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Two of Lamp's masterpieces will be released on vinyl at the same time! Two of Lamp's masterpieces from the 2010s, "Tokyo Utopia Tsuushin" and "Yume",
will be reissued on vinyl! After becoming a viral hit on TikTok in the 2020s, Lamp now has over 2.1 million monthly listeners on Spotify.
In addition to his deep-rooted popularity in Asia (China, Taiwan, Hong Kong, Korea, Indonesia, etc.), he was selected as a support act for Mitski last year
and accompanied them on their North American tour. At the same time, his solo tour "FUTURE BEHIND ME" North America 2024, which visited 17 locations
in North America, was all sold out. This summer's solo show at LINE CUBE SHIBUYA was also sold out immediately, and Lamp's two masterpieces,
which are currently gaining worldwide acclaim, will be released on vinyl at the same time!

This is the sixth album by Lamp, a mixed-gender trio that has inherited the Japanese pop music of each era and sublimated it into new pop music by sprinkling
elements of 70's pop and Brazilian music throughout.
This album depicts the mental landscape of a man and woman passing each other in a certain place in a city.
It suddenly reminds us of the cold and warmth of winter, a nostalgic feeling that everyone has experienced at least once.
The jacket features many illustrations by Suzuki Oji, who was active in the manga magazine "Garo," which had a great influence on young artists in the 70s and
produced many geniuses in the manga world, and is known for his representative work "Motorcycle Girl."
The unique, fantastical illustrations resonate with Lamp's music to create a fantastical world.

Congratulations! 55th anniversary of debut

The third album "Single Man", released on April 21, 1976, was an album with many controversies from the production stage.
It was discontinued less than a year after its release, and then a movement to re-release "Single Man" arose, and it finally re-released in 1980, so it has
a twisted story.

The album features a variety of performances due to the transition period from the folk period to the electric arrangement period, and above all, many
masterpieces that can be said to be representative of the entire RC period, such as "Slow Ballad". The driving force just before the rapid climb to
"KING OF ROCK" after 1980 is already boiling in this album.

In addition to the latest remastered sound source from the original master tape of the album, this deluxe edition includes single songs from that time,
versions not included on the album, and a studio live sound source from tvk's "Young Impulse" at the time of the album's release.
It is a deluxe edition packed with the overflowing talent of RC Succession at that time.

The booklet includes for the first time all 17 images from the original jacket illustration, "Pictures for the Test of Painting Apperception of Infants and Children."

・Remastered by zAk
・Disc 1: Half-speed cutting / Disc 2: Normal cutting by Miles Showell at ABBEY ROAD
・180g heavyweight clear vinyl
・Booklet (17 images of "Pictures for the Test of Painting Apperception of Infants and Children" (illustrations by Minamioji Hajime), commentary, lyrics)
・Liner notes: Imai Tomoko, Sakai Hiroki

STANDFIRST Titanic, the project spearheaded by Mabe Fratti and Hector Tosta (aka I. la Católica), return with a sumptuous and life-affirming new album.



In her sensational 1929 biography Tiger Woman, dancer and socialite Betty May claimed her ‘coster’s eye’ meant she liked to wear as many colours as possible. “Colours to me are like children to a loving mother. Each is my favourite, yet I can never bring myself to deny the others by preferring one.” May’s bold and inclusive strategy is one that manages to transfer itself, almost a century later, to Hagen, the new record by Titanic.


Many will know Titanic as the Mexico City-based brainchild of cellist and singer Mabe Fratti and multiinstrumentalist Hector Tosta who is now operating under the pseudonym, I. la Católica, (taken, rather unusually, from the name of the street the pair live on). With Hagen, and their previous release, Vidrio, (2023), the pair are creating a distinctive signature sound in modern alternative pop music. Nobody else sounds quite like them. Both records have an open hearted nature and simple, winning melodies that play off against a taste for drama, spectacular orchestration and a feeling of otherworldly mystery. Hagen is the more ambitious, sometimes more mystical effort. From the opening handclaps of ‘Lágrima del Sol’, (a wonderfully uptempo playground chant translating as a tear from the sun but, surely, not referencing the brand of pineapple wine?), the record dances its way through various mid-to-late-eighties inspirations, lush and widescreen passages of melancholy and vertiginous contrasts.


Mystery is often found in the simple but slightly odd song titles. English translations of various track titles give, ‘you swallowed the gum’, ‘leak’, ‘a tear from the sun’, ‘raising the trophy’ ‘digging dimensions’, ‘the owner’, ‘the decapitated hen’ and ‘the trap is exposed’. All denote striking images, metaphysical hints and emotional cues or simple, even childlike actions. Though Fratti and Tosta don’t reveal its provenance, the album’s title could even be a crafty play on words: the listener would be forgiven in thinking the moments of brash contrast and eyebrow raising theatricalism in the music constitute a musical nod to German punk chanteuse, Nina Hagen.


On Hagen, singer and cellist Mabe Fratti once again displays her brilliant knack of speaking to us directly. There is never the suspicion of her playing to the gallery, and the directness of many of the lyrics don’t allow it. Parallel to this, Fratti has an almost magical ability to give Hector Tosta’s melodies, and her and Tosta’s lyrics ones imbued with an insight and meaning that feels otherworldly. Tosta admitted it was “pretty wild to hear Mabe take the interpretations to a different place” and the listener can pick up on the delight Fratti takes in (literally) adding a voice to the many narratives.


Two examples can be shown here: ‘Gotera’ (Leak) uses harsh slashes of cello and tough, gunfire-like guitars and drums and multiple vocal lines that could be acting as a Greek chorus. They play off brilliantly against Fratti’s soft, slightly baleful vocal take that delivers lyrics such as: ‘nobody knows where the leak is / but I know where it is / they fight in front of the door and / nobody can go in’. With ‘La Gallina Degollada’ the somewhat blithe melody melody line, sung with what could be sarcastic brio by Fratti, plays against an itchting rhythm and rasping guitar part. The punch comes when you see that the song is about a chicken that has been decapitated and read lyrics such as: ‘I already saw it, it moved, the decapitated chicken’ / ‘could it be that I'm broken’ and ‘Two people hurt each other by thinking that they no longer agree’/ ‘Hours pass and the chicken represents what scares me’.


There may be death and fights to deal with, but there is also a quality of chirpy self-reliance about Hagen that is a key part of its nature. Like Betty May and her colourful outfits, Hagen’s sound often revels in its own sense of richness. Throughout, the record delivers vaulting string sections or glutinous guitar squeals that could, like the powerful, driving ‘Escarbo Dimensiones’ (Digging Dimensions) have come directly from a glossy 1980s TV series. Fratti sees this “glam sound” developed by Tosta on the aforementioned track and ‘Te Tragaste el Chicle’ (You Swallowed The Gum), as moments that were truly “revealing” for the album as a whole during its making.


What else? The thud and thump of ‘La Trampa Sale’ (The Trap is Exposed), and its sudden change of tempo and mood betrays a monstrously ambitious piece of music, the players almost greedily creating the sounds. Other moments are heart wrenching: ‘Libra’ ends on a poppy chord switch that cleverly ramps up the emotion inherent in the music’s notation. You could almost imagine a teenager in a bedroom forty years ago, rewinding the track over and over on a small, cheap cassette player, unable to get enough of that sugarsweet switch. Elsewhere, Oneohtrix Point Never adds stardust and an unearthly sense of space on the changeable, slightly moody meditation, ‘Pájaro de Fuego’ (Firebird). The record ends with ‘Alzando el Trofeo’ (Lifting the Trophy), a track that could soundtrack a state wedding, what with its beautiful cascading piano parts, a sugary vocal and short triumphal guitar riffs that add a rich patina to the overall sound. Fratti: “When I doubled those vocals on ‘Alzando el Trofeo’ I felt there was an epiphany happening, right at that moment.”


Making a good record is a team game. Tosta and Fratti recall seeing Randall from Circular Ruin Studios in NYC “tweak the drums in ‘Libra’ to make that amazing effect of the gated reverb”, or the shaping of ‘Gotera’, “when (recording engineer) Nate Salon added some synths to the track.” Drummer Eli Keszler, “an amazing and versatile player” had the songs down pat in a couple of days” and, according to Tosta, Oneohtrix Point Never “just came to one of the sessions and we hung out, and after all the recordings he and Nate were together in some studio and out of nowhere they sent us some beautiful tracks for ‘Pájaro de Fuego’! Fratti concurs. “He decided that he wanted to record because he was listening to the record (Nate works closely with him) and he really liked it! It was a total honour, indeed!”


