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This is the 11th vinyl release of the label! Iner has gathered some of the best Russian artists in their genre. The record will be yellow.

Lavvi Ebbel was without a doubt one of the most talked-about bands of the Belgian new wave scene. In the early eighties, the band achieved considerable success with singles such as “Give Me a Gun” and “Victoria.” This ten-piece band had a solid live reputation thanks to the original sound of the two guitarists (Marc de Wit and Chris Van Ransbeeck), pianist (Bea Van Ransbeeck), and the steady Eric de Wit on drums. Singer Luckas Vander Taelen and backing vocalist Kristien D’Haeger provided a strong stage presence, supported by the swinging horn section with Jan Weuts and Eric Sleichim, who was the driving force behind Maximalist and Bl!ndman some time later.

Lavvi Ebbel played about 200 times in Belgium and the Netherlands, both in small clubs and at prestigious festivals such as Seaside. On the compilation LP “Get Sprouts,” which is a true sample chart of the music of this period, we find Lavvi Ebbel's “No Place To Go,” a high point in their versatile collaboration with producer Jean-Marie Aerts. “Albü Meth” is arguably the best-known mini-LP, featuring the cult song “Le Cafard.” After the release of the album “Kiss Me Kate,” produced by the American producer David Avidor, the band called it a day in 1983. Following a couple of very successful performances in 2013, Lavvi Ebbel, 12 years later, is making a comeback with the original band members.

Ursprünglich aus Albany, NY, aber jetzt ein fester Bestandteil der Brooklyner Indie-Rock-Community, ist das Duo Ali Genevich und Jake Brooks für seinen verträumten, sonntäglichen Dreampop bekannt. Auf ihrem 3. Album und ihrem ersten für Bar/None haben Laveda ihre Komfortzone verlassen und verfolgen einen härteren Ansatz für ihre Rock-Tendenzen. Sie haben ihre traditionellen Einflüsse hinter sich gelassen und begeben sich auf den Weg, den Bands wie Unsane und Sonic Youth geebnet haben.

Released in 1985, Misplaced Childhood includes the hit single ‘Kayleigh’, hit #1 in the UK and stayed in the charts for 41 weeks. As the band’s first concept album, Misplaced Childhood explores themes of lost love, sudden success, acceptance and the fading innocence of youth.

Ursprünglich 1985 veröffentlicht, ist „Misplaced Childhood“ das dritte Studioalbum von Marillion – ein Konzeptalbum, das lose auf der Kindheit des Sängers Fish basiert. Mit den Singles „Kayleigh“, „Lavender“ und „Heart of Lothian“ erreichte das Album Platz 1 in Großbritannien und schaffte es in Deutschland, der Schweiz, den Niederlanden und Norwegen in die Top 10. Es wurde seitdem im Vereinigten Königreich und in Deutschland mit Platin und in der Schweiz mit Gold ausgezeichnet.

Ahhhh, dick wie Lava, schwarz wie Ebenholz, kantig und kratzig wie das Kinn von Conan, dem Barbaren. Piece, ein Dreigestirn im Auftrag des fetten Riffs, legen nun mit Ramblers Axe endgültig Ihr Masterpiece ab. Nach _.... und ordentlich Live-Erfahrung merkt man dem neuen Opus die Erfahrung der letzten Jahre an. Spitzen Songwriting, was den internationalen Ebenbildern um nichts nachsteht. Die Berliner liefern eine kraftvolle Mischung aus Sludge Metal, Doom und Rock'n'Roll. Inspiriert von Bands wie Crowbar, High on Fire und Eyehategod, vereinen sie die rohe Aggressivität, der musikalischen Wurzeln aller drei Bandmitglieder, des Hardcore und Punk mit der erdrückenden Schwere und den riffbasierten Klängen von Sludge und Heavy Metal.

Tony Lavrutz & Scruscru join forces for this latest fiery 45 rpm on Scruniversal. First up, they also call on Mr. And-7 to get involved on 'La Malanga 25', a sunny funk jam with raw horns that bring a Mexican twist to the percussive drums and lively pianos. Marelua steps up for the flip side, 'Paragunde 45', which slows things down and burns warm and bright with Portuguese vocals and plenty of gorgeous acoustic guitar trills. Both of these are primed and ready to inject Latin flavour into any set the moment the sun comes out, so are likely to fly off the shelves.

Nick Bike hops aboard his groove machine once again here for another superb run out, this time with his Italian mate Stan Brega on Chosen Spokes. 'Big Bizniss' gets going with a super cool and laid back downtempo, disco and funky fusion. Lavish horns, cowbells, sultry chords and effortlessly vibey vocals all make it an instantly lovable and hip-swinging summer classic. Flip it over and you'll find 'Forever & Ever', which is an epic, cosmic, Balearic, ambient and blissed out cover of a David Bowie mega-hit. Proggy guitars draw out the me option and make it a perfect end of the night tune to send people home teary-eyed but euphoric.

Apple Red Vinyl. Eine der umfangreichsten Instrumental-Hip-Hop-Reihen aller Zeiten, MF DOOMs gefeierte Special Herbs"-Serie versammelt eine riesige Sammlung seiner Beats, von exklusiven Tracks bis hin zu leicht überarbeiteten Favoriten, die er für sich selbst und andere produziert hat. Unter dem Pseudonym Metal Fingers veröffentlicht, gelingt es Special Herbs", DOOMs äußerst einflussreichen Sound einzufangen, der immer wieder die Regeln des Spiels zugunsten des Super-Bösewichts bricht und neu interpretiert. Super-Villain. Die Welt ist eine Fundgrube für Sounds, und der Metal-Fingered DOOM kennt keine Grenzen: 70er-Jahre- Soul-/Funk-Klassiker, 80er-Jahre-R&B-Hits, Rap-Nostalgie und sogar Soundbites aus Kinderplatten und dem Fernsehen finden ihren Platz in den Zutaten, die er für seine perfekten Rezepte benötigt.

