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Volume 2 of 3 vinyls containing all the extended mixes on Claude VonStroke’s 5th original artist album, “Wrong Number.” Whilst the first vinyl was all deep cuts, this second record is full of bumpy, quirky, club tools with unique properties. “Two Line Groove” features vocals “in the round” from both of his children, Jasper and Ella, and can be imagined working well on the DC10 terrace this summer. “A Little Drizzle” is a classic wonky VonStroke bassline with vocal chops all getting twisted like Matthew Herbert meets Akufen. Lastly, “Busted Ass Deejays” is a little bit of shade going out to $100+ tickets to see generic Deejays playing Beatport top 10s. Just poking a little bit of fun, we love you all!

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

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

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

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

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

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

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

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

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

Two years since DJ KOCO aka SHIMOKITA curated his sold-out Mr Bongo Brazil 45 boxset, he is back with another Record Store Day special, this time turning his attention to Cuba. Following a meteoric rise to the top, the Japanese DJ / turntablist extraordinaire has won the world over with his unquestionable humility, refreshing positivity, and flawless skills. The DJ’s DJ, it’s as much about taste as it is technicality for one of the world’s best showmen.

When the idea arose for a Cuban Classics 45 Boxset to mark RSD 2026, DJ KOCO was top of the list. With a deep-seated passion for Cuban music, its melting pot of cultures, its focus on rhythm, and its undeniable groove, DJ KOCO presents a selection of his favourite Cuban cuts, as well as two exclusive edits for the boxset.

It kicks off with the Latin funk sounds of Ricardo Eddy Martínez y Expreso Rítmico’s ‘La 132’ from 1978, before rolling into one of two spellbinding Juan Pablo Torres y Algo Nuevo cuts found on the boxset. Elsewhere, you’ll hear Farah María’s slow disco ‘Ámame Y No pienses Mas’, an unusual American-leaning production for Cuba at the time, given the state of US-Cuban political relations in that period. Other highlights include Orquesta Riverside’s ‘En Casa Del Trompo No Bailes’, taken from a rare collectable 7”, channelling a low-slung Latin bounce which explodes into an Afro-Cuban dancer as the track progresses.

In signature style, DJ KOCO has also served up two exclusive edits for the boxset. These include a reworking of the Cuban children's band Grupo Ismaelillo’s quirky ‘Amanecer’, giving it a more DJ-friendly structure. You’ll also find DJ KOCO’s take on FA-5’s much-loved funky dancer ‘Muévete Con Las Fuerzas Del Corazón’ with its heavy b-boy/girl break from 1976.

Testament to Cuba’s vast and vibrant musical landscape, DJ KOCO has cherry-picked some of the finest recordings to emanate from the country, spanning a wide range of styles and rhythms. Yet what ties all the tracks on this boxset together, is a hip hop sensibility and thirst for a breaks-heavy, danceable energy which radiates through DJ KOCO’s masterful DJ sets.

Compare the best of British jazz circa 1963 with American sounds from labels such as Prestige, Tangerine and World Pacific. This album captures the period when rhythm and blues is emerging as the dominant club sound, forcing Soho jazz clubs to change their music policy in order to survive. On the British side, you’ve got Ronnie Scott’s arrangement of Last Minute Bossa Nova; Bang!, taken from Dick Morrissey Quartet’s first session for the BBC’s World Service, recorded around the time of the release of their first album Have You Heard? The version here is take two. You can hear take one along with the rest of the eleven-track session on R&B18 Jazz For Moderns.
Early In The Morning is a Ginger Baker/Jack Bruce arrangement of the traditional work song realized as a repeated blues riff, and is the first ever recording that is recognizably British Blues. Graham Bond features on alto sax along with Bruce and Baker together as members of the Johnny Burch Octet heard playing live at a BBC staff party from March 1963. Side Two features Jazz Stateside, such as West Coast guitarist Johnny Hartsman, Gene Ammons veering into proto jazz-funk on Jungle Soul, aka Ca' Purange plus a couple of top notch Hammond workouts from Terrell Prude and Charles Kynard.

“Step into orbit with Stellar Engine.”

