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"Evil is very real and having its way, and love is also real and hasn't lost yet." That's how Activity's Travis Johnson described their third album, A Thousand Years In Another Way. A friend had asked why these songs seemed to capture the strange, heavy feeling of being alive right now better than anything else_and that was his answer. The album doesn't try to explain this time we're living in; it simply feels like it. It's a mix of violence, alienation, and tenderness_reflecting the surreal, dreamlike (or nightmarish) rhythm of daily life. Across ten songs, Activity blends experimental rock, electronics, and found sounds with a sense of paranoia, flickers of hope, and a warped reality. Working with producer Jeff Berner (of Psychic TV), the band manipulated sounds and played with room acoustics to create a feeling that's disorienting_like the air is thick and the walls are listening. Coming out of a period of uncertainty, the Brooklyn-based quartet_Travis Johnson, Jess Rees, Bri DiGioia, and Steven Levine_pieced the album together from fragments: clipped samples, looping guitar lines, ghostly melodies. Rees, DiGioia, and Johnson share vocal and writing duties, shaping a record that feels both deeply personal and strangely alien. There's a constant sense that things could shift or fall apart at any second_nothing stays one thing for long. A Thousand Years In Another Way might not offer answers, but it captures the feeling of right now better than most. And maybe, it sounds a bit like your world too.

"JPEGMAFIA, a trailblazing force in experimental hip hop, releases his latest solo project, I LAY DOWN MY LIFE FOR YOU. This album, his first since 2021, is a complex and innovative work that showcases his meticulous production skills. Featuring collaborations with Denzel Curry, Vince Staples, and Buzzy Lee, the album explores themes like capitalism, conscription, and propaganda through some of JPEGMAFIA’s most anarchic raps to date. The release is accompanied by an extensive global tour, reinforcing his status as one of the genre’s most incendiary talents. Since his last solo release, JPEGMAFIA has continued to push boundaries in the music industry, most notably with his 2023 collaboration with Danny Brown on Scaring the Hoes, which garnered critical acclaim and chart success. With I Lay Down My Life for You, JPEGMAFIA cements his reputation as a visionary artist, delivering a powerful commentary on the world through his unique lens. The album’s release is set to make a significant impact, both in stores and on stages worldwide."

Silva Screen Records is proud to announce the release of Music from House of the Dragon, a new album featuring the epic score from

HBO’s hit series House of the Dragon reimagined by London Music Works and renowned cellist Nick Squires. This collection of music from the show’s first two seasons –

originally composed by Emmy Award-winner Ramin Djawadi – offers fans a fresh way to experience the grandeur and drama of Westeros through powerful new performances.

From the thundering battle themes to the haunting melodies of the Targaryen saga, the album brings to life the sounds that have become an integral part of the House of the Dragon experience.

Acclaimed director and musician Jim Jarmusch and experimental lute player and composer Jozef van Wissem met nearly 20 years ago, forming a close bond after they ran into each other on the streets of New York City. In 2011, they began performing and producing records together. The follow up to “American Landscapes “ entitled “ The Day The Angels Cried” releases June 6 and coincides with a world tour. The duo weaves an intricate Lute and guitar string tapestry of droning, minimal free-folk compositions destined to captivate listeners with their dark hypnosis. This time vocals and electronics are added as well. Van Wissem’s work comes from a tradition of avant-garde minimalism and lends itself well to the director’s stark cinematic works. Jarmusch has played guitar in bands on and off since the late ‘70s. Van Wissem’s compositional style involves hypnotic circular musical phrases that allow for a lot of contemplative space between the notes. Their first live performance was in Issue Project Room in Brooklyn in October 2011, where they appeared together for a Van Wissem curated concert program called “New Music for Early Instruments.” The idea for their first album, Concerning the Entrance Into Eternity (Important Records) developed from their live performance. Jarmusch has said that he considers these songs as Van Wissem’s compositions, and sees himself as someone filling in the background to Jozef ’s foreground, like the “scenic” on a film shoot, the one who paints the backdrops. “The sound of the lute is as bright as the sun, a beautiful red color and my stuff sounds sort of like the moon, more like blue, like mercury.” .According to Van Wissem: We started with layers of instrumental parts.. Jim recorded a otherworldly Passerelle bridge guitar part to which we added vocals. This became the title track " The Day The Angels Cried" The lyrics for this song came to me during a vision I had in a dream. It was much like a vision Swedenborg writes about. In it he converses with angels. In my vision the angel looked down from the heavens upon the earth engulfed in flames. Recent events in Los Angeles and other parts of the world, have led me to believe that this dream was a premonition. “The Day The Angels Cried” ( Inc 040/41) releases June 6th on Incunabulum Records, right before the duo start their World tour. releases June 6, 2025 Jozef Van Wissem Voice, Baroque And Renaissance Lutes, 12 String Electric Guitar, Slide Guitar, Electronics, Found Recordings Jim Jarmusch Voice, Electric Guitars, Acoustic Guitars, Passerelle Bridge Guitar, Electronics, Found Recordings

Recycled vinyl (random color mix)
Recycled textured paper jackets offset printed full CMYK
Recycled paper obi strip
Recycled felt paper insert printed full CMYK
Edition of 300

LIMITED 300 ONLY CRYSTAL CLEAR VINYL WITH PURPLE BLOB AND BLACK SPLATTER. HOUSED IN FULL COLOUR MATT SLEEVE WITH POLYLINED INNER BAG AND DOWNLOAD CODE. NON-RETURNABLE.
Following his two sold out releases ‘Vertigo’ & ‘Water Music’ on Riot Season last year, the ever prolific Ivan The Tolerable returns with ‘An Orphan Form’
A beautifully strange and immersive suite that feels both otherworldly and rooted in something organic. Drawing on kosmische drift, loose-limbed jazz, and warped psychedelic textures, the record moves like a half-remembered dream.
Field recordings and nature sounds weave in and out, grounding the swirling synths and off-kilter rhythms in real earth and air. It's a record that doesn’t follow a straight line, but instead wanders, curious, alive, and quietly spellbinding.
Recorded in winter 2024 in Middlesbrough, UK and Utrecht, Netherlands
Oli Heffernan: bass/guitars/synths/drones/field recordings/electric piano
Mees Siderius: drums/percussion/vibraphone
Elsa Van Der Linden: saxophones/flutes

Les Disques Bongo Joe proudly announces the release of Lateena and Bony Fly"s debut collaborative album, a 10-track journey through the pulsating rhythms of dancehall, bouyon, shatta, and reggaeton. Lateena, a queer trans artist hailing from Jamaica, channels her bold identity and raw energy into music that is both deeply personal and universally empowering. Paired with Bony Fly"s innovative production - steeped in his Guatemalan roots and honed by a career spanning global collaborations - this album offers a fresh and exhilarating take on modern dancefloor sounds.

