Cerca:ca

Fresh from annihilating EU/UK audiences with his steppas tropicalia on the Bokeh Dekalog tour, Felinto presents a crazed vision of Sao Paulo party punk - industrial scuzz, dub squelch, grinding guitars and riot-ready vocals.

Festa Punk is a call to rage, to ritual, to celebration — as forms of resistance against the grim, creeping global fascism. It’s a shout to bend time, to create moments that shake off erased identities and flip the script on a world that treats violence like gospel.

It's also a homage to Brazilian hxc heroes, Os Replicantes, whose classic 'Fest Punk' appeared on the '87 LP Histórias De Sexo E Violência.

Dimelow label boss Bony Fly steps forward with a seven-track cassette + digital release for Equiknoxx Music, marking a heavyweight link-up that’s been years in the making. No stranger to the Equiknoxx universe, Bony Fly has long been part of the extended family—hosting the crew in Geneva and premiering “Rivers Odyssey” on the collective’s NTS show back in April 2020. Since then, plans for a larger project have been quietly taking shape.

Now, in 2025, the vision arrives fully formed: seven Dancehall-meets-Reggaeton scorchers, built for sound systems, clubs, and global dance floors. Bony Fly’s long-time undisputed sparring partner Androo steps in on Dancehall Science to close off the project with style and elegance. A true cross-continental connection—Guatemala City meets Kingston City in fine style, delivered through Bony Fly’s unmistakable global-club energy.

Pat Orburn serves up a wicked nine-track offering for Cassette Blair — a project built from pure resourcefulness and raw imagination. His vocals glide over synth-driven textures crafted from all around, including a battered Yamaha psr 175 keyboard that his flatmate rescued off the street. Pat leans into the beauty of imperfection, shaping found sounds through analog tools, tape warmth, and gritty modulation.

“good” marks the second release on Cassette Blair — a label founded by Gavsborg, dedicated to uplifting his extended global family of artists. True to its mission, the record feels communal, handmade, and deeply personal: a celebration of creativity that thrives outside of traditional studios, born instead from curiosity, friendship, and the joy of sound exploration.

“Good news. Good it’s out, good of Gav to help, all round completely good!"

- Pat Orburn

Digi- Cover art & Design by Pat Orburn (London, UK)

Cassette- Cover art & Design by Gavsborg, Sherice Bromfield & Pat Orburn (Kingston Jamaica & London, UK).

Mixed by Pat Orburn (London, UK).

Mastered by Mario “Syantis” Lawerence (Kingston, Jamaica).

Colin Curtis is back! with another finely curated selection of the best Jazz Dance Fusion records he could find. Volume 4 reflects a combination of new music unreleased music and tracks that have never been on vinyl before or not attained the recognition they deserve. Packed with great Jazz Dance music from the UK and all around the world. The whole purpose of these compilations is to introduce you to fantastic talent and allow you to then go and explore all their works and keep this movement moving!

With brand new & exclusive releases, extremely rare tracks and many only available on Vinyl for the first time from Brazil, Cuba, Japan, Italy, USA, UK and beyond. Showcasing another insight into Colin Curtis's world of Jazz Dance Fusion and highlighting the sheer diversity & talent on offer from Vocal Jazz, Salsa, Latin Spoken Word to Sambas & Fusion, It’s all Here!

+4 x original 7” (see below for more details)

+ Special coloured disc CLEAR BLUE VINYL>
1, Nausicaa of the Valley of the Wind / Wind Fairy

Vocal: Narumi Yasuda (25.1.1984: ANS-2008)



2, If I can fly / I don’t need Virgin Road

Vocal: Yoko Obata (25.5.1986: 7AGS-7)



3, My Neighbor Totoro / Carrying You

Vocal: Azumi Inoue (25.10.1987: 7AGS-12)



4, My Neighbor Totoro /Hey Let’s go

Vocal: Azumi Inoue (25.3.1988: 7AGS-14)



5, Special Disc : Carrying you / My Neighbor Totoro

Crystal audio master *colored vinyl record



●Disc 1~4 ＝ Reissues of the original EP

●Special Disc 5 ＝Instrumental versions of crystal clear sound

●Adapter ＝Studio Ghibli Records Original Adapter



Theme songs from the movies “Nausicaa of the Valley of the Wind” which was released 35 years ago, “Castle in the Sky” and “My Neighbor Totoro”

have been loved by many people up until now and even appeared in music textbooks.