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

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

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

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

Made in Barcelona

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

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

The Nu’rons were a family group consisting of two sets of brothers and cousins, the four young men in question being brothers Daryl Howard and Raymond Gibson (Daryl’s mother registered him under his father’s surname of Howard and Raymond under her maiden name of Gibson) together with Otho Bateman and Charles Bateman. They were all born and raised in Salem, New Jersey and from the age of ten and eleven began singing with a fifth member and Gibson brother Rudolph as a group called The Gospel 5. They eventually decided to crossover to secular music and as a group known for their energetic dance routines they came up with the new performing name of ‘The Nu’rons’ (taken from the word ‘Neuron’ which is a cell that transmits nerve impulses). However Rudolph was soon to leave the group due to physical illness. Also Daryl Howard and Charles Bateman had also been part of a working group known as The Devotions prior to becoming The Nu-Ron’s.Following hours of practice The Nu’rons eventually felt confident enough to put their own shows together and began to perform at local dances and parties around New Jersey and Philadelphia, often being used as a non-paid warm up act for bigger named artists. They moved between several different managers including Jimmy Bishop (Duo Dynamic Productions) until they came under the tutelage of WDAS radio DJ Georgie Woods (his wife Gilda, being the owner of the Philadelphia Gil, Dion and Top & Bottom record Labels). It was Georgie who introduced them to Manny Campbell who in turn invited them to an audition at his and partner Charles Bowen’s Emandolynn Music studio in Chester P.A. The song The Nu’rons chose to audition with was the self penned “I’m A Loner”, the audition went well, as during late January/early February of 1970 Manny and Charles took The Nu’rons into the Sigma Sound Studio’s with Tom Bell and the TSOP musicians to record “I’m A Loner” and “All My Life” which was released on the Nu-Ron label in April of the same year. The two studio takes presente don this release came short after the band moved on from the collaboration with producer Emanuel Campbell to take music matters in their own hands. Beside recording "Disco Hustle" to be part of the disco boom in Philly of the times, they recorded also “You Came Thru”, a rough yet beautiful heavy bassline driven soul funk recording, and the just amazing “Hurry Up Tomorrow”, here presented in one of the original Studio takes.

The year that NOW’s story began, and where we started our ‘Yearbook’ series back in 2021. An incredible year in Pop music, and a fabulous selection of the years’ hits have featured on that first ‘Yearbook’, and on the ‘80-84 Final’ as part of our appreciation of 1983. Those tracks were generally the bigger hits of the year, with their Chart achievement a factor in their inclusion. However, that’s not the whole story, and our celebration of 1983 wouldn’t be complete without shining a light on some of the year’s singles that have been compiled much less frequently over the past 40 years. Welcome to the THE VAULT for 1983…Some of the tracks were Top 40 hits, some missed the Chart completely, and some were huge in the U.S. and not in the U.K. – but all are part of the wonderful Pop story of 1983. Released as 80 tracks across 4-CDs, available as a standard 4CD and as a a special edition 4CD in ‘hardback book’ packaging featuring a 28-page track by track guide, original singles artwork and a quiz and 45 tracks across 3-LPs, pressed on stunning translucent red vinyl -

It’s taken Sealed records more than five years to put this release together but finally it’s here. The one and only Bikini Mutants. The Bikini Mutants were from Yeovil, Somerset and part of the All the Madmen world. In their short life as a band they recorded two demos at Monitor Studios, Milborne Port in Somerset in 1982. Let's Mutate collects these two demos on one LP, along with a 20 page booklet featuring photos, lyrics, reviews, interviews and much more. The band played mostly in Yeovil and the West Country along with the Mob and the Review, and even though they were part of the West Country anarcho scene, the sound was a mix of scratchy post punk and indie pop. Members of the band went on to be in My Bloody Valentine and the Chesterfields. The songs are intricate, delicate and engaging with the drums and bass locked in, the fuzzed out guitar weaving on top and Christine Cole’s angelic voice taking each song to pop heaven. Think a mix of Girls at our Best, Au Pairs and the Marine Girls.

Multi-coloured vinyl LP or CD. For fans of Nektar, Van Der Graaf Generator and Progressive Rock! Formed in Germany in 1969, Nektar favoured extended compositions and concept albums over the constraints of pop. They were among the progenitors of the progressive rock movement of the 1970s as well as the jam-band scene that arose in the late 1990s. Their sound travelled well to the States, where they enjoyed Top 40 success with "A Tab in the Ocean" (1972) and "Remember the Future" (1973). Nearly 20 albums and a half-century later, the band's artistic and personal charisma has earned them masses of devoted fans. Now Nektar is broadening their horizons with the first in the "Mission To Mars" trilogy. Their first to feature new drummer Jay Dittamo, alongside longtime members Ryche Chlanda (guitars),Kendall Scott(keyboards), and original members Derek "Mo" Moore(bass) and Mick Brockett (visual environment).From the rocking title track "Mission To Mars" to the beautiful "I'll Let You In", Nektar covers all of the prog rock bases while venturing into some new melodic territories. Track listing: Mission To Mars; Long Lost Sunday; One Day Hi One Day Lo; I'll Let You In

AN INSTANT CLASSIC FROM ANORAX.

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

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

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

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

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

First press is 300 copies only.

DJ Support: Ashley Beedle, Phil Mison (Ibiza legend), Nick The Record, Kenneth Bager (Music For Dreams), Ross Allen (NTS, Worldwide FM), Simon Dunmore, Cedric Woo (Beauty & the Beat), Ban Ban Ton Ton, The Mighty Zaf (Love Vinyl), Femi Fem (Young Disciples), Jay Negron (NYC legend), Bruce Forest (Better Days, NYC), Bruce Tantum (NYC), Colleen “Cosmo” Murphy, Mr Shiver, Hugh Mane, Eccentrics Disco, Eclectics Disco, Fannoire Ge, Percebes Records (Lisbon), For Mankind (Pikes, Ibiza), S/A/M (Cafe Del Mar, Ibiza).