Cari Lekebusch, Alexander Johansson & Mattias Fridell converge their creative energies for the first time on the "Tant Gron, Tant Brun & Tant Gredelin EP". This collaboration is a masterstroke, uniting three of Sweden's most innovative techno artisans.

Cari Lekebusch, a stalwart of the Swedish techno scene, has been a relentless force since the early '90s, continually redefining the genre's boundaries. His pioneering spirit has paved the way for countless artists and set a high standard for techno production.

Alexander Johansson and Mattias Fridell have cultivated a dynamic partnership, consistently delivering tracks that resonate with depth and precision. Their recent work, such as the "angvalt EP" on H-Productions, exemplifies their commitment to crafting immersive techno experiences.

The "Tant Gron, Tant Brun & Tant Gredelin EP" stands as a testament to their collective prowess, offering a quartet of tracks that embody the essence of pure techno. Each composition is meticulously engineered to captivate and transport listeners, making this release an indispensable addition to any techno aficionado's collection.

This EP also marks the inaugural vinyl release for Grab The Groove (GTG WAX001), heralding a new chapter in their mission to deliver uncompromising techno.

After breaking through with a gold selling debut in the late 1990’s, Harlem emcee Cam’ron quickly emerged as a leading figure in hip-hop, just as the genre was reaching mass audiences for the first time. A platinum-selling classic on Roc-A-Fella Records came a few years later, followed by the founding of the iconic collective Dipset and the release of three more seismic solo albums over the course of the 2000s. The last chapter in his historic run was 2009’s Crime Pays, which drew praise from critics while also lighting up the Billboard Charts, showcasing Cam’s sonic evolution while proving his pen game remained unmatched. More than 15 years after it’s release, this vital collection is now receiving an official vinyl pressing for the first time ever. A perpetually underrated lyricist with transcendent rhyme mechanics embedded in his leisurely flow, Cam’ron is in peak form on Crime Pays, effortlessly walking listeners through the details of his fascinating life and times. With suprisingly modern production supplied by AraabMuzik, I.N.F.O., Skitzo, and more, this memorable album is an important chapter in the story of a truly essential artist.

Akte is a series of events at the renowned Club Gewölbe to keep the vision of timeless Ambient, Minimal and Techno in Cologne alive and is now expanding to develop a record label.

The first release will be a 12" EP by founder Philipp Stoffel featuring 4 originals and a remix by living legend .VRIL. A modern interpretation of techno with strong dub influences, produced in different styles and put together to form a meaningful listening journey. Akte pursues an EP concept away from pure techno tools towards the idea of packing the diverse listening experience of an LP into an EP, striving for a texturally cohesive aural aesthetic.

Mastering engineer Stefan Betke, also known as Pole, gave the record its sonic polish. The EP is rounded off by the grainy cover design by Berlin-based artist Friedrich Breidenich, which visually captures the sonic aesthetic and translates the listening experience into a striking visual form.

Howdy punkè rocke fans, welcome to FORCED COMMUNAL EXISTENCE - the wonderful and frightening world of ALIEN NOSEJOB’s EP’s & singles. Anti Fade and Agitated Records are teaming together to bring you a paint stripping, mind altering, rare collection of EP and compilation tracks recorded in various Australian bedrooms and garages between 2017 and 2022. The sound of goofy obnoxiousness will soon be permeating your bedroom airwaves and perforating your eardrums. Kicking off this long player is an EP that was recorded by Billy from Anti Fade in his childhood bedroom in July 2017. The songs came to fruition while AUSMUTEANTS were on tour in Japan 2016.

There was a lot of ‘WALLABY BEAT’ / ‘MURDER PUNK’ being played in the background while seeing the sites of Mount Fuji and ‘Bar Fuck Yeah’. In between shows Jake was organising the release of DANNY GRAHAM and PLASTIC AND THE EP’S records on the label he co-ran XEROX MUSIC. Both artists played parts in the sound and ethos of the PANEL BEAT EP. The goal was to make the songs sound unapologetically Australian without pretending to be something they’re not. There’s no fake accents or songs about VB and mullets. Instead, there’s songs about every day struggles, like dealing with fickle fashion followers, having too many fucking records, playing PlayStation, resentment and manipulation.

500 copies were pressed and self released, with a photo slipped inside each copy at random. Next is THE DEATH OF THE VINYL BOOM which was self recorded in a shed in November 2017. This is the only Alien Nosejob release (besides this comp, smartarse) to feature a cover - Flyblown by Adelaidean arty weirdo band JACKSON ZUMDISH. The idea behind this EP was to incorporate the simplicity and scrappiness of the late 70’s DIY Australian sound, but give them the complicated structures of prog songs. Scum stats - 500 copies, self released. Several copies were smeared with Jake’s blood and had smashed pieces of vinyl glued to the front cover.

Now we have a cover of the DEAD KENNEDYS. The conspiracy theorist wet dream Government Flu. Recorded September 2020 during lockdown in one-man-band with a tape recorder fashion for a 20 minute unedited ‘live set’ video where all instruments were played one by one, sung and mixed in the space of a couple of hours. The HC45 7” was recorded at the same time as a disco 12” maxi, which I hear were originally meant to come out on the same day. Shit happens I guess? This EP came out in Feb 2020 and sounds somewhere between early GANG GREEN, DIE KREUZEN and the BEASTIE BOYS old bullshit. Self recorded on a 4 track with a broken pinch roller. Lyrically this thing is cynical and choc-a-bloc full of satire and hate. A year later a sequel was recorded the same way, on the same machine.

