl, bringing back to light a fundamental chapter in Italian film music and progressive sound. An essential record that merges Frizzi’s melodic genius with the visionary energy of the Goblin, Amore Libero – Free Love stands as a timeless document of an extraordinary era in Italian cinema and its music.

A Record Store Day 2026 exclusive / Pearly light blue vinyl edition / 30x30cm insert with extensive liner notes

7 Inch Orange Dinked Vinyl in Label Branded Sleeve

Originally issued on Paul Winley Records in 1973, “Smokin' Cheeba-Cheeba”—with Ann Winley on vocals—became a cornerstone of the 1980s UK Rare Groove scene, earning cult-classic status among collectors and DJs alike. On the flip, “Dance Girl”—also released under the Rimshots name—serves up one of the era’s most revered up-tempo breaks. Its unmistakable groove has been sampled by The Roots, Large Professor, and many others, cementing its place in hip-hop production history. The creative nucleus behind both The Mighty Tom Cats and The Rimshots would later evolve into the legendary Fatback Band, adding another layer of pedigree to this essential pairing. With original copies fetching high prices on Discogs, this special-edition Orange vinyl Dinked 7-inch, housed in a branded Paul Winley Records sleeve for Record Store Day, offers a rare chance to own two deep-cut funk/soul essentials on one collectible release.

2 x LP Yellow Vinyl in Picture Sleeve

Celebrating three decades of cutting-edge electronic music, iconic Canadian Melleefresh’s Play Records marks its 30th anniversary with a premium collector’s edition vinyl release. Founded in 1996, Play Records was the launchpad for much of deadmau5’s early catalogue as he rose to global stardom. This special anniversary edition dives deep into the Play Records archives, showcasing previously unreleased gems, exclusive tracks, and rare remixes and covers spanning the label’s storied history. The release comes as a 2×LP transparent yellow vinyl, housed in an iconic artwork sleeve with photography marking the label’s rich legacy.

Not all music can cope with physical reality. Instruments can be pushed until they lose grip. Eventually, they will slip so far that their untethered voice is all that remains. Panoram follows up on his Pianosequenza series engaging in seventeen excursions into playing the part of the piano that doesn't exist, coaxing out inarticulate feelings in lieu of familiar characteristics. Sounds and rhythms resulting from thoughts that can't be put into quite the right words.

There’s this feeling that House Music is sometimes diluted into a pleasant, non-offensive and conformist formula. Well, Jackie Gritness - you may have heard of her big bro Gary - is bringin’ all the sweat, the attitude and the filth down - take it or leave it.

Jackie introduces herself from both sides on this well-strapped debut 12” - the slick swingin’ & sangin’
on the bass-heavy A side, and the raw clave trax and cunty snarls of the acid-laced B side.

No trace of over-production or tired sampling here: this is just Jackie, her mic and her lil’ groovebox -
gettin’ raw in the studio just like she does onstage. Only thing added is some wall-shaking mastering by New York OG Dietrich Schoenemann.

This is the kinda House that’s supposed to make regular folks wanna turn it off. This ain’t rated E for Everyone, it’s rated F for Freaks.

It’s music from the underground, for the underground - as it was first revealed on the runway of Glastonbury’s infamous NYC Downlow last summer.

And if that’s more than you can take - it’s alright. It’s not like Jackie will hold it against you.

Jackie Gritness
“Gary’s little sister.” His studio session resume reads like a House music who’s who - from David Morales to Fred P. He’s also been rockin’ clubs with the Playin’ 4 The City and MLIU crews - but she’s also been seen on Gideon’s fierce Homo-Centric Records. See, this bitch’s true feelings about House are stripped-down, bare-bones, and unapologetically sexual. With a radical ‘live’ attitude, she’s serving the realness with an irresistibly acidic zing.