Bedazzled by the playing, the skyscraping ambition in the arrangements and the giddy moments of contrast thrown up by Hagen, we could allow ourselves a brief moment of flippancy and state that Titanic’s new record is Yacht Rock meets Aeschylus, full-on. It’s also worth speculating that, in this hyper-sensitive, intemperate age, Titanic’s music has the power, however fleetingly, to heal hurts. Hagen is a brilliant showcase for a fresh and enriching form of pop music: displaying a magpie eye for what glints and plundering what has gone before.


Like Vidrio, Hagen was partially and additionally recorded at Fratti and Tosta’s house, aka Tinho Studios in Mexico City, as well as Golden Girl Studios & Circular Ruin Studios in New York City. Mixing was done by Santiago Parra in Pedro y el Lobo Studios, Mexico City and mastered by Rafael Anton Irisarri at Black Knoll Studios, New York City. The recording engineer was Nate Salon.


Hagen featured Mabe Fratti on cello, vocals & backing vocals, I. la Católica on guitar, keyboards, prepared piano, bass & backing vocals, drums by Eli Keszler and synths in ‘Pájaro de Fuego’ from Daniel Lopatin and Nate Salon.


All compositions on Hagen are written by I. la Católica, except ‘Escarbo Dimensiones’ & ‘Pájaro de Fuego’, which were composed by I. la Católica and Mabe Fratti. The record was produced by I. la Católica and co-produced by Nate Salon & Mabe Fratti. And all lyrics are by I. la Católica except ‘Escarbo Dimensiones’, ‘Gotera’, ‘Gallina degollada’ & ‘Pájaro de Fuego’, which were written by I. la Católica & Mabe Fratti.

STANDFIRST Titanic, the project spearheaded by Mabe Fratti and Hector Tosta (aka I. la Católica), return with a sumptuous and life-affirming new album.



In her sensational 1929 biography Tiger Woman, dancer and socialite Betty May claimed her ‘coster’s eye’ meant she liked to wear as many colours as possible. “Colours to me are like children to a loving mother. Each is my favourite, yet I can never bring myself to deny the others by preferring one.” May’s bold and inclusive strategy is one that manages to transfer itself, almost a century later, to Hagen, the new record by Titanic.


Many will know Titanic as the Mexico City-based brainchild of cellist and singer Mabe Fratti and multiinstrumentalist Hector Tosta who is now operating under the pseudonym, I. la Católica, (taken, rather unusually, from the name of the street the pair live on). With Hagen, and their previous release, Vidrio, (2023), the pair are creating a distinctive signature sound in modern alternative pop music. Nobody else sounds quite like them. Both records have an open hearted nature and simple, winning melodies that play off against a taste for drama, spectacular orchestration and a feeling of otherworldly mystery. Hagen is the more ambitious, sometimes more mystical effort. From the opening handclaps of ‘Lágrima del Sol’, (a wonderfully uptempo playground chant translating as a tear from the sun but, surely, not referencing the brand of pineapple wine?), the record dances its way through various mid-to-late-eighties inspirations, lush and widescreen passages of melancholy and vertiginous contrasts.


Mystery is often found in the simple but slightly odd song titles. English translations of various track titles give, ‘you swallowed the gum’, ‘leak’, ‘a tear from the sun’, ‘raising the trophy’ ‘digging dimensions’, ‘the owner’, ‘the decapitated hen’ and ‘the trap is exposed’. All denote striking images, metaphysical hints and emotional cues or simple, even childlike actions. Though Fratti and Tosta don’t reveal its provenance, the album’s title could even be a crafty play on words: the listener would be forgiven in thinking the moments of brash contrast and eyebrow raising theatricalism in the music constitute a musical nod to German punk chanteuse, Nina Hagen.


On Hagen, singer and cellist Mabe Fratti once again displays her brilliant knack of speaking to us directly. There is never the suspicion of her playing to the gallery, and the directness of many of the lyrics don’t allow it. Parallel to this, Fratti has an almost magical ability to give Hector Tosta’s melodies, and her and Tosta’s lyrics ones imbued with an insight and meaning that feels otherworldly. Tosta admitted it was “pretty wild to hear Mabe take the interpretations to a different place” and the listener can pick up on the delight Fratti takes in (literally) adding a voice to the many narratives.


Two examples can be shown here: ‘Gotera’ (Leak) uses harsh slashes of cello and tough, gunfire-like guitars and drums and multiple vocal lines that could be acting as a Greek chorus. They play off brilliantly against Fratti’s soft, slightly baleful vocal take that delivers lyrics such as: ‘nobody knows where the leak is / but I know where it is / they fight in front of the door and / nobody can go in’. With ‘La Gallina Degollada’ the somewhat blithe melody melody line, sung with what could be sarcastic brio by Fratti, plays against an itchting rhythm and rasping guitar part. The punch comes when you see that the song is about a chicken that has been decapitated and read lyrics such as: ‘I already saw it, it moved, the decapitated chicken’ / ‘could it be that I'm broken’ and ‘Two people hurt each other by thinking that they no longer agree’/ ‘Hours pass and the chicken represents what scares me’.


There may be death and fights to deal with, but there is also a quality of chirpy self-reliance about Hagen that is a key part of its nature. Like Betty May and her colourful outfits, Hagen’s sound often revels in its own sense of richness. Throughout, the record delivers vaulting string sections or glutinous guitar squeals that could, like the powerful, driving ‘Escarbo Dimensiones’ (Digging Dimensions) have come directly from a glossy 1980s TV series. Fratti sees this “glam sound” developed by Tosta on the aforementioned track and ‘Te Tragaste el Chicle’ (You Swallowed The Gum), as moments that were truly “revealing” for the album as a whole during its making.


What else? The thud and thump of ‘La Trampa Sale’ (The Trap is Exposed), and its sudden change of tempo and mood betrays a monstrously ambitious piece of music, the players almost greedily creating the sounds. Other moments are heart wrenching: ‘Libra’ ends on a poppy chord switch that cleverly ramps up the emotion inherent in the music’s notation. You could almost imagine a teenager in a bedroom forty years ago, rewinding the track over and over on a small, cheap cassette player, unable to get enough of that sugarsweet switch. Elsewhere, Oneohtrix Point Never adds stardust and an unearthly sense of space on the changeable, slightly moody meditation, ‘Pájaro de Fuego’ (Firebird). The record ends with ‘Alzando el Trofeo’ (Lifting the Trophy), a track that could soundtrack a state wedding, what with its beautiful cascading piano parts, a sugary vocal and short triumphal guitar riffs that add a rich patina to the overall sound. Fratti: “When I doubled those vocals on ‘Alzando el Trofeo’ I felt there was an epiphany happening, right at that moment.”


Making a good record is a team game. Tosta and Fratti recall seeing Randall from Circular Ruin Studios in NYC “tweak the drums in ‘Libra’ to make that amazing effect of the gated reverb”, or the shaping of ‘Gotera’, “when (recording engineer) Nate Salon added some synths to the track.” Drummer Eli Keszler, “an amazing and versatile player” had the songs down pat in a couple of days” and, according to Tosta, Oneohtrix Point Never “just came to one of the sessions and we hung out, and after all the recordings he and Nate were together in some studio and out of nowhere they sent us some beautiful tracks for ‘Pájaro de Fuego’! Fratti concurs. “He decided that he wanted to record because he was listening to the record (Nate works closely with him) and he really liked it! It was a total honour, indeed!”


Bedazzled by the playing, the skyscraping ambition in the arrangements and the giddy moments of contrast thrown up by Hagen, we could allow ourselves a brief moment of flippancy and state that Titanic’s new record is Yacht Rock meets Aeschylus, full-on. It’s also worth speculating that, in this hyper-sensitive, intemperate age, Titanic’s music has the power, however fleetingly, to heal hurts. Hagen is a brilliant showcase for a fresh and enriching form of pop music: displaying a magpie eye for what glints and plundering what has gone before.


