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SPACE ECHO RETURNS WITH A DOUBLE FUNK-FUELED MESSAGE: ‘WHAT’S WRONG WITH YOUR MIND’ & AGOSTA’S REMIX OF ‘ECHOES OF AFRICA’

While awaiting the production of their new album The Invisible Session, Space Echo makes a bold return with the release of their new single ‘What’s Wrong With Your Mind’—a supercharged funk statement aimed at the war-driven forces that destabilize lives and communities.

Blending irresistible funk rhythms with downtempo grooves, ‘What’s Wrong with Your Mind’ is an invitation to reflect and introspect. The track’s infectious groove is elevated by the masterful trombone work of Gianluca Petrella, channeling a pure Fred Wesley-esque funk energy. Meanwhile, commanding choral arrangements in the spirit of 1970s funk bands drive the song’s message home, creating an immersive experience that stimulates both mind and body. This is more than just a song—it’s a call to shift perspectives and challenge the forces that divide us.

Alongside the single, Agosta presents a powerful remix of 'Mother Forgive Us' from The Invisible Session's previous album 'Echoes Of Africa', transforming the track into a futuristic electronic afro-funk odyssey. Infused with tribal percussion, pulsating electronic textures, and deep-rooted African musical influences, the remix is a high-energy fusion of past and future. Its hypnotic rhythm captivates the body and soul, while soaring synths and driving basslines create a dynamic interplay of tradition and innovation.

Lyrically, the remix carries a poignant message: ‘Mother Earth, forgive us for what we have not done and are not doing’. This plea underscores the urgency of climate action and the disconnection from nature that defines modern life. It’s both a lament and a rallying cry—an appeal for awareness and transformation.

Introducing the ultimate Rock and Power Ballads collection - NOW That’s What I Call Rock Anthems – Out 31st May! Get ready to crank up the volume and let the music take you on a journey through 79 epic hits, spread across 4 CDs.and with 45 epic hits on 3-LP’s pressed in stunning Neon Violet Vinyl

Released in 1997, this Stunning EP from Kerri Chandler is considered by many to be the best of his Raw Grooves series and maybe even his best work of the late 1990's. Ladbroke Grove and What About Us are the classics here while Dub Music and Can't You See tread into darker minimal Chandler territory. Out of print since 2001, this is another slab of Large Music essential wax for every serious collector.

This re-issue of the Cocteau Twins' 1993 album has been remastered by Robin Guthrie and is pressed onto high quality 140g vinyl . Cocteau Twins vocalist Elizabeth Fraser, guitarist Robin Guthrie, and bassist Simon Raymonde formed in Grangemouth, Scotland in the late 70s. The brainchild of Guthrie and original bassist Will Heggie, by 1981 they had added Fraser and the following year signed to 4AD, one of the most illustrious of the indie labels. With Raymonde replacing Heggie in 1983, the trio went on to create some of the most unique and otherworldly music of the 80s, built around Guthrie's chiming guitar and Fraser's unmistakable soprano. By the early 90s, the group had just released their most successful album, the commercial Heaven or Las Vegas, but the relationship with 4AD was coming to an end. Mercury imprint Fontana was going through something of a purple patch, signing former underground bands, and by 1992, Cocteau Twins had joined The Fall and the House Of Love. The group's debut album for Fontana, Four-Calendar Cafe, was released in October 1993. Its gossamer melodies and largely upbeat pop bely the turmoil the group were going through. Barney Hoskyns, writing in Mojo, said that Four-Calendar Caf was "the most poignant, heartrending Cocteaus record of all, an album of naked confession and raw beauty . . . Sadness never sounded so luscious." Simon Raymonde agreed: "I think in time people will realise what a great album Four-Calendar Caf is. Because I think it's beautiful." Led by the single Evangeline, the reached No 13 in the UK album chart and is much-loved by fans.

I wrote The Shit Punx Hate for Realicide in 2005. This version was made for Decide Today around a decade later, maybe 2015? It was about the pathetic narrow-minded dogmas that were common in Cincinnati punk, being discriminated against when our approach defied dominant aesthetic criteria, chronically misunderstood and rejected without consideration.

This experience in my formative years led to a long path of thought as I entered adulthood. Those feelings of being "other"ed, treated poorly based on who I was, started to seem less significant compared to the prejudices I saw friends faced with. Targets of bigotry due not to a subcultural choice, but aspects of themselves they were born into. Of course I mean things like race, gender, class, abilities. If being dissed by punk rockers sucked for me, imagine what it must feel like being the only black kid in a social circle that can't even recognize its own racism, the only woman in places misogyny is the celebrated standard, having a non-white family at risk of deportation, growing up "male" or "female" when you've always known they are wrong about you, etc. This was my mental gateway into prioritizing these struggles, wanting to become an ally, then even more so an accomplice.

