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Chiminyo is a UK-based jazz/electronic artist and the founder of the new label NRG Discs (having previously released on Brownswood, Nightdreamer, Gearbox, and Astigmatic, with artists such as Gary Bartz, Shabaka Hutchings, Maisha, Nubya Garcia, Cykada, Uniri, as well as solo). Chiminyo is a versatile musician who blends the raw energy of live drums and percussion with cutting-edge electronic production.

His early solo releases showcased his knack for unique approaches to making music, using self-coded software to trigger synths and samples from every cymbal crash and drum hit, eliminating loops and click-tracks. This DIY, tech-driven methodology allowed Chiminyo complete, spontaneous control over his music—all from the stool behind his drum kit—creating a sound that is both daring and innovative.

Chiminyo's latest project, NRG, continues this trend of innovative thinking. Born from discussions around the UK jazz scene, Chiminyo concluded that this musical expression is less about "jazz" and more about the energy (NRG) that fuels it. As a result, NRG has evolved into a semi-regular event where Chiminyo brings together some of London's finest musicians for live, improvised performances that encapsulate the spirit of the scene. These live recordings are then given the magic production treatment by Chiminyo and co-producer Aviv Cohen, transforming them into the masterpieces we get to hear on wax.

The first three NRG LPs were a massive success, generating over 600,000 streams, selling over 800 copies (without distribution support), and receiving airplay on BBC Radio, Jazz FM, NTS, Soho Radio, and many more. High-profile DJs like Gilles Peterson and Jamz Supernova championed the albums, which were also covered in print by The Guardian, Jazzwise, Echoes Magazine, and various online channels. This success led to an invitation to record a live album at Ronnie Scott's, one of London's most iconic jazz venues—an incredible opportunity for any artist.

NRG 4 brings together some of the best jazz and electronic musicians in London. The album features Marisia Osu (harp), James Akers (tenor saxophone), Daniel Casimir (double bass), Lyle Barton (synthesizers), and Tilé Gichigi-Liperé (live electronics)—an all-star lineup whose members have released multiple records on Concord, Brownswood, Jazz Re:freshed, Astigmatic and more, and have collaborated with artists such as Laura Misch, Nubya Garcia, Blue Lab Beats and Emma-Jean Thackray. Three tracks are graced with features from Jorja Smith's backing vocalist BAELY and Cuban saxophone maestro Regis Molina.

Limited to 400 12" LPs (350 standard, 50 screen-printed limited edition).

Hausu Mountain continues the HausLive series of live show recordings that capture some of the headiest moments in Chicago underground music. On HausLive 4, we rewind the clock approximately one year to May 3rd, 2024 at Constellation, where the all-star Bill Orcutt Guitar Quartet (featuring Wendy Eisenberg, Ava Mendoza, and Shane Parish) made their barn-burning Chicago debut. The series channels the spirit of the informal bootlegging and tape trading of audience recordings as pioneered by the community surrounding the Grateful Dead, honing in on the raw live energy and in-the-moment emotions that can make any show stand out in the stream of time. HausLive 4 catches the Bill Orcutt Guitar Quartet in a sublime state of tour-hardened synergy with one another as they tear through the four-string guitar compositions that Orcutt wrote for his album Music for Four Guitars (Palilalia Records, 2022) with dialed-in fingers-on-fretboard precision, while also letting those songs evolve into flights of improvisation and extend into solo and duo passages led by each of the four guitarists. As Orcutt says on tape during one of the show’s interludes, “that record is thirty minutes; this show is an hour, so we’re improvising.” The resulting free-wheeling moments combine with the rigidity of Orcutt’s meticulous four-guitar compositions to form a program of music that draws power in equal measure from the forces of chance and discipline.

Aus Music founder Will Saul collaborates with Fink and James Alexander Bright on the final EP in the AUS200.

After music from the likes of Quantic, Dam Swindle, K-Lone and Cinithe, Will Saul brings celebrations around his label's 200th release to a close with one track alongside long-time friend Fink and one with James Alexander Bright, an artist he discovered and signed to !K7 during a 10-year stint A&Ring with the label.

Saul's music has provided the backbone of the label since day one. His club-ready EPs and more immersive, expansive albums have helped to define its melodically rich fusion of bass and house. Just as importantly, his A&R has helped it evolve over the last two decades so it remains as relevant as ever with the current generation while providing a platform for contemporary talents to shine.

First up here he links up with his old friend, singer, songwriter, guitarist and producer Fink who, as Sideshow, was behind the first-ever release on Aus back in 2006. Since then, he and Saul have continued a fruitful working relationship which now bears juicy musical fruit once more. Their 'Slo-mo Life' is six sublime minutes of deep, dubbed-out downtempo. It's powered by a prowling bassline with tender melodies and introspective chords next to subtle vocal loops that cannot fail to bliss you out. Fink then offers up a remix as Sideshow that rides on airy jungle breaks while evocative synths are smeared in painterly fashion before decaying in endless reverb to an angelic ambient sound.

British multi-hyphenate James Alexander Bright has built up a colourful body of albums and EPs that soundtrack everything from hazy daydreams to lazy afternoons in the park via dance floor trips. The singer has worked with, among others, Groove Armada’s Tom Findlay and Girls Of The Internet and always brings a lovably lo-fi and intoxicating sensibility.

'Blue' is a raw, live sound with crashing hits and broken kick patterns. Bright's nagging vocal speaks of emotional pain while shimmering chords bring the heat. Bright's remix reworks the track into a widescreen hazy breakbeat soul track that gives his vocals extra room to make their mark while the exquisite live drums from Joris Feiertag keep you moving.

Function Records has been blessed by the bassline talents of IP, John and Fiona Cunningham, showcasing their impressive skills. I had the pleasure of meeting IP at an education and bass feedback session at Planet Wax.
Choosing the first four tracks for their debut EP was challenging because they have so many bangers!
1) Nowadays, many track names suggest a connection to Jungle or reggae/dub sound systems, but they often deliver squeaky noises when the track drops. That's not the case with "Foundation Ting"; it hits you with all the elements you'd expect from Jungle music and continues to evolve impressively throughout the arrangement.
2) "Look Around" has garnered significant attention because it's one of those warm tracks that always gets a rewind. The bassline tells a story, and the breakdown and second drop are genuinely next-level.
3) "One Step" is the first track I received from IP. It's a heavy, dubbed-out jungle tune that builds into a midsection reminiscent of Spirit.
4 "Can't' Know That" is 8 minutes 37 of dirt. What a journey!

Oi Va Voi verbinden Dance-Grooves, Singer/Songwriter-Sensibilitäten und kosmopolitische Rhythmen aus Osteuropa und Nahost. Trotz (oder gerade wegen) der zerrissenen Zeiten strahlt ihr neues Album "The Water's Edge" Optimismus aus und weckt Erinnerungen an ihr bahnbrechendes Debüt "Laughter Through Tears" (BBC World Music Award, NYT Top 10 Alben 2003). Oi Va Voi sind bekannt für prominente Kollaborationen wie mit KT Tunstall, Bridgette Amofah (Rudimental) oder der Violinistin Anna Phoebe. "The Water's Edge" wurde zum Teil von Mike Spencer (Rudimental, Tom Walker, Ellie Goulding) produziert und erscheint auf dem eigenen Label Parallel Skies. Es ignoriert Kategorisierungen zugunsten dauerhafter musikalischer und sozialer Werte und ist ein Ausdruck der Notwendigkeit, Spaltungen hinter sich zu lassen und eine gemeinsame Menschlichkeit zu finden.

Oi Va Voi fuse dance grooves, singer-songwriter sensitivity and a rock’n’roll sensibility with the group’s Jewish cultural heritage and a cosmopolitan rhythmic inspiration drawn from Eastern Europe, the Middle East and beyond. Despite the fractured times we are living in, a theme of optimism through pain is there throughout Oi Va Voi’s new album ‘The Waters Edge’.

We’re reminded of the title of the breakthrough first album, Laughter Through Tears. The Bacon & Quarmby-produced debut won a BBC World Music Award, was listed as a New York Times Top Ten Album Of The Year, and launched the career of a young KT Tunstall. The tradition of world-class musicianship continued with Bridgette Amofah (Rudimental) as the featured vocalist on Travelling the Face of The Globe, and noted violinist Anna Phoebe, who recorded and performed with the band for over a decade.

