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The original Madlib instrumentals to Georgia Anne Muldrow’s critically acclaimed album; “Seeds” which was released in 2012 on SomeOthaShip Connect. Heralded as one of her most captivating and immediate front-to-back statements of purpose, a deeply spiritual collection of songs. It was the first time in her career where she handed over all production duties to someone other than herself, that someone being the legendary Madlib.
The beats on “Seeds” are naturally heavy, funky, soulful, abrupt yet hypnotic. All the characteristics of Madlib’s signature sound we know and love.

On the B Side of the vinyl is a collection of Georgia Anne Muldrow instrumentals from across 3 Dudley Perkins albums, “Young Spirit”, “Self Study”, and “Holy Smokes.” Beats with synths reminiscent of J Dilla’s electronic era but with enough G-Funk influence to melt your Raiders hat. Bass lines that could get The Click back together. Georgia Anne Muldrow is a master of her craft on the beats and the microphone. This record is a testament to that. Rediscover “Seeds”, the magical powers of Madlib, and why beat tapes will never go out of style.

The album opens with "Hypnagogia," an ode to the space between sleep and wakefulness where we are open to other realms of consciousness. The song slowly builds along a steady pulse provided by bassist Pickle (Nicole Smith) and drummer Rikki Styxx. Tripped out saxophone bleats from guest player Gabe Flores swirl on top of the organ drones laid out by guest keyboardist Gregg Foreman. The band's choral objectives for Under the Spell of Joy are established right off the bat, with Bonnie Bloomgarden's melodic invocations bolstered by a choir, giving the album a rich and vibrant wall-of-sound aesthetic. The song ominously builds on its hypnotic foundation until it opens up into a raucous revelry at the four-minute mark. The portentous simmer of the opening track yields to the ecstatic rocker "Hold My Hand," where verses reminiscent of Velvet Underground's "I'm Waiting For The Man" explode into big triumphant choruses. From there the band launches into the title track, which marries the griminess of The Stooges with an innocence provided by a children's choir chanting the album's primary mantra "under the spell of joy / under the spell of love." Death Valley Girls have always vacillated between lightness and darkness, and on "Bliss Out" they demonstrate their current exuberant focus with a patina-hued pop song driven by an irrepressibly buoyant organ line laid down by keyboardist The Kid (Laura Kelsey). A similar cosmic euphoria is obtained on "The Universe," where alternating chords on the organ help elevate soaring saxophone and keyboard lines out beyond the stratosphere. If you're looking for transcendental rock music, look no further.

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' departure in 2022, this reunified version of Pelican allowed the band to tap back into the spirit of their formative era and build something distinctly new with Flickering Resonance. While longtime Pelican fans will recognize the album as an update to 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 at first," says Schroeder-Lebec. "I was like, well, I guess the metal world is where we fit. But now, we're more willing to acknowledge all the suits we're wearing."On Flickering Resonance, Pelican doesn't attempt to reinvent itself as much as emphasize the elements that were so often overlooked. Though Pelican's thick sonic backbone remains intact, the songs on Flickering Resonance show a more humanistic side of the band. Tracks like "Evergreen" and "Indelible" tease Pelican's doom-metal roots, but these songs feel equally, ebullient and truthful, playing like Texas Is The Reason songs transmuted into a post-rock landscape. Recorded with longtime musical compatriot Sanford Parker, who recorded their first EP, Pelican begins this new chapter of their career with an album that's neither full reinvention nor back-to-roots revivalism. After so much time apart, and with so much life having been lived between the original Pelican lineup's last recording sessions together, the band approached it with renewed vigor and a more communal spirit."There was more room for openness and critique with the understanding that we're all trying to craft the best song possible and that every suggestion is valid until it's proven invalid," says Shelley de Brauw. That process allowed everyone to embrace the material with a shared vision. "We didn't move forward unless we all wanted to move forward, and that felt like real community building," says Schroeder-Lebec of this unified approach. "I went from seeing it as my art and my craft to our craft that we were shaping together."In doing so, 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. Songs like "Cascading Crescent" and "Indelible" don't languish in what's been lost, these tracks see the band embracing what remains in their hands instead of lamenting what's slipped through their fingers. It's a concept that's mirrored in the artwork of Christian Degn that graces the cover of Flickering Resonance. It's a piece built off the concept of flame meditation, and how the smallest flames can often bring about the biggest transformations. A song like "Flickering Stillness" exemplifies this feeling through its sonic expanse, putting the band's sonic density and hyper-focused clarity on display, but with an emphasis on the profound human connections that have kept Pelican going all these years. "When Laurent left and we were able to carry it through, there became a real sense of gratitude for the fact we still have this artistic outlet and a community of people who want to be a part of it" That feeling of deep, grounded appreciation isn't just one that's within the band members, it's expressed in every track on Flickering Resonance. Because at the very core of Pelican, are four individuals who have grown both separately and together, and always will.Like a distant light faintly glowing in the darkest night, Flickering Resonance is a reminder of all that has passed us by, but also all that is still to come.

Schwarzes Vinyl, Gatefold Sleeve. Der Hardcore-Klassiker ist zurück. "Brother Against Brother" liefert kompromisslosen 90er Oldschool-Sound mit brutaler Energie und NYHC-Attitüde. Fette Riffs, ehrliche Wut, kein Bullshit - ein Muss für jeden Hardcore-Fan. Ein Meilenstein des 90er Hardcore - jetzt endlich wieder in hochwertiger Gatefold-Ausführung verfügbar!