Revolutionary Reason was written in 2018 during my time working with Mass Action for Black Liberation, and revised abruptly this year while recording for this record, as it was inconceivable not to address the epitome of merciless colonial atrocity orchestrated by the state of Israel. While I write this, the IOF is massacring families in the West Bank. The death toll in Palestine is currently estimated at around 41,000 and it hasn't even been a year since this modern Nakba began. I hope these songs help make apparent that whatever you said you "would do" during Jim Crow America, Nazi Germany, Apartheid South Africa, any archetypal history now synonymous with wrongness, yes I can confirm NOW IS THAT TIME to do it ...if you were for real about it that is.

Big respect to my Arab friends who are so patient while I learn the stuff my school conveniently omitted, to my Jewish friends tirelessly combating the violence of their ethnicity being shackled to a cult of Zionism, to native resistance across Turtle Island that articulates so well that this fight is also still/always very domestic, to contemporary hiphop telling today's stories while rock music often merely offers retro fashion, and of course to Kieren and Borg my homies in OZ.

All my love to intifada direct action everywhere dismantling the imposed global suicide pact that is white supremacist capitalism.

~ Robert Inhuman 28 August 2024

With his debut singles championed by global tastemakers such as Gilles Peterson, Mr Scruff and Jazzanova, Quantic was quick to follow on the initial success of ‘The 5th Exotic’ Like Tru Thoughts label-mates Bonobo and Jon Kennedy, who went on to record with Ninja Tune and Grand Central respectively, Quantic took his inspiration from sleepy 1990s chill and his enviable collection of funk 45s. Apricot Morning, Quantic's ambitious sophomore full length, is built upon the achievements of its esteemed predecessor. Plentiful strings find themselves in friction against the hoots & parps of afrobeat brass, the loping percussion is tasked with drawing these elements together into a cohesive whole. Some inspired instrumentals were further fleshed out by the wonderful vocal contributions of EQ, Bristolian hip-hoppers Aspects and the majestic Alice Russell.

Iconic Swedish duo Sally Shapiro’s 4th studio album is finally here. Sad Cities enters our atmosphere & we couldn’t be more excited to share it tonight.



15 years ago, their breakout debut 12” “Disco Romance” was released on Diskokaine by our dear friend Wolfram. No one was even close to doing what they were doing back then & the world quickly took notice. Two years later, Johan reached out to Johnny to remix Glass Candy’s After Dark classic “The Chameleon” & the two stayed in touch.



Emerging like a phoenix from a 5 year hiatus, the duo worked in deep seclusion & recorded a gorgeous bouquet of pure electronic bliss. Mixed by Johan Agebjörn & Johnny Jewel, the album includes features from Highway Superstar, Electric Youth, Tommy ’86 & our very own Jorja Chalmers.

She’s out of this world…

Maltese musician & producer Joon’s galactic debut arrives on our shores fully formed a decade after she first set sail. 12 cuts of uniquely addictive Synthesized Pop twist & turn on the rocky waters of life.

Her story begins after a life-changing car crash on the streets of Malta many moons ago. She was lucky to walk away in one piece. “That car crash was a wake-up call,” she says. “It made me realize how precious life is & I started living the life I felt was worth living.” Inspired to finally pursue her love of music full time, she began collecting instruments. Starting with a Stylophone& a vintage rhythm box, she started documenting ideas. Returning home to Malta after a few years in London, she only met one other woman making electronic music on the island. Driven by the desire to make music possible & accessible for the next generation, Joon co-founded the Malta Sound Women’s Network.

Ten years later, she sends us messages in a bottle from across the Mediterranean Sea. Armed with a Moog & her ethereal voice, she transmits hope & joy from a bedroom somewhere between Sicily & North Africa. Her music is right at home alongside outsider pioneers like Fever Ray, Grimes, Laurie Anderson & Molly Nilsson. Dream Again glides across heavy rhythms & eclectic electro. Telling stories of alienation with a throbbing heartbeat & space-age melodies, she lets us into her ultra-vivid world where anything is possible. Produced by Johnny Jewel, the album shines bright like comet orbiting the label’s dark sky, a much-needed vision of light on the horizon.

“Even if I’m sad or heartbroken, I remain optimistic. I want to grow old with no regrets.”

It’s time to Dream Again…

2024 Backstock

15-track double album black vinyl 2-LP including the singles Through The Wire, All Falls Down and Slow Jamz. With jaw-dropping cameos from Jay-Z, Common, Mos Def, John Legend, and the Harlem Boys Choir, this 2004 album is as explosive, provocative, and complex as rap gets. Kanye magically sledgehammers home opinions on taboo topics over beats that are equally daring.