Rick Wade on Norm Talley's Upstairs Asylum are words that will excite any true school house heads. Wade is a production machine who turns out always no-frills, trusty and tracky grooves of the sort that are always essential for building a vibe in a set, and Talley's a fellow Detroit head who has long been helping to shape the house sound. 'So Juicy' begins with a flourish, lavish strings and chunky drums that slide along nicely. 'Midnight Hustler' sinks into a slightly more steamy and deep sound with hints of 60s US soul and funky licks, 'Turn Out' is a more traditional deep house roller with a comic vibe and 'Lonely Symphony' brings some cinematic string drama to a breezy blend of house beats.

The faultless Funkyjaws music rolls out another irresistible disco dazzler in its Discolifting series with Enigmatic producer Black Truffle at the helm. He debuted in 2023 and has landed on labels like Gamm and this one before now, always making a mark in the process. 'Ti Voglio' starts with some fiery Latin vocals and big strings straight from a Philly disco classic. 'Venus' has a fat low end and stepping groove with plenty of lavish instrumental flair, and 'To Be The One' is a filter-heavy, funky-disco cruiser for good times only. 'Cassandra' slows things down with some steamy sexual energy from the horns and rich chord stabs, sure to get any dance floor heated right up.

Originally conceived as a compilation of outtakes and live recordings from The Shadow Ring's 1995 stateside tour, Wax-Work Echoes takes its name from the first line of "Put the Music in Its Coffin," the title track of the group's breakthrough release. Lambkin abandons the bitsand- bobs approach, advancing the Shadow Ring concept with entirely original material that builds on the unit's self-mythologizing lyrics, celebrates the clicking of horse hooves, ponders on the sociability of rats and mice, and warns of the dangers of poultry. The first Shadow Ring album to officially include Tim Goss in the main lineup, Wax- Work Echoes reveals the group in its final and lasting form, awash in the outer bounds of atmospheric exploration, with Lambkin's familiar wry and morbid lyricism and the stripped-down angularity of amateurishly detuned guitars fully intact. While Klaus Canterbury and Tony Clark seem all but forgotten, and the shrugged off S. Fritz is listed on the liner notes as performing only "when required," Lambkin did solicit contributions from outside the inner circle. A bit of "Mambo Twist," lifted from a tape of unreleased Vitamin B12 material sent to Lambkin by Alasdair Willis, found its way into "V.E.R.M.I.N.," while an extended epistle contribution from Richard Youngs (and, technically, Brian Lavelle) would be employed in the second half of "Catching Sight/Of Passing Things." Released on CD in 1996 for Bruce Russell's newly minted Corpus Hermeticum, Wax-Work Echoes was recorded concurrently with intense rehearsal periods, in anticipation of the forthcoming "Rose Watson Tour," and was supported by a celebratory fanzine media blitz. The album seemingly absorbs the frenetic excess of the band's transatlantic travels; Wax-Work Echoes channels the trio's wilder instincts into an unresolved catharsis, not yet free of frustration or restlessness. Out of print for almost three decades and available here for the first time ever on long-playing disc, Wax-Work Echoes is a classic from the outer eddies of The Shadow Ring's sound, a must-have for any aficionado's collection: "A window slides, glass slips from frame / And canvas carcass breathes again." Throughout their legendary, decade-long run, the Shadow Ring were an enigmatic force on the international musical sub-underground. Before their disbandment in 2002, this shambolic rock outfit, formed by a group of rowdy teenagers in southeast England, left behind a mighty run of eight LPs, a handful of 7"s, and a spate of raucous live shows and cryptic zine appearances on both sides of the Atlantic, all which have bolstered their enduring word-of-mouth mystique. Beginning in 2023 with the first-ever vinyl pressing of the self-released pre-Shadow Ring tape The Cat & Bells Club (1992), Blank Forms Editions has been conducting a systematic retrospective of the storied group. Wax-Work Echoes and Hold Onto I.D. are the latest releases in a multiyear reissue effort that includes several LPs, a comprehensive CD box set, and a nearly five-hundred-page book.

Irish double bassist Caimin Gilmore who can be heard performing with the likes of Shahzad Ismaily, Crash Ensemble, stargaze, The Staves, Sam Amidon, Justin Vernon (Bon Iver), Aaron Dessner (The National), Ye Vagabonds, and Phoebe Bridgers, among many others, releases his debut record BlackGate, via New Amsterdam Records in collaboration with Dublin Based Ten Spot Records. BlackGate features renowned cellist Kate Ellis, harpist Lavinia Meijer, and Caimin Gilmore on double bass & DX7.

Born from a virtual encounter in lockdown between two Parisian neighbors, the DJ/producer Prosper and saxophonist Le Marabout, this new playful and joyous project is pulling freely from the Afro, Funk, Disco, Hip-Hop, Oriental and Electro influences of the two artists.
The iconoclastic DJ Romain “Prosper” Coolen, fervent purveyor of no holds barred euphoria on the dance floor, and the versatile saxophonist, composer and jack-of-all-trades Johann “Le Marabout” Guihard offer us a lavish, eclectic, uninhibited, coherent and furiously groovy listening experience.

First single “C’est Vrai“, from their forthcoming album ‘Le Moustache Conspiracy’ (released October 2022) is a banging Electro Afro Funk joint featuring Fou Malade and Niagass, two luminaries of the Senegalese Hip-Hop scene.

Over the bouncing beat and snarling horns, these two juggle lyrics back and forth in Wolof (Senegal’s most widely spoken language), calling out those fake friends who smile in your face before stabbing you in the back.