The original 7” singles will be reissued and included in the box set. Remastered for this time, you can enjoy the vinyl only sound. We hope you experience the greatness of vinyl record.

The highly popular Studio Ghibli vinyl series now includes 1993's "Ocean Waves," 2002's "The Cat Returns," and "Ghiblies Episode 2"! The albums feature new jacket designs and comprehensive liner notes, making them a luxurious addition.

Enjoy the beautiful jacket designs and the rich sound quality only possible with vinyl.

Total 10 Tracks Includes the music that enriched this coming-of-age story by Saeko Himuro and director Tomomitsu Mochizuki. Also included is the theme song "If I Could Become the Sea" sung by Yoko Sakamoto, the voice actress for Rikako.

The soundtrack to Studio Ghibli’s short film Ghiblies Episode 2 features nine tracks composed by Manto Watanobe. Lighthearted and eclectic, it includes nostalgic pieces such as ‘Mayim Mayim’ and ‘Humoresque’, alongside the insert song ‘No Woman, No Cry’ performed by Tina. The album captures the offbeat humour and charm of the film with a lively mix of classical motifs, folk influences, and pop culture references.

The highly popular Studio Ghibli vinyl series now includes 1993's "Ocean Waves" and 2002's "The Cat Returns" and "Ghiblies Episode 2"! The albums feature new jacket designs and comprehensive liner notes, making them a truly luxurious experience.

Enjoy the beautiful jacket design and the rich sound that only vinyl can offer.

*2-disc double jacket set (music tracks on Sides A, B, and C; the reverse of Side C features laser-etched character designs).



Yuji Nomi, the composer behind "Whisper of the Heart," has once again composed the music. Includes the theme song "Become the Wind" by Ayano Tsuji, as well as five bonus tracks.

Rich Brown bought his first six-string bass in 1999, "Everyone made fun of me" he recalls with a characteristically warm smile - since then he"s established a reputation as first-call player for the leaders of an impressive variety of adventurous projects, from Steve Coleman to Rudresh Mahanthappa to James "Blood" Ulmer. Over the past two years, whenever time allows, he"s been paying regular visits to the studio of his friend, the guitarist and producer Elmer Ferrer. Away from the pressures of the commercial industry, Rich seized the opportunity to explore and expand the vocabulary of his instrument. "NYAEBA" took shape: written and performed entirely on the bass guitar, it"s the story of an imagined griot who journeys around the world and returns to relate his tales in song.

With The Whole Story, their debut album released in 2024, Astral Bakers laid the foundations for a hushed soft-grunge, somewhere between misty folk and weightless rock. Vertical Life marks a turning point: a band that, after discovering itself, has now established itself as a tight-knit collective, with each member shaping its sonic identity with equal force. Recorded in the USA with Sam Evian (Big Thief, Blonde Redhead...), the album captures the freedom and raw energy of the quartet. There"s no over-recording or over-production here: the moment takes precedence, mistakes become texture, and slight imperfections a signature. Vertical Life is a choral album, a constant dialogue between the four musicians - Ambroise, Theodora, Nico and Zoé - where each now finds a more assertive place in this shifting puzzle, where voices cross and roles interchange. Textured guitars, sometimes silky, sometimes abrasive, criss- cross and overlap like wisps of delicate fuzz. Theodora"s bass anchors the tracks in a cinematic languor, while Zoé"s supple, restrained drumming builds a nocturnal, almost vaporous groove. The vocals, both fragile and assertive, are always balanced between whisper and soar, between indie introspection and grunge energy. A record where verticality is not just an upward movement, but a vertigo, a tension between rootedness and escape.