Legendary indie travellers Half Japanese return with their new album Adventure. The prolific outsider combo, helmed by the ever-optimistic Jad Fair, delivers a heartwarming set of upbeat sonnets celebrating the power of love, affection, and maturity. More than 50 years since Jad and his brother David emerged from their lo-fi bedroom in Uniontown, Maryland, USA, Adventure takes the latest incarnation of the band down new and more refined avenues. Recorded in London at Vacant TV and produced by Jason Willett and Jad, Adventure presents a more pristine and polished canvas for Jad to expand upon. The addition of Euan Hinshelwood to the sonic palette, with saxophone, harmonica, and piano, creates a smoother backdrop for the band's less lubricated sound. Lemonade Sunset is an ode to the world of wonder, a spacious overture built with melancholy in mind but relishing the positivity of life. By contrast, Step On Up revolves around a glorious rising piano motif that hints at Steely Dan if they were high on energy drinks and spinach rather than their usual tipple. It's a light-hearted evocation of the good times. Magnificent is a homage to living in the present tense, powered by the bittersweet saxophone, with a glorious piano-led sub-melody offsetting Jad's positivity: "magnificently magnificent," no less. Elsewhere, ringing percussion and sharp arrangements provide Jad with a sturdy and far reaching soundtrack to lament over. Adventure sees Half Japanese covering new ground, with Jad's considered soliloquies set in a sumptuous setting. The lineup for Half Japanese on Adventure includes Jason Willett (bass, keyboards), Gilles-Vincent Rieder (drums, percussion), John Sluggett (guitar, piano, bass), Mick Hobbs (guitar), Euan Hinshelwood (guitar, saxophone, piano, harmonica), and Jad Fair (vocals, percussion). Sadly, longstanding member Mick Hobbs passed away last year. "Absurdly underrated art-rockers" - Record Collector. * "Fair's ability to bang out music behind him is matched perhaps only by Mark E Smith" - The Wire.

State Change is the riveting new album from composer and performer Molly Joyce, out July 11, 2025 via FatCat Records’ 130701 imprint. Blending influences ranging from the 20th century modernist lineage to the spectral drones of Andy Stott, Missy Mazzoli, and Nico Muhly, State Change draws unflinchingly from the medical record of a childhood trauma for seven electro-acoustic tone poems — stark and oppressive in its medical aesthetic, yet ultimately cathartic and healing. Joyce crafted the album with Grammy-winning producer William Brittelle largely at Figure 8 Studios with engineer Michael Hammond.

When Joyce was seven years old, she was involved in a car accident that nearly amputated her left hand and required many intensive surgeries; to this day, her hand is still impaired. Joyce pushed through this life change, and over the past eight years, her reputation has swelled as one of her generation’s most daring, conceptually driven composers.

Joyce’s 2020 debut for New Amsterdam Records, Breaking and Entering, ruminated on this seismic shift in pieces for toy organ, voice, and electronic sampling of both sources. The New York Times noted her music’s “serene power”; The Washington Post described her as “one of the most versatile, prolific and intriguing composers working under the vast new-music dome.” Pitchfork lauded her 2022 album Perspective — a sonic portrait of disability built from interview recordings, also released on New Amsterdam — as “a powerful work of love and empathy that underscores the poison of ableism in American culture.”

The Kinks kündigen den dritten und letzten Teil ihrer ganz besonderen Anthologie-Reihe an: „The Journey
– Part 3“.
„Part 3“ behandelt ihre transformative RCA/Arista-Zeit von 1977 bis 1984, eine Zeit, in der die Band
endgültig in Amerika durchbrach, ihre legendären Pop- und Experimentalphasen hinter sich ließ und zu
einem frischen und prägnanten Stil des klassischen Songwritings zurückkehrte, der von ihrem eigenen,
ausgeprägten britischen Selbstverständnis zeugt.
CD 1 / LP 1 enthält Klassiker und Hits aus dieser Zeit, persönlich von der Band ausgewählt und von den
Original-Sampler- und Produktionsbändern remastert, darunter „Come Dancing“, „Destroyer“ und „Living
On A Thin Line“.
CD 2 / LP 2 enthält bisher unveröffentlichte Aufnahmen des Hit-reichen Auftritts der Band in der Royal
Albert Hall im Juli 1993, darunter fesselnde Interpretationen von „You Really Got Me“ und „Till The End
of the Day“ und vielen anderen.
Sowohl unsere 180-g-Doppel-LP als auch die Doppel-CD enthalten Track-by-Track-Kommentare der Band
sowie neue Linernotes von Phil Alexander.

The one-of-a-kind solo album by legendary jazz bassist Isao Suzuki—originally released in 1981—is now reissued on analog vinyl!

Crafted entirely by Suzuki himself through meticulous multi-track recording, the album features an eclectic mix of instruments including upright bass, Hammond organ, vocoder, Taishogoto, and erhu, along with his own vocals. Not only did he compose and perform all the music, but he also designed the jacket artwork and wrote the liner notes, making this truly a singular, self-contained expression of Isao Suzuki in every sense—a bold, genre-defying one-man masterpiece.

Stupid Sexy Paulo is a genre-blending odyssey from Paulo and the Problems, bringing together Fogwood Records labelmates for a truly collaborative experience. Fusing indie rock, R&B, jazz, and hip-hop, the album showcases the collective energy of the label, blurring genre lines with effortless cool. A bold and playful statement, Stupid Sexy Paulo captures the spirit of creative freedom and the power of collaboration

Official reissue of this sought-after Canadian psychedelic hard-rock album from 1970.
Formed in Toronto in the late 60s, It’s All Meat (the name was taken from a dog food commercial!) soon caught the attention of influential character Jack London (frontman of pre-Steppenwolf band Jack London and the Sparrows) who managed the band and secured a deal with major label Columbia Records.
After recording their first 45, the proto-punk MC5/Stones sounding “Feel It”, the band started working on their first album with the tandem of Jed MacKay and Rick McKim as main songwriters.
“It’s All Meat” was released in 1970 and offered a powerful mix of garage-rock, psychedelia and early hard- rock, drawing influences from bands like the Stones, Country Joe & The Fish, Doors, Velvet Underground... tracks like “Roll My Own” or the lysergic “Crying Into The Deep Lake” are now considered classics of the genre.
Sadly, the band would split soon after the LP was released.
*Original artwork in gatefold sleeve *Remastered sound in 24-bit domain *Insert with liner notes by Plastic Crimewave and rare photos / memorabilia
*Download card with non-LP singles and rare tracks
RIYL: STONES, MC5, DOORS, JEFFERSON AIRPLANE, NEW YORK DOLLS,
“One of the classic Canadian rarities. It’s All Meat deliver ballsy Stones influenced hardrock with some psychedelic west-coast moves” - Patrick Lundborg (Acid Archives)