A-grade disco don Monsieur Van Pratt shares duties on his latest missive with so-called "cosmic funk slinger" Disco 86 as both artists take one side each. MVP is first up with 'Lovers' with its saucy male vocals and funky basslines littered with Chic-style hooks. 'All I Do' layers in plenty of filtered synths and noodling bass hooks to a classic vocal and then it's over to the B-side. 'Shoot Me Baby' is a low-slung and sleazy sound with smooth and sexy vocals and meandering bass. 'Disco Galaxy' is a more upbeat sound with funky brass, leggy drums and a lavish arrangement that is full of action. Another unmissable platter in this new limited Illegal Disco series.

The discovery of Doris Dennison's score represents a genuine musicological breakthrough—what once would have been "a tree falling in the woods" thirty years ago now holds the potential to render "a thunderous clap in our minds." While researching Anna Halprin's lesser-known collaborators, scholar Tom Welsh uncovered the archives of AA Leath, one of Halprin's principal dancers. Buried within these materials was Dennison's handwritten score for Earth Interval, dated May 1956. Born in Saskatchewan, Canada, in 1908, and raised near Seattle, Dennison (1908-2009) encountered John Cage while teaching Dalcroze eurythmics at the Cornish College of the Arts. She joined Cage's earliest percussion quartet—alongside Margaret Jansen, the composer and his wife Xenia—in the group widely regarded as having performed the first complete concert of percussion music in the United States. This historic December 1938 concert was followed by tours and the landmark May 1941 performance at the California Club, comprising Cage and Lou Harrison's Double Music, the premiere of Cage's Third Construction, and Harrison's 13th Simfony.

As Bradford Bailey observes in his extensive liner notes, Earth Interval demonstrates "an extraordinary balance of elements that imbues the piece with a sense of clarity, directness, and constraint that is both distinct and ahead of its time." The work's most remarkable innovation lies in its approach to extended techniques, particularly Dennison's notation for the central movement: "In 2nd movement, 1st player lowers + raises a gong into a tub of water while beating." This technique, absorbed from Cage's experimental vocabulary, generates what Bailey describes as "fields of acoustic abstraction that bend and warp time through sustained resonances, beat, and space." The temporal sophistication of these manipulations anticipated Karlheinz Stockhausen's Mikrophonie I (1964) and Annea Lockwood's water-based sound investigations by over a decade. After joining Mills College as dance accompanist, Dennison maintained crucial connections to the Bay Area's experimental scene, collaborating with figures like Merce Cunningham and programming Cage's music throughout the 1950s.

Comprising three movements—Land Form, Air Tide, and Earth Play—Earth Interval is scored for recorder, drums, gongs, maracas, muted gongs, and bowl gongs. In total, the piece is just under eight minutes: "a fleeting glimmer of moment in time, a life spent at the cutting edge, and a singular creative vision that packs a powerful punch." When viewed in historical context, placed in contrast to roughly contemporaneous avant-garde percussion works by Cage, Harrison, Louis Thomas Hardin (Moondog), and Harry Partch, or important precursors like Edgard Varèse's Ionisation (1931) and Henry Cowell's Ostinato Pianissimo (1934), it's clear that Dennison was following her own path. Earth Interval is not derivative. It is a precursor to what was yet to come, alluding to developments of avant-garde and experimental music that wouldn't begin to appear on the cultural landscape until the 1970s and '80s, with the emergence of Post-Minimalism and more idiosyncratic artists and ensembles like Midori Takada, Ros Bandt, Peter Giger, Frank Perry, Christopher Tree, Michael Ranta, Gamelan Son of Lion, and Niagara.

This recording by Chicago's Third Coast Percussion, captured in March 2022, represents the first complete documentation of this pioneering work. The ensemble's interpretation reveals the piece's remarkable contemporaneity while maintaining its historical specificity. Where Cage, Harrison, and Partch employed "self-consciously off-kilter polyrhythms," Dennison's rhythmic sensibility anticipates minimalist developments by nearly a decade, yet integrates "forceful rests, as well as sharp shifts in sonic character, tempo, and meter, that break the momentum and breathe a sense of life into the piece's structure." This positions her work closer to Post-Minimalism decades before its emergence. The architectural approach demonstrates Dennison's understanding that "the composer almost entirely disappears" in favor of phenomenological listening experience, creating what might be called an egoless music that places its realities and meaning entirely in the ear of the beholder. The present recording, realized by Chicago's distinguished Third Coast Percussion ensemble, represents a significant achievement in experimental music scholarship and performance practice. As specialists in the Cage tradition and contemporary percussion repertoire, Third Coast Percussion approached Earth Interval with the historical sensitivity and technical precision required to illuminate Dennison's subtle compositional innovations. The March 2022 recording sessions, engineered by Colin Campbell, capture both the work's intimate chamber music qualities and its bold exploration of extended techniques. The ensemble's interpretation reveals the piece's remarkable contemporaneity—its ability to speak directly to current musical concerns while maintaining its historical specificity.

This recording serves multiple scholarly functions: it provides the first complete documentation of Dennison's compositional voice, offers insight into the broader network of experimental music practitioners surrounding Cage and Harrison, and demonstrates the sophisticated level of compositional thinking that was occurring within the Bay Area's dance-music collaborations of the 1950s. The work's emphasis on phenomenological listening—what might be called an "egoless" approach to musical experience—places it within a lineage of American experimental music that prioritizes perceptual process over compositional personality. The work's original obscurity—limited to AA Leath's performances at venues like the 1957 Pacific Coast Arts Festival at Reed College—paradoxically allowed it to remain "entirely on its own terms," free from the constraints of historical categorization. Drawing on Jacques Derrida's Archive Fever, the argument emerges that "the archive can acknowledge, celebrate, and resurrect" overlooked voices, transforming our understanding of experimental music history. The present Blume edition, featuring Third Coast Percussion's authoritative interpretation, includes a lavishly illustrated 16-page booklet designed by Bruno Stucchi / dinamomilano, containing complete scholarly apparatus, historical photographs, and detailed production notes. This recording enables "cross-temporal intersectionality," allowing Dennison to "belong to a newly formed and more dynamic understanding of the present and past," demonstrating how forgotten voices can reshape entire historical narratives when given proper scholarly attention and performance advocacy.

