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Triple gatefold heavyweight 180g vinyl, Remastered original LP , Incl. 5 unreleased tracks released for the 1st time on vinyl`see tracklist below for details!


"A mesmerizing Japanese ambient techno masterpiece that that completely rewires how you perceive music" Electronic Beats

"A mountainous Masterpiece. A powerful testament to rave culture's establishment and the birth of a new scene in Japan emerging in the mid '90s. One of Yokota's most celebrated work that merges Japanese new age and minimal techno"
Alex From Tokyo (Japan Vibrations, world famous, Paris)

**= 5 unreleased tracks released for the 1st time on vinyl.

New liner notes by Martyn Pepperell

Blakk Tape is the 4th solo mixtape released by underground legend Conway The Machine from Griselda Records on March 27, 2018. With the majority of production handled by Daringer.

After several rare vinyl editions of his releases, Blakk Tape is now officially reissued on black vinyl, limited to 500 copies.

This is the 6th album by the Swedish legend Jonas Lundqvist. I’s a big album about angels, God and the trouble of relations.

Denzel Curry's forthcoming King Of The Mischievous South Volume 2 finds him presenting a sequel to the project, and bringing back the sound, that helped launch his career. While the first installment of King Of The Mischievous South was performed from the perspective of his Raven Miyagi persona, a name bestowed upon him by Raider Klan founder SpaceGhostPurrp, Volume 2 finds Curry operating under his Big Ultra persona -- an elevated version of Raven Miyagi that is bragadocious and revels in the success that Curry has seen over the last decade of his career. Creating King Of The Mischievous South Volume 2 has been a goal of Curry's for some time, though his earliest attempts to do so ultimately morphed into other projects, namely his 2016 album Imperial and 2020's 13LOOD 1N + 13LOOD OUT. It wasn't until he stopped overly attempting to create Volume 2 that its songs started to emerge naturally. 

Given the project's sound, which pays homage to the great musical heritages of the South -- from Memphis to Houston and Curry's own South Florida -- its features include the region's greats, both old and new, as well as others whose style is indebted to the South's musical legacy. Features include fellow former Raider Klan member Key Nyata, Memphis stalwarts Juicy J and Project Pat, Texas' Maxo Kream, That Mexican OT and Mike Dimes, North Carolina’s TiaCorine, Atlanta's 2 Chainz and Kenny Mason and South Florida's Ski Mask The Slump God and PlayThatBoiZay, as well as ASAP Ferg and ASAP Rocky, among others. The project more broadly and the intentional inclusion of Rocky and Ferg is Curry's attempt to show what could have been had relationships not soured with SpaceGhostPurrp, fulfilling the promise that existed at the rise of their respective careers in the early 2010s.  

With all of the otherworldly adventures Denzel has taken listeners on over the course of his last few conceptually-driven albums, this project serves as a showcase for the fun, spontaneity and technical mastery that has made him one of rap's most in-demand talents over the course of the last decade. 

Russian Circles kehrt mit einer Wiederveröffentlichung ihres legendären Albums Empros zurück, komplett mit einem neu gestalteten, geprägten Klappcover, erhältlich auf klassisch schwarzem Vinyl. Empros machte da weiter, wo die hymnischen Riffs und Melodien des 2009er Albums Geneva aufgehört haben, und injiziert noch mehr schleppende Rhythmen inmitten von Schädel-zerschmetternder Wucht mit der ganzen viszeralen Intensität von Godflesh, Swans und Neurosis. Einfach ausgedrückt: Empros ist Russian Circles' Master of Reality: eine radikale Überarbeitung von sowohl Heavy als auch Melodie, die in ihrer Klarheit und Perfektion monolithisch ist. Oder, wie ein einzelnes überlebendes Wolltier, das aus dem brutalen Frost des Winters auftaucht, ist Empros der Sound einer Band, die das Alter von ihren Schultern schüttelt, mit all der brutalen Kraft eines erwachten Ungetüms. Seit jeher arbeiten Mike, Dave und Brian an derselben Statue. Sie meißeln, sie schlagen, sie hämmern auf sie ein. Manchmal mit voller Wucht, manchmal sehr filigran. Die Meister monolithischer Melodien und monumentaler Rhythmen in absoluter Klarheit dargelegt, sind wieder am Werk. Mit "Empros" legen sie wieder ein Stück dieser gewaltigen Statue frei. Und vielleicht gibt es sogar ein paar Überraschungen in den sechs Tracks des Albums. Es gibt Riffs, ja - viele davon. Aber bei Empros scheint die gesamte Band die Verkörperung des Riffs selbst zu sein. "The six-song album intricately blends fat, grisly, discordant riffage with melodic, atmospheric, proggy sprinklings to create a sonically elaborate and raw package." - Premier Guitar Nur wenige, streng limitierte Magenta-Black 2024-Vinylauflage!

"Bury Your Gods" ist das dritte Studioalbum der Melodic Death Metal Band DELIVER THE GALAXY, die aus dem Harz stammt.
Das Album taucht tief in die Welt der Prä-Astronautik ein und stellt die spannende Idee vor, dass die Menschheit nicht allein im Universum ist. Es diskutiert die These, dass eine außerirdische Rasse die Erde zur Zeit der alten Sumerer besuchte und ihr Wissen und ihre Technologie der unterschiedlichen Pyramiden-Konstruktionen weitergab.
Titel wie "Bury Your Gods" erforschen das faszinierende Konzept einer außerirdischen Gottheit, die angesichts einer möglichen Invasion fordert, irdische Götter zu verbannen, während "Get Down" direkt dazu aufruft, sich dem Einfluss des außerirdischen Gottes zu unterwerfen.
Im Vergleich zu den vorherigen Veröffentlichungen, hat sich die Band einen härteren Sound zugelegt, der dem Hörer ein intensives Musikerlebnis beschert.
Tracks wie "Deathlight" oder "Shadows" zeigen zum ersten Mal die Klargesang-Fähigkeiten von Sänger Matthias Mente auf.
Insgesamt ist "Bury Your Gods" eines der stärksten Alben, die die Band je veröffentlicht hat.