No fucking disco this time though. Cold Bare Facts is the most recent recording on this comp. Self recorded in Jake‘s bedroom 2022 It has the same mid paced tempo as DYS or SSD when they’re at their slowest (pre-Boston Curse, of course!). Both songs take a stinky shit on the Australian state police. 300 copies. Finishing the record is a cover by THE AINTS. Originally written by ED KUEPPER for THE SAINTS Eternally Yours album, but it sounded too similar to Lost and Found. Originally released on ‘ALTA’ cassette compilation during the lockdown. FORCED COMMUNAL EXISTENCE binds this mouthful of releases into one neat package from June 6th, 2025. Catch the ALIEN NOSEJOB band on tour in Europe & UK from June 13 - July 2nd, 2025.

Howdy punkè rocke fans, welcome to FORCED COMMUNAL EXISTENCE - the wonderful and frightening world of ALIEN NOSEJOB’s EP’s & singles. Anti Fade and Agitated Records are teaming together to bring you a paint stripping, mind altering, rare collection of EP and compilation tracks recorded in various Australian bedrooms and garages between 2017 and 2022. The sound of goofy obnoxiousness will soon be permeating your bedroom airwaves and perforating your eardrums. Kicking off this long player is an EP that was recorded by Billy from Anti Fade in his childhood bedroom in July 2017. The songs came to fruition while AUSMUTEANTS were on tour in Japan 2016.

There was a lot of ‘WALLABY BEAT’ / ‘MURDER PUNK’ being played in the background while seeing the sites of Mount Fuji and ‘Bar Fuck Yeah’. In between shows Jake was organising the release of DANNY GRAHAM and PLASTIC AND THE EP’S records on the label he co-ran XEROX MUSIC. Both artists played parts in the sound and ethos of the PANEL BEAT EP. The goal was to make the songs sound unapologetically Australian without pretending to be something they’re not. There’s no fake accents or songs about VB and mullets. Instead, there’s songs about every day struggles, like dealing with fickle fashion followers, having too many fucking records, playing PlayStation, resentment and manipulation.

500 copies were pressed and self released, with a photo slipped inside each copy at random. Next is THE DEATH OF THE VINYL BOOM which was self recorded in a shed in November 2017. This is the only Alien Nosejob release (besides this comp, smartarse) to feature a cover - Flyblown by Adelaidean arty weirdo band JACKSON ZUMDISH. The idea behind this EP was to incorporate the simplicity and scrappiness of the late 70’s DIY Australian sound, but give them the complicated structures of prog songs. Scum stats - 500 copies, self released. Several copies were smeared with Jake’s blood and had smashed pieces of vinyl glued to the front cover.

Now we have a cover of the DEAD KENNEDYS. The conspiracy theorist wet dream Government Flu. Recorded September 2020 during lockdown in one-man-band with a tape recorder fashion for a 20 minute unedited ‘live set’ video where all instruments were played one by one, sung and mixed in the space of a couple of hours. The HC45 7” was recorded at the same time as a disco 12” maxi, which I hear were originally meant to come out on the same day. Shit happens I guess? This EP came out in Feb 2020 and sounds somewhere between early GANG GREEN, DIE KREUZEN and the BEASTIE BOYS old bullshit. Self recorded on a 4 track with a broken pinch roller. Lyrically this thing is cynical and choc-a-bloc full of satire and hate. A year later a sequel was recorded the same way, on the same machine.

No fucking disco this time though. Cold Bare Facts is the most recent recording on this comp. Self recorded in Jake‘s bedroom 2022 It has the same mid paced tempo as DYS or SSD when they’re at their slowest (pre-Boston Curse, of course!). Both songs take a stinky shit on the Australian state police. 300 copies. Finishing the record is a cover by THE AINTS. Originally written by ED KUEPPER for THE SAINTS Eternally Yours album, but it sounded too similar to Lost and Found. Originally released on ‘ALTA’ cassette compilation during the lockdown. FORCED COMMUNAL EXISTENCE binds this mouthful of releases into one neat package from June 6th, 2025. Catch the ALIEN NOSEJOB band on tour in Europe & UK from June 13 - July 2nd, 2025.

K U T E get rambling on through the perpetual fog and herald a spectacular mould-melting sound on their forthcoming album 'Intrigue/Fatigue'

After breaking out of Glasgow's live circuit and releasing a critically acclaimed demo tape, the band of dissenters is ready to break the unsuspecting public. Never Sleep are proud to present a landmark moment in the Glasgow hardcore scene. The modus operandi of 'Intrigue/Fatigue' is as political as it is social, a fusion of post rock, art, hardcore, punk, and performance. It’s their first for the Berlin label (founded by Gabber Eleganza) following the elusive demos that circulated Glasgow's underbelly.

Ahead of the release K U T E brought their fervorous live show around the UK and beyond leading to award nominations in Scotland for 'Best Live Act' supporting bands like Militarie Gun, Angel Du$t, The Serfs to name a few. The band also played at Outbreak and .core festivals

The band member's Amy, Kenni, Fletch and Matty have been performing as K U T E for just over a year. Amy's frontwoman reputation has already garnered huge attention and her lyrics honesty, social awareness and humility has also made waves as a true new voice in music.

The result is a mesmerizing powerhouse of a debut, where they have found a singularity where hardcore meets Battles, or Godspeed goes full windmilling in the basement.

Playing singles 'For You', 'One More For The Walk' and 'Intrigue/Fatigue' have been released in the lead up to the record and have been making big waves at BBC6 with support from members of Mogwai. The band's technical yet gargantuan sound has crossed over into the public spectrum and led to a whole wave of new fandom.

They have shared their self produced videos for Singles ‘For You’ & ‘One More For The Walk’ as well as a 2 song live session ‘LIVE AT THE LAWBURN’

The band are embarking on their first UK Tour in 2025 supporting ‘Fentanyl’ in June and a slew of UK & EU dates

Limited edition of 100 items, hand-stamped and individually numbered with photographic insert.