Like Vidrio, Hagen was partially and additionally recorded at Fratti and Tosta’s house, aka Tinho Studios in Mexico City, as well as Golden Girl Studios & Circular Ruin Studios in New York City. Mixing was done by Santiago Parra in Pedro y el Lobo Studios, Mexico City and mastered by Rafael Anton Irisarri at Black Knoll Studios, New York City. The recording engineer was Nate Salon.


Hagen featured Mabe Fratti on cello, vocals & backing vocals, I. la Católica on guitar, keyboards, prepared piano, bass & backing vocals, drums by Eli Keszler and synths in ‘Pájaro de Fuego’ from Daniel Lopatin and Nate Salon.


All compositions on Hagen are written by I. la Católica, except ‘Escarbo Dimensiones’ & ‘Pájaro de Fuego’, which were composed by I. la Católica and Mabe Fratti. The record was produced by I. la Católica and co-produced by Nate Salon & Mabe Fratti. And all lyrics are by I. la Católica except ‘Escarbo Dimensiones’, ‘Gotera’, ‘Gallina degollada’ & ‘Pájaro de Fuego’, which were written by I. la Católica & Mabe Fratti.

Rare groove fans, take note of yet another gem from the good folks at P-VINE as they reissue Les DeMerle's iconic cover of 'A Day In The Life,' famously sampled in O.C.'s hip-hop classic 'Time's Up.' It's a laidback and jazzed up sound with deep cut rhythms, big horns and conversational sax leads that hit different. Alongside the jazz-funk gem comes 'Aquarius' with DeMerle's sharp drum breaks (which in the past have been sampled by Jurassic 5, De La Soul and DJ Shadow) ride beneath funky keys work and joyous horns that persuade you to get up and move. Pressed in very limited quantities, it's a vital addition to any hip-hop or rare groove set.

Unlike anything we have heard from her before, Okkyung Lee returns to Shelter Press with "Just Like Any Other Day: Background Music For Your Mundane Activities", a deeply intimate body of recordings at the juncture of ambient music, minimalism, and the baroque, that stands as radical intervention with what experimental music can be, and the place that organisations of sound occupy in our lives. For more than two decades, Okkyung Lee has stood at the forefront of the most radical trajectories of experimental music: a virtuosic cellist and improviser, renowned for her creative rigour and emotive depth. Particularly noteworthy for her range, dexterity, and adaptability, over the last five years Lee's output has revealed unexpected shifts and developments that move far afield from the realms of free improvisation for which she is most well known. 2020's "Yeo - Neun", a heart-wrenching, ambient chamber work - drawing inspiration from the Korean popular music of her youth - was issued by Shelter Press to great critical response, followed closely by "Teum (The Silvery Slit)" - one of a series engrossing electroacoustic works created at Groupe de Recherches Musicales in Paris - on Portraits GRM, and then "Na-Reul" in 2021, regarded by Lee as a closing statement of more than two decades living in New York, which set the precedent of her allowing her emotions to fully occupy the forefront of the music for the first time. Marking her return to Shelter press, "Just Like Any Other Day": Background Music For Your Mundane Activities", encounters Lee upturning the apple cart once again, weaving a profoundly intimate artistic statement on completely unexpected terms. Like its three aforementioned predecessors, "Just Like Any Other Day" belongs to broadening shift in Lee's approach to composing that roughly aligns with her return to her native South Korea, having lived in the United States since her late teens. Infused with a deep reengagement with her own culture and relationship to memory, it is equally a response to those critical challenges and questions provoked by significant life change. Worked on in isolation, and continuously returned to, over the course of four years, the album's nine pieces began with a simple recognition that experimental music is not always what we imagine it to be. It is a practice and a pursuit - a music for which, at its inception, the outcome is unknown - rather than an idiom defined by certain syntaxes, approaches, and qualities of structure and sound. From this departure point, Lee began to inquire after the utility of music itself: what is it for, what does it do, and what place does it (or can it) occupy in our lives? This solitary and durational journey, each composition gradually moving through different phases and evolutions over years, led Lee toward uncharted ground: a music that is not only playful, introspective, and seductive, but also intended to provoke a relationship to experimental music beyond its normative expectations. Rather active or deep listening, it pursues passive listening. Rather than a grand statement, it is discreet. Rather than virtuosity, it embraces the elegant and direct. Even more strikingly, for the first time, the music of "Just Like Any Other Day" encounters Lee leaving the cello entirely behind. Created at home on keyboard, computer, and an inexpensive cassette recorder, "Just Like Any Other Day" presents a remarkable form of ambient music - organisations of sound that become their own environment, to be occupied - intended, as the album's subheading infers, as Background Music For Your Mundane Activities. An expansion of the creative pathways opened by the Korean pop imbued compositions of Yeo - Neun, aspects of electronic process explored by "Teum (The Silvery Slit)", and the emotive foregrounding of "Na-Reul", each of the pieces presented across the two sides of "Just Like Any Other Day" implies something far greater than the limits of its own temporarily: a mood, provocations of memory and place, mirrors for the solitude within which it was made, and palpable emotion lingering just out of grasp. For Lee, each of the album's compositions could be continued or looped for an indeterminate duration: straddling a ground between the minimal and the baroque, enveloping the listener in endless cycles of appreciating, repetitive and rhythmical notes, flirting with the melodic and implying a disembodied imagism that borders on the profound. Remarkably beautiful and direct, Okkyung Lee's "Just Like Any Other Day: Background Music For Your Mundane Activities" - issued by Shelter Press on vinyl - represents a radical reconfiguration of experiential music, stripped to its bare essence in defiance of the widely presumed aesthetic signifiers. Unlike anything we've heard from her before, this immersive body of intimate recordings not only reveals new dimensions of Lee's striking range as an artist, but also of how we might regard and occupy music itself: an ambience to lived and felt like a second skin.

In a changing, unpredictable and turbulent world, something we can always rely on is a new Orb album, with the next holiday-for-the-head never far away. On what is quite possibly the millionth longplayer helmed by electronic lifer Alex Paterson; partnered with the now firmly-entrenched boy wonder Michael Rendall; the inspirationally productive outfit yet again deliver the goods, with one of their best yet.

We don't know who Cosmic Slide is or are, and this appears to be their debut release. It comes on the fledgling Trueschool Ltd, and is a dead good tune. 'Acid Thunder' pairs a poised bassline with some aching chords and subtle sci-fi melodies with hip-swinging claps and a playful groove that's cool but reserved. It's perfect for warming up or bringing things back down and a gorgeous vocal is the perfectly soulful icing on the cake. An instrumental is included too, and both tunes make us keen to hear more from Cosmic Slide.

This spring, PILLZ continues its ascent by welcoming another fast-rising talent to its roster: Barcelona’s Natural Goofy. Quickly earning a reputation for his sharp interpretations of the genre’s darker edges, the Spanish producer weaves together twisted electro, hypnotic minimalism, and acid-infused rave power. His Misty Secrets EP is a perfect reflection of this vision—a refreshing yet nostalgic exploration of his sonic world. Sitting seamlessly within the esteemed PILLZ catalogue, the release further strengthens the label’s position as a go-to source for forward-thinking, peak-time weaponry and the alluring sounds of the night. Four cuts of hypnotic mischief from Natural Goofy.

