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With over 2 decades of formal exploration and exhilarating abstraction Get On is, somewhat surprisingly, only the fourth solo Pita full length. Peter Rehberg has always been vouched for pushing the very limits of the technology du jour, be it software or in recent years a complex modular set. Rehberg’s motives are one of unbridled exploration often resulting in extreme and exhilarating audio works.

Having spearheaded the contemporary electronic sound with his uncompromising explorations of noise, rhythm and extreme computer music, he has also worked with numerous experimental musicians in collaboration. Rehberg stands in the wake of a sonic revolution, once fringe, which transformed over time into the sound of a generation of experimental geeks and club freaks worldwide.

Get On follows on from the 2016 release Get In. As with other titles in his ‘Get’ series we have an unwieldy blend of noise, abstraction, gnarled rhythm and blurred melody. Both analogue and digital tools are deployed as a means of expressing something outside of everyday electronics. ‘AMFM’ launches proceedings with some delightfully disorientating ricocheting electronics setting off a subversive sonic spectrum. ‘Frozen Jumper’ presents some ugly skittering electronics which rotate into exquisitely mangled forms before launching into an unsettling euphoria. The last piece ‘Motivation’ is a towering sensitive work, simultaneously haunted and emotionally moving. Get On marks another monumental work in the ongoing evolution from one of the ground zero pioneers of contemporary radical electronic music. As uncompromising as ever this is Pita in his prime. Emotion rung from the most twisted of frames.

"62 years ago, the famous film directed by Norman Taurog, “Blue Hawaii,” was released. The film’s soundtrack includes memorable songs like “Can’t Help Falling in Love” and “Blue Hawaii,” which helped popularize Hawaiian music worldwide. This catchy and sunny soundtrack perfectly captures the tropical atmosphere of the film and remains a timeless favorite among Elvis fans and 60s music enthusiasts. To celebrate this cinematic and musical landmark, here is an exclusive limited-edition Shaped Picture-Disc vinyl!"

NAD aka Dan Tyler of the legendary Idjut Boys arrives at Duca with a bouncing 4 track of obscurities, all wrapped in a sheen of echo and reverb.

The Idjuts’ have released on a myriad of labels, including Noid, U Star and Smalltown Supersound, being one of the originators of the 90s edits revival, DJing the globe including to almost cult-status in Japan, as well as remixing the likes of DJ Harvey, Brian Ferry and Dimitri From Paris

A master of editing, Dan’s move to Oslo has seen him step out solo to remix the likes of Todd Terje (Olson), Mudd (Claremont 56) and King Sporty (Emotional Rescue) and not forgetting running the Record Mission edits label with old friend Nick The Record.

Das Wordy hits with a bump, the gastarbeiter NAD rockin’ like Tom Tom Club on Stasi steroids.

La nouvelle musique of Histoire De Cul sweeps the catwalk, sweeping past Le Palace queue, hitting Cuevas’ dancefloor to “effet sensuel”.

Rocking out is NAD’s nature, Kropps Smack a body with a mind of its own, come down, come all night…boody language.

Release The Pigeon is a smooth ride home, the music nomad, the gypsy man, one of these days he’ll settle down.

Yer yer yer ahhh yer.

Morning Stone is Pacific nostalgia. Now based in Mohkintsis territory on the Eastern side of the Rocky Mountains, Benoit Guimond, under his moniker Angel Science, draws us into his early life in Vancouver. That coast is still home, and his conifer-covered memories have been shaped into the organic textures of this record. Waving filtrations, archival recordings, rewinding spins and ethereal pads signal a return to the stones, sand and organic beach drift of the Pacific Northwest. Environmental rhythm and free-flowing flourishes reveal a musician in the core of his memory, at the forefront of an ever-evolving sonic journey.

Guimond has rapidly become a standout figure in Canada’s underground dance scene, celebrated for his subtle grooves and esoteric soundscapes with releases on PHTM, Echolocations, PPRZ and more. While he’s often linked to techno, Morning Stone reveals a softer, slower side that pushes through any previously held genres he has been confined to. The euphoria of Madrugada, the deep and hypnotic energy that reverberates in tracks Cee Dub and Shale, alongside the ambient textures of Alborz, all come together to strike a specifically pacific balance between the blissful and the raw. It offers a refreshing growth and a hit of balearic beyond conventional techno, while retaining the depth and edge that encapsulate a signature style.

Elena Colombi approved material!
Tondiue “Yesssssss”

Fresh out of the oven! Joe Claussell slices and dices the original disco version into a floor filling monster. Originally released in 1980 on Norman Connors often forgotten 10th Album ‘Take It To The Limit’ on Arista, the single of the same name is a classic Philly Disco Soul joint featuring the commanding vocals of Adaritha and the production prowess of Connors himself.Claussell bleeds dry what was already there, extending it in a chaotic peak time disco jam, the kind you have surely hear him manipulate into madness on the Body & SOUL dance floor. Pressed on virgin vinyl and house in a white die-cut sleeve with Arista Promo sticker.

Corrosiv, the sophomore album from Orchestroll, reveals the duo at their most mature and vulnerable. Originally conceived as a reflection on hybridity and bastardization, the album deploys New Age and ambient compositional tropes as a launchpad, exposing their trite sanctity to the realities of corrosion. Having come of age in the 1970s and 1980s, the New Age movement perdures today as a domain of contradictions; its promise of transcendence riddled with the very commercialized dogma from which its adherents claim to flee. Healing modalities such as reiki, crystal therapy, and sound baths are simultaneously pathways to solace and sites of exploitation; their sonic counterparts—ethereal synth pads, shimmering textures, celestial drones—claim to facilitate meditation and enlightenment while devolving into empty signifiers of vitality. With Corrosiv, Orchestroll displays neither reverence nor disdain toward New Age: they exhume it instead, revealing the saccharine effervescence and commodified murk undergirding its aesthetics. The result is intoxicating—disquieting.

Born from a two-week residency at EMS Studios and expanded through a performance at MUTEK Montreal’s 25th anniversary, Corrosiv has since outgrown its original conceptual nucleus, taking on a broader scope. Its inquiry into New Age ideology’s voided rhetoric and aesthetic mysticism now informs a broader interrogation of cultural mediocrity, anti-authoritarianism, gatekeeping, music industry toxicity, and the crumbling edifice of late capitalism and techno-feudalism—all the mechanisms by which meaning is stripped from ceremony, and once-potent forms of knowledge are subsumed into the machinery of economic extraction, severed from their original essence, and transformed into hollow simulacra. Corrosiv distills these themes through a loose narrative: a soul, fixated on wellness as dictated by cosmetic economism, becomes ensnared in an endless afterlife, unable to transcend and shed its dilapidated consciousness.

Framed as an act of audio dissolution, the album thus engages in an alchemical process, whereby complex waveshaping, morphing synthesis, and distortion enact a ritual of fragmentation. There is also friction: between the rigid, mechanical imposition of systematized order and the untamed, chaotic force of organic metamorphosis. Here corrosion and confinement are not solely conceptual motifs; they are enacted in real time, sculpting the album’s terrain. Scraping, tarnishing, degradation—the languid wear of form and substance—become instruments in their own right: buffing as abrasion, entrapment as transformation, corrosion as a means of reconfiguration. The ‘protagonist,’ if there must be one, is the listener, caught within the throes of structural determinism and the potential for emancipation, unable to pass into something greater as the specters of collapsed futures accumulate in the margins.

