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Japanese black metal legends Sigh formed in 1989/1990. The genre-classic debut ‘Scorn Defeat’ followed on Euronymous’ Deathlike Silence Productions in 1993 & with each subsequent release, Sigh grew to become one of the country’s greatest & most revered metal exports. With a journey through the strange & the psychedelic, incorporating a whole eclectic mix of genre styles & experimentation throughout their career, Sigh has remained a vital creative force in the avantgarde field whilst maintaining their old school roots, as witnessed with the stellar 2022 album, ‘Shiki’. 2025 also saw Sigh reimagining their ‘Hangman’s Hymn’ album for a release on Peaceville as part of the band’s 35th anniversary celebrations, in the shape of ‘I Saw The World’s End: Hangman’s Hymn MMXXV’.

Maintaining the core trio of Mirai Kawashima, Shinichi Ishikawa & Satoshi Fujinami & on the back of the epic & darkly symphonic opus ‘Infidel Art’ (1995), Sigh adopted a more boundary-defying approach to their writing, whilst still keeping the dark foundations & traits of the band’s fundamental sound. The result was ‘Ghastly Funeral Theatre’ which surfaced in 1997 & draped in Eastern & horror-based atmospherics, the band also embraced elements outside of metal with what was their most experimental offering to date; utilising instruments such as the saxophone as well as acoustic passages & notoriously drawing comparisons to the moods of bands such as The Beatles at times, featuring catchy hooks & structures in line with the rock music genre, but masterfully woven into Sigh’s unique blackened metal tapestry.

Continuing with Peaceville’s re-issues of Sigh’s classic early ( & until now, hard to find) works, this edition of ‘Ghastly Funeral Theatre’ contains a new master created by Patrick Engel at Temple of Disharmony, featuring a new transfer from the original DAT source.

The release also includes a new interview with main-man Mirai Kawashima conducted by Dayal Patterson of Cult Never Dies, delving into the history & inspirations behind ‘Ghastly Funeral Theatre’.

This edition of ‘Ghastly Funeral Theatre’ is presented on black vinyl.

Japanese black metal legends Sigh formed in 1989/1990. The genre-classic debut ‘Scorn Defeat’ followed on Euronymous’ Deathlike Silence Productions in 1993 & with each subsequent release, Sigh grew to become one of the country’s greatest & most revered metal exports. With a journey through the strange & the psychedelic, incorporating a whole eclectic mix of genre styles & experimentation throughout their career, Sigh has remained a vital creative force in the avantgarde field whilst maintaining their old school roots, as witnessed with the stellar 2022 album, ‘Shiki’. 2025 also saw Sigh reimagining their ‘Hangman’s Hymn’ album for a release on Peaceville as part of the band’s 35th anniversary celebrations, in the shape of ‘I Saw The World’s End: Hangman’s Hymn MMXXV’.

Maintaining the core trio of Mirai Kawashima, Shinichi Ishikawa & Satoshi Fujinami & on the back of the epic & darkly symphonic opus ‘Infidel Art’ (1995), Sigh adopted a more boundary-defying approach to their writing, whilst still keeping the dark foundations & traits of the band’s fundamental sound. The result was ‘Ghastly Funeral Theatre’ which surfaced in 1997 & draped in Eastern & horror-based atmospherics, the band also embraced elements outside of metal with what was their most experimental offering to date; utilising instruments such as the saxophone as well as acoustic passages & notoriously drawing comparisons to the moods of bands such as The Beatles at times, featuring catchy hooks & structures in line with the rock music genre, but masterfully woven into Sigh’s unique blackened metal tapestry.

Continuing with Peaceville’s re-issues of Sigh’s classic early ( & until now, hard to find) works, this edition of ‘Ghastly Funeral Theatre’ contains a new master created by Patrick Engel at Temple of Disharmony, featuring a new transfer from the original DAT source.

The release also includes a new interview with main-man Mirai Kawashima conducted by Dayal Patterson of Cult Never Dies, delving into the history & inspirations behind ‘Ghastly Funeral Theatre’.

This edition of ‘Ghastly Funeral Theatre’ is presented on black vinyl.

Die Musik von Bobby Krlic (aka The Haxan Cloak) und Daniel Pemberton für den Film Eddington auf rot-blauem Split-Vinyl. Mit Original-Artwork von Matt McCormick. Kommt mit einem ,Keep Honking"-Autoaufkleber. Eddington ist eine schwarze Komödie und ein moderner Horror-Western von Ari Aster. Der Film mit Pedro Pascal, Emma Stone, Austin Butler und Joaquin Phoenix in den Hauptrollen spielt in einer Kleinstadt in New Mexico während der Corona-Pandemie. Der Film feierte im Mai 2025 bei den Internationalen Filmfestspielen in Cannes seine Premiere und wurde dort für die Goldene Palme nominiert und kam im Juli 2025 in die US-amerikanischen und im November 2025 in die deutschen Kinos.