Keith Tippett was just twenty-one when his group recorded the first of these sets for BBC’s Jazz Workshop on May 21st 1969, three months before the recording of his first album, You Are Here – I Am There. Featured on Side One is the three-part “Portishead Suite,” which presents three stylistically different musical portraits of three generations of the Somerset town. The first is comparatively gentle and flowing but the second portrait is more insistent, its 5/4 tempo bringing to mind themes heard on early King Crimson albums. The third portrait has something of the Caribbean in its playful rhythms. “Hail Conquering Hero” can be heard on Side Two, and is described by Tippett as ‘a jazz study of war.’ None of these compositions have ever appeared officially in any form. Also included on Side Two are two tracks from Tippett’s August 1970 session for BBC Top Gear that was advertised as by Keith Tippett & Heavy Friends.
Keith Tippett – piano; Mark Charig – cornet; Nick Evans – trombone; Elton Dean – alto; Gill Lyons – bass; Alan Jackson – drums. Sleevenotes by Duncan Heining

These two very different sessions involving John Surman and Mike Osborne have much in common. They both share a wonderful sense of liberation, of the joy of making music together and of finding collectively new ways of making jazz happen. And even more importantly, they speak volumes about the eclecticism and openness of British jazz in those years of the mid- to late-sixties and about the creative ambitions of John Surman. In the current absence in the market of his first LP, this is an essential purchase for Surman fans. Notes by Duncan Heining with suggestions from John Surman. These sessions have never previously appeared officially in any form.
Side One 26.2.67 - Mike Osborne (as), John Surman (ss, bs), Harry Miller (b), Alan Jackson (d) - Side Two 17.7.68 - Sterling Betancourt for Alan Jackson and add Russ Henderson (p)

7 Inch Blue Ice Dinked Vinyl in Picture Sleeve

Cold Crush Blue Ice vinyl… what other colour could Tuff City possibly give fans for this seminal early Hip Hop masterpiece on RSD?! The Cold Crush Brothers hold the distinction of being the first-ever Hip Hop group, blazing the trail in the culture’s formative years and opening the door for countless acts to follow. Fresh, wild, fly, and bold, this is true old-school rap at its finest — a nod to the scene’s earliest days, recorded not long after their appearance in the now-cult-classic Wild Style movie. Newly remastered and pressed on a dinked 7” in an original Tuff City branded sleeve, this special-edition colourway brings a legendary moment in Hip Hop history back to life.

Introducing the near-mythical Boyd Jarvis/Danny Krivit remix of Sade’s 1992 (LP-only) downtempo masterpiece ‘Couldn’t Love You More.’ Originally making the rounds in 2008, this release finally sees the light of day in a completely remastered and sonically optimized 12" version for RSD 2026. Mr. K combines the irresistibly flawless qualities of the original with Jarvis’s epic keyboard jam, extending it into a magnificently evolving fourteen-minute dancefloor classic. Crucially, for those who were able to get their hands on the first issue of this rare gem, the sonic faults that marred that pressing have been completely eliminated, and we can finally hear this rework as it was intended by Mr. K and the late, great house legend Jarvis himself. With a lengthy instrumental on the flip side, this twelve-inch single is fully primed for warm ups, late nights, balearic beach sets or anywhere you want to just want to bask in the warm chords and lush arrangement of a true modern RnB classic.

LS002 marks the first vinyl chapter of 20, Eitan Reiter's two-decade retrospective, distilled through key collaborations and remixes. Featuring Patrice Bäumel, Infected Mushroom, Shpongle, Red Axes, and Echo, this six-track release connects psychedelic heritage with contemporary indie dance and deep electronic aesthetics.
20 (Part 1) is a 12-inch vinyl edition featuring exclusive vinyl cuts, available only on this pressing. The selection reflects Reiter's ability to honor his roots while maintaining a distinctly modern sound,blending psychedelic foundations with cluboriented precision.

A1 - Eitan Reiter - Blue Planet (Remix) Vinyl Cut
The A-side opens with a spacious, atmospheric rework of Blue Planet, balancing restrained tension with melodic clarity.
A2 - Eitan Reiter - X-Vision feat. Echo Vinyl Cut
Echo's vocal performance anchors the track, presented here in a refined vinyl cut that enhances its emotional depth.
A3 - Eitan Reiter & A. Balter - E0E (Eitan Reiter Remix) Vinyl Cut
A driving, hypnotic groove where rhythmic focus meets evolving textures.
A4 - Infected Mushroom & Yahel - Electro Panic (Eitan Reiter Remix) [Vinyl Cut]
A confident reworking of a psytrance classic, reshaped into an 80s-leaning indie dance format.
B1 - Eitan Reiter - Eat You (Patrice Bäumel Remix)
Patrice Bäumel heightens the track's underlying tension with a slow-building, immersive reinterpretation.
B2 - Out of Orbit & Shpongle - No Disco (Red Axes Remix)
Red Axes flip the original into a dark disco framework, adding weight, swing, and late-night character.

