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Black Heavy Metal is the law, and MIDNIGHT subjugate all subjects with their highly anticipated debut album for 2011 after nearly a decade of EPs and splits. "Satanic Royalty" is both a distillation of first-wave black metal magick and an extension into harder-rocking territories rampant with lust, filth, and sleaze. The name MIDNIGHT has been a cult one for years, but here they prove it beyond a shadow of a doubt - bow down before their "Satanic Royalty"! Recommended for diehards of MIDNIGHT, MIDNIGHT, and MIDNIGHT: there is only MIDNIGHT!

ULURU is a large sandstone rock formation in Australia. It's sacred to the Anangu, the local Indigenous of the area. For many years it had been deprived of its spiritual significance, due to mass tourism, capitalism, as well as greedy and selfishness of people who just want to make money out of it. However, as a result of the Anangu’s resilience, care and staunchness, huge changes took place in the national park around Uluru as well as in the broader public's consciousness, giving again to the Uluru the sacred identity that had been lost.

You might be reading and thinking now: so what's the point? Actually, there's no real point. I would rather say, there’s hope. The hope of seeing humans all around the world following the example of the Anangu. The hope of seeing humans finally stopping to treat the earth and all what’s part of it, what’s on and what’s in it, as a slave without soul. The hope of changing today, and if not today at latest by tomorrow. This system is failing. It's no longer sustainable, and there's no much time left.

So everybody, don't sleep, be critical.

After nearly five decades of relentless innovation, Truus de Groot's Plus Instruments project shows no signs of slowing down. The ninth album, Unnoticed, finds the `dutch Pioneer diving deeper into the experimental synthesiser palette than ever before, delivering 12 tracks of minimalist, analogue noise and her signature vocals.

Recorded at The Ranch in Escondido, Unnoticed showcases her continued evolution as an artist. Often referred to as the "Queen of the Dutch Underground," de Groot has is a stalwart of the experimental underground music scene since establishing Plus Instruments in 1978 in Eindhoven. Her journey has taken her from the punk rock explosion of the late '70s Netherlands to the No Wave scene of early '80s New York.

The Plus Instruments project has always been characterised by its ever changing nature and collaborative spirit. She has worked with an impressive roster of artists over the years , spanning continents and genres, including James Sclavunos (Nick Cave), Jim Duckworth (Gun Club), most recently, Miguel Barella and Cosmo Vitelli, who co-writes, produces and adds programming to standout track "Sexy Machine." This creative partnership has opened new avenues for de Groot's explorations, as she continues to plough yet another field of creativity.

Now based back in the Netherlands, she continues her work while maintaining the core elements that have made Plus Instruments a touchstone for electronic music innovators. Her influence can be heard in everything from Electroclash to Cold Wave, with younger artists regularly seeking collaboration with the veteran experimentalist. Unnoticed arrives as de Groot enters her sixth decade of music-making, proving that true artistic vision only grows stronger with time.

Finnish dub-techno craftsman TM Shuffle, head of Vuo Records, resurfaces with a deep and distilled EP that goes straight for the late-night heart of the dancefloor. Rooted in Tampere’s raw, analog dub sound, his productions have long balanced weight and warmth, smoked-out chords, rolling low-end and subtle shuffle that keeps the groove in constant motion.
The lead track “Kellari” dives into basement mode: pressure-cooker drums, slow-burning stabs and a humid, lived-in atmosphere that feels equally at home on a huge system or in headphones at 4 a.m. On the second original cut, TM Shuffle links up once again with long-time collaborator Monoder, the alias of Jussi-Pekka Parikka, known for his dubbed-out explorations on labels like Statik Entertainment and Pakkas-Levyt since the early 2000s. Their joint track stretches time, letting echo, tape hiss and distant melodic fragments float around a rock-solid groove, channelling years of shared studio language into one focused, hypnotic flow.
On the flip, Anton Kubikov (SCSI-9) steps in with a lush reinterpretation of Kellari. A true Russian techno veteran with a catalog that spans Kompakt, Force Tracks, Mayak and beyond, Kubikov melts the original into a widescreen, dream-state trip, soft-focus pads, gentle yet insistent percussion and that unmistakable rolling pulse that made his work so enduring. The remix doesn’t just extend the track; it opens a new dimension, turning the basement pressure into a slow-rising, celestial drift.
Pressed on limited coloured vinyl, this EP is built for selectors who like their dub techno deep, human and timeless, a record that will quietly live in bags for years and keep resurfacing whenever the room calls for true late-night elevation.

Repress Orange Vinyl

Endlich können die Millionen Fans von "Stranger Things" ihre Leidenschaft für ihre Lieblingsserie durch den Kauf von physischen Produkten (vor allem LPs, aber auch CDs und sogar Kassetten, eine Anspielung auf die 80er Jahre als zentrales Thema der Serie) zum Ausdruck bringen! Noch mehr als in den vorherigen Staffeln spielt die Musik eine wichtige Rolle in der Erzählung, insbesondere das Kate-Bush-Phänomen "Running up that hill", das natürlich im Soundtrack enthalten ist, sowie "Pass The Dutchie" von Musical Youth und "You Spin Me Round" von Dead or Alive, die in den ersten Episoden sehr auffällig waren. Supererwartetes Kultprodukt: Vorbestellungsstart am 1. Juli, wenn die zweite Hälfte von Staffel 4 startet. Enfin les millions de fans de "Stranger Things" vont pouvoir matérialiser leur passion pour leur série préférée en achetant en physique (surtout le LP, mais aussi le CD et même la cassette, clin d'oeil aux 80's thème central de la série) ! Plus encore que pour les saisons précédentes la musique joue un role prépondérant dans la narration avec en particulier le phénomène Kate Bush « Running up that hill » évidemment présent sur la BOF ainsi que Pass The Dutchie de Musical Youth, You Spin Me Round de Dead or Alive très remarqués dans les premiers épisodes. Produit culte super attendu : lancement de précommande à ne pas manquer pour le 1er juillet, date de lancement de la 2e partie de la saison 4.

Debut studio album by the British soul singer, who topped the BBC's Sound of 2012 list. Produced by Paul Butler, the lead singer of indie rock band The Bees, the album debuted at #4 in the UK Albums Chart and features the singles 'I'm Getting Ready' and 'Home Again'.

