Buscar:the leg

MT Jones is a soul singer and songwriter whose music channels the emotion and authenticity of legends like Otis Redding and Bill Withers, while embracing the energy of today’s soul and R&B. With his unmistakable voice and poignant lyrics, Jones has captivated audiences and earned, a reputation as one of the most compelling new artists in the genre.

‘An Undying Love For A Burning World follows Converge’s Love Is Not Enough this year as a pivotal metal album about acknowledging the darkness for what it is and trying to accept it.’ - the QUIETUS

‘Neurosis Know You’re Hurting. Their Stunning New Album Is a Life Preserver.
An Undying Love for a Burning World, the band’s first album with new member Aaron Turner, is a reminder of how even the darkest music can be a guiding light’ - 9/10 ROLLING STONE

Evolution can be ugly and beautiful, painful and euphoric. An Undying Love For A Burning World is the first new release from Neurosis in a decade, and a potent statement of intent and rebirth - one that marks the first new steps of resolve and resilience.

An Undying Love For A Burning World is an epic album of colossal hypnotism - beautiful, fearsome and utterly compelling in a way that only Neurosis can be. Aaron Turner (Sumac, Isis) joins the band on vocals and guitar, a name whose legacy is intertwined with the band’s own and a true kindred spirit.

“From the moment I first heard Neurosis over 30 years ago, I felt this was the music my heart and mind had been seeking but not yet heard. Now after many years travelling along various musical paths of my own, the singular sound and spirit embodied by Neurosis continues to speak to the depths of my being. It is an honor and a true pleasure to have been welcomed so warmly into a band that not only shaped my perspective on the limitless possibilities of music - but has lived and exemplified the necessity of upholding creative integrity and camaraderie above all else.” - AARON TURNER

Neurosis have never been afraid of change, and here they embrace endless regeneration, surrendering to the emotional exorcism through heaviness and distortion that their music incites. Just as the universe tends towards balance, Neurosis’cacophony of noise, rhythm and dissonance always resolves towards moments of beauty. The addition of Turner's powerful vocals and wildly creative and unhinged approach to guitar proves to be a vital force as Neurosis find themselves again at the mercy of evolution and expression.

On every song in the band’s history, Neurosis shifts restlessly between tension and relief, invoking a feeling both feral and transcendent in listeners. The band describe their songwriting process as an inescapable impulse to create with each other - a need rather than a choice. Indeed, the band insist that their return is “not a reunion - we never broke up.”

The album was recorded by Scott Evans (Kowloon Walled City, Sumac, and Great Falls) at Studio Litho in Seattle during three weekends this winter, and mixed in three days just six weeks before release at Evan's Antisleep Audio in Oakland.

Neurosis will play their first show in seven years on the traditional lands of the Blackfeet Nation in Montana as part of Fire in the Mountains festival by special invitation of Firekeeper Alliance, a non-profit dedicated to reducing youth suicide in Indian Country.

FITM, is a unique festival known for bringing epic music to epic landscapes with the intent of reconnecting and immersing oneself with the natural world, and strengthening our ancestral roots as human beings - an aim which aligns directly with Neurosis’ deep-rooted power.

Stay tuned for further news over the coming months.

PREVIOUS PRESS:

‘In less skilful hands, this relentless sonic oppression would be gruelling, but by expressing human frailty with such visceral abandon, Neurosis have once again turned darkness into euphoria.’ - 4/5 THE GUARDIAN

‘The Oakland band has evolved from gritty metallic punk to harrowing post-hardcore prog to the majestic doom of their current phase’ - 7.9 PITCHFORK

‘It’s not often an album of such stature exceeds one’s anticipations, but Honor is too astounding to not be revered.’ - The QUIETUS

“Fires Within Fires is the summation of thirty years of experimentation in tonality and texture. Yes, NEUROSIS are firmly positioned within the extreme metal underground yet their music, with its ability to generate images of beauty akin to those many of us have experienced in our own lives – not to mention the loss that accompanies them – challenges this categorization. ‘’ - WIRE MAGAZINE - FULL PAGE REVIEW.

"Their intensity remains undimmed on Fires Within Fires...The already converted will take heart from the evidence that age is unable to wither the fury of this heaviest of bands." - KERRANG! 4K REVIEW

"Every monstrous sludge riff gnashes menacingly for the right amount of time and every delicate moment of folk-inspired drift is emotionally exacting. Neurosis continue to create art without equal, and Fires Within Fires is another worthy addition to an awe-inspiring canon containing a number of truly pioneering and timeless albums." - METAL HAMMER - 8/10 LEAD REVIEW

Fika Recordings are pleased to present Bring On The Apathy, the third solo record from Scottish songwriter Adam Ross. Adam Ross is an indie-folk songwriter based in north-east Scotland. He is a solo artist and has also led the cult indie band Randolph's Leap for over a decade, releasing music with legendary Fence Records and Lost Map as well as Olive Grove Records and Fika Recordings. He is known for his unique brand of articulate lyricism which blends humour, poignancy, wordplay and offbeat stories.. “Bring On The Apathy” was recorded onto tape, using traditional analogue techniques at Glasgow’s Green Door Studio with Samuel J. Smith. It showcases some of the most emotionally open, lyrically deft and characterful songwriting so far from one of Scotland’s most accomplished writers. The vintage recording approach brings a warmth and intimacy to a record which is in equal parts raw and organic while also beautifully arranged and performed as Adam is joined by a raft of excellent collaborators. The album itself is a reaction. Whether it be in the title, the lyrical content or the method in which the sounds were captured. “I was feeling fairly down and uninspired about the musical landscape” Adam explains. “The risk with digital recording where every instrument is overdubbed separately is that it can end up sounding metronomic, sterile and lacking personality.

