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Every so often in music, we come across voices that achieve a certain timelessness, so naturally do they encapsulate both past and present. Laure Briard is one of these voices, retro in form but contemporary at heart, spanning a career rich in aesthetic twists and turns, never without her signature magic, a special kind of eternal filter. Her first album, Révélation (2015), reveals her yé-yé influences, a testament to her love for ‘60s French pop music. Her second studio album, Sur la piste de danse (2016), follows in this vein and finds Laure accompanied as always by her long-time bandmates who share an affinity for warm, catchy arrangements that never lose their appeal. Her tour of Brazil marks a turning point in her career, introducing her to the local indie scene and thus launching her collaboration with the band Boogarins, as well as inspiring the release of multiple EPs composed and performed in Portuguese. Today, her music is embellished by touches of bossa nova and a folk sensibility, boasting increasingly intricate arrangements, as exemplified by her 2019 release, Un peu plus d'amour s'il vous plaît. Several years later, the Californian desert captures the musician’s imagination with Ne pas trop rester bleue, a poignant musical journey inspired by the rich history of Western legends and the role they play in shaping our collective consciousness.

In Voyage Mental, Laure Briard draws upon an inner energy unearthed during a new stage in her life, where the thrill of spontaneous adventure is not accessible in quite the same way. The result is a collection of sophisticated, introspective songs, narrating a young mother’s quest for balance in the face of routine. The album, nostalgic but always tethered to the present moment, is also the fruit of her collaboration with Gaëtan Nonchalant, a talented musician known for coaxing poetry out of the mundane. The two of them co-wrote and recorded five tracks at Studio Nocturne, accompanied by her long-time sidekick Pieuvre, aka Vincent Guyot, Léo Blomov, Pierre-Louis Vizioz, and Hedi Bensalem. The gentle pop opener “Rocking Chair” sways steadily to the rhythm of dynamic drums, followed by “Train,” a ballad that extends an invitation to set sail and daydream alone. The folk escapade continues with “Golden Sun,” a duet featuring the 1960s cult American musician F.J. McMahon, who Laure contacted via the internet on a whim. “Golden Sun” is an unlikely encounter between two generations and two cultures, giving new life to an old forgotten demo on the other side of the Atlantic. And while Laure sings of wide open spaces, cowboys, and sunsets sinking into the sea, we feel the city surrounding her in “Miroir,” a song composed by Hedi Bensalem that laments the suffocation of living in a crowded metropolis where the sky is a distant gray smudge. This pressing need for air, this search for rest and total disconnection, is one of the album's central themes. It may also explain the ever-present sense of nostalgia that pervades the songs, a welcome respite in our current era of doomscrolling and darkness. Along the way, Laure soothes us with melancholy guitar, delivers poetry set to scattered piano notes, and takes us by the hand during lively, uptempo passages. We climb onto her wings, never straying too far from the ground, soaring joyfully above her moods.

Indiana Jones and the Temple of Doom original motion picture soundtrack, now available on orange vinyl, featuring original music composed and conducted by John Williams.

Starting in 2021 the critically acclaimed Next Wave Acid Punx series has seen Luca Venezia, aka Curses, celebrate the music that has shaped both his life and career. Across the first two compilations Luca took usfrom the industrial and post-punk sounds of the late 70s, through the emergence of EBM, new beat and freestyle in the 1980s and onto the music he both makes and plays himself in clubs today. Bringing the series to a close Next Wave Acid Punx TROIS sees the Berlin-based musician and DJ return full circle, this time exploring the sounds that first initiated him into Brooklyn's rave scene and the music that, in some way, continues to embody its eclectic spirit today.

Spread across three 2LPs and 3CDs Next Wave Acid Punx TROIS captures a moment whose influence can still be heard reverberating around clubland today. With the nascent rave scene obliterating boundaries, this was a moment where the darker, harder industrial electronic sounds of the mid 1980s were crashing headfirst into the ecstatic wave that was washing over clubland creating thrilling juxtapositions. Whether in the clubs and warehouses of New York, London, Frankfurt, Valencia and beyond, electronic music would never be the same again as countless new genres we take for granted today were born from the chaos and energy that had been unleashed.

Featuring 46 hard-to-find, new and exclusive tracks, Next Wave Acid Punx TROIS both documents that fertile period and shows how, despite rumours to the contrary, that early anarchic spirit can still be found today. From the Detroit Techno of Model 500 to Nitzer Ebb's EBM and the proto-Trance of Age of Love and onto brand new tracks from some of today's best producers such as Zaatar, Italo Deviance and Leona Jacewska, this compilation closes out a series that has to date revelled in exploring the darker corners of clubland in uplifting style.

This is Chapter 1.

Starting in 2021 the critically acclaimed Next Wave Acid Punx series has seen Luca Venezia, aka Curses, celebrate the music that has shaped both his life and career. Across the first two compilations Luca took us from theindustrial and post-punk sounds of the late 70s, through the emergence of EBM, new beat and freestyle in the 1980s and onto the music he both makes and plays himself in clubs today. Bringing the series to a close Next Wave Acid Punx TROIS sees the Berlin-based musician and DJ return full circle, this time exploring the sounds that first initiated him into Brooklyn's rave scene and the music that, in some way, continues to embody its eclectic spirit today.

Spread across three 2LPs and 3CDs Next Wave Acid Punx TROIS captures a moment whose influence can still be heard reverberating around clubland today. With the nascent rave scene obliterating boundaries, this was a moment where the darker, harder industrial electronic sounds of the mid 1980s were crashing headfirst into the ecstatic wave that was washing over clubland creating thrilling juxtapositions. Whether in the clubs and warehouses of New York, London, Frankfurt, Valencia and beyond, electronic music would never be the same again as countless new genres we take for granted today were born from the chaos and energy that had been unleashed.

Featuring 46 hard-to-find, new and exclusive tracks, Next Wave Acid Punx TROIS both documents that fertile period and shows how, despite rumours to the contrary, that early anarchic spirit can still be found today. From the Detroit Techno of Model 500 to Nitzer Ebb's EBM and the proto-Trance of Age of Love and onto brand new tracks from some of today's best producers such as Zaatar, Italo Deviance and Leona Jacewska, this compilation closes out a series that has to date revelled in exploring the darker corners of clubland in uplifting style.

This is Chapter 2.

Starting in 2021 the critically acclaimed Next Wave Acid Punx series has seen Luca Venezia, aka Curses, celebrate the music that has shaped both his life and career. Across the first two compilations Luca took us from the industrial and post-punk sounds of the late 70s,through the emergence of EBM, new beat and freestyle in the 1980s and onto the music he both makes and plays himself in clubs today. Bringing the series to a close Next Wave Acid Punx TROIS sees the Berlin-based musician and DJ return full circle, this time exploring the sounds that first initiated him into Brooklyn's rave scene and the music that, in some way, continues to embody its eclectic spirit today.

Spread across three 2LPs and 3CDs Next Wave Acid Punx TROIS captures a moment whose influence can still be heard reverberating around clubland today. With the nascent rave scene obliterating boundaries, this was a moment where the darker, harder industrial electronic sounds of the mid 1980s were crashing headfirst into the ecstatic wave that was washing over clubland creating thrilling juxtapositions. Whether in the clubs and warehouses of New York, London, Frankfurt, Valencia and beyond, electronic music would never be the same again as countless new genres we take for granted today were born from the chaos and energy that had been unleashed.