LS002 presents a vinyl-focused snapshot of Eitan Reiter's collaborative output, with each track adapted for turntable playback.

(Extrawelt Remix) The second vinyl installment of 20 shifts focus toward cinematic structure, melodic depth, and genre-crossing reinterpretations. Collaborations and remixes involving Extrawelt, Noga Erez, Perfect Stranger, PRZ, and A. Balter underline Eitan Reiter's refined and flexible production approach.



20 (Part 2) is a 12-inch vinyl release featuring exclusive vinyl cuts that are not available digitally, offering collectors insight into Reiter's evolving sonic language.



LS003 completes the vinyl-only snapshot of 20, presenting carefully selected collaborations adapted for the physical format.

Swirl-Vinyl. Diese 10-Jahre-Jubiläumsausgabe erscheint in einer neuen Gatefold-Hülle mit aktualisierten Fotos, Texten und Liner Notes. Disc eins enthält das Originalalbum in voller Länge, und die brandneue zweite Disc bietet die seltene B-Seite ,Nail In Your Hand", eine überarbeitete Version von ,Heaviside" mit der Künstlerin Wisp am Gesang sowie sieben bisher unveröffentlichte Demo-Versionen von Songs aus dem zweiten Album von Citizen. Vor zehn Jahren veröffentlichten Citizen ,Everybody Is Going to Heaven" - ein Album, das einen mutigen Wendepunkt in ihrer Karriere markierte. Nach dem Durchbruchserfolg von ,Youth" hätte die Band einfach ihren bisherigen Kurs beibehalten können. Stattdessen setzten sie noch stärker auf dunklere Texturen, schwerere Stimmungen und einen furchtlosen Sinn für Experimente. Das 2015 veröffentlichte ,Everybody Is Going to Heaven" erweiterte den Sound von Citizen über ihre Emo- und Post-Hardcore-Wurzeln hinaus und verwebte Elemente aus Grunge und Alternative Rock. Tracks wie ,Cement" und ,Stain" fingen eine rohe, unruhige Energie ein, die sich mit Sterblichkeit, Depression und Identität mit einer Ehrlichkeit auseinandersetzte, die bis heute nachhallt. Es war kein Album, das zum einfachen Hören gemacht war - es war auf Dauer angelegt. Jetzt, ein Jahrzehnt später, steht ,Everybody Is Going to Heaven" als entscheidender Moment in der Entwicklung von Citizen - ein Album, das sowohl die Band als auch ihr Publikum herausforderte und dazu beitrug, die furchtlosen, Genre-übergreifenden Künstler zu formen, zu denen sie geworden sind. Auch beim 10-jährigen Jubiläum bleibt Citizen eine Band, die sich ganz dem Wachstum verschrieben hat und sich weigert, sich auf einen einzigen Sound oder eine bestimmte Ära festlegen zu lassen. ,Everybody Is Going to Heaven" hat nicht nur markiert, wo sie standen; es hat den Weg für alles geebnet, was danach kam.

Premier release of the Never before released iconic, cult & paramount original holy grail soundtrack recording for the action packed partisansploitation movies and TV series - Otpisani and Povratak otpisanih (The written offs & The return of the written offs). This music composed by Milivoje Markovic and recorded in 1972 & 1976 represents the epitome for original Jazz Funk music recorded in ex-Yugoslavia. The series had people glued to their television screens awaiting for their own ‘Inglorious basterds’, the Belgrade guerilla group, to appear gunning down nazis by the hundreds - backed by an original deep funk soundtrack.

The classic Fearless Iranians From Hell Die For Allah LP is now back in print after a twenty-five year hiatus. Remastered and repressed on nuclear green vinyl, this hardcore punk arsenal also includes all tracks from their literally explosive Blow Up The Embassy 7-inch debut. FIFH was a mysterious Texan monstrosity formed in 1983 by Iranian expat (and modern day hashashin) Amir Mamori, who gathered to his side various mutants and apocalyptic freaks from the San Antonio punk rock blast zone, even throwing in two Butthole Surfers rejects for good measure (including none other than the notorious Anus Presley himself). The subsequent recording sessions were a chaotic affair, as guitars were rarely in tune and the drums were seemingly scavenged from the trash. It was all directed by Amir who, with fanatical focus, would inspire the band on to victory from behind a stupifying cloud of hash smoke. The resulting releases were widely praised; from places like Maximum Rock n Roll and the Village Voice in the US, to Sounds and New Musical Express in the UK. They were even cited as forerunners of the musical genre known as Taqwacore. After touring the US in the late ’80s—and leaving in their wake crowd turbulence, police intimidation, and even bounties being place on the heads of the members—the band disbanded in 1989 upon the death of the Ayatollah Khomeini (may Allah have mercy on him). “We’re stoned as shit, and we’re ready to roll.” - F.I.F.H. ’87

