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Orange emerged from Antwerp's vibrant art and music scene in 1966, evolving through lineup changes to become one of Belgium's most compelling underground rock bands. By 1969, the band had solidified its identity and made their national television debut, showcasing a blend of psychedelic and melodic rock.
Later that year, with Hugo Van Camp joining Marc Van Geystelen (lead guitar), Norbert De Lange (guitar/vocals), and Swa De Houwer (bass), the band recorded their debut single "The Sun" b/w "Wait Until Sunrise" at Decca Studios in Brussels - a dark, brooding masterpiece that has since earned cult status.

Nehmt Euch einen Moment und lässt Euch die Kataloge dieser Meister des amerikanischen Folk auf der Zunge zergehen: MAGNOLIA ELECTRIC CO., CENTRO-MATIC, SONGS: OHIA, SOUTH SAN GABRIEL. Und lasst uns ganz ehrlich sein: Eine Dosis des künstlerischen Egos und ein wenig Eitelkeit können einen höheren Dienst erfüllen. Auf dieser Kollaboration von Jason Molina und Will Johnson scheint der jeweils andere Künstler sein Gegenüber und dessen Talent zu befeuern und sowohl die Performance als auch die Kreativität auf neue Höhen zu befördern. Im brüderlichen Teilen von Ideen werden Molina und Johnson zwei Poeten unter Poeten, die sich in ihrer Werkstatt daran machen, eine einzige, übergeordnete Elegie zu erschaffen. Der einzigartige Stil und die typische Produktion jedes einzelnen Musikers fügen sich hier zu einer gemeinsamen Schnittmenge zusammen. Der dokumentarische Ansatz eines Jason Molina richtet sich ganz häuslich in den subtilen Störungen und Produktionstricks eine Will Johnson ein, während der kräftige Tenor von Molina einen perfekten Tanzpartner in der sanften Reibeisenstimme von Johnson findet. Während die individuellen Performances hier bereits atemberaubend sind, ist die Zusammenkunft beider das, was den Zauber von "Molina&Johnson" ausmacht.

Carlos Giffoni reconnects with Thurston Moore for two sides of loose-limbed axe noise, oscillator worship and hard-phased, Spacemen 3-style feedback.

Giffoni’s been on a roll recently. Since the No Fun founder returned to the scene with »Vain¡, a genius set of synth mutations that appeared in iDEAL back in 2018, he’s been slowly ramping up the activity, dropping the celestial »Dream Walker« on Stephen O’Malley’s Ideologic Organ in 2024 and following it with »Pendulum«, a bumper compendium of collaborations, just a few weeks back. For those who remember Giffoni’s first trip round the block, he was always able to hold his own chopping it up in person, not just by mail.

Just scrub through his early catalog and you’ll see collabs with Nels Cline and Chris Corsano, Merzbow, Jim O’Rourke and Lasse Marhaug, and of course, Thurston Moore. The two rekindle their thing on »IGUANA’« picking up where 2001’s fabled »4 Guitars Live« performance left off. Here, Giffoni straddles a tabletop synth and FX while Moore attacks his signature Jazzmaster with a drumstick and a screwdriver – vibes fully intact.

Moore is on blistering form, sounding as if he’s taken a step back to refresh his approach since the early ‘00s when he could be spotted moonlighting on any number of basement-adjacent noise sides. Sawing at his strings and turning the guitar into a shrieking resonator, he leaves only faint vapours of the classic Sonic Youth sound as opiating accents on his animalistic wails and rumbles. On the opening half, his whammy – assisted shreds are balanced out by Giffoni’s off-world whirrs and airlocked vibrations, building a dense wall of noise towards an unexpectedly elegiac conclusion. At some point, Giffoni’s rasping churr transforms into a simmering shudder and Moore’s into hymnal drones – squint a bit and you could almost call it pretty.

Of course, they ramp things up on the flip, dissolving the melancholia with smokey white noise and twangy, post-Derek Bailey chimes that Giffoni accompanies with aggy oscillations. Like every great taped noise set, the recording quality is crucial - »IGUANA« was captured from the pit by Guillermo Hernandez Avendano, the dad of Lia Miranda who provides the cover photo. It’s that kinda show.

Brighton-born, Cincinnati-based producer Marsh a.k.a Tom Marshall. ‘Lailonie’ is Marsh’s second studio album and debut Anjunadeep LP. After joining Anjunadeep back in 2018 via ‘Explorations 07’ with ‘Black Mountain’, Marsh has gone on to release a string of well received original EPs including ‘Prospect’ with label mate Nox Vahn, ‘Eu Topos’ and his latest ‘Lost In You’ as well as remixing some of the biggest artists in dance music including Above & Beyond and Armin van Buuren.

Marsh has previously released on Silk Music, where he released his debut album ‘Life On The Shore’ in 2017; and Enhanced Music’s progressive house imprint Colourize. Over the past 2 years, Marsh has become a firm Anjunadeep fan favourite all the while establishing himself as a future star of the electronic scene with a steady stream of tastemaker backing from Joris Voorn, Rufus Du Sol, Kölsch and BBC Radio 1’s Pete Tong and Phil Taggart. Recent years have seen him tour globally with Above & Beyond as well as share the bill with legends like Sasha & Digweed and Guy J.

After two co-headlining tours over the past decade, (the) Melvins are continuing their long tradition with us of teaming up with another band on an album. Next up – Napalm Death! This isn’t just some split release with the bands each getting a side. Savage Imperial Death March is a full collaboration with both Melvins & Napalm Death playing together on all the tracks.


This release originally came out on super-limited CD and vinyl via AmRep in 2025 (tour and AmRep store only). This will be an extended version with 2 extra songs, brand new artwork from Mackie Osborne, new vinyl variants, and will be the official release for the first time at record stores, DSPs and more.


Napalm Death are credited as pioneers of the grindcore genre by incorporating elements of crust punk and death metal. Even after exerting an indelible influence on the entire world of heavy music for nearly 40 years, there is still no band on Earth that sounds like Napalm Death. Not just pioneers, but an enduring benchmark for invention and fearlessness in heavy and experimental music of all kinds, the Birmingham legends are still hurtling forward at full pelt.


The Melvins are one of modern music’s most influential bands. Having formed in 1983, the group — founded by vocalist/guitarist Buzz Osborne, with drummer Dale Crover joining a year later — has been credited with merging the worlds of punk rock and heavy music, forming a new subgenre all their own. Over their 40-plus-year career, they’ve released more than 30 original albums, numerous live records, and far too many to count singles and rarities.

UILTY RAZORS, BONA FIDE PUNKS.



Writings on the topic that go off in all directions, mind-numbing lectures given by academics, and testimonies, most of them heavily doctored, from those who “lived through that era”: so many people today fantasize about the early days of punk in our country… This blessed moment when no one had yet thought of flaunting a ridiculous green mohawk, taking Sid Vicious as a hero, or – even worse – making the so-called alternative scene both festive and boorish. There was no such thing in 1976 or 1977, when it wasn’t easy to get hold of the first 45s by the Pistols or the Clash. Few people were aware of what was happening on the fringes of the fringes at the time. Malcolm McLaren was virtually unknown, and having short hair made you seem strange. Who knew then that rock music, which had taken a very bad turn since the early 1970s, would once again become an essential element of liberation? That, thanks to short and fast songs, it would once again rediscover that primitive, social side that was so hated by older generations? Who knew that, besides a few loners who read the music press (it was even better if they read it in English) and frequented the right record stores? Many of these formed bands, because it was impossible to do otherwise. We quickly went from listening to the Velvet Underground to trying to play the Stooges’ intros. It’s a somewhat collective story, even though there weren’t many people to start it.
The Guilty Razors were among those who took part in this initial upheaval in Paris. They were far from being the worst. They had something special and even released a single that was well above the national average. They also had enough songs to fill an album, the one you’re holding. In everyone’s opinion, they were definitely not among the punk impostors that followed in their wake. They were, at least, genuine and credible.

Guilty Razors, Parisian punk band (1975-1978). To understand something about their somewhat linear but very energetic sound, we might need to talk about the context in which it was born and, more broadly, recall the boredom (a theme that would become capital in punk songs) coupled with the desire to blow everything off, which were the basis for the formation of bands playing a rejuvenated rock music ; about the passion for a few records by the Kinks or the early Who, by the Stooges, by the Velvet mostly, which set you apart from the crowd.
And of course, we should remember this new wave, which was promoted by a few articles in the specialized press and some cutting-edge record stores, coming from New York or London, whose small but powerful influence could be felt in Paris and in a handful of isolated places in the provinces, lulled to sleep by so many appalling things, from Tangerine Dream to President Giscard d’Estaing...
In 1975-76, French music was, as almost always, in a sorry state ; it was still dominated by Johnny Hallyday and Sylvie Vartan. Local rock music was also rather bleak, apart from Bijou and Little Bob who tried to revive this small scene with poorly sound-engineered gigs played to almost no one.
In the working class suburbs at the time, it was mainly hard rock music played to 11 that helped people forget about their gruelling shifts at the factory. Here and there, on the outskirts of major cities, you still could find a few rockers with sideburns wearing black armbands since the death of Gene Vincent, but it wasn’t a proper mass movement, just a source of real danger to anyone they came across who wasn't like them. In August 1976, a festival unlike any other took place in Mont-de-Marsan – the First European Punk Festival as the poster said – with almost as many people on stage as in the audience. Yet, on that day, a quasi historical event happened, when, under the blazing afternoon sun, a band of unknowns called The Damned made an unprecedented noise in the arena, reminiscent of the chaotic Stooges in their early adolescence. They were the first genuine punk band to perform in our country: from then on, anything was possible, almost anything seemed permissible.