Corrosiv extends its reach through collaborations with familiar voices: Heith (PAN), VISIO (Haunter), Femminielli (Drowned by Locals), Habib Bardi (Interzone), and Jiyoung Wi (Enmossed, Psychic Liberation, Doyenne) each leave their imprint on its sprawling landscape. At 1h16m, it is a procession, dense with earworms that burrow into the listener’s unconscious.

Misshapen, broken-down metals leach copper into blood, acid reflux burning through the core. Psyche disaggregates into cosmic turmoil, drifting between planes—tongue on rustline, gullet laced with solvent hymns, molars unlatching, bitcrushed to marrowspill. A spasm of brine, ferrous scripture, venomtext blooming in leaden rivulets, cartilage smoldering in phosphor decomposition, synapses drowning in a quicksilver choir. Crest of bile, churning ore, breath clotting into arsenic mist, vein-thread cinched, a corrosive gospel, limb by limb, oxidized to silence.

Ultimately, as the music exhales its final breath, its residue refuses to dissipate—and stillness alone remains. There are no conclusions here—no resolution, no collapse—only the slow drift outward of a vessel unmoored, lost in the sea of symbolic souring. Corrosiv sings the song of a world barren of prophecy, littered with aesthetic detritus. Whether this magic has been transfigured or simply worn away is unclear: the last breath dissipates, but the oxidation does not stop. The silence, too, will decay.

Conceptualized, composed, performed, recorded, mixed, engineered and produced by Jesse Osborne-Lanthier, and Asaël Richard-Robitaille in 2023 and 2024 at Elektron Musik Studion (EMS) - Stockholm, Sweden and Landsc8pe Studio - Montréal, QC, Canada.
Artwork by Jesse Osborne-Lanthier.
Mastered by Stephan Mathieu @ Schwebung Mastering.

Library of the Occult Records unviels ‘Music to Accompany the Poems of Edgar Allan Poe’ a haunting double LP that threads the legendary poet’s dark romanticism through the minds of some of the most evocative contemporary electronic artists.
The Library’s ever-expanding circle now united as the Library of the Occult Electronic Orchestra, bring their own haunted visions to Poe’s bleak and beautiful world. Ivan The Tolerable stretches krautrock pulses and experimental noise into something hypnotic and strange, while The Heartwood Institute channels vintage occult nostalgia. Sermons by the Devil drapes everything in a ritualistic haze and Klaus Morlock, ever the maestro of unease, paints in slow-moving shadows, melancholic, cinematic, and tinged with the surreal. It’s a record for twilight listening, flickering candles, and the spaces between.

Robyn is doing brilliant and important work - the world needs more music like this. Just one word: listen!" Giles Peterson “Even aside from her skills on her instruments and unique approach to music, Robyn devoted an immense quantity of emotional resources to the delivery of this record, and seemed to take its challenges on as a chance for personal growth. It was consistently clear that the personal input of the players was welcome in a fundamental way, and we all responded to Robyn’s efforts that went to the limits of her capacity and her love for bringing her project to you, the listener” Alabaster DePlume “It has been such a joy to work with Robyn, especially when entering the fascinating world of Robyn’s Rocket and Avant Garde jazz. We had our fun moments, like when the fire alarm went off during our recording session of Mystery Man, and we just rolled with it and kept it in. It’s like nothing matters. It’s such an honour to be part of the world of Robyn’s Rocket and to listen to the many stories, expressions and colours that shine throughout the album.”Sebastian Golgiri What happens when you bring together familiar faces at London experimental music venue Café OTO, Charles Hayward (drummer Abstract Concrete, This Heat) and John Edwards (double bass), and the Total Refreshment Centre (hub of new london jazz scene recording studio ) like Alabaster DePlume (singer and saxophonist) and Danalogue (synths from Soccer96, The Comet is Coming), and the learning disability autism art scene like singers/spoken word artists Sebastian Golgiri and Dean Rodney Jnr (Fish Police), on a magic carpet with space trumpeter Robyn Rocket? The answer materialises in the groundbreaking collaboration 'Robyn Rocket and People You May of Heard of'. Recorded across three days in three different studios connected to the three communities Robyn Rocket calls home, each session brought together musicians from these diverse backgrounds—many meeting for the first time. Together, they improvised and created a musical journey that transcends conventional boundaries.

This cosmic voyage features more than 20 musicians and a dog ( Taz from lost socks), gliding through free jazz, danceable tunes, loopy vistas and spoken word doors into different ways of seeing the world. At its heart lies a profound message about community as a vital part of existence and difference as something to embrace and value. The project culminates in the final single and focus track 'We Are All Human', featuring a poignant speech by Rocket from her night 'Robyn's Rocket - a residency at cafe OTO featuring experimental music and live visuals by artists with and without Learning Disabilities/ autistic and non autistic artists ' in the speech rocket talks about supporting each other—words she actively lives by and encourages others to embrace. Like many autistic people, Rocket has experienced abuse, bullying, isolation and feeling unwelcome in the world. “This project is like my nights but you can carry it around with you”, she explains. “I started my own night to share my work. I also recognised, it was a privilege to have my own night, I wanted to help other artists share their work too, and create an environment where people with and without learning Disabilities/Autistic and non autistic people as audience and performers could come together and get to know each other”. Historical Context

Ukrainian composer Katarina Gryvul presents her third LP, SPOMYN, on Subtext. SPOMYN ('recollection') is an exploration of memory’s fragile, fragmented nature, revealing how it shapes the core of who we are. Each track is a fragment — a flicker of something lost, distorted, or forgotten — brought to life through unmediated emotion, acting as an invocation of continuity, connecting us to those who came before us and the fleeting moments of their existence that still resonate within us, and become elements in the lattice of our own selves. Gryvul’s corrupted choral pop compositions, augmented with full frequency electronic and organic experimentation, characterize SPOMYN’s uncanny and chimeric sound. Much like the blurred edges of memory itself, SPOMYN resists resolution, inviting listeners to disintegrate into worlds that linger in shadow and evoke the beauty of the unknowable.

Following her last LP Tysha (‘silence'), released in early 2022 on the Ukrainian imprint Standard Deviation, SPOMYN finds itself in a changed and fractured world in which the urgency to maintain a clear remembrance of the past in the face of erasure and misinformation is ever increasing.
Katarina Gryvul explores the simultaneously fixed and fluid nature of collective and personal narratives by filtering the remembrances of her cultural and musical experience through an idiosyncratic and intuitive approach to music production. The result is aggressively iconoclastic while holding dear the essence of the traditions she has inherited. Katarina Gryvul is a classically trained composer, violinist, and music producer. She blends concept of holophony with avant-garde techniques to develop distinct soundscapes through instruments, voice, analog synths and spatial audio.

Finally available following strong support from Antal and Hunee, including soundtracking the closing of Rainbow Disco Club Festival in Japan: Cabo Verde Show's 1984 showstopper “Bem Danca” revisited in its original form alongside a perfectly stripped-back, synth-focused edit by The Square Sun. Now on a 12” pressed loud at 45 RPM, with the edit on the A-side and the original version on the flip!