Bone White & Orange Splatter Vinyl. John Carpenters Soundtracks für die jüngste Halloween-Trilogie, die er zusammen mit seinen langjährigen Mitarbeitern Cody Carpenter und Daniel Davies komponierte, markierten die Rückkehr des legendären Regisseurs und Komponisten zur Filmmusik nach fast zwei Jahrzehnten Pause. Halloween (2018), Halloween Kills (2021) und Halloween Ends (2022) wurden alle von David Gordon Green inszeniert, der Carpenter bereits früh in die Vorproduktion einbezog und ihn schließlich als ausführenden Produzenten und Soundtrack-Komponisten für die Trilogie engagierte. Halloween Expanded, ursprünglich 2019 veröffentlicht, erscheint nun in einer brandneuen Verpackung und ist damit ein neues Highlight für Fans, das sie ihrer Sammlung hinzufügen können. Halloween aus dem Jahr 2018 war ein Erfolg, der die kühnsten Träume aller Beteiligten übertraf. Der Film startete mit den höchsten Einspielzahlen in der Geschichte von Blumhouse und den höchsten in der Geschichte der Halloween-Reihe. Es war unvermeidlich, dass bald zwei Fortsetzungen, Halloween Kills und Halloween Ends, grünes Licht erhielten. Green unterschrieb für die Regie beider Filme, wollte aber nicht davon ausgehen, dass John, Cody und Daniel für die Filmmusik zurückkehren würden. ,Ich nehme nichts als selbstverständlich hin", sagt er. ,Man hofft also, dass sie eine gute Erfahrung gemacht haben. Ich weiß, dass wir Spaß an dem Projekt hatten, aber man weiß nie, wie die zeitlichen und finanziellen Interessen der Leute aussehen und all diese Dinge. Die Realitäten des Geschäfts, des Filmemachens, laufen nicht immer so reibungslos ab. Aber es gab keine Probleme. Wir sahen uns an und sagten: ,Wie können wir das hinbekommen? Lassen Sie es uns noch einmal versuchen.` Zweimal." Die erweiterte Version von Halloween enthält mehr als 28 Minuten zusätzliche Musik aus dem Film und bietet ein noch vollständigeres, immersives Hörerlebnis. Das zusätzliche Material der erweiterten Ausgabe umfasst insgesamt 24 neue Titel, die auf zwei weiteren Seiten der Deluxe-Doppel-LP verteilt sind. Diese neue erweiterte Ausgabe enthält brandneues Artwork von Chris Bilheimer und ein exklusives 24x36-Zoll-Poster, das von Creepy Duck entworfen wurde. Erweiterte Versionen der Soundtracks zu ,Halloween Kills" und ,Halloween Ends" sowie ein Box-Set mit allen drei erweiterten Editionen werden ebenfalls am selben Veröffentlichungstag bei Sacred Bones erhältlich sein.

"One Hit Wonders" ist eine dynamische Doppel-LP-Zusammenstellung, die die unvergesslichen Songs feiert, die den Äther beherrschten und zu zeitlosen Klassikern wurden. Diese Sammlung vereint legendäre Hits aus verschiedenen Jahrzehnten und Genres, von den energiegeladenen Beats von "You Spin Me Round (Like a Record)" von Dead or Alive bis zum sanften Yacht-Rock von "Steal Away" von Robbie Dupree. Mit Tanzhymnen, gefühlvollen Balladen und genredefinierenden Titeln ist dieses Album eine nostalgische Reise durch Songs, die trotz der Tatsache, dass sie die einzigen großen Chartstürmer ihrer Künstler waren, in der Musikgeschichte unverzichtbar geblieben sind.

Diese sorgfältig zusammengestellte Auswahl umspannt die Welten von Pop, Rock, Funk, R&B und Hip-Hop. LP1 enthält Wohlfühl-Hits wie "Walking on Sunshine" von Katrina and the Waves, den Synthie-Pop-Charme von "Wouldn't It Be Good" von Nik Kershaw und die eindringliche Schönheit von "Only the Lonely" von The Motels. LP2 hält die Energie hoch mit funkgetriebenen Grooves wie "Play That Funky Music" von Wild Cherry, der filmischen Magie von "Neverending Story" von Limahl und sanften Balladen wie "Because I Love You" von Stevie B. Jeder Track auf dieser Compilation ist einkultureller Meilenstein, der von der ersten Note an erkennbar ist.

"One Hit Wonders", herausgegeben von MPO, ist ein Muss für Musikliebhaber, Sammler und Fans von klassischen Hits, die Generationen überdauern. Ob Sie diese Hymnen wiederentdecken oder zum ersten Mal erleben, dieses Album fängt die Magie von Songs ein, die Geschichte geschrieben haben, auch wenn ihre Schöpfer nie wieder denselben Erfolg in den Charts hatten. Sichern Sie sich noch heute Ihr Exemplar und lassen Sie sich von der Musik in die Momente zurückversetzen, in denen diese Titel die Charts beherrschten und und die Welt in ihren Bann zogen.
Tracklisting

When we did the first ever vinyl reissue of this 1972 masterpiece back in 2012 it sold out so fast and so many lost the chance to grab a copy has translated into continuous messages asking us to do a repressing of this marvel - which we did and, again, it sold like hot bread. So here is a new edition of this UK jazz masterpiece, this time with a twist :

- Silk-screened cover art : we respect the original design, but have upgraded the printing from regular offset to silk screen to give it an artistic touch!

- In adition to the limited black vinyl edition (400 copies), we offer an ultra limited clear vinyl version (100 copies-only!)

One of the big names in UK Jazz, Neil Ardley was offered the leadership of the seminal New Jazz Orchestra in 1964. Under his direction the Orchestra moved though different styles and changes of personnel, bringing in musicians such as Mike Gibbs (trombone), Harry Beckett andHenry Lowther (trumpets) or even Jack Bruce (bass), some of them also contributed with the writing of some original compositions, making the NJO the root from which the UK's 70's jazz scene was to blossom.

By 1972 the NJO was already defunct, but his legacy remained in the works of its members. Ardley's 'A Symphony Of Amaranths' is a perfect example of what was boiling in the UK jazz scene. It was Ardleys tribute to his idols Duke Ellington and Gil Evans, and featured the skills of some great musicians of the scene including Don Rendell,Stan Tracey, Henry Lowther, Harry Beckett, Jeff Clyne & Jon Hiseman. Side B is inspired by the words of Edward Lear, W. B. Yeats, James Joyce and Lewis Carroll that are musicated by Ardley and feature, among other highlights, Ivor Cutler's narration of 'The Dong With A Luminous Nose' and Norma Winstone's vocals on 'Will You Walk A Little Faster'.



Musicians that participated in the recording session :

- Derek Watkins, Nigel Carter, Henry Lowther, Harold Beckett (trumpets)
- Derek Wadsworth, Ray Premru (trombones)
- Dick Hart (tuba)
- Barbara Thompson, Dave Gelly, Don Rendell, Dick Heckstall-Smith (woodwind, saxes)
- John Clementson (oboe)
- Bunny Gould (bassoon)
- Dave Gelly (glockenspiel)
- Neil Ardley (prepared piano)
- David Snell, Sidonie Goossens (harp)
- Stan Tracey (piano, celeste)
- Karl Jenkins (electric piano)
- Alan Branscombe (harpsichord)
- Frank Ricotti (vibraphone, percussion)
- Chris Laurence, Jeff Clyne (bass)
- Jon Hiseman (drums, percussion)
- Eric Gruenberg, Jack Rothstein, Kelly Isaacs (violin)
- Ken Essex (viola)
- Charles Tunnell, Francis Gabarro (cello)
- Ivor Cutler (narrator)
- Norma Winstone (vocal)
- Jack Rothstein, Neil Ardley (conductors)

Peach Discs’ first EP of the post-summer season comes from DJ, producer, and our good pal Amaliah.

The five tracks that make up the Hypnosis EP are a true showcase of Amaliah's rapidly growing skills as a producer, as she picks thoughtfully from her inspirations and flips them into a uniquely Amaliah-coded record – leaning into the housier side of her sound while incorporating elements of bass, garage, UK funky, and prog that have become her calling card.

Lead track "Hypnosis" draws a line straight back to her early UK raving days, with tuff, speed-garage-indebted drums bouncing off prowling subs and emosh, pinging synth lines, while "Watch This" harnesses a similarly heaving bassline but dips towards classic UKG territory with its swinging, broken beat and disembodied vocal chops.

The closest thing to straight-up house on the EP, "Hold Me Closer," features Amaliah's vocals for the first time, as well as additional production from Shanti – an influence evident in the tight, ascending bassline that wraps itself around the stomping percussion.

"Laser Tag" and "Earthling" are maybe the most Amaliah-coded tracks on the record – a pair of highly percussive, UK funky inspired tunes that balance shoulder-bumping drums with wild, arcing synths that prowl across the stereo field, trippy and screwface inducing in equal measure.

Amaliah is also the founder of Borne Fruits, an independent label, event series, and monthly Rinse FM show, showcasing new sounds and emerging talent. This record follows neatly in that vein, as her own emerging talent marries forward-thinking sound design with her roots in raving and soundsystem culture for an EP that's all her own, and one we're thrilled to release.