"Bury Your Gods" ist das dritte Studioalbum der Melodic Death Metal Band DELIVER THE GALAXY, die aus dem Harz stammt.
Das Album taucht tief in die Welt der Prä-Astronautik ein und stellt die spannende Idee vor, dass die Menschheit nicht allein im Universum ist. Es diskutiert die These, dass eine außerirdische Rasse die Erde zur Zeit der alten Sumerer besuchte und ihr Wissen und ihre Technologie der unterschiedlichen Pyramiden-Konstruktionen weitergab.
Titel wie "Bury Your Gods" erforschen das faszinierende Konzept einer außerirdischen Gottheit, die angesichts einer möglichen Invasion fordert, irdische Götter zu verbannen, während "Get Down" direkt dazu aufruft, sich dem Einfluss des außerirdischen Gottes zu unterwerfen.
Im Vergleich zu den vorherigen Veröffentlichungen, hat sich die Band einen härteren Sound zugelegt, der dem Hörer ein intensives Musikerlebnis beschert.
Tracks wie "Deathlight" oder "Shadows" zeigen zum ersten Mal die Klargesang-Fähigkeiten von Sänger Matthias Mente auf.
Insgesamt ist "Bury Your Gods" eines der stärksten Alben, die die Band je veröffentlicht hat.

Nick Cave & The Bad Seeds melden sich mit ihrem neuen Album 'Wild God' nach fünf Jahren Pause zurück! Auf zehn Tracks tanzt die Band zwischen Konvention und Experiment, indem sie Linkskurven und Umwege macht, die die reiche Bildsprache und Emotion in Caves herzergreifenden Erzählungen verstärken. Es gibt Momente, die liebevoll an die Vergangenheit der Bad Seeds erinnern, aber sie sind flüchtig und dienen nur dazu, dem unerbittlichen und ruhelosen Vorwärtsdrang der Band eine weitere Facette zu geben. Nick Cave sagt über das Album: “It bursts out of the speaker, and I get swept up with it. It’s a complicated record, but it’s also deeply and joyously infectious.”

Produziert von Cave und Warren Ellis und gemischt von David Fridmann, begann Cave am Neujahrstag 2023 mit dem Schreiben des Albums. Bei Aufnahmen in der Provence und in London fügten die Bad Seeds schließlich ihre einzigartige Alchemie hinzu, mit zusätzlichen Auftritten von Colin Greenwood ( Bass) und Luis Almau (Nylonsaitengitarre, Akustikgitarre).

"Wild God…there’s no fucking around with this record. When it hits, it hits. It lifts you. It moves you. I love that about it." - Nick Cave

- Limited Vinyl Edition + Art Print Bundle: (Transparente Vinyl in Premium Tip-On-Sleeve mit bedruckten Inner-Sleeve plus limitierten 12” Artprint – Prägedruck auf hochwertigem Karton.)


Nick Cave & The Bad Seeds melden sich mit ihrem neuen Album 'Wild God' nach fünf Jahren Pause zurück! Auf zehn Tracks tanzt die Band zwischen Konvention und Experiment, indem sie Linkskurven und Umwege macht, die die reiche Bildsprache und Emotion in Caves herzergreifenden Erzählungen verstärken. Es gibt Momente, die liebevoll an die Vergangenheit der Bad Seeds erinnern, aber sie sind flüchtig und dienen nur dazu, dem unerbittlichen und ruhelosen Vorwärtsdrang der Band eine weitere Facette zu geben. Nick Cave sagt über das Album: “It bursts out of the speaker, and I get swept up with it. It’s a complicated record, but it’s also deeply and joyously infectious.”

Produziert von Cave und Warren Ellis und gemischt von David Fridmann, begann Cave am Neujahrstag 2023 mit dem Schreiben des Albums. Bei Aufnahmen in der Provence und in London fügten die Bad Seeds schließlich ihre einzigartige Alchemie hinzu, mit zusätzlichen Auftritten von Colin Greenwood ( Bass) und Luis Almau (Nylonsaitengitarre, Akustikgitarre).

"Wild God…there’s no fucking around with this record. When it hits, it hits. It lifts you. It moves you. I love that about it." - Nick Cave

Human Worth are proud to present the killer debut EP 'God Pile' from Leeds duo Grub Nap, featuring members of Thank, Dvne and Cattle, with a portion of proceeds donated to charity. Grub Nap are a 50/50, double headed, four legged, semi haggered, party at the front business at the back mash up of Dan Barter (Dvne, Joe Pesci) and Steve Myles (Thank, Cattle, Groak, Khuda). They first played together in a hardcore band in their late teens and have teamed back up to churn out sludgecore for folks with short attention spans and no interest in wizards or flag waving. A reunited earful, a midlife distraction, a questionable whiff from the back of the fridge. Crawl on in, the water’s foul. 'God Pile' is a golden brown, 15 minute, crumbly, introspective riff lattice. Snappy(ish) songs about greed, crippling anxiety, suburban nuclear mishaps and flagellant rozzers – 6 knuckle dragging clods of down tuned insolent rage. So pummelling is their racket, that they caught the ears of "supergroup" Empire State Bastard (featuring members of Biffy Clyro, Oceansize and Slayer) who invited the duo on the debut UK tour. Human Worth have pressed up a limited edition of black vinyl, with a stunning etching on side B featuring the art of Steve Myles, with 10% of all proceeds donated to Leeds Mind – promoting positive mental health and wellbeing and providing help and support to those who need it most.

