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Key To World Peace is the third release by Prophetic Justice Ministry - aka Australian musician Sam Perry. An atmospheric, cinematic album that belies a striking pop songwriting nous at its core, its conductor Prophetic Justice Ministry is at the centre of a new wave of creative, rule-bending Melbourne artists. Romantic, smudged and hazy, Perry emerges from behind a wall of
half-light with a clutch of earworms and affecting emotions.

Recorded in home studios in Belgrade (Serbia), Christchurch (New Zealand) and Melbourne (Australia) over the course of three years, Key To World Peace offers a dichotomy in approach. Shifting on a dime between ambient, filmic washes of sound and more traditional song structures, the approach feels natural, casually acid-tipped and emotionally revealing. While Perry’s
distinctive keys and production melding with melody is evidenced in Melbourne group Who Cares?, as Prophetic Justice Ministry there’s a heightened sense of mystery and space being used.

Swirling in a psychedelic fog with dry iced chords falling down like melting stars, the album pulses with an ominous, distorted intro that sculpts air into blocks of sound before Psyop offers a glimpse through the gloom at the artist navigating through crushed, shoe-gazing chords, singing a consolation into an abandoned building. Side A’s more abstract tone veers from industrial tracks (T-A) to pastoral, impressionistic pieces (Trance) before album highlight Life’s A Party showcases the effortless, classic songwriting lurking in Prophetic Justice Ministry. Built on the tension between the upbeat lyrics and suppressed, rich delivery, the song lopes on an alluring loop with acoustic guitars and Perry’s voice walking a tightrope between irony and sincerity. The song blooms into a bright burst of light, almost inducing synesthesia in the listener and reminding a little of The Beta Band’s most outre and catchy moments.

Opening Side B, Naked Shine’s scintillating guitar is punctuated by a sub bass swell that offsets the yearning vocal performance. With palpable sensitivity the song is shepherded into short, atmospheric passages before Love Drum’s direct delivery: Perry’s vocal and guitar, dancing over a hint of distortion feels like Syd Barrett at his most casually brilliant. Carrying on the tradition of a single cover on every Prophetic Justice Ministry release, here Lana Del Rey’s Mariner’s Apartment Complex is given a stripped back but faithful treatment. With a sound that feels like a hushed, Chris Isaak classic it’s testament to Perry’s own compositions that the cover doesn’t outshine the rest of the album. Album closer and single Spirit House Party combines a classic chord progression with Perry’s double-tracked vocal into a murky but brilliantly catchy chorus. While nowhere near as lush in its production, there’s something in the atmosphere of Prophetic Justice Ministry’s vocal sitting in the mix just so that reminds us of The Electric Prunes’ Holy Are You-era work with David Axelrod.
Key To World Peace flits between displaying a spectrum of blurred emotional resonance in its instrumental passages and vulnerability in the shape of raw, melodic songwriting. With his first release outside of Australia and vinyl debut, Sam Perry’s Prophetic Justice Ministry is a beguiling dance in and out shadows.

Super-cosmic Dub album by bass & keys wizard Slim Levy, full of song writing magic and it’s very own cassette tape mojo.

Fourteen beautifully messy dub tracks, psychedelic floor movers and short curveball riddims, inspired by Lee Perry’s radical mixing desk treatment on “Dub Revolution” but infused with the musicality of the “Pet Sounds” album by the Beach Boys.

Initially a professional bassist, Slim Levy fell in love with the golden age of Jamaican music of the 60s and 70s after a formative tour alongside the legendary Lee “Scratch” Perry.

In 2020 he launched his career as a producer. At his home studio in Strasbourg / France he is always on the search for sound artifacts and magic imperfections, shaping his distinct sound.

Ryjel was a band from suburban Pittsburgh, PA, that started out in the mid-1970s performing classic rock covers. The band was approached by a local entrepreneur who wanted to cut a single for the disco market, but a lack of financing scuttled the proposal. Nevertheless, the band was able to record a dozen of its original tunes in a professional studio for possible release, and among those songs were "Heart's On Fire" and "Baby Don't Stop."

Both tracks were recorded some 50 years ago having remained unreleased to this day. It needed the investigative work of the Tramp Records crew to discover them. Finally they are available on a strictly limited 45 RPM single release. In addition, the full length version of "Heart's On Fire" will soon be released on the upcoming Tramp Records compilation titled "CAN YOU FEEL IT Vol.5 - Modern Soul, Disco & Boogie 1977-88".

Producer, Drummer und Hamburger Jazzpreisträger Silvan Strauss war bereits eine feste Größe der Szene, als er 2021 sein Debüt "FACING" veröffentlichte - eine Mischung aus Madlib-inspirierten Beats und atmosphärischem Jazz. Seitdem erreichte er internationale Bühnen wie das Montreux Jazz Festival und begeisterte mit viralen Drum-Videos Musikgrößen wie Pete Rock und Queen Latifah.Für sein zweites Album "FLUKIN"" kehrte Strauss zurück zum Ursprung: Drei Tage intensive Live-Sessions in den Hamburger Clouds Hill Studios mit hochkarätigen Gästen. Im Gegensatz zum loop-orientierten Vorgänger setzt "FLUKIN"" auf echte Interaktion, Improvisation und organische Kommunikation in Echtzeit. Das Ergebnis ist ein unkomplizierter, lebendiger Sound, der die Magie des gemeinsamen Spielens einfängt.Unterstützt wurde er dabei von Künstlern wie Farhot, SALOMEA, Oscar #Worldpeace, Joe Armon-Jones und Mehdi Qamoum. Der Titel leitet sich vom Begriff "Fluke" (Zufallsglück) ab und beschreibt Strauss" Ansatz, bewusste Räume für glückliche, unvorhersehbare Momente in der Musik zu schaffen. Mit diesen 10 Tracks reiht sich Silvan Strauss in die klangliche Welt von Terrace Martin oder Hiatus Kaiyote ein.

Diles Que No Me Maten sind eine fünfköpfige Band aus Mexiko-Stadt, deren vom Krautrock beeinflusster Art-Rock sich zu etwas wirklich Einzigartigem entwickelt hat - drahtig, poetisch und voller Improvisationslust. Ihr viertes Album ,Escrito en Agua" (Geschrieben im Wasser), ist ihr bisher fokussiertestes und zugänglichstes Werk, aufgenommen in einem provisorischen Studio in Santa María La Ribera mit Produzent Sebastián Rojas. Aufgebaut um zurückhaltendes Schlagzeugspiel, bewusste Pausen und die spirituelle Schwere der Begräbnismusik aus Oaxaca, bewegt sich das Album mit einer gemächlichen Selbstsicherheit, die sich hart erkämpft anfühlt. Thematisch ist ,Escrito en Agua" ein Album über Präsenz, Umherirren und Widerstandskraft - Songs, die mit Mehrdeutigkeit leben, anstatt sie aufzulösen. Die Lead-Single ,Hiriku" gibt den Ton an und verbindet frenetischen Krautrock mit Zeilen aus José Vicente Anayas visionärem Gedicht ,Híkuri", während der herausragende Track ,No me" ein Mantra der Selbstsicherheit in etwas weitaus emotional Komplexeres verwandelt. Gewidmet sowohl dem indigenen Morgenstern Tunuwame als auch dem palästinensischen Dichter Mahmoud Darwish, endet das Album so, wie es beginnt: still und transzendent, mit achtsamer Aufmerksamkeit für die kleinsten Details dessen, was es bedeutet, lebendig zu sein.