Every member evolves the Oi Va Voi sound; but through each change, the core themes and vision have remained constant. 2018’s album, Memory Drop, introduced the unique voice of Zohara Niddam, and it’s Zohara who returns here on The Water’s Edge, featuring on ‘Shine A Light’, ‘Lay Your Head’ and ‘Wave’. Also featuring across the new album is composer, violinist and singer Sarah Anderson, who co-wrote seven tracks on the album, with her emotionally poignant lyrics, evocative layered vocals and uplifting violin parts. Guitarist John Matts and Trumpeter David Orchant also return, with Orchant bringing deep colour and expression to the stirring waltz ‘Oceans’.

The album opener ‘Sad Dance’ was written after the devastating earthquake that struck Turkey and Syria in early 2023 impacting many of the band’s friends, fans and colleagues. Finding themselves in the studio the day after the tragedy, the band searched for ways to respond. Sarah’’s mournful, pulsating violins create an ever evolving soundscape on top of which her own vocal, and Steve’s earthy clarinet express sorrow and hope. Says Sarah - “It’s about human connection - a metaphorical hand held through trauma, and the preservation of ‘old worlds’ through relics, reminding us of where we came from”.

‘Shine a Light’ was also a chance to welcome back producer Mike Spencer (Rudimental, Tom Walker, Ellie Goulding), who produced their second album. Here his Pop experience can be felt in the hooky dance loop, which you can hear becoming one of Oi Va Voi’s trademark live encores. Along with the melodic pop sheen of ‘Lay Your Head’, this song shows the band in an uplifting mood, pointing at the years of high-energy tours which have become their signature. These tracks, and the poignant ‘Josephine’, offer a release - a more escapist mood and a sign of the hope underneath everything.

Oi Va Voi have never been easy to categorise, and they’ve made a point of ignoring genre in favour of more enduring musical and social values. The Water’s Edge is the first album to be released on the band’s own Parallel Skies label, which will sign artists from a diversity of cultures, nations and musics in the coming years. The album title refers to an old custom from the Jewish New Year of going down to the waterside - casting off the baggage of the past, and letting it wash away on the tide. As the first release on this label it’s an expression of the need to put divisions behind us, and find a shared humanity.

Ben McElroy is a folk/experimental/ambient artist based in the UK. He has released prolific albums since his 2016 debut ‘Bird Stone’ for whitelabrecs. Notable releases since then include 2018s ‘The Word Cricket Made Her Happy’ for Eilean Rec and 2022s ‘How I Learnt to Disengage From The pack’ on The Slow Music Movement (which was folk album of the month in the Guardian).

«This album evolved from long improvisations on pump organ and cello. I really wanted to play the instruments as a form of therapeutic release, a kind of stimming, paying more attention to this than the Appollonian aspects of the music. So scrape and repetition… anger and using the bow/keys to really try to gnaw into deep, old brain feelings.
I often start things with improvisations, but then tidy, smooth things out… I wanted to keep that aspect to the minimum here.. there is some, but where possible I’ve kept the squeaks, the noises, the mistakes.
The project took on another dimension when I received some funding from PRS Foundation, allowing me to bring more artists (Debbie Armour on vocals, Elinor Rowlands on spoken word and Nick Jonah Davis on guitar). Where possibly, these collaborations were also improvised, in the moment and left a little raw.
The funding also allowed me to create an accompanying film ‘Widdershins & Deosil.’ Shot with filmmaker Benjamin Wigley on 16mm film in Derbyshire, it is an abstract story of magic and puppetry using elements of the album as soundtrack.» - Ben McElroy

With Short Circuit Control, Berlin electronic duo Diagram (made up of Brian Jonestown Massacre guitarist Hákon Aðalsteinsson and Fred Sunesen) re-emerges ith a refined yet unpredictable sound, a testament to resilience, collaboration, and the endless possibilities of analogue synthesis. What began as a bedroom project by Aðalsteinsson culminated in the debut album Transmission Response (2019, Fuzz Club), a raw and exploratory work that set the foundation for what was to come. When Sunesen joined, Diagram evolved into a live act, carving out a space for itself in Berlin’s underground music scene. Built on mechanical rhythms and eerie textures, their second album Short Circuit Control plays with tension and release, its analogue pulse imbued with a restless, human energy. There's a hypnotic, almost ritualistic quality to the music, where modular synths hum and crackle, beats loop and fracture, and melodies emerge like ghostly transmissions from some distant, flickering signal. The result is an album that feels both controlled and unpredictable—moody, immersive, and always teetering on the edge of something unknown. It is released on P.U.G Records, the new label from the Psychedelic Underground Generation music blog.

Following the much-lauded trio of meditations, from Woo, Davis Galvin and Graintable, that launched the series, "Cosmos" continues the label's gentle exploration of music to accompany moments of nurture and patience. This composition from E Ruscha V, once again mirrors the quiet and satisfying tending of the season ahead, creating space for contemplation and the witnessing of gradual transformation.

A multi-disciplinary artist rooted in Los Angeles, E Ruscha V approaches instruments as living entities, each with their own organic character. On Cosmos, his synthesizers breathe and pulse with natural rhythms, creating textures that emerge and recede like early morning mist in a garden. Echoing his work as a visual artist and much like gardening itself, there’s an innate understanding of when to tend and when to let things just be and evolve.

‘Cosmos’ follows a path that Ruscha began exploring with his 2018 release, "Who Are You", on Beats In Space and continued through recent works like ‘Green Mirror’ under his alias Secret Circuit and ambient pieces for the "Slow Show" performances. Each project has been a cultivation season that invites listeners to pause, observe, and connect with cycles of natural
emergence.

His work in both galleries and performance spaces – including MOCA Los Angeles, Lafayette Anticipation in Paris, and LUMA Arles – reflects this understanding of how the environment shapes experience.

A synthesis of where space, sound, and organic movement find their natural home.

Welcome to Forms World.

Our fi rst outing takes shape as a 4-tracker from ADMNTi, delving deeper into the sounds that have shaped the Londoners aural palette.

'Second Hand Sushi' kicks things off to a rowdy start - a real slab of energy that consists of paces drum patterns, twisting synths, and gritty, rattling basslines.
This one's a no-frills dancefl oor destroyer. The steppy drums of 'Lost Fruits' pull us further in, paired with shifting subs and laced with soundbites that echo the era of tape packs and pirate radio.

As we fl ip to the B-side, ‘Diptych’ delivers a still pacey yet more soothing vibe, blending lush orchestral strings with warped vocal chops, all while keeping the head-bopping grooves intact. Rounding things off , a dub-tinged stepper which comes in the form of 'Shrublands'. Eerie chords evolve throughout the track, accompanied by melancholic flutes that bode well with the heavily delayed sax and wobbing basslines. Dialogue from London graff royalty weave in and out, as well as a certain Brooklyn king.

The annual Bonkers Music compilation returns, delivering another round of high-energy bangers. This year, the release explores a slightly evolved musical style while staying true to its signature sound. Celebrating its sixth edition, “Year VI” will be available on 12” vinyl, accompanied by a few exciting surprises.

A1. Neskeh’s “106 Cabrel” revolves around a melodic yet hypnotically repetitive lead sequence, crafted to evoke a trance-like state on the dance floor and radiate positive energy. The foundation of big, punchy kicks and a robust bassline gives it a quintessential club vibe.

A percussive break in the middle shifts the mood entirely, paying homage to Goa rhythms and shamanic rituals, immersing listeners in a more primal atmosphere. The drop reignites the momentum, enhanced by the warm tones of the beloved Minilogue, adding an almost epic dimension to the journey.

A2. Berlin’s Mike Sacchetti and Madrid’s David Meyer unite on “Agria Pachanga,” a dance energy piece that pulses with percussive drive and a subtle touch of Latin identity.

Acid-inspired arrangements swirl around classic drum machine sounds. The syncopated rhythms and pumping basslines push the track towards an agitated club atmosphere, building this song into a bold declaration of fiesta.

