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Maduk is back on Liquicity Records with his 8th vinyl release. This special white vinyl contains three all time Liquicity classics and one brand new remix. A must have for every liquid drum and bass collector.

2026 Repress

Ron Trent's masterpiece from 1993 "I Feel The Rhythm" in the rebound! For the first time together on one record with the remixes by Paul Johnson & Inner Experience which came out 1999 on Prescription Records - a must have!

MUST HAVE !!!
Played & supported by Anderson Noise, Davide Squillace, Franco
Bianco, Patrick Kunkel and many more.

Geboren im Sommer '96/'97 - dem Jahr des Höllenschweins - brannten Mustang als soziales Experiment aus der Innenstadt Tasmaniens heraus. Sie kamen mit ziemlich viel davon, andere hätten für weniger wohl nicht mehr gleich ausgesehen.Sie sauf-ten, machten Sachen kaputt und brachten dieses Chaos in das Schreiben von Banger-Songs - während sie sich bei den ,Proben" XXX Ales reinzogen und bei sehr wichtigen ,Bandmeetings" Protokolle führten.Mustang schütteten Benzin über ihre tasmanische Ödnis, bevor sie 7,69 Millionen Quadratkilometer Landmasse der Erde in sich aufsogen und dort ,dominierten", auf die einzige Art, die sie kannten: laut, wütend und zu ihren eigenen Bedingungen - und nahmen dabei Horden williger Partygänger mit auf die Reise.Über drei Non-Studio-Alben und eine Handvoll kleiner Veröffentlichungen hinweg bauten Mustang einen Katalog auf, der von Bier, Speed und störrischer Unabhängigkeit geprägt war. Kein Glanz. Kein Trendgehechel. Kein Buckeln vor dem Mann. Sie ritten ein, tranken, was da war, und hinterließen klingelnde Köpfe.Cut Up Rough (2015) war ihr Schwanengesang - geboren in einer Heuscheune am ausgefransten Rand von Tasmaniens Rock-Hochburg. Aufgenommen über zwei schlaflose, bierselige Tage wurde das Album mit improvisierten Drum-Takes, aufgedrehten Gitarren und purem Instinkt in die Existenz gerissen. Die Band lebte während der Aufnahmen buchstäblich in der Scheune - schiss ins Gras, schlief zwischen leeren Dosen, und ließ Isolation und Absurdität direkt in billige Mikrofone bluten.

Ever since the late 1950s bossa-nova revolution, Brazil’s influence on French music has been undeniable. Pierre Barouh, Georges Moustaki and a vast array of lesser known artists, all made the Musica Popular Brasileira (MPB) an axis of promotion at the service of a cool and metaphysical, modern and mixed Brazilian lifestyle. Some were seduced by the poetic languors of the bossa, some were looking for fun, and others just loved the American hybridization of jazz-bossa, jazz-samba.



What is bossa nova? One of its creators, Joao Gilberto said: "Its style, cadence, everything is samba. At the very start, we didn't call it bossa nova, we sang a little samba made up of a single note - Samba de uma nota so .... The discussion around the origins of bossa nova is therefore useless”. It is nevertheless useful to remember that these magnificent Brazilian songs, which the guitarist describes as samba, were shifted and balanced around improbable chords. "I like things that lean, the in-betweens that limp with grace," said Pierre Barrouh, quoting Jean Cocteau.



With emotion, arrangements for violin and supple guitar licks, bossa nova rapidly changed. A transformation that can be heard in the Tchic, tchic, French Bossa Nova 1963-1974 compilation, the result of a cultural reappropriation, which traveled through the United States and supplemented itself in France.

A musical revolution that has remained significant, bossa nova was born in Rio. From 1956 to 1961, Brazil lived through its golden years. In five years, the country had invented its modernist style. Elected president in 1956, Juscelino Kubitschek de Oliveira, an elegant man with a broad forehead, brandished a promising slogan: "Fifty years of progress in five years". He quickly got to work. Not worried about increasing debt, he launched the project for a new federal capital, Brasilia, designed by the communist architect Oscar Niemeyer. Volkswagen opened state-of-the-art factories and created the “fusquinha”, the Beetle. In Rio, the Vespa made its first appearance. The Arpoador Surf Club crew run into the “girl” from Ipanema, Helô Pinheiro - the tanned garota ("chick"), between a flower and mermaid, who at 17 walked by the Veloso bar, where the fiery author and composer, Tom Jobim and Vinicius de Moraes, were getting drunk on whiskey. From then on, bossa symbolized cool.

In 1958, Joao Gilberto recorded Chega de Saudade, which the directors of Philips denied, calling it "music for fagots". The marketing director, who believed in it, secretly pressed 3000 78-inch vinyls and distributed them at schools around Rio, creating a tidal wave.

American jazzmen then took over. In particular, trumpeter Dizzy Gillespie and guitarist Charlie Byrd. In November 1962, the Brazilian Ministry of Foreign Affairs funded a "Bossa-Nova" concert at Carnegie Hall in New York, inviting the genre’s pioneers. Unprepared, the show soon turned to disaster. But the troupe was invited to the White House by Jackie Kennedy. The first lady loved "the new beat" and in particular Maria Ninguem, a song by Carlos Lyra, later covered by Brigitte Bardot.

In Brazil, the 1964 military coup quickly ended this euphoria. The destructive atmosphere that ensued pushed many Brazilian musicians to leave, if not to exile. Thus, Tom Jobim, Sergio Mendes and Joao Gilberto arrived to the United States. In New York, Joao Gilberto met saxophonist Stan Getz. At the time, he was married to the Bahianese Astrud Weinert Gilberto, who had a German father. She had never sung before, but she knew how to speak English. Getz therefore asked her to replace her husband on The Girl From Ipanema. The Getz/Gilberto record with Tom Jobim on piano, was released in March 1964. Phil Ramone, the "pope of pop" was in charge of sound.

Bossa nova arrived in Paris through the classic “guitar-voice” channel (Pierre Barouh, Baden Powell, Moustaki…) But France loved jazz and Paris had already welcomed its American contributors. All these good people were to pass through Saint-Germain-des-Prés. The cabaret l'Escale became the Mecca of Latin American sound where one could find Pierre Barrouh and his friends, such as the Camara Trio, samba-jazz aces, whose only record was published by the Saravah label. With a band strangely called Les Masques (a band that included Nicole Croisille and Pierre Vassiliu, among others), the Camara Trio recorded an interesting Brazilian Sound, including the track Il faut tenir which is present on this tasty compilation of rarities.

Other enlightened musicians can also be found on the compilation, such as Jean-Pierre Sabar (songwriter for Hardy, Auffray, Leforestier ...) and the French pop rock organist Balthazar. In 1975, Sabar recorded Aurinkoinen Musiikkimatka on a Finnish label, which featured the crazy Vai, Vai, included on this record. We are now following the footsteps of Brazilian electronic musicians such as Sergio Mendes, Eumir Deodato or Marcos Valle who created funk and disco sounds on their keyboards and synthesizers. A style that influenced Véronique Sanson when she wrote Jusqu’à la Tombée de la nuit in 1969 for Isabelle de Funès, the niece of Louis and a great friend of Michel Berger - Sanson did end up singing this track on her 1992 Sans Regret record.


The pinnacle of exoticism and travel, Sylvia Fels’ Corto Maltese includes bongos, sea mist and ocean sounds. The title was taken from Jacky Chalard’s concept album written in 1974, Je suis vivant, mais j’ai peur (I am alive, but I am scared), based on Gilbert Deflez’s science fiction novel.


However, bossa nova extended the scope of popularity. "In the 1970s, I was a fan of Sergio Mendes, Getz / Gilberto. I fell in love with this music that I knew because I had been an orchestral singer, " explained Isabelle Aubret, who in 1971 delivered a composite record of covers by the very funky Jorge Ben, Orfeu Negro, Tom Jobim, Vinicius de Morais and Jean Ferrat. "I recorded this album for Meys Records in Paris, far from Brazil, with wonderful musicians, François Raubert, Roland Vincent, Alain Goraguer...". The latter wrote the arrangements for Casa Forte, a very percussive title borrowed from Edu Lobo, one of the initiators of the bossa who spent time in California. "Jazz and bossa came together and produced very rhythmic music. I love singing, it allows me to dream, to have fun, to feel a high on stage, and these songs brought me joy, made me swing, my singing felt like a dance.”


The world tours of French singers and their desire for the tropics, often brought them to Rio with its hills, forests, caipirinhas and tanned bodies. There are surprises though, like this Iemenja (Iemenja is the goddess of the sea in the Afro-Brazilian candomblé religion). Not unlike the composer and musician Jean-Pierre Lang, based in Sao Paulo, Claire Chevalier taught Brazil to Brazil. In 1970, the singer and painter published a 45-inch vinyl, Mon mari et mes amants (My husband and my lovers), under the improbable pseudonym of Clarinha (little Claire). She was then living in Rio, with her husband, Joël Leibovitz, who founded a band called Azimuth, and who owned a record label specialized in "sambas enredos" songs for samba school parades.


For its B side, she asked Pierre Perret to come up with lyrics for a song composed by Carlos Imperial: "Oh goddess of the sea, o goddess Iemenja, I bring a white rose to adorn your long hair ..." . "Perret came to see us, and we had fun, remembers Joël Leibovitz. We wrote Lemenja for fun, we recorded it at the Havaí studio, behind the Central do Brasil the central station. Erlon Chaves, the arranger who worked with Elis Regina, joined us" adding his share of Afro-Brazilian percussions and funky brass to the mix.

There is a common misunderstanding in Franco-Brazilian history: that bossa, admittedly hedonistic, is perceived as funny, even though the poets who wrote the texts are often philosophizing on the human condition. Its French interpreters pull it towards a carnival inspired universe, far removed from its fundamental essence. Thus, Jean Constantin covered the famous Samba da minha terra, an ode to the art of samba written by the classic Bahian composer Dorival Caymmi, renaming it with the enticing title of Pas tant de tchi tchi pompon: "On your pier there is no tchi tchi / when you arch your back, you know everything is alright ”(lyrics by Gérard Calvi). This expedited bossa aims for the absurd, but retains a certain elegance.