Winner of the 2020 Bob James “Black Lives Matter” remix competition on François Kevorkian’s World Of Echoes Facebook page, Love For Black Lives is available on vinyl for the first time, alongside 2 brand new mixes, on this 4-track EP. It is the debut release on Hobbes Music’s new sub-label Noetic Rhythm, dedicated to releasing music that brings people together on the dancefloor.

Leonidas debuted in 2012 with Sequential EP on Kay Suzuki's Round In Motion label, gaining praise from industry legends. He has collaborated with Hobbes on several releases, including the Balearic hit Web of Intrigue, which topped Bill Brewster’s 2017 DJ poll. His music has appeared on compilations like DJ Harvey’s The Sound of Mercury Rising Vol II, as well as BBC Radio 1 & 6 music.

Known for his deep, melodic sound and genre- blending approach, Bop enlists the vocal talents of DRIIA and Doktor, alongside a collaboration with bass music specialist Chime. 'Cravings' sets the tone with lush melodies and deep atmospherics and a hypnotic vocal. Minimal yet powerful, this is some of Bop's drum & bass work at its finest. The second track on the EP, 'Siren Eyes', sees DRIIA's ethereal toplines intertwine with Doktor's signature dancehall energy. DRIIA, a rising star in the electronic scene, has been named one of BBC Radio 1's Future Stars for 2024, while Doktor's powerhouse vocals have graced multiple collaborations with the likes of Chase & Status, Sigma, and Friction.

'Dormant' brings a fresh twist with Leeds- based producer Chime who's influence injects a unique blend of melody and weight, crafting an immersive soundscape through mind- boggling sound design. Closing the EP, 'Fungification' dives into Bop's garage influences. Weighty and stepping, expect intricate rhythms, evolving textures and an absolute bouncer of a bassline.

Live at Café Oto is a journey into Ainu music as ancient vocal chants move into intense mouth-harp acapellas as meditative solo tonkori pieces morph into psychedelic dub-heavy work-outs.

The album follows the critical acclaim for Tonkori in the Moonlight,Mais Um's 2022 compilation of OKI's early work that was chosen as one of the best folk albums of 2022 by The Guardian.

Live at Café Oto features mostly unheard repertoire from OKI and family, recorded in Mais Um's favourite venue in London on a sold out night as part of a captivating European tour - when we heard the recording we knew we had to release it.

The wonderfully unrelenting Instinct label from Burnski welcomes Gabriel Munoz for a brilliant five-tracker. Munoz is an 18-year-old from the Netherlands who is fast turning heads with his well-informed and fresh style and the garage prodigy opens up here with 'Arisen', a fast-paced and silky deep garage house cruiser with starry-eyed synth work. 'Pulse Sector' is another deft cut with neat 90s stabs buried deep in dusty drum rotations and balmy pads. There is more sleaze to 'Tell Me Something', 'Ghost' is all about the throbbing bassline and 'Movement' brings some more playful early UKG motifs and fat drums and bass. Fresh tackle from a fresh talent.

DJ Himitsu is a Tokyo-born, London-based producer and DJ, known for his understated approach and deep knowledge of Japanese vinyl and book culture. Following a debut EP of acid house on Australian imprint Lunatic Music in 2023, 'Exotic Animals' marks a new waypoint in Himitsu's artistic evolution.

On this debut full length, driving 303 basslines and kickdrums are traded in for obscure recordings and convoluted samples, which spiral and fuse to form shuffling, heady new compositions. Like shattered pottery reassembled into top-heavy sculptures with golden glue, 'Exotic Animals' shapes and juxtaposes opposing forms and fragments, with lolloping aplomb.

When not producing, DJ Himistu runs Caravan - a vintage Japanese record, ceramics and bookshop in London. It's with the same warmth, care and curiosity that he arranges his findings in the plunderous grotto of 'Exotic Animals'. In this way, stepping inside this work is like entering a remote trading post of instruments, memoirs and other sonic curios - as Himitsu stands patiently at the counter.

Recommended for fans of Jon Hassell, Giovanni Venosta, Discrepant.

With performances alongside Walter Trout, Kingfish Ingram, Fantastic Negrito, and Samantha Fish, Spencer Mackenzie has established himself as one of Canada's top young blues- rock artists. His new album Empty Chairs combines blistering riffs, ,soulful vocals, and emotionally charged songwriting. Backed by an international PR and radio campaign, the February 2026 release promises to connect blues fans worldwide.

Traversing wormholes and flexing versatility, Nicola Cruz gets back on his club-ready biz.

No proper introductions needed here. Sometimes you just have to sit back and appreciate someone at the top of their game. The third portal thing, done masterfully. Hats off.

Time-honoured templates that provide the foundations for his hybrid mutations. Three mescaline-strength techno incursions backed up with a vivid projection of fractal electro.

Big on murk. Properly steeped in introspection, expanding consciousness and horizons. The vision quest endures for the duration.

New levels of insectoid detail and lysergic flourish revealed with every close listen, but he’s always keeping it robust. Giving it chest with some serious dancefloor dramatics until the final unfurling.

