Cerca:mo do

For the third instalment of our wax series, we welcome the regional talent Bood on board with a gorgeous four-tracker that perfectly defines our sound.

This EP was produced from the heart with some sounds from the analog and early era 16-bit digital domains, and a sprinkle of wild imagination.

In it are deeper house tones for a variety of dancefloors, and different times of the day.

Boulderhead arrives on Haŵs with ‘Sunshine’ — four cuts that blur the line between club functionality and sonic experimentation. Twisting delays, playful FX work and endlessly shifting textures give the record a voice that's unmistakably his, pushing familiar forms into stranger territory without ever losing sight of the dancefloor.

The title track ‘Sunshine’ opens proceedings with a heads-down trip anchored by a cheeky, tongue-in-cheek vocal hook, swung grooves, and hypnotic momentum. Jorg Kuning steps up on remix duties, gently reshaping the original at every turn. His hardware-led approach keeps the groove in constant motion, each subtle shift revealing another layer without ever breaking the spell. Flip the record and ‘Moonshine’ strips things back into classic Boulderhead territory, while ‘Practice’ closes the EP on a deeper note, pairing lush synth work with beautifully detailed percussion for one final slow burn.

Never too serious, always full of character. The kind of record that keeps giving something new back with every listen.

Originally released on cd in 2017 on Rope a dope and Sounds of Crenshaw, this landmark project now receives a strictly limited audiophile vinyl edition. This release marks the debut of Terrace Martin’s all-star collective, featuring Robert Glasper, Kamasi Washington, Chachi a.k.a. Problem and more, a defining statement of modern Los Angeles jazz, hip-hop and soul.

'Double Seven, released by Trojan in late 1973, was the last album Lee 'Scratch' Perry would release on the label for some considerable time, and it was essentially the final album project he put together before establishing his own Black Ark studio. Opening track 'Kentucky Skank' sets the tone with a slow creeper whose frying sounds underscore its role as a praise song to the Colonel's KFC recipes; the cosmic Moog blips come courtesy of Ken Elliott at Camden's Chalk Farm studio, also prominently featured on U-Roy's double-tracked, stereo-panned gambling ode 'Double Six.' David Isaacs' 'Just Enough' was cut a few years prior, which makes it slightly out of phase with the rest of the set, though the enigmatic 'In The Iaah' sounds mightily fresh, with its uncredited chorus said to come courtesy of the Wailers. Perry's own 'Jungle Lion' has hilarious roars from the maestro at the start, strangely grafted atop a reggae re-make of Al Green's 'Love and Happiness.'

'Overall, Double Seven melds the soul, funk, reggae and dub elements that were constant in Perry's work during this phase. His enhanced audio spectrum and endless reference points would keep his music continually apart from that made by his peers.'
—David Katz (excerpt from the liner notes)

For those with an ear to the Afro-Latin scene in New York City, Doug Gomez is one of the main men. His infusion of those sounds into a deep house framework is sublime, always, and not least on this fourth instalment in his series for his Merecumbe Recordings label. 'Dis a Way of Life' is a collab with fellow heady house hero Trinidadian Deep, and is a spine-tingling affair with spiritual pads that stir your soul as rasta vocals add to the dubbed-out feels. 'Dance Activator' is more about movement, with supple drums swaying beneath jazzy synth expressions that ring out into an infinite sky. On the flip is the warm deep house bubbler 'Sonic Uprising' and a remix by Trinidadian Deep that turns up the colour and soul. Pure class.

Project Pat, the older brother of Three 6 Mafia’s Juicy J, is a legend in the Memphis rap scene. He began rapping in the 90s with Killa Klan Kaze and released several independent mixtapes. In 1999 he released his debut album Ghetty Green via Hypnotize Minds/Loud Records. In December of 2000, he released a new single and video “Chickenhead” which blew up on the charts and led to the release of his second album Mista Don’t Play: Everythangs Working. Mista Don’t Play produced by Three 6 Mafia’s DJ Paul and Juicy J was certified Gold a mere two months after its release.

Jazz, Soul, Highlife and spoken reflection co-exist without apology on 13 new songs co-produced with Benjamin James and featuring his group The Cavemen as well as saxophonist Lakecia Benjamin. For the Grammy-nominated vocalist/songwriter Somi, each new album is an act of place-making. The catalogue of the Rwandan/Ugandan-American artist reads like a map of migration and memory, with records rooted in Lagos, in Harlem, and in the spirit and political inheritance of Miriam Makeba. 'What Does It Take To Bloom? Is her ninth album overall and her first collection of original songs in six years. Musically, it also represents a new chapter in collaboration. During sessions in Lagos, Somi connected with Benjamin James, whose partnership would become pivotal. As one-half of the Nigerian duo The Cavemen., James brings a contemporary approach to heritage-centred sound. The collaboration proved so seamless that Somi invited him to co-produce the full album, with moods and rhythms ranging from upbeat Highlife-Soul-Fusion ('Aiwah'), via jazzy statements ('Throw Something'), to soulful reflection ('What Does It Take To Bloom?').

Do Da Doo' Returns with New Life on Definitive Recordings
SPECIAL VINYL ONLY RELEASE

Definitive Recordings revisits one of its most iconic releases with a fresh reissue of Robotman feat. Marshall Jefferson - 'Do Da Doo', originally released in 1992. A cornerstone of the label's early catalogue, the track returns with newly re-recorded vocals by house legend Marshall Jefferson, bringing renewed energy to a timeless classic.

