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Mythology has a recurring theme: creating ambiguity by rearranging worlds and creatures that normally don’t belong together. Centaurs, Minotaurs, Hydras and so on: mockery and mystery intertwine into entities that are in equal parts magnificent and ridiculous. Referencing this idea in the present, Loris S. Sarid conjures 12 compositions simultaneously showing traits of dreamlike trap, candy-flavoured New Age and Spoken Word. The lines between spiritual and mundane, drama and parody are bent and questioned, used as raw material and treated with the same importance. Binding the work together is the sense of feeling peacefully lost inside a shuffling iPod, buried in a quiet zen garden inside a noisy shopping mall or vice versa. What connects Ambient music, which often anonymously swims into endless sleeping playlists with monthly subscriptions to well-being, to the mainstream output of commercial music? "Ambient $" doesn’t explore the social aspect of this question, but rather celebrates the beauty of its paradoxes. This album is the morning choir of forgotten NFTs, brewing lyrics in their binary exile. The television homily of a wrestler turned priest, turned influencer chef, then hermit and then rapper. Randomness is reclaimed as a human quality, and the aesthetics of mass music consumption are repurposed into a rather inexpensive guide to streaming-service-enlightenment.

Glimmers of a missing link in the connective tissue between the hardcore continuum and Dub-Spectrum arts. A tome all its own, as if one is sifting through an archeological dig in aural form, hearing layers of the past, present, and future.

It's time to set those jaws to wobble mode as this funky favourite label is back with more serious sounds for the disco, this time from Hysteric. 'Italo Mystery Theme' is a brilliant timewarp to the 80s with its overtly streamy and seductive vocals over neat guitars and stepping disco drums with lush chords. 'After Dark' is more breezy and hip-swinging with its airy vocals and wet claps, then 'Sugar Daddy Again' brings rugged analogue bass sounds and snappy drums under some erotic vocal work. 'All Right' shuts down with a UK street soul-cum-disco groover that's lit up with nice neon chords.

Deruta Records opens its catalog with “Dela Secu” ,a two- track EP from acclaimed Romanian producer Cezar Lazar. The EP stands out as a musical manifesto, challenging the techno-house scene’s drift into mainstream quicksand.

“Solo 2305” introduces the EP with orchestral strings and a polymetric woodwind theme anchored by a steady groove, crafting a soundscape where tension and release unfold with precision. The woodwinds’ evolving motif lends a lyrical contour that completes the arrangement. “Yaka Yaka” turns toward intricate syncopations, its rhythmic complexity enriched by subtle orchestral inflections. A central polyrhythm drives the track, heightening its tension while adding depth to the groove.

Mastered by Vlad Caia and cut to lacquer by Mike Grinser, the tracks are crafted for the dancefloor, shaped by Cezar’s signature lyrical motifs that define his standing in minimal and experimental techno.

This debut sets the tone for Deruta Records: boundary- blurring and unapologetically underground.

Born-and-raised Detroit staple DJ Holographic unveils her album, House In The Dark LP via her newly launched label, Through The Veil.

The LP taps into the core of Afrofuturism that defined the foundation of Detroit techno but reimagines it in a femme, queer, and conscious way. The project draws from her deep-rooted relationship with astrology and shadow work—a therapeutic practice used to explore and heal repressed parts of the self. These transformative inner journeys serve as the creative bedrock for the album, which navigates themes of self-discovery, healing, and empowerment.

“Through healing practices like shadow work, astrology, and more, I’ve found a profound sense of arrival while writing House In The Dark. I’ve stepped into who I’ve always wanted to be as a creative and so much more. ‘Pisces’ is a journey through the depths of illusion, where the home becomes both a sanctuary and a mirror for our inner world, revealing what’s real and what we choose to believe.” — DJ Holographic

A celebrated DJ whose talents have taken her to Berlin’s Panorama Bar to Pitchfork Music Festival in Mexico City, Holographic has upcoming stops at London’s fabric, New York’s Public Records, Circoloco’s opening Ibiza party, and more. Her work has been covered by PBS, CRACK Magazine, Ransom Note, Billboard, DJ Mag, Resident Advisor, and more.

Born-and-raised Detroit staple DJ Holographic unveils her album, House In The Dark LP via her newly launched label, Through The Veil.

The LP taps into the core of Afrofuturism that defined the foundation of Detroit techno but reimagines it in a femme, queer, and conscious way. The project draws from her deep-rooted relationship with astrology and shadow work—a therapeutic practice used to explore and heal repressed parts of the self. These transformative inner journeys serve as the creative bedrock for the album, which navigates themes of self-discovery, healing, and empowerment.

“Through healing practices like shadow work, astrology, and more, I’ve found a profound sense of arrival while writing House In The Dark. I’ve stepped into who I’ve always wanted to be as a creative and so much more. ‘Pisces’ is a journey through the depths of illusion, where the home becomes both a sanctuary and a mirror for our inner world, revealing what’s real and what we choose to believe.” — DJ Holographic

A celebrated DJ whose talents have taken her to Berlin’s Panorama Bar to Pitchfork Music Festival in Mexico City, Holographic has upcoming stops at London’s fabric, New York’s Public Records, Circoloco’s opening Ibiza party, and more. Her work has been covered by PBS, CRACK Magazine, Ransom Note, Billboard, DJ Mag, Resident Advisor, and more.

Comes with DL card & 2P insert / wrapped in shrink + a sticker

At long last, Takao is back with his long-awaited second album, seven years in the making. His 2018 "Stealth" was (and still is) a much-loved set, mixing elements of ambient and environmental music; with this new release Takao breaks free of the gravitational pull of these earlier influences and strides confidently forward. "The End of the Brim" jettisons some of the more abstract elements of his previous work, embracing a “universal listenability” and a more concrete intensity, with a focus on supple rhythms and strengthened senses of melodic development and harmonic sophistication. This musical growth can be linked with Takao’s admiration of composers Ken Muramatsu and Toshifumi Hinata, who are generally associated with commercial “production music” and easy listening. Another contributing factor is his private study with veteran keyboardist Ichiko Hashimoto of Colored Music. The ten tracks here include three vocal tracks, with three different singers (Yumea Horiike, Cristel Bere, Atsuo Fujimoto of Colored Music) and seven keyboard-led pieces. The vocal pieces are integral parts of the album’s flow, rather than typical “songs” driven by the name and personality of the singer. All of these factors, plus the veteran presence of engineer Hiroshi Haraguchi, known for his work with Haruomi Hosono, who mixed half of the album's tracks, along with the use of excellent old-school synths, aligned with Takao’s forward-looking vision, have combined to give us an album with a unique sense of timelessness. A spotlight illuminating future paths for pop music, available on CD/Vinyl LP/Digital, with English/Japanese lyrics, and liner notes by Yuji Shibasaki.

Leeds based IMAGINARIUM announce their record label delivering a four track EP featuring music from residents Pete Melba (Planet Orange), Phil Warner (Plant & Deck / Pic N’ Mix), and Roya Brehl (Creatures of the night / Last days of Rome). Joining the crew is rising star and one half of duo Le Frequency, James Geeson.

Pete Melba kicks things off in his signature style of groovy tech house with skipping percussion, twinkling melodies and a touch of darkness. Phil Warner takes the A2 into techno leaning tech house territory sporting spacey pads, acid licks and spooky vocal snippets. On the B1, Roya Brehl moves into darker realms utilising cascading synths, eerie vocals and jangling percussion. Closing out the EP James Geeson continues the dark theme of the B-side warping the classic moonraker vocal into a deep dance floor chugger.

A well-rounded EP for cultured diggers bound to scintillate dance floors and after parties across the globe.

"Waxwork Records is proud to announce the next entry into their collection of FRIDAY THE 13th soundtrack releases on vinyl, FRIDAY THE 13th PART 3. Waxwork and composer Harry Manfredini re-visited the original analog tapes in an effort to faithfully master the complete soundtrack for vinyl. FRIDAY THE 13TH PART 3 includes every musical cue featured in the film and encompasses two 180 gram LP's clocking in at nearly one hour of chilling audio which serve as a dark musical backdrop to one of the most beloved franchises for horror fans. Originally released in 1982 and in 3-D, FRIDAY THE 13TH PART 3 is the first film to feature the legendary slasher, Jason Voorhees, wearing his signature hockey mask. This image of a machete wielding, hockey masked killer became the trademark for the franchise, as well as an iconic image in American cinema and horror films in general. To keep in tune with the original 3-D theatrical release of the film, Waxwork created a deluxe quality 3-D lenticular mounted album cover for the heavyweight old-style tip-on gatefold jacket which houses two LP's featuring the complete score.

