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Carwyn Ellis & Rio 18 release their new album "Fontana Rosa". Possibly the world's only musical group to fuse Latin music of all kinds with the Welsh language, this time Rio 18 draw inspiration from slightly different musical corners, including Chicano Soul, Nuyorican pop, and Salsoul disco plus Latin sounds filtered through the cultural spectrum of the USA.

Most significantly though, the album was among the last ever to be recorded by the acclaimed producer Liam Watson at his legendary studio and shrine to all things analogue, Toerag Studios - a huge inspiration and influence on Rio 18's Carwyn Ellis. The "Fontana Rosa" sessions saw Ellis draw together an all-star band at the fabled studio which is perhaps best known through its place in the White Stripes history.

Talking about the story and gestation of the album, Carwyn said:

"I was in Mexico City with Baldo Verdú when I heard that Toerag Studios in London was going to close. It came as a shock - Toerag and Liam Watson, its owner and resident producer had been a massive influence on me. Liam, along with Edwyn Collins, had taught me much of what I know about recording, had hired me as an instrumentalist on countless sessions and had helped me to get started when I began my own solo career. And over the years, I'd still go in to record with Liam whenever the opportunity arose. When I heard that Liam was shutting up shop, I took it upon myself to try and ensure he went out with a musical bang. I rounded up the best band I could get: the aforementioned Venezuelan percussion wiz and singer, Baldo Verdú: American drummer, multi-instrumentalist and producer Shawn Lee: the Isle of Wight's finest drum and percussion master, producer and composer Rupert Brown (whom I'd originally met at Toerag many moons ago): Elan Rhys, one of Wales's finest voices and long term collaborator with Rio 18, as well as being one third of the wonderful folk group, Plu: and Kassin - my Brazilian brother from Rio de Janeiro, bassist and producer with artists such as Jorge Ben, Caetano Veloso, Gilberto Gil and a multitude of others, including Carwyn Ellis & Rio 18.

So this was my dream team, assembled to make beautiful music one more time at Toerag (I have to add at this point that Shawn and Rupert hit it off so well at our sessions that they booked their own session shortly afterwards! Look out for the brilliant Shawn Lee's Toerag Orchestra 'Percussion Discussion' album). Toerag, if you're not familiar with the place, made its name as London's foremost analogue studio for some 30 years, recording directly to tape which in essence means musicians playing live, together in a room until they get it right. And the sound? Oh the SOUND!! And this is all Liam Watson's doing, his sonic aesthetic - a real master engineer. The studio is perhaps best known as the place where the White Stripes recorded their monster hit album 'Elephant' but for me it's where I got to record with James Hunter, Lay Low (from Iceland), Quruli (from Japan), Fabienne Delsol (from France) and made many lasting friendships, learnt a great deal about popular music, as well as making a bunch of my own best recordings with Colorama.

Over the course of five days we laid down as much music as we could. We had some visitors too: guitar slinger Little Barrie (Primal Scream, The The and Liam Gallagher among other things, but also my dear bandmate in Edwyn Collins's band): sax and flute maestro Jim Hunt (Amy Winehouse, Primal Scream, Duffy and very many others): and Diego Laverde Rojas, the Colombian Latin harp virtuoso.

This time the music had a slightly different edge - although we still maintained our Brazilian/Welsh connection on 'Deffro'r Dydd' (written with and sung by Elan Rhys), our Cumbia vibe and some Merengue ('Mariposa' and 'Te Adoro', sung by Baldo Verdú) and even a traditional Afro-Venezuelan tune ('La Quichimba', again sung by Baldo) - the main influence for me this time was Latin music as recorded in the USA, both new and old. 'No More Secrets' is a straight up slice of Salsoul disco, while 'Hei Ti' is a punky funky but of Nu Yorican pop somewhere between ESG and the Beastie Boys. But one of my main influences in the last couple of years has been the current wave of Chicano Soul coming from California, particularly via the Penrose and Big Crown labels. I was turned on to this music when I was in Japan in early 2023 - Takashi-san at Pleased To Meet Me Records in Nara played me the Altons' 'Float' and I was hooked!

And that music has a similar aesthetic to Toerag: music recorded live to tape by excellent engineers, performed by fine musicians and singers. So our songs 'Impossible', 'Heartbreaker' and 'Lovesick' are very much in this vein. And that just leaves the title track, 'Fontana Rosa'."

The most pivotal moment yet in the journey of one of dance music's most in-demand duos, Shogun Audio are proud to present 'Overgrown', the highly-anticipated fourth studio album from Pola & Bryson.
Having always strived to encapsulate the experience of euphoria they felt in their early raving days, ‘Overgrown’ is Pola & Bryson’s way of paying homage to music that’s shaped their lives. Across all fifteen tracks, the UK-based duo showcase their stunning approach to electronic music production like never before. Innovative, unique, and just as addictive on the hundredth listen as the first, the UK-based duo continue to cement their position as some of the best in the business.
Featuring one of drum and bass' most notable recent singles, the scene-shattering 'Phoneline w/ Emily Makis', an incredible slice of euphoric drum and bass in the form of 'The One I Need w/ Kelli-Leigh', the massive crossover hit 'Want It w/ IYAMAH', and the sound-system destroying sounds of ‘This Chance w/ Break & Cimone’, the singles released before the full album drop have already accumulated over 75M streams, mass DSP editorial support, consistent UK specialist and playlist radio support, and 100s of millions of views online.
Fresh cuts, including ‘Listen w/ goddard.’, ‘How It Was w/ Monroe & Charli Brix’, ‘Falling 4 U w/ MPH’, as well as superb solo offerings like ‘Insomnia’, ‘Temple Stomp’, and ‘Aurora’, all flawlessly gel together under the umbrella of big synths and pure euphoria to create what is sure to be one of the most talked about and repeatedly listened to moments in electronic dance music this year.
“This album is the evolution of us branching off to a more euphoric and club-orientated sound, which heavily influenced the album title. ‘Overgrown’ as a title also represents the relationship between the digital and organic sounds in our music, which in turn, also represents the contrasting factors of nature and urban environments that we both grew up in, both of which have influenced our sound massively.” - Pola & Bryson
A coming-of-age moment for some of the most talented artists the scene has to offer, the act that Sub Focus once claimed was "leading the new wave of liquid drum and bass" has now taken centre stage.