It makes sense that the four+1 members of Guilty Razors, who initially amplified acoustic guitars with crappy tape recorder microphones, would adopt punk music (pronounced paink in French) naturally and instinctively, since it combines liberating noise with speed of execution and – crucially – a very healthy sense of rebellion (the protesters of May 1968 proclaimed, and it was even a slogan, that they weren’t against old people, but against what had made them grow old. In the mid-1970s, it seemed normal and obvious that old people should now ALSO be targeted!!!).
At the time, the desire to fight back, and break down authority and apathy, was either red or black, often taking the form of leafleting, tumultuous general assemblies in the schoolyard, and massive or shabby demonstrations, most of the time overflowing with an exciting vitality that sometimes turned into fights with the riot police. Indeed, soon after the end of the Vietnam War and following Pinochet’s coup in Chile, all over France, Trotskyist and anarcho-libertarian fervour was firmly entrenched among parts of the educated youth population, who were equally rebellious and troublemakers whenever they had the chance. It should also be noted that when the single "Anarchy in the UK" was first heard, even though not many of us had access to it, both the title and its explosive sound immediately resonated with some of those troublemakers crying out for ANARCHY!!! Meanwhile, the left-wing majority still equated punks with reckless young neo-Nazis. Of course, the widely circulated photos in the mainstream press of Siouxsie Sioux with her swastikas didn’t necessarily help to win over the theorists of the Great Revolution. It took Joe Strummer to introduce The Clash as an anti-racist, anti-fascist and anti-ignorance band for the rejection of old-school revolutionaries to fade a little.

The Lycée Jean-Baptiste Say at Porte d’Auteuil, despite being located in the very posh and very exclusive 16th arrondissement of Paris, didn’t escape these "committed" upheavals, which doubled as the perfect outlet for the less timid members of this generation.
“Back then, politics were fun,” says Tristam Nada, who studied there and went on to become Guilty Razors’ frontman. “Jean-Baptiste was the leftist high-school in the neighbourhood. When the far right guys from the GUD came down there, the Communist League guys from elsewhere helped us fight them off.”
Anything that could challenge authority was fair game and of course, strikes for just about any reason would lead to increasingly frequent truancy (with a definitive farewell to education that would soon follow). Tristam Nada spent his 10th and 11th unfinished grades with José Perez, who had come from Spain, where his father, a janitor, had been sentenced to death by Franco. “José steered my tastes towards solid acts such as The Who. Like most teenagers, I had previously absorbed just about everything that came my way, from Yes to Led Zeppelin to Genesis. I was exploring… And then one day, he told me that he and his brother Carlos wanted to start a rock band.” The Perez brothers already played guitar. “Of course, they were Spanish!”, jokes their singer. “Then, somewhat reluctantly, José took up the bass and we were soon joined by Jano – who called himself Jano Homicid – who took up the rhythm guitar.” Several drummers would later join this core of not easily intimidated young guys who didn’t let adversity get the better of them.

The first rehearsals of the newly named Guilty Razors took place in the bedroom of a Perez aunt. There, the three rookies tried to cover a few standards, songs that often were an integral part of their lives. During a first, short gig, in front of a bewildered audience of tough old-school rockers, they launched into a clunky version of the Velvet Underground's “Heroin”. Challenge or recklessness? A bit of both, probably… And then, step by step, their limited repertoire expanded as they decided to write their own songs, sung in a not always very accurate or academic English, but who cared about proper grammar or the right vocabulary, since what truly mattered was to make the words sound as good as possible while playing very, very fast music? And spitting out those words in a language that left no doubt as to what it conveyed mattered as well.
Trying their hand a the kind of rock music disliked by most of the neighbourhood, making noise, being fiercely provocative: they still belonged to a tiny clique who, at this very moment, had chosen to impose this difference. And there were very few places in France or elsewhere, where one could witness the first stirrings of something that wasn’t a trend yet, let alone a movement.

In the provinces, in late 1976 or early 1977, there couldn’t be more than thirty record stores that were a bit more discerning than average, where you could hear this new kind of short-haired rock music called “punk”. The old clientele, who previously had no problem coming in to buy the latest McCartney or Aerosmith LP, now felt a little less comfortable there…
In Paris, these enlightened places were quite rare and often located nex to what would become the Forum des Halles, a big shopping mall. Between three aging sex workers, a couple of second-hand clothes shops, sellers of hippie paraphernalia and small fashion designers, the good word was loudly spread in two pioneering places – propagators of what was still only a new underground movement. Historically, the first one was the Open Market, a kind of poorly, but tastefully stocked cave. Speakers blasted out the sound of sixties garage bands from the Nuggets compilation (a crucial reference for José Perez) or the badly dressed English kids of Eddie and the Hot Rods. This black-painted den was opened a few years earlier by Marc Zermati, a character who wasn’t always in a sunny disposition, but always quite radical in his (good) choices and his opinions. He founded the independent label Skydog and was one of the promoters of the Mont-de-Marsan punk festivals. Not far from there was Harry Cover, another store more in tune with the new New York scene, which was amply covered in the house fanzine, Rock News (even though it was in it that the photos of the Sex Pistols were first published in France).
It was a favorite hang-out of the Perez brothers and Tristam Nada, as the latter explained. “It’s at Harry Cover’s that we first heard the Pistols and Clash’s 45s, and after that, we decided to start writing our first songs. If they could do it, so could we!”
The sonic shocks that were “Anarchy in the UK”, “White Riot” or the Buzzcocks’s EP, “Spiral Scratch” – which Guilty Razors' sound is reminiscent of – were soon to be amplified by an unparalleled visual shock. In April 1977, right after the release of their first LP, The Clash performed at the Palais des Glaces in Paris, during a punk night organised by Marc Zermati. For many who were there, it was the gig of a lifetime…
Of course, Guilty Razors and Tristam were in the audience: “That concert was fabulous… We Parisian punks were almost all dressed in black and white, with white shirts, skinny leather ties, bikers jackets or light jackets, etc. The Clash, on the other hand, wore colourful clothes. Well, the next day, at the Gibus, you’d spot everyone who had been at this concert, but they weren’t wearing anything black, they were all wearing colours.”

It makes sense to mention the Gibus club, as Guilty Razors often played there (sometimes in front of a hostile audience). It was also the only place in Paris that regularly scheduled new Parisian or Anglo-Saxon acts, such as Generation X, Siouxsie and the Banshees, the Slits, and Johnny Thunders who would become a kind of messed-up mascot for the venue. A little later, in 1978, the Rose Bonbon – formerly the Nashville – also attracted nightly owls in search of electric thrills… In 1977, the iconic but not necessarily excellent Asphalt Jungle often played at the Gibus, sometimes sharing the bill with Metal Urbain, the only band whose aura would later transcend the French borders (“I saw them as the French Sex Pistols,” said Geoff Travis, head of their British label Rough Trade). Already established in this small scene, Metal Urbain helped the young and restless Guilty Razors who had just arrived. Guitarist for Metal Urbain Hermann Schwartz remembers it: “They were younger than us, we were a bit like their mentors even if it’s too strong a word… At least they were credible. We thought they were good, and they had good songs which reminded of the Buzzcocks that I liked a lot. But at some point, they started hanging out with the Hells Angels. That’s when we stopped following them.”

The break-up was mutual, since, Guilty Razors, for their part, were shocked when they saw a fringe element of the audience at Metal Urbain concerts who repeatedly shouted “Sieg Heil” and gave Nazi salutes. These provocations, even still minor (the bulk of the skinhead crowd would later make their presence felt during concerts), weren’t really to the liking of the Perez brothers, whose anti-fascist convictions were firmly rooted. Some things are non-negotiable.
A few months earlier (in July 1978), Guilty Razors had nevertheless opened very successfully for Metal Urbain at the Bus Palladium, a more traditonally old-school rock night-club. But, as was sometimes the case back then, the night turned into a mass brawl when suburban rockers came to “beat up punks”.

Back then, Parisian nights weren’t always sweet and serene.

So, after opening as best as they could for The Jam (their sound having been ruined by the PA system), our local heroes were – once again – met outside by a horde of greasers out to get them. “Thankfully,” says Tristam, “we were with our roadies, motorless bikers who acted as a protective barrier. We were chased in the neighbouring streets and the whole thing ended in front of a bar, with the owner coming out with a rifle…”
Although Tristam and the Perez brothers narrowly escaped various, potentially bloody, incidents, they weren’t completely innocent of wrongdoing either. They still find amusing their mugging of two strangers in the street for example (“We were broke and we simply wanted to buy tickets for the Heartbreakers concert that night,” says Tristam). It so happened that their victims were two key figures in the rock business at the time: radio presenter Alain Manneval and music publisher Philippe Constantin. They filed a complaint and sought monetary compensation, but somehow the band’s manager, the skilful but very controversial Alexis, managed to get the complaint withdrawn and Guilty Razors ended up signing with Constantin with a substantial advance.