SWASTIKAS FOR NODDY is possibly, probably, maybe, or not, a seminal and sidereal masterpiece, the inspiration for 93,000 Masks On Nothings, none of which were Groovy. For me, well, it was my first Hallucinatory PickNick, and the skies turned Pixie Red for it.

I was given the album’s title during an Acid Trip: seeing Noddy Crucified In The Sky, I asked God what the most inappropriate BirthDay present for Noddy might be. God answered me from the Acid Whirlwind: “Swastikas!”

I recorded her in a run-down basement studio in West London, whilst I was simultaneously recording IMPERIUM. On playing the finished album to certain well-chosen friends, I was told by them that I had “destroyed Current 93”, and that it sounded like “demented children on drugs singing Simon & Garfunkel in a playground”. I then knew the album sounded exactly as I had dreamed it to sound, and as God had intended it to sound. Had I ditched the earlier darkness, and skipped into flowered fields? Great Black Time had already told me “NO!—GO!”

Remastered by The Bricoleur at Bladud Flies!, and with the original artwork refreshed and reborn by Rob Hopeye, this 12” vinyl picture-disc comes in a full-colour die-cut sleeve, which is printed on both the outside and inside.

This is one of the first 4 reissues of the entire back catalogue of C93 on picture-disc and standard vinyl, in the lead-up to the publication of my autobiography at the end of 2025, whilst I also work on many other recording, publishing, and painting projects, and Watch And Pray! Each release in the picture-disc vinyl reissues series is limited to 1,000 copies, and the titles will not be repressed as picture-discs once they have sold out.

Anciients teilten die Bühnen mit Bands von High on Fire und Goatwhore bis Boris und Lamb of God, und befanden sich mitten in einer Europatournee, als sie entdeckten, dass sie mit dem JUNO Award (dem kanadischen Grammy-Äquivalent) in der Kategorie Heavy Metal/Hard Rock ausgezeichnet wurden.

Nach acht Jahren Stille kehren Anciients mit neuen Besetzung und einem neuen Album zurück, das ihr härtestes, kopflastigstes und innigstes Werk genannt werden kann.

Fans, die auf gebeugten Knien auf weitere Griffbrett-Heldentaten gewartet haben, werden von Beyond the Reach of the Sun nicht enttäuscht sein. Die Leadsingle „Melt the Crown“ feuert gleich mehrere Gitarrensoli ab - Jedes von ihnen hat seine eigene Note, die von klagendem Folk über Südstaaten-Blues bis hin zu psychedelischem Prog reicht.

Natürlich haben Anciients auch keine Angst vor dem Headbangen. Nach einem Intro entpuppt sich „Cloak of the Vast and Black“ als ein wahres Riff-Monster.

Konzeptionell ist das Album ebenso heavy - Es erzählt die Geschichte einer Gesellschaft, die von Kräften aus einer anderen Dimension versklavt wird.

Anciients teilten die Bühnen mit Bands von High on Fire und Goatwhore bis Boris und Lamb of God, und befanden sich mitten in einer Europatournee, als sie entdeckten, dass sie mit dem JUNO Award (dem kanadischen Grammy-Äquivalent) in der Kategorie Heavy Metal/Hard Rock ausgezeichnet wurden.

Nach acht Jahren Stille kehren Anciients mit neuen Besetzung und einem neuen Album zurück, das ihr härtestes, kopflastigstes und innigstes Werk genannt werden kann.

Fans, die auf gebeugten Knien auf weitere Griffbrett-Heldentaten gewartet haben, werden von Beyond the Reach of the Sun nicht enttäuscht sein. Die Leadsingle „Melt the Crown“ feuert gleich mehrere Gitarrensoli ab - Jedes von ihnen hat seine eigene Note, die von klagendem Folk über Südstaaten-Blues bis hin zu psychedelischem Prog reicht.

Natürlich haben Anciients auch keine Angst vor dem Headbangen. Nach einem Intro entpuppt sich „Cloak of the Vast and Black“ als ein wahres Riff-Monster.

Konzeptionell ist das Album ebenso heavy - Es erzählt die Geschichte einer Gesellschaft, die von Kräften aus einer anderen Dimension versklavt wird.

A formidable power trio, hailing in parts from the icy Swedish northlands and the glacial expanse of the Swiss Alps, named after the three Norse goddesses of fate who wove the very tapestry of fate underneath the mythical World Tree, Norna aren't messing around. Their debut album, 2021's `Star is way way is Eye' was saturated filth; uncompromising, unrelenting ugliness. This though, their eponymous sophomore offering, digs its claws deeper into the dirt. Sharpened, hungry and desperate, born of the moment and yet years in the making; `Norna' liberates a primal rage that has been suppressed for far too long. Rather than defining their music around needlessly complex riffs or trapping themselves in established song structures, the band instead built colossal walls of crushing guitar noise before carving away at the chaos to form the bones of each piece. The results are hypnotic, looping dirges; apocalyptic mantras that take on their own shapes and stories, coming to life with each excruciating reprise_ Sculpted the same way as their debut album, with ideas and hooks hewn from a mass of noise held quite literally in the clouds (Dropbox being the band's platform of choice), Norna this time entered the process with a vision; a final, horrific form in mind. As such, the eponymous record pushes their boundaries even further beyond the extreme, with even the briefest moments of calm quickly curdled by the band's use of insidious ambient synthesisers, manipulated samples and even more distortion. Despite only forming in 2020, the three pillars of Norna bring decades of heaviness with them. Consisting of Swedish post-hardcore pioneer Tomas Liljedahl (Breach, The Old Wind) and Swiss stalwarts Christophe Macquat and Marc Theurillat (both of instrumental juggernaut Olten), Norna came together as a perfect storm of abrasive influences, harnessed by friend and producer Magnus Lindberg (Cult of Luna), to create something new, limitless and terrifying.