Vinyl format only. Acts of Faith is the eleventh studio album from British R&B musical group Sault. Originally previewed in December 2023 at a one-night only concert in London, which was the group's first performance. Upon the album's release, Bill Pearis of Brooklyn Vegan called this "yet another stunner" from the group that is "a joyous rumination on faith". Writing for Radio New Zealand, Tony Stamp noted the religious themes and uplifting lyrics in the music and responded to the band's mystique by summing up, "everything on record is so substantive, and enriching, that the gimmicks feel justified"

DJ Serviced Records is made by DJs, for DJs, and curated with love by DJ Service.

Four tracks, four situations, no tools - just timeless sound.

This first release, "At Your Service EP," contains tunes made by Brian Topham aka Papolious Jones, Driahn and Jason, Ease Up George, and Wisdom Water. Artwork by Sydacidd

Claire Chicha aka Spill Tab is feeling more free than ever before. The LA-based, French-Korean songwriter and producer,has spent the past five years as spill tab honing a sound that is as raw-edged as it is refined, channelling low-slung guitar-strumming confessionals as well as the earworming melodic hooks of anthemic pop to produce a heady and distinctive mix.

Following the 2019 release of her intimate and infectious debut single “Decompose”, Spill Tab has evolved her spill tab project through three EPs: 2020’s synth-pop influenced Oatmilk, 2021’s playful, uptempo Bonnie, featuring Gus Dapperton and Tommy Genesis, and 2023’s co-produced, sonically-intricate Klepto, which gleefully meanders from the Hiatus Kaiyote-influenced jazz freakouts of “CRÈME BRÛLÉE!” to the guitar-chugging thump of “Splinter”. Live, meanwhile, Spill Tab has been tapped for her explosively energetic presence to open the North American leg of popstar Sabrina Carpenter’s tour, as well as touring through Australia with alt-rock trio Wallows.
With “PINK LEMONADE”, opening single from her forthcoming debut album “ANGIE” , spill tab’s freewheeling sound finds its fullest expression, harnessing this onstage experience and recorded experimentation with her bass-weight and pitched-up vocals. Here we find Chicha only ever chasing that “weird thing”, fizzing with an infectious enthusiasm and intricate musicianship. “The best songs come from writing the main idea in a day, as it’s so instinctual,” she says, such as “PINK LEMONADE” recorded “from a clip taken out of a 40-minute jam that we then chopped and spliced”.
Born to her French Algerian composer father and Korean pianist mother, Claire Chicha spent her early childhood in the mixing room of her parents’ LA post-production studio, bringing coffees to artists as they tracked scores for exciting new projects. “I hung out in that studio all the time until I was around 10 years old, absorbing jazz music my dad was into and classical music that my mom loved,” Chicha says. “My mom had a big hand in making me an adventurous kid, always trying new things from piano to harp and violin, forever soaking up new sounds.”

At 12, Chicha’s life was uprooted as she relocated to Thailand to live with her mother’s family following the collapse of her parents’ business after the 2008 recession. What followed was an unstable and formative few years of early teenagedom, navigating new cultures and life changes. In Thailand, Chicha began learning guitar to cover the Paramore and Green Day tracks she had grown to love while also becoming immersed in Thai traditional music. After a year, she moved once more to live with her aunt in Paris and there she was introduced to the classic sound of Serge Gainsbourg and Édith Piaf before ultimately returning to LA following the untimely death of her father.

“I had to become a real people person to fit in everywhere I was moving, and it immersed me into so many different styles of music,” she says. “I went from listening to the nasal singing of Thai traditional music at muay thai fights in Bangkok, to emotive classic French songs. It definitely informed the need to experiment with my sound as I became more interested in making music.”

At high school in LA, Chicha joined one of the country’s foremost show choirs and realised a natural aptitude for stagecraft and performance as she sang medleys in competitions throughout the US. Going on to study Music Business at NYU, Chicha found a love for the alternative soul and singer-songwriting of the likes of Moses Sumney and Bon Iver, as well as developing her own sound while spending summers interning as an A&R at Atlantic Records and being exposed to the gamut of New York’s live music scene.

“I was going to so many shows as an A&R intern and seeing just how much a lot of music sounded alike,” she says. “It made me realise I wanted my music to feel different, to cut through the noise but still make something that felt honest to me.”

Beginning to independently release tracks, Soill Tab gradually built a loyal fanbase with the release of wistful early numbers “Calvaire” and “Cotton Candy” and soon found herself signed to a major label. Yet, as her career progressed through the COVID pandemic the demands of a corporate major began to conflict with her own searching style. “My last two EPs were under contract and it felt like I was always chasing the carrot,” she says, “I felt a certain pressure to put out tracks quickly and find that ‘hit’. It wasn’t the right environment to truly make what I wanted.”

Ultimately parting ways with her label, Chicha began work on a new album, exploring new sounds and ideas with her LA-based community of collaborators like producer David Marinelli, Solomonophonic, Wyatt and Austin and John DeBold, without expectation. “It became this beautiful experience of only following ideas that I really believed in and exploring all the musical avenues I hadn’t before,” she says. “I’ve never been more excited about songs and I’ve never felt like a project is more mine.”

Writing and recording while touring with Sabrina Carpenter and Wallows, Chicha road-tested her new tracks to see what might land best with an audience who had likely never heard her music before. “You have to win people’s hearts as an opener and you can see what resonates and what doesn’t,” she says. “I would watch people fall in love or not and it’s usually always the song you’re having the most fun with that does the best. That’s what I put on the record.”

« Angie », Spill’s Tab debut album is relased on because Music and expected for May 16th release.

Sealed ! MINT from Label Stock.

This is as well YB70 number 16, the vinyl edition of the YB70 12 CD. Fat cutting and loud sound, for a superb record... Meet these Techno Indus, downtempo dark hardbreak, Breakcore Dub and others jewelry coming straigth from the Parazit/YB70 selector. Enjoy the 12th anniversary from SEPPUKU/PARAZIT parties in west France, where all these artists played melting the Industrial scene to the techno crowd... Notice the super sleeve. A sealed record... Important release !