The Nu’rons were a family group consisting of two sets of brothers and cousins, the four young men in question being brothers Daryl Howard and Raymond Gibson (Daryl’s mother registered him under his father’s surname of Howard and Raymond under her maiden name of Gibson) together with Otho Bateman and Charles Bateman. They were all born and raised in Salem, New Jersey and from the age of ten and eleven began singing with a fifth member and Gibson brother Rudolph as a group called The Gospel 5. They eventually decided to crossover to secular music and as a group known for their energetic dance routines they came up with the new performing name of ‘The Nu’rons’ (taken from the word ‘Neuron’ which is a cell that transmits nerve impulses). However Rudolph was soon to leave the group due to physical illness. Also Daryl Howard and Charles Bateman had also been part of a working group known as The Devotions prior to becoming The Nu-Ron’s.Following hours of practice The Nu’rons eventually felt confident enough to put their own shows together and began to perform at local dances and parties around New Jersey and Philadelphia, often being used as a non-paid warm up act for bigger named artists. They moved between several different managers including Jimmy Bishop (Duo Dynamic Productions) until they came under the tutelage of WDAS radio DJ Georgie Woods (his wife Gilda, being the owner of the Philadelphia Gil, Dion and Top & Bottom record Labels). It was Georgie who introduced them to Manny Campbell who in turn invited them to an audition at his and partner Charles Bowen’s Emandolynn Music studio in Chester P.A. The song The Nu’rons chose to audition with was the self penned “I’m A Loner”, the audition went well, as during late January/early February of 1970 Manny and Charles took The Nu’rons into the Sigma Sound Studio’s with Tom Bell and the TSOP musicians to record “I’m A Loner” and “All My Life” which was released on the Nu-Ron label in April of the same year. The two studio takes presente don this release came short after the band moved on from the collaboration with producer Emanuel Campbell to take music matters in their own hands. Beside recording "Disco Hustle" to be part of the disco boom in Philly of the times, they recorded also “You Came Thru”, a rough yet beautiful heavy bassline driven soul funk recording, and the just amazing “Hurry Up Tomorrow”, here presented in one of the original Studio takes.

Djrum's first release since 2019, the Meaning’s Edge EP is an introduction to a whole new world. For the artist also known as Felix Manuel, it was created in the final stretches of six rather traumatic years work. Having carefully honed his techniques and aesthetics, and learned some hard-won emotional lessons over this time, finally he began to work in a quicker, lighter fashion – and to cleanse his palate a little by bringing in a fresh ingredient: his own flute playing. For listeners, though, it will serve as an appetiser, a way into the delights and complexities of this new phase of his creativity.

It’s a serious work in its own right, mind. The use of flutes – including Bansuri, Shakuhatchi, Western Classical, and synthesised all blending and blurring into one another – gives it a coherence and a sense of airiness that unites the five tracks over half an hour, however divergent their beats get. And as in all his music, Felix’s whole life is in here. Ethnomusicology studies, untold hours of DJing everywhere from the gnarliest squat raves to the most rarefied deep house clubs, explorations of his own neurological and emotional makeup, and the technical finesse of someone who is never not creating music or art, all roll into an experience that’s dazzling, delightful and keeps on giving.

Just the opening track ‘Codex’ alone touches on OG dubstep, Aphex Twin-like braindance, post-classical exploration, movie themes and more. The gentle tones and melodies that rise up out of it perfectly conjure Felix’s running theme of a protective bubble that provides a sense of safety and tranquillity even as the beats and acid gurgles and spurts all around it conjure up the slings and arrows of life’s difficulties.

The tone set, the EP moves through ultra-rarefied glass-like percussion in an almost ambient setting, hints of grime’s counterintuitive patterns, and even more hectic patterns influenced by Tanzania’s hyperspeed singeli style of dance music – but always with that perfect balance of chaos and control, unpredictability and protection. It rewards playing and replaying endlessly, it’s a profound and often joyous experience… and it’s only just the beginning. This is the return of a master craftsperson more focused than ever on his vision and vocation and ready to blow your mind all over again.

