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Probably the Three most dancefloor tracks from the forthcoming Bad Girlz album “Bad Girlz at Work”
I am Savage is a peak time floor filler with Nineties tech vibes with a vocal hook adapted from Breach the Peace. Little Miss information is an all smiles pumping electro hit and It’s a banger ? The clue is in the name … The vinyl sampler will be released on 13th March with the full album in Digital format to follow on the 19th.

Original Ravers Dream Frequency reunite with K69 to rebuild 4 90's classics. All 4 tried and tested by the usual suspects and doing serious damage on the dancefloors. Grab one whilst you can as only 150 have been pressed. Hand Stamped White label with stickered sleeve

Deep in Northern Spain, there is a rave scene exploding all over again partly driven by DJ Duo Cado & Jinx. Hailing from the outer suburbs of Barcelona these days spend their days in the studio re-imagining rave classics and building them in their own magical way. The Rave Generation e.p. Is DJ Friendly with intro's and Outro's on all 4 tracks. They have used all the original samples that got banned or removed back in the 90's to build 4 dancefloor monsters for DJ's only. Their intention and motivation for their music is to bring the euphoric sound of the 90's kicking and screaming into 2025. Already playing to sold out events in Northern Spain Cado and Jinx are names to look out for.

Die 12 rumänischen Musiker aus dem jenseitigen Gebirge haben einen neuen Song geschrieben, der höchstwahrscheinlich eine zukünftige Hymne der balkanischen Blasmusik werden wird: Me Sem Rom - Ich bin ein Mann. Die Blechblasinstrumente glühen unter dem Druck der Melodie, Sänger Canaf führt seine Stimme, gewürzt mit heimischem Schnaps und purer Freude, sicher durch die stürmischen Grooves. Und weil die Übersetzung von "Me Sem Rom" ins Englische so gut passt, hat sich die Bruderschaft der Blechbläser auch an eine Coverversion des 1967er Klassikers der Spencer Davis Group gemacht und führt den Song "I"m a man" in ein wildes Balkan-Ska-Delirium.

We are very happy to announce a new release on Mr. Bongo scheduled to be released on the 9th of June 2023. This is a repress of Rio de Janeiro's very own Bala Desejo's debut album "Sim Sim Sim". The album was previously only available on very limited runs in Japan and Brazil and it is now presented and available for worldwide distribution for the very first time.

Bala Desejo could be described as a supergroup, uniting some of the most talented musicians taking part in the current renaissance of the Rio de Janeiro sound. As solo musicians they have worked and collaborated with legends such as Gal Costa or Milton Nascimento. Together they decided to explore new routes and ways, channeling influences from the best of MPB into a fresh and innovative recipe.

Sim Sim Sim went on to win a Latin Grammy in 2022 for the Best Contemporary Pop album in Portuguese language and is the first testimony from one of the most fascinating outlets to come out of Brazil in recent years.

Split Colour Heavyweight Vinyl Repress!

'2 Sim' is a phrase the references mobile phones with two sim cards to describe people of mixed heritage, dual nationality or multiple residence. After being called 2 Sim in conversation with a stranger while on a walk through Freetown (a recording of this moment features on the record) Duval began to explore what the 2 Sim experience is in contemporary West-Africa.

2 Sim EP was created from 2 months of field recordings and interviews with family, friends and peers in Freetown Sierra Leone. These site specific recordings are collaged with solo piano recordings and production recorded in Sierra Leone and the UK. The EP is accompanied by a short film/ music video of the same name which Duval shot and Directed whilst making the record.

2 Sim EP is the second release from Carrying Colour which follows on from 2017's 'Sen Am'"

2024 Repress

"DJ Sim and Dr. Phil Omanski are the focal point in the fourth part of the extremely successful series; Hardcore Legends. DJ Sim is, without a doubt, a Hardcore Legend. Tracks like “Go Get Busy”, “Cartoons in Progress”, “Simbiosis” and “Pump That Stupid Bass” have made many hardcore hearts beat faster. These tracks inspired many hardcore artists. Dr. Phil Omanski aka Jorn Hanneman is essential in this series. Everyone remembers the hit “Young Birds” with the mega catchy synth stab and Celtic vocals, but also gems such as “BZRK Feelings (Toni Salmonelli Mix)” and “One Tribes Jam” are featured. Hardcore Legends by DJ SIM x Dr. Phil Omanski is available as a limited edition of 1000 individually numbered copies on translucent red coloured vinyl. "

Hardcore Legends by DJ SIM x Dr. Phil Omanski, released 4 April 2024, includes the following tracks: "BZRK Feelings (Toni Salmonelli Mix)", "One Tribes Jam (Org. Ragga Edit)", "Pump That Stupid Bass (Hardcore Mix)" and more.

This version of Hardcore Legends comes as a 1xLP.

After a brief hiatus, Late Night Burners re-enters the party with a fresh reissue in the Still Burning series, the first of a few that will drop throughout 2024. And again, the adventure was found close by.