Featuring 46 hard-to-find, new and exclusive tracks, Next Wave Acid Punx TROIS both documents that fertile period and shows how, despite rumours to the contrary, that early anarchic spirit can still be found today. From the Detroit Techno of Model 500 to Nitzer Ebb's EBM and the proto-Trance of Age of Love and onto brand new tracks from some of today's best producers such as Zaatar, Italo Deviance and Leona Jacewska, this compilation closes out a series that has to date revelled in exploring the darker corners of clubland in uplifting style.

This is Chapter 3.







[f] B2. Javi Redondo - HALT [Process]

Soul Jazz Records celebrate 25 years of working in partnership with Studio One with brand new editions of FIVE of their best-selling CLASSIC Studio One collections all released on limited-edition one-off pressing coloured double vinyl. Also available in new limited-edition card wallet CD editions. The new edition featured albums are Studio One Funk, Studio One Dub, Studio One Ska, Studio One Roots and Studio One Classics.

A blistering collection of non-stop Ska classic tunes featuring classic cuts from the originators of Ska alongside a heavy dose of superb rarities from the might vaults of 13 Brentford Road - pure fire! This compilation features classic tracks from The Skatalites, Bob Marley & The Wailers, Delroy Wilson alongside super-rare tracks from the likes of Ken Boothe, The Maytals, Jackie Mittoo, Tommy McCook and many more. Clement ‘Sir Coxsone’ Dodd’s musical empire was founded on Ska, the first explosive and most exciting music to come out of newly independent Jamaica. This album is a celebration of the music of Studio One Records’ seminal Ska releases and features a who’s who of some of the most important artists in the history of reggae music.

"Remnants" is an album marked by the ambiguity of presence and absence. The pieces, recorded using minimal equipment in what Suzuki describes as a ritual-like atmosphere, began as a way of processing the loss of her father in 2019. But beyond this, they also come to speak to the ways in which loss changes our relationship with someone, and our experiences of the world. Indeed, the experience of loss is not marked merely by a single event, but is instead a process that unfolds over time. Despite the other's absence, a particular location, the smell of a certain brand of tobacco, a look on a friend's face - traces such as these are enough to bring about a renewed presence.

It is through these subtle traces and remnants, encountered over time, that we come to understand loss as not only the acceptance of absence, but the recognition of a continued presence. As Suzuki says, "this is not a solo album." Its creation was instead shaped by an ongoing dialogue, the continued elaboration of a complex and ambivalent relationship. At once melancholic, warm, and embracing, it is this ambiguity, these subtle traces, that Suzuki’s compositions speak to. These are not merely the sounds of mourning, but instead have been shaped by the evolving dialectic of presence and absence into something far more subtle and haunting. (Zefan Sramek, 2026)

For our 17th expedition, we once again put our trust in expert bass navigators, Inner Echo. After an exceptional outing on PSI011, the Bristolian duo have been further honing their craft via an LP on Moonshine, and the launch of their own imprint, EchoPlex Recordings.

They return to the Challenger Deep with a brace of dub-drenched, bass heavy excursions.

Limited press, no digital.

A1. – Itch & Scratch 5.32

Smoove puts the spotlight firmly on the larger-than-life vocals of Rufus Thomas, peeling things back to reveal hard-hitting breakbeat drums from the very first bar, anchored by a relentless, pounding bassline. Punchy brass stabs and rolling keys collide with dirty funk guitar riffs, all stretched out into an extended rework built for maximum floor impact.

A.2 Bouncy Lady 5.06

A classic jazz-funk break from 1975 gets a fresh twist as Smoove reworks the structure into a groovy, extended build-up. Vocal chants and handclaps take the lead, while the original sax solo is stripped away and replaced by a raw bass-and-guitar workout. The focus shifts squarely to the rhythm section, letting the drums ride all the way to the finish—ending with the studio engineer’s off-mic murmur on the tape: “beautiful.”

B1. – For The Love Of You 6.57


The Isley Brothers classic gets a loving reworking, with the groove locked in tight and the keyboards pushed front and centre letting the drums and bass drive home the groove. Those iconic falsetto vocals are spine-tingling, from start to finish.

B.2– I’m Trying 4.48

Lush, soulful strings and a deep-groove piano line glide over this drum-driven reinterpretation, opening up the raw, emotive vocal breakdowns of Carla Thomas and Pervis Staples. Originally scored by Isaac Hayes, this rework digs deep into the multitracks, uncovering previously unheard moments and giving them room to breathe.

MUSAR is proud to introduce Koloah, the newest voice in the family. Making his label debut with You Can Get Me EP, the Kyiv-born, Berlin-based artist arrives fully formed: three original tracks that move between restless grooves and expansive, immersive sound design, accompanied by a brain-melting remix from rising French star Binary Digit.

The EP opens with "You Can Get Me" - a UK-leaning groove anchored by a snaking acid line and fragmented vocal cuts that surface and dissolve, insistent and hypnotic, one of those tracks that lands fast and stays with you. "Get Me Close" follows, shifting the A-side into electro territory: harder edges, colder mechanics, but the atmosphere holds. Koloah keeps the tension tight and the space wide.
The B-side reaches further. The braindance producer Binary Digit takes "You Can Get Me" apart and rebuilds it in his own image - known for his deeply idiosyncratic approach to rhythm and texture, he turns the original into a real summer anthem, faster and focused, the same raw material carrying a completely different emotional weight
The EP closes with "Liminal Forest", a full IDM statement: intricate rhythmic programming, layered synthesis, and a sense of place that feels earned rather than constructed. Koloah signs off somewhere between the forest and the machine.
Recorded in Koloah's Berlin studio, the tracks were built in different periods - which is exactly why they breathe the way they do. Not a forced coherence, but a natural one.
"Atmosphere is the core of all my music and what I pay the most attention to."
- Koloah
This is the beginning of something. Welcome, Koloah.

Diese Doppel-Vinyl-Compilation lädt ein in die warme, entspannte Welt des Lo-Fi-Sounds - eine Musik, die entschleunigt, Atmosphäre schafft und Nähe erzeugt. Versammelt sind prägende Künstler des Genres, die Lo-Fi, Downtempo, Jazz-Einflüsse und elektronische Gelassenheit miteinander verbinden. Mit Beiträgen von FKJ, Darius, Kid Loco, St Germain, The Mighty Bop, DJ Cam, DJ Spinna und weiteren wichtigen Namen entsteht ein vielschichtiges Panorama zwischen organischen Grooves, sanften Beats und subtilen Melodien. Die Auswahl richtet sich gleichermaßen an langjährige Liebhaber wie an neue Hörer, die Lo-Fi als eigenständige, zeitlose Form elektronischer Musik entdecken möchten. Ein stimmiger, sorgfältig kuratierter Sampler für entspannte Hörsituationen, stilbewusste Sets und alle, die elektronische Musik lieber fühlen als konsumieren. ENGThis double-vinyl compilation invites listeners into the warm, comforting world of lo-fi music - a sound defined by relaxed rhythms, organic textures and understated emotion. Featuring leading artists of the genre, the collection blends downtempo beats, jazz influences and laid-back electronic production. With tracks by FKJ, Darius, Kid Loco, St Germain, The Mighty Bop, DJ Cam, DJ Spinna and others, the album offers a broad yet coherent overview of lo-fi aesthetics. It appeals both to seasoned listeners and newcomers seeking a timeless, atmosphere-driven listening experience. A carefully curated selection designed for calm moments, focused listening and stylish musical environments

The evil Empire has fallen, and Imperial warlords remain scattered throughout the galaxy. As the fledgling New Republic works to protect everything the Rebellion fought for, they have enlisted the help of legendary Mandalorian bounty hunter Din Djarin (Pedro Pascal) and his young apprentice Grogu. The Mandalorian & Grogu Original Score Vinyl features 13 brand new score cues by Ludwig Göransson.