As the man who basically brought the conga into the modern age with his innovative multipercussion set-ups and tunable congas, and as a former member of Dizzy Gillespie and Stan Kenton’s bands, Cándido Camero Guerra a.k.a. Candido already had a long and storied career when he cut Dancin’ and Prancin’ for the Salsoul label in 1979 at the age of 58. So, you might have been excused at the time for assuming this was just another case of an old-timer trying to cash in on the disco craze, right? But you would have been very, very wrong…the record was pure brilliance, as the infusion of Candido’s Latin conga beats into the disco-fied 4 x 4 syncopated rhythm proved irresistible, revolutionizing the sound of underground disco while pointing the way to the house music to come. Indeed, both “Jingo” (an unstoppable version of the Olatunji classic) and “Thousand Finger Man” are still DJ favorites. Speaking of DJs, we’re putting this one out on black vinyl, perfect for queueing up and spinning. for A must for any dance music library!

Apollo Ghosts return with “Amethyst,” a seven-song EP overflowing with introspection, defiance, and the frustration of grappling with the world’s ills. With distortion pedals and walls of feedback - a first for Apollo Ghosts! - the songs contrast the monotony of daily life with climate anxiety, the rise of autocracies with the rise of apathy. But throughout, the album cements Apollo Ghosts' status as lifelong underground music defenders and eternal optimists with plenty of nods to 90s indie rock heroes Yo La Tengo, Dead Moon, Pavement, Guided By Voices, Eric’s Trip and Built To Spill

Colemine Records freut sich, eine spezielle 10-Jahres-Jubiläumsausgabe von ,Sound of Sinning", dem bahnbrechenden Studioalbum von Monophonics, zu präsentieren. Seit ihrer Gründung im April 2015 tragen Monophonics stolz die Fackel der reichen Musikgeschichte und -kultur San Franciscos durch die Generationen bis in die heutige Musiklandschaft. Sie halten an Traditionen fest, sind aber keineswegs Puristen, sondern spielen ihre eigene Musikrichtung, die als ,Psychedelic Soul" bekannt ist. Auf ihrem vorherigen Album ,In Your Brain" ließ sich die Band von Acts wie den frühen Funkadelic, Sly and The Family Stone und den von Norman Whitfield produzierten Platten der Temptations beeinflussen. ,Sound of Sinning" markierte den Beginn des Wachstums der Band in allen Bereichen. Mit Einflüssen aus Northern Soul, Doo-Wop, Rock ,n` Roll, Psych Pop und Filmmusik zeigen Monophonics ihre Vielseitigkeit, bleiben aber ihren Wurzeln treu. Insgesamt ist es herzliche Musik mit Old-School-Vibes, ohne dabei die Gegenwart aus den Augen zu verlieren. Diese Musik ist geprägt von dem zeitlosen Gefühl, als man noch Songs schreiben und produzieren konnte, die man sich immer wieder anhören konnte. ,Sound of Sinning" wurde von Kelly Finnigan & Ian McDonald produziert und auf einem alten Tascam-Acht-Spur-1/4-Zoll-Bandgerät in den Transistor Sound Studios in San Rafael, Kalifornien, aufgenommen. Seit ,Sound of Sinning" hat die Gruppe das von Kritikern hochgelobte Album ,It's Only Us" (2020) und das Konzeptalbum ,Sage Motel" (2023) veröffentlicht, das sich über 10.000 Mal verkauft hat. Die Band tourt weiter, hat kürzlich eine Reihe von Shows mit dem legendären Lee Fields absolviert und steht vor einer internationalen Tournee für 2025.

Deluxe-Doppel-LP-Pressung zur Feier des 10-jährigen Jubiläums von Basements bahnbrechender LP Colourmeinkindness. Diese Sammleredition enthält das komplette Album auf der ersten Disc und vier alternative Versionen von Songs des Albums auf Disc 2 sowie ein Etching auf der D-Seite. Colourmeinkindness war ursprünglich das Abschieds-Album, das der ersten Pause von Basement vorausging, und ein Meilenstein für die Band, der sie als einige der besten Songwriter in der Rockszene der 2010er Jahre zementierte. Nach dem Debütalbum I Wish I Could Stay Here aus dem Jahr 2011 fühlt sich Colourmeinkindness von den ersten disharmonischen Tönen des Openers "Whole" reif an - ein Song, der die Basement Live-Sets seitdem in Aufruhr versetzt. Das Album wurde zum Fan-Favorit, weil es eine Reihe verschiedener Sounds bietet - melodische Singalongs wie "Covet" und "Bad Apple", Emo-inspirierte Refrains wie "Breathe" und "Comfort" und gewaltige Riffs wie in "Spoiled" und dem Schlussstück "Wish" - sie alle stechen auf einem klassischen Album hervor, das es wert ist, 10 Jahre lang und darüber hinaus gehört zu werden.

All-Amerikkkan Badass is the second studio album from Joey Bada$$. Originally released on April 7, 2017, the album features Schoolboy Q, J. Cole, Kirk Knight, Styles P, and more. Executive produced by Joey Bada$$ and Jonny Shipes with production contributions from Kirk Knight, Chuck Strangers, DJ Khalil, and Statik Selektah.

Der armenische Klaviervirtuose Tigran Hamasyan kehrt mit Manifeste zurück – eine kraftvolle Fusion aus Jazz, Progressive Rock und armenischer Folklore. Das Album wurde in fünf Ländern aufgenommen und verbindet rhythmische Komplexität, kinematografische Tiefe und spirituelle Intensität.
Tigran Hamasyan gilt als einer der einzigartigsten Pianisten und Komponisten seiner Generation, der Jazz und Rock miteinander verbindet. Als Klaviervirtuose mit einem einzigartigen Gespür für Groove verbindet Hamasyan mühelos Jazzimprovisation, Progressive Rock und die reiche Folkloretradition seiner armenischen Heimat.

Preisgekrönt und von Kritikern gefeiert hat sich Tigran Hamasya eine treue Fangemeinde auf der ganzen Welt aufgebaut und die Anerkennung von Herbie Hancock, Brad Mehldau und Chick Corea gewonnen.