The Mamas & The Papas were formed by husband and wife John and Michelle Phillips, formerly of The New Journeymen, and Denny Doherty, formerly of The Mugwumps. The last member to join was Cass Elliot, Doherty's bandmate in The Mugwumps. The group considered calling itself The Magic Cyrcle before switching to The Mamas and the Papas as apparently inspired by the Hells Angels, whose female associates were called "mamas".

They released a total of five studio albums and seventeen singles over a four-year period, six of which made the Billboard top ten, and sold close to 40 million records worldwide. The band was inducted into the Rock and Roll Hall of Fame in 1998 for their contributions to the music industry.

The band’s first single, “Go Where You Wanna Go”, was released in 1965. The second single, “California Dreamin’”, was released later in 1965 and quickly peaked in the charts. The band’s album, If You Can Believe Your Eyes And Ears, was released in March 1966 and became the band’s only number 1 album on the Billboard 200. The third and final single from their debut was “Monday, Monday”, which became the band’s only US number 1 hit. The song brought the band international success.

Collected is a perfect overview of the multiple classic hits and tracks throughout the career of The Mamas & The Papas and complimented with several popular tracks by Mama Cass Elliot.

Music On Vinyl proudly presents a special edition of The Mamas & The Papas Collected compilation, which is available as a limited edition of 5.000 individually numbered copies on blue vinyl, and includes a booklet with liner notes.

Nach den kurz nacheinander erschienenen Alben ,Everything Must Go" und ,Chain Yer Dragon" im Jahr 2025 kehren Goose mit ,BIG MODERN!" zurück - einem energiegeladenen neuen Kapitel, das den charakteristischen Indie-Rock-Sound der Band um neonbeleuchtete Synthesizer, treibende Rhythmen und mitreißende, hymnische Hooks erweitert. Neue Tracks wie ,Good2B" und ,Good Times // End Times" erscheinen neben den Fan-Favoriten ,Big Modern" und ,Torero" und fangen den Abenteuergeist von Goose ein, während sie gleichzeitig einige ihrer bisher kühnsten und dynamischsten Studioaufnahmen liefern.

Luca Lozano has long been an artist whose output as both a producer and designer we've admired and after many years of seeing his records fly off the shelves here at Phonica, we're delighted to be releasing the 'Da Vinci' EP by the Klasse Wrecks boss on our main label. We'll let Lucas, the modern day renaissance man himself, take it from here:

"These four tracks were created over a few sessions while I was settling into a dank basement studio (which was new at the time and now long gone).

‘The Magnificent’ and ‘Delta Force’ were made just after I acquired an old Korg Delta synth, I spent a lot of time getting the 1970s beast to sync up with modern equipment and both tracks make use of it in various elements.

‘Eau De Dave’ is a cheeky homage to a UK producer legend, I’ve been digging into his various older productions recently and went back to a fidget sound for the fun of it.

‘Crunchy Nut’ was kind of inspired by early U.K. tech house, it was the last track confirmed on the EP and came together super quick. As usual it’s a mix of old drum machines like a modded 707 and a bunch of old samples I’ve had on my computer for a couple of decades now. I’m happy I managed to work some slap bass into a track finally…"

Dieses Album braucht keinen Anlauf und keine Vorrede. Von Sekunde eins an ist es da. Es türmt sich auf, überlebensgroß und mit einer nahezu existenziellen Dringlichkeit. "Einmal mehr mit Dir gegen die Furcht" ist das sechste Studiowerk der Berliner Band Klez.e. Es ist von der düsteren Ahnung getrieben, dass da draußen gerade etwas kippt, und es setzt dieser Bedrohungslage etwas entgegen. Klez.e, das sind fast 25 Jahre nach der Bandgründung: Tobias Siebert (Gesang, Gitarre), Daniel Moheit (Synthesizer, Bass) und Filip Pampuch (Schlagzeug, Percussion). Waren die Vorgänger "Erregung" (2023) und "Desintegration" (2017) von einer grimmigen Düsterheit geprägt, ist diese Trostlosigkeit einer bislang ungehörten musikalischen Luftigkeit gewichen. Und es ist, als habe sich die Band beim Schreiben der Songs auch erstmals bewusst gegen die Furcht vor dem Erzählen gestemmt. An die Stelle früherer Verklausulierung ist eine neue textliche Klarheit getreten. Musikalisch ist "Einmal mehr mit Dir gegen die Furcht" eine Kathedrale von einem Album: akustisch weit, mit glatten, kühlen Oberflächen, atmosphärisch dicht und verhallt. Das Licht, das durch die Fenster hereinfällt, verdrängt die Dunkelheit und malt hier und da tanzende Flecken auf den Boden und an die Wände. Klez.e den schmerzhaften persönlichen Erfahrungen in einer sich verdüsternden Welt ein drängendes und bestürzend schönes Album abgetrotzt. Eines, das die Antwort auf die bange Frage gibt: "Was tun, wenn alles zusammenbricht?" Sie lautet: näher zusammenrücken. Gemeinsam gegen die Furcht. CD, LP klassisch schwarz sowie LP farbig.

Dieses Album braucht keinen Anlauf und keine Vorrede. Von Sekunde eins an ist es da. Es türmt sich auf, überlebensgroß und mit einer nahezu existenziellen Dringlichkeit. "Einmal mehr mit Dir gegen die Furcht" ist das sechste Studiowerk der Berliner Band Klez.e. Es ist von der düsteren Ahnung getrieben, dass da draußen gerade etwas kippt, und es setzt dieser Bedrohungslage etwas entgegen. Klez.e, das sind fast 25 Jahre nach der Bandgründung: Tobias Siebert (Gesang, Gitarre), Daniel Moheit (Synthesizer, Bass) und Filip Pampuch (Schlagzeug, Percussion). Waren die Vorgänger "Erregung" (2023) und "Desintegration" (2017) von einer grimmigen Düsterheit geprägt, ist diese Trostlosigkeit einer bislang ungehörten musikalischen Luftigkeit gewichen. Und es ist, als habe sich die Band beim Schreiben der Songs auch erstmals bewusst gegen die Furcht vor dem Erzählen gestemmt. An die Stelle früherer Verklausulierung ist eine neue textliche Klarheit getreten. Musikalisch ist "Einmal mehr mit Dir gegen die Furcht" eine Kathedrale von einem Album: akustisch weit, mit glatten, kühlen Oberflächen, atmosphärisch dicht und verhallt. Das Licht, das durch die Fenster hereinfällt, verdrängt die Dunkelheit und malt hier und da tanzende Flecken auf den Boden und an die Wände. Klez.e den schmerzhaften persönlichen Erfahrungen in einer sich verdüsternden Welt ein drängendes und bestürzend schönes Album abgetrotzt. Eines, das die Antwort auf die bange Frage gibt: "Was tun, wenn alles zusammenbricht?" Sie lautet: näher zusammenrücken. Gemeinsam gegen die Furcht. CD, LP klassisch schwarz sowie LP farbig.

