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Experience the ultimate OneRepublic compilation with The Collection - a selection of their biggest hits! Featuring global chart-toppers like “Counting Stars,” “Apologize,” and “I Ain’t Worried,” to anthems like “I Lived,” “Run,” and “Good Life.” Available on 1LP black vinyl, OneRepublic: The Collection is a must-have.

This is the second volume of the double compila"on Shock Room. This collec"on features iconic
and sought-a(er "techno, trance & progressive" sounds that got en"re genera"ons dancing and
are s"ll being played and sought a(er by DJs and fans of this musical genre. The compila"on
takes its name from the "main room" inside the Ul"mo Impero nightclub in Turin, a historical
temple of '90s techno trance music in Italy

French artist Franck Roger is one of house music's most solid and consistent performers, which is why Seasons Limited has invited him back for a new EP. 'La Vie En Bleu' opens with lush 90s house drums and pensive melodies that are dreamy and wistful, while 'You're In Love' is a little more direct with dubby warmth and swirling pads for steamy sessions. 'Lost Sands' shuts down with a mix of sundown Balearic bliss, early Chicago house depths and lush Italo energy. All three of these are the sort of tracks that could be unearthed old gems, such is their timelessness. One of his best in a while which is saying something!

Mr Sam - HERITAGE (1995-2025)

HERITAGE celebrates 30 years of Mr Sam's career in a world-first collector's edition: a monumental best-of gathering 40 tracks across 10 vinyls. Never before has an electronic DJ and producer released such a project - an unprecedented box set that stands as a unique, sincere and intimate journey, blending emotion, innovation and musical memory.

Each track has been carefully selected, remastered, and placed as part of a personal narrative. More than just a compilation, HERITAGE is a musical journey - the story of an artist who has shaped the trance and progressive scene worldwide since 1995, and who continues to write history, with this release sealing his legacy forever.

The album features his most iconic productions (Lotus, the Screen series, Forever Waiting, Lyteo...) alongside timeless contributions from artists who influenced a generation, including D*Note, Timo Maas, Jam & Spoon...

This is more than a retrospective - with HERITAGE, Mr Sam permanently engraves his legacy in the history of electronic music.

A Tekko Kagi is characterized by four iron blades like bear claws attached to a metal ring covering the userÕs knuckles. Worn over the hands, the claws can be used as an offensive weapon for slashing, striking and scraping the opponent and also for defensive purposes as the wielder can disarm or sunder swords or other slender-bladed weapons with natural hand motions.

Jackie Mittoo’s ‘Reggae Magic’ is a new collection from the great Jackie Mittoo. The album features a mixture of classic tunes and rarities from the period 1967-74, when Mittoo was at the height of his musical powers. Mittoo’s solo career began after the end of The Skatalites in 1965. He began pushing new musical boundaries, creating a uniquely identifiable organ-led funky reggae sound that owed as much to Booker T and The MGs, Jimmy Smith, Stax and Motown as to the post-ska and emergent rocksteady island rhythms of Kingston, Jamaica. His solo work at the legendary Studio One spanned seven albums and hundreds of singles.

Aside from producer and founder Clement ‘Sir Coxsone’ Dodd, it’s hard to think of anyone more central to the sound and success of Studio One than Mittoo; keyboard player extraordinaire, songwriter, arranger, musician, truly the Keyboard King at Studio One. Jackie Mittoo had been the youngest founding member of The Skatalites (at age 16), probably the most important group in Jamaican music. After they split, he became leader of the three pivotal groups at Studio One – The Soul Brothers, The Soul Vendors and Sound Dimension. He also became musical director for Studio One, helping create countless hits for singers Ken Boothe, Bob Andy, The Wailers, John Holt, Delroy Wilson and more – unforgettable tunes like Alton Ellis’ ‘I’m Still in Love with You’, Marcia Griffiths’ ‘Feel Like Jumping’, The Heptones’ ‘Baby Why’ and others. Between 1965 and 1968, many of the tunes created at Studio One can be attributed to Mittoo – timeless instrumental tracks, recorded either under his own name or those of The Soul Brothers, Soul Vendors and Sound Dimension, that have become the basis for literally 1000s and 1000s of Jamaican songs over many decades, giving the music an unsurpassed longevity.

The endurance of his music was as a direct result of significant developments in Jamaican music in the 1970s, namely the creation of three important new styles: Dub, Deejay and Dancehall. In the early 1970s Mittoo’s instrumental tracks were used as the musical source for a series of classic Studio One dub albums. At the same time Deejays at Studio One, including Dillinger, Prince Jazzbo and Dennis Alcapone, began toasting over these same popular rhythms to create their own new songs. In the mid-70s, a new generation of Studio One singers and deejays, including Sugar Minott, Freddie McGregor, Johnny Osbourne, Michigan & Smiley and others, began once again creating new melodies over these original instrumentals, signalling the birth of a new Jamaican style that became known as ‘dancehall’.

As dancehall swept across the island, rival producers copied these now classic rhythms. These original Jackie Mittoo-driven tunes spread like a virus throughout Jamaican music; be they the instrumental cuts to tunes such as Alton Ellis’ ‘Mad Mad’ , ‘I’m Just A Guy’, Larry Marshall’s ‘Mean Girl’, Slim Smith’s ‘Rougher Yet’, and instrumentals such as Mittoo’s classic ‘Hot Milk’ or ‘One Step Beyond’, The Sound Dimension’s ‘Real Rock’, ‘Heavy Rock’, ‘Full Up’, ‘Drum Song’, ‘Rockfort Rock’ … and the list goes on. These tracks became a constant soundtrack to the island, emitting from the ever-present sound of speaker boxes strung up around dancehalls. This recycling travelled even farther afield; The Sound Dimension’s instrumental ‘Real Rock’, updated by Willie Williams on his classic ‘Armageddon Time’ was in turn covered by The Clash. Lily Allen sampled Mittoo’s debut solo single ‘Free Soul’ for number one hit ‘Smile’; Dawn Penn’s ‘You Don’t Love Me (No, No, No)’, accompanied by The Soul Vendors, was revived by Penn and producers Steely & Cleevie in 1994, since covered by Rihanna, Ghostface Killah, Stephen Marley, Damian Marley and Beyonce. And so it goes; an endless time-leaping, continent-hopping diasporic musical map of the world with all roads essentially leading back to one man – Jackie Mittoo.