Goose Bumpsis Hutter's second solo release and was produced by Hi-Style Records's Jimmy Sutton (JD McPherson, Pokey LaFarge, The Bellfuries). Sutton assembled an all star cast of musicians, including Alex Hall (engineer, drums) and Joel Paterson (guitar). Almost all recording was done live at the analog Hi-Style studio in Chicago. Bonafide contemporary rock star JD McPherson wrote "Everybody's Valentine" for Hutter; it could easily find its way into the next Bond film. Emanuela's influences draw from disparate historical musical threads like doo- wop, German punk, and classic country. From the balladry of "Monday Morning" to the punk-surf rock of "The Voices," Hutter's original songwriting shines throughout. Goose Bumpsis a must listen for fans of modern rock with a classic twist

Basket of Light is the most progressive and complex release by the British folk-rock group Pentangle. Traditional English folk songs are reinterpreted with a mix of jazz, pop and rock influences. Everything their previous works promised is fulfilled here. The album opener 'Light Flight' has become their signature song. If there is a prog folk masterpiece then it is Basket Of Light. Pentangle proved they could release a progressive, ground-breaking work without keyboards, much studio trickery or even electric instruments.

The original Pentangle was active in the late 1960s and early 1970s. The original line-up includes Bert Jansch (vocals & guitar) and John Renbourn (vocals & guitar).

Best known as the frontman of the influential indie rock trio Dinosaur Jr., J Mascis has also been a solo artist, producer, and film composer. Getting his start as a founding member of the hardcore band Deep Wound, Dinosaur Jr. was founded in 1984 and the group emerged among the most highly regarded alternative rock. By introducing volume and attack in his songs Mascis shed the strict limitations of early 1980’s hardcore, becoming an influence on the burgeoning grunge movement. Mascis’ body of work continues to inspire a generation of guitar players and songwriters today.


In 1997, Dinosaur Jr. disbanded and Mascis released More Light, his first recording under the moniker J Mascis + The Fog. Members and collaborators of The Fog have included Mike Watt (Minutemen / fIREHOSE), Ron Asheton (The Stooges), Robert Pollard (Guided By Voices), Kevin Shields (My Bloody Valentine), Dave Schools (Hard Working Americans / Widespread Panic) and Kyle Spence (Harvey Milk).

Best known as the frontman of the influential indie rock trio Dinosaur Jr., J Mascis has also been a solo artist, producer, and film composer. Getting his start as a founding member of the hardcore band Deep Wound, Dinosaur Jr. was founded in 1984 and the group emerged among the most highly regarded alternative rock. By introducing volume and attack in his songs Mascis shed the strict limitations of early 1980’s hardcore, becoming an influence on the burgeoning grunge movement. Mascis’ body of work continues to inspire a generation of guitar players and songwriters today.


In 1997, Dinosaur Jr. disbanded and Mascis released More Light, his first recording under the moniker J Mascis + The Fog. Members and collaborators of The Fog have included Mike Watt (Minutemen / fIREHOSE), Ron Asheton (The Stooges), Robert Pollard (Guided By Voices), Kevin Shields (My Bloody Valentine), Dave Schools (Hard Working Americans / Widespread Panic) and Kyle Spence (Harvey Milk).

Bellbird hat seinen Namen und seine musikalische Inspiration von dem Vogel, der für einen der lautesten und markantesten Rufe im Tierreich bekannt ist. Die Band beschäftigt sich mit Themen wie der Verbundenheit zwischen Musikern, Genres und der Natur. Ihr zweites Album und erstes für Constellation, The Call, ist direkt vom Weißglockenvogel inspiriert, dessen extremer, unverwechselbarer Ruf analysiert und direkt in den explosiv schönen Titeltrack des Albums eingewoben wurde. Das in Montréal ansässige Quartett bestehend aus Claire Devlin (Tenorsaxophon), Allison Burik (Altsaxophon, Bassklarinette), Eli Davidovici (Bass) und Mili Hong (Schlagzeug) begann während der Pandemie bei Park-Jams zusammen zu spielen, inspiriert von der Jazz- und Free-Improvisationsszene, die sich um das Café Résonance gebildet hatte. Aber die vier Montrealer Neuzuzügler fanden erst nach einer Einladung zum Ottawa Jazz Festival 2021 als Bellbird zusammen und haben seitdem ihre Harmonie und ihren gemeinsamen Sound durch jahrelanges Touren und Zusammenspiel verfeinert. Das Quartett geht über sein gefeiertes, 2023 selbst veröffentlichtes Debütalbum ,Root in Tandem" hinaus und setzt auf einen stark kollaborativen Kompositionsprozess. Nachdem sie zuvor die Kompositionsaufgaben aufgeteilt hatten, entstanden die acht Songs auf The Call aus musikalischen Workshops und Improvisationsspielen, wobei sie sich auf Gedichte und Gespräche stützten, die sie während ihrer Aufenthalte außerhalb der Stadt ausgetauscht hatten. Das Ergebnis ist ein kraftvolles, stimmiges Statement, das ihre jazzzentrierte Instrumentierung mit Einflüssen aus Rock, Fusion und Folk verbindet, von Mingus und Eric Dolphy bis hin zu Ornette Colemans Prime Time und Indie-Rock. Ein wesentliches Merkmal ihres Sounds ist, wie sie die üblichen Rollen ihrer Instrumente umkehren, wobei die Blasinstrumente rhythmische Muster und unterstützende Texturen einsetzen, während Akustikbass und Schlagzeug die Form bestimmen. Dieser Ansatz ist ein Mikrokosmos der egalitären Ethik der Band: Sie agieren als echtes Kollektiv, ohne ihre individuellen Stimmen zu opfern. Das Album schafft einen Ausgleich zwischen kraftvollen Kompositionen wie dem Titelsong ,The Call" und Momenten, in denen die Band das Tempo drosselt, um sich der thematischen Einfachheit hinzugeben, wie in ,Soft Animal" und ,Phthalo Green". Im Gegensatz zu ihrem Debütalbum, das in der Stadt erarbeitet, aber auf dem Land aufgenommen wurde, wurde ,The Call" im legendären Hotel2Tango in Montréal von der Toningenieurin Sylvaine Arnaud aufgenommen, die die rohe Energie der Live-Auftritte der Band einfängt. Die Produktion verzichtet weitgehend auf eine traditionelle Ästhetik und setzt stattdessen auf kraftvolle Drums und einfallsreiche analoge Bearbeitung, die die viszerale Wirkung der Musik unterstreichen. Obwohl die Musik oft melodisch reichhaltig und zugänglich ist, scheut sich die Band auch nicht vor ,hässlichen" Klängen und nutzt Multiphonics, gestrichenen Bass und metallische Texturen, um eine Klangpalette zu schaffen, die ebenso eindringlich und naturalistisch wie explosiv ist. Das Album ist sozial und politisch engagiert und ein Beweis für die tiefgründige Musik, die nicht von einem einzelnen Leader, sondern von einem zutiefst einfühlsamen Quartett geschaffen wurde, das als Einheit zuhört, reagiert und kreiert. The Call vermittelt die Gefühle der Band zur Klimakrise und zur globalen Solidarität, wobei einer der zentralen Titel des Albums, ,Blowing on Embers", ausdrücklich einem freien Palästina gewidmet ist. The Call ist ein entscheidender Schritt nach vorne, ein einheitlicher Aufschrei einer Band, die ihre kraftvolle kollektive Stimme voll und ganz gefunden hat.