Indeed, Jean Constantin was not an idiot, the rather large man had a huge mustache and liked fantasy, (Les pantoufles à papa, Le pacha, inspired by cha-cha-cha-cha, salsa and jazz) but he was also the lyricist of Mon manège à moi interpreted by Edith Piaf, the composer of Mon Truc en plume by Zizi Jeanmaire and the soundtrack of François Truffaut’s 400 Blows. Le Poulpe, published in 1970, from which this bossa is extract, was arranged by Jean-Claude Vannier, an accomplice of Serge Gainsbourg’s Melody Nelson. In short: "There is enough of samba / By looking at the parasol / Because my poor cabeza / Is going to die in the sun".

Even the American actress Marpessa Down, who was at the heart of the bossa nova revolution with her role as Euridyce in Marcel Camus’ film Orfeu Negro, winner of the 1959 Cannes Palme d'or, fed the clichée with Je voudrais parler au petit cuica - "Tell me how you manage to always make people want to dance / It's true, I must admit that I cannot resist your magic" - in consequence, once can hear the cuica, a little drum inherited from the Bantu.


But bossa nova had many angles. Societal, of course, pushing actresses who were symbols of women's liberation like Brigitte Bardot, Jeanne Moreau, or Sophia Loren to engage in the exercise of accelerated bossa. In February of 1963, Sophia Loren made a record in French in Rome, Je ne t'aime plus, featuring the song De jour en jour, a bossa written by two Italians, Armando Trovajoli and Tino Fornai, which was released a little later by Barclay. Bossa accompanied the 1960s, a decade of moral liberation. Ann Sorel, who interpreted La Poupée des favellas, caused a sensation with L’amour à plusieurs, a provocative song written by Frédéric Bottom and Jean-Claude Vannier. As for the actress Andrea Parisy, she displayed her bourgeois cheekiness in Marcel Carné's Les Tricheurs before interpreting Les mains qui font du bien. And Magalie Noël, the friend of Boris Vian, who sung Johnny fais-moi mal, was hired to sing Une énorme Samba, composed by Alain Goraguer (arranger to Gainsbourg, Bobby Lapointe and Jean Ferrat) with lyrics by Frédéric Botton.

But in the end, of what wood is bossa nova made of? The answer is given by Christianne Legrand, daughter of Raymond the conductor, and sister to Michel the composer: "With me, with jà" - jà means "immediately" in Portuguese. In 1972, the singer, an expert in vocal jazz and a member of the Double Six, published Le Brésil de Christianne Legrand. Two songs included on the Tchic Tchic compilation that demonstrate how bossa, jazz, funk, rock, etc. work like a swiss army knife: the music is used to denounce broken systems, or miracles, HLM et ciné roman, Cent mille poissons dans ton filet, two songs from the O Cafona soundtrack, a successful telenovela broadcast, at the time in black and white, on TV Globo. The first was adapted in French by the fighter and friend of the Legrand tribe, Agnès Varda. The second is content with a play on words, jostling them into a summer fun.



Véronique Mortaigne

‘Batteries Not Included (Brain Sold Separately)’ EP Arrives Via No Static Automatic

No Static Automatic is proud to announce the new EP from UK Electro legend Phil Klein under his Mental Note alias. Titled “Batteries Not Included (Brain Sold Separately),” this release marks the dynamic follow-up to the acclaimed 2020 debut “Voices In My Head (Noises In My Pants).”

Few authentic Electro producers from the UK can wear the badge ‘legend’ with the same level of justification as Phil Klein, aka Bass Junkie. Active since the late 80s, Klein has tirelessly shaped his distinct vision of Electro, both as a solo artist and through storied collaborations with icons like Dynamix II, Keith Tenniswood (Radioactiveman), and Si Brown (Dexorcist). As a DJ, remixer, live act, and the driving force behind the seminal Battle Trax label, his influence is woven into the fabric of the genre.

With essential releases on labels including DMX Krew’s Breakin’ Records, Andrea Parker’s Touchin’ Bass, and Billy Nasty’s Elektrix, the Bass Junkie sound seamlessly bridges the old-school beats of Electro’s origins with a potent, borderline-industrial edge. As noted by Andy Barton of Bass Agenda: “From funky to ferocious, Bass Junkie’s discography is a must-have for anyone claiming passion for the genre – influential, individual, and infectious with every beat.”

Now, as Mental Note, Klein continues his exploration of electronic psychedelia. The new EP, “Batteries Not Included (Brain Sold Separately),” is a four-track expedition through the Electro cosmos:

“Brainwash” immerses the listener in swirling, hypnotic synths.
“They're Not Blue, They’re Purple” delivers a masterclass in crunchy, textured drums.
“Primordial Soup” showcases frantic, intricate programming.
“Kluster Funk” offers a moment of deep, sonic relief and groove.

Each track reinforces Mental Note’s signature: a journey that is cerebral, raw, and irresistibly rhythmic.


About Bass Junkie/Mental Note:
Phil Klein, operating primarily under the alias Bass Junkie, is a cornerstone of the UK Electro scene. For over three decades, his work has defined and evolved the sound, earning him a revered status among peers and purists. His Mental Note project is a focused outlet for a deeper, more experimental strand of his production genius, further solidifying his legacy as an electronic music innovator.

José González has delivered a new album, Against the Dying of the Light, a companion and further meditation on the themes of his critically acclaimed album, Local Valley. Where Local Valley turned inward toward place, language, and personal reflection, this new record widens its gaze, becoming an urgent call to preserve the light of humanity with all its flaws, at a moment when, technology increasingly shapes how we think, feel, and relate to one another.

While José has always embraced technological advancement, he questions the assumption that every new possibility must be pursued to its maximum potential, especially when progress comes at the expense of human flourishing, attention, and empathy.

Keeping in the tradition of folk music as protest, José’s new single — sharing its title with the forthcoming album — urges listeners to resist systems that dehumanize and divide: “Disconnect from every algorithm, every perverse incentive that drags you down. Let’s rebel against the replicators, against the dying of the light. Kill the codes that feed the hate, keep the codes that make you thrive, celebrate the **king fact that we’re alive.”

Across the album, González works within a deliberately minimal framework, pushing his familiar palette to new heights through subtle variation, restraint, and detail. Each song unfolds with its own distinct character, proving how much emotional and musical range can be achieved within self - imposed limitations. Written in English, Swedish, and Spanish, the record reflects his Swedish - Argentine roots and frames its humanist message as a global one rather than a purely personal or political statement.

José González is one of the most quietly influential artists of our generation. The Swedish - Argentine artist has built a singular musical world from hypnotic, minimal guitar work and his unmistakably gentle voice — a sound that has become deeply personal to millions of listeners worldwide. With billions of streams across platforms and hundreds of thousands of physical records sold, González’s songs often act as emotional landmarks. Ask almost anyone, and they can name at least one of his tracks tied to a defining moment in their lives.

Bristol experimental band SUGAR HORSE are delighted to announce that their third album, Not A Sound In Heaven, will be released on 10th April 2026 via Fat Dracula Records.

To celebrate the news, the band are sharing the bruising lead single ‘Secret Speech’, available to stream on all good digital service providers from 12th February 2026.

Also announced today are a run of April 2026 UK album headline tour dates and an appearance at StrangeForms Festival 2026, with tickets on sale now (see below for full listings).

“We are fortunate enough to live in what is generally known as ‘The West’,” says front man Ash Tubb of the lyrical themes behind the new track. “I say fortunate with gritted teeth, because I know—as I’m sure the reader knows—that living in the West isn’t always rosy. The vast majority of people struggle everyday to feed, clothe and house themselves. Let alone receive adequate healthcare, schooling and workers’ rights.”

“We are, however, where all the world’s wealth is hoarded. We are at the centre of Empire. The people outside of this empire—those of the Global South—have had their resources extracted and their populations exploited by our own governments, with very little given back in return. This won’t go on forever. It will inevitably end, as all great empires do.”

“We in The West have a choice to make in the meantime; either help create a new, fairer world, or let the greed of our ruling classes become the undoing of all of us.”

The first glimpse of new material from the quartet, ‘Secret Speech’ starts as Not A Sound In Heaven means to go on—a politically-charged wrecking ball of a song that smashes its way through the often unbelievable chaos and brutality of the 21st century with vitriolic malice.

How do you capture the machinations of the geo-political industrial war machine—and all the horrors that go with it—in the studio, without seeming trite or crass? That’s the question that Sugar Horse have posed themselves on their forthcoming third album Not A Sound In Heaven, and they must surely be one of the only bands in existence capable of delivering on just that premise with both musical substance and cutting philosophical insight.

“Ever since I was born I can remember visions of war, famine, and death being beamed directly into my living room via the magic of television,” says Tubb of the record. “These visions were accompanied by newsreader narratives designed to either humanise or dehumanise the people involved. We humanise our government’s allies and dehumanise their enemies. This is taken as common sense, or even wisdom to some degree. People watch the news and accept it as fact, simple and true.”

“As a person gets older they move in one of three different directions with this acceptance of reality; They embrace what they’re being told, they fall into a kind of trust free nihilism or they learn that there are deeper narratives at play.”

“Not A Sound In Heaven is an aged acceptance of the latter. An acceptance of sitting at the centre of a global empire of both military and economic dimensions. An acceptance that the stories we’re told as a nation, or what’s generally in the zeitgeist, isn’t necessarily reality itself.”

“How does a person cope with the weight—and, frankly, the guilt—of a society that perpetuates such distinct inequalities? A society that thinks a bit of killing abroad is fine, as long as it improves the lives of people at home. You can see why so many choose to embrace it. Hell, nihilism seems pretty sensible. Once a person decides upon pursuing a degree of truth however, things get a bit depressing. Beyond depressing...maddening.”

“This album explores this kind of breezy, frivolous subject matter in a manner that will no doubt be uplifting to the listener and massively financially rewarding for the artist.”

The new album follows on from their standalone AA single ‘What’s Your ETA? Let’s Have A Tear Up’/‘Would You Like Me To Be The Cat?’ which was released late last year as a surprise double drop.