After the feature of steifl on mental concept 161616, now comes a full length edit by the dude from the Netherlands. Acid, breaks and wonky textures for the heads. Includes a download code for bandcamp!

“Evil is very real and having its way, and love is also real and hasn’t lost yet.”
That’s how Activity’s Travis Johnson described their third album, A Thousand Years In Another Way. A friend had asked why these songs seemed to capture the strange, heavy feeling of being alive right now better than anything else—and that was his answer. The album doesn’t try to explain this time we’re living in; it simply feels like it. It’s a mix of violence, alienation, and tenderness—reflecting the surreal, dreamlike (or nightmarish) rhythm of daily life.
Across ten songs, Activity blends experimental rock, electronics, and found sounds with a sense of paranoia, flickers of hope, and a warped reality. Working with producer Jeff Berner (of Psychic TV), the band manipulated sounds and played with room acoustics to create a feeling that’s disorienting—like the air is thick and the walls are listening.
Coming out of a period of uncertainty, the Brooklyn-based quartet—Travis Johnson, Jess Rees, Bri DiGioia, and Steven Levine—pieced the album together from fragments: clipped samples, looping guitar lines, ghostly melodies. Rees, DiGioia, and Johnson share vocal and writing duties, shaping a record that feels both deeply personal and strangely alien. There’s a constant sense that things could shift or fall apart at any second—nothing stays one thing for long.
A Thousand Years In Another Way might not offer answers, but it captures the feeling of right now better than most. And maybe, it sounds a bit like your world too.

Produced by Chez Damier and Ron Trent, the track was born in NYC, inspired by a transformative night at the legendary Sound Factory Club. In the early morning haze, as the echoes of basslines and rhythms lingered, the duo channeled the energy of the dancefloor into their studio. The result captured the raw, soulful essence of Deep House, reflecting the dancefloor communion that transcended time and space. To extend the feeling while honoring the original, Atjazz was invited to bring his jazz-influenced touc

With his deep understanding of groove and texture, he reimagined the track through two distinct remixes, each offering a fresh perspective. While both versions explore different nuances, they remain faithful to the track’s core essence, maintaining its hypnotic flow while adding a renewed vibrancy to the dancefloor. The duo of Chez Damier and Ben Vedren, proudly welcome French producer Fred H, one of the closest members of their extended musical family, to deliver a special remix of their track "Berlin Nights In Paris".

The result is a re-imagination of the track, introducing a percussive soundscape that drives the rhythm forward while offering a space for the listeners' minds to wander, immersing them in an atmospheric journey. This reinterpretation preserves the original’s essence while infusing it with new textures, dynamic movement, and a hypnotic flow that deepens its emotional impact.

This collaboration is more than just a remix. It’s a testament to the creative synergy within their musical circle, reinforcing the timeless spirit of house music while pushing it forward. er. Through his deep connection to what truly ignites the dancefloor, DJ SOURIRES maintains the emotive spirit of the original track, keeping its essence intact, yet injecting fresh dynamics that transforms it into a high-octane dancefloor heat track. His intricate, oscillating drum programming and masterful arrangement drive the rhythm forward, creating a compelling urgency that commands attention and movement. The remix swells with intensity, amplifying the hypnotic elements of the original while layering in driving percussion, rich basslines, and sharp, yet spacious synths that build tension and release in all the right moments. Every twist and turn in this remix is an invitation to lose yourself in the dance.

Oh yes, we love it when Theo represses some of his most sought after tracks and this one is particularly well-timed. Leron Carson is still an unknown figure, a kid who used to make viciously raw and futuristic techno tracks in the late 1980's! "China Trax", alongside the rest of his tracks on a different Sound Signature double 12", is totally ahead of its time and if it was truly made in 1987 then it is nothing short of amazing. Of course, it's not just the year it was made in that's interesting but also the fact that it's music without an age, able to be appreciated by any generation of techno freaks. Theo's own "Insane Asylum" on the flipside is also pretty monumental; rigged beats, off-kilter grooves and that familiar spontaneity so heavily associated to the label. RECOMMENDED.

Harri Pearson is referred to as 'the Most Balearic Man in The World' and goes someway to prove that here on Magic Wand. 'Sweet Machine' is a lively disco cut with plenty of raw machine sounds, elements of peak-time party flavours and fat synths. 'Drums Of Fire' flips the script with a much more chilled out and exotic downtempo offering and 'Acid Reign' is a real dreamy excursion on bongo-laced drums. 'Trash Dubbing' brings a little grit and sleaze to close.

A bumper package of six - count 'em - reworkings of disco grooves by Russia's Scruscru, offering a myriad of new takes on classic sounds. Beno, Bernardo Campos's 'Space Gruv' opens proceedings with a luxurious, soulful edge, while Tree Threes' 'Sunshine Miss' coasts along gracefully with more of a beefed up jazz house vibe. Manuel Kane's 'Disco Visions' throws more beautifully jazzy chord shapes and adds a devastating diva vocal for a proper peak time feel, Immersif's 'La Tournee Des Phares' employs more of a broken beat shuffle and 'Rebecca's Mystery Mood' by Punky Wash revolves around Latin beats and lilting guitar lines. Finally comes arguably the EP's jazziest moment of all, Justnique's 'Elevator Music', with some mighty impressive tinkling of the ivories. Authentic, gorgeous sounds overlaid on some sturdy 4/4 templates - pure DJ heaven.

"Throughout all my time as a musician and producer, ever since Jack the Tab, I've been focused on developing a single idea: Blending psychedelic sounds and effects with rhythm." Richard Norris, Strange Things Are Happening White Rabbit 2024

Over the past few years Eskimo Recordings have invited some of the best crate diggers around to curate compilations that don't just reveal the hidden contents of their record bags but something about themselves too. Now, following in the footsteps of the likes of Bill Brewster and Psychemagik, producer, musician, DJ, writer and more, Richard Norris, takes us on a globetrotting psychedelic journey with the epic 42 track collection, Mr Norris Changes Brains.