Waxwork Records incorporated the lost, deleted final scene of the film into the inner gatefold illustration. This deleted scene from the film depicted an unmasked Jason Voorhees violently beheading the “final girl"". Deemed too graphic by the film studio, the scene was cut from the movie altogether. Here's your chance to see it up close and personal through the artistic vision of Gary Pullin.

And yes, this soundtrack release includes the now famous “Disco Theme"" from FRIDAY THE 13TH PART 3's opening credits!

Despite immense challenges, SOYUZ have delivered a career-defining album in KROK.
“Krok” means “step” in Belarusian - and for Alex Chumak and his band this word comes with a lot of meaning. It’s the title and theme that ran throughout СОЮЗ (SOYUZ)'s fourth album, reflecting the journeys the band has navigated in recent years, having moved to Warsaw due to political unrest in their homeland of Belarus and the outbreak of war in Ukraine. Embracing the uncertainty became both the inspiration and main lyrical theme for Alex Chumak, SOYUZ’ composer and arranger, who also decided to go a step further and change the language in which he writes songs from Russian, which is used as lingua franca in many post-Soviet countries, to his native Belarusian. The result is nine songs about dreams and outer space, ordinary miracles, things very close and very distant at the same time.

In early 2022, Chumak and original members, Mikita Arlou and Anton Nemahai, joined tens of thousands of Belarusians seeking safety abroad. Resettling in Warsaw, the band released Force of the Wind in October 2022, garnering widespread acclaim, a string of major European gigs, and led to Polish musicians Albert Karch and Igor Wiśniewski joining the band.

Deeper and more melancholic than previous works, KROK is quintessentially SOYUZ, laced with hope, dreams and a celebration of life. Given the difficulties with finding rehearsal and recording spaces in Warsaw and the departure of the drummer Anton Nemahai from the band, Chumak explored alternative options. He reached out to friend and fellow musical collaborator, Sessa, about the possibility of recording the new album in his recently finished studio in São Paulo, with Sessa and Biel Basile coming onboard as recording engineers.

At the tail end of 2024, Chumak and SOYUZ’ new drummer, Albert Karch, made the trip to São Paulo to record the first sessions for KROK. Laid down directly to tape, these sessions featured prominent Brazilian musicians Sessa, Biel Basile, and Marcelo Cabral, with a guest vocal feature by Tim Bernardes recorded at a later date. The final touches were then added back in Europe. Lush string and woodwind arrangements written by Chumak and Karch were recorded at the Polish Radio studio in Warsaw, and Rhodes parts were added by Chumak at Sven Wunder’s studio in Stockholm.

Though primarily recorded in Brazil, KROK is not a Brazilian or MPB album. It blends the band’s Eastern European roots with jazz, folk and global influences. The genre of the music is hardly identifiable: there are folk ballads and jazz-driven pop compositions covered in lush and often dissonant string and woodwind arrangements where each note is placed with care and meaning behind it.

The title track was the first song Chumak wrote in Belarusian as an adult, making for a fitting opener and one of the band’s finest tracks. Darker than most of SOYUZ’ songs, the tensions lift and lighten as the track progresses. The cinematic library jazz of 'Voo Livre', with ghostly vocals sung by Ciça Góes and Ina, feels like a modern twist on the Italian library composer Alessandro Alessandroni through its sublime choir and woodwind orchestration. Elsewhere, the heartfelt 'Lingua Do Mundo', composed, written, and sung by Chumak and the incredible Tim Bernardes, features one of the standout string arrangements from Chumak and Karch. 'Cichi Karahod' is an instant SOYUZ classic, almost Pat Metheny-esque as it opens, with the acoustic guitar and bass riff transitioning into jazzy AOR / pop-folk territory. The record closes with 'Smak žyćcia', a gentle, dreamy spoken-word poetry piece in Japanese by singer-songwriter Manami Kakudo.

Come Clean is the the highly succesfull major-label debut and second studio album by the American rock band Puddle of Mudd. Originally released in 2001, the album's music was responsible for breaking Puddle of Mudd into the mainstream music scene. The album reached the Billboard 200 Albums chart peaking at #9. It has sold over 5,000,000 copies and was certified 3 times platinum by the RIAA.

The lead single Control' was also the theme song for WWE's Survivor Series 2001, which was critically acclaimed. The second single off the album, Blurry' turned out to be Puddle of Mudd's most successful single, reaching No. 5 on the Billboard Hot 100 and No. 8 in the UK Singles Chart, and also winning an ASCAP song of the year award. Drift & Die' was also released as a single spending six weeks at the No. 1 on the Mainstream Rock Chart. The fourth single, She Hates Me' reached the No. 1 spot on the Mainstream Rock Tracks chart and won the ASCAP award for most played rock song of the year.

In support of the album the band embarked on a European and American tour as the opening act for Godsmack and Deftones, and were also a part of the Family Values 2001 tour, alongside Linkin Park, Stone Temple Pilots, and Staind.

Available on vinyl for the very first time, Come Clean is pressed on clear vinyl, limited to 1.000 numbered copies!

Music From Memory are thrilled to announce the forthcoming release of ‘Pastoral Blend,’ a new album from the duo of N Kramer and Magnus Bang Olsen (The Zenmenn).

Recorded in Berlin between August 2023 and March 2024, ‘Pastoral Blend’ combines Kramer's improvisational process and mastery of contemporary production techniques with Bang Olsen’s emotive pedal steel guitar playing. The creative process was anchored in capturing various phrases and patterns from the instrument, which were then reshaped, reversed, and layered intricately. This meticulous approach allowed a foundational track to emerge, upon which further arrangements and developments were sculpted. This process, which builds on Kramer's earlier work as Habitat (with J. Foerster, released on Leaving Records), gives the music a gentle asynchronous flow that feels uniquely live and organic.

Merging the warmth and intimacy of instrumental Americana with the glitchy, textural processing reminiscent of early 2000s Max/MSP and influential artists such as Fennesz and Alva Noto, ‘Pastoral Blend’ is a textured drift between analog warmth and digital fragmentation, a delicate equilibrium that duo navigate with remarkable finesse and an air of effortless charm. With titles like ‘Harvest', ‘Agrarian Dawn’, ‘Grasslands’, and ‘Weathered’, Kramer and Bang Olsen evoke a musical vocabulary steeped in themes of landscape, memory, and tradition; a vocabulary that gently alludes to the more familiar and traditional musical structures lying beneath the rich layers of sound. Herein lies the essence of the 'Pastoral Blend’.

Sleeve art and design by Michael Willis.

Metallic Print Sleeve

Johnny Sais Quoi releases his debut release on Music From Memory - a 7-track LP entitled ‘Love On Ice.’ Channelling the spirit of Italo-pop and New Wave, ‘Love On Ice’ was crafted in the whirlwind of spontaneity and energy that changing circumstances often bring. Born from transition and exploring themes of leaving, arriving, coming together, and breaking up, ‘Love On Ice’ serves as an outlet to process, escape, and celebrate the challenges of a new life.

Johnny crafts exquisite dancefloor-focused pop—familiar yet unique, imbued with his own touch, a distinctive sensibility, and a knack for infectious hooks. The opener, ‘No Guilty Pleasures,’ sets the tone immediately as Johnny works his magic with a palette of synths, drum machines, picked guitar, and processed vocals. The title track, ‘Love On Ice,’ delivers a classic Italo-infused dancefloor bomb, featuring a driving synth bass line overlaid by hypnotic arpeggios. There is much here for the dancer, but ‘Love On Ice’ also ventures beyond the dance floor; the closing tracks ‘Ref 23’ and ‘Let's Find A Home’ are prime examples, both showcasing Johnny’s depth and range with their melancholic, mellow atmosphere.

Steve Moore reprises his beloved Lovelock guise by presenting his unique riff on the library breaks genre. Business And Pleasure contains grimy groove and sleazy, funk-laden lounge music.

This vinyl release is hyper-limited, with just 500 pressed for the world.

The LP is ushered in by the spacey synth-funk of the sleazy, woozy title track. This is that serious slo-mo cosmic-balearic head-nod shit. Laidback bass, heavy funk with dreamy synth and electric guitars. An outstanding opener. Up next, the dynamic, swaggering "Last Call" is a sophisticated, elegant stroll - sweeping, mellow strings, a smooth bassline and gorgeous percussion with urgent keys and swelling synths.