“Bem Danca” was a B-side cut from a 1983 release, featuring lead vocals from Luis Da Silva. The original is a party-ready Funaná jam with intricate horn and guitar work. The Square Sun’s edit takes the track deeper, extending some instrumental parts to build tension before the culmination of synths and horns that truly sparkle in this version. An essential for your bag as we begin to enjoy those open-air dancefloors once again!

Fit for Consequences: Original Recordings, 1984–1987 is the first ever archival release from Repetition Repetition, the “two-man electric minimalist band” consisting of Ruben Garcia and Steve Caton hailing from Los Angeles in the mid 1980’s. Repetition Repetition’s unique blend of cosmic art-rock minimalism / maximalism was self-released across a series of cassettes produced in micro editions, and while garnering the attention and participation of luminaries such as Harold Budd, remained under the radar during the band’s existence. Fit for Consequences: Original Recordings, 1984–1987 collects select material from across the duo’s catalog.

It was over a plate of Mexican breakfast food when Ruben Garcia and Steve Caton first told Harold Budd of Repetition Repetition and the worlds they intended to explore by respective way of synthesizers and guitars --- a rendezvous instigated by the former’s fan mail to the legendary composer. If the upstarts entered this restaurant from a one-way street of admiration, they would leave with not only Budd’s interest but, sometime later, a blessing in the wake of many hours shared by the three in Garcia’s Los Angeles home recording studio: “This is going to be difficult, but God help them, I think they’re great,” noted Budd in a USC lecture in 1985. Now several degrees removed from prior rock music aspirations, the real game was afoot.

Between 1984 and 1988, Repetition Repetition operated within something akin to the underground of the experimental underground, although even that designation perhaps overstates the case. The duo’s sparse output consisted of three cassettes self-released on Garcia’s Third Stone Music label: Repetition Repetition (1985), Lakeland (1987), and The Machinist (1987). Their songs would also be included during this period on Trance Port Tapes’ vital scene-scanning compilations assembled by A Produce. Live performances occurred with similar infrequency, but Garcia and Caton counted converts in quality over quantity, numbering among them the aforementioned Budd, a Chambers Brother, and, judging by a memorably drop-jawed reaction following a rare Repetition Repetition gig, Jackson Browne.

Likewise, critical support materialized in the form of KCRW deejays Brent Wilcox and Dean Suzuki, whose steady airplay positioned Repetition Repetition’s music amidst fearless company like Jon Hassell, Hiroshi Yoshimura, and Richard Horowitz. Yet, to hear fellow Trance Port featured players like Tom Recchion and Bruce Licher of Savage Republic tell it, Garcia and Caton moved as ghosts --- a notion more vexingly endorsed by the silence of record companies that failed to come knocking --- and therein lies an overarching truth to the work itself.

Journey to the heart of Repetition Repetition and one discovers a collective ear impossibly attuned to the hypnotic possibilities of stylistic convergence, the resulting music possessed of seamless multimodalities which beckon to a glimmering plane of the disembodied. Where Caton sought his artistic fixes at an intersection of popular genres, Garcia zoned in on the sonically spare, drawing from the same wellspring as the Enos and Rileys of his personal avant-garde pantheon, and in their coming together the two tapped into a deeper cosmic source. Synthetic walls of keyboard sound in forever states of reprise met waves of shimmering --- and at times even punishing --- guitar in reply, their soundscapes hovering convincingly between, as suggested in fittingly dualistic fashion in a press kit assembled by Garcia, such disparate sensations as bird flight in one song and oil drilling in the next.

But don’t call it a push-pull dynamic, as this was a creative partnership founded upon fluidity and organicism by way of, naturally, repetition. In contrast to, say, the Bressonian ideal of repetitive motion as a great stripping away, the concept in the hands of Garcia and Caton equated to ascendancy via continuous unfolding, a maximal route to minimalism. To be sure, their recording philosophy morphed over the course of the act’s short history, and what started as a process defined by consistent in-person interplay developed into a more isolated method formulated by Garcia, who eventually took to his own one-man bedroom-studio sessions in order to fully chart any and all potential ostinato-loaded paths which he could travel down, the Tascam-captured resonances subsequently provided to Caton as blueprints from which to take flight himself, adding layer upon layer of steel to the proceedings.

If the practice and execution changed, however, the evidence certainly didn’t rest in the results: The seamlessness remained, and, despite the brevity of their time together, so has Repetition Repetition. With this finely calibrated collection of songs in Fit for Consequences: Original Recordings, 1984–1987, Freedom To Spend sees to it that the private worlds of Garcia and Caton can now be visited by all rather than just the count-‘em-on-both-hands lucky few whose musical endeavors or collector vocations carried them into this once-distant dimension.

Repetition Repetition’s Fit for Consequences: Original Recordings, 1984–1987 will be released on Freedom To Spend in vinyl and digital editions on May 30, 2025. The collection includes extensive liner notes from Bill Perrine, and wil be offered alongside Over & Over, a supplemental collection of music available exclusively as a mail order cassette from Freedom To Spend and RVNG Intl.

Originally released in 1996 on Quarterstick Records, Music for Egon Schiele is the soundtrack to a piece of dance and theater that was debuted by the Itinerant Theater Guild, May 18, 1995, in Chicago. Based on the life of the romantic and controversial Viennese painter, Egon Schiele was written and directed by Stephan Mazurek, who headed the group of performing artists. Rachel Grimes composed this music and performed it with two string musicians during the run of the performance. The Rachel's began recording in April of 1991 in Baltimore, MD, under the direction of Christian Frederickson and Jason Noble (Rodan, Shipping News). Subsequently, they met and became close friends with Rachel Grimes. In September of 1994 after a few more city moves, band break-ups, and general melancholy they decided to become a full time band and complete their first record for Quarterstick Records, Handwriting. Music for Egon Schiele is their second LP and contains a more stripped down and immediate musical focus. These songs are not sparse, they're beautiful. They build, they crash, and they make you wish you knew more about life and they mysteries its holds.

After a three year hiatus, Mutual Response returns for its long awaited second release, by talented artist and close friend of the label, Dockett Eddy.
Moving through fresh yet familiar combinations of drum patterns and melodies, his first EP displays the beginnings of a unique, honed style.

Calling on a varied palette of reference from the last 30 years of electronic music, the atmosphere of the release is established somewhere between the skipping, dream-like rhythms of ’00:04’ and the rough, driving drums of ‘Delayed Response’. The gritty awkwardness of the title track, Monofly, builds to an unexpected, ethereal moment, in what is the worthy climax of all four tracks.

The record sets an ominous tone, consolidating itself as a recognisable contribution to the label’s evolving output, but at the same time demonstrating a sound which is entirely the producers own.