The Sha La Das sind Bill Schalda und seine talentierten Söhne Paul, Will und Carmine, die aus Staten Island, New York, stammen. "Your Picture", das zweite Album der Sha La Das und ihre erste Veröffentlichung auf dem Label Diamond West Records des Produzenten Tom Brenneck (Charles Bradley, Menahan Street Band, Lady Wray), ist ein weiteres einzigartiges Zeugnis der mitreißenden Kraft der Harmonie zwischen Blutsverwandten und eine Hommage an die dauerhafte Liebesgeschichte zwischen Bill und der Matriarchin der Familie, Linda. Spuren alter Erinnerungen flimmern durch "Your Picture". Bills klassisches Songwriting und üppige Gesangsarrangements werden in neues Territorium katapultiert und aktualisieren den Doo-Wop mit dem basslastigen Groove und dem wirbelnden Pop von Brennecks schlanker, räumlicher Produktion. "Wir haben einige psychedelische Klänge eingebracht und uns von Deep-Soul-Platten bis hin zu den Beatles und den Beach Boys inspirieren lassen", sagt Brenneck. Liebe strahlt aus "Your Picture" heraus und fließt aus den schimmernden Melodien, die Bill und seine Söhne produzieren, während sie ihren musikalischen Traum leben.

When Niko Moon broke out with his triple-platinum hit “GOOD TIME,” the Texas-born, Georgia-raised singer/songwriter lit up the country scene with his larger-than-life energy and message of radical positivity. Since then, he’s earned a passionate following, major TV performances, and praise from outlets like Holler and American Songwriter. With AMERICAN PALM Deluxe, arriving right before his headline AMERICAN PALM Tour, Niko expands his latest LP with
two new tracks, “BREATHE” and “BARE FEET IN THE SAND,” furthering his mission of creating music that feels like a“mental vacation” filled with sun-soaked serenity and coastal escape.

“Breathe is all about finding that place where you can take a deep breath and let your worries drift away,” says Niko. “I find peace by the water, and I wanted the song to be a mantra of positive self talk and a celebration of the coast.”

Niko partly grew up in Georgia, spending summers on Florida beaches, an influence that shapes the concept-driven AMERICAN PALM. Written during his THESE ARE THE NIGHTS tour with producer Danny Majic and songwriter David J, the record blends coastal sounds—ukuleles, nylon-string guitars, ocean waves—with organic beats and a touch of ‘90s hip-hop, nodding to his Atlanta roots. The result is a seaside getaway in album form, equal parts carefree, romantic,and life-affirming.

Tracks like “I LOVE THIS BEACH” and “YOU, ME & A BEACH” capture that spirit. The latter, a love song linking his wife and the beach as his grounding forces, helped cement the record as his first concept album. “SANDBAR” delivers a euphoric summer vibe, while “SANDCASTLES” reflects on life’s impermanence. “KING OF THE ISLAND” is a family
milestone—co-written and sung with his father, Cris Cowan.

Niko’s journey began early, inspired by his dad, a truck driver and drummer who introduced him to John Prine and Emmylou Harris. Niko picked up drums at eight, guitar at fifteen, and started playing in bars while working construction. A chance encounter with Zac Brown led to songwriting cuts like “Homegrown,” before Niko launched his solo career with “GOOD TIME,” a No. 1 hit on both Billboard Country Airplay and Hot Country Songs charts. From the start, he committed to making only positive music: “In a way a song is like a mantra, and I want mine to carry optimism and encouragement.”

Since his debut, Niko has sold out the Ryman, played major festivals like Stagecoach, and performed on The Tonight Show Starring Jimmy Fallon and Jimmy Kimmel Live!. Beyond music, he and his wife Anna founded the Happy Cowboy Foundation to support mental health and addiction recovery, and launched Happy Himalayan water and the American Palm clothing line, both of which benefit the foundation.

This summer's epic murder mystery will find its way to your record player! The new film by Chris Columbus
(Harry Potter and the Sorcerer's Stone, Home Alone) has once again been fully scored by composer Thomas Newman.

With titles such as American Beauty and Road to Perdition under his belt, Newman is renowned for his hauntly eerie,
but beautiful style. The beloved film composer matches perfectly with the cozy, yet intriguing
Netflix movie starring Pierce Brosnan (GoldenEye, Mamma Mia! The Movie) and Helen Mirren (The Queen, Excalibur).

The Thursday Murder Club is available as a limited edition on red vinyl.