'A Toda Cuba le Gusta', the classic debut album by the Afro-Cuban All Stars. The frst in a trilogy of extraordinary albums recorded by World Circuit in a single two-week session
at Havana's EGREM studios, 1996. The other albums, which share many of the same personnel, were 'Buena Vista Social Club' and 'Introducing Rubén González'. Remastered by Bernie Grundman from the original analogue tapes and now available
for the frst tme on double 180gm heavyweight vinyl, housed in a gatefold sleeve and presented alongside a 32 page booklet as part of World Circuit's classic album series. Plays at 45rpm.

2LP Vinyl Reissue of Late Registration, the second studio album by American hip hop artist Kanye West, released on August 30, 2005, by Roc-A-Fella Records. Recording sessions for the album took place over the course of a year at Record Plant Studios, Chalice Recording Studios, and Grandmaster Recording Studios in Hollywood, and at Sony Music Studios in New York City. West collaborated with American record producer and composer Jon Brion to produce Late Registration, and the album features guest contributions from artists such as Jay-Z, Common, Lupe Fiasco, Jamie Foxx, Nas, Brandy, and Adam Levine, among others.

Grey Vinyl Repress

Best of 2Pac is a posthumous greatest hits compilation series from Tupac Shakur released in two parts: Thug and Life. Both albums were released on December 4, 2007 in the United States and December 3, 2007 in the United Kingdom. Both compilations consists mostly of songs released before his death.

2025 Restock!!

First Dabeull's proper album of his career after several key releases - Intimate Fonk, Fonk Delight or the sought-after compilation InDaStudio.

For Dabeull, analog production is his favorite playground as showing his upcoming 9-track album, "Analog Love" (out on April 12th 2024) was recorded using Michael Jackson's Thriller console - 100% analog.

Hailing from Rimini, Italy, Matteo Gatti is fast becoming one of the country and Europe’s most respected underground names.
Inspired by several of the industry’s leading names, including Sven Vath, Marco Carola, Luciano, Danny Tenaglia, Ricardo Villalobos and many others, Matteo’s refined sonic blueprint of Deep, Tech and Minimal House has led to ever-growing appeal as a DJ and Producer globally.
His unwavering studio ethic has seen Matteo go on to release music on some of the scene’s most-loved imprints, including Neverdogs’ Bamboleo Records, Dennis Cruz & Eddy M’s MUSE, and Riva Starr’s Snatch! Records, Artslaves’ Moan, Stefano Noferini’s Deeperfect and countless others.

For this special release, we’re excited to unveil something brand new: a triple vinyl, perfect for casting a spell on your Halloween night

Witches brew and cauldrons bubble, as Halloween stirs up an eerie trouble! Step into the world of spooky beats with Lofi Girl's 'Halloween 2024' compilation. Featuring talented artists from around the world, this potion of ghostly rhythms and haunting melodies sets the mood for a night of chills and thrills. Whether you're conjuring up potions or unwinding under the moonlit sky, let the witchy magic of these chilling beats take over your Halloween night!

Robot84 is a master of blending Italo disco and Balearic house into perfectly escapist sounds for grown-up dancefloors and now he returns with Promo Vol 5, another vital drop in his celebrated limited edition vinyl series. This one has four more standout tracks including the lead 'Let's Do It' (Vocal) and its dub counterpart, 'Let's Do It' (Dub) alongside the Balearic-inspired 'Beats From the Far East' (which has already been hammered by the likes of Bill Brewster, Chris Coco and Colleen 'Cosmo' Murphy) and the more calming sonic waters of the blissful 'Ambient Love'.

The complete iconic Bill Evans LP Sunday at the Village Vanguard, featuring Scott LaFaro on bass, and Paul Motian on drums. LaFaro would die in a car accident shortly after this LP was recorded. Contains perennial versions of "Solar," "Gloria's Step," and "Alice in Wonderland." This edition also offers an exclusive collector's item consisting of a replica of the very rare Japanese 7" disc Riverside single SR-3033, containing Evans' readings of "My Foolish Heart" and "Polka Dots and Moonbeams."

THE COMPLETE LP + 1 BONUS TRACK - PLUS 7" BONUS SINGLE ON COLORED VINYL INCLUDED INSIDE - 180-GRAM VIRGIN VINYL - LIMITED EDITION

Nox Anima is the new opus of french electronic duo Scratch Massive, 11 strongs and emotional tracks going from electronica, new wave to electronic pop. Included 2 featurings with french artists Yelle and Jeanne Added.

