Cerca:op

Rhino is synonymous with high-quality reissues, setting the standard with award-winning audio releases for the past 45 years. Now we're raising the bar with a new premium vinyl series, Rhino High Fidelity. These high-end, limited-edition vinyl reissues of classic albums represent the pinnacle of sound and packaging.

To ensure consistent sonic excellence, Kevin Gray will cut lacquers for all Rhino Hi-Fi releases, and Optimal will press the 180-gram vinyl records. The releases boast high-quality glossy covers and "tip-on" jackets, an old-school aesthetic that evokes the golden age of vinyl.

"Black Sabbath's debut album is the birth of heavy metal as we now know it. Compatriots such as Blue Cheer, Led Zeppelin, and Deep Purple were already setting new standards for volume and heaviness in the realms of psychedelia, blues-rock, and prog rock. Yet of these metal pioneers, Sabbath are the only one whose sound today remains instantly recognizable as heavy metal, even after decades of evolution in the genre. Guitarist Tony Iommi's loss of two fingertips, which required him to play slower and to slacken the strings by tuning his guitar down, created Sabbath's signature style. These qualities set the band apart, but they weren't wholly why this debut album transcends its clear roots in blues-rock and psychedelia to become something more. Sabbath's genius was finding the hidden malevolence in the blues, and then bludgeoning the listener over the head with it." — AllMusic

Olympia erschien ursprünglich 2010 und ist eine meisterhafte Mischung aus Artrock, anspruchsvollem Pop
und elektronischen Elementen, die Bryan Ferrys charakteristische Eleganz unterstreicht. Das Album enthält
Kollaborationen mit Legenden wie seinen Bandkollegen von Roxy Music, David Gilmour, Nile Rodgers und
den Scissor Sisters und enthält neben Coverversionen von Song to the Siren und No Face, No Name,
No Number auch die herausragende Single „You Can Dance“. Mit seiner opulenten Produktion und dem
atmosphärischen Sound ist Olympia eine raffnierte und fesselnde Ergänzung zu Ferrys gefeiertem Katalog.
Das Album erscheint erstmals seit 2010 auf limitierter roter 1LP-Vinyl-Edition, wobei die CD-Version zwei
Bonustracks enthält. Bryan Ferry hat außerdem das aktualisierte Artwork für beide Formate gestaltet.

interloot returns with a stellar compilation, assembling a cadre of versatile heads to deliver a bulletproof warehouse set for your gear bag. kicking off the a-side is »once again« by stuttgart's jakob mäder. known for his eclectic blend of ambient, disco, house and techno, mäder crafts a heavy opener boosted by a propulsive rhythm, seamlessly melding forceful chords with swirling acid echoes. »tick« by bristol-based fella thrilogy screws down the force and untwines the groove with a more mellow, bass-driven foundation and intricate percussive patterns to a subtle yet weighty synth journey through space and time. flipping to the b-side, »back on back« by renowned duo decent rides instantly slaps your face and unfolds its raw energy with a stomping infectious vibe urging forward unchecked. supplemented by delicate vocal rollbacks this guy’s a real peak-time pusher. rounding out the little concrete jungle voyage, »groove got me« by vienna’s moff & tarkin proves the name’s the product. A massive breakbeat blast tenderly detailed and beautifully arranged builds up to a complex raw and punchy climax leaving no one’s body parts unmoved. savour this collection poised to satiate the appetites of discerning nightlife buds and sistas.

In May 1981 B-Movie and Soft Cell went into Advision Studios in London with the same producer, Mike Thorne (Wire, Bronski Beat, China Crisis, The Communards) to record singles for the label they were both signed to. Phonogram had really wanted to sign B-Movie but had also committed to Soft Cell, having been coerced into it by Stev0, who managed both artists and wouldn’t let them have one without the other. B-Movie commenced recording the dark moody anti-fame anthem ‘Marilyn Dreams’, whilst Soft Cell got underway on a cover of an obscure Northern Soul classic. When both songs were released in July 1981, ‘Tainted Love’ became a worldwide hit and shot Soft Cell to international fame, making them the biggest stars of 1981. B-Movie had formed in 1979, in Mansfield, a typical northern town in the middle of the Nottinghamshire coalfield. Originally a three piece featuring, vocal / bass, guitar and drums, they expanded by adding a keyboard player to broaden their initial post punk sound. Local Lincoln independent record label, Dead Good Records, firstly put them on the compilation LP ‘East’, followed by 7" inch EP and then a mini-album releases, which led to an appearance on the legendary Some Bizarre label (alongside the likes of Blancmange, Depeche Mode, Soft Cell and The The)
Major label interest followed, from which came the deal with Phonogram, B-Movie initially re-recording the track ‘Remembrance Day’, which reached No61 in the UK chart in early 1981 and, more importantly, was played by BBC Radio 1 DJ John Peel, and appearing in his Festive 50 for that year. All of the recordings the band made during their Phonogram period have been consigned to the Universal Music vault for several decades, with the band finally managing to have these returned in 2024. The various tapes have been digitised and restored, resulting in the creation of what would have been their 1982 debut LP ‘that never was’. Ten tracks including the three singles plus seven previously unreleased recordings. The CD version contains a further seven recordings including the 12” versions, single B-sides and the track “Moles’” from the Some Bizarre compilation.So “Hidden Treasures” from B-Movie, is only four decades late but still able to sit seamlessly alongside contemporaries like The Chameleons and The Sound. The LP is a darker, more brooding and psychedelic affair, more akin to the gothic elements of the Bunnymen or Joy Division, than the ‘pop sensations’ Phonogram wanted them to become. By both opening and closing this chapter of B-Movie, it puts them firmly in the same bracket as their new wave and post-punk contemporaries, which is the least they deserve, as one of the great ‘lost’ bands of the early 1980’s. "It’s nice to hear B-Movie are finally getting a chance to release their forgotten gems’” Matt Johnson (The The) Vinyl

For his last solo record ‘Through a Room’, Bill Nace shifted his usual saturated guitar sound and added tapes, hurdy gurdy, doughnut pipe, bird calls and the mysterious Japanese taishōgoto. Setting up for the final night of his three day residency at OTO with only the taishōgoto soundchecked, Nace hoped that Parker would arrive with his small soprano as its opposite. “I’ve been interested in state change, you know, playing until there’s a shift in time.” Known for his development of multiphonics to produce a constantly shifting pattern, Evan Parker has evolved an instantly recognizable sound - his work the soprano most distinct. Happily, it was the soprano Evan brought with him and as soon as the two start to play they entwine - taking off in a double helix of keys and reed primed for endless reconfiguration. Space warps under the velocity of playing, the pitch rising unrelentingly. It felt like unending lift off in the room, sheer energy until the last note makes remember your feet have been on the floor the whole time. Total time bending shredding.

Gladio Operations closes 2024 with its tenth release, which bears the signature of the German producer Elektrotechnik.

This EP, entitled Kontrast, comprises three original tracks and two remixes. The A-side starts with Sigma, a rogue track with light trance touches and an appropriate psychedelic bass line. Russian producer Larionov returns to Gladio and gifts us his fantastic vision of Sigma, turning it into a more energetic piece destined exclusively for the hottest dancefloors. Side A ends with Kontrast, a track of aggressive rhythms and moulded with powerful dark textures.

On the B-side, we encounter Die Bestie, perhaps the most robust track and possessor of disturbing and tenebrous harmonies, an enigmatic journey with no return. The owners of the UHF label get back on track by creating remixes, being in charge of closing the EP, and offering us a deeper and more cosmic approach than the original track.