A formidable power trio, hailing in parts from the icy Swedish northlands and the glacial expanse of the Swiss Alps, named after the three Norse goddesses of fate who wove the very tapestry of fate underneath the mythical World Tree, Norna aren't messing around. Their debut album, 2021's `Star is way way is Eye' was saturated filth; uncompromising, unrelenting ugliness. This though, their eponymous sophomore offering, digs its claws deeper into the dirt. Sharpened, hungry and desperate, born of the moment and yet years in the making; `Norna' liberates a primal rage that has been suppressed for far too long. Rather than defining their music around needlessly complex riffs or trapping themselves in established song structures, the band instead built colossal walls of crushing guitar noise before carving away at the chaos to form the bones of each piece. The results are hypnotic, looping dirges; apocalyptic mantras that take on their own shapes and stories, coming to life with each excruciating reprise_ Sculpted the same way as their debut album, with ideas and hooks hewn from a mass of noise held quite literally in the clouds (Dropbox being the band's platform of choice), Norna this time entered the process with a vision; a final, horrific form in mind. As such, the eponymous record pushes their boundaries even further beyond the extreme, with even the briefest moments of calm quickly curdled by the band's use of insidious ambient synthesisers, manipulated samples and even more distortion. Despite only forming in 2020, the three pillars of Norna bring decades of heaviness with them. Consisting of Swedish post-hardcore pioneer Tomas Liljedahl (Breach, The Old Wind) and Swiss stalwarts Christophe Macquat and Marc Theurillat (both of instrumental juggernaut Olten), Norna came together as a perfect storm of abrasive influences, harnessed by friend and producer Magnus Lindberg (Cult of Luna), to create something new, limitless and terrifying.

THE LIGHT IS LEAVING US ALL is one of the C93 albums that haunts me the most. I was OverMoon and Blessed to work on it with the Astonishing Aeonic Beautiful Talents of Reinier Van Houdt, Alasdair Roberts, Ossian Brown, Rita Knuistingh Neven, Andrew Liles, Aloma Ruiz Boada, Michael York, Davide Pepe, Ania Goszczyńska, and Giulio Di Mauro. Once again, the Voice in the Mask of one of my favourite authors, and longest colleagues, Thomas Ligotti, also joined C93.

The album’s title was given to me in a dream, in which I saw The Souls of humans pouring out of their eyes, and returning to God—The Light Had Left Them Quite!

On THE LIGHT IS LEAVING US ALL, I brought together my studies of specific Akkadian and Biblical Hebrew texts that I was translating with my friends and teachers Professor Martin Worthington, Ola Wikander, and Professor Seth Sanders, and also Channelled my fascinations with The Red Barn Murder of 1827 and “The Witchcraft Murders” of “Bella” in Hagley Wood in c.1941 and Charles Walton in Lower Quinton in 1945.

All this time, the birds were sweetly singing, the kettle was on, the milkmaid was singing, and the policeman was dead—all this while the birds were softly singing, and The Light Was Leaving Us All.

Remastered by The Bricoleur at Bladud Flies!, and with the original artwork refreshed and reborn by Rob Hopeye, this 12” vinyl picture-disc comes in a full-colour die-cut sleeve, which is printed on both the outside and inside.

This is one of the first 4 reissues of the entire back catalogue of C93 on picture-disc and standard vinyl, in the lead-up to the publication of my autobiography at the end of 2025, whilst I also work on many other recording, publishing, and painting projects, and Watch And Pray! Each release in the picture-disc vinyl reissues series is limited to 1,000 copies, and the titles will not be repressed as picture-discs once they have sold out.

*BLACK VINYL*Asher White's third album in two years (and fifteenth overall), Home Constellation Study is less a refinement of last year’s sly, quaint New Excellent Woman and more an explosion of it. Her meticulous chamber pop has given way to resplendent swells of horns and squeals of noise, throbbing bass and queasy orchestral loops. The cover, painted by White, frames a burst of flowers against a dark blue abyss, mimicking the music: over frenzied sambas, bleary slacker rock, hushed ambient meditations, and surprisingly slick disco. The past year has found the prolific Providence-based singer-songwriter ascending through her city’s fertile experimental rock scene alongside the breakout synth-punk act BabyBaby_explores and her labelmates Or Best Offer. Live, White’s band plays riotous, unpredictable noise rock that nods to their city’s storied DIY scene; on Home Constellation Study, mid-album highlights like “Downstate Prairie” and “Hymn” nod to Providence’s bands of yore with their blistering sheets of feedback and pummeling drums, placing White, improbably, within the lineage of local heroes Les Savy Fav or the broken pop dispatches of Black Pus. At its core, however, Home Constellation Study is the product of studied, monastic auteurism. Like New Excellent Woman, it was arranged, performed, recorded and mixed by White alone in her basement studio in Providence. “Happy Birthday” is an earnest psalm, a paean of devotion and remorse to God a la Beverly Glenn-Copeland that drifts along with Panda Bear haziness. White’s concept of “toxic femininity” undergoes further investigation on “Good luck!” and “Runes,” both with Elliott Smith-like chord changes and the barbs of cynical romantics like Aimee Mann. Asher White’s vision has never been so expansive and unpredictable.

Reeling In The Weeks—which felt like Years — after my first Current 93 album, I had started on the difficult second C93 album, DOGS BLOOD RISING.

Having been asked to appear on both Top Of The Pops AND The Old Grey Whistle Test 93 times in the same week after the release of NATURE UNVEILED, I realised that God was telling me that I had hit on a winning formula of Christian eschatology and Apocalyptic Christian texts over a SoundScape As Cool As Flies, but that I was missing the vital ingredient of a Simon & Garfunkel song. DOGS BLOOD RISING — which I described to myself in a VISION as an album which hoped, wished, and made bad trips sound like good trips — was essentially the Mirror Night of NATURE UNVEILED, although only half of it was recorded at Roundhouse Studios. Squats were calling, and 8-track studios were all I was able to afford. DOGS BLOOD RISING didn’t chart, except in my NightSweats. Listening to it now, it makes me as restless as I was then, staring beyond the windows there, watching and praying for something, someone, anything, anyone.