Active between 1970 and 1976, the Bolton Iron Maiden (originally known as Birth and then Iron Maiden) was a psychedelic hard-rock band formed in Bolton by Ian Boulton-Smith (Beak) on lead guitar, Derek George Austin on bass and Paul TJ O’Neill on drums / vocals.
Influenced by contemporaries like LED ZEPPELIN, CREAM, FREE, GROUNDHOGS OR ANDROMEDA, their music blended blues, hard rock, and progressive elements.
They soon built a strong reputation supporting acts such as UFO, Bedlam (with Cozy Powell), CARAVAN, THIN LIZZY... In 1976, the band disbanded following the death of guitarist Ian Boulton-Smith from cancer.
In 2005, Paul O’Neill revived interest in BIM by releasing two albums, “Maiden Flight” and “Boulton Rides Again”,which compiled studio and live recordings. The proceeds from these albums were donated to Cancer Research and Macmillan Cancer Support. With the blessing of the more famous
Iron Maiden and their manager Rod Smallwood, the band adopted the name “The Bolton Iron Maiden” to avoid confusion.
For the first time on vinyl, “Maiden Flight” collects their previously unreleased studio recordings from 1972 plus raw as f*ck live tracks circa 1975.
*Insert with detailed liner notes and rare photos / memorabilia / *Download card with extra (live) bonus tracks

In 2006, Danger Mouse is King Midas of the music world. He has an uncanny knack for creating jagged, dense, frenzied beats and odd, eerie, vivid soundscapes that never compromise the music's natural flow. Meanwhile, rapper and singer Cee-Lo, a veteran of Atlanta's Dirty South scene, has never been one to be constrained by hip-hop conventions, and is a willing partner in adventure. The result is an intrepid psychedelic blend of pop, hip-hop, soul, and rock that consistently challenges and delights. It's no wonder that "Crazy," with its modest riff, irresistible hook, and disarming opening line ("I remember when, I remember, I remember when I lost my mind") became a worldwide Internet sensation a full six months before the official release of St. Elsewhere. But that relatively simple soul-pop gem is the tamest track on this wide-ranging, often dark and introspective collaboration. (In fact, the duo considers Gnarls Barkley to be a wholly new creation, as opposed to a collaboration of existing artists.) "Everybody is somebody, but nobody wants to be themselves," Cee-Lo croons on "Who Cares?" He and Danger Mouse try very hard not to be their old selves as they creatively and confidently break down boundaries, but the brilliant cores of their musical personae Cee-Lo's eccentric spiritual soul man and Danger's bold sonic explorer remain. Marc Greilsamer.

For Earth Below 50th Anniversary Edition: 4-Disc 50th Anniversary Edition: Original 1975 Mix (2025 Remaster), 2025 Extended Stereo Mix, Outtakes & Rarities, Live in Los Angeles, 1975. Housed in DVD style media book with extended liner notes by David Sinclair featuring interviews with Robin Trower and Bill Lordan and rare photographs.

For Earth Below, the third studio album by British guitar legend Robin Trower was released in 1975 and is considered one of his most prominent works from his time as a solo artist after leaving Procol Harum. For Earth Below continued to build on the success of his previous album Bridge of Sighs, solidifying him as an arena touring artist in the States, reaching number 5 on the Billboard chart.

Following the exit of Reg Isadore, the exciting Bill Lordan (Sly & The Family Stone) joined the band shortly before the recording of this album, giving a new driving force to the outfit.

To celebrate the 50th Anniversary of this classic, Chrysalis Records are proud to present the most expanded edition of the album to date featuring the original album remastered at AIR mastering, a newly unearthed extended stereo mix of the entire record, a disc of outtakes, rarities and BBC sessions with the majority previously unreleased and a newly mixed concert taped live in Los Angeles from the For Earth Below tour, never available in its entirety before.

At the centre of the package is a booklet featuring newly written liner notes by acclaimed journalist David Sinclair and interviews with Robin Trower and Bill Lordan.

Cologne‘s Hen & Goose continues with a solo EP from talented producer Bobby Cazanova - a deep and spacey trip you can‘t resist.
Hand-stamped and numbered.
Limited to 300.

Influential hardcore innovators Botch have delivered their electrifying new live album 061524, recorded at the iconic Showbox in Seattle on June 15, 2024—exactly 22 years to the day after their original farewell show at the same venue in 2002. 061524 captures a band still pushing sonic and emotional boundaries, now sharper, louder, and more dynamic than ever. Botch’s impact on aggressive music is undeniable. Their chaotic, math-laced brand of hardcore helped shape the genre’s landscape well after the band’s abrupt breakup in 2002.

For years, a reunion seemed unlikely—until a chain of unexpected events brought the original lineup back together for the band’s first new recording in over 20 years: 2022’s “One Twenty Two.” The song was released to critical acclaim, building into a frenzy of anticipation for Botch to reunite. What started as a nostalgic experiment quickly became a full-circle celebration, with the band reconnecting both personally and musically. That spark unleashed a wave of activity: secret warm-up shows, sold-out headlining gigs, and eventually a carefully curated international reunion tour, culminating in their hometown return at the Showbox—where 061524 was recorded in front of a packed, exhilarated crowd. 061524 is a blistering, unflinching document of a band reawakened—not as a legacy act, but as a vital force.