I also started to get a bit freaked out by the topic of AI-generated music and the insidious, creeping impact it’s already having. I therefore decided that, as a bit of a protest, I wanted to make something that sounded extra-specially human and hand-crafted, where you could hopefully hear the interplay between musicians.” For this reason, Adam decided to record the majority of the album live, as a band, playing together in the same room without a click track. “I’d put a band together to tour my last album, Littoral Zone, and I really enjoyed the way we all worked together. Green Door Studio was chosen as the destination as it specialises in analogue sound production but it had an extra significance for Adam. “Green Door was the first studio I ever recorded in, back in 2009. This time around, the “unforgiving” nature of tape recording became an inspiration. “The musicians on the record are such great players that they rarely make mistakes, so there was a confidence there that we wouldn’t need to rely on copious amounts of editing or post-production, which isn’t always possible with tape anyway. The core band consisted of Owen Curtis-Williams on drums, Cameron Maxwell on bass, Pedro Cameron on violin, Gillian Fleetwood on harp and (long-time collaborator with Randolph’s Leap) Pete MacDonald on piano. Mercury Prize-nominated artist C Duncan was drafted in to write and perform backing vocal arrangements along with Amanda Nizich and Gillian Fleetwood. Adam says “I’d been listening to a lot of Bob Dylan, Karen Dalton and Bill Callahan records and I thought it might be interesting to apply those sorts of influences to my brand of Scottish quirk-pop”.

The Flirtations are poised to release ‘Still Sounds Like the Flirtations’ – their first album of new material in 55 years. They are best known for their 1969 signature song, "Nothing But A Heartache”, off their debut album ‘Sounds Like the Flirtations’. That song spent 14 weeks on Billboard’s Hot 100, and its success saw the group tour with Stevie Wonder, Tom Jones, The Four Tops and The Temptations. “Nothing But a Heartache” remains an undeniable Northern Soul classic; it has been streamed over 13 million times, and in 2022 was remixed by Tobtok and Oliver Nelson. On their forthcoming album, which was produced, engineered, mixed, and co-written by Ben Rice (Joan Osborne, Valerie June), Earnestine Pearce, Shirley Pearce, and Viola Billups aka Pearly Gates tell the stories of their lives. Drawing inspiration from the churn of personal, social, and political situations that they have lived through over the past five decades, they capture a timeless and well-earned perspective on love and life. The record, which features the Dap King horns, contains standout tracks, including the reflective call to action “Memories”, co-written by Stevie Wonder; the hopeful love song “Ain’t No Easy Way” and the instant dance floor hit “Didn’t Anybody Tell You”, both co-written by Grammy-nominated songwriter Gian Stone (John Legend, Meghan Trainor); the uplifting groover “Love Somebody”; and the roaring “Take It Back”, co-written by Dave Sherman (Nick Cave & the Bad Seeds, Elle King). The recording process was a transatlantic adventure, with sessions at Abbey Road and Resident Studios in London, Degraw Sound in Brooklyn, and Creative Workshop in Nashville. Retaining the classic soul sound and melodic harmonies The Flirtations are known for, the album will not disappoint long-time fans, while also promising to bring their authentic, inimitable sound to a new generation of music.

Coinciding with the band’s European tour in June 2026, High Roller Records re-releases “Rat God” (2021), “Fearsick” (2022), and the “Panic Prayer” EP (2023) by US death metal powerhouse Inhuman Condition.
Formed in late 2020, Inhuman Condition unites three seasoned veterans of the genre: Jeramie Kling (Overkill, ex-Venom Inc., ex-Massacre) on vocals and drums, guitarist Taylor Nordberg (Deicide, Umbilicus, ex-Massacre), and Terry Butler (Obituary, ex-Death, ex-Six Feet Under, ex-Massacre) on bass. With roots deeply embedded in the legacy of classic Florida death metal, the trio quickly established a reputation for delivering relentless, and unapologetically old-school extremity infused with modern precision and songwriting clarity.
The group’s debut full-length “Rat God” introduced their signature blend of crushing mid-tempo grooves, razor-edged riffing, and commanding vocal presence. Praised for its clear and powerful production, dynamic guitar work, and unmistakable homage to early 90s death metal, the album delivered headbanging anthems such as ‘Euphoriphobia’, ‘Crown of Mediocrity’, and ‘Planetary Paroxysm’, marking Inhuman Condition as a veritable force carrying the tradition forward.
With “Fearsick” (2022), the band sharpened their attack while staying true to their core identity. Featuring artwork by Dan Goldsworthy and produced by Jeramie Kling, the album expanded the sonic palette with atmospheric touches, crushing riff sequences, and memorable hooks, thus cementing the band’s status.
The “Panic Prayer” EP (2023) showcased three new tracks and a cover of Blue Öyster Cults ‘Godzilla’ alongside raw live recordings capturing the band’s ferocious stage energy.
High Roller Records’ 2026 re-issue campaign offers fans the chance to rediscover the early catalog in premium physical editions, celebrating the recordings that established Inhuman Condition as a modern standard-bearer of classic death metal intensity.