XPRESS Singles Vol.2 is here, and its a certified dance floor weapon. Here at TDE we're stoked to welcome back mystery London duo Dirty Supercar with a brand new cut, Nothing But The Music.

Powered by the deep, soulful vocal of Elliot Chapman, it’s a direct call to the floor. Lush, emotive strings glide over choppy 70s guitar licks, all driven by a throbbing house kick and bouncing bassline combination that hits with precision. It’s a confident, fully-formed house record that speaks to both classic and contemporary sensibilities.

On remix duties, Italian house music heavyweight Angelo Ferreri steps in with a fresh rework that’s already slamming our worldwide parties. A consistent force in the global house scene for over a decade, Ferreri’s catalogue spans chart-topping releases, millions of streams, and support from the scene’s most respected selectors. Regularly ranking among Beatport’s top-selling artists, his signature blend of groove-led, feel-good house is unmistakable. Here he delivers a version that’s primed for peak-time impact. Tested, refined, and truly defined house heat.

Fesh off strong support from Purple Disco Machine, DE SOFFER returns to TDE in fine form. The nu-disco specialist delivers two standout remixes, reworking 20 Buck Funk by Bustin’ Loose and Hot by La Felix. The latter was one of our label’s biggest records of 2025 and gets a slick extended treatment. Meanwhile, 20 Buck Funk is reimagined with a sharp, modern nu-disco edge. Both featuring West Coast's Relaye on the rap, these're both tight, energetic, and fiery Nu Disco bangers ready to cause club carnage.

A seriously strong vinyl package from front to back. Pressed on a limited run of 300, this is one for the collectors and the selectors alike.

To mark its 20th birthday, Lisbon-born label Enchufada is releasing A Lisbon Club Story - 20 hand-picked tracks bridging bass, trap, grime and rave with baile funk, kuduro, batida, Afro-house and more dance-oriented styles. A mix of 12 archive selections and eight fresh cuts, the LP unites some of the boldest champions of Afro-diasporic and global bass music today, from household names in Portugal such as Buraka Som Sistema - back with their first track in 12 years, DJ Marfox and Shaka Lion to newgen dynamos like Vanyfox and international stars like Dengue Dengue Dengue and Mina.

FEAR - das gemeinsame Album von Jared Mattson von The Mattson 2 und Ruban Nielson von Unknown Mortal Orchestra - wurde im Juni 2024 aufgenommen. Alle Aufnahmen und der Mix fanden in Palm Springs statt. Gemastert von Matt Colton in den Metropolis Studios in London. --- "Ich wachte gegen Mittag auf, desorientiert, noch halb im Traum. Musik lief - unbekannt, voll ausgereift, die Art von Klang, von der man annimmt, dass sie zum Leben eines anderen gehört. Einen Moment lang dachte ich, ich würde noch schlafen und Musik hören, von der ich mir wünschte, ich hätte sie gemacht. Dann dämmerte es mir: Ruban Nielson war bereits wach, im Studio, und hörte sich an, was wir geschaffen hatten. Wir wussten es beide. Diese Musik hatte etwas Unvermeidliches an sich - als wäre sie weniger geschaffen als vielmehr entdeckt worden. Wir hörten sie uns immer wieder an, lachten und schüttelten den Kopf. Ein Track rief ein gemeinsames Bild hervor: einen immergrünen Wald an einem See bei Sonnenuntergang. Ruban blickte plötzlich auf, die Augen weit aufgerissen, als hätte man ihm gerade eine Botschaft überreicht. ,Ich habe den Titel", sagte er. American Eagle. Der Name wirkte genauso wie die Musik - klar, offensichtlich, unbestreitbar. Der amerikanische Traum: Hot Dogs, Cola, Fahrten bei Sonnenuntergang. Wir brachen beide in Gelächter aus, Tränen in den Augen, weil wir minutenlang so heftig lachten. Wir schwammen in seinem Pool. Das Gespräch hörte nie auf. Der Fluss blieb konstant, nährend, mühelos. Dann sagte Ruban es noch einmal - den Satz, der bereits zu einem Grundsatz geworden war: ,Lass uns mehr davon machen, das genau so klingt." Also taten wir das. Zwei Tage später war ,FEAR" fertig." - Jared Mattson

On March 20, 1964, legendary American comedian and harpist Harpo Marx joined the Riverside Symphony on stage at a benefit for the Southern California organization. By then, the comic had been in semi-retirement, and after a series of heart attacks in 1961, he was told to stop working altogether. But to a lifelong performer, nothing compared to the feeling of being on stage. Benefit shows, he slyly argued, were not technically work, since he wasn’t getting paid. For the next few years, Marx’s wife and doctors grudgingly went along with the pitch. Harpo Speaks! The Riverside Symphony Concert, out June 5 from Ramseur Records, captures a considerably remarkable, one-of-a-kind performance: The silent Marx Brother, the one whose trademark persona led many audiences to believe he was actually mute, spoke. As Harpo Marx’s first, and last—recorded just six months before his death—live album, Harpo Speaks! places listeners in the room, immersed in the swell of the Riverside Orchestra as Marx performs alongside the symphony and leads them in a narration of Peter and the Wolf. In another unusual move for Marx, he allowed the recording of the show for posterity, though the tapes seemingly disappeared after his death. Harpo Speaks! is the result of heroic archival work. Recently discovered by longtime Marx Brother archivist John Tefteller, he and Marx biographer and expert Robert Bader set out to restore the long lost recording. “The fact that we have a recording is a miracle,” says Bader. “It was not the most professionally recorded thing.

It was very haphazard. The work that was done to rehabilitate it is stunning. It’s as if you’ve found something covered with layers of mold and dirt, got it all cleaned off, and now are able to see something brand new underneath it.” Across the recording’s near-43 minute runtime, Marx, alongside the Riverside Symphony, takes the cheering audience through the delightfully lighthearted “Toy Symphony” and carries them into the softly romantic “Moon Medley,” (a medley of “Fly Me to the Moon” and “How High the Moon,” arranged by his son Bill, alongside his own composition, “Moon Tune”) and a rare instrumental performance of his composition “Guardian Angels.” And then the concert’s true highlight: the near 22-minute long riveting narration of Peter and the Wolf. For the first time, Harpo reveals his voice: deep, yet soft-spoken, refined, yet still retaining the slightest hint of his New York City origin. And, in speaking, he entertained, getting laughs not just for his physical gags, but for the storytelling itself: the dramatic inflections in moments of suspense, the arch mischievousness, and tongue-in-cheek references to Goldwater, Rockefeller, and Nixon.