A3. Two friends from Guadalajara, Mexico, Leonor & Ludviq, now living in different European cities, (Barcelona & Lyon) join forces to bring you Capybara Trance, This electrifying track combines dark, driving energy with intricately sequenced melodies, a hard-hitting chugging bassline, and the unique touch of capybara-inspired sounds. Anchored by a commanding kick drum that sets an unrelenting tempo.

B1. “Nebula” is a deep, atmospheric journey through cosmic sounds and pulsating rhythms. The track blends hypnotic melodies with dark synthetic textures, evoking a sense of drifting through endless galaxies. With a strong groove and intricate arrangements, it delivers energy that fits perfectly in both morning sets and more conceptual playlists. The collaboration between Radial Gaze, Ducati Flux, and Persona RS captures the spirit of exploration, creating a versatile track that can be the highlight of any set

B2. Intruso hailing from Bogota, now based in Barcelona brings “Somos Acido” this track draws inspiration from the early 2000’s House and Trance, capturing the nostalgia and emotional resonance of his first experiences with electronic music as a child. A driving Acid bassline injects dynamic energy, making it perfectly suited for the dance floor.

B3. Argentinian born, Australia based producer Poulper teams up with Mexican maestro Hugo Vallejo to kick off this intergalactic adventure. This track weaves together acid-laced elements and an infectious rhythm, layered with haunting post-dark vocals that narrate the fiery, cosmic tale of love burning in the vast expanse of space. A bold and immersive journey into the unknown, perfect for this stellar compilation.

Lunchbox's legendary lost album "Evolver" is lost no more! Sparklingly remastered for the album’s twentieth (and a few!) anniversary and available on CD, cassette and (for the first time) vinyl, this psychedelic masterpiece fills a crucial hole in the band's discography. Recorded in the couple's 1990s Oakland basement between stays in Berlin, tour dates in London, and dreamy sojourns up the rugged Mendocino coastline, "Evolver" fuses jangle and jungle, ambient and dub into a striking pop statement.

Marrying refined songcraft to the serendipitous magic hidden in half-broken reel-to-reel tape decks and vintage synthesizers, the "Evolver" plants its pop flag on the terrain of magic and mystery. Dreamy jangle pop gems emerge seamlessly out of a sea of loops, drones, and dubbed-out horn fanfares, cascades of tape echo feedback and whispers from outer space providing a trance-inducing backdrop to the pop sensibility for which Lunchbox is well-known. Hook-filled and hypnotic, "Evolver" is a sublime slice of post-pop psychedelia that you won't want to miss.

For this special and long-overdue reissue we've raided the bands vaults for three previously unreleased tunes that add extra dimensions to the album's uniquely trippy flow. And for the vinyl heads we're pressing this as a double LP for maximum fidelity and playability, including a vinyl-only fourth side of beats, loops, interludes and puzzling aural ephemera, all taken directly from the original master tapes. Super cool!

‘Devotion to a Noble Ideal’ is the first EP release on vinyl from The Revolutionary Army of the Infant Jesus. Part retrospective and part reimagining of their work – the EP contains 4 tracks, each produced in collaboration with a different creative partner, offering a sometimes radical reinterpretation of three previous works as well as one new piece. It is a startling body of material from the Liverpool based art house collective that, nearly 40 years since its inception, continues to evolve. Formed in Liverpool in 1985, the Revolutionary Army of the Infant Jesus is a unique experimental ensemble whose work goes beyond music. Their mesmerising recorded material is influenced by diverse cultural perspectives and stimulates a deeply personal and subjective awakening. Ethereal vocals, ambient compositions, chants, acoustic instrumentation and field recordings generate beautiful and emotionally intense soundscapes. Includes a double sided 12” insert of illustrations by Mr John Varley, Mr Prince and Miss Macfarlane from the publication THOUGHT-FORMS by Annie Besant and C.W. Leadbeater

LIMITED POSTER EDITION (stickers included)

The Acid Machines series is back with its third electrifying release! Dedicated to the darker side of acid techno, this VA compilation is primed to ignite dancefloors and leave a lasting impression on any rave.

Leading the charge, G303 returns with a gripping opener. Starting with an entrancing breakbeat, the track seamlessly transitions into a thunderous four-on-the-floor rhythm, underpinned by resonant basslines that drive its powerful energy forward.

Acidupdub follows with "Steampunk," a masterclass in atmospheric tension and energy. The track evolves from a deep, pulsating low-end into a relentless techno anthem, featuring hypnotic 303 sequences and immersive basslines that demand attention.

New to the Acid Machines family, Citric Acid makes a stunning debut as a resident artist with "Damage" This one-take analog acid experience is a whirlwind of raw, unfiltered energy and pure acid techno brilliance, showcasing Citric Acid's exceptional production skills.

Acid Machines Vol. 3 is a must-have for fans of dark acid techno. Out now on Zodiak Commune Records. Unleash the acid and let the machines take control!

Lunchbox's legendary lost album "Evolver" is lost no more! Sparklingly remastered for the album’s twentieth (and a few!) anniversary and available on CD, cassette and (for the first time) vinyl, this psychedelic masterpiece fills a crucial hole in the band's discography. Recorded in the couple's 1990s Oakland basement between stays in Berlin, tour dates in London, and dreamy sojourns up the rugged Mendocino coastline, "Evolver" fuses jangle and jungle, ambient and dub into a striking pop statement.

Marrying refined songcraft to the serendipitous magic hidden in half-broken reel-to-reel tape decks and vintage synthesizers, the "Evolver" plants its pop flag on the terrain of magic and mystery. Dreamy jangle pop gems emerge seamlessly out of a sea of loops, drones, and dubbed-out horn fanfares, cascades of tape echo feedback and whispers from outer space providing a trance-inducing backdrop to the pop sensibility for which Lunchbox is well-known. Hook-filled and hypnotic, "Evolver" is a sublime slice of post-pop psychedelia that you won't want to miss.

For this special and long-overdue reissue we've raided the bands vaults for three previously unreleased tunes that add extra dimensions to the album's uniquely trippy flow. And for the vinyl heads we're pressing this as a double LP for maximum fidelity and playability, including a vinyl-only fourth side of beats, loops, interludes and puzzling aural ephemera, all taken directly from the original master tapes. Super cool!

As they celebrate the 10 year anniversary of debut album 'MISERY', DISENTOMB have smashed through Australian tours with Sanguissugabog in March, Europe in August with STILLBIRTH as well as annihilating the European Festival circuit, before finally unleashing new EP 'NOTHING ABOVE', in OCTOBER 2024 with a run of headline shows across Australia, as well as a headlining appearance at Souther Death Festival. The release of NOTHING ABOVE coincides with Disentomb marking 10 years since the release of their 2014 sophomore album Misery which has become a classic in the genre of Brutal Death Metal. Fresh from laying waste to some of the biggest summer festivals in Europe, Disentomb will be bringing out slam pioneers Internal Bleeding for three exclusive shows in October in Melbourne, Sydney and Brisbane, which will see the band performing Misery in full for the first time. Grab tickets to DISENTOMB, INTERNAL BLEEDING (US), HONEST CROOKS and DELIQUESCE The NOTHING ABOVE EP marks the first Disentomb release following their third album The Decaying Light and delving further into the sound of dissonant and bleakened Brutal Death with the writing from the band's bassist Adrian Cappelletti. NOTHING ABOVE is four tracks of the band experimenting with their sound while maintaining the guttural brutality that originally made Disentomb's mark when they exploded onto the worldwide scene in 2008. Vocalist Jord said the EP was an opportunity for fans to hear a more experimental side of Disentomb. "While we're hard at work writing Album IV, we wanted to put out some songs in between albums that show a more evolved sound that we have developed over the years. With the writing done by our bassist Adrian, you can hear the mix of brutality while also some more experimental elements."