Logical Absurd is very proud to present the 20th Anniversary of the album "She And Me Fall Together In Free Death" by Nurse With Wound. "She and Me Fall Together in Free Death" is probably the most approachable, largely "musical" album that NWW has released since Rock N' Roll Station. It's also one of his strangest concepts, a marriage of trance inducing Krautrock grooves with a traditional jazz standard and some jarringly atonal musique concrete. Side A is the 20- minute title track: a slow-motion jam reminiscent of of one of Can's sidelong tracks on Tago Mago or the more avant-garde grooves of Tony Conrad and Faust's Outside the Dream Syndicate.

The propulsive Jaki Liebezeit drumbeat is the foundation for a long jam session with what sounds like a dijderidoo and layers of guitar feedback. It's a massive, heavy sound, the kind that Julian Cope would devote a whole chapter to in his "Kratrocksampler". Side B is one long piece with three distinct movements. Beginning with those familiar, World Serpent-trademark windchimes, the listener is quickly ushered into Staple- ton's singing debut (!) in a rendition of the oft-covered traditional jazz ballad "Black is the Color of My True Love's Hair" This was a favorite of the recently deceased Nina Simone, and also of the avant-jazz screamer Patty Waters. Nurse With Wound's version is backed by cello drones, repetitive guitar strums and tambourine, sounding very much like The Velvet Un- derground's "Venus in Furs".

It's such a treat to hear Steven Stapleton's multitracked vocals cover this classic song, and this eerie version rates as one of my favorites. This song and the title track prove to the naysayers that Nurse With Wound is equally adept at rock n' roll songcraft as he is at demented sound collages. The creepy jazz cover seques into "Chicken Con- cret (For Missy E)", a truly warped tape-edit job that juxtaposes chicken squawks and sythesized birdcalls with random bleeps, speaker hiccups and gongs.

Just as the traditions of great folk-country songwriting come around again to newfound popularity via Zach Bryan, Tyler Childers, Sierra Ferrell and other practitioners, Barsuk releases a 20th-anniversary pressing of Rocky Votolato’s brilliant and beloved album Makers. Featuring “White Daisy Passing,” “Portland Is Leaving,” “Tinfoil Hats,” “She Was Only In It For The Rain” and 8 more indie classics, the release is packaged in a gatefold jacket with updated artwork, a lyric insert and a beautiful multicolored black & blue with white splatter vinyl pressing. Download code features the full album and 10 bonus tracks: the 3-song End Like This EP plus 7 previously-unreleased tracks including 4 demos, 2 never-before-heard outtakes, and a heartbreaking cover of Jeff Buckley’s “Lover, You Should've Come Over"

2024 repress

In February 2021, Jan Jelinek's seminal album "Loop-Finding-Jazz-Records" turned 20. The anniversary repress, a double LP with two bonus tracks (B-sides from the Tendency EP, 2000), is a little late to the party.
What the press said about Loop-Finding-Jazz-Records:
“Don’t be misled by the title, though for there isn’t a finger-snapping rhythm c bebop lead anywhere on the album. Instead, Jelinek chooses to explore the visual effect moiré - two shifting patterns creating an implied third dimension - in the audio realm.” (Alternative Press)
“The title acts as explanation for the studio technique that provided the basis for this album, snippets of other people’s arrangements deconstructed through a sampler into loops and then splashed onto an audio canvas.” (ATM)
“Jelinek’s sound evolved out of his dislike for (and inability to play) keyboards.” (RPM)
“Jelinek has abstracted his sources beyond recognition, looping his millisecond samples into flickering patterns of sonic moiré laid atop a dub Techno framework. (...) Jelinek might as well have sampled a horn player’s hissing intake of breath – it would have been ‘jazz’ enough for his purposes.“ (The Wire)
“It’s a perfect inversion of conventional music, a sonic negative. Everything that would typically be foreground is moved back or pushed off the screen altogether, and the flecks of sonic debris that would normally be covered by other sounds are left to carry the melody and rhythm.” (Pitchfork)
“All you need to know is that these onomatopoeic non-specific songs (...) are warm, paradisical creations”. (NME)
“Listen carefully and you’ll hear textures slowly unfolding and mutating. Presuming you’ve not fallen asleep of course.” (iDJ)
“At times, it’s all a bit dripping tap Japanese water torture; so sedentary it drowns in its own motionlessness” (DJ)
“Loop Finding Jazz Records' is a genuine modern classic whose re-release is anything but a cynical mortgage repayment exercise. Consider this a second chance, then pretend you had it all along.” (Boomkat)
PS:
“I’ve been fortunate enough to see Jan Jelinek live once, at Tonic NYC (...). Wearing a black and white striped shirt, he looked like a nihilistic Charlie Brown.” (beachsloth)

●STAY BY MY SIDE (Youth Of Roots)
This is the title track from Young Israelites' 2021 debut EP, which made them a household name.
Its catchy, pop melody has captured the hearts of reggae fans worldwide, and Youth Of Roots' KON RYU has covered it in Japanese.
It blends seamlessly with the song like a long-time favorite, bringing out the original's charm with a new brilliance.

●STRAWBERRY GIRL (Young Israelites)
A popular song that shines with sweetness in Youth Of Roots' repertoire, which is filled with roots-conscious, message-driven songs.
Young Israelites' English cover, with its melancholic vocals, further enhances the quality of the original.


