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Over the last half decade or so, Monsieur Von Pratt has marked himself out as one of the 21st century disco scene's most reliable re-editors, with a party-starting trademark sound built around blends of borrowed instrumentation and rolling, house-style beats. This signature sound is very much evident across the producer's tenth contribution to his own Illegal Disco series. He begins by polishing and tooling up a sparing, horn-heavy disco classic 'Don't Say Goodbye', before rearranging and lightly updating a squelchy synth-bass propelled chunk of disco-boogie goodness ('Gonna Getcha'). Rounding off a fine EP is 'Make Love To You', a more low-down and celebratory chunk of beefed-out disco-fink hedonism.

Repressed LP on Neon Orange Vinyl. Come Away With ESG - 35-year anniversary release of the classic genre-busting debut album by the Bronx sisters ESG. The sample-friendly opus that’s the inspiration for hip-hop, house and post punk. Music that falls outside of the no wave, new wave and post punk library, it’s for the dance floor but it’s not funk, there’s no horns, no driving organ; it’s the opposite of Sly And The Family Stone but no less cool and no less groovy. “A lasting document of their unique brand of minimal funk that would influence subsequent post-punk, hip-hop, and dance music acts. Stripped down to the most basic of drumbeats and rudimentary bass lines, ‘Come Away’ confirms the notion that the real rhythm is what happens between the beats. AllMusic // “This is dub disco with a punk edge.” Paste // “Uncut punk-funk straight off the streets of the South Bronx.” Record Collector // “ESG are that rare thing” Guardian // “Come Away with ESG sounds so shockingly current.” Paste // “A musical snapshot of New York City at the beginning of the '80s.” Allmusic

The eternally prolific duo PSYCHEMAGIK are back once again (already?!) with yet another mind blowing edits package.

This latest offering from the Cosmic Forest is their reworking of Chillys, Yardbirds classic, For Your Love think epic 10 minute cosmic dancefloor monster complete with guitars, violins and soaring vocals.

And then there’s more… the flip “Aldeia De Ogum”, a reworking of the Joyce original, has Ibiza sunset written all over it, transporting you immediately to the beach within the first few bars.

Latin percussion blends with beautiful guitars, flutes and horns to create a truly breathtaking sonic vista .

This is sure to be included in many a summer playlist over the coming months

Claudio Mate announces the launch of his new solo imprint, Claudio Mate Records.

As the name suggests, the label serves as a personal platform where Claudio explores his past, present and future works, shaping his sound into a more spiritual and meditative direction.

The imprint will also feature collaborations with friends, artists and creative connections established over the years across the globe, while carrying his typical forward-thinking approach and a distinctive imprint sound trademark.

Over the past two decades, Claudio Mate’s music has received recognition and support within the electronic music scene, from main stage artists while remaining rooted in more underground circles.

Claudio Mate Records marks a new chapter in his artistic journey — a dedicated space where sound becomes introspective, evolving and deeply connected to emotion.

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天 (Ten) CMR - 001
The Japanese kanji 天 (Ten) means “heaven”, “sky”, and the natural order of the universe — something vast, unseen, and beyond human control.

For the Japanese, 天 is more than a symbol: it embodies the connection between humans and the cosmos, the divine order that guides life, and the higher realms where sacred forces reside. In Japanese Buddhism, it refers to celestial realms and higher states of existence; in Shinto, it evokes the sacred heavens of the kami. But TEN is not about reaching heaven.

It's a deep, dub techno journey through shadow and space — obscure, hypnotic, and timeless. Sound that drifts between worlds, suspended in something greater than the sky itself.

The EP also features Atarashii Hi (“a new day”), a classic deep Detroit techno cut in true Claudio Mate style.

When five-time Grammy award winner Taj Mahal intersects with The Phantom Blues Band, it’s one of those rare joints that hits you before you even know you’ve been hit. They walk in, plug in, and the whole room shifts. Studio assassins, road lifers, groove keepers and somehow still hungry. They are an internationally renowned Two-Time Grammy Award winning group. Taj Mahal’s fearless, open-hearted spirit still shadows the whole thing with that genre-hopping joy. He leads you down the road with a history lesson and the Phantoms carry it with honor to the Griot.

Mahal sings and plays harp as he fronts an all-star lineup of legendary musicians with the three ringleaders for the Phantoms--Johnny Lee Schell, the soulful gunslinger with tone for days, Tony Braunagel keeps the whole ship steered straight and on time, every time, and Larry Fulcher, the anchor, the heartbeat, the quiet storm on bass. Additionally, Jon Cleary, with that unmistakable New Orleans piano swagger, Mick Weaver, a session master who’s playing slides in with an undeniable velvet magic, and in the horn section, Joe Sublett on sax and Les Lovitt on trumpet bring the orchestration into the full view of this genre. This band doesn’t ‘back” anybody. They lift you up, carry you, and dare you to rise higher. On this record they slide through blues, soul, R&B, and island color with the ease of men who’ve lived every bit of it. This is deep-groove, grown-folks music from a band that still plays like the night is young. ‘Time’ is their new release on Resonatin’ Records / Thirty Tigers and celebrates over thirty years of making this uplifting inspiring and aspiring music together.

Mantra is the first single from The Bluebeaters' upcoming album, due for release in 2026. It is an unusual track in the band's discography, reminiscent more of The Clash's Rock The Casbah than Jamaica. It is a track with a 4/4 beat without the classic Jamaican syncopation typical of The Bluebeaters.

"It's a challenge to the background that has always driven the band. The album will not be entirely in this direction, but we decided to release this single to broaden our range of expression."

Produced by singer Patrick Benifei, aka Pat Cosmo, together with the solid rhythm section of The Bluebeaters, Count Ferdi on drums, Cato Senatore on guitar, Danilo Scuccimarra on piano and organ, and Paolo Parpaglione on saxophone.

It is the first in a series of singles that will form the backbone of the album.

Sung in Italian, Mantra is an original song written by Pat Cosmo.

The B-side is a dub, an instrumental version mixed by Ezra, producer, artist and our co-producer for all the tracks that will be released on the new album.

He has collaborated on many productions that are part of the Caribb Roots world, including Casino Royale and The Uppertones, as well as his own Dub Pigeons.