Rindert Lammers' debut album is a heartfelt exploration of gratitude, blending personal narratives with cinematic imagery in a serene and soulful ambient jazz style. Inspired by Japanese cinema and the raw authenticity of YouTube confessions, the album captures a mood of introspection and appreciation. Central to the album is the track "Thank You, Kirin Kiki," which draws from a powerful scene in the film Shopliers. Lammers explains "It's one of my favorites. The Japanese actress Kirin Kiki plays the grandmother of a ‘chosen family’, all of whom have fled or lost their own families in some way. In this scene, one of her last scenes before her (real) death, Kirin Kiki (the grandmother) looks at her family and says, 'Thank You!' twice towards the children and the sea. Kirin Kiki improvised these words on the spot, and it's such a poignant moment in the film, but also indicative of her impending death. I found the gratitude so moving it fit perfectly with the gratitude I found in the voice clip from "Thank You Hiroshi Yoshimura. "The fourth song, "Thank You Hiroshi Yoshimura," opens with a voice clip that acts almost as the protagonist of a film, reflecting on a turbulent time of sleeping in parks and on the streets. This voiceover was inspired by a comment on a Hiroshi Yoshimura video on YouTube that began, “This album reminds me of...” Lammers noticed the deeply personal responses le on these videos, so he recorded various similar YouTube comments from people around the world, initially intending to set them to music. Though much of this idea evolved, this particular voice clip remained a central influence, ultimately inspiring a cinematic journey within the album. "Summer in Shibuya" sets the scene as a trailer, "Opening Credits" introduces the narrative, and "Closing Credits" gently brings it to a close. While there’s a Japanese and Tokyo theme running through the tracks, Lammers doesn’t view the album as a tribute to Japan or Tokyo specifically—he’s never visited and admits to knowing only fragments of the culture. Yet he's drawn to Japanese environmental music and is an avid Murakami reader, seeing Japan as a powerful, visual inspiration in his mind’s eye. In a way, the album is also his “thank you” to the beautiful art that Japan has shared with the world.

Jess Sah Bi is well-known as half of the legendary duo Jess Sah Bi & Peter One who brought homegrown Country-Americana to the West African masses with their smash debut Our Garden Needs Its Flowers in the mid-1980s. Touring stadiums and reaching listeners worldwide, their music has racked up millions of spins on YouTube and remains imprinted in the hearts of Ivorians of a certain age. ATFA reissued their album in 2018, garnering critical acclaim from publications including Pitchfork and Rolling Stone and reaching a new generation of listeners outside Ivory Coast (Cote d'Ivoire). Sometime in the early 90s, Die Sahbi - or Jesse, as he known to friends-became gravely ill with an unknown ailment and almost died. He visited various doctors and all kinds of religious healers and nothing helped. One day he went down to an Evangelical Christian revival in his neighborhood. They prayed over him and he was delivered. He says, "Their prayers helped chase out whatever demons and unhealthy spirits were inside me. After that my illness went away. When I went to the United States a few months later on an exchange program I wanted to make music to thank God because I was saved." He recorded an album of music praising God in order to honor a promise he made to himself at the depths of his desperation in the hospital. The album Jesus-Christ Ne Deçoit Pas Jesus Christ Does Not Let Us Down came out in 1991 and sold around 3000 cassettes in Ivory Coast. The master tape was lost along the way so the recording has never been on digital platforms until now. Jesse didn't have much time to record while visiting South Carolina, hence the relatively short album, 6 songs including two reprises for filler. A local pastor connected him with a studio and some American musicians (Robert Fortner and Gary Davis) to help. They added acoustic guitar, percussion and keyboard accompaniment to Jesse's soaring French and Gouro vocals, harmonica and finger-picked acoustic. The resulting recording is deeply soothing and contemplative music that perfectly compliments the songs already embraced by millions. But he had to find the rest of the studio expenses-$600 total-which he secured drawing cartoons for UNICEF. Jesse is Ivory Coast's first political cartoonist, a vocation for which he was widely celebrated at the time. It also made him a few enemies which lead to him leaving the country permanently a few years later. Jesus-Christ Ne Deçoit Pas is Jess Sah Bi's first and only gospel album. Fortunately, fans responded with enthusiasm: widespread radio airplay and concerts followed, along with a growing solo profile in the country. The first big gospel artists in Ivory Coast were the duo Mathieu et Constance, who emerged in 1989. There was a bigger gospel music movement in English-speaking counties like Ghana and Nigeria (Christians make up roughly 40% of the population in Ivory Coast, slightly less than Muslims). Jesse didn't have any intention of working in Christian music but he realized, "You don't make music to make money-you want to send a message." In the years since Jesus-Christ's release, gospel music in Ivory Coast has grown to become a key part of music culture in the country. Spiritual music appears in community actives across the public and private spectrum from religious gatherings and parties to television broadcasts and music festivals. And, as it has evolved and indigenized locally, gospel music has picked up elements of traditional Ivorian music, reggae and soul. The album ultimately precipitated the demise of the duo, who were soon separated geographically as Peter One relocated to Nashville. He went on to become a nurse and release a successful solo album on Verve following the ATFA collaboration. Nowadays Jesse lives in the Bay Area and continues to record and perform music wherever and whenever he has the chance. He is publishing a new book of humorous cartoons in 2025 and his most recent album Never Give Up came out in 2020

Collecting Orders For Repress

Debut EP on Grape City Records for French young wizard Alpine DJ, full-heart producer, profoundly musician, formerly known behind the decks for depicting his high intensity creativity through energetic DJ skills, or sharing machines with his companions of Hanna & Robbie, delivering entrancing and shamanic live acts.

Alpine DJ evolves in « Illusions » with playful synths, epic adventurous lines, shooting star lasers, penetrating colors and pearlescent layers, and delivers a glazed 4-track EP rooted in post disco heritage gloomily twisted with new-school trancy house oddities and futuristic techno driven bass lines. Propulsive gear for peak time and ascensions of euphoria, settled in dreamy and spacey energies, proving Alpine’s shrewdness in musical and production search exploration, a juvenile yet extra-sharp lucidity.

The Delights formerly unissued recording “Listen To Me Girl” first made it’s vinyl debut during 2017 when released back to back with Tearra’s modern soul anthem “Just Loving You” (SJ1008). Having sold out very quickly this release now commands a price of £60.00 a copy. So, with demand still high we have decided to release “Listen To Me Girl” for a second time with the addition of two recently found unissued master tape tracks, which make their vinyl debut as part of this 3 track EP.

The Delights story began in the early 1960’s while as a children’s group from Chester PA. known as ‘The Twilights’ they began entering local talent shows which culminated in a performance at Philadelphia’s prestigious ‘Uptown Theatre’ during 1963. ‘The Twilights’ made their professional recording debut in 1964 for Weldon McDougal III, Johnny Stiles and Luther Randolph’s Harthon Production’s label with “It’s Been So Long/She Put Me Down” (TW-34). A second Twilights 45 came in 1967 “Shipwreck/For The First Time” (TW-35) which sold sufficiently well to be picked up for national distribution by Cameo Parkway. The group consisted of four male vocalists, brothers Kemp “Toppy” Hill, Ellis “Butch” Hill (the eldest) and Jaime “Peanut” Hill and their friend Raymond, plus lead singer and only female member Brandi ‘Peaches’ Wells (born Marquerite J. Pinder) who was only 9 years old when she sang on the group’s first Harthon 45, (Jaime Hill reputedly never featured on either of the two Harthon 45 recordings).

The Hill Brothers were cousins of Manny Campbell and it’s through this family connection that the group came to Emandolynn Productions initially as backing singers before being persuaded by Manny to drop their former performing name of ‘The Twilights’, to become ‘The Delights’. Under Manny and fellow Philadelphian Charles J. Bowen’s tutelage they recorded the delightful crossover dance track “Listen To Me Girl” during the months of July and August of 1968. Recent unearthed master tape finds from these early sessions have since yielded the featured “Come And Rejoice” an energetic subtle gospel influenced dance track which Manny wrote and produced on them in the hope of giving them a wider body of work and appeal as he shopped their demos around local record companies. The original backing track to “Listen To Me” is also featured on this release.