For over forty years Richard has played a part in many of the UK's most important music subcultures. Whether sharing stages with the likes of Tracey Thorn as a pubescent punk in St. Albans, or running freakbeat nights in Liverpool and working at the pioneering psychedelic label Bam Caruso, co-producing the UK's first acid house inspired LP with Throbbing Gristle's Genesis P. Orridge or riding the wave of creativity that the second summer of love unleashed all the way to the Top of the Pop studios as The Grid, Richard's career has continually seen him work to expand both his own and the public's musical horizons.

With Mr Norris Changes Brains it's the most recent part of his mercurial career that he's focused on. Drawing inspiration from his post 2006 adventures as one half of Beyond the Wizard's Sleeve, alongside Trash's Erol Alkan, this compilation shows how a more connected world has blown the dust off a paradoxically sometimes straightjacketed scene. The result is a dizzyingly wide-ranging collection that explores the further out there reaches of worldwide psychedelia and dancefloor mayhem.

"A lot of these tracks are fairly recent discoveries, things that I've discovered from around the time I started working with Erol and going right up to today," Richard explains. "Whether that's from going out to play and finding new records in places like Istanbul or just connecting with people online from all around the world. Psych can sometimes be a sort of narrow-minded field, with everything having to sit in its specific niche, but more and more people are open to new sounds and that's allowed for a much broader selection."

Despite their disparate origins what does unite these tracks is that they aren't just there to zone out to on a bean bag as projections of swirling coloured oils and psychedelic patterns wash over you. Mr Norris may change brains but his DJ sets also move feet, and whether it's their killer guitar riffs, oscillating synths floor shaking drums or soulful Hammond organs these are all cuts that from festival tents to underground clubs have proven time and time again to get people dancing.

"With a lot of these tracks there's a kind of fun element in them," says Richard. "It's still psychedelia, but they've also got these solid, funky grooves. They sound phenomenal on the dancefloor and as much as these records might excite old psych heads, this compilation is also for a new generation out there who might have never heard anything like this before and, just like when I was 18 and heard The 13th Floor Elevators for the first time, think 'Oh, my God, what on earth is this and more importantly what else is out there?'"

Escribano Imprints presents Fluyo 004 — a carefully curated compilation featuring four distinct artists, each offering their unique interpretation of a shared sonic language. Thoughtfully assembled, the release invites listeners on a deep and elegant journey: subtle, timeless, and gently propelling forward. It’s a seamless continuation of the label’s ongoing exploration of sound.

Following the success of his debut album Echoes of Prayer - featuring singles like Communicate, Calm Waters, and Silent Chaos - Ghanaian-Dutch artist Bnnyhunna announces the album's first-ever vinyl release, set for May 30, 2025, via the renowned Belgian label Sdban Ultra.

Originally released digitally in October 2024, Echoes of Prayer stands as a deeply personal and spiritual work that reflects Bnnyhunna's faith, his early experiences growing up in church, and his West African heritage. Every track on the album serves as a form of prayer, a conversation with God. The album showcases his ability to weave poetic lyrics, vivid visuals, and captivating melodies, creating an immersive experience that resonates on a spiritual and emotional level.

Bnnyhunna's signature fusion of jazz, hip-hop, gospel, and Afro rhythms highlights his versatility and musical integrity. Next to the the warm jazz textures of Calm Waters, the vibrant Afrobeat pulse of Communicate, and the soulful, piano-driven Silent Chaos, Echoes of Prayer also blends elements of '70s P-Funk grooves, gospel harmonies, and modern hip-hop rhythms. Each song represents a different facet of Bnnyhunna's artistic vision. Tracks like SHOULD'VE BEEN YOU carry nostalgic R&B undertones, while Sum Love brings gospel-infused choir arrangements that recall sacred spaces. Interludes such asAvanti add moments of intimacy and reflection through gentle guitar lines.

The album's diverse sound is elevated by collaborations with The Cavemen, who lend their signature highlife revival, and Jembaa Groove, who contribute with West African-inspired rhythms.

His debut project EP SINTHA, released in 2021, quickly established Bnnyhunna as a rising talent, leading to collaborations with artists like Asake, Rimon, and José James. He gained momentum by selling out his first headline show, which included a surprise performance from Kokoroko, and receiving global recognition from platforms like Highsnobiety, VICE, and Complex, as well as performing at prestigious festivals such as North Sea Jazz and Montreux Jazz. Bnnyhunna challenges conventional music by engaging all the senses through photography, videography, and poetry.

The release of Echoes of Prayer follows a year of significant achievements for Bnnyhunna. In2024, he performed for Highsnobiety at Paris Fashion Week, appeared at prestigious festivals such as Dekmantel and Zwarte Cross, and played a standout performance at the Steam Down Weekly series in London. Additionally, he composed an original score for the Dutch National Opera and won the Edison Pop Award, one of the most prestigious music awards in the Netherlands (often referred to as the Dutch Grammys), in the Soul/R&B/Funk category.

With the vinyl release of Echoes of Prayer, Bnnyhunna offers fans a tangible, collectible edition of his powerful debut. The release via Sdban Ultra invites listeners to experience the full depth of his sound in its most intimate and analog form yet.

Returning to an aphotic minefield of sound – Seismic Records is back with its third release, Drum Ring, crafted by Norwegian producer and Ute Records co-founder Ekkel. Emerging from the forests of Nordic electronic heritage, Teo Bachs – aka Ekkel – channels the raw energy of ’90s progressive sounds into his mind-bending productions. From the studio, his signature blend of breaks and intricate percussion create soundscapes that are as cerebral as they are propulsive. Titled Drum Ring, the EP captures the feeling of a complete mental trip through a narrative of tension, ancient textures, and enchanting melodies.

Poised with a sense of urgency, the A-side unfolds with a neatly rolling rhythm. Hradec Fog Fever builds a controlled frenzy of percussive elements, with layers stripping in and out, consistently driving the track forward. Slipping into A2, Owl Foot casts a sonic mist, a haze that tentatively creeps forward, flickering between atmospheric dips and shadowy contours. Vocal-cut whispers transcend through the soundscape, shy yet impactful, drawing you closer. It’s a tender introduction to a minimalist, dark progressive journey – a delicate balance of intrigue and mystery, where each sound lingers like a secret waiting to be discovered.