His studio is the NoMad Studio, located in the San Salvario area of Turin.

Bei den Aufnahmen, die Pianist McCoy Tyner in den späten 1960er Jahren für Blue Note machte, hatte
er sich in einigen Stücken bereits von afrikanischer Musik inspirieren lassen. Auf dem im September
1970 eingespielten Album “Asante” rückte er diese Einflüsse in vier selbst verfassten Kompositionen mit
einer außergewöhnlichen neuen Band in den Vordergrund. In zwei Stücken ist die Sängerin Songai Sandra Smith mit ihrer ätherischen Stimme als Gast zu hören. Das Album wurde von Blue Note erst 1974
veröffentlicht, nachdem McCoy Tyner bereits eine Reihe sehr erfolgreicher Alben bei seinem neuen Label
Milestone vorgelegt hatte.

More than 25 years after its original release, Beatsqueeze Records brings back a classic of French rap: “Le Piège” by TRIPTIK.


Originally released in 2000 featuring D’Oz and Cutee B, this cult track is being reissued for the first time on 45 RPM vinyl.


A must-have for French rap fans and vinyl collectors alike.
The year 2000 was a turning point in TRIPTIK’s career.
The Parisian trio, then close to Cut Killer, released the maxi “Dat Shit” with the New York group Blahzay Blahzay, on the label of the famous French DJ.
At the same time, a 2-track maxi from Blahzay hit the shelves. It included the same track… but without the French MCs and without crediting the group’s beatmaker, Drixxxé.
Side B featured another of his productions, again without any credits.
In response, TRIPTIK decided to reclaim the appropriated beat. This reaction gave birth to the legendary “Le Piège”, featuring D’Oz and Cutee B.

SILENCER's merciless emotional firestorm "Death – Pierce Me" is one of the few albums truly deserving the designation ‘cult’. From humble beginnings in the extreme underground, it rose to become a widely acclaimed masterpiece with a massive following.

To celebrate the album’s 20th anniversary, Lupus Lounge reissues this pioneering depressive metal milestone in lavish editions worthy of its legacy. "Death – Pierce Me" will be available as a 48-page hardcover CD book edition including a bonus track, and as part of a complete box set featuring a gatefold vinyl edition, a 12" version of SILENCER’s 1998 demo, and additional bonus materials.

When SILENCER released their sole full-length album under the same title as their 1998 demo, the time seemed ripe for an emotionally devastating strain of black metal incorporating doom elements and expressing bleak emotions of bereavement, loneliness, and despair. This emerging subgenre became known as ‘depressive black metal’, sometimes more extremely labeled ‘depressive suicidal black metal’.

Around 1998, this movement coalesced around Swedish acts SILENCER and SHINING, alongside Quebec’s MALVERY and US band XASTHUR, drawing influence from earlier pioneers such as Norway’s STRID and Germany’s BETHLEHEM.

While SHINING gained notoriety, SILENCER faded into obscurity, surrounded by rumor and legend. With only one historical interview, no live performances, and no follow-up album, the band became mythic. Through word of mouth alone, "Death – Pierce Me" continued to grow in stature, culminating in an IMPALA Silver Award in 2021 for 20,000 verified European sales.

Karen Morrison - stage name Bryck Rose formerly known as K Vibes on the Reggae Dancehall scene. Currently a gospel singer, songwriter, poet, and aspiring playwright and one of the younger members from Studio One of Jamaica.

Divine wasn’t just a singer, Divine was a phenomenon. Born Harris Glenn Milstead, Divine transformed drag, performance, and queer visibility long before it was mainstream. From the underground stages of Baltimore to international fame, Divine became a muse for filmmaker John Waters, starring in classic cult films like Pink Flamingos, Female Trouble and Hairspray, that redefined shock, satire, and queer cinema.

Native and Queer (The Complete Experience) brings together the full force of Divine's musical legacy in one explosive HI-NRG compilation. anthems,. Featuring the iconic anthems that shook dancefloors worldwide, “Native Love (Step By Step)”, the track that launched Divine into international stardom, “Shoot Your Shot”, “Walk Like A Man”, “You Think You’re Man” and more bold tracks. American producer Bobby Orlando aka Bobby “O” was the architect behind Divine’s most tracks and is regarded as an innovator in the HI-NRG genre, while Pete Waterman & Barry Evangeli produced “You Think You’re A Man” and “Walk Like A Man“ was a solo effort by Barry Evangeli.

All tracks are sequenced, edited and mastered by Ben Liebrand.

Native And Queer (The Complete Experience) is available as a limited edition of 1000 individually numbered copies on blue splatter vinyl.

“Bluegold steps into the world as a ground for trance-inducing rhythm and collective movement. Rooted in techno but never bound to it, the sound leans toward the psychedelic: loops, atmospheres, and ritual percussion that blur perception and guide the floor into altered states.
The A side comes from Mruda, written during a day of turmoil where conflict and chaos spilled directly into sound. Machines were left to chance, generating unstable pulses that mirror the volatility of the moment.

Archypness takes the B side as a counterweight, drawing the energy inward. His productions move with a meditative focus, weaving rich textures and layered rhythms into journeys that feel timeless yet deeply grounded.”

Limited edition, handstamped.

Tajemnica is a transgression—too gentle for dancing, too euphoric for standing still. Sparse, scarce, and subtle, the new album by Polish performance artist, musician, and poet Wojciech Kosma, aka spalarnia, eagerly explores modern dance genres, experimental production, and nostalgic electronics to surrender to what is truest—essential song forms, melodies, harmonic and rhythmic basics, the most resonant feelings.

Sung in spalarnia’s trademark soft, low, almost tactile voice, the eight hypnotic songs tell stories of closeness and love, and their favored companions—pain and heartbreak. In “Bliżej” he sings “I love not loving you / I want to be a part of you.” And in “Jedyna”—the album's single—he states: “You are the only one / there is no other me / only the one for whom you are the only one.”

Contrary to the meaning of its Polish title (Tajemnica translates to “secret”), the album that moves between ghostly ambient pop, languid R’n’B, and Eastern European folk doesn’t reveal anything outright—the music only points to where the secrets might lie. One can choose whether to hear them or not.