The first in a proposed series of transmissions, Surface Detail's mystifying debut introduces an incorporeal body that exists only through sound and sensation, prompting listeners to discern a spiritual realm beyond the physical. Its surging electro-acoustic compositions push past the material world to plunge into deeper sonic dimensions, slowly revealing a philosophy borne of near-death and out-of-body experiences that challenges perception itself.

Overhauling vintage experimental techniques with their bespoke modern methodologies and processes, Surface Detail rearrange the musical timeline, merging vastly different concepts to hint at questions rather than provide solid answers. Their uniquely immersive soundscapes use texture, rhythm and tonality to help brush away the superficial and contemplate the unknown, approaching its delicate, controversial subject matter with sensitivity and sensuality. Not just an auditory experience, 'Surface Detail' tests the potential of sound itself, eliciting visceral physical reactions with its uncanny subtleties.

Those principles are divulged immediately on opening track 'Marée Noire', as breathy saxophone notes loops and swirl over cosmic oscillations and microtonally tuned drones. It's music that cracks open a passage that snakes through various genres, suggesting silhouettes rather than affirming banal musical preconceptions. Skeletal rhythms appear in the ether for only a moment, disappearing into the sonic landscape, and Surface Detail's bespoke instrumentation materializes just to bring out the cellular intricacy of the music, concentrating the gaze on microscopic textures and irregularities that discompose the senses. As the album drifts forward, it bends material reality even further: on 'Southern Breach', warm, lower-register organ tones intermingle with sinewy guitar twangs, evaporating into warped, hypnotic oscillations and eerie echoes; and by 'Superbook of the Dead', the conspicuous details have almost disappeared completely, replaced by subterranean clangs, industrial ambience and other-worldly electrical interference.

It's in this way that Surface Detail softly assert their convictions, insinuating a narrative that subliminally ushers listeners down an hypnagogic River Styx by removing all traces of the familiar. On closing track 'Broken Silicates', distant lullabies, dissociated stutters and ghostly woodwind sounds blot fractal patterns on the wide open space, reincarnating the album in a liminal zone that's not constrained by somatic logic. Whisper quiet and utterly beguiling, it transcends material existence, dissolving barriers between surface and depth.

Fast Castle kicks off 2025 with another five-track heater: Stable Units by Gent1e $oul!
Across five tracks, Gent1e $oul hones his signature blend of bass-driven genres, adding more dancefloor-focused cuts to his ever-expanding sonic universe.
The opener, 4TC Boom, came together in a single restless session, crafted as a late-night special for the label’s most recent dance at Fitzroy. Its thick, drippy bassline—born from Digitakt overdrive manipulation—makes it the perfect stalactite cave anthem.
Next up, Paladin—named after the strongest horseback unit in Gentle $oul’s beloved AOE II—marks Gent1e $oul’s second collaboration with recent Femme Bass Mafia production graduate Rolex3k. This jersey-tinged, wubby roller was first road-tested by MSJY at Reef, where it proved its undeniable dancefloor potential.
Who doesn’t love that classic M1 grime flute? +390 pairs its signature "ring ring" sound with rolling UK techno drums, making for a no-brainer DJ tool.
On the flip, Steppe Lancer is a brooding, venomous mutation—headsy, progressive, and laced with heavy, evil energy. An FCHQ favorite and one for the heads!
Closing things out, Parthian Tactics dives deep with a late-night dubstep cut. Powerful enough to shake the subs, yet swaying in half-time for those introspective moments.
For the artwork, our graphic wizard Jonas went all out, creating a stunning detailed Bronze Age–inspired 3D equestrian design. Snag the full-cover printed vinyl via Bandcamp or at your favorite record store.

Quick Guide
4TC Boom, 154bpm – Drippy stalactite cave, peak-time weapon
Paladin, 142bpm – Wubby jersey roller, groovy DJ tool
+390, 138bpm – Grime-tinged dubstep x techno hybrid
Steppe Lancer, 154bpm – Headsy, progressive rattlesnake venom bomb
Parthian Tactics, 146bpm – Deep dubstep for late-night sessions

Over the decades, the image of Kompakt as a pirate ship has taken root in our minds, braving the dangers of the seven seas of the music market. Sometimes it glides with a tailwind through calm waters, sometimes it has to survive violent storms. When we set sail in 1993, we never would have dreamt that our journey would still be going on after more than three decades and with 500 releases to date.

In our fast-paced business, the 500 mark is rarely reached, so we want to celebrate it with a lavish 5LP box set. In a democratic process, we have selected 50 pearls from the thousands of tracks released over the last 33 1/3 years and pressed them onto 5 brightly coloured vinyls. Alongside many Kompakt evergreens, there are also some real rarities from the early ‘Kompakt Sound of Cologne’, which have been lovingly remastered here to shine in new splendour.

The box also contains a 144-page book that tells the story of Kompakt from 1993 to today with detailed texts and images. In addition to the manifold musical and graphic achievements of Kompakt, the multidisciplinary links to the visual arts are also highlighted here.

The Bonus Picture Disc opens with the symbolic tolling of 500 bass drums, followed by 50 locked grooves from the 5 Kompakt founders, looping into infinity at 133 1/3 BPM, and the ‘33 1/3 Years Loop Opera’ – in which the loops are combined into one track that, in its reduced essence, is more than the sum of its individual parts. The magic of groovy loop minimalism and the ‘art of omission’ are once again brought to the proverbial point.

On 23 May 2025, the big KOMPAKT 500 art exhibition will open at the venerable Kölnischer Kunstverein to coincide with the release. The entire visual cosmos of Kompakt will be shown here in an unprecedented way on three floors, with the participation of many renowned artists. Of course, there will also be dancing and partying at the vernissage party, with DJ sets and live shows by the Kompakt Allstars.

The last one turns off the bass drum.


Im Laufe der Jahrzehnte hat sich in unseren Köpfen das Bild von Kompakt als Piratenschiff festgesetzt, das den Gefahren der sieben Weltmeere des Musikmarktes trotzt. Mal gleitet es mit Rückenwind durch ruhige Gewässer, mal muss es heftige Stürme überstehen. Als wir 1993 die Segel setzten, hätten wir uns nicht träumen lassen, dass unsere Reise nach über drei Jahrzehnten und mittlerweile 500 Veröffentlichungen immer noch andauert.

Die 500 ist in unserem schnelllebigen Geschäft eine selten erreichte Katalognummer und soll daher mit einer üppigen 5LP-Box gebührend gefeiert werden. In einem demokratischen Prozess haben wir aus den tausenden Tracks der letzten 33 1/3 Jahre 50 Perlen ausgewählt und auf 5 knallbunte Vinyls gepresst. Neben vielen Kompakt-Evergreens finden sich auch einige echte Raritäten des frühen “Kompakt Sound of Cologne”, die hier liebevoll remastered in neuem Glanz erstrahlen.

Die Box enthält außerdem ein 144-seitiges Buch, das mit ausführlichen Texten und Bildern die Kompakt-Geschichte von 1993 bis heute erzählt. Neben den mannigfaltigen musikalischen und grafischen Errungenschaften von Kompakt werden hier auch die multidisziplinären Vernetzungen zur bildenden Kunst beleuchtet.

Die Bonus Picture Disc wird mit einem symbolischen Glockenschlag von 500 Bassdrums eröffnet, gefolgt von 50 Endlosrillen der 5 Kompakt-Gründer, die sich bei 133 1/3 BPM in die Unendlichkeit schleifen sowie der “33 1/3 Years Loop Opera”, in der die Loops zu einem Track zusammengefügt werden, der in seiner reduzierten Essenz mehr ist als die Summe seiner Einzelteile. Die Magie des groovenden Loop-Minimalismus und die “Kunst des Weglassens” werden einmal mehr auf den sprichwörtlichen Punkt gebracht.