Mit Taiga Trans legt das schwedische Kollektiv Fauna ein Debütalbum vor, das unmittelbar in seinen Bann zieht: ein hypnotischer Mix aus krautrockender Motorik, psychedelischer Ritualenergie und der pulsierenden Wucht eines nächtlichen Raves. Die neun Musikerinnen und Musiker erschaffen einen Klangraum, der gleichzeitig archaisch und hypermodern wirkt - ein Ort, an dem traditionelle Instrumente und elektronische Texturen ineinandergreifen und ein multisensorisches Musikerlebnis formen. Elektronische Windgeräusche, feine perkussive Muster, das sirrende Schnalzen einer Maultrommel und die flirrenden Linien des türkischen Saz treffen auf verzerrte Gitarren, tiefen Bassdruck und vier-Viertel-Grooves. Fauna verbindet diese Elemente zu einer energiegeladenen Soundreise, die sich jenseits kultureller und zeitlicher Grenzen bewegt. Die Wurzeln des Projekts liegen in freien Jams des Gitarristen Tommie Ek und Bassisten Ibrahim Shabo, dessen syrischer Hintergrund ebenso in die Musik hineinwirkt wie die französischen, finnischen, polnischen, schwedischen und türkischen Einflüsse der anderen Mitglieder. Vocals in gebrochenem Arabisch, Schwedisch und Französisch verstärken die tranceartige Wirkung der Kompositionen, ohne sich in eindeutige Bedeutungen zu drängen. Taiga Trans destilliert die improvisatorische Live-Energie der Band in acht verdichtete Stücke, die gleichermaßen clubtauglich wie spirituell aufgeladen wirken. Ein Album zum Abtauchen, zum Loslassen - und zum Wiederhören.

Whole Cake Island: Sweets and Dangers in an Unforgiving World! As Luffy and his crew face an Emperor, Big Mom, for the first time, they must join forces to save Sanji in the extravagant kingdom of Totto Land.

Composer: Kohei Tanaka
Kohei Tanaka has been a lyricist, composer and arranger for a multitude of animated works and video games, including Sakura Wars, Assassination Classroom and the One Piece saga, since its inception.

DOODSESKADER clearly haven’t had enough of redefining boundaries – they’ve only just gotten started. Tim De Gieter and Sigfried Burroughs return on April 3rd, 2026 with their third full-length album, The Change Is Me, a rollercoaster that can only be described as the unstable lovechild between witch house, hip-hop, industrial dream pop, and stadium rock that can’t decide if it wants to watch the world burn or shout from the rooftops that we need to save it. Their combination of grungy 90s melodies with distorted synths, sludgy bass, hard tuned vocals, rapping, singing, and explosions of undiluted rage at the current state of the world leave you wondering just exactly what it was you smoked last night, and if it was too much or not enough. The Change Is Me is an album that grabs you by the arm and asks if you’re ready to go on a grand adventure, then pulls you into its chaos before you can say “yes” or “no.”

Tim and Sigfried aren’t just breaking the boundaries between genres; they’re breaking out of their own Year cycle, a path they had laid out for themselves at the band’s inception in 2020. Up until now, the duo had set out to document their “journey to getting better” through writing one album each year: Year Zero (2020), Year One (2022), and most recently Year Two (2024). After spending eight months throughout 2024 and 2025 writing, recording, producing and mixing Year Three, the band scrapped the finished record entirely. Playing shows while simultaneously navigating the process of mixing Year Three created a sort of disconnect – the people that they were when they wrote that record and the people that playing shows made them become were no longer one and the same. “We’re people with faults and strengths, and we realized we needed to accept it. That’s equal parts bleak and liberating. If you’re so focused on self-improvement, you can’t even applaud yourself for how far you’ve come,” the band explains. “This project is meant to be a document of us and of the human condition, not a self-improvement handbook designed to keep us all stuck on what may or may not have happened to us or because of us in the past.”

DOODSESKADER chose instead to embark anew on a week-long creative journey in Tim’s own Much Luv Studio with one goal in mind: to make an album that captures who they are right now. Finally writing everything together in the same room for the first time in years, the process of bringing "The Change Is Me" to life was captured by Diana Lungu in their latest documentary, "Now I Know You See Me", out December 2nd, 2025.

"The Change Is Me" marks the beginning of DOODSESKADER’s shift into a more positive era, both musically and conceptually. Over the course of the 40-minute record we hear the two friends unite in a fight against a world that grows more and more disappointing, a concept made crystal clear in tracks like “Celebrity Culture Simp Farm,” “It Keeps On Stinging,” and of course the album’s epic closer “Suffering In Technicolor.” While their previous albums saw them trying to outrun their pasts and arrive at a better version of themselves, here the search for some external or internal revelation that will “make them better” is no more. It’s been replaced by the realization that change isn’t something we force: it’s gradual, and more importantly, it’s something that’s already there – we just need to reach out and accept it.

The band’s live appearances over the last several years have been instrumental in shaping their ideology. On stage is where the duo find connection; not only with the audience, but also with each other. Their sold-out release shows at Ancienne Belgique (2022) and VierNulVier (2024) have proven that they are one of Belgium’s must-see acts. Abroad, their energy has translated into a month-long EU/UK tour with French band Alcest in 2024, as well as appearances at festivals such as Roadburn Festival (NL), Eurosonic (NL), Hellfest (FR), Mystic Fest (PL), Jera On Air (NL), ArcTanGent (UK), Fluff Fest (CZ) and more.

"The Change Is Me" is out April 3rd, 2026 on DOODSESKADER’s own label, 45 Records.

Special Friend have become the masters of weaving elegant and sophisticated pop musical webs while staying true to their low-fi indiepop roots. The French/American duo (Guillaume on guitar and vocals, Erica on drums and vocals) manage to create a sound like no other band. When they play live, audiences marvel at the huge, intricate structures the band construct, while falling in love with the crystal-clear vocal melodies that are threaded in between the shards of guitar and the rattle of the drums. How can a duo achieve so much? UK audiences will be able to ponder this question in March: Special Friend are coming over from France to do a substantial tour of the UK. These shows are highly recommended!
The new album is more diverse that the last, with the high-tempo indiepop of first single ‘Breakfast’, the majestic, Yo La Tengo-like dreampop of ‘Clipping’ and the country-ish, gentle, homesick melancholy of ‘Isolation’. Final track ‘OOO’ is a bold piece of Krautrock-inspired experimentation; ‘Mold’ is a beautiful slice of slowcore and opener ‘Paint A Picture’ is modern pop at its catchiest and most direct.

‘Clipping’, the album title, refers to the discipline of pruning growth back, removing dead wood to create a perfectly shaped tree with abundant blossoms: an accurate description of the album, and of the songs that hang from its elegant branches. The album artwork is by Erica: Special Friend are in control of every aspect of this elegant artefact.
‘Clipping’ was recorded in 2025 at Studio Claudio by Alexis Fugain and Margaux Bouchaudon. Set in an isolated rural environment conducive to immersion, the band had seven days in the studio—significantly more than for previous records—allowing for greater care in the recording process, particularly for vocals and arrangements. Several tracks feature synthesizers and organs, acoustic guitar, and even an electric bass on “Sanctuary,” a first for Special Friend. Overall, the record benefits from a more developed and detailed production while preserving the band’s direct approach and spontaneity.

The album was mixed by Syd Kemp, who has worked with artists such as Thurston Moore, Ulrika Spacek, Caroline, Crack Cloud, and Vanishing Twin.
Special Friend’s previous album on Skep Wax, ‘Wait Until The Flames Come Rushing In’ was an underground hit, with a significant amount of airplay in the UK and in the US.
‘Clipping’ is a co-release with Howlin Banana Records and Hidden Bay Records (both in France). Skep Wax is proud to present the album in the UK and in North America.

Auf ,Emeralds", dem zweiten Longplayer von Parlor Greens, präsentiert das Trio eine sorgfältig zusammengestellte Auswahl dessen, was funkige Orgelmusik leisten kann. Drei wahre Meister ihres Fachs: Tim Carman (ehemals GA-20) am Schlagzeug, Jimmy James (True Loves, ehemals Delvon Lamarr Organ Trio) an der Gitarre und Adam Scone (Scone Cash Players, The Sugarman 3) an der Orgel. Erfahrene und gefühlvolle Profis, die sich zusammengetan haben, um mitreißende, funkige Instrumental-Jams zu kreieren. Parlor Greens sind in Bestform: Sie sind eingespielt und selbstbewusster denn je, was ihre Identität und ihre Ausrichtung betrifft. Der Opener des Albums, ,Eat Your Greens", beginnt mit einem von Charles Earland inspirierten Four-on-the-Floor-Beat, wobei Jimmy und Scone den Song wie einen überladenen Güterzug vorantreiben, der einfach nicht zu stoppen ist. Greens", startet mit einem von Charles Earland inspirierten Four-on-the-Floor-Beat, wobei Jimmy und Scone den Song wie einen überladenen Güterzug vorantreiben, der einfach nicht zu stoppen ist. ,Lion's Mane" zeigt eine etwas raffiniertere Seite des Trios, mit Anspielungen auf einen von Scones Orgelmentoren , den unvergleichlichen Dr. Lonnie Smith. Um seinen Bandkollegen in nichts nachzustehen, demonstriert Tim Carman in ,Letter To Brother Ben", einem gospelartigen Shuffler, warum er den besten Shuffle diesseits des Mississippi spielt. Und obwohl die Ergebnisse stärker denn je sind, war die Stimmung bei dieser zweiten Aufnahmesession ganz anders. Als sich die drei zum ersten Mal in Loveland im Colemine's Portage Lounge Studio trafen, war die Atmosphäre von einer gewissen Frische geprägt. Es war neu, es war das erste Mal, dass sie alle zusammen spielten. Es war aufregend, es war Neuland. Die Session für Emeralds lastete viel schwerer auf allen drei Mitgliedern. Da alle drei mit persönlichen Tragödien in ihrem individuellen Leben zu kämpfen hatten, war die Session für die Gruppe ein echter Moment der Freude. Nur drei talentierte Musiker, die nun als Freunde in einer vertrauten Umgebung Musik schreiben und spielen. Nirgendwo wird die Bedeutung dieser Session deutlicher als beim letzten Titel des Albums, ,Queen Of My Heart", einem Stück, das Jimmy für seine Mutter kurz nach ihrem Tod geschrieben hat. Mit schwerem Herzen und voller Emotionen ist Colemine Records sehr stolz darauf, das zweite Album dieser drei Meister präsentieren zu dürfen. Parlor Greens präsentiert_ Emeralds.