Roland Klinkenberg operates under many clever aliases (Simsalabim!) but arguably his biggest moment as a producer was the progressive trance tune “Inner Laugh”, which was remixed by none other than Border Community founder James Holden. And when those kinds of tunes get cross-bred with uptempo house and menacing techno, you get “SIM 01 / Trance Textures 2”. Originally released as the first record on his own Sim label in 1995, these tunes were part of the beginning of Roland’s long and illustrious career. You’ll understand it when you hear it. No remixes this time, just the four OG cuts remastered from the DAT tapes with love, respect, and tenderness.

RED ist die erste Single aus dem kommenden Album PLAYDEAD der japanischen Ska/Punk/Metal-Band SiM. Der Song wird auch als Titelsong für die neue Staffel von 'Kengan Ashura'. MAH (Sänger) erklärt: "Unser Ziel war es, einen Sound zu kreieren, der den tiefen Respekt widerspiegelt, den wir für die Heavy-Musik der frühen 2000er Jahre haben, wie Limp Bizkit und Korn."

"Der Sound und der Groove von RED waren bereits im Entstehen und passten perfekt in den Anime. Das ist eine große Auszeichnung für uns, und nach dem, was wir von dem Teaser gesehen haben, glauben wir, dass es eine großartige Kombination ist."SiM sind Anfang 2022 aus Japan heraus auf die internationale Szene gestürmt, als ihr Song "THE RUMBLING" als Titelsong für den gefeierten Anime ATTACKON TITAN ausgewählt wurde. Seit seiner Veröffentlichung wurde der Song mehr als 300 Millionen Mal gestreamt und ist der #1 Metal-Song auf Spotify für 2022 und war sieben Wochen in Folge in den Billboard Hot Hard-Rock-Songs, mit einem Höchststand auf Platz 1.

RED ist die erste Single aus dem kommenden Album PLAYDEAD der japanischen Ska/Punk/Metal-Band SiM. Der Song wird auch als Titelsong für die neue Staffel von 'Kengan Ashura'. MAH (Sänger) erklärt: "Unser Ziel war es, einen Sound zu kreieren, der den tiefen Respekt widerspiegelt, den wir für die Heavy-Musik der frühen 2000er Jahre haben, wie Limp Bizkit und Korn."

"Der Sound und der Groove von RED waren bereits im Entstehen und passten perfekt in den Anime. Das ist eine große Auszeichnung für uns, und nach dem, was wir von dem Teaser gesehen haben, glauben wir, dass es eine großartige Kombination ist."SiM sind Anfang 2022 aus Japan heraus auf die internationale Szene gestürmt, als ihr Song "THE RUMBLING" als Titelsong für den gefeierten Anime ATTACKON TITAN ausgewählt wurde. Seit seiner Veröffentlichung wurde der Song mehr als 300 Millionen Mal gestreamt und ist der #1 Metal-Song auf Spotify für 2022 und war sieben Wochen in Folge in den Billboard Hot Hard-Rock-Songs, mit einem Höchststand auf Platz 1.

We are very happy to announce a new release on Mr. Bongo scheduled to be released on the 9th of June 2023. This is a repress of Rio de Janeiro's very own Bala Desejo's debut album "Sim Sim Sim". The album was previously only available on very limited runs in Japan and Brazil and it is now presented and available for worldwide distribution for the very first time.

Bala Desejo could be described as a supergroup, uniting some of the most talented musicians taking part in the current renaissance of the Rio de Janeiro sound. As solo musicians they have worked and collaborated with legends such as Gal Costa or Milton Nascimento. Together they decided to explore new routes and ways, channeling influences from the best of MPB into a fresh and innovative recipe.

Sim Sim Sim went on to win a Latin Grammy in 2022 for the Best Contemporary Pop album in Portuguese language and is the first testimony from one of the most fascinating outlets to come out of Brazil in recent years.

These dancefloor-inspired edits have been approved by BMG, Partisan Records and Fela estate, with all profits going to the UN World Food Programme in Yemen.

In Fela’s own words: Music is a weapon of the future, music is the weapon of the progressives, music is the weapon of the givers of life.

Supported by All City Records, Partisan Records, BMG France, NTS Radio, Dublin Digital Radio and Worldwide FM.

Very limited stock first come first served.