Mia Zapata was the greatest rock singer of her time. She may have likely been the greatest blues singer in punk rock history, the woman who married the 78 and the '78. Tragedy did not make this true. Mia Zapata made this true, and the ferocious, spring-loaded shrapnel frame that was built around her by Andy Kessler (guitar: metronomic and furious), Matt Dresdner (bass: fluid, punching, beat-addicted and melodic), and Steve Moriarty (drums: martial and explosive) - who, with Mia, combined to form The Gits - made it true. The Gits were formed at Antioch College in Yellow Springs, Ohio in mid-1986, grabbing and swapping pieces of art, thrash, noise, punk rock, classic rock, and all the sorts of magical silly and bookish jingle bells that an old-school liberal arts education handed you; for the next few years they worked on turning it all into something tough, sensitive, both brutal and kind. Andy, Matt, Mia, and Steve moved to Seattle in middish 1989, landing in a house on Capitol Hill where they (and fellow travelers) wood-shedded and rehearsed for the next few years. The Gits put out three EPs in 1990 and '91 before signing with C/Z Records and releasing their first full-length album, Frenching the Bully. Seattle quickly claimed the quartet as their own and embraced the Gits blend of ferocious fangs and soft heart, the slug/slap of the guitars, and the gorgeous, soft underbelly of the poetic emotions. These qualities not only fit in with the doe-eyed/sharp-clawed grunge ethos but earned the Gits the respect of their peers, including Nirvana, who tapped them to open a major local show in 1990. Then other stuff happened, and their frantic, confessional barbed-heart snowball began rolling up hill very, very fast; the Gits "quickly" (hah! After half a decade learning to implode and explode hearts and stomping their boots on manifold beer-softened, Marlboro-weeded wood stages!) inspired rapture, awe, and the levitation that happened when peak emotion meets peak grindage in front of amps spitting out something that sounded like the mad marriage of Bolan swagger and Dischord tension_ all fronted by a genuinely incomparable woman who held her heart in her mouth and shared it, in all its celebration and fear, without hesitation. The Gits were an angry, inflamed slinky fully in tune with and tuned by the Bessie Patti Smith of her time, truly the only singer who could summon Joplin, Poly Styrene, Sam Cooke, Iggy Pop and Ian MacKaye all in the same goddamn song. In 1993, less than four weeks after accepting an offer from Atlantic Records, Mia died. I leave it at that, because this is not about death; it's about an extraordinary life. I do not say, "You should have been there," I say, "We are lucky so many of us were, and I am so glad we have this extraordinary evidence of the power and gifts of Mia and the Gits that you now can hold in your hands." And I note that Frenching the Bully, this extraordinary testament to the soul, shock, fury and feeling of the Gits, has been long out of print on vinyl and CD, and this new edition - remastered by legendary Seattle engineer Jack Endino - joyfully rectifies that. -Tim Sommer

Singer James Ambrose Johnson, born on February 1, 1948, in Buffalo, New York, fled to Toronto, Canada, to avoid the draft. There, he started The Mynah Birds, a rhythm & blues band and changed his name to Rick James. In 1966, Neil Young joined the band, but their journey ended when James was exposed as a draft dodger and jailed. After serving his time, Rick James joined several bands, including The Great White Cane, and developed his unique funk style. In 1978, Motown signed him to their Gordy Records, releasing his debut solo album Come And Get It! featuring the hits “You and I” and “Mary Jane.” The album climbed to number 13 on the U.S. charts. Rick released multiple successful albums, such as Bustin’ Out Of L Seven and Fire It Up, with hits like “High On Your Love Suite' and “Bustin’ Out (On Funk).” His 1981 album Street Songs marked his internationally breakthrough, blending funk, rock, and new wave. It produced hits like “Ghetto Life,” the massive “Give It To Me Baby,” and “Super Freak,” earning gold records and Grammy nominations.

His follow-up albums included Throwin’ Down, featuring “Dance Wit’ Me” and "Standing On The Top" with The Temptations, and Cold Blooded, with “Ebony Eyes”a collaboration with Smokey Robinson. Furthermore Rick wrote and produced “Party All The Time” for Eddie Murphy, reaching number 2 on the Billboard charts. Also included on this Collected album are the hits “Glow”, “Loosey’s Rap” featuring the queen of hip hop Roxanne Shanté and his collaboration with Busta Rhymes of “In The Ghetto”

Rick James Collected includes most of his hits and early songs and the 2LP, is available on black vinyl and includes liner notes.

A deeply intimate and cinematic body of work, My Goddess unfolds as a self-contained emotional universe; an album about grief, depression, healing, and the enduring human urge to find beauty in a world that often feels unrelenting.
Composed against the backdrop of Lebanon’s ongoing political and economic collapse, My Goddess captures what it means to process personal heartbreak and collective trauma simultaneously. Across nine emotionally charged tracks, Etyen draws from profound loss, existential reflection, and the tragic death of his beloved cat Lucy to craft a record that is as fragile as it is resilient; both a personal reckoning and a universal portrait of survival through art. “This album is a conversation with myself. It’s about loss and grief, about finding beauty and trying to hold on to it,” says Etyen. “It’s about confronting the painful parts of life while still believing there’s something gentle and divine to hold onto.”
Blending cinematic textures, Etyen's unique and inspired electronics, and minimally sculpted yet immersive melodies, My Goddess pushes further into the raw introspection first glimpsed on Etyen’s 2022 debut album Untitled. But this time, the sonic architecture is more distilled, the emotional stakes more immediate. The result is a record that gently lingers in the spaces between memory, absence, and hope.
The album’s first single, the title track “My Goddess,” drops May 5 with a self-directed music video, one of three cinematic visuals accompanying the album. The trilogy further expands the emotional world of the record and affirms Etyen’s role not only as a musical artist, but as a multidimensional storyteller.
With over a decade of work that spans Netflix scores (Jinn), international festivals (Sonar Barcelona, Mutek), and critical acclaim and editorial support from Bandcamp Daily, BBC Radio and much more, Etyen has carved out a singular voice in electronic music—bridging personal, cultural and political resonance through sound. As the founder of Thawra Records, he also continues to champion independent artists from the region, building a vital platform for forward-thinking music in and beyond the Arab world.

Darkest Days is an album by American industrial rock band Stabbing Westward, originally released in 1998. It followed their second album "Wither Blister Burn & Peel" (1996) and marked a more refined sound for the band, blending industrial rock elements with darker, more introspective lyrics. The album features some of the band's most iconic tracks, including the single "Save Yourself". It also features the singles "Haunting Me" and "Sometimes It Hurts". The album remains a fan favourite and for many, a defining release in its genre. Darkest Days is available as a limited edition of 1500 numbered copies on gold & black marbled vinyl and includes a 4-page booklet.

This new anniversary edition from London's the Duke Spirit marks 20 years since their adrenaline-charged debut roared onto the UK indie scene. Originally released in 2005, it's now remastered and paired with a second LP of B-sides, demos and rarities, pressed on heavyweight yellow and red splatter vinyl. It's a suitably bold presentation for a record that remains as full-throttle and emotionally raw as ever. Built around the magnetic presence of vocalist Liela Moss and the jangling, distorted interplay between guitarists Luke Ford and Dan Higgins, this is a sound forged in post-punk grit and heavy rock swagger. Tracks like 'Lion Rip' and 'Love Is An Unfamiliar Name' still land with venom, but it's the depth and tension of songs like 'Fades The Sun' and 'Hello To The Floor' that show their full range. The bonus material only adds to the mythology i 'Boot Hill (demo)' and 'Scratching Around (demo)' offer glimpses of the band's early energy in the raw, while 'Souvenir' and 'Now Be Still' stand strong on their own. It's a beautiful document of a band at full force, and a reminder that sometimes the most exciting sounds are the ones that never tried to fit the moment.