YOUTH OF ROOTS
A roots rock reggae band formed in Kanagawa in 2016. Their multi-generational sound and spiritual musicality, rooted in their experiences in Jamaica,
define their sound. They've released numerous singles, including their latest album, "LOVE IS THE ANSWER."
They connect with their audiences at live shows, conveying the spirit of "One Family." Their overwhelming sense of unity and sincere message transcends
borders, earning them praise from international fans as "the best reggae band."

[YOUNG ISRAELITES]
A rocksteady/roots reggae band consisting of three members from Israel. Building on a vintage Jamaican sound, their familiar melodies and soulful,
passionate performances have garnered attention from reggae fans worldwide. Since their debut, they've released a string of EPs and full-length albums,
and have expanded their global reach, including airing on the BBC and performing at the world's largest reggae festival, ROTOTOM SUSPLASH.
This new-generation band vividly revives the spirit of rocksteady and roots reggae for the modern era.

Vintage recording equipment has long been a bit of a fetish, but to sound pioneers Voka Gentle, even the most magical machines are a means to an end. The band, made up of twins Ellie and Imogen Mason, along with Imogen’s husband, William J Stokes, are a family band in the truest sense. Whilst they started as a folk trio, their new album Domestic Bliss is an album of throat-grabbing, avant-garde indie rock songs studded with eccentric choices: a synth with its keys jammed, playing a tune of its own making; field recordings – Morris dancers, motorbikes – captured on binaural headphones.

Domestic Bliss is concerned with power: the abuse of it, being on the cusp of it, and what it really means. The album is
teaming with imaginary people in picaresque scenes that reveal the band’s rich cultural storehouse. The songs draw on history, literature, everyday life and pop culture references (specifically Jude Law’s 1995 Vogue cover), with tracks like Cheddar Man reflecting on climate change and prehistory and Creon I tracing the unease of authority through the lens of Greek mythology.

Recorded in the orchestral studios of City University, the album folds intimacy into scale, from phone-recorded vocals and samples of breath to heavy, tribal electronics in grand acoustic spaces. The result is by far their most refined record yet, where the band treat the recording studio like an instrument.

Alice Costelloes Debütalbum ,Move On With The Year", das im kommenden Februar beim britischen Kultlabel Moshi Moshi erscheint, ist ein bahnbrechendes Werk - 10 Tracks mit bezauberndem Art-Pop, der auf Selbstvertrauen, Instinkt und einem notwendigen Prozess der kreativen Entflechtung basiert. Das Album wurde von Mike Lindsay (LUMP, Laura Marling, Tunng) in seinem Studio in Margate produziert und bricht mit der Indie-Rock-Tradition, aus der Alice stammt. Gitarrensoli werden durch Mellotron, Taishogoto und Flötenmelodien ersetzt, die während des Unterrichts aufgenommen wurden, wobei Unvollkommenheit als die wahrhaftigste Form des Ausdrucks angesehen wird. Hinter diesem Sound verbirgt sich eine schwerwiegendere Geschichte: die Last einer komplizierten Elternbeziehung und eine Trauer, die sich nicht einfach so auflösen lässt. Im Kern ist dies ein Begleitalbum zum erneuten Erwachsenwerden - nicht über einen einzigen Herzschmerz, sondern darüber, wie man sein gesamtes emotionales Gerüst und seine Identität neu formt, um in den nächsten Lebensabschnitt einzutreten.

Blues, country and folk or funk, rock and soul – Broussard always gives his songs a very special touch; here he reaches his peak performance!

Acclaimed soul singer and songwriter Marc Broussard returns with his new studio album, "S.O.S. V: Songs Of The 50's," paying homage to the timeless classics of the 1950s. With his unmistakable, warm soul voice, Broussard interprets timeless songs by legends such as Ray Charles, Sam Cooke, Nat King Cole, and Fats Domino—complemented by his own original composition that fits seamlessly into the era. The album is the fifth installment in his successful S.O.S. (Save Our Soul) benefit series, with proceeds once again benefiting the non-profit organization Love Of People in his hometown of Lafayette, Louisiana. His latest charity album, "S.O.S. 4: Blues For Your Soul" (2023), a collaboration with blues icon Joe Bonamassa, benefited the Keeping The Blues Alive Foundation and the organization Guitars Over Guns – and debuted at number 1 on the Billboard Blues Albums chart.

“Recording this album felt like the crescendo of years of struggling to understand myself. It can get quite claustrophobic living inside my head.” ‘At Home in My Mind’ is an open invite into the world of Halifax indie artist, Ellur (Ella McNamara). The album is a journey around Ellur’s mind, it dips into different musical genres that have shaped her for the past 24 years – from the 90s indie rock she grew up with, to glitch-pop she discovered in her late teens to the alt-folk she cherishes now. Ellur has created a warm abode for her thoughts and experiences as a young woman growing up in Yorkshire’s Calderdale Valley and ‘At Home In My Mind’ beds them all in, safely together. ‘At Home In My Mind’ has been produced by Joel Johnston (Far Caspian) and recorded from his Leeds studio. Johnston and Ellur first worked together on her previous EP, ‘God Help Me Now’ – a stunning body of work that saw Ellur’s fanbase bloom and received praise from national press, radio and an impressive international artists. The buzz around Ellur has lead to a very busy live calendar throughout 2025, including debut festival slots in US and EU, over 14 Summer festival plays in UK (including Latitude, Truck, Big Feastival) and sold out headline shows across the UK. ‘At Home In My Mind’ expands on themes Ellur draws on in her ‘God Help Me Now EP’, particularly an overarching theme of connection. Ellur connecting with her childhood memories, listening to her honest feelings, but most importantly, Ellur wants ‘At Home In My Mind’ to be an arm extended out, looking for people who need a hand to hold.

Bombastic yet delicate, crushing yet ethereal, driving yet dark, Temptress fuse drone, doom, grunge and hardcore into an obliterating molten blend. Temptress are a jigsaw of sonic touchstones with no audible seams. Bombastic yet delicate, crushing yet ethereal, driving yet dark, the trio fuse drone, doom, post-rock, grunge and hardcore into a molten blend that creeps and obliterates like a liquid metal assassin. With 200+ shows played in their relatively short tenure, Temptress' endless ideas and nuances slide perfectly into place thanks to its members' vast live experience. New album hear churns with searing hooks and dissonant grooves in an irresistible confluence of ideas, and fans of multi-voiced, genre-tag resistant bands like Heavy Temple, The Well and Hippie Death Cult should prepare to be drawn in by Temptress' unyielding allure. Multicolored LP (Molten Smoke Ed., pressed on transparent sepia, clear and black marbled vinyl, w/ lyrics sheet) & digipaked CD on offer!