12 inch black vinyl, white disco bag in black outer sleeves with a sticker. Hand stamped labels

Oliver Sim hatte eigentlich nicht den Wunsch, es seinen The xx-Bandkollegen Romy Madley Croft und Jamie Smith gleichzutun und ein Soloprojekt zu starten. Er dachte auch nicht, dass er wirklich den Mut dazu hätte. Als er mit Jamie xx an einem Stück namens "Romance with a Memory" arbeitete, sagte dieser jedoch: "Ich denke, du solltest eine komplette Platte machen". Und das war der Beginn der langen und schmerzhaften Geburt von "Hideous Bastard", Oliver Sims Solo-Debütalbum, das am 09.09.22 auf Young erscheinen wird. "Fast drei Jahre lang habe ich mir Fragen gestellt und war beim Schreiben auf der Suche nach Antworten", beschreibt Sim den Entstehungsprozess des Albums. Die Enthüllung seiner HIV-Erkrankung verfolgt die Platte thematisch, so wie sie sein Leben stets überschattet hat. In diesem ersten Song "Hideous" fragt sich Sim, ob seine entwaffnende Ehrlichkeit ihn wohl befreien wird. Die Hoffnung und die Spannung spiegeln sich in der musikalischen Umgebung wider, die er zusammen mit seinem Freund Jamie xx geschaffen hat. Oliver begann zu Hause in London mit dem Schreiben und Aufnehmen von Songs, inspiriert von seiner Vorliebe für Horrorfilme und seinem eigenen Leben, wobei er Themen wie Angst und Scham durch die Brille eines queeren Mannes in den Dreißigern anpackte. Einige Monate später kehrte er mit einer Sammlung von Demos zu Jamie zurück, und die beiden begannen, sie gemeinsam zu produzieren. Er holte sich unter anderem die Hilfe seines lebenslangen Helden und jetzigen Freundes Jimmy Somerville, um dem Album den letzten Schliff zu geben und sprach zudem mit Elton John über seine Musik. Anschließend war es an dem französischen Regisseure Yann Gonzales eine visuelle Welt mit dem Kurzfilm "Hideous" zu erschaffen. Der Film feiert seine Premiere bei den diesjährigen Filmfestspielen von Cannes. "Hideous Bastard" ist ein audiovisuelles Ereignis geworden, wie es sich Oliver Sim anfangs selber nie zugetraut hätte, umso beeindruckender ist nun das Ergebnis.

Oliver Sim hatte eigentlich nicht den Wunsch, es seinen The xx-Bandkollegen Romy Madley Croft und Jamie Smith gleichzutun und ein Soloprojekt zu starten. Er dachte auch nicht, dass er wirklich den Mut dazu hätte. Als er mit Jamie xx an einem Stück namens "Romance with a Memory" arbeitete, sagte dieser jedoch: "Ich denke, du solltest eine komplette Platte machen". Und das war der Beginn der langen und schmerzhaften Geburt von "Hideous Bastard", Oliver Sims Solo-Debütalbum, das am 09.09.22 auf Young erscheinen wird. "Fast drei Jahre lang habe ich mir Fragen gestellt und war beim Schreiben auf der Suche nach Antworten", beschreibt Sim den Entstehungsprozess des Albums. Die Enthüllung seiner HIV-Erkrankung verfolgt die Platte thematisch, so wie sie sein Leben stets überschattet hat. In diesem ersten Song "Hideous" fragt sich Sim, ob seine entwaffnende Ehrlichkeit ihn wohl befreien wird. Die Hoffnung und die Spannung spiegeln sich in der musikalischen Umgebung wider, die er zusammen mit seinem Freund Jamie xx geschaffen hat. Oliver begann zu Hause in London mit dem Schreiben und Aufnehmen von Songs, inspiriert von seiner Vorliebe für Horrorfilme und seinem eigenen Leben, wobei er Themen wie Angst und Scham durch die Brille eines queeren Mannes in den Dreißigern anpackte. Einige Monate später kehrte er mit einer Sammlung von Demos zu Jamie zurück, und die beiden begannen, sie gemeinsam zu produzieren. Er holte sich unter anderem die Hilfe seines lebenslangen Helden und jetzigen Freundes Jimmy Somerville, um dem Album den letzten Schliff zu geben und sprach zudem mit Elton John über seine Musik. Anschließend war es an dem französischen Regisseure Yann Gonzales eine visuelle Welt mit dem Kurzfilm "Hideous" zu erschaffen. Der Film feiert seine Premiere bei den diesjährigen Filmfestspielen von Cannes. "Hideous Bastard" ist ein audiovisuelles Ereignis geworden, wie es sich Oliver Sim anfangs selber nie zugetraut hätte, umso beeindruckender ist nun das Ergebnis.

SIM CARD HØLDER is not a band. It is the hybrid child of Ian Bruner, Drone Operatør and Gajek. It's procreation date is hard to pin down, but it started 2020 with an Insta chat and one of Ian's piano improvisations recorded in his Colorado living room. From there the album grew in separated covid lockdown wombs at three different locations in Germany. Ian's shadowy instrumentation of light piano and heavily layered and long believed to be dead soundscapes were digested, replanted and grown-over by Drone Operatør's and Gajek's uncompromising and individual sense for song structures and sounds. When finally all body parts were assembled in early 2021 the baby was already fluent in different languages.