Get ready for a musical history lesson of the wildest kind! Vancouver's garage-punk specialists THE BAD BEATS are back with a bang On their new album "Shiver and Shake - 14 Canadian Cold Cuts," released via SOUNDFLAT RECORDS, the band pays homage to the musical heritage of their Canadian homeland--with 14 hard-hitting cover versions. After proving they have the 60s "fuzz" spirit in their DNA with albums like "His Vengeful Hand" and "Off the Hook," they've now dug deep into Canadian music history. Instead of the usual hits, THE BAD BEATS present a selection of "Cold Cuts"-- raw, unpolished gems from cult bands that shaped the sound of the North. Look forward to high-energy reinterpretations of legends such as THE DEVRONS (who would later become THE GUESS WHO with the classic "She's Your Lover"), DAVID CLAYTON THOMAS & THE SHAYS (with the gripping "Take Me Back"), LES LUTINS ("Je Cherche") and of course, a tribute to the legendary NEIL YOUNG, with a gritty version of "Mr. Soul," is a must.

Schwarzes Vinyl! Doppel-LP im Klappcover. Ursprünglich 2017 rausgebracht und jetzt zum ersten Mal in Europa über Sub Pop erhältlich! Pure Comedy, das dritte Album von Father John Misty, ist eine komplexe, oft sarkastische und ebenso oft berührende Reflexion über die verwirrende Torheit der modernen Menschheit. Father John Misty ist das Projekt von Singer-Songwriter Josh Tillman. Wir könnten viel über Pure Comedy sagen, zum Beispiel, dass es ein mutiges, wichtiges Album in der Tradition amerikanischer Songwriting-Größen wie Harry Nilsson, Randy Newman und Leonard Cohen ist, aber wir denken, es ist am besten, wenn sein Schöpfer es selbst beschreibt. Los geht's, Mr. Tillman: Pure Comedy ist die Geschichte einer Spezies, die mit einem unvollständig entwickelten Gehirn geboren wurde. Die einzige Überlebenschance dieser Spezies, die sich auf einem grausamen, unberechenbaren Felsen wiederfindet, umgeben von anderen Spezies, die in dieser ganzen Sache viel geschickter zu sein scheinen (und für die sie eine Delikatesse sind), besteht darin, sich auf andere, etwas ältere, halb ausgebildete Gehirne zu verlassen. Diese Abhängigkeit bekommt im Laufe der Geschichte verschiedene Namen, wie ,Liebe", ,Kultur", ,Familie" usw. Mit der Zeit und da sich ihre Gehirne als bemerkenswert gut darin erweisen, Bedeutung zu erfinden, wo keine ist, wird die Spezies zum Lieferanten immer bizarrerer und raffinierterer Ironien. Diese Ironien sollen helfen, mit der abscheulichen Verletzlichkeit der Spezies fertig zu werden und zu versuchen, ihre Fantasie mit der Monotonie ihrer Existenz in Einklang zu bringen. So in etwa. Pure Comedy wurde 2016 in den legendären United Studios (Frank Sinatra, Ray Charles, Beck) in Hollywood, Kalifornien, aufgenommen. Produziert wurde es von Father John Misty und Jonathan Wilson, die Tonarbeit übernahm Mistys langjähriger Tontechniker Trevor Spencer und die Orchesterarrangements stammen vom bekannten Komponisten und Kontrabassisten Gavin Bryars (bekannt für seine umfangreichen Soloarbeiten und seine Zusammenarbeit mit Brian Eno, Tom Waits und Derek Bailey). Black Vinyl. Originally released in 2017 & now available for the first time in Europe via Sub Pop! Pure Comedy, Father John Misty's third album, is a complex, often-sardonic, and, equally often, touching meditation on the confounding folly of modern humanity. Father John Misty is the brainchild of singer-songwriter Josh Tillman. While we could say a lot about Pure Comedy including that it is a bold, important album in the tradition of American songwriting greats like Harry Nilsson, Randy Newman, and Leonard Cohen we think it's best to let its creator describe it himself. Take it away, Mr. Tillman: Pure Comedy is the story of a species born with a half-formed brain. The species' only hope for survival, nding itself on a cruel, unpredictable rock surrounded by other species who seem far more adept at this whole thing (and to whom they are delicious), is the reliance on other, slightly older, half-formed brains. This reliance takes on a few different names as their story unfolds, like "love," "culture," "family," etc. Over time, and as their brains prove to be remarkably good at inventing meaning where there is none, the species becomes the purveyor of increasingly bizarre and sophisticated ironies. These ironies are designed to help cope with the species' loathsome vulnerability and to try and reconcile how disproportionate their imagination is to the monotony of their existence. Something like that. Pure Comedy was recorded in 2016 at the legendary United Studios (Frank Sinatra, Ray Charles, Beck) in Hollywood, CA. It was produced by Father John Misty and Jonathan Wilson, with engineering by Misty's longtime sound-person Trevor Spencer and orchestral arrangements by renowned composer/double-bassist Gavin Bryars (known for extensive solo work, and work with Brian Eno, Tom Waits, Derek Bailey).

With The Sound of Hardstyle Vol. 3, a new chapter in the vinyl series unfolds, this time putting the spotlight firmly on Hardstyle classics. This volume brings together some of the most defining tracks from an era where melody, energy and emotion came together at their absolute peak.

From the timeless sound of Wildstylez' Timeless to the uplifting power of Max Enforcer's Gold (24k Fix), and the unforgettable energy of D-Block & S-te-Fan's Built This City, this record captures the essence of what made Hardstyle so impactful. On the flip side, classics like Noisecontrollers' Down Down, Brennan Heart's Running Late and Code Black's Pandora continue that legacy, each representing a sound that shaped dancefloors across the world.

More than just a collection of tracks, The Sound of Hardstyle Vol. 3 is a tribute to a defining era. Pressed on vinyl, this release invites fans and collectors to relive the melodies, the energy and the moments that turned these tracks into true Hardstyle anthems.