Maximum Penalty wurden 1986 gegründet und gelten als eine der einzigartigsten Bands, die während der Blütezeit des New Yorker Hardcore entstanden sind. Die Band, die von Sänger Jimmy Williams ins Leben gerufen wurde und 1988 durch den Gitarristen Joseph Affe verstärkt wurde, begann mit schnellem Hardcore-Punk und entwickelte sich nach und nach zu etwas Größerem, angetrieben von melodischen Rhythmen und gefühlvollem, klarem Gesang. Maximum Penalty war von Anfang an ein fester Bestandteil legendärer Veranstaltungsorte wie CBGB und Coney Island High und tourte in den 90er Jahren auch durch Nordamerika und Europa, wo sie die Bühne mit Bands wie Agnostic Front, Madball, Sick Of It All und Gorilla Biscuits teilten. Die erste Schaffensphase von Maximum Penalty umfasste eine beeindruckende Diskografie - ,Demo 89", die EP ,East Side Story" von 1995, die LP ,Independent" von 1996, die LP ,Super Life" von 1997 sowie eine Reihe von Titeln auf verschiedenen Compilations, darunter ,Where The Wild Things Are" und ,Satisfaction Guaranteed" von Blackout Records. Maximum Penalty tauchte 2009 mit der LP ,Life & Times" (Reaper Records) wieder auf und brachte ihren Sound neuen und alten Hörern näher. Der Einfluss, den Maximum Penalty auf die moderne Hardcore-Szene hatte, ist unbestreitbar. Turnstile nahm die Band in eine einflussreiche Playlist auf, und der Hardlore-Podcast erklärte Maximum Penalty zu einer der ,am meisten unterschätzten Hardcore-Bands". Im Jahr 2025 veröffentlichte die Hardcore-Band End It aus Baltimore ein Cover von ,Could You Love Me?" aus dem 1996er Album ,Independent", hauchte dem Titel neues Leben ein und veranlasste Fans, das Original zu entdecken. Zum 30-jährigen Jubiläum wird ,Independent" zum ersten Mal überhaupt auf Vinyl gepresst, und zwar über Flatspot Records. Gitarrist Joseph Affe bemerkt: ,Maximum Penaltys ,Independent` ist das einzige Album, das nie auf Vinyl erschienen ist, da Vinyl zu der Zeit, als es auf CD veröffentlicht wurde, nur eine Nebensache war. Während wir weiter spielten und neue Veröffentlichungen herausbrachten, war die Veröffentlichung von ,Independent` auf Vinyl etwas, das wir schon immer tun wollten, und nun sind wir endlich, 30 Jahre später, so weit. Die ,Independent`-Ära war eine großartige Zeit in der Geschichte von Maximum Penalty - es bedeutet uns sehr viel, zu sehen, dass ein neues Publikum die Platte zum ersten Mal entdeckt, das ist unglaublich!"

Maximum Penalty wurden 1986 gegründet und gelten als eine der einzigartigsten Bands, die während der Blütezeit des New Yorker Hardcore entstanden sind. Die Band, die von Sänger Jimmy Williams ins Leben gerufen wurde und 1988 durch den Gitarristen Joseph Affe verstärkt wurde, begann mit schnellem Hardcore-Punk und entwickelte sich nach und nach zu etwas Größerem, angetrieben von melodischen Rhythmen und gefühlvollem, klarem Gesang. Maximum Penalty war von Anfang an ein fester Bestandteil legendärer Veranstaltungsorte wie CBGB und Coney Island High und tourte in den 90er Jahren auch durch Nordamerika und Europa, wo sie die Bühne mit Bands wie Agnostic Front, Madball, Sick Of It All und Gorilla Biscuits teilten. Die erste Schaffensphase von Maximum Penalty umfasste eine beeindruckende Diskografie - ,Demo 89", die EP ,East Side Story" von 1995, die LP ,Independent" von 1996, die LP ,Super Life" von 1997 sowie eine Reihe von Titeln auf verschiedenen Compilations, darunter ,Where The Wild Things Are" und ,Satisfaction Guaranteed" von Blackout Records. Maximum Penalty tauchte 2009 mit der LP ,Life & Times" (Reaper Records) wieder auf und brachte ihren Sound neuen und alten Hörern näher. Der Einfluss, den Maximum Penalty auf die moderne Hardcore-Szene hatte, ist unbestreitbar. Turnstile nahm die Band in eine einflussreiche Playlist auf, und der Hardlore-Podcast erklärte Maximum Penalty zu einer der ,am meisten unterschätzten Hardcore-Bands". Im Jahr 2025 veröffentlichte die Hardcore-Band End It aus Baltimore ein Cover von ,Could You Love Me?" aus dem 1996er Album ,Independent", hauchte dem Titel neues Leben ein und veranlasste Fans, das Original zu entdecken. Zum 30-jährigen Jubiläum wird ,Independent" zum ersten Mal überhaupt auf Vinyl gepresst, und zwar über Flatspot Records. Gitarrist Joseph Affe bemerkt: ,Maximum Penaltys ,Independent` ist das einzige Album, das nie auf Vinyl erschienen ist, da Vinyl zu der Zeit, als es auf CD veröffentlicht wurde, nur eine Nebensache war. Während wir weiter spielten und neue Veröffentlichungen herausbrachten, war die Veröffentlichung von ,Independent` auf Vinyl etwas, das wir schon immer tun wollten, und nun sind wir endlich, 30 Jahre später, so weit. Die ,Independent`-Ära war eine großartige Zeit in der Geschichte von Maximum Penalty - es bedeutet uns sehr viel, zu sehen, dass ein neues Publikum die Platte zum ersten Mal entdeckt, das ist unglaublich!"

Following the underground cult success of Mystical Funk, Gerardo Frisina returns to the 7” format with a new double-sider aimed at dancefloors, collectors, and selectors with a taste for cinematic funk. A record that feels as though it emerged from a lost Afro-funk session, where cosmic funk and Afro-Latin grooves are filtered through a distinctly modern electronic sensibility.
On the A-side, “Duala”, inspired by the African city of Douala, pays tribute to Afro-funk in its most visionary era, evoking the unmistakable sound made famous by the great Manu Dibango. The track opens into a dense and hypnotic electronic funk journey: pulsating basslines, fluid guitars, psychedelic synthesizers, and a rhythmic tension that recalls the golden age of Afro-funk. A nocturnal voyage through rare groove and cinematic atmospheres, with the groove constantly remaining at the heart of the composition.
On the B-side, “Lindeza” is a tribute to the beauty and richness of Brazilian musical culture. A track that shifts perspective while keeping the temperature high: elegant, percussion-driven electronics with a Latin spirit, flowing at around 110 BPM. Warm and magnetic, the piece carries all the hallmarks of Gerardo Frisina’s sound, where futuristic jazz, tropical funk, batucada, and club culture meet in a refined production designed equally for deep listening and the dancefloor.

Soul Jazz Records celebrate 25 years of working in partnership with Studio One with brand new editions of FIVE of their bestselling CLASSIC Studio One collections all released on limitededition one-off pressing coloured double vinyl. Also available in new limited-edition card wallet CD editions. The new edition featured albums are Studio One Funk, Studio One Dub, Studio One Ska, Studio One Roots and Studio One Classics. Studio One Roots set the standard for Soul Jazz Records’ long-standing series and features many of the classic artists from Clement 'Sir Coxsone’ Dodd’s mighty roster of reggae. This album includes Freddie McGregor, Willie Williams, Cornell Campbell, Alton Ellis, Devon Russell alongside some of the defining in-house groups of Jamaican reggae history - The Sound Dimension, Brentford All-Stars, The Skatalites, New Establishment and more. The album is filled with a mixture of seminal cuts and super-rarities from the vast vaults of 13 Brentford Road.