Punching our ticket for the tenth trip on the Drum Chums line, we rattle past the control centre, where Approach Release delivers another masterclass in genre-blurring brilliance.
Darting through emotional New Beat, psychedelic soul, stomping Afro-disco and coastal cosmic, AR keeps things right on track and perfectly off the rails.

'So Wrong' starts the party with a growl and a gurn, all gnarly sequences and robotic drums until that mournful vocal moves us into a land of Lynchian longing. Teardrops on the dance floor, clouds in your coffee, it's, it's, Goth Italo folks.

Shifting tone like McCrae shifted gears, Approach Release moves on from Main-Room Gloom into the smooth and sensual soul of 'LuvLuvLuv'. Low-slung, lilting, loose and lysergic, this versatile version-excursion works wonders as warm up and rub down, its brilliant bedroom vocals floating atop the synthetic and psychedelic groove.

Over on the B-side, 'E-Killa' bursts out the speakers with about 100,00 volts of Afro-disco energy, each one perfectly harnessed to whip a crowd into a grinning frenzy. Armed with an unstoppable arrangement, vital vocals and a stomping rhythm section, this delicious drink of tropical pop just keeps on fizzing.

For an encore, Approach Release drops the deeply dramatic 'Lou Cee', a full-hearted bit of Balearique-brilliance stacked with enough synth strings, faux-accordion and earnest outpourings to give Chris Rea a run in the anthem stakes.

100% Drum Fun Guaranteed. .

Soul Clap and Haven Star join forces for vibrant collaboration ‘Gone Stumblin’ on Crosstown Rebels.

Landing on 23rd May 2025, the track brings together years of musical evolution, late-night studio magic, and the unmistakable essence of a true party anthem. Genre-blending US house visionaries Soul Clap return to Damian Lazarus’ Crosstown Rebels with a deeply groovy and emotionally charged new release, teaming up with South Florida’s rising star Haven Star for the striking ‘Gone Stumblin’ - ushering in a new chapter of collaboration and cosmic storytelling.

Rooted in a near-mythical session at Brooklyn’s legendary Marcy Hotel, ‘Gone Stumblin’ began its journey with keyboardist John Camp crafting the original chord progressions and top-line melody. After years of floating in digital limbo, the track resurfaced thanks to Soul Clap’s Charles Levine, who reimagined it with a fresh twist and brought in Haven Star—whose soulful delivery launched it into orbit.

At just 24, Haven Star brings fresh energy and vintage soul sensibility to the table—having shared the stage with legends like Patti LaBelle, Jeff Beck, and Sam Moore, while cutting her teeth across genres from orchestral pop to funk-fuelled house. The original mix merges heady keys and rich chords with a bouncing, crisp low end, while the ‘Dub’ strips it back and introduces trippy sonics and heavy low-ends for after-hours introspection. ‘Unifying Force’ leans into Soul Clap’s psychedelic ethos, before the ‘Bonus Version’ of the title cut offers yet another club-ready rework with added punch.

Originally released in South Africa in 1984 and produced by Jabu Sibumbe of Stimela fame. Difficult to find on vinyl, which saw only small pressings at the time of release, these works are now remastered and reissued for the first time.

This original versions show off some of the glossy disco & boogie-funk vibes that were being produced in South Africa in the mid-eighties, inspired by sounds being imported from the US and Europe at that time.

Joi N'Juno steps up for his first remix on Canopy, channelling the attitude of Quincy & Niles to create a dynamic arrangement that takes the original and reinvents it for modern disco-house dancefloors. Live synth, keys and horns add to the crisp and warm production for what looks to become a modern day classic.

Razor N Tapes' JKriv stays truer to the original and with his characteristic production finesse modernises the originals to tastefully update them for contemporary sound systems, bringing just the right balance of past and present to add a new dimension to these boogie gems

Lynn White hails from Mobile, AL and started singing at the age of six in her local church. She worked in Ike Darby’s record store where she would sing along to the sounds that were playing, and it wasn’t long before the owner decided to record her on his local label Darby Records in 1978 at the age of 25. Three singles and the highly collectable album “Am I Too Much Woman For You” ensued, but they didn’t bring much success to the label, which folded shortly afterwards. They did get married though.

Her sultry bluesy Darby-penned/produced “I Don't Ever Wanna See Your Face Again” was released in 1982 on another local label, Sho-Me Records, and it quickly came to the attention of Willie Mitchell, who signed her immediately to his Waylo imprint. A fruitful period followed with 7 albums and 12 singles released for the Memphis-based label during the rest of that decade. Her mid-paced “See You Later Bye” was a huge favourite with the modern soul scenes in Europe, and it was a pleasure to see White as part of Waylo’s A Memphis Soul Night - Live In Europe in 1990 when she appeared with Otis Clay, Ann Peebles and David Hudson, performing in Amsterdam, Rotterdam, Berlin and London; each artist doing a solo spot then all four joining together for some rousing soul medleys.

By now a Memphis resident, she switched to S.O.H. Distributions in 1990, which gave her more control of her output, and these two sides are from that period; “I Don’t Know Why” (1993), clearly her most popular track was only available as a 12” single, and featured the amazing but uncredited vocals of Farris Lanier Jr., who was lead singer of another Waylo act, Lanier & Co. Now very hard to find, this will be an eagerly awaited release as a 7” single. The flip is a gorgeous stepper written by George Jackson (previously recorded by Otis Clay) and from her CD only album The New Me (1990). White’s version just oozes with soul and makes for an essential double-sider.