Sim Card Hølder grows slowly while meandering through dense and open fields. It switches from calm and dreamy moods to wild fractured outbursts without fragmenting into the arbitrary. A raw spiritual power keeps every part connected and in perfect motion. Each song is a portal into multiple universes that suck you in on thick piano carpets, sharp saxophone spikes and buzzing quadcopter wings, warming insect intestines, blasting raw drums and slow healing winds, screeching synth rhymes, dissonant orchestral tales and floating blue melodies. It's a demanding ride but thoroughly deeply relaxing. The perfect soundtrack to rewind your mind.











k 11: Alone_ (rendered altitude) [feat. Drone Operatør & Ian Bruner]

A very Acid Cheez style there, Electribe with one song about Hathor, the Egyptioan mother godness of the Sky, Pleasure and Dance.

The flip brings a wicked acid techno mix.

Simon Hamelin aka A-Sim returns after his fulminant debut "A Peaceful Mind EP" on the RAWAX MOTOR CITY EDITION 007.1!
He presents us on the "Disaster Theory Ep" an outstanding release packed with beautiful Space Electro tracks!

A-Sim, born Simon Hamelin, is a fresh electronic music producer from France. His productions wind up somewhere between UK bass, electro and techno with a focus on the rivalry between the dark and sweet side of all textures coming from electronic instruments. He released stuffs on R&S, Eddy Larkin and Rawax.

Ghost of Skye glides between lost innocence and joyful tears. It shines like a blurring star, like the glowing glass of your last drink on a late night.
My Opinion (even if you don't care) is the rotating, meditative call to prayer pumped on detroit electro steroids. Take my hand and dive into oblivion.
Unpeaceful Mind re ects our apocalyptic erra. The neverstopping dark and anxious pressure of society. The need of relief. Of escape. Of freedom.

All tracks mastered by Pole at Scape Mastering in Berlin.

Once I Was Young and The Airplane Album find the producer taking yet another sonic right turn. "These records were made in the same year with a very similar creative process. I moved almost completely away from sampling, experimented more than ever with ambient and techno elements and used the album format as a way to tell a story about moments in my life." Once I Was Young is a storytelling work that journeys through analogue synth-pop, modulated techno and raw, dusty drums with otherworldly melodies. Moments of beauty come through escapist, naturalistic ambient tracks and fusions of Kraftwerkian sequencing with more classical piano, while stark, clubready grooves keep things moving. Airplane contrasts similar shades of light and dark, synthetic and organic, rough and smooth. Glitchy, imperfect analogue sounds, knackered drum machine grooves and eerie synth phrasing evoke a post-human world with icy atmospheres. Elsewhere, warmth comes from bittersweet melodies and loose, funky drums that ooze retro-future charm.
Once I Was Young and The Airplane Album show a diff erent side to Escobar, one that embraces introspection and experimentation while exploring a whole other world of meaningful machine soul

Soul meets Funk 1967-style. Club Sounds, Funk Guitar Groovers, Soul Cha-Cha, Hammond Magic, Freak-Out Party Sounds, Slinky Organ Smoochers. Cornbread And Buttermilk, Chittlin' Salad, Sweet Potato Gravy, and a Bucket Of Grease. Just Instrumentals Soul and Funk-Style. Mmm Mmm Mmm.

FOLLOWING THE SUCCESS OF “THE OTHER HELL”, GOBLIN ARE BACK FOR RECORD STORE DAY 2026 WITH AN EXCLUSIVE COMPILATION OF SINGLES RELEASED BETWEEN 1975 AND 1979!

For the very first time on vinyl, this compilation gathers together all the singles released by Goblin during their golden era between 1975 and 1979, a journey that begins with the explosive, legendary debut Profondo Rosso, a true chart phenomenon of its time, and reaches the rare Amo Non Amo, passing through unforgettable milestones of Italian film music and progressive rock.

The collection opens with Profondo Rosso and Death Dies, taken from the soundtrack of Dario Argento’s masterpiece that catapulted Goblin to fame, blending dark atmospheres, virtuosity, and a unique sense of cinematic tension. It continues with Roller and Snip Snap, drawn from the instrumental album Roller (1976), a record not tied to any film, yet considered a cult cornerstone of Italian progressive music for its intricate structures and expressive power.

Chi? and Chi? - Parte Seconda follow; two tracks originally composed as the theme for a 1976 RAI television show, which saw Goblin bring their unmistakable sound to a different medium, experimenting within a shorter, punchier format.

Next comes Suspiria with its haunting counterpart Blind Concert, from the soundtrack of Argento’s 1977 horror classic. This remains one of Goblin’s most iconic and unsettling works, where music becomes an active narrative force: hypnotic, percussive, and filled with eerie vocal layers that made it a cornerstone of horror soundtracks worldwide.

From Il Fantastico Viaggio del Bagarozzo Mark (1978) come Un Ragazzo d’Argento and Opera Magnifica, two tracks that highlight the band’s more conceptual and visionary side, a move away from cinema toward a self-contained narrative and progressive experimentation.

The single Yell stands as another late-decade gem. Originally composed as the opening theme for the RAI television series “Sette storie per non dormire” (1978), it captures Goblin’s ability to merge rock energy with electronic pulse, proving their versatility far beyond the horror realm.