They also signed with Polydor and the label released in 1978 their only three-track 45, featuring “I Don't Wanna be A Rich”, “Hurts and Noises” and “Provocate” (songs that exuded perpetual rebellion and an unquenchable desire for “class” confrontation). It was a very good record, but due to a lack of promotion (radio stations didn’t play French artists singing in English), it didn’t sell very well. Only 800 copies were allegedly sold and the rest of the stock was pulped… Initially, the three tracks were to be included on a LP that never came to be, since they were dropped by Polydor (“Let’s say we sometimes caused a ruckus in their offices!” laughs Tristam.) In order to perfect the long-awaited LP, the band recorded demos of other tracks. There was a cover of Pink Floyd's “Lucifer Sam” from the Syd Barrett era – proof of an enduring love for the sixties’ greats –, “Wake Up” a hangover tale and “Bad Heart” about the Baader-Meinhof gang, whose actions had a profound impact on the era and on a generation seeking extreme dissent... On the album you’re now discovering, you can also hear five previously unreleased tracks recorded a bit later during an extended and freezing stay in Madrid, in a makeshift studio with the invaluable help of a drummer also acting as sound engineer. He was both an enthusiastic old hippie and a proper whizz at sound engineering. Here too, certain influences from the fifties and sixties (Link Wray, the Troggs) are more than obvious in the band’s music.

Shortly after a final stormy and rather barbaric (on the audience’s side) “Punk night” at the Olympia in June 1978, Tristam left the band ; his bandmates continued without him for a short while.

But like most pioneering punk bands of the era, Guilty Razors eventually split up for good after three years (besides once in Spain, they’d only played in Paris). The reason for ceasing business activities were more or less the same for everyone: there were no venues outside one’s small circuit to play this kind of rock music, which was still frightening, unknown, or of little interest to most people. The chances of recording an LP were virtually null, since major labels were only signing unoriginal but reassuring sub-Téléphone clones, and the smaller ones were only interested in progressive rock or French chanson for youth clubs. And what about self-production? No one in our small safety-pinned world had thought about it yet. There wasn’t enough money to embark on that sort of venture anyway.

So yes, the early days of punk in France were truly No Future!

Orange Vinyl with exclusive illustrated notes/lyric insert ltd to 300 w/w.“Zimmerman conjures up a kind of Arcadian folk surrealism that is utterly his own” MOJO Never released before collection featuring Ian A Anderson & Maggie Holland recorded 72-80 is among Tucker’s finest - Free-ranging, Playful, Intimate - his Songpoet imagination unbound and in full bloom now on colour Vinyl for first time with (exclusive to this version) illustrated lyric insert with notes from Tucker.Recorded between 1972-80 this is the first ever release for ‘I Wonder If I’ll Ever Come True’ a stunningly beautiful, homegrown collection by Songpoet Tucker Zimmerman and friends. The range and depth is astonishing. From the heady surreal journey of ‘It All Depends’ Upon the Pleasure Man’, to the uplifting Gene Clark-esque 'So It Goes’, to some of his most beautiful & touching love songs in ‘Let’s Start Over Again’ & ‘Song’. Only one song has seen the the light of day before now - ‘Taoist Tale’ from his 1984 album ‘Word Games’. This recording from a decade earlier loses no power in its folkier stripped down style driven by Tucker’s strong narrative.

While living in bucolic seclusion in Belgium with Marie-Claire, Tucker invited visiting musicians (Derroll Adams, Wizz Jones, Maggie Holland, Dave Evans, Ian Anderson) into his home studio to play and live tape whatever songs he had at hand. Maggie Holland and Ian A Anderson feature, while Tucker found a freeing simplicity in just guitar, ’70s organ, bass and piano. We are so grateful to Ian A Anderson, who carefully kept and curated these recordings from 50 years ago. “Every time I would leave, Tucker would hand me another tape full of songs”. Ian worked with Tucker and ourselves to present this wonderful album. The collection is among Tucker’s finest - free-ranging, playful, intimate - his Songpoet imagination unbound and in full bloom. The ethos, the playing, the freedom, feels like Ronnie Lane’s time in the Welsh Borders. Unhurried, liberated, down-home and cosmic. Extraordinary music made among friends.
"Startling collection of intimate, home-recorded songs from the cult singer-songwriter adored by David Bowie and Big Thief alike.

When I first interviewed Tucker Zimmerman back in 2015 neither of us had any idea that, a decade later, he would be venerated by a new coterie of young fans, touring with maximal folk-rockers Big Thief and recipient of a concerted reissue campaign by the wonderful Big Potato Records. Last year I eulogised the “Arcadian folk surrealism” of his 1974 LP *Over Here In Europe but, if anything, this informal collection of intimate home-studio recordings is even better. Recorded between 1973 and 76 whilst living in Belgium and hosting such visiting folk musicians as Derroll Adams, Wizz Jones, Maggie Holland, Dave Evans, and Ian A. Anderson this is the kind of assured, organic freewheeling folk music that has the mellow, introspective rough-edged feel of some lost private-press LP, the kind rightly revered by Endless Boogie’s Paul Majors as “real people” music. A true find.” Andrew Male MOJO 4/5
“Here's a charming oddity: an unreleased album dating from the mid-Seventies by an American-born songwriter beloved of David Bowie and, more recently, Adrianne Lenker of the folk-rock band Big Thief. Zimmerman's a bohemian type who eschewed the big time for a life of gigging around Europe. He, his wife, Marie-Claire, and a handful of friends recorded these songs in seclusion in the Belgian countryside, and what songs they are. Slide On could have come from the Byrds when they discovered country music, Let's Start Over Again captures the dreamlike experience of being in love with unsettling clarity. This is a real unearthed gem.” 4/5 The Times

Killer Groove Records proudly presents "Keep Your Step", the explosive comeback by Italian rock steady & early reggae ambassadors The Appetizers, a soulful celebration of reggae's timeless spirit.


"Keep Your Step" marks the band's much-awaited return, landing April 10th on limited edition LP, CD digipack and digital format featuring two exclusive bonus tracks.

The Appetizers deliver a masterclass in roots reggae music with their highly anticipated second studio album, bridging Jamaica's golden age with contemporary relevance. "Keep Your Step" is a heartfelt sonic journey where the band blends rocksteady and early reggae with funk and soul influences to create a sound that's both genuine and refreshingly modern.

The fourteen tracks move fluidly between infectious dancefloor fillers and socially conscious lyrics. From the laid-back swing of "Feel Like Dancing" to the hypnotic rhythm of "Thicker Than Water", the band demonstrates their versatility while remaining true to the roots of Jamaican sound. "A Message from The Meters" pays tribute to the legendary funk pioneers, while the instrumental "Catch This" and "Make It Reggay" highlight the band's musical prowess and the deep connections between reggae and funk.

Meanwhile, tracks like "Fussy Girl" and "Behind My Shoulders" explore love's complexities with humor and soul. The album's heart lies in its social consciousness. "Cool and Deadly", "The Life", "Stormy Weather" and the album title track "Keep Your Step" tell stories of perseverance through life's struggles.

With the hopeful anthem "We Shall Overcome," The Appetizers deliver a timely message about genuine human connection in a social media-dominated era. The digital edition closes with "Get Some Rollin'" and "Swing and Sway," rounding out the journey with two additional gems.

"Keep Your Step" pays homage to Jamaican music legends, from Jackie Mittoo and Tommy McCook to Toots & the Maytals, while carving out The Appetizers' own distinctive sound. This is a groove made for both the dance floor and the soul, proving that reggae's power to inspire, unite, and uplift remains as vital as ever.

The production stays true to The Appetizers' signature sound: organic tones, deep groove, and that live-room vibe you only get when real musicians are locked in together. Luca Monza and Claudio Mambrini, the band's core members, handled the artistic production. Mastering came courtesy of the great JJ Golden (Black Pumas, Sharon Jones & The Dap-Kings, Jr. Thomas & The Volcanos, The Frightnrs) at Golden Mastering in Ventura, California. JJ is one of the most trusted engineers working in this sound, ensuring every ounce of warmth and authenticity came through.

The Appetizers are a rocksteady and early reggae band formed in Milan in 2020 by musicians deeply embedded in the Italian and international reggae scene. Musicians from different paths united by a shared vision: recreating that vintage Caribbean and American sound with authenticity, respect and a forward-thinking edge.

Drawing inspiration from Jamaica's golden era and channeling the soul of Delroy Wilson, Alton Ellis, the early Wailers, and The Upsetters, The Appetizers carry forward the essence of bass culture with a pure, fully organic approach.

Their debut album Listen Up! (2022), released via Belgian imprint Badasonic Records (home to The Slackers, The Aggrolites, David Hillyard & Victor Rice), featured ten original tracks and a dub cut by Victor Rice. Distributed across Europe, the UK, the US, and Japan, it quickly earned international recognition among reggae connoisseurs and selectors worldwide.

Following extensive touring, including shows with The Slackers, Black Uhuru, Skip Marley, and more, the band returned to the studio to record "Keep Your Step", their second album produced by Killer Groove Records. Here the band expands its musical language, weaving together the spirit of historic Jamaican labels like Studio One and Treasure Isle with '60s funk, arriving at a warm, organic, and timeless sound: soul, Jamaican roots, and modern sensibility in perfect balance. Their lyrics explore heartbreak, social issues, and reflections on life and music, performed with dedication and respect for tradition while always pushing forward.


If you're into The Skatalites, The Ethiopians, and those classic Caribbean rhythms, this one's for you.