Sie sagen langsam Tschüss! Mensch kann gar nicht genug betonen, wie wichtig NOFX für den Punkrock gewesen sind. Sie kombinierten catchy Songs mit intelligenten, witzigen und provokanten Texten, für die die Fans sie lieb(t)en. Sie prägten den Sound des kalifornischen Punk der 90er Jahre und ebneten den Weg für die nächste Welle von Bands wie Green Day und The Offspring, die später ganz groß herauskamen. Vor etwas mehr als einem Jahr spielten NOFX ihr (angeblich) letztes Konzert, und nun haben sie eine Dreiteilige-Album-Reihe mit Raritäten, Demos und unveröffentlichten Songs angekündigt: "Es gibt unveröffentlichte Songs, sehr seltene Songs, die noch nie digital erhältlich waren, und Demoversionen von Songs, die bei weitem nicht so gut sind wie die Albumversionen!", sagt Fat Mike selbst. Das Projekt heißt A to Z, ein Song für jeden Buchstaben des Alphabets, jede Ausgabe ist auf klassischem schwarzem sowie limitiertem farbigem Vinyl erhältlich. Die erste "A to H", erscheint num am 05.12.25 über Fat Wreck Chords. Darauf enthalten ist "Barcelona", das sie bereits im Juli digital veröffentlicht haben, aber ursprünglich vor 12 Jahren geschrieben hatten. Aufgenommen nach ihren letzten Konzerten, bezeichnen sie den Track als den "neuesten und letzten NOFX-Song". Klassisch schwarzes oder EU-exklusives Transparent Magenta Vinyl (letzteres limitiert auf 1200 Exemplare) wird's geben.

Sie sagen langsam Tschüss! Mensch kann gar nicht genug betonen, wie wichtig NOFX für den Punkrock gewesen sind. Sie kombinierten catchy Songs mit intelligenten, witzigen und provokanten Texten, für die die Fans sie lieb(t)en. Sie prägten den Sound des kalifornischen Punk der 90er Jahre und ebneten den Weg für die nächste Welle von Bands wie Green Day und The Offspring, die später ganz groß herauskamen. Vor etwas mehr als einem Jahr spielten NOFX ihr (angeblich) letztes Konzert, und nun haben sie eine Dreiteilige-Album-Reihe mit Raritäten, Demos und unveröffentlichten Songs angekündigt: "Es gibt unveröffentlichte Songs, sehr seltene Songs, die noch nie digital erhältlich waren, und Demoversionen von Songs, die bei weitem nicht so gut sind wie die Albumversionen!", sagt Fat Mike selbst. Das Projekt heißt A to Z, ein Song für jeden Buchstaben des Alphabets, jede Ausgabe ist auf klassischem schwarzem sowie limitiertem farbigem Vinyl erhältlich. Die erste "A to H", erscheint num am 05.12.25 über Fat Wreck Chords. Darauf enthalten ist "Barcelona", das sie bereits im Juli digital veröffentlicht haben, aber ursprünglich vor 12 Jahren geschrieben hatten. Aufgenommen nach ihren letzten Konzerten, bezeichnen sie den Track als den "neuesten und letzten NOFX-Song". Klassisch schwarzes oder EU-exklusives Transparent Magenta Vinyl (letzteres limitiert auf 1200 Exemplare) wird's geben.

Gong Gong Gong aus Peking und Mong Tong aus Taipeh sind gleichgesinnte Duos, die für ihre cineastischen und rohen Klänge bekannt sind und transglobale Melodien mit unwiderstehlichen Grooves verbinden. Auf Mongkok Duel haben sich die Bands zusammengetan, um einen imaginären Soundtrack für einen verlorenen Kung-Fu-Film zu kreieren. Es handelt sich zweifellos um die musikalische Untermalung einer übernatürlichen Geschichte über Ehre, Intrigen und (natürlich) Rache. ,Mongkok Duel" knüpft an die langjährige Rhythm 'n' Drone-Kollaborationsreihe von Gong Gong Gong an und präsentiert die unverwechselbare Ästhetik beider Gruppen, indem es eine gemeinsame Sprache aus zyklischen Motorik-Rhythmen, sich entwickelnden Drones, texturierten Soundeffekten, knurrenden Gitarren und growlenden Bass-Hooks aufbaut. Geschrieben und live aufgenommen in den legendären Proberäumen der President Piano Co. in Mongkok, Hongkong, spielten die Bands auf den Instrumenten und Verstärkern des Studios, die noch aus der Gründungszeit der President Piano Co. im Jahr 1978 stammen. Die Aufnahmetechnik des Studios ist ein einzigartiges System, das vom Eigentümer Lee King Yat entworfen und eingerichtet wurde und dem Album seinen unverwechselbaren Vintage-Sound verleiht, ohne dabei an beeindruckender Klarheit einzubüßen.