Love is a first kiss, a late night call, an ache of longing that can break your heart or a long drive with the top down to anywhere but here. Love can equally be contained, repressed and longed for as much as it can save, nurture and embolden. Love is a measure of our humanity or how lost we have become. In her new album, How Love Bends, Reb Fountain muses on the transformative power of love. Imprinted with our fear, desire, hurt and hope as much as it is an expression of our suffering and joy, love is an ever-evolving shapeshifter that lives in our marrow; magnetic and emergent it is loosed by its archer to ride on the wind. Reb's medium is that of a surrealist, playing with the stories that we tell ourselves she harnesses the sage wisdom of the dream; we embark upon a limitless exploration of love, life and loss within a landscape entirely of Reb's making. Reb's love is the stuff of chaos and oceans, vulnerability and revolution; stirring up the depths of the human condition and dancing with the richness of who we really are. Unapologetic, vulnerable, heartbroken and commanding; this is How Love Bends. How Love Bends is at once haunting and alluring, mystical and triumphant. Reb is a seeker, actively reaching for the expanse. A reverent explorer she traverses the turbulent and tidal with heartbreaking vulnerability and blazon courage. The result is an emergent odyssey; a dynamic dreamscape unfolding and revealing itself mid-evolution. Reb has explored new approaches to songwriting revealing nuanced layers with endless depths.

Love is a first kiss, a late night call, an ache of longing that can break your heart or a long drive with the top down to anywhere but here. Love can equally be contained, repressed and longed for as much as it can save, nurture and embolden. Love is a measure of our humanity or how lost we have become. In her new album, How Love Bends, Reb Fountain muses on the transformative power of love. Imprinted with our fear, desire, hurt and hope as much as it is an expression of our suffering and joy, love is an ever-evolving shapeshifter that lives in our marrow; magnetic and emergent it is loosed by its archer to ride on the wind. Reb's medium is that of a surrealist, playing with the stories that we tell ourselves she harnesses the sage wisdom of the dream; we embark upon a limitless exploration of love, life and loss within a landscape entirely of Reb's making. Reb's love is the stuff of chaos and oceans, vulnerability and revolution; stirring up the depths of the human condition and dancing with the richness of who we really are. Unapologetic, vulnerable, heartbroken and commanding; this is How Love Bends. How Love Bends is at once haunting and alluring, mystical and triumphant. Reb is a seeker, actively reaching for the expanse. A reverent explorer she traverses the turbulent and tidal with heartbreaking vulnerability and blazon courage. The result is an emergent odyssey; a dynamic dreamscape unfolding and revealing itself mid-evolution. Reb has explored new approaches to songwriting revealing nuanced layers with endless depths.

Action Speaks Louder Than Words is the 1975 debut album by Chocolate Milk, a funk and soul band from New Orleans. The band emerged in the mid-1970s and quickly gained recognition for their unique sound that blended the rich musical traditions of their hometown with the influences of contemporary funk and soul. The band was discovered by producer Allen Toussaint, a legendary figure in New Orleans music, whose influence is evident in the polished arrangements and the band's tight, cohesive sound. The album's themes of social awareness and personal reflection, combined with its infectious grooves and skilled musicianship, have ensured its lasting appeal. Also due to the single and title track "Action Speaks Louder Than Words", which charted well and was later sampled by numerous artists, including Public Enemy, Eric B. & Rakim, Aaliyah, Neneh Cherry and Toni Braxton feat. The Notorious B.I.G & Puff Daddy, cementing its place in music history. Action Speaks Louder Than Words is available as a limited edition of 500 copies on blue coloured vinyl.

Don’t call it a sequel, it isn’t a Part Deux, ‘Pop Psychédélque: Les Extras’ is simply another slice of fine French Psychedelic Pop from Two-Piers, the label that brought you the groundbreaking compilation ‘Pop Psychédélique’ in 2021. L’es Extras’ is the perfect partner for the original and brings you a whole new bunch of quite simply brilliant pieces of French Pop and Psychedelic flavours from the 1960’s right up into the 2000s.

Pressed on Limited Edition Coloured vinyl for Record Store Day 2025 this is an essential purchase for anyone with a love of French Psychedelic Pop, or anyone who just loves great music for that matter.

‘Pop Psychédélique: Les Extras’ features some of the finest French pop divas of the 1960’s & 1970’s such as Jacqueline Taieb, Brigitte Bardot, Christe Laume, Brigitte Fontaine, alongside artists like Marie Laforêt’s wonderful take on the Rolling Stones ‘Paint it Black’, and the brilliant ‘Les Cactus’ by Jacques Dutronc. Fast forward to the 2010’s and we have tracks from the French Psych scene and lush curiousities from Brigitte, Étienne Daho, The Limiñanas and Ricky Hollywood added into the mix. This Record Store Day Vinyl release includes hard to find tracks on vinyl for the first time.

French Pychedelic Pop, a scene so joyous you can’t help but fall in love…. Les Extras anyone?

In dark and difficult times, the music of Barney Lister and Kojo Degraft-Johnson lifts us up. As MRCY, the production and vocal duo are confronting the many crises of modern life with a fresh sound full of punchy instrumentation, enveloping orchestration and lyrical honesty. On their latest project, VOLUME 2, Barney and Kojo deliver emotive music that surprises as much as it comforts, referencing timeless sounds as much as a sense of the cutting edge. Channeling soulful vocal melody alongside afrobeat polyrhythms, jazz soloing and driving, distorted grooves, tracks like "Man" address the challenges of modern masculinity, while standout number "Fear" drives a message that encourages us to fight the terror we might feel about the state of the world with optimism. Following the acclaimed release of their 2024 debut project VOLUME 1, which saw the duo nominated as Rising Stars at the Rolling Stone Awards and named as one of DIY's Class of 2025, MRCY returns with vital music that addresses the complexities of being alive today. "We're trying to extinguish fear with optimism and worry with love," Barney says. "VOLUME 2 breaks the mould to present a bigger picture of who we are - something with angst, surprises and more guts. The main feeling of the project is that the world is fucked but let's dance through it."