Am 23. Mai 2025 eröffnet parallel zum Release die große KOMPAKT 500 Kunstausstellung im ehrwürdigen Kölnischen Kunstverein. Der gesamte visuelle Kosmos von Kompakt wird hier unter Beteiligung vieler namhafter Künstler*Innen in nie gesehener Form auf drei Etagen gezeigt. Selbstverständlich darf zur Vernissagenparty auch getanzt und gefeiert werden zu DJ Sets und Liveshows der Kompakt Allstars.

Der Letzte macht die Bassdrum aus.

The debut release of Collective Direction explores the incredibly broad and fascinating variety of work of Tasti Box, operating in San Francisco in the early 90’s.

This previously unreleased album, made in the early 90’s, captures the spirit of the San Francisco free party scene that exploded around that time. DJ Harvey, Doc Martin, the Hardkiss Brothers, the Wicked Crew and a host of international guests played at legendary all-night parties at locations such as under the Golden Gate Bridge, on huge custom-built sound systems. Helping to define not only the West Coast scene but also influencing the rest of the country throughout that decade. The cultural impact of this moment in time continues to inspire today’s dance music landscape.

Opening on the delicate and melodic ambient tracks Mim and Quetzcal, the A side closes on Dr Tripi, a house-infused track preluding the uniqueness and diversity of the emblematic Tasti Box sound, explored more broadly on the B side with the triptych of Desire, U Can Fly and Box, a trippy journey melting influences from breaks, house, experimental and techno, one that can be experimented at home or in a club setting. The C side opens with the killer trancey and psychedelic club track Feel It, one expected to be definitely heard on dancefloors over the Summer. It is complemented by the almost balearic Story of O and bleepy and esoteric Electrons. On the D side, some Daisy Glow tracks, showing strong late Tasti Box influence, close the musical journey with four tracks of joyful and melodic house music, a perfect ending to a night and to the double LP.
It’s a compilation for music collectors and dancers alike and those excited to explore the history of a sound not afraid to experiment. The vinyl includes a limited edition A4 design of the artwork cover, an exclusive conversation with the artists and two vinyl exclusive tracks. One not to miss!

Das erste neue Pulp-Album seit fast 24 Jahren erscheint am 6. Juni vorbestellt werden, aber vor der Veröffentlichung hat die Band noch etwas "More" zu bieten. Nach der Ankündigung ihrer Rückkehr mit der Single "Spike Island" und überwältigt von den Reaktionen auf den Track, werden Pulp den Song auf einer streng limitierten 7"-Edition veröffentlichen. Die Spike Island 7"-Single erscheint am 23. Mai und wird auf der B-Seite von einem brandneuen Stück begleitet, welches nicht auf dem kommenden Album der Band zu finden sein wird. "Open Strings" wird zunächst nur auf der B-Single erhältlich sein wird.

UK death metal gods Cancer burst onto the UK extreme metal scene over thirty five years ago, & quickly amassed a strong global following over the course of their early careers which later resulted in a stint with major label EastWest under Warner Music. After a period of inactivity, Cancer returned for 2018's Peaceville debut, 'Shadow Gripped', followed up by 2025's new opus, 'Inverted World'. 'To The Gory End' was Cancer's debut studio album & was released in 1990. Along with sophomore opus 'Death Shall Rise', 'To The Gory End' became a firm genre classic with its influential display of sonic savagery containing fittingly shocking topics to match.

The album swiftly established Cancer as one of the highlights of the rising UK death metal scene alongside such bands as Bolt Thrower & Carcass. 'To The Gory End' was recorded at Loco Studios in the winter of 1989, with legendary producer Scott Burns (Death, Obituary, Sepultura) overseeing the recording & also mixing duties, which subsequently took place at Morrisound in Florida, itself synonymous with the creation of many classics of the genre. The album also notably features a guest appearance by John Tardy of Obituary on the track 'Die Die'. This edition of 'To The Gory End' marks the album's 35th anniversary & is presented on limited red galaxy vinyl.

"Irrepressible, off-the-wall and utterly unique - the late 70s/early 80s Latin jazz-funk and leftfield electronic boogie of Japanese composer and pianist Izumi ‘Mimi’ Kobayashi collected for the first time.

A star in Japan, she moved to Europe to record global hits with Depeche Mode and Swing Out Sister, toured the world with the Reggae Philharmonic Orchestra and made beats with Attica Blues’ Tony Nwachukwu. Now based in London, Mimi currently fronts Tokyo Riddim Band - the intergenerational live Japanese Reggae outfit born from Time Capsule’s acclaimed 2023 compilation of the same name - playing live shows and releasing a trio of recordings.

Choice Cuts 1978-1983 collects eight recordings from four of Mimi’s first five albums – Sea Flight (1978) recorded with her group Flying Mimi Band, and Coconuts High (1981), Nuts Nuts Nuts (1982) and Tropicana (1983) under her own name.

The compilation opens with a syncopated electro-funk cover of Sergio Mendes’ ‘Mas Que Nada’ (Tropicana) and the crisp and stripped back techno-pop of ‘Coffee Rumba’ (Nuts Nuts Nuts) with a keyboard bass line that would have made Stevie Wonder weep.

Alongside the off-beat synth jam ‘Quiet Explosion’ (Nuts Nuts Nuts) and piano samba of ‘Espresso’ (Tropicana), there’s two low slung soul-jazz numbers, ‘Naze’ and ‘Angel Sky’, from Sea Flight (1978) that recall the collaborations between Herbie Hancock and Kimiko Kasai. But it is around the two tracks from Mimi’s 1981 album Coconuts High that this compilation revolves (and from whose cover shoot it borrows).

Released on legendary guitarist Takanaka’s Kitty Records label, Coconuts High was recorded in LA with a jazz fusion backing band, including Alex Acuña, Abraham Laborial, Harvey Mason and the Tower of Power horns. A riot of playful Latin-tinged jazz, funk and fusion with the off-beat spirit of Kid Creole & and the Coconuts, the album became a cult hit. Here it’s the sultry, Minnie Riperton-esque ‘Crazy Love’, with its addictive groove and bittersweet melodies that makes the cut, alongside the steel drum-infused carnivalesque bounce of ‘Palm St’.

Choice Cuts 1978-1983 will introduce the idiosyncratic energy and playful verve of this under-the-radar pioneer to a wider audience for the first time. Welcome to the world of Izumi ‘Mimi’ Kobayashi."

Scruniversal's sub label Tunes Delivery invites Moscow scene veteran Leonid Lipelis to don his Beard In Dust moniker for their third instalment, one which dips into various different eras of dance history for inspiration. There's a distinctly late 80s feel to opening tune 'Music of the U', complete with sampled bell stabs and the kind of beats that wouldn't be out of place on an S'Express or early Coldcut house affair. 'The Armenian Break' and 'City of Love' look back even further, back to the female-fronted disco efforts of the 70s, the latter adding a touch of Balearic flourishes. 'Abstractish P' circles around some serene arpeggios, with rave whistles and, as it progresses, twisting guitar notes, lending it an individual air, while closer 'RoRyaRe' nods to ExCel-era 808 State with some nice bleepery before settling into more progressive headnodding territory and some distinctive synth play.