Red Laser Records switches on the smoke machine and strobe light, dishes out the high grade poppers and continues with the most unprofessional approach in the biz as they celebrate their FIFTIETH fuckin' release - a double disc photon torpedo diving into the label's roster and featuring all new tracks from RL stalwarts across the ages.

Marking this half century milestone, their in-house graphics team have been on a strict diet of kryptonite and engine oil, conjuring up one of the most lavish (and budget destroying) gatefold sleeves to date; alongside personal insights (and an in-depth cigar review) on their 13 year journey from label heads Il Bosco and Pharaoh Brunson.

Eight, sizzling, white hot MANCTALO jams that'll have knickers dropped, shirts lifted, fists pumping and your room stinking of fried circuit boards quicker than you can say #inabiteveryoneelse.

The official soundtrack to Jean-Cosme Delaloye's documentary about the life and career of Detroit techno pioneer Carl Craig, Desire: The Carl Craig Story is set for release on digital platforms on 20th June 2025, with 2x12” Vinyl and CD editions to follow on 18th July 2025.

The collection, coming via his prolific and seminal Planet E Communications, features music from across Craig’s vast catalog, including several tracks that have never previously seen full digital release. Its selections span his many aliases and projects, offering a rare glimpse into the full scope of his groundbreaking career. rare glimpse into the full scope of his groundbreaking career.

Among the rare and remastered tracks featured is No More Words - originally released in 1991, newly reissued on vinyl and available digitally for the first time. A foundational track in the Detroit techno canon, No More Words captures the emotive synths and tight grooves of Craig’s sound that would soon resonate across dance floors worldwide. Its reissue marks a moment of reflection on the genre’s roots and evolution.

Another remastered track from Craig’s extensive archive is The Truth, a deep cut from Craig’s discography under his Designer Music alias, now widely available for the first time a quarter-century after its original release. The film’s end credits are scored by the contemplative Meditation 4, an ambient production previously only available on Craig's 2013 Masterpiece compilation CD for Ministry of Sound.

Iconic remixes such as his Grammy-nominated rework of Junior Boys’ Like A Child is included alongside lesser-known but equally epic remixes such as his sublime 2012 mix of Slam’s Azure, which is employed for the film’s title credits and had previously only seen a limited release. Also featured across the soundtrack’s multiple formats are iconic Carl Craig productions under his 69, Psyche/BFC and Innerzone Orchestra aliases, and collaborations with Moritz von Oswald and Francesco Tristano. Oswald and Francesco Tristano.

The soundtrack serves as a companion to the new documentary directed by Jean-Cosme Delaloye and produced by Sovereign Films, which follows Carl’s journey from Detroit’s middle-class roots to global stardom, set against the city’s decline and recovery. The film explores his work at the intersection of music, art, and culture, from his collaborations with Bottega Veneta to his Party/After-Party installation, acquired by the Detroit Institute of Arts and exhibited at MOCA Los Angeles. MOCA Los Angeles.

Featuring interviews with Gilles Peterson, Roni Size, Laurent Garnier, DJ Minx, Kenny Larkin, Moritz von Oswald, and James Lavelle, Desire highlights Carl’s championing of Detroit’s Black creative excellence and the often-overlooked African-American roots of electronic music.

Kai Alce's NDATL Muzik is one of our favourites for deep house so imagine our delight to learn that it now branches out with a new sub-label, Nutria Sounds. Its debut release is a gem from Shaka with Eve's soulful vocals capturing the essence of Paris through organic textures and sultry melodies. The main vocal mix has jazzy chords and a carefree vibe, while 'Unbleached' is a more driving deep house cut with dancing keys and low end heft. The ever-on form Chicagoan Vick Lavender also steps up with a signature jazz-infused remix that is refined yet ready to work the 'floor. This is a fine debut for Nutria Sounds, which seems like it is going to be another vital outlet for heartfelt and classy house.

The Owl label kicks on with another party-starting nix of edits and remixes that blend funk, disco and soul into pure heat. 'Gimme Your Thang' is a low-slung opener with a filthy bassline and James Brown samples bringing it to life. 'Freaky To You' reworks a g-funk classic into a lavish and bumping slow-motion seducer and 'Rock Me Again' brings chunky, rolling funk with more classic vocal samples. 'Future Shock' shuts down with a lovely falsetto vocal and some psyched-out guitars.

The Spanish Queen (of the Piano)

She had small, square hands. She was 1.52 m tall. As a child, she banged her head on the floor to be allowed to play the piano. She was Catalan. She was a pianist—one of the greatest. Her mission? To spread the Spanish repertoire. Her name was Alicia de Larrocha.

When she passed away in 2009 at age 89, Nelson Freire wrote, "I truly loved her; she was a modest woman, and her playing shone like the sun." Acclaimed worldwide, she stood alongside Victoria de Los Angeles as one of Spain’s finest artists.

Larrocha’s journey began at three, seated at a piano. At four, she studied under Frank Marshall, a student of Granados. By six, she was performing publicly; by eleven, she played Mozart’s Coronation Concerto with Madrid’s Symphony Orchestra, astonishing audiences. Despite her small hands, she developed an airy, precise touch, even daring to record Rachmaninov’s Third Concerto. But beyond technical mastery, her playing held a profound sense of life and imagination.

Though trained in Bach, Mozart, and Chopin, Larrocha fought to bring Spanish composers to global audiences. Albéniz and Granados owe much of their fame to her. Her international breakthrough came in the 1950s when an American impresario heard her Spanish recordings and invited her to the U.S., where she triumphed.