There comes a point in every bands life when originality stops being a virtue and honesty takes the wheel. On their 11th long-playing record: Forgeries (72-84)-(16)- return to the impulse that first dragged them into loud rooms and bad ideas: the urge to steal what we love and make it semi-unrecognizable through devotion. We have partnered with Heavy Psych Sounds Records to release a collection of covers that function less as homage and more as a possession to be given away. The artworkrendered by the ever-amazing Maraldcompletes the ritualiconicunsettlingand unafraid. Weve always believed that a great cover is not mimicry but revelation. Its finding a song that's already lived inside you since youth and letting it crawl outbruised and changed. From the early 90s onward-(16)- have treated covers as translations rather than as replicasacts of tribute and emulationfiltered through distortionfatigueand lived experience. These are songs that taught us how to standhow to falland how to keep going. In our collective headthis album exists because these songs demanded it. Because they screamed copy meand we listened. In the endForgeries (72-84) stands as both a thank you note and a thefta reminder that all music worth a damn is borrowedbrokenand passed on between friends. The selections on Forgeries 72-84 span eras and attitudesunified not by genre but by necessity. Each track is a document of obsessionof influence absorbed and re-expressed without permission.

There comes a point in every bands life when originality stops being a virtue and honesty takes the wheel. On their 11th long-playing record: Forgeries (72-84)-(16)- return to the impulse that first dragged them into loud rooms and bad ideas: the urge to steal what we love and make it semi-unrecognizable through devotion. We have partnered with Heavy Psych Sounds Records to release a collection of covers that function less as homage and more as a possession to be given away. The artworkrendered by the ever-amazing Maraldcompletes the ritualiconicunsettlingand unafraid. Weve always believed that a great cover is not mimicry but revelation. Its finding a song that's already lived inside you since youth and letting it crawl outbruised and changed. From the early 90s onward-(16)- have treated covers as translations rather than as replicasacts of tribute and emulationfiltered through distortionfatigueand lived experience. These are songs that taught us how to standhow to falland how to keep going. In our collective headthis album exists because these songs demanded it. Because they screamed copy meand we listened. In the endForgeries (72-84) stands as both a thank you note and a thefta reminder that all music worth a damn is borrowedbrokenand passed on between friends. The selections on Forgeries 72-84 span eras and attitudesunified not by genre but by necessity. Each track is a document of obsessionof influence absorbed and re-expressed without permission.

Venom wurde 1979 in Newcastle upon Tyne gegründet. Gegen Ende der New Wave of British Heavy Metal
erlangten sie Bekanntheit. Ihre ersten beiden Alben – „Welcome to Hell“ (1981) und „Black Metal“ (1982)
– gelten als prägend für Thrash Metal und Extreme Metal im Allgemeinen. Das zweite Album war so
einflussreich, dass sein Titel als Name für das Extreme-Metal-Subgenre Black Metal verwendet wurde. Von
Bands wie Metallica, Behemoth, Celtic Frost und Mayhem oft als wichtige Einflüsse genannt, zählen sie zu
den meistverehrten Bands ihrer Generation.
„Into Oblivion“ ist Venoms sechzehntes Studioalbum und präsentiert die langjährige Besetzung mit Cronos
(Bass/Gesang und Gründungsmitglied), Rage (Gitarre) und Dante (Schlagzeug). Es sind ihre ersten neuen
Aufnahmen seit „Storm The Gates“ aus dem Jahr 2018. Ihr neues Album umfasst dreizehn Songs im
typischen Venom-Stil: heavy, düster und eingängig. Es vereint ihren klassischen 80er-Jahre-Sound mit
einem moderneren, progressiveren Ansatz, ohne dabei jedoch die alte Energie und den unbändigen Elan
einzubüßen.

Nach einem turbulenten Jahrzehnt, in dem er häufiger im Gefängnis als auf der Bühne oder in einem
Aufnahmestudio anzutreffen war, begann Tenorsaxofonist Dexter Gordon mit einem neuen Vertrag bei
Blue Note Records eine erstaunliche Karriere-Renaissance. Mit den im Mai 1961 im Abstand von nur drei
Tagen in Rudy Van Gelders Tonstudio in Englewood Cliffs aufgenommenen Alben “Doin’ Allright” und
“Dexter Calling” untermauerte er seine Rückkehr zu alter Form mit Bravour. Hervorragend unterstützt von
einem fein besetzten Quartett, wechselte der spielfreudige Saxofonist auf “Dexter Calling” mühelos von
energiegeladenem Swing zu atemberaubenden Balladen.

‘Batteries Not Included (Brain Sold Separately)’ EP Arrives Via No Static Automatic

No Static Automatic is proud to announce the new EP from UK Electro legend Phil Klein under his Mental Note alias. Titled “Batteries Not Included (Brain Sold Separately),” this release marks the dynamic follow-up to the acclaimed 2020 debut “Voices In My Head (Noises In My Pants).”

Few authentic Electro producers from the UK can wear the badge ‘legend’ with the same level of justification as Phil Klein, aka Bass Junkie. Active since the late 80s, Klein has tirelessly shaped his distinct vision of Electro, both as a solo artist and through storied collaborations with icons like Dynamix II, Keith Tenniswood (Radioactiveman), and Si Brown (Dexorcist). As a DJ, remixer, live act, and the driving force behind the seminal Battle Trax label, his influence is woven into the fabric of the genre.

With essential releases on labels including DMX Krew’s Breakin’ Records, Andrea Parker’s Touchin’ Bass, and Billy Nasty’s Elektrix, the Bass Junkie sound seamlessly bridges the old-school beats of Electro’s origins with a potent, borderline-industrial edge. As noted by Andy Barton of Bass Agenda: “From funky to ferocious, Bass Junkie’s discography is a must-have for anyone claiming passion for the genre – influential, individual, and infectious with every beat.”

Now, as Mental Note, Klein continues his exploration of electronic psychedelia. The new EP, “Batteries Not Included (Brain Sold Separately),” is a four-track expedition through the Electro cosmos:

“Brainwash” immerses the listener in swirling, hypnotic synths.
“They're Not Blue, They’re Purple” delivers a masterclass in crunchy, textured drums.
“Primordial Soup” showcases frantic, intricate programming.
“Kluster Funk” offers a moment of deep, sonic relief and groove.