Stand-out tracks include Alton Ellis’s ‘Blackish White’, a surreal and powerful Afro-centric dream, Count Ossie’s Rastafarian drummers’ genre-defying interpretation of Booker T and The MGs ‘Meditation’, Willie Williams aweinspiring versioning of the Skatalites' seminal Rastafari anthem ‘Addis Ababa’ and many, many more. Original sleevenotes by Lloyd Bradley (author of When Reggae Was King), compiled by Mark Ainley (Honest Jons), high-quality Soul Jazz mastering, wicked images of Count Ossie and the Mystic Revelation of Rastafari on the cover, and a rare image of Clement Dodd and musicians inside the studio at Studio One on the full colour inner sleeves. “There isn't a weak number across these 16 tracks, from the Gaylads’ ode to ‘Africa’ and Devon Russell's version of the heavyweight ‘Drum Song’ rhythm, to stunning instrumentals such as Jackie Mittoo and the Cyclones with nyahbinghi drummer Count Ossie on ‘Meditation’, Lenny Hibbert’s sparkling vibe work over Mittoo's ‘Ghetto Organ’ and The Sound Dimension’s ‘Congo Rock.” Pitchfork “The music of this compilation is of a rare, rare beauty and is essential to anyone's reggae collection.” All Music

Soul Jazz Records celebrate 25 years of working in partnership with Studio One with brand new editions of FIVE of their best-selling CLASSIC Studio One collections all released on limited-edition one-off pressing coloured double vinyl. Also available in new limited-edition card wallet CD editions. The new edition featured albums are Studio One Funk, Studio One Dub, Studio One Ska, Studio One Roots and Studio One Classics.

Studio One Classics features a non-stop selection of stone-cold classic Studio One killers! Spanning 40 years of the legendary label, this album is a celebration of the music of Studio One Records and features a who’s who of Jamaican Reggae: Bob Marley, The Heptones, Horace Andy, Sugar Minott, Don Drummond, Prince Jazzbo & more. This collection contains numerous legendary tracks, including Bob Marley and the Wailers’ “Simmer Down”," "Love Me Forever" by Carlton & His Shoes, Slim Smith's "Rougher Yet," Horace Andy's "Fever,", Alton Ellis’s “I’m Just A Guy’, The Skatalites’ blazing ‘Confucious’ and loads more. Timeless stuff - every track here is indeed a classic, no-one can argue about that! Studio One produced literally hundreds of hits and this selection includes some of the label’s most enduring songs.

It is simply impossible to imagine modern Jamaican music without Clement "Coxsone" Dodd, founder of the iconic Studio One where virtually every singer and musician of note in Reggae cut their teeth. Studio One's output spans over four decades, all represented here. Coxsone Dodd pioneered nearly every new form of Jamaican music as it developed over time and this album includes Ska, Dancehall, Roots, Rocksteady, DJ, Lovers and more. This is probably the best entry of the many Soul Jazz Studio One releases if you're after a primer in the Studio One sound. Like it says on the wrapper 'Classics' pretty much sums it up

“Still Blooming“ hieß das im April 2025 erschienene dritte Album von Hollywood-Multitalent Jeff Goldblum. Darauf überzeugte er nicht nur als Pianist, Bandleader und Sänger, sondern konnte auch seine
Schauspiel-Kolleginnen aus den gemeinsamen beiden “Wicked“-Filmen, Ariana Grande und Cynthia Erivo
für eine Mitwirkung als Sängerinnen gewinnen, neben der nicht weniger bekannten Scarlett Johansson.
Aufgrund des großen Erfolges erhält “Still Blooming“ jetzt ein fabelhaftes Nachfolgealbum mit dem Titel
“Night Blooms“. Darauf greift Goldblum nicht nur vier Tracks des Vorgängeralbums in neuen, stimmungsvollen “Late Night Session“-Versionen wieder auf, sondern hat auch sechs brandneue Tracks im
Gepäck, auf denen die Gaststars Melody Gardot, Charlie Puth, Cynthia Erivo und dodie glänzen. Das Album runden zwei bislang nur digital erschienene Pop-Hits ab, die Goldblum zusammen mit Sängerin Haley
Reinhart in loungige Bossa-Tracks verwandelt hat: “Lover“ von Taylor Swift und “Tattoo“ von Loreen.

Eine junge, innovative Sängerin und Songschreiberin sorgt ab sofort auf dem Verve Label für einen mitreißenden Mix aus Soul, brasilianischer Jazz-Fusion, Funk, Mexican Bolero und House-Einflüssen. Die in Chicago
lebende Sparklmami eröffnet ihr Debütalbum mit den Worten “You’re listening to Sparklmami radio“, und
zieht sofort hinein in eine Welt jenseits klarer Genregrenzen. Nach den digitalen Singles “running“ und
„fajas“ (2024) wird hier erstmals die ganze Tiefe ihrer künstlerischen Vision hörbar.
Sparklmami versteht ihre Musik als Gesamtkunstwerk, erschafft ein eigenes Universum geprägt von markantem Styling. Die visuellen Elemente spiegeln sich auch musikalisch wider: “in this body“ lebt von einer
brodelnden Rhythmusgruppe, vielschichtigen Keyboard-Arrangements, warmen Bläsern und einer Stimme,
die mühelos zwischen Gesang und Spoken Word wechselt.
Sparklmamis Texte folgen diesem Prinzip: Themen wie Identität, Herkunft und Selbstfindung werden nicht
erklärt, sondern erfahrbar gemacht. Gerade darin liegt die besondere Kraft dieses Albums – verletzlich,
eigenständig und mit einer künstlerischen Handschrift, die Aufmerksamkeit verdient.

Monaqee are multi instrumentalist / pianist Bencze Molnar and producer Jules Hiero.
Vanis is a bassist based in Budapest, deeply rooted in the city’s vibrant underground culture.
Bencze and Vanis are members of the jazz fusion group Jazzbois.
Being rooted in the underground hip hop and jazz scenes,the artists started this project to create a distinct sound, blending jazz, hip hop and lofi elements in a sophisticated way, that stands out from the crowd.
The only feature on the Album is from Domenico Lancellotti, a pioneer of Brazilian beat culture.

Robo Wars is a project born from three years of spontaneous sessions in Budapest. Over this time, the trio captured their best moments, weaving them into a smooth tapestry that blends jazztronica, hip-hop, and lofi beats into an analogue experience. Driven by electric bass, drum machines, and an arsenal of synthesizers including the Prophet, Juno, Moog, and the new UDO designs, Robo Wars feels alive, raw, and deeply musical.
Each track breathes improvisation:
Most of the material was captured live during jam sessions, with only minimal overdubs. The result is a project that preserves the spirit of freestyle creativity, much like a true jazz performance, later sculpted into structured songs by Jules Hiero.

Although humankind has made it to the far side of the Moon and back, there is still more to discover. Strap in… Rex The Dog is taking us further out into the lesser-known realms of space disco.

‘Far Out!’ is a reinterpretation of an early breakbeat rave tune from 1991 by Son’z Of A Loop Da Loop Era. It’s a tribute to a simpler time when all you needed was a cascading piano riff played through a powerful sound system, with your best friend by your side.

In Rex’s version, the breakbeats and piano have been replaced with a punchy 4/4 beat and an arpeggiated synth workout that cuts through the air like a laser. Houston, we have a hit.

‘I Need Your Body’ showcases Rex The Dog’s more introspective side, with yearning vocals spread across a heavily bouncing rhythm track full of mind-boggling dub effects.

This new EP cements Rex The Dog’s status as a unique voice in today’s techno world, as well as an incredibly reliable purveyor of highly emotional dancefloor smash hits.
Obwohl die Menschheit es bereits bis zur Rückseite des Mondes und wieder zurück geschafft hat, gibt es noch immer Neues zu entdecken. Schnallt euch an … Rex The Dog entführt uns noch weiter in die weniger bekannten Gefilde des Space Disco.

„Far Out!“ ist eine Neuinterpretation eines frühen Breakbeat Rave Tracks aus dem Jahr 1991 von Son’z Of A Loop Da Loop Era. Es ist eine Hommage an eine einfachere Zeit, in der man nur ein kaskadenartiges Piano-Riff brauchte, abgespielt über ein kraftvolles Soundsystem, mit dem besten Freund an der Seite.