More than 20 years after their debut, Witchcraft's seventh album, 'IDAG,' is an awaited full accounting of who they are as a band. Those who have clamored for the return to an earlier sound rooted in '70s classic progressive and heavy rock will delight to the strut of "Irreligious Flamboyant Flame" while the eight-minute opening title-track is the heaviest the band have ever sounded, and a succession of interspersed acoustic-based pieces helps create a vision of a new, soulfully folkish doom taking shape as they continue to move inexorably forward. Founding guitarist/vocalist, Magnus Pelander, says of 'IDAG': "This album will reap souls and destroy wicked minds. And perhaps mend a couple of broken ones." These enigmatic few words from the Swedish band's main songwriter give clues as to the songs' intentions; a reference dropped to Coven's 1969 album, 'Witchcraft Destroys Minds and Reaps Souls.' Coven also had a folkish, proto-doomed take at that point in their history, and that multifaceted nature has been a part of Witchcraft all along. On one level, Magnus is winkingly telling you it's a Witchcraft record. The actual meaning of that becomes clear when you hear the album and find out just how much 'a Witchcraft record' can encompass. The storyline of Witchcraft's growth, from Pelander's starting the band in Örebro in 2000 in the wake of his prior outfit Norrsken's disbanding. A generational landmark of a 2004 self-titled debut helped spark a retroist movement that has become its own subgenre, but Witchcraft never stopped growing. 2005's 'Firewood' and 2007's 'The Alchemist' introduced more progressive sounds, and five years later, the pointedly modern 'Legend' established in 2012 that they had moved beyond the analog worship they had been a part of pioneering within the contemporary heavy rock and doom scene. In 2016, the 2LP 'Nucleus' introduced fuller-toned doom, and 2020's 'Black Metal' diverged into moody acoustic minimalism familiar to some fans from Pelander's early solo work, but different from anything Witchcraft had done prior. 'IDAG,' then, is the tie that draws all of this - more than two decades of exploring and growth - together. Whatever they've done in the past and whatever they'll do in the future, 'IDAG' feels like a nexus for defining who and what Witchcraft are. Even crazier, that might be the point of the thing. JJ Koczan

More than 20 years after their debut, Witchcraft's seventh album, 'IDAG,' is an awaited full accounting of who they are as a band. Those who have clamored for the return to an earlier sound rooted in '70s classic progressive and heavy rock will delight to the strut of "Irreligious Flamboyant Flame" while the eight-minute opening title-track is the heaviest the band have ever sounded, and a succession of interspersed acoustic-based pieces helps create a vision of a new, soulfully folkish doom taking shape as they continue to move inexorably forward. Founding guitarist/vocalist, Magnus Pelander, says of 'IDAG': "This album will reap souls and destroy wicked minds. And perhaps mend a couple of broken ones." These enigmatic few words from the Swedish band's main songwriter give clues as to the songs' intentions; a reference dropped to Coven's 1969 album, 'Witchcraft Destroys Minds and Reaps Souls.' Coven also had a folkish, proto-doomed take at that point in their history, and that multifaceted nature has been a part of Witchcraft all along. On one level, Magnus is winkingly telling you it's a Witchcraft record. The actual meaning of that becomes clear when you hear the album and find out just how much 'a Witchcraft record' can encompass. The storyline of Witchcraft's growth, from Pelander's starting the band in Örebro in 2000 in the wake of his prior outfit Norrsken's disbanding. A generational landmark of a 2004 self-titled debut helped spark a retroist movement that has become its own subgenre, but Witchcraft never stopped growing. 2005's 'Firewood' and 2007's 'The Alchemist' introduced more progressive sounds, and five years later, the pointedly modern 'Legend' established in 2012 that they had moved beyond the analog worship they had been a part of pioneering within the contemporary heavy rock and doom scene. In 2016, the 2LP 'Nucleus' introduced fuller-toned doom, and 2020's 'Black Metal' diverged into moody acoustic minimalism familiar to some fans from Pelander's early solo work, but different from anything Witchcraft had done prior. 'IDAG,' then, is the tie that draws all of this - more than two decades of exploring and growth - together. Whatever they've done in the past and whatever they'll do in the future, 'IDAG' feels like a nexus for defining who and what Witchcraft are. Even crazier, that might be the point of the thing. JJ Koczan

Purple Vinyl, limited to 450 copies. More than 20 years after their debut, Witchcraft's seventh album, 'IDAG,' is an awaited full accounting of who they are as a band. Those who have clamored for the return to an earlier sound rooted in '70s classic progressive and heavy rock will delight to the strut of "Irreligious Flamboyant Flame" while the eight-minute opening title-track is the heaviest the band have ever sounded, and a succession of interspersed acoustic-based pieces helps create a vision of a new, soulfully folkish doom taking shape as they continue to move inexorably forward. Founding guitarist/vocalist, Magnus Pelander, says of 'IDAG': "This album will reap souls and destroy wicked minds. And perhaps mend a couple of broken ones." These enigmatic few words from the Swedish band's main songwriter give clues as to the songs' intentions; a reference dropped to Coven's 1969 album, 'Witchcraft Destroys Minds and Reaps Souls.' Coven also had a folkish, proto-doomed take at that point in their history, and that multifaceted nature has been a part of Witchcraft all along. On one level, Magnus is winkingly telling you it's a Witchcraft record. The actual meaning of that becomes clear when you hear the album and find out just how much 'a Witchcraft record' can encompass. The storyline of Witchcraft's growth, from Pelander's starting the band in Örebro in 2000 in the wake of his prior outfit Norrsken's disbanding. A generational landmark of a 2004 self-titled debut helped spark a retroist movement that has become its own subgenre, but Witchcraft never stopped growing. 2005's 'Firewood' and 2007's 'The Alchemist' introduced more progressive sounds, and five years later, the pointedly modern 'Legend' established in 2012 that they had moved beyond the analog worship they had been a part of pioneering within the contemporary heavy rock and doom scene. In 2016, the 2LP 'Nucleus' introduced fuller-toned doom, and 2020's 'Black Metal' diverged into moody acoustic minimalism familiar to some fans from Pelander's early solo work, but different from anything Witchcraft had done prior. 'IDAG,' then, is the tie that draws all of this - more than two decades of exploring and growth - together. Whatever they've done in the past and whatever they'll do in the future, 'IDAG' feels like a nexus for defining who and what Witchcraft are. Even crazier, that might be the point of the thing. JJ Koczan

Ihr neuestes Werk "The Regeneration Itinerary" ist eine transzendente Entdeckungsreise in die Dualität von Licht und Dunkelheit. Aufgenommen in den Hallen von SoundSpiral Audio und perfekt abgemischt im Necromorbus Studio, webt dieses Album eine Geschichte, die so alt ist wie die Zeit und doch erfrischend modern. Mit Tracks wie dem ätherischen, technolastigen "Inertiae" und dem eindringlichen "Förnyelse i Tre Akter" entfaltet sich Mathias Lillmåns' lyrisches Können über Timo Kontios und Antti Simonens meisterhaften Kompositionen, wobei jede Note vor existenziellen Überlegungen und messerscharfen Riffs trieft. Stell dir vor, du wirst von einem sibirischen Sturm umarmt, während du über den Kosmos nachdenkst - das ist die elektrisierende Wirkung, die diese Songs haben. Das herausragende "Prophetical Mercury Implement" bietet einen inbrünstigen Einblick in die Musikalität der Band und verspricht eine ebenso tiefgründige wie raue akustische Reise. Vom melodischen "I am Coin, I am Two" bis zum unerbittlich treibenden "The Fire in Which We Burn" navigiert diese Reise durch das empfindliche Gleichgewicht, in dem Schatten die Morgendämmerung küssen!