Benjamin Hudson returns to Acroplane, following his last projects with us as Ebola (Wrong Music) and one half of Baconhead, with 'Slime'… and he's brought a load of his talented mates to collaborate with him.

Artwork by Everything Alllways

Mastering by James Forde Stewart @ Sorting Room Studios.

Brain Rays is part of queer collective, DOOMSCROLL, and Devon art & party crew, Bizarre Rituals. He is also a co-founder of Wrong Music alongside DJ Scotch Egg and Matt Lambert (Roger Species).

Known for his hectic, high pressure output with Quiet, and film soundtrack work (as part of Unknown Horrors) collaborating with director Dean Puckett (The Severed Sun, The Sermon, Satan's Bite) and Rhys Chapman (Wonderkid). As a DJ he has performed all over the world, including Transmediale Festival (Berlin), Today's Art (Den Haag) and Boomtown Fair, as well as two live sessions at Radio 1's legendary Maida Vale Studios. As a producer he has garnered support from the likes of Mary Anne Hobbs, ETCH, Huw Stephens, Drumskull, Annie Mac, and Nikki Nair.

Double album for 2025's Peur Bleue production, bringing oldschool Tribe and Acid ... Many first timers on vinyl supported by beloved artists since years....

Photo of the shop by Livia Saavedra, and visuals By Vstee FDB

Mastering by Jo.IND and cut by Simon Davey.
Pressed at Records Industry.

Berlin-Hamburg duo Session Victim return to the ever-reliable Delusions Of Grandeur imprint with Chapter Two of their Sidequests trilogy, marking yet another high point in their almost twenty year journey through heartfelt, sample-rich music. Overflowing with analog warmth, sundrenched textures and irresistible grooves, the release also features a stellar remix from label cofounder and deep house pioneer Jimpster who kicks off the EP. Here he takes Behind The Glass into spaced out house-not-house territory. With crisp drum programming, trademark Rhodes, and subtle pads that build over time, his version delivers that late-night sophistication he's known for—steering the downtempo original in a clubbier direction without losing its blissed-out essence. Up next we have a brand new collaborative effort with long time friend, label mate and fellow sample nerd Nebraska. Make It Happen is a dusty, slo-mo house groove featuring delicate keys, euphoric strings and that unmistakable sense of journey. It’s just the kind of low-slung epic house they do best—intimate yet club-ready, nostalgic but never retro. Flipping over, Too Soft To Be Loud, another collaboration with Viken Arman, follows with a jazzy, almost samba-esque rhythm and swirling atmospherics. Loose percussion, catchy guitar riffs and Rhodes stabs collide with off-kilter dub FX and soft vocal snippets giving the track a laid-back, live-band feel that harks back to their See You When You Get There era. Hubcap Candy dives deep into funk territory. Nebraska’s on point boogie bassline drives the track forward as crunchy drums and layers of synths create a dreamlike haze. It’s loopy, moody, and finds Session Victim at their very best. Closing out the EP we have the original of Behind The Glass, a headsy, beatdown piece that slowly unfolds over an unconventional brass-like bassline and delicate guitar textures, paying homage to the golden age of Trip Hop haziness and it’s pioneer turntable spirit. Blending crate-digging sensibilities with forward-thinking production, this latest release solidifies Session Victim’s reputation as genre-blurring tastemakers, and their chemistry with Delusions Of Grandeur remains as strong as ever

MUCH LOVED LOW ALBUM BACK IN PRINT ON VINYL…NB NEW PRICE.NON -RETURNABLE.

The second Albini recorded and engineered Low album, Things We Lost in the Fire features such hits as Sunflower and Laser Beam.

#14 on Pitchfork 30 Best Dream Pop Albums.

#117 Pitchfork Top 200 Albums of the 2000s.

#93 The Guardian 100 Best Albums of the 21st Century list.

#36 NME Top 50 Darkest Ever Albums.

“Measuring out grief and resilience with a steady hand, these are the best songs of Low's quiet career.” Mojo 9/10

“Low's original stark minimalism has gradually given way to a broader sonic range, without sacrificing their strangely accessible otherness.” Wire

“Low have always sought to make music that can both swell the heart like a gospel tune and capture the amplified absence of a funeral parlour. It's difficult to imagine a more perfect expression of their vision than this.” NME

"I stood on top of the mountain and looked out over the landscape. It was so beautiful that my chest hurt. The light vibrated, time stood still, and the contours dissolved for a moment. Everything had changed; I felt it then. I took their little hands so as not to lose contact with the ground. Then we ran down the mountain, scraping our knees. Still, we didn't make it. You had already put away all the nautical charts, loosened the moorings and steered out among the skerries. Mum stood waving from the jetty. You were alone, you wanted it that way. It was to be just you in the boat this time. I called out to you. I think you heard me and felt less lonely. We couldn't carry each other anymore, no matter how hard we tried. We washed our wounds on the shore and scattered tears and rose petals in the bay. The children laughed and searched for treasures under water. We called to them that it was time to come up. They were cold, and we hugged them to warmth. One ran ahead, the other up on our shoulders. Up the mountain, our mountain."

In 2020 Anna Högberg put her widely celebrated band Anna Högberg Attack on hold, retraining as a nurse whilst continuing a solo practice and playing in other groups. With Ensamseglaren she makes a spectacular return with her own ensemble — this time a double sextet — performing an album length suite of new music written in dedication to her late father — the titular ‘ensamseglaren’ pictured on the LP cover as a young boy.