Equal Vision Records, Dine Alone Records, and The Flatliners are thrilled to announce the release of Cold World, the Juno-nominated Canadian punk quartet’s brand new studio album, arriving Friday, May 8. The album is available now for pre-order / pre-save / pre-add. Where 2022’s New Ruin wrestled with the inherited damage left behind by the previous generation, Cold World confronts that legacy as something more distant — a ghost, a fading memory. If New Ruin captured the rage of realization, Cold World lives in the aftermath of clarity. Welcome to the future. Leading the charge is first single “Good, You?”, a snotty, tongue-in-cheek anthem that takes aim at toxic masculinity and the all-too-familiar fear of opening up about our feelings. Fans can watch the Jeff Powers-directed music video on YouTube and stream the track now on all platforms. Light Grey Marble available limited to 250 Rude Records Exclusive.

Blending Afro-Uruguayan traditions with rock, soul, jazz, and funk, Ruben Rada has shaped the music scenes of Uruguay and Argentina from the 1960s to the present. Alongside Eduardo Mateo, he pioneered candombe-beat during his time with the legendary band El Kinto. In the early 1970s, he fused Afrobeat with rock in the trailblazing group Totem and later helped define the distinctive jazz fusion sound of Opa-collaborating with the Fattoruso brothers and Airto Moreira during his years in the United States. In the 1980s, Rada settled in Buenos Aires and assembled a powerhouse band featuring top talent from both Uruguay and Argentina. Together, they created a series of unforgettable albums that fused candombe with jazz and rock-marking one of the most celebrated periods of his career. Adar Nebur, originally released in 1984, captures Rada and his band at their peak. Backed by a stunning horn section, they blend Latin rhythms with jazz, soul, and the new wave sounds of the '80s. Now, more than forty years later, this hidden gem is being released internationally for the first time.

An instrumental counterpart to ‘Man Kill Man’ by Lone Ark meets The 18th Parallel, ‘Kanata’ marks the debut solo release of Japanese saxophonist extraordinaire Yuko Arakawa.

A member of ZIONHILL SESSION—the collective led by Mr. Saito, who also lends his trombone to this recording—Yuko Arakawa channels a deep reverence for the legacy of Count Ossie and the pioneers of Nyahbinghi instrumental reggae. Her playing moves with a spiritual intensity, echoing the meditative roots sound of Cedric 'Im' Brooks, while igniting flashes of raw, untamed energy reminiscent of Sugar Belly. The result is a living, breathing sound—both grounded in tradition and reaching beyond it.

Roberto Sánchez delivers a deep Mutron Bi-Phase dubby mix that expands the sonic horizon of the track. True to its title, ‘Kanata’ (彼方)—a Japanese word meaning ‘far beyond’ or ‘in a distant place’—invites the listener into a meditative journey, drifting across time, space, and memory.

Shawn Lee, the Silver Fox, did it again! He managed to persuade David Fostex to reord a follow up to his intriguing 2023 offering "Dark Yacht" with an even more cutting-edge venture into the world of sinister, mysterious world of the super yacht sounds and releases "Dark Yacht 2" including 10 new, original compositions written during a frosty, starry night somewhere near Marina Del Ray.

"As I find myself entering into the new era of my personal musical odyssey, I reflect back to a simpler time -a kinder, more gentle world where people listened without hearing," says David Fostex. "An artistic genius such as myself could easily live a life of excess and luxury without even breaking a sweat. I now find myself slaving away in a hot cramped home studio perspiring profusely over childlike chord structures and rudimentary themes. However, I am still reaching for musical greatness and to be perfectly honest, I am creating sonic masterpieces beyond the shackles of my so-called peers- if you can even call them that. My work speaks for itself and I speak for myself. So it is with great pride that I present to you ,Dark Yacht 2', an intimate journey into the mystical world of DAVID Jeremiah FOSTEX the living legend and purveyor of all things good and true. You will laugh-you will cry… Find a friend or a loved one… hold them close and listen to the splendour of what no doubt will be considered to be one the greatest albums of all time. You're welcome".

Uncle Slam, featuring former members of Suicidal Tendencies and Warrior, was a politically-minded thrash act from the 90's. Their list of influences shouldn’t surprise anyone with a passing familiarity of the genre: early Corrosion of Conformity, Dark Angel, Testament, Megadeth and of course Suicidal Tendencies.

Will Work for Food, originally released in 1993 by Roadrunner Records in Europe, with cover art by the legendary Ed Repka, will now be a available on vinyl for the first time ever.

This album features an iconoclastic take on Led Zeppelin’s “Dazed and Confused” which is one of the record’s highlights, These guys are turning that song’s proto-punk into actual punk. The rest of the album is a blast of antigovernment aggression, and is ready to be rediscovered 30-odd years later!

Will Work For Food is for the first time available on vinyl as a limited edition of 750 individually numbered copies on purple vinyl and includes an insert.

First new album in 6 years along with being their EVR debut album. Brett Romnes (Hot Mulligan, The Front Bottoms, Mom Jeans) produced the record along with being the drummer of the band. I Am The Avalanche features members of The Movielife, Head Automatica, Crime In Stereo, and Such Gold. Vinyl White Swirl LP limited to 250 available, Rude Records Exclusive

The Wings of War (2019) finds Overkill at the peak of their thrash metal power. The album blends aggressive riffs, driving drums, and Bobby “Blitz” Ellsworth’s unmistakable vocals with melodic hooks. Each track delivers energy, precision, and raw intensity, from rapid-fire assaults to grooving mid-tempo songs. A relentless, powerful release honoring the band’s legacy while sounding fresh and modern. Now reissued as Ltd. Edition Vinyl. Pressed on clear Vinyl with crushed black and green splatter, housed in a gatefold sleeve.