Auf ,Emeralds", dem zweiten Longplayer von Parlor Greens, präsentiert das Trio eine sorgfältig zusammengestellte Auswahl dessen, was funkige Orgelmusik leisten kann. Drei wahre Meister ihres Fachs: Tim Carman (ehemals GA-20) am Schlagzeug, Jimmy James (True Loves, ehemals Delvon Lamarr Organ Trio) an der Gitarre und Adam Scone (Scone Cash Players, The Sugarman 3) an der Orgel. Erfahrene und gefühlvolle Profis, die sich zusammengetan haben, um mitreißende, funkige Instrumental-Jams zu kreieren. Parlor Greens sind in Bestform: Sie sind eingespielt und selbstbewusster denn je, was ihre Identität und ihre Ausrichtung betrifft. Der Opener des Albums, ,Eat Your Greens", beginnt mit einem von Charles Earland inspirierten Four-on-the-Floor-Beat, wobei Jimmy und Scone den Song wie einen überladenen Güterzug vorantreiben, der einfach nicht zu stoppen ist. Greens", startet mit einem von Charles Earland inspirierten Four-on-the-Floor-Beat, wobei Jimmy und Scone den Song wie einen überladenen Güterzug vorantreiben, der einfach nicht zu stoppen ist. ,Lion's Mane" zeigt eine etwas raffiniertere Seite des Trios, mit Anspielungen auf einen von Scones Orgelmentoren , den unvergleichlichen Dr. Lonnie Smith. Um seinen Bandkollegen in nichts nachzustehen, demonstriert Tim Carman in ,Letter To Brother Ben", einem gospelartigen Shuffler, warum er den besten Shuffle diesseits des Mississippi spielt. Und obwohl die Ergebnisse stärker denn je sind, war die Stimmung bei dieser zweiten Aufnahmesession ganz anders. Als sich die drei zum ersten Mal in Loveland im Colemine's Portage Lounge Studio trafen, war die Atmosphäre von einer gewissen Frische geprägt. Es war neu, es war das erste Mal, dass sie alle zusammen spielten. Es war aufregend, es war Neuland. Die Session für Emeralds lastete viel schwerer auf allen drei Mitgliedern. Da alle drei mit persönlichen Tragödien in ihrem individuellen Leben zu kämpfen hatten, war die Session für die Gruppe ein echter Moment der Freude. Nur drei talentierte Musiker, die nun als Freunde in einer vertrauten Umgebung Musik schreiben und spielen. Nirgendwo wird die Bedeutung dieser Session deutlicher als beim letzten Titel des Albums, ,Queen Of My Heart", einem Stück, das Jimmy für seine Mutter kurz nach ihrem Tod geschrieben hat. Mit schwerem Herzen und voller Emotionen ist Colemine Records sehr stolz darauf, das zweite Album dieser drei Meister präsentieren zu dürfen. Parlor Greens präsentiert_ Emeralds.

Auf ,Emeralds", dem zweiten Longplayer von Parlor Greens, präsentiert das Trio eine sorgfältig zusammengestellte Auswahl dessen, was funkige Orgelmusik leisten kann. Drei wahre Meister ihres Fachs: Tim Carman (ehemals GA-20) am Schlagzeug, Jimmy James (True Loves, ehemals Delvon Lamarr Organ Trio) an der Gitarre und Adam Scone (Scone Cash Players, The Sugarman 3) an der Orgel. Erfahrene und gefühlvolle Profis, die sich zusammengetan haben, um mitreißende, funkige Instrumental-Jams zu kreieren. Parlor Greens sind in Bestform: Sie sind eingespielt und selbstbewusster denn je, was ihre Identität und ihre Ausrichtung betrifft. Der Opener des Albums, ,Eat Your Greens", beginnt mit einem von Charles Earland inspirierten Four-on-the-Floor-Beat, wobei Jimmy und Scone den Song wie einen überladenen Güterzug vorantreiben, der einfach nicht zu stoppen ist. Greens", startet mit einem von Charles Earland inspirierten Four-on-the-Floor-Beat, wobei Jimmy und Scone den Song wie einen überladenen Güterzug vorantreiben, der einfach nicht zu stoppen ist. ,Lion's Mane" zeigt eine etwas raffiniertere Seite des Trios, mit Anspielungen auf einen von Scones Orgelmentoren , den unvergleichlichen Dr. Lonnie Smith. Um seinen Bandkollegen in nichts nachzustehen, demonstriert Tim Carman in ,Letter To Brother Ben", einem gospelartigen Shuffler, warum er den besten Shuffle diesseits des Mississippi spielt. Und obwohl die Ergebnisse stärker denn je sind, war die Stimmung bei dieser zweiten Aufnahmesession ganz anders. Als sich die drei zum ersten Mal in Loveland im Colemine's Portage Lounge Studio trafen, war die Atmosphäre von einer gewissen Frische geprägt. Es war neu, es war das erste Mal, dass sie alle zusammen spielten. Es war aufregend, es war Neuland. Die Session für Emeralds lastete viel schwerer auf allen drei Mitgliedern. Da alle drei mit persönlichen Tragödien in ihrem individuellen Leben zu kämpfen hatten, war die Session für die Gruppe ein echter Moment der Freude. Nur drei talentierte Musiker, die nun als Freunde in einer vertrauten Umgebung Musik schreiben und spielen. Nirgendwo wird die Bedeutung dieser Session deutlicher als beim letzten Titel des Albums, ,Queen Of My Heart", einem Stück, das Jimmy für seine Mutter kurz nach ihrem Tod geschrieben hat. Mit schwerem Herzen und voller Emotionen ist Colemine Records sehr stolz darauf, das zweite Album dieser drei Meister präsentieren zu dürfen. Parlor Greens präsentiert_ Emeralds.

Past Due Records is thrilled to announce the release of Midnight Blue's "One Wish - South Carolina 1975-83," a compilation showcasing the legendary funk and modern soul band from Columbia. This limited edition double LP compilation is an exclusive collection highlighting the band's peak during the mid-1980s American boogie funk era. Formed in 1975, Midnight Blue blended the talents of local musicians Myron Alford, Robert Hoefer, Jr., Ronnie Amiker, and many others. Despite their underground status, their music left a lasting impact, performing alongside legends like Midnight Star and Prince. The compilation includes their debut single "Feel It and Groove Together," their powerful rendition of "I Who Have Nothing," and unreleased tracks recorded with Cameo's Larry Blackmon. Fan favorites such as "All Because of You" and "Coolin' Out" will also be featured. This double LP comes with a full story and many never-before-seen pictures of the band, making it a must-have for any fan of eighties funk, courtesy of Past Due Records.

Topsy Turvy sind zurück und bereit für den Kampf. Mit ihrem Space-Age-Glam-Look ist ,Fighting the Ginormous Macho Nacho" das zweite Album des Wiener Trios, das respektlos, clever und immer verspielt ist. Mit Instrumententausch, opernhaften Vocals und jeder Menge Van-Halen-Synthesizern webt die Band eine unruhige Mischung aus Garage-Punk, Surf, Vintage-Rock und Psychedelia, die sich an den legendären ,Girls In The Garage"-Compilations orientiert und bis hin zum knurrenden Trotz von Amyl and The Sniffers oder Automatic reicht. Entstanden aus der kollaborativen Szene einer produktiven DIY-Szene in Wien, ist es nicht nur das bisher fokussierteste Werk der Band, sondern auch ein Hochgesang des unabhängigen Geistes, eine lebendige, atmende Rebellion gegen toxische ,Macho Nacho"-Männer auf der ganzen Welt. Topsy Turvy's "Fighting The Ginormous Macho Nacho" ist die zweite Veröffentlichung der Band, nicht lang nach ihrem gefeierten Debütalbum "But Sore" aus dem Sommer 2024. Vinyl-LP inklusive Din A2 Poster.

While many have tried to emulate the ancient German (black)thrash sound, CRUEL FORCE brimmed with an authenticity that could not be denied, as well as songwriting that added to that noble tradition rather than lazily picking at its corpse. Their two successive albums, 2010's The Rise of Satanic Might and 2011's Under the Sign of the Moon, made CRUEL FORCE a certifiably CULT name in the international metal underground. Sadly, the band fell into a hiatus following that second album, but returned reinvigorated with the comeback 7" EP Across the Styx in 2022 and, a year later, the glorious full- length Dawn of the Axe at the hands of new label home SHADOW KINGDOM. Continuing to make up for lost time, CRUEL FORCE storm back with swords gleaming high on their fourth full- length, Haneda.

Where a line could be drawn between the band's "first era" of The Rise of Satanic Might / Under the Sign of the Moon, so continues this Second Era that began with Dawn of the Axe - one that harkens to the "Jurassic period" of heavy metal, when everything was rawer, less polished, and more energetic and powerful. As displayed by that pivotal predecessor, Haneda further proves that CRUEL FORCE are more so an old-style speed metal band, largely bereft of that blackened edge during their First Era. The tradeoff is that there's a prominent mysticism coursing through that speed, and the blue-collared aspect of Dawn of the Axe is now spit-shined to a lethal slickness that makes Haneda hit that much harder.

However, it must be stressed that, while it follows logically from Dawn of the Axe, Haneda is very much its own headspace, its own continuation of a still-vital aesthetic. At times more epic, exuding both more and different atmospheres, CRUEL FORCE here take the listener on a journey from old temples to desert planes, from deep jungles to mountain tops, and other mysterious locales beyond; indeed, the whole record is like a journey through mystical realms. Although no concept album, Haneda is very conceptual in its aesthetics, even down to its production: BIG and naturaltoned, from the guitars to especially the drums, everything here is as '80s and authentic as possible, underlining

José González has delivered a new album, Against the Dying of the Light, a companion and further meditation on the themes of his critically acclaimed album, Local Valley. Where Local Valley turned inward toward place, language, and personal reflection, this new record widens its gaze, becoming an urgent call to preserve the light of humanity with all its flaws, at a moment when, technology increasingly shapes how we think, feel, and relate to one another.

While José has always embraced technological advancement, he questions the assumption that every new possibility must be pursued to its maximum potential, especially when progress comes at the expense of human flourishing, attention, and empathy.

Keeping in the tradition of folk music as protest, José’s new single — sharing its title with the forthcoming album — urges listeners to resist systems that dehumanize and divide: “Disconnect from every algorithm, every perverse incentive that drags you down. Let’s rebel against the replicators, against the dying of the light. Kill the codes that feed the hate, keep the codes that make you thrive, celebrate the **king fact that we’re alive.”