Robotman, a moniker of Richie Hawtin (aka Plastikman), represents an essential chapter in the evolution of house and techno. As one of the most influential figures in electronic music, Hawtin helped shape the sound of acid and minimal techno while co-founding the legendary Plus 8 label alongside John Acquaviva. His forward-thinking productions and groundbreaking DJ sets have defined generations of dance music culture.

On this release, the original Plastikman Acid House Mix stands as a true highlight. Spanning 12 minutes, it delivers a deep and hypnotic acid journey driven by classic TR-909 drums and a signature TB-303 bassline. The instantly recognizable vocal 'Got the Do Da Doo' sits prominently within the groove, creating a powerful and timeless club moment that defined an era.

On the flipside, Detroit's DJ Minx brings a fresh perspective with a groove-heavy house interpretation. Known as the 'First Lady of Wax' and a key figure in Detroit's scene, Minx reshapes the vocal into a rhythmic element, layering it into a shuffling and classic house framework. Her version adds warmth and swing while staying rooted in the track's original spirit.

With this reissue, Definitive Recordings celebrates a landmark release that continues to resonate across generations, combining legendary artists, timeless production, and the enduring energy of house music.

Brighton-based DJ and producer Sophie Lloyd, renowned for her soulful, uplifting house and disco sound, revisits four gems from the London Records catalogue. The collection brings fresh interpretations of East 17’s UK Top 3 hit, It’s Alright, Carmel’s soulful and genre-blending More, More, More, Maria Rowe’s house / R&B crossover anthem Sexual - famously remixed by Graeme Park - and Carlton’s Bristol deep house classic Do You Dream, originally produced by Smith & Mighty.

Needlewreckordz drops a heavyweight 7" for hip-hop and funk lovers with a great collision of source materials, making for sharp edits with undeniable groove. Opener 'Doin It (In The Park)' features a classic refrain from a Detroit jazz great, but layered over a funky groove that never quits. On the flip, 'Madness' slows the tempo with a more deep cut and rolling groove that brings slick r&b vocals that tug at the heart while bumping kicks and hip-hop fragments further flesh out the fun. Plenty of familiar touches dropped into irresistible grooves make this a gem for party-starting sessions.

Following a hugely successful debut, the LA collective Boogie Down Edits return with a second volume that turns its attention to one of hip-hop's most untouchable catalogues - A Tribe Called Quest. The approach remains as tasteful as ever: the defining vocal fragments and musical DNA of the originals stay fully intact, while the grooves and rhythms get subtly reworked for DJ-friendly, peak-time impact. 'Award Tour' opens proceedings with that unmistakable vocal hook gliding over a chunky, rolling house beat built for packed floors, while '4Momz' takes things deeper and more atmospheric, warm bass pressure and dreamy textures giving it a genuine late-night feel. Golden-era hip-hop attitude meets contemporary house production. Mad respect.

The ultimate Limited Edition double LP repress of "Morning Coffee" is finally here! ☕

Treat yourself to this ultra-exclusive double LP featuring an incredible liquid-filled vinyl. It's the perfect opportunity to acquire an exceptional collector's piece that is as hypnotic to watch as it is to listen to.


✨ Vinyl Features

Ultra-Rare Liquid-Filled Disc 1: much more than just a vinyl record, it's a technical marvel. This first disc contains a moving, coffee-colored liquid that comes alive to the rhythm of your turntable, offering a hypnotic and extremely rare visual experience.


Stunning Coffee-Marbled Disc 2: to perfectly pair with the liquid disc, enjoy a beautiful brown marbled vinyl that captures the warm aesthetic of a freshly brewed cup of coffee.


22 Remastered Tracks: 54 minutes of carefully selected, soothing melodies, remastered to bring a gentle warmth to your morning coffee routines.

Specially designed for fans who couldn't secure the original first pressing due to its instant sell-out, this limited reissue is the missing centerpiece your collection deserves.

Clear Vinyl - Repress!

Trumpeter Don Cherry, an Ornette Coleman soulmate and a world musician decades ago, became one of jazz's many early losses 10 years back. But saxophonist Pharoah Sanders, who joins him on this fizzing 1966 set, has since ascended to cult status, and he is still around to admire . In the 1960s, he knew no melodic fear at all, in which respect he was aptly partnered with Cherry. This is a quartet set, strongly influenced by the melodic approach of Coleman, but with a fierce abstraction of tone quite different from Coleman's playful lyricism.

Moreover, the rhythm team of Ed Blackwell on drums and Henry Grimes on bass provides a scintillating underpinning for the music that is worth listening to all on its own. Sanders' mix of Coltrane's yearning long notes, Ayler's ghostly, fluttering wail, Coleman's fast, bumpy phrasing and his own manic bagpipe screams certainly separates the faint-hearted from the stayers on the opening Awake Nu. But the conversation between Sanders and Cherry is light, lyrical and engaging on The Thing, and the saxophonist even gets into a stubborn, Sonny Rollins-like repeating Latin vamp on There Is the Bomb. An unflinchingly quirky classic. (THE GUARDIAN)

The roots of hard rock act Tucky Buzzard lie in psychedelic group, The End, who supported The Rolling Stones on an early tour, leading Bill Wyman to produce their sole LP. The band then morphed into Tucky Buzzard, now with scorching lead guitar licks and Hammond organ parts to the fore, and Wyman still on board as producer and manager. For their final album, Buzzard, released on Deep Purple’s Purple imprint in 1973, there is a mix of hard-edged blues rock, with a fine interpretation of perennial classic, “Who Do You Love,” and wistful originals like “Hanging On In There.” As ever, Wyman’s sterling production and presence on acoustic and electric piano makes this one a must for all Stones fans.