Each track reinforces Mental Note’s signature: a journey that is cerebral, raw, and irresistibly rhythmic.


About Bass Junkie/Mental Note:
Phil Klein, operating primarily under the alias Bass Junkie, is a cornerstone of the UK Electro scene. For over three decades, his work has defined and evolved the sound, earning him a revered status among peers and purists. His Mental Note project is a focused outlet for a deeper, more experimental strand of his production genius, further solidifying his legacy as an electronic music innovator.

Out now via 7 Mater, in collaboration with The Circle Music for worldwide distribution, this special edition of Stolen Season Pt. I captures both the essence of the project and the spirit of the upcoming full-length Stolen Season Pt. I. This first pressing is destined to become a collector's item: numbered and limited to 250 black vinyl copies and 250 gold vinyl copies, each edition comes housed in a deluxe sleeve with an exclusive 30x30 insert that perfectly frames the visual world of the band. It is a striking presentation that mirrors the richness of the music contained within. The creative force behind From The Land is Anatoly Pakhalenko, best known as the frontman of the acclaimed dark folk ensemble Nytt Land.

Conceived in 2025, this new project serves as an alter ego for Pakhalenko, allowing him to explore the darker edges of country, blues, and folk traditions while weaving them into a world described as "a black and white landscape, tired of all this s**t that's going on around and gradually sinking into an endless sleep". Together with Aleksandr Rosliakov, Pakhalenko composed Stolen Season Pt. I between January and May 2025 at Nytt Land Studio, handling recording, mixing, and production duties himself. The result is an album that resonates with uncompromising artistic vision and raw emotional depth. From The Land 's universe draws inspiration from the haunting literary realms of H.P. Lovecraft and Edgar Allan Poe, as well as the surreal, unsettling imagery of David Lynch. This heady mixture of influences creates a soundscape that is equally cinematic and visceral, where ritual meets ruin, and folk traditions dissolve into the smoke of blues and country noir.

The Official Vinyl Release from The Dreamworks Animated Feature Film
Deluxe 2xLP Crystal Clear with Blue Orb & Green, Mint, Blue, and Black Splatter
Heavyweight Gatefold Packaging with Matte Satin Coating
Exclusive Director and Composer Liner Notes
12 Page Booklet with Artwork from The Film

In partnership with Back Lot Music, Waxwork Records is thrilled to release THE WILD ROBOT Original Motion Picture Soundtrack Music by Kris Bowers.
The soundtrack also features two songs performed by Maren Morris titled Kiss The Sky and Even When I'm Not.
Waxwork Records is ecstatic to release THE WILD ROBOT Original Motion Picture Soundtrack Music by Kris Bowers as a deluxe double LP
featuring crystal clear vinyl with blue orb and green, mint, and black splatter housed in a heavyweight gatefold jacket with matte satin coating.
Also included is a 12-page booklet with exclusive liner notes by director Chris Sanders and composer Kris Bowers alongside artwork from the film.

WRWTFWW Records is very excited to announce the first release from its new City Pop Series with Japanese singer, actress, entertainer, scholar and all-around legend Momoko Kikuchi’s sun-drenched classic Ocean Side album, available now as a limited-edition transparent vinyl LP in a heavyweight sleeve with obi.

A cult classic among Japanese music collectors, Ocean Side was originally released in 1984 by mythical label VAP and features lush compositions and arrangements by J-Pop icon Tetsuji Hayashi (Mariya Takeuchi, Miki Matsubara, Omega Tribe, Junichi Inagaki, Urusei Yatsura anime, soundtrack…). Momoko Kikuchi’s city pop gem is a flawless mix of heartwarming beachside funk, breezy grooves, and silky-smooth vocals - the feel-good music we all need in our life right now.

The 9-track summer-is-forever adventure notably includes the ultra-funky megahit “Blind Curve”, the fan-favorite title song, and the insanely romantic ballad “Futari No Night Drive”. A vibrant reflection of summer in 1980s Japan, Ocean Side masterfully balances nostalgia and elegance, and provides part of the origin story for revered modern music genres such as chillwave, and future funk, and vaporwave.

The official reissue licensed from VAP, Inc. is sourced from the original masters with an audiophile-cut by Sidney Meyer at Emil Berliner Studios.

WRWTFWW’s City Pop Series and its Lopetz/Büro Destruct-designed logo also includes jazz-fusion-AOR-mellow-funk treasure Safari (1984), a limited capsule collection of merch, and much more to come in the near future.

Repress.

Step into a journey through time with Lapa Dula's debut album "Agua", proudly presented by the Early Sounds team. “Agua” is a sonic and aesthetic collage, a tribute to the sounds and memories of Naples and its surroundings in the vibrant cultural and social scene of the mid 1980s, not just a reflection of producer’s Alessandro La Padula childhood memories, but also a nod to the myths and legends of Partenope. Written between Rome and Naples and co-produced by label head Pellegrino, "Agua" is the latest addition to the imprint’s distinctive "Mediterranean sound" blending funk, Latin, world music, and disco, with songs like the balearic title track "Agua" and the nostalgic ode to rural life "Sibilla", also inspired by the myth of the Sibyl of Cumae, this album takes you on a journey of emotions and experiences.

From vernacular "Scemanfu", a fun play on the French expression "je m'en fous" (I don't care), to the contemplative "Navigante", dedicated to those who have found solace in the sea or in the virtual world, and the final track "Baibai", inspired by the adventurous and licentious affairs of English nobleman Sir Nathaniel Thorold, who lived on the island of Capri, each song tells a story and adds a piece to this mosaic of sounds, images, and places.

* Edition of 500 colored vinyl (transparent purple)
* Artwork developed in collaboration with Paris-based visual artist Caroline Ventura
* Including download code

i got a song, it’s gonna make us millions is the highly anticipated new album by Sirens Of Lesbos, led by sisters Jasmina and Nabyla Serag. The dynamic release is a vibrant showcase of the group's expansive musical range, blending R’n’B/Soul, Afrobeats, electronic music, and lo-fi indie pop into a rich, genre-defying experience. With its eclectic sound and captivating melodies, the album solidifies Sirens Of Lesbos as a standout force in modern music.