The album captures the energy, grit, and heart of a group that’s not only older and wiser—but more rehearsed and way more ambitious. The performances are tight but still full of the raw unpredictability that defined their early years. Fan favorites like “To Our Friends in the Great White North” and “Transitions from Persona to Object” are more complex and invigorating than ever before. Other songs, like “Afghamistam” and “Oma,” never considered feasible to pull off live previously, are delivered with the intricacy and intensity that has earned the band a lasting legacy and fresh legion of followers.

Influential hardcore innovators Botch have delivered their electrifying new live album 061524, recorded at the iconic Showbox in Seattle on June 15, 2024—exactly 22 years to the day after their original farewell show at the same venue in 2002. 061524 captures a band still pushing sonic and emotional boundaries, now sharper, louder, and more dynamic than ever. Botch’s impact on aggressive music is undeniable. Their chaotic, math-laced brand of hardcore helped shape the genre’s landscape well after the band’s abrupt breakup in 2002.

For years, a reunion seemed unlikely—until a chain of unexpected events brought the original lineup back together for the band’s first new recording in over 20 years: 2022’s “One Twenty Two.” The song was released to critical acclaim, building into a frenzy of anticipation for Botch to reunite. What started as a nostalgic experiment quickly became a full-circle celebration, with the band reconnecting both personally and musically. That spark unleashed a wave of activity: secret warm-up shows, sold-out headlining gigs, and eventually a carefully curated international reunion tour, culminating in their hometown return at the Showbox—where 061524 was recorded in front of a packed, exhilarated crowd. 061524 is a blistering, unflinching document of a band reawakened—not as a legacy act, but as a vital force.

The album captures the energy, grit, and heart of a group that’s not only older and wiser—but more rehearsed and way more ambitious. The performances are tight but still full of the raw unpredictability that defined their early years. Fan favorites like “To Our Friends in the Great White North” and “Transitions from Persona to Object” are more complex and invigorating than ever before. Other songs, like “Afghamistam” and “Oma,” never considered feasible to pull off live previously, are delivered with the intricacy and intensity that has earned the band a lasting legacy and fresh legion of followers.

Lifelong friends Richard Lowe and Rob Bendelow formed their first band “Lammergier” during the mid 1970’s together with bassist Barry Yates. Following their first love performance in 1977 the band gigged extensively across the British midlands. The standard of these performances combined with their unique brand of symphonic rock saw “Lammergier” amass a large and loyal following. Then a new decade arrived changes were made, the music remained the same, but they called themselves “Saracen”.

After several months on the road Saracen decided it was time to record an album, and in October 1981 they released “Heroes, Saints and Fools” to critical acclaim. Saracen tracks received regular airplay on Tommy Vance’s Friday night rock show and the single “We have arrived” was recorded. In 1983 line-up changes occurred and the band eventually stopped touring in 1985.

Two decades later and the band re-appear with a vengeance and the release of “Red Sky” in March 2003 put the band firmly back on the map, and it was a rework of some of the old classics with new tracks added. The band regained its popularity, and a further three albums have emerged to critical acclaim, namely “Vox in Excelso”, “Marilyn” and “Redemption”.

With renewed interest in the vinyl format of recorded music “Vox In Excelso” has been re-released in 2025 as a numbered limited edition with new artwork and now “Red Sky” is to follow, again with new artwork. These are beautiful works of art and the recordings sound fresh and vibrant, its classic progressive rock brought into the present day and it doesn’t get better than this..

Smut is the project of lyricist Tay Roebuck, guitarists Andie Min and Sam Ruschman, drummer Aidan O’Connor, and bassist John Steiner. Roebuck, Ruschman and Min started the band a decade ago in Cincinnati, Ohio. Since then, they’ve played alongside Bully, Wavves, and Nothing. After years in the Cincinnati DIY scene, they made their Bayonet Records full-length debut, How the Light Felt. The record was a revelation. Pitchfork called it “a rigorous, decade-spanning study,” and a “well-oiled spin on late-’80s guitar pop.” Under the Radar called it “pop perfection,” that “blends subtle hooks with wistful lyrics.” It was a record that explored grief through the lens of melancholic dreampop, using drum machines and layered, intricate melodies.
Tomorrow Comes Crashing, Smut's first record with O'Connor and Steiner, sees the band re-energized and trained on the limitless potential that comes with making music with people you love. Galvanized with a new lineup, Smut focused on creating a record that possessed the same towering intensity as the records that first got them into music: Three Cheers for Sweet Revenge, Relationship of Command. The outcome is ten of their most intense, bombastic, and focused songs to date.
Catharsis bursts through the seams throughout Tomorrow Comes Crashing. “Syd Sweeney, ”inspired by the actress, is the record's centerpiece. It's about how profoundly strange it can be to be a woman, to be misunderstood by people who don’t even know you. The song is driven by chugging guitars and big, rolling drums. In other words: stadium rock about perception. Paramore meets Dookie. “She connects to the youth and the girls in the water/All she amounts to is someone’s daughter,” sings Roebuck in one particularly poetic moment. The song comes to a thrashing metal-inspired breakdown. It’s ecstatic.
To make the record, Smut recorded “as live as they could,” alongside Aron Kobayashi-Ritch(Momma) in a studio in Red Hook, Brooklyn, over the course of ten days. “We have so much energy right now,” says Roebuck. Right before they went off to New York, Roebuck and Min got married, with the rest of the band by their side. The recording was a true labor of love — driving from Chicago with all their equipment, returning from 12 hour studio days to sleep on friends' couches and floors, Roebuck completely blowing her voice by the end. Smut has always been DIY. Because they love it. Because they have to do it–there’s no other option. Tomorrow Comes Crashing is the culmination of that DIY spirit: making a record that completely encompasses the intensity, moodiness, and emotion of their journey so far.