Best Remixes is an album by Two Brothers On The 4th Floor, released in 2023. Best Remixes includes a.o. the following tracks: “Dreams 2016 (will Come Alive) (louis Bailar & Dimitris Kops”, “Dreams (will Come Alive) (twenty 4 Seven Remix)”, “Do You Know (where You're Going To) (ferry Corsten Remix)”, “The Sun Will Be Shining (ferry Corsten Remix)” and more. The album is a Coloured Vinyl, High Quality, Gatefold Sleeve dance 2-LP.

Xzibit – Kingmaker markiert die lang erwartete Rückkehr der Westcoast-Legende, sein erstes Album seit 2012. Vollgepackt mit Heavyweight-Kollaborationen präsentiert Kingmaker Branchengrößen wie Dr. Dre, Ice Cube, Busta Rhymes, Redman, Royce Da 5'9", Ty Dolla $ign und viele mehr. Mit einer knallharten Produktion und Xzibits charakteristischer, messerscharfer Darbietung verbindet dieses Album rohe Lyrik mit erstklassigen Beats und bekräftigt Xzibits Status als Hip-Hop-Powerhouse. Kingmaker ist ein Muss für Shops und Fans gleichermassen und wird in der gesamten Kulturszene für Aufsehen sorgen.

Released in 1982, Upstairs at Eric's is the groundbreaking debut album by Yazoo. It features the international hits ‘Don’t Go’ and ‘Only You’, alongside fan favorites ‘Goodbye 70s’ and ‘Midnight’ plus the haunting ballad “Winter Kills.” Produced by Eric Radcliffe and Yazoo, the album is a masterclass in electronic pop, blending Vince Clarke’s innovative synth work with Alison Moyet’s idiosyncratic vocals. Pressed on limited edition Crystal Clear Vinyl.

NOW Music is proud to present the newest addition to the ‘Yearbook’ series: NOW – YEARBOOK 1982. 3 LPs of 44 defining tracks that ruled the charts in 1982.
Featuring number 1s, including ‘Eye Of The Tiger’ (Survivor), ‘Ebony And Ivory’ (Paul McCartney), ‘Town Called Malice’ (The Jam), and 1982’s biggest seller ‘Come On Eileen’ from Dexys Midnight Runners.
1982 saw the first huge hits from a wealth of new artists including Culture Club, Wham! and Tears For Fears, as well as an incredible line-up from artists who had established their chart presence in the prior 18 months and would produce some of the greatest tracks of the decade; Duran Duran, Spandau Ballet, ABC, Haircut 100, Soft Cell, The Human League, and a newly solo Adam Ant.
‘Fame’ was the TV phenomenon of the year, and Irene Cara’s theme from the original 1980 film enjoyed massive success.
As ABBA released their last singles for nearly 40 years, pure-pop from Bucks Fizz, Blondie, and Madness is celebrated alongside synth-pop gems from New Order, Simple Minds, Visage and Japan.
Leading artists from the punk scene enjoyed continued and renewed success, including The Stranglers, The Clash and Pretenders, whilst Foreigner, Meat Loaf with Cher, and Steve Miller Band provided radio-favourite rock and power ballads.
1982 saw a huge chart presence for dance music – from the hi-NRG of Boys Town Gang, to the electro-infused beats of Malcolm McLaren, and Rockers Revenge, the 1980’s disco of Shalamar, alongside soul classics from Marvin Gaye and Donna Summer… plus stellar ballads from Elton John, Lionel Richie, and Roxy Music.

Hip Horns Brass Collective presents Brassvillain, a tribute to the cult album Madvillany by MF DOOM and Madlib with the collaboration of Las Ninyas del Corro, Ana Tijoux, Escandaloso Xpósito and Rodrigo Laviña. The catalan brass band covers iconic songs like Figaro, Meat Grinder or All Caps, with the metallic explosion that characterizes them and the voices of some of the best artists on the current rap scene. Daniel Dumile, aka, MF DOOM is not only a musical reference, but also the illustrations that accompanied his project have a great role in the history of hip hop. For this reason, Brassvillain is also a great graphic epic where the versatile artist Hermes LeBleu displays all his versatility. In the featurings appears HO$$$ Benítez, one of the most renowned drummers on the hip hop scene, who has already accompanied them on their previous releases, “The Dream” and “Thunder”. The production is by Hip Horns together with one of the best bassists and musicians in our country, Tito Bonacera, making this tribute a multidisciplinary meeting point between artists who grew up with the masked hero. On the B side we have two new singles from the band, BRAM! and Mulligan, in which they unleash their full potential both in composition and in execution to prove once again that they are one of the leading brass bands of the moment.

American singer, songwriter and guitarist Boz Scaggs rose to fame in the 1970s with several top 20 hit singles in the United States. In 1976, he teamed up with a group of session musicians who would later form Toto and recorded his seventh album, Silk Degrees, which became a huge hit. The album reached #2 on the US Billboard 200, #1 in a number of countries around the world, and spawned three hit singles: “Lowdown,” “Lido Shuffle,” and “What Can I Say,” as well as the MOR standard “We’re All Alone,” which was later recorded by Rita Coolidge and Frankie Valli.

Silk Degrees is available as a limited edition of 750 copies on translucent blue coloured vinyl and includes an insert.

Riva Starr teams up with Australian duo Close Counters for a sun-soaked debut on Heist.

What do you get when you put an Italian house legend in the studio with 2 of the most talented artists from Melbourne? Have a listen to the newest release on Heist and you’ll find out. On their ‘Push your luck’ EP, Riva Starr, Close Counters and UK soul singer Andre Espeut bring a heavy dose of jazz & soul and most of all, upbeat dancefloor energy. Whether it’s the deep soulful vibe of the title track or the house meets jazz-funk energy of ‘Gearbox’, this EP brings together everything we love about house music.