Canadian minimal titan Akufen dominated the scene at the turn of the new millennium and has a fine back catalogue full of classics. Now the Montreal man is back with new music though and it's like he never went away - 'Breakin' Free' (feat Dominique Fils Aime) is a slow, smoochy sound with low-slung drums and r&b vocals, while 'You Naughty Scamp' is a little more propulsive as it rolls through deep house and bright, textured synth melody. 'Rubber Ducky' is another playful jam with jazzy top notes, sampled vocals cut up and smeared through the mix and languid bass funk. 'Sensitive People (With So Much To Give)' is another symphonic and soulful house sound.

Tripmode made a superb start to life with its first EP and is now back with more goodness, this time from family member Daniele Temperilli. We're told he is inspired by 'love, freedom and matured childishness' and he brings some big bass and bouncy minimal house to this 12". 'Beatback Haze' is tight and clipped in its tech funk, then 'Peace What?!' Brings more low-swinging drums and a prying bassline topped with big hits and warped pads. 'BeesTreb' taps into a darker vibe with gritty drum textures and more rapping, farting bass that's perfect for a darkened room. Last of all is 'Pachyderm', which bounces and swings, with macho drums but a sense of lithe energy that keeps you on your toes.

Joe Fujinoki centered the compositions of his latest album Glass Torso round the idea of the fragility of the human body. Fujinoki described the narrative thread of the album as that of “holding the shape of a human body as if it might shatter like glass”. The precariousness of the body, the essence of the body as defined by Fujinoki as the torso, and the object relations between the boundaries of dialectical exercises pack themselves into his creative process.

Fujinoki recorded Glass Torso exclusively with analog synthesizers, stumbling in and out of structural loops to find space for accidental discoveries. The ten pieces of recorded material feel somewhere on the edge of typified form, feeling like a vascular system pumping in and out its undulating liquidities. Maybe this is the hollowed space held together by Fujinoki’s notion of the torso where you hear a microscopic world, dubby and generative. Fujinoki is adept at organizing this realm of subtle sound sources, giving proper considerations of shared tonal space. Seemingly, this handling of the precarity of sonic material elucidates Fujinoki’s mature attention to detail.

Ambient music genre tropes often affirm the listeners vessel for escape and dissociation. It provides an intoxicating allure by respite from an overwhelming exterior reality far outside the listeners controls. Here this space becomes apolitical, or its protest vocabulary softer and subtle. Fujinoki does not aim to tackle hyperobject topics on how to course correct the world, but he does something increasingly rarer to come across. On Glass Torso an alternative space is created not as shelter, but as a meditation on negotiation and compromise. This twenty eight minutes of audio lays down a foundation for imagination, for imagining how to negotiate the fragility of the self. Zoomed out, the implications of his negotiative sonics can be a playground for broader reflections on distributive care and attention.

Fujinoki says he feels “alert” to his physicality and placement in the world amidst vast digital cultures creating impositions on him and his surroundings. On Glass Torso he creates a concretized space on a vinyl record, where the virtual and the tangible antagonize one another that create the spectacle of the listening experience. This spectacle is a soft one, a considered one, and an utmost enjoyable one. Fujinoki juggles opposing forces brilliantly, and formulates an exquisite palette of soft passing music so he can also help the listener with the exquisite burden of their own Glass Torso.”

- Nick Klein, January 2026

NOW That’s What I Call 70s Soul brings together 50 era-defining tracks from one of the most powerful decades in soul music, featuring classics from Motown legends, Philly Soul pioneers, smooth balladeers and funk innovators – all pressed across 3LPs on beautiful blue vinyl… Out April 24th!

LP1 opens with one of the decade’s most recognisable love songs: Al Green’s ‘Let’s Stay Together’, a US #1 and UK Top 10 hit that became his signature recording. It’s followed by Marvin Gaye’s ‘What’s Going On’, the socially conscious masterpiece and title track from his landmark 1971 album, and Diana Ross’ Ain’t No Mountain High Enough’, which topped the US chart and became her first solo #1. Stevie Wonder’s ‘Signed, Sealed, Delivered (I’m Yours)’ remains one of Motown’s most joyful recordings and comes before Commodores’ ‘Easy’ introducing Lionel Richie’s smooth ballad vocals. The side also includes Bill Withers’ timeless ‘Ain’t No Sunshine’, a Grammy-winning classic, and The Stylistics’ lush ballad ‘You Make Me Feel Brand New’, a UK Top 3 smash, before closing with Rose Royce’s beautiful ‘Wishing On A Star’, one of the most loved soul ballads of the era.

Flip the LP over and The Jackson 5’s ‘I Want You Back’ – the group’s explosive debut single opens the side. Smokey Robinson & The Miracles’ ‘The Tears Of A Clown’ became a UK #1 and is followed by The Supremes’ Nathan Jones’ showcasing the group’s evolving psychedelic-soul sound. Northern Soul classics from Frankie Valli & The Four Seasons with ‘The Night’, Chairmen Of The Board’s Top 3 smash ‘Give Me Just A Little More Time’ and The Trammps’ ‘Hold Back The Night’. The O’Jays’ joyous ‘Love Train’ leads to The Blackbyrds’ Walking In Rhythm’, before the side closes with the romantic classic ‘Always And Forever’ from Heatwave.