Following the success of his debut EP 'Departure', J Michael Harris returns with a dynamic neo-jazz album that marks his evolution as an artist. Bringing together legendary musicians from London, Los Angeles, and Atlanta, the album embodies elements of jazz, dance and electronica while drawing inspiration from luminaries such as Robert Glasper, J Dilla, Aphex Twin, Sampha, and Herbie Hancock.



All music written by J Michael Harris (saxophone, piano, fender rhodes, synths, EWI, clarinet, flute)

featuring

Freddy Sheed (drums, percussion, programming/ Lewis Capaldi, The Japanese House, The 1975)

Jimmy Haslip (bass/ Yellowjackets, Allan Holdsworth, Jeff Lorber Fusion)

Mo Pleasure (piano, hammond b3/ Earth Wind and Fire,

Michael Jackson, Ray Charles)

Karlos Edwards (percussion/ Nitin Sawney, Spice Girls, Mark Ronson)

Henry Collins (trumpet/ Amy Winehouse, Tom Jones, Van Morrison)



Mixed and Mastered by Guy Massey (The Divine Comedy, Kylie, The Beatles)

The new Nu Genea? A real band on Toy Tonics that plays dance music! Drums, bass, percussion, keys… no samples, no computers.

Kymono bring together house, Italian pop, Brazil, and jazz. They have amazing skills as musicians, as songwriters, and they ROCK hard live. It sounds a bit 70s but also it sounds so post-digital or as some say: organic. It’s a band for the Lo-Fi heads and the people who like groove on a dancefloor.

One song features Italian legend Alan Sorrenti on the mic. The rest has a few Italian vocals, which makes it so unique and charming that it will appeal not only to funky house music fans but also to lovers of the current jazz scene.

Darauf haben die Fans gewartet: Tank and the Bangas lassen nach “Green Balloon“ (2019) und “Red
Balloon” (2022) mit “The Last Balloon” jetzt den dritten, besonders energiegeladenen und tanzbaren
Albumballon steigen. Die Band aus New Orleans wird von der charismatischen Frontfrau und Lyrikerin
Tarriona ”Tank“ Ball angeführt und gewann letztes Jahr den Grammy für das ”Best Spoken Word Poetry”-
Album.
“The Last Balloon” ist erneut ein knallbunter Mix aus Soul, Hip-Hop, R&B und Jazz und präsentiert Kollaborationen mit den Sängerinnen Ledisi und Jelly Joseph, der Musikerin Iman Omari und dem Pianisten Tane
Runo. Das Album balanciert zwischen Momenten tiefer Verletzlichkeit und Ausbrüchen überschäumender
Energie – ganz im Sinne der legendär dynamischen Live-Auftritte der Gruppe.

This curated compilation brings together the finest Brazilian bossa nova artists and international interpreters, creating the

perfect soundtrack for sophisticated cocktail moments. Featuring super classic compositions, performed by both legendary

Brazilian artists and international musicians who helped spread bossa nova worldwide, this release captures the essence of Brazilian atmosphere of 1960s cocktail lounges.

RATTUS' furious sophomore album from 1984 reissued in May Rattus is one of the most legendary Finnish hardcore punk bands. Formed in 1978 and split up in 1988, Rattus returned in 2001 and are setting venues ablaze to this day. Uskonto on vaara was originally released on Poko Rekords in 1984. It's a furious album with nine killer songs; an aggressive and intense ride, a true classic in its genre. Svart Records reissued the album in 2012 and after fourteen years it's about time to bring it back to the streets with black and limited color vinyl editions. "RATTUS combustion, startling adrenaline speed and hammerhead blows of power. Featuring the new high-velocity rasping vocals of Annikki, RATTUS virtually sweep forth with sharp-edged earloads of riveting force and disorderly rapidity. Brilliant Finnish hardcore, unhesitant and explosive assaults of raw nitro energy." -Pushead, Maximum Rocknroll #7, July/August 1983

RATTUS' furious sophomore album from 1984 reissued in May Rattus is one of the most legendary Finnish hardcore punk bands. Formed in 1978 and split up in 1988, Rattus returned in 2001 and are setting venues ablaze to this day. Uskonto on vaara was originally released on Poko Rekords in 1984. It's a furious album with nine killer songs; an aggressive and intense ride, a true classic in its genre. Svart Records reissued the album in 2012 and after fourteen years it's about time to bring it back to the streets with black and limited color vinyl editions. "RATTUS combustion, startling adrenaline speed and hammerhead blows of power. Featuring the new high-velocity rasping vocals of Annikki, RATTUS virtually sweep forth with sharp-edged earloads of riveting force and disorderly rapidity. Brilliant Finnish hardcore, unhesitant and explosive assaults of raw nitro energy." -Pushead, Maximum Rocknroll #7, July/August 1983

Vinyl reissue of the debut album from underground legends CEREMONIUM.
Originally released in 1995, “Into the Autumn Shade” is a landmark of ominous underground death metal, remastered for vinyl by Dan Lowndes in Resonance Sound Studio for analogue audio perfection.