‘Push your luck’ comes right in the middle of Close Counters’ world tour, just after Riva Starr’s album ‘Keep me on the dancefloor’ and is the follow up to their recent collab ‘Jinga’ on Riva Starr’s own Snatch Records. We all know Riva Starr from his 2013 Fatboy Slim collab ‘Eat sleep rave repeat’, his work with Groove Armada, and more recently his collab with Prunk on his PIV records debut album. Close Counters have already worked with Heist mainstays Fouk and had their breakthrough moment with their 2023 album ‘Soulacousta II’, which got wide support ranging from Gilles Peterson to Jyoto and Folamour.

Their ‘Push your luck’ EP kicks off with the title track featuring the silky vocals of Andre Espeut. When we first heard this song, we immediately got transported to the soulful sound of the mid 2000s led by Recloose’s unique track ‘Dust’ with Fat Freddy’s Drop singer Joe Dukie. It’s moody, stripped back, and bouncy at the same time. The lush chords, disco bassline, and vocal harmonies all make for a track that goes beyond genres and trends. This is a future classic.

‘Gearbox’ is a disco-tinged piano jam full of live elements, rolling congas and disco bleeps, where the musicality of the Close Counters boys comes in at full speed. This song takes its inspiration from the Brazilian jazz-funk of legends Marcos Valle and Azymuth, with a clear sense of modern-day dancefloors and a love for electronic noise. Also; 10/10 for creatively naming the track after the glitchy electronic sound that freaks & funks throughout the track.

On the flip, ‘Dizzy’ sees the trio go more into disco-house territory, again teaming up with Andre Espeut for a track that blends catchy vocal loops with a tight groove and lush chords. The EP finishes with a club dub of ‘Push your luck’ for those in favor of more groove and less vocals.

We’ve had Riva Starr and the Close Counters boys on our radar for a while, and they landed on Heist with the perfect combination of musicality and dancefloor power. We hope you like this release as much as we do!

As always, play it loud and share the music.

Lars & Maarten

Deluxe LP edition, remastered using transfers from the original
tapes lifted from the Phillips vault by mastering legend Kevin Gray.
 Pressed at Pallas on 180g heavyweight vinyl and housed in a thick
reverse-board sleeve with additional insert featuring photographs
and words by bassist on the session Bill Crow.
 This session, recorded at New York’s Nola Penthouse Studios in
1963, is a little-known masterwork from the incredible Gerry
Mulligan catalogue.
 Baritone saxophonist Gerry Mulligan was a true icon of jazz, being
one of the prominent figures in the West Coast scene through the
1950s until his death in 1996. Voted Number One musician in his
instrument by Downbeat Magazine for 42 years in a row, Mulligan
was one of the key players of his time and a figurehead who
helped shape the sound of jazz to come.
 From periods in the ‘Birth Of The Cool’-era Miles Davis line up, as
well as forming a piano-less quartet with Chet Baker, Gerry was
always on the frontline of what was hip and happening in
America’s one true art form.
 With its striking Oliver Hardimon designed cover, ‘Night Lights’ is
the very definition of refined cool jazz. Shimmering with a latenight beauty that perfectly evokes a sophisticated New York City in
the early 1960s, Gerry and his Sextet fuse slow burning jazz noir
alongside emerging contemporary Brazilian rhythms, with the
interplay between Mulligan and guitarist Jim Hall a particular
standout throughout.
 Title track ‘Night Lights’ is a wonderfully smooth, low light tune,
while the Latin-tinged ‘Morning Of The Carnival’ really finds the
band in their finest and most swinging form. A cover of jazz
standard ‘In The Wee Small Hours Of The Morning’, followed by
Chopin’s ‘Prelude In E Minor’ continues the delightful groove
before we finish out with Mulligan originals ‘Festival Minor’ and
‘Tell Me When’.
 For this version of the release, New Land have also included the
1965 version of ‘Night Lights’, which gives an interesting
comparison, performed by his later day Quintet featuring the
Wrecking Crew’s legendary Hal Blaine on drums, amongst others.

Emerging from the house scene of the 2000s with his label Place Blanche, Greg Kozo has been a bartender in naughty bars, music director at Galeries Lafayette, bassist in funk bands, and legendary producer and DJ with his former band Make The Girl Dance. Far from settling down, he returns to the arena with a sharp sound. Several catchy tracks such as "Reviens" and "After" are sultry and subversive electro-pop songs, reminiscent of the sensuality of French Touch House or 80s Synth Pop. These tracks are performed by La Montespan, a mysterious creature and poetess of carnal desires, who gives them a gently erotic tone. In the dead of night, "Flamingos," "The Room," "Who Take Me Higher," and "Club Melancholia" take us to the depths of Paris' hottest clubs, where the beats pound like bodies on fire. "Magnolia" feat. Coeur (from the punk-rock band Schlasss) is a return to raw electro-rock, like a total experience of letting go. Finally, to climb the stairs out of the club, "Amour Fou" and "Turbulences" are hymns celebrating pure love in a couple who have weathered all the dangers of the nighttogether.