"World of Pooh immensely brightened the dark corners of San Francisco, California during the years 1983-1990, with their most recognized guise being the MMF trio that existed & thrived during the years 1986-1990. This is the lineup you’ll hear documented on this exceptional collection of 45s, compilation tracks and assorted ephemera. The band has ranged from being a footnote for some (“is that the band Barbara Manning was once in?”) to a fondly-regarded memory for others (“the Land of Thirst album is a forgotten classic”) to a turnstile, door-opening band for still others — like me. They arrived in my life as they were slowly exiting theirs, and I eagerly attended a half-dozen shows of theirs circa 1989-90 around San Francisco moments after I moved there. They were instantly my favorite local band, one I was instantly duty-bound to see whenever & wherever they played. Their jagged and discombobulated take on underground pop music was exceptionally fertile, feral and fetching, and it served as a personal gateway drug that flowered my own appreciation for many different kinds of subtle musical tension.
I also spent at least five glorious years watching Jay Paget, who drummed for World of Pooh and later the Thinking Fellers Union Local 282, ply his rhythmic trade with much aplomb. He was always a steady hand behind the musical wheel of innovative bands who often threatened to careen off course. And I’ll admit to an untoward admiration of (and fascination with) World of Pooh founder, guitarist and singer Brandan Kearney from the moment I met the guy. Not only was he exceptionally friendly and welcoming to a carpetbagging interloper quickly trying to horn in on his scene (me), he was at once one of the most quick-witted, self-deprecating, highly intelligent & musically conversant people I’d ever met. Everything he and his band were doing, along with the mind-boggling DIY gunk he was pushing through his record label, Nuf Sed, and via his multiple other bands (among them: Caroliner & Archipelago Brewing Company, with several more to follow), made me extremely curious and not a tiny bit jealous about these wiser, weirder and musically more daring freaks who were making art, love & war in the relatively grittier & non-gentrified San Francisco of the day.
What I’ve learned in the 35 years since the band broke up is just how highly regarded they were (and remain) by not only those who saw them, but by a now-considerably larger group of humans who’ve subsequently heard & loved their records. I know that their place in the late 1980s was a small but special one, and I’ve seen plenty of online clamoring for more, more, more about this ephemeral and poorly-documented band. And rightly, here it is, lovingly assembled: their two hard-to-come-by 45s, a handful of comp tracks, and a quartet of phenomenal songs just coming to light for the first time, including that Half Japanese cover that dimly existed in my memory as a live song they naturally pulled off with sangfroid, from a time and space when we were all a little younger. - Jay Hinman"

This album released in 1957 showcases Chet Baker's trumpet skills alongside Bobby Jaspar on tenorsaxophone. The recordings for the album took place between October 25, 1955, and February 10, 1956, at Studio Pathe-Magellan in Paris and features a mix of cool jazz and bop styles with tracks like "How About You," "Once in a While," and "Alone Together." The ensemble of musicians on this album includes notable names such as Jean-Louis Viale on drums, and Benoit Quersin on bass; the album highlighting Baker's distinctive trumpet tone and his collaboration with talented European musicians: "I Get Chet" is a significant work in his discography and reflect his mastery in the cool jazz and bop genres. The tracks are characterized by its relaxed tempos and lighter tone, and bop, known for its complex rhythms and harmonies, it is praised for its lyrical and cool jazz elements. For this and other reasons and considered a gem from Chet Baker's Paris sessions, showcasing his talent during a pivotal time in his career.

In Between is the fifth full length album of the band and comes after 3 years from "Maths of the Elements" with the same line up. This time the mission of the four musicians is to explore the sound and the landscape of the place "in between" where our consciousness moves when the physical form ends its time .

In Between is the fifth full length album of the band and comes after 3 years from "Maths of the Elements" with the same line up. This time the mission of the four musicians is to explore the sound and the landscape of the place "in between" where our consciousness moves when the physical form ends its time .

When you think of Scandinavia, Slamming/brutality isn't the first thing to come to mind. That's until the slam crew of DEVINE DEFILEMENT spewed onto the Icelandic scene in late 2016.

Devine Defilement draw inspiration from a variety of death metal sub-genres they have concocted a brutal cocktail of groove, slams, blasts and ferocity that has made them a force to be reckoned with!

With several releases under their belt Devine Defilement has kept busy playing shows in their home country of Iceland, as well as heading on numerous European tours.

The band has played all the major metal festivals of Iceland like Eistnaflug, Satan, Reykjavik Deathfest & Noroanpaunk to name a few, and has also appeared on notable European death metal fests such as Deathfeast Open Air & Nice to Eat You and already have a more festival appearances lined up for 2025.

Devine Defilement's live show is highly energetic, heavy and brutal as hell and it's on stage that these maniacs are in their true element!

In 2025 the band is set to release their new full-length album "Ruthless" through Time To Kill Records, and it is their most savage offering yet!