 (ensam in Swedish can mean both alone and lonely, seglaren = the sailor).

Shot through with renewed energy and a brutally affective emotional punch, Högberg’s formal experimentation opens up vibrant possibilities for the assembled musicians to let loose with some of their wildest and most ecstatic playing on record.

Högberg’s contention with grief leans into collective joy as method of mourning — the big band as extended family; where bonds are made through a shared experience of being together. Where everyone gets to be themselves without expectations of who they should be or what they can do. It’s a radical commitment to care — of her self and others — that animates and unifies this suite of music’s radical dynamics and variations in colour: from whisper-quiet textural intensity to harrowing distortion and double drum chaos; raucous and solemn song.

"Throughout history, humans have had different images of the transition between life and death. Imagine standing on the seashore on a summer evening and seeing a beautiful vessel being prepared for departure. The sails are hoisted. The evening breeze comes, the sails fill and the boat glides out onto the open sea. You follow it with your eyes as it heads towards the sunset. It gets smaller and smaller, until it finally disappears as a tiny dot on the horizon. Then you hear someone next to you say, ‘Now they have left us.’ Left us for what? The fact that they got smaller and smaller and finally disappeared is only how we see it. In reality, they are just as big and beautiful as when they were here, lying on the beach by our side. Just as you hear that voice say ‘Now they have left us’, there may be someone on another beach who sees them appear on the horizon, someone waiting to welcome them when they reaches their new port."

END[GER] Die Band Wednesday aus Asheville, North Carolina errichtet im Laufe der zehn Songs von "Rat Saw God" einen Schrein voller aufregender Details: Halb lustige, halb tragische Botschaften aus den Südstaaten, die sich klanglich irgendwo zwischen dem wimmernden Skuzz von Neunzigerjahre-Shoegaze und klassischem Country-Twang entfalten - mit verzerrter Pedal Steel und Frontfrau Karly Hartzman, die mit ihrer Stimme, den Lärm durchschneidet. Ein Song von Wednesday ist wie ein Quilt. Eine Kurzgeschichtensammlung, eine verschwommene Erinnerung, ein Flickenteppich aus Porträts des amerikanischen Südens, der disparate Momente einfängt und als Ganzes doch irgendwie einen Sinn ergibt. Karly Hartzman, die Songschreiberin, Sängerin, Gitarristin und Leiterin der Band, ist eine Geschichtensammlerin als auch eine Geschichtenerzählerin: Eine aufmerksame Beobachterin von Menschen und witzigen Bemerkungen. "Rat Saw God", das neue und beste Album des Quintetts aus Asheville, ist ekphrastisch, aber ebenso autobiografisch und vor allem sehr einfühlsam. Es wurde in den Monaten unmittelbar nach der Fertigstellung von dem zweiten Album der Band, "Twin Plagues", geschrieben und innerhalb einer Woche im Drop Of Sun Studio in Asheville aufgenommen. Die Songs auf "Rat Saw God" erzählen keine Epen, sondern das Alltägliche. Sie sind lebensnah, erzählen vom wahren Leben, sie sind verschwommen und chaotisch und seltsam zugleich - was Hartzmans eigenem Ethos entspricht: "Everyone's story is worthy. Literally every life story is worth writing down, because people are so fascinating." A Wednesday song is a quilt. A short story collection, a half-memory, a patchwork of portraits of the American south, disparate moments that somehow make sense as a whole. Karly Hartzman, the songwriter/ vocalist/guitarist at the helm of the project, is a story collector as much as she is a storyteller: a scholar of people and one-liners. Rat Saw God, the Asheville quintet's new and best record, is ekphrastic but autobiographical and above all, deeply empathetic. Across the album's ten tracks Hartzman, guitarist MJ Lenderman, bassist Margo Shultz, drummer Alan Miller, and lap/pedal steel player Xandy Chelmis build a shrine to minutiae. Half-funny, half-tragic dispatches from North Carolina unfurling somewhere between the wailing skuzz of Nineties shoegaze and classic country twang, that distorted lap steel and Hartzman's voice slicing through the din. Rat Saw God is an album about riding a bike down a suburban stretch in Greensboro while listening to My Bloody Valentine for the first time on an iPod Nano, past a creek that runs through the neighborhood riddled with broken glass bottles and condoms, a front yard filled with broken and rusted car parts, a lonely and dilapidated house reclaimed by kudzu. Four Lokos and rodeo clowns and a kid who burns down a corn field. Roadside monuments, church marquees, poppers and vodka in a plastic water bottle, the shit you get away with at Jewish summer camp, strange sentimental family heirlooms at the thrift stores. The way the South hums alive all night in the summers and into fall, the sound of high school football games, the halo effect from the lights polluting the darkness. It's not really bright enough to see in front of you, but in that stretch of inky void - somehow - you see everything. The songs on Rat Saw God don't recount epics, just the everyday. They're true, they're real life, blurry and chaotic and strange - which is in-line with Hartzman's own ethos: "Everyone's story is worthy," she says, plainly. "Literally every life story is worth writing down, because people are so fascinating." But the thing about Rat Saw God - and about any Wednesday song, really - is you don't necessarily even need all the references to get it, the weirdly specific elation of a song that really hits. Yeah, it's all in the details - how fucked up you got or get, how you break a heart, how you fall in love, how you make yourself and others feel seen - but it's mostly the way those tiny moments add up into a song or album or a person.

Perhaps it was a cold winter day or a warm summer night in Finland - but it was around 2010. Someone came up with an idea to combine bluegrass, Finnish folk and rock/metal music. The outcome was and has since been Steve 'n' Seagulls. The kind of band you've never heard before but you do want to hear again. Hailing from Finland in Northern Europe - this flock of musical energy keeps on going and flying faster than ever. In 2025, the sun will lay its rays on the long-awaited fifth Steve 'n' Seagulls album - The Dark Side of the Moo! Recorded and produced with the same crew as the previous one, Steve 'n' Seagulls have again found and torn down the limits of progressive bluegrass and newgrass. The album combines elements from genres that are hard to imagine together. Yet they meet and shake hands like old friends. Steve 'n' Seagulls' originals and some re-arranged classics form yet another interesting musical soup ready to be served on their The Dark Side of the Moo -tour around Europe in 2025.