“Danny Elfman’s musical score was to die for, and
it was incorporated into ‘Wednesday’’s joyfully
bleak coming-of-age story so brilliantly.” -

 Double LP on Purple Goth with Smoky Shadow
vinyl, with full colour gatefold sleeve and inner
sleeves.
 Composed by four-time Oscar nominee, two-time
Emmy winner Danny Elfman (‘Milk’, ‘Big Fish’,
‘Men in Black’, ‘Good Will Hunting’, ‘Live from
Lincoln Center’, ‘Desperate Housewives’, ‘The
Simpsons’) and three-time Emmy nominee Chris
Bacon (‘The Tick’, ‘Bates Motel’, ‘Smash’,
‘Gnomeo & Juliet’, ‘Sherlock Gnomes’,
‘Immanence’).
 Elfman also composed music for Tim Burton’s
‘Beetlejuice’, ‘Batman and Batman Returns’, ‘The
Nightmare Before Christmas’, ‘Mars Attacks!’, ‘Big
Fish’ (for which Elfman earned one of his four
career Oscar nods) and ‘Alice in Wonderland’,
among others.
 Chris Bacon is a protege of the great James
Newton Howard, and won an HMMA for ‘Gnomeo
& Juliet’, which he shared with James and Bernie
Taupin (Elton John).
 Online - Promoted through all Lakeshore Records social
media.

Ultramagnetic Mc's is composed of TR 'Funky' Luv, Dj Moe Luv on the one and two's, Kool Keith, producer Ced Gee and occasionally Tim Dog. Their second studio album Funk your Head Up was released in 1992, representing the foundation of Hip-Hop. Culled of the album are singles "Poppa Large" and "Make It Happen" plus tracks by Kool Keith's "Pluckin' Cards", "Dolly And The Rat Trap”, the diss track "You Ain't Real" about rapper Freddie Fox, skits, mad beats, and outlandish lyricism.

Funk Your Head Up was originally only available as a 1LP but is now available as a 2LP-set for the first time.

Originally released on CD in Japan in 2003, as a love letter & thank you to his Japanese fans. Recorded at home, produced, engineered & mixed by Matthew Sweet (bass, guirars & vocals) with the classic ‘Girlfriend’ era lineup of Ric Menck (drums), Greg Leisz (guitars) and the genius electric lead guitar of Television’s Richard Lloyd. The sleeve art is by renowned artist Yoshimoto Nara. In the liner notes, Sweet describes the album's title as an attempt at reverse English: "If I did it correctly, the title should seem a little strange or wrong, but still meaningful! The true definition is supposed to be a 'love you' life, one devoted to loving someone or something, even life itself!"

“an excellent modern guitar pop album, filled with great hooks and harmonies and irresistible ringing six-strings”
Allmusic

“Kimi crackles with Girlfriend‘s energy, as Lloyd and Sweet’s guitars provide antagonistic foils as they did more than a decade before on cuts like “Tonight We Ride.”
Rolling Stone

RAWAX welcomes Moreno Ácido to the artist family!
Big first release from the portuguese producer.
Presenting the full range from powerfull, groovy, deep to soulful House.
Don't miss this great record!

The Suicide Handbook is Ryan Adams’ most elusive and mythic recordings. The album is a raw and intimate collection of songs that captures the songwriter at his most unguarded. Recorded at the beginning of his solo career and long circulating only through bootlegs, the album has earned a legendary status among die-hard fans and fans of the americana genre alike for its stark stripped-back beauty.
Acoustic arrangements and hushed, late-night vocals, these songs feel like private confessions set to tape. Adams leans into themes of heartbreak, isolation, and emotional vulnerability, delivering recordings that are as fragile as they are compelling. There’s an immediacy here that sets The Suicide Handbook apart from his studio releases. These are the original recordings in their rawest and un-touched form.
Released officially for the first time, experience the record as a cohesive piece, bringing warmth and depth to its lo-fi origins. The analogue format enhances every subtle nuance, from the quiet creak of strings to the tremble in Adams’ voice.
For longtime fans and collectors alike, The Suicide Handbook stands as a haunting, deeply personal snapshot of an artist laying everything bare—an essential addition to the Ryan Adams collection.

Original Press Release: ‘Headsoup’ is a new compilation that deepens the legend of mysterious Swedish psych collective Goat even further. Collecting rarities from across band’s celebrated career, including standalone singles, B-sides and digital edits and two enormous brand new tracks. It’s a globetrotting acid trip of a record that’s even bigger in its scope than their acclaimed studio LPs.


From the incendiary heavy psych of their earliest work, like debut B-side ‘The Sun And Moon’, to the serene Requiem’-era alternate take ‘Union Of Mind And Soul’, to the simmering menace of their latest material, it’s a record as multifaceted as Goat themselves, packed with detours in every conceivable direction. Taking in jazz-flute solos, pounding Afrobeat rhythms, ferocious desert blues, drifting Ethio-jazz, this is, as the name of Goat’s first album made clear, ‘World Music’ in its most complete form, a sound unrestrained by genre boundaries. Yet the band are anything but lazy appropriators. They approach their forebears with upmost reverence, articulating a celebratory cultural cross-pollination.And what about these two new tracks? ‘Fill My Mouth’ is a scuzzy psychedelic funk knockout, the sleaziest thing the band have ever recorded. ‘Queen Of The Underground’, meanwhile, is truly herculean, a swaggering psychedelic powerhouse of the very highest order. Sometimes dark and heavy, at others joyous and beautiful, like Goat themselves ‘Headsoup’ is mysterious, and constantly shapeshifting, difficult to properly pin down but constantly enthralling. Almost a decade since Goat first emerged from the depths of Korpilombo, there is still no other band on earth that sounds quite like them.

Ismael Pinkler lives in Buenos Aires. Belly Dance Services head Nick Hanzo in Vienna. Turns out the exact midpoint between the two is somewhere in open ocean. So they abandoned the plan to meet on Earth at all, and met on planet 126 in outer space.