Ihr neuestes Werk "The Regeneration Itinerary" ist eine transzendente Entdeckungsreise in die Dualität von Licht und Dunkelheit. Aufgenommen in den Hallen von SoundSpiral Audio und perfekt abgemischt im Necromorbus Studio, webt dieses Album eine Geschichte, die so alt ist wie die Zeit und doch erfrischend modern. Mit Tracks wie dem ätherischen, technolastigen "Inertiae" und dem eindringlichen "Förnyelse i Tre Akter" entfaltet sich Mathias Lillmåns' lyrisches Können über Timo Kontios und Antti Simonens meisterhaften Kompositionen, wobei jede Note vor existenziellen Überlegungen und messerscharfen Riffs trieft. Stell dir vor, du wirst von einem sibirischen Sturm umarmt, während du über den Kosmos nachdenkst - das ist die elektrisierende Wirkung, die diese Songs haben. Das herausragende "Prophetical Mercury Implement" bietet einen inbrünstigen Einblick in die Musikalität der Band und verspricht eine ebenso tiefgründige wie raue akustische Reise. Vom melodischen "I am Coin, I am Two" bis zum unerbittlich treibenden "The Fire in Which We Burn" navigiert diese Reise durch das empfindliche Gleichgewicht, in dem Schatten die Morgendämmerung küssen!

With seven top 40 singles, six top 40 albums and over a million record sales worldwide, Turin Brakes return with a brand-new record "Spacehopper", out via Cooking Vinyl. Produced by the band alongside Grammy-winning Guy Massey (with credits such as Kylie Minogue, Ed Sheeran and Spiritualized), "Spacehopper" is their first new music in over three years and marks the 10th studio album from Turin Brakes, a big milestone for a band who released their debut album over 24 years ago, the Mercury Prize nominated "The Optimist LP" which catapulted them into the mainstream. They are a band that understands the art of longevity and "Spacehopper" promises to be a worthy edition to a rich and sonically diverse catalogue of albums, finding the South London 4-piece in a reflective mood.

Oasis Records is a Portuguese outlet that marks its 10th release with its first vinyl outing, and the music is certainly deserving of that treatment. Vros is a collaboration between three siblings who use real instruments to blend hypnotic sounds from the worlds of deep and dubby electronica. Each track symbolises an elementiwind, earth, fire, and wateriso has a real connection with nature and encourages self-reflection as well as plenty of shape-shifting. 'Space Marimba' is perfect for outdoor dancing with its happy marimba melodies and elastic bass, 'Don't Be Afraid' is pure Balearic house bliss and 'Fusion' brings subtly trance induing chords while 'Release Your Mind' is a deep, mind-bending opener.A

WOW. Daniel O'Sullivan's transcendent new album, Eros, is one of the greatest things we've ever heard. A simply stunning song cycle of hypnotic, experimental contemporary chamber music composed for a 14-piece ensemble. Combining minimalism, complex syncopation, detailed acoustic textures, weird intervals and samurai precision, this record will elegantly blow your mind. When Daniel first sent us this, he pitched it as “Liquid Swords meets Michael Nyman”. Trust us, he wasn't wrong. A "unique hybrid orchestral music", it presents a confluence of Daniel's longstanding fixations; indeed, there's elements of Nyman, Antonio Carlos Jobim, Magma, Aaron Copland and RZA. But this is wholly O'Sullivan's. Originally commissioned for the Sonoton Music Library in Munich, Eros now receives a deluxe vinyl release courtesy of Be With Records, bringing this meticulously crafted work to a wider audience. Limited to just 500 copies for the world, these are gonna fly.

An English composer and multi-instrumentalist, Daniel O'Sullivan’s career has been marked by versatility and innovation. In addition to his work with Sonoton, he has composed extensively for the legendary KPM music library, contributing to its storied legacy of production music. As a deep virtuoso and collaborator, O'Sullivan has also played in a number of influential projects, including Ulver, Sunn O))), This Is Not This Heat, Grumbling Fur and Miracle (with Steve Moore), leaving an indelible mark on the contemporary experimental music landscape.

O’Sullivan’s first foray into classically informed chamber music, Eros is a culmination of his long-standing fixations and expansive musical influences. The album features arrangements that are as detailed as they are emotionally resonant, showcasing his unparalleled ear for intervals and mastery of counterpoint. The music brims with complex rhythmic syncopation and a sensitivity to texture and space, resulting in a soundscape that is both intoxicating and dauntingly precise.

Recorded June 2023 and February 2024, in Brussels, London and Carmarthenshire, Wales, Eros features members of Echo Collective (Neil Leiter and Margaret Hermant), Thighpaulsandra (from seminal post-industrial band Coil), and jazz pioneer Oren Marshall. Daniel's sonic weapons of choice, in his own inimitable words, were "Big Bad Drum, Pee Anne Oh, Low End Brass, Willowy Winds & Samurai Strings." You get the picture. As a cyclical suite, this is a record that really needs to be heard in its entitreity, from start to finish, to truly appreciate the genius at work here.

A jaw-dropping statement of intent, the minimalist "Golden Verses" sets the tone with its complex cue which has your neck snapping right when it feels like it needs to. Listen and you'll understand. A syncopated tangle of sharp strings, crunchy bass, drums percussion and bright piano and mallets vie for position with French horn and woodwind melody in the most compelling and unexpected ways. Quite simply, it's one of the finest album openers I've ever heard. It's followed by the atmospheric rippling minimalism of "Lyre Lyre", a gorgeous gem with shimmering chimes, bright melody, human percussion and syncopated pizzicato strings. It kinda comes on like a less-abstract Boards Of Canada, bursting with typical wonderment. The piano and string-drenched "Dolorous Stroke" effortlessly builds its warm, pastoral orchestration with flowing piano arpeggio, steadfast drums, expressive string quartet, rich low brass, woodwind and lyrical flute. Just sublime.

The insistent frenetic propulsion of "Plain Paper" is utterly beguiling, featuring a determined string motif, urgent drums and percussion, driving low brass and breathless, energetic flute. The haunting, interweaving string arpeggios that propel "Grapes Draped" presents a claustrophobic minimalism for chaos and darkness, with growling low woodwind and brass, spiky harpsichord, skittering flutes and tight drums. Up next, "Xanix Annum" is a stately minimalist waltz with expressive lyrical string quartet and delicate woodwind, anchored by drums and percussion. "Painting Rose" is a bouncy stop-start track with angular syncopated strings and a piano pulse underneath bright harpsichord and flutes. "Rotunda Garden" presents ethereal textural minimalism for landscapes and reflection with flowing string arpeggios, warm, low woodwind drones, floating choir and cymbal swells. Closing out this extraordinary side of music, the glowing, flowing minimalism of "Flowry Orb" features urgent organ, piano and woodwind arpeggios, half-time drums with shimmering cymbals, a soaring, beautiful violin solo and hypnotic vocal chant.

Side 2 opens with "Theia Mania" a determinedly off-kilter, angular track featuring low wind, brass and drum stomp in dialogue with lively string trio, woodwind and solo horn. The light, airy minimalism of "Painting Percy" is built around an interplay of rhythmic motifs for piano, low brass, bassoon, fluttering flutes, urgent strings, drums and percussion whilst "For Archetypes" is a delicate, gently syncopated chamber cue for nostalgia, nature, reflection and moments of calm, with steady piano motif, intimate woodwind and French horn, and warm, graceful strings. The urgent Ars Memoriae is a propulsive march for progress, processes and industry, underpinned by driving tuba, with determined strings, resolute drums, and vivid, expressive flute, clarinet and French horn.

The syncopated energetic minimalism of "Mirrored Seven" presents layers of melodic and cyclical piano, drums, low brass, harp, flute and strings. "Pure Ornament" follows, a slowly evolving chamber cue with flowing clarinet, string and harp arpeggio, plodding tuba and percussion, fluttering flute and graceful, lyrical solos. Stunning! Up next, "Brave Boy" moves from its tender, warm, lullaby-like intro with lyrical flute, clarinet and strings before opening into a playful backend driven by a bouncy tuba riff and syncopated piano, woodwind, string trio, and drums and percussion. Rounding out this astonishing piece, "Waxen Waned" is a warm, pastoral chamber cue with light lyrical woodwind, tender French horn and subtly pulsing string trio.