To celebrate our 10th release, we are proud to welcome Slippy G (@slippygmusic) to the RAW SOUL family.
The Cologne-based producer, DJ and freestyle rapper was inspired by the German beat scene, J Dilla and niche underground rap while growing up with hip-hop.
He also delved deeply into electronic music, discovering the shared DNA between beat-driven hip-hop and early house productions - from the raw energy to the production techniques of the legendary Akai MPC.
Over the years, Slippy G has built his own creative playground, crafting a sound that blends groove, warmth and raw authenticity with his own vocals.
RAWSOUL010 delivers six versatile tracks designed for the dance floor, smooth warm-ups and sunrise moments at festivals. Across the release, Slippy G showcases the vibrant soundscapes in his repertoire. If you're looking for grooves that get you in the pocket or house tracks that pay homage to the early '90s with a playful twist, RAW SOUL 010 has you covered.
With a fresh new look and a timeless, forward-thinking sound, this anniversary release marks a significant milestone for the label and the beginning of an exciting new chapter for Slippy G.

Names Records in conjunction with Two Piers Editions are delighted to announce the long awaited 21st Anniversary reissue of the debut album from The Earlies.

'These Were the Earlies' was released on Names Records / 679 Recordings in July of 2004 and quickly became one of that summer’s essential albums.

"The Best Debut Album of 2004” – UNCUT
"Insane Pop Genius. Scintillating” - 10/10. NME
NME #1 Top Rated Album 2004
There is much here to love” - The Sunday Times
"This rustic hymn to imperfect pop is a reminder that Britain and the States still have a special relationship.” - The Observer

This Numbered Limited Edition Vinyl (1000) will be issued on Double Cream Vinyl, includes a poster and new refreshed artwork by Rina Donnersmarck. Produced by the band and Tom Knott. Beautifully Remastered by Shawn Joseph (Portishead, Beak, PJ Harvey).

Although it had a very troubled birth, all detailed in the liner notes included with those different versions here, CRADLE OF FILTH almost-album-length 1996 EP V Empire, Or Dark Faerytales In Phallustein proved to be a superb triumph over adversity.

Despite all their legal problems, line-up changes and insane pressure after the gigantic success of their debut album, the Brits nevertheless managed to write and record a slab of new even grander songs, next to a new version of the already classic ‘The Forest Whispers My Name’, some would argue even bettering their debut in the process.

Another undeniable 90s symphonic black metal masterpiece, available again for the first time officially since 2017!

Although it had a very troubled birth, all detailed in the liner notes included with those different versions here, CRADLE OF FILTH almost-album-length 1996 EP V Empire, Or Dark Faerytales In Phallustein proved to be a superb triumph over adversity.

Despite all their legal problems, line-up changes and insane pressure after the gigantic success of their debut album, the Brits nevertheless managed to write and record a slab of new even grander songs, next to a new version of the already classic ‘The Forest Whispers My Name’, some would argue even bettering their debut in the process.

Another undeniable 90s symphonic black metal masterpiece, available again for the first time officially since 2017!

Although it had a very troubled birth, all detailed in the liner notes included with those different versions here, CRADLE OF FILTH almost-album-length 1996 EP V Empire, Or Dark Faerytales In Phallustein proved to be a superb triumph over adversity.

Despite all their legal problems, line-up changes and insane pressure after the gigantic success of their debut album, the Brits nevertheless managed to write and record a slab of new even grander songs, next to a new version of the already classic ‘The Forest Whispers My Name’, some would argue even bettering their debut in the process.

Another undeniable 90s symphonic black metal masterpiece, available again for the first time officially since 2017!

The North Irish progressive rock band Fruupp released their third album The Prince of Heaven's Eyes in 1974. Fruupp produced the concept album themselves. It is a beautifully presented, well-balanced and stunningly original story. Inspired by the Genesis sound they created an melodic and structured piece of music, combining rock with folk and classical influences. The album centered around the impressive keyboard work by Stephen Houston. Their own unique characteristics are presented by combining all the elements in their complete sound.

Fruupp was assembled by guitarist Vincent McCusker in 1971. During their five year existence they recorded four progressive rock albums.

This solo album features all 10 tracks from Kaneko Ayano's band, Kanekoayano's, album "Stone Thread" newly re-recorded with her own acoustic guitar.
It's her first full-length album in about two years since her previous album, "A Towel Blanket Comes Alone" As with her previous releases, the recording
and mixing was handled by Yasumasa Hamano (IZU STUDIO), and the mastering was handled by Soichiro Nakamura (peace music).
The jacket artwork is a new design by artist TIDE. Available in CD and LP formats only.

NYC punk-chic, discodelic funk band Say She She is back with Cut & Rewind, their politically-charged, dancefloor-crushing third album. Led by the powerhouse vocal trio of Piya Malik, Sabrina Mileo Cunningham, and Nya Gazelle Brown, the group channels progenitors like Minnie Ripperton, Charles Stepney, Liquid Liquid, and Raw Silk to create a groove-forward, psychedelic soundscape of pulsing disco beats, heavenly whistle tones, and soaring three-part harmonies. There's a feeling of righteous rebellion simmering beneath these songs' body-moving exterior, though: "She Who Dares" is a call to fight against a near-future dystopia where women's rights have been decimated globally; "Disco Life" decries the racism and homophobia of Steve Dahl's 1979 "Disco Demolition Night," reclaiming the dancefloor as "a playing field where all are free." Cut & Rewind is protest music dressed up as a sweat-dripping, hip-shaking, mind-expanding good time.