A pandemic album of songs of heartbreak, virality, and dead rats, which Wood called "goodbye cruel world: the musical." The revealing chamber pop/folk album "In Case I Make it" (ICIMI), which Will Wood playfully dubbed "Goodbye Cruel World: The Musical," turned out to be a surprisingly strong followup to his chaotic and sardonic previous release, "The Normal Album." While divisive among some fans due to its gentler sounds and more traditional vocal stylings than most of his last work, ICIMI attracted new, older audiences and showed a more personal side that provided a new context to his discography. Widely considered to be some of his most powerfully emotional work, both the harshly introspective and humorous songwriting, as well as its unique delivery, are still distinctly Will Wood in their experimental nature and uncompromising unwillingness to conform to the expectations of both die-hard fans and audiences at large. In 2021, the underground singer-songwriter was suddenly the subject of unexpected online attention, which, in tandem with mental health struggles, inspired him to put out a "musical suicide note," intended to express parts of his artistic and personal identity that had gone largely unseen by a fanbase he felt misunderstood. Leading the album with intentionally algorithm-unfriendly singles and putting an eight-minute love ballad as the second track on the LP, Wood aggressively redefined himself as being more than just a handful of wacky, unwitting viral pops. Ironically, the surprise viral success of the deep cut "The Main Character," a relentless satire of online culture, drew attention to the album and its second biggest hit, the angst-ridden yet danceable "Against the Kitchen Floor." However, the immense orchestration and vulnerable writing have kept audiences coming back. Songs like "Euthanasia" and "Tomcat Disposables" have developed reputations as tearjerkers, and songs like "Cicada Days" and "White Noise" have become fan anthems in the years since.

Tales from Topographic Oceans (Super Deluxe Edition) is the definitive version of Yes' ambitious sixth album, the record that stands as one of the most sprawling and intricate works of the progressive rock era. This expansive album version includes twelve CDs, two LPs, and a Blu-Ray disc. Introducing, a newly mastered/remastered version of the original album by Bernie Grundman for vinyl and CD. Delve deeper with new 2026 Steven Wilson remixes of the core album, including instrumental versions, alongside a treasure trove of previously issued rarities. This collection is further enriched by portions of two previously unreleased live performances from the legendary Tales tour. A Blu-Ray disc completes the collection with Steven Wilson's new mixes, including the album in immersive Dolby Atmos and 5.1 Mix DTS-HD MA.
Tracklist: 11CD + Blu-Ray
Disc 1 Original Album Remastered
1. THE REVEALING SCIENCE OF GOD 22:01
DANCE OF THE DAWN
2. THE REMEMBERING [20:38]
HIGH THE MEMORY

Disc 2
1. THE ANCIENT [18:34]
GIANTS UNDER THE SUN
2. RITUAL [21:35]
NOUS SOMMES DU SOLEIL

Disc 3 Steven Wilson 2025 Remixes
1. THE REVEALING SCIENCE OF GOD [22:01]
DANCE OF THE DAWN
2. THE REMEMBERING [20:38]
HIGH THE MEMORY

Disc 4
1. THE ANCIENT [18:34]
GIANTS UNDER THE SUN
2. RITUAL [21:35]
NOUS SOMMES DU SOLEIL

Disc 5 Steven Wilson 2025 Instrumental Mixes
1. THE REVEALING SCIENCE OF GOD [22:01]
DANCE OF THE DAWN
2. THE REMEMBERING [20:38]
HIGH THE MEMORY

Disc 6
1. THE ANCIENT [18:34]
GIANTS UNDER THE SUN
2. RITUAL [21:35]
NOUS SOMMES DU SOLEIL

Disc 7: Rarities
1. THE REVEALING SCIENCE OF GOD (Single Edit) [3:54]
DANCE OF THE DAWN
2. THE REMEMBERING (Single Edit) [2:50]
HIGH THE MEMORY
3. THE ANCIENT (Single Edit) [3:26]
GIANTS UNDER THE SUN
4. RITUAL (Single Edit 1) [4:20]
NOUS SOMMES DU SOLEIL
5. RITUAL (Single Edit 2) [3:47]
NOUS SOMMES DU SOLEIL

6. THE REVEALING SCIENCE OF GOD (Version 1) [23:36]
DANCE OF THE DAWN
7. THE REMEMBERING (In Progress) [20:36]
HIGH THE MEMORY
8. THE ANCIENT (In Progress) [17:18]
GIANTS UNDER THE SUN

Disc 8: Rarities
1. THE REVEALING SCIENCE OF GOD (In Progress)* [27:50]
DANCE OF THE DAWN
2. THE ANCIENT (In Progress 2)* [19:30]
GIANTS UNDER THE SUN
3. THE REVEALING SCIENCE OF GOD (In Progress 2)* [21:52]
DANCE OF THE DAWN

Disc 9: Rarities
1. THE REMEMBERING (In Progress 2)* [20:42]
HIGH THE MEMORY
2. RITUAL (In Progress)* [24:37]
NOUS SOMMES DU SOLEIL
3. THE REVEALING SCIENCE OF GOD (Version 2) [22:23]
DANCE OF THE DAWN

Disc 10: Live 1973
1. THE REMEMBERING (Live TBD 1973)*
HIGH THE MEMORY
2. THE ANCIENT (Live TBD 1973)*
GIANTS UNDER THE SUN
Live at Capitol Theatre, Cardiff, Wales, December 1, 1973
3. THE ANCIENT* [19:55]
GIANTS UNDER THE SUN
4. RITUAL* [20:41]
NOUS SOMMES DU SOLEIL

Disc 11: Live at Hallenstadion Zürich, Zürich, Switzerland, April 21,1974
1. AND YOU AND I* [10:10]
I. CORD OF LIFE
II. ECLIPSE
III. THE PREACHER THE TEACHER
IV. APOCALYPSE