Following the strong reception of their second album, Totem of Quiet Mystic (2023) Jiyu have earned praises from outlets such as Jazzwise, Enlace Funk and The Chillout Tent, as well as support from a wide range of iconic DJs including Patrick Forge & Chris Coco. The singles to this new album, Cumulus & the Subterranean, Smell of Fire and Deep Woods, have immediately been embraced—drawing glowing reactions and airplay from dj's like, Phil Cooper, Dj Vadim, Fred Everything, David Patterson, Jon Kennedy and Curtis Colin

On this third album from Jiyu, the Copenhagen band stretch their cosmic–spiritual jazz language into deeper, wilder terrain. Dropping April 10th on vinyl and digital via Dubsoul Records, the record captures six musicians in full telepathic flight, recorded at 12 Ton Studio in Copenhagen. Across eight tracks, elastic basslines, jazz-dub-soul—tinted drums and percussion, Wurlitzer and jazz-guitar glow and flute-swept atmospheres drift between grounded groove and open-sky improvisation, while guest vocalist Mai Lan Doky adds dreamlike textures on Cumulus & the Subterranean. From the shuffled broken-beat pulse of Smell of Fire to the slow-burn haze of Deep Woods, the Wild Things album is a rich analogue-soul excursion—earthy, exploratory and tuned to the outer frequencies.

A very short- lived band from the '90s UK punk scene, with members ranging from DOOM to ZOUNDS. Even though they were short-lived, their material made an impact and the crater can still be seen today. Somewhere between EXTREME NOISE TERROR and STATE OF FEAR, this is a heavy- hitting crust machine. Phobia Records put together this great reissue, which consists of their demo from 1990 and another demo from 1992, with extra songs from a 1993 split with Japanese legends BEYOND DESCRIPTION. A staple in any crusty's collection!

AJATE from the East and STEPAK TAKRAW from the West. A historic encounter between Afro-groove bands from East and West!!!
A powerful split album born from the clash of diverse cultures.
The A-side features two tracks by AJATE, a group hugely popular not only domestically but also in Europe and America, who create a unique atmosphere using
Japanese festival music instruments, handmade bamboo guitars, and balafons.
The B-side features two tracks by STEPAK TAKRAW, whose hard-hitting technique rivals authentic Afrobeat bands, breakbeat-inspired approach, and original
sound effects will leave you spellbound.

2026 Repress

Lisa Decker returned with her second studio album "Soliloquise" one year after her debut album "Serendipity" in 2021 with Japanese Jazz trio Nautilus from Tokyo and a superb single remix of "Everytime" by Pat Van Dyke featuring rapper John Robinson.

For this project she worked on eight new songs. Half of the album is arranged by Nautilus and the other half is produced by SaturnVybz who is known for his works with/and projects like Slick Walk, The Ruff Cats and Jazzanova.

Getting a step forward and conceptually a bit different this release gets the "Oonops Drops" FLIP SERIES treatment which means: Side A and Side B are made by different artists or differentiate from each other like the first volume with Nautilus X Anna Sato & Toshiyuki Sasaki (OD006LP).

Songs like "Free", "Let's Wake Up" and "Summer Child" with their feel warm note of groovy, jazzy pop and the more swing-jazz tune "Rimy Whitewater" meet guitar-electronic touched songs like "Love And Hope", "On My Way" and "True Blue" or her dreamt away track "Stay With Me" with smooth bouncy beats and with an atmosphere for being the perfect soundtrack for a night ride on deserted streets.

Lisa is careful about the artwork and after working together with renowned artist Lindsey Kustusch from San Francisco on her first album she collaborates with local artist Sebastian Maria Otto who is known for his signature art style and exhibitions from Germany to Japan.

Lisa will perform live in Hanover, the 20th May at roof top of the Historical Museum together with Nautilus. Japan meets Germany. Lucky coincidence or: "Serendipity".

First time reissue of JP / US free jazz rarity.

The 1970s were Marion Brown’s most searching decade, a period during which he sought to move beyond the free jazz of the previous era and find more personal approaches to structuring improvisation and composition. After leaving New York for Europe in 1967, Brown began reshaping his music into what he described as “a more deliberate kind of music that had more structure to it,” pacing it so that moods and modes could develop over time. Albums such as In Sommerhausen, Afternoon of a Georgia Faun, Geechee Recollections, and Sweet Earth Flying trace this evolution: rhythmic structures moved to the foreground, harmony receded, and composition became a matter of orchestrating interlocking rhythmic parts as one would polyphonic lines.

Released in 1976, Awofofora is an overlooked but crucial entry in that sequence. At the time, its use of funk and reggae beats, electric guitars, and grooves drawn from contemporary Black popular music led some to misread it as a jazz-rock detour. In retrospect, it is entirely consistent with Brown’s methodology. As he admired in the Art Ensemble of Chicago, the stimulus comes from within the community. Here Brown filters Afro-Caribbean rhythms and funk through his own sensibility, abstracting their structural qualities rather than adopting surface style.

“La Placita,” making its first recorded appearance, layers distinct rhythmic phrases in a manner reminiscent of African drum ensembles, over which Brown and trumpeter Ambrose Jackson spin extended improvisations. The standard “Flamingo” is reshaped through diasporic rhythm and lyrical soloing, while “Pepi’s Tempo” and “Mangoes” harness crisp funk and reggae grooves to generate what Brown called a “manifestation of community” through collective improvisation. Even the overdubbed solo feature “And Then They Danced” reflects his structural thinking, ingeniously re-voicing a duet composition for two alto saxophones performed by one player.

This was the only recording by a short-lived band that briefly polarized audiences during festival appearances in 1976. Yet Brown consistently sought unity across change: different sounds, same principles — rhythm as structure, melody as architecture, collective improvisation, and above all, the primacy of tone. Awofofora stands not as a departure, but as a vivid synthesis of the elements he had been refining since the late 1960s, its grooves and golden alto lines conveying a sound drawn, in his words, “from life and from the world of experience.”

A cocktail of rebellious queer vocal fragments, deceptive percussive granules and swaying hammered vibrations, upsammy and Valentina Magaletti's first collaboration trembles with suspense. The seeds of 'Seismo' were sown following a commission from Amsterdam's Rijksmuseum to soundtrack an exhibition of work from the Museum Boijmans van Beuningen in Rotterdam and the duo didn't want to approach their collaboration flippantly. So, wandering the museum's maze of rooms, they recorded various improvised percussive sounds with their arsenal of microphones, using the space to inform various rhythms and textures that were sculpted later into electroacoustic vignettes. This was just the starting point, though; as Magaletti and upsammy began performing together, the project evolved and 'Seismo' began to take shape. The duo had struck on a salient aesthetic concept, using mostly digital and acoustic mallet instruments to blur the boundary between their roles and create friction between the synthetic and the authentic. And the finished record is a phantasmagoric push-and-pull between its various conflicting elements: harmony and dissonance, randomness and predictability, openness and constraint. 'Seismo' isn't the first time that upsammy has studied her environment in search of revelation. On her acclaimed second album, 2024's 'Germ in a Population of Buildings', the Amsterdam-based DJ, producer and multidisciplinary artist erected her complex, unorthodox rhythms and eerie melodies around a modernist frame of field recordings collected in various cityscapes, countering heavyweight basslines with subtle, microscopic sounds. London-based Italian vanguard Magaletti, meanwhile, has applied her unique logic to innumerable projects at this point, working with everyone from batida icon Nídia and hardcore-dub outfit Moin to French writer Fanny Chiarello and British bass scientist Shackleton. For years she's approached the drums with criticism, attempting to challenge any preconceptions, something that's most visible on 2020's 'A Queer Anthology of Drums'. And both artists' thoughtful perspectives are welded together seamlessly on 'Seismo', a dizzying suite of eight eccentric statements that's fragile but never insecure, gauzy but not indistinct. An unnerving sense of space characterizes 'It Comes to an End' as Magaletti's in situ improvisations herald for upsammy's microscopic glitches and chiming pitch-bent melodies. It's almost unbalancing to witness the track's impossible dimensionality, the interplay between reverberant marimba hits and bone-dry synths, or percussion that's been recorded and processed in consciously different settings. A new architecture emerges in the sound itself that the two artists scan and explore meticulously, testing its boundaries with undulating hybridized rhythms on the invigorating 'Superimposed' and offsetting the powdery drums with liquified smacks and alien voices. The duo's vibrations are knotted with piano flourishes on 'Hyperlocalize', balanced with artificial clanks and clangs that disappear into the track's sonorous atmosphere, replaced by whispers and half-hallucinated insectoid chirps. 'Seismo' is an album that feeds off the energy generated by its juxtapositions: the tension and anticipation that's melted by rapid, hyperactive movement and the finely drawn rhythms disrupted by a layer of indistinct, barely perceptible microsounds. It's a collaboration that sounds like two minds challenging each other but not wrestling, each peering from their own distinct vantage point and imagining a third landscape shaped by optimistic, queer vibrations.

Bristol experimental band SUGAR HORSE are delighted to announce that their third album, Not A Sound In Heaven, will be released on 10th April 2026 via Fat Dracula Records.

To celebrate the news, the band are sharing the bruising lead single ‘Secret Speech’, available to stream on all good digital service providers from 12th February 2026.

Also announced today are a run of April 2026 UK album headline tour dates and an appearance at StrangeForms Festival 2026, with tickets on sale now (see below for full listings).