"Slinky Strut" is another spaced-out, sleazy funk groove with jazz rock by way of a heavy, heavy guitar riff, mellotron and bass breakdowns which build to brass crescendos. Gigantic. "First Class" closes out the side, and, like classic Hawkshaw / Bennett noir, it's got that mysterious and murky stretched out sleuth / detective soul with a great bassline and percussive elements, with swelling strings, ace synths and smooth Rhodes piano melodies entering the mix halfway through. Dramatic guitars and groovy percussion add extra intrigue. It's 7 minutes of funk!

Side B opens with the stretched-out psychedelic funk and jazz groove of "Stank 49". It takes its sweet time to unfurl, creating enormous - almost sensual - anticipation for the ensuing beauty but, as it does, we're left beguiled and straight-up hypnotised. Heaven-sent synth flourishes and a laidback bassline over smooth drums cement its simple, vivacious grace. "Dangerous Man" is that creeping crime funk we all love; heavy bass and fuzzy guitar riffs, mellow strings and sumptuous piano/synths. It's irresistible, it's ominous and it's pretty gargantuan. It's basically like an El-P hip-hop instrumental. We need to get some rappers over this stuff, stat!

"Stinkbug" is a dazzling and funky groove-fuelled jazz-rock workout with fizzing synth riffs joined by full percussion and drum breaks, building with strings to a strong swagger. Vigour! To close out this remarkable set, the breezy "Win Or Lose" is laidback soul-inflected funk, utilising urgent, skipping drums and galloping basslines. Just stunning.

This collection was written and recorded in Spring and Summer of ’24. Everything was tracked at Steve's home studio in Albany, NY except the drums and percussion, which were recorded by Jeff Gretz at his space in NYC. The whole collection is basically a rhythm section feature, so Steve's Rickenbacker 4003 and Fender Jazz Bass play very prominently. The bass guitar serves as lead instrument in a lot of these tracks. Also, lots of Rhodes and stringers (Solina, Logan etc) and guitar (Strat and Les Paul). He even dusted off my sax for this one, which he doesn’t do as often as he’d like!

This type of groove-oriented library music has been a steady part of Steve's diet since the late 90’s. In heavy rotation while writing this collection were the following classics: “Time Signals” by Klaus Weiss, “Tilsley Orchestral No. 10” by Reg Tilsley, and “Heavy Truckin’” by Simon Haseley. “Voyage” by Brian Bennett was also a big one.

Lovelock started as a dedicated Italo-disco project, but over the years Steve expanded it to include anything directly informed by the commercial/pop side of the music of his childhood (70s/80s). Writing and recording this album was, like a lot of Steve's music these days, basically a test to see whether or not he could do it.

The song titles, like the music, are meant to be evocative yet vague. But there is a bit of a travel theme. Steve imagined this record being the soundtrack to a sleazy salesman’s business trip. The kind of guy who, when asked if he’s traveling for business or pleasure, responds “both.” Beyond the traveling salesman comparison, the title directly relates to the creation of this album. This was something he wanted to do just for his own enjoyment. Yet, like our sleazy salesman, he still found a way to get paid.

The album’s cover was designed by Chris Stevenson, with no little direction from Steve. He knew that he wanted to go with something photography-based for this cover so, in true DIY/cheapskate spirit, Steve started by looking through his own photos. He found the cover image on his phone, taken through an almost empty bottle of beer, and it clicked. The whole album has a very boozy vibe (especially with titles like “Last Call”) so this shot seemed appropriate. We, hic, agree.

Mastering for this vinyl edition was overseen by Be With regular Simon Francis, and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry.

KR3.018 KR3 proudly welcomes Jin Synth & Marco Maldarella to its roster. To mark the conclusion of the label's fifth anniversary cycle, launched in September 2024, KR3 together with these two talented artists, presents "The Neural Abyss" a split EP that embodies both an ending and a new beginning through the theme of "Death/Rebirth".

This 4-track project, showcases the distinct yet complementary visions of Jin & Marco, each taking one side of the 12" vinyl. Together, their work invites listeners on a profound exploration of hypnotic, deep brainwave states. Let's celebrate the final chapter with this exciting collaboration! KR3 | 5YRS Down-Road

The legendary SHOES crew returns to dance-floors, living rooms & lounges with 4 new edits in a range of tempos and styles. From filtered midtempo breaks laden disco to afro-beat 90s techno and all the way to baby making soul, SHOES are back and in rare form on this one.

Volume 26 of the 12" series Attack The Dancefloor features four chart topping no.1 singles available on Vinyl for the first time, WOW. First up it's the meeting of giants as we are treated to the huge version from Michael Gray of 'What About My Love' who bumps the tempo and takes the source parts into HOUSE territory, priming it for the peak time & finally satisfying the 'when's it out on vinyl' crowd. Up next the floor filling, gospel tinged "(You Gotta) Give It Up" by Z Factor, still doing damage on the dancefloors since it's recent digital release. On the flip we have the 3rd & current chart topper 'Down Down Down' by Raw Essence aka Dave Lee, his latest dose of Discotheque dopamine. Feeling both familiar yet fresh, it's all about classic good times here backed up with ravishing Moog Wizardy and irresistible vocals. To round of this essential slab of wax is Opolopo's standout 'Bebeccie's Theme' which delivers muso boogie of the highest order. Full of discreet chords and sophisticated string turnarounds, backed up with deft synth touches from the keyboard magician.

Eden Burns releasing his debut Album titled „Eden Burns & The Makebelievers“. The dance musics prophet, notorious for his ingenious string of club tracks (if you don’t follow —> check the „Big Beat Manifesto“), is gifting the world with yet another, cult creating musical
adventure. Ecstatic beats, melodies that cast a spell on you, if there ever was something to truly, blindly believe in: it’s the power of music? Be Free, set foot into the garden of Eden. All apples are to be bitten, the snakes venom is mildly hallucinogenic. Get your eyes opened for everything that is true enough and beyond. Bless.

a A1 James Russo (2)– Winged, Written-By Dialogue – Quentin Tarantino


d A4 Jamie Foxx And Christoph Waltz– "In That Case Django, After You...", Written-By [Dialogue] – Quentin Tarantino

[f] A6 Anthony Hamilton & Elayna Boynton– Freedom, Acoustic Guitar – Elayna Boynton, Co-producer – Daniel Beard, Mixed By, Mastered By – Daniel Beard, Duane Allen (2), Piano, Electric Piano [Wurlitzer], Bass, Electric Guitar, Acoustic Guitar, Programmed By, Percussion – Kelvin Wootenm, Producer – Kelvin Wooten, Recorded By – Daniel Beard, Kelvin Wooten, Vocals, Backing Vocals – Anthony Hamilton, Elayna Boynton, Written-By – Anthony Hamilton, Elayna Boynton, Kelvin Wooten
[g] B7 Don Johnson And Christoph Waltz– Five-Thousand-Dollar Nigga's And Gummy-Mouth Bitches, Written-By [Dialogue] – Quentin Tarantino

[i] B9 Don Straud– Sneaky Schultz And The Demise Of Sharp, Written-By [Dialogue] – Quentin Tarantino


[l] B12 Rick Ross With Walton Goggins And Jamie Foxx– 100 Black Coffins, Engineer [Recording Engineer] – Isaiah Pryor, Phillip "Logann" Scott III*, Guitar – Charlie Burrel*, Lyrics By – Jamie Foxx, Rick Ross, Mixed By – Jaycen Joshua, Mixed By [Assisted] – Trehy Harris, Music By – Jamie Foxx, Producer – Ainz "Brainz" Dimilo*, Jamie Foxx
[m] Recorded By [Rick Ross's Vocals] – John Rivers*, Written-By [Dialogue] – Quentin Tarantino

[o] C14 Samuel L. Jackson, Leonardo DiCaprio And Christoph Waltz– Hildi's Hot Box, Written-By [Dialogue] – Quentin Tarantino


[r] C17 James Brown And 2Pac With James Russo (2), Christoph Waltz And Jamie Foxx– Unchained (The Payback / Untouchable), Mixed By [The Payback], Edited By [The Payback] – Claudio Cueni, Voice [As Ace Speck] – James Remar, Written-By [Dialogue] – Quentin Tarantino, Written-By [The Payback] – Fred Wesley, James Brown, John Starks*, Written-By [Untouchable (Swizz Beatz Remix)] – Anthony Henderson, Bruce Washington, Kasseem Dean*, Tupac Amaru Shakur*, Yafeu Fula, D18 John Legend– Who Did That To You?, Performer [Sample] – The Mighty Hannibal, Producer – Paul Epworth, Written-By – James T. Shaw (The Mighty Hannibal)*, John Stephens (3), Paul Epworth
[s] D19 Brother Dege– Too Old To Die Young, Lyrics By, Music By – Dege Legg, Mastered By – Bruce Barielle, Mixed By – Dege Legg, Primo (9), Tony Daigle, Producer – Dege Legg, Primo (9), Tony Daigle, Recorded By – Dege Legg, Vocals, Resonator Guitar [Slide/Dobro], Body Percussion [Stomps], Handclaps [Claps] – Dege Legg
[t] D20 Samuel L. Jackson And Jamie Foxx– Stephen The Poker Player, Written-By [Dialogue] – Quentin Tarantino