Wild by nature, the Does of the Florian Pellissier Quintet could never be contained in a creative pen that would have forced them never to cross potential geographical limits. Travelers, spending their energy without restraint to let the hard bop of their jazz wander and export itself wherever the groove guided them, they went as far as Africa or South America, from the Cape of Good Hope to Rio. Rio, precisely where, for their last appearance, exposure to a brief electric current had carried them into outer space. A revelation.


Furious strides, exhausting gambols, the Does had done so much that they could not escape the obvious call of calm and serenity. Freed from distances, and after a stop in Colombia to mingle with the crowd at the Barranquilla carnival, it was California and its Pacific coast they reached, to rest before the peaceful immensity of the ocean.


One hundred sixty-five million square kilometers, an infinite expanse to contemplate in order to fling wide open the gates to an even vaster space. A spiritual domain conducive to the search for new sounds. That of the open sea, where measuring miles is neither relevant nor meaningful, and where the only compass becomes the musical tracks the Does follow.


Beneath their coppery hooves, to the crystalline sound of the Fender Rhodes and the sweep of electric layers, the path to take revealed itself in this meditative and abstract realm they had never before explored. Invited to join the purely organic textures, the synthetic notes distilled a few aromas of sweetness into an album of ten tracks, where the FPQ abandoned written scores on some pieces in order to be guided only by the inspiration born of a newfound freedom.


Blue when they began their journey five albums ago, their coat has now taken on the colors that illuminate the Pacific coast. That moment when, as you gaze at the horizon swallowing the sun, only glowing shades filter through—reddish, orange, violet.


Departing without haste or frenzy from one of the shores bordering the ocean, the voices of Archie Shepp, Iggy Pop, and DjeuhDjoah still resonating in their antlers, the Does may now be on the opposite shore. Carried all the way to the Japanese coast by Hokusai’s wave…

Cintura Interna is João Hã’s new release for Sucata Tapes, a work shaped by accident, drift, and unlikely connections. Its guiding notion comes from “Música Careca” (Bald Music) — a strange term apparently used by Jean Dubuffet to describe his own sound experiments. Dubuffet wasn’t a musician, but he was bald; the phrase lingers as an apt description for music that is naïve without innocence: amateur bruitism, soft sound, raw and direct, where intention is left exposed to errancy.
The piece itself came together without project or plan, eventually forming what Hã calls an “accidental Frankenstein” — or perhaps Frankenoise. Built from recordings made more than 15 years ago on cassette and obsolete equipment, mixed with more recent material, Cintura Interna bridges time and decay, refusing diaristic or documentary framing.
As an unexpected detour, the release also includes a version of the garage classic Louie Louie.

Live at Smoke captures master drummer Al Foster in peak form during his final birthday celebration—a weekend of inspired performances at NYC’s Smoke Jazz Club in January 2025. Joined by an all-star quartet featuring Chris Potter, Brad Mehldau, and Joe Martin, Foster leads a group full of fire, grace, and deep swing. Drawn entirely from Saturday and Sunday night sets, this double LP-length live recording is both a celebration and a moving farewell from one of jazz’s great rhythmic voices.

When Leng Records founders Paul ‘Mudd’ Murphy and Simon Purnell marked the imprint’s 10th birthday, they did so via a celebratory compilation that mixed classic catalogue cuts, remixes and exclusives. Five years on, and with the label’s 15th birthday upon us, they’ve decided to look to the future via a compilation made up entirely of fresh productions from Leng’s roster of current and new artists. Presented on limited-edition gatefold double vinyl with a bonus 10” single, the collection offers an updated showcase of Leng’s much-loved trademark sound, a distinctive fusion of mid-tempo sleazy-disco, Balearica and chugging house interspersed with elements of electronic psychedelia and synth-powered space disco. Fittingly for a compilation that wholeheartedly looks to the future, you’ll find first contributions from a handful of label newcomers.