Mastered and cut on 140g black vinyl by legendary mastering engineer Matt Colton at Metropolis Studios, London. Pressed at optimal media, Germany.

There’s no direct English translation for the word “hiraeth”. In the Welsh language, it describes a form of longing for an intangible something, somewhere or someone that no longer exists. Sofie Birch and Antonina Nowacka draw on the concept to guide their second collaborative album, a suite of vulnerable, open-hearted improvisations and reflections that attempt to grasp an image of the past that’s chimeric, dissolving almost as soon as it materializes. The duo’s process follows the same distant beacon; unlike Languoria, their critically acclaimed debut, Hiraeth is, at heart, an acoustic record, informed by in-person improvisations with voices and string instruments that gesture to an era before computers, AI and DAWs. It’s just as lush, but Hiraeth is warmer and more muted than its predecessor.
Nowacka and Birch conceived the album in the wake of a slew of collaborative live concerts, spurred on by serendipitous improvisations and an interest in paring down their setup. Unsound arranged a retreat in Sokołowsko, an idyllic village nestled in the verdant hills of Southern Poland, close to the Czech border. Sokołowsko surrounds a large ruined sanatorium that’s rumored to have inspired Thomas Mann’s 1924 novel The Magic Mountain, and has long been a magnet for artists. The two took the opportunity to rethink their approach completely, arriving with just a guitar, a zither and a portable Nagra reel-to-reel machine. Recording directly to tape, they sketched out ideas with just their voices and instruments, reflecting their surroundings without being distracted or mediated by modern technology.
“We wanted to get away from screens as much as possible,” says Birch, “to bring to the world something vulnerable and honest. Without advance preparation, every day we went out into the open air, finding places to sit, during sunset or the midday sun. We discovered new tunings on our instruments, picked up a melody, and started the machine, playing over
and over till we got a take.” In the autumn, they met again in a Copenhagen studio, sparingly and carefully layering old synths and organs to add more depth without muddying the mix.
Both Nowacka and Birch sing throughout, their voices threading the acoustic instruments and tangling with each other, almost becoming one. But it’s the environment of Sokołowsko, “the birds and the light, even the wind playing against the harps,” that’s woven into the music’s lining. Affected by time spent meditating and in nature, as well as the fact that Birch was pregnant whilst recording, the album feels alive and remarkably present. Even the sound quality of the tape machine gives Hiraeth a tactile, organic quality, as Nowacka puts it, “like being in a warm bath.”

They still have the raw recordings from Sokołowsko on old reels, physical souvenirs of their time spent making music in a “habitat for intuitive songs, a little ecosystem, alive and spirited.” The outmoded gear and remote setting helped the duo disengage from the modern world for a few moments and imagine an existence that’s been lost to time and nominal progress. With digital technology receding into the background, Nowacka and Birch had space to make “intuitive connections with frequencies and people,” as Birch explains. Hiraeth is a testament not to nostalgia, but to the power of kinship.

"Every day, the skies of New York City fill up with unseen clouds of radio signals spreading over immigrant neighborhoods. These culturally charged clouds of radio energy burst with a flow of content that continually shifts and transforms, following the lifecycle and rhythm of the streets.

For the first time ever on vinyl Four new instrumental tracks, produced, recorded, composed & played by Dam-Funk. Pitchfork described “Free” the EP closer “… distills his daily inspirational thoughts into a breezy, sun-kissed glow, delivered with his usual cool sincerity. Of course, the style is purely West Coast, but the message is universal: funk is freedom. And in Dâm's world, funk is the future.”

Blue Vinyl
Das irische Rockduo Dea Matrona der beiden Belfaster Schulfreundinnen Mollie McGinn und Orlaith Forsythe hat mit knallharten Riffs und musikalischer Intensität einen seltenen, sensationellen Sound etabliert – düster und echt, aber voller Melodien und Stil. Ihr Debütalbum 'For Your Sins' ist eine mitreißende Mischung aus Indiepop, Hardrock, hervorragender Raffinesse und Einflüssen von Fleetwood Mac, HAIM, The White Stripes und Arctic Monkeys. Krachende Basslines und schwere Instrumental-Grooves zeugen von einem kühnen, sensationellen Rockethos mit modernem Touch.