From the minute that Daphni released 'Sad Piano House' just over a year ago fans started posting 'when’s the @imkelbin remix dropping tho?'

Dan had called 'Sad Piano House' a cousin to his previous Daphni track 'Cloudy', the Kelbin remix of which had become a much beloved fan favourite. So it was only a matter of time before Kelbin, real name Favaretto, got to work on his version of 'Sad Piano House' - a beautiful reworking marrying the heart tugging melody of the original with Kelbin's trademark razor sharp production.

TRACK LISTING

1. Sad Piano House (Kelbin Extended Remix) 
2. Cloudy (Kelbin Remix)

With 'Golden Crown' and his interpretation of Prefab Sprout’s 'Enchanted', Forest Law brings together two songs that reflect both his songwriting and his musical influences. One is an original composition from 2018, rediscovered years later and revived almost unchanged, pairing bright pop melodies with a sharp meditation on power.

The other pays tribute to a song that became a personal obsession after his long-overdue discovery of Prefab Sprout. Together, these recordings highlight Forest Law’s gift for understated arrangements, memorable melodies and lyrics whose depth unfolds with every listen.

TRACK LISTING

1. Golden Crown
2. Enchanted

Originally released on LP in 2010 in a small and not-formally-distributed version, Three Lobed Recordings is excited to bring Steve Gunn's 'Sundowner' to a wide audience. Pressed from the same metal mother as the 2010 edition, this album represents one of Gunn's earliest gut punches.

This one features Gunn-specific guitar workouts like 'No Atlas' and 'Concrete Beach'. You have haunting vocal turns like 'For the Horse, Etc.', 'Money Train Blues' and a gorgeous take on John Martyn’s 'Over The Hill'. This is the album where Jack Rose told Steve he needed to keep putting out material in this vein. Ask anyone who knows it and they will all tell you that this album is both timeless and has earned the legend. Three Lobed is excited to bring this one back into the wider conversation, back into store shelves and onto the turntables of listeners everywhere.

TRACK LISTING

1. Concrete Beach
2. For The Horse, Etc.
3. Imi The King
4. Money Train Blues
5. No Atlas
6. Over The Hill

'Move and Keep Moving' is taken from Afflecks Palace’s new album 'Sunshine Death' and features the Yorkshire Imperial Band, one of Britain’s most celebrated colliery brass bands. Written following vocalist J Fender’s near-fatal “widowmaker” heart attack, the song highlights the often-overlooked mental trauma that can follow a major heart event — but approaches it with positivity, defiance and hope. 

TRACK LISTING

1. Move And Keep Moving
2. Move And Keep Moving (Instrumental)

Just six months after their debut album 'Wasted On Youth' reached No.3 in the UK Official Albums Chart, The Molotovs release their second album, 'Welcome To Urbia'. The next phase for London-based siblings Matt (18) and Issey (20), following a year that has taken them from relentless grassroots touring to national television, chart success and arena-level support.

TRACK LISTING

1. Born In Society
2. Join Us
3. My Metallic Wife
4. Tell Me
5. The Man Who Could Never Be
6. Father Flag
7. Is There Any Hope?
8. Stories
9. Urbia
10. You, Me - Shadow Boxer

'Love & Other Lies' teems with a dark sentimentality and a pronounced gloomy sensibility drawing from British new wave, post-punk, goth, and 1960s rock n’ roll. Strains of The Cure, Depeche Mode, The Sisters of Mercy, Siouxsie and the Banshees, Tears for Fears, and even The Beatles abound. Hegna’s emotive baritone is swathed in period-perfect Prophet-5 synthesizers and glistening counter-melody guitars lines, and supported by intricate but lyrical basslines and cold and mechanical drums. The lyrics are veiled, visceral, and abstract, yet peppered with shard’s of truth from Hegna’s life and his observations. They reflect a modern world where reality itself feels increasingly tenuous, truth is subjective, communities are shattered by irreconcilable division, and a collective malaise hangs in the air. In this dystopia, if love is merely another lie, it suggests a bleak outlook for our future; essentially, the title is a fancy way of saying that “We Are All Fucked.” 'Love & Other Lies' picks up where it’s previous album, 'Reverb & Seduction', left off. That album was a radical departure from Federale’s previous releases which featured mostly instrumentals. “There are a lot more similarities than you think,” he says of the group’s seemingly two distinct aesthetic periods. “When we were referencing the obscure influences, we liked the drama and darkness. Those elements are in new wave, goth, and post-punk. I just grabbed another couple of colors from the Crayon box.”

TRACK LISTING

1. A Strange Vice
2. Thick As Thieves
3. Kill The Rabbit
4. No Cure
5. Sad Machine
6. Fear Naught
7. I Want A New Drug
8. The Score
9. It Ain't Easy
10. Hey

Hanne Lippard and Renato Grieco’s 'Today’s Special' is a suite of language works synthesising melody and diction that integrates the literary and the audible in a repertoire of songs that bask in the melody of voice and the punctuations of structured composition. Working with methods of reduction rather than opulence in both tonal composition and rhetoric, each piece pegs the poetic to the musical with compositional schematics and methods. It is important to state that there is little to none improvisation here, instead, the duo set up matrices, rules and structural links that facilitated meaningful locus of exchange between their two practices.