Fast-rising duo Flying Mojito Bros give their spin on ‘Smoke Signals’ by label debutants Joe HarveyWhyte and Bobby Lee, turning in a heady and inspired revision that sits somewhere between dusk-ready cosmic disco and flash-fried desert blues. There’s also an appearance from Swedish producer Bo Wosticz with the dreamy and ultra-deep nu-jazz of ‘Bs As’. Naturally, you’ll also find plenty of heat from those who have already proved their mettle through prior releases on Leng. Danish duo Liminal, who made their debut earlier this year with the much-played ‘Keep Coming Back To Me’, open proceedings with the tactile, slow-disco flex of ‘Tzatziki Bay’ where sweet synth melodies and a heady electric piano riff ride a warming groove.

Roberto Intrallazzi and Dario Piana from Italy’s original Afro-cosmic movement return with ‘Plutos’, a typically deep dubbed-out cosmic chugger. Then there’s Rose Robinson AKA Tigerbalm, whose ‘Mexicana’ featuring singer Joi N’Juno is presented across the package in two different forms. Pete Herbert, who contributed to some of the earliest Leng releases, drops a driving dub disco take on the main compilation, while Robinson’s original mix – a more organic, percussive and horn-heavy affair blessed with plenty of hallucinatory intent – opens the bonus 10”.

There’s a welcome return to Leng for the brilliant Payfone, whose ‘Dime Algo’ is a typically classy, analogue-rich affair in which attractive Rhodes riffs, atmospheric female vocals and pitched-down house pianos rise above shuffling drum machine beats and a slow-motion bassline. Long-serving label contributor Lex (Athens) delivers the loose-limbed nu-disco breeze of ‘Stolen Dance’, while the imprint’s San Francisco connection – the ever-brilliant 40 Thieves collective – drop the dubbed-out Bay Area brilliance of ‘Such A Great Trip’.

Then there are the contributions of the label’s most storied artist, Andrew Meecham AKA Emperor Machine with ‘Eumig’, a deliciously slow, synth-rich chugger full of colourful chords, bubbly electronic melodies and jaunty electronic bass. Then, to round off the bonus 10” single, Meecham joins forces with Paul Murphy (as Mudd) on ‘Road To Nikko’, an extended, Japanese musical culture-influenced slab of pitched-down alien-funk packed to the rafters with squelchy synth sounds, effects-laden percussion, chiming melodies and rubbery bass guitar.

Conic Rose's debut album has finally come to life on stage. After two years of playing it live, the music has grown, shifted, and deepened. This live album captures that process - recorded in one night at Kantine Berghain, Berlin.

Mit "So Far" setzte die Krautrock-Legende Faust 1972 ihre radikale Klangforschung fort. Nach dem experimentellen Debüt zeigt sich die Band hier strukturierter - aber nicht weniger subversiv. Die Songs wirken zugänglicher, doch unter der Oberfläche brodelt weiterhin Fausts anarchischer Geist.

Mit "So Far" setzte die Krautrock-Legende Faust 1972 ihre radikale Klangforschung fort. Nach dem experimentellen Debüt zeigt sich die Band hier strukturierter - aber nicht weniger subversiv. Die Songs wirken zugänglicher, doch unter der Oberfläche brodelt weiterhin Fausts anarchischer Geist.

After a long hiatus relatively speaking("8" and "9" came out in April 2022) Prins Thomas drops his 10th studio album.

Picking up where the last record ended, it's an introspective but celebratory and uplifting affair. One-man-band jams
turning into mini epics, like coming up for air or seeing the bright lights at the end of a long dark tunnel.