SLEEP THEORY"S meteoric rise since bursting onto the scene in 2023 has been nothing short of extraordinary. Their breakout single "Numb" smashed into the Top 10 on Active Rock Radio, introducing a sound that feels as polished as it is powerful-something most bands take years to master. Following that initial strike, tracks like "Fallout" and "Stuck in My Head" cemented their place as chart-topping heavyweights. But SLEEP THEORY isn"t just a studio phenomenon-they"ve cut their teeth on the road, delivering blistering performances alongside heavy hitters like Beartooth, Daughtry, and Falling in Reverse. From dominating festival stages at Welcome to Rockville and Sonic Temple to the electrifying chaos of Louder Than Life, their relentless touring schedule has forged a reputation for anthemic live shows that demand your attention. Now, 2025 is shaping up to be SLEEP THEORY"S defining year. Their highly anticipated debut album, Afterglow, drops May 16th, and it promises to be a revelation. Packed with razor-sharp songwriting, impeccable musicianship, and vocals that will leave you breathless, this is the record fans have been waiting for. With over 230 million streams and listeners devouring their music at a staggering 5 million streams weekly, Sleep Theory is on the verge of transcending rock"s boundaries to become one of the genre"s defining voices. Brace yourselves: Afterglow is more than just an album-it"s a statement of intent from a band destined to shake the foundations of modern rock.

Pelican has always been a band that's not just from Chicago, but distinctly of Chicago. Formed in 2000 by guitarists Trevor Shelley de Brauw and Laurent Schroeder-Lebec alongside brothers Bryan and Larry Herweg on bass and drums respectively, Pelican's foundation was built upon the rule-free, genre-agnostic scene synonymous with the Fireside Bowl. "The `90s in Chicago was a free-for-all. Everyone was just coming from a place of pure creativity," says Shelley de Brauw. With Schroeder-Lebec returning to the band following Dallas Thomas' exit in 2022, this reunified version of Pelican allowed the band to tap back into those influences and build something distinctly new with Flickering Resonance. While longtime Pelican fans will find an updated version of the band's ethos_one that's been constantly evolving since their very first EP_their new partnership with Run For Cover Records emphasizes something that's always been implicit to the Pelican formula. These songs take as much inspiration from titanic `90s post-hardcore, space-rock, and emo as they do traditional metal, showing that though Godflesh and Goatsnake records occupied the shelves of Pelican's songwriters, so too did Quicksand, Christie Front Drive, and Hum. "A lot of people didn't hear it," says Schroeder-Lebec. "I was like, well, I guess the metal world is where we fit. But now, I'm willing to acknowledge all the suits we're wearing." On Flickering Resonance, Pelican allowed themselves to look at their music less as a means of hard-earned catharsis and more as an appreciation for the glimmers of joy that occur even in the bleakest landscapes.

Reissue of both EPs on one single vinyl: "Ruiner." on side A, "Clean." on side B. * Gatefold: cover of "Ruiner" is on the front, cover of "Clean" is on the back. Since their inception in 2010, Whores. has laid waste to both presumption and audial functioning. Beginning with 2011's Ruiner EP, Whores.brought a welcomed new vision to the often-tired "extreme music" scene. Two years later saw the release of the Clean. EP, a six-track musical display of visceral rancor and songwriting brilliance. Highly anticipated by critics and fans alike. For Whores.,the cavalcade of anticipation provides no pressure or expectation as Lembach states: "We don't just want to fill in the blanks." The only pressure here is to maintain authenticity, and to that end, Whores. are the quintessential example of genuine malice. "You have to bring a sense of realness to the music, otherwise it's fake, and it sounds fake. You have to be honest about it, and it's about getting to the really ugly stuff inside of you, and that's what we do." Classic black vinyl, pn: split cover that is the main product image here is just a mockup (original front showing the Ruiner.cover art)

The long-rumored, sweat-soaked live album from the night Bill Davis (Dash Rip Rock) and Fred Le Blanc (Cowboy Mouth) dared Jello Biafra to join them during Jazzfest and sing all classic New Orleans soul, rhythm and blues, and (at Jello's request) garage songs! Joining in were piano Wildman Pete Wet Dawg' Gordon (Mojo Nixon), Pepper Keenan (Down, Corrosion of Conformity) and a wacky horn section from Egg Yolk Jubilee and Morning 40 Federation that even includes a sousaphone! You want loose We got loose! You want crazy That's here, too. Walk on Jindal's Splinters is one of the all-time great you are there' high-energy live albums—audience participation galore, plenty of trademark Jello banter, and full-on soul / trash / frat / garage gumbo from eleven of New Orleans' finest, just playing their asses off and having a good time doing it. The album also showcases a whole 'nother side of Jello Biafra: his deep, pre-punk roots known only to a handful of vinyl junkies and anyone lucky enough to catch his DJ gigs. For all those whose interest in Jello goes beyond the punk persona to Jello Biafra, the singer, this is for you. Maximum trash appeal! Southern roadhouse debauchery at its finest! Calls to mind those sing-along, clap-along frat-rock platters from The Premiers to The Kingsman to Geno Washington's Hipsters, Flipsters... series, Swingin' Medallions, or even Slade Alive! You can almost feel the grease and voodoo dripping from the walls!" Showcases a rarely seen side of Jello—his pre-punk roots. Personnel includes members of Dash Rip Rock, Cowboy Mouth, Mojo Nixon, Corrosion of Conformity, etc. Vinyl includes digital download card

Even now, as he reaches his eighth decade, with a lifetime of accolades and a
seminal body of music behind him, Robin Trower is still chasing the biggest
high he knows
It always starts the same way, with a road-scuffed Fender Stratocaster and a revvedup Marshall amplifier, those skilful fingers exploring the fretboard until a riff sticks and
a new song ignites. And from the cultural flashpoint of Sixties London with Procol
Harum, through 1974's stadium- filling Bridge Of Sighs, right up to this year's
acclaimed Come And Find Me, it's these addictive moments of creation that have kept
the guitarist vital, relevant and contemporary while his peers trade on past glories.
"Some people say I'm driven, but I think it's just the love of doing it," reflects Trower of
a multi- million- selling solo catalogue fast approaching thirty releases (and that's
before you compute his collaborations with everyone from Jack Bruce to Bryan Ferry).
"I play guitar every day and just through messing around, ideas happen. I can never
feel the songs coming. But all of a sudden, you get a sliver of an idea and you think,
'Oh, what's this...?'"