The compilation closes with Amo Non Amo and Funky Top, taken from the soundtrack of the 1979 film Amo Non Amo, one of the group’s lesser-known but fascinating cinematic works.

Far more than a simple anthology, The Singles Collection 1975–1979 maps the evolution of Goblin’s sound, from the worldwide success of Profondo Rosso to their most mature and experimental phase. It finally restores to vinyl a body of work that had long been scattered across rare 45 rpm releases, offering fans and collectors a complete, vivid portrait of one of Italy’s most inventive and influential musical ensembles.

Amore Libero – Free Love marks the first film score composed by Fabio Frizzi, written in 1974 for the movie of the same name directed by Pier Ludovico Pavoni. Set against the exotic backdrop of the Seychelles, the film tells the story of Simo, a free-spirited young woman played by Laura Gemser in her cinematic debut, blending sensuality and the spirit of liberation so typical of the 1970s.

Frizzi’s score perfectly captures the film’s atmosphere, weaving together evocative melodies, funky grooves, and progressive textures — an elegant, psychedelic soundscape that reflects both the tropical setting and the film’s themes of freedom and desire. The recording features the Goblin in their classic line-up: Fabio Pignatelli (bass), Massimo Morante (guitar), Walter Martino (drums), and Claudio Simonetti (keyboards), with Vince Tempera handling arrangements and orchestral direction.

Long regarded as a true holy grail for collectors, now, for the first time ever, it is officially reissued on vinyl, bringing back to light a fundamental chapter in Italian film music and progressive sound. An essential record that merges Frizzi’s melodic genius with the visionary energy of the Goblin, Amore Libero – Free Love stands as a timeless document of an extraordinary era in Italian cinema and its music.

A Record Store Day 2026 exclusive / Pearly light blue vinyl edition / 30x30cm insert with extensive liner notes

“Step into orbit with Stellar Engine.”

Simplexia presents Sunrise in Mars EP by Stellar Engine.
A cosmic journey through House, Progressive, Tech, and Trance, featuring hypnotic grooves (that grabs you from the very first kick) and soaring melodies. The release includes three original cuts, plus a remix by Papolious Jones (aka Brian Topham).

The project of Peruvian producers J.J Beteta, Stefan aka Most Wanted, and Christian, bringing together vision and energy into a unique and powerful sound that's dancefloor minded.

SIMPLEXIAWHITE001 – 180g Heavyweight very limited hand-stamped pressing.

This is the first release in a series of limited editions to come.

Made in Barcelona

Summer Card, is the debut release on Safe Trip of SDK – a new project by Simone de Kunovich. Refining his sound into a more glossy, dancefloor-driven direction, this summer anthem blends nostalgic, early-2000s chords with a clean, propulsive groove. The release includes a vinyl-only DJ Tool tweak by Young Marco (M’s Freak Mix), pushing things into obscure territories. You have been hearing this one been played out by a select few past year, and now its finally here!

AN INSTANT CLASSIC FROM ANORAX.

GARDEN OF EDEN becane an instant sensation via white label promotion copy plays,

It instantly picked up support from radio stations Mi-Soul (instant playlist), Panacea, Solar and Starpoint, became Terry Jones breakout record at the recent Southport Soul Weekender and had Modern Soul DJs begging for a copy,

A special reaction to a very special record. Produced by veteran House Heads Phil Hooton and Mark Gamble, the duo have created a monster track that straddles Soul, Jazz and House. Commentator Yogi Haughton highlighted the “ambiguous nature” of GARDEN OF EDEN as it merges Soul and Jazzy House.

The bedrock of the track is a newly recorded (with ace musos lured into the recording studio) version of Mezzoforte’s Iceland jazz-funk classic GARDEN PARTY.
Phil and Mark then composed a brand new composition to go over the top of the track,and to regally complete their new concoction got UK Soulful House royalty vocalist extraordinaire Pete Simpson to sing it. And what a performance Pete delivers!

There’s two equally beguiling mixes - on the a side the 4.37 Vocal Edit V.3 With Horns edit and flip it over for the 4.34 Vocal Trombone Mix - on this 7” single.

First press is 300 copies only.

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

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

24K Magic, the critically acclaimed, RIAA certified platinum album from multiple GRAMMY Award-winning singer/songwriter/producer/director/musician Bruno Mars, featuring the hit records, “24K Magic”, “That’s What I Like” and “Versace on the Floor”, is out on a Limited-Edition Gold Vinyl on February 11th, 2022.

Bruno Mars is a 21-time GRAMMY Award nominee and multi-GRAMMY winner. The celebrated singer, songwriter, producer, musician has sold over 171 million singles worldwide, making him one of the best-selling artists of all time. His most recent critically acclaimed and RIAA certified platinum album, “24K Magic,” made an impressive debut atop the Top Digital Albums and R&B/Hip-Hop Albums charts. Additionally, the album and its lead single, “24K Magic,” simultaneously hit No. 1 on the iTunes Overall Albums and Overall Songs charts week of release. The single has since climbed to No. 4 on the Billboard Hot 100 and has also officially been certified Platinum by the RIAA. Mars latest single, "That's What I Like," recently climbed to #4 on the Hot 100, marking his 14th top-10 hit and his first #1 on the Hot R&B Songs chart.