Remastered by The Bricoleur at Bladud Flies!, and with the original artwork refreshed and reborn by Rob Hopeye, this 12” vinyl picture-disc comes in a full-colour die-cut sleeve, which is printed on both the outside and inside.

This is one of the first 4 reissues of the entire back catalogue of C93 on picture-disc and standard vinyl, in the lead-up to the publication of my autobiography at the end of 2025, whilst I also work on many other recording, publishing, and painting projects, and Watch And Pray! Each release in the picture-disc vinyl reissues series is limited to 1,000 copies, and the titles will not be repressed as picture-discs once they have sold out.

Southern California shoegaze squad Cold Gawd return to Dais for their second and most supreme suite yet of crushing downer bliss: I’ll Drown On This Earth. From the defiant scream that kicks off opening cut “Gorgeous,” the album rips in what singer and principal songwriter Matthew Wainwright describes as “go for it” mode: holding back nothing, wasting no time. Although the bulk of the songs were written in 2022, recording sessions weren’t booked until March of 2024, which allowed ample time to refine and distill the music’s hooks, heaviness, and haze. The result is a perfect storm of distortion and dream pop, cracked love songs cloaked in swooning walls of noise.

Recorded at Paradise Recorders in Anaheim, California with Colin Knight (of post-punk unit Object of Affection), Wainwright tracked the strings while Cameron Fonacier handled drums. The process was efficient and effective, sharpened by years of performance. Anthemic headbangers like “Portland,” “All My Life, My Heart Has Yearned For A Thing I Cannot Name,” and “Malibu Beach House” sound as dynamic as they do dialled-in, soaked into the bones of the players. The lyrics camelast, written by Wainwright a week before recording. Moods of surreality (“I can hear the blood in my fingers / nothing tunes out / the world’s too loud”), infatuation (“I will follow / everywhere you go / any way to feel / how you glow”), and melancholy (“God kept me around / for no good reason”) flicker and fade within a fog of memory and reverb.

Southern California shoegaze squad Cold Gawd return to Dais for their second and most supreme suite yet of crushing downer bliss: I’ll Drown On This Earth. From the defiant scream that kicks off opening cut “Gorgeous,” the album rips in what singer and principal songwriter Matthew Wainwright describes as “go for it” mode: holding back nothing, wasting no time. Although the bulk of the songs were written in 2022, recording sessions weren’t booked until March of 2024, which allowed ample time to refine and distill the music’s hooks, heaviness, and haze. The result is a perfect storm of distortion and dream pop, cracked love songs cloaked in swooning walls of noise.

Recorded at Paradise Recorders in Anaheim, California with Colin Knight (of post-punk unit Object of Affection), Wainwright tracked the strings while Cameron Fonacier handled drums. The process was efficient and effective, sharpened by years of performance. Anthemic headbangers like “Portland,” “All My Life, My Heart Has Yearned For A Thing I Cannot Name,” and “Malibu Beach House” sound as dynamic as they do dialled-in, soaked into the bones of the players. The lyrics camelast, written by Wainwright a week before recording. Moods of surreality (“I can hear the blood in my fingers / nothing tunes out / the world’s too loud”), infatuation (“I will follow / everywhere you go / any way to feel / how you glow”), and melancholy (“God kept me around / for no good reason”) flicker and fade within a fog of memory and reverb.

Mystery colored vinyl (a unique and kooky mix-up from an exotic palette) and limited edition of 600 copies only!

From the mystical realms of a secluded ancient island, rising from the icy spray of the forbidden northern waters, comes the haunting, savage beat of a mysterious and primitive ritual. In this forgotten place, awash with wonder and enigma, echoing with the booming of sharkskin drums and bone rattles, the rock speaks with the voice of the gods. Weaving strange and terrifying tales, and tales of beauty and joy, Pagan Rites is a breathtakingly exotic tone poem that will make any Tiki bar come alive. Ixtahuele - the modern masters of exotica - legendary debut album finally back in print! The aim of the group is to provide the perfect soundtrack to bring your mind's eye on a time-traveling, round-the-world trip; taking you to faraway exotic islands, lost lands, and ancient cities - bringing back the Ottoman Empire, Port Royal, or even the mythical continent of Mu. Ixtahuele try to push the limits of where they can take you while still staying true to the genre; because after all the true armchair traveler can't make the Hawaiian Village the destination for every trip, but must also go to the Amazon, Micronesia, the Middle East, the Caribbean, and Indochina. All aboard!

Experience the soulful and funky gospel sounds of the Howard Lemon Singers with the reissue of their 1977 album, Seasons, originally released by TK Records' Gospel sub-label Gospel Roots. Now reissued on vinyl for the first time through Regrooved Records, this album masterfully blends traditional gospel with modern soul elements, showcasing the Howard Lemon Singers at their most dynamic and inspirational.

Featuring rich vocal harmonies and uplifting messages, Seasons invites listeners on a spiritual journey through life's varying stages, emphasizing renewal, celebration, and introspection. Among the standout tracks is "You Are Somebody," a powerful anthem that resonates deeply with its message of affirmation and empowerment. The vinyl reissue preserves the original essence of the album, enhancing the audio quality to highlight the depth and warmth of the studio recordings.

Perfect for both avid gospel enthusiasts and newcomers, this reissue of Seasons by The Howard Lemon Singers is not just a record—it's a celebration of faith, resilience, and the human spirit. Add this pivotal piece of gospel heritage to your collection and let the timeless beauty of their music inspire you throughout the seasons of your life.