Her performances honored Spain’s musical heritage. From Soler’s sonatas to Granados' Goyescas, she infused each note with nuance. She brought Goya’s paintings to life in El Pelele and mastered the dark contrasts of Surinach’s Canción y Danza. Albéniz’s Iberia demanded both power and delicacy—qualities she commanded effortlessly.

Her final tribute was to her friend Francis Poulenc, performing his Toccata—a soaring farewell.

As one admirer put it in 1982, "She walked toward a piano too big for her, sat, placed her hands on the keys… and became the queen."

Alicia De Larrocha, Piano

Als William J. Tsamis, Gründer der Epic-Metal-Heroen Warlord, am 13. Mai 2021 im Alter von nur 60 Jahren viel zu früh für immer von uns gegangen ist, schien dies für viele das Ende einer der kreativsten Metal-Formationen Amerikas zu markieren. Doch überraschender Weise schlugen Warlord zurück, mit neuer Besetzung und einem neuen Studioalbum, "Free Spirit Soar" (auf High Roller Records). Auf besagtes Studioalbum folgte im selben Jahr die limitierte Compilation "From The Ashes To The Archives - The Hot Pursuit Continues", die Appetit machen sollte auf die 2024er Festival-Tour von Warlord mit ihrem neuen Sänger Giles Lavery (der auch bei Jack Starr und Alcatrazz das Mikro schwingt). Auf dem Plan standen: Trveheim (Deutschland), Golden R Festival (Griechenland), Pyrenean Warriors (Frankreich) und Metalitalia (Italien). Für diese Shows hatten sich Warlord etwas ganz Besonderes ausgedacht: Im Vorfeld eines jeden Auftritts wurde exklusiv ein neuer Song im Internet veröffentlicht. Alle vier befinden sich auf "The Lost Archangel" zum ersten Mal in physischer Form. Giles Lavery schwärmt von besagten Auftritten: "Die Reaktionen bei diesen Shows waren unfassbar. Sie haben unsere kühnsten Träume übertroffen. Die Fans sangen jedes Wort mit uns mit - die Energie, die von diesem Festival-Publikum ausging, kannte keine Grenzen." Die vier Songs, um die es sich handelt, sind "Golgotha (Place Of The Skull)", "The Rainbow", "Lost Archangel" und "Stygian Passage". Giles Lavery geht ins Detail: "Es sind alles brandneue Aufnahmen. 'The Rainbow' stammt von einem alten Warlord-Demo aus den ganz frühen achtziger Jahren. Wir haben den Song umgearbeitet. Die anderen drei Stücke sind von Lordian-Guard-Alben. Wir waren der Meinung, dass wir sie sehr gut zu Warlord-Nummern umarrangieren konnten. Also warum sie nicht auch veröffentlichen? Unser Gitarrist Eric und ich haben die vier neuen Nummern produziert, mithilfe digitaler Heimtechnik aber auch in professionellen Studios." Zusätzlich zu den besagten vier neuen Aufnahmen bietet "The Lost Archangel" neben älteren und neuen Live-Mitschnitten auch Neuinterpretationen einiger Warlord-Klassiker. Für Fans und Sammler ein rundum gelungenes Paket.

Als William J. Tsamis, Gründer der Epic-Metal-Heroen Warlord, am 13. Mai 2021 im Alter von nur 60 Jahren viel zu früh für immer von uns gegangen ist, schien dies für viele das Ende einer der kreativsten Metal-Formationen Amerikas zu markieren. Doch überraschender Weise schlugen Warlord zurück, mit neuer Besetzung und einem neuen Studioalbum, "Free Spirit Soar" (auf High Roller Records). Auf besagtes Studioalbum folgte im selben Jahr die limitierte Compilation "From The Ashes To The Archives - The Hot Pursuit Continues", die Appetit machen sollte auf die 2024er Festival-Tour von Warlord mit ihrem neuen Sänger Giles Lavery (der auch bei Jack Starr und Alcatrazz das Mikro schwingt). Auf dem Plan standen: Trveheim (Deutschland), Golden R Festival (Griechenland), Pyrenean Warriors (Frankreich) und Metalitalia (Italien). Für diese Shows hatten sich Warlord etwas ganz Besonderes ausgedacht: Im Vorfeld eines jeden Auftritts wurde exklusiv ein neuer Song im Internet veröffentlicht. Alle vier befinden sich auf "The Lost Archangel" zum ersten Mal in physischer Form. Giles Lavery schwärmt von besagten Auftritten: "Die Reaktionen bei diesen Shows waren unfassbar. Sie haben unsere kühnsten Träume übertroffen. Die Fans sangen jedes Wort mit uns mit - die Energie, die von diesem Festival-Publikum ausging, kannte keine Grenzen." Die vier Songs, um die es sich handelt, sind "Golgotha (Place Of The Skull)", "The Rainbow", "Lost Archangel" und "Stygian Passage". Giles Lavery geht ins Detail: "Es sind alles brandneue Aufnahmen. 'The Rainbow' stammt von einem alten Warlord-Demo aus den ganz frühen achtziger Jahren. Wir haben den Song umgearbeitet. Die anderen drei Stücke sind von Lordian-Guard-Alben. Wir waren der Meinung, dass wir sie sehr gut zu Warlord-Nummern umarrangieren konnten. Also warum sie nicht auch veröffentlichen? Unser Gitarrist Eric und ich haben die vier neuen Nummern produziert, mithilfe digitaler Heimtechnik aber auch in professionellen Studios." Zusätzlich zu den besagten vier neuen Aufnahmen bietet "The Lost Archangel" neben älteren und neuen Live-Mitschnitten auch Neuinterpretationen einiger Warlord-Klassiker. Für Fans und Sammler ein rundum gelungenes Paket.