Across the album, González works within a deliberately minimal framework, pushing his familiar palette to new heights through subtle variation, restraint, and detail. Each song unfolds with its own distinct character, proving how much emotional and musical range can be achieved within self - imposed limitations. Written in English, Swedish, and Spanish, the record reflects his Swedish - Argentine roots and frames its humanist message as a global one rather than a purely personal or political statement.

José González is one of the most quietly influential artists of our generation. The Swedish - Argentine artist has built a singular musical world from hypnotic, minimal guitar work and his unmistakably gentle voice — a sound that has become deeply personal to millions of listeners worldwide. With billions of streams across platforms and hundreds of thousands of physical records sold, González’s songs often act as emotional landmarks. Ask almost anyone, and they can name at least one of his tracks tied to a defining moment in their lives.

Chicago's DAVE MAZE along with SPIKE REBEL drop this limited 12" EP feat. "a funky combination of Disco Edits, original DE&E Disco runners, and Rare Grooves. 4 amazing runners that are a must have." Limited stock

2026 Repress

Bosconi Records, the Florence-based imprint run by Fabio Della Torre, is back with something truly special. Over the years, the label has built a reputation for pushing house, funk and electro in all their shades, always keeping a strong link between the local scene and international legends. And when it comes to legends, there are few names that shine brighter than Alexander Robotnick.

The Italian electro pioneer – aka Maurizio Dami – has already collaborated with Bosconi on The Hidden Game and Italcimenti Under Construction. Now he returns with My La(te)st EP, a vinyl-only release that pulls five standout cuts from his 2007 CD My La(te)st Album and finally makes them available on wax. All tracks have been remastered for the vinyl format, enhancing their depth and dynamics to deliver the best possible experience on wax.

The EP opens with “Jette Le Masque (Extended Version)”, driven by a pumping bassline and jagged sawtooth synths, with whispered French vocals by Robotnick himself. Stretched out and more DJ-friendly than the original, this version is tailor-made for the dancefloor.
On “We Love The Music” things get fun and funky: vocoder vocals, an electro-funk bounce and that unmistakable Robotnick irony. A killer cut to start a set on the right foot.

Flip the record and you dive into the acidic depths of “I’m Getting Lost In My Brain”. Old-school Chicago vibes, a hypnotic groove and basslines that just don’t quit – a peak-time weapon that feels raw and timeless.
Then comes “A Coffee Shop in Rotterdam”, one of those secret gems: melodic, laid-back and warm, built on a slapping bass and dreamy arpeggios. It has that Riviera house touch from the ’90s, but with Robotnick’s unmistakable twist.

Closing the EP is “Addio” – a track that wears its heart on its sleeve. Romantic, emotional, and driven by a bassline that nods back to Robotnick’s all-time classic Problèmes d’Amour. A perfect goodbye track, the kind that leaves a smile on your face as the lights come on.

This is a must-have for vinyl lovers and Robotnick fans alike – five cuts carefully remastered for the vinyl format, pressed exclusively on wax and ready to work the floor from start to finish. Don’t sleep on it: limited copies, vinyl only.

Motown Records: The Supremes, Stevie Wonder, The Miracles, Marvin Gaye, Martha Reeves and The Vandelas and, of course, The Temptations. It is antithetical to mention any of those without the others. The community of artists started as the Sound of Young America, but as history has proven, it became the sound, the look and the inspiration of so much more. And now, little nuggets of Motown's influence can be found the world over. David Ruffin, founding member of Motown superstars The Temptations, went on to become a successful solo artist even after he left the group. In 1969, Ruffin released two fantastic solo records, My Whole World Ended and Feelin' Good. Between 1970 and 1971 he recorded what was to be his third long playing solo record. However, his career was suddenly put on hold when Motown, for reasons unclear, shelved the album that had been dubbed David. The record had even been assigned a catalog number and final artwork. Ruffin returned in 1973 with a brand new LP titled David Ruffin (treated officially as his third LP) and the previously recorded album David sat on the shelves, unheard for decades. This deluxe 2xLP set features the original, rare David LP, plus an LP of bonus tracks and mono single mixes all packaged in a beautiful gatefold jacket, featuring extensive liner notes and striking color photographs of Ruffin. His red and yellow suede suit featured in the interior gatefold LP jacket is an absolute must-see! The record was cut and pressed at Third Man's Detroit HQ, just a couple miles away from the original Motown HQ. For the first time ever on vinyl, Third Man is proud to present the essential, true third LP from the Temptations' mighty David Ruffin.

LIMITED TO 150 COPIES! 2 x 12" Black Vinyl w/ Gold Foil Embossed Cover, shrink wrapped.

‘Elevation’ is album eleven from High Focus Records founder and 1/4 of The Four Owls Fliptrix.

The latest instalment in a formidable run sees the lyricist further his vision of the world in the hope of elevating the collective mind and spirit of both artist and listener across 19-tracks.

Having worked with Forest DLG in some capacity across all of his records over the past fifteen years, from mixing and mastering, but also collaborating on multiple tracks as rapper / producer, it is surprising that it took so long for the pair to come together on a full-length collaborative project.

‘Elevation’ is that record.

Fliptrix reached out to Forest with a view to creating something completely different from his previous boom bap heavy outing ‘Dragonfly’, he is always looking to advance his craft and take things higher, and after Forest responded with a pack of 70+ instrumentals the direction of travel became crystal clear. The result is an album designed to lift the listener into a higher state of consciousness and trigger conversations about the state of the world, in the hope of enacting positive change during tumultuous times.

Fliptrix’s vision and Forest DLG’s style feel perfectly aligned. The album is truly collaborative; Forest going away and creating the artwork inspired by Fliptrix’s otherworldly experiences with the Shipibo tribe in the rainforests of Peru; from the single covers, to the album cover and merchandise as Fliptrix focussed on writing.

Having worked with all the greats in the UK hip hop scene, Fliptrix actively sought out new energies on ‘Elevation’, especially when it comes to the album features. Jungle forefather General Levy on lead single ‘ENERGY! ENERGY! ENERGY!’ Grime legend Frisco on ‘Visionaries’, Ayah Marar on ‘Transform’, Da Flyy Hooligan, Kamakaze, Coops, and a 19-strong HF posse cut in the shape of ‘Dangerous’ make this album a must-listen for anyone looking to elevate.

LIMITED TO 50 COPIES! Hand Numbered, Edition of 50.

‘Elevation’ is album eleven from High Focus Records founder and 1/4 of The Four Owls Fliptrix.

The latest instalment in a formidable run sees the lyricist further his vision of the world in the hope of elevating the collective mind and spirit of both artist and listener across 19-tracks.

Having worked with Forest DLG in some capacity across all of his records over the past fifteen years, from mixing and mastering, but also collaborating on multiple tracks as rapper / producer, it is surprising that it took so long for the pair to come together on a full-length collaborative project.

‘Elevation’ is that record.

Fliptrix reached out to Forest with a view to creating something completely different from his previous boom bap heavy outing ‘Dragonfly’, he is always looking to advance his craft and take things higher, and after Forest responded with a pack of 70+ instrumentals the direction of travel became crystal clear. The result is an album designed to lift the listener into a higher state of consciousness and trigger conversations about the state of the world, in the hope of enacting positive change during tumultuous times.

Fliptrix’s vision and Forest DLG’s style feel perfectly aligned. The album is truly collaborative; Forest going away and creating the artwork inspired by Fliptrix’s otherworldly experiences with the Shipibo tribe in the rainforests of Peru; from the single covers, to the album cover and merchandise as Fliptrix focussed on writing.

Having worked with all the greats in the UK hip hop scene, Fliptrix actively sought out new energies on ‘Elevation’, especially when it comes to the album features. Jungle forefather General Levy on lead single ‘ENERGY! ENERGY! ENERGY!’ Grime legend Frisco on ‘Visionaries’, Ayah Marar on ‘Transform’, Da Flyy Hooligan, Kamakaze, Coops, and a 19-strong HF posse cut in the shape of ‘Dangerous’ make this album a must-listen for anyone looking to elevate.

Born in Douarnenez, at the far edge of Brittany (France), Komodor has quickly established itself as one of the most vibrant names in the French rock landscape. Their high-energy rock, fueled by fuzz, sweat, and vocal harmonies woven in the spirit of MC5 and T. Rex, immediately drew attention: Rolling Stone, Rock & Folk, Libération and Rock Hard Germany all praised the fiery impact of their debut album Nasty Habits (which sold over 2,000 vinyl copies). Since then, the quintet has mostly lived on the road: a long European tour, followed by the larger-than-life saga of Komodrag & The Mounodor, carrying them to stages such as Hellfest, Les Vieilles Charrues, and the Francofolies de La Rochelle, among many others.

Their second album, Time & Space, reveals a band in full metamorphosis. Without abandoning the explosive force that defines them, Komodor widens its scope: volcanic riffs, more sinuous grooves, mist-laden harmonies, psychedelic flashes… The energy is still wild, but more inhabited, more liberated, almost ceremonial at times. The record opens with two telling bursts: Bliss & Joy, a libertarian charge with the feel of a manifesto, and Soul Tricker, a rock incantation where trance overtakes sheer electric assault. Two sides of the same coin, pulled taut between urgency and enchantment.

On stage, Komodor remains a true shockwave, forged across European festivals (Freak Valley, Motocultor, Fête du Bruit, and more) and now awaited at the legendary Desertfest London. Their music feels made for such spaces: a visceral, flesh-and-amp kind of rock, drawing from the seventies’ heritage to speak even more vividly to the present. A band moving forward at full volume, without nostalgia or calculation, carried by a simple conviction: as long as the amps are hot, rock can still burn.

In short: Komodor is the band of friends from Douarnenez bringing pencil-and-paper rock into the streaming age while preserving its analog soul (with the album mastered at the legendary Miraval Studios), the smell of warm tubes, the grain of vinyl. With this second album, they hit harder, truer, and more vividly than ever.
Time & Space stands as a “must-have French rock record”, a tangible piece worth cherishing in any collection.