LP2 opens with The Temptations’ epic ‘Papa Was A Rollin’ Stone’, a Grammy-winning US #1 remains one of the most stunning recordings from the Motown catalogue, is followed by Isaac Hayes’ ‘Theme From “Shaft”’, an Academy Award-winner and a US #1 smash. More funk follows from Ike & Tina Turner, James Brown with one of his key tracks ‘Get Up (I Feel Like Being A) Sex Machine’, Edwin Starr’s powerful anti-Vietnam protest song ‘War’, and Sly & The Family Stone’s hugely influential ‘Family Affair’. The Delfonics’ sublime ‘Didn’t I (Blow Your Mind This Time)’ comes ahead of Billy Paul’s timeless ‘Me And Mrs. Jones’ which closes the side…the other side begins with the 1977 #1 from The Floaters with ‘Float On’, before the breathtaking vocals of Minnie Riperton on ‘Lovin’ You’. The Isley Brothers’ Summer Breeze’ and William DeVaughn’s ‘Be Thankful For What You Got’ have become enduring classics and are followed by a run of ‘80s pop-chart crossover hits completing LP2 from Detroit Emeralds, The Moments Raydio and The Tymes’ #1 ‘Ms. Grace’.

LP3 opens with the unmistakable voice of Barry White and his US #1 hit ‘Can’t Get Enough Of Your Love, Babe’, before Aretha Franklin’s ‘Until You Come Back To Me (That’s What I’m Gonna Do)’, delivers one of her smoothest performances. Al Green’s ‘Tired Of Being Alone’ and Gladys Knight & The Pips’ ‘Midnight Train To Georgia’ are followed by minimalist soul classic ‘Why Can’t We Live Together’ from Timmy Thomas, and the side closes with a trio of defining ballads:- George Benson’s ‘The Greatest Love Of All’ Diana Ross’ ‘Theme From Mahogany (Do You Know Where You’re Going To)’ and The Jackson 5’s ‘I’ll Be There’, their biggest hit…while over on the final side…Freda Payne’s #1 ‘Band Of Gold’, opens alongside Ann Peebles’ influential and much covered ‘I Can’t Stand The Rain’.Marvin Gaye’s sensual ‘Let’s Get It On’ became another US #1, while Harold Melvin & The Blue Notes featuring Teddy Pendergrass deliver the contemporary standard ‘If You Don’t Know Me By Now’. Three massive UK #1s are next…The Stylistics with ‘Can’t Give You Anything (But My Love)’, The Three Degrees’ peerless ‘When Will I See You Again’ and Deniece Williams’ ‘Free’. This amazing collection closes with two timeless ballads: Earth, Wind & Fire’s ‘After The Love Has Gone’, a Grammy-winning classic, along with ‘Three Times A Lady’, a huge worldwide #1 for the Commodores.


NOW That’s What I Call 70s Soul, 50 defining tracks from one of music’s greatest decades. Out April 24th.

Paul Weller releases Weller At The BBC (Vol.2) on Friday 24th April.

This second BBC outing gathers live session and live in concert performances, including intimate stripped back acoustic versions and re-workings of tracks across The Jam, The Style Council and Paul’s extensive solo career.

From timeless classics such as Start!, Shout To The Top and Wild Wood, to deep cuts and covers, like The Zombies’ Time Of The Season and Billie Eilish’s What Was I Made For?

The album also features some beautifully orchestrated tracks with the London Metropolitan Orchestra, arranged and conducted by Hannah Peel, including Aspects, Boy About Town and Have You Ever Had It Blue.

2026 is the 50th anniversary of the iconic fourth album by Average White Band, released in June 1976.

Reaching #9 and becoming their third consecutive US Top 10 album, “Soul Searching” includes the much-sampled classics ‘A Love Of Your Own’ and ‘Queen Of My Soul’, with the latter reaching the Top 40 Singles Charts on both sides of the Atlantic. Two further singles in ‘Everybody’s Darling’ and ‘I’m The One’ were also released as singles in various parts of the world.

Snoop Dogg, Fatboy Slim, Ice Cube, Puff Daddy, TLC, Rick Ross, will.i.am and Mark Ronson amongst countless others, have all borrowed sections of their grooves.

XKatedral Anthology I is the first in a series of archival releases dedicated to presenting music by XKatedral affiliated composers working within the realm of slowly evolving harmonic and timbral music. This double-vinyl set contains an array of pieces dating from 2010 - 2020. Four of the works included here were originally released on cassette tape early on in the label's history, while the two remaining pieces are presented by the label for the first time.

"The works Ir Himinn, Grooenn by Kristoffer Svensson, Disquiet (Heart) by Marta Forsberg and Lamé by Isak Edberg were first released on the compilation XKatedral Volume II in 2016. Svenssons piece from 2014 combines justly tuned gamelan percussion and prepared piano intricately interwoven in a way that obscures the boundaries between the two instrument groups. Forsberg and Edbergs pieces both use a monolithic form to explore the timbral and harmonic spaces provided by the Düben Baroque organ situated in Tyska Kyrkan in the oldest part of Stockholm. While similar in terms of instrumentation the two works differ formally - Edbergs Lamé composed in 2010 uses the registers of the organ to articulate a seamless spectral transformation while Forsbergs Disquiet (Heart) from 2014 deals in blocks of sound with a varying degree of opacity, saturation and intensity.