The album's title is a reference to Plato’s conception of Eros, which is more than romantic or physical desire. It is a dynamic and creative force that drives individuals to seek perfection whether in art, relationships, philosophy or the pursuit of truth. Wholly appropriate, here, we think. When asked what his influences were in making this astounding record, he answered thusly: "Non-musical: Householding, Pythagoras, Goethe, Grail romances, Hermeticism, Doctrine of Signatures (Parcelsus, Bohme, Pliny), Eric Rohmer, John Stezaker, Yasujiro Ozu. Musical: Duke Ellington (late suites), Smile-era Brian, early RZA, Wagner (Parsifal Overture), Magma, Mancini, Axelrod, YMO, Hildegard, Nyman, Penguin Cafe Orchestra, Jobim (Stone Flower), Alessandro Alessandroni, Tavener, Moondog, Orthodox Music, Secular Music." That's some pretty deep shit. Makes you want to dive in, no?

Mastering for this vinyl edition was overseen by Be With regular Simon Francis, and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. Truly, Eros is a work of extraordinary depth and sophistication. It invites listeners to immerse themselves in its intricate layers, to lose themselves in its hypnotic rhythms, and to marvel at the precision of its execution. With this release, O’Sullivan reaffirms his position as one of the most inventive and uncompromising voices in contemporary music. Do. Not. Sleep.

Amuleto Apotropaico has a way to fend off demons by channeling a secular spiritualism rooted in a rigorous but playful connexion to the infinite possibilities of noise. The propulsion of their continuous music ebbs into and flows out of this primordial flux through their unique brand of brutalist liturgy.

Amuleto Apotropaico is a Portuguese duo consisting of António Feiteira (drums & electronics) and Francisco Pedro Oliveira (guitar, flute & electronics) formed in 2021. Having grown up together, saturated in the lore of their hometown of Santa Maria da Feira, the duo now resides in Porto and continues to moor their rhythmic rituals in the traditions of Northern Iberia.

None of this is a nostalgic look back to a time-that-never-was. Amuleto Apotropaico's cycles are ouroboric: every step forward invokes a simultaneous step backward such that their observance of sonic ceremony (seeming to invoke a now-forgotten tradition) becomes a constructivist gesture that shapes its own legacy. If time-travel exists, this duo has found out how.

For their self-titled first release (also the first release of the Perf label), António Feiteira has culled, recomposed and processed recordings from the band's last two years of concerts in order to create a exciting 4-tracker. Apotropia I & II, which open sides A and B on the vinyl release, are both textural meditations on subtle density. Feiteira's sensitive percussion flourishes are married to Oliveira's modular-enhanced flute and guitar patterns. Albedo e Rito showcases the duo's sense of melodic contour while crescendoing to a peak of lightness. Bruxa do Calhau Branco, lifts the whole journey into an astral dimension where multi-layered drums, synths and digital clicks breathe out, announcing that their moment of worship has settled back into the ubiquitous hubbub of room hum.

In 2005, Headphones arrived as a seismic shift in David Bazan's already formidable canon- a collection of synth-driven confessions that push the boundaries of narrative songwriting. Stripped down to its barest essentials, the album finds Bazan and collaborators Tim Walsh and Frank Lenz constructing an audaciously raw soundscape: no guitars, just synthesizers, live drums, and Bazan's unmistakable vocals. Twenty years later, it remains a masterwork of emotional excavation and geopolitical reckoning, as relevant today as the day it was released. This 20th Anniversary edition, remastered by Christopher Colbert at National Freedom (The Walkmen, Richard Swift, Pedro the Lion), is housed in a gatefold jacket with expanded artwork by Grammy-nominated designer Jesse LeDoux, plus liner notes by writer and Belmont University Associate Professor David Dark. The self-titled album threads a delicate needle, simultaneously personal and prophetic. Songs like "Major Cities" tackle the macrocosm of American imperialism with clarity and anger, while tracks like "I Never Wanted You" unearth the raw wounds of interpersonal defeat. These are stories of inner and outer collapse, of bullies (both personal and political) wreaking havoc, yet rendered with humanity. Even in its darkest moments, though, Headphones pulses with the hope that honesty might light a way forward if only we'll bear witness to the truth. On its twentieth anniversary, Headphones feels more vital than ever. For those who've lived with it since 2005, this reissue is a chance to revisit an old wound, to press on it and see what's healed and what still aches. For new listeners, it's a chance to sit with something audacious and true an album that invites us to reckon with the ways we fail each other-and the ways we might still be good. Twenty years on, Headphones remains a rare album that doesn't just speak to you, but asks you to listen harder. + PROJECT FROM DAVID BAZAN OF PEDRO THE LION + DELUXE 20TH-ANNIVESARY REMASTERED REISSUE WITH BONUS TRACKS + DELUXE FIRST PRESSING ON LIMITED EDITION OPAQUE YELLOW VINYL LIMITED TO 750 COPIES + EXPANDED GATEFOLD ARTWORK BY GRAMMY-NOMINATED ARTIST JESSE LEDOUX + LINER NOTES BY DAVID DARK + REMASTERED BY CHRISTOPHER COLBERT (THE WALKMEN, RICHARD SWIFT, PEDRO THE LION) + LP INCLUDES BONUS 7" ON BLACK VINYL WITH TWO BONUS TRACKS

Cindytalk is the mercurial, expressionist outlet of Scottish artist Cinder, inspired by the crossroads of exploratory UK post-punk and early European industrial. Her work thrives on chance and transformation, collaging elements of noise, balladry, soundtrack, catharsis, and improvisation. "We were trying to find our own space," says Cinder of the formative period Camouflage Heart emerged from, amidst a move from Edinburgh to London and Cinder's evolving exploration of gender identity, well before culture at large was equipped to understand. With contemporary discourse we see that the project manifested her transgender ideas as visceral music. The guttural, feral sound marked a notably darker turn from The Freeze's sixyear run on the fringes of punk. Changing the project's name became vital, not just because they kept hearing the former was already taken, but the desire to embody the spiritual and sonic shift, "to uncover new pathways_to feminize it," she says. Cinder, with bandmates David Clancy and John Byrne, arrived at Cindytalk, a winking nod to Sindy, the British fashion doll rival to Barbie known then for its pull-string talking mechanism. "The goal was to have a more interesting narrative, more interesting dialogue. Music was ultimately my only way of talking to people. That was my conversation with the world, an abstracted conversation_an attempt to make some kind of tiny, tiny mark, if possible, you hope somebody will notice." Over the years, Cinder has heard from fans who did pick up on the signals and find refuge in Camouflage Heart. Camouflage Heart plays with tension and pace, from creeping to feverish to claustrophobic. The percussion moves between restless marches and barely-there pulses; for some parts, they scratched and hit a tin bath, among other objects. Guitar lines vibrate and stab as Cinder contorts her voice freely. She pulls poetry from a cerebral abyss, like "make the snake in your eye, pierce the camouflage heart" on the slow-droning centerpiece "The Spirit Behind the Circus Dream." In that register is raw power, both vulnerable and menacing, an ability to locate something deep and emotionally charged within. "I still remember that person who was way too intense for their own good," Cinder reflects. "I couldn't make a record like that now, certainly not vocally, while that anger hasn't dissipated; there's still a kind of warrior." For all the destruction and disintegration of Camouflage Heart, Cinder maintains the objective was never full-on fatalistic; these songs seek not to destroy but to poke and provoke, to transform and heal, to find cracks of light in a crumbling world. She points to the last lines of the opening track, "It's Luxury": "Don't look down," the lyric pines through static and rhythm. Cinder extrapolates, "I'm essentially saying, just keep fucking going. As time went on, for me, that falling became flying. Camouflage Heart is the beginning of believing in flight."