2. CLOSE TO THE EDGE* [19:12]
I. THE SOLID TIME OF CHANGE
II. TOTAL MASS RETAIN
III. I GET UP I GET DOWN
IV. SEASONS OF MAN

3. THE REVEALING SCIENCE OF GOD* [14:38]
DANCE OF THE DAWN

Disc 12: Live at Hallenstadion Zürich, Zürich, Switzerland, April 21,1974
1. THE ANCIENT* [20:12]
GIANTS UNDER THE SUN
2. RITUAL [23:00]
NOUS SOMMES DU SOLEIL

Blu-Ray:
2025 Dolby Atmos Mix
2025 5.1 Mix DTS-HD MA
2025 Stereo Remix
2025 Stereo Remaster
2025 Instrumental Mix

1. THE REVEALING SCIENCE OF GOD [22:01]
DANCE OF THE DAWN
2. THE REMEMBERING [20:38]
HIGH THE MEMORY
3. THE ANCIENT [18:34]
GIANTS UNDER THE SUN
4. RITUAL [21:35]
NOUS SOMMES DU SOLEIL


[a] a1 THE REVEALING SCIENCE OF GOD [22:01]

[c] b1 THE REMEMBERING [20:38]

[e] c1 THE ANCIENT [18:34]

[g] d1 RITUAL [21:35]

" old school man " Crocodile Boogie is back with a second album recorded at Fly-house studio, packed with greasy Stonian riffs and ramshackle ballads in the vein of early Beasts of Bourbon stuff that reek of tobacco, alcohol, and sex. Seven original tracks and a spirited cover of Iggy & the Stooges' "I Need Somebody." We know it's only Rock'n'roll but we like it , Yes we do .

Soul Jazz Records present two hardcore bomb dancefloor fillers from Jerry Jones, originally released on Studio One in 1970.

‘There’s A Chance For Me’ gives Aretha Franklin's ‘Rocksteady’ a serious run for its money, while ‘Trying Times’ is Jerry Jones’s skanking version of Roberta Flack’s classic tune written by the mighty Donny Hathaway and Leroy Hutso

Here’s an expanded edition of one of Nurse With Wound’s most intense, unique opuses, so unique that for long-time fans it was a strange, chaotic loundge bizzarie when it first came out. For the first time, all four audio sides are complete (originally, there were only three sides). And to crown it all, a magnificent new cover by the great and talented Babs Santini, who is none other than Steven Stapleton behind his pseudonym of plastic artist, still in the luxurious tradition of the “silver collection” at Rotorelief Records.

Nurse with Wound’s album Huffin’ Rag Blues is unique in NWW’s discography. Stapleton teams up with composer, producer and multi-instrumentalist Andrew Liles, his co-creator of musical terrorism, to tackle the exotica and lounge genres, crushed into a cacophonous mess. Long-time NWW friends Colin Potter and Matt Waldron are also on board. Blues, jazz, crime films, bachelor pads and soap opera music are processed and discarded, then chopped up and recycled in a mix that contains a ton of space, but also overflows with dynamic tension, hilarious asides, sexually suggestive poetry and a certain rock & roll abandon.

This is a very surprising opus for long-time fans, is like a soundtrack that could illustrate a David Lynch film It’s brilliant, maddening, hilarious and sinister enough to earn a place in any collection with a little quirkiness and eccentricity. Huffin’ Rag Blues incorporates more familiar musical elements – including instruments (played live, even), rhythm and vocals – than almost any other Nurse With Wound album to date. The album’s main concern is, as always, to create environments for lucid dreaming rather than to create music as such.

Jaime Fennelly, as Mind Over Mirrors, makes music that pushes the known to the lip of the unknown, where it rocks precariously and in exhilaration. He scrambles the familiar and tweaks the comfortable, not through aggression, but a throbbing estrangement. When placed at a distance, these require longer reaches to grasp. The reward for this effort is an enlarged field of perspective, experience, and also of feeling. This is deeply feeling music to feel deeply.

In all of Jaime’s records—and, arguably, especially in Particles, Peds, & Pores—there’s a seed of the pastoral, some ancient shepherd’s song ringing through nearby hills and groves, but one also yearning to plumb the uncanny and the creative possibilities of disintegration. “Farewell to woods,” the grieving Damon sings in Virgil’s eighth Eclogue. “Let all be ocean now.” Fennelly sounds vast, enveloping wildernesses and the thrilling disquiet of their echoless grandeur. (Maybe Burroughs speaks to the borders of these zones: “Pulsing mineral silence as word dust falls from demagnetized patterns.”) There’s something of the heroic at work here, too, although the hero’s instinct has been suitably tempered—or awed—to know not to fly too close to the sun.

If art is to be exhibited, then Ulrika Spacek will ensure that their art is collective; that even as the world becomes inhospitable to community, their intentions are an act of resistance.

Whether it is Oysterland, the self-curated night the band have been Hosting for over ten years to platform artists of other disciplines in live music spaces, or Total Refreshment Centre, the East London studio Syd runs which connects the dots between the jazz scene and like-minded experimental artists of the capital and beyond, or their creative bleed as musicians and producers over the years with the likes of Crack Cloud, caroline, DIIV, Holy Wave and Slowdive, the band’s existence is inseparable from their community.

In a hyper-individual world, the band’s fourth album, ‘EXPO’, offers an antidote. It’s there, in the shared dream logic of the music, the off-kilter melodies, jagged guitars and cirrus cloud atmospherics. It’s there, in all the things that are said and unsaid between them; there in the writing, producing and mixing processes they share in. And even as each of their parts Moves toward a unified vision, it’s never more keenly felt than in the bigger Picture to which Ulrika Spacek belong.

Though their well-established foundations are in the art-rock world - and though they are inspired by electronic elements more than ever - Ulrika Spacek are interested in the glitch that exists between the two. Their Music reckons with human warmth and digital isolation, equal parts welcoming and altogether alienating. “Our music has always been a collage - a bit patchwork, sonically - but what makes this album a landmark for us is that we went one step further and made our own sample bank,” explains singer / guitarist Rhys. They create their own doppelgängers in a world of almostreal, where the band appear as if in a hall of mirrors. Digital drums are sampled layered upon real drums, and the effect is almost like birth in reverse - pulled from the ether and returned back to the tangible world.