It turned out to be a strange, hospitable little world — spinning at its own pulse, 126 beats per minute, changing landscape every few kilometers, as if it couldn't decide what kind of planet it wanted to be either. Ismael and Nick wandered it together, letting each new terrain talk them into a different song, until ten tracks had quietly assembled themselves. What they brought back drifts somewhere between shoegaze, techno, ambient, trippy tribal house and pop — grounded and gravitational, emotional and mental, to put it in terms Earthlings might understand.

Now, speaking seriously: Ismael and Nick built Planet 126 by passing sounds and ideas back and forth across the ocean, night after night, for eight months. The entire process — composition, vocal recording, production and mixing — took just eight months, a dream scenario for any electronic musician. The collaboration stayed positive, proactive and fresh throughout, letting the project move forward effortlessly. All tracks were written and produced by both musicians together; Nick wrote the lyrics and recorded the vocals, Ismael handled the mix. No samples, no references — just two people building a world from scratch.

Planet 126 also marks a milestone for Belly Dance Services: the label's 30th release, and likely its last. BDS began with BDS001, a vinyl EP by label founders Hanzo & Yaman, and has been solely helmed by Nick Hanzo for the past five years. Now it comes full circle — laid to rest with a big bang: a double vinyl gatefold album co-produced by Ismael Pinkler and label head Nick Hanzo.

In 2000, after almost two decades of hibernation under the ambient waves and dub currents of the Sargasso Sea, LSD revived the seminal ‘Auntie Aubrey's' series, an Orb Remix Project. Released as a 2 x CD compilation, Part 3 is a veritable smorgasbord of classic, new and unreleased labour-of love remixes that span three decades yet still transcend space and time.

Many influential artists have been involved with The Orb since the beginning, and the project keeps evolving and adapting. Dr. Alex Paterson, the gravitation centre of the Orb is known for his playfully subversive remixes and true to form this album highlights the diversity of his musical mind.

We see the good doctor remix the melancholy and evocative “The Last Lighthouse Keeper” from The Transit Kings, an early British electronic music group that included Jimmy Cauty of The KLF, one of the original members of The Orb. The remix of ‘Davy Jones’ Locker’ from System 7 takes you surfing on a sun-dappled sea of ambient dance nostalgia, while Killing Jokes’ ‘European Super State’ remix (in which LSD label founder Martin ‘Youth’ Glover plays bass guitar) sounds like the soundtrack for an imaginary spy thriller with the powerful lyrics and hypnotizing voice of Jaz Summers.
Legendary producer Youth teams up with Lx yet again on a psychedelic rocker with spellcasting vocals by Lara Smiles, and this is just the beginning! Boasting an all-star lineup, the compilation includes many of our scenes most esteemed electronic music producers such as Coldcut, David Harrow, Sendelica and Gaudi as well as the ambient blissed out vibes from the enigmatic DF Tram, Duende India Collective and The Gyuto Monks of Tibet, this collection offers up such the variety to appease even the most dedicated Orbsessives and music connoisseurs

We are so excited to welcome back Tigerskin with a brand-new Album. This 12” is the vinyl version
showcasing six deep, euphoric and banging tracks taken from the full album.

The digital album features twelve brand new tunes by Alex Krüger and delivers his 3rd studio album as Tigerskin.
“Image” not only continues his search for the ultimate dance floor deepness, and contrary to just imitating his own “best selling” club grooves, it rather displays his ongoing artistic progress as a producer and composer of electronic music.

Opposed to his 2013 album “All Those Goodbyes”, which musically rooted in the early 90s and included a ton of collaborations with friends and long time partners, “Image” focuses more on Alex’s general musical roots and shows his compositional preferences. Apart from a few samples, this time around it doesn’t feature any co-productions at all nor did Alex use crazy or special gear to create the tunes. Many sounds are coming from natural and acoustic sources. Expect 80s New Wave references or spooky Wagner-esque bits to pop up next to dusty downbeat interludes. Euphoria next to relaxation. Tigerskin’s journey leads him from ironic comments on the present times via deep, occasionally melancholic or dark and hypnotic material up to the final tune, a homage to the infamous German brothers, Thomas and Klaus.

Tigerskin’s love for experimentation and cross-genre diversity on “Images” is more tangible than ever before.

Dive into this great deep journey, Enjoy!

180g Heavy double vinyl LP with liner notes by Tyran Grillo. Limited Japanese Obi for the first pressing. Original artwork by Russell Mills and photography by Jean-Baptiste Mondino.

The third Time Capsule is a body of dub reinterpretations by celebrated producer Bill Laswell of Ethiopian singer Gigi. Curated by Tokyo record collector, music researcher and seasoned reissue supervisor Ken Hidaka, it is the first time Illuminated Audio is pressed to vinyl after its CD release in 2003.

Ejigayehu Shibabaw was born in 1974 in Chagni, northwestern Ethiopia and by pursuing a career as a singer, went against her father’s strict, traditional gender roles. As Gigi, she embraced the same musical freedom she had strived for in her personal life, incorporating the Ethiopian church, funk, hip-hop, West and South African music into her work. She first settled in Nairobi, then Addis Ababa, where she quickly established herself as one of the city’s leading singers. A move to San Francisco in 1998 led to a long and fruitful creative partnership with bassist and producer Bill Laswell.

Around the same time, Chris Blackwell had stepped away from Island Records to start the art house film company and label Palm Pictures. He took an interest in Gigi and together with Laswell, pulled together an all-star cast of musicians for her self-titled US debut album, including Herbie Hancock, Pharoah Sanders and Wayne Shorter. It won international critical acclaim, not just for its musicianship but for making Gigi a “defining voice for the Ethiopian expatriate community”, as journalist Tyran Grillo praises in his Time Capsule liner notes. From the nation-defining 1896 victory over Italian invaders to the quiet revolutionaries who wear simple shemma garments, Grillo believes the themes in Gigi make it “a shower of sunlight on her homeland for those ignorant of its struggles.”