[v] D22 Samuel L. Jackson And Jamie Foxx– Six Shots Two Guns, Written-By [Dialogue] – Quentin Tarantino
[w] D23 Annibale E I Cantori Moderni*– Trinity: Titoli, Composed By – Franco Micalizzi, L. Stott*, Conductor [Orchestra Directed By] – M° Gianfranco Plenizio*

[a] A1 James Russo (2)– Winged, Written-By [Dialogue] – Quentin Tarantino


[d] A4 Jamie Foxx And Christoph Waltz– "In That Case Django, After You...", Written-By [Dialogue] – Quentin Tarantino

[f] A6 Anthony Hamilton & Elayna Boynton– Freedom, Acoustic Guitar – Elayna Boynton, Co-producer – Daniel Beard, Mixed By, Mastered By – Daniel Beard, Duane Allen (2), Piano, Electric Piano [Wurlitzer], Bass, Electric Guitar, Acoustic Guitar, Programmed By, Percussion – Kelvin Wootenm, Producer – Kelvin Wooten, Recorded By – Daniel Beard, Kelvin Wooten, Vocals, Backing Vocals – Anthony Hamilton, Elayna Boynton, Written-By – Anthony Hamilton, Elayna Boynton, Kelvin Wooten
[g] B7 Don Johnson And Christoph Waltz– Five-Thousand-Dollar Nigga's And Gummy-Mouth Bitches, Written-By [Dialogue] – Quentin Tarantino

[i] B9 Don Straud– Sneaky Schultz And The Demise Of Sharp, Written-By [Dialogue] – Quentin Tarantino


[l] B12 Rick Ross With Walton Goggins And Jamie Foxx– 100 Black Coffins, Engineer [Recording Engineer] – Isaiah Pryor, Phillip "Logann" Scott III*, Guitar – Charlie Burrel*, Lyrics By – Jamie Foxx, Rick Ross, Mixed By – Jaycen Joshua, Mixed By [Assisted] – Trehy Harris, Music By – Jamie Foxx, Producer – Ainz "Brainz" Dimilo*, Jamie Foxx
[m] Recorded By [Rick Ross's Vocals] – John Rivers*, Written-By [Dialogue] – Quentin Tarantino

[o] C14 Samuel L. Jackson, Leonardo DiCaprio And Christoph Waltz– Hildi's Hot Box, Written-By [Dialogue] – Quentin Tarantino


[r] C17 James Brown And 2Pac With James Russo (2), Christoph Waltz And Jamie Foxx– Unchained (The Payback / Untouchable), Mixed By [The Payback], Edited By [The Payback] – Claudio Cueni, Voice [As Ace Speck] – James Remar, Written-By [Dialogue] – Quentin Tarantino, Written-By [The Payback] – Fred Wesley, James Brown, John Starks*, Written-By [Untouchable (Swizz Beatz Remix)] – Anthony Henderson, Bruce Washington, Kasseem Dean*, Tupac Amaru Shakur*, Yafeu Fula, D18 John Legend– Who Did That To You?, Performer [Sample] – The Mighty Hannibal, Producer – Paul Epworth, Written-By – James T. Shaw (The Mighty Hannibal)*, John Stephens (3), Paul Epworth
[s] D19 Brother Dege– Too Old To Die Young, Lyrics By, Music By – Dege Legg, Mastered By – Bruce Barielle, Mixed By – Dege Legg, Primo (9), Tony Daigle, Producer – Dege Legg, Primo (9), Tony Daigle, Recorded By – Dege Legg, Vocals, Resonator Guitar [Slide/Dobro], Body Percussion [Stomps], Handclaps [Claps] – Dege Legg
[t] D20 Samuel L. Jackson And Jamie Foxx– Stephen The Poker Player, Written-By [Dialogue] – Quentin Tarantino

[v] D22 Samuel L. Jackson And Jamie Foxx– Six Shots Two Guns, Written-By [Dialogue] – Quentin Tarantino
[w] D23 Annibale E I Cantori Moderni*– Trinity: Titoli, Composed By – Franco Micalizzi, L. Stott*, Conductor [Orchestra Directed By] – M° Gianfranco Plenizio*

[a] A1 | James Russo (2)– Winged, Written-By [Dialogue] – Quentin Tarantino


[d] A4 | Jamie Foxx And Christoph Waltz– "In That Case Django, After You ..", Written-By [Dialogue] – Quentin Tarantino

[f] A6 | Anthony Hamilton & Elayna Boynton– Freedom, Acoustic Guitar – Elayna Boynton, Co-producer – Daniel Beard, Mixed By, Mastered By – Daniel Beard, Duane Allen (2), Piano, Electric Piano [Wurlitzer], Bass, Electric Guitar, Acoustic Guitar, Programmed By, Percussion – Kelvin Wootenm, Producer – Kelvin Wooten, Recorded By – Daniel Beard, Kelvin Wooten, Vocals, Backing Vocals – Anthony Hamilton, Elayna Boynton, Written-By – Anthony Hamilton, Elayna Boynton, Kelvin Wooten
[g] B7 | Don Johnson And Christoph Waltz– Five-Thousand-Dollar Nigga's And Gummy-Mouth Bitches, Written-By [Dialogue] – Quentin Tarantino

[i] B9 | Don Straud– Sneaky Schultz And The Demise Of Sharp, Written-By [Dialogue] – Quentin Tarantino


[l] B12 | Rick Ross With Walton Goggins And Jamie Foxx– 100 Black Coffins, Engineer [Recording Engineer] – Isaiah Pryor, Phillip "Logann" Scott III*, Guitar – Charlie Burrel*, Lyrics By – Jamie Foxx, Rick Ross, Mixed By – Jaycen Joshua, Mixed By [Assisted] – Trehy Harris, Music By – Jamie Foxx, Producer – Ainz "Brainz" Dimilo*, Jamie Foxx
[m] Recorded | By [Rick Ross's Vocals] – John Rivers*, Written-By [Dialogue] – Quentin Tarantino

[o] C14 | Samuel L Jackson, Leonardo DiCaprio And Christoph Waltz– Hildi's Hot Box, Written-By [Dialogue] – Quentin Tarantino


[r] C17 | James Brown And 2Pac With James Russo (2), Christoph Waltz And Jamie Foxx– Unchained (The Payback / Untouchable), Mixed By [The Payback], Edited By [The Payback] – Claudio Cueni, Voice [As Ace Speck] – James Remar, Written-By [Dialogue] – Quentin Tarantino, Written-By [The Payback] – Fred Wesley, James Brown, John Starks*, Written-By [Untouchable (Swizz Beatz Remix)] – Anthony Henderson, Bruce Washington, Kasseem Dean*, Tupac Amaru Shakur*, Yafeu Fula, D18 John Legend– Who Did That To You?, Performer [Sample] – The Mighty Hannibal, Producer – Paul Epworth, Written-By – James T Shaw (The Mighty Hannibal)*, John Stephens (3), Paul Epworth
[s] D19 | Brother Dege– Too Old To Die Young, Lyrics By, Music By – Dege Legg, Mastered By – Bruce Barielle, Mixed By – Dege Legg, Primo (9), Tony Daigle, Producer – Dege Legg, Primo (9), Tony Daigle, Recorded By – Dege Legg, Vocals, Resonator Guitar [Slide/Dobro], Body Percussion [Stomps], Handclaps [Claps] – Dege Legg
[t] D20 | Samuel L Jackson And Jamie Foxx– Stephen The Poker Player, Written-By [Dialogue] – Quentin Tarantino

[v] D22 | Samuel L Jackson And Jamie Foxx– Six Shots Two Guns, Written-By [Dialogue] – Quentin Tarantino
[w] D23 | Annibale E I Cantori Moderni*– Trinity Titoli, Composed By – Franco Micalizzi, L Stott*, Conductor [Orchestra Directed By] – M° Gianfranco Plenizio*

[a] A1 | James Russo (2)– Winged, Written-By [Dialogue] – Quentin Tarantino


[d] A4 | Jamie Foxx And Christoph Waltz– "In That Case Django, After You ..", Written-By [Dialogue] – Quentin Tarantino