Featuring on the album are the singles “Room 333” feat. Kendrick-Lamar-collaborator Zacari, a futuristic R’n’B song with progressive club beats; the epic “Call Me Back” (feat. Drake-co-signed rapper SadBoi and the Kabusa Oriental Choir); and dub-infused reggae song “Let It Hurt”, plus new song “My Moon”, which draws inspiration from artists like Bruce Hornsby, Justin Vernon, and Jai Paul. Sirens Of Lesbos have earned widespread acclaim from outlets like CLASH, COLORS, Dork, Tsugi and Earmilk, with BBC 1Xtra’s CassKidd calling the collective “magical.”

As Black women living in the diaspora, Jasmina and Nabyla navigate the intersection of their parents’ collectivist North-East African culture and the Western emphasis on individuality. Questions of identity have always been central to their journey. While society often demands clear-cut definitions, the sisters have come to embrace their multifaceted identities: “We have always been many things.”

Both artists are deeply rooted in the technical and philosophical dimensions of sound. Jasmina recently completed her Sound Arts degree, and Nabyla is now finishing hers. Their academic pursuits have included creating abstract sound installations in exhibition spaces. However, their focus for the foreseeable future is on elevating the Sirens Of Lesbos project, writing and producing standout indie pop tracks, performing live, and delivering unforgettable experiences for their audiences.

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The vinyl version of i got a song, it’s gonna make us millions is published by Präsens Editionen, a Switzerland-based publishing house and music label. Founded in 2011 in the process of launching zweikommasieben Magazin, Präsens Editionen has since released music on vinyl, cassette, CD, and digital formats—alongside magazines, books, and other printed matter. Recent audio releases include works by Martina Lussi, spalarnia, Magda Drozd, Anom Vitruv, Belia Winnewisser, and Red On, among others.

Hip-hop royalty returns—Bun B and Statik Selektah team up once again for the fourth chapter of their blazing collabo-rative saga: TrillStatik 4. Recorded in real-time with that unmistakable underground urgency, this album is a master-class in modern rap chemistry, blending Bun B’s Southern grit with Statik’s boom-bap precision.

The guest lineup is nothing short of legendary. From DJ Premier setting the tone on “Live From Houston,” to Griselda heavyweights Westside Gunn, Conway The Machine, and Boldy James blessing “Trillselda 2,” every track hits with purpose. Regional flair runs deep, too—Paul Wall, Maxo Kream, and Lil’ Keke represent H-Town with pride, while East Coast lyricists like Termanology and Tek bring bar-for-bar fire.

This is more than a record—it’s a cipher of cultures, connecting street narratives, soul-drenched beats, and coast-to-coast talent.

When Ryan DeRobertis announced the name change of his project from Saint Pepsi to Skylar Spence, there was no indication of any stylistic departure, though the change arrived with a musical shift toward faster tempos and more pristine production. Whereas Saint Pepsi had often used decades-old boogie, disco, and new wave as grist for the sampling mill, Skylar Spence is intent on trafficking more overtly in those genre aesthetics through his own production techniques and vocal contributions. With Prom King, DeRobertis reorients his music for his new full-band live act and winds up with an album full of tight and enveloping dance tunes.

Working with Carpark Records 'gave me the confidence to 'go big' with the new material: to write pop songs with universal messages in the sonic wrapping paper that I've grown accustomed to,' DeRobertis says. 'A few songs on Prom King are about specific events in my life—a party where I got too messed up, watching a friend's life spiral out of control and trying to help—but I tried hard not to be too autobiographical because I want my music to unite, above all else. I'm much more interested in connecting with the listener than mystifying my personality.'

While DeRobertis' previous long-players have been more amorphous collections in the style of beat tapes, Prom King is compact and cohesive, with the album's varied stylistic references (new wave, UK garage, boogie) united through strong guitar melodies and Todd Edwards-ian cobblings-together of tiny vocal samples. 'I slowed some music down and called myself an artist,' DeRobertis sings on lead single 'Can't You See,' acknowledging in his lyrics what is already apparent in the music's tone—he can maintain fidelity to his vision while working in more uptempo, disco-based song structures.

'Ridiculous!' and 'Bounce Is Back' are big groovers that capitalize on jacking hi-hats and hand drumming, respectively, and both have an air of Balearic warmth and smoothness. On the title track, DeRobertis entwines a chorus of unintelligible but expressive samples with his own vocals—what feels like a synthesis of two approaches—and the result is an affecting pattern of build and release. More contemplative sophisti-pop numbers like 'Fall Harder' and 'Affairs' add a realist's breadth of scope: thoughts of past foibles bleed into present-dwelling and dancing.

Prom King is DeRobertis making sense of missed opportunities. His high school did not have a prom king; he has filled the position with an imaginative album of personal and musical revisionism.