Reissue of in-demand Italo title, with accompanying edits by Hysteric. "For the much-requested 12'' reissue of Roaring Mosquitoes, Best Record followed the hint by a die-hard German researcher and esteemed DJ of 'hidden musical treasures' Frinda Di Lanco. Further enriching this reissue - masterfully remastered by Dom Scuteri - with two of his splendid edits is the Australian DJ-producer George Hysteric, one of the world's leading authorities and a leading figure in Italo Disco. The juxtaposition of the two songs performed with grit and physicality by Agostina Casalino and her cousin Antonietta Casalino (aka Roaring Mosquitoes) highlights two aesthetically and rhythmically similar approaches, albeit with different roots and inspirations. "You Aren't With Me" has the merit of not wanting to reinvent the genre, but exploits the familiarity of pop-dance forms, obtaining an immediate catchiness. The piece stands out for its linearity while reworking melodic mechanisms typical of the 80s new wave: short instrumental intro, well-defined verse-chorus, obsessive repetition of melodic hooks that make it an immediate and "dragging" song on the dance floor. The arrangement focuses on a solid electronic drum groove, sinuous basslines, clean guitar riffs, "cutting" keyboards and the use of the chorus typical of the Italo Disco of those years. Some passages recall the melodic line and rhythmic progression of "Tonight... Crazy Night", an intriguing song that the Canadian artist Dorine Hollier created in 1984 at the Titania Studios in Rome with Pierluigi Giombini. Even with "Ah Ah Ah Ah" which features a vibrant and cheerful sound there's a playful use of citation for some idea that Diego Pepe took from a Micky & Joyce track. It evokes the "space disco" spirit of Jean-Pierre Massiera and the influence of the French scene of 1979: polyphonic synthetic strings, echo effects on electronic hi-hats and a vaguely futuristic atmosphere, but with an even more captivating sound revitalized with more scratchy modern touches and compressed basslines. A mix of vintage and contemporary that enhance its charm."

The Australian master of the dark synth arts is back and – boy – he is out for blood.
We’ve been missing Marc Dwyer solo project Buzz Kull since his latest single Last In The Club from late 2019 and since back then we knew he was up to something. At first glimpse, the minimal wave days of We Were Lovers seem far away now that Marc has gone full Club Body Music with his upcoming new album, but there is a thread that binds Buzz Kull hits from the past such as Into The Void, Avoiding The Light and New Kind Of Cross with these ten new cuts: a thread of darkness proper to the most handsome man in the game and that’s here to stay.

Echoes of 90’s era Front 242 and Front Line Assembly will resonate from tracks like Fascination and Dead Inside; elements of early body music flirting with the dark side of British synthpop will rave from the grooves of Dancing with Machines and Man on the Beat, while late 80’s Belgian new beat cellar-like vibes rise from Do You See and Burn it to the Ground.

But Buzz Kull’s third full-length is not just about music subgenres we all know and love, it’s about a feeling that comes alive only with the dark and drives you through the small hours just to leave you drained and filled at once. The creature of the night is on the loose, the sticky dancefloor its natural habitat, its lust for the upside-down world of the club can’t be cured.

Monde UFO follow the celebrated ‘7171’ album with a trip to the mysterious ‘Flamingo Tower’. In the shadows of the Los Angeles bustling music scene, the enigmatic collective led by visionary Ray Monde create a trance-like fusion of psychedelia and avant jazz, mantra-like evocations, brash moody ambience and passages reminiscent of long-lost library music.

Magnifying Monde UFO’s idea of musical chaos, their early sonic escapades into off-kilter exotica is now elevated with sweeping atmospheric waves of sound inspired by an eclectic brew of Arto Lindsey, Khan Jamal’s ‘Drum Dance To The Motherland’, Keith Hudson, Milford Graves, Marion Brown, Don Cherry and Lennie Tristano.

Cast deep into number theory with occasional quasi-religious touchstones, ‘Flamingo Tower’ bustles with background sounds overlaid with intimate melodies conjuring plenty of suitably strange illusions; a synthetic orchestra plays baroque pop, a guitar is set to auto destruct and Ray Monde’s hushed vocals carry a bracing narrative. It’s an evocative album, one for the heavy music nerds, sprinkled with ear candy and proliferated by mysterious numbers which litter the song titles.

“Monde UFO wander through a humid mist of exotic samba shuffles, shamanic whispers, and reverberating laser beam synthesizers.” New Commute

Spirituelle Musik mit tiefer Resonanz, übertragen durch Klavier, Orgel und Harmonium von der geliebten Komponistin und äthiopischen orthodoxen Nonne Emahoy Tsege Mariam Gebru. "Church of Kidane Mehret" versammelt das gesamte musikalische Werk von Emahoys gleichnamigem Privatpress-Album von 1972 sowie zwei zusätzliche unveröffentlichte Klavieraufnahmen mit Emahoys ,Äthiopischer Kirchenmusik". Die Aufnahmen entstanden in Kirchen in ganz Jerusalem. Zum ersten Mal hören wir Emahoy auf dem Harmonium und der massiven, dröhnenden Pfeifenorgel, neben einigen ihrer bewegendsten Klavierstücke. Bei ,Ave Maria" hallt ihr läutendes Klavier gegen alte Steinmauern. Ihre vertrauten melodischen Linien erhalten eine neue Resonanz, wenn sie in ,Spring Ode - Meskerem" durch das Harmonium gespielt werden. Zwei überragende Orgelstücke bilden die B-Seite, die Emahoys klassische europäische Ausbildung mit ihrem lebenslangen Studium der äthiopischer religiöser Musik kombinieren. Nirgendwo ist Emahoys einzigartige Kombination von Einflüssen deutlicher als bei ,Essay on Mahlet", einem meditativen Dauerbrenner, in dem Emahoy die freien Verse der orthodoxen Liturgie Note für Note auf dem Klavier interpretiert. Dieses aufschlussreiche Stück stammt, neben der dramatischen Klavierkomposition ,The Storm", von einem anderen selbstveröffentlichten Album, "Der Sang Des Meeres" von 1963. Eines der einzigen bekannten Exemplare wurde vor dem Müll gerettet und von einer Mitschwester aus Emahoys Kloster am Rande von Emahoys Beerdigung im März 2023 an Mississippi Records weitergegeben. Die Vinylausgaben kommen im Oldschool Tip-On-Jacket mit metallischer Silberfolienprägung und einem 12-seitigen Booklet mit ausführlichen Linernotes des Gelehrten und Pianisten Thomas Feng.