Havukruunu is the spirit of freedom, harbinger of oblivion, and it tells you: FLY, YOU FOOLS! Svart Records is set to release the band’s fourth album TAVASTLAND in February 2025 After three albums, the pieces of the puzzle fit, and Havukruunu, the favorite band of the sensitive and sorrowful returns with a vengeance to blur the line between the real and unreal. The sorrowful guitars of Stefa and Bootleg-Henkka draw threatening dark shadows on the wall, Kostajainen's drumming bombardement pulses like embers of a dying fire in the hearth. All the while, Humö's bass guitar is clanking and wailing like the icy wind rattling windows and banging walls, as Stefa roars and channels messages from the netherworld or preaches wisdom of ancient days, backed by a choir. Lords of Hell smile approving as the flames of hatred and cunning of their beloved sons drowns a dying old world, and heart of the earth trembles the birth of new and weird. Havukruunu is the spirit of freedom, harbinger of oblivion, and it tells you: FLY, YOU FOOLS! Havukruunu’s upcoming album TAVASTLAND tells the story of a small, strange people. ”-TAVASTLAND tells how in 1237 the Tavastians rose in a rebellion against the church of Christ and drove the popes naked into the frost to die. TAVASTLAND reveals our fathers’ centuries old sins and lies of consolation. TAVASTLAND speaks of him, who has become a prisoner of his home, alienated from the land of the forest and is now afraid of the dark with all lights on, surrounded by his smart devices. TAVASTLAND tells about the freedom we lost. TAVASTLAND haunts its listener to the grave, and I will personally open that grave one bleak night, and steal the fading light of your sempiternal soul.”, says Stefa. TAVASTLAND is available on Svart exclusive ice & blood vinyl edition, limited to 666 copies. Also available on limited amber & black smoke vinyl, classic black vinyl, CD, cassette tape, and digital platforms. All vinyl editions of the first pressing include a booklet and poster. New Havukruunu T-shirt also up for pre-order now at Svart’s webstore. Release date February 28th, 2025.

Havukruunu is the spirit of freedom, harbinger of oblivion, and it tells you: FLY, YOU FOOLS! Svart Records is set to release the band’s fourth album TAVASTLAND in February 2025 After three albums, the pieces of the puzzle fit, and Havukruunu, the favorite band of the sensitive and sorrowful returns with a vengeance to blur the line between the real and unreal. The sorrowful guitars of Stefa and Bootleg-Henkka draw threatening dark shadows on the wall, Kostajainen's drumming bombardement pulses like embers of a dying fire in the hearth. All the while, Humö's bass guitar is clanking and wailing like the icy wind rattling windows and banging walls, as Stefa roars and channels messages from the netherworld or preaches wisdom of ancient days, backed by a choir. Lords of Hell smile approving as the flames of hatred and cunning of their beloved sons drowns a dying old world, and heart of the earth trembles the birth of new and weird. Havukruunu is the spirit of freedom, harbinger of oblivion, and it tells you: FLY, YOU FOOLS! Havukruunu’s upcoming album TAVASTLAND tells the story of a small, strange people. ”-TAVASTLAND tells how in 1237 the Tavastians rose in a rebellion against the church of Christ and drove the popes naked into the frost to die. TAVASTLAND reveals our fathers’ centuries old sins and lies of consolation. TAVASTLAND speaks of him, who has become a prisoner of his home, alienated from the land of the forest and is now afraid of the dark with all lights on, surrounded by his smart devices. TAVASTLAND tells about the freedom we lost. TAVASTLAND haunts its listener to the grave, and I will personally open that grave one bleak night, and steal the fading light of your sempiternal soul.”, says Stefa. TAVASTLAND is available on Svart exclusive ice & blood vinyl edition, limited to 666 copies. Also available on limited amber & black smoke vinyl, classic black vinyl, CD, cassette tape, and digital platforms. All vinyl editions of the first pressing include a booklet and poster. New Havukruunu T-shirt also up for pre-order now at Svart’s webstore. Release date February 28th, 2025.

Picture Disc, limited to 500 copies. THE ANTICHRIST IMPERIUM debut album 10th anniversary limited edition reissue! Brace yourselves for an unrelenting sonic assault as Antichrist Imperium featuring members of AKERCOCKE, THE BERZERKER, WEREWOLVES & VOICES unleashes their explosive debut album, a thunderous entry into the world of extreme metal. From the first blistering note to the last, this album crushes with an intensity and fervor that's almost apocalyptic. Known for their ferocious blend of thrash, black, and death metal, the band wastes no time in establishing their dominance, offering a sonic journey that is both raw and refined. With lightning-fast riffs, pounding drums, and ferocious vocals that sound like they've been dragged straight from the abyss, Antichrist Imperium delivers a relentless barrage of aggression and passion. The album's production is crisp yet full of grime, creating the perfect balance between clarity and chaos, allowing every intricacy of the band's ferocity to shine through. Lyrically, the album explores themes of apocalyptic destruction, existential rage, and the obliteration of morality told through the lens of a dystopian, anti-religious perspective. These themes resonate with a sense of inevitable doom, driving each track forward like a relentless storm that refuses to let up. The standout tracks are full of both technical mastery and ferocious energy. With riffs that will have you headbanging and beats that will rattle your very core, Antichrist Imperium sets a new benchmark for thrash metal in the modern age. It's a fusion of old-school thrash influences and cutting-edge extreme metal, creating an album that feels both nostalgic and forward-thinking. Antichrist Imperium's debut is a thrilling, no-holds-barred rollercoaster of destruction that cements their place in the pantheon of modern metal. A must-listen for fans of thrash, black, and death metal, it is an uncompromising and absolutely fiery introduction to a band that's ready to reign terror across the metal scene.

The 90s were all about Hip-Hop groups. Brooklyn’s Junior M.A.F.I.A., consisting of members Lil’ Kim, Lil’ Cease, Trife, Larceny, Nino Brown, Chico Del Vec, MC Klepto, Capone, and Bugsy, formed under the guidance of The Notorious B.I.G. after he released his classic debut album Ready To Die. At the end of the summer of 1995, Junior M.A.F.I.A. released their debut album Conspiracy on Big Beat Records featuring the lead single “Player’s Anthem” which featured Biggie and was produced by the late great DJ Clark Kent. Clark Kent produced three other songs including the second single “I Need You Tonight” featuring Biggie’s wife Faith Evans on the chorus. The third single, “Get Money”, another Biggie feature produced by EZ Elpee with it’s classic flip of the Roy Ayers Orduced Sylvia Striplin track “You Can’t Turn Me Away” was certified platinum. With eight members deep, it was difficult to stand out, but Lil’ Kim and Lil’ Cease would be the breakoutr stars and go on to release solo albums. The group disbanded after Notorious B.I.G. was murdered in 1997, but left behind songs that still hold up today and remain a big part of Biggie’s legacy, as well as producer DJ Clark Kent -RIP Out of print on vinyl since 2017, Get On Down is proud to present this 90s Hip-Hop classic as a limited edition reissue preesed on splatter colored vinyl and packaged in a gatefold jacket.

Rhino is synonymous with high-quality reissues, setting the standard with award-winning audio releases for the past 45 years. Now we're raising the bar with a new premium vinyl series, Rhino High Fidelity. These high-end, limited-edition vinyl reissues of classic albums represent the pinnacle of sound and packaging.

To ensure consistent sonic excellence, Kevin Gray will cut lacquers for all Rhino Hi-Fi releases, and Optimal will press the 180-gram vinyl records. The releases boast high-quality glossy covers and "tip-on" jackets, an old-school aesthetic that evokes the golden age of vinyl.