“We are fortunate enough to live in what is generally known as ‘The West’,” says front man Ash Tubb of the lyrical themes behind the new track. “I say fortunate with gritted teeth, because I know—as I’m sure the reader knows—that living in the West isn’t always rosy. The vast majority of people struggle everyday to feed, clothe and house themselves. Let alone receive adequate healthcare, schooling and workers’ rights.”

“We are, however, where all the world’s wealth is hoarded. We are at the centre of Empire. The people outside of this empire—those of the Global South—have had their resources extracted and their populations exploited by our own governments, with very little given back in return. This won’t go on forever. It will inevitably end, as all great empires do.”

“We in The West have a choice to make in the meantime; either help create a new, fairer world, or let the greed of our ruling classes become the undoing of all of us.”

The first glimpse of new material from the quartet, ‘Secret Speech’ starts as Not A Sound In Heaven means to go on—a politically-charged wrecking ball of a song that smashes its way through the often unbelievable chaos and brutality of the 21st century with vitriolic malice.

How do you capture the machinations of the geo-political industrial war machine—and all the horrors that go with it—in the studio, without seeming trite or crass? That’s the question that Sugar Horse have posed themselves on their forthcoming third album Not A Sound In Heaven, and they must surely be one of the only bands in existence capable of delivering on just that premise with both musical substance and cutting philosophical insight.

“Ever since I was born I can remember visions of war, famine, and death being beamed directly into my living room via the magic of television,” says Tubb of the record. “These visions were accompanied by newsreader narratives designed to either humanise or dehumanise the people involved. We humanise our government’s allies and dehumanise their enemies. This is taken as common sense, or even wisdom to some degree. People watch the news and accept it as fact, simple and true.”

“As a person gets older they move in one of three different directions with this acceptance of reality; They embrace what they’re being told, they fall into a kind of trust free nihilism or they learn that there are deeper narratives at play.”

“Not A Sound In Heaven is an aged acceptance of the latter. An acceptance of sitting at the centre of a global empire of both military and economic dimensions. An acceptance that the stories we’re told as a nation, or what’s generally in the zeitgeist, isn’t necessarily reality itself.”

“How does a person cope with the weight—and, frankly, the guilt—of a society that perpetuates such distinct inequalities? A society that thinks a bit of killing abroad is fine, as long as it improves the lives of people at home. You can see why so many choose to embrace it. Hell, nihilism seems pretty sensible. Once a person decides upon pursuing a degree of truth however, things get a bit depressing. Beyond depressing...maddening.”

“This album explores this kind of breezy, frivolous subject matter in a manner that will no doubt be uplifting to the listener and massively financially rewarding for the artist.”

The new album follows on from their standalone AA single ‘What’s Your ETA? Let’s Have A Tear Up’/‘Would You Like Me To Be The Cat?’ which was released late last year as a surprise double drop.

On Psalm Funk, Bnnyhunna deepens the artistic language he first articulated on his celebrated debut Echoes of a Prayer. Rather than retracing familiar ground, the Amsterdam-based composer and producer expands his palette, allowing rhythm and space to carry as much narrative weight as harmony and lyricism.

While Echoes of a Prayer felt personal and devoted, Psalm Funk opens things up. Gospel harmonies stay central to his music, but now they are energized by smooth funk rhythms and heightened by the flexibility of jazz improvisation. Bnnyhunna moves between styles effortlessly, in a way that nothing seems borrowed, but everything feels lived in.

At the center of the record is an understanding of space. Silence acts not as an absence but as a structure. Breath, restraint, and patience shape the music just as much as basslines and backbeats. This awareness of dynamics allows the album to grow without losing its focus. It signifies a subtle but important change in Bnnyhunna as an artist, moving from inward reflection to forward momentum, from prayer as personal dialogue to prayer as a physical expression. The clarity, discipline, and emotional depth that marked his debut remain, now directed into something more rhythmically confident and spiritually uplifting.

Fusing gospel, funk, jazz, and African rhythmic traditions, Psalm Funk serves as both a meditation and an outpouring. It invites deep thought while demanding a physical response.

The album includes collaborations with American saxophonist Braxton Cook, trumpeter Sheila Maurice-Grey of Kokoroko, 3DDY, and Reggie Dartey, among others. The singles "Sorry Not Sorry" and "Waiting For You" have already hinted at the project's range, while the latest single, "The Heart Part 2," further expands on the album's dynamic and emotional scope.

To celebrate the release, Bnnyhunna will tour the Netherlands in April, with performances in Amsterdam, Rotterdam, and Nijmegen before heading to the UK for a show at The Great Escape.

Released in October 2024, Bnnyhunna's debut album Echoes of a Prayer was created as a dialogue with God, a personal call expressed through sound. The record resonated both with fans and media, gaining support from platforms like 3voor12, Rolling Stone Africa, and Afromixx. It reached the airwaves of BBC Radio 1 in the UK, KEXP in the US, J-Wave in Japan, and 3FM in the Netherlands, and landed in playlists such as BUTTER, Morning Rhythm, and Vanguard.

In 2025, Echoes of a Prayer earned the Edison Pop award for Soul/R&B/Funk and received Grammy consideration for Best Alternative Jazz Album. On stage, Bnnyhunna established his presence with performances at festivals such as Lowlands, Couleur Cafe, Brick Lane Jazz Festival, Dour, and Super Sonic Jazz, as well as his first tour in Japan.



Upcoming live shows:
10/04/26 - BIRD, Rotterdam (NL)
11/04/26 - Doornroosje, Nijmegen (NL)
12/04/26 - Tolhuistuin, Amsterdam (NL)
13/05/26 - The Great Escape, Brighton (UK)

The 12" vinyl is now back from the pressing plant after months of delays. Availablefrom Phobia records treat your ears to something beautiful today, love from the Klaptrapers to all the drinkers, stinkers & thinkers out there. Line- up incl. members from Doom or/and Visions Of War

I'm very excited to present the second Desolate release from this amazing band. "Dissekerad's newest and strongest 12" release yet. 12 new songs from a now-classic modern band made up of Swedish scene vets, all having put in their time in many other now- legendary acts: from TOTALITAR to MAKEBERT FYND, AVSKUM to BRAINBOMBS, and many more. Poffen's bands alone are probably too numerous to name at this point. VAGGARNA RASAR gives us exactly what we expect and hope for--a master class of Swedish mangel HC distilled to its most essential and purest form. Somehow the songs feel even more urgent this time, paired with fuller, thicker production than previous releases. The blown-out, contrasted-to-hell artwork perfectly represents the music, with song titles on the front cover because why not; fuck it. Time marches on and so does hardcore, but some things don't need to change.

Crypt of the Wizard is proud to make available two legendary underground albums by Slutet on vinyl and digital formats. Here we present the debut self titled LP Slutet - Slutet
Slutet originated in Uppsala well over a decade ago, first emerging as a loose idea around 2010. The original cluster of strangely like minded individuals - Dingir, Ryttersson, J.P., Sviatopolk, were equally set on starting a cult as they were a band, the former emerging as a loose collective known as The End Commune, while the latter eventually began rehearsing together as Slutet on September 1, 2013.
From this constellation three notorious demo tapes sprung which were self-released in very limited numbers, and only available by trading bodily fluids, blood, and/or hair for the cassettes. “A very loose guess but we made probably around 20-30 hand-drawn/custom demo tapes of the first three releases. We got blood and hair from many places, actually the very first offering was from INDONESIA. Slovakia, Germany, USA, Argentina, Norway, Canada, Finland followed.... if my memory serves..... hazy years indeed”
J.P. left early 2015. Later that year, after trying the band as a bass-drum-vocals outfit for a while, Fjalar joined on guitar. This is the classic constellation. Dingir, Ryttersson, Fjalar, Sviatopolk. The same troupe playing to this very day.
While the difficulty of obtaining the demos certainly added to the band’s bottomless mystique, the subsequent release of the self-titled compilation / LP secured their reputation as one of the most interesting and unorthodox bands recording under the somewhat ill-fitting moniker of ‘underground black metal’.
First released as a cassette by Berlin label Teratology Sound & Vision, and later on vinyl in an edition of 100 by Goatowarex, the self-titled LP is the definitive document of the very early and very wild years of the band as they begin to take form, fulminating against whatever was on offer.
“Between September 2013 and September 2014 we rehearsed and recorded 3 very crude demo cassettes; although sub-par in many musical and performance-wise aspects, the passion seeping through those recordings were evidently very real.”

Bristol's Tara Clerkin Trio return to World of Echo and the EP format for a five song collection of quixotic, emotional redolence. But do not mistake their absence for inertia. If their musical output has been a little sparse during those in-between years, limited to a few solo ventures and an astonishing ten minute long piece as a trio, their time has otherwise been richly spent: continuous writing and recording, extensive live performances across Europe and Japan, a cultivation of local and more far-flung artistic connections (musical and otherwise), and a monthly NTS show that, through the voice of others, speaks most obviously to their own unorthodox interests. It's the conflux of that winding activity that leads indirectly to On The Turning Ground, 26 minutes of probing, thoughtful composition that draws from no one specific source. Their inspirations might be centreless, but the trio still possess a very obvious anchor in the form of their hometown. Bristol stands as a city of multitudes, heterogenous and vibrant in such a way as to allow it to renew and remake time and again. Tara Clerkin Trio drink from that same well, duly reflecting a rich musical heritage built on fwd-facing electronic subcultures and experimental urges.