Spirituelle Musik mit tiefer Resonanz, übertragen durch Klavier, Orgel und Harmonium von der geliebten Komponistin und äthiopischen orthodoxen Nonne Emahoy Tsege Mariam Gebru. "Church of Kidane Mehret" versammelt das gesamte musikalische Werk von Emahoys gleichnamigem Privatpress-Album von 1972 sowie zwei zusätzliche unveröffentlichte Klavieraufnahmen mit Emahoys ,Äthiopischer Kirchenmusik". Die Aufnahmen entstanden in Kirchen in ganz Jerusalem. Zum ersten Mal hören wir Emahoy auf dem Harmonium und der massiven, dröhnenden Pfeifenorgel, neben einigen ihrer bewegendsten Klavierstücke. Bei ,Ave Maria" hallt ihr läutendes Klavier gegen alte Steinmauern. Ihre vertrauten melodischen Linien erhalten eine neue Resonanz, wenn sie in ,Spring Ode - Meskerem" durch das Harmonium gespielt werden. Zwei überragende Orgelstücke bilden die B-Seite, die Emahoys klassische europäische Ausbildung mit ihrem lebenslangen Studium der äthiopischer religiöser Musik kombinieren. Nirgendwo ist Emahoys einzigartige Kombination von Einflüssen deutlicher als bei ,Essay on Mahlet", einem meditativen Dauerbrenner, in dem Emahoy die freien Verse der orthodoxen Liturgie Note für Note auf dem Klavier interpretiert. Dieses aufschlussreiche Stück stammt, neben der dramatischen Klavierkomposition ,The Storm", von einem anderen selbstveröffentlichten Album, "Der Sang Des Meeres" von 1963. Eines der einzigen bekannten Exemplare wurde vor dem Müll gerettet und von einer Mitschwester aus Emahoys Kloster am Rande von Emahoys Beerdigung im März 2023 an Mississippi Records weitergegeben.

Black Hole Superette, the latest album from Aesop Rock, delves into the invisible forces that shape our lives and psyches. It's about the small, often overlooked moments_the everyday experiences that blur the lines between the real and the unreal, waking and sleeping. Aesop's signature gift for transforming the mundane into something dreamlike gives the album a surreal quality, leaving listeners questioning what's truly real as they navigate its vivid, half-remembered imagery. Entirely self-produced, Black Hole Superette is one of Aesop Rock's most technically accomplished works to date. The album's intricate beats and complex structures provide the perfect backdrop for his expansive lyricism, balancing cerebral exploration with emotional depth. From the reflective 'Movie Night' and the eccentric 'Send Help' to the wistful 'Black Plums,' Aesop channels the spirit of a mad scientist, experimenting with sound and concept in ways that defy the ordinary. With a stellar lineup of collaborators that includes Lupe Fiasco, Armand Hammer, Hanni El Khatib, Open Mike Eagle and Homeboy Sandman, Black Hole Superette is dense and kinetic, an album that deftly navigates between complexity and instinct. It's clear this project stands as one of Aesop Rock's most multifaceted and ambitious works yet.

Wewantsounds is delighted to continue its Algerian music reissue program with the release of Freh Khodja's sought-after 1975 LP, Ken Andy Habib. Recorded in Paris with Les Flammes, a group of immigrant musicians, the album is now reissued for the first time. Selected by Paris-based DJ Cheb Gero, who recently compiled the Sweet Rebels Rai set and curated the Abranis LP release for Wewantsounds, Ken Andi Habib is a masterful blend of Arabic music, jazz, Carribean/Latin grooves and funk. Featuring original artwork, audio remastered by Colorsound Studio, and a two-page insert with new liner notes (French/English) by Algerian journalist Rabah Mezouane.

25th anniversary edition of the widely acclaimed tribute album celebrating the music of Brian Wilson & The Beach Boys. 24 exclusive tracks. New remaster on 2 LPs in a gatefold sleeve with extensive liner notes and many rare photographs.

The first solo release from MPC wizard and Dutch DJ Iceberg (aka Benjamin Berg) knocks itself into existence. Five tracks of unforgettable swing from the young producer, each packed with enough saturated crunch to make Roger Linn proud. If there’s one thing we know for certain, it’s that this record hits the mark right on time — surely an ode to sequencers and the attitudes of times past.

A double pack from Mammo, six tracks digging deep. General Patterns is the first time he’s released a record outside of his own constellation of labels and identities. Something new.

You can file this one under (dub) techno too if you like. Linked to the music he’s made as Puddlerunner last year in some ways, or the texture of tracks like Variable. It was compiled with Short Span following the completion of intense work on the ambient album Landmarks under his given name, and quickly brought together an extended set of stripped back, patient, wonderfully rewarding sound. Really beautiful. Some mossy earthy texture, some starlit night skies.

Mastered by Miles.

Art from The Designers Republic. The beginning of a new visual series and system for Short Span.

Barcelona’s Egyptian Greyhound and Berlin-based Ziel join forces in search of a modern sound rooted in the spirit of classic dancefloor cuts. Riding the revival wave, their EP blends Progressive, Trance, and Balearic elements with Classic House undertones.

A1 – Ziel’s "Divinity" is a sensual vocal track, channeling the eroticism and transcendentalism of past eras. Straddling the line between after-hours soft-trance and progressive house with Hi-NRG ambition, it delivers a compelling emotional punch.

A2 – "A Life in Paradise" follows in tone but leans further into Classic House. Less Hi-NRG, more warmth — it’s a strong warm-up tool, ideal for building energy early on.

B1 – "Nature Dancer" by Egyptian Greyhound brings a powerful kick and drum groove for peak time, combining Balearic colors and trancey aesthetics to ignite the dancefloor.

B2 – "Ace of Swords" sees both producers come together for a trippy, acid-tinged closer that fuses deep Trance and Balearic moods into a dreamy final statement.

Dancing Vinyl Records kicks off its journey with a radiant debut EP from Scruscru – a four-track house odyssey titled simply and soulfully for the dancefloor.