Glory for two electric guitars by Caterina Barbieri and Kali Malone was composed and recorded in Tempo Reale in Florence, Italy, and was originally released on the cassette compilation XKatedral Volume III in 2016. This music takes the form of an ever-evolving hypnotic pattern shared by the two instruments articulated through an additive and subtractive canon. Dissolving Ceremony, composed in 2012 by Edberg/Erlandsson/Lisinski, was first presented publicly on the self-released record Stratum. The music contained in that release was formed from a collection of gamelan percussion instruments augmented by two sets of live-electronic instruments tuned to the harmonic framework formed by the partials of the metal percussion. Originally positioned in the center of the record running order between two long monolithic process-based pieces, Dissolving Ceremony now stands on its own as a memory of a time and methodology from the not so distant past.

The newest piece in this set is Shipwrecks by Daniel M Karlsson. While this work is a recent one Karlsson should be considered one of the forerunners of the musical expression contained within this record set. Active within new music for two decades his strongly articulated musical ideas and constantly evolving craftsmanship has resulted in an enormous body of work, and has served as an inspiration for many of his fellow composers. This piece is a celebration of transposition and its immense capacity for timbral transformation using a vast array of instruments performed, recorded and electronically treated by the composer to form a liquid uncanny topography where a deeply personal harmonic language constantly shifts, slides and shivers."

The long-overdue revival of Bim Sherman’s catalog begins here. These essential recordings will become widely available again for the first time in decades, opening a new chapter in the appreciation of one of Jamaica’s most distinctive voices and representing a major moment for reggae and dub aficionados around the world. This reissue series will not only preserve his legacy but will also offer listeners the chance to experience the depth and timeless resonance of Sherman’s work in its full glory.

Bim Sherman—born Jarret Lloyd Vincent, in Westmoreland, Jamaica—holds a unique place in reggae history. Emerging in the mid 70s, his ethereal, haunting vocal style quickly set him apart from his contemporaries. He was soon collaborating with the top producers and musicians of the era, including Adrian Sherwood and the On-U Sound collective, bridging the gap between roots reggae and experimental dub and laying the groundwork for the fusion of Jamaican sounds with the vibrant underground scene in the UK. His career, from Kingston to London to Mumbai, was marked by an artistic daring and spiritual intensity that has earned him enduring respect across generations.

The centerpiece of this reissue campaign is Ghetto Dub from 1988, a record that distills Sherman’s artistry into its most potent form. Originally released in a limited number, the album embodies the stark yet soulful beauty of dub production. With its reverb-drenched drums, cavernous basslines, and echo-laden atmospherics, Ghetto Dub transforms Sherman’s various tracks into spectral presences that drift in and out of the mix. The arrangement and production—minimal yet profoundly textured—captures both the raw urgency of Jamaican street culture and the forward-looking experimentation of the UK dub scene. Each track unfolds like a meditation, balancing grit with grace, density with space. Ghetto Dub is more than an album; it is an immersive soundscape that reaffirms Bim Sherman as one of reggae’s most otherworldly and visionary figures.

Hatchback is the alias of Samuel Milton Grawe. Sam creates music that sings of the Cosmos, full of deep resonant tones, glistening arpeggios, lush pads and harmonic motifs. ‘Phaser For The Ocean, Chorus For The Moon’ is his magnum opus, a sprawling masterwork that encompasses ambient, new age and environmental music to wondrous effect. Soaked in Californian consciousness, the album is a balm like no other for these troubled times.

When I first was getting into the creative side of music making in my teens, I was heavily influenced by concept albums like ‘Quadrophenia’ and ‘The Lamb Lies Down on Broadway’, as well as epic pieces that took up an entire side of a record: Pink Floyd’s ‘Echoes’, Yes’ ‘Close To The Edge’, Klaus Schulze’s ‘Nowhere Now Here’, Miles Davis' ‘Shhh/Peaceful’ and ‘He Loved Him Madly’. In the extreme, these ideas coalesced in double albums where each side of each record is occupied by a single title - Yes’ ‘Tales From Topographic Oceans’, and Tangerine Dream’s ‘Zeit’ being primary examples. When I returned to making music after moving back to Northern California in 2020, the first piece I recorded landed around the 20-minute mark, and the idea of creating three other long pieces to realize a full album felt like a natural - if indulgent - goal. From there, each new piece followed sequentially. Four songs. My fourth album. - Sam Grawe

‘Phaser For The Ocean Chorus For The Moon’ is a pure expression, informed by a lifetime of deep listening unbound by algorithms or AI.
These are songs for the sunrise and the sunset - and every colour in between.