[f] A6 | Anthony Hamilton & Elayna Boynton– Freedom, Acoustic Guitar – Elayna Boynton, Co-producer – Daniel Beard, Mixed By, Mastered By – Daniel Beard, Duane Allen (2), Piano, Electric Piano [Wurlitzer], Bass, Electric Guitar, Acoustic Guitar, Programmed By, Percussion – Kelvin Wootenm, Producer – Kelvin Wooten, Recorded By – Daniel Beard, Kelvin Wooten, Vocals, Backing Vocals – Anthony Hamilton, Elayna Boynton, Written-By – Anthony Hamilton, Elayna Boynton, Kelvin Wooten
[g] B7 | Don Johnson And Christoph Waltz– Five-Thousand-Dollar Nigga's And Gummy-Mouth Bitches, Written-By [Dialogue] – Quentin Tarantino

[i] B9 | Don Straud– Sneaky Schultz And The Demise Of Sharp, Written-By [Dialogue] – Quentin Tarantino


[l] B12 | Rick Ross With Walton Goggins And Jamie Foxx– 100 Black Coffins, Engineer [Recording Engineer] – Isaiah Pryor, Phillip "Logann" Scott III*, Guitar – Charlie Burrel*, Lyrics By – Jamie Foxx, Rick Ross, Mixed By – Jaycen Joshua, Mixed By [Assisted] – Trehy Harris, Music By – Jamie Foxx, Producer – Ainz "Brainz" Dimilo*, Jamie Foxx
[m] Recorded | By [Rick Ross's Vocals] – John Rivers*, Written-By [Dialogue] – Quentin Tarantino

[o] C14 | Samuel L Jackson, Leonardo DiCaprio And Christoph Waltz– Hildi's Hot Box, Written-By [Dialogue] – Quentin Tarantino


[r] C17 | James Brown And 2Pac With James Russo (2), Christoph Waltz And Jamie Foxx– Unchained (The Payback / Untouchable), Mixed By [The Payback], Edited By [The Payback] – Claudio Cueni, Voice [As Ace Speck] – James Remar, Written-By [Dialogue] – Quentin Tarantino, Written-By [The Payback] – Fred Wesley, James Brown, John Starks*, Written-By [Untouchable (Swizz Beatz Remix)] – Anthony Henderson, Bruce Washington, Kasseem Dean*, Tupac Amaru Shakur*, Yafeu Fula, D18 John Legend– Who Did That To You?, Performer [Sample] – The Mighty Hannibal, Producer – Paul Epworth, Written-By – James T Shaw (The Mighty Hannibal)*, John Stephens (3), Paul Epworth
[s] D19 | Brother Dege– Too Old To Die Young, Lyrics By, Music By – Dege Legg, Mastered By – Bruce Barielle, Mixed By – Dege Legg, Primo (9), Tony Daigle, Producer – Dege Legg, Primo (9), Tony Daigle, Recorded By – Dege Legg, Vocals, Resonator Guitar [Slide/Dobro], Body Percussion [Stomps], Handclaps [Claps] – Dege Legg
[t] D20 | Samuel L Jackson And Jamie Foxx– Stephen The Poker Player, Written-By [Dialogue] – Quentin Tarantino

[v] D22 | Samuel L Jackson And Jamie Foxx– Six Shots Two Guns, Written-By [Dialogue] – Quentin Tarantino
[w] D23 | Annibale E I Cantori Moderni*– Trinity Titoli, Composed By – Franco Micalizzi, L Stott*, Conductor [Orchestra Directed By] – M° Gianfranco Plenizio*

Yosuke Yamashita, Itaru Oki, Yuji Ohno, and Kimiko Kasai. An astonishing jazz workshop with a never-before-seen encounter. Japanese jazz was so sharp and original.

Yosuke Yamashita Trio, Itaru Oki Trio, Yuji Ohno Trio, and Kimiko Kasai. Three trios and one vocalist, Trio by Trio Plus One. This is a live recording of a jazz workshop held in 1970, and the original was released as part of Victor's "Japanese Jazz" series. Just looking at the lineup of musicians gives off an extraordinary atmosphere, making this a special work.

Yamashita was a leading figure in the scene as the darling of the times. Oki came to Tokyo from Osaka in the mid-1960s and attracted attention. Ohno was a man of supple musicality who played everything from modern jazz to new jazz. And Kasai is just about to blossom. Needless to say, each performance is powerful and fascinating, but this album also features a performance by a unique seven-person group consisting of the Oki Trio, Ohno Trio, and Kasai. This is a two-disc set of super-class that reminds us once again just how original Japanese jazz was.

Text by Yusuke Ogawa (UNIVERSOUNDS / DEEP JAZZ REALITY

The Danish/Norwegian duo of Ida Urd and Ingri Høyland believe that music is an extension of one’s immediate sensory environment. Duvet, their collaborative full-length debut, explores the way that creating sounds together is intertwined with various quotidian actions: establishing surroundings, rearranging furniture, moving towards the light, collecting flowers or other objects for aesthetic and sensuous impulses. Through a quiet and attentive process, music becomes a way of nurturing space: a soft architecture for play, writing, care, or simply rest.

Sonically, Duvet feels like an extension of Høyland’s last album, 2023’s Ode to Stone, which also featured Urd along with ambient musician Sofie Birch and visual artist Lea Guldditte Hestelund. But where that album, created in response to an open call for work themed around Denmark’s national parks, suggested rolling landscapes and endless horizons, Duvet turns inward, countering chill winds with glowing warmth. Its eight tracks seek a balance between abstraction and melody, intention and happenstance.

“We had a truly inspiring and rewarding process working with Birk Gjerlufsen Nielsen from Vanessa Amara, who co-produced and mixed the album with us,” Ingri adds. “He approached the material with great care and sensitivity, while also bringing his own distinct presence and creativity into the sound.”

Høyland and Urd both studied at the Rhythmic Music Conservatory in Copenhagen, which has turned out many acclaimed artists over the past few years, including Erica de Casier, Astrid Sonne, and Smerz. Over many years, the two composers have developed a collaborative method based on connection and trust. A practice, they write, “where composing, or rather suggesting, sounds and melodies for one another is a way of carefully talking, mending emotions and obstacles. Saying yes to one another. The compositional space becomes a nest for entangling whatever emotions, thoughts, or barriers one of the composers brings to the given day or moment.”

Quiet and contemplative, Duvet is simple on the surface but rich in timbral, textural, and emotional complexity. Høyland and Urd sourced their sounds from an array of instruments and techniques—electronic devices, modules, pedals, and also electroacoustic treatments of various wind instruments.

Mixing primarily through analog tape units added further mystery and depth, weaving together wordless voices and unknown sounds—breathing, rustling, perhaps the coppery gleam of Urd’s electric bass—into a dynamic matrix. Like a nest, pull one twig and the whole thing unravels.

In the winter of 2023, Ingri Høyland and Ida Urd retreated to a summer house along the coast to create the album. Picture the scene: an abiding quiet all around. Gardens carpeted by snow; beach grass silvery against the silvery sky; a tendril of smoke rising from the chimney. Not another soul in earshot. This sanctuary was the perfect setting to yield this meditation on shelter, trust, and communication. The two composers hope the album can be a similar space for others—a temporary space of residence, it can represent a summerhouse, a cabin in the woods, your favorite bench or wherever you need to go. “The album also works really well when picking out apples in the supermarket” Urd laughs.

On his sixth studio release Roulette, the prolific producer, songwriter, pianist and MC Alfa Mist has created his own sci-fi universe - a vast dystopia where themes of revenge, forgiveness and redemption loom large.

Alfa Mist’s albums have always tackled big themes. This time, however, he explores an imagined near-future in which reincarnation is discovered to be a potent tool linking dreams and past lives. But with this discovery comes consequences: ethical, moral and philosophical. “If reincarnation is real, how does that shape society?” he explains. “If reincarnation means accumulation of knowledge, would you share it and enable everyone to understand more about the world? Or do you struggle for power? And do some people want to stop others from remembering who they were?”

Over 15 tracks, Alfa explores these ideas with heady potency. Each song is a spin of the wheel – a different song and character. The musician’s signature is still there – lambent keys, intuitive groove, free-flowing jazz improvisation – but Roulette is imbued with a smoky psychedelia. An immersive listen, this album is designed “to feel” on every level, says Alfa. It also contains some of his most impressive arrangements yet - see the eight-minute title track that effortlessly flips through time signatures – “because life’s like that,” says Mist; it’s not always linear.

Roulette underlines Alfa Mist as one of the most forward-thinking composers in UK music, with poignant, plaintive melodies that lodge deep in your psyche. “I’m exploring different parts of myself,” he says. “But obviously, as I grow, all of those parts change. Music is a constant; it’s my state of mind that I constantly chisel and work on and make sure that’s always growing and staying interested in new things. As long as I do that, it’ll come out in the music.”