SURFILMUSIC, ein Dokumentarfilm, der Johnsons Entwicklung vom Surfer zum Filmemacher und schließlich
zum weltbekannten Musiker nachzeichnet, begleitet ihn bei der Entstehung seiner legendären Surf-Filme
”Thicker Than Water” (1999) und ”The September Sessions” (2000). Diese Klassiker offenbarten Johnsons
künstlerische Sichtweise durch seine Kamera und seine Gitarre und begründeten letztlich seine Musikkarriere.
Der neue Film feiert die lebenslangen Freundschaften und die vom Meer geprägte Gemeinschaft, die Johnsons Weg geprägt haben, und zeigt viele der Surfer, die in den Originalfilmen zu sehen waren, darunter Kelly
Slater, Rob Machado und die Malloy-Brüder. Er fängt auch den gemeinsamen Geist der Entdeckungslust
und Kreativität ein, der seine Musik und seinen Umweltschutz bis heute inspiriert.
Für den Soundtrack schlossen sich Hermanos Gutiérrez, langjährige Bewunderer von Johnsons Musik und
Surf-Filmen, ihm im Studio an, wo Johnson auch wieder mit dem Produzenten Mario Caldato Jr. (Beastie
Boys, Seu Jorge, Beck) zusammenkam, der mehrere von Johnsons beliebtesten Alben, darunter ”In Between
Dreams” und ”Sleep Through the Static”, co-produziert hatte. Was als gegenseitige Wertschätzung begann, entwickelte sich schnell zu einer kreativen Verbindung und Freundschaft, aus der ein wunderschöner
neuer Song, „Hold On To The Light“, und eine originelle Filmmusik hervorgingen. Ihre Zusammenarbeit
wird sich auch auf die Bühne erstrecken, wo die Brüder an vielen Terminen als Vorgruppe für Johnson
auftreten werden.
Außerdem enthält das Album 4 einzigartige Tracks, welche Johnson in den 1990er Jahren auf seinem 4-
Spur-Kassettenrekorder aufgenommen hat.

Zum 60. Jubiläum des legendären Meisterwerks der Beach Boys enthält The Pet Sounds Sessions Highlights
2CD Auszüge aus dem 1997 für den Grammy nominierten 4CD-Boxset The Pet Sounds Sessions. Sie enthält
25 A-cappella-Aufnahmen von „Pet Sounds“, alternative Versionen und Aufnahmesessions sowie neue Liner
Notes. Pet Sounds wurde am 16. Mai 1966 veröffentlicht und hauptsächlich von Brian Wilson produziert
und komponiert und gilt als Meisterwerk der Popmusik sowie als eines der einflussreichsten Alben der
Geschichte. Es enthält die klassischen Singles ”God Only Knows”, ”Sloop John B” und ”Wouldn’t It Be
Nice”.
Auch erhältlich erstmals auf Vinyl als 2LP (180g) erhältlich.

Brenda Lee became a star while still a child, earning the nickname Little Miss Dynamite thanks to her explosive vocals and fearless

delivery. Blending rock ’n’ roll, pop, and country, her songs are timeless, emotional, and instantly recognizable. From fiery up-tempo classics

to heartfelt ballads, this compilation captures the sound that made her a legend, and still resonates today. Including her classics

“I’m Sorry,” “Emotions,” “If You Love Me (Really Love Me),””Sweet Nothin’s,” “Break It To Me Gently,” and “Rockin’ Around The Christmas Tree”.

The Ritual is a 2000 EP by Greek stoner rock Legends Nightstalker, featuring a 27-minute blend of heavy psych, stoner, and punk recorded between 1998-1999. It includes four original tracks and a Motörhead cover, "Iron Horse," often praised for its dirty, riff-heavy, and trippy sound.

Magenta coloured vinyl, limited to 350 copies. The Ritual is a 2000 EP by Greek stoner rock Legends Nightstalker, featuring a 27-minute blend of heavy psych, stoner, and punk recorded between 1998-1999. It includes four original tracks and a Motörhead cover, "Iron Horse," often praised for its dirty, riff-heavy, and trippy sound.

Jess Sah Bi is well-known as half of the legendary duo Jess Sah Bi & Peter One who brought homegrown Country-Americana to the West African masses with their smash debut Our Garden Needs Its Flowers in the mid-1980s. Touring stadiums and reaching listeners worldwide, their music has racked up millions of spins on YouTube and remains imprinted in the hearts of Ivorians of a certain age. ATFA reissued their album in 2018, garnering critical acclaim from publications including Pitchfork and Rolling Stone and reaching a new generation of listeners outside Ivory Coast (Cote d'Ivoire). Sometime in the early 90s, Die Sahbi - or Jesse, as he known to friends-became gravely ill with an unknown ailment and almost died. He visited various doctors and all kinds of religious healers and nothing helped. One day he went down to an Evangelical Christian revival in his neighborhood. They prayed over him and he was delivered. He says, "Their prayers helped chase out whatever demons and unhealthy spirits were inside me. After that my illness went away. When I went to the United States a few months later on an exchange program I wanted to make music to thank God because I was saved." He recorded an album of music praising God in order to honor a promise he made to himself at the depths of his desperation in the hospital. The album Jesus-Christ Ne Deçoit Pas Jesus Christ Does Not Let Us Down came out in 1991 and sold around 3000 cassettes in Ivory Coast. The master tape was lost along the way so the recording has never been on digital platforms until now. Jesse didn't have much time to record while visiting South Carolina, hence the relatively short album, 6 songs including two reprises for filler. A local pastor connected him with a studio and some American musicians (Robert Fortner and Gary Davis) to help. They added acoustic guitar, percussion and keyboard accompaniment to Jesse's soaring French and Gouro vocals, harmonica and finger-picked acoustic. The resulting recording is deeply soothing and contemplative music that perfectly compliments the songs already embraced by millions. But he had to find the rest of the studio expenses-$600 total-which he secured drawing cartoons for UNICEF. Jesse is Ivory Coast's first political cartoonist, a vocation for which he was widely celebrated at the time. It also made him a few enemies which lead to him leaving the country permanently a few years later. Jesus-Christ Ne Deçoit Pas is Jess Sah Bi's first and only gospel album. Fortunately, fans responded with enthusiasm: widespread radio airplay and concerts followed, along with a growing solo profile in the country. The first big gospel artists in Ivory Coast were the duo Mathieu et Constance, who emerged in 1989. There was a bigger gospel music movement in English-speaking counties like Ghana and Nigeria (Christians make up roughly 40% of the population in Ivory Coast, slightly less than Muslims). Jesse didn't have any intention of working in Christian music but he realized, "You don't make music to make money-you want to send a message." In the years since Jesus-Christ's release, gospel music in Ivory Coast has grown to become a key part of music culture in the country. Spiritual music appears in community actives across the public and private spectrum from religious gatherings and parties to television broadcasts and music festivals. And, as it has evolved and indigenized locally, gospel music has picked up elements of traditional Ivorian music, reggae and soul. The album ultimately precipitated the demise of the duo, who were soon separated geographically as Peter One relocated to Nashville. He went on to become a nurse and release a successful solo album on Verve following the ATFA collaboration. Nowadays Jesse lives in the Bay Area and continues to record and perform music wherever and whenever he has the chance. He is publishing a new book of humorous cartoons in 2025 and his most recent album Never Give Up came out in 2020