Heavyweight psychedelic improvisers EarthBall are back with their third and most monstrous record to date: ‘Outside Over There’, released on Upset The Rhythm (Nov 7th). Born from the haunted basements of Nanaimo, Canada, the quintet thrives on spontaneity, shaping improvisation into jagged hallucinations and ecstatic eruptions.
Recorded live-off-the-floor in 2024 in Jeremy, Izzy, and Kellen’s basement, and mixed by drummer John Brennan, ‘Outside Over There’ is an album that feels both summoned and inevitable. Each track lands with uncanny purpose, as if uncovered rather than written.
The opener, 100%, features a cameo from comedian and English icon Stewart Lee, who lent his blessing for the band to use a fragment of his stand-up. The album was mastered by John Dieterich (Deerhoof), with liner text contributed by longtime comrade John Olson (Wolf Eyes). Olson describes the album in his unmistakable style:
“This eight-track odyssey unfolds like a dreamscape, where whispered incantations brush against the shadowy fringes of the cosmos, and wild, Cézanne-inspired rock anthems erupt like geysers of color in the midst of a western warm and wet rain storm… culminating in the sprawling eleven minute masterpiece, ‘And The Music Shall Untune The Sky,’ aptly dubbed the Earth Crusher. A creation so utterly deconstructed and intertwined with the pulse of nature itself that if AI was called upon to conceive ‘Outside Over There’ anew, it would just spit back, “F.U. in Tree Font”. An enchanting invitation for even the flat-earthers to join the circle, if only just a little.”
EarthBall’s trajectory has been relentless. Their 2024 album ‘It’s Yours’ was praised by The Quietus as “fully aggressive and fully life-affirming,” and by The Wire as "a boisterous mind-melting album”. The band’s live double set LP ‘Actual Earth Music Vol. 1 & 2’ (2025) captured blistering performances: a performance opening for Wolf Eyes at the Fox Cabaret, and a Café OTO improvised throw-down featuring Chris Corsano and Steve Beresford. These releases on their own confirm them as one of Canada’s most vital experimental exports, not to mention the impressive self-released discography on their Bandcamp. The band’s reach has stretched far beyond their west coast roots with a UK tour May 2024, plus this past June, EarthBall closed Montreal’s Suoni Per Il Popolo Festival alongside Pulitzer Prize-winning composer Raven Chacon. This November they will perform at Le Guess Who? Festival in Utrecht, with a European tour to follow (tour dates below). Outside of EarthBall, each member carries their own torch. Jeremy Van Wyck, founding member of the legendary Shearing Pinx, has toured extensively, released over 100 records, and has been a vital force in the Vancouver and West Coast underground for the past 25 years. He and Isabel Ford (Izzy) play together not only in EarthBall, but also in Psychedelic Dirt, Shearing Pinx, Behaviours, and Crotch.
John Brennan collaborates widely, including recently with Endlings (Raven Chacon and John Dieterich), Evichen (Victoria Shen), Francesco Fonassi, Plan Your Future (with Greg Saunier of Deerhoof), Brennan/Corsano duo and Physics with John Dieterich. Kellen Maclaughlin performs with KVMP and Ora Corgan, while saxophonist Liam Murphy is a west coast staple, playing with the best across Vancouver Island and the mainland. On three of the tracks of ‘Outside Over There’, the band is joined by their comrade Justin Patterson, who also plays with Brennan in the duo Modale. This cross-pollination fuels EarthBall’s sound - a collective improvisation, psychically overdriven, and grinding into bloom.
Outside Over There’ is more than an album though, it is a ritual, a gathering of sound at the forest’s edge; where feedback, saxophone screams, and ecstatic vocals dissolve the boundary between chaos and clarity. EarthBall invite you into their circle, to share in the joyful terror of spontaneous creation. ‘Outside Over There’ will be released on November 7th through Upset The Rhythm digitally and as a limited blue-in-black vinyl LP.

a 1.1 KAKUMEI DOUCHUU - ON THE WAY FROM "DANDADAN"
b 1.2 DAIJOUBU FROM "MOONRISE"
c 1.3 HANA MUSOU - PEERLESS FLOWERS FROM "MONONOKE THE MOVIE: THE ASHES OF RAGE"
[d] 1.4 KATSUBOU [FROM "MONONOKE THE MOVIE: THE ASHES OF RAGE"]
[e] 1.5 LOVE SICK [FROM "MONONOKE THE MOVIE: THE ASHES OF RAGE"]
[f] 1.6 AIKOTOBA - THE SPELL [FROM "THE APOTHECARY DIARIES"]
[g] 1.7 RED:BIRTHMARK [FROM "MOBILE SUIT GUNDAM: THE WITCH FROM MERCURY"]
[h] 1.8 HOUSEKI NO HIBI [FROM "MOBILE SUIT GUNDAM: THE WITCH FROM MERCURY"]

[a] 1.1 KAKUMEI DOUCHUU - ON THE WAY [FROM "DANDADAN"]
[b] 1.2 DAIJOUBU [FROM "MOONRISE"]
[c] 1.3 HANA MUSOU - PEERLESS FLOWERS [FROM "MONONOKE THE MOVIE: THE ASHES OF RAGE"]
[d] 1.4 KATSUBOU [FROM "MONONOKE THE MOVIE: THE ASHES OF RAGE"]
[e] 1.5 LOVE SICK [FROM "MONONOKE THE MOVIE: THE ASHES OF RAGE"]
[f] 1.6 AIKOTOBA - THE SPELL [FROM "THE APOTHECARY DIARIES"]
[g] 1.7 RED:BIRTHMARK [FROM "MOBILE SUIT GUNDAM: THE WITCH FROM MERCURY"]
[h] 1.8 HOUSEKI NO HIBI [FROM "MOBILE SUIT GUNDAM: THE WITCH FROM MERCURY"]

[a] a1 KAKUMEI DOUCHUU - ON THE WAY [FROM "DANDADAN"]
[b] a2 DAIJOUBU [FROM "MOONRISE"]
[c] a3 HANA MUSOU - PEERLESS FLOWERS [FROM "MONONOKE THE MOVIE: THE ASHES OF RAGE"]
[d] a4 KATSUBOU [FROM "MONONOKE THE MOVIE: THE ASHES OF RAGE"]
[e] b1 LOVE SICK [FROM "MONONOKE THE MOVIE: THE ASHES OF RAGE"]
[f] b2 AIKOTOBA - THE SPELL [FROM "THE APOTHECARY DIARIES"]
[g] b3 RED:BIRTHMARK [FROM "MOBILE SUIT GUNDAM: THE WITCH FROM MERCURY"]
[h] b4 HOUSEKI NO HIBI [FROM "MOBILE SUIT GUNDAM: THE WITCH FROM MERCURY"]

[a] a1 | KAKUMEI DOUCHUU - ON THE WAY [FROM "DANDADAN"]
[b] a2 | DAIJOUBU [FROM "MOONRISE"]
[c] a3 | HANA MUSOU - PEERLESS FLOWERS [FROM "MONONOKE THE MOVIE THE ASHES OF RAGE"]
[d] a4 | KATSUBOU [FROM "MONONOKE THE MOVIE THE ASHES OF RAGE"]
[e] b1 | LOVE SICK [FROM "MONONOKE THE MOVIE THE ASHES OF RAGE"]
[f] b2 | AIKOTOBA - THE SPELL [FROM "THE APOTHECARY DIARIES"]
[g] b3 | RED BIRTHMARK [FROM "MOBILE SUIT GUNDAM: THE WITCH FROM MERCURY"]
[FROM "MOBILE SUIT GUNDAM THE WITCH FROM MERCURY"]

Loom has the privilege of releasing T-Flex ‘Reconstruct, Mutate’ – blending analogue warmth with digital clarity from the producer’s nomadic phase to deliver a widescreen yet club-ready arc of techno/electro for the connoisseur.
* Casimir: Lean, driving Detroit electro groove weighted by tight bass and percussive punch.