Modern Obscure Music is proud to present Pierre Bastien & DJ Low's "Swing Low", a work that fuses the poetic inventiveness of Pierre Bastien with the visionary legacy of the late DJ Low (Tom Deweerdt), a central figure in Belgian independent music and founder of the influential Lowlands label. This album, which interweaves memory and experimentation, represents Bastien's debut on the Barcelona label's catalog and a testament to the creative bond between the two artists.
The album, composed of seven pieces, stands out for its hybrid nature: five reinterpretations of Bastien's previous works, some of them coming from his influential Mecanoid (originally released by Rephlex), and two unreleased improvisations, A Pupa and Reviver, which seal the unique character of the project.
Pierre Bastien, recognized as a composer, inventor and builder of sound machines, has been a tireless explorer of the frontiers between the mechanical and the musical. From his contribution to the Belcanto Orchestra, his collaboration with the PRSNT project to his participation in Pedro Vian's Earth, Our Planet or his collaboration with Tomaga for the Other People label, his career illustrates a constant commitment to experimentation and the intersection of disciplines. Among the artists he has worked with are names such as Robert Wyatt, Jac Berrocal, Jaki Liebezeit and designer Issey Miyake. His works have found homes on iconic labels such as Marionette, Morphine and Discrepant to name a few.

The album is presented with a visual design by Koen Bruyneel, reinterpreted as a tribute to Tom Deweerdt, a decade after his departure.

Limited vinyl release for aya's 2021 Hyperdub-debut album, a one-time pressing on Ecomix random colour-mix recycled vinyl. Originally released in 2021 as a book and digital album, im hole is now presented on ecomix splatter-effect vinyl. A welcome reminder ahead of new aya music in 2025. On im hole, aya distilled the incisive sonic experimentation of her early run of releases, the tongue-in-cheek giggles of her DJ sets and edits, and the identity-fluxing lyricism of her live shows. The album was immediately championed from all corners, 'Best New Music' in Pitchfork to DJ Mary Anne Hobbs Album of the Year, followed by incredible live shows which drew new listeners further into the net. Contorting language, dialect, gender and sexuality between intermittently controlled bursts of rhythm, noise and aural goop, aya sculpted a set of autobiographical vignettes that challenge established norms, question supposed truths, and affirm a spectrum of interlocking experiences. But while it's wide open and personal, im hole also challenges queer art's tendency to veer towards repetitive solipsism. Even the title itself references the unwieldy mix of self-actualization and sexualization that bogs down cultural perceptions of the trans experience. It's neither one thing nor t'other, just as much a sly nod to dissociative afterparty sloppiness as it is any self-congratulatory pinkwashed grandstanding. The music follows suit, fragmenting familiar sounds, twinned with familiar words, assembled in unfamiliar ways, full of sharp humour, even in the middle of despair. Stories are muddled with phonetics just as dubstep is macrodosed with microtonal drone.










j B4. If [redacted] Thinks He's Having This As A Remix He Can Frankly Do One

J. Cole's third studio album, 2014 Forest Hills Drive, released 10 years ago on December 9th, 2014 and debuted at #1 on the US Billboard 200 album chart. It features standout tracks including "Love Yourz", "Apparently", "Wet Dreamz", and "No Role Modelz". This limited 10-year anniversary edition features never before seen poster from that era that can only be purchased on this exclusive variant.

The highly anticipated final Juice WRLD album is revealed.

Featuring Eminem, Fall Out Boy, Nicki Minaj, Offset, The Kid LAROI, and production from benny blanco, Nick Mira, and Cashmere Cat among many more collaborators, the posthumous set is a fitting celebration of a once-in-a-generation artist.

The Party Never Ends finds Juice diving down different alleyways of his colorful, complex psyche. On “Misfit,” he turns his outsider status into a reason to rejoice over bright acoustic guitar and big distorted drums: “I don’t fit in, I’m a misfit, oh / First thing on my mind, that’s to get rich, oh.”

Meanwhile, on the darkly booming “Celebrate” with Offset, Juice is “overstressed,” declaring, “Wow, up and down, the Devil been on the prowl / He loves when I frown, make him and his demons smile.”

Large Combo is back with a couple of Shaolin flavoured meals. On Side A, the Suckside cats take Staten Island to the city of brotherly love with an anthem sampling jawn that’ll make you drop your jewellery and RUN for the exit yelling “Adrian!” The flip side sees Big Mac back in action after a long hiatus. With upfront beats, sirens, anthemic horns, wailing vocals and big raps, Big Mac methodically reconstructs a classic Wu banger.

DETROIT ASSEMBLY LINE
......the dawning of a successive genealogy of Detroit’s underground rhythm science and technology.

Two mainstays in the fabled legacy of Detroit’s authentic electronic music birthright, align to unleash 4 tracks of undeniable pure techno intensity.

This is the first of the Detroit Assembly Line series; a music manifest to the world, calculated and anticipated to affirm the bona fide noise from Detroit.

Gregg Green brings his signature soulful sound which is perfectly complemented by the musical production style's of Pimpernel Jones (Herma Puma). Both sharing a deep-rooted passion for creating soulful, engaging music that uplifts and inspires their listeners.

Title track 'Hypocrite' is a calling out to the hypocrisy of the ruling entities in power. The B side 'You'll See' is meant as a warning for those entering the field of dreams to be aware and stay strong in their values.

Cover by Dan Lish (ego strip).