Chicago's finest lyricist MC Juice, infamous from the mid 90s from beating Eminem in the Rap Olympics, is back with a scorching 9 track EP (3 instrumentals and an accapella included) on 12" vinyl! Following on from his two 45s on Nobody Buys Records and well as the hit album The Man, all of 3 of which rapidly sold out this is some of Juice's best work displaying his razor sharp wordplay and effortless flow to its fullest. The sound scape provided by Bankrupt Europeans for their 3rd collabo with Juice ranges from the upbeat & funky original version of All Day to the murky oboe of its remix, the dramatic strings on Where You Go and the sinister vibes of Unseen, in short, the perfect set up for Juice to get loose! We are beyond excited to be delivering some of MC JUICE’s finest ever work and there is a general feeling around Nobody-Buys-Records HQ that this may just be our finest release yet. Between the absolutely incredible artwork by the immensely talented Big Crunch, the beautiful marble vinyl, and the exquisite beats and rhymes, this EP is quite simply the perfect summer package. As always, every record is hand numbered!

Follow up to Goodge's 2023 album Echoes Of Yesterday. Previous releases found on Hip Dozer and Cascade Records. Tracks found on the popular Spotify Mellow Beats playlist. 11th in 'Jet Set' Cold Busted series. Designed and manufactured similar to the vintage 60's style rice paper sleeves. In his latest EP, Sunday Soul, Goodge takes listeners on a four-track journey through the heart of funk, masterfully blending elements of R&B, jazz, and chilled lo-fi. Released as part of Cold Busted's Jet Set series, this four-song offering follows Goodge's 2023 album Echoes Of Yesterday and showcases his dedication to crafting timeless music. "Lights Out" kicks off the EP with heavy funk and stirring breakbeats, accompanied by a scratchy guitar that summons the revolutionary spirit of the '70s. Horns serve as a call to action, while a rollicking bass line and chunky electric piano might inspire listeners to go out and fight crime. "Promised Land" follows, featuring a formidable funk bass guitar and lead guitar chords that rhythmically play off the delightfully busy drums, creating an atmosphere reminiscent of the city's bustle. The title track, "Sunday Soul," is a rowdy affair with a speech-over-beats leading to crispy snare rolls and chiming electric piano. Shaker magic, staccato horn bleats, and spiral flute bits combine to create a swirling vintage-hued photograph of sound. The EP concludes with "Within Myself," a spacier sonic experience that could serve as the soundtrack for chasing someone across rooftops. It's funk spelled with a capital K. Sunday Soul is a must-listen for fans of of the heavier side of funk, solidifying Goodge's position as a master of his craft, creating a nostalgic yet fresh soundscape that keeps listeners grooving back for more.

For her new and most radical album »Electroacoustic Works for Halldorophone«, Martina Bertoni used the electronic instrument at EMS Stockholm to create four pieces that are massive in scale and incredibly intimate, sonically restrained and emotionally overwhelming—almost ambient and always demanding your full attention.

Martina Bertoni returns to Karlrecords with »Electroacoustic Works for Halldorophone,« her most radical album yet. The foundation for the four electroacoustic pieces was laid during a residency at Stockholm’s legendary Elektronmusikstudion (EMS) that the Berlin-based cellist and composer used to explore the curious instrument, originally designed by Halldór Úlfarsson in 2008, as an algorithmic system in order to examine tunings and the mathematical relationships between Aiming to analyse and understand their interaction beyond the composer’s control, Bertoni sought to engage more deeply with the concepts of time, tuning, and, most importantly, control. Accordingly, her four »Electroacoustic Works for Halldorophone« seem both massive in scale and incredibly intimate, sonically restrained and emotionally overwhelming— almost ambient and always demanding your full attention.

While the halldorophone—famously used by Hildur Guðnadóttir for her »Joker« score—roughly resembles a cello and can be played like one, it is an electronic instrument. The vibration of its strings is being picked up, amplified, and then routed through a speaker. This creates a feedback loop that becomes increasingly complex depending on how much gain is added to individual strings. Úlfarsson gave Bertoni a carte blanche for how to handle the instrument, but she stresses that she relied on »minimal interventions—some string strumming and plucking« that set the interactions of different sounds and frequencies into motion. »I decided to not approach it like a cellist would,« she explains. »Instead I used it as a kind of generative organ by turning it into a feedback machine, with tuned feedback triggering more feedback depending on the tuning, which was based on tetraphonic scales that I could apply on the four main strings as well as the sympathetic group of strings.«

Bertoni recorded the material in the EMS studio, later composing and arranging the four complex pieces in her home in Berlin, after which they were mixed and mastered by Ciaran O’Shea. While this can be considered a compositional abstraction process, traces of her concrete work as a performer are firmly ingrained in the music. »The halldorophone doesn’t have a line output, just a double set of speakers, which is why I recorded all sounds with two microphones in the EMS studio,« she explains. »That’s why there’s plenty of breathing sounds here and there—label owner Thomas Herbst and I jokingly refer to the album as my ›chamber music record‹.« And indeed, there is a striking sense of intimacy to these four pieces throughout which individual sounds, harmonic frequencies, and even subtle rhythmic figures seem to move both on their own accord but also according to a underlying vision that steers their interplay.