* Liminal: Spacey, immersive and precise modulation station.

* Mutate 2: Darker, textural, warping tension.

* Face The Infinite: Expansive synth territory – the cinematic, resonant finale.

AO (Trascendental Amor Organization) appears with a five-track EP for Modern Obscure Music's Trip-Vapor-Club Focus Series, released as a vinyl-only edition. The record aligns with the series' ongoing interest in club music as an experimental framework, following releases by Pedro Vian and Actress.
Drawing from techno and electro without committing to their functional codes, the EP explores rhythm as texture and acidic repetition as inquiry. Pulses are skeletal, surfaces are unstable, and melodic fragments emerge only to dissolve back into noise and space. The tracks suggest movement without instruction, privileging sensation over utility.
Minimal in format yet dense in implication, the EP positions the dancefloor as a speculative zone-sound designed as much for close listening as for physical immersion.

Season 2 formed in late 2024, bringing together seasoned Melbourne musicians with previous and current projects including Parsnip, The Stroppies and Phil and the Tiles. The five piece, comprising Carolyn Hawkins, Claudia Serfaty, Charlotte Zarb, Freya McLeod and Matt Powell, quickly set to work writing winsome, DIY, shimmer-pop hits that careen through your mind in a gratifying dizzy rush.

With a clear collective vision and little time to waste, Season 2 spent 2025 writing and recording, appearing live only a handful of times. Finally, this April, the band are primed for their debut release, a full-length album entitled 'Power of Now'. ‘Power of Now ‘is a cerebral explosion of melody, hooks, drones and rhythm. In the vein of The Feelies, The Vaselines and The Clean, Season 2 have whipped up a sonic whirlwind. It's a giddy thrill of snappy slap, catchy gang vocals and crystalline guitar refrains.

'Abundance of Power' is a bittersweet bop of ponderous bass, crisp chord flashes and grounded vocals that dwell on slighted futures and bored realities. 'Becomes a Dream' is a delirious race of scrappy strumming and flying phrases that unsettle as much as they pinball endorphins - "pour the ink into the sand, watch the dog it bites the hand". "Tell me something, elbows on the table, I'll tell you nothing, leave you tugging at the cable" they sing on the peppy future single 'Tugging at the Cable', capturing a certain innocent, wide-eyed expressiveness. Season 2 do sparky well, their songs are instant rewards, tunnelling into your subconscious and testing the dance floor. They keep everything moving, the beat and the conversation. Season 2 sound barely controlled and all the better for it, you have no choice but to be swept up.

'Power of Now' was recorded by Alex Macfarlane (The Green Child, Chateau) and mastered by Mikey Young. It will be released digitally and on LP (black vinyl) on April 24th, internationally via Upset The Rhythm and locally in Australia by Spoilsport Records.

Jede Band, die was drauf hat, hat ein Mitglied, das mal in einem Plattenladen gearbeitet hat. Bei METZ, dem mutigen Noise-Rock-Trio, das zwischen 2012 und 2024 fünf Alben bei Sub Pop rausgebracht hat, war das Sänger und Gitarrist Alex Edkins. Während seines Studiums verkaufte Edkins in seinem Heimatort Indie-Rock- und Hardcore-Platten und wurde zu einem begeisterten Schüler des Rock ,n` Roll, von den psychedelischen 1960er Jahren bis zu den DIY-1990er Jahren und darüber hinaus. Hoopla, das eingängige, melodische zweite Album aus Edkins' Soloprojekt Weird Nightmare, mischt und kombiniert diese Einflüsse auf unterhaltsame und mitreißende Weise und zeigt seine ausgefeilte musikalische Intelligenz. ,Hoopla" sprüht vor Hooks und Ohrwürmern und ist genau die Kassette, die nie aus dem Autoradio genommen wird, sondern immer wieder gespielt wird und den Sommer begleitet. ,Hoopla" ist neu und nostalgisch zugleich und wird deine Ohren erfreuen. Das selbst produzierte und ausgesprochen lo-fi Debütalbum von Weird Nightmare wurde während der Pandemie zu Hause aufgenommen und 2022 von Sub Pop veröffentlicht. Weird Nightmare zeigte Edkins' Indie-Rock-Sensibilität mit einer Vorliebe für unverkennbare Hooks und mitreißende Refrains zum Mitsingen. Auf dem neuen Studioalbum Hoopla, das gemeinsam mit Jim Eno von Spoon produziert und in Seth Manchesters Machines with Magnets aufgenommen wurde, erweitert Edkins die Dimensionen von Weird Nightmare noch weiter. Neue musikalische Texturen wie Klavier, Glocken und Kastagnetten verschmelzen mit Edkins' geradlinigem Songwriting und verleihen diesen Stücken einen glänzenden Schimmer. Es ist, als würde ein beliebter Indie-Regisseur mit seinem ersten Studiofilm einen Schritt nach vorne machen. Wenn das Debütalbum Weird Nightmare ein Underground-Publikumsliebling war, ähnlich wie Richard Linklaters Slacker, dann ist Hoopla Edkins' Dazed and Confused. ,Hoopla" glänzt mit sonnigem Gitarrenpop und wurde mit genau der richtigen Menge an Fuzz und Crunch produziert. Die unmittelbare, schnörkellose Aufnahme versetzt dich direkt ins Studio mit Edkins und seiner Rhythmusgruppe: Loel Campbell am Schlagzeug und Bassist Roddy Kuester. Das ist Power-Pop der Extraklasse; diese scharfen Adrenalinstöße könnten sich nahtlos in einen Radio-Rock-Block zwischen The Replacements und Elvis Costello & the Attractions einfügen. Oder passen genauso gut zu Sharp Pins, Ratboys und Alvvays. Im Kern ist dieses Album ein optimistischer, leuchtender Lichtblick in unserer seltsamen Zeit. Mit Weird Nightmare möchte Edkins euch wissen lassen, dass er die Welt immer noch liebt, und er lädt die Hörer von Hoopla ein, dasselbe zu empfinden. Nutzt diese Chance, um einen Funken der Magie des Pop in unserer verbrauchten alten Welt zu ergreifen. Ihr habt es verdient.