Die LP wird mit einem 48-seitigen Hochglanz- Booklet geliefert. Das Kunsthaus Bregenz freut sich, ,Wish You Were Gay" von Anne Imhof anzukündigen. ,Wish You Were Gay" ist eine sehr persönliche Ausstellung, die mehrere neue Werkgruppen präsentiert, die eine Reihe von Kernelementen reflektieren und weiterentwickeln, die seit Beginn an das Repertoire von Imhof geprägt haben. In der Ausstellung untersucht Imhof Vorstellungen von Endlichkeit, Realität und Künstlichkeit, Zufall und Schicksal, Abwesenheit und Anwesenheit vor dem Hintergrund einer postapokalyptischen Isolation. ,Wish You Were Gay" umfasst brandneue Skulpturen, Gemälde, Klangarbeiten und eine Serie von sechs bisher unveröffentlichten Videoarbeiten, in denen die Künstlerin auf frühes Material aus den Jahren 2001-03 zurückgreift, einer entscheidenden Übergangsphase im Leben und Werk der Künstlerin. Zu dieser Zeit waren Imhofs Leben und Werk eng miteinander verbunden und manchmal nicht zu unterscheiden, was der aktuellen Ausstellung einen deutlich biografischen Charakter verleiht und Themen wie die Wahlfamilie anspricht, eine Realität für viele queere Menschen. Mit dem Aufkommen von handlichen digitalen Camcordern, bei denen der Bildschirm zum ersten Mal gedreht werden konnte und die Vorläufer der heute allgegenwärtigen Frontkameras sind, nutzte Imhof diese neue Technologie als Spiegelaufnahmegerät, vor dem sie Bewegungen und Gesten ausführte, um die Szene zu beleben und zu gestalten. Mit ihrem Körper als Medium, zusammen mit anderen provisorischen Mitteln wie geliehenen Gitarren und Verstärkern, und der Aufnahme von Liedern und ihrer Stimme als Mittel, diese zu finden, schuf sie Kunst mit ihrer Gemeinschaft Freunden, Liebhabern, Mitarbeitern - und nutzte dabei die Rohstoffe des Lebens, wie es sich gerade entfaltete. Diese Videoarbeiten vermitteln ein unterschwelliges Gefühl der Dringlichkeit, verkörpern Kraft durch Beharrlichkeit und Präsenz, die sich in kontinuierlichen Proben und Improvisationen manifestiert. In den folgenden zwei Jahrzehnten verwebte Imhof diese Elemente - durch unzählige Spiegelungen, Verdopplungen und Variationen der Motive aus dieser prägenden Zeit - zu einer tiefgründigenPraxis der Bewegung, die den Körper in den Mittelpunkt stellt. Rohe Momente werden manchmal auf surreale Weise verlangsamt, in eine Stille versetzt, die voller Spannung und Potenzial für explosive Handlungen ist, etwas, das in ihren eigenwilligen Performance-Stücken, die von anderen aufgeführt werden, wiederkehrt und ihre skulpturale und malerische Praxis prägt.

DJ Support: Noizu, Seth Troxler, Marco Carola, MEDUZA, Dombresky, Carlita, Bob Sinclar, ALOK, Oliver Heldens, BLOND:ISH, Nicole Moudaber, D.O.D, Gorgon City, David Penn, Mousse T, Mau P, Nic Fanciulli, Barry Can’t Swim, ACRAZE, Groove Armada & more.

Toolroom’s next Sampler showcases 4 big releases from Mark Knight, James Hurr, Roland Clark, Wh0, David Penn, CHANEY and Crusy.

2025-2026 marks the 40th anniversary of the Happy Mondays, a milestone celebration of one of Britain's most iconic and era-defining bands.

To celebrate, London Records will launch a series of special anniversary releases, beginning with a fully remastered brand-new compilation: The Factory Singles. This definitive collection captures the band's ground-breaking output from 1985-1992, celebrating their pivotal role in shaping UK music culture. Classic remixes from Paul Oakenfold, Andrew Weatherall, Terry Farley and Jon Carter make up bonus tracks on the 2CD and 2LP.

The release will be available across multiple formats, appealing to collectors and fans alike.

Complementing the physical editions, a series of brand-new digital remixes will be unveiled from world-renowned artists Daniel Avery, Paul Oakenfold, Mella Dee, and Shadow Child and more, bridging the Mondays' legacy with today's electronic innovators, and a revisit from Paul Oakenfold.

This campaign marks the beginning of an extensive celebration of the Happy Mondays' 40-year legacy, bringing their iconic sound to both devoted fans and new generations

" Originally released in 1995, Jimmy Somerville's Dare To Love stands as a powerful statement of pride, passion, and pop brilliance, carried by one of the most unmistakable voices in modern music.