Das siebte Studioalbum der Hip-Hop-Pioniere De La Soul. Ursprünglich 2004 erschienen, wartet das
Album mit hochkarätigen Gastauftritten von Künstlern wie Ghostface Killah, Sean Paul, Flava Flav und
dem Produzenten J Dilla (A Tribe Called Quest) auf. Anders als ihre anderen Alben verzichtet „The Grind
Date“ auf Skits und Interludes und gilt als durchweg hochwertiges Album ohne Füllmaterial. Es enthält
außerdem vier instrumentale Bonustracks

Die ikonische Alternative-Rock-Band Sleeping With Sirens veröffentlicht ihre neue Album *An Ending In
Itself*. Produziert von Will Yip (Turnstile, Circa Survive, Movements), stellt das achte Studioalbum der
Band sowohl eine Heimkehr als auch einen Neuanfang dar: Sie lassen den rastlosen Geist ihres klassischen
Sounds wiederaufleben und verbinden ihn dabei mit der nuancierten Erfahrung der vergangenen Jahre. Das
Album wird als gleichermaßen krönender Abschluss und Fortsetzung beschrieben; es vollendet den jüngsten
emotionalen Themenbogen der Alben *How It Feels To Be Lost* und *Complete Collapse* und knüpft
zugleich wieder an jenen Geist an, der die Band einst vorantrieb. Die Band – bestehend aus Kellin Quinn
(Gesang), Nick Martin (Gitarre), Justin Hills (Bass), Matty Best (Schlagzeug) und dem Neuzugang Tony
Pizzuti (Gitarre) – feilt weiterhin an ihrem unverwechselbaren Signature-Sound, während sie sich mutig auf
die Erkundung neuer kreativer Horizonte begibt. Diese zukunftsorientierte Perspektive, gepaart mit einer
tiefen Verbundenheit zu ihren Hörern, hat Sleeping With Sirens zu einem festen Begriff in der Musikszene
gemacht – und relevanter denn je.

„Olivia Rodrigo veröffentlicht ihr mit Spannung erwartetes drittes Studioalbum! „you seem pretty sad for
a girl so in love“ folgt auf die mit Gold und Platin ausgezeichneten Vorgänger „GUTS“ und „SOUR“. Das
neue Album der dreifachen Grammy-Preisträgerin erscheint am 12. Juni 2026.“

LP aus der ”Luminessence” Serie.
“Eine subtile Tour de Force“ – so lautete 1978 das Urteil des amerikanischen Billboard Magazins in
Bezug auf Bill Connors‘ Of Mist And Melting. Und Jahrzehnte später bestätigt eine wiederholte Auseinandersetzung mit dieser Musik nur, dass hier tatsächlich besondere Geister am Werk waren, als die
von Manfred Eicher produzierte Session mit Jan Garbarek, Gary Peacock, Jack DeJohnette und Connors
im Dezember 1977 im Talent Studio in Oslo stattfand. Nach einer Phase elektrischer Fusion-Eskapaden
in den frühen 70ern, stellte Connors’ Zeit bei ECM eine Rückbesinnung auf den akustischen Kern seines
Spiels dar: Der Gitarrist reduzierte seine Musik auf das Wesentliche im kammermusikalischen Gestus, getragen von nuanciertem Fingerspritzengefühl an Nylon-Saiten. Im reflektiert-fesselnden Zusammenspiel mit
Improvisations-Speerspitzen ihrer Zeit, präsentiert der Gitarrist sechs Eigenkompositionen, die das LyrischKonkrete mit weitläufigen, s pontan u nd o ffenen St rukturen ve rbinden – od er, wi e es da s en glische Jazz
Journal einige Jahre später formulierte: „Selten haben sich Elemente von ‚Hot‘ und ‚Cool‘ Jazz so eindrucksvoll kombiniert.“ Connors selbst wirkte beim Hören des Albums im Jahr 2025 erstaunt darüber, wie
sehr er sich während seiner fünfjährigen Zusammenarbeit mit Manfred Eicher für ECM in die klassische
Gitarre vertieft hatte. „Es machte mich nostalgisch für diese Periode. Ich hatte ganz vergessen, wie viel
Zeit ich dieser Gitarrenspielart gewidmet hatte“, erinnerte sich Bill, fast überrascht von dem, was er auf
seiner eigenen Aufnahme hört. „Obwohl es möglicherweise nicht das war, was sich Manfred erwartet hatte,
ist es genau das Album geworden, das wir beide wollten.“
Neu aufgelegt im Rahmen von ECM’s Luminessence-Reihe, erscheint Of Mist And Melting in einer Tip-onGatefold-Hülle mit neuen Linernotes und Fotos aus dem Archiv.

Def Leppard, Großbritanniens größte Arena-Rock-Band, präsentiert die neu gemasterte „Greatest Hits
Sammlung auf einer schwarzen 180-g-Heavyweight-Vinyl-LP. Mit den größten Hits der Band, darunter
„Pour Some Sugar On Me“, „Hysteria“ und „Photograph“.

Mit "Sowiesoso" schufen Hans-Joachim Roedelius und Dieter Moebius (Cluster) 1976 eines der klarsten und zugleich visionärsten Werke der europäischen Elektronikmusik. Nach dem viel beachteten Zuckerzeit öffnet sich das Duo hier einer reduzierten, transparenten Klangsprache: sanft kreisende Sequenzen, subtile Rhythmen und melodische Fragmente entfalten eine stille, konzentrierte Schönheit. Aufgenommen im eigenen Studio mit bewusst minimalem Equipment, lebt Sowiesoso von Autonomie und Präzision. Wiederholung und Variation stehen in feinem Gleichgewicht, fern von Effekthascherei oder technischer Selbstinszenierung. Die Musik wirkt utopisch, aber geerdet - geprägt von der Landschaft Norddeutschlands ebenso wie von Clusters konsequenter Suche nach einer neuen musikalischen Sprache. Zum 50. Jubiläum erscheint das Album als limitierte LP-Edition auf 180g-Vinyl, handnummeriert limitiert - eine würdige Neuauflage eines zeitlosen Meilensteins.

This album, recorded in 1988 at Elkar Studios in Lasarte, is a happy accident, like much of La Polla Records' early output, by Jean Phocas (who also worked with other bands of the genre such as Cicatriz) and César Ibarretxe. It was lovingly designed, with a medieval atmosphere for the cover (by Txefo, Joseba Olalde and Txarly) featuring a huge scroll containing five tarot cards, a back cover in the same style with heraldic figures, and a meticulous presentation of the lyrics with separate spellings for each song, on a double sheet with photos of piglets suckling from their mother on one side and various images on the other. With animals as the common thread for the songs, it represents the confirmation that the concept album had arrived on the national punk scene. Perhaps a work of maturity, the band's traditional objectives disappear from the lyrics, and although there is still room for specific protests and chronicles of nights of alcohol and violence (such as those of La Rata), the emphasis is on revelling in the description of all kinds of personal, psychotic and hallucinatory hells. Evaristo confessed to being influenced by Umberto Eco's book The Name of the Rose (1980) in the making of this work. Far from indicating any departure from the foundations laid in previous works, it shows that the spectrum of the anti-establishment struggle the group was committed to was broad. A very complete album.