NEW MISERABLE EXPERIENCE are a Philadelphia-rooted collective that reshapes heavy-music rigour into expansive, melody-forward songs through alternative synth-rock. What started as a file-trading collaboration between vocalist/bassist David Grossman (ex- ROSETTA) and multi-instrumentalist Joshua Mahesh Kost expanded into a full band that now includes ROSETTA drummer Bruce "B.J." McMurtrie Jr., technical-metal bassist Brett Bamberger (REVOCATION), and guitarist Brody Uttley (RIVERS OF NIHIL). The group forgoes technical exhibitionism in favour of mood and melody, composing introspective songs designed to reward close listening. Across the twelve tightly arranged tracks of 3rd album "Gild The Lily", the band pares its palette to essential elements: clear melodies, precise dynamics, and richly textured production. The album trades overt bombast for craft, building emotional weight through small gestures and patient arrangements rather than moments of spectacle. "We started saying `infinite sadness' as a bit of a catch phrase with the last album. I think that sums up the vibe of the album and project overall. We are very much in the `sadboi' world with Jeff Buckley, Puma Blue, Radiohead, Deftones, The Black Queen", says Grossman. Sonically, `Gild the Lily' combines alternative synth rock with chorus-tinted guitars, and a rhythm section that alternates between taut propulsion and roomy, reverb-soaked space. The arrangements both electronic and instrumental negotiates smooth and slick danceability alongside sinister edges. The band's aesthetic is one of deliberate economy: textures are chosen to serve mood and narrative rather than technical exhibitionism, and arrangements reveal their depth across repeated listens. Slick, sorrowful and cinematic in atmosphere, `Gild the Lily' is an eclectic collection that can not only groove in vibe and inspire movement, but also pierce to the nerve in ethereal lamentation. RIYL Crosses * Black Queen * Ulver * Vowws * Rosetta * Revocation * Rivers of Nihil

The tenth release of a series of EPs containing some of the best originally unissued Motown tracks, now available on vinyl / 7" for the first time.

‘Clyppan’ is an Old English verb meaning “to embrace” or “to clasp.” It also referred to an ancient ritual in which people gathered in a circle, singing together around a sacred shrine. It’s a fitting title for the latest release from Newcastle’s Smote – a visceral document of the band’s electrifying live set, captured within the walls of London’s Bear Bites Horse recording studio.
Following the release of their acclaimed 2024 album ‘A Grand Stream’, Smote embarked on an intensive tour schedule, refining their live performance along the way into something transcendental – a full-spectrum psychic voyage. Anyone who caught them at Supernormal, Supersonic, or this year’s Roadburn Festival can attest: Smote are an unforgettable sonic presence, a near religious experience.
Recognising the urgency and potency of the band’s current live form, Rocket Recordings encouraged Smote’s founder and sonic architect Dan Foggin to document their live set in the studio. It was a sound too powerful to be left undocumented – it was something that needed to be clasped for future generations.
On January 22, 2025 – the day before their thunderous performance at London’s ICA alongside labelmates Teeth Of The Sea – the four members of Smote entered Bear Bites Horse studio. With producer Wayne Adams at the controls, they laid down a live set brimming with raw, elemental power.
What emerged is ‘Clyppan’ – four drone-and-repetition driven incantations, distilled from the primal essence of Smote’s sound. These tracks channel something ancient and urgent, summoning spirits and revelations in their wake. It’s music as ritual, as invocation – pure aural sorcery.
So gather together. Form a circle. Join hands. And embrace the ecstatic, untamed energy of Smote in their most untethered and primal form.

The Just Joans' new album Romantic Visions of Scotland finds the Glasgow band in characteristically melancholic form, pairing shambling indie pop with sharp observations on romantic pratfalls and everyday dis-appointments, all delivered with sardonic Scottish wit, fronted by siblings David and Katie Pope, whose wry lyrics and heartfelt vocals remain at the heart of the band’s distinctive sound.
Originally inspired by a grandiose exhibition title spotted on Glasgow buses in 2019 for a show at the Nation-al Museum of Scotland called Wild and Majestic: Romantic Visions of Scotland, the new album arrives six years later as a collection of semi-autobiographical snapshots from the Central Belt of Scotland. Whilst some of the details have been exaggerated for comic (or tragic) effect, the songs are based on personal experience of mundane failings, bitter regrets and missed opportunities that make up an unremarkable life.
Recurring themes of nostalgia for a bygone era and the fear of being left behind by lovers, friends and peers run throughout the album. Musically and lyrically, the band channels Village Green-era Kinks, with nods to The Television Personalities, The Smiths and Dolly Mixture.
In the past they have always recorded by themselves in a variety of bedrooms, living rooms – and the occasional toilet. For the first time they have abandoned their DIY recording practices to create what songwriter David Pope calls, “a corporate behemoth in an actual studio.” The album was recorded at Chem19 in Blan-tyre with Paul Savage, who is best known as a founding member of local legends The Delgados. He has also produced and recorded the likes of Teenage Fanclub, Arab Strap and Camera Obscura, and has captured a slightly more muscular version of the band while retaining their ramshackle charm.
The album artwork by vocalist and painter Katie Pope depicts Motherwell Train Station – an ordinary, boring place that speaks to the subject matter of the songs, but with a hint of potential escape. As David Pope ex-plains, “For me, the painting reminds me of the ending of Billy Liar in which Billy tries and fails to leave his hometown for the bright lights of London. Half the band also live in Motherwell, so it seemed appropriate.”
Funded by Creative Scotland, the recording allowed the band to bring in bass and cello arrangements, adding depth and a sheen of musical proficiency to their signature sound.
About The Just Joans - The Just Joans were formed in Glasgow in 2005 by songwriter David Pope. Early demos were collected together and released as a loose concept album, Last Tango in Motherwell, in 2006. Chris Elkin joined on guitar and was followed shortly after by David’s younger sister, Katie, on vocals and Fraser Ford on bass. Over the years they have released EPs and albums on WeePOP! and Fika Records and have gained a cult following as Scottish pop miserabilists.
The current line-up consists of Katie Pope (vocals), David Pope (vocals, guitar), Chris Elkin (lead guitar), Fraser Ford (bass), Arion Xenos (keyboards) and Jason Sweeney (drums).
Press Quotes:
“They fit snugly into the scratchy, low budget Scottish indie tradition of The Delgados and Arab Strap… There’s mischief in this miserabilism.” - Mojo 4*s
“Glasgow’s The Just Joans have documented the romantic pratfalls of a generation of indie kids with sardonic wit and a shambling musical style where Stephin Merrit lies down with The Vaselines.” - Uncut
“Funny and sad, it’s the kind of song that made Red House Painters, The Magnetic Fields and The Wedding Present’s early albums so easy to embrace; an unpretentious sharing of relatable gloom.” - Record Collector

"An Eternity Still" delves into the theme of closure, capturing the emotional journey of closing one chapter and beginning another. It evokes a stirring blend of nostalgia and the need to move forward, balancing bright memories with the desire for growth and new challenges.