Lippard’s texts are a collection of new and previously completed works. In these, as is typical for her work, she enjoys the easy pleasure of wordplay, iterative language, and decontextualised anecdote, as in opener 'Portrait of a Betrayal', a piece about the loss of a phone and the way it haunted the owner who dropped it, based on a lived experience. Grieco’s instrumentation works with Lippard’s language art as a form of acoustic typography. “I studied graphic design and I think about how you can express typography through voice,” she says. “Renato’s use of the viola da gamba becomes like an underline, or a font’s brushstrokes, in ways that feel typographical.”

In this, the classically-trained composer Grieco often finds and echoes the pitch movements of Lippard’s voice, intonation mirrored and revealed, linguistic meaning doubled and shadowed by plucked, strummed or bowed strings. His main instrument is the viola da gamba, the instrument considered closest to the human voice for its tonal range and ability to mimic inflections and timbre, and here he brings it even closer to the voice, building systems by which it moves with and around Lippard. He also plays piano and Wurlitzer, and joins her in speaking on 'Receiver' and in conversation for final track 'The Black Rose'. “Hanne’s voice is an artist’s voice, embodied as the artwork itself,” he says. “But where my approach is from the perspective of a composer, hers is around rhetoric and language. We worked towards each other in this sense, Hanne finding a space to welcome my voice, and me designing an acoustic space to enhance her vocal persona.”

TRACK LISTING

1. PORTRAIT OF A BETRAYAL 
2. AFICIONADO 
3. PAGE SIXTY ONE 
4. POSSIBLE SIDE EFFECTS
5. HOW TO CLEAN FEET 
6. LABRADORABLE 
7. HURTBEAT 
8. RECEIVER 
9. TRADITIONAL COLOURS OF FRANCE I
10. A STORY ABOUT BEING BLUE 
11. TRADITIONAL COLOURS OF FRANCE II 
12. THE BLACK ROSE

In 2014, to mark 20-years since the release of their landmark album 'The Holy Bible', Manic Street Preachers embarked on a sold-out tour playing the record in full. More than a decade later, 'The Holy Bible Live' captures an unforgettable show at London’s Roundhouse, documenting a band revisiting a defining chapter of their history.

TRACK LISTING

1. Yes – Live at the Roundhouse, London (2014)
2. Ifwhiteamericatoldthetruthforonedayit'sworldwouldfallapart – Live at the Roundhouse,
London (2014)
3. Of Walking Abortion – Live at the Roundhouse, London (2014)
4. She Is Suffering – Live at the Roundhouse, London (2014)
5. Archives of Pain – Live at the Roundhouse, London (2014)
6. Revol – Live at the Roundhouse, London (2014)
7. 4st 7lb – Live at the Roundhouse, London (2014)
8. Mausoleum – Live at the Roundhouse, London (2014)
9. Faster – Live at the Roundhouse, London (2014)
10. This Is Yesterday – Live at the Roundhouse, London (2014)
11. Die in the Summertime – Live at the Roundhouse, London (2014)
12. The Intense Humming of Evil – Live at the Roundhouse, London (2014)
13. P.C.P. – Live at the Roundhouse, London (2014)

Originally released in limited formats in 2017 and having since been repressed several times, 2026 sees a new pressing to acknowledge the enduring legacy of this recording. In 2024, the song Trees & Flowers became an unexpected hit on Tik Tok and introduced a new generation to these timeless songs.

“1982 4-Piece Demo” is the first official, fully-licensed and unreleased material to be released under the name Strawberry Switchblade in 30 years. Since disbanding amid major record label acrimony and personal differences in 1986, the already-cult band have since grown in stature and legend. Trailblazers in many ways, the band’s mythology justifiably centers around the charismatic duo of Jill Bryson and Rose McDowall, but that isn’t a complete picture.

Bryson and McDowall’s growing friendship, having met some years earlier on the punk scene, became a creative partnership: Bryson’s art school background and McDowall’s history in avant-punk group The Poets meant Strawberry Switchblade was a band pitted against many established norms. The band’s very first incarnation, an all-female 4 piece, recorded one demo at Glasgow’s Hellfire Club and played a handful of gigs. Friends Janice Goodlett and Carole McGowan completed the line up on bass and drums respectively. Strawberry Switchblade would eventually pair down to a duo and go on to chart success but it’s in these raw, passionate recordings that the songwriting and vocal elements were being hammered out and explored in real time.

“Spanish Song” is a previously unreleased song. With Rose McDowall’s instantly recognizable lead vocal dovetailing with Bryson’s harmonies and lead guitar, it’s the first glimpse at an alternative history of Strawberry Switchblade. This incarnation could easily have been featured on a Nuggets compilation or a precursor to the indie-pop revolution that would take over British bedrooms a couple of years later. Trees & Flowers is instantly recognizable, a bona fide classic that would earn the band its first record deal. Here it’s given a more forceful rhythm section: Goodlett and McGowan’s playing is in fact accomplished and doesn’t hint at the bands’ youth. Go Away would also surface later on the band’s debut LP but here it is a moody-garage stomper with a psychedelic, haunting refrain. These 3 songs point to a tantalizing future of the band that was never realized.