As a follow-up to our previous work reissuing the recordings of Pau Riba, key figure in Catalonia's counter-culture and music scene, we now present "Juguetes de época y cajas de cerillas - Singles y rarezas. Primera época (1967-1969)," compiling songs drawn from rare releases in his catalog as well as his singles from this period. It includes previously unreleased material sourced from the artist's own tapes, along with an extensive booklet featuring notes and photographs of the artist. This collection brings together songs taken from rare releases in his discography-such as the album recorded at one of the concerts performed by Grup de Folk during its brief existence, "Folk 2" (1968)-as well as from his singles: "Taxista!" (1967), "Noia de porcellana" (1969), "Miniatura" (1969), "L'home estàtic" (1967), "Pau i Jordi" (1968), and "El Nadal no té 20 anys" (1967). Alongside these tracks, this compilation also releases for the first time part of the previously unheard material found on magnetic tapes discovered in the artist's studio after his passing. Among these tapes were the instrumental recordings of "Taxista!"-versions with slight differences from those issued on the original single, possibly prepared for television playbacks. These recordings provide further insight into the making of Riba's first release, particularly regarding the mixing process and the later addition of subtle details.

Highscore is one of the newest-and quite sensational-discoveries in funk of the 1980s out of Germany. Two tracks Breakin' Out and Girls So Fine, both recorded about 40 years ago and shelved ever since, are finally receiving a long-overdue 12" release.

Label founder DJ Scientist tells the story of how the tracks were uncovered:

"Several years ago, while researching the Crea label-after we had already licensed 'You're Not The One For Me' by Peter Patzer-I also wanted to find out more about another band on the label: Nuages, who had released the stunning jazz-funk/fusion album Cumulus.

Interestingly, a Discogs user had uploaded a hand written promo letter from one of the band members along with the LP. In it, drummer Mike Bach mentioned plans for a second album, as well as a single featuring a 'coloured singer'-which caught my attention. (A note on language: the original letter from 1985 uses the term 'coloured.' We've chosen to quote it directly as a historical document, but want to be clear that this reflects the terminology of the era and not language we would use today.)

Digging deeper, more information was found on Bach's own website, where a project called 'High Score' was mentioned. I immediately got in touch and asked if the recordings from that project still existed. Unfortunately, Bach couldn't locate any of the material at the time.

Years passed before we reconnected, when we featured 'Strange Weekend' by Nuages on our recent yacht rock compilation. I still had the Highscore project in mind and asked again. Once more, Mike had to deny-but he made another effort and reached out to former collaborators. A few weeks later, guitarist and composer Hermann Behrens discovered cassette tapes containing tracks from the Highscore project. I couldn't wait to hear them…"

To go back a bit: Nuages were a jazz-rock band from Bremerhaven, originally formed by guitarist Joachim "Fussy" Fuß in 1982. The lineup included Mike Bach (drums and percussion), Klaus Hinners (bass), and Frank Fischer (keyboards). In 1984, John Dillard, a U.S. GI stationed in Germany, joined Nuages for several live performances as a soul singer.
Around 1985/1986, Dillard and Bach then teamed up with Hermann Behrens with a new focus on electro funk and disco: Highscore was born.

When the three demo recordings were finally sent to us, they immediately blew us away. Breakin' Out stood out as an incredible electro-funk boogie gem-exactly what we had been looking for. What's more, it didn't sound like a rough demo at all, Breakin Out was a well-arranged and almost perfectly recorded track, driven by fresh, vibrant synths, drum machines and guitar. The cassette mix wasn't entirely final, but the remaining details could be refined during mastering.

The B-side, Girl So Fine, impressed just as much-equally strong and just as captivating as the A-side. Our reaction was immediate: this had to be released without delay!

Most importantly, there are a few more recordings from Highscore. However, these only exist as multi-track studio reels, which currently cannot be transferred. In the best case, more material from the band may surface soon-hopefully without another long wait.

The 12" release Breakin' Out / Girl So Fine" comes with a newly designed picture sleeve, featuring an original photo of the band members, including background singer Ruben Hopkins who does not appear on these two recordings.

The vinyl edition is limited to 400 copies.

The fourth instalment in the Hutson Sevens 7‑inch series finds Home of the Good Groove Records taking a slight detour away from the vaults of unreleased material this time, but back to a pivotal moment in LeRoy Hutson’s creative journey.

Fear not: more unheard gems are on the horizon. But for this chapter, the label rewinds to 1994, a year that marked a meaningful renaissance for the soul legend.

After years of legal battles and persistence, Hutson finally reclaimed partial ownership of his catalogue in 1989 — a hard‑won victory that opened the door to a new era. Though celebrated as a musician, composer, lyricist and performer, the world of publishing was uncharted territory for the musical legend. By 1994, Hutson stepped confidently into that new chapter, signing his first licensing agreement with a Japanese label and publisher.

From that landmark agreement come two recordings now making their debut on 7‑inch vinyl, presented with the care and reverence they deserve.

The A‑side brings us “Lucky Fellow (’94 Mix)”, a track with a storied lineage. First recorded by Maurice Jackson in 1971, it became one of Hutson’s signature moments when he released it on his 1975 album Hutson — a version that remains a fan favourite to this day.

Nearly two decades later, Hutson returned to the studio to revisit the song once more, applying his unmistakable production finesse to craft a fresh, radiant mix. Initially released in Japan on Lucky Fellow: The Best Vol. 2 and then later resurfacing on a Deepbeats Hutson compilation album in 1997.

Now, for the first time, this ’94 version arrives on 7‑inch vinyl — a lovingly curated snapshot of Hutson’s evolution, and a reminder of just how timeless his artistry remains.

Hutson’s “Lucky Fellow” gets a striking reimagining here, trading the warmth of the original for a brighter, crisp production, lifting the melody into sharper focus. While the added vocal riffs don’t just embellish the track — they give it a fresh, expressive identity.

Think of “Lucky Fellow (94 Mix)” as the cool cousin who shows up uninvited and immediately steals the spotlight. It tightens the groove, brightens the melody, and sprinkles in a handful of sly vocal riffs that flip the familiar tune into something delightful and freshly polished.


The flip side of this release digs a little deeper into Hutson’s 1994 chapter, bringing the track “Reality” to the 7‑inch format for the very first time — a moment many collectors and soul devotees have been waiting on.

Originally recorded in 1982, the track spent twelve quiet years on the shelf before finally surfacing on a 1994 P‑Vine CD Hutson compilation. It reappeared twice again on CD throughout the following years and made its first vinyl appearance on a Deepbeats Hutson compilation in 1998.

Nearly two decades later, in 2017, French record label Saph Records reintroduced the track to a new wave of listeners as part of its Unreleased Boogie Tracks 12‑inch series, cementing somewhat of a cult status among Hutson boogie fans.

Cut during the sessions for Hutson’s Paradise era, “Reality” carries the unmistakable sheen of early‑’80s soul — a buoyant, melodic groove wrapped in Huston’s recognisable warmth.
Now freshly remastered in 2026 by UK’s Phil Ward, the track gains an added depth and clarity that enhances its rhythmic glide without losing its vintage charm.
It’s a notable moment in Hutson’s catalogue and a killer selection to finally receive the 7‑inch treatment — a long‑overdue spotlight for a track that has spent far too long in the 7-inch shadows.