During the mid-1970’s ‘The Delights’ under the tutelage of respected Philly producer, arranger and songwriter Morris Bailey Jr recorded two 45 releases for the Jamie/Guyden distributed Phil-L.A Of Soul label “It’s As Simple As That/I’ve Got Enough Sense” (PH-374) and “Face The Music/Things Ain’t What They Used To Be” (PH-379). Brandi Wells had left the group prior to the Phil-L.A Of Soul releases to firstly join Major Harris’s backing singers ‘Brown Sugar’ before forming the group ‘Breeze’ who backed fellow WMOT label stable mates Billy Paul, Fat Larry & Philly Cream (a.k.a Ingram). Breeze later evolved into the group Slick who recorded the self-named album which produced the chart hits “Space Bass” and “Sexy Cream”. In 1981 Brandi recorded her first solo debut album ‘Watch Out’ which reached #37 on the Billboard R&B Chart, her second solo album entitled “20TH Century Fox” followed in 1985 for the Omni label. She recorded the Butch Ingram penned “I Love You” 12” single for Butch’s Society Hill records in 1992. Sadly, Brandi Wells passed away in 2003 at the age of 47.

"On Kit-Cat, Casper Skulls become a fully involved effort shared between band members and longtime friends Melanie St. Pierre-Bednis, Neil Bednis, and Fraser McClean. Neil and Melanie, the husband-and-wife duo at the forefront of the indie rock project, split the songwriting, guitar-playing, and vocals on Kit-Cat while also sharing instruments with Fraser, who carries more than his own weight on drums, bass, and guitar throughout.

The combined effort that fueled Kit-Cat paints a poignant picture of what Casper Skulls has evolved into since their last record, Knows No Kindness, was released in 2021. The result is an 11-track mosaic of the band’s life in recent years, grieving loved ones and lost relationships, full of self-love and love shared between longtime bandmates who not only explore new lyrical inspirations but shuffle their lineup from track-to-track to showcase their ultimate strength: collaboration.

Following a lineup change (down to 3), a change of scenery (north to Sudbury), and several major life changes (Neil and Melanie welcomed their first child in 2023, while Fraser was hitting the road as a guitar tech for Tokyo Police Club and Pup), the one thing that remains steadfast in Casper Skulls’ identity as a band is its synchronicity. Listen close as they embrace each other’s skills and celebrate all that each member brings to the table.

Casper Skulls have successfully grown into their own on Kit-Cat, ultimately delivering the best album of their career."

The new live album from Enemy, marking their fourth release, captures a decade of fearless exploration and deep musicalconnection between pianist Kit Downes, bassist Petter Eldh, and drummer James Maddren. Reuniting with Edition Records after three albums that spanned Edition, ECM, and We Jazz, this album was recorded over a two-day residency at Bird’s Eye in Basel.

It’s an ambitious retrospective and forward-looking statement, covering pieces from each record while presenting new material that reflects how Enemy’s sound has evolved—balancing intensity with a striking, refined subtlety. Known for their masterful use of poly rhythms, Enemy’s live performance pushes their collective improvisation to new heights, with the trio freely transitioning between themes and compositions without a set list. Signature tracks like “Faster than Light” showcase an evolving interplay, where intensity meets lightness and bursts of colour emerge from unexpected places.

This album also nods to the spirit of 90s studio jazz, with layered tunes and a playful yet sophisticated approach that challenges the boundaries of thepiano trio.

Kit Downes’ remarkable profile growth has only enriched the trio’s dynamic, bringing an ever-expanding lyricism to Enemy’s sound. Petter Eldh and James Maddren, both with deep ties to Edition through Eldh’s Project Drums and Maddren’s many Edition collaborations, add their own layers of innovation and depth to this release.

Together, they create an electrifying conversation thatis both intricate and instinctive—this is Enemy at their most potent, capturing a decade of artistic synergy and setting the stage for the next chapter.

MARTHIAL joins NECHTO with ‘NECH029’, a four-track vinyl release blending tradition and futurism. The record pays homage to a genre central to MARTHIAL’s imagination, drawing on its history to shape a forward-thinking sonic vision. The Milan-born and -based artist describes the EP as “a reflection on change: everything transforms, everything evolves, and we are tasked with finding harmony between what has been and what could be”.
Born Alessandro Vaccari, MARTHIAL is a DJ, producer, and founder of Milan’s independent cultural hub, the Tempio del Futuro Perduto. Through this unique space and his 24/H Records label, MARTHIAL has collaborated with influential artists like Stanislav Tolkachev and Fabrizio Rat. His music evokes ethereal atmospheres and hypnotic rhythms, bridging Detroit-inspired soundscapes with innovative, interstellar journeys.
The EP represents a personal journey for MARTHIAL, who describes the process of revisiting this sonic language as an opportunity to redefine himself and his perspective on the world. By channelling the past as a guide and embracing the future as a responsibility, he crafts a cohesive narrative that combines deep emotional resonance with forward-thinking energy.
‘NECH029’ is a cohesive exploration of these elements, delivering pulsating energy and emotional depth across its four tracks: ‘Don’t Wanna’, ‘Soul Groove’, ‘The Dancer Gift’, and ‘Infinito Imperfetto’.

Halo Studios und Laced Records haben sich zusammengetan, um die ikonische Musik der ursprünglichen Halo-Trilogie zum ersten Mal auf Vinyl zu veröffentlichen.

Diese Box enthält 83 Titel aus den ersten drei Halo-Alben, die speziell für Vinyl neu gemastert und auf acht heavyweight LPs gepresst wurden. Jeder Soundtrack befindet sich in einer breitrandige Außenhülle und einer bedruckten Innenhülle. Diese wiederum befinden sich in einer stabilen Sammlerbox aus Karton mit silbernem Laminatüberzug und geprägtem Halo-Logo.

Das Original-Cover-Artwork stammt von Art Director und Concept Artist Isaac Hannaford (alias Rhizus / Space Ship Guru), dem ehemaligen Lead Concept Artist und Mitwirkenden an Halo 3, Halo 3: ODST und Halo Reach. Das zusätzliche Artwork der Box wurde von der Grafikdesignerin Maren Landsnes erstellt.

Halo: Combat Evolved war der Inbegriff des Konsolen-Ego-Shooters und sein Soundtrack legte den Grundstein für den legendären Sound der Serie. Der Soundtrack ist von verschiedenen Genres inspiriert und kombiniert schwungvolle Orchesterklänge mit marschierenden Militär-Snares, Prog-Rock-Percussion und - wer könnte den gregorianischen Mönchsgesang vergessen?

Für Halo 2 taten sich die Komponisten mit hochkarätigen Musikern zusammen und verpassten dem Halo-Thema mit dem neuen „Mjolnir Mix“ ein Heavy-Metal-Makeover. Es war der erste Videospiel-Soundtrack, der es in die Billboard 200 schaffte.

Halo 3 zeichnete sich durch Tribal-Drums und Prog-Rock-Refrains aus, während Klaviermelodien, begleitet von einem 60-köpfigen Orchester und einem 24-stimmigen Chor, dem Soundtrack emotionale Tiefe verliehen.

- 83 Tracks aus Halo: Combat Evolved, Halo 2 und Halo 3
- Speziell für Vinyl neu gemastert
- Cover-Artwork von Isaac Hannaford (ehemaliger Lead Concept Artist, Bungie)

Halo Studios und Laced Records haben sich zusammengetan, um die ikonische Musik der ursprünglichen Halo-Trilogie zum ersten Mal auf Vinyl zu veröffentlichen.

Dieses Doppel-LP-Set enthält die Musik aus dem Spiel, mit dem alles begann, speziell für Vinyl neu gemastert und auf heavyweight LPs gepresst. Die Schallplatten befinden sich in einer breitrandigen Außenhülle und zwei bedruckten Innenhüllen.

Das Original-Cover-Artwork stammt von Art Director und Concept Artist Isaac Hannaford (alias Rhizus / Space Ship Guru), dem ehemaligen Lead Concept Artist und Mitwirkenden an Halo 3, Halo 3: ODST und Halo Reach. Das zusätzliche Artwork des Sets wurde von der Grafikdesignerin Maren Landsnes erstellt.

Halo: Combat Evolved war der Inbegriff des Konsolen-Ego-Shooters und sein Soundtrack legte den Grundstein für den legendären Sound der Serie. Der Soundtrack ist von verschiedenen Genres inspiriert und kombiniert schwungvolle Orchesterklänge mit marschierenden Militär-Snares, Prog-Rock-Percussion und - wer könnte den gregorianischen Mönchsgesang vergessen?