As such, On The Turning Ground finds them subject to their own subtle internal evolution, the pervasive sense that you've caught them mid-bloom, on their way to becoming but never anything but themselves. The two instrumental pieces that bookend the EP stand as a perfect case in point, displaying an increasing mastery of compositional space. Pensive and restrained, 'Brigstow' and 'Once Around' both emanate an interstitial quality that's not so much after- as in-between-hours, miniature dub-folk symphonies held together by the kind of tacit understanding that remains the preserve of only the closest of family units. If those two tracks are shaped by a sense of shifting temporality, then the three vocal-led pieces that comprise the record's core feel like a gentle ossifying of aesthetic into something approaching their own unique form of avant-pop. 'Pop' is, of course, a broadly subjective concept, but there's no avoiding the overt sparkling melodicism of songs like 'Marble Walls' and 'The Turning Ground', undeniable re-directions of that late 90s impulse to bend pop sensibilities into off-centre terrain, to render the familiar new again. This is what Tara Clerkin Trio do, gently pulling the ground from under your feet, turning you to face something you'd not quite seen before. To view the world as they do: sideways, sometimes, all of the time.

As Nathan Fake rises from the nocturnal subterranea and rave catharsis of his previous records, on Evaporator, he resurfaces into the domain of daylight, bringing a tangible sense of air rushing against your face, of big skies, and endless landscapes.

The idea of pop accessibility that trickled into 2023’s Crystal Vision is refracted here through the prism of sweeping ambient, deep electronica, and trance uplift. Evaporator is Fake’s idea of “airy daytime music”, with each track a different barometer reading across the album’s varying atmospheres, which range from vibrant sunbursts, bracing rainscapes, and fine mists of clement melodics. “It’s not overtly confrontational electronic club music,” states Fake. “It’s quite pleasant, it’s accessible. As I was progressing through making the tracklist, I called it a daytime album. It doesn’t feel like an afterparty album.” For the past decade Fake has been gingerly introducing collaborations with heroes and friends alike into his lone, idiosyncratic working process.

Border Community alumni Dextro AKA Ewan Mackenzie transmutes his ferocious drumming for Pigs Pigs Pigs Pigs Pigs Pigs Pigs into the blurred choral thump of ‘Baltasound’. ‘Orbiting Meadows’, meanwhile, is his second collaboration with Clark, an eerily idyllic duet where microtonal 18EDO piano clangs slowly twirl around wailing pads. Evaporator marks the junction point of old technology and ever fresh creativity for Nathan. The trusty “dinosaur” age software, particularly Cubase VST5, that has powered two decades of music is rarely updated. “I used to sort of feel a bit ashamed of using such old software, and then I kind of had an epiphany – that’s just how I work”, comments Fake. “That’s just how I play. I’m very fond of these old tools, and I get the most joy out of them, but now I’ve incorporated new technology too.” When an artist accumulates so much synergy with their instrument, music making becomes instinctual. By Fake’s account, much of Evaporator just fell into place. The album title arrived randomly in his head (“it felt completely perfect. Airy.”), ideas looped and developed until things locked into place and just felt right. ‘The Ice House’ is a fleeting glimpse of the sonic world he taps into in this creative state, its glassy FM synths built around a counterpoint between rough-hewn crystalline arpeggios and sparse yet gravitas-bearing bass. “That riff I just wrote out on the keyboard, I just played it forever and ever and ever.

The original track ended up being really short. Here you go, and it’s gone!” These unplanned channellings of sound call forth records from Fake’s past while he looks ahead, perhaps getting at the very essence of his musicianship. The opener ‘Aiwa’ (“the breeziest,” he muses) reminds of the introspection that characterised Providence, excited by the fire and grit of Steam Days’ textural experiments, its chunky slams and clatters surging into a flood of harmonic buzzing as they reach out for old wisdom. ‘Hypercube’ stampedes in a similar chronological confluence, infusing an incessant synth line reminiscent of the golden age of rave with the crackling, ecstatic energy of modern festival anthems. Like the vaporisation of liquid to particles, everything that Evaporator presents has a mutant desire to be amorphous. Sounds rarely settle; the irradiated garage beat of ‘Bialystok’ is pitched downwards to driving, rebounding effect, while ‘You’ll Find a Way’ warps static into shivering energy, cinematic synth strings building anticipation into a gradual gush of chords. This translates into a more expansive stereo field than Fake has explored before.


‘Slow Yamaha’ saves the wildest, most kinetic transformations for last with a cornucopia of crispy melodies and fried drums; a sibilance of cymbals on the left, a susurrus of shakers on the right, and kaleidoscopic lasers pulsing and fizzing all around. Evaporation culminating in pure excited atoms.

Written in 1971 and read here by the author himself "Through the Billboard Promised Land Without Ever Stopping" is Derek Jarman's only known work of narrative fiction. Providing a prelude to some of the imagery Derek Jarman would use later in his career, particularly the alchemical dreamscapes in the film "Blue", it is a surreal, hallucinatory fairytale, signposted with elements of modernity, that has much of the mythic and archetypal about it. With tantalising autobiographical details and a panoply of chromatic landscapes and psychosexual symbols, this richly poetic story details a journey with no destination or purpose across a mythical America, undertaken by the young blind King Amethyst and his valet John. Previously only ever released on cassette (2022, Prototype Publishing, Ltd 80), this vinyl edition features facsimile images of the story's handwritten drafts from Jarman's archive and photos by the artist Michael Ginsborg, a close friend of Jarman's throughout the period of the story's writing. Licensed from House Sparrow Press / Prototype Publishing, and The Estate of Derek Jarman.
• Ltd x 500 copies on heavyweight 180gm black vinyl in gloss sleeve.

A deeply hypnotic and beautifully crafted statement from one of the true masters of subtle groove and atmosphere. Playedby‘s label boss himself, returns to his very own imprint Tripsi Records with a stunning new vinyl release. Pure hypnotic brilliance, essential for selectors, collectors, and lovers of deeply crafted electronic music.
Tripsi Records is more than just a label. It is an audio-visual world created by Cristi Klebleev, where sound and image come from the same hand. Every release features only his own music, accompanied by original artworks painted by Cristi himself on canvas, making each record a fully personal expression, both sonically and visually. A perfect example of why Tripsi Records continues to stand out in a crowded world. Finest mastering and Cut, 180g Vinyl!

L. Jacobs releases his second album, Behind the Great Curve, on the Belgian label Blickwinkel. Featuring contributions from Milan W., Sarah Yu Zeebroek, and Joachim Badenhorst, the follow-up to the surprising debut Enthusiasm was initially composed and recorded in Jacobs’ small attic room and later refined at Milan W.’s Van den Nest Studio, where W. also handled production and mixing.

A line or outline which gradually deviates from being straight for some or all of its length.

Behind the Great Curve explores and celebrates the beauty and universality of the abstract notion above and what we commonly refer to as the curve. Its presence, allegedly, is everywhere. It is a form that appears visually, mathematically, and symbolically — a line that suggests motion, time, expectation, and impermanence.

This album aims to listen to all of this — the poetry, the irony, and the faint background hum of modern life — with quiet curiosity. Within a gently meandering, synthesized landscape, a collection of dreamlike compositions unfolds: delicate melodies, sparse percussion, warm buzzing synths, and fragments of field recordings coexist in carefully measured imperfection. Colorful yet minimal in aesthetic, the album does not seek to explain the curve, but to follow it.

Suncraft is an underground rock band from Oslo, Norway. After appearing on the scene with their debut in 2021, they"ve ratcheted up their sound a notch in every conceivable way with their furious and fun new album Welcome To The Coven. Formed in Oslo in 2017, Suncraft built their early identity on mid-tempo stoner rock, but Welcome to the Coven shows the band has broadened their foundation significantly. The album channels classic rock swagger, punk urgency, and flashes of blackened intensity without settling into pastiche or genre collage - think Turbonegro meets Venom with the odd helping of blast beats thrown in and you"re on your way. The album"s eight tracks move fluidly between heavy riffing, hook-forward choruses and sudden shifts in mood, giving the record a restless, forward thinking character that keeps its 40-minute runtime lean and engaging. Welcome To The Coven is a confident step forward for a promising band which emphasizes their sharpened songwriting and willingness to push beyond scene expectations. The album is available on red or black vinyl from Norwegian purveyors of heavy rock label All Good Clean Records.

Suncraft is an underground rock band from Oslo, Norway. After appearing on the scene with their debut in 2021, they"ve ratcheted up their sound a notch in every conceivable way with their furious and fun new album Welcome To The Coven. Formed in Oslo in 2017, Suncraft built their early identity on mid-tempo stoner rock, but Welcome to the Coven shows the band has broadened their foundation significantly. The album channels classic rock swagger, punk urgency, and flashes of blackened intensity without settling into pastiche or genre collage - think Turbonegro meets Venom with the odd helping of blast beats thrown in and you"re on your way. The album"s eight tracks move fluidly between heavy riffing, hook-forward choruses and sudden shifts in mood, giving the record a restless, forward thinking character that keeps its 40-minute runtime lean and engaging. Welcome To The Coven is a confident step forward for a promising band which emphasizes their sharpened songwriting and willingness to push beyond scene expectations. The album is available on red or black vinyl from Norwegian purveyors of heavy rock label All Good Clean Records.