OVERVIEW We're delighted to announce the release of all Orange Goblin's Rise Above Records releases on vinyl, most of which will be for the first time. First is their landmark 1997 debut album, Frequencies From Planet Ten. Goblin singer Ben Ward recalls the album. "Frequencies from Planet Ten is the sound of Orange Goblin trying to establish ourselves and experimenting with an array of different influences. It was an exciting time for us as we were just finding our feet as a band. We were young and the UK stoner /doom scene was just coming to fruition so it was great to be a part of that. I think the songs still sound strong and relevant, which is why we still include a lot of this material in our live set to this day and a lot of the newer OG fans can discover where it all started. Its great that the album is finally getting a release on vinyl. Deluxe vinyl edition of ORANGE GOBLIN's debut album released for the very first time on vinyl from the original masters. British Doom/Stoner Metal legends. Features never before seen pictures & exclusive liner notes from singer BEN WARD. Hi quality 180gm vinyl. Gatefold sleeve with full colour insert. Includes bonus 7 single in picture sleeve. Tracklist: A. Aquatic Fanatic (originally released on a split 7" with Electric Wizard) / B. Sarumans Wish (Demo version)

Deranged Records and Forward! Records will release Wildhoney's first LP, Sleep Through It. The group formed in late 2011, aiming to write pop songs with the energy and malcontent of hardcore punk, but without its entrenched masculinity. The five-piece has since become one of the loudest—and sweetest—bands in its hometown of Baltimore. Sleep Through It expands on two excellent 7-inches and one cassette EP, drawing influences from '60s girl groups, '80s post punk, indie pop, and shoegaze. New songs like first single "Fall In" showcase just how well Wildhoney combines wall-of-sound power with delicate passages and gorgeous vocal melodies. Older songs such as "Super Stupid" and "Seventeen" return on the LP, newly realized and sounding better than ever. Throughout the album, the group's blasts of distortion and use of dense textures are balanced with beautiful pop tunes and chiming guitar work. The swirl of noise surrounding singer Lauren Shusterich's voice is not unlike the best of the Cocteau Twins, or even Deerhunter, especially on the soaring title track. Sleep Through It was recorded at Beat Babies Studio in Woodstock, Md., with Chris Freeland (Lower Dens, Wye Oak). The album is Wildhoney's first with synthesizers and features liberal amp and pedal experimentation. The recording process was intense and fast, cramming lots of work into a small amount of time. That hectic schedule is impossible to hear on the LP, which unravels at its own dreamy pace.

1982 4-Piece Demo' is the first official, fully-licensed and unreleased material to be released under the name Strawberry Switchblade in 30 years. Since disbanding amid major record label acrimony and personal differences in 1986, the already-cult band have since grown in stature and legend. Trailblazers in many ways, the band's mythology justifiably centers around the charismatic duo of Jill Bryson and Rose McDowall, but that isn't a complete picture. Bryson and McDowall's growing friendship, having met some years earlier on the punk scene, became a creative partnership: Bryson's art school background and McDowall's history in avant-punk group The Poets meant Strawberry Switchblade was a band pitted against many established norms. The band's very first incarnation, an all-female 4 piece, recorded one demo at Glasgow's Hellfire Club and played a handful of gigs. Friends Janice Goodlett and Carole McGowan completed the line up on bass and drums respectively. Strawberry Switchblade would eventually pair down to a duo and go on to chart success but it's in these raw, passionate recordings that the songwriting and vocal elements were being hammered out and explored in real time.


Spanish Song' is a previously unreleased song. With Rose McDowall's instantly recognizable lead vocal dovetailing with Bryson's harmonies and lead guitar, it's the first glimpse at an alternative history of Strawberry Switchblade. This incarnation could easily have been featured on a Nuggets compilation or a precursor to the indie-pop revolution that would take over British bedrooms a couple of years later. "Trees & Flowers" is instantly recognizable, a bona fide classic that would earn the band its first record deal. Here it's given a more forceful rhythm section: Goodlett and McGowan's playing is in fact accomplished and doesn't hint at the bands' youth. "Go Away" would also surface later on the band's debut LP but here it is a moody-garage stomper with a psychedelic, haunting refrain. These 3 songs point to a tantalizing future of the band that was never realized.


Remastered and restored by Sean Pennycook from the original cassette, with artwork based on a single photographic contact sheet (the only visual evidence of the band in this form) and with a booklet of photographs and new text. Pa

15th Anniversary Edition. Lime Green Vinyl. When Dinosaur Jr. reunited, more than 20 years after their formation and legendary dissolution, the worry was that these guys were just flogging the back catalog, taking the old show on the road as a marketing gimmick. But the 2007 release of Beyond gave a hearty Marshall-driven "F**K YOU!" answer to those inquiring ears. Restoring the sound established by the unassailable hat-trick gambit of their first three albums -- Dinosaur, You're Living All Over Me, and Bug -- Beyond continued the band's march into rock greatness by making old ears smile and new ears bleed afresh. And then came Farm, the 9th full length record by the original line-up: J Mascis, Lou Barlow, and Murph. If Beyond was Dinosaur Jr.'s return to form, Farm is proof that Dinosaur Jr. could (and still do, to this day!) deliver timeless, exhilarating rock music. Farm encompasses Dinosaur Jr.'s signature palette: soaring and distorted guitar, unshakable hooks, honey-rich melodies. At times wholly 70's guitar-epic, at times perfect for sitting by a babbling brook with Joni and Neil, these songs get into your head and stay there, bouncing happily around. The ear-catching "Plans" is nearly seven minutes of classic whipped-topping rock dessert, while "I Don't Wanna Go There" is a meat-and-potatoes main dish, mixing unapologetic lead guitar with straight-ahead delivery a la James Gang or Humble Pie. This expanded deluxe edition of Farm features four songs never pressed to vinyl and never given worldwide release:"Houses", "Whenever You're Ready" (The Zombies Cover), "Creepies" (Instrumental), and "Show". "Whenever You're Ready", a cover of classic pop-rockers The Zombies, is impossibly good for a hidden gem; Murph stomps in with a sledgehammer to the kit, J and Lou layer low-end and fuzz like two halves of one brain, and right when things feel biggest, airy and colossal, there's J with a lightning bolt of a guitar solo. Pure electricity and melody like only he can make. Recorded in J Mascis' Bisquiteen studio in Amherst, Massachusetts, Farm was produced by Mascis himself, and delivers the singular, unique energy of one of America's greatest living rock bands.