The sound is a captivating fusion of hazy style and raw dance floor energy, effortlessly moving between acid, dark, ebm, and emotionally vulnerable moments. ISTHEWAY celebrates 10 years of indipendence with 3 new records. DO IT YRSELF is the manifesto of all these years as well as the name of this 3 Eps series. The 10 tracks of this project are spread over 3 discs and this is 1/3. Every track represents one letter of the manifesto ISTHEWAY born in Verona, Italy ten years ago from the DIY mind of Shinoby. Releases includes remixers like DMX Krew,Hypnobeat (JDB+Helena Hauff), Unit Moebius Anonymous, Madteo, Samo DJ + Tzusing, Jamal Moss,Mgun, The Analogue Cops, Frak.

Die Grammy-nominierte Künstlerin, Produzentin und Labelchefin TOKiMONSTA bringt ihr neues Studioalbum "Eternal Reverie" an den Start. Neben der unwiderstehlich eingängigen, Samba-inspirierten Dancefloor-Hymne "Corazón / DEATH BY DISCO PT 2" ist der R&B-Tune "On Sum" mit Tokis langjährigem Kollaborateur Anderson .Paak und der aufstrebenden Neo-Soul-Sängerin und Rapperin Rae Khalil eines der Highlights. Die Stimmen der beiden Vokalisten verweben sich nahtlos in TOKiMONSTAs typische Beat-Rhythmen und üppige Synth-Akkorde und ergänzen sich gegenseitig in ihren gefühlvollen Kadenzen – eine Meisterklasse des klassischen Duetts.

Die Grammy-nominierte Künstlerin, Produzentin und Labelchefin TOKiMONSTA bringt ihr neues Studioalbum "Eternal Reverie" an den Start. Neben der unwiderstehlich eingängigen, Samba-inspirierten Dancefloor-Hymne "Corazón / DEATH BY DISCO PT 2" ist der R&B-Tune "On Sum" mit Tokis langjährigem Kollaborateur Anderson .Paak und der aufstrebenden Neo-Soul-Sängerin und Rapperin Rae Khalil eines der Highlights. Die Stimmen der beiden Vokalisten verweben sich nahtlos in TOKiMONSTAs typische Beat-Rhythmen und üppige Synth-Akkorde und ergänzen sich gegenseitig in ihren gefühlvollen Kadenzen – eine Meisterklasse des klassischen Duetts.

The Tubs' second album, Cotton Crown, sees the Celtic Jangle boyband venture into darker, more personal territor y while continuing to hone their highly addictive brand of songcraft. It 's a true level up album which sees the band expand their sonic palette to take in a kaleidoscopic range of influences: everything from soulful pub rock (Chain Reaction) to Husker Du aggression (One More Day) to melancholy sophisto-pop (Narcissist) gets a look in. As Pitchfork noted, The Tubs see jangle as a `vast world of moods and muses' and Cotton Crown sees them continuing to explore this world and creating a distinctly Tub-ular sound in the process. This is in no small part down to Owen `O' Williams' vocal performance- often compared to a young Richard Thomson- and his frank, bleakly funny lyric writing. Cotton Crown sees him delve further into his favourite themes of love-psychosis, unsympathetic mentally ill behaviour, and the humiliations of being a musician in London. This time around, however, there's a palpable sense of risk in his self assessments/confessions. No more so in the track's closing track Strange- an accounting of the clumsy, intrusive, well-meaning social interactions that took place in the period following the suicide of his mother (the folk singer Charlotte Greig.) As Williams says: "I'd tried a few times to write a song about it. The result had always seemed either mawkish, simplifying or like I was hawking my trauma. But then this one came out, and it felt right because it looked at something smaller: the weird, unsatisfying, strangely funny ways everyone, including myself, acted after the dust settled." The album artwork features an image of Williams as an infant being breastfed by Greig in a graveyard- a promotional shot taken around the release of her debut album (the re-issue of which was featured in The Guardian in 2023.) The essential trick Cotton Crown plays is to offset Williams' lyrical bleakness with joyous, hook-laden blasts of pop perfection. This is largely down to the guitar work of George Nicholls, who, across the album, effortlessly slips between the virtuoso jangle of Marr, the driving folk-rock of Pentangle and the chorus-heavy hi-fi grooves of contemporary bands like Tops or The 1975. Add to that the breakneck rhythm section of Taylor Stewart (Drums) and Max Warren (Bass)- who attack each song with power-pop ferocity, recalling Guided by Voices at their drunken-yet-tight best- and you've got yourself a recipe for indie rock greatness. The band's debut `Dead Meat' was a word-of-mouth sensation that saw the band earn accolades from Pitchfork, The Guardian, MOJO, SPIN and more. They even gained some celeb fans: the inimitable Mark Proksch (The Office (US), Better Call Saul, What We Do in the Shadows) starred in the video for their "Round the Bend" single & punk legend Iggy Pop has praised them on his BBC 6Music radio program. Standing in opposition to the UK norm of post punk, and hookless high-minded indie prog, the album was described by Kitty Empire (Observer) as a "shot in the arm for indie rock". The band's hard touring and raucous, beer y live show have seen them stand out at festivals like Greenman, End of The Road, Melbourne Rising and Canela Party. The band (minus Stewart) were previously members of Joanna Gruesome- who won the Welsh Music Prize, toured the UK and US extensively, and were praised in Pitchfork, Rolling Stone, The NY Times, The Guardian and others. Lan Mcardle (Joanna Gruesome, Ex-Void) also provides backing vocals on several tracks. The Tubs are part of the Gob Nation collective- the London-based network of bands, writers and promoters who were recently profiled in The Guardian.