Born in Douarnenez, at the far edge of Brittany (France), Komodor has quickly established itself as one of the most vibrant names in the French rock landscape. Their high-energy rock, fueled by fuzz, sweat, and vocal harmonies woven in the spirit of MC5 and T. Rex, immediately drew attention: Rolling Stone, Rock & Folk, Libération and Rock Hard Germany all praised the fiery impact of their debut album Nasty Habits (which sold over 2,000 vinyl copies). Since then, the quintet has mostly lived on the road: a long European tour, followed by the larger-than-life saga of Komodrag & The Mounodor, carrying them to stages such as Hellfest, Les Vieilles Charrues, and the Francofolies de La Rochelle, among many others.

Their second album, Time & Space, reveals a band in full metamorphosis. Without abandoning the explosive force that defines them, Komodor widens its scope: volcanic riffs, more sinuous grooves, mist-laden harmonies, psychedelic flashes… The energy is still wild, but more inhabited, more liberated, almost ceremonial at times. The record opens with two telling bursts: Bliss & Joy, a libertarian charge with the feel of a manifesto, and Soul Tricker, a rock incantation where trance overtakes sheer electric assault. Two sides of the same coin, pulled taut between urgency and enchantment.

On stage, Komodor remains a true shockwave, forged across European festivals (Freak Valley, Motocultor, Fête du Bruit, and more) and now awaited at the legendary Desertfest London. Their music feels made for such spaces: a visceral, flesh-and-amp kind of rock, drawing from the seventies’ heritage to speak even more vividly to the present. A band moving forward at full volume, without nostalgia or calculation, carried by a simple conviction: as long as the amps are hot, rock can still burn.

In short: Komodor is the band of friends from Douarnenez bringing pencil-and-paper rock into the streaming age while preserving its analog soul (with the album mastered at the legendary Miraval Studios), the smell of warm tubes, the grain of vinyl. With this second album, they hit harder, truer, and more vividly than ever.
Time & Space stands as a “must-have French rock record”, a tangible piece worth cherishing in any collection.

Kalipo kündigt sein fünftes Solo-Album mit Titelsong ‚Alles' auf Iptamenos Discos an!

Der in Berlin-ansässige Multinstrumentalist Jakob Häglsperger ist seit fast zwei Jahrzehnten einer der umtriebigsten deutschen Produzenten. Neben unzähligen Hits, sechs Alben mit seiner Band Frittenbude und vier von der Presse gefeierten Solo-Alben als Kalipo gründete er nebenbei 2020 - gemeinsam mit Local Suicide - die Band Dina Summer, ein weiteres Nebenprojekt welches seit dem international Wellen macht.

Mit über 30 Millionen Streams und weltweitem Radio-Airplay, verbindet sein Soloprojekt elektronische Intensität mit emotionaler Tiefe irgendwo zwischen Clubkultur und Indie-Ästhetik. Geradlinige, treibende, im Krautrock verwurzelte Beats treffen auf markante, von Electroclash, House und Techno der 2000er und 2010er Jahre inspirierte Melodien.

Mit fünf Soloalben und einem breiten Katalog von Remixen und Singles auf renommierten Labels wie Ki Records, Get Physical, Audiolith Records, Iptamenos Discos und Heimlich hat sich Kalipo einen festen Platz in der Szene erarbeitet. Seine Veröffentlichungen wurden unter anderem von Medien wie TAZ, Spiegel Online, Rolling Stone, Musikexpress, DJ Mag, Mixmag, Tsugi und Resident Advisor gelobt.

Das neue Album kommt mit einer ordentlichen Portion Darkness, schwebenden Gitarren und einem stampfenden Beat daher. Darüber singt Kalipo mal auf deutsch mal auf englisch lässig über das Loslassen von inneren Ängsten, Beziehungen und alltägliche Lasten. Ohne seine Fans zu verschrecken schafft er auch auf ‚Alles' wieder einen stimmigen Spagat zwischen Clubmusik und klassischen Songstrukturen.

Taking the exploratory spirit of groups like Polar Bear and Malija (both also featuring Mark Lockheart ) the trio move together through a common language of jazz, rock, classical and free improvisation exploring dark textures and dramatic musical shifts as they revel in the unexpected. High energy jazz improvising combined with spatial and ambient sounds gives this trio its unique and bold concept. The music shifts effortlessly moment to moment, gracefully and spontaneously stitching together sound landscapes and grooves. The subtle use of electronics (particularly on the saxophone), fat rich bass lines and tantalising drum rhythms give his band a unique sound that although firmly rooted in jazz has rock, folk and classical influences too. The album's specially commissioned artwork by Tim Edgar perfectly reflects the shifting shapes of Shapeshifter

Since 2020, 12 Inch Lovers have been releasing new samplers every year, eagerly anticipated by collectors. These samplers have now become a staple and are easily added to vinyl collections across Europe. They offer timeless classics and rare tracks that are often hard to find elsewhere.

With Samplers 11 & 12, they surprise again with a mix of modern classics and tracks that have never been released on vinyl or are difficult to find. By adding unique and exclusive tracks, the 12 Inch Lovers samplers remain innovative and high-quality. They are a must-have for DJs, collectors, and fans of contemporary classics!

SAMPLER 11

A1) Paul Kalkbrenner - No Goodbye (2019)

Berlin techno producer Paul Kalkbrenner became world-famous with his 2008 hit Sky & Sand. Since then, he has released one record after another and performed all over the world in the biggest venues and at the most renowned festivals. No Goodbye is one of his more recent hits, released in the summer of 2019.

The track was created using an a cappella he received on a demo tape while on tour. He was immediately inspired by the vocal and built his own sound and production around it. Interestingly, Kalkbrenner rarely uses vocals, but for No Goodbye he collaborated with Australian singer Chiara Hunter, giving the track a unique and instantly recognisable character. The result is a stylish, dance-floor-friendly track with a rolling house groove that quickly became a modern classic on dance floors worldwide.

A2) Water World - Give Me Love (2000)

This trance classic by Water World appeared in 2000 on the French label Adequat Records and is the perfect tune for a sunny summer evening. Warm melodies and pulsing beats instantly create that beach feeling, as if you were dancing with your feet in the sand. The record recalls Beachball by Nalin & Kane, sharing the same dreamy, sun-drenched vibe.

Behind Water World were producers Laurent David and Frédéric De Backer-names well known to many trance fans. In the nineties De Backer was active with projects such as Global Trance Mission (Dream Mission) and Y-Traxx, the trio that released the 1997 classic Mystery Land.

Give Me Love clearly bears their combined signature: euphoric, warm and melodic, with a timeless build that perfectly balances emotion and energy. The track was released on vinyl as part of Trance E.P. Vol. 01 and remains a fixture in retro-trance sets to this day.

B1) Panoramic - Colors (1996)

Colors by Panoramic is a Belgian trance classic released in 1996 on the legendary label XTC Records, a sub-label of Bonzai Records. Panoramic was a collaboration between Belgian techno icon Marco Bailey and Mauro Mirisola. The duo, also known under playful aliases such as The Coke Man & Sniff, released an EP featuring two powerful trance tracks.

We chose Colors, a tune with pure Belgian trance DNA: driving rhythm, dreamy synths and a catchy female vocal. The combination of Bailey's production expertise and Mirisola's creative touch resulted in a timeless track that still appears in many classic playlists.

B2) Natasha Bedingfield - Pocketful Of Sunshine (StoneBridge Club Remix) (2008)

British singer-songwriter Natasha Bedingfield released the album Pocketful of Sunshine in 2008, featuring the title track as a single. The original pop version became a major hit in North America, reaching the Top 5 in the US. Swedish DJ and producer StoneBridge (Sten Hallström) reworked the song into a groovy house version, released in the summer of 2008.

StoneBridge gave the upbeat pop tune a club-ready beat and an infectious piano riff that made it shine on dance floors worldwide. It was not his first time transforming pop into house gold-he had already achieved global fame with his remix of Robin S - Show Me Love (1992), one of the greatest house anthems of all time. He also remixed Sia - The Girl You Lost to Cocaine in 2008, another club favourite.

The StoneBridge Club Remix of Pocketful of Sunshine appeared on a special remix EP in July 2008 and was played endlessly in clubs-by us too, in the venues where we performed. The result is a timeless, sun-soaked house classic thatmakes sitting still impossible.

C1) Y-Traxx - Mystery Land (Fred Baker vs Mr Sam's Magical Mystery Dub Mix) (original release 1995)

Y-Traxx was a nineties trance project by DJs Laurent David and Fred Baker. This trance classic first appeared in 1995 as a B-side but gained real attention when it featured on a Paul Oakenfold mix album. Thanks to that success it received an official re-release in 1998 on the respected French label FFRR (Full Frequency Range Recordings).

In 2003 an excellent remix by Mr. Sam & Fred Baker followed on the Nebula label. That version is highly sought after on vinyl by trance collectors, and we are proud to feature it on our new sampler.

C2) Weiss - Feel My Needs (2018)

Feel My Needs by British producer Weiss (alias Richard Dinsdale) is the tune with that unmistakable old-school piano and catchy vocal that instantly pulls you onto the dance floor. Released in May 2018on the UK label Toolroom Records, the track is pure feel-good house with a modern touch. From the very first piano riff, hands go up in the air.

Toolroom even called it a "future anthem" for the summer of 2018, and indeed Feel My Needs became a huge floor-filler. The record charted high on global dance lists and gained massive popularity at festivals and clubs that year. With its warm piano chords, tight beat and soulful vocal, this is a modern house classic that will stay in the collective club memory for a long time.

D1) The Killers - Mr. Brightside (Jacques Lu Cont's Thin White Duke Mix) (2005)

American band The Killers formed in 2001 and scored a massive hit a few years later with Mr Brightside. Taken from their debut album Hot Fuss (2004), it became their biggest and best-known track-a true rock-pop anthem.

In 2005 the song was given an electronic twist when renowned producer and remixer Jacques Lu Cont (the alias of Stuart Price) created an eight-minute dance version titled Mr Brightside (Jacques Lu Cont's Thin White Duke Mix). This remix replaced the raw rock energy with a more progressive and electronic vibe, driven by a steady beat and long build-up.

The track found a second life in club culture and quickly became a dance-floor favourite. For vinyl collectors it was an instant must-have, and to this day it stands as the perfect party closer. The Killers themselves loved it so much that they often used the remix live as an outro, followed by the original version. A remix that perfectly bridged rock and club culture-and has since become a genuine classic.