The Heartbreakers" "D.T.K" ("Down To Kill") is the incendiary live 1977 companion to "L.A.M.F." (Like A Mother Fucker), which is hailed as one of the classic punk albums. Formed by New York Dolls Johnny Thunders and Jerry Nolan in 1975, they influenced the UK punk scene, joining the Sex Pistols, Damned & Clash on the infamous "Anarchy" tour. "D.T.K" was recorded by Track Records on the Maison Rouge mobile studio on 15th March 1977 at the notorious musicians" nightclub and features Johnny infamously abusing the audience. It was a warm-up for the "L.A.M.F." sessions starting the following week. Originally released in 1982 as a 10-track album, it was remixed in 2005 and five more tracks were found on the 2" multi-track tapes. Now the album has the entire two sets played that night, 15 unexpurgated tracks in all. The sleeve has notes by journalist Kris Needs and contemporary photos.

Los Angeles rock trio Dogstar is back with All In Now, the band’s fourth studio album and the follow-up to 2023’s Somewhere Between the Power Lines and Palm Trees. Produced by Nick Launay (IDLES, Amyl and the Sniffers, Nick Cave & the Bad Seeds), All In Now marks a new era for Dogstar, with layered guitar riffs and heavy bass inspired by their time out on the road. Includes black LP in a gatefold jacket with a printed insert.

2x GRAMMY® Award winning R&B powerhouse Kehlani releases her highly anticipated self-titled fifth studio album, KEHLANI, today on her birthday, April 24, 2026. The project captures her at her most honest, blending soul-baring storytelling with the lush, genre-bending sound that has made her one of modern R&B’s most influential voices. The album was anchored by a trio of defining singles, beginning with “Folded,” a breakout anthem that has become one of the defining R&B records of the decade. “Folded” delivered major award recognition, including 2x GRAMMY® wins for Best R&B Song and Best R&B Performance, an iHeartRadio Music Award for R&B Song of the Year (where she made her debut award show performance), NAACP Image Awards nominations, and three American Music Award nominations, including Song of the Year. The momentum continued with “Out The Window,” which further showcased Kehlani’s emotional transparency and sonic direction. Most recently, Kehlani released “Back and Forth” featuring Missy Elliott. The track pairs Kehlani’s signature vulnerability with Missy Elliott’s unmistakable innovation and energy, serving as the final preview before the album’s release. Kehlani celebrates a landmark year of cultural impact, including a surprise appearance during Giveon’s mainstage set at Coachella in addition to her solo performance at Revolve Festival. With over 20 RIAA certifications, more than 5 billion global streams, and status as a 7x GRAMMY® nominated songwriter and artist, Kehlani continues to solidify her place as one of contemporary R&B’s most essential voices. This year she was also honored at the Femme It Forward 2025 “Give Her FlowHERS” Awards Gala, receiving the Alchemist Award, and recognized as an ASCAP Women Behind the Music Honoree. Kehlani will also be honored with the Impact Award at the upcoming Billboard Women in Music, where she will deliver a special performance in celebration of her influence on music and culture. Kehlani will bring the album to global stages with upcoming festival performances at Essence Festival, Afronation Portugal, Roots Picnic, and more

We are pleased to announce the first FEX live album, Don't Look Back. The release features selected recordings from two concerts in Paderborn and Uelzen, both captured in 1985. All tracks on the album are previously unissued, including entirely unheard songs such as It's a Hard Life, Just Get Back, Legend, and Waiting Song, alongside a previously unreleased version of Subways of Your Mind, widely known as "The Most Mysterious Song on the Internet."
One of the most striking aspects of the album is the remarkable sound quality of the live recordings, as well as the strength of the performances themselves - particularly given that FEX were still considered a newcomer band at the time. The four-piece lineup consisted of singer, guitarist, and primary songwriter Ture Rückwardt, Michael Hädrich on keyboards and occasional second guitar, Norbert Ziermann on bass, and Hans-Reimer Sievers on drums. In 1985, the band was preparing for broader exposure through a nationwide tour organized by the small promotion company HBM-Musikbüro.
The album opens with the psychedelic Skyscraper, a track Rückwardt reportedly regarded as a personal favorite to perform. Hädrich contributes dynamic synthesizer layers, while Ziermann underpins the track with a distinctive slap bass groove. This is followed by the energetic rock number It's a Hard Life, which once again demonstrates that the band possessed multiple songs capable of matching the impact of their best known track Subways of Your Mind.
After this energetic opening, the album shifts into a more restrained mood with the synth-pop ballad I Got My Eyes On You. It is followed by Strange Feeling, presented here in a particularly compelling live version that arguably surpasses the previously released studio demo featured on the Skyscraper LP, with Rückwardt delivering one of his most expressive vocal performances. On Goldrush, another fan favorite, it is Hädrich's DX7 synthesizer work that stands out.
Don't Look Back continues to flow seamlessly, moving between styles such as new wave, synth pop, and a blues-influenced form of classic rock. On It's Good To Know, a song addressing the theme of stardom, the band returns to a heavier rock sound. In contrast, the synth-driven Just Get Back reflects on the conflict in Northern Ireland, then ongoing at the time. Lines such as "It's the money, it's the money why they come along" are directed at mercenary soldiers, while "even Sunday's a killing time" directly references Sunday Bloody Sunday by U2.
Previously known songs such as Dirty Slapstick and Heart in Danger lead into We Don't Want It No More, perhaps the band's most striking pop ballad. It is easy to imagine that the track had the potential to achieve radio success in the 1980s. The following piece, the epic Legend, explores themes of loneliness and love simultaneously. With poetic and abstract lines such as "some isolate in the falling rain" and "that's why I count all the reasons they call out for living, sadness is falling inside," it builds an almost eerie atmosphere.
One of the final highlights of the album is Subways of Your Mind, recorded in Uelzen. In this version, Rückwardt's vocal performance is even more on point than on the previously issued recording from Paderborn. Another notable moment is the driving, 1970s-inspired rock 'n' roll track Waiting Song. Both the composition and its live performance carry an energy that could easily stand alongside the repertoire of bands such as AC/DC. It was usually the track that FEX ended their concerts with, calling out each band member at the end of the song.
This leads to a broader reflection: it is striking that FEX did not achieve a wider breakthrough at the time. The performances captured here suggest a band capable of delivering consistently, song by song, note by note. It is not difficult to imagine FEX performing in large venues and engaging sizeable audiences. In reality, however, most performances in 1985 took place in front of relatively small crowds. The recordings featured on this album originate from the Roxy club in Paderborn and a small, unknown venue in Uelzen, likely in front of fewer than fifty attendees.
An essential figure behind these recordings is the engineer known only under his nickname Hase (German for "rabbit"), who was responsible for capturing not only these concerts but many other surviving FEX recordings. Bringing his own mixing desk to performances, he developed a deep familiarity with the band's material and was able to shape the live sound with precision, including the timely use of vocal effects. The original recordings existed only on cassette and required careful and extensive restoration work. Zoey Cairs was finally responsible for bringing them to their present quality.
This album marks the beginning of the Live Waves series, following the rediscovery of additional recordings that have gained international attention since November 2024, when they surfaced through what has been described as the largest "lost wave" music search to date. The title of this first live LP Don't Look Back carries a certain paradox. While the album invites listeners to revisit recordings from forty years ago, FEX themselves were always oriented toward the future. In that spirit, further releases of brand new material are already planned.
The cover artwork is once again based on an image by Magnussen from the Kiel archive, depicting the Prinz-Heinrich-Brücke. The bridge, once located in the northern part of the city, no longer exists. As a symbol, however, it remains fitting: a bridge stands for movement and connection - qualities that FEX sought to embody on tour, bringing their music to different places and audiences.