"We just wanted a kiss that makes you want to kiss..."

From a sample to the most iconic kiss in music video history… When Demon released "You Are My High" at the end of 1999, it created a frenzy. Nominated at the Victoires de la Musique and the MTV Awards, the track was on everyone’s lips—including the CSA's, which tried to censor it. 25 years later, the "You" shines brighter than ever, captivating each new generation in turn.

A Top 10 hit in France upon release and certified gold within months, "You Are My High" skyrocketed thanks to its video—three minutes of a single-shot French kiss. Briefly banned by the CSA (who quickly realized it’s hard to censor something you see in every film), the clip ended up playing non-stop on music channels, defining an entire era.

Today, the "You"—as its creator fondly calls it—is considered one of the crown jewels of French Touch 1.0 (Daft Punk, Stardust, Cassius, Modjo, The Supermen Lovers...). With nearly 150 million streams across platforms, its legacy holds strong and continues to inspire a new wave of artists. Among the most iconic reinterpretations: a lo-fi cover by Agar Agar, remixes by DJ Snake and Central Cee, the You and Me video by Disclosure and Flume, and even a Jean Paul Gaultier campaign.

Das zehn Songs starke "Train On The Island" entstand erneut in enger Zusammenarbeit mit ihrem langjährigen Weggefährten John Parish (u.a. PJ Harvey, Dry Cleaning) und wurde gemeinsam mit ihm in den legendären Rockfield Studios in Monmouth, Wales, produziert. Dort entstanden bereits Hardings frühere Alben "Party" (2017), "Designer" (2019) und "Warm Chris" (2022). Unterstützt wurden Harding und Parish diesmal von Pedal-Steel-Gitarrist Joe Harvey-Whyte, Harfenistin Mali Llywelyn, Synth-Künstler Thomas Poli sowie Schlagzeuger Sebastian Rochford (Polar Bear). Außerdem mit dabei: H. Hawkline alias Huw Evans an Bass, Gesang, Akustik- und E-Gitarre sowie Orgel.

Das zehn Songs starke "Train On The Island" entstand erneut in enger Zusammenarbeit mit ihrem langjährigen Weggefährten John Parish (u.a. PJ Harvey, Dry Cleaning) und wurde gemeinsam mit ihm in den legendären Rockfield Studios in Monmouth, Wales, produziert. Dort entstanden bereits Hardings frühere Alben "Party" (2017), "Designer" (2019) und "Warm Chris" (2022). Unterstützt wurden Harding und Parish diesmal von Pedal-Steel-Gitarrist Joe Harvey-Whyte, Harfenistin Mali Llywelyn, Synth-Künstler Thomas Poli sowie Schlagzeuger Sebastian Rochford (Polar Bear). Außerdem mit dabei: H. Hawkline alias Huw Evans an Bass, Gesang, Akustik- und E-Gitarre sowie Orgel.

‘Test Press’ originally landed with Erol Alkan long before his monumental B2B2B2B with Busy P, Fred Again and Thomas Bangalter of Daft Punk in Paris in October 2025. A few nips and tucks by Alkan later resulted in his own simple yet highly effective battle weapon, and ‘Test Press’ was ready for the Parisian dancers at the now legendary Pompidou Centre’s closing party, as well as thousands locked into the live stream of this unexpected link-up.

Not content with the edit to merely be confined to a series of YouTube rips and Alkan's own USB key, Felix Da Housecat’s ‘Test Press (Aphrohead Remix / Erol Alkan Re-Edit)’ has been pressed onto a limited edition single-sided while label.

This is not a promotional copy!

Test complete.

Despite its tragic breakup, Yugoslavia as a political, social and cultural phenomenon still inspires generations, especially those who were born or lived at the time of this utopian land of South Slavs. Those who didn’t enjoy the privilege are still amazed by its 1970s and ’80s music scene and the number of very modern, high quality acts that were so often ahead of their time. Two such acts were Data and The Master Scratch Band, both founded by Zoran Jevtic and Zoran Vracevic, who introduced synth-pop, breakbeat, and hip-hop music in Yugoslavia in 1984 with their releases: SP Neka Ti Se Dese Prave Stvari/Ne Zovi To Ljubavlju and miniLP Deogut (Jugoton). Our latest release, “It Was Ridiculous, It Was Amazing!” gathers their earliest unreleased material from 1981-1983, showcasing a broader range of genres – alongside synth-pop and breakbeat/hip-hop, they also experimented with industrial, EBM, minimal synth, and electro-funk!