[a] 01. And The Walls Became The World All Around [18:53]
[b] 02. Phaser For The Ocean, Chorus For The Moon [21:48]
[c] 03. Other Desert Cities [20:19]
[d] 04. Friendship Fountain [18.33]

Metric’s relentless pursuit of timeless songwriting and fiercely independent ethos have cemented their place as one of the most essential and ahead-of-the-curve bands of the last two decades. The trailblazing Toronto outfit was founded by songwriting and production partners Emily Haines and Jimmy Shaw, along with bandmates Joshua Winstead and Joules Scott Key. Though both were also founding members of the influential and sprawling Canadian indie rock outfit Broken Social Scene, Metric was always the top priority, and shortly after they met and cemented their mission, they left Toronto for New York in search of like-minded artists. There, they found themselves at the center of the city’s burgeoning indie sleaze scene alongside bands like LCD Soundsystem, The Strokes, TV On the Radio, Yeah Yeah Yeahs, Interpol.

Their 10th studio album Romanticize The Dive harkens back to the free spirit of that era, kicking off with Haines nostalgically imploring the listener to “let me take you back, it was the start of something...” before pulling back the curtain on a band that has consistently stayed true to each other and their ethics for decades. In a tribute to lifelong friendship, the album also reunites the dream team behind their 2009 breakout album Fantasies at Electric Lady Studios in New York. All at once a heartfelt reflection on their history, a celebratory gift to those who have been along for the ride, and an outstretched hand to new fans, Romanticize The Dive is another testament to the band’s unwavering love for each other and their insatiable desire to push themselves as artists.

With Neolithic Neon, Appleblim creates a kaleidoscopic reflection of the spirituality inherent within electronic music — the ineffable frequencies and communal traditions that spring from exploratory synthesis, deep-rooted rhythms and myriad other sonic codes.

Throughout his third album for Sneaker Social Club, Laurie Osborne continues to express a fascination with the ancient resonance held within modern rave as he guides his own studio practice towards more purposefully analogue processes. It's reflective of his desire to let go and trust his instincts within the more chaotic realm of voltages and signals, not to mention turning to a wider spread of instrumentation and opening up to noisier avenues. This direction defines the character of Neolithic Neon, which bristles with the living imperfections of the gear in the context of incisive and wide-ranging cuts touching on jungle, dubstep, techno, electro, acid and experimental electronic music of all stripes.

Across Osborne's solo output from 2018's Life In A Laser to 2021 tape Infinite Hieroglyphics, a strong melodic sensibility spills out of the richly layered production. It's equally audible in his Wrecked Lightship collaboration with Adam Winchester, and it charges Neolithic Neon with its star-gazing, contemplative streak. From the knotty plucks and licks weaving through opener 'Moorland' to the vaporous synths darting across the top of hardcore conductor 'Thunderstorm', a dreamlike evocation takes the sound off terra firma, musing on cosmic events and our connection to the enormity of the universe.

Eternally in thrall to the maverick vocabulary of pioneering beat scientists and fuelled by the inspiration of great thinkers dwelling on our purpose and place, Neolithic Neon unfurls big ideas without heavy-handed messaging. Instead, it trusts in the universal and time-honoured language of experimentation and rhythm to present its ideas, true to Appleblim's legacy to date while opening a new chapter in his ongoing sonic quest.

2026 Repress

35th Anniversary Edition of Peacefrog - 2LP Smokey Vinyl

Born and raised in the birthplace of House Music, Paul Johnson was known for his raw, soulful, and infectious sound, that helped shape Chicago's house scene and inspired generations of DJs worldwide in particular he was a massive inspiration to Daft Punk and the 'French Touch' scene. Releasing a vast amount of music throughout the 1990s for some of the most consistently underground dance labels including legendary Chicago imprints Cajual, Relief and Dance Mania he finally gained global fame with his 1999 hit “Get Get Down,” a dancefloor anthem that topped charts across Europe. Despite facing physical challenges, including losing both legs in accidents, he remained an unstoppable force in music—touring, producing, and uplifting others with his resilient spirit and signature groove.
Originally released in 1996 Feel The Music was Paul's second album for Peacefrog Records. Containing some of the classiest house music to hail from the Windy City. Classics such A Little Suntin Suntin , Summer Heat and I Wonder Why will have you smiling while you’re jackin’ and the irresistible and infectious Hear The Music was fthe opening track for Daft Punks legendary Radio 1 Essential Mix.

‘Michael: Songs From The Motion Picture’ is the official companion album to the brand new biopic ‘Michael’. This album highlights 13 songs showcased in the film, from The Jackson 5 to The Jacksons to Michael’s chart-topping solo success with “Off The Wall” and “Thriller.” This collection includes smash hits like “Billie Jean,” “Don’t Stop ’Til You Get Enough,” “Human Nature” and more.

‘Michael: Songs From The Motion Picture’ is the official companion album to the brand new biopic ‘Michael’. This album highlights 13 songs showcased in the film, from The Jackson 5 to The Jacksons to Michael’s chart-topping solo success with “Off The Wall” and “Thriller.” This collection includes smash hits like “Billie Jean,” “Don’t Stop ’Til You Get Enough,” “Human Nature” and more.