In Rex’ Version wurden die Breakbeats und das Piano durch einen druckvollen 4/4-Beat und ein arpeggiertes Synth-Riff ersetzt, das wie ein Laser durch die Luft schneidet. Houston, wir haben einen Hit.

„I Need Your Body“ zeigt die eher introspektive Seite von Rex The Dog, mit sehnsüchtigem Gesang, der sich über einen heftig bouncenden Rhythmus-Track voller verblüffender Dub-Effekte erstreckt.

Diese neue EP festigt Rex The Dogs Status als einzigartige Stimme in der heutigen Techno-Welt sowie als unglaublich zuverlässiger Lieferant hoch emotionaler Dancefloor Smash Hits.

Fuse leans further into its proposed aesthetic of biting club tracks with a brand new release by Cirkle. ‘Infinity Drift’ balances powerful sound system sound design with lush ambiance, creating standout moments on a dancefloor with a taste of nostalgia. These tracks explore the richness in themes that techno can have when made by someone who’s spent years meticulously crafting it. ‘Skyland’ asserts itself first with impressive pace. Swift chord stabs open and close to create waves of excitement and craze in the track while percussion shuffles along to add impact; Cirkle is an artist of all rooms and dimensions. Shrill sound design cuts through the stereo field creating a wormhole in the middle of rhythmic determination. Tension balance and anticipation are his specialty and every transition whips his dispersed elements into singularity in the EP, specifically the title track. A truly musical piece that embraces the crowd with vintage warmth, ‘Infinity Drift’ tones down the dissonance in exchange for something closer to astral exploration. These larger than life themes are never lost on dancers and serve to unify the dancefloor into an organism instead of pushing sound system violence. This is a theme that is omnipresent in Cirkle’s music and carried through into ‘Stimulus’. Here, the Greek producer dips into the hypnotic bordering on psychotic, stretching arpeggios and delays across drum transitions and time. The dimension of ‘Stimulus’ matches the preceding tracks with ease, but stands out in its effect, rolling a powerful synth through reliably tuned percussion. For the final track, ‘Impulse’ sees Cirkle prioritizing the importance of drums. Pressing hard on the drive of the kick, rides and filtered claps squeeze their way out of the low end to create an infectious groove. Stabs of ethereal pads envelope the rest of the EP, leaving space for the rest to breathe. Bumping along the way, Cirkle lands the EP with class, cementing himself further as an artist whose knowledge of the dancefloor creates a singular experience.

Heartbreak Station, released in 1990, is the third studio album by American rock band Cinderella. The record climbed to No. 19 on the Billboard 200 and earned platinum certification the following year. VH1 described the album’s shift in direction as “bluesy and brawny,” a fitting summary for a project that produced three Billboard Hot 100 singles; “Shelter Me,” “Heartbreak Station,” and “The More Things Change.”

The album marked a deliberate move away from the glam‑metal sound that defined Night Songs and Long Cold Winter. Instead, Cinderella embraced a rawer, more stripped‑down blues approach. Speaking to the Los Angeles Daily News shortly before release, frontman Tom Keifer explained the evolution: the band aimed for a “rawer, simpler approach,” reducing reverb and overdubs to let the songs breathe. Keifer also noted that blues played a major role in shaping his songwriting during this period.

Adding to the album’s depth, former Led Zeppelin bassist John Paul Jones arranged the string sections for two tracks. The band sought him out after being impressed by his orchestral work for artists like The Rolling Stones and Donovan.

Heartbreak Station includes an insert with lyrics and is available on black vinyl.

• The new single from the J. Sands
• Featuring Grand Puba from the legendary group Brand Nubian
• The 5th 7inch in the 9 part 7 inch collection from B.U.K.A.
• ALSO COLLECT, LONE CATALYSTS – DUE PROCESS/J. SANDS 50 YEARS OF HIP HOP/ LONE CATALYSTS RENAISSANCE/MANCHESTER DECENDANTS SAME DAMN LO SWEATER

2026 repress of classic fifth album by U.K. Psychobilly legends DEMENTED ARE GO! Originally released in 1993 on FURY RECORDS / U.K.! Spark "Douche" Retard - Screaming and Ranting * Antenormous "The Horse" - Death Beat and Keyboards * Lightning Lex Luther - "Geetar" And Distortions * Gray Boy "Get Off My Land" Grant - Big Bass Fiddle More classick (sic) DEMENTED ARE GO! This time around "Tangenital Madness On A Pleasant Side Of Hell", the Demon Ted's rumbling full-length from 1993 on Fury Records UK! Filled with thrill killers, "Tangenital Madness On A Pleasant Side Of Hell" is definitely one of the best 90's DEMENTED ARE GO records that was recorded, with hits such as "Brand New Corpse", "Mongoloid", "Zombie Stalk" and "Queen Of Disease". Sick! Sick! Sick! Black vinyl LP w/ printed inlay.

Bassmæssage is the oldest and most consistent bass night in Leipzig Germoany, pushing local soundsystem culture and grass roots artivism. We are about to welcome a fresh release "for all who like it low and want it vibrant"!

After two installments of bass-heavy multi-genre various-BPM grooves on Volume One in 2015 and on Second Drop in 2023 here comes the full triplet in this line of bass music vinyl compilations featuring acts who have been mÊssaging our nights. This time on Threenity, one side side is running garagewise 130, flipped by a more dubsteppish 140 area, all drowning in dark sinister midranges, mindful drum programmings and heavy-weight lows for huge speakers, to be released around 9th May 2026 on a 2 floor DIY soundsystem night in Connewitz!

Opening with genre wizzard LUI from Leipzig, showing how dirty and fonkey a garage bit can actually go. Bricks of beats on a fundament of nasty bass concrete, roofed by a vast selection of uplifting samples are vibing for sure.
Trainsient is the deep bass moniker of Leipzig's Plastiks running DDNBC, delivering a heavy tribal statement of a lost place of a deep grime, overgrown with flutey leaves and dreamy synth lianes hiding da moddership.
Psionide from Dresden with estonian roots is celebrating a vinyl debut with a slow-jungle dream-breaks bit between retro and future, braindance and dance, listening and bassline coaster.
Son du Maquis outa Toulouse sneaks in low in a classic dubstep manner, only to drop the lowest wobble possible right throughout the ride.
Miles Won transmitting from Plugwhiz, nails headnodding with his beat writing skills. Where bass meets hip hop, the grass has never been greener.
Finally, veteran like Dub Across Borders cabling from Copenhagen is delivering the contemplating outro: a melancholic 140 halftime not only to send you home but right into the night sky.

These six peaces are found on a heavy cut vinyl, ready to shake your system. As bonus there is another papercraft Basstelbogen cover, which lets you build your own BM logo and a 1:3 ratio record player on top. Mach's mit, mach's nach, mach's b‰sser!

2026 repress of classic fifth album by U.K. Psychobilly legends DEMENTED ARE GO! Originally released in 1993 on FURY RECORDS / U.K.! Spark "Douche" Retard - Screaming and Ranting * Antenormous "The Horse" - Death Beat and Keyboards * Lightning Lex Luther - "Geetar" And Distortions * Gray Boy "Get Off My Land" Grant - Big Bass Fiddle More classick (sic) DEMENTED ARE GO! This time around "Tangenital Madness On A Pleasant Side Of Hell", the Demon Ted's rumbling full-length from 1993 on Fury Records UK! Filled with thrill killers, "Tangenital Madness On A Pleasant Side Of Hell" is definitely one of the best 90's DEMENTED ARE GO records that was recorded, with hits such as "Brand New Corpse", "Mongoloid", "Zombie Stalk" and "Queen Of Disease". Sick! Sick! Sick! Black vinyl LP w/ printed inlay.