Since his earliest days, Ben Frost has been fascinated by the cinematic qualities of the guitar. His output to this point has hinted at this, but with »Steel Wound« he makes a bold statement of intent.

Finding his way to a deserted stretch of Johanna Beach along the Great Ocean Road (Victoria, Australia) in early 2003 Frost set up a remote studio at a derelict cabin overlooking the icy waters of Bass Strait. With a constant wind flowing off the sea his only companion, Frost started work on a series of improvisations that would eventually become »Steel Wound«. A few months go by and Frost has made his way back to civilization. He begins editing the masses of treated guitar from the Johanna Beach improvisations and before long a theme takes hold - one that very much reflects the isolation of the environment where the tracks were created.

Each of the pieces on »Steel Wound« is a epic journey, coloured with a deep sense of filmic narrative and suggested dialogues. The textural quality of the works, laced with field recordings and lost vocal fragments, sketches out the emotional soundscapes Frost had unwittingly gathered during his time at Johanna Beach. Each piece is a splintered fragment in time – a forgotten memory beautifully rediscovered in a moment of introspection.

"It has a death curse! Waxwork Records is thrilled to release FRIDAY THE 13TH Original Motion Picture Score by Harry Manfredini!

We went back to Crystal Lake to bring you a deluxe repress complete with a fresh vinyl cutting master of the classic 1980 score, pressed to “Silver with Black, Red and Metallic Gold splatter colored vinyl, with liner notes from director Sean Cunningham and composer Harry Manfredini, inserts, and art by Jay Shaw and Jacqui Oakley!"

Do you remember Cush?
A nod to the enigmatic Danakil warrior from Corto Maltese — wise, fierce, and fiercely free. That spirit is back, and this time, it speaks through sound.

Welcome to Cush — a bold sonic territory where the elegance of myth meets the urgency of noise.

Across 14 tracks, this power trio delivers a raw, immersive journey that bends genre boundaries and stirs the imagination. A soundscape emerges, somewhere between dystopia and liberation: windswept grooves, fractured brass, buzzing machines, explosive drums. Think improvisation at its most daring, textures at their most tactile, and themes that haunt like echoes from the future.

Cush is a cry. A rebellion. A pulse.
It’s where musique concrète collides with free jazz and industrial atmospheres — and something new is born.

For listeners drawn to Pierre Henry’s audacity, Alain Damasio’s visions, industrial ASMR, or sonic voyages à la Corto: this is your next deep dive.

Unbuckle your seatbelts. You’re in Cush territory.
An album that demands to be heard — and experienced — live.

Space Echo is proud to present the new single by Derane Obika and Go.Soul.Map., arranged and performed by Sicilian
mastermind producer Salvo Dub - an overwhelming fusion of electronic sounds and soulful vibes. This track is a balance
of pulsating rhythms and enveloping melodies, a sonic journey that invites dancing and reflection.
The production stands out with its electronic soul — a rich blend of synthesizers and deep bass lines that pull the listener
into an energetic and immersive atmosphere. Every beat is crafted to move your feet and light up even the most
sophisticated dance floors.
It’s an explosion of energy, set against the unmistakable voice of Derane Obika. With his warm, soulful tone reminiscent of
Seal, Derane brings a unique spirit to the track, infusing every word with raw emotion and deep.
Here, Derane and Go.Soul.Map. don’t just celebrate dance music — they invite the listener into a full-bodied sensory
experience, where electronic beats meet soul tradition to create something truly extraordinary.
The lyrics expresses the idea of a complete fulfilment found in someone or something essential. It suggests that this
presence — a person, an emotion, or a spiritual guide — is so fundamental and complete that everything else becomes
unnecessary.
It evokes a profound sense of connection, purpose, and clarity. Like a path that leads directly to the essence of existence,
it conveys the feeling of being guided, inspired, and grounded all at once. It is a declaration of absolute trust, of love or
devotion — where the journey and the destination fully coincide.
Side B features a new version of “Walkin’ a Dream” from the debut album “Peaceful Sound for Broken Minds”. The new
rework 25, offers us futuristic and electronic sounds with 70s and 80s disco influences, mixing with space and cinematic
themes - very interesting!

“For Today” is a timeless album—a sonic journey that seamlessly blends electronic influences, Trip-Hop, Folk, Indie Rock,
and Psychedelia.
It unfolds like an immersive soundscape, rich in complex atmospheres, experimental textures, and a deep emotional
undercurrent. Agosta has envisioned a record that transcends trends and market conventions, crafting a cinematic, soulstirring experience that fuses the intensity of trip-hop, the purity of folk, and the swirling colours of psychedelia.
The result is music that stimulates the intellect as much as it stirs the heart. With a delicate, refined touch and melodic
depth, Agosta combines contemporary sounds with vintage warmth, pairing poetic lyrics with themes of love, introspection,
and the human experience.
A standout element of “For Today” is the presence of five tracks featuring female performers and writers. This
intergenerational collaboration brings a richness of perspective and emotional range to the album. Far from a simple gesture
of gender inclusion, it serves as an authentic integration of diverse voices, offering new layers of sensitivity and storytelling.
Where Agosta’s previous work leaned more toward instrumental composition, here the inclusion of female voices adds
lyrical nuance and depth. These contributions explore themes such as love, identity, relationships, and personal liberation—
offering a poetic yet grounded lens through which to experience the album’s contemporary sound.
In essence, “For Today” is a mature and cohesive work that defies the boundaries of traditional genres, creating a unique
and resonant sonic world.
Each track explores a different emotional and musical dimension, with meticulous attention to sound design and a clear
desire for emotional experimentation. The album balances the introspective depth of trip-hop with the lightness and
spirituality of folk, weaving in modern pop elements and touches of psychedelia and groove.
The result is a compelling, emotionally charged, and genre-blending experience—one that invites listeners not only to hear,
but to feel.
An absolute must-listen!

On September 26th, 2025, two decades and seven albums into his career, American musician, composer, and academic John Maus will release his most transcendent work yet: Later Than You Think. Arriving via his new label YOUNG, the album explores themes of grief, justice, rebirth, transformation, and spiritual warfare - coalescing into a work of confession and confrontation: an aural metaphysics where affect, intellect, and spirit converge in search of the beautiful, the truth and the real. Written, produced, and recorded in the Ozarks of Southwest Missouri, Later Than You Think spans 16 tracks and contains multitudes - the lush and the bare, the sacred and the profane, minimalist discipline and maximalist indulgence, counterpoint and simple pop harmony. At its core, the album reaffirms John Maus’ commitment to radical sincerity and emotional truth in an age of alienation. Powered by confrontation, faith and transformation - driven by the urgent belief that meaning still matters, and time is of the essence. Holding a degree in experimental music from CalArts and a PhD in political science from the University of Hawaii, Maus has been dubbed a “philosopher pop star” and “analog futurist” for the way he merges academic rigor with lo-fi synth-pop aesthetics. His influence spans genres and generations—from UK grime icon Skepta, who sampled his track “I’m Only Human,” and Gen-Z rapper nettspend, to filmmaker Josh Safdie, actor Natasha Lyonne, and photographer Wolfgang Tillmans. His track “Cop Killer” features in the 2025 film Friendship, underscoring his continued relevance across high and low culture. With five previous albums under his belt - Songs (2006), Love Is Real (2007), We Must Become The Pitiless Censors of Ourselves (2011), Screen Memories (2017) and Addendum (2018) - Maus has carved out a singular path where irony, grief, joy, and absurdity can coexist and gained a cult following along the way. On Late r Than You Think Maus doesn’t just return—he confronts, confesses, and transforms. The result is not only a career-defining work, but a rare artistic offering: one that dares to believe in meaning, beauty, and the possibility of transcendence

Continuing the percussive-driven and emotive themes from his previous EPs, CAIN reaches beyond the boundaries of experimental electronic and Celtic music from the Scottish Highlands. "Lineage" is the result of a life-long goal to combine his passion and experience in these respective worlds. The album includes Brighde Chaimbeul on Scottish small pipes, James Mackenzie on flute and vocals by Katie Mackenzie.

The common thread that connects his discography is the intense rhythmic and melodic elements that convey his love of ‘infectious rhythm, ethereal beauty, or an otherworldly strangeness’. His productions have garnered support from DJs like Ben UFO, Gilles Peterson, Peggy Gou, Hunee, Haai, Erol Alkan, Ame, Oneman, and Midland, amongst others. Balancing rhythmic precision with profound harmonic depth, CAIN weaves evocative builders that ignite dancefloors at peak time and reveal intricate sonic tapestries in the intimate confines of headphones.