Erstmalig überhaupt auf Vinyl erhältlich: "Blue Collar Sons", das zweite Album der schwedischen Streetpunker "City Saints"! 2012 gegründet machten sich die Ex-Mitglieder von Perkele und Chillihounds mit ihrer neuen Band schnell einen Namen in der Streetpunk/Oi-Szene mit ihrem explosiven Mix aus High-Energy-Punkrock, Oi! und von Bands wie Mötley Crew inspirierten R'N'R-Touch. Ihr Debüt "Kicking ass for the working class" ist mittlerweile zurecht ein Klassiker. Der nur ein Jahr später veröffentlichte Nachfolger "Blue Collar Sons" bewies mit Songs wie "Hooligan", "Punk, Rock & Oi!" oder "Working Class Rockers", dass die Göteburger ein besonderes Händchen für explosive Rough'n'Tough Hymnen haben, die sofort zünden! "The (City) Saints come marching in" war und ist kein leeres Versprechen! Nach mittlerweile 6 veröffentlichten Alben und ihrem erst vor ein paar Monaten veröffentlichten letztem Werk "EXPLOSIV!" darf man die City Saints getrost zu eine der großartigsten, schwedischen Streetpunk'n'Roll Bands bezeichnen! "Blue Collar Sons" erscheint limitiert auf classic black und multicoloured (clear w/ smokey dark blue) Vinyl!

Erstmalig überhaupt auf Vinyl erhältlich: "Blue Collar Sons", das zweite Album der schwedischen Streetpunker "City Saints"! 2012 gegründet machten sich die Ex-Mitglieder von Perkele und Chillihounds mit ihrer neuen Band schnell einen Namen in der Streetpunk/Oi-Szene mit ihrem explosiven Mix aus High-Energy-Punkrock, Oi! und von Bands wie Mötley Crew inspirierten R'N'R-Touch. Ihr Debüt "Kicking ass for the working class" ist mittlerweile zurecht ein Klassiker. Der nur ein Jahr später veröffentlichte Nachfolger "Blue Collar Sons" bewies mit Songs wie "Hooligan", "Punk, Rock & Oi!" oder "Working Class Rockers", dass die Göteburger ein besonderes Händchen für explosive Rough'n'Tough Hymnen haben, die sofort zünden! "The (City) Saints come marching in" war und ist kein leeres Versprechen! Nach mittlerweile 6 veröffentlichten Alben und ihrem erst vor ein paar Monaten veröffentlichten letztem Werk "EXPLOSIV!" darf man die City Saints getrost zu eine der großartigsten, schwedischen Streetpunk'n'Roll Bands bezeichnen! "Blue Collar Sons" erscheint limitiert auf classic black und multicoloured (clear w/ smokey dark blue) Vinyl!

REPRESS of Mephistofeles debut album. Mephistofeles is one of the biggest acts of the new Doom Stoner scene from Argentina which has developed its own cult following all around the world. This debut release offers catchy grooves and melodies, complemented by a gritty, lo-fi production. The tracks delve into themes of self-destruction and drug addiction, presenting a raw and unfiltered stoner doom experience. A must have!

REPRESS of Mephistofeles debut album. Magenta-coloured vinyl, limited to 350 copies. Mephistofeles is one of the biggest acts of the new Doom Stoner scene from Argentina which has developed its own cult following all around the world. This debut release offers catchy grooves and melodies, complemented by a gritty, lo-fi production. The tracks delve into themes of self-destruction and drug addiction, presenting a raw and unfiltered stoner doom experience. A must have!

Ostinato as resistance: Rafael Anton Irisarri’s landmark work reimagined. Marking the tenth anniversary of the American composer’s critically acclaimed album 'A Fragile Geography', this new edition arrives renewed, both sonically and visually.

First released in 2015 (Room40) during a period of personal upheaval and creative reinvention, it endures as a testament to resilience, transformation, and the connection we hold with the places that shape us.

Written in the aftermath of a devastating theft, A Fragile Geography was born out of loss. Just days before a cross-country move to New York, Irisarri’s entire Seattle-based studio was wiped out. Instruments. Recordings. Archives. Gone without a trace. He arrived on the East Coast to an empty room and the daunting task of starting over.

“This album wasn’t just a record; it was a lifeline,” Irisarri reflects. “It became a way to process the emotional chaos that followed: uprooting, instability, and ultimately, the slow, intuitive rebuilding of a life.”

Composed and recorded in the rural woods of the Hudson Valley, the album took shape in seclusion, surrounded by nature, and through a process guided by improvisation. Embracing limitations, Irisarri wove textural layers of field recordings with half-remembered melodies from his Seattle years, piecing them together like fragments of memory. Tracks like “Displacement,” “Hiatus,” and “Persistence” juxtaposed haunting stillness with restless momentum, mapping an inner terrain of grief, catharsis, and rebirth.

Among its defining sounds is “Empire Systems,” a monumental centerpiece built around a simple four-chord progression, organ textures, and guitar drones. Gradually, the track expands into layers of immersive loops and thick, enveloping distortion that wash over the listener like a rolling wave. Often cited as the album’s most majestic passage, it captures Irisarri at his most sonically ambitious. With a harmonically saturated structure crafted from restraint and repetition, it remains one of his most recognizable compositions: an exercise in the art of maximal minimalism.

From the outset, “Reprisal” received praise from BBC’s Mary Anne Hobbs, who championed the track on her radio show. Her support played a key role in introducing Irisarri’s work to wider audiences and solidifying his place within the lineage of electronic, drone, and experimental sound artists. A slow-burning elegy, the piece emerges from a haze of distortion and sub-bass, with dense, unrelenting drones carrying a sense of mounting tension. Just as it seems to collapse under its own weight, flickers of guitar emerge like distant light through fog. It’s a meditation on dissonance, resolve, and the elusive possibility of release.