Nachgepresste Vinyl-Zusammenstellung von frühen Singles und EPs der kanadischen Alternative-Künstlerins LOLO! Die aus Toronto, Kanada, stammende LOLO hat sich zu einem aufstrebenden Star der alternativen Popmusik entwickelt. Ihr Durchbruch gelang ihr mit ihrer Overkill-EP, in der sie sich mit peinlicher Adoleszenz (,lonely and pathetic"), Herzschmerz (,hurt less") und Selbstironie (,death wish") auseinandersetzt. Das People Magazine bezeichnete sie daraufhin als ,Emerging Artist" und Spotify nahm sie in seine EQUAL-Kampagne auf, die aufstrebende Künstlerinnen fördert. Nachdem sie bei Hopeless Records unterschrieben hatte, trat LOLO mit ihrer Zusammenarbeit mit der Alt-Pop-Künstlerin Maggie Lindemann ins Rampenlicht. Der Song ,debbie downer" landete in allen Pop/Alt-Playlists und brachte ihr Tourneen und Festivalauftritte beim Lollapalooza und Sad Summer Festival sowie eine UK/EU-Tournee mit Leah Kate ein. Mit der Veröffentlichung ihrer zweiten EP ,Debbie Downer" feierte LOLO mit dem eingängigen ,u turn me on (but u give me depression)" Erfolge im kanadischen Pop-Radio und gestaltet die Alternative-Pop-Szene weiter mit, zuletzt mit ihrem 2024 erschienenen Debütalbum ,Falling For Robots And Whishing I was One". "LOLO creates honest, grungy breakup anthems and hot-girl bangers that mix genres and confuse categories."-Westword "Full of all the anger, angst, cynicism and depression that makes a proper pop punk artist, Toronto singer-songwriter LOLO is well on the rise." -Paper Für Fans von Charlotte Sands, Maggie Linderman, Stand Atlantic, Alternative Rock, Indie-Pop, Punkpop Diese neue Vinyl-Ausgabe der Singles-Compilation kommt in transparentem Rot!

Preeminent cellist / composer Oliver Coates follows his scores for
‘Aftersun’ and ‘Foe’ with a stately string and electronic orchestration for Tudor and Stuart-era period drama ‘Mary & George’. Coate’s score draws on his roots in classical, electronic and club music to accompany an adaptation of the non-fiction book ‘The King’s Assassin’ by Benjamin Woolley, which outlines the romantic affair between King James VI and I and George Villiers, 1st Duke of Buckingham.
The score sees Coates reaching for a suitably lavish palette of strings, from symphonic to puckered chamber arrangements, sometimes underlined with Burial-esque beats and choral pads, as in ‘France’, or alloying the two in a way recalling Nicholas Britell’s ‘Succession’ soundtrack. There’s enough harpsichord to make the ruffed-necks swoon, and Coates takes the license to distort sounds to taste when necessary, resulting a clear highpoint in his work, both solo and for film

Born from a virtual encounter in lockdown between two Parisian neighbors, the DJ/producer Prosper and saxophonist Le Marabout, this new playful and joyous project is pulling freely from the Afro, Funk, Disco, Hip-Hop, Oriental and Electro influences of the two artists.
The iconoclastic DJ Romain “Prosper” Coolen, fervent purveyor of no holds barred euphoria on the dance floor, and the versatile saxophonist, composer and jack-of-all-trades Johann “Le Marabout” Guihard offer us a lavish, eclectic, uninhibited, coherent and furiously groovy listening experience.

First single “C’est Vrai“, from their forthcoming album ‘Le Moustache Conspiracy’ (released October 2022) is a banging Electro Afro Funk joint featuring Fou Malade and Niagass, two luminaries of the Senegalese Hip-Hop scene.

Over the bouncing beat and snarling horns, these two juggle lyrics back and forth in Wolof (Senegal’s most widely spoken language), calling out those fake friends who smile in your face before stabbing you in the back.

Manchester-based producer Lily Mumby, the creative force behind Lapalace, has chosen Lavender as her botanical muse for this sixth instalment. Like the aromatic herb that grows from tiny seeds to fragrant purple stalks, her compositions unfold with a similar patience and elegance. Her synthesisers breathe with a natural rhythm, creating textures that emerge and recede like morning dew on lavender buds waiting to bloom.

The standout track ‘new age night’ – a stunning love child of William Basinski's decaying tape loops and Aphex Twin's intricate programming—carries subtle lavender-inspired tones, balancing the plant's calming essence with hypnotic rhythms. Just as lavender requires thoughtful tending before rewarding the gardener with its distinctive aroma, Lapalace's landscapes reveal deeper complexities with each listen.

Much like gardening itself, Mumby demonstrates an innate understanding of when to intervene and when to allow natural development. This approach echoes throughout her career, from her debut EP "Ephemera" which caught the attention of Insult to Injury Records' Timothy Clerkin, through to her contributions to Chez De Milo's "So It Goes" Remix EP and Manchester label Skiptrace's various artists compilation.

Her work across BBC Introducing and fossil.radio reflects this same philosophy – creating environments where sound, space, and organic movement find their natural harmony. But this composition really feels that Mumby has come of age. "Music To Watch Seeds Grow By Vol. 6" represents the continued cultivation of Lapalace's distinctive sound and demonstrates the maturity of an artist way beyond her years. This music stands as a lighthouse through a thick fog of nostalgia, much like lavender standing tall amidst an English cottage garden.

Early DJ support including - Auntie Flo, Ruf Dug, Courtesy, Vladimir Ivkovic.

Escribano Imprints presents Fluyo 004 — a carefully curated compilation featuring four distinct artists, each offering their unique interpretation of a shared sonic language. Thoughtfully assembled, the release invites listeners on a deep and elegant journey: subtle, timeless, and gently propelling forward. It’s a seamless continuation of the label’s ongoing exploration of sound.