White vinyl. Signed Print Edition. When Jack Tatum began work on Life of Pause, his third full-length to date, he had lofty ambitions: Don't just write another album; create another world. One with enough detail and texture and dimension that a listener could step inside, explore, and inhabit it as they see fit. "I desperately wanted for this to be the kind of record that would displace me," he says. "I'm terrified by the idea of being any one thing, or being of any one genre. And whether or not I accomplish that, I know that my only hope of getting there is to constantly reinvent. That reinvention doesn't need to be drastic, but every new record has to have its own identity, and it has to have a separate set of goals from what came before." What came before: a rightfully acclaimed, much beloved display of singular pop craftsmanship. Tatum's dreamy, unexpected 2010 debut, Gemini, was written while he was still a student at Virginia Tech University. Its equally disarming follow-up, 2012's Nocturne, marked the first time he'd been able to bring his bedroom recordings into a studio, to be performed and fully realized with the help of other musicians. There has been a set of wonderfully expansive EPs in between_each hinting at new directions and punctuating previous ideas_but with Life of Pause, Tatum delivers what he describes as his most "honest" and "mature" work yet, an exquisitely arranged and beautifully recorded collection of songs that marry the immediate with the indefinable. "I allowed myself to go down every route I could imagine even if it ended up not working for me," he says. "I owe it to myself to take as many risks as possible. Songs are songs and you have to allow yourself to be open to everything." After a prolonged period of writing and experimentation, recording took place over several weeks in both Los Angeles and Stockholm, with producer Thom Monahan (Devendra Banhart, Beachwood Sparks) helping Tatum in his search for a more natural and organically textured sound. In Sweden, in a studio once owned by ABBA, they enlisted Peter, Bjorn and John drummer John Ericsson and fellow Swedish Radio Symphony Orchestra veteran Pelle Jacobsson, to contribute drums and marimba. In California, at Monahan's home, Tatum collaborated with Medicine guitarist Brad Laner and a crew of saxophonists. From the hypnotic polyrhythms of "Reichpop" to the sugary howl of "Japanese Alice" to the hallucinogenic R&B of "A Woman's Wisdom," the result is a complete, fully immersive listening environment. "I just kept things really simple, writing as ideas came to me," he says. "There's definitely a different kind of `self' in the picture this time around. There's no real love lost, it's much more a record of coming to terms and defining what it is that you have_your place, your relationships. I view every record as an opportunity to write better songs. At the end of the day it still sounds like me, just new."

New album from Pictish Trail, AKA Johnny Lynch, known for his wildly inventive electro-acoustic psych-pop. Life Slime is the sixth full-length album by Pictish Trail (AKA Johnny Lynch) - a strange, tender, psychedelic electro-pop record shaped by transformation, exhaustion, hope, guilt, and renewal. Written at home on the Isle of Eigg and recorded at Mike Lindsay's studio down in Margate (Tunng / LUMP), the album follows 2022's critically acclaimed Island Family, further refining Lynch's world of lo-fi electronics, warped pop melodies, baggy psych rhythms and emotionally direct songwriting. It's a record that balances woozy synth-pop, motorik propulsion and intimate acoustic songwriting, all infused with the emotional messiness that gives the album its title. Across the album's singles - the guilt-stained psych-pop ballad 'Hold It', the life-affirming shimmer of 'Infinity Ooze', the late-night confession of 'Torch Song', the expansive eight-minute centrepiece 'Another Way', and the cinematic closer 'Werewolf Ending' - Life Slime charts a journey from emotional fracture to uneasy release. 'Sorry Eyes' brings a punchy electro-pop strut with a sharp emotional edge, 'Crystal Cave' drifts through crystalline guitars and shoegaze haze into transformation, and the title track 'Life Slime' moves with a slow, weary swagger toward bittersweet acceptance. Together, these tracks form a cohesive album statement about surrender, resistance, change and renewal. "Wonderfully weird pop"- Brooklyn Vegan For fans of Hot Chip, The Flaming Lips, Liars, Mercury Rev, Beck, John Grant, Empire of the Sun, Grandaddy. Colour vinyl and digisleeve CD

Marking twenty years since South African producer and DJ Esa Williams left Cape Town, Dala What We Must is a deeply personal and expansive debut LP, an exploration of movement, memory, and sound shaped by two decades of creative evolution.

Co-created with collaborator and multi-instrumentalist Robin G. Breeze, the album deftly combines field recordings, layered instrumentation, and emotionally resonant compositions into a nuanced, globally influenced body of work. It also stands as Esa’s most collaborative release to date, featuring contributions from musicians across London, Oaxaca, Nairobi, and Cape Town, each adding their own creative energy to a project built on openness, trust, and shared experience.

The album draws inspiration from Esa’s recent ventures into documentary scoring and soundtracking, with projects like Cursed (Audible) and The Invisible Hand teaching him to listen differently, to honour space, to serve the story. That sensibility permeates the album, resulting in music that breathes, lingers, and listens as much as it speaks.

The title, Dala What We Must, is a South African call to action: a reminder to do what’s necessary, even in uncertainty. Finalised in the months leading up to Esa’s transition into fatherhood, the record carries a sense of grounding, care, and quiet transformation.

Dala What We Must is a sonic reflection of journey and community, a deeply collaborative project rooted in connection and guided by intention.

Marking twenty years since South African producer and DJ Esa Williams left Cape Town, Dala What We Must is a deeply personal and expansive debut LP, an exploration of movement, memory, and sound shaped by two decades of creative evolution. Co-created with collaborator and multi-instrumentalist Robin G. Breeze, the album deftly combines field recordings, layered instrumentation, and emotionally resonant compositions into a nuanced, globally influenced body of work. It also stands as Esa’s most collaborative release to date, featuring contributions from musicians across London, Oaxaca, Nairobi, and Cape Town, each adding their own creative energy to a project built on openness, trust, and shared experience. The album draws inspiration from Esa’s recent ventures into documentary scoring and soundtracking, with projects like Cursed (Audible) and The Invisible Hand teaching him to listen differently, to honour space, to serve the story. That sensibility permeates the album, resulting in music that breathes, lingers, and listens as much as it speaks.

The title, Dala What We Must, is a South African call to action: a reminder to do what’s necessary, even in uncertainty. Finalised in the months leading up to Esa’s transition into fatherhood, the record carries a sense of grounding, care, and quiet transformation. Dala What We Must is a sonic reflection of journey and community, a deeply collaborative project rooted in connection and guided by intention.

Celebrating 20 years of Frank Turner’s solo debut EP ‘Campfire Punkrock’, Xtra Mile Recordings are excited to release a special anniversary extended edition of the seminal release. Featuring the original EP with two added songs (The Real Damage and The Ballad Of Me & My Friends, both of which were included on the US version in 2007), plus 7 further live tracks recorded from Frank’s 50th solo gig in London 2006 - taking listeners right back to where it all began at the very early days of Frank’s incredible solo career. The 12” LP features new reworked artwork with shiny gold campfire on matt black cover plus coloured vinyl.

The original EP was recorded by Frank's guitarist Ben Lloyd at the Oxford home of Turner's bass player Tarrant Anderson and mixed by Tristan Ivemy. If features fan favourites ‘Nashville Tennessee’, ‘The Real Damage’ and ‘Ballad Of Me And My Friends’. Throughout April, Frank will tour UK performing tracks from Campfire Punkrock and the early years of his solo career. All dates are sold out including two nights at London’s Scala.

Broadside has never been a band to stay in one place for too long—musically or otherwise. The Richmond, Virginia-based band has spent the past decade carving out their own space in the pop rock scene. Drawing influence from The Killers, AFI, Kings of Leon, and Taking Back Sunday, their sound seamlessly fuses nostalgic rock energy with a fresh, modern edge. Their evolution has been nothing short of remarkable, taking them from underground favorites to genre staples, all while embracing the idea that growth and change are not just inevitable but necessary. With Oliver Baxxter (vocals), Domenic Reid (guitar), and Patrick Diaz (bass/backup vocals) at the helm, Broadside has built a career on crafting music that feels both deeply personal and universally relatable.

Their last full-length album, Hotel Bleu, served as a bold chapter in their story, using the transient nature of hotel stays as a metaphor for self-reflection, fleeting moments, and personal reinvention. The album marked a significant milestone in their career, amassing over 100 million streams and standing as their boldest, brightest, and most ambitious work to date. Now, as they prepare to enter their next era, the band is gearing up to release their most dynamic music yet, continuing to evolve while staying true to the energy and authenticity that first captivated listeners.

Broadside has never been a band to stay in one place for too long—musically or otherwise. The Richmond, Virginia-based band has spent the past decade carving out their own space in the pop rock scene. Drawing influence from The Killers, AFI, Kings of Leon, and Taking Back Sunday, their sound seamlessly fuses nostalgic rock energy with a fresh, modern edge. Their evolution has been nothing short of remarkable, taking them from underground favorites to genre staples, all while embracing the idea that growth and change are not just inevitable but necessary.

With Oliver Baxxter (vocals), Domenic Reid (guitar), and Patrick Diaz (bass/backup vocals) at the helm, Broadside has built a career on crafting music that feels both deeply personal and universally relatable. Their last full-length album, Hotel Bleu, served as a bold chapter in their story, using the transient nature of hotel stays as a metaphor for self-reflection, fleeting moments, and personal reinvention. The album marked a significant milestone in their career, amassing over 100 million streams and standing as their boldest, brightest, and most ambitious work to date. Now, as they prepare to enter their next era, the band is gearing up to release their most dynamic music yet, continuing to evolve while staying true to the energy and authenticity that first captivated listeners.