Komatssu, Lefrenk, Vema Diodes y Celine Arnauld comparten este various artists de cuatro cortes para el tercer disco de Undancel.

La tercera referencia del sello discográfico de Undancel se caracteriza por una fase de transición entre varios sonidos. Representado un punto «ni aquí ni allí» donde la identidad o el estado anterior se disuelve antes de alcanzar uno nuevo, cuyo nombre LIMINAL.
Cuatro cortes en vinilo de 12″ de varios artistas más una canciones extra en formato digital con código de descargas en su interior.

A1_KOMATSSU_DESTRUCTOR DE MUNDOS: En activo desde 2005, Komatssu es el proyecto más personal de Héctor Sandoval (Tensal y 50% del reconocido proyecto Techno Exium). Un proyecto cimentado sobre la fusión natural entre la IDM más melódica, el Electro, el Breakcore y el avant-techno espectral que concibe el sonido como catalizador de emociones, dando lugar a un imaginario sonoro sumamente personal.

A2_LEFRENK_INDECENT: Lefrenk es un productor y DJ coruñés con más de 20 años de experiencia y más de 100 lanzamientos.
También es profesor en Fanzine School.
En el ámbito editorial, destaca como cofundador del sello Deep Different junto a Ikke Alra y fundador de Knerfel, su sello centrado en el techno.
Su trabajo se distingue por la fusión de texturas sonoras orgánicas e innovación digital, lo que refleja una constante evolución personal y creativa. Siempre innovando, Lefrenk ha expandido su influencia a través de colaboraciones dinámicas y actuaciones en directo junto a figuras de renombre de la industria.

B1_VEMA DIODES_MINDNIMALIST: Productor con raíces en el Baix Llobregat, cuya identidad se define por la experimentación técnica. Su trabajo es una exploración constante de la síntesis, donde las máquinas dictan el mensaje.
Desde sus primeras producciones en 2002, ha refinado un sonido que transita del electrobass crudo a estructuras más complejas y horizontales, fusionando la calidez analógica con la precisión digital.
Fundador del sello ÚTIL Records, Gente Seria Viste Chándal y Dialecto Periférico, plataforma desde la que reivindica el sonido de máquinas icónicas como la TR-808, tratadas con distorsiones y texturas de corte industrial.
Entiende el electro no como un género rígido, sino como un proceso de «electrificar» la señal. Su música es un equilibrio entre ritmos sintéticos y pinceladas de IDM, buscando siempre una narrativa sonora avanzada.

B2_CELINE ARNAULD_GLITCHED DANCE SYSTEM: Celine Arnauld es el nombre artístico de Pablo Miranda Caballero, artista y productor de música electrónica especializado en géneros como el IDM y el glitch con texturas ambientales. Recientemente, ha creado los alias DJ Don’t Sleep, donde da rienda suelta a la vertiente más rave del jungle y el breakbeat, y Paul Basscoigne, donde explora el electro, el acid, el IDM y el braindance.
Ha publicado su música en varios sellos, como EVEL, Clean Error, Dynamic Form, Mahorka, Hypnotica Colectiva, EC Underground, Dead Trax, Not 4 Human Consumption, New York Haunted, Point Source Electronics Arts, Moatun 7, Polygon Network, Colorsquad Records, Opal Tapes y Zabra Records.

Mastering by Verbo Studio Mix & Mastering.

Design by Beatriz Albaladejo.

Liminal – Undancel 03

Jorge Ben is someone who needs no introduction. Since his first hits in the early 60s, this the greatest icons of the greatest icons of Brazilian pop music. His anthems 'Mais Que Nada' or 'Pais Tropical' are among two of the most ever listened Brazilian songs of all time. Ben's self-titled 1969 album is a true samba-soul masterpiece from one of Brazil's most creative voices. This isn't your typical late-'60s LP: Jorge Ben blends the hypnotic swing of samba with funk, psychedelia, and sun-soaked soul in a way that feels both classic and ahead of its time. Released in November 1969, this was Jorge Ben's sixth studio record, and his first back with the Philips label after a creative hiatus. He recorded it with the tight-knit, percussive groove of Trio Mocoto -- whose rhythms lock in beautifully with Ben's laid-back guitar and vocals. On top of that, the album features lush orchestral arrangements from Jose Briamonte and Rogerio Duprat, adding a soaring, psychedelic dimension to Ben's sound. Standout tracks? You've got the joyous anthem 'Pais Tropical', a perfect celebration of Brazilian life.



Then there's 'Take It Easy My Brother Charles', a socially conscious number that tells the story of a rebellious sailor -- Ben weaves in themes of race, identity, and resilience. And songs like 'Que Pena' bring in that sweet, soulful melancholy, while breezy cuts like 'Criola', 'Domingas', and 'Barbarella' highlight his playful, poetic side. This record is a rare blend of genres -- samba, soul, funk, psychedelia -- and it's got a timeless energy. Whether you're already into Brazilian music or just looking for something fresh and soulful, Jorge Ben's 1969 album is a joyous entry point. Reissue on 180g vinyl.

Fresh from flexing his scalpel skills via an impressive double 12-inch for Hot Biscuit Recordings, The Mighty Zaf once more joins forces with regular studio buddy Linkwood for two more tried-and-tested reworks. 'Get Another Love' is particularly potent, with the duo combining elements from a vintage disco-soul workout - glistening guitars, bass, vocals, strings - with a vintage-sounding drum machine beat which alternates between sweat-soaked Chicago-house jack and post-electro swing. 'He Made You Mine', meanwhile, is a straight edit of a slow, loved-up, immersive and horn-laden disco-soul gem that switches from loved-up downtempo loveliness to punchy dancefloor excellence midway through.

What do we need now more than ever? Exactly, OPTIMISM. This is the place we long for, the solution we need, and also the name of DIGITALISM's new album, which will be released on May 29. German electronic pioneers DIGITALISM spread the urgent energy of OPTIMISM with their upcoming album and live performances all over Europe. A DIY spirit, in-the-moment energy and a low boredom threshold - all have been crucial to Digitalism's practice since they built their first track in a studio inside a WWII bunker in Hamburg, 20 years ago. OPTIMISM is the logical consequence of the band's steady development.

Be As One boss Shlomi Aber returns to Chris Liebing's CLR with the 'Schema' EP, arriving 24th April 2026 alongside a remix from James Ruskin. Active since 1994, Aber has been a cornerstone of underground techno for over three decades, with his focused, hypnotic approach in both the studio and DJ booth leading to releases on some of the scene's most respected labels, including Cocoon, Ovum, Nonplus, and Figure. With the 'Schema' EP, he follows his recent 'Retrospective' EP for Ben Klock's Klockworks, as well as previous CLR outings such as the 'Limelight' EP (2025), and the 'Remote 101' EP (2023), which both kept a spot in the Beatport Techno chart for over two years after release, while winning support from the likes of Carl Cox, Alienata, Dave Clarke, and many more.