BEAR's sound is a calculated collision of technical precision and unfiltered aggression _ a modern strain of European metal that balances math-inflected complexity with visceral, live-wire intensity. At the core of their identity a combination of brains and brute force. With Anhedonia, Belgian heavyweights BEAR deliver five songs of pure adrenaline and unfiltered heaviness that capture a band confronting the strange emotional vacuum that can follow trauma. Anhedonia is both a battle cry and a confession; a visceral document of resilience carved from years marked by illness, loss, uncertainty, and hard-won perseverance. Musically, Anhedonia represents a sharpened evolution of BEAR's already formidable sound. Known for their intricate rhythms, punishing riffs, and explosive intensity, the band made a conscious decision this time to strip away excess and focus on the core of each song. There is no wasted movement on this EP. Every riff lands with purpose. Every rhythmic shift feels earned. The band trimmed the fat without sacrificing identity, creating space for dynamics and melody to cut deeper than ever before. "The songs are somewhat stripped back, allowing more space for Maarten's vocals to really shine this time around. I feel like we really hit a great balance of maintaining our signature complex sound while also allowing for more experimentation and melody." (James Falck) Anhedonia acknowledges numbness without glorifying it. It confronts pain without being consumed by it. And in doing so, it transforms heaviness into something connective. BEAR have always been a band driven by conviction, and here they stand at their most authentic, vulnerable and ferocious. Together, BEAR create music that feels alive _ tense, volatile, and emotionally charged _ where technicality enhances impact, and heaviness carries genuine vulnerability beneath its surface. FOR FANS OF The Dillinger Escape Plan * Every Time I Die * Botch * Converge * Norma Jean * Coalesce * Herod

BEAR's sound is a calculated collision of technical precision and unfiltered aggression _ a modern strain of European metal that balances math-inflected complexity with visceral, live-wire intensity. At the core of their identity a combination of brains and brute force. With Anhedonia, Belgian heavyweights BEAR deliver five songs of pure adrenaline and unfiltered heaviness that capture a band confronting the strange emotional vacuum that can follow trauma. Anhedonia is both a battle cry and a confession; a visceral document of resilience carved from years marked by illness, loss, uncertainty, and hard-won perseverance. Musically, Anhedonia represents a sharpened evolution of BEAR's already formidable sound. Known for their intricate rhythms, punishing riffs, and explosive intensity, the band made a conscious decision this time to strip away excess and focus on the core of each song. There is no wasted movement on this EP. Every riff lands with purpose. Every rhythmic shift feels earned. The band trimmed the fat without sacrificing identity, creating space for dynamics and melody to cut deeper than ever before. "The songs are somewhat stripped back, allowing more space for Maarten's vocals to really shine this time around. I feel like we really hit a great balance of maintaining our signature complex sound while also allowing for more experimentation and melody." (James Falck) Anhedonia acknowledges numbness without glorifying it. It confronts pain without being consumed by it. And in doing so, it transforms heaviness into something connective. BEAR have always been a band driven by conviction, and here they stand at their most authentic, vulnerable and ferocious. Together, BEAR create music that feels alive _ tense, volatile, and emotionally charged _ where technicality enhances impact, and heaviness carries genuine vulnerability beneath its surface. FOR FANS OF The Dillinger Escape Plan * Every Time I Die * Botch * Converge * Norma Jean * Coalesce * Herod

Shooting Daggers are a band that never seems to stop. Sal, Bea and Raquel are one of the hardest working outfits out there, constantly playing shows and lending their support to myriad causes all around the U.K. and Europe. So, it’s always an exciting prospect when the band takes some time out from the maelstrom to write and record new material. And 2 years on from the release of their acclaimed debut album ‘Love & Rage’ the band have been in Bear Bites Horse Studio with Wayne Adams (Big Lad, Green Lung) at the controls to come up with the goods once again. ‘The Real Life Thing’ is the latest hardcore sonic missive from one of London’s must-see bands, and it absolutely does not disappoint. Shooting Daggers are the real deal; the best, and most exciting and adventurous hardcore-inspired band in the country. A ‘mini album‘. 7 songs and 20 minutes of driving rocket fuelled punk meets melody picking up from their debut to go further into their own space. A selection of songs that are marked by a fierce energy, variety and cool musical nous, but always with a message firmly at its core. The band says … ‘It's a crucial time to focus on what really matters. Be present, be aware of real things happening in the world, with integrity and love we can make a difference as a community. There is hope out there, and if we all start treating nature, people and animals with respect and empathy we will be able to become better humans and coexist. In this mini album, we express the full range of our emotions through various sounds and genres. From cheerfulness to anger and hopefulness.

From hardcore punk, to shoegaze, to post hardcore and riot grrrl. We embrace our authentic self, with sensitivity in response to injustice, we act out, and all the while savouring every moment, being unapologetically yourself, empowering ourselves and each other’. With the help of some very special guests in the form of ‘The Menstrual Cramps' and Dennis Lyxzén from Refused, that message is driven home ‘big time’. ‘Adrenaline’ is as full on and heavy as Daggers have ever been, all buzzsaw riffs and rousing vocals, it’s a smart and catchy punch in the face to kick off proceedings. ‘My Oh My’ sweetens the vibe if only a bit with its layered post shoegaze guitars and anthemic vocals, exquisitely arranged we may add. It really shows how Daggers have taken the 90’s elements from Love & Rage and expanded it into something all their own. ‘T.R.L.T.’ back to ‘in yer face’ Daggers trademark off kilter punk, chants, fast bit, slow bits all straight into your head. ‘We just Wanna Play’ is, as Daggers put it ... ‘Empowering playground song for girls and queers to sing and play’. The perfect intro to … ‘Loud Mouths’ the first track to feature bestie guesties ‘The Menstrual Cramps’. A riotous call to arms. We are united with our sisters and queer folks in punk and hardcore, queercore is strong and more alive than ever. Together we will denounce problematic behaviours unapologetically, we won't shut up. Things must change and it’s happening when problems are pointed out and sorted. The scene is for everybody, and we are making it happen’. ‘Le Soleil’ is another step forward … a left field, almost dubby vibe with a dreamy melodic swirling vocal performance from Sal.

When Daggers decide to step outside the box, they do it seductively in style. ‘Glow’ is the second collaboration; this one featuring Dennis Lyxzén from Refused on dual vocal duties. A no brainer it seems … ‘Refused has been a band that never wanted to fit in with a specific sound, they are pioneers of experimental punk while still being rooted in hardcore. They believe in what we believe in, antifascism, veganism, social justice and Dennis on stage is anything but a generic hardcore singer’. It’s a celebration. It’s fuzzy, it's hooky and it’s heavy with, dare we say it, a bit of My Bloody Valentine in there too, generic hardcore it is not. And that pretty much sums up ‘The Real Life Thing’. This album and this band are anything but ‘generic’. They never stand still and continue to push the boundaries of what is ‘hardcore’ or ‘punk’ or whatever people think they are. T.R.L.T. is a delight and a surprise from start to finish, refreshing, abrasive, melodic and with a true beating heart. Embrace it.

For this new 45, "Matasuna Records" returns to the "ATCO" and "Atlantic" vaults, pairing two distinct cuts from the 1960s New York Latin music landscape.

On the A-side, "The Harvey Averne Dozen's" "You’re No Good" blends warm "Latin Soul crossover" with a steady mid-tempo groove and vibraphone-led arrangement. The flip side features "Louie Ramirez & His Orchestra's" "Mueve la Cadera" – a percussion and brass-driven "Boogaloo" recording full of movement, tension and energy.