Fresh techno from the Lowlands by two veterans of the Utrecht scene. Quince made his debut 20 years ago on the renowned Delsin label, while Sayne is the latest alias of DJ, producer and label owner Nuno Dos Santos. All three tracks are built around a single initial idea. Both producers expanded the idea independently, before coming together to forge the final result. The title track Orange has a nice Detroit vibe with its shuffle rhythms and bouncing rimshots, while Klonneplein 1 (an Amsterdam square all too familiar to visitors of a populair techno party) navigates the wobbly bridge between Sterac and Andy Stott. The closing track Work is one for sweaty basements, where bass lines tug viciously at your trouser legs. Raw, distorted jakbeat in a frayed techno jacket. If you like to lose yourself, this sixth EP on the Nowhere label is a good place to start.

Mit ihrem neuen Album 'For The People' kehren Dropkick Murphys zurück zu ihren Punk-Wurzeln - laut, kämpferisch und voller Haltung. Zwischen Klassenkampf und Familiengeschichte, zwischen Protestsong und Pogues-Hommage - 'For The People' ist mehr als nur ein Albumtitel. Es ist ein Statement gegen Ungerechtigkeit, für Menschlichkeit und Solidarität.

Produziert von Langzeit-Weggefährte Ted Hutt und mit Artwork von Shepard Faireys Studio Number One, erscheint das Album über Dummy Luck Music / Play It Again Sam digital am 4. Juli (passend zum US-Unabhängigkeitstag) und am 10. Oktober auf CD und 2LP. Die Vinyl-Version kommt mit fünf Bonustracks.

Ob mit der ersten Single 'Who’ll Stand With Us?' oder der bewegenden Shane-MacGowan-Verneigung 'One Last Goodbye' - Dropkick Murphys liefern den Soundtrack für alle, die sich nicht mit der Welt, wie sie ist, zufriedengeben. 'For the People'!

- Ltd. Col. 2LP: (Silver 2LP/Gatefold mit Etching einer schwarzen Rose auf der D-Seite + Faltposter)

Mit ihrem neuen Album 'For The People' kehren Dropkick Murphys zurück zu ihren Punk-Wurzeln - laut, kämpferisch und voller Haltung. Zwischen Klassenkampf und Familiengeschichte, zwischen Protestsong und Pogues-Hommage - 'For The People' ist mehr als nur ein Albumtitel. Es ist ein Statement gegen Ungerechtigkeit, für Menschlichkeit und Solidarität.

Produziert von Langzeit-Weggefährte Ted Hutt und mit Artwork von Shepard Faireys Studio Number One, erscheint das Album über Dummy Luck Music / Play It Again Sam digital am 4. Juli (passend zum US-Unabhängigkeitstag) und am 10. Oktober auf CD und 2LP. Die Vinyl-Version kommt mit fünf Bonustracks.

Ob mit der ersten Single 'Who’ll Stand With Us?' oder der bewegenden Shane-MacGowan-Verneigung 'One Last Goodbye' - Dropkick Murphys liefern den Soundtrack für alle, die sich nicht mit der Welt, wie sie ist, zufriedengeben. 'For the People'!

Gatefold mit Etching einer schwarzen Rose auf der D-Seite + Faltposter)

Italian producer, musician, DJ, and groove architect Sam Ruffillo drops his long-awaited debut album Tipo Così on Toy Tonics – a sun-drenched, genre-blurring statement that blends classic house with Mediterranean flair, romantic funk, and tongue-in-cheek Italo vibes. Over 11 expertly crafted tracks, Ruffillo delivers a dancefloor-ready, emotionally rich LP that connects deep musicality with irresistible rhythm and light-hearted elegance.

After three acclaimed EPs and collaborations with revered artists such as Barbara Boeing, Kapote, and Fimiani, Ruffillo has firmly cemented himself as a core artist on the Berlin-based label. Known for his unmistakable signature sound — a warm mix of vintage disco, 90s house, and Italian vocals — Sam’s music has garnered widespread DJ support from tastemakers like Gerd Janson, Palms Trax, Seth Troxler, and DJ Tennis, while becoming a staple on Italian airwaves. His infectious summer anthems like Danza Organica and Perfetta Così have soundtracked countless club nights and festivals, creating a loyal following that eagerly awaited this full-length debut.

Tipo Così is the natural culmination of a musical journey that’s both playful and profound — a travel diary written in grooves, synth stabs, and melodies that feel like postcards from a parallel Mediterranean universe. The album expands and deepens Ruffillo’s world into a fully immersive experience: lush emotional chords meet tight syncopated grooves, vintage synth textures collide with irresistibly catchy pop refrains, and the boundary between sincerity and playful irony is exquisitely blurred.

Entirely written, produced, and recorded in Italy, in his beloved hometown of Bologna, the album finds Ruffillo at the helm on keys, drum machines, and production, supported by a talented cast of musicians contributing live bass, guitar, and other organic elements — further enriching his trademark fusion of electronic grooves and natural instrumentation. There’s a tactile warmth in these tracks, a hands-on feel that adds soul and depth to every beat.

This album also marks Ruffillo’s heartfelt return to singing in Italian, with standout tracks like House Tipo Così, Mi Fa Volare, Ancora, and Dentro Di Me, where romantic naïveté meets pulsing club energy in a way that feels both timeless and refreshingly new. The vocal performances add an intimate, human touch to the music, reinforcing the personal stories woven into each song. There’s poetry in the casual, a bittersweet elegance in the way the lyrics float over groove-heavy production.

Having toured extensively across Europe, Australia, Indonesia, New Zealand, and Mexico — with sets at iconic venues like Panorama Bar and festivals such as Sónar Barcelona — Ruffillo has fine-tuned much of this album in front of live audiences. The real-world testing ground infused the record with a dynamic energy and immediacy that only comes from genuine crowd interaction. These songs weren’t just made in the studio — they were lived on dancefloors around the world.

Tipo Così is not just a collection of tracks. It’s a philosophy — playful, stylish and unmistakably personal. A modern club album bursting with heartfelt emotion and sophistication. Music for dancers with taste; for lovers of beauty, rhythm, and the little imperfections that make things feel real.

But what exactly is Tipo Così? More than just a phrase, it’s a way of being. It’s about embracing elegance without effort, mixing irony with sincerity, and letting nostalgia slip into the room without taking over the party. It’s Sam Ruffillo’s signature language: relaxed, confident, meticulous yet never rigid — where a chord progression can say as much as a lyric, and every beat carries intention.

The album’s visual identity complements this vision perfectly. The artwork and promotional materials lovingly reference Italian design from the ’80s and ’90s, combining bold graphic elements with playful pop culture nods. This aesthetic mirrors Ruffillo’s music — a fusion of vintage warmth and contemporary freshness, delivered with authenticity and charm.

Sam Ruffillo belongs to a new generation of European artists who are reshaping electronic music by blending past and present, analog and digital, groove and emotion — without nostalgia or pose. His artistic universe is coherent, vibrant, and alive; a rich tapestry of sound, images, and stories that coexist with lightness, precision, and a distinctive voice.

Reflecting on his artistic journey, Sam describes music as a vital, deeply human impulse — a tribal connection to rhythm and body that has driven him since he was a teenager. His creative process balances meticulous planning with room for spontaneity, usually sparked by clear melodic ideas that evolve naturally. Collaborations with close friends, especially vocalists like Ninfa, add warmth and authenticity, exemplified in tracks like “House Tipo Così.” For Sam, music is honest self-expression — crafted for listeners who crave memorable melodies and rhythms imbued with genuine feeling.

While technical perfection is tempting, Sam prioritizes emotion, knowing that what truly resonates is the soul behind the sounds. His long-standing partnership with Toy Tonics has been key in nurturing his vision, offering a blend of creative freedom and professional support. Looking ahead, Sam Ruffillo is excited to broaden his live performances, and release new projects that continue to blend electronic grooves with organic, heartfelt sounds — maintaining the delicate balance between playful irony and sincere emotion that defines Tipo Così.




Kurzversion:
Italian DJ, producer and musician Sam Ruffillo drops his debut album Tipo Così on Toy Tonics - a sunny blend of house, funk, Italo and pop, full of groove and emotion. Written and recorded in Bologna with live instruments and Italian vocals, it’s a playful, elegant journey shaped on dancefloors worldwide. A stylish, sincere club album where nostalgia, irony and rhythm meet in perfect harmony.