The B-Side strikes with poignant, powerful drum kicks that reverberate through layers of distortion. Drum Ring displays echoes of tension and unease, building a restless energy that urges deeper introspection. Ancient, enchanting tones weave through the chaos, grounding the frenetic soundwaves in something timeless and mystical. Sealing the EP, Endphase begins with faint, distant string notes that offer a fleeting, hopeful moment of rest. Growling chords and textures swirl, edging you to a meditation, only to be punctuated by sharp, deliberate drum patterns, adding a sense of momentum and purpose – a glimmer of light breaking through the mist. Experience the full cycle of a delicate trip as Ekkel guides you through Drum Ring – a precious and dark progressive journey.

Ein Abend, der fast 30 Jahre auf sich warten ließ! Was einst ein Witz in der Fernsehserie Die Simpsons war,
wurde am 10. Juli 2024 Wirklichkeit, als Cypress Hill zusammen mit dem London Symphony Orchestra
in der historischen Royal Albert Hall auftrat. Cypress Hill & das LSO unter der Leitung von Troy Miller
präsentieren das Vierfach-Platin-Album „Black Sunday“ in seiner Gesamtheit mit einzigartigen Orchesterarrangements, die von den Originalaufnahmen von DJ Muggs inspiriert sind, sowie eine Reihe von Songs aus
dem umfangreichen Katalog der Band. „Black Sunday Live At The Royal Albert Hall“ ist auf 180g-Vinyl
gepresst und die Matrizen wurden mit halber Geschwindigkeit geschnitten, um eine hochwertige und präzise
Wiedergabe zu gewährleisten. Außerdem erhältlich als 2CD sowie als 2CD inklusive BluRay oder DVD, die
den Konzertfilm enthalten.

To kick off Ace Records 50th Anniversary we are delighted to offer up a 2-LP version of one of the most seminal and important heavy metal albums of all time.

Funded by and released on Chiswick Records in 1977, Motörhead’s debut album was a sonic blister of epic proportions capturing the musical lighting generated by Lemmy (bass/vocals), Phil Taylor (guitar) and Eddie Clarke (drums).

This 2-LP set not only offers up this classic first album featuring tracks like ‘White Line Fever’, ‘Violator’ and ‘Keep Us On The Road’ but also collates together, on sides three and four, ‘City Kids’ the “Beer Drinkers EP” as well as different mixed and alternative versions of ear-bleeding classics like ‘Motörhead’, ‘The Watcher’ and ‘Keep Us On The Road’.

The album cover features a silver hot foil replication Joe Petagno’s original Motorhead logo in all its glory. Sleeve notes are by Ted Carroll who takes the reader through the story of how Chiswick Records managed to scrape together the money to fund the recording and write themselves and Motörhead into rock and roll history.

It’s one hell of a way to kick off Ace’s 50th Anniversary re-issue schedule.

The Understated Debut That Launched a Peerless Career: Bob Dylan Is the Clearest Connection to the Singer-Songwriter's Folk Roots
Pressed on MoFi SuperVinyl for Reference Playback: Mobile Fidelity 33RPM SuperVinyl Mono LP Features the Direct Sound Dylan Intended

1/4" / 15 IPS analogue mono master to DSD 256 to analogue console to lathe

Bob Dylan's self-titled 1962 debut is as understated of an entrance as any significant musician as ever made. Well-versed in American roots music, Dylan simultaneously pays homage to tradition and extends it by putting his own stamp on classic material that metaphorically functions as the soil of contemporary songs and styles. Free of ego, and performed with masterful conviction, Bob Dylan ranks with the initial efforts of giants like Elvis Presley and the Rolling Stones.

Nodding to Woody Guthrie and re-imagining Blind Lemon Jefferson's "See That My Grave Is Kept Clean," Dylan straddles the past and future. He authoritatively displays the ability to handle weighty topics such as death, sorrow, and lamentation with the vaudeville flair, bluesy mannerisms, and poignant command of an artist three times his then-20-year-old age.

Sourced from the original master tapes, housed in a Stoughton jacket, and pressed on MoFi SuperVinyl at Fidelity Record Pressing, Mobile Fidelity's numbered-edition 180g 33RPM mono SuperVinyl LP brings the contents of this seminal release as close as they've ever come to live-in-the-studio quality. Transparent to the source, Dylan's voice, acoustic guitar, and harmonica come across with exceptional realism — the "husk and bark" to which Robert Shelton referred in his legendary New York Times review of a Dylan appearance at Gerde's Folk City — courtesy of the format’s nearly non-existent noise floor, groove definition, and quiet surfaces.

Heard in the original mono configuration, Dylan’s vocals are in the heart of the musical action and as one with the accompaniment. This reissue paints an incredibly accurate portrait of the concrete mass of sound that features no artificial panning and offers a straight-ahead immersion into the music producer John Hammond recorded in just two days in November 1961.

Though much has been made of the commercial indifference that greeted the album upon its low-key release, focusing on sales figures and the reaction of a public not yet hip to Dylan's name miss the forest for the trees. Distinguished from the era's other folk efforts by way of the singer-songwriter’s determination, brazenness, and lived-through-this worldliness, Bob Dylan lays the groundwork for the path he'd soon trailblaze and everyone else would follow.

As Dylan scholar and pop-culture critic Greil Marcus observed in 2010: "Everybody knew Joan Baez and the Kingston Trio; if you knew Bob Dylan, you knew something other people didn't, something that soon enough everybody had to know. Within a year, an album could put an adjective in front of the singer's name as if it were already common coin."

Mono is how almost everyone first heard Dylan’s opening salvo. A career like none other starts here.

MoFi SuperVinyl:

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are virtually indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

This is a single taken from UK jazz-funk outfit Funkshone's debut album which features a cover of the classic free-soul anthem 'I Believe In Miracles' by the Jackson Sisters. It's a raw and direct funk-soul sound that has been increasingly popular in recent years with champions like Floating Points often weaving it into his sets. On the B-side, they offer a freshly recorded take on 'Panama' by Roy Porter Sound Machine, which was previously only found on select CD editions. It is powered by an explosive drum break that hits with near-manic intensity from the very first beat and is a nice driving counter to the soulful A-side.