CAIN's musical background is rooted in traditional Scottish bagpipe music, which evolved through his competitive performances on an international level. His experience and knowledge enhanced CAIN’s understanding of how regional folk music reflects specific environments and cultures. Through the competition circuit he met Brìghde Chaimbeul, out on the scenic games fields of Uist, Glenfinnan and many others. He also competed against James Mackenzie, an amazing piper and flautist. James is a former member of the band Breabach. His wife, Katie Mackenzie is a superb Gaelic singer.

The recordings with James and Katie were done on the island of Bernera, off the Isle of Lewis in the Outer Hebrides and recordings with Brìghde were made in Edinburgh.

Mastered by Sam at Precise, Design by Alexander Horne, Pressed and printed at Record Industry

Men in Love is a collaborative concept album by Irvine Welsh and The Sci-Fi Soul Orchestra, exploring the complexities of love, relationships, and the human condition. The album blends classic Motown and disco influences with contemporary electronic dance production, creating a unique and powerful sound that is both nostalgic and fresh.

From soaring anthems to intimate ballads, Men in Love takes the listener on a journey through the highs and lows of romance, celebrating the power of connection, vulnerability, and the enduring search for love in a chaotic world.

The album will be released concurrently with Welsh's new novel, also titled Men in Love. The book is a sequel to Welsh's seminal work, Trainspotting, and continues the story of Renton, Sick Boy, Spud, Begbie, and other beloved characters. The album serves as a sonic companion to the novel, with its themes, lyrics, and musical atmosphere reflecting the experience and inner turmoil of its characters. The album also introduces The Sci-Fi Soul Orchestra, a unique musical entity with their own unique music releases in the pipeline

Ahead of the release of Hollie Cook’s fifth studio album, Shy Girl, the anthemic, feel-good title track and rootsy chugging ‘Frontline’ take either side of a 7” single.
Woven with tight grooves, beautiful vocals and catchy melodies, Hollie’s forthcoming album hears her more confident and open to vulnerability than ever before. The title track of the album ‘Shy Girl’ is a buoyant and elastic slice of lovers rock. It was written in a moment of spontaneous intuition, and bubbles with a charisma and positivity that Cook radiates. “I’m not a natural show-off,” Cook explains. “The Shy Girl theme is me. It’s just about being my most vulnerable self and being as true to the music that love as possible.” Doused in Hollie’s signature “tropical pop” sound, ‘Shy Girl’ is grounded in a vibrant bassline and classic off-beat reggae guitar struts. Hollie’s dreamy vocals radiate warmth and tenderness in equal measure, adding to the song’s soft-hued embrace.
The deep roots flavour of ‘Frontline’ takes the B side. Complete with raking electric guitar lines, a dubby bassline and weighty horn section, it’s a powerful cut that’s both ethereal and empowering. Wearing her heart on her sleeve with this beautifully melancholic piece of songwriting, Hollie opens up through her lyrics with an emotional depth and striking honesty.

After 25 Years, DJ Wayne Ritchie's Legendary Lost Record Makes Its Return South London’s own DJ Wayne Ritchie. The two records he self-released in 2001 have long been out of reach, becoming legendary among vinyl diggers as elusive, sought-after gems. Now, four carefully selected tracks from those records have been remastered, ready to shake up today’s dance floors once again. Crafted with a 12-bit sampler, blending House and UKG into a unique, unmistakable groove, this sound is finally making its return—25 years later.

2025 Repress

More than once Jay Richford and Gary Stevan’s Feelings has been described as the greatest library record ever released. Of course Be With can’t be seen to be playing favourites, but we have to admit, it’s pretty good. Insanely rare and immensely sought-after, it’s a tough funk, street jazz masterpiece coveted for many years by collectors of all musical genres.

Since its original release on Italian label Carosello in 1974, Feelings has appeared on several labels with different sleeves and even under a different artist. Indeed cult library label Conroy put it out in one of their iconic red sleeves in 1976 and yes, Feelings has indeed had more than one modern re-issue since these “original” releases. But a record this special deserves to be kept in press and we think it deserves the Be With treatment.

No, Jay Richford and Gary Stevan aren’t two of the most Italian sounding names. As the story goes these were the pseudonyms adopted by Stefano Torossi and Giancarlo Gazzani who wrote the album but couldn’t use their real names on the original release for legal reasons. But Stefano Torossi himself later both clarified and confused the tale further by explaining that Feelings was the work of four people not just Gazzani and himself. Fellow composers and musicians Sandro Brugnolini and Puccio Roelens also worked on the album and as Torossi himself explained “we all worked together”, with all four gents “dividing the royalties in equal parts… that’s the story.” Right, so, with that all sorted out let’s get back to talking about the music. And what music it is.

Long hailed as a holy grail of library music, Feelings is the epitome of the sort of cinematic orchestral jazzy funk that is “that 70s library music sound”. Infectiously funky, deliciously melodic and with impeccible, elegant production, this record is the showcase for a stunning set of compositions and arrangements and with performances that are nothing short of virtuoso.

The record’s first side lifts off with “Flying High”, soaring brilliant and shimmering. Funk licks, menacing strings and swaggering horns combine for an ice-cold intro groove that Isaac Hayes would surely have envied, before the steady-paced drums deliver the slo-mo TKO. The string-drenched cop-funk of “Going Home” raises the tempo. All funky quick-fire bass lines and killer electric guitar soloing. A real thriller.

“Walking In The Dark” positively drips in blaxploitation-funk drama strings and horn struts, all laced with delicate drums, velvet piano and more filthy wah-wah. “Fighting For Life” is another funk-fuelled workout built around an effortlessly relentless drum track that refuses to give up until even the stiffest-necked head is nodding.

The loping, open drum break that guides the much-loved “Feeling Tense” through its early stages would be good enough on its own. The heavy bass gloss, swirling strings and ominous horns that follow take things to the next level.

The second side opens with another favourite “Running Fast”, and the track does precisely that. This is one fine rollicking chase theme underpinned by frenetic (yet funky) Fender Rhodes and skipping bass and drums. Those sweeping strings are a gorgeous extra. It’s a deliciously feel-good groove that sets the heart racing.

“Loving Tenderly” envelops us in warm, velvety night-time vibes with easy listening horns and slinky strings dialing up the seduction. Definitely one for the lithe lovers out there. The pace picks up on the electrifying “Fearing Much” where strings dart around deep bass, buzzing guitars and another funky drum break. The lush, melancholic “Being Friendly” is another easy beauty, all warm Rhodes and strings. Majestic stuff that puts an aural arm around you. The climactic “Having Fun” rides a pulsating, bass-heavy drum break with snatches of a funky guitar refrain, some luxurious keys, sweeping strings and triumphant horns. Sensational.

Ida Engberg is back on DCLTD with her two tracker ‘Radiate’.

Radiate: insistent 'tin cup' tapping percussion offsets the thumping resonant beat, while two 'voices' duet - or duel?- a vocoder-processed robot vs sung, breathy, high vocal chords. A simple but heavy two-note main theme gives an ominous, almost threatening vibe, upping the tension and spicing the feel of the track.

New Day: high energy, fast rattling percussion split by spacey hoover sounds introduce a robotic vocal speaking, announcing, the lyrics - 'this is a new life..., a new day' - giving a portentous significance and atmosphere. The sweetly high melodic sustained synths chords add a layer of emotion, nostalgia touched with melancholy. Compelling, involving, as well as full on techno beats.

Back in the early 1990s as Acid Jazz began a period of extraordinary commercial success where acts like the Brand New Heavies and Jamiroquai sold millions of records, and US groups such as A Tribe Called Quest, The Roots and Digable Planets were actively influenced by what was being played in London, the whole scene was being fuelled by a small number of clubs, led by Gilles Peterson’s Sunday afternoons at Dingwalls but taking in nights in Leeds, Bari, Munich, Tokyo, Stockholm and New York. In those clubs funky jazz, latin boogaloo and 70s soul soundracks competed for time on the dance floor with import records from New York, and the latest sounds coming out of bedrooms and makeshift basement studios that created contemporary sounds out of the past.

Acid Jazz’s Eddie Piller and Dean Rudland have put together this compilation of the sort of sounds that we were playing at the time. They are releases on Acid Jazz and other label’s that surrounded the scene and they were mainly made by people we knew from either around the club scene, behind the counters of our favourite record shops, or from trips to New York or Europe. They range from The Ballistic Brother anthem ‘Blacker’ to the jazz house of A-Zel - a Roger Sanchez mix that still sounds fresh today. We have the Humble Soul’s instrumental version of ‘Beads Things And Flowers’ which at the time was only available as a DJ special on Acetate. There is the presence of A Man Called Adam before they went to Ibiza, and the early Mo’ Wax (before they went Trip Hop) single by Marden Hill ‘Come On’.