The closing track, “Secretly Wishing for Rain,” is steeped in saudade: a longing for Seattle’s dour grey skies, lush green landscapes, and desaturated sunsets. Through it, Irisarri mourns a vanished chapter of life bound to the city, a time documented in scattered mementos and cherished collections, now permanently gone. A reflection on what could never be recovered: an era lost to time. Julia Kent’s looped cello motifs added a melancholic warmth to the track, marking the first collaboration between the two artists and sparking a musical dialogue that would keep growing in the years that followed.

More than a career highlight, A Fragile Geography has laid the foundation for Black Knoll studio, which Irisarri rebuilt from the ground up. The studio has since grown into a creative hub for countless projects, with Irisarri engineering records for iconic music figures like Terry Riley, Ryuichi Sakamoto, William Basinski, MONO, Devendra Banhart, Grouper, Emeralds, Steve Hauschildt, Julianna Barwick, and many others. Carried by its lasting influence, the album has quietly captured the ear of a younger generation, its sound and emotional arc finding new listeners in unexpected corners.

The album’s new visual language was reimagined in collaboration with Mexico City–based designer Daniel Castrejón. Irisarri captured ghostly images at Gaztelugatxeko Doniene, a historic coastal site in Bermeo, Euskal Herria. Castrejón then treated the photographs with distressed textures and spectral overlays. The final artwork channels the rugged, elemental forces that shaped both the music and Irisarri’s aesthetic, renewing his ties to ancestral ground inspired by the Basque homeland of his bloodline.

Mastered by Stephan Mathieu with exceptional attention to detail, this anniversary edition uncovers every nuance in the sound design, enhancing clarity and presence. With each listen, new elements emerge, inviting discovery and reconnection.

“I don’t experience this album as a document of grief anymore,” says Irisarri. “I hear adaptation and I'm reminded that when everything falls apart, something meaningful, maybe even beautiful, can emerge.”

Ostinato as resistance: Rafael Anton Irisarri’s landmark work reimagined. Marking the tenth anniversary of the American composer’s critically acclaimed album 'A Fragile Geography', this new edition arrives renewed, both sonically and visually.

First released in 2015 (Room40) during a period of personal upheaval and creative reinvention, it endures as a testament to resilience, transformation, and the connection we hold with the places that shape us.

Written in the aftermath of a devastating theft, A Fragile Geography was born out of loss. Just days before a cross-country move to New York, Irisarri’s entire Seattle-based studio was wiped out. Instruments. Recordings. Archives. Gone without a trace. He arrived on the East Coast to an empty room and the daunting task of starting over.

“This album wasn’t just a record; it was a lifeline,” Irisarri reflects. “It became a way to process the emotional chaos that followed: uprooting, instability, and ultimately, the slow, intuitive rebuilding of a life.”

Composed and recorded in the rural woods of the Hudson Valley, the album took shape in seclusion, surrounded by nature, and through a process guided by improvisation. Embracing limitations, Irisarri wove textural layers of field recordings with half-remembered melodies from his Seattle years, piecing them together like fragments of memory. Tracks like “Displacement,” “Hiatus,” and “Persistence” juxtaposed haunting stillness with restless momentum, mapping an inner terrain of grief, catharsis, and rebirth.

Among its defining sounds is “Empire Systems,” a monumental centerpiece built around a simple four-chord progression, organ textures, and guitar drones. Gradually, the track expands into layers of immersive loops and thick, enveloping distortion that wash over the listener like a rolling wave. Often cited as the album’s most majestic passage, it captures Irisarri at his most sonically ambitious. With a harmonically saturated structure crafted from restraint and repetition, it remains one of his most recognizable compositions: an exercise in the art of maximal minimalism.

From the outset, “Reprisal” received praise from BBC’s Mary Anne Hobbs, who championed the track on her radio show. Her support played a key role in introducing Irisarri’s work to wider audiences and solidifying his place within the lineage of electronic, drone, and experimental sound artists. A slow-burning elegy, the piece emerges from a haze of distortion and sub-bass, with dense, unrelenting drones carrying a sense of mounting tension. Just as it seems to collapse under its own weight, flickers of guitar emerge like distant light through fog. It’s a meditation on dissonance, resolve, and the elusive possibility of release.

The closing track, “Secretly Wishing for Rain,” is steeped in saudade: a longing for Seattle’s dour grey skies, lush green landscapes, and desaturated sunsets. Through it, Irisarri mourns a vanished chapter of life bound to the city, a time documented in scattered mementos and cherished collections, now permanently gone. A reflection on what could never be recovered: an era lost to time. Julia Kent’s looped cello motifs added a melancholic warmth to the track, marking the first collaboration between the two artists and sparking a musical dialogue that would keep growing in the years that followed.

More than a career highlight, A Fragile Geography has laid the foundation for Black Knoll studio, which Irisarri rebuilt from the ground up. The studio has since grown into a creative hub for countless projects, with Irisarri engineering records for iconic music figures like Terry Riley, Ryuichi Sakamoto, William Basinski, MONO, Devendra Banhart, Grouper, Emeralds, Steve Hauschildt, Julianna Barwick, and many others. Carried by its lasting influence, the album has quietly captured the ear of a younger generation, its sound and emotional arc finding new listeners in unexpected corners.

The album’s new visual language was reimagined in collaboration with Mexico City–based designer Daniel Castrejón. Irisarri captured ghostly images at Gaztelugatxeko Doniene, a historic coastal site in Bermeo, Euskal Herria. Castrejón then treated the photographs with distressed textures and spectral overlays. The final artwork channels the rugged, elemental forces that shaped both the music and Irisarri’s aesthetic, renewing his ties to ancestral ground inspired by the Basque homeland of his bloodline.

Mastered by Stephan Mathieu with exceptional attention to detail, this anniversary edition uncovers every nuance in the sound design, enhancing clarity and presence. With each listen, new elements emerge, inviting discovery and reconnection.

“I don’t experience this album as a document of grief anymore,” says Irisarri. “I hear adaptation and I'm reminded that when everything falls apart, something meaningful, maybe even beautiful, can emerge.”