Shlomi Aber's 'Schema' EP opens with the title track and heads straight into subterranean territory, pairing weighty low-end pressure with tightly controlled tension. Rattling bass foundations are o?set by sharp hi-hats and static-laced textures that flicker through the mix, keeping the groove locked and the atmosphere charged.

On remix duties, James Ruskin, founder of the seminal Blueprint, delivers a shadowy, atmospheric rework. Eerie pads hang in the background as swampy bass anchors the rhythm, with haunted melodic elements slowly unfolding to create a deep, immersive take built for late hours and dark rooms.

Closing track 'Gasolina' sees Aber shifting into broken-beat territory, where warm, glitchy rhythms loop with hypnotic precision. Ghostly synth motifs drift in and out of focus, giving the track a cinematic, heady quality that rounds out the release with understated intensity.

Founded by influential techno lynchpin Chris Liebing in 1999 and reemerging in 2021 after a five-year hiatus, Create Learn Repeat (CLR) has hosted a range of artists like Dubfire, Flug, Bjarki, DJ Dextro, and more while also focusing on developing newer acts in the scene, such as Risa Taniguchi, The Southern, and Klint.

If you’ve spent any time in a London club over the last few years, you know the name. Rossi. has gone from being the “secret weapon” of the underground to the guy everyone is trying to book. After cutting his teeth with a residency at Fabric and tearing the roof off Printworks and Studio 338, he’s finally given us the anthem we’ve been waiting for.

The bosses new single on Homegrown., ‘Ease Your Mind,’ isn’t just another tech-house filler. It’s the perfect distillation of that “Rossi. sound” that’s been vibrating through the UK scene lately.

Crayons is the seventh studio album by the Queen of Disco, Donna Summer. Originally released in 2008, Crayons was her first full-length studio album in fourteen years.

Summer worked with a number of different producers and songwriters on the album, including Greg Kurstin (Adele, Paul McCartney, Pink & Foo Fighters), J.R. Rotem (Bad Bunny, Linkin Park & Rihanna), Wayne Hector (Nicki Minaj, One Direction & Westlife), and Toby Gad (John Legend, Fergie & Beyonce) and Lester Mendez (Shakira & Nelly Furtado).

Four singles were released: “I’m A Fire”, “Stamp Your Feet”, “It’s Only Love” and “Fame (The Game)”. The title track contains a guest performance by Ziggy Marley.

Crayons is available on black vinyl and includes a 4-page booklet.

Unearthed from the original DAT at Strange Weather Studios in South London, Get Fucked's Unearthed Stash traces a chronological journey through the legendary group's earliest recording sessions, from the raw chaos of their 1999 debut album to the more refined dub house explorations that led into their second LP.

Sourced from the best surviving master DATs this collection brings together remastered classics, lost versions and previously unreleased edits, offering unfiltered look into one of the UK underground's most fearless creative period.

Each track has been carefully remastered to preserve the saturated punch, tape grit and raw energy of the original sessions, while expanding definition for modern sound systems.

Pressed on 180g heavyweight black vinyl, Unearthed Stash is strictly for collectors and true heads preserving the energy and attitude that made Get Fucked pioneers of the London underground sound. A raw document of a lost era, revived.

Archival Gold. From The Source. Unearthed at Last.

Terry Francis stands as one of the original architects of acid tech house, a genuine pioneer whose influence shaped the sound and spirit of London’s underground scene in the 90s. From the seminal projects with Housey Doingz to his enduring tenure as a core resident at fabric, Terry has remained a constant and uncompromising force at the heart of the scene.

His contribution is impossible to overstate. Across three decades, Terry’s unmistakable sound, forward thinking approach and steadfast dedication have inspired artists across the globe. His work helped define an era and continues to resonate today.

Following a widely acclaimed run of reissues from the golden age of the early 2000s London underground, where the label was born, Sushitech Records now joins forces with Terry for a landmark moment, his first Sushitech LP, featuring various tracks from over the years alongside unreleased session recorded at Strange Weather Studios in 1999.

This special collection brings together eleven tracks, officially remastered from the original tapes and source material for the very first time. These are timeless productions, restored to reveal new depth, clarity and detail while preserving the raw energy that made them so vital and sought after, pressed on 180g vinyl. The release also features standout collaborations with Ricardo Afonso, Gideon Jackson and Haris, further cementing its status as an essential document of an era. A landmark collection, restored with precision and reintroduced in its fullest form.

New Zealand–born, Melbourne-based guitarist, producer, songwriter, DJ and recording artist Lance Ferguson returns with a killer follow-up: two new 7" releases from his third instalment of the acclaimed Rare Groove Spectrum series, offering a fresh set of reimagined and reworked classics. From '70s Australian jazz-funk and Latin-fusion to big-band soul and golden-era funk, Ferguson blends crate-digger sensibilities with modern studio craft.

The "Dominoes / Cold Bear" 7" features the exclusive track "Cold Bear", a fiery reinterpretation of The Gaturs' New Orleans funk classic. Sitting alongside it is a fan favourite among modern funk and soul lovers: Jungle's "Dominoes", stripped back, amped up and played live with an unpolished, authentic feel that pays homage to the essence of the original.

The world of discovering Soul music and artists can lead to sheer moments of jubilation. The thought of igniting a long lost sound, reviving the energy of a once exuberant individual . But not every story that's told is filled with joy. Some are peppered along the way with struggles and heartache. Over time artists have battled with over powering label owners, record executives who just don't back what you do. The story of Tommy Hill is one such story. Tommy along with friend and longtime collaborator Ricky Tarbo had a deal with Motown records back in the early 1980's which turned sour very quickly. His release "Flame"/"Super Star Of Love' was dropped pretty quickly with no promotion and record boss Sylvia Rhône calling the shots within the duo questioning skin colour within the group and even trying to get vocals wiped off the release to sabotage it.

This said the single didn't amount to much and nothing else was recorded for Motown records. The duo did record some 4 demo's in LA before Tommy headed to re-record them again in New York circa 1982.

The A side has never been released until now, which is such a crying shame as the quality is so damn good. It's an uptempo boogie cut called "All My Love" which we gave a sexy 45 mix so you get some slamming synth work half way in. Tommy Hill's vocal range is nothing but astonishing. Just check out the 2 step ballad of "Can't Get Over You", which was recorded and released back in 1980 by The James Simpson penetration Band written by Tommy Hill, who went back into the studio 2 years later to give the song much more depth not only within the production but also to his vocal range. Tommy Hill headed back to LA after not securing a record deal and a few years later tried to get this singing career back on track. Like many of the artists who have moved on to a higher place Tommy succumbed to his own mental health issues and took his life. We hope this record does you proud Tommy Hill

Ataxia return to Planet E with two club-optimized cuts that capture their rolling, characterful approach to the authentic roots of Detroit's electronic culture. Marking the duo's return to Planet E following 2020's Oblivion EP, both tracks deliver energy tapped from a fundamental understanding of house and techno, equally charged with their punk and DIY background.