Ein dynamisches und erhabenes Werk voller Emotionen und Sensibilität, "From Where You Came" als eine Reihe nächtlicher Übertragungen, altertümlicher Verfeinerungen und lebendiger Geschichten, die reich an erhellenden Qualitäten sind. Die Kombination von programmatischer Musik des 19. Jahrhunderts mit Jazz aus der Mitte der 70er Jahre und ihrem unverwechselbar farbenfrohen und mehrdimensionalen Kompositionsansatz, der die Improvisation einschließt, ermöglicht Coverdale die Synthese mit Live-Instrumenten in einer genrefreien, aber deutlich erkennbaren Geste der Wiederverbindung mit Land und Körper durch Klang zu verbinden. Sie betrachtet Komposition als diagnostische Methodik zu spirituellen Zwecken, leitet emotionale Resonanz wie Ladungsströme und verdrahtet das rein Gefühlte in elektronische Signale. Obwohl sie auf mehreren Kontinenten komponiert und aufgenommen hat, unter anderem im GRM Studio in Paris und dem Elektronmusikstudion EMS in Stockholm, wurde "From Where You Came" im ländlichen Ontario, Kanada, fertiggestellt. Mit Beiträgen der multidisziplinären Klangkünstlerin und Cellistin Anne Bourne und dem mit einem Grammy ausgezeichneten Posaunen-Wunderkind Kalia Vandever, enthalten die 11 ausgedehnten und doch verdichteten Kompositionen des Albums Streicher, Holzbläser, Blechbläser, Tasten, Software und modulare Synthese, die eine musikalische Sprache einschreiben, die Animationen mit ungefilterter, beeindruckender Klarheit wiedergibt. ,Alles kann eine Stimme haben", sagt sagt Coverdale. ,Für mich ist die Stimme mehr als nur menschlich." Passenderweise ist es die eigene Stimme der Künstlerin die sich im einhüllenden Schwellwerk des Albumauftakts in Luft auflöst: ,Everything you know is real", singt sie in ,Eternity`, "I'm sorry, life is beautiful." Als zwischen Animismus und Animalismus oszilliert, ist das folgende Album absolut voll von Leben in all seiner atemberaubenden Komplexität. Coverdale rechnet mit der Erfahrung von Trauer, Entwurzelung und dem Druck der totalen Freiheit und Unabhängigkeit ab, und beweist eine übernatürliche Fähigkeit, die Trübsal in höchst fantasievolle und inspirierende Fantasy-Epen aus Klang zu verwandeln.

A classy new Format release! 30 years after the previous one! Three genre defying club grooves continuing where #3 left of. It opens with ''The Session Continues'', a track that captures the playful spirit of the '91 Solid Session. Followed by the off kilter 'Tjirp' with a hook that will be with you for a while... closing out the EP with the introverted Detroit style deepness of 'Safe Haven'. Format doesn't disappoint!

"Nilam" folgt auf das letztjährige Album "Daughter Of A Temple", das von Gilles Peterson zum BBC 6 Music "Album of the Year" gekürt wurde. The Guardian erklärte es ebenfalls zu einem der 10 besten Alben des Jahres 2024 und lobte GANAVYAs Fähigkeit, "die Kraft der gemeinschaftlichen Harmonie zu nutzen, um etwas Tieferes als den Gesang zu berühren". Wenn man sich das bemerkenswerte "Nilam" anhört, scheint es unwahrscheinlich, dass jemals Zweifel an seiner Entstehung bestanden haben könnten. Die Stille ist so erstaunlich, die Vermittlung von Gefühlen so tiefgreifend, dass man das Gefühl hat, dass es schon immer so gedacht war. Es ist eine Feier der Bande, die uns verbinden, und möglicherweise die zärtlichste Musik, die wir dieses Jahr hören werden. Sie ist intim und ehrlich, ein ergreifender Ausdruck der Dankbarkeit für die Segnungen, die uns auf dem Boden halten, wenn wir sie nur erkennen und willkommen heißen. In der Tat könnte es direkt von der Seele auf die Stereoanlage übertragen worden sein, von der Art und Weise, wie "Not A Burden" eine Last von den Schultern der Welt nimmt, bis hin zum friedlichen "Sees Fire", mit dem sanften Groove von "Land" voller Raum, dem heiteren "Nine Jeweled Prayer" und durchweg GANAVYAs Gesang wie Wellen in einer Lagune. New York-born, Tamil Nadu-raised singer and transdisciplinarian GANAVYA - "among modern music"s most compelling vocalists," according to the Wall Street Journal - has announced details of a new album, Nilam, due May 23, 2025. It follows last year"s Daughter Of A Temple, Gilles Peterson"s BBC 6 Music Album of the Year, similarly declared one of 2024"s Top 10 Best Global Albums by The Guardian, who applauded GANAVYA"s ability to harness "the power of communal harmony to touch something deeper than song." Co-produced by Nils Frahm at LEITER Studio in Berlin"s Funkhaus complex, the new album by "the singer whose work," says the New York Times, "feels like prayer...with listeners hanging onto her every word" will be released by LEITER on vinyl and via all digital platforms. Listening to the remarkable Nilam, it seems implausible now that its inception might ever have been in doubt. So astonishing is its stillness, so profound its communication of sentiment, it feels as if it was always meant to be. A celebration of the ties that bind, and possibly the most tender-hearted music we"ll hear this year, it"s intimate and honest, a poignant expression of gratitude for the blessings which keep us grounded, if only we"ll recognise and welcome them. Indeed, it could have been transmitted directly from soul to stereo, from the way "Not A Burden" lifts a weight off the world"s shoulders to the peaceful "Sees Fire", with "Land""s gentle groove full of space, "Nine Jeweled Prayer" serenely precious, and, throughout, GANAVYA"s vocals like ripples on a lagoon.