- 26 speziell remasterte Titel aus dem Spiel von 2001
- Cover-Artwork von Isaac Hannaford (ehemaliger Lead Concept Artist bei Bungie)

Definitive Recordings is proud to announce the reissue of deep house classic "Liferaft" by Juicy Fruit (aka Meredith Ledger), fully remastered and set to breathe new life into one of the 90s' most iconic releases. Originally dropped in 1993, this EP features the original as well as remixes by John Acquaviva and The Stickmen.

The standout title track, "Liferaft", is a rich and soulful deep house gem, built around a captivating piano house theme that harks back to the golden era of house music. The track's groove is driven by a classic house beat and a funky, rhythmic guitar lick that perfectly complements its melodic core. The fresh remaster brings new clarity to its timeless warmth, elevating it for modern sound systems while keeping the vintage charm intact.

House music legend John Acquaviva takes the funky guitar lick and pushes it further into the groove, layering it with a robust and simplistic bassline. His remix evolves into a deep yet vibrant soundscape, showcasing Acquaviva's signature house influence.

The "The Stickmen Dub" intensifies the original's foundation by supplementing it with a hypnotic organ sound. This remix enriches the track with subtle but powerful layers, creating a mood that's both dancefloor-ready and deeply immersive.

Definitive Recordings is excited to share this release with long-time fans and newcomers alike. Whether you're a die-hard house aficionado or just discovering the classics, the "Liferaft" EP is a must-have addition to any collection.

Entering its 26th year of activity, the morphing, Los Angeles based experimental outfit, Sissy Spacek, joins Shelter Press with Entrance, among the project's most captivating outings to date. Encountering the duo of John Wiese and Charlie Mumma joined in various configurations by an incredible cast of collaborators - Tim Barnes, Marco Fusinato, Aaron Hemphill, Brad Laner, Katsura Mouri, Ralf Wehowsky, and C Spencer Yeh - collectively transformed into a series a deeply intimate and delicate gestures of musique concrète, Entrance radically repositions the possibilities presented by group improvisation outside of time and place. Founded at the end of the last millennium, the Los Angeles based project, Sissy Spacek, initially emerged from the knotted, fiery context 1990s American noise and grindcore, producing sheets of visceral sonority that quickly set the scene on its head. Going through numerous evolutions, before eventually settling as a duo of John Wiese and Charlie Mumma - joined by a rotating and often recurring cast collaborators - over the last 25 years the band has continuously entered states of evolution that have defied the expectations of its own context, seeding the sonic extremes noise with subtle and sophisticated approaches to free improvisation and musique concrète. Fiercely positioning its efforts within the outer reaches of contemporary experimental music, while resisting the constraints of a singular sound or proximity, Wiese regards Sissy Spacek as being primarily centred around the practice of musique concrète and the pursuit of extremes. From its earliest releases - collage treatments of material gathered from the band's full throttle practice sessions - the project's conceptual framework has continuously evolved within a deeply engaged process of experimentation, not only reworking tactical approaches, but also definitions and perception regarding the location and action of their work. In recent years, this has led to an increasingly varied and diverse output. Percolating within, is a thread marked by a striking sense of delicacy and intimacy, driving forward while doubling as an unexpected challenge, in real time, to perceptions connected to the band's past. Entrance is the most recent of these. Embarking upon the four compositions that comprise the finalized four sides of Entrance, Wiese and Mumma enlisted longstanding collaborators, Tim Barnes, Marco Fusinato, Aaron Hemphill, Brad Laner, Katsura Mouri, and C Spencer Yeh, as well as new initiate, Ralf Wehowsky (of the seminal German electronic noise collective P16.D4), requesting a contribution of sounds from each, determined by a general set guidelines that dictated certain qualities the given sonorities, while allowing for the expression of each player's distinct creative voice. The sets of resulting recordings were then chopped, harvested, manipulated, and reassembled as the four tape compositions that make up the album - Web Of Unfolding Appearance, Figure Of Reflected Light, Trancher And The Inheritors, True Dimension (From The Opaque - Spike) - each blurring the lines of authorship and clear creative proximity in remarkable ways. Where historical gestures of musique concrète tend to draw upon non-instrumental sound sources - regarding its sonorous material as raw elements, unburdened by inherent meaning or association, to be transformed and imbued with musicality - Sissy Spacek turns this position on its head. Entrance comprises works of musique concrète that not only draw upon instrumental sound sources, with all their possible meanings or associations, but also individual characters and personalities of their players, crediting each resulting piece to its respective configuration of contributors. As such, Entrance is an effort of sound collage defined by a rare sense of intimacy and humanity: four pieces that often take on the resemblance of group improvisation, but have, in fact, been assembled outside of time and place. Bent under the ever-present hand of Wiese's tape treatments and manipulation, each of the album's four compositions unfurl startling states of sonic abstraction and percolating texture, marked by a striking sense of hard-shifting structure, that culminate as tense, driven manifestations of ambient music: scrapes, squeals, rattles feedback, rolling drums, bouncing tones, whispers, bent electronics, electric artefacts, and seemingly everything else under the sun, configured into immersive, sublime mediations in sound from the most improbable events.

Bon Iver's debut full-length For Emma, Forever Ago has been making major waves in critics circles based on the strength of an early artist-pressed advance cd and a couple awe-inspiring sets at CMJ in October 2007. The New York Times called it "irresistible" and Pitchfork stamped its early review of the album with a Recommended tag. For those of you hiding away in a cabin of your own, it's time that you hear the story, and more importantly, the music. Bon Iver (pronounced: bohn eevair; French for "good winter" and spelled wrong on purpose) is a greeting, a celebration and a sentiment. It is a new statement of an artist moving on and establishing the groundwork for a lasting career. For Emma, Forever Ago is the debut of this lineage of songs. As a whole, the record is entirely cohesive throughout and remains centered around a particular aesthetic, prompted by the time and place for which it was recorded. Justin Vernon, the primary force behind Bon Iver, seems to have tested his boundaries to the maximum, and in doing so has managed to break free from any pre-cursing or finished forms. It wasn't planned. The goal was to hibernate. Vernon moved to a remote cabin in the woods of Northwestern Wisconsin at the onset of winter. He lived there alone for three months, filling his days with wood splitting and other chores around the land. This solitary time slowly began feeding a bold, uninhibited new musical focus. The days slowly evolved into nights filled with twelve-hour recording blocks, breaking only for trips on the tractor into the pines to saw and haul firewood, or for frozen sunrises high up a deer stand. All of his personal trouble, lack of perspective, heartache, longing, love, loss and guilt that had been stock piled over the course of the past six years, was suddenly purged into the form of song.

Bugge Wesseltoft has long been a shaper of his own jazz idioms, through his diverse solo albums, his group projects such as New Conception of Jazz, OKWorld! and RYMDEN, and collaborations with artists such as Sidsel Endresen, Henning Kraggerud or Henrik Schwarz.

"Am Are" features special constellations of superb musicians that spans both generations and styles, and is an exploration of sonic textures, dynamic contrasts of mood and style, and ranges from sparse arrangements through to complex layers of dubs and loops and improvisational interplay.

The album begins with Bugge alone on "How?" with layers of undulating atmospheric synth, brought into focus by Bugge's piano at the forefront, creating a minimalist miniature that is both emotive and serene. For "Villrein" Bugge is joined by Elias Tafjord on drums, beginning with a santur-like synth figure, floating over ominous formant sci-fi bass synths bubbling and pulsing, and overlaid by phrenetic piano that only stops to lock into the santur figure before relaunching on its own journeys, all underpinned by Elias Tafjord's expressive drumming. "Is Anyone Listening?" demonstrate's Bugge's songcraft, layering muted percussive piano behind Rohey's distinctive and beautiful vocals punctuated by Martin Myhre Olsen's tenor saxophone, creating a soulful mood tinged with desperation.

"BAG" presents the first classic piano trio of the album - Bugge on piano and synths, Arild Andersen on bass, and Gard Nilssen on drums - announcing itself with an insistent riff, chattering drums, breaking into a progressive rock-style passage of bass and piano in unison. "Reel", the second track from this trio, is a mellow soundscape that evolves to become hazy urban downbeat jazz.