D2) Sia - Drink To Get Drunk (Different Gear Remix) (2001)

The legendary ice-cube sleeve says it all: Drink to Get Drunk was a huge club hit in the early 2000s. Released in 2001 on the UK label INCredible, a sub-label of Sony Music, it was a collaboration between British DJ duo DifferentGear (Gino Scaletti & Quinn Whalley) and singer Sia.

The producers took Sia's original song Drink to Get Drunk from her album Healing Is Difficult and gave it a complete transformation, keeping her distinctive vocal and placing it over a hypnotic progressive-house groove.

The combination of Sia's unmistakable voice and the deep, driving production hit hard: the track became hugely popular in Belgian clubs and turned into an anthem of its time. In Belgium it even reached number one in the dance chart in early 2001, and it also performed strongly in the UK and the Netherlands.

To this day it remains a nostalgic crowd-pleaser that perfectly captures the atmosphere of the early 2000s.

 ‘Heart Under’, Just Mustard’s second album and first for Partisan Records
(IDLES, Fontaines D.C., Laura Marling), is an album that asks you to forget
what you know. At every turn, this remarkable record reconfigures and
stretches the ideas and ambition of a rock band and turns a year of lockdown
and personal struggles into a breath-taking artistic statement.
 Across its 10 tracks, the album presents a coherent style and ethos - those
scything guitars, Katie’s magical vocals - but still incorporates a wide and
untethered vision. There are brooding, atmospheric rock songs (‘Still’, ‘In
Shade’) and others that apply a lighter, dreamier touch (‘Sore’, ‘Mirrors’), all
tied together with impeccable instrumentation and a united vision.
 On debut ‘Wednesday’, the band played with dreamier soundscapes and
production techniques, and ‘Heart Under’ serves as the next stage of this
development, with every instrument brilliantly pushed to its limit and every
boundary of the band stretched.
 After the band had finished recording and producing the album, ‘Heart Under’
was pushed even further into singular territory when the band worked with
mixer David Wrench, whose previous collaborators include Frank Ocean,
Let’s Eat Grandma, Jamie xx, FKA twigs and beyond. “We wanted someone
who had done pop and electronic records and didn’t just work within rock
music,” Katie says.
 “Ireland’s buzziest new band” - The FADER
 “Their rapturous reception here at SXSW is a testament to their startling
evolution as well as the excitement that can only come from watching a band
just beginning to realise the full extent of their powers.” - NME
 “They have well and truly mastered the art of atmospheric rock” - Loud And
Quiet (9/10)
 Supporting Fontaines D.C. on their European and US tours this year. They
were handpicked by Robert Smith to support The Cure in Dublin in 2019.
 Eire headline tour in June, UK headline tour in September, including Village
Underground, and EU headline tour in October.
 Choice Music Prize nomination for Irish Album Of The Year for their debut
album, ‘Wednesday’.
 CD housed in a cardboard wallet with lyric and photo insert.
 LP pressed on black vinyl and housed in a single sleeve jacket with lyric and
photo insert.

"Originally released in 1979 on Sly & Robbie's Taxi label, this album was Black Uhuru's second LP. Recorded at Channel One it set forth a new sound in recorded music technology. The songs blend into dub versions and the mixing is simply stunning. The track Shine Eye Gal also features guitarist Keith Richards"
(but hey, nobody's perfect).

"Hear the meticulous song writing of Michael Rose, joined by Puma Jones & Duckie Simpson, to complete the vocal line-up.

Sly & Robbie and the Taxi Gang created a sublime sonic masterpiece at Channel One studio in Jamaica. They were at their absolute peak of their powers, before being launched as global superstars with Grace Jones.

Black Uhuru went on to be an extremely popular live outfit, touring endlessly around the world, breaking down barriers and making new inroads to territories previously unknown to Jamaican artists.

This Classic reissue is a must for all reggae collectors."

2026 Repress


Another Thought was the first collection of Arthur Russell’s music to be released after his death in 1992. Released in 1993 on Point Music it marked the beginning of nearly 30 years of work to let the world hear the enormous archive of unreleased recordings Arthur left behind. Be With revisits this first compilation for a new gatefold double vinyl version and a triple-fold digipak CD reissue.

Both versions of Be With’s 2021 reissue of Another Thought have been mastered by Simon Francis and the vinyl cut by Pete Norman. The original artwork has been restored and tweaked at Be With HQ for the gatefold sleeve and the triple-fold digipak, with the essential help of Janette Beckman. Each version comes with an insert reproducing the liner notes and lyrics from the original CD release.

Together with Calling Out Of Context, Soul Jazz’s World of Arthur Russell, and much of the ongoing work of Audika, Another Thought is absolutely essential for even the most casual Arthur Russell collection. In fact we’d argue it’s essential for any fan of non-obvious pop music. This is the only place where you can hear some of Arthur’s most recognisable tunes and it’s an album that absolutely deserves to be kept in press.


We’ll assume that by now you’re all at least a little familiar with the story of Arthur Russell, the farm boy from Iowa who moved to 1970s New York. Arthur Russell the genuine musical genius who died just 40 years old, leaving behind a wealth of music that dwarfed the few 12"s and LPs that were released during his short life.

Although Arthur had been working on an album for Rough Trade during his last years, with the label no-longer operating it was Point Music (Philip Glass and Michael Riesman’s label set up together with Philips) who stepped in to help Arthur’s partner Tom Lee start working out exactly what Arthur had left behind.

Tom suggested that Arthur’s friend Mikel Rouse was the right person to make the first catalogue. Working in Tom and Arthur’s apartment he had only two weeks to go through what turned out to be around 800 tapes.

As Tom explained “at the end of each day he would generally wait for me to come home and I would, to the best of my knowledge, name and identify pieces in question from that day’s work. As he worked Mikel compiled about a dozen cassettes that he thought would present the most finished sounding songs for Don/Point to use. As Don listened he would then suggest and ask me and thus we collaborated on the choices.”

Don is Don Christensen, Another Thought’s producer. With a final selection of songs from recordings made between 1982 and 1990, including sessions with some of Arthur’s regular collaborators Peter Zummo, Steven Hall, Mustafa Ahmed, Elodie Lauten, Julius Eastman, Jennifer Warnes and Joyce Bowden, it was then Don’s job to turn these into a finished album.

Another Thought is a little different from the compilations of Arthur’s music that came out since. In our conversations with Steve Knutson (who founded Audika Records and who manages Arthur’s estate together with Tom), he explained that “more than any project released by Arthur during his lifetime or posthumously by Audika, ‘Another Thought’ is the most worked over. The material was significantly edited and rearranged from the original source tapes”.

If the aim was to release a comprehensive exploration of every facet of Arthur’s music, from the most avant-garde of his avant-garde compositions through to the most disco-not-disco of his disco-not-disco tunes then the project was a spectacular failure. But as a coherent album of non-obvious pop music Another Thought is wonderful.

Starting with the sparse voice-and-cello of the title track, A Little Lost adds some guitar along with the sneaking suspicion that we’re listening to something nowhere near as simple as it first sounds. By the time we get to This Is How We Walk On The Moon - it could be the moment you notice the congas, or the percussion that’s been building behind them, or maybe it’s that blast of trumpet and trombone - we realise we’ve gone from splashing around to being completely submerged in the musical world of Arthur Russell.

From here the album heads off on its journey around the sounds of the left-field contemporary classical music of the time, re-directed towards pop ears, with minor detours through the swirling woozy disco of the half-remembered night before on In The Light Of The Miracle and My Tiger, My Timing. Whether it’s just Arthur, his cello and some bleeps on Just A Blip, or whether he has some vocal help as he does on the bounding Keeping Up, this is difficult music made so, so easy. And through it all is Arthur’s voice and cello. Sometimes drowned in distortion and sometimes clear as a bell, but always there somewhere.

A Sudden Chill finally returns us to the calmer waters we started in and this last track closes the album with a melancholy that’s not surprising given how soon after Arthur’s death the album was put together.

Whilst Another Thought holds together with the consistency of a proper album, there’s still no getting away from the fact that this was put together from audio recorded in different ways, in different places, with different people at different times. Those with keen ears will hear traces of tape hiss, the occasional blown-out note and some digital fuzz, all fingerprints of those original recordings as well as of the 1990s digital equipment that was used to piece Another Thought together.

Add to this Arthur’s obvious pleasure in making music from the sort of sounds that can make microphones, speakers and ears uncomfortable, it’s no surprise that Another Thought isn’t glossy and pristine. Don Christensen’s productions have been careful to not scrub up those original recordings so much that they lose their original vibe, understandable given that Arthur wasn’t around as a guide. We’ve applied a similarly light touch with the mastering for these Be With versions, just working to make sure they sound like they should on both the vinyl and the CD.

Despite the Discogs rumours, Another Thought was never originally released as an LP. So when it came to the sleeve for this Be With vinyl version we took the original CD artwork as a starting point to come up with something that looks like it could have been in the record racks back in 1993.

We have to thank Janette Beckman for helping us reproduce her iconic photograph of Arthur in his newspaper boat hat. One of many photographs she took of Arthur, Janette shot this in her New York studio back in 1986 for a short article in the January ’87 issue of The Face Magazine. Those with eagle-eyes will notice we’ve used an ever-so-slightly different shot from the one that appeared in The Face and then again on the original cover of Another Thought. The original has long since been lost so we’ve worked with what is left in Janette’s archives. And we also have to thank Tom Lee for giving us permission to reproduce his liner notes from the original CD booklet, together with Arthur’s lyrics.

Emeralds, the sophomore long player from Parlor Greens, finds the trio serving up a beautifully curated sampler of what funky organ music can be. Three true masters of their respective crafts: Tim Carman (formerly of GA-20) on drums, Jimmy James (True Loves, formerly of Delvon Lamarr Organ Trio) on guitar, and Adam Scone (Scone Cash Players, The Sugarman 3) on organ. Seasoned and soulful pros coming together to make infectiously funky instrumental jams. Parlor Greens are truly in top form: tour tight and more confident than ever in who they are and where they’re going.