After its success, Blackwell encouraged them to go back into the studio to rethink the album and Illuminated Audio was born. “Anyone can make a voice sound worldly”, Grillo remarks, “but rare are those who can make one sound inner-worldly.” Gigi was clear with Laswell to give her vocals a minor role “because it’s already been done.” Instead her Amharic verse is fleeting, exhaling through the textures like ghostly fragments; soaring yet muted. Yet the album is still titled under her name, an assertion by Laswell of her central role in the album’s creation. Not only was it a fully endorsed project by Gigi, but she would be present throughout its development, giving feedback on half-finished ideas as Laswell played them back in the studio. “It works perfectly”, she reflected after the album’s release. “We wanted to capture the whole spirit of each track, and Bill’s remixes create a different music language that really puts you in a pleasant place”.

This new vocabulary takes its lead from a technical approach that Laswell had been perfecting during a furtive creative period at the turn of the millennium. Much like his ambient interpretations of Miles Davis (Panthalassa, 1998), Bob Marley (Dreams of Freedom, 1997), and Carlos Santana (Divine Light, 2001), Laswell approached Illuminated Audio by returning to the original multitrack masters. Gigi wasn’t just reworked, but recomposed into an expansive lattice of instruments, submerged in a watery ambience of dub and trance undercurrents.

Sonically, this new language that Gigi refers to, is manifested by the original album’s more understated parts being pushed to the fore. Explaining his contrasting methods, Laswell saw Gigi as being “put together in a way that fits”. Contrastingly, in Illuminated Audio, “a lot of things that I featured in the remix weren’t as audible in the original.” Instrumentation laying near-dormant, deep in the mix, are brought to the fore: the acid rock guitar and Wayne Shorter’s saxophone on ‘Tew Ante Sew’, Graham Haynes’ flugelhorn on ‘Nafekeñ’, Laswell’s bass on ‘Kahn’, the melodica in Mengedegna or the floating synths and talking drums in ‘Gud Fella’.

Brought to his attention by mentor DJ Nori, Hidaka describes Illuminated Audio as a “masterful sonic exploration into ethereal ambience and dub” and made sure this reissue also contained a full remaster to give its “deep musicality” much better dynamics and density in the overall sound. Hidaka admits that Laswell's music “is sometimes so out-there, it is often misunderstood” and, indeed, to dub album non-believers this might seem like a prolific producer imposing himself on another artist’s work; eternally developing rearrangements that never quite get to its destination. But that’s missing its true power and triumph. This is more than the reissue of a remix, but “a wholly unique musical entity”, as Hidaka describes. Illuminated Audio refers to the illuminated manuscripts that comprise the major part of Ethiopian art and its new compositions stand in proud solitude as a rare body of reworks that both informs and enhances their originals.

Two years in the making, “Talk About It” delivers on all the hype and promise of Blimes and Gab's 20-million-view YouTube sensation “Come Correct,” which blew up the Internet. (It’s included here as a vinyl-only bonus song on side D!) Hip-hop heavyweights Method Man, Jay Park, Bahamadia, and Iamsu! each drop by for features. The song “Feelin It” appeared on HBO’s Insecure. Single "Hot Damn" was featured in the soundtrack for the movie Cut Throat City. Uproxx Music named "Talk About It" one of their top albums of the year. Billboard says “Blimes and Gab drip with pure swagger: Seducing the listener with entrancing melodies and hot-and-heavy lyrics,” while Variety describes “Feelin It" as "the perfect summer song.” This deluxe double LP is pressed on yellow and black vinyl and includes liner notes by Miss Casey Carter. Only 500 individually numbered copies have been made.

"Just As I Am" – wer spät seine Karriere startet, kann sich bereits ein ausdrucksvolles Persönlichkeitsprofil erarbeitet haben, auch wenn es so wie bei Bill Withers zunächst nicht von Musik geprägt worden ist. Withers diente viele Jahre in der US-Marine, jobbte als Milchmann und installierte bei einem amerikanischen Flugzeugbauer Toiletten in Jets, während seine selbst gefertigten und fleißig verschickten Demo-Tonbänder bei den Plattenfirmen im Abfluss landeten. 1971 folgte der steile Aufstieg, als der erfolgreiche Producer Booker T. Jones ihn ins Schlepptau nahm und ihm Top-Musiker wie den Gitarristen Stephen Stills, den Drummer Al Jackson und Donald 'Duck' Dunn als Bassmann ins Studio stellte.

In seinem Debüt-Album zeigt Withers seine universellen und ausgereiften Fähigkeiten als Sänger, Komponist und Interpret, die er in späteren Aufnahmen kaum mehr übertraf. "Harlem", ein ungeschönter Milieu-Funk über die die New Yorker Slums, "Grandma’s Hands", der obligatorische Rückblick in die Kindheit und die gemütslastige Ballade "Ain’t No Sunshine" mit ihrem gebetsmühlenartigen im Off-Beat kreisenden »I know, I know …« sind freigelegte musikalische Jahresringe eines erfahrenen Mittdreißigers, der endlich zu Wort kommt. Zu dieser Schallplatte des großen Songwriters mit dem kleinen Repertoire gibt es keine Alternative.