Immediately establishing a deep, hypnotic beat, 'The Whistles' expands into a collage of unruly samples that tour the club, the street and the true characters between. Playfully hinting at the tension between Detroit's party people and those who would like the music turned down, the track is a steamrolling club cut that finds Ataxia going wild with their most psychedelic studio trickery.

'Hocus On Pocus' is a tightly wound, punchy psychedelic wormhole of analogue FX and rubbery basslines, adding layers of pressure and surprising sonic twists. The result is an offbeat banger in the spirit of Planet E's wildest moments; primed for the dancefloor but with personality to spare.

Mercurial Swede Axel Boman debuts on Aus Music with four spellbinding deep house beauties

Swedish artists pbeatgirl and Joakim Åhlund & Jockum Nordström feature on one track each
Axel Boman has brought playful charm to the underground for nearly two decades. His colourful, emotive sound marries melodic whimsy with warm, cuddly grooves and is underpinned by invention and experimentation in sound design, rhythm and mood. The Studio Barnhus co-founder is an artist who can make you laugh and cry at the same time, as continually shown across more than 20 EPs and four full-length albums on a tasteful array of labels. He strides into 2026 with a first EP for Aus that embodies everything that makes him easy to love and hard to pin down.

First up is 'Night Blooming' feat pbeatgirl - a provocative figure in Sweden's post-pop underground. The sensual late-night lullaby has soft drums and even softer spoken words whispered in your ear. Add in the dreamy synths, and you have perfect house hypnosis. 'Someone Stop Me' slows the tempo but ups the texture with raw, tumbling drum loops, incidental guitar licks and sustained pads that help you zone out and gaze into the distance on a summer's afternoon.

'Svalor Radiosignal (Axel's Dub)' features Joakim Åhlund, who is currently on tour of Australia with his band Les Big Byrd, and is also a guitarist and lead singer in the Caesars band he founded, as well as being a prolific producer. World-renowned multi-disciplinary artist Jockum Nordström works across painting, sculpture and collage and also features. There's a signature Boman innocence and charming naivety to the melodies here. They leave wispy, painterly trails above the smooth, dubby groove and fill you with warmth and comfort. Closer 'Spooky' journeys later into the night with a more rickety, edgy mood, but beautiful, shape-shifting synths are like a tender hand guiding you into darkness.

This is Axel Boman at his most intimate and expressive, a quietly powerful EP for heads-down moments and after-hours warmth.

MEMORIALS jump off the waterslides and head above the clouds with their stunning second album, ‘All Clouds Bring Not Rain’. The duo of Verity Susman and Matthew Simms (formerly of Electrelane and WIRE) locked themselves away in a studio in a barn secluded deep in the woods in southwestern France and re-emerged with a beautiful, unusual record that is both melodic and unconventional. For such an ambitious album it’s striking that it was written, performed, recorded and mixed solely by the two of them. Sounding like an unearthed classic, MEMORIALS twist their influences into their own unmistakable sound. Imagine Nico singing with Can produced by David Axelrod and you’re somewhere in the right ballpark.

The record draws inspiration from a wide range of music including folk, dub, post punk, experimental tape music, 60s soul, garage rock, 70s spiritual jazz and Canterbury prog. This attention to detail in their sound meant finding several other studios to get what they needed to record with, including a harpsichord at 4AD’s studio in London and a vibraphone and vintage Leslie speaker in Stereolab drummer Andy Ramsay’s studio Press Play. Verity’s distinctive, unadorned singing is a focal point of the record, moving from tender to wild. Her vocal melodies quickly become earworms, providing the tuneful heart around which the songs’ more unorthodox elements are arranged, which is where Matthew’s unconventional approach to recording and production comes to the fore. With their adventurous arrangements, classic songwriting skills and innovative production techniques, MEMORIALS have created another mesmerising listen that’s accomplished and compelling in its unique approach yet remains dizzyingly immersive - just like their acclaimed live shows.

Gnod's now twenty year journey through spiritual and audial exploration has been driven by relentless curiosity, magpie irreverence and a fierce countercultural imperative, their project has always refused to acknowledge all or any rules and boundaries, internal or external. The latest adventure of this band may never have been intended to celebrate their two-decade anniversary, but in true Gnod fashion by, what began as a trip into a residential studio setup in Hellfire Studios with producer John `Spud' Murphy (Lankum, Black MIDI, Caroline) for six days, resulted in more potent material than anyone bargained for. The end result has been three studio albums to be released over the next year. "This trilogy revealed itself to us in the studio" says Paddy. "We were hoping to get a good album out of the session and lo and behold we got three of the fuckers. It's interesting that we did pretty much capture the full spectrum of the Gnod sound across all three". In fact, this intrepid first instalment of the `Chronicles Of Gnowt' trilogy covers an alarming amount of sonic territory all on its own. Driven as always by the power of repetition as well as Gnod's alchemical marriage of the maximal and the minimal, this album is imbued with a vivid focus that's testimony to the chemistry of the sessions, coupled with a detailed and spacious production from Murphy that brings out the psychedelic sound worlds of the band in vivid colour. This is a travelogue which delves into pastoral tranquillity (as on `Three Trees Parts 1&2') just as adeptly as expansive Earth-tinged riff monoliths (`All Tunnel No Light') and just as formidably as the closing epic `Ekstasis' - a hallucinatory vista where kraut-tinged experimentalism meets Swans-style intensity. Yet all the while, truly sounding like no one but Gnod.

REPRESSED !
Patrick Keel is a multi-instrumentalist, composer, producer, and performer. The Pool was his solo project, the sum of fifteen years of experience in live bands, studios, and home recording. Patrick was heavily influenced by the radio of the early and mid 1960's in Dallas. The British bands and Black soul of the era gave him a distinct style, and shaped his musical attitude. The New Wave/Punk/D.I.Y. attitudes of the late 1970s inspired him to express himself in a new way. 1980 saw the release of "Pool One," a sixty minute home-produced cassette. "Pool Two" followed in 1981, which received much praise and little distribution. In 1982 he released a 5-song self-titled vinyl EP of tight, skeletal, synthetic dance music.

In 1983, 'Dance It Down/Jamaica Running' 12' EP was released on Moment Productions. Based on response from D.J.'s in New York and the Bronx, Patrick went back in the studio and remixed two songs from the self-titled EP for rapping, scratching and break dancing. "Jamaica Resting" was sped-up, extended, and reconfigured as "Jamaica Running". The whirlpool synth-strut of 'Dance It Down' came out of the studio as 'Dance In Dub', with a heavier kick and extended dub outro. These spacious versions were optimal for DJ play, slotting regularly in sets at hip clubs like Danceteria. For this reissue we've added two bonus European remixes from the 1984 12' of 'Dance It Down/Jamaica Running', released on Nunk records from Belgium. Both songs employ the use of a Boss DR-55, Korg MS-20, Korg PolySix, and a Prophet 5, and were mixed on a 16- track Ampex recorder. The Pool's spartan, self-assured songs are experiments you can dance to.

All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record comes housed in a newly designed jacket by Eloise Leigh, updating the magenta and blue grid and Pool logo of the Moment Productions release. Each copy includes a 12-page booklet with a never seen before photos, press clippings and notes.