Wilson Simonal and Trio Mocotó provide a double dose of Brazilian classics for this Brazil 45’s 7 inch.

First up, an infectious, samba-MPB hit from one of Brazil’s most popular artists of the ‘60s and early ’70s, Wilson Simonal. Originally released on 7 inch by Odeon in 1967 and landing on Simonal’s Alegria, Alegria !!! album in the same year, ‘Nem Vem Que Nao Tem’s fame had a new lease of life in 2002 when it was used as part of the soundtrack to the critically acclaimed film, ‘City Of God’.

On the B side, one of Jorge Ben’s main backing bands and a group that was highly influential to his sound, Trio Mocotó. Alongside recording with Ben on the seminal Força Bruta, Negro É Lindo and Tábua de Esmeralda LPs, they were also key figures in the development of the samba rock sound – a fusion of samba, soul and rock influenced by music from the USA.

First appearing on Trio Mocotó’s self-titled 1977 Arlequim LP, ‘Nao Adianta’ is a dynamic orchestral-infused gem, laced with that sun-kissed, samba flavour.

Remastered with refreshed artwork.

THE PINEAPPLE THIEF'S FIFTH ALBUM 'LITTLE MAN' REMASTERED &
REISSUED WITH 3 BONUS TRACKS.A vein of melancholy runs throughout
The Pineapple Thief's fifth studio album 'Little Man'
nspired by the theme of loss, 'Little Man' was the first Pineapple Thief album to
ruly establish the band on the musical map, earning them the support of the
Kscope label & endorsements from prog figurehead Steven Wilson (Porcupine
Tree) to boot. Now remastered by revered mastering engineer Steve Kitch, this
vinyl edition of 'Little Man' delivers an immersive & definitive, listening experience.
An astounding emotional, atmospheric and satisfying piece of art." 5/5 Sputnik
Music
The Pineapple Thief were formed in 1999 by founder & chief songwriter Bruce
Soord & have since released a total of 16 studio albums, 6 EP's & several live &
compilation albums. The lineup now includes Gavin Harrison of Porcupine Tree/
King Crimson following his permanent joining for 2018's 'Dissolution'. In February
2024, The Pineapple Thief released the critically acclaimed 'It Leads To This'
which reached #2 in the UK Independent Albums Chart.
This edition of 'Little Man' is presented as a CD digipack with 4- page printed
booklet & includes 'Dead In The Water', 'God Bless The Child' & live favourite
Snowdrops', plus 3 acoustic bonus tracks.

Daddies don't always come home for Christmas. From the snow-covered plains of Wisconsin's Driftless region to the palm-lined avenues of Los Angeles, the loneliness of the holidays is a universal theme, best expressed by tear-in-the-beer country music hopefuls. Sung and strummed (and plucked) by an unlikely assortment of Nashville aspirants, our Christmas Dreamers spent the '60s gambling their futures on the AM airwaves of a forgotten America.

Santa's Lager coloured Vinyl. Daddies don't always come home for Christmas. From the snow-covered plains of Wisconsin's Driftless region to the palm-lined avenues of Los Angeles, the loneliness of the holidays is a universal theme, best expressed by tear-in-thebeer country music hopefuls. Sung and strummed (and plucked) by an unlikely assortment of Nashville aspirants, our Christmas Dreamers spent the '60s gambling their futures on the AM airwaves of a forgotten America.

Die südkalifornische Shoegaze-Truppe Cold Gawd kehrt zurück zu Dais mit ihrer zweiten und bisher besten Suite von erdrückender Downer-Seligkeit: "I'll Drown On This Earth". Vom trotzigen Schrei, mit dem das Eröffnungsstück "Gorgeous" beginnt, reißt das Album mit, was Sänger und Haupt-Songwriter Matthew Wainwright als "Go for it"-Modus beschreibt: Nichts zurückhalten, keine Zeit verschwenden. Obwohl der Großteil der Songs im Jahr 2022 geschrieben wurde, waren die Aufnahmesessions nicht vor März 2024 gebucht, so dass genügend Zeit zur Verfeinerung und Destillierung der Hooks, die Schwere und den Dunst der Musik war. Das Ergebnis ist ein perfekter Sturm aus Verzerrung und Dream-Pop, zerrissene Liebeslieder, die sich in schwindelerregende Wände aus Lärm legen. Aufgenommen bei Paradise Recorders in Anaheim, Kalifornien, mit Colin Knight (von der Post-Punk-Band Object of Affection), spielte Wainwright die Streicher ein, während Cameron Fonacier das Schlagzeug bediente. Der Prozess war effizient und effektiv, geschärft durch jahrelange Performance. Songs wie "Portland", "All My Life, My Heart Has Yearned For A Thing I Cannot Name" und "Malibu Beach House" klingen dynamisch und gehen den Musikern in Fleisch und Blut über. Die Texte von Wainwright wurden nur eine Woche vor der Aufnahme geschrieben. Stimmungen der Surrealität, Verliebtheit und Melancholie flackern und verblassen in einem Nebel aus Erinnerung und Hall. Wie auf "God Get Me The Fuck Out Of Here" von 2022 manifestiert sich die zeitgemäße Vision des Shoegazevon Cold Gawd auf faszinierende Weise in Momenten, wie der gedämpften, strudelnden Träumerei von "Tappan", oder dem dunstigen, schleppenden Downtempo von ""Nudism"" (mit königlichem Klavier-Outro). Ihre Muse ist so lebendig wie vielfältig, sie reicht von "Loveless" von My Bloody Valentine über Drake, Post-Hardcore und Beach House. "I'll Drown On This Earth" erweitert auf eindrucksvolle Weise den Kanon von Cold Gawd, dicht an Riffs und Entrückung, Flucht und und Offenbarung, kanalisiert durch gestapelte Verstärker und versteckte Kräfte: "Give praise / to whatever / I got time for / hallelujah."