These records could fill a dance floor in seconds and we feel that they are today largely forgotten, as they were non-album, underground club records. It’s time to celebrate them!

Acclaimed Swedish multimedia artist and electronic music visionary TOBIAS BERNSTRUP returns with his highly anticipated new 7th studio album, “Shadow Dancer”, on German indie label Nadanna Records.

Known for his fusion of visual art, retro-futuristic aesthetics, and Italo-inspired synthpop, BERNSTRUP’s latest offering dives deep into the shadows of the dancefloor—where desire, danger, and digital nostalgia collide. “Shadow Dancer” marks a bold evolution in BERNSTRUP’s sound, channeling pulsating analog synths, icy vocal hooks, and cinematic atmosphere into a darkly euphoric collection of tracks. The album explores themes of identity, transformation, and nocturnal seduction, blending BERNSTRUP’s signature 1980s stylings with a sharply contemporary edge.

“This album explores the tension between appearance and reality—how we perform identity, desire, and memory in a world flooded with simulation,” says BERNSTRUP. “It’s both a personal and cultural reflection, rooted in the shadowy edges of nightlife, surveillance, and performance.”

Standout single tracks like “Chiaroscuro”, “Legend”, “And The Smile” and “Jackie 60” showcase BERNSTRUP’s unique ability to fuse melancholic nostalgia with dancefloor-ready energy. The album’s visual aesthetic is just as striking, featuring dystopian glam imagery, gothic noir, and sleek, gender-fluid costuming.

Cass McCombs kehrt zu Domino zurück mit einem neuen Album "Interior Live Oak"!

Am 15. August erscheint Cass McCombs' neues Album Interior Live Oak bei Domino. Es ist sein persönlichstes Werk - und gleichzeitig eine Rückbesinnung: reduziert, konzentriert, aber mit dem ganzen Gewicht von über zwanzig Jahren musikalischer Entwicklung. Der Impuls kam durch die Rückkehr zu Domino und die Auseinandersetzung mit frühen Arbeiten im Rahmen der Reissue-Kampagne und des Archivalbums Seed Cake on Leap Year. McCombs arbeitete dafür erneut mit langjährigen Weggefährten wie Jason Quever (Papercuts) und Chris Cohen in der Bay Area, später kamen in New York Beiträge von u.a. Matt Sweeney und Mike Bones dazu. Interior Live Oak verbindet neue Klarheit mit vertrauter Tiefe. Trotz dunkler Themen bleibt der Grundton hoffnungsvoll - als würde McCombs nicht nur von Extremen singen, sondern als jemand, der sie durchlebt hat.

Demon Music group in conjunction with the Hughes family are proud to present the first official compilation of music
from the movies of legendary filmmaker John Hughes, covering the classic eighties period 1983 – 1989.
For anyone growing up in the 1980s, the films of John Hughes are some of the most iconic of the decade and have
created a lasting cultural impact still felt and referenced across TV, film and music. As well as the characters and
stories created in these iconic movies, what made John Hughes’ movies different from the rest was the symbiotic
relationship between scene and music. Whether Cameron Frye staring at the painting in Ferris Bueller’s Day Off set to
The Dream Academy’s “Please, Please, Please Let Me Get What I Want (Instrumental)”, Duckie and Andie from Pretty
In Pink at prom set to Orchestral Manoeuvres In The Dark’s “If You Leave”, or even Neal and Del’s classic “Those aren’t
pillows” scene from Planes, Trains and Automobiles set to Emmylou Harris’ “Back In Baby’s Arms”.
“Music was a huge part of filmmaking for him, it was a thing he seemed to like the most.” Matthew Broderick
Curated by John Hughes’ music supervisor Tarquin Gotch, this 6LP vinyl boxset includes 73 tracks from the movies
National Lampoon’s Vacation, Sixteen Candles, The Breakfast Club, Weird Science, Pretty In Pink, Ferris Bueller’s Day
Off, Some Kind Of Wonderful, Planes, Trains And Automobiles, She’s Having A Baby, The Great Outdoors and Uncle
Buck.
“Back when we were working on these movie soundtracks, the best way to send music around the world was the
cassette, by Fedex. We sent John cassettes of newly released music, of demos, of just finished mixes (and in return he
would send VHS videos of the scenes that needed music).” Tarquin Gotch
The films of John Hughes spawned many classic tracks, some licensed for the films, some commission specifically, and
many going on to become huge international hits from acts such as Simple Minds, Kate Bush, Furniture, Yello, and
The Psychedelic Furs.
“It serves as a reminder not just to the musicians he championed in the 1980s, but to how intensely his search for
music expanded beyond this era. Until his final days, he was still collecting outrageous amounts of music from around
the world, galaxies removed from the New Romantic and new wave sounds that, to many, still define him.” James
Hughes
Also includes an extensive 24-page booklet including memories from Matthew Broderick, James Hughes, Tarquin
Gotch, Ron Payne, plus track-by-track sleeve notes.
“John said he only made movies so he could choose what music to put in them, so as his success at the Box Office
grew, and thus his power with the studios, the number of tracks in his films, by up and coming UK bands, steadily
grew.” Tarquin Gotch


Billy Idol - "Catch My Fall" (From The 1987 Movie 'Some Kind Of Wonderful')
The Association - "Cherish" (From The 1986 Movie 'Pretty In Pink')
Penguin Cafe Orchestra - "Music For A Found Harmonium" (From The 1988 Movie 'She's Having A Baby')
Zapp - "Radio People" (From The 1986 Movie 'Ferris Bueller's Day Off')
Blue Room - "Cry Like This" (From The 1987 Movie 'Some Kind Of Wonderful')
Ray Charles - "Mess Around" (From The 1987 Movie 'Planes, Trains & Automobiles')
Joe Turner - "Lipstick, Powder & Paint" (From The 1989 Movie 'Uncle Buck')
Darlene Love - " (Today I Met) The Boy I'm Gonna Marry" (From The 1984 Movie 'Sixteen Candles')
Marvin Gaye - "How Sweet It Is (To Be Loved By You)" (From The 1988 Movie 'She's Having A Baby')
Perry Como/Mitchell Ayres & His Orchestra/The Ray Charles Singers - "Juke Box Baby" (From The 1989 Movie 'Uncle Buck')
The Chordettes - "Mr Sandman" (From The 1989 Movie 'Uncle Buck')
Ray Anthony & His Orchestra - "The Peter Gunn Theme" (From The 1984 Movie 'Sixteen Candles')
Lindsey Buckingham - "Holiday Road" (From The 1983 Movie 'National Lampoon's Vacation')
Emmylou Harris - "Back In Baby's Arms" (From The 1987 Movie 'Planes, Trains & Automobiles')
Hugh Harris - "Rhythm Of Life" (From The 1989 Movie 'Uncle Buck')
Spandau Ballet - "True" (From The 1984 Movie 'Sixteen Candles')
Propaganda - "Abuse" (From The 1987 Movie 'Some Kind Of Wonderful')
The Dream Academy - "The Edge Of Forever" (From The 1986 Movie 'Ferris Bueller's Day Off')
Yello - "Lost Again" (From The 1987 Movie 'Planes, Trains & Automobiles')
Bryan Ferry - "Crazy Love" (From The 1988 Movie 'She's Having A Baby')
The Rave-Ups - "Positively Lost Me" (From The 1986 Movie 'Pretty In Pink')
Los Lobos - "Don't Worry Baby" (From The 1985 Movie 'Weird Science')
Steve Earle - "Continental Trailways Blues" (From The 1987 Movie 'Planes, Trains & Automobiles')
The Revillos - "Rev Up" (From The 1984 Movie 'Sixteen Candles')
Boston - "More Than A Feeling" (From The 1988 Movie 'She's Having A Baby')
Balaam & The Angel - "I'll Show You Something Special" (From The 1987 Movie 'Planes, Trains & Automobiles')
The Rave-Ups - "Rave Up/Shut Up" (From The 1986 Movie 'Pretty In Pink')
Pop Will Eat Itself - "Beaver Patrol" (From The 1988 Movie 'The Great Outdoors')
The Vapors - "Turning Japanese" (From The 1984 Movie 'Sixteen Candles')
Silicon Teens - "Red River Rock" (From The 1987 Movie 'Planes, Trains & Automobiles')
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