Indeed, »Electroacoustic Works for Halldorophone« is an album built on and marked by contrasts. The soothing polylogue of single sounds in the higher register on opener »Omen in G« is counterpointed by massive bass drones, while the second piece, »Nominal in D,« plays a cunning game of repetition and difference by combining thick textures with all kinds of rhythmic elements. »Fades in C«—the longest of the four pieces, clocking in at 17 minutes—unlocks the emotional potentials of the sonic qualities of the halldorophone, sounding at once serene and anthemic, and »Organon in D« closes the album by underscoring how Bertoni’s unconventional approach allows her to seamlessly transform simple, quiet tones into complex, towering walls of sound.

In this post Sounds world, the boundaries of Post Punk have not only broadened but splintered. And over the course of (now) four releases, Index For Working Musik have seen to using the sprawling boundaries to great effect, flexing a polyglot of styles to convey the language of the moment. On Which Direction Goes The Beam, the murky, distant ambience that was 2023's Indexé has been fleshed out, incorporating everything from the Brian Aldiss laced, ground lightning shudder of Dome, to the chamber-like arrangements of This Kind Of Punishment. There's even a candle flickering in the window for Think Fellers Union Local 282 that warmed these ears. And if you're a fan of the great Dutch band, Trespassers W (who isn't?), the collective consciousness IFWM enunciates on here is a similar testament of a band growing more sure footed in the pursuit of not only knowing all the ways in, but carving a few of their own on the way out. And it's discerning releases like Which Direction Goes The Beam that keep us in the hunt. Long may they forge. - Tom Lax. RIYL: Brian Jonestown Massacre, Velvet Underground, TOY, John Cale, Wire, Dome

The classic Fearless Iranians From Hell Die For Allah LP is now back in print after a twenty-five year hiatus. Remastered and repressed on nuclear green vinyl, this hardcore punk arsenal also includes all tracks from their literally explosive Blow Up The Embassy 7-inch debut. FIFH was a mysterious Texan monstrosity formed in 1983 by Iranian expat (and modern day hashashin) Amir Mamori, who gathered to his side various mutants and apocalyptic freaks from the San Antonio punk rock blast zone, even throwing in two Butthole Surfers rejects for good measure (including none other than the notorious Anus Presley himself). The subsequent recording sessions were a chaotic affair, as guitars were rarely in tune and the drums were seemingly scavenged from the trash. It was all directed by Amir who, with fanatical focus, would inspire the band on to victory from behind a stupifying cloud of hash smoke. The resulting releases were widely praised; from places like Maximum Rock n Roll and the Village Voice in the US, to Sounds and New Musical Express in the UK. They were even cited as forerunners of the musical genre known as Taqwacore. After touring the US in the late ’80s—and leaving in their wake crowd turbulence, police intimidation, and even bounties being place on the heads of the members—the band disbanded in 1989 upon the death of the Ayatollah Khomeini (may Allah have mercy on him). “We’re stoned as shit, and we’re ready to roll.” - F.I.F.H. ’87

»Cosmogonical Ears« is Amosphère's first album for Hallow Ground. Following her contribution to the Swiss label’s »Epiphanies« compilation and her 2021 full-length debut »More Die of Heartbreak« on 33-33, it features three expansive pieces. The Paris-based composer and multidisciplinary artist delves deeper into themes of time, space, cosmology, human perception, and psycho-physical effects, crafting profound sonic meditations. Drawing on a minimalist approach while blending electronic and acoustic elements, Amosphère’s long-form compositions are living, breathing entities whose sonic richness and evocative power unfold gradually over time, putting »Cosmogonical Ears« in direct kinship with previous Hallow Ground releases by artists such as Kali Malone and FUJI|||||||||||TA.

The album opens with its longest piece, »Land of eternal delight,« composed for the Buddha10 exhibition at the Museo d'Arte Orientale in Turin. Written during three years of isolation—a period in which Amosphère explored meditation practices and diverse belief systems—it merges mythology with personal transcendental experiences, reflecting on a challenging time for humanity. »By blending Buddhist philosophy and sculpture with my own meditation practices, I sought to explore a way for people to transcend the boundaries of space and time—not as a believer, but as an observer,« she explains. Featuring handmade ceramic instruments and recorded by Thomas Lefevre, the piece combines Amosphère’s electronic organ with Marc Lochner’s flute contributions, creating a sound that is simultaneously minimalist and expansive.