For this project, Vanity Productions' Christian Stadsgaard teamed up with close collaborators Emma Acs and Malthe Fischer, who joined in the compositional process. While the album maintains Stadsgaard's signature melancholia, it also introduces a fresh sonic palette, incorporating vocals and guitar alongside the project's hallmark broken electronics and dark, evocative melodies.

The Album also features remixes by acclaimed artists Farzané and Ireen Amnes, further enriching the album's collaborative spirit and adding new dimensions to its haunting soundscapes.

With their bold blend of doom metal roots, atmospheric rock, and ethereal vocals, THE GATHERING were already reshaping heavy music in the mid-90s. But few recordings capture that electric live energy better than their iconic set at Dynamo Open Air , and now, for the very first time, this legendary moment finally arrives and it's everything fans could hope for. Expertly released by 7 Mater / Sevan Mater, this deluxe edition is limited to 500 copies each on Black and Purple vinyl, with a custom cover artwork designed by Sevan Mater that honors the spirit of the era while bringing new visual depth. It's not just a reissue - it's a resurrection. Recorded during a time when the band was ascending into cult status, the Dynamo performance showcases the perfect fusion of Anneke van Giersbergen's soaring vocals with the band's dynamic instrumental interplay. Songs like "Eleanor", and "Leaves" ring out with clarity and emotion, capturing both the power and subtlety that defined their live presence

To mark what would have been Mikis Theodorakis' 100th birthday in 2025, Intuition released a very special album: 'Lost Songs' - fourteen previously unpublished compositions by the world-renowned Greek composer, presented here for the first time in a remarkable solo piano version by German pianist Henning Schmiedt. A remarkable moment took place in 2009 at Mikis Theodorakis' studio in Athens: Henning Schmiedt personally played his piano arrangements of the 'Lost Songs' to Theodorakis himself. Some of the melodies sparked the composer's memory, while others did not - but he listened attentively, offered comments and gave guidance that directly influenced the final versions of the pieces.

As such, 'Lost Songs' can be considered a posthumous release with the composer's blessing. These pieces offer a glimpse into Theodorakis' expressive power and artistic maturity from a very young age - most of the 'Lost Songs' were written in the early 1940s and provide a compelling window into the formative years of one of the most important composers of the 20th century.

'Lost Songs' is available on 180g vinyl and digipak CD editions.

The new DIEVERSITY album "IV" can only be described in superlatives! The songs on "IV" definitely set a new benchmark in songwriting and production for DIEVERSITY! The new album "IV" is modern metal par excellence, that easily stands up to any international comparison and operates entirely at the pulse of the times. DIEVERSITY from Germany – as sharp-edged as ever, but with a new razor-sharp blade! Listen to the album and you will get addicted immediately"! Be prepared for something BIG!

“There's a clarity here that feels hard-won. Honing ideas first explored with his Organic Music series, Tiago Sousa unlocks the final puzzle pieces on Sustained Tones Vol 1. This music is enchanted, the way each layer moves in conjunction with the others: complex structures that feel less constructed than discovered, like stumbling upon ancient mechanisms still whirring beneath the earth. "Readily Reliance" opens as an effervescent sea, waves gilded in neon creating an enveloping sense of eternal motion. Bright organ timbres throw silhouettes and cast Sousa as the deft puppeteer keeping everything moving with an effortless precision. These evolving shapes suspend listeners somewhere between the physical and the cosmic, held in place by nothing but intention and sound.

Drones build rippling foundations in other places, using slower tempos to construct immersive, off-kilter sound worlds where minimalism becomes emotive, almost poignant. The fluctuating tones have a gossamer sheen, creating this interesting sonic dichotomy: a solid surface with fragile rotations beneath. It's music that commands attention; it is so much more than simply aural furniture. Sousa writes these beautiful sequences that are all interconnected, intricate sonic architecture that pulls us further into some kind of unknowable ether.

On the piano pieces, "Smooth Flow Into It" and "Swirling Mist and Thin Dust," Sousa shines sunlight through all the cracks. Washes of melody are effervescent, clouds clearing to reveal the day has not gone. Not yet. Positioned in the middle of Sustained Tones Vol 1, these pieces ground the album in something transcendent yet still earthen: moments of breath inside all that cosmic drift. Darkness finds its way through on "Restlessness," where Sousa smears sinuous electronics into a ghostly sonic mesh that seeps through the skin. It feels like a slow inhale, time suspended long enough to take note of where we are and how we feel before moving forward. Expressive, almost sparkling synth arrangements return to send us back into reality on closer "Becoming a Landscape." Its title hints at larger concepts at play throughout this album, where lines between our physical beings and the wider environment are blurred. The tones that echo throughout these six pieces mirror the echoes inside our bodies, from heartbeats and voices to something quieter, something much smaller and more elemental. By immersing us inside these mesmerising, beautiful soundscapes, Sousa immerses us within ourselves.’’