The Tubs' second album, Cotton Crown, sees the Celtic Jangle boyband venture into darker, more personal territor y while continuing to hone their highly addictive brand of songcraft. It 's a true level up album which sees the band expand their sonic palette to take in a kaleidoscopic range of influences: everything from soulful pub rock (Chain Reaction) to Husker Du aggression (One More Day) to melancholy sophisto-pop (Narcissist) gets a look in. As Pitchfork noted, The Tubs see jangle as a `vast world of moods and muses' and Cotton Crown sees them continuing to explore this world and creating a distinctly Tub-ular sound in the process. This is in no small part down to Owen `O' Williams' vocal performance- often compared to a young Richard Thomson- and his frank, bleakly funny lyric writing. Cotton Crown sees him delve further into his favourite themes of love-psychosis, unsympathetic mentally ill behaviour, and the humiliations of being a musician in London. This time around, however, there's a palpable sense of risk in his self assessments/confessions. No more so in the track's closing track Strange- an accounting of the clumsy, intrusive, well-meaning social interactions that took place in the period following the suicide of his mother (the folk singer Charlotte Greig.) As Williams says: "I'd tried a few times to write a song about it. The result had always seemed either mawkish, simplifying or like I was hawking my trauma. But then this one came out, and it felt right because it looked at something smaller: the weird, unsatisfying, strangely funny ways everyone, including myself, acted after the dust settled." The album artwork features an image of Williams as an infant being breastfed by Greig in a graveyard- a promotional shot taken around the release of her debut album (the re-issue of which was featured in The Guardian in 2023.) The essential trick Cotton Crown plays is to offset Williams' lyrical bleakness with joyous, hook-laden blasts of pop perfection. This is largely down to the guitar work of George Nicholls, who, across the album, effortlessly slips between the virtuoso jangle of Marr, the driving folk-rock of Pentangle and the chorus-heavy hi-fi grooves of contemporary bands like Tops or The 1975. Add to that the breakneck rhythm section of Taylor Stewart (Drums) and Max Warren (Bass)- who attack each song with power-pop ferocity, recalling Guided by Voices at their drunken-yet-tight best- and you've got yourself a recipe for indie rock greatness. The band's debut `Dead Meat' was a word-of-mouth sensation that saw the band earn accolades from Pitchfork, The Guardian, MOJO, SPIN and more. They even gained some celeb fans: the inimitable Mark Proksch (The Office (US), Better Call Saul, What We Do in the Shadows) starred in the video for their "Round the Bend" single & punk legend Iggy Pop has praised them on his BBC 6Music radio program. Standing in opposition to the UK norm of post punk, and hookless high-minded indie prog, the album was described by Kitty Empire (Observer) as a "shot in the arm for indie rock". The band's hard touring and raucous, beer y live show have seen them stand out at festivals like Greenman, End of The Road, Melbourne Rising and Canela Party. The band (minus Stewart) were previously members of Joanna Gruesome- who won the Welsh Music Prize, toured the UK and US extensively, and were praised in Pitchfork, Rolling Stone, The NY Times, The Guardian and others. Lan Mcardle (Joanna Gruesome, Ex-Void) also provides backing vocals on several tracks. The Tubs are part of the Gob Nation collective- the London-based network of bands, writers and promoters who were recently profiled in The Guardian.