The first time these three met in Loveland at Colemine’s Portage Lounge studio was marked by a certain freshness. It was new, it was the first time they had all played together. It was exciting, it was unknown territory. The session for Emeralds weighed much heavier on all three members. All three dealing with personal tragedies in their individual lives, the session truly served as a genuine moment of joy for the group. Just three talented musicians, writing and playing music now as friends in a familiar environment. No moment is the weight of the session more obvious than with the album’s closer, “Queen Of My Heart,” a tune Jimmy wrote for his mother shortly after she passed away. So with a heavy and soulful heart, Colemine Records is beyond proud to present the sophomore effort from three maestros. Parlor Greens presents… Emeralds.

x 500 only very limited ONE OFF PRESSING

Two gems from the vaults of the Semper camp. Taken from the mega rare Themes for television, sport and Aerobics' released on the Pixie Records. Dynamite Cuts is releasing these two as a limited edition.
DYNAM7010
Track A - Pretty Lady' wonderful synth vibe with a whole lot of soul, no drums or heavy grooves, just a rare touch of smooth sunshine on a 45.
Track B - Universe (Exterritorial Search Contact Tones)' Its all about this beauty, a magic moment in time. So much soul in such a short track. Has Hudson and Duke vibe, never before on 45 vinyl must have vinyl both taken from Master tapes

"EYE OF MELIAN open the gates to a different world with their new album Forest Of Forgetting, out February 20th, 2026 via Napalm Records. Named after a powerful primordial singing spirit from the world of J. R. R. Tolkien, EYE OF MELIAN draws inspiration from the master of fantasy and expands on his ethereal concept. Created by Delain’s Martijn Westerholt and featuring Auri’s Johanna Kurkela as a lead vocalist, EYE OF MELIAN’s Forest Of Forgetting is a masterclass in symphonic songwriting so whimsical the real world fades away. Completing the all-star lineup on their debut with Napalm Records are orchestral arranger Mikko P. Mustonen and backing vocalist and lyricist Robin La Joy, blessing twelve lush compositions with immortal life. Mesmerizing from the first gentle notes of opening track “Of Willows And Shadows”, Forest Of Forgetting weaves otherworldly piano melodies and epic strings around angelic vocals worthy of the powerful Valar themselves. “Child Of Twilight” deepens EYE OF MELIAN’s dreamy and bombastic Hollywood movie score approach, carefully building up an exceptionally enchanting atmosphere that carries on into the equally cinematic “Blackthorn Winter”, ever so elegantly broadening the view into the alluring realms the band is melodizing. “Dawn Of Avatars” features Nightwish multi-instrumentalist Troy Donockley on flute and uilleann pipes, as well as hurdy-gurdy fairy Patty Gurdy, before EYE OF MELIAN turns in the direction of heavy metal with a charming rendition of Bruce Dickinson’s anthem “Tears Of The Dragon” (originally released on Balls To Picasso in 1994 after the singer had left Iron Maiden). Forest Of Forgetting also comes with all its tracks as instrumental versions to dwell in the impressive orchestrals alone. With this opulent album, EYE OF MELIAN extends an invitation to faraway lands full of wonder. Forest Of Forgetting unfolds as quite the opposite of its title: utterly unforgettable."

L.A.-based soul singer Leela James started out singing backup vocals on Hip-Hop albums in the late 90s and early 2000s. In 2004, she recorded the song "No Tears" on Pete Rock's "Soul Survivor 2", shortly after she signed a deal with Warner Bros Records and released her debut album A Change is Gonna Come, named after her cover of the Sam Cooke song. A true soul singer, with a voice comparable to Mavis Staples and Betty Wright, Leela enlisted Commissioner Gordon to oversee production, which included tracks by Kanye West, Raphael Saadiq, Wyclef Jean, and Chucky Thompson. The lead single, "Music," is an ode to the soul singers of yesterday, with a Hip-Hop feel. She performs a soulful R&B cover of No Doubt's "Don't Speak" and alternates between funky uplifting tracks like "Good Time" and "Soul Food" with downtempo, soulful ballads like "When You Love Somebody" and "My Joy." Leela James departed from Warner after the release of her debut and went on to release seven more studio albums. It's been twenty years since A Change is Gonna Come was released in June of 2005, and Get On Down is proud to present this underrated gem for the first time on vinyl. The album is pressed on "Golden Pearl" colored vinyl and packaged in a gatefold jacket, limited to 1000 copies. It's been a long time coming, but this is a must-have for neo-soul and R&B music lovers.

Temple Balls, the high-octane hard rock band from Finland, is back with a brand-new self-titled album. Over the past few years, the band has kept busy both in the studio and on the road, solidifying their reputation as one of the most exciting live acts in the genre. Having opened for legendary acts such as Sonata Arctica, Queen, Deep Purple, and Uriah Heep, Temple Balls have proven they can command any stage—whether it’s a massive festival or an intimate club. Their live shows are explosive, turning skeptics into die-hard fans with their raw energy and undeniable charisma. The journey began with their official debut single, “Hell and Feelin’ Fine,” released in September 2016, which gained heavy rotation on Finnish Radio Rock. Their debut album, recorded in May 2016 at Karma Sound Studios in Thailand, was released on February 24, 2017. Produced by Tobias Lindell (Europe, Mustasch, H.E.A.T.), the album marked the band’s bold entrance into the international rock scene. In the fall of 2017, Temple Balls embarked on a sold-out Finnish tour with Battle Beast, made their live debut in Japan, and completed a five-day tour across Ukraine. Their popularity soared in Japan, where readers of the country’s biggest rock magazine Burrn! voted them the “Second Brightest Hope,” and they were named “Newcomer of the Year” on Masa Ito’s Rock TV. Their sophomore effort, Untamed, released on March 8, 2019, received rave reviews from major music outlets including Soundi and Burrn!. A European tour alongside Sonata Arctica further cemented their reputation as a world-class live band. Their third album, Pyromide, marked their debut with Frontiers Records and was a melodic hard rock tour de force produced by Jona Tee (H.E.A.T.), packed with powerful riffs, massive hooks, and arena-sized choruses. In May 2022, Temple Balls toured Europe with Swedish melodic metal giants H.E.A.T., followed by a busy summer festival season across Finland. The lead single from their fourth album, Strike Like a Cobra, was released in March 2022 to widespread acclaim. That same year, they completed work on their next full-length, Avalanche, released in fall 2023, featuring the single “No Reason,” which dropped globally on June 22. Now, with their new self-titled album, Temple Balls continue the sonic evolution started with Avalanche, delivering an even more personal and refined sound.

US sax player Stanley J. Zappa and Finnish drummer Simo Laihonen come together on the new album "Muster Point" on We Jazz Records, August 7. The two students of Milford Graves add bassist Ville Rauhala on a couple of tracks to make a bold and adventurous album captured both live and in the studio while Zappa was touring in Finland with the Black Motor musicians. This is a set full of fire and thunder, but also features some more meditative spiritual jazz. RIYL: Milford Graves, ESP-Disk', spiritual jazz

"Muster Point" consists of short trio bursts ("Muster Point I-IV"), deep duo cuts such as "Pleasant Avenue" and the inspired material linking the stylistic bookends. The music herein comes from the long standing tradition of independent improvised jazz music, and moves forward in the now, relying in the natural communication and the chemistry between the musicians. At its core, the album is a testament to the importance personal connections between like-minded creative musicians in creating something new.

Stanley J. Zappa, originally from New Jersey, now based in Oliver, BC (Canada) is a highly expressive musician whose career has so far progressed largely under the radar. Part of the lineage of a musical family (his uncle Frank should need no introduction), Zappa's story is that of a true craftsman, now coming into fruition with a like-minded collaborator, Simo Laihonen. Laihonen is best known from his long-standing trio formation Black Motor, also featuring bassist Ville Rauhala featured on the trio tracks on this recording.

Swiss artist Lukas Traxel releases his powerful debut album One-Eyed Daruma on We Jazz Records, March 10. The trio features Traxel on double bass, Otis Sandsjö on sax and Moritz Baumgärtner on drums. Compact, deep, and organic to the bone, Traxel & co's sound echoes the innovations of rhythmically driven avantgarde jazz while keeping things moving at all times. There's both drive and freedom to this sound.
ONe-Eyed Daruma features eight new compositions by Traxel, who crafted the outline for the album while dealing with the loss of his father. The group came together after an open invitation from the Zurich jazz club Moods to present a new group. The trio of Traxel, Sandsjö and Baumgärtner creates a full, symphonic, and powerful body of sound despite the instrumentation without a harmony instrument. The trio functions as a collective where the boundaries between composition, melody, and accompaniment are in flux, while keeping the common goal of creating new music together in sight at all times. Traxel reports that after playing bass in various groups with guitar and/or piano, he wanted to create a counterpoint of sorts with his new group and specifically go about it with a more sparse setup. As One-Eyed Drama proves, the idea behind the trio dynamic is a strong one and the unit makes use of their extra space in creating evocative, moody, swinging creative jazz with a distinguishable fingerprint of its own.
Lukas Traxel says:

"The process of composing this music while dealing with the loss of a loved one resulted in a writer's block at first. The notes would just not flow out of my pen until I noticed a mysterious-looking figure in the right upper corner of my piano. It was a daruma, an eyeless figure that in the Japanese tradition brings luck and prosperity. According to the myth, the first eye must be drawn onto the figure while expressing a wish. The second eye can be added only if the wish comes true. My daruma is meant to stay one-eyed as my wish, strongly connected and intertwined with my now gone father, is not meant to be fulfilled. The feeling of unfulfillment and imperfection of life serves as a common thread throughout this album, right down to its title. In a similar fashion, a composition remains incomplete until it is interpreted by musicians, and given form as music. That being said, for me playing together with this trio symbolises the upside: the sense of fulfillment in music and life.

Our musical influences include the American composer and singer Caroline Shaw, Swiss pianist Colin Vallon's trio, and composer/singer-songwriter Gabriel Kahane. In addition, I have listened a lot to the trio albums of Jimmy Guiffre and Sonny Rollins. Besides that, my musical heroes like Charlie Haden, John Coltrane, and Keith Jarrett always flow into the music. Another very important influence in the music is the work of American visual artist Agnes Martin, in whose works the imperfection of a multiplicity of repetitions results in a lively big whole in the end. (See "Wild Flower")

Live, the trio takes a lot of freedom in interpreting this music, yet we have a deeper, almost pop-like attitude towards the live performance as an experience. For me it's always important to build a strong narrative with the band while on stage."

One-Eyed Daruma by Lukas Traxel is released on 10 March 2023 by We Jazz Records on LP/CD/digitally. The LP edition is shelved in an inside-out sleeve and pressed on white vinyl. The CD is housed in a cardboard digisleeve with UV lacquer finish.