Brad Rose, 2025

Diagonal welcomes Scott Gordon to the fold. Scott has previously released on Editions Mego as one half of Oto Hiax, a collaborative project with Mark Clifford of Seefeel (Warp Records). He's also released a series of EPs and one album under his Loops Haunt alias via the Black Acre imprint. For his Diagonal debut, Scott offers up "Metals", a double EP of sorts: two sides of wax with two separate titles, "And Away" on side one backed with "Tilts" on side two. Each set is a study in using mechanical means to seek tone, rhythm and texture via unexpected objects and instruments. Both sides feature Scott's custom made Spinning Plate Instrument SPI. The SPI is a large, motorised vertical frame that spins a series of metal plates. These can be struck via midi - mechanical 'beaters'. These recordings also feature Scott playing the SPI manually. The results are both gripping and provocative. Mastered by Russell Haswell. Direct Metal Mastering (DMM) to vinyl.

DIN SYNC DUB is an exploration of communication through sound. Six tightly packed experimental dub tracks use bass-heavy vibrations to rattle both body and mind, pushing the limits of self-expression in the hope of fostering deeper human connection.

The drive for more efficient and precise communication tools—whether between man and machine or machine and machine—has been a foundational force in the evolution of technology. This duality, the way we interface with computers and the way we speak to one another, is at the heart of DIN SYNC DUB. For this album, N1_SOUND looks back to 1980, drawing inspiration from Roland’s Din Sync—a 40-year-old synchronization technology once used to link musical machines in perfect harmony. While connecting machines to produce precisely sequenced music is nothing new, it’s the tension between perfection and imperfection—the mistakes of both man and machine—that gives DIN SYNC DUB its voice, its emotional rawness.

The journey begins with “Horizontal Hang”, which crashes through the door with a relentless bassline and crystalline synths. “Such Love” introduces a throbbing, guitar-driven groove, while “Intuition Dub” channels the spirit of Jah Shaka, offering a rhythmic pulse that echoes dub’s deep roots. “Us All” provides a moment of introspection with its sparse, three-dimensional melodies, before “Joy” reintroduces chaos, creating a post-dubstep soundscape that dismantles everything in its path. The album closes with “Mauzy” , a hopeful yet fragmented conclusion, reflecting the ever-evolving nature of technology and connection.

By the mid-to-late 1980s, Din Sync was superseded by the more widely adopted MIDI, yet obsolescence is built into the nature of all technology. Just as our relationship with machines shifts and fades, so too does our understanding of how those changes shape us. Before we can grasp the impact, the world has already moved on.

DIN SYNC DUB, the first full-length LP from Spiritual World, pulses with energy, on the edge of malfunction—a manifestation of the tension between the digital and the organic, the past and the present.

DJ Support: Carl Cox, Mark Knight, Riva Starr, Tedd Patterson, Hector Romero, Grant Nelson, Kevin Yost, Saison.

Luca Olivotto returns to Groove Culture Deep with a new four-track EP entitled: “Bring The Funk EP”, A great exploration of deep house that seamlessly blending classic influences with a modern, dancefloor-driven touch. Olivotto's expertise shines through, creating an atmosphere that is both nostalgic and cutting-edge, ensuring a brilliant journey on this new release.‘Bring The Funk' EP is a testament to the evolving soundscape of Luca. This collection promises to captivate enthusiasts and DJs alike.

Stormzone were formed in Northern Ireland in 2004 as a heavy metal band. In 2007 They released “Caught in the Act” on the Escape Music label, and it was met with critical acclaim. They have since released another 3 albums on different labels, all of which have firmly put them on the map. In more recent years the band have taken a heavier direction and attracting fans of the NWOBHM genre. Stormzone have played at many festivals including Sweden rock, Firefest and Wacken open air to name but a few, as well as playing many shows. They have also played as support to many big names, such as Saxon, Y & T, Stryper, Tesla and White Lion. They have always had a loyal following which continues to grow. Their debut “Caught in the Act” featured artwork by the Rodney Matthews art studio, who have worked with album covers by YES, Bob Catley, Magnum and many others. The distinctive style of art is a firm favourite with many, and it is with great pleasure that we announce that “Immortal Beloved” shall also enjoy such outstanding artwork. This latest Stormzone chapter boasts 13 tracks of classic heavy metal, and it will be a much anticipated release to start the new year..

Second LP of duets by these longtime VHF family staples, here delivering 2 side-long epics of “minimalist” bliss. Both sides feature Daniel on piano and Richard on zither, with rippling waves of sound recalling classics like Charlemagne Palestine’s “Strumming Music” (Dan is a frequent collaborator with C.P.) and Richard’s “Advent.” “Persian Carpets I” is a real-humans performance full of tiny variants in rhythm and attack, rising and falling in intensity – sometimes a rush of sound, sometimes a cloud of soft overtones and phantom notes. “Persian Carpets II” is more spare, with quiet and careful piano alongside Richard’s subdued accompaniment – a gorgeous bath of pointillist sound that rewards close listening.

Fides Records pushes further into its 10-year anniversary journey with X3, the third chapter of the series. Staying true to the label’s decade-long commitment to forward-minded underground techno, this new instalment sharpens the focus with five cuts that move between peak-time impact, melancholic tension, and dubwise pressure—each one a different angle on the Fides aesthetic.

Side A opens with Dustin Zahn’s “Madness”, a no-nonsense peak-time weapon built on stomping momentum, immersive pressure, and relentless drive—proof of why the US veteran remains a constant reference point. Marco Bruno follows with “Aura”, where melancholic leads and detuned synths shape an introspective yet heavy-hitting groove, capturing the Italian producer’s emotional weight and versatility. Closing the side, JANEIN (co-founder of Seelen Records) delivers “Polaris”, a spatial, bleepy roller that leans into darkness while keeping the propulsion locked forward.