Die südkalifornische Shoegaze-Truppe Cold Gawd kehrt zurück zu Dais mit ihrer zweiten und bisher besten Suite von erdrückender Downer-Seligkeit: "I'll Drown On This Earth". Vom trotzigen Schrei, mit dem das Eröffnungsstück "Gorgeous" beginnt, reißt das Album mit, was Sänger und Haupt-Songwriter Matthew Wainwright als "Go for it"-Modus beschreibt: Nichts zurückhalten, keine Zeit verschwenden. Obwohl der Großteil der Songs im Jahr 2022 geschrieben wurde, waren die Aufnahmesessions nicht vor März 2024 gebucht, so dass genügend Zeit zur Verfeinerung und Destillierung der Hooks, die Schwere und den Dunst der Musik war. Das Ergebnis ist ein perfekter Sturm aus Verzerrung und Dream-Pop, zerrissene Liebeslieder, die sich in schwindelerregende Wände aus Lärm legen. Aufgenommen bei Paradise Recorders in Anaheim, Kalifornien, mit Colin Knight (von der Post-Punk-Band Object of Affection), spielte Wainwright die Streicher ein, während Cameron Fonacier das Schlagzeug bediente. Der Prozess war effizient und effektiv, geschärft durch jahrelange Performance. Songs wie "Portland", "All My Life, My Heart Has Yearned For A Thing I Cannot Name" und "Malibu Beach House" klingen dynamisch und gehen den Musikern in Fleisch und Blut über. Die Texte von Wainwright wurden nur eine Woche vor der Aufnahme geschrieben. Stimmungen der Surrealität, Verliebtheit und Melancholie flackern und verblassen in einem Nebel aus Erinnerung und Hall. Wie auf "God Get Me The Fuck Out Of Here" von 2022 manifestiert sich die zeitgemäße Vision des Shoegazevon Cold Gawd auf faszinierende Weise in Momenten, wie der gedämpften, strudelnden Träumerei von "Tappan", oder dem dunstigen, schleppenden Downtempo von ""Nudism"" (mit königlichem Klavier-Outro). Ihre Muse ist so lebendig wie vielfältig, sie reicht von "Loveless" von My Bloody Valentine über Drake, Post-Hardcore und Beach House. "I'll Drown On This Earth" erweitert auf eindrucksvolle Weise den Kanon von Cold Gawd, dicht an Riffs und Entrückung, Flucht und und Offenbarung, kanalisiert durch gestapelte Verstärker und versteckte Kräfte: "Give praise / to whatever / I got time for / hallelujah."

LP - 180 Gram Vinyl / Limited to 500 Units 12 festive songs recorded by The King in 1957 - a few even with the famous vocal quartet The Jordanaires. This LP full of Rock`n`Roll christmas hits takes you back into another time.

Red marble LP - 180 Gram Vinyl / Limited to 500 Units 12 festive songs recorded by The King in 1957 - a few even with the famous vocal quartet The Jordanaires. This LP full of Rock`n`Roll christmas hits takes you back into another time.

Jon Hopkins' neues Album RITUAL ist ein 41-minütiges Epos, das das musikalische Bindeglied zwischen seinen Vorgängeralben Immunity von 2013 und Singularity von 2018 und dem Music For Psychedelic Therapy von 2021 ist. Es besteht aus Subs die klingen, also of sie aus einer Höhle kämen, hypnotischem Schlagzeugspiel und transzendenten Melodien. Das spannungsgeladene, eindringliche und letztlich triumphale Werk ist ein Höhepunkt der Themen, die er in seiner 22-jährigen Karriere erforscht hat, und bildet das kinetische Gegenstück zu Music For Psychedelic Therapy von 2021.

RITUAL ist ein einziges Stück, das sich in acht Kapiteln entfaltet und durch Tiefe und Kontrast besticht. Mit Zeremonien, spiritueller Befreiung und der Reise des Helden als Inspiration, zapft es eine uralte und ursprüngliche Energie an und wird am 30. August von Domino veröffentlicht.
SIDE D:

Etched / BLANK

Jon Hopkins' neues Album RITUAL ist ein 41-minütiges Epos, das das musikalische Bindeglied zwischen seinen Vorgängeralben Immunity von 2013 und Singularity von 2018 und dem Music For Psychedelic Therapy von 2021 ist. Es besteht aus Subs die klingen, also of sie aus einer Höhle kämen, hypnotischem Schlagzeugspiel und transzendenten Melodien. Das spannungsgeladene, eindringliche und letztlich triumphale Werk ist ein Höhepunkt der Themen, die er in seiner 22-jährigen Karriere erforscht hat, und bildet das kinetische Gegenstück zu Music For Psychedelic Therapy von 2021.

RITUAL ist ein einziges Stück, das sich in acht Kapiteln entfaltet und durch Tiefe und Kontrast besticht. Mit Zeremonien, spiritueller Befreiung und der Reise des Helden als Inspiration, zapft es eine uralte und ursprüngliche Energie an und wird am 30. August von Domino veröffentlicht.
SIDE D:

Etched / BLANK

There are few people across the globe, who will have not been touched by the work of Frankie Knuckles. Forever regarded as ‘The Godfather of House’ for his unrivalled contribution to the house music we know today; what started as an underground movement in Chicago has grown to international heights thanks to Frankie. His records earned him recognition on a global scale, allowing him to work with some of the globes biggest names including the likes of Diana Ross, Whitney Houston and Michael Jackson.

Frankie passed away in Chicago on 31st March 2014 leaving behind one of the greatest house music legacies spanning almost four decades. Now he is commemorated by long time writing and production partner Eric Kupper. Eric, himself a seasoned DJ producer and writer, has worked on over 116 Billboard #1 Dance Records and played a pivotal role in many of Frankie’s productions. Having both worked together for many years they established themselves as ‘Director’s Cut’ from 2011 and set about producing original releases and remixes based on the classic ‘Def Mix’ sound while sharing equal credits for their creations.