Remastered and restored by Sean Pennycook from the original cassette, with artwork based on a single photographic contact sheet (the only visual evidence of the band in this form) and with a booklet of photographs and new text from contemporary Stephen Pastel.

TRACK LISTING

SIDE A: Spanish Song
SIDE AA: Trees & Flowers / Go Away

Friends for well over a decade, Blair and Huber began playing as a duo at the pandemic’s start. Since then, they’ve built an enviable reputation, live and on record, for conjuring a brand of discreetly inventive, captivating tunes from an unusually spartan setup, becoming one of the most promising acts in their homeland’s flourishing jazz scene.

'ECLIPSE' confirms their immaculate instincts, its intriguing appeal encapsulated in nine succinct, bewitching tunes. Reflecting their bond, both musical and personal, 'ECLIPSE’s title represents the alignment of two forces and the subsequent transformative energy. They were searching, Blair says, “for a common language between hip hop and jazz, something modern and cutting edge that also hits the same spiritual space as the cats in the 60s.” With Blair’s flair for an indelible tune interwoven with Huber’s singular style, BLAIR / HUBER always sound different, like nothing or no one else. On 'ECLIPSE', they outshine themselves altogether.

TRACK LISTING

1. ECLIPSE
2. CHASING DOWN LESSING STREET
3. HIDEAWAY
4. PRISM BREAK
5. INTERLUDE
6. PURPLE DUST
7. TITAN
8. GAMBLIN’
9. 01/01/25

Celebrate 25 years of 'Toxicity' with an exclusive anniversary edition. Including the original album plus a 7-inch single of the track 'Johnny', previously only available as a bonus track on rare editions from 2001. The B-side of the 7-inch features a custom etched design. Also included in the LP packaging is a custom double-sided poster, and an update to correctly identify the hidden closing track as 'Der Voghormia' (mistakenly referred to as 'Arto').

TRACK LISTING

1. Prison Song
2. Needles
3. Deer Dance
4. Jet Pilot
5. X
6. Chop Suey!
7. Bounce
8. Forest
9. ATWA
10. Science
11. Shimmy
12. Toxicity
13. Psycho
14. Aerials
15. Der Voghormia

Swimming Paul presents his new album, 'Smiling Through The Pain 3'.

TRACK LISTING

1. Downtown
2. Super High (with EV)
3. Stay Cool (with LP Giobbi)
4. Good Girl (With Beaux Neptune)
5. Kisses & Cigarettes (with Malaki)
6. Sunset Of My Youth (with EV)
7. To This Day (with LKS)
8. Red Hair
9. Still Blessed (with Alecc Crisostomo, D38)
10. Problemsss (with Bobbie Johnson)
11. Do You? (with EREZ)
12. Nota De Voz (with Rompen)
13. Dawntown
14. Confuse
15. Soft Launching

Originally released as Julian Cope’s own idiosyncratic survey of his post-major-label years, 'Trip Advizer' returns in monumental form as Triple Advizer: three records spanning three decades of Cope’s musical quest.

Available on vinyl for the very first time, this definitive edition is housed in a deluxe triple gatefold sleeve and features new liner notes written by Julian providing an ‘A-Z of The Trip’.

Julian Cope’s influence on WEIRD WALK is hard to overstate. The Archdrude has been there and done it all: his epic megalithic tome, The Modern Antiquarian, provided a signpost for a whole generation of fellow seekers, while his freewheeling and idiosyncratic music career has produced a string of essential albums and legendary live shows.

The release forms part of the WEIRD WALK RECORD CULT, an occasional series of limited editions celebrating records the Weird Walk team love.
In the Drude’s own words: “My job down the years has become increasingly clear: to reveal anything I can that might be culturally useful, and to do it always in a catchy-bastard manner. Or, more simply, to be your 'Trip Advizer'.”

TRACK LISTING

1. These Things I Know
2. Psychedelic Odin
3. On The Road To Goris
4. I Will Be Absorbed
5. Well Hung at Dawn
6. They Were On Hard Drugs
7. Cromwell In Ireland
8. Raving On The Moor
9. A Child Is Born in Cerrig-y-Druidion
10. Times Change
11. Zennor Quoit
12. All The Blowing-Themselves Up Motherfuckers
13. Revolutionary Suicide
14. Woden
15. Hell Is Wicked
16. Dance by the Light of the Bridges you Burn
17. Zoroaster
18. White Bitch Comes Good
19. I’m Living In The Room They Found Saddam In
20. Conspiracist Blues
21. Pushed Me To One Side
22. Holy Mother of God
23. Julian In The Underworld
24. Psychedelic Revolution
25. Under the Table
26. My Heathen Revolution
27. Shrine of The Black Youth
28. Hymn to the Odin

Striped Light was conceived by Benge several decades ago and in 2007 he enlisted Sam Genders (Tunng) to co-write the songs and over a period of a few years, invited Hannah Peel, Elizabeth Bernholz (Gazelle Twin), Serafina Steer, Juliana Venter and