Flipping to Side B, Yant’s “Fractured” shifts the palette: playful yet precise, kinetic in motion, with textures that keep mutating as the rhythm snaps into place. DHÆÜR “Sealand” captures the mood of a young Italian artist carving a new lane in minimal, elegant, unapologetic techno—energized and raw, yet defined by clean design, confident restraint, and a sharp personal signature. The record concludes with Hadone’s “No Longer Observed”, a dub-tinged stomper rich in detail and low-end depth; club-weight with an emotional undercurrent, balancing elegance and power in a way that feels unmistakably Fides.

Back In Stock!

Grammy Award winner Louie Vega has the unique ability to spotlight and highlight the most essential elements of classic dance tracks and remix and recreate them to create something just as powerful for today’s audiences. Currently in the midst of putting the finishing touches on his forthcoming album, Expansions In The NYC, Louie took some extra time to gather together the original members of the seminal New York – based disco funk band Unlimited Touch and collaborate with them at Log Cabin Studio in Manhattan and his own Daddy’s Workshop Studio in New Jersey to produce the 2020 edition of “I Hear Music In The Streets.”

Unlimited Touch consists of Audrey Wheeler (lead singer), Phil Hamilton, Tony Cintron, Sandy Anderson (RIP), Stephanie James and Lenny Underwood. “I Hear Music In The Streets” was originally released on legendary imprint Prelude Records in 1981.

Growing up in the Bronx, from an early age Louie had an affinity and love for all the various musical genres that were bubbling up in New York during that era defining creative period. It is that passion that has stayed with him during a career that has brought him Grammy’s, several worldwide hit records, and a status as one of the world’s most sought after DJs. It was especially fulfilling for Louie to work with the original members of Unlimited Touch, He quickly realized that their talents were still as strong as ever as they performed musical and vocal elements from the original song, and that they had the vision to see how the song could be re-energized by having Louie add his unique production elements to this seminal tune.

Louie is in the midst of an especially prolific and productive period. In 2016 he released the Grammy nominated Louie Vega Starring….XXVIII full length album; 2018 saw the release of the widely acclaimed and chart topping NYC Disco 2 X CD and 4 X vinyl album on Nervous Records. Known universally as “The Maestro” due to the standards of excellence he maintains in his productions, DJ Performances and live appearances with his Elements of Life Band, Louie Vega is now ready to unleash another gem to add to one of the music industry’s most remarkable body of work.

At the end of the Sixties, the production of soundtracks for small and big classics of Italian cinema is now joined by another business which has proved to be less profitable but more creative and, in best case, free from the constraints imposed by clients on duty: the composition of music libraries. Almost all of the artists for the eighth art have finalized at least one or more music libraries. Names famous and not, old and young composers, real outsiders and meteors, usually hidden behind pseudonyms: this is the case, for example, of Braen and Peymont. The first needs no introduction, it was the one adopted by the former arranger, multi- instrumentalist, singer and composer Alessandro Alessandroni. The second is closely linked to the mysterious American composer, but resident in Italy, David Hoyt Kimball. The two are authors in different measure of an interesting album with an experimental background, “Paese Sotto Inchiesta” (1971), originally published by Flirt Records.

The titles of the tracks appear in connection with the socio-cultural climate of Italy after 1968 and can be relocated as a background for journalistic-like images. The latter is a hypothesis not supported by facts, but some titles seem to be referred to the perception of a subsisting economic backwardness of the southern regions compared to the other ones; to a situation of collective tension, thanks to the global revolutions; in addition to the new concerns with an ecological background. Overall, the seventeen tracks on the album are mostly 'dirty', characterized by an even atonal setting, with long repetitions in a noisy key, more fundamental reverbs and echoes for the different keyboard instruments. In a few words, abstract sounds, some guitar notes, echoes of Gruppo Di Improvvisazione Nuova Consonanza, flute melodies and proto- ambient intuitions. Composers like Alessandro Alessandroni and David Hoyt Kimball deserve to be rediscovered.

*Following the essence of the work, for this press, MPI release a 100% recycled vinyl that reduce waste, minimize environmental impact and support the planet*

Rising multi-media artist Shaboozey intends to build his own world.

Determined to carve his own lane in the Alt-Country / Hip-Hop space; he crafts a sound that pays homage to a cast of traditional Western influences, such as Bob Dylan, Lead Belly, Johnny Cash, and Leonard Cohen, while looking into the future of what the two genres have yet to introduce.

Remaining true to his Virginia roots, Shaboozey hopes to continue the region’s long-standing tradition of producing some of the most prolific creatives of the new millennium. This time through elevating the scope of contemporary hip-hop and introducing a modern Americana culture to a global audience.

Fresh off of his inclusion in the groundbreaking Beyonce album, Cowboy Carter, of which he was the only featured artist to appear twice, Shaboozey is set to release his own album, Where I've Been, isn't Where I'm Going. An album that has been years in the making, it includes standout singles “Let It Burn,” “Vegas,” “Anabelle,” & the infectiously fun singalong anthem “A Bar Song (Tipsy).” Millions of streams later, and appearances on esteemed programs such as COLORS and The Late Show with Stephen Colbert, Shaboozey is set to become the new face of modern American country music.

Limited to 250 copies !

The Deadheads had never had much luck with spaceships. Their first mission had ended in a catastrophic engine failure, leaving them adrift in deep space for weeks. This time, their craft was hardly more reassuring. A hodgepodge of outdated technology and shoddy repairs made it more of a floating death trap than a reliable cruiser. As they began their descent toward the strange planet, the hull creaked and rattled, sending a wave of dread through the crew.