The Tubs' second album, Cotton Crown, sees the Celtic Jangle boyband venture into darker, more personal territor y while continuing to hone their highly addictive brand of songcraft. It 's a true level up album which sees the band expand their sonic palette to take in a kaleidoscopic range of influences: everything from soulful pub rock (Chain Reaction) to Husker Du aggression (One More Day) to melancholy sophisto-pop (Narcissist) gets a look in. As Pitchfork noted, The Tubs see jangle as a `vast world of moods and muses' and Cotton Crown sees them continuing to explore this world and creating a distinctly Tub-ular sound in the process. This is in no small part down to Owen `O' Williams' vocal performance- often compared to a young Richard Thomson- and his frank, bleakly funny lyric writing. Cotton Crown sees him delve further into his favourite themes of love-psychosis, unsympathetic mentally ill behaviour, and the humiliations of being a musician in London. This time around, however, there's a palpable sense of risk in his self assessments/confessions. No more so in the track's closing track Strange- an accounting of the clumsy, intrusive, well-meaning social interactions that took place in the period following the suicide of his mother (the folk singer Charlotte Greig.) As Williams says: "I'd tried a few times to write a song about it. The result had always seemed either mawkish, simplifying or like I was hawking my trauma. But then this one came out, and it felt right because it looked at something smaller: the weird, unsatisfying, strangely funny ways everyone, including myself, acted after the dust settled." The album artwork features an image of Williams as an infant being breastfed by Greig in a graveyard- a promotional shot taken around the release of her debut album (the re-issue of which was featured in The Guardian in 2023.) The essential trick Cotton Crown plays is to offset Williams' lyrical bleakness with joyous, hook-laden blasts of pop perfection. This is largely down to the guitar work of George Nicholls, who, across the album, effortlessly slips between the virtuoso jangle of Marr, the driving folk-rock of Pentangle and the chorus-heavy hi-fi grooves of contemporary bands like Tops or The 1975. Add to that the breakneck rhythm section of Taylor Stewart (Drums) and Max Warren (Bass)- who attack each song with power-pop ferocity, recalling Guided by Voices at their drunken-yet-tight best- and you've got yourself a recipe for indie rock greatness. The band's debut `Dead Meat' was a word-of-mouth sensation that saw the band earn accolades from Pitchfork, The Guardian, MOJO, SPIN and more. They even gained some celeb fans: the inimitable Mark Proksch (The Office (US), Better Call Saul, What We Do in the Shadows) starred in the video for their "Round the Bend" single & punk legend Iggy Pop has praised them on his BBC 6Music radio program. Standing in opposition to the UK norm of post punk, and hookless high-minded indie prog, the album was described by Kitty Empire (Observer) as a "shot in the arm for indie rock". The band's hard touring and raucous, beer y live show have seen them stand out at festivals like Greenman, End of The Road, Melbourne Rising and Canela Party. The band (minus Stewart) were previously members of Joanna Gruesome- who won the Welsh Music Prize, toured the UK and US extensively, and were praised in Pitchfork, Rolling Stone, The NY Times, The Guardian and others. Lan Mcardle (Joanna Gruesome, Ex-Void) also provides backing vocals on several tracks. The Tubs are part of the Gob Nation collective- the London-based network of bands, writers and promoters who were recently profiled in The Guardian.

"Chewing The Fat" marks a new chapter for Franc Moody.

This album delves into the duo's creative depths, breaking away from traditional norms and

showcasing a more refined sound than their earlier work.

Partially recorded at LA 64 Sounds Studio and Damon Albarn’s Studio 13 in West London,

the album’s sonic landscape is significantly shaped by Albarn’s collection of synthesizers,

especially some Russian models.

Drawing inspiration from live performances by Massive Attack and LCD Soundsystem,

the result is a sound that leans less toward disco,

embracing a grungier, more gritty attitude.

Band leader, songwriter, arranger and producer of the now disbanded Pizzicato Five (1985-2001). Although having 2 successful world tours and 5 international albums under his belt, with fans ranging from London’s Karminsky Experience to Karl Lagerfeld, many of his fans know him as a DJ, spinning in Tokyo’s hotspots such as Shibuya’s ‘Organ Bar’. He tours regularly throughout Japan and abroad. In the Jackson 5 Remix Album, his remix ‘I want you back (readymade 524 mix)’ received an extraordinary amount of national radio play.
The remix album itself has scored healthy rankings in major record stores. In 1998, his own project ‘Punch the Monkey!’ (in which he remixes the theme tune of a popular Japanese cartoon series ‘Lupin the Third’) sold over 700,000 records, and this, some say, began Japan’s remix rush. His achievements truly invaded the mainstream when in 2000, he produced the No.1 single ‘Oha-Rock’ which became a social phenomenon in itself. Most
recently, he set up his own record label, ‘readymade international inc.’ from he which he plans to release new exciting solo works.
His talents also embrace film and photography and he is well known as a director in promotional videos, shows and advertisements. T-shirts and original goods which Konishi personally designed are sold in select shops such as BEAMS of Shibuya.
He is also a writer having regular columns in various magazines, and has also written several books. A collection of his essays have been published under the title ‘Kore wa koi de wa nai’ (’This is not love’)

SUNAGA tatsuo (sunaga t'experience)
DJ and Music Producer. Basing his activities around his own club ‘Shibuya Organ Bar’, holds regular club nights throughout Japan. Apart from his own mix CDs such as the ‘Organ b. SUITE’ which many say is in a class of its own, has produced remixes for the ‘Soul Source 2: Jackson 5 Remix’ and Yasuharu Konishi’s ‘Punch the Monkey’. He began his own label ‘AFTERS OR’ in 1998,acting both as artist and producer. Releasing records under the alias of ‘Sunaga t experience’ on avex/cutting edge records, the ‘It’s you’ 12 inch made record sales of 7,000 records, an incredibly large number in the vinyl market. His name is known in Europe through such labels as IRMA and SCHEMA records, and has remained in the forefront of the industry since the beginning of the Tokyo club scene.