“There’s a lot that can be said about writing when there is no aim, there is a freedom and a purity in it which opens a door to more music, and in this case, it set a mood for a new album, one that would be colder, darker and one that would embrace electronics and new instrumentation in a new terrain,” the band share. “The album’s greater theme is isolation and alienation in an online world where it seems everybody around you is constantly exhibiting themselves, living in public wanting to be seen and heard. The age of ‘individuality’ is lonely, it’s a room of concave mirrors, and with this in mind, we set upon making our most collective effort; ‘It’s back to strength in numbers, count in fives.”

For fans of Radiohead, Moin, DIIV, Astrel K, Slowdive.

LP presented on Crystal Clear vinyl.

Between 1996 and 2003, Jack West released five remarkable albums with his evolving band Curvature. The recordings showcased West on 6 and 8-string acoustic guitar in small, acoustic ensembles including marimba, second acoustic guitar, saxophone, percussion, and pedal steel. Essential Curvature is a Best-Of Collection. Jack West’s music is a new genre of American acoustic music influenced by jazz, rock, folk, and funk, in equal measure - one that features extraordinary acoustic guitar playing.

Her natural command on stage, paired with a voice that feels quietly seasoned, has made her one of the most exciting young live musicians emerging from the region. Now, with her first release, a double single featuring the raw, one-take folk recording 'Poison Ivy' and the dreamlike, psychedelic shimmer of 'Forget About' -- Grant introduces the full spectrum of her sound. One track close to the bone, the other lost in a dream, both unmistakably hers. 'Poison Ivy' was recorded when Grant was just 16, in a spontaneous midnight session after finally playing her songs to her dad. With only one microphone, no click, and a single take, the track became a time capsule of her earliest songwriting voice -- fragile, real, and impossible to recreate.

Now featuring Dan Bridgewood-Hill's evocative violin, it stands as a folk recording filled with warmth, instinct and unfiltered emotion. "I tried re-recording it," she says, "but nothing touched the magic of that first take." In contrast, 'Forget About' showcases Grant's emerging production instincts. Influenced by Zero 7, the song began as a kitchen jam before evolving into a lush mix of psychedelic keys, airy electronics and indie- rock textures. Self- recorded in Logic, the track reveals a new dimension to her writing, cinematic and rhythmically hypnotic

180 GRAM AUDIOPHILE VINYL
- LIMITED EDITION OF 750 INDIVIDUALLY NUMBERED COPIES ON ORANGE COLOURED VINYL

Desmond Dekker recorded some of his best known songs together with his backing group the Aces (consisting of Wilson James and Easton Barrington Howard). Their debut album 007 (Shanty Town) includes their single of the same name, which made him Jamaican music's first outernational superstar, reaching the 14th place in the UK charts. You'll hear how the Ska music from the mid-60s is developing to the Rocksteady sound. This was 'Ska' or 'Blue Beat'—(or its new name for the slower tempo 'Rock Steady'), and the lyrics come from the Calypso-Mento method of telling about current events in music. So in a groovy way, Desmond, James and Barry (the Aces) have given a report of love, politics, nagging women, the celebration of the Fifth anniversary of Independence, and gang warfare. This is were it all started before Desmond became the international star.

Even before Bob Marley and Jimmy Cliff Jamaica already had their own international superstar, Desmond Dekker was his name. Famous because of his international hits, such as 'Israelites' (1968) and 'It Miek' (1969).

007 (Shanty Town) is available as a limited edition of 750 individually numbered copies on orange coloured vinyl.

Jadu Heart’s Wanderflower and Ezra’s Garden reissued together on vinyl for the first time.

Since their 2016 debut EP, Wanderflower, Jadu Heart has been slowly building a catalog of electro-pop, R&B, and psychedelic bops. The UK-based duo, consisting of Alex Headford and Diva Jeffery, now has roughly 30 songs that are a collective myriad of immersive soundscapes.

Jadu Heart's Wanderflower was a project released as part of a school project at The British and Irish Modern Music Institute in 2016. Diva described the project as a "story of two characters - Dina and Faro - who get cursed in a temple and every song in Wanderflower corresponds to a different chapter in their story." Their tutor sent the EP to Mura Masa who immediately took a liking to the duo and made them an opening act for his album release show. They were subsequently signed to his label and given the same manager.

The couple's sophomore EP, Ezra's Garden, is a continuation of Jadu Heart's now-signature DIY, psych-funk sound inspired by Jai Paul. The tracks are accompanied by a visual component on Youtube, as Spotify hadn't quite explored the necessity of visualizers yet. After the fantastical characters were introduced in Jadu Heart's first EP, the second EP explores the relationship between Dina and Faro when they are whisked out of the cursed temple and stumble upon a friend who takes them to a machine that shoots them through the galaxy.

LP, Opaque Pink Vinyl, w/ download card

Mexico City’s Sunset Images emerge with their most daring and immersive work to date, Oscilador, arriving January 23 on Dedstrange. Known for pushing the boundaries of noise rock and psychedelic experimentation, the band plunges deeper into their raw, unrelenting sound—crafting an album that thrives in chaos, distortion, and hypnotic repetition.
Oscilador captures Sunset Images at a new creative peak: jagged guitars dissolve into swirling feedback, fractured rhythms pulse like machinery on the brink, and vocals echo through layers of reverb as if channeled from another dimension. The record balances intensity and atmosphere, offering both catharsis and transcendence. It’s a sonic free fall that feels at once destructive and redemptive—like watching a city crumble only to find strange beauty in the ruins.
The album title reflects the band’s fascination with constant motion and instability, the oscillations of sound and life itself. Across the record, Sunset Images embrace the extremes: minimal passages expand into walls of noise, meditative drones are shattered by bursts of primal energy, and every song teeters on the edge of collapse. This restless spirit makes Oscilador not just a collection of songs, but a visceral experience—one that mirrors the tension and electricity of Mexico City’s underground scene.
Joining forces with Dedstrange, Sunset Images step onto a global stage while staying true to their uncompromising vision. For fans of A Place To Bury Strangers, Sonic Youth, or My Bloody Valentine, Oscilador delivers the thrill of pure immersion—music that doesn’t just demand to be heard, but to be felt in the chest, the bones, and the subconscious.
With Oscilador, Sunset Images invite listeners to lose themselves in noise, distortion, and dissonance—and to find clarity within the chaos.