The Amity Affliction return with one of the most personal and devastating records of their career. Following a decade-plus run as one of Australia’s most influential heavy bands, marked by ARIA chart-topping albums, platinum certifications, and global touring off landmark releases like Let The Ocean Take Me and This Could Be Heartbreak, the new album turns inward with unflinching honesty. Largely written about frontman Joel Birch’s relationship with his late mother, the record explores grief, trauma, faith, and self-reckoning through a series of deeply connected songs. “I’ll Break These Chains” confronts the confusion surrounding her death, “Afterlife” questions belief beyond this life, while the closing track “Eternal War” captures the ongoing internal struggle and the hope for change that never came. Musically massive and emotionally raw, this album stands as The Amity Affliction at their most vulnerable, cathartic, and fully realized.

KNEECAP return to bend genre, language, and rules. The most talked about artists in the world are turning the page. A new chapter, new sounds, new manifestos.
A blistering album that revels in darkness while bursting through the void with illuminated revery. This is FENIAN.

Produced by Dan Carey (Fontaines D.C., Kae Tempest, Wet Leg), FENIAN upends expectations with an expansive sonic palate, traversing acid house, trip-hop, dubstep, and more - Masters of rave and rap theatre, FENIAN represents Kneecap’s most sophisticated exploration of language and sounds.

More darkness. More confrontation. More craic. More energy. More solidarity. More absolute bangers. And more fuel for the unrelenting engine that powers this unstoppable force. For their remarkable second album, Kneecap have come out fighting.

Throughout, the sirens and alarms ring, and the chorus’s blast. Revolutionary and rebellious, confrontational and impossibly catchy, inescapably intelligent and brilliantly rendered, FENIAN doesn’t just represent the next phase in Kneecap’s trajectory but stands as a remarkable record that thrills as much as it surprises. The mayhem of their breakout year is a memory now. But Kneecap are neither dwelling on that nor merely persevering through it. In FENIAN they excel, reaching a new peak that is undeniable in its mastery.

Pressure makes diamonds, and FENIAN glistens with Kneecap’s uncut gems.

KNEECAP return to bend genre, language, and rules. The most talked about artists in the world are turning the page. A new chapter, new sounds, new manifestos.
A blistering album that revels in darkness while bursting through the void with illuminated revery. This is FENIAN.

Produced by Dan Carey (Fontaines D.C., Kae Tempest, Wet Leg), FENIAN upends expectations with an expansive sonic palate, traversing acid house, trip-hop, dubstep, and more - Masters of rave and rap theatre, FENIAN represents Kneecap’s most sophisticated exploration of language and sounds.

More darkness. More confrontation. More craic. More energy. More solidarity. More absolute bangers. And more fuel for the unrelenting engine that powers this unstoppable force. For their remarkable second album, Kneecap have come out fighting.

Throughout, the sirens and alarms ring, and the chorus’s blast. Revolutionary and rebellious, confrontational and impossibly catchy, inescapably intelligent and brilliantly rendered, FENIAN doesn’t just represent the next phase in Kneecap’s trajectory but stands as a remarkable record that thrills as much as it surprises. The mayhem of their breakout year is a memory now. But Kneecap are neither dwelling on that nor merely persevering through it. In FENIAN they excel, reaching a new peak that is undeniable in its mastery.

Pressure makes diamonds, and FENIAN glistens with Kneecap’s uncut gems.

Recorded in London during 1995–1996 and produced by Chris Sheldon, the album marked a significant step forward for the York-based group following their 1994 debut Change Giver. Written by band members Rick Witter, Paul Banks, Tom Gladwin and Alan Leach, the record captures the energetic guitar-driven sound that helped define the Britpop era.

A Maximum High reached number 8 on the UK Albums Chart and produced five UK Top 40 singles: "Where Have You Been Tonight?", "Getting Better", "Going for Gold", "On Standby" and "Bully Boy". Among these, "Going for Gold" became the band's biggest hit, peaking at number 8 on the UK Singles Chart.

Your favorite weed sludgers are ready to come back with their fourth studio album, the aptly titled "Stoned Villains," out in April on your beloved Heavy Psych Sounds Records. The band's distinctive sound emerges immediately after the first listen: seven tracks of heavy, sulfurous doom-sludge, with influences ranging from the '90s to Turin-inspired hardcore punk, the scene in which our "villains" were formed and raised. Heavy and cutting guitars, a seismic rhythm section, and Gingerzilla's voice barking out ungraceful tales of weed abuse and uncontrolled eating. The song titles perfectly describe Tons: a band that doesn't take itself too seriously and uses irony as its strong point.

Pink vinyl, limited to 350 copies. Your favorite weed sludgers are ready to come back with their fourth studio album, the aptly titled "Stoned Villains," out in April on your beloved Heavy Psych Sounds Records. The band's distinctive sound emerges immediately after the first listen: seven tracks of heavy, sulfurous doom-sludge, with influences ranging from the '90s to Turin-inspired hardcore punk, the scene in which our "villains" were formed and raised. Heavy and cutting guitars, a seismic rhythm section, and Gingerzilla's voice barking out ungraceful tales of weed abuse and uncontrolled eating. The song titles perfectly describe Tons: a band that doesn't take itself too seriously and uses irony as its strong point.