This is the Dahmers third album “Creature Feature” and the band continues to dig deeper in to a world of dark things, the things that don't belong, provokes, gives you the creeps or just makes you want to look away. “Our vision has been to explore and develop the bands sound but also to maintain the bands profound and colorful essence. “We want people to get excited when they hear the album, take them with us to another planet and make 'em forget about all the trouble in the world for a while” - Christoffer Karlsson (Lead singer/guitar)
The album was recorded and co-produced by Johan Gustafsson aka “The Johan and only” from the Hives in studio Ingrid in Stockholm. There's a new level and feel to the production with guest musicians on some tracks. With instruments like brass, cello, flute and piano the songs reaches their full true potential, along with added synth elements this gives the band a fresh feel. There's a wide variety of songs on the album where every track has it's very own theme, sound and characteristics. Where deep subjects like darkness, sorrow and alienation are being explored along with the bands continuing homage to the classic slasher and giallo flicks of the 70's and 80's, but also songs about a Swedish fakir, cults, rats and creatures from outer space. This album is a celebration to trash culture and to the underdogs, all delivered with a catchy uplifting chorus that The Dahmers is known for.
Creature Feature will be released on the bands own label Eerie sounds and will be out on February Friday the 13th.

JAPAN & PORCUPINE TREE SYNTHESIST RICHARD BARBIERI RETURNS WITH NEW STUDIO ALBUM 'HAUNTINGS' GATEFOLD 2LP EDITION, PRESSED ON CLASSIC BLACK VINYL. Richard Barbieri remains one of contemporary music's most distinctive voices. Emerging as a key architect of the late '70s/'80s synthesiser revolution with David Sylvian's art-rock ensemble Japan, his visionary synthesiser programming expanded the horizons of electronic music & left a lasting mark on artists from The Human League & Duran Duran to Gary Numan & Talk Talk. His subsequent & ongoing tenure with Steven Wilson's legendary progressive outfit Porcupine Tree across albums such as 'In Absentia' (2002), 'Fear Of A Blank Planet' (2007) &, most recently, 'Closure/Continuation' (2022) further affirmed his status as one of the most intuitive & unique musicians of his generation.

'Hauntings' is Barbieri's first studio album since 2021's 'Under A Spell', deepening the pensive, dark instrumental aesthetic of its predecessor. A diverse collection of immersive sound worlds, both dark & uplifting in equal measure, 'Hauntings' is influenced by a nostalgia for the past & future, & for things that didn't happen yet still manage to haunt the mind & soul. What is real & what is simulation? The album finds Barbieri at the height of his powers, his deft keyboard & sonic architecture conjuring a shadowy, creeping Lovecraftian atmosphere. The music wanders through the streets of a gloomy lamp-lit Victorian London & drifts into grain-speckled snapshots of Belle Époque Paris. These journeys into the past are contrasted with nihilistic but euphoric forays into the future, "Traveler" & "A New Simulation" bristling with the itchy modern anxiety that often runs through his best work. Contrasting the sound designs & electronics of Barbieri, the album features performances from renowned musicians Morgan Agren (drums & percussion), Percy Jones (bass guitar) & Luca Calabrese (trumpet). This 2LP 45 RPM edition of 'Hauntings' is presented in gatefold packaging & pressed on classic black vinyl.

10 songs from what is possibly the best anarchopunk band currently in existence. The dynamics of the tracks are refreshingly simple, a powerful yet neutral- sounding recording, with very little embellishment or stylized production to hide behind, approaching filth with distorted guitars, haunting bass lines, and steady drum beats, all elevated by the combination of the three voices perfectly balanced between melody and hatred. In a quantized world, one can perceive an endearing dose of human spirit through their tense and disturbingly melodic expressions. A modern Anarcho Punk classic that is surprising to find 40 years after the wonderful bands that spawned the genre, especially England. Includes poster and insert with lyrics.

Since reviewing Pomegranate Seeds: An International Benefit for Mutual Aid in Gaza, the compilation put out by the DISSIDENTS, I've been hunting for more VAMPIRE material, so when I saw I was assigned this LP I became very excited. VAMPIRE is an Australian band that plays apocalyptic anarcho- punk. A sense of extreme urgency pervades VAMPIRE's sound, and What Seems Forever Can Be Broken is ten songs that combine the demanding hardcore of CONFLICT, with a foundation of CRASS, and the rough-hewn delivery of raw punk. The resulting album is dark, hauntingly mesmeric, but also aggressive with a sense of communal voice. In other words, this is anarchopunk that is of the moment, and articulates exactly what contemporary punk is about without being preachy or elitist. This is that eye-to-eye, in-the-trenches vocalization of criticism that comes off as eye-opening and perspective-altering. What Seems Forever Can Be Broken is by far my favorite release thus far in 2025, but also might be the best album I've heard in a really long time. Like, this is benchmark-level material, so definitely give this a listen.

Born into a musical family Al Manfredi started writing songs when he was child. As a teenager in 1965, he formed the Nuts & Bolts in the small beach town of San Clemente, California. Inspired by the Kinks, the Beatles and the Byrds, the group separated themselves from the pack by also performing original material written by Manfredi and band mate Mike Ingram. In late 1966 they changed their name to the Lost & Found and relocated to Phoenix, Arizona, where they cut a rare single, “Don’t Move Girl” b/w “To Catch the Sun,” which now commands high coin from ‘60s garage collectors. When they returned to San Clemente in early 1967 their music had taken a more psychedelic direction. The Lost & Found were riding high that year, until tragedy struck. Ingram was found hanged under suspicious circumstances and soon after Lost & Found drummer Mike Ryer died of cancer at the age of 19. Heartbroken, Manfredi gave up on the band scene completely and moved to Garden Grove to teach at his family’s music store. But alone, behind closed doors, he kept writing songs and working on his music, recording hours of tapes, often tracking all the instruments himself. In 1973 he chose six of his best songs, some of them written back in the Lost & Found days, and had them custom-pressed as an LP. Only a handful of copies were pressed, and most of these were sent out to various record companies in the hope of landing a deal. Despite the outstanding quality of the music, there were no takers. But decades later, collectors discovered the Al Manfredi album and hailed it a West Coast rock masterpiece. In his Acid Archives book, Patrick Lundborg called its discovery a deus ex machina and compared it to David Crosby’s first solo album and Hawaii-era Merrell Fankhauser, “not just the acutely captured mellowness, but the self-confidence and the talent.”This little-known West Coast rock masterpiece was rediscovered and celebrated by Acid Archives founder Patrick Lundborg and others around the time that Manfredi died in 1995. This version of the album, overseen by Manfredi’s son Exile, and with Manfredi’s story told by Ugly Things’ founder Mike Stax, presents the complete package of an incredible lost and found artist. Contains the album, as originally issued, on side A with unreleased music on side B.

‘Bad Wiring’ by Jeffrey Lewis & The Voltage, originally released in 2019 and long ago sold out, is re-released in UK/Europe on Blang Records. Recorded in Nashville by Roger Moutenot (Lou Reed, Yo La Tengo, Sleater-Kinny) the album blends raw lo-fi garage-punk with acoustic interludes. His trademark literate lyrics, moving between the poignant and the hilarious, shift from personal anxieties to existential dread (often in the same song eg, ‘My Girlfriend Doesn't Worry'), record stores ('LPs') and under-appreciated artists ('Exactly What Nobody Wanted'). The album was greeted with widespread acclaim in 2019 with many reviewers declaring it his best yet. Jeffrey Lewis & The Voltage play End Of The Road in September with a UK/Europe tour planned to follow.
Press For Bad Wiring In 2019:
" The “and about our relationship” refrain of ‘My Girlfriend Doesn’t Worry’ will have you replaying the album instantly." grade A- Robert Christgau, Consumer Guide (top albums of the year 2019).
" terrific wordplay." ******* Rob Hughes, Uncut
"Thick with the evergreen anti-folkie's charm." **** Mojo
"Electrifying, again." **** Q Magazine.
"one of the most consistently enjoyable records Lewis has made in his 18-year career." ********- HotPress
"possibly his best studio album yet." **** The Skinny.
"Jeff Lewis sits comfortably with Lou Reed and Leonard Cohen as an exemplary songwriter. Reed always strived for street cool and Cohen’s words were imbued with mysticism and his love of women. Lewis has the courage to open up his heart and lay out all the horrible neurosis, paranoia, and despair that we all fall prey to. Reed the cool, Cohen the mystic and Lewis the honest. A better triumvirate you couldn’t hope for.” Louder Than War.
"There’s a strong suggestion that this is the best album his written to date and after listening to just a handful of songs you’d be hard-pushed to disagree – you’ll also be left wondering why in the hell Lewis is not better known than he is, this album is filled with unforgettable songs that set his songwriting apart from anything else you’re likely to hear today." Folk Radio UK.

legwork Barcelona launches its inaugural release, thoughtfully titled in Catalan: ‘PEUS I ÀNIMA’, dedicated to the global spirit of dance music.
All 4 cuts come from a live set recorded in 2025 at a legwork party. They were then postproduced and re-jammed in 2026 to create this 12" built strictly for the floor. This creative process is intended to continue in future EPs.

Across the tracks, the signal mutates while always keeping that raw energy alive. The whole concept comes from a deeply personal mix of self-doubt, determination, friendship, and a pure passion for music and dancing.

Solid, no-nonsense material.

Mastered by Johanz Westerman
Artwork & design by PEBE Studio