Together they re-produced and re-purposed classic cuts for modern dancefloors, with reworks including tracks from Marshall Jefferson, Ashford & Simpson, Artful & Ridney and The Sunburst Band, alongside Frankie Knuckles originals. These releases have now been brought together by Eric to feature on special album called ‘The Directors Cut Collection’ on SoSure Music.

For the third volume classic cuts such as Inaya Day & Robin S. - Right Now (A Director’s Cut Master) and Marko Militano - Good People (Director’s Cut Signature Mix) are nestled alongside equally absorbing Directors Cut mixes of Vintage Lounge Orchestra covering 'Dreams' and Art Department pres. Martina Topley Bird feat. Mark Lanegan & Warpaint covering 'Crystalised'.

The Director’s Cut Collection is a fitting tribute to commemorate the seventh anniversary of Frankie’s passing whilst giving Eric a platform to tell his side of the creative story. This album is to be released in collaboration with The Frankie Knuckles Foundation who work to continuing Frankie’s legacy well into the future.



DJ Feedback:

Dixon - 5/5 - "Classic"

The Black Madonna - 5/5 - "Love you Frankie!!!"

Laurent Garnier - 5/5 - "“niiiiiiiiiiiiiiiiiiiiiiiiice OHHHH SOOOOO NIIIIIIIIIIIIICE !!!!!”

Honey Dijon - 5/5 - "Iconic!!!!!!"

Axel Boman - 5/5 - "It's all about love - not about emotions!!!!

Adam Beyer - 5/5 - "<3"

Space Dimension Controller - 5/5 - "Always"

Tensnake - 5/5 - "Classic Love It"

Jonny Rock - 5/5 - "Hot!!!"

Prins Thomas - 4/5 - "very nice! fresh take on an all-time classic"

Len Faki - 5/5 - "It's been a while listening to this masterpiece - and yes - it's timeless and I love the new touch on the new version. thanks Frankie!"

robdabank (Radio 1) - 5/5 - “One of my all time faves and great mixes here!”

Severino Panzetta (Horse Meat Disco) - 5/5 - "OH YASS!!"

Matthias Tanzmann - 5/5 - "Can't believe it has been five years already. Legendary

Michael Serafini - 4/5 - "Excellant Retouch on this!!!"

Ease-Nightmares On Wax - 4/5 - "Timeless classic for a true legend RIP x"

Timo Maas - 5/5 - "well...classic!"

Tiefschwarz - 5/5 "bless Frankie Knuckles!!"

Red Rack'em - 4/5 - "Love this new version. Really tasteful. Well done!"

With their new album 'Rhapsody, the extraordinary vocalists fedayo Gatling, Dennis Bailey, and George Marage are able to fully explore the entire range of music that influenced them. The follow-up to their acclaimed 2021 release 'Look Up!', the record is a dive into a lesser-known but hugely important era in the evolution of gospel music.

Starting in the mid-1960s, local gospel groups and singers began incorporating elements of popular soul and funk styles and in 2006, Chicago-based reissue label Numero Group released Good God! A Gospel Funk Hymnal. HGT's longtime friend and mentor Eli.

"Paperboy Reed" approached the group with the idea of digging through the Numero catalog and recording some of the gospel funk material, reinterpreted in their own way from the high-energy, old-school soul of "God's Been Good to Me" to the hip-hop-inflected "Get Involved."

The Harlem Gospel Travelers story began when Gatling and Marage met while studying under Reed's tutelage. The group put out their debut LP, 'He's On Time', to rave reviews in 2019, earning them high profile fans like Elton John and landing them festival slots everywhere from Pilgrimage to Telluride Jazz. Originally a quartet, they brought in Bailey and reconfigured as a trio prior to recording Look Up!, their first album of all original material.

At a moment when the world is reconsidering the concepts of genre and category and who's allowed to participate in which traditions, HGT are squarely on the cultural pulse.

"We always found it difficult to stay in this one lane of what people think gospel is supposed to be," says Gatling. "This record allowed us to hear people that were innovators in their own time, pushing how gospel music sounded, and now we've created this project that is message-wise gospel, but the feeling and the sound can be whatever you want it to be."

With their new album 'Rhapsody, the extraordinary vocalists fedayo Gatling, Dennis Bailey, and George Marage are able to fully explore the entire range of music that influenced them. The follow-up to their acclaimed 2021 release 'Look Up!', the record is a dive into a lesser-known but hugely important era in the evolution of gospel music.

Starting in the mid-1960s, local gospel groups and singers began incorporating elements of popular soul and funk styles and in 2006, Chicago-based reissue label Numero Group released Good God! A Gospel Funk Hymnal. HGT's longtime friend and mentor Eli.

"Paperboy Reed" approached the group with the idea of digging through the Numero catalog and recording some of the gospel funk material, reinterpreted in their own way from the high-energy, old-school soul of "God's Been Good to Me" to the hip-hop-inflected "Get Involved."

The Harlem Gospel Travelers story began when Gatling and Marage met while studying under Reed's tutelage. The group put out their debut LP, 'He's On Time', to rave reviews in 2019, earning them high profile fans like Elton John and landing them festival slots everywhere from Pilgrimage to Telluride Jazz. Originally a quartet, they brought in Bailey and reconfigured as a trio prior to recording Look Up!, their first album of all original material.

At a moment when the world is reconsidering the concepts of genre and category and who's allowed to participate in which traditions, HGT are squarely on the cultural pulse.

"We always found it difficult to stay in this one lane of what people think gospel is supposed to be," says Gatling. "This record allowed us to hear people that were innovators in their own time, pushing how gospel music sounded, and now we've created this project that is message-wise gospel, but the feeling and the sound can be whatever you want it to be."