- Mi Fa Volare
Road-tested across continents and now finally released, “Mi Fa Volare” channels 90s uplifting euphoria with big breakbeats, lush chords, and Italian vocals built to stick. Somewhere between balearic bliss and piano house nostalgia, it’s a feel-good club weapon made for peak-time moments - already sung back by crowds after just one listen.


- Ancora
“Ancora” is a vibrant hi-NRG track inspired by 80s Italo disco, sung entirely in Italian. It blends driving rhythms with dreamy melodies, capturing the radiant spirit of the decade. This fresh yet nostalgic song delivers euphoric vibes and timeless energy, making it a perfect fit for both dancefloors and reflective listening moments worldwide.


- Dentro Di Me
“Dentro Di Me” channels ‘90s sensuality through a fast-paced, UK house-inspired lens. Entirely in Italian, it’s a bold and contemporary dance track where hypnotic vocals meet high-energy grooves. Blending nostalgic textures with forward-thinking production, the result is a seductive and euphoric trip - equal parts emotional and club-ready.


- Amigo
“Amigo” blends Latin groove, acoustic guitar-driven rhythm, and Mediterranean flair into a warm, magnetic, cross-cultural dance anthem. Sung in Spanish and Italian, it celebrates connection, inclusivity, and the joy of moving together - whether stranger or friend. With its unstoppable rhythm and vibrant energy, it’s a feel-good track with a unifying spirit.


- Ma Sei Fuori
“Ma Sei Fuori” is a tongue-in-cheek dancefloor bomb blending raw house energy with catchy vocal phrases and a nod to classic French touch. Driven by hypnotic vocal lines and a playful attitude, it doesn’t take itself too seriously - while still proving serious club impact. Built for late-night moments, it’s bold, bouncy, and impossible to ignore.

Auf 500 Stück limitierte 2025er Nachpressung vom 2013er La Luz Debütalbum auf rotem Vinyl. LA LUZ aus Seattle sind cool. Doch ihre Art der Coolness hat nichts mit Distanz oder Arroganz zu tun; es ist eine Laune und irgendetwas in ihrer Musik passt zum düsteren, unwirklichen Duft sterbender Monde und Schatten. Diese Art von Coolness. Was LA LUZ da besonders macht, ist die Verkörperung des am wenigsten definierten Eckchens des menschlichen Daseins: Sehnsucht und die flüchtige Erleichterung, die mit tiefster Sehnsucht einhergeht. Auf Spanisch steht LA LUZ für ,Licht" und das ist der perfekte Ausblick, wenn die Songs der Band eigentlich in die gegenteilige Richtung streben. Doch wenn man die Texte ausblendet - eine gute Entschuldigung, den vierteiligen Harmonien noch mehr Gehör zu schenken - findet man die Unwegbarkeiten und Schmerzen von Liebe und Verlust und die Gewissheit, dass nichts im Leben für immer ist, vorgetragen mit einer perfekt ausbalancierten Heiterkeit, die fast den Eindruck entstehen lässt, dass am Ende doch alles Sinn macht. Im letzten Frühjahr begaben sich LA LUZ in einen dunstigen Trailerpark, um ,It's Alive" mit ihrem Freund und Toningenieur Johnny Goss aufzunehmen. Vom ersten Drumroll und den unheimlichen Akkorden von ,Sure A Spring" an - einem angekratzten Popjuwel, das das Album einläutet - bewegt sich das Album wie eine langsame Fahrt auf schwieriger Strecke, die sich schlängelt und abfällt, während sich das Terrain verändert. ,What Good Am I?" erinnert mit dem Leadgesang und den dazu passenden Harmonien an den Superhit von MAZZY STAR. Mittendrin findet sich der Titeltrack. ,It's Alive" ist ein klingender Rocker mit unheimlichem Refrain, einem großen Batzen ,ooohs" und einer umschweifigen Geschichte, die die vernebelte Logik vom Rest des Albums aufgreift. Zwei Instrumentalstrücke, ,Sunstroke" und ,Phantom Feeling" zeigen, dass die Band über den echten Surf Sound Bescheid weiß und passen perfekt zum unterkühlten Herzschmerz um sie herum.

The Something Rain was recorded in bursts over approximately a year, from May 2010 to August 2011 and mixed in September- October 2011. It was a time of experimentation, of searching and honing down a shape and sound. Of the twenty or so ideas they set out with, nine songs became the final album.

Jessica93, prodigal bastard of our glorious french squat scene, relocated on Born Bad : this is no picnic. Geoffroy Laporte, alone against all odds, alternates bass and guitar to build harsh loops with a drum machine spitting pre-Gulf War patterns. That’s where it gets tricky : every musical posse claims him. Grunge, sure, but Jessica doesn’t indulge in necrophilia. His circuit is punk, he doesn’t dress the part though. Cold wave, the atmosphere fits somehow, but the gear does not. The self-confident rock horde saw him playing with hair in his eyes… but he never joined the Party. Metal had something to say but sadly, nobody listened. Maybe it's time to give it a rest and let Jessica93 cook his great misery broth on her own, called « 666 tours de périph’ » (666 laps on the beltway). Witnessing Jessica93 live makes you dread that he'll get up the next morning, drive 200 miles and one nap later kick it again, when it takes us a good week to recover from the bad half of that same evening. Like so many other unknown soldiers during our very own world war of music, he patrols small venues relentlessly.



At the heart of this cultural pentacle painted by french weirdos Bryan's Magic Tears, and Carine Krinator, Jessica93 has built a sound validated by years of chosen vagrancy, birthing bands with joyously stupid monikers, in the humid jungle of small labels. Jessica93's debut album had a track celebrating Omar Little, HBO’s gay bandit from Baltimore. This story begins on the beltway, where Florence Rey, accidental copkiller turned to political icon of the 90’s. Geoffroy offers his brilliant analysis : " C’est la police qui nous tire d’ssus / C’est mon trou d’balle qui leur chie d’ssus « (Police shoots us down / my dripping asshole gets the job done).



A previous album was haunted by bedbugs, this one is essentially about love, a delicious scourge just as hard to eradicate. Two black diamonds peek out of the LP : ’’La colline du crack’’, heartbreak song about the ultimate temptation of violent delights, located on crackhead central in Paris. The brilliant chorus, ‘Take my hand and come with me to Crack Hill’ will put an end to the rumours, almost everything was really false. And Bébé Requin, alternative obituary that’ll make you shiver, where our nice couple states ‘’on kiffe la drogue dure et les ptits chiens’ (‘we love hard drugs and little dogs’). And that is the reason we face the wall of sound jostled by unnecessary shoulder thrusts: those nice fat chunks of charcoal poetry, hidden under light sarcasm.



The rest of the record demonstrates the know-how acquired in loop-by-loop construction of ruins that are pleasant to squat in together. There’s your classic doom delicatessen, with bits of heavy metal inside, crafted with the manic care typical of hard wankers. Arthur Satàn, who produced and mixed the album at home in Bordeaux, helped him get his head out of the reverb safe house. And Jessica93 took the opportunity to switch to the dark side of the language : french at last. Worth the wait ! Sing along : « nique sa mère / nique sa grosse mère » (translate that yourself).

Im Zuge der Louisville-via-Chicago-Post-Rock-Explosion des späten Millenniums kam Mercury Program mit einem Vibraphon in der Hand in einer amorphen ,Szene" im Umbruch an. Von The Vapors of Gasoline - ihrem 2000er Album für Tiger Style - war keineswegs ein Einbruch, sondern zehn intellektuelle und dissonante Jams, die verschämt die nie gestellte Frage beantworteten: Was wäre, wenn New Age und Posthardcore ein Haus in der Vorstadt kaufen würden? Diese Remaster-Version zum 25-jährigen Jubiläum offenbart das Genie eines übersehenen Triumphs in erstaunlich lebendigen Details und bietet atmosphärische Farbe für ehemalige Reptilien- und Periodensystem-Fans gleichermaßen.

Zurück zu den Anfängen. Sharp Pins' Nummer-1-Hit und Wendepunkt in der Jugendrevolution-Propaganda. Ein klarer Aufruf an alle Mods, die noch zu jung waren, um sich in der Quadrophenia Alley die Knie aufzuschürfen: Robinsons Garten auf dem Weg der neuen Welle.