From the warm acid lines of “303 Baby” to the sunny, uplifting groove of “Love Is Taking Me Over”, Side A offers instant feel-good energy, perfectly tailored for both daytime sets and cozy listening sessions at home. On the flip, “Watashi Mo” brings jazzy textures and head-nodding swing, while “O.K.” closes the record with a laid-back yet infectious deep house flow, full of elegant rhythm and charm.

This is house music in its purest form – heartfelt, unpretentious, and irresistibly groovy. A confident statement from a label that values soul, simplicity, and sound system readiness.

Pressed with care. Designed for DJs. Built to last.

Yes Amigos!

The Debut Album "Latin Freaks" by Funkool Orchestra is finally out!

Get ready for another dose of Neapolitan Funky Disco Boogie madness with a Latin touch and a glorious featuring by the one and only Latin soul King : JOE BATAAN.

The Long Playing is a mixture of Rare Grooves, Napoli Sound, Disco Boogie, Latin Soul and Boogaloo, ideal for a trip to Nueva York and back to Naples just to say hello to your Puertorican uncle Manolito "Gennaro" Marròn.
A gozar!

Metal Hall of Fame inductee, Blaze Bayley, releases a brand new studio album Entitled `Circle of Stone'. The album features guest vocalist Niklas Stalvind of Swedish metalheads Wolf, alongside a variety of additional vocal & instrumental contributors. Having started his career as a professional singer with Wolfsbane in 1984, Blaze went on to front Iron Maiden, touring worldwide and releasing two studio albums - `The X Factor' and `Virtual XI', both of which achieved top twenty status in many countries. During his time with Iron Maiden, Blaze co-wrote the single `Man on the Edge' (from `The X Factor' album), a top ten hit in the UK, as well as charting successfully across Europe. Following his exit from Iron Maiden he has pursued a solo career, beginning with his now legendary solo debut album `Silicon Messiah' in 2000, followed by a further eleven studio albums, including especially his sci-fi based `Infinite Entanglement' trilogy (released in consecutive years 2016-2018) and the critically-acclaimed `War Within Me' released in 2021. Starting in 2013 and exclusively since 2016, Blaze records and plays live with Manchester (UK) melodic metal band Absolva, featuring lead guitarist Christopher Appleton and his brother LukeAppleton who is formerly of American metalheads Iced Earth. This consistent line-up is completed by drummer Martin Mcnee and bassist Karl Schramm.

Formed in the town of New Mills, Derbyshire in 1980, Oi legends Blitz revitalised the UK punk scene of the era, their incendiary debut Voice Of A Generation a massive commercial success, but the 1983 follow-up Time Empire Justice had a different line-up and new wave orientation, pointing to fissures in the group; then, in 1990, guitarist/multi-instrumentalist Nidge Miller teamed up with former Attack frontman Gary Basnett for The Killing Dream, a studio swansong that revived the name with Nidge fully in control. Devotees will love the sterling guitar work on this final piece of the Blitz jigsaw.

Following on from last year's acclaimed ‘R.O.I.’ album, Manchester’s favourite sons Aerial Salad are set to return to the fray with a brand new 5-track EP titled ‘Roi de l’herb’ to be released June 27th via Venn Records.
Having released their ‘Dirt Mall’ album during lockdown, which was a pretty grim time to put an album out, the release still eventually opened up some exciting doors for the band and captured Aerial Salad at their most Aerial Salad; loud, brash, silly and emotive.
This led swiftly to 2024’s ‘R.O.I.’ album that marked a real evolution in the band’s sound and songwriting.

“R.O.I. is a concept album but rather than being about a band, it’s from the perspective of an individual pushed to the brink of insanity by the ever-present quest from commercial success,” explains singer and guitarist Jamie Munro. “The idea came from my job; I’ve been working in the tech industry in ‘sales’. ‘Return on investment’ was probably my most uttered phrase for a few years, I was sick of it, sick of having no positive impact on the world and sick of the tech bro, double espresso, thirsty thursdays, work hard - play hard bollocks culture that comes with it. ‘R.O.I.’ is me saying ‘know what, you can actually earn a lot of money in life, even without the fallacy of educational infrastructure and financial privilege, however, it comes at the cost of your soul, time and energy. ‘R.O.I.’ is called such because it’s in the opposite pursuit, it’s not about a return on a financial investment, it’s about doing something with your life that’s enjoyable.”
This brings us crashing into 2025, no longer in the same line of spirit destroying work, with some seriously exciting gigs on the horizon, Aerial Salad wanted to kick off the next era of the band with a short, fast and hard EP and have served up 5 absolute bangers that sit somewhere between ‘Dirt Mall’ and ‘R.O.I.’ The EP is called ‘Roi de l’herb’ because of the track ‘King Of The Grass’: “We tour and play a lot in France, we’ve played most of our “best” gigs in France, so out of curiosity I wanted to see if the title would translate well, naturally, when the translation contained both “ROI” and l’herbe” - I though, fuck it, that’s about as spot on a title for this EP as we can possibly muster.”
‘King of The Grass’ is about the band’s bassist Mike Wimbo who works for Rochdale council on the greens team, which means he spends his life in the pouring rain chopping down overgrown hedges and mowing lawns. Elsewhere on the EP, ‘Inject Your Blood’ is another romantic love song inspired by the TV series ‘True Blood’ (“I’d inject your blood, into mine just to feel you close”), ‘Wires’ rages against the world of AI and GPT, whilst the EP’s opening track ‘My Girl’ is a chaotic, high energy catchy punk song, nothing profound, nothing complicated. It’s a punk song as god intended, a few chords and a load of shouting.
“The EP is like the teaser for what’s next,” summarises Jamie. “The overall hook for this EP is one of hope, that by sticking to what you believe in you can do anything.”