"Black Sabbath's debut album is the birth of heavy metal as we now know it. Compatriots such as Blue Cheer, Led Zeppelin, and Deep Purple were already setting new standards for volume and heaviness in the realms of psychedelia, blues-rock, and prog rock. Yet of these metal pioneers, Sabbath are the only one whose sound today remains instantly recognizable as heavy metal, even after decades of evolution in the genre. Guitarist Tony Iommi's loss of two fingertips, which required him to play slower and to slacken the strings by tuning his guitar down, created Sabbath's signature style. These qualities set the band apart, but they weren't wholly why this debut album transcends its clear roots in blues-rock and psychedelia to become something more. Sabbath's genius was finding the hidden malevolence in the blues, and then bludgeoning the listener over the head with it." — AllMusic

Zig Zags have been an L.A. institution for over a decade, never veering from their hard-riffin punk/metal mission statement. They’ve gigged all over the globe with underground luminaries such Mike Watt, Neurosis, Pig Destroyer, Oh Sees and Feral Ohms and recorded collaborations with icons like Iggy Pop. Now the power trio is set to release their fifth incendiary full-length album, Deadbeat At Dawn, named in honor of the beloved B-movie, a no-budget action revenge flick set in the mean streets of suburban Ohio. Cult cinema is an enduring Zig Zags inspiration, with the band frequently calling out exploitation films in their lyrics, odes to teen-delinquent classics like “Over the Edge” and dystopian sci-fi such as, “Terminator” and “Total Recall”. The new album sticks to this obsession with the cultural underground, riffing on everything from demonic minions to apocalyptic visions and alien attacks. The result is the most focused, intense, and catchy Zig Zags album yet, with the timing perfect for their distinctly melodic and maniacal call to arms. Finalizing recording and mixing just as the catastrophic fires hit their hometown in L.A., Deadbeat At Dawn is the perfect soundtrack for a city rising up from the ashes of destruction. “I feel lucky that we got to put out this record when we did,” Maheu said, “It’s heavy and gnarly and kind of fucked up, but it’s also a lot of fun—which is how we feel about Los Angeles.”

In October of 1999, Nina Nastasia recorded the album that would finally document her well-seeded career as a local singer-songwriter in New York City. It was exemplary of Nastasia's style, delicate string arrangements, the restrained beauty of her live band, the deceptive simplicity of her voice, and poignant, life-wise lyrics. The following year, "Dogs" was released on CD by micro-indie label Socialist Records. By the end of 2000, the "Dogs" CD was out of print. But "Dogs" had a special grassroots effect on Nina Nastasia's music career, as fans of the record would correspond across internet message boards and zines, discussing songs and soliciting copies of the rare edition. The album would also mark the beginning of a lasting peer relationship with noted recording engineer Steve Albini. In 2004, Touch and Go Records reissued "Dogs" on CD and, for the first time, on vinyl. The vinyl quickly sold out and remained out of print for nearly two decade_ until now.

"How do I know if my cat likes me?" ist die erste Zusammenarbeit der Organisten Ellen Arkbro und Hampus Lindwall mit der bildenden Künstlerin Hanne Lippard, eine existenzielle Meditation über die leeren Weiten unseres automatisierten Alltags. Das Stück entstand während Arkbro und Lippards Residenz 2023 im La Becque in La Tour-de-Peilz, Schweiz, Das Album persifliert die lähmende Ästhetik des Geschäftslebens, von der Warteschleifenmusik bis zum Onlinebanking. "How do I know if my cat likes me?" führt die Linie von Roberts Ashley von Roberts Ashley und Barry fort und hämmert auf die Klänge der Sprache ein, bis sie alle Bedeutungen durch angenehm betäubende Wiederholungen verdrängen. Die Platte zu hören ist, als würde man ein Captcha wieder und wieder lösen bis alle Zeichen zu Hieroglyphen verschwimmen, oder man findet sich in einem tautologischen Kundendienst-Argument verstrickt, nur dass man, nachdem man in der Sackgasse des Unsinns gelandet ist, eine unerwartete transzendente Schönheit findet, in der die Sprache von der reinen Funktion zur reinen Ästhetik umschlägt und vor Möglichkeiten schimmert. Selbst subtile Brüche in lyrischen oder musikalischen Mustern können eine grundlegende Veränderung in der Welt des Songs auslösen. Auf der gesamten Platte begründen strenger Formalismus und Minimalismus eine Erzählung. ,The Long Goodbye" stellt sich einen quälenden Dialog zwischen Bekannten vor, die sich nicht höflich voneinander lösen können: ,It's my pleasure!", stöhnt Lippard, die sich selbst antwortet: "Pleasure is all mine! / See you soon! / See you next time! / See you then!". Obwohl die Zeilen immer wieder dieselben wenigen Abschiedsworte wiederholen, akkumuliert sich eine geheimnisvolle Kausalität in den winzigen Variationen, die einen erzählerischen Bogen kreieren, weniger für die Figuren des Liedes, sondern für den Zuhörer, der sich mit Verzweiflung, nihilistischem Humor oder tiefer Dankbarkeit über die Fähigkeit der Kunst konfrontiert sieht. An anderer Stelle, als ,Modern Spanking" sich frei assoziierend von der Phrase "Online-Banking" in Richtung "breathing down your neck banking" und ,sexy but bankrupt banking" wandelt, wird eine ganze Welt oberflächlicher Vergnügungen ins Blickfeld gerückt. Während minimalistische Bewegungen in der Musik und der bildenden Kunst eine gewisse Situiertheit des Blicks fördern, erinnert ,Modern Spanking" an den glatten, reibungslosen Minimalismus eines gehobenen Einkaufszentrums: eine Menge wahlloser Passanten, die sich zwischen Sex und Geld, Fantasie und Realität, zerstreuter Aufmerksamkeit und intensiver Ablenkung befinden. In einer Welt wie dieser ist der Unterschied zwischen Bankgeschäften und Prügelstrafe zu vernachlässigen.

Spectral Bounce’s fifth instalment comes courtesy of L.A.’s rave archivist and dancefloor operative Dreams, A.K.A. Jesse Pimenta. Throughout his decade-long career the California native has inspected, dissected and concocted all manner of dance musics, leaving his mark with drops on Apron Records, Pinkman, BANK NYC and his own imprint Dance Data. On SPEC05 — Dangerous When Wet — he hijacks the synapses with 4 accomplished productions, plotting a high BPM course through manifold styles using the raw aesthetic that characterises his output.

“Losing Control” is a frenetic dancefloor invitation, immediately locking into a pacing groove. Beneath wild hand drums, Dreams plays with an insistent 303 bassline alternating between rasping buzz and oily squelch, while stern vocals are layered on top of breaks that have been processed to a viscerally satisfying end.

Taking things from delirious dance circle to underwater biosphere, the EP’s eponymous track explores a submerged 1980s Miami. Weighty & enveloping, “Dangerous When Wet” is pure aquatic pop-n-lock — hydraulic electro for a drowned world. Ocean floor caustics are transmuted into auditory form: arpeggios bubble up; drones shimmer mystically; hi-hats hiss like air from an open valve. Amongst the sonar bleeps, a barrage of pummeling low-end is sure to give subwoofers a workout.

“XTC Messenger” delivers an infectious paranoid dispatch, astutely balancing the sensual with the deranged. A slow-mo dial tone unfolds languidly, running counter to nervously twitching high frequencies. Its punchy percussion is tuned for maximum dopamine release; the track’s abrupt vocal chops and mechanical kick-snare pulsation evoke the leather jackets and jagged edges of 1980s industrial discotheque.