Auf 500 Stück limitierte 2025er Nachpressung vom 2024er La Luz Album auf gelbgrünem Vinyl. LA LUZ aus Kalifornien wird von Fans und der Presse gleichermaßen seit ihrem Gründungsjahr 2012 geliebt, da sie den Spagat zwischen Chaos und Bittersüße schaffen. Jede neue Platte ist ein weiterer Feinschliff an der Mischung aus schwülstigen Riffs und engelsgleichem Gesang, der an Pop und Folk angelehnt ist; eine Band, die so verlässlich großartig ist, dass sie den gewaltigen Schritt nach vorne in Sachen Selbstvertrauen und schierer Musikalität, den "News of the Universe" macht, umso beeindruckender macht. Cleveland, die auch schreibt und malt, hat sich zu einer wahrhaft originellen Songwriterin mit einem eigenen Kanon geisterhafter Psychedelik entwickelt, die sich in den letzten Jahren von der sich wandelnden Landschaft rund um ihr ländliches Zuhause in Kalifornien hat inspirieren lassen, vor allem auf dem von der Kritik gefeierten Soloalbum Manzanita, einer magisch-realistischen Dokumentation ihrer Schwangerschaft und frühen Mutterschaft, die auf vielen Jahresendlisten stand. Selbst wenn Cleveland jahrelang Songs über Geister geschrieben hat, so ist das, was in den Schatten von "News of the Universe" lauert, nichts weniger als der Tod selbst: "There are moments on this album that sound to me like the last frantic confession before an asteroid destroys the earth." Klanglich ist die Platte voller Dringlichkeit. Die Songs stolpern über sich selbst, als würden sie versuchen, der Apokalypse zu entkommen: das atemlose Prasseln der Toms in "Strange World", das fingerfertige Eröffnungsriff des Titeltracks, getränkt in Verzerrungen. Eine Atmosphäre des Untergangs schwebt über dem Sgt. Pepper-esken Barock-Pop-Song "Poppies", in dem Cleveland von einer schwankenden orangefarbenen Idylle singt, die von der Spätsommersonne in Flammen aufgehen wird. In dem ähnlich kaleidoskopischen "Dandelions" hält sie die gelben Blumen für ahnungslose "kleine Sonnen", die sich im Laufe der Saison in "Monde" verwandeln werden. Die synthetischen Klänge, die auf dem letzten Album "La Luz" von 2021, verwendet wurden, um das träge Summen und Knistern eines Sommertages auf dem Lande zu imitieren, wurden im Weltraum verstreut. Düster, verletzlich, weiblich und unbestreitbar triumphierend ist "News of the Universe" eine weitere umwerfende Platte einer Band, die so verlässlich gut ist, dass die Leute vielleicht übersehen haben, wie bahnbrechend LA LUZ wirklich sind: farbige Frauen in der Indie-Musik, die ihren eigenen Weg gehen, indem sie ihrem eigenen künstlerischen Stern in Galaxien jenseits der aktuellen musikalischen Trends folgen - immer geleitet von einem aufrichtigen Glauben an die kosmische Kraft der Liebe und eines großartigen Riffs. Niemals trifft das mehr zu als auf "News of the Universe", dem vielleicht brutalsten Album von LA LUZ, das aber auch das glücklichste ist.

Two-time Grammy-nominated singer-songwriter Madi Diaz is known for her raw and unflinching explorations of love - and now she"s delivered her most powerful statement yet. Stripped down and emotionally direct, "Fatal Optimist" captures Madi at her most intimate and courageous. Together with producer Gabe Wax (known for his work with Soccer Mommy and Zach Bryan), she set out to pare the songs back to their essence, relying solely on her performance and songwriting. The result is a classic and timeless indie-folk album. "Fatal Optimist" follows her critically acclaimed 2023 album "Weird Faith".

Two-time Grammy-nominated singer-songwriter Madi Diaz is known for her raw and unflinching explorations of love - and now she"s delivered her most powerful statement yet. Stripped down and emotionally direct, "Fatal Optimist" captures Madi at her most intimate and courageous. Together with producer Gabe Wax (known for his work with Soccer Mommy and Zach Bryan), she set out to pare the songs back to their essence, relying solely on her performance and songwriting. The result is a classic and timeless indie-folk album. "Fatal Optimist" follows her critically acclaimed 2023 album "Weird Faith".

NYOS are a Finland-based instrumental band comprised of guitarist Tom Brooke and drummer Tuomas Kainulainen. Known for their immersive and often physically demanding live shows, NYOS create massive sonic worlds using Brooke's labyrinthine loops and atmospheric layering alongside Kainulainen's kinetic drumming, in music that is rhythmic, raw, and eclectic. Since their formation in 2014, NYOS have carved out a distinctive place within Europe's experimental and post-rock scenes, characterized by their relentless energy, polyrhythmic complexity, and hypnotic layering. While still rooted in their signature loop-based approach, new album `Growl' is "more ambitious with song soundscapes and compositions", says guitarist Tom Brooke, naturally embracing a denser, more textured sound with greater attention to atmosphere and tension. "`Growl' feels like the best we've managed to harness the dynamics, and maybe the one thing we did focus a bit on is finding new ways to create those dynamics and making sure they aren't too predictable - it's our longest record to date, and when producing it, we were very conscious to make sure it is an album that holds the listener" (Brooke) As eclectic and exciting as ever, NYOS are a band in continuous motion, unafraid to challenge themselves and their listeners with ever-expanding sonic vocabularies. `Growl' is an album that is both coherent and seamless in its movement, walking a tightrope between meticulous structure and explosive energy. FOR FANS OF Battles, And So I Watch You From Afar, Don Caballero, The Mars Volta, Lightning Bolt, Tortoise, Hella, Tiny Fingers, Death Grips, Zach Hill, Russian Circles, Explosions in the Sky, Tera Melos

NYOS are a Finland-based instrumental band comprised of guitarist Tom Brooke and drummer Tuomas Kainulainen. Known for their immersive and often physically demanding live shows, NYOS create massive sonic worlds using Brooke's labyrinthine loops and atmospheric layering alongside Kainulainen's kinetic drumming, in music that is rhythmic, raw, and eclectic. Since their formation in 2014, NYOS have carved out a distinctive place within Europe's experimental and post-rock scenes, characterized by their relentless energy, polyrhythmic complexity, and hypnotic layering. While still rooted in their signature loop-based approach, new album `Growl' is "more ambitious with song soundscapes and compositions", says guitarist Tom Brooke, naturally embracing a denser, more textured sound with greater attention to atmosphere and tension. "`Growl' feels like the best we've managed to harness the dynamics, and maybe the one thing we did focus a bit on is finding new ways to create those dynamics and making sure they aren't too predictable - it's our longest record to date, and when producing it, we were very conscious to make sure it is an album that holds the listener" (Brooke) As eclectic and exciting as ever, NYOS are a band in continuous motion, unafraid to challenge themselves and their listeners with ever-expanding sonic vocabularies. `Growl' is an album that is both coherent and seamless in its movement, walking a tightrope between meticulous structure and explosive energy. FOR FANS OF Battles, And So I Watch You From Afar, Don Caballero, The Mars Volta, Lightning Bolt, Tortoise, Hella, Tiny Fingers, Death Grips, Zach Hill, Russian Circles, Explosions in the Sky, Tera Melos

Nevertel, are set to release their Epitaph Records debut album, entitled Start Again. The Florida-based trio - comprised of vocalist Jeremy Michael, rapper/guitarist/producer Raul Lopez, and guitarist Alec Davis - are a rare breed in an era saturated with genre tags and algorithm-chasing playlists. Drawing on a cocktail of nu-metal nostalgia, hip-hop grit, and EDM adrenaline, their sound feels less like a blend and more like a carefully controlled detonation. It"s a vision honed through years of DIY hustle and an unshakable commitment to quality over trend. Bonded in adolescence over music and late-night gaming sessions, the trio turned those formative obsessions into a full-fledged project that has steadily built a digital groundswell. From self-releasing two fulllength albums and a pair of EPs to amassing over 1.5 million streams per week, Nevertel"s trajectory reflects a slow burn in a culture obsessed with instant virality. Citing touchstones like Linkin Park and Bring Me The Horizon, the band pays homage to the titans of their youth while shaping something unmistakably their own: emotionally raw lyricism, razor-edged riffs and breakdowns. It"s equal parts catharsis and chaos. Now signed to Epitaph Records as of 2023, Nevertel are poised to enter their next chapter with momentum at their backs.