Limited edition test pressing, featuring Reggae legends...

WHEN A NIGHT IN SOUNDS LIKE A NIGHT OUT! Eine schillernde 11-Track-Reise durch die handverlesenen Perlen unter Numeros besten. Eccentric verbindet die zeitlose Wärme des klassischen Soul mit einem frischen, modernen Twist: Eccentric Modern Soul präsentiert eine weitläufige Klanglandschaft, die sich sowohl nostalgisch als auch neu anfühlt.

2025 Repress.
Originally released in limited formats in 2017 and having since been repressed several times, 2025 sees
a new pressing to acknowledge the enduring legacy of this recording. In 2024, the song Trees & Flowers
became an unexpected hit on Tik Tok and introduced a new generation to these timeless songs.

“1982 4-Piece Demo” is the first official, fully-licensed and unreleased material to be released under the name
Strawberry Switchblade in 30 years. Since disbanding amid major record label acrimony and personal differences
in 1986, the already-cult band have since grown in stature and legend. Trailblazers in many ways, the band’s
mythology justifiably centers around the charismatic duo of Jill Bryson and Rose McDowall, but that isn’t a
complete picture.

Bryson and McDowall’s growing friendship, having met some years earlier on the punk scene, became a creative
partnership: Bryson’s art school background and McDowall’s history in avant-punk group The Poets meant
Strawberry Switchblade was a band pitted against many established norms. The band’s very first incarnation,
an all-female 4 piece, recorded one demo at Glasgow’s Hellfire Club and played a handful of gigs. Friends
Janice Goodlett and Carole McGowan completed the line up on bass and drums respectively. Strawberry
Switchblade would eventually pair down to a duo and go on to chart success but it’s in these raw, passionate
recordings that the songwriting and vocal elements were being hammered out and explored in real time.
“Spanish Song” is a previously unreleased song. With Rose McDowall’s instantly recognizable lead vocal
dovetailing with Bryson’s harmonies and lead guitar, it’s the first glimpse at an alternative history of Strawberry
Switchblade. This incarnation could easily have been featured on a Nuggets compilation or a precursor to the indiepop revolution that would take over British bedrooms a couple of years later. Trees & Flowers is instantly
recognizable, a bona fide classic that would earn the band its first record deal. Here it’s given a more forceful rhythm
section: Goodlett and McGowan’s playing is in fact accomplished and doesn’t hint at the bands’ youth. Go Away
would also surface later on the band’s debut LP but here it is a moody-garage stomper with a psychedelic, haunting
refrain.

These 3 songs point to a tantalizing future of the band that was never realized.
Remastered and restored by Sean Pennycook from the original cassette, with artwork based on a single
photographic contact sheet (the only visual evidence of the band in this form) and with a booklet of photographs and
new text from contemporary Stephen Pastel.



Spanish Song' is a previously unreleased song. With Rose McDowall's instantly recognizable lead vocal dovetailing with Bryson's harmonies and lead guitar, it's the first glimpse at an alternative history of Strawberry Switchblade. This incarnation could easily have been featured on a Nuggets compilation or a precursor to the indie-pop revolution that would take over British bedrooms a couple of years later. "Trees & Flowers" is instantly recognizable, a bona fide classic that would earn the band its first record deal. Here it's given a more forceful rhythm section: Goodlett and McGowan's playing is in fact accomplished and doesn't hint at the bands' youth. "Go Away" would also surface later on the band's debut LP but here it is a moody-garage stomper with a psychedelic, haunting refrain. These 3 songs point to a tantalizing future of the band that was never realized.


Remastered and restored by Sean Pennycook from the original cassette, with artwork based on a single photographic contact sheet (the only visual evidence of the band in this form) and with a booklet of photographs and new text. Pa

"PRECIOUS" was a massive stand out track on 2024's STIMULATOR TRACKS VOL 1 & here it gets a 7" edition with the irresistible instrumental on the flip. Supreme deep house, balearic R&B that just nails the modern interpretation of the 80's where house & R&B were still the same thing. Think LARRY HEARD.

Die kompromisslose Fusionen aus klassischem Death Metal und Melodie, sowie kraftvolle Riffs, die an die alte Göteburger Schule erinnern, treffen auf mitreißende Grooves, die direkt zum Head bangen einladen. Stellt euch vor, At the Gates, Dark Tranquillity, Morbid Angel, Obituary, Death und Carcass vereinen ihre Kräfte - schnell, melodiös, präzise und gleichzeitig tödlich! Dennoch be halten Helldrifter ein sehr gutes Maß zwischen Härte und Melodie, sowie Geschwindigkeit und Groove. Alle Lieder überzeugen mit Abwechslung und geschickt gewählte Kompositionen. Teilwei se erinnert "Helldrifter - Shell Of Inexsistence" an Klassiker wie Death's Symbolic oder The Sound of Perseverance - aber frisch und nicht als eingestaubte Kopie!

Lyrisch befasst sich "Shell Of Inex sistence" mit düsteren und existenzbedrohenden Themen: Vom atomaren Ende der Menschheit, über die Psychoanalyse der menschlichen Seele, bis hin zu sozialkritischen Themen, wie Kriegen und Suizid. "Shell of Inexistence" ist nicht nur ein kraftvolles musikalisches Statement, sondern auch ein intensives lyrisches Werk, das tief in die Abgründe der Psyche und Gesellschaft eintaucht.

"Shell Of Inexsistence" wurde unter der Leitung von Roland Böffgen und Helldrifter, in den Hard Drive Sound Studios in Stuttgart aufgenommen, produziert und gemixt. Die Gitarren- und Bassspu ren wurden unter der Leitung von Vasilis Monopoulos in dem bandeigenen Studios aufgenommen. Der finale Feinschliff und das Mastering wurde von Kai Stahlenberg, im Kohlekeller Studio in See heim-Jugenheim, durchgeführt. Für die visuelle Umsetzung wurde Giannis Nakos (Remedy Design) beauftragt, der unter anderem bereits die Artworks für Suffocation, Morbid Angel, Cryptopsy oder The Crown realisierte.

"Shell of Inexistence" ist ein kraftvolles Statement im Death Metal, das Fans des Genres genauso fesseln wird wie Neulinge!