High Focus Records are proud to present the latest collaboration from Verb T & Illinformed. ‘Stranded in Foggy Times’ both continues and completes the trilogy that began back in 2015, with ‘The Man with the Foggy Eyes’, before broadening the horizons with last year’s release ‘The Land of the Foggy Skies’. This final chapter returns to the same conceptual landscape as its predecessors, but also sees Verb T & Illinformed returning to a more classic approach to album making. In spite of its concept, the Foggy Trilogy is something of a personal outpouring for Verb T, with the original aim being to vicariously discuss the trials and tribulations that play a part in his life, including his struggles with chronic illness and the feeling of alienation from leaving his hometown, while also reflecting on the state of the world as a whole. Their approach to making the album meant taking it back to the most natural form, where the idea for the track would be outlined, Illinformed would make the beat, Verb T would write to it and then they would tweak and adjust accordingly. The result is 19 of the most finely crafted tracks to emerge from the UK shores this year. As with the previous albums, ‘Stranded in Foggy Times’ finds Illinformed moving away from the more rugged sound that has shrouded the British scene over the last few months, thanks to his collaborations with the likes of Datkid and Wish Master, instead providing Verb T with an arguably more mellow backdrop. From the string and piano driven introduction on ‘Legacy’, to the blissful head-nod vibes of the closing track, ‘Blind Faith’, the union between beats and rhymes sits at the perfect level. The album also boasts one of the most impressive guestlists of the year, one that is very much a product of both players’ worlds. Thanks to Illinformed’s Bristol connection, there are features from the likes of Res One, Datkid, Leaf Dog, Smellington Piff and Chillman, as well as some locally sourced cuts from DJ Rogue. While on Verb T’s side of the fence, we have features from Rye Shabby and Moreone, along with a collaboration that reignites the same creative spark he found in his early days, as King Kashmere steps into the booth on Feeling Strange. All in all, ‘Stranded in Foggy Times’ does exactly what it sets out to do, by drawing the trilogy to a close while also providing insights into Verb T’s personal world and the world at large. The fact that it also happens to be one of the strongest rap albums of the year is the icing on the cake

Vinyl Packaging: Gatefold LP + download card. Indie Exclusive Transparent Orange vinyl in gatefold jacket Limited to 1000. CD 6 panel Digipak. Gnosis is the highly anticipated 8th full length from Russian Circles. Across the span of their previous seven studio albums, Chicago-based instrumental trio Russian Circles traversed a diverse topography of sounds, moods, and approaches with their limited armory of drums, bass, and guitar. It’s difficult to chart an evolution in their sound when their records have always felt like well-curated playlists. It wasn’t uncommon to hear drone-heavy meditations, dazzling prog exercises, knuckle-dragging riff-fests, haunting folk ballads, and tension-baiting noise rock all within the span of one album. Still, it’s difficult to ignore the progression from the pensive and intricate melodies of Enter (2006) to the layered distorted dirges of Blood Year (2019). It’s been a gradual sonic shift owing to the band’s rigorous tour schedule and a predilection towards playing their more authoritative material on stage. But with their latest album, Gnosis, Russian Circles eschew the varied terrain of their past work and bulldoze a path through the most tumultuous and harrowing territory of their sound. As was the case for so many artists in the age of COVID, the obstacles of geography and isolation forced Russian Circles to reevaluate their writing process. Rather than crafting songs out of fragmented ideas in the practice room, full songs were written and recorded independently before being shared with other members, so that their initial vision was retained. While these demos spanned the full breadth of the band’s varied styles, the more cinematic compositions were ultimately excised in favor of the physically cathartic pieces. Gnosis was engineered and mixed by Kurt Ballou. Drums and bass were tracked at Electrical Audio in Chicago to maximize the natural room sounds of the rhythm section. Guitar and synth overdubs were conducted at God City in Salem, MA to take advantage of Ballou’s vast inventory of amps and effects pedals. Despite the entirety of the album being written remotely, the songs were recorded with the full band playing together to retain the live feel of the material. Owing to the climate of the times and a new writing method, Russian Circles created their most fuming and focused work to date—an album that favors the exorcism of two years’ worth of tension over the melancholy and restraint that often colored their past endeavors. European Co-Headline tour with Cult of Luna slated for Marc 2023 (Dates TBA). Russian Circles have received coverage from most notable press including Pitchfork, Rolling Stone, Stereogum, FADER, AV Club, Consequence, Decibel, Revolver and much more.

 The ‘Fantasy’ EP saw Jacques Greene push further
into his downtempo and ambient influences than ever
before. Now he returns with a special club-tested
extended edit of key EP track ‘Relay’, alongside an
incredible Skee Mask remix.
 Since releasing his last studio album, ‘Dawn Chorus’,
in 2019, Jacques Greene has scored the short film
‘Exhaust’ starring Jimmie Fails (‘The Last Black Man in
San Francisco’), Glenn Kaino’s installation piece
‘Tidepools’ (alongside Nosaj Thing), and videogame
‘Homeschool’. He released remixes for artists such as
Para One, DC Salas, Amtrac, Kllo, Elohim, Kacy Hill
and Montreal disco legends Lime.
 In 2020 he made headlines for creating ‘Promise’ - the
first single released with associated NFT that staked
the owner to music publishing. In 2021 Greene
released ‘ANTH01’, a reissue compiling his first few
years of releases across various labels, alongside
unheard tracks from the era.
 Fresh off a US / European tour in 2022 in support of
his ‘Fantasy’ EP, as well as a high profile support slot
on the recent Bonobo tour.
 “Immaculately produced and mixed, and profoundly
effective - both for the pleasure centers it fires, and
also for the associations it triggers. It feels like a
genetic memory passed down across generations of
ravers, encoded in their very DNA.” - Pitchfork
 “An exercise in restless soul-searching, striking a
delicate balance between struggle and serenity as if
one necessitates the other.” - Resident Advisor