The second piano trio of Bugge (Rhodes and Korg MS20 synth), Sveinung Hovensjø (Electric Bass), and Jon Christensen (Drums and Bells) offers a completely different perspective. The first track "Render" features Bugge's Zawinul-esque Rhodes and monosynth leads, Sveinung's fuzz bass in something of a leading role, all carried with chattering gusto by Jon Christensen's dynamic drumming that brings texture and space as well as rhythm to the piece. "Vender" begins as an atmospheric piece, with reed organ-like synth washes, and octave-processed bass with a somewhat sitar-like tone, meandering until the track breaks down into drums and bass weaving around an insistent drum machine loop, dripping with synth pads and monosynth lead.

"JazzBasill" introduces the third piano trio - featuring Bugge (Piano), Jens Mikkel Madsen (Acoustic Bass) and Øyunn (Drums) - and offers a classic piano trio style with urban sophistication, that is lyrical, and interspersed with staccato cadences, giving a feeling of broken swing, slightly staggered yet driving forwards. The title track "AM ARE" is late night jazz, with baroque whispers, and distinctly melodic.

The final track, "Think Ahead" features the non-standard trio of Bugge (Piano/Organ), Oddrun Lilja (Guitar) and Sanskriti Shrestha (Tablas/Harp). Beginning with a minimalist piano figure, table, and sustained guitar, the track breaks down to a noise surge and ambient windscape, with guitar birds and abstract grinding, before returning to minimalist melodicism.

The shifting personnel across the album, as well as the three different studios in which it was recorded - Village Recording in Copenhagen, Rainbow Studios in Oslo, and his own Buggesroom Studio - creates a feeling of dynamic change and musical variety that is unified by Bugge's piano and keyboards. His playing moves between foreground, where he allows the music to elevate him, and background, where he move gently like a beneficent presence, tending to the demands of the spirit of the musical moments he has captured. It is an album powered by restless exploration and shaped by distinctive musical personalities; it is a journey through different moods, illuminated and brought into focus by Bugge's measured approach and guiding hand.

Ramu Records presents their third release – ‘S Gytis - Aš Čia’ (translated as ‘I Am Here’). It’s a full-length double vinyl album, which is S Gytis’ second release. The sound of Gytis’ creation evolves alongside his life. Having swapped city noise for a rural setting, he began exploring new directions and this time settled on acoustic instruments. The deep experimental sound is infused with freshness and vitality. The entire album spans diverse spaces and emotions. Each track tells a unique story – a story about feelings or the spaces that Gytis wants to introduce us to.

"“We can still hold the line of beauty, form, and beat. No small accomplishment in a world as challenging as this one... hard times require furious dancing. Each of us is proof” Alice Walker, Hard Times Require Furious Dancing

Snapped Ankles have given up trying to make sense of it all. The forest only offers so much protection. Feeding on a diet of fractured narratives, meme culture, viral moments and the very worst of human impulses weighs heavy. The woodwose hold up a mirror to the absurdity of modern life once again. The only sane response is to dance. Make your way to the clearing, gather around the megalith of speakers, drum machines, amps and synthesisers and dance like there’s no tomorrow.

Hard Times Furious Dancing is an invitation to all those lost in the unrelenting noise of the present, to leave it all behind and come together in the forest. Driven by the primitive thrust of their single-oscillator ‘log’ synths, high and low culture collide in a surreal, free flowing narrative - but the rhythm is universal. This is easily the closest Snapped Ankles have come to capturing their rapturous live energy in the studio.

The sound of Hard Times Furious Dancing evolved at Snapped Ankles’ South London ‘Forest Rayve’ club nights in 2024 in response to that age-old primal urge to bring people together and make them move. It’s the first time the woodwose have road tested new material to this extent before committing it to tape since debut album Come Play The Trees, and in doing so have harnessed that feral energy once again. This surreal human/woodwose connection is the very best release from an algorithm that knows you better than you know yourself. Dance it all loose."

The debut album from Whitney Johnson & Lia Kohl has evolved over several years from their initial practice of free improvisation on viola and cello into (for the moment), this: a neophonic orchestral expression. At once stimulating and soothing, For Translucence is a living, breathing meditation in which layers of acoustic strings, synthesizers, field recordings, radio and sine waves illuminate each other as they twine and grow.

We are thrilled to announce another underground gem on our label. This time, it's Collage's incredible 4-track EP "Mit den Puppen tanzen" (Dancing With The Puppets). Originally released in 1984 on the small FMusic label, the 12" EP is a true highlight in German Electro and NDW history, becoming a sought-after item among collectors. It features intense lyrics by singer Katrin A. Kunze, with music composed by Markus Kammann and Jürgen Grah.

Kammann and Grah, both originally from Solingen - a small city near Wuppertal - had previously collaborated on the new wave project Schwarze Bewegung with a different singer. Their self-titled LP was released in 1982 on Bacillus/Bellaphon. During this period, the electro sound pioneered by Kraftwerk evolved into electro-funk, sparked by the release of Afrika Bambaataa's groundbreaking track "Planet Rock", which achieved global acclaim. The iconic Roland TR-808 drum machine, masterfully employed by Arthur Baker's production team, revolutionized dance music with further hits like "Looking for the Perfect Beat" and collaborations with Planet Patrol. Markus Kammann cites these tracks, along with black music as a whole, as key influences on his work. In contrast, much of the electronic music emerging from Germany at the time rather leaned towards the styles of artists like Klaus Schulze and Tangerine Dream. Kammann's influences are evident in Collage's EP, which incorporates elements of early electronic hip-hop, such as the scratching sounds in the title track (created with tape rather than turntables) and short rap segments in "Niemals zurück".

By this time, Kammann and Grah had acquired their own Roland 808 as well as a JUNO-60 keyboard. Grah, originally a drummer, played keyboards and vibraphone, while Kammann, primarily a guitarist, also played bass. All the lyrics on the EP were written and performed by Kathrin A. Kunze, who hailed from Cuxhaven, a northern German city. She moved to Wuppertal around 1983 to study literature, and the group Collage was born.

Through Uwe Bauer, drummer of Fehlfarben, and their manager Horst Lüdge (of Profil), Collage connected with Werner Lambertz, a legendary sound technician from Düsseldorf. Lambertz's state-of-the-art studio featured custom-built sequencers capable of triggering the JUNO-60, as well as expensive equipment like a vocoder. Over the course of a week, the group completed all four tracks.

The EP's hard yet playful electro beats were complemented by Kunze's distinctive performance and introspective lyrics, which lent the songs a uniquely German and wavy touch. Her subtle songwriting conveyed a sense of paranoia and sorrow, as seen in lines like "Ich glaub mir selber nicht. Wer hält denn schon, was er verspricht?" ("I don't believe myself. Who stays true to their word, anyway?").

Unfortunately, the EP was never properly promoted and was distributed solely through the independent market via EFA. Despite this, Collage continued working on new material and pre-recorded an album that garnered label's attention. Polydor expressed interest but proposed using the compositions for a solo project with singer Inga Humpe (of Neonbabies), who was already signed to their roster. This would have required replacing Kunze as the vocalist, an idea the group firmly rejected. As a result, the album was never released. In 1987, Kammann, Grah, and Kunze launched another project called Cold End, which released another brilliant and highly sought-after 12" single, Metropolitan Jungle, originally issued on Tam Tam and recently re-released.

The first-ever reissue of "Mit den Puppen tanzen" is limited to only 400 copies - 200 on classic black vinyl and 200 on blue transparent vinyl. The cover art remains true to the original 12" release, designed by the aforementioned Uwe Bauer (aka Bimbo Art). This reissue is a must-have for DJs and collectors alike

Gates To Hell is ready to unleash their first full length album since signing to NB

The ground quakes, the surface fractures, and a colossal force rises from the abyss: GATES TO HELL have returned to deliver their undeniable truth—Death Comes to All. Blurring the lines between death metal, hardcore, and every brutal sound in between, GATES TO HELL bring a monstrous energy to the studio which has evolved into a rising juggernaut of sonic destruction.
Fueled by youthful ambition and a sharp creative focus, the result is a record that balances raw intensity with a sharpened sense of precision. With Death Comes to All, GATES TO HELL solidify their place in modern heavy music’s pantheon

Released in 1990, Permanent Damage is the fifth and final studio album by British alternative rock band The Icicle Works. Fronted by Ian McNabb, the album features the band’s signature blend of melodic songwriting and energetic rock. Tracks like "Motorcycle Rider" and "Melanie Still Hurts" highlight McNabb's evocative lyrics and strong vocal delivery, making the album a memorable conclusion to their career. Permanent Damage reflects the band's ability to evolve while staying true to their alternative rock roots. Although it marked the end of The Icicle Works' original run, the album holds a special place in the hearts of fans for its emotional depth and musical craftsmanship. For those exploring the band’s discography, Permanent Damage serves as a poignant farewell from one of Britain’s cherished alternative rock groups. Permanent Damage is available as a limited edition of 500 copies on translucent yellow coloured vinyl.