2023, past and future merge into one. Stripped of temporal markers, today's artists unabashedly draw from the past while boldly gazing into the future. Amid revivals and

innovations, trends and undercurrents, the game is intricate, the nuances abundant. Orphia's music is no exception. Behind the synthesizers, the Genevan weaves a musical tapestry on a tightrope. Cold wave, synth-pop, post-punk, eurodance, Indochine, Depeche Mode, Boards of Canada, Eurythmics... it all blends in a grand synthetic ritual where the festivities happily don't stop at the first light of dawn. Charging forward, swiftly, strongly, into an uncertain future, no questions asked but with a quick glance in the rearview mirror, just to be sure.

"L'Aventure des Gens Modernes" resides in this retro-futuristic melancholy, between nostalgia and a thirst for tomorrow. Without ever falling into foolish nostalgia or soulless revival, the EP reflects an absolute urgency. Urgency to produce, first and foremost, as studio work has become a true raison d'être for Orphia. Urgency to also shout out a certain rage against a world devoid of hope, and this on stage where the artist performs alone, synths in hand and sharp beats for the dancefloor. In an era where the past enables facing the future, the 5 tracks of "L'Aventure des Gens Modernes" breathe a breath of fresh air into a scene in ruins. Cyberpunk or punk in general, Orphia wants to go fast and take everything in its path.

ULTRA LIMITED EDITION - WHITE VINYL - 4 DIFFERENT ARTWORKS (BUY, OBEY, WATCH TV, SLEEP) - NO REPRESS!

FULL soundtrack of John Carpenter's cult sci-fi/action/horror cult film They Live (1988) in never released on vinyl before expanded edition from legendary composer Alan Howarth.

Blues riffs surf on ambient synth, saxophone and harmonica mingle with sparse alien electronics and abstract soundscapes - Alan Howarth's score perfectly matches the eerie paranoid urban Western meets corporate sci fi vibe of John Carpenter's iconic movie.

This version, officially licensed from Alan Howarth, includes all 29 tracks from the soundtrack - the true complete music scores of They Live!

Points of interests

- For fans of soundtracks, horror, cult, sci fi, synth, Western, VHS, John Carpenter, bubble gum, conspiracies, cowboy boots, sunglasses, very rare editions of vinyl records.

- Full EXPANDED version of the They Live soundtrack on vinyl for the first time!

25th Anniversary Vinyl Reissue (May 2025)
A sonic time capsule wrapped in summer grooves

When Since Then first arrived in 2000, it felt like opening a window to somewhere sun-drenched and far away—a place where gentle Brazilian rhythms danced effortlessly with the pulse of deep house. Now, a quarter-century later, the album returns to vinyl for the first time, not as a relic, but as a timeless companion.

This reissue spins more than just music—it breathes new life into a moment when sound, place, and feeling merged into something unforgettable. Pooley was ahead of his time, weaving breezy South American textures into club-ready arrangements. Tracks like “900 Degrees” and “Balmes (A Better Life)” still shimmer with warmth and clarity, their melodies floating with an ease that refuses to age.

Ultra limited Edition

Der 11-fache Billboard Music Awards 2023 Gewinner und Top Male Artist Morgan Wallen meldet sich zurück mit seinem vierten Studioalbum „I’m The Problem”. Morgan ist der erste Künstler überhaupt, der zwei Alben 100 Wochen lang in den Billboard 200 Top 10 platzierte und leitet nun mit den bereits erschienenen Singles „I’m The Problem”, „I’m A Little Crazy” und „Just In Case”, die alle auf dem Album enthalten sind, eine neue Ära des Country-Superstars ein

"Ars Moriendi" is the natural continuation of SlugoS' sound and his most ambitious work to date, taken to a new level of sophistication and sensitivity. This album not only stands out for its musical innovation but also as a conceptual piece that allows the listener to get closer to the artist's inner world.

Inspired by global funeral rites and shaped by industrial, dissonant, and distorted techno, Ars Moriendi unfolds as a spiritual and emotional descent, both brutal and transcendent. Aggressive yet elegant, this album flawlessly fuses elements: from apocalyptic dancefloor destroyers to introspective, IDM-tinged moments, the album offers more than just techno for the body; it is a ceremonial passage for the soul.

Composed of 12 original tracks, each gains new meaning as part of a whole, allowing for a listening experience that flows both from beginning to end and in reverse order. With a refined and detailed sonic palette, the album reaches an audience less attuned to the usual rawness of the artist's work.

In a musical landscape where intensity is often associated with a lack of sensitivity, Ars Moriendi comes as a breath of fresh air, proving that hardness does not have to be at odds with subtlety. With this release, Caedite Eos reaffirms its place at the forefront of uncompromising hard techno.

— Hexenhaus wurde 1987 von Mike Wead (ex-Candlemass) in Stockholm gegründet
— 1191 folgte ihr drittes und letztes Album "Awakening", das sich schon kurz nach
VÖ schlichtweg als DER Klassiker des schwedischen Thrash Metal etablieren
konnte