Two contrasting yet complementary sides, now officially back on 45.

Craig Bratley’s sophomore album, Return To Bass, has been a long-time gestating, with a whisky-like distill time in the musical barrels from whence this came. His debut was in 2014 and 12 years later here he is again, in the blink of a, er, Jurassic age. In that time, he’s gathered a good deal of experience, released several musically varied 12-inches, as well as having Andrew Weatherall remix a few of his efforts (not completely surprising, since The Guv’nor also played Craig’s music).

Bratley has spent the last few years honing his musical and technical skills which are evident on this album, as are his influences, which can be heard on his impressively consistent back catalogue, include Italo-disco, British electropop, acid house and a slowed down version of Chicago house that lends it a heroin crawl. Added to that, though, is the dub reggae sound championed by King Tubby, Lee ‘Scratch’ Perry and our own Dennis Bovell, which is much in evidence on this set.

It seems apposite, in the wake of the death of Sly Dunbar (and, less recently, his partner, Robbie Shakespeare) that Craig’s album is now appearing, since Bratley’s sound is imbued with a dub sensibility and the engine of the whole set is built around the thud that Sly & Robbie brought to their greatest productions; the song titles are clues: ‘Plasticine Dub’, ‘Return To Bass’ and ‘No In Between Dub’.

The LP Features standout vocals from Amy Douglas, Thomas Gandey, and Ola, plus funeral-march trumpet work by Tim Hutton.

We are pleased to announce the first FEX live album, Don't Look Back. The release features selected recordings from two concerts in Paderborn and Uelzen, both captured in 1985. All tracks on the album are previously unissued, including entirely unheard songs such as It's a Hard Life, Just Get Back, Legend, and Waiting Song, alongside a previously unreleased version of Subways of Your Mind, widely known as "The Most Mysterious Song on the Internet."
One of the most striking aspects of the album is the remarkable sound quality of the live recordings, as well as the strength of the performances themselves - particularly given that FEX were still considered a newcomer band at the time. The four-piece lineup consisted of singer, guitarist, and primary songwriter Ture Rückwardt, Michael Hädrich on keyboards and occasional second guitar, Norbert Ziermann on bass, and Hans-Reimer Sievers on drums. In 1985, the band was preparing for broader exposure through a nationwide tour organized by the small promotion company HBM-Musikbüro.
The album opens with the psychedelic Skyscraper, a track Rückwardt reportedly regarded as a personal favorite to perform. Hädrich contributes dynamic synthesizer layers, while Ziermann underpins the track with a distinctive slap bass groove. This is followed by the energetic rock number It's a Hard Life, which once again demonstrates that the band possessed multiple songs capable of matching the impact of their best known track Subways of Your Mind.
After this energetic opening, the album shifts into a more restrained mood with the synth-pop ballad I Got My Eyes On You. It is followed by Strange Feeling, presented here in a particularly compelling live version that arguably surpasses the previously released studio demo featured on the Skyscraper LP, with Rückwardt delivering one of his most expressive vocal performances. On Goldrush, another fan favorite, it is Hädrich's DX7 synthesizer work that stands out.
Don't Look Back continues to flow seamlessly, moving between styles such as new wave, synth pop, and a blues-influenced form of classic rock. On It's Good To Know, a song addressing the theme of stardom, the band returns to a heavier rock sound. In contrast, the synth-driven Just Get Back reflects on the conflict in Northern Ireland, then ongoing at the time. Lines such as "It's the money, it's the money why they come along" are directed at mercenary soldiers, while "even Sunday's a killing time" directly references Sunday Bloody Sunday by U2.
Previously known songs such as Dirty Slapstick and Heart in Danger lead into We Don't Want It No More, perhaps the band's most striking pop ballad. It is easy to imagine that the track had the potential to achieve radio success in the 1980s. The following piece, the epic Legend, explores themes of loneliness and love simultaneously. With poetic and abstract lines such as "some isolate in the falling rain" and "that's why I count all the reasons they call out for living, sadness is falling inside," it builds an almost eerie atmosphere.
One of the final highlights of the album is Subways of Your Mind, recorded in Uelzen. In this version, Rückwardt's vocal performance is even more on point than on the previously issued recording from Paderborn. Another notable moment is the driving, 1970s-inspired rock 'n' roll track Waiting Song. Both the composition and its live performance carry an energy that could easily stand alongside the repertoire of bands such as AC/DC. It was usually the track that FEX ended their concerts with, calling out each band member at the end of the song.
This leads to a broader reflection: it is striking that FEX did not achieve a wider breakthrough at the time. The performances captured here suggest a band capable of delivering consistently, song by song, note by note. It is not difficult to imagine FEX performing in large venues and engaging sizeable audiences. In reality, however, most performances in 1985 took place in front of relatively small crowds. The recordings featured on this album originate from the Roxy club in Paderborn and a small, unknown venue in Uelzen, likely in front of fewer than fifty attendees.
An essential figure behind these recordings is the engineer known only under his nickname Hase (German for "rabbit"), who was responsible for capturing not only these concerts but many other surviving FEX recordings. Bringing his own mixing desk to performances, he developed a deep familiarity with the band's material and was able to shape the live sound with precision, including the timely use of vocal effects. The original recordings existed only on cassette and required careful and extensive restoration work. Zoey Cairs was finally responsible for bringing them to their present quality.
This album marks the beginning of the Live Waves series, following the rediscovery of additional recordings that have gained international attention since November 2024, when they surfaced through what has been described as the largest "lost wave" music search to date. The title of this first live LP Don't Look Back carries a certain paradox. While the album invites listeners to revisit recordings from forty years ago, FEX themselves were always oriented toward the future. In that spirit, further releases of brand new material are already planned.
The cover artwork is once again based on an image by Magnussen from the Kiel archive, depicting the Prinz-Heinrich-Brücke. The bridge, once located in the northern part of the city, no longer exists. As a symbol, however, it remains fitting: a bridge stands for movement and connection - qualities that FEX sought to embody on tour, bringing their music to different places and audiences.

Jorge Ben is someone who needs no introduction. Since his first hits in the early 60s, this the greatest icons of the greatest icons of Brazilian pop music. His anthems 'Mais Que Nada' or 'Pais Tropical' are among two of the most ever listened Brazilian songs of all time. Ben's self-titled 1969 album is a true samba-soul masterpiece from one of Brazil's most creative voices. This isn't your typical late-'60s LP: Jorge Ben blends the hypnotic swing of samba with funk, psychedelia, and sun-soaked soul in a way that feels both classic and ahead of its time. Released in November 1969, this was Jorge Ben's sixth studio record, and his first back with the Philips label after a creative hiatus. He recorded it with the tight-knit, percussive groove of Trio Mocoto -- whose rhythms lock in beautifully with Ben's laid-back guitar and vocals. On top of that, the album features lush orchestral arrangements from Jose Briamonte and Rogerio Duprat, adding a soaring, psychedelic dimension to Ben's sound. Standout tracks? You've got the joyous anthem 'Pais Tropical', a perfect celebration of Brazilian life.



Then there's 'Take It Easy My Brother Charles', a socially conscious number that tells the story of a rebellious sailor -- Ben weaves in themes of race, identity, and resilience. And songs like 'Que Pena' bring in that sweet, soulful melancholy, while breezy cuts like 'Criola', 'Domingas', and 'Barbarella' highlight his playful, poetic side. This record is a rare blend of genres -- samba, soul, funk, psychedelia -- and it's got a timeless energy. Whether you're already into Brazilian music or just looking for something fresh and soulful, Jorge Ben's 1969 album is a joyous entry point. Reissue on 180g vinyl.