" Dare To Love embodies Somerville's gift for marrying political conviction with irresistible melodies. Produced by Stephen Hague and other longtime collaborators, the album traverses bass-laden house grooves, slower, dubby reggae numbers and classic pop ballads.

" Featuring the UK Top 30 hits 'Heartbeat' and 'Hurt So Good', along with the poignant 'Safe in These Arms', Dare To Love explores love, loss, and identity, both on and off the dancefloor.

" London Records celebrate 30 years of Dare To Love with a full remaster and expended editions :
1. putting the album on double vinyl for the first time 21 tracks. Features previously unreleased b-sides & rarities. Collector Double LP Crystal Clear Curaçao

Like a head resting on a train window, gazing at the horizon without anxiety, Jesper Ryom's debut album breathes a wind of freedom and propels us toward the unknown, to no destination in particular.
Beyond the sensations of movement it evokes, this work is a marvel of unexpected mixtures. Seamlessly transitioning from progressive sounds to genuine French touch inspirations, it sails through the ages while maintaining a dreamlike homogeneity. This long-awaited offering from one of Copenhagen best-kept mysteries invites listeners on a captivating journey

Pierce the Veil is an American rock band from San Diego, California. Formed in 2006, the band was founded by brothers Vic and Mike Fuentes after the disbandment of the group Before Today. Other members of the band include Jaime Preciado (bass) and Tony Perry (lead guitar). To celebrate the 10-years anniversary from ‘A Flair For The Dramatic’ original release Rude Records is delighted to present the album in a new and refreshed format with remixed and remastered audio. The band extensive touring action saw them perform multiple times on Vans Warped Tour stage from 2008 on. Being one of the most influential names in the alternative scene, expect continuously touring to support their eagerly anticipated fourth studio album ‘Misadventures’ which was released on May 13, 2016.

At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler.



In 1968, the saxophonist and flutist recorded his first album under his own name: It’s Not Up To Us. The following year he came to Paris in the wake of… Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again.

On Palm Records (Gilson’s label), he would release four albums: Us, Mother Africa, Exactement and Funny Funky Rib Crib.



A few months after recording “Us”, Lancaster recorded “Mother Africa” along with Clint Jackson III, a trumpeter, partner of Khan Jamal or Noah Howard on other recordings.

On march 8th, 1974, Lancaster and Jackson headed up a group composed of Jean-François Catoire (electric and double bass), Keno Speller (percussion) and Jonathan Dickinson (drums).


Together, they create an immediate impression. From the first seconds of “We The Blessed”, they develop a free jazz which rapidly abandons any virulence under the effect of blues and soul based interventions.

When Gilson’s composition “Mother Africa” begins, listeners are transported into the studio, listening to the musicians setting up: chatting and joking… Then comes the melody: a dozen or so notes of a repeated theme which is accelerated and deformed according to their whims… The jazz played by the association Byard Lancaster / Clint Jackson III is rare: creative AND recreational. “We the blessed”, is apt listening to this again today!

This CD edition contains a bonus track, the magnificent “Love Always” that was originally released on the fourth (and last) volume of the Jef Gilson Anthology series released in 1975.


Recorded on 8th March 1974, it is a beautiful 15-minute-long modal jazz piece. Four notes from the bass (the relentless Jean-François Catoire, who makes up the rhythm section alongside drummer Jonathan Dickinson and percussionist Keno Speller), and the group is up and running!

On piano, Gilson shows the subtle tact of a sideman, leaving the lions’ share of the place to the horns. This allows us to hear the trumpet of Clint Jackson III and the alto (which sometimes sounds almost flute-like) of Byard Lancaster each staking their claim in a long hallucinatory march which moves from moments of direct exaltation to profoundly sensitive collective playing.

Bassist, composer and producer Shay Hazan returns with his third solo album, "When It Rains It Pours", on Batov Records. Following the critical success of "Reclusive Ritual" and "Wusul" Hazan takes a bold step forward, shifting from the guimbri-led sound that established his reputation to a broader palette of bass, guitar, and synth-driven compositions.