The concept of teleportation and how it challenges traditional notions of time and space serves as the foundation for the second piece. »Recent advances in quantum physics suggest that teleportation might be possible through quantum entanglement,« Amosphère notes. »What if science fiction is becoming reality—or has already existed in ancient times?« Drawing inspiration from theories proposed by physicists such as Roger Penrose, Amosphère again worked together with flutist Lochner, this time using her VCS 3 synthesizer. »Teleportation« weaves single notes into intricate, non-linear patterns that defy conventional logic, creating a complex auditory tapestry. The last piece »Black hole in, white hole out« was recorded on Corsica and features Miao Zhao’s bass clarinet drones alongside Amosphère’s church organ. It imagines the possible sound of crossing a black hole while also suggesting the study of its theoretical exit and its potential applications for large-scale time and space travel.

The questions posed by »Cosmogonical Ears« do not yield straightforward answers. Instead, Amosphère’s restrained yet intricately layered compositions require full immersion and concentration from the listener. As expressed by the album’s title—which envisions the birth of a new universe through listening—»Cosmogonical Ears« offers an experimental approach to auditory perception as a tool for seeking truth, freedom, and harmony between the outer world and the inner self.

When a Russian missile struck the ground not far from my studio in Kyiv, I vividly remember how my body reacted to the explosion, milliseconds before my mind did. That traumatic explosion reduced my essence to a primal state. There existed nothing but dread—the kind that, in scripture, accompanies the appearance of angels announcing, ’Be not afraid’.

The visions of Abbess, composer and mystic Hildegard von Bingen were preceded by bright, excruciating flashes of light. Modern medicine reduces them to cluster migraines, one symptom of which is the retinal aura, often accompanied by blurred vision and blind spots. Hildegard’s music can place great demands on the bodies of its performers, emphasizing uncomfortable intervals and the wide distance between the lowest and highest pitch. In comparison, Gregorian chant, the liturgical standard of the time, represents a tempered attempt to grasp God intellectually; indeed, Hildegard’s music was once described as a stick of dynamite thrown into a Gregorian chant.

This album is not a historically informed performance. Hildegard’s persona and music are a starting point—a distant mirror, akin to the shield of Perseus, used to reflect Medusa. It allows us to reflect, comprehend, externalise, and transcend traumatic wartime experience, reinstating the embodied origins of Christianity, which contained suffering but also offered the promise of transcendence. Andriana-Yaroslava Saienko emphasises this physical aspect of Hildegard’s music by drawing on authentic Ukrainian folk singing, a form that survived despite efforts by the Soviet occupation to replace it with a simulacrum that is naive, harmless, and devoid of contradictions—an attempt to ‘civilise’ the body by disembodying it.
The musical approach is also informed by my ongoing practice of reimagining early music in modular synthesis. I accompany Andriana-Yaroslava’s fiery singing with drones—extended sounds that also occurred in medieval music. The drones alternate with improvisations, one taking its starting point in medieval polyphony, the other working with the concept of the interchangeability of sound and light, referring both to Hildegard’s visions and the space in which we recorded the album: the Cistercian abbey of Sylvanès in Occitania, known for contemporary stained glass windows whose patterns reference the dispersion of acoustic waves inside the church.


The album features two compositions by Hildegard von Bingen: O Ignis Spiritus Paracliti (O Fire of the Spirit and Defender), dedicated to the Holy Spirit, and O Tu Suavissima Virga (O Sweetest Branch), in honour of the Virgin Mary. Both pieces are performed radically slower than usual, expanding in time and space. On vinyl, the compositions are designed to reflect one another and can be listened to in either order. In the digital edition, there is a bonus track titled Zelenaia Dubrovonka (The Green Oak Grove). Based on a Ukrainian folk song from the Polissia region, Andriana Yaroslava adapted the lyrics to reflect our contemporary reality. The green oak grove does not rustle with the wind; instead, it resonates with a different sound—perhaps the missile that struck near my Kyiv studio.

Skymark is back with a new album recorded in 2025 with his electric pianos and analog synthetisers. The vibes is very similar to his previous albums, a fusion of Spiritual Jazz, Soul, Brazilian music and Disco. As always influenced by his 70´s and 80´s favorite musicians but with a touch of contemporary soulful music. This is a very limited vinyl edition mastered by Jose Rico (Madrid) and pressed by Mad Vinyl music (Madrid).

Pleased As Punch presents four tracks from the many shades of house. Groove P featuring Adeva's 'Hold On Honey' opens with a steady groove and bass he's known for, while vocals from Adeva carry you through the track. A2 follows with Saison's 'Keep My Mind'; a deeper, tougher sound they sometimes bring. Fresco Edits' 'You Are the One' adds classic disco flavour that brings warmth to the EP, while Capri's 'Sax Thing' closes with raw, sax-driven energy. Simple, solid tracks made to resonate.