Olsvangèr joins Craigie Knowes with ‘The Core’ EP. 4 sophisticated club tracks spanning the spectrum of the Olsvangèr sound. From bumping house on the title track ‘The Core’ to darker club atmospherics on ‘Goldman’s Propeller’ and outright techno bounce on ‘Lunar Kiss Baby Whale’. The record is rounded out with the blissed-out breaks of ‘Lava Luva’. A truly spectacular and versatile record to cover all points in the night, get some!

Over the decades, the image of Kompakt as a pirate ship has taken root in our minds, braving the dangers of the seven seas of the music market. Sometimes it glides with a tailwind through calm waters, sometimes it has to survive violent storms. When we set sail in 1993, we never would have dreamt that our journey would still be going on after more than three decades and with 500 releases to date.

In our fast-paced business, the 500 mark is rarely reached, so we want to celebrate it with a lavish 5LP box set. In a democratic process, we have selected 50 pearls from the thousands of tracks released over the last 33 1/3 years and pressed them onto 5 brightly coloured vinyls. Alongside many Kompakt evergreens, there are also some real rarities from the early ‘Kompakt Sound of Cologne’, which have been lovingly remastered here to shine in new splendour.

The box also contains a 144-page book that tells the story of Kompakt from 1993 to today with detailed texts and images. In addition to the manifold musical and graphic achievements of Kompakt, the multidisciplinary links to the visual arts are also highlighted here.

The Bonus Picture Disc opens with the symbolic tolling of 500 bass drums, followed by 50 locked grooves from the 5 Kompakt founders, looping into infinity at 133 1/3 BPM, and the ‘33 1/3 Years Loop Opera’ – in which the loops are combined into one track that, in its reduced essence, is more than the sum of its individual parts. The magic of groovy loop minimalism and the ‘art of omission’ are once again brought to the proverbial point.

On 23 May 2025, the big KOMPAKT 500 art exhibition will open at the venerable Kölnischer Kunstverein to coincide with the release. The entire visual cosmos of Kompakt will be shown here in an unprecedented way on three floors, with the participation of many renowned artists. Of course, there will also be dancing and partying at the vernissage party, with DJ sets and live shows by the Kompakt Allstars.

The last one turns off the bass drum.


Im Laufe der Jahrzehnte hat sich in unseren Köpfen das Bild von Kompakt als Piratenschiff festgesetzt, das den Gefahren der sieben Weltmeere des Musikmarktes trotzt. Mal gleitet es mit Rückenwind durch ruhige Gewässer, mal muss es heftige Stürme überstehen. Als wir 1993 die Segel setzten, hätten wir uns nicht träumen lassen, dass unsere Reise nach über drei Jahrzehnten und mittlerweile 500 Veröffentlichungen immer noch andauert.

Die 500 ist in unserem schnelllebigen Geschäft eine selten erreichte Katalognummer und soll daher mit einer üppigen 5LP-Box gebührend gefeiert werden. In einem demokratischen Prozess haben wir aus den tausenden Tracks der letzten 33 1/3 Jahre 50 Perlen ausgewählt und auf 5 knallbunte Vinyls gepresst. Neben vielen Kompakt-Evergreens finden sich auch einige echte Raritäten des frühen “Kompakt Sound of Cologne”, die hier liebevoll remastered in neuem Glanz erstrahlen.

Die Box enthält außerdem ein 144-seitiges Buch, das mit ausführlichen Texten und Bildern die Kompakt-Geschichte von 1993 bis heute erzählt. Neben den mannigfaltigen musikalischen und grafischen Errungenschaften von Kompakt werden hier auch die multidisziplinären Vernetzungen zur bildenden Kunst beleuchtet.

Die Bonus Picture Disc wird mit einem symbolischen Glockenschlag von 500 Bassdrums eröffnet, gefolgt von 50 Endlosrillen der 5 Kompakt-Gründer, die sich bei 133 1/3 BPM in die Unendlichkeit schleifen sowie der “33 1/3 Years Loop Opera”, in der die Loops zu einem Track zusammengefügt werden, der in seiner reduzierten Essenz mehr ist als die Summe seiner Einzelteile. Die Magie des groovenden Loop-Minimalismus und die “Kunst des Weglassens” werden einmal mehr auf den sprichwörtlichen Punkt gebracht.

Am 23. Mai 2025 eröffnet parallel zum Release die große KOMPAKT 500 Kunstausstellung im ehrwürdigen Kölnischen Kunstverein. Der gesamte visuelle Kosmos von Kompakt wird hier unter Beteiligung vieler namhafter Künstler*Innen in nie gesehener Form auf drei Etagen gezeigt. Selbstverständlich darf zur Vernissagenparty auch getanzt und gefeiert werden zu DJ Sets und Liveshows der Kompakt Allstars.

Der Letzte macht die Bassdrum aus.

Abaeté, a vocal trio from Bahia, made a remarkable debut with masterfully crafted jazz-funk sambas, at a time when Bahian musicians were true masters of the genre. There"s virtually no information about the band, apart from the music itself, which seems to be limitedto two releases: a single and that much-loved 1977 self- titled album, now a cult classic. A collection of killer tunes, funky samba, synthesizer sounds and free rhythms with a North Brazilian flavour. The band also wrote songs for Clara Nunes and Elza Soares in the 70s. Mixed by Waldir Lombardo Pinheiro (Tom Ze, Zeca Do Trombone...).

Das bisherige Schaffen von Oskar Rice und Adam Jackson beschränkte sich auf eine Debüt-EP mitten im Lockdown und einige weitere Singles. Doch das ändert sich jetzt mit ihrem Debütalbum: Das charmante Duo feiert einen bedeutenden Schritt nach vorne und eine brillante Essenz all dessen, was die ersten Releases so dramatisch machte. Das Album erzählt die Geschichte eines turbulenten Jahres voller Leben, Liebe (und dessen Ende). Die Songs sind das Tagebuch 12 ereignisreicher Monate. "we're having a barn dance" übertrifft die Ziele des Duos. Die LP ist sowohl in der Produktion als auch im Songwritering offenkundig ambitioniert.