Inperimental is a bold return from Lithuanian electronic pioneers Plasma, presenting a meticulously crafted double LP that explores the intersections of techno, ambient, and forward-thinking electronic sound. Every element — sound, structure, and visual identity — is
intentional. This is not a collection of experiments, but a fully realized sonic architecture shaped by decades of experience and analog mastery. This vinyl edition is more than just an audio release — it's a multi-sensory experience.

The gatefold cover and packaging feature hidden artwork that can only be revealed using included red-lens glasses. This visual element isn’t just a gimmick — it reflects the same intentionality that defines the music. With no room for improvisation or trend-chasing, Inperimental is a precisely executed statement in both sound and form. The album blends ambient tones, analogue warmth, and dancefloor rhythms. It demonstrates a refined sound palette: humid techno grooves, cosmic textures, and cinematic depth.

Inperimental is described by the artist as a voyage where technology meets pure emotion — “a realm where warmth intertwines with technology, dreams blur into reality, and pure, authentic sound reigns supreme”. A digital download card is also included with each vinyl copy.

Preston duo White Flowers announce new album, Dreams For Somebody Else - due for release 1st May 2026 via The state51 Conspiracy.
White Flowers, the long-running collaboration between Joey Cobb and Katie Drew, exists within what they call “the realm” – a shared creative space, wherein time, rather than being a restrictive force, is fluid and boundless, and music exists as an endless conversation with their past and present selves. Adopting what the band describe as a “sketchbook” approach to writing, White Flowers is the product of a decade’s worth of recordings - snippets nestled away on hard drives, only to truly make sense years later.
On Dreams For Somebody Else, the band expand upon the dark-hued dream pop of their debut, channeling the catharsis of dance music via repetitive structures and “sad, euphoric sounds”. Working alongside LCD Soundsystem and Hot Chip’s Al Doyle on production, the album maps out a mosaic of soaring choruses that swirl around imposing arrays of synths, guitars, and percussion.
Through this new lens, the band explore themes of isolation, dissociation and identity - drawing inspiration from Annie Ernaux’s The Years. “Whilst recording the songs for ‘Dreams For Somebody Else’, we really connected with the concept of Annie Ernaux’s book, ‘The Years’ - a ‘collective autobiography’ pieced together from mismatched fragments from her past, conjuring the effect that she’s merely an observer of her own life. This concept merges into the White Flowers world, where time, rather than being restrictive, is fluid and boundless, with our music existing as an endless conversation with versions of ourselves at different stages of our lives.”
“The album has that same feeling of disassociating from your own life, because you’re just blending into everyone else”, the band explains. “There’s a sadness there, because it’s as if you’re looking back on things that happened to you, and they feel like they don’t belong to you anymore”. It’s the dull ache of nostalgia intertwined with a sense of wonder at what could lie ahead - the hopeful optimism and endless loss that defines the human experience. “It’s this idea of identity not being a fixed thing, but something that’s always changing. It’s a fluid thing, similar to time. Things aren’t really fixed, but rather in a constant state of change. It’s important to remember that we’re all going through that.”

The vinyl version of this release compiles the tracks from their two earliest EPs originally released by Ankst whilst the 22 track CD features further unreleased & unheard bonus tracks from this early era.

Super Furry Animals also recently announced additional festival dates to follow their sold out Supacabra Tour dates including stops in Llangollen, Bristol, York, Glasgow and London (their first since late 2016. See full 2026 dates below.

Holding the world record for the longest ever EP title the first EP -Llanfairpwllgwyngyllgogerychwyndrobwllantysiliogogogochynygofod (In Space), was released in 1995, followed in the same year by Moog Droog, with both EPs making up the eight-song track listing of the vinyl version of Precreation Percolation.

Later that year, with a record deal on the table and future classics such as God! Show Me Magic and Hangin’ With Howard Marks already making up the SFA’s set list, the band’s path following “two years of chaos” (including a legendary 1993 debut ‘gig’ at Bangor University’s Banana Lounge, lasting all of five minutes due to technical and chemical misadventure) was set. In the album’s liner notes, singer, Gruff Rhys writes: “It would have been the best gig ever, had we not daisy chained so many synthesizers together, that it resulted in a terminal systems failure.”

By summer they’d joined Oasis, Primal Scream and The Jesus and Mary Chain in the Creation Records family, leading to a huge London signing party that saw members of the band famously thrown out of.

The term of intriguing genre experimentation, spanning long-form electro, blissed out instrumentals and expansive prog-influenced rock, heard across much of Precreation Percolation was subsequently refined and channeled into their thrilling, 1996 debut album, Fuzzy Logic and their untamed live performances.


While consciously and frequently referring to the unheard, untold and unforeseen as a naturally nostalgia-resistant band, Super Furry Animals look ahead to reconvening with fans to celebrate their shared history as the Supercabra Tour gets underway.




(the vinyl comes with a copy of the CD in a slim card wallet)

Nach einem Jahr mit außergewöhnlichem Aufwind und wachsender Anerkennung veröffentlicht Dove Ellis sein Debütalbum „Blizzard“ auf LP und CD. Der in Galway geborene und heute in Manchester lebende Musiker produzierte das Album selbst in London und Liverpool; gemischt wurde es von Sophie Ellis und Andrew Sarlo.
Mit „Blizzard“ legt Dove ein Werk vor, das seine künstlerische Identität klar und selbstbewusst definiert. Im Zentrum steht der Track „Heaven Has No Wings“, der die emotionale Tiefe und cineastische Weite des Albums eindrucksvoll widerspiegelt.
Bereits die Vorab-Singles sorgten international für Aufmerksamkeit und über eine Million Streams. Damit hat sich Dove Ellis als eine der spannendsten neuen Stimmen der Alternative-Szene etabliert.
Nach einer erfolgreichen US-Tour und gefeierten Festivalauftritten markiert „Blizzard“ den Höhepunkt eines außergewöhnlichen Jahres – und den Beginn eines neuen kreativen Kapitels.