“Pressure Points” closes the EP on a heady and mesmerising polymetric trip. The parting track is a lithe yet spacious number, propelled by a rattling break. Here Dreams follows from track 2, creating an immersive environment in which sounds tightly twist and twirl. Shifting oscillators call out like tiny creatures as the bass throbs and wriggles further into your brain, long after the needle hits the runout groove.

The Looks or the Lifestyle? is the fourth studio album by British alternative rock band Pop Will Eat Itself, released in 1992. Known for blending industrial rock, electronic music, and hip-hop, the album features an eclectic mix of sounds and sharp political commentary. The album’s innovative use of samples and its fusion of genres make it a standout in early '90s alternative music. The Looks or the Lifestyle? received critical acclaim for its bold musical direction and remains one of Pop Will Eat Itself’s most influential records. With its unique style and thought-provoking lyrics, the album cemented the band's reputation as pioneers in the alternative rock scene. The Looks or the Lifestyle? is available as a limited edition of 500 numbered copies on translucent magenta coloured vinyl.

Salsa Verde is the latest release from artist, Tom Caruana and, the newest instalment of Def Pressé’s series of projects made in partnership with KPM (and associated music libraries).



In 2021 Def Pressé entered into a deal with KPM whereby the deeper KPM and associated libraries can be used, exclusively, by Def Pressé. Sampled, replayed and reimagined, this vast catalogue has provided music for TV and Cinema for decades. Sampled, often illegally, by practically every Hip Hop producer ever, the library is available to select Def Pressé artists to utilise in order to create new pieces of music. This music is then fed back into the KPM/Sony AVI library for use in TV and Cinema, and the Def Pressé artist in question is then a KPM Artist in their own right. Completing the circle and hopefully providing music to inspire the new generation of beat makers/sample-based producers.



With several titles in the series, notable names like Blockhead, Damu the Fudgemunk and Stro Elliot since its inception in 2021, the Def Pressé Editions x KPM series, Crate Diggers continues into the seventh episode.



Producer & multi-instrumentalist Tom Caruana has been producing Hip Hop for over 25 years. Incorporating both samples and instruments in his production has helped him create a signature sound which covers a wide range of moods. He has produced quirkier and more humorous material for the likes of Dr Syntax & Professor Elemental, live production for his band Son Of Sam,

sample heavy material in a range of projects with MCs as well as notoriously remixing Wu-Tang Clan with The Beatles and Jimi Hendrix.

Monaco (originally released in 2000) is the self-titled second and final studio album
by Monaco, following their debut album Music for Pleasure (1997).

Now 25 years after its original release, the album is finally available, for the first time ever, on vinyl.

Monaco was a side project (1995–2000) of Joy Division and New Order bass player Peter Hook, alongside David Potts,
the sole remaining member of Revenge. The album reflects Hook and Potts’ shared passion for blending rock with electronic and dance music. The album features the single I’ve Got A Feeling.

For vinyl enthusiasts, this 25th-anniversary expanded edition comes as a deluxe gatefold 2LP set, pressed on Crystal Clear vinyl
This version includes a 4-page booklet and five bonus tracks and is limited to 500 individually numbered copies.

Monaco (originally released in 2000) is the self-titled second and final studio album
by Monaco, following their debut album Music for Pleasure (1997).

Now 25 years after its original release, the album is finally available, for the first time ever, on vinyl.

Monaco was a side project (1995–2000) of Joy Division and New Order bass player Peter Hook, alongside David Potts,
the sole remaining member of Revenge. The album reflects Hook and Potts’ shared passion for blending rock with electronic and dance music. The album features the single I’ve Got A Feeling.

For vinyl enthusiasts, this 25th-anniversary expanded edition comes as a deluxe gatefold 2LP set, pressed on Crystal Clear vinyl
This version includes a 4-page booklet and five bonus tracks and is limited to 500 individually numbered copies.

After a year of scheming and crafting, building and destroying, Maisie Peters is ready to share what she’s been conjuring up – her brand new album ‘The Good Witch’, arriving via Gingerbread Man Records/Asylum on June 16th.

Recently heralded by vulnerable lead single, ‘Body Better’, Maisie’s second studio album ‘The Good Witch’, is the official follow-up to her No. 2 BRIT Breakthrough certified debut, ‘You Signed Up For This’, and in many ways the older, wise and scorned counterpart.

Exhibiting a newfound confidence, sharper storytelling and greater artistic ambition, Maisie created ‘The Good Witch’ across London, Suffolk, Stockholm, Bergen and LA, alongside the likes of, Oscar Görres (Taylor Swift, Troye Sivan), Two Inch Punch (Sam Smith, Jessie Ware), Matias Tellez (girl in red), Brad Ellis (Jorja Smith, Little Mix), Joe Rubel (Ed Sheeran, Tom Grennan) and Elvira Anderfjärd (Tove Lo, Katy Perry).

In October of 1999, Nina Nastasia recorded the album that would finally document her well-seeded career as a local singer-songwriter in New York City. It was exemplary of Nastasia’s style, delicate string arrangements, the restrained beauty of her live band, the deceptive simplicity of her voice, and poignant, life-wise lyrics. The following year, “Dogs” was released on CD by micro-indie label Socialist Records. By the end of 2000, the “Dogs” CD was out of print. But “Dogs” had a special grassroots effect on Nina Nastasia’s music career, as fans of the record would correspond across internet message boards and zines, discussing songs and soliciting copies of the rare edition. The album would also mark the beginning of a lasting peer relationship with noted recording engineer Steve Albini. In 2004, Touch and Go Records reissued “Dogs” on CD and, for the first time, on vinyl. The vinyl quickly sold out and remained out of print for nearly two decade… until now.

Musique Pour La Danse is proud to present the definitive edition of the highly acclaimed and globally beloved Donkey Kong Country soundtracks, meticulously recreated by composer and producer Jammin' Sam Miller. Released in 1994 for the Super Nintendo Entertainment System (SNES), Donkey Kong Country was celebrated not only for its groundbreaking quasi-3D graphics but also for its exceptional soundtrack.
The soundtrack featured a variety of compositions, and has been highly praised for its diverse and high-quality music, with tracks like "Aquatic Ambiance" and "Fear Factory" standing out as fan favorites. The influence of the Donkey Kong Country soundtrack extends beyond the gaming world, having inspired modern artists and changed the way video game music was perceived.

This limited edition boxset, limited to 500 copies, comes as a triple DLP set, containing Volumes 1, 2, and 3. Pressed on red, green, and blue marbled vinyl, it is housed in a hardboard slipcase featuring new and original artwork by Andrew Beltran.

Don't sleep on this ultimate release-the previous boxset edition has been sold out for a long time, and if you can find it, it's being sold for crazy money.

Using hex SPC data converted to MIDI, Jammin' Sam Miller painstakingly recreated the DKC soundtrack note by note, sourcing the original equipment used to create it. He then translated the MIDI into a modern studio context, incorporating keyboard samples, remixing the sounds with added effects, and mastering the tracks. To learn more about his process, watch the explanatory video here: cutt.ly/ulUHE6J.