Carwyn Ellis & Rio 18 release their new album "Fontana Rosa". Possibly the world's only musical group to fuse Latin music of all kinds with the Welsh language, this time Rio 18 draw inspiration from slightly different musical corners, including Chicano Soul, Nuyorican pop, and Salsoul disco plus Latin sounds filtered through the cultural spectrum of the USA.

Most significantly though, the album was among the last ever to be recorded by the acclaimed producer Liam Watson at his legendary studio and shrine to all things analogue, Toerag Studios - a huge inspiration and influence on Rio 18's Carwyn Ellis. The "Fontana Rosa" sessions saw Ellis draw together an all-star band at the fabled studio which is perhaps best known through its place in the White Stripes history.

Talking about the story and gestation of the album, Carwyn said:

"I was in Mexico City with Baldo Verdú when I heard that Toerag Studios in London was going to close. It came as a shock - Toerag and Liam Watson, its owner and resident producer had been a massive influence on me. Liam, along with Edwyn Collins, had taught me much of what I know about recording, had hired me as an instrumentalist on countless sessions and had helped me to get started when I began my own solo career. And over the years, I'd still go in to record with Liam whenever the opportunity arose. When I heard that Liam was shutting up shop, I took it upon myself to try and ensure he went out with a musical bang. I rounded up the best band I could get: the aforementioned Venezuelan percussion wiz and singer, Baldo Verdú: American drummer, multi-instrumentalist and producer Shawn Lee: the Isle of Wight's finest drum and percussion master, producer and composer Rupert Brown (whom I'd originally met at Toerag many moons ago): Elan Rhys, one of Wales's finest voices and long term collaborator with Rio 18, as well as being one third of the wonderful folk group, Plu: and Kassin - my Brazilian brother from Rio de Janeiro, bassist and producer with artists such as Jorge Ben, Caetano Veloso, Gilberto Gil and a multitude of others, including Carwyn Ellis & Rio 18.

So this was my dream team, assembled to make beautiful music one more time at Toerag (I have to add at this point that Shawn and Rupert hit it off so well at our sessions that they booked their own session shortly afterwards! Look out for the brilliant Shawn Lee's Toerag Orchestra 'Percussion Discussion' album). Toerag, if you're not familiar with the place, made its name as London's foremost analogue studio for some 30 years, recording directly to tape which in essence means musicians playing live, together in a room until they get it right. And the sound? Oh the SOUND!! And this is all Liam Watson's doing, his sonic aesthetic - a real master engineer. The studio is perhaps best known as the place where the White Stripes recorded their monster hit album 'Elephant' but for me it's where I got to record with James Hunter, Lay Low (from Iceland), Quruli (from Japan), Fabienne Delsol (from France) and made many lasting friendships, learnt a great deal about popular music, as well as making a bunch of my own best recordings with Colorama.

Over the course of five days we laid down as much music as we could. We had some visitors too: guitar slinger Little Barrie (Primal Scream, The The and Liam Gallagher among other things, but also my dear bandmate in Edwyn Collins's band): sax and flute maestro Jim Hunt (Amy Winehouse, Primal Scream, Duffy and very many others): and Diego Laverde Rojas, the Colombian Latin harp virtuoso.

This time the music had a slightly different edge - although we still maintained our Brazilian/Welsh connection on 'Deffro'r Dydd' (written with and sung by Elan Rhys), our Cumbia vibe and some Merengue ('Mariposa' and 'Te Adoro', sung by Baldo Verdú) and even a traditional Afro-Venezuelan tune ('La Quichimba', again sung by Baldo) - the main influence for me this time was Latin music as recorded in the USA, both new and old. 'No More Secrets' is a straight up slice of Salsoul disco, while 'Hei Ti' is a punky funky but of Nu Yorican pop somewhere between ESG and the Beastie Boys. But one of my main influences in the last couple of years has been the current wave of Chicano Soul coming from California, particularly via the Penrose and Big Crown labels. I was turned on to this music when I was in Japan in early 2023 - Takashi-san at Pleased To Meet Me Records in Nara played me the Altons' 'Float' and I was hooked!

And that music has a similar aesthetic to Toerag: music recorded live to tape by excellent engineers, performed by fine musicians and singers. So our songs 'Impossible', 'Heartbreaker' and 'Lovesick' are very much in this vein. And that just leaves the title track, 'Fontana Rosa'."

The incredibly elusive band Sault release their debut album 5 on Vinyl via independent record label Forever Living Originals. The record fuses African, soul, funk and post-punk vibes amongst other flavours. With support from Radio 6's Lauren Laverne and USA's KWRC and KEXP, the band are set to go from strength to strength becoming one of the most prolific bands of 2020 with a barrage of material up their sleeves

Dean Josiah Cover aka Inflo has been composing for Michael Kiwanuka, The Kooks, Tom Odell, The Jungle and Little Simz

Continuing the Hyperspace instrumental ambient series tradition are two ensembles: Mindstreams, and the duet Squash and Biscuit. This LP features a full side for each artist and is pressed in lavender vinyl. Mindstreams is a vocalized ambient bed of sound by JP Berreondo and Stefanie Naifeh. From opera to avant-garde, neo-cabaret to singing world music in 15 languages, Naifeh journeys through a colorful mosaic of music. She began her classical training at the age of 8, performed with the San Francisco Opera in the children's choir in Carmen, and majored in opera at UCLA. She later formed the avant-garde, neo-cabaret band, The Underthings in 1987. Squash and Biscuit is a Los Angeles based husband/wife team featuring composers Shuwen Zhao and Brian Griffith. Recorded live from 2020-2021, each piece serves as a short investigation into the world between sound and music using found sounds, musical samples, instrument recordings, and voice manipulation. Limited to 300 copies