Dune: Prophecy is an HBO original series based on the
best-selling books by Frank Herbert and Brian Herbert, and a spin-off to the blockbuster movies of Dune.

The music for the series was composed by Academy Award-winning composer Volker Bertelmann (All Quiet on
the Western Front, Conclave, Lion), whose evocative, futuris- tic ambience, meets bold, powerful orchestral tracks on this score, accompanying the story.

Set 10,000 years before the ascension of Paul Atreides, Dune: Prophecy follows two Harkonnen sisters as they combat forces that threaten the future of humankind and establish the fa- bled sect that will become known as the Bene Gesserit. Dune: Prophecy is inspired by the novel “Sisterhood of Dune”, writ- ten by Brian Herbert and Kevin J. Anderson.

The soundtrack of Dune: Prophecy is available as a limited edition of 1000 numbered copies on orange “Spice” marbled vinyl and includes a 4-page booklet with pictures from the series.

Ambient explorers SWIMS unpeel another heady debut, with the maiden effort by Korean artist Soo Kyung Kim, also known as soo:k. The curtain raises on Orchadia with an elysian glow: electro-acoustic compositions painting a golden topography of impossible fruit and uncanny astronomy.

soo:k's utopic brushwork finds obvious comparisons in the work of Hiroshi Yoshimura, and his meditations on the glacial pace of hidden, verdant spaces. Frida Kahlo's portraits of everyday life, intertwined with pain and magic symbology, also resonate in the album's exploration of fleeting moments.

Dissonance and experimentation take hold as the record progresses, Soo's Edenic vision creaking open to reveal ripe, fetid spaces between ribs of earth. Recommended if you like Ulla, Kara-Lis Coverdale, Visible Cloaks, Perila...

Hailing from Naarm/Melbourne, punk trio CLAMM—comprising Jack Summers, Miles Harding, and Stella Rennex—delve into the tumultuous experience of youth striving to lead an authentic and principled life in an increasingly chaotic world. Their music confronts the challenges of navigating entrenched systems of power and oppression while striving to preserve mental well-being and a strong sense of self. Through their raw and visceral sound, CLAMM aspires to foster community, ignite creativity, and provide a channel for catharsis.



Serious Acts continues the band’s signature raw intensity, with frontman Summer’s commanding vocals and incisive lyricism delving deep into the highs and lows of human existence.

The Ramones were punks before punk rock was even invented. With their catchy, sing-along tunes, iconic hair styles and outfits, Joey, Dee Dee, Johnny and Tommy rewrote rock history and are now, as part of the first wave of US punk, firmly considered part of the subcultural world heritage. In the DUB-cultural world, on the other hand, their footprint has been pretty slim, particularly if one considers their stomping, three-chord songs, instantly recognizable chants (“Gabba gabba hey!”) and laconic humour. There are a few reggae and Latin versions of their songs online, but never before have the Ramones been honoured with an entire album in early reggae style…until now, bang on time for the band's 50th anniversary in 2024. The label Echo Beach, a bit of a specialist for missions such as these with a string of releases including “Bad Brains in Dub”, “Dubby Stardust”, got together with André Meyer (production, bass) and Manougazou (production, guitar). Both were part of the 2008 Echo Beach New Wave/Dub project DubXanne and were involved in the production and subsequent live shows. Also back in the team is keyboarder and DubXanne mastermind Guido Craveiro, who plays Hammond organ and piano on half of the tracks. The other two additions to the core team are singer and all-round instrumentalist Sebastian Sturm and drummer Raul Pfeffer. Together they homed in on the 11 most iconic Ramones three-minute-singalongs, including "Blitzkrieg Bop", "I Wanna Be Sedated", "Pet Sematary" and "Rock'n'Roll Highschool", and treated them to a reggae make-over. The whole process was kicked off by a slightly off-beat question (reggae music does that to you): What if Joey, Johnny, Tommy and Dee Dee had gotten together not in NYC, but in Kingston? And then stepped up to the mic alongside local singing and deejay greats? In musical terms the answer is surprisingly plausible and the line-up is sensational, even for a label like Echo Beach with its unrivalled connections. From up-and-coming youngsters to living legends, everyone is included, albeit with a focus on the elder statemen and stateswomen: the vast majority of the guests are over 60 and look back on deeply impressive careers! The artists come from Jamaica, the USA, the UK and Germany. All contributed one or two songs, and all of them tackle the songs in pairs with infectiously good humour, transforming legendary punk rock bangers into unpredictable dub tracks. Ramones’ classics such as "Blitzkrieg Bop" with its trademark battle cry "Hey! Ho! Let's Go!", "Sheena Is A Punkrocker" and "The KKK Took My Baby Away" are slowed down and underpinned with roots and rocksteady riddims. It almost goes without saying that the lyrics have been adapted to everyday Jamaican life with a great deal of fun and creativity. And amidst all the icons of early reggae, the Ramones also make an appearance: in the opening track "Pinhead", for example, we learn that the Ramones did actually listen to reggae and had even been planning a reggae album. Features guest vocals from Susan Cadogan, Ranking Joe, Ranking Ann, Prince Alla, Welton Irie, U Brown, Earl Sixteen, Dennis Alcapone and more

Record is limited to 100 copies, numbered on sleeve

Spectrums Data Forces returns to New Flesh Records 15 years after his debut on the french label. Following the "Exodus"(NF02) and "Reencarnacion" (NFLTD05) releases, Granada based Jose Maria Moreno Vega proudly presents the "Trinity EP", a collection of groundbreaking mayhems characterized by powerful basslines, intricate drum programming, and dystopian atmospheres.
Pounding electro "form900" opens A side with a captivating track where arpeggiated melodies fuse into retro modern vibes in SDF typical signature. The invasion has begun!!
This well-crafted tune comes with a devastating remix from NF mastermind. Umwelt unveils of pure distinctive and instinctive analog beast, merging techno to electro-driven rhythms. Merciless!
B side kicks off with outstanding "Mind restore". Written under SDF techno side project C-System, this 4/4 monster of a track alternates between eerie atmosphere, IDM touches and futuristic sororities.
Last but not the least "7H3 F4M1LY" from 7053M4R14 (another Spectrum Data Forces moniker) reveals subtle and crystal clear stabs over groovy yet dancefloor broken rhythms.
Rarely has a release ever stuck so much to the world of New Flesh Records. Rush on it!

Recently appearing alongside Ibrahim Maalouf on the show “Improbox” (TSF Jazz), or as the opening act for Vulfpeck at Jazz à Vienne 2024, Sampling is Beautiful Trio is made up of: Zajazza on turntables and samplers (produced for Gaël Faye, HomeboySandman...), Yacha Berdah on trumpet and bass (Grand Corps Malade, Ibrahim Maalouf...), Japhet Boristhène on drums (Saïan Supa Crew, Chassol, Shibuuya).

Sampling Is Beautiful is: “A trio, a collective, a vibe, a freedom, ...”
These are the words of the artist Kaynixe in the introduction to this record.
Each “captured” sample is highlighted, cherished, reversed, modified… and finally used as a melodic or rhythmic basis to construct a new piece. With a certain black magic or piracy, this first album is a photograph of the Trio's musical moment, filled with homages to sampled composers, nods to Jazz and film music.
Yacha, Japhet and Zajazza, surrounded by many talented artists, share here this colorful musical picture of samples and each person's journey.

After his critically acclaimed EP LOOP (national press coverage, playlist support, a sold-out tour with Odezenne, opening for Zaho de Sagazan and Pomme, winner of the 2024 iNOUïS of Printemps de Bourges), Jean unveils an ambitious and cohesive debut album, conceived as a complete work of art. Created without guest features or compromise, this 12-track record delves deep into introspective songwriting, raw yet poetic, at the crossroads of rap, melancholic pop, and modern French chanson. Jean isn’t trying to please, he exposes himself with no filter.