With its vinyl-only releases, Phosphor pays tribute to true lovers of electronic music. Blending retro influences with contemporary sounds, the label’s identity is rooted in authenticity and modernity. // Retro influences and modern sounds define the label's unique direction.

Designed as an homage to the golden age of 2000s electro, Exploration Begins explores every corner of the genre, blending sharp percussion, deep basslines, retro 80s synths, and 'old school' vocals. The “shiny” Side A radiates luminous, featuring hypnotic, sun-soaked melodies, while the “dark” Side B dives into a deeper, more club-oriented dimension.

With Making Up My Mind, Blue Vision—the duo behind the Phosphor label—showcases their vision of a quintessential electro track: groovy basslines, soaring melodies, and relentless drums, all steeped in the unmistakable sound of the 2000s.

Parisian talent Occibel once again lives up to the high expectations placed on him. With Shake The Future, he demonstrates his knack for crafting vibrant bangers. The track’s catchy melody and signature percussion combine to deliver a sound that is equal parts radiant and danceable.

Cologne-based DJ and producer Kolter takes the lead on Side B of Exploration Begins. Dark and weighty, his contribution draws power from haunting vocals and evocative melodies. Venturing beyond his usual boundaries, Kolter leaves a lasting impression with Electronic Mind.
True to its name, Navigator is a journey through a spectrum of influences. Sometimes hard-hitting, sometimes brooding, yet tinged with moments of melancholy and hope, Eric OS brings this Various Artist release to a masterful close.

Terrance Mcdonald introducing his new Funkshun Keys records imprint. Colored vinyl reissue, previously released on Trax sublabel Saber, featuring an homage to the original art.

Die britische Indie-Pop Band The Lathums kündigt ihr neues drittes Studioalbum 'Matters Does Not Define' für den 7. März 2025 an. Die Band hat bereits zwei aufeinanderfolgende Alben auf Platz 1 der offiziellen britischen Albumcharts vorzuweisen und ein weiteres Jahr mit riesigen Open-Air-Shows hinter sich. 'Matter Does Not Define' wurde von der Band, bestehend aus Sänger Alex Moore, Scott Concepcion (Gitarre, Piano und Gesang), Ryan Durrans (Schlagzeug) und Matty Murphy (Bass und Gesang), in ihrer Heimatstadt Wigan geschrieben, bevor es in den Kempston Street Studios in Liverpool in Begleitung des langjährigen kreativen Mentors John Kettle und des Produzenten Chris Taylor aufgenommen wurde. 'Matters Does Not Define' folgt auf ihr bisher erfolgreiches zweites Album 'From Nothing To A Little Bit More' und ihr Debüt 'How Beautiful Life Can Be' von 2021.

Die britische Indie-Pop Band The Lathums kündigt ihr neues drittes Studioalbum 'Matters Does Not Define' für den 7. März 2025 an. Die Band hat bereits zwei aufeinanderfolgende Alben auf Platz 1 der offiziellen britischen Albumcharts vorzuweisen und ein weiteres Jahr mit riesigen Open-Air-Shows hinter sich. 'Matter Does Not Define' wurde von der Band, bestehend aus Sänger Alex Moore, Scott Concepcion (Gitarre, Piano und Gesang), Ryan Durrans (Schlagzeug) und Matty Murphy (Bass und Gesang), in ihrer Heimatstadt Wigan geschrieben, bevor es in den Kempston Street Studios in Liverpool in Begleitung des langjährigen kreativen Mentors John Kettle und des Produzenten Chris Taylor aufgenommen wurde. 'Matters Does Not Define' folgt auf ihr bisher erfolgreiches zweites Album 'From Nothing To A Little Bit More' und ihr Debüt 'How Beautiful Life Can Be' von 2021.

Limited Red Vinyl

Waxwork Records is proud to release THE TEXAS CHAIN SAW MASSACRE Original Motion Picture Score by Tobe Hooper and Wayne Bell.

In celebration of the iconic film’s 50th Anniversary, the long-awaited score album is now available for the very first time in any format.
The film’s original score by Tobe Hooper and Wayne Bell is an experimental exercise in music compo- sing and performance that utilizes
non-traditional instruments such as suspended cymbals, aluminium saucepans, a children’s toy percussion set, various wildlife calls, whistles, shakers, and more. Waxwork Records’ release of The Texas Chain Saw Massacre by Tobe Hooper and Wayne Bell marks the first time the official score will be made available anywhere.