The Marloes follow up the massive success of their debut album Perak by pressing two of the stand out tunes from the record on a 7". The A side 'Not Today' is right up there with the grooviest feel good songs you could ever play on a Sunday morning. Lead singer Natassya Sianturi reminds us to make space for ourselves no matter what life throws our way. From the message, to the music, to Natassya's gorgeous voice; this is a cool out, kick back, and enjoy anthem. The B side 'Over' starts out with a heavy drum break and evolves into an epic arrangement drenched in layers of gorgeous melodies that perfectly capture the havoc of a love affair that ends abruptly. Natassya's vocals soar over Raka's intricate production seamlessly as she tells a tale in three parts; attraction, intimacy, and decline that crescendos to an epic ending.

"The Beatles spread the use of electric guitars all through the world, and Bolivia was no exception. “The British Invasion” hit a politically convulsed country, and it fell upon a rich multi-cultural scene that was further expanded when the psychedelic counterculture youth movements coming from San Francisco also took the hearts of the country’s youngsters.
It was a big mixture of influences thrown in a cauldron that saw a link between the LSD drenched hippie generation and the country’s native ancestors. Bolivians were not new to mind-expanding experiences, the acid experiences promoted in the USA by Ken Kesey and Timothy Leary found their local counterpart in the old indigenous traditions of using plants such as the ayahuasca to open their doors of perception.
On this compilation you will find some of the more interesting young bands from a 1960s Bolivia bringing the sounds of a new generation and marrying them with the rich musical background of the country. The garage-sounding psychedelic beat made by these young musicians would soon open new horizons, and Bolivia would soon see how traditional sounds, like their local version of the cumbia, would evolve in a similar way as it would do in the neighboring country of Perú."

We are thrilled to announce another underground gem on our label. This time, it's Collage's incredible 4-track EP "Mit den Puppen tanzen" (Dancing With The Puppets). Originally released in 1984 on the small FMusic label, the 12" EP is a true highlight in German Electro and NDW history, becoming a sought-after item among collectors. It features intense lyrics by singer Katrin A. Kunze, with music composed by Markus Kammann and Jürgen Grah.

Kammann and Grah, both originally from Solingen - a small city near Wuppertal - had previously collaborated on the new wave project Schwarze Bewegung with a different singer. Their self-titled LP was released in 1982 on Bacillus/Bellaphon. During this period, the electro sound pioneered by Kraftwerk evolved into electro-funk, sparked by the release of Afrika Bambaataa's groundbreaking track "Planet Rock", which achieved global acclaim. The iconic Roland TR-808 drum machine, masterfully employed by Arthur Baker's production team, revolutionized dance music with further hits like "Looking for the Perfect Beat" and collaborations with Planet Patrol. Markus Kammann cites these tracks, along with black music as a whole, as key influences on his work. In contrast, much of the electronic music emerging from Germany at the time rather leaned towards the styles of artists like Klaus Schulze and Tangerine Dream. Kammann's influences are evident in Collage's EP, which incorporates elements of early electronic hip-hop, such as the scratching sounds in the title track (created with tape rather than turntables) and short rap segments in "Niemals zurück".

By this time, Kammann and Grah had acquired their own Roland 808 as well as a JUNO-60 keyboard. Grah, originally a drummer, played keyboards and vibraphone, while Kammann, primarily a guitarist, also played bass. All the lyrics on the EP were written and performed by Kathrin A. Kunze, who hailed from Cuxhaven, a northern German city. She moved to Wuppertal around 1983 to study literature, and the group Collage was born.

Through Uwe Bauer, drummer of Fehlfarben, and their manager Horst Lüdge (of Profil), Collage connected with Werner Lambertz, a legendary sound technician from Düsseldorf. Lambertz's state-of-the-art studio featured custom-built sequencers capable of triggering the JUNO-60, as well as expensive equipment like a vocoder. Over the course of a week, the group completed all four tracks.

The EP's hard yet playful electro beats were complemented by Kunze's distinctive performance and introspective lyrics, which lent the songs a uniquely German and wavy touch. Her subtle songwriting conveyed a sense of paranoia and sorrow, as seen in lines like "Ich glaub mir selber nicht. Wer hält denn schon, was er verspricht?" ("I don't believe myself. Who stays true to their word, anyway?").

Unfortunately, the EP was never properly promoted and was distributed solely through the independent market via EFA. Despite this, Collage continued working on new material and pre-recorded an album that garnered label's attention. Polydor expressed interest but proposed using the compositions for a solo project with singer Inga Humpe (of Neonbabies), who was already signed to their roster. This would have required replacing Kunze as the vocalist, an idea the group firmly rejected. As a result, the album was never released. In 1987, Kammann, Grah, and Kunze launched another project called Cold End, which released another brilliant and highly sought-after 12" single, Metropolitan Jungle, originally issued on Tam Tam and recently re-released.

The first-ever reissue of "Mit den Puppen tanzen" is limited to only 400 copies - 200 on classic black vinyl and 200 on blue transparent vinyl. The cover art remains true to the original 12" release, designed by the aforementioned Uwe Bauer (aka Bimbo Art). This reissue is a must-have for DJs and collectors alike

Valuable vinyl reissue for this historic four-handed work by Gigi Masin and Giuseppe Caprioli. The concept of multitude combined with the figure/symbol of the labyrinth suggests orders of thought relating to the multiple states of being that inhabit the dark labyrinths of the soul, the hidden regions of the human psyche. All in Multitude In Labyrinth leads us to look for keys to understanding the ultimate meaning of a test as enigmatic as it is powerful. A congeries of paramusical phenomena in continuous evolution, expression of an internal feeling strongly concentrated on itself, disguised in the plastic flow of sound events that evolve on the gravitational maps of low-frequency drones, of the changing waveforms and of the elliptical-circular loops warped with scientific skill in the electronic workshop used for this purpose. A cinematic symphony in nine movements that direct the listening towards the frontiers of unexplored parallel worlds, ready to recreate the infinite maze of aural multitudes that materialize, dissolve and regenerate impulse after impulse for the duration of the work. Music whose remote echo makes us think of the harmony of the spheres that governs the mechanics of the cosmos and of being.

Formed in 2010, LORNA SHORE is quick to surpass expectations with 2012’s “Bone Kingdom” EP and it’s follow-up, 2013’s “Malificium” EP. Through each release, LORNA SHORE continues to prove themselves to be an increasingly formidable force and a ferocious live proposition. 2017’s sophomore LP, “Flesh Coffin” showed a band that had moved beyond mere “deathcore” trappings and had evolved into a modern metal band, as uncompromising and accomplished as any of their contemporaries or influences. “Flesh Coffin (Re-issue 2025)” comes with a vinyl master by Will Borza and is available as black 180g LP.

A few weeks ago, Brigade Loco officially announced that they will release their third album in the coming months. The band from Gipuzkoa, with seven years of trajectory, will release their new full-length under the title"Bide baten esanahia" ("The meaning of a road"). This new album will finally be released in February 2025. As usual, the album has been recorded at the Sound of Sirens studio in Iruña under the supervision of technician Julen Urzaiz. This album is a firm step forward for a band that wants to evolve and write its own trajectory without repeating chapters previously made. In view of this, the band says they are very excited about the project. It has been more than a year of work and effort before this ambitious project sees the light of day, and they are looking forward to sharing their new tunes with their audience. Brigade Loco are about to start a very important episode in their career. An episode with interesting paragraphs, plotsand characters. Stay tuned.