The album stands out for its strong narrative and visual identity, where each track plays like a film sequence, a resurfacing memory. It explores universal themes: love, solitude, escape, addiction, aging, through a deeply personal and always lucid lens. The imagery reflects this universe: the album cover, shot in a movie theater, introduces an ambiguous character, somewhere between absurdity and allegory, perhaps a manifestation of the artist’s inner demon. A disturbing yet familiar presence, intentionally open to interpretation, like a key without a lock.



Musically, the album spans multiple aesthetics without losing its coherence: each track asserts a distinct tone and balance. Jean positions himself within a new, demanding francophone scene, free from cynicism or affectation. He delivers a unique, sincere project, both accessible and profound, that invites listeners to experience it in one sitting, from start to finish.

Something different from Causa Sui. While Causa Sui have always had one foot in heavy psychedelic rock, they've had the other one deep in a wide variety of esoteric styles. On this new double LP set, that other dimension of the band is being explored full-scale. "Szabodelico" paints with a colourful palette, both compositionally and sonically - digging deep into an assortment of cultures, eras and sounds with a true crate-digger mindset. Throughout their 15 year life-span Causa Sui has always been about seeking out new directions, exploring the past and the present in a way that's unique at each step of their subtle progression - forging new paths into an existing map. "Szabodelico" feels like discovering a small room under the stairs of your own house: familiar, yet new and exciting. Their latest vision is an elegantly zoned-out version of itself: a turn inward. Anti-bombastic, yet rich with ecstatic harmonics and dynamics. The band stringed together a long series of sessions in 2019 and early 2020 in their studio in Odense, often prioritizing playful first takes and good vibes rather than clinical perfection.Sparsely dubbed and mixed with a natural, full bodied flavour by Jonas Munk during the summer of 2020, each track has its own aesthetic. There's no simple equation to sum up the 13 individual parts of the album, but as a whole it creates an entity that's as complete as each of its parts. From the windblown opener "Echoes of Light", to the closing slow-motion epic "Merging Waters" you'll find yourself asking where did the time go? The answer of course is: Szabodelico.

Ecstatic’s dreamiest cadets bliss out on a new album of acoustic and electric guitar, harmonium and synth tapestries, notably nestling a Romance cameo within a genteel toggle of atmospheric pressure.

Back on (side) road after releasing quietly acclaimed kosmische gem ‘I Had too Much to Dream Last Night’ back in 2021 and the lysergic lushness of ‘Listen to the Sky’ a couple of years later, Celestial suggest a more sublime return to earth with the shine-eyed wonders of ‘I Can Hear the Grass Grow’, an album that soothes to the supine in eight shimmering parts of pearlescent melodic motifs marbling harmonious backdrops intended to tenderly comb nerves straight.

The duo take their role as seductive sandmen with a curious melodic wit that leaves something to the imagination whilst nudging it along the album’s narrative thread. A courtly flamenco lick flickers in opener ‘The Endless Stair’, one of the most restrained recordings we've heard from the childhood friends; blessed with just a little reverb and echo, as if a mic's been lowered into some dimly lit basement while Celestial puzzle out mystifying, interlocking harmonies. It hits a mid-point between John Fahey's raga-inspired Americana and Vini Reilly's rain-soaked Northern blues - the emotion throbs from every note.

Celestial's music is never too polished, giving it the fuzzy, uninhibited flair of a long-lost mail order private press and instilling it with a level of humanity that's rare to discover in the new-new age. Even when mysterious labelmate Romance turns up to ornament 'Mermaid Boulevard' with backmasked electronics, it's their low-slung Ry Cooder-esque guitar/bass that provides the narrative anchor, while the title track and spongiform analog textures of ‘Song For The rainy Season’ dial it right down to a Harmonia-via-BoC pastoral sublime. Vini Reilly and Eno’s influence is most surely felt on the swaying elegance of ‘Sweet Sleep, Angel Mild’, with a central motif that lingers on the mind long after it’s stopped playing, whilst their closing couplet perfectly resolves the cycle with a melancholic kiss-off for the ages.

The visionary Walter Maioli (Futuro Antico, Aktuala) and the eccentric electronic musician John Zandijik first met in 1984 when they both gravitated toward the experimental Sound Reporters collective, participating in the release of Ethnoelectronics (1986). Shortly afterward, the two met at Zandijik's studio in Rotterdam, where they completed their journey of exploration to the edge of the Universe in just three nights. The recordings were made only after 3 a.m., when psychic energy is at its peak, and inspiration belongs solely to the realm of dreams. It was a ritual of long galactic fluctuation, where the mystical sound of the flute was filtered and expanded by the Aureal system, a device capable of breaking it down into cascades of aureal harmonies. Through its extemporaneous approach, the music transforms perceptions of ancient pyramids or tropical forests into phosphorescent nebulae, luminous fountain openings, and unprecedented planetary interstices—interstellar portals leading to new archetypal-ancestral visions. It feels like sailing through colored orbits in the red gases of Jupiter and Mars, lost and dissolved forever in the engines and gears of the most secret cosmos. Between Pink Floyd-esque psychedelic flashes and Tangerine Dream-inspired sidereal architectures, Maioli and Zandijik reveal the most phantasmagoric and unknown side of Sound Reporters.

Inspired by Abba, early AC/DC, Beefheart and the dark heart of outsider pop, The Beyond and the Better Way is a record featuring warped orchestrations, extended autobiographical rants and sumptuous performances by a collection of Glasgow's (and Ireland's) finest musicians and singers The Gorgeous Pouting Mr AR is a pseudonym for Ronan Breslin - a recording studio owner, composer and academic who teaches sound and music at The Glasgow School of Art.

Ronan comes from an Irish family of musicians, with the most notable being his brother Niall Breslin, who helmed the iconic Irish band "The Blizzards" before becoming a highly regarded mental health podcaster and now presenter on BBC Radio 3. Niall's stellar guitar playing features on many of this record's tracks. The recording will be released on the 23rd May via Strength in Numbers Records on vinyl and digital platforms and will be accompanied by an online collection of song- related essays (aka rants). The album is distributed by Last Night From Glasgow. "The songs explore OCD, politics, anxiety, grief, regret, rage, lost love, but also reflect on joyous moments that define the transition from fearful child to fuck- you adolescence and finally reluctant adulthood. The album title song 'The Beyond and the Better Way' is morbidly confessional; however, it is also a statement of resilience, positivity and optimism for the human condition. There is always a better way." - Ronan Breslin

A SIDE: "Smooth Co-Operator" 124 BPM
Deep within the Co-op laboratory, a timeless classic was lifted from the ether and reborn under the alchemists’ touch. "Smooth Co-Operator"
takes the silk and smoke of Sade’s iconic Smooth Operator and fuses it with the pulse of an uptempo soulful house rhythm. Sprinkled with the
magic dust of hip-hop and funk samples, the track moves effortlessly—grooving on a smooth, rolling bassline, locked into a four-to-the-floor
heartbeat. The result? A dance where elegance meets momentum, where the past is reimagined for the now. Let yourself be carried away—
this is RnB soul jazz, remixed for the future.

B SIDE: "Dream Alchemy" 120BPM
Summoned from the realm of dreams, "Dream Alchemy" is a hypnotic, Kubrickian voyage through sound and shadow. Co-op bends time,
doubling the original tempo into a driving force of tech-house vibes. J Diggns layers ethereal, cascading keys—melodies that flicker like lucid
visions—while Whiskey Drop layers in A$AP Rocky and grounds the experience with a deep, rolling bassline that pulses from the underground.
The groove is relentless, the atmosphere cinematic. Step inside—The dream and the Sandman await.