In a changing, unpredictable and turbulent world, something we can always rely on is a new Orb album, with the next holiday-for-the-head never far away. On what is quite possibly the millionth longplayer helmed by electronic lifer Alex Paterson; partnered with the now firmly-entrenched boy wonder Michael Rendall; the inspirationally productive outfit yet again deliver the goods, with one of their best yet.

A mythical tune for all serious digital reggae collectors, finally reissued. The obscure Junior Khadaffy (various spellings!) released only a handful of tunes in the mid-late '80s, but all are fantastic. This one was cut for E&F Studios in the Bronx, ran by the late artist I-Plee. Stereo Fletcher happens to be family to I-Plee, producing several records by the artist for his own labels. But the works went both ways, and Stereo produced this one for release on E&F's in-house label. Slick but killer digital reggae, this one has always reminded us of the production style of Little Kirk's "Weed Them Out", a fantastic arrangement, great vocals and a complex head-nodding rhythm. The original press is extremely rare and the tune is simply too good to remain that way, so here it is, top top top shelf '80s digital, now available for all.

"Eight tracks of jagged electronics, heavy basslines, and fractured spoken word collide in a body-jerking soundclash that is both raw and vital."
Good On Paper enjoyed "Baldauf’s crisp, distanced tones accompanied by Roe’s ominous, pulsating programmed bass line and four-to-the-floor whack, coaxing pure pop out of tension and incongruity." Electronic Sound Magazine hailed the LP as "a blistering, club-forward workout", with "top-drawer, nose-bloodying electronics,’" positioning the Stroud duo as "rather like a wonky Tom Tom Club with added grit."

Experience the ultimate OneRepublic compilation with The Collection - a selection of their biggest hits! Featuring global chart-toppers like “Counting Stars,” “Apologize,” and “I Ain’t Worried,” to anthems like “I Lived,” “Run,” and “Good Life.” Available on 1LP black vinyl, OneRepublic: The Collection is a must-have.

NATURAL ROOTS MUSIC, tuned to the rhythms of the Earth! A special mix by Rooing SWE from the previous Roots & Foundation (CD) release, Side A: All
Those Who Love the Earth (Roots Man Foundation). Side B: The Danjiri Festival (Prayer for a Good Harvest) in Senshu, Southern Osaka. This first 7-inch release
pays tribute and gratitude to the local area.

As a DJ, I prioritize three key points when selecting music. I'll introduce this record in relation to those points.
The first is the power of the intro. I'm always grateful for killer tunes that get the floor moving naturally. The A-side, which begins with a catchy trombone, is a
perfect example of that. Natural Roots' performance is so dark that it almost makes you forget that you're in Osaka, the city of laughter.
The second is about the lyrics. Especially in times like these, I want to share a positive message with everyone. Frontman Livity Tabasuke sings straightforwardly
about his feelings for the Earth. It reminds us of the gratitude we often forget in our daily lives. Above all, his voice is soft and soothing.
The third is the 7-inch format. If you're going to take it to a venue, nothing beats a small, light record. The older I get, the more my hips instinctively tell me to.
The dub-inspired instrumental tunes on the B-side are also fantastic, and the album's functionality continues to increase. I also appreciate the addition of the
shinobue flute, a unique instrument unique to Senshu, a renowned Kansai reggae region, which adds to the local feel.
This album, which captures all of these elements, is extremely practical for me. I'm sure I'll be using it for a long time to come. I sincerely hope that the limited
edition of 300 records reaches reggae fans all over the country.

"Dunya", der Titel von Mustafas meisterhaft ausgearbeitetem und atemberaubend zärtlichem Album, bedeutet aus dem Arabischen übersetzt so viel wie "die Welt mit all ihren Fehlern". Ein hochtrabendes Thema für einen jungen Songwriter, aber wie bei jedem Thema, das im Mittelpunkt der Arbeit des sudanesisch-kanadischen Künstlers steht - von religiöser Hingabe bis zu Kindheitstraumata, von Bandengewalt bis zu romantischer Intimität - nähert er sich durch eine persönliche Sichtweise. Er mischt Genres und Stimmungen, verwebt romanhafte Details in einprägsame Folksongs und hat ein Album geschaffen, das sich wie eine Reihe persönlicher Durchbrüche anfühlt, die einer nach dem anderen eintreffen. Was zuerst an Mustafas Musik auffällt, ist seine Art zu schreiben: ein einfacher, durchdringender Ton, der jede Geschichte so roh und ernsthaft wirken lässt wie die Worte eines Liebesliedes. Mit seinem leisen Vortrag, der seine Umgebung zum Schweigen bringen kann, entwickelte sich Mustafa schnell vom Wunderkind, das in seiner Heimatstadt Toronto Gedichte rezitierte, zu einer Kraft, die hinter den Liedern steht und Popsongs schreibt. Auf "Dunya" ist er zu einem eigenständigen Autoren gereift. "Ich versuche, das gewöhnliche Leben im Ghetto zu bewahren und zu feiern", beschreibt Mustafa seine lyrische Inspiration. Die Songs, in denen er sein Aufwachsen und seinen weiteren Lebensweg beschreibt, sind gleichermaßen entwaffnend in ihrer Einfachheit und vielschichtig in ihrer emotionalen Bandbreite. Durch die Zusammenarbeit mit Aaron Dessner, Rosalía, Clairo, Nicolas Jaar und anderen sowie Mustafas langjährigem kreativen Partner Simon Hessmann offenbart die Musik eine selbstbewusste, unverwechselbare Stimme, die noch nie so massenkompatibel geklungen hat.

'Don't Turn Your Back On Me feat. Pauline Taylor' originally featured on US house innovator and Basement Boys co-founder Teddy Douglas's ‘I’m Here’ album in late 2024. It's a true soulful house anthem with funky bass and a glorious vocal that was primed for a A-list remix package. Douglas himself opens up this package with joyous organ chords and soft melodies lighting up the smooth, seductive drums. Swiss DJ and producer Shaka goes next as an artist who has spent decades blending acid, Chicago, and Detroit influences into his own tunes on top labels like Nervous, GooD MooD, and Mister Bear Records. His 12-inch Club version strips things back to go deep and dubby before rebuilding with sunny melodies, expressive organs, and proggy guitar licks that bring joyous energy and real dance floor unity.

Next is NYC DJ Tedd Patterson, a true originator, resident at Ladyfags’ Battle Hymn party and a regular at Horse Meat Disco, Berghain’s Panorama Bar, and Glitterbox, as well as releasing on Strictly Rhythm, Nervous, Defected, and more. His sophisticated remix boasts a warm and bouncy sound, complemented by soulful vocals that lend richness. Then it's seminal NYC favourite Danny Krivit, who is part of the cult Body and Soul crew, is a renowned remixer and editor with hundreds of credits to his name on the most important labels in the scene, and is resident DJ at New York’s legendary 718 Sessions. He draws on his vast experience to edit the original into a playful disco stomper, complete with neat guitar riffs and zippy synths, all bursting with joy as the funky beats roll on and the lush vocals soar to new heights.

Demuir marks an inaugural release on Hot Creations with High. Alive. And Dirty., a
diverse four track EP made up of all original records.

The EP opens with Santa and The Elf. A penetrating bassline ratchets up and down, as horn
like synths whir occasionally in the background, alongside tassel-like hi-hats. Up next, the title
track High. Alive. And Dirty. provides stunning contrast. A happy, funk-fuelled number, the
track incorporates disco elements with “positive and soulful vibes”, before Rawness - Beat 3
features a “raw native structure”, bongo sounding drums and tropical vocals to from a well-
rounded, feel-good record. Eerbawdy Wants to Deeezsko rounds off the EP in fine form, with
more disco elements and chiming, emotional keys.

Canadian-based Demuir is a distinctive talent in the electronic music sphere. A prolific
producer, Demuir has already made a home on labels including I’m A House Gangster as well
as Cassy’s Kwench Records, whilst he is soon set to release on Loco Dice’s iconic Desolat
imprint.