"Hold on," Matt's voice crackled over the intercom, without much conviction, as if he himself doubted they would make it out alive. Outside, a thick, grayish atmosphere swirled ominously, while the planet's gravity became far stronger than anticipated.

“Fuck, we’re gonna burn at the entrance!” M yelled, his hands flailing on the console as sparks flew from the control panel. The ship’s sensors were completely jammed, and the navigation system flickered intermittently, like a dying light. Below, the planet’s surface was a tangle of lava rivers and jagged rock formations, the kind of place no sane person would ever land. But the Deadheads had never pretended to be. They lived in a state of constant emergency.

As the descent intensified, the alarms blared. On the bridge, the screens lit up with red warnings and flashing messages: "SYSTEM ERROR," "UNSTABLE TRAJECTORY," "SUIVITY SYSTEM COMPROMISED." The lines of code scrolled by too quickly to be read, while a mechanical voice repeated relentlessly: "Imminent impact. Structural integrity at twenty percent."

The once pristine shell of the vessel began to disintegrate, with shards of metal breaking away and disappearing into the atmosphere.

With a final, piercing screech, the ship crashed onto the planet's surface, sending up a cloud of dust and debris. The crew was violently thrown from their seats, stunned but barely alive. They struggled to their feet amidst the wreckage, the ship reduced to a charred shell around them.

"Well," M said, wiping the dirt off his suit with a grimace, "at least the air is breathable." Matt scanned the hostile expanse stretching before them and smiled slightly. "Perfect. Let's hope we have better luck with the planet than with our ships."

With that, the Deadheads gathered their equipment and headed into the unknown, while the remains of their ship slowly sank into the unstable soil of the planet.

Side A has been remastered and B is the original master.

Almost universally accepted as one of the crowning glories in the UR pantheon, and Motor City Soul at it's finest, Hardlife has been a stone-cold classic at Rubadub heights since it's initial release in 01

“Innovative, hooky and full of depth” - Far Out Magazine

“Songs that lodge into your brain in the opening ten seconds” - Brooklyn Vegan

“Breezy, melodic… a clear ear for a hook” - UNCUT

“Playful and unexpected, emotional but not overstated” - CLUNK

‘Crows’ is the new single from Bristol’s Langkamer and the first to be revealed from their new album ‘No’, which is due for release on 22nd January 2026. Their fourth album in as many years, ‘No’ saw the prolific band taking to the mountains at the invitation of veteran producer Remko Schouten (Pavement, Personal Trainer, Bull). The much loved Bristol band holed up for a week in the wilds of Southern Spain at his brand new Zarzalico studio. Over a week, under the Murcian heat, they laid down the perfectly formed eleven tracks that make up ‘No’.

Since the band’s conception, Langkamer have worked out of anywhere affordable and available, whether it be the basements of renowned venues (‘West Country’, ‘Red Thread Route’, ‘Langzamer’) or secluded cottages (‘The Noon And Midnight Manual’). Over the years, their frenetic pace and quality of writing has earned them fans across the world, plaudits at UK media, and built an ever-growing musical community around them - not least via Breakfast Records - the independent label that is home to Getdown Services - formed by Langkamer’s Dan Anthony and Josh Jarman in 2006 alongside acclaimed singer-songwriter Jasmine 4.T.

To call Langkamer ‘your mid-level indie bands favourite mid-level indie band” sells them short. They have always scraped by on irregular incomes, plagued both by daily financial pressures and the occasional cash sinkhole so well known to any musician in the current impossible climate. Once Schouten offered to host them at his new studio (Zarzalico), they couldn’t refuse. A relentless recording schedule found the group only breaking for the daily long lunch and to occasionally fire an airgun across the hills. If the last half a decade had been a pressure cooker of constant touring and recording, their brief time in the remote Zarzalico could not have been more symbolic. Lead single ‘Crows’ perfectly captures this nervy balance and is a wiry slice of atmospheric proto-punk, drawing from the shadows of the late-70s UK landscapeit also defies these conventions, striking an anthemic chord from beginning to end. From the scaling chromatic guitars at the breakdown, to the final chants of ‘suffer’ and ‘struggle’, there’s a loud desperation and defiance to ‘Crows’ that lends it an unparalleled urgency. As singer/drummer Josh Jarman states:

“Crows is a song about the crazy shapes we contort ourselves into trying to create art in the era of late-stage capitalism. Working a thousand jobs. Writing songs with the left hand while writing emails with the right hand. Your day is already doomed the moment you open your eyes. Everything’s a bad omen.”.

With ‘No’ arriving early next year, ‘Crows’ is the perfect introduction to Langkamer, a band that has only taken new bold steps with each release, always hiding a keen experimentalism behind a charming hook. It is also the surest sign yet that they are ready to step up, and take on the road once again vision unclouded.

“Allergic” was born on a sweltering July afternoon in a half-empty flat in Paris’ 11th arrondissement. With the apartment mid-move and only one bare room left to work in, B.McQueen and Priori turned the stripped-back space into a studio. Mid-session, a friend sent a voice note casually mentioning she was “allergic to wasps”. A moment that felt too good not to sample, giving the track both its title and its playful edge. The result is a chugger with subtle wobbles woven throughout.

“Get Weavin’” took shape in the haze following a heavy night celebrating fabric’s 25th anniversary, an evening where Ben Klock b2b Marcel Dettmann indirectly sparked the creation of the B. McQueen alias itself. Fueled by that post-club momentum, the track later found its signature psychedelic tinge through flute samples contributed by Raphael Weikart.

Are you Looking for Love? Advice? Good Luck? Then you’ve come to the right place. Fortune Three, the third release in the Psychic Readings catalog, Peach continues to explore her sound bringing 4 tracks dedicated to the dance.