Mr. Tophat & Art Alfie return with a bang! Fresh off a short hiatus, the duo drops a box of fierce, grooving house cuts packed with signature Karlovak energy--raw, rhythmic, and irresistibly funky. Classic vibes with a fresh twist. The boys are back, and they mean business.

2LP silk screened + insert

Before Guaracha UFO propelled Meridian Brothers onto the international stage, Eblis Álvarez was already shaping his singular sonic universe in the shadows. Released only on CD in between 2009 and 2012 via local label La Distritofónica, Meridian Brothers VI and VII never had wide distribution or media exposure. Yet, these albums represent a crucial phase in the band’s evolution, capturing the energy of Bogotá’s experimental cumbia scene at the time.

On VI, Álvarez crafts a hallucinatory patchwork of cumbia and vallenato, using his guitar as the guiding thread before layering other instruments on top. VII pushes experimentation even further with a custom-built sampling algorithm, generating unpredictable loops and grooves. These two albums laid the foundation for the radical fusion and irreverent spirit that would later define Meridian Brothers.

Now reissued on vinyl for the first time, these historic recordings offer a raw and fascinating glimpse into the origins of one of Latin America’s most forward-thinking musical projects

2LP silk screened + insert

Before Guaracha UFO propelled Meridian Brothers onto the international stage, Eblis Álvarez was already shaping his singular sonic universe in the shadows. Released only on CD in between 2009 and 2012 via local label La Distritofónica, Meridian Brothers VI and VII never had wide distribution or media exposure. Yet, these albums represent a crucial phase in the band’s evolution, capturing the energy of Bogotá’s experimental cumbia scene at the time.

On VI, Álvarez crafts a hallucinatory patchwork of cumbia and vallenato, using his guitar as the guiding thread before layering other instruments on top. VII pushes experimentation even further with a custom-built sampling algorithm, generating unpredictable loops and grooves. These two albums laid the foundation for the radical fusion and irreverent spirit that would later define Meridian Brothers.

Now reissued on vinyl for the first time, these historic recordings offer a raw and fascinating glimpse into the origins of one of Latin America’s most forward-thinking musical projects.

Turkish band islandman release the ‘Bahar’ EP + Bonus tracks for the first time on Vinyl for Record Store Day 2025.

The A side consists of four sublime tracks including ‘Sattava’, ‘Sad Walk’ and ‘Self-Hypnosis’ & title track ‘Bahar’ which is

a firm fan & listener favourite which has racked up over 3 million streams.

The B Side includes 3 tracks never before released on vinyl tracks from the Turkish Trio. Kicking off with "Yorgunum Kaptan” A rework of Cem Karaca’s composition recorded in ’84, which lyrics were initially driven from the poem written by Nazım Hikmet in 1957. This fresh take on the original is an ode to the pioneer and a homage because of being the inspiration for the band from the beginning.

Next up is Nara Nara Nara (islandman Remix) by NaraBara, the Jazz-Fusion band from Mongolia. This is the most recent chugging islandman remix.

Closing off the EP is the fantastic Future Days (Hey! Douglas Remix) which was released in 2018, but still sounds so fresh today.

With over 2 decades of formal exploration and exhilarating abstraction Get On is, somewhat surprisingly, only the fourth solo Pita full length. Peter Rehberg has always been vouched for pushing the very limits of the technology du jour, be it software or in recent years a complex modular set. Rehberg’s motives are one of unbridled exploration often resulting in extreme and exhilarating audio works.

Having spearheaded the contemporary electronic sound with his uncompromising explorations of noise, rhythm and extreme computer music, he has also worked with numerous experimental musicians in collaboration. Rehberg stands in the wake of a sonic revolution, once fringe, which transformed over time into the sound of a generation of experimental geeks and club freaks worldwide.

Get On follows on from the 2016 release Get In. As with other titles in his ‘Get’ series we have an unwieldy blend of noise, abstraction, gnarled rhythm and blurred melody. Both analogue and digital tools are deployed as a means of expressing something outside of everyday electronics. ‘AMFM’ launches proceedings with some delightfully disorientating ricocheting electronics setting off a subversive sonic spectrum. ‘Frozen Jumper’ presents some ugly skittering electronics which rotate into exquisitely mangled forms before launching into an unsettling euphoria. The last piece ‘Motivation’ is a towering sensitive work, simultaneously haunted and emotionally moving. Get On marks another monumental work in the ongoing evolution from one of the ground zero pioneers of contemporary radical electronic music. As uncompromising as ever this is Pita in his prime. Emotion rung from the most twisted of frames.

New week, new Instinct, new weapons. Burnski's unstoppable label continues to offer up the most fun and functional garage and house fusions out there right now. For this one, Prozak steps up with screw-face basslines and throwback organ stabs on 'Yush,' then 'Dash' rides on a pumping deep house groove that's underpinned by slamming bass. Benson steps up for collab cut 'Gangster' complete with gunshots, rude vocals and ridiculously naughty reversed bass stabs. 'Bounce' is a final fist pumping garage house banger to close an effective 12".

With a stream of fascinating appearances Cleyra’s singular production has caught the ears of some of the most adventurous DJs and heads around the world. One of Bristol’s best-kept secrets now lands on Timedance with their sumptuous debut EP ‘remember this body?’. Charged with a juxtaposition between feverish peak time and dreamy downbeat, the producer here displays a sonic palette which is as eerie as it is advanced.

On ’remember this body?’ Cleyra offers a kaleidoscopic view of their diverse approach to crafting songs, nourished with a deep, emotional and seductive energy. Across five tracks we take a deep dive into Cleyra’s idiosyncratic worlds. Subdued pads carry us through lucid-dream-inducing soundscapes where strangeness and elegance go hand in hand. Then come playful twists, as a harder side to their sound is unleashed, engineered to alight the sweatiest and most mutant of dancefloors.

On the flip side, Cleyra takes listeners on a breathtaking ride over the course of a 17-minute epic ’There Is Nothing Happening Between Us’, navigating between mournful ambience and heads-down pulsating Techno with a grace and delicateness rarely heard. The track fades before bringing things home with lush, dubbed-out, synths, suspending time with a poignant elegance