The whole record is divided into two parts: on A side there are 7 previously unpublished songs by group DATA, and on B side there are 4 previously unreleased recordings by The Master Scratch Band.

The Data side opens with two unexpected “shocker” tracks: Ja Nisam Kao Ti” (eng. I am Not Like You) and “Izumi” (eng. “Inventions”) from 1981, where they sound like early Deutsch-Amerikanische Freundschaft with unusual vocal pan sound effects on Serbian lyrics and uncompromising synth-based sound. Equally unpredictable are the next two songs: atmospheric “España” and dusty “Damage In My Head,” where Zoran Jevtić boldly steps into the lead vocal role. But the surprises don’t end there. The next two songs, France and Strahovi (eng. “Fears”), bring a mysterious and nostalgic atmosphere, elevated by the irreplaceable sound of the modular Roland System-100M. At the end comes the greatest surprise of all: Data covers YMO-Ballet in a song called Ne Zelim Da Tako Zive (eng, I Don’t Want Them Living Like That) and puts some extra energy in rhythm without losing the original song’s sensibility. Like in the original, the lyrics are tender and yet mysterious and provocative.

The Master Scratch Band side contains the very first versions of the songs Break War, Jailbreak, and Computer Break, originally recorded in studio Druga Maca in Belgrade in 1983. These versions were not released on their mini-LP album Dégout (Jugoton, 1984), and they are actually the first ever hip-hop/Breakbeat recordings in Yugoslavia. With great enthusiasm, every sound was uniquely crafted from scratch using the finest analog gear available in the early ’80s. The two young artists, aiming for international success, chose to write their lyrics in English. The album’s final track, “Mad Scratch,” showcases their talent for creating impressive sound effects, which would be a delight for contemporary DJs and producers who specialize in sampling and scratching old-school hip-hop.

This release is truly a “100% digger’s gem” – 11 previously unreleased tracks from legendary pioneers of electronic, hip-hop, and breakbeat. A collection to discover, enjoy, play, and treasure forever!

Genre Is Death is an uncompromising noise duo made up of Ty V (guitar, vox) and Tayler Lee (bass, vox). Their sound is abrasive yet melodic, using heavy distortion, dissonant riffs, and reverberating vocals to create a wave of boldly hypnotic noise. The duo have been compared to the likes of Sonic Youth and Teenage Jesus and the Jerks, yet have managed to create a sound that is distinctly their own, avoiding mimicking the zeitgeist of decades before. Beyond the integrity of their music, Tayler’s intimidating glare, or Ty’s staggering gait, the duo share something truly inimitable— the overwhelming feeling that their music is a byproduct of the high esteem they hold of each other. The duo moved to NYC in August of 2023 looking for something more than their mundane suburban lifestyle of day drinking and playing doom metal in friends' basements…their move to NYC coupled with their desire to express something, anything, led to the inception of Genre is Death. The pair hit the ground running, playing anywhere and everywhere they could… however, it was only after a chance encounter with 80s noise forerunners Live Skull that the pair was introduced to the strange underbelly of NYC noise and began playing regular gigs with The Art Gray Noizz Quintet and Lydia Lunch. In 2025 the pair played New Colossus Festival, toured with Gogol Bordello, embarked on their first East Coast tour, and played gigs with Cherubs, Bush Tetras, and Jon Spencer. Their upcoming record was recorded with legendary sound engineer Martin Bisi (Sonic Youth, Swans).

Soul legend Gwen McCrae’s All This Love gets a fresh dancefloor reinterpretation from Tokapi Disco Team, the German production duo known for their work with million-selling act Sash!. Ben Liebrand adds his signature touch with extended groove-driven edits, crafted with DJs firmly in mind. Tokapi Disco Team blends a warm, rounded kick with subtle percussion and a light shuffle that keeps the rhythm flowing effortlessly. A rolling, funk-inflected bassline locks in with Chic-inspired piano chords, while tasteful disco strings lift the arrangement throughout. Gwen’s unmistakable vocal remains the emotional centerpiece — rich, soulful and timeless.

The result is a seamless nu-disco and disco-house crossover that bridges classic soul heritage with contemporary club energy.

THIS is Gwen—this is ESSENTIAL.

After more than a year of road-testing and building anticipation on dance floors worldwide, this eagerly awaited 12" release has finally arrived. Championed heavily by producer and DJ Vick Lavender himself, and supported by legendary selector Joaquin Joe Claussell, demand for this record has reached a fever pitch. With requests pouring in and excitement growing by the day, label head Carl Dupri knew the time was right.

"Girl" manifests as a masterful musical composition, crafted in the distinct deep, soulful style that only Vick Lavender can deliver. Rich textures, warm grooves, and elevated arrangements create an immersive soundscape that speaks directly to the heart and the dance floor alike.

Topping it off is the stunning vocal performance from the incomparable Angel A., whose soulful delivery adds depth, emotion, and timeless elegance to the production.

Pressed and housed in a beautifully designed 12" artwork jacket, this release is the total package-music, message, and presentation. Judging by the overwhelming demand and DJ support, it's only a matter of time before this one disappears from shelves and crates.



Enjoy the Journey

Still Music are proud to present the reissue of “A Message For The DJ” by one of Detroit’s finest, Delano Smith featuring the distinct vocals of Diamondancer. Featuring the now legendary remix by Jimpster, that has constantly been played since it’s initial release in 2005 by DJ’s across all scenes within the House spectrum.

Original copies of this Deep House classic are hard to come by on the second-hand market, regularly changing hands for close to £70, if you’re lucky enough to find one! Here’s your chance to get one over on those pesky Discogs sharks. Don’t delay!