It starts with In Ur Dreams, an ode to the dreamers and lovers in your fantasies. Peach gives some subtle organ hits a whirl with deeper basslines and punchy drums. Next, a track inspired by and sampling an old Christina Aguilera interview, What U Got is a warm, beachy roller which is reminiscent of hotter temperatures. Pretty pads, shiny stabs, and a weighty bassline create an endlessly playful groove – a Peach signature.

On the flip, we see Brady’s Song mixed two ways – the first being the deeper cut of the two, Brady’s Song slowly unravels melody after melody, playing with sassy stabs and a bassline on the subbier side. The Afters Edit takes a more upfront and jacking approach, focusing on the ability of the bass to roll through the whole track – shimmering percussion and the same stabs from the B1 carry us through until the last second.

All the tracks are a testament to her many moods as a DJ. From club use to home listening, this is an EP dedicated to the dance.

do not listen it in 2 minutes please !

this is Music... Oscillating between Mental Tribe, some XP breaks and a trance feeling...

A travel into time as tunes were selected in 2024... Mastering issues and pressing fevers... And finally... this project took 2 years to come out.

It's a different way for Acid tribe music...
This is a Present.

If you like C.Ysme, Verdure, Moanda and before Tettsuo, 25ème dimension, Win and before again Curley, Pure or Somatics...

if you really open you mind : you can catch it !

Do not fall into the Format-trap for this kind of production.

Enjoy o/

Splattered LTD EDITION

Trackwahser side bring a crazy romance, mystic call for a tribal dancefloor banger ! Legend !
Second tune, in collab with Boubou, member of Antinorm-17 Sound System back in the years... The oldschool Acid excitation supported by a thick Hard Techno kick. Put some electricity in the air, be Deter-Mina !

With Roland K side you will get 2 Hardtek missiles !
The first track delivers a high-energy, fast-paced, and punchy vibe, perfect for rocking the dancefloor.
The second, a collab with Darth Leng, takes the energy even further with an explosive mix of styles and unrelenting power.
Tracks designed to get parties rocking and boost good vibes to the max!

Rochelle Jordan is proudly stepping into her diva era. To those in the know, the Los Angeles-based British-Canadian singer and songwriter has long been an underground force coaxing together the mutually flirtatious scenes of daring alt-R&B and heart-pumping electronic music. With her longtime creative director/producer KLSH, she’s cultivated a singular marriage of sound — mixing soulful sensuality, house bump, DnB wildness, hip-hop swagger, and pure experimentalism — that’s spread not only through certain circles, but also to the mainstream. At the same time that her gauzy 2014 single “Lowkey” was going viral in 2023 — racking up 21 million streams on Spotify alone — she was in the studio cooking with tastemaking beatsmiths like KAYTRANADA and Sango, quietly preparing to melt dance floors and headphones alike.

Now, as the timelines merge, Jordan is approaching success with the sparkle of a brand new star and the stance of someone who’s earned everything she has. Her new musical chapter aims to carry forward the magic that fans feel in her coquettish vocals and bold soundscapes even as she reaches deeper into her pop bag. The fact that her first single of 2025, the darkly dazzling “Crave,” was produced by Chicago house legend Terry Hunter (Janet Jackson, Mariah Carey, Beyoncé) speaks volumes to this exact moment in Jordan’s ascendent trajectory.

“My goal when I first started making music was to bring back something that I felt had started to fade away for me,” says Jordan. “That certain essence or sound that would give me butterflies in my stomach when I’d listen to music — it would unleash some kind of chemical that would make me feel happy and excitable and curious, something that would make my soul shine. My number one goal is always: How do I give people that feeling when they listen to my music?”

Jordan grew up in Toronto raised by British-Jamaican parents. She remembers hearing one of her older brothers cycling through a variety of music at maximum volume in the room next to hers. “Reggae to soul to drum and bass to garage music to gospel,” Jordan recalls. “It was all intertwining for me at such a young age.” She developed her own sound quietly, and soon met KLSH through MySpace. They traded multiple songs back and forth daily until he flew her out to L.A. to record what would become her debut project, 2011’s R O J O. That collaboration hasn’t faltered since, resulting in sonically surprising, subtly infectious sets like Jordan’s breakthrough 2014 album 1021 (with “Lowkey”) and 2021’s dance-steeped revelation, Play with the Changes.

“If you’re talking about Rochelle Jordan, you’re talking about KLSH,” she says. “It’s one and the same. We come from the same inspiration source.” With him at her side to this day, Jordan is crafting new listening experiences as radiant as refracted light glimmering through a prism — an incredible space from within which to explore love in all its iterations — from romantic infatuation to self-affirmation, and strength in womanhood to pride for what she’s accomplished thus far.

More than a decade into her career, Jordan has arrived at a new stage of life and creativity — she’s a seasoned professional, a fully realized woman, and she’s excited to continue growing. “I know my story isn’t necessarily a new one,” she says. “I look at 2 Chainz, who became 2 Chainz way later on in his life. I look at Tina Turner, who became Tina Turner at 40. I want to be another story of resilience for people.” As she prepares to unveil more of her vision, and fans clamber for a long-awaited fourth album, Rochelle Jordan is casting aside self-doubt, and appreciating and underlining her status as a verifiably influential reigning diva in her one-of-one sonic space.

2026 repress !

Blue Hour Music welcomes French artist Mathys Lenne for his debut EP as ‘The Scan’ - his go to alias for classic techno. Titled ‘Callgroove’ the record features four functional and highly seductive DJ tools aimed at darkly-lit dance floors. Each track is stripped to its essential layers, holding its own unique tension with hints of pre-pandemic club moments, lead by bold rhythmic groove manipulation, classic drum
programming and immersive atmospherics.