An album for sleeping and waking, walking and driving, hunting and fishing, for loitering outside a roadhouse on the haunted tundra. Okay in elevators, not great for dinner. On Caveman Wakes Up, Friendship’s new album and second for Merge Records, the band’s historically capacious definition of country music grows wider still. Shambolic guitars are offset by flute pads, bleary poetry is set against a Motown rhythm section, a song about Jerry Garcia and First Lady Betty Ford fades out with a drum solo, like if Talk Talk came from a dingy Philadelphia basement and was fronted by James Tate. Songwriter Dan Wriggins’ ragged baritone cuts through eleven murky, swirling country-rock songs with profound lyrical substance and sincerity. Like an alarm clock incorporated into the edge of a dream, Caveman Wakes Up belongs equally to the conscious and subconscious mind, fraught with background, steeped in reference and experimentation, delivered casually and as a dire warning, dedicated, above all, to music’s creative soul. Over the years, dedication has paid off. Friendship has become a kind of reverse supergroup,
wherein the band itself and each individual member are located centrally in an increasingly prominent scene of young folk and country musicians and songwriters. Drummer Michael Cormier O’Leary leads the instrumental collective Hour and, along with bassist Jon Samuels, runs Dear Life Records, home to friends and peers who count Friendship as a major influence including MJ Lenderman, Florry, and Fust. (Samuels also plays lead guitar in MJ Lenderman and the Wind). Guitarist Peter Gill’s band 2nd Grade records prolifically. Wriggins began writing the songs of Caveman Wakes Up on a downtuned classical guitar of Lenderman’s and finished on a barely tuned piano in an apartment he shared with Sadurn’s G DeGroot.
In the summer of 2023, Wriggins had just left the Iowa Writers’ Workshop, where his love for poetry and mistrust for the academic poetry world grew in tandem. A relationship fell apart, and Wriggins crashed for several weeks at Lenderman and Wednesday’s Karly Hartzman’s home in North Carolina, where he recorded the first demos of “Resident Evil,” “All Over the World,” and “Love Vape.” Wriggins returned to Philadelphia, and the band got to work on new ideas, finally tracking the album in five days with engineer Jeff Ziegler (Mary Lattimore, War on Drugs). Wriggins recorded vocals with Love the Stranger engineer Bradford Kreiger, and organ, violin (Jason Calhoun), and flute (Adelyn Strei) were recorded by Lucas Knapp in a West Philadelphia church.

“Wrecking Ball” was one thing. Now comes the long-awaited anti-austerity blast-a-thon with the teeth, venom and one-of-a-kind music of Jello Biafra. The second full-length from Jello Biafra and the Guantanamo School of Medicine picks up where last fall’s SHOCK-U-PY! left off. Covered in gruesome detail this time are corruption (“The Brown Lipstick Parade”), “Werewolves of Wall Street,” “Road Rage,” and corporate McMedia making pop stars out of small-time crooks to shield the big ones (“John Dillinger”) or tabloid pop stars to lobotomize everyone else (“Hollywood Goof Disease”). The title track shines a light on our never-ending foreign policy disasters in ways even Jello’s spoken word albums never did. “Crapture” is the perfect song to play for those lovely End Times believers, pointing out how much better the world would be for everyone else left behind—replete with melodies on the scale Biafra hasn’t really touched since “Moon Over Marin.” Above all, White People and the Damage Done rocks! No pop punk here, just Jello and crew taking punk fire in unexplored directions, with wallof-sound, in-your-face production from Marshall Lawless and Matt Kelley (lots of Jello projects, Hieroglyphics, The Coup, Digital Underground, Zen Guerrilla). Lineup retains the double-barreled guitar attack of Ralph Spight (Victims Family, Freak Accident) and Kimo Ball (Freak Accident, Griddle, Mol Triffid), joined by bassist Andrew Weiss (Rollins Band, Ween, Butthole Surfers, more) and drummer Paul Della Pelle (Helios Creed, Nik Turner’s Space Ritual, and Philly HC legends Ruin)

“Wrecking Ball” was one thing. Now comes the long-awaited anti-austerity blast-a-thon with the teeth, venom and one-of-a-kind music of Jello Biafra. The second full-length from Jello Biafra and the Guantanamo School of Medicine picks up where last fall’s SHOCK-U-PY! left off. Covered in gruesome detail this time are corruption (“The Brown Lipstick Parade”), “Werewolves of Wall Street,” “Road Rage,” and corporate McMedia making pop stars out of small-time crooks to shield the big ones (“John Dillinger”) or tabloid pop stars to lobotomize everyone else (“Hollywood Goof Disease”). The title track shines a light on our never-ending foreign policy disasters in ways even Jello’s spoken word albums never did. “Crapture” is the perfect song to play for those lovely End Times believers, pointing out how much better the world would be for everyone else left behind—replete with melodies on the scale Biafra hasn’t really touched since “Moon Over Marin.” Above all, White People and the Damage Done rocks! No pop punk here, just Jello and crew taking punk fire in unexplored directions, with wallof-sound, in-your-face production from Marshall Lawless and Matt Kelley (lots of Jello projects, Hieroglyphics, The Coup, Digital Underground, Zen Guerrilla). Lineup retains the double-barreled guitar attack of Ralph Spight (Victims Family, Freak Accident) and Kimo Ball (Freak Accident, Griddle, Mol Triffid), joined by bassist Andrew Weiss (Rollins Band, Ween, Butthole Surfers, more) and drummer Paul Della Pelle (Helios Creed, Nik Turner’s Space Ritual, and Philly HC legends Ruin)

Tàrrega 91’s straightforward take on Discharge-inspired hardcore punk is a glass of fresh water in a polluted sea of bands trying to break through the algorithm and grab a few seconds of our ever-decreasing supply of attention. There are no gimmicks on Ckaos Total, just simple three and four-chord riffs, a driving drumbeat (you can guess which one), and thoughtful lyrics delivered with power and passion. Tempos vary from fast, to really fast, to ultra fast, with most songs in the latter category. Without studio effects, silly costumes, or metal chops to distract, the focus falls on the songs themselves, which distill a profound sense of hopelessness and frustration into a few defiant words to yell into the void. In their lyrics and artwork, Tàrrega 91' continues to draw inspiration from the 1991 uprising in their town that ended with the arrest of 86 young people, a history that makes them keenly aware of exactly what they’re pushing against. While so many contemporary bands emulate the aesthetics of punk’s classic era, on Ckaos Total Tàrrega 91 taps into the power of bands like Discharge, Wretched, and MG-15 by creating simple, sincere—and sincerely pissed—protest music.

Has it really been seven years since the last The Number Ones record? Luckily for all the pop pickers in the world they are back with a two track 7", their first with new bassist Pete O'Hanlon. Both tracks have everything you’d want from The Number Ones - joyous and uptempo songs with hooks galore that get stuck in your head after one play.
’Sorry’ lasts just over two minutes and is a stonewall classic. It’s like a prime Buzzcocks 1979 7” single mixed with a rawer production from any number of the Good Vibrations label or Rip Off Records releases. The flip ‘Blind Spot’ (complete with a guest appearance from Al and Amy from Terry) has a more 60’s edge but still with the classic power pop sound you’d expect and love. This band should be a household name.