Deux Filles were Simon Fisher Turner, former child star/teen idol and future soundtrack composer, and songwriter/technician Colin Lloyd Tucker. Turner and Tucker left an early incarnation of The The in 1981 to pursue a different musical direction.

Turner claims that the idea of Deux Filles came to him in a dream, and the novel fiction/roleplay would be strictly maintained throughout the girls' short career. As well as posing in costume for the album covers, the duo even performed live without the audience realizing that the girls on-stage were actually a pair of blokes from south London having a giggle.

Deux Filles released two highly collectable albums: Silence & Wisdom (1982) and Double Happiness (1983)

Francois Kevorkian (Wave) : Lovely EP, atmospheric vibes.
Chris Udoh (Various) : Lovely !!!
Lea Lisa (Phonica Records / Folklor Club) : Fred P is a master of deep house. Live Long Love & When in Miami for me.
Will Hofbauer (Third Place, Wisdom Teeth, Rinse) : nice n deep ty!
Radio Slave (Rekids) : The King is back and what an EP ! Full support.
Jon Hester (Rekids, EDEC, Les Enfants Terribles, L.A.G.) : Lovely vibes on When In Miami and Live Long Love!
Jacques Renault : Nice EP, into When In Miami and The Heights in particular
Danny Howells (Dig Deeper) : Love Fred so much, always the highest quality music with soul. All four are stunners.
Dan Beaumont (Chapter 10 / NTS) : Always brilliant.. deeep! When in Miami for me
DJ Sprinkles (Comatonse) : thank you
Kai Alce (Real Soon) : Live Long Fred P!
Tomoki Tamura (Holic Trax) : pure class, deep house
Raresh (ar:pi:ar) : super! thanks
Laurent Garnier : FRED P alwayssssssssssssssss
Marcel Dettmann : thx
Archie Hamilton (Microhertz / FUSE) : Nice thanks
DVS1 : thanks
Alinka (Twirl, Classic, Crosstown Rebels, Batty Bass) : Beautiful tracks
Pat Hyland (Northside Loft Society) : Fred P is a master of deep. AWEsome EP!
Thor (Thor-Thule Records) : Another great release by the master of Deep House. Full support
Colin Dale : One of my fave producers from way back! Excellent 4 tracker with all the cuts 'hittin' the mark'. Will rotate & support.
Geir Aspenes (G-Ha (Sunkissed)) : Thank u
Jaye Ward (Dalston Super Store / Netil Radio) : Syncrophone just continues to churn out the goodness.. love Fred P too. so deep and full of the good soul ace! thx
Ame (Innervisions) : thanks
Domenic Cappello (Subclub) : love this
Greg Gow (Restructured / Transmat / KMS) : cool vibes full support
Jerome Sydenham (Ibadan) : When Miami is the business! Overall nice E.P!
Bill Brewster (NTS) : FRED P RETURNS!
Bailey Ibbs (Metafloor Records / Habits / Dansu Discs) : Live Long Love <3

Jeroen Search delivers Nautilus Lost, a forward-moving techno record built on precise, evolving structures and minimal repetitive rhythms. Somewhere beneath the surface, where sunlight barely touches and time loses its shape, lies a world once known... now forgotten. Faded memories echo in the currents -?? glimpses of colors, whispers of movement, shadows of a life beneath the waves. Dive into the unknown. Reclaim the forgotten. And awaken what sleeps beneath.

Das selbstbetitelte vierte Album von Purity Ring markiert den Beginn eines mutigen neuen Kapitels als das bisher eindringlichste Werk der Band. Lange bekannt für ihre Verschmelzung von Body-Horror-Bildern und ätherischer Elektronik, verlagert das Duo nun seinen Fokus vom Physischen zum Fantastischen und kreiert ein Konzeptalbum, das als Soundtrack zu einem imaginären RPG dient. Inspiriert von Spielen wie Nier Automata und Final Fantasy X, erzählt das Album die Geschichte zweier unglücklicher Charaktere - Verkörperungen von mj und Corin - auf einer Reise, um inmitten der Ruinen einer zerbrochenen Welt eine freundlichere Welt aufzubauen. Aber dies ist keine eskapistische Fantasie: Es ist der erste Schritt zu verbotenen Träumen, zur Vorstellung eines Ortes, an dem die Schwachen beachtet werden, an dem Trauer laut ausgesprochen und gemeinsam getragen wird, an dem Familie eher ein Verb als ein Substantiv ist, an dem Hoffnung und Heimat gemeinsam aufblühen können.

One of our all time favorite New York dancehall tunes, finally back again. 20+ years ago, in a different era of reggae record collecting where there was little to no information to be found about so many '80s reggae records, the original 12 inch single of this one was a mythical tune among our set of friends. In fact this one was on the earliest DKR wish lists, but all good things take time. By now we expect most of our followers know Junior's digital masterpiece "Rampers Music", which we first issued in 2014, and is now back in stock. But this one is his earliest and first tune, a heavy piece of a rub a dub cut at Munchie Jackson's Sunshine Studio in the Bronx, with Jackie Mittoo at the helm of the session. The original 12 inch was self released by Junior on his own label in 1985, with one of our all time favorite label designs. The lyrics are a great snapshot of mid 80s New York, a nod to all those making their way, for better or worse, thru the posses and cliques of the Jamaican scene of the day.

Sergej Prokofjew vollendete die Skythische Suite op. 20 im Jahr 1914, als er im Begriff war, seiner Heimat den Rücken zu kehren. Die Symphonische Suite op. 60 wurde fast zwei Jahrzehnte später komponiert, nachdem Prokofjew 1933 nach Russland zurückgekehrt war. Die biographischen Wendepunkte, an denen die beiden Suiten stehen, stellen auch ideologische Wendepunkte in Prokofjews Kunstauffassung dar. Eine Besonderheit: Die beiden Musikstücke wurden für diese Veröffentlichung erstmals von den originalen 1- Zoll-8-Spur-Bändern neu gemastert und geschnitten.