The second volume in Death Is Not The End's survey of a form of Brazilian country music known as música caipira ("hillbilly music") - a stripped-back forerunner to música sertaneja, the Brazilian equivalent to US country & western which in it's contemporary form has come to dominate the domestic music industry in recent decades. This collection covers some of the earliest recordings made by the pioneering folklorist Cornélio Pires at the end of the 1920s, through to records from the 30s, 40s & 50s and the beginning of the 60s.

Somewhat rooted in Portuguese troubadour folk traditions, música caipira is typically performed by a duo singing in parallel thirds and sixths, drawing upon a Portuguese-Brazilian style known as moda de viola - with the viola being the viola caipira, a Brazilian-style ten-string guitar that is the core instrument of the music. Born out of the "outback"-style region in north-eastern Brazil, these songs tell stories of pain, love, loss & betrayal - often backed by homemade guitars using invented tunings. Away from the polished pop country & western-stylings of the sertaneja, these recordings could be viewed as the Brazilian equivalent to the roots music of the American dustbowl or Appalachia.

The incredible story that began with The Most Mysterious Song on the Internet (TMMS) now enters an exciting new chapter: Skyscraper, the debut album by FEX.

Skyscraper features ten original tracks recorded in the early to mid-1980s-carefully re-transferred, remastered, and brought back to life. The album cover, designed by Darius S., brings the story full circle. Darius is the very person who preserved the now-iconic track Subways of Your Mind by recording it from NDR radio in the mid-80s. Without him, FEX may never have been discovered.

FEX's debut opens with its namesake, Skyscraper-a brooding, previously unreleased track the band once described as part of their "psychedelic phase." With haunting synth-helicopter textures and deep guitar riffs, it immediately sets the tone and raises tension.

The release flows naturally into the energetic and fully remastered studio version of Subways of Your Mind. This version of the TMMS - re-discovered on the "yellow label tape" by Reddit user Marijn-was long believed to be from a smaller home studio, but was actually recorded in November 1984 at Hawkeye Studios in Ganderkesee, near Hamburg.

Goldrush, first teased in raw form on FEX's YouTube channel, bends toward mechanical rhythm and shimmering synths, a snapshot of the band's experiments with programmed drum machine sound. Rückwardt's lyrics point to greed and criticizes materialism, and while the music leans toward pop sensibilities, it carries a raw, fractured edge.

Heart in Danger and I've Got My Eyes On You offer contrasting experiences-one rooted in classic post-punk tension, the other floating in melodic synth layers. The latter in particular feels like a fragment from a parallel radio history: a precise and one of a kind synth pop love song with a progressive touch.

From a rehearsal tape comes Dirty Slapstick, its urgency intact. Missing keyboard parts were later reconstructed by Michael Hädrich using his original DX7 synthesizer-recovering lost elements without rewriting the past. The lyrics take a wry look at forced optimism. Also included are the songs Talking Hands, Jenny and Strange Feeling, the latter being a slower blues-tinged cut, revealing yet another facet of the band's reach and Rückwardt's songwriting diversity.

The album closes where the legend began-with the original radio recording of Subways of Your Mind from Darius' cassette. This version of The Most Mysterious Song features alternate vocal effects, contributing to the track's enigmatic aura. Digitally transferred using a high-end Revox machine and carefully remastered, it now has its long-deserved official release.

The cover features a photo of the Eichenberg Bunker in Kiel-one of FEX's original rehearsal spaces and a symbolic monument to their sonic legacy.

Tragic Tiger's Sad Meltdown is Heavenly aka Tiger Hutchence-Geldof's debut album of sorts, cut from cassette tapes of rehearsals mixed with snippets of field recordings. Recorded with contributions from Nicholas Allbrook (Pond), Scarlett Stevens (San Cisco), India Rose & Jacob Diamond.

"I made this cassette in the living room of our house in Fremantle, a seaside town in Western Australia. I had always been shy to sing with others but moving across the world and my ex-boyfriend Nick had given me some bravery. Something about living closer to nature meant I felt creative and open hearted. It was as if the wide open landscape of Australia had finally given my heart enough space to open properly. The recordings are actually just recordings of our rehearsals, I never feel set in how song is meant to be so they usually just come out of me in the moment. My friends playing along with me are luckily all very empathic players and we found a way to play with one another without any structure or plan. It was really moving to create with so much freedom and understanding. Most of the songs are about my sister Peaches who I lost as a teenager so singing them aloud felt very potent but my band always made me feel held"

A band that quit at the top... but now they're back! Sun-Rot was one of the most promising acts of the Hungarian indie scene with their floating, soulful, dreamy, yet psychedelic sound reaching it’s peak on their 2023 album, Mirage. Unfortunately, the band split up just after the album's release, however, after a two-year hiatus,

they have now reunited and are already working on new material. Budabeats Records is not letting Mirage be forgotten by releasing this little gem for the first time on vinyl, in the form it rightfully diserves: on 180 gram marbled vinyl, limited to 200 copies worldwide.

Credits:

Vocals: Míra Mészáros
Guitars: Péter Mónos, Gergo Balla
Bass: Gergo Dorozsmai,
Drums: Timár Benjámin
Music by Péter Mónos, Benjámin Timár, Péter Gál
Cover art by Máté Kováts, Péter Mónos
Sleeve layout: Miklós Fekete
Recorded, mixed and mastered at Tom-Tom Studios by Gergo Dorozsmai
Mastered by Anders Peterson (GS Mastering & Post)
A&R: Dj Gandharva & Von Yodi