Die audiophile Vinyl-Serie The Original Source präsentiert herausragende Aufnahmen der 1970er Jahre in ganz neuer Klangqualität. Dafür haben die renommierten Emil Berliner Studios die originalen Vier- und Achtspur-Bänder mit eigens für die Produktion der Serie entwickelten Technologien in 100% analoger Qualität (AAA) neu gemastert und geschnitten. Die klanglichen Unterschiede zu den Originalveröffentlichungen sind beträchtlich: Größere Klarheit, mehr Feinheiten und Verbesserungen im Frequenzgang, zugleich weniger Nebengeräusche, Verzerrungen und Komprimierungen ermöglichen ein audiophiles Hörerlebnis wie nie zuvor.

Auf 180g Vinylplatten und in einer Deluxe-Gatefold Edition mit Originalcovers und -texten werden die Exemplare dieser Serie limitiert und nummeriert veröffentlicht, begleitet von zusätzlichen Fotos und Faksimiles der Aufnahmeprotokolle und Bandkartons.

Skyline recordings are proud to be able to release this wonderful sunshine vibe from a new artist called Myna. Two wonderful club movers, "I wanna dance with u" superb groove and sexy vocals that just draw you to the dance floor, perfect summer dancer! On the flip Low Low Low , great groove and killer soul story. another dance floor shaker! A - I wanna dance with u B - Low low low 7" 45 rpm vinyl x300 copies only...

Elegant, emotional, and built for the floor. Lumieux unveils Nothing Wrong - a sublime four-tracker where subtle vocals drift through glitchy synths and razor-sharp percussion. From sun-drenched rhythms to shadowy grooves, each cut moves with precision and soul. Dragutesku’s remix takes things even deeper - hypnotic, flawless. A record that leaves nothing to chance, and nothing to wish for.

Curated by DJ Simas Slabačiauskas, this double LP introduces a fresh and distinctive sound: Baltic Balearic.

Born on the shores of the Baltic Sea, it’s a sun-soaked yet soulful journey—blending ambient textures, downtempo rhythms, and Balearic-inspired grooves with a heartfelt Baltic touch.

Featuring original tracks and remixes by Simas — including reworks of beloved Lithuanian
bands — the compilation also brings together international contributions from Autarkic, Saphileaum, and Auntie Flo, while introducing a wave of fresh new talent.

This collection is more than music; it’s a reflection of a lifestyle — the calmness of a summer
evening, the beauty of untouched nature, and the sense of community that comes from gathering on the beach to witness the setting sun. It’s an invitation to slow down, take your shoes off, and spend an hour with this music — ideally while watching the sunset, or simply with your eyes closed.

2025 Repress

Die „Girls Gang Remixes“ 12“ wartet mit Clubversionen und Remixen von befreundeten Künstlern wie dem legendären DJ Hell, dem Dark-Disco-Allstar Damon Jee, dem italienischen Produzenten Phunkadelica und dem französischen Sänger und Filmkomponisten The Populists (alias Yan Wagner) auf. Ausserdem enthält sie noch Clubversionen von den beiden Singles „Promise Me feat. Curses“ und „Schall & Rauch“ und eine griechische Version von dem Sommerhit „Halkidiki“.

DJ Hell ist der Pate des Electroclash und Gründer des einflussreichen Labels International Gigolo Records. Helmut Geier steht seit vielen Jahrzehnten hinter den Decks und spielt entweder in den größten Clubs der Welt, auf riesigen Musikfestivals oder bei Laufstegshows für die angesagtesten Modemarken, neben der Produktion von Musik, der Schauspielerei in Filmen und dem Designen von Kleidung. Sein Extended Mix von FOMO (Fear Of Missing Out) ist eine krachende, genreübergreifende Reise durch Zeit und Raum. Eine neue Baseline, treibende Hihats, Live-Atmosphäre und ein druckvoller Kick heben den Track auf ein neues Level und machen ihn zu einer Waffe auf der Tanzfläche. Der aus Südfrankreich stammende Damon Jee ist eine Pionierfigur in der Dark-Disco-Szene. Mit über zwei Jahrzehnten Erfahrung in der elektronischen Musik hat der Dust & Blood-Labelbesitzer einen ganz eigenen Sound entwickelt. Er verwandelt „Girls Gang“ in eine Clubbombe, indem er seine charakteristische Big-Room-Energie einfließen lässt, einen epischen Break hinzufügt und die Vocals in eine andere Welt verzerrt. The Populists ist das cluborientierte DJ-Projekt des französischen Sänger-Produzenten, Gesaffelstein-Kollaborateurs und Filmkomponisten Yan Wagner. Seit 2014 veröffentlichte er EPs und Tracks auf Tastemaker-Labels wie Lumière Noire, Zone, Detriti, Ritmo Fatale & XXX. Auf seinem Remix von 'Disco Goth' kombiniert er entspannte Italo-Disco-Grooves mit New Beat Drums und verleiht dem Original ein ganz anderes Feeling.

Girls Gang wurde überragend aufgenommen und unter anderem Magazinen wie Rolling Stone, Mixmag, Musikexpress, Kulturnews, Visions, TAZ, Penthouse, Brigitte sowie Sonic Seducer (Album des Monats) und Orkus abgefeiert. Radiostationen wie KEXP, BBC Radio 1, Sunshine Live (Album der Woche), Radio Eins, Flux FM, WDR 1Live und Deutschlandfunk berichteten über das Album, das mittlerweile auf über 20.000 weltweite Radioeinsätze und mehr als 1 Million Streams kommt. Auch führende Online-Plattformen wie Spiegel Online, Plattentests (Album der Woche), Laut.de (Song der Woche) und Tonspion (#6 Album des Monats) lobten die Veröffentlichung in höchsten Tönen.

Format: Schwarzes Vinyl (140 g) mit alternativen & Clubversionen sowie Remixen von Damon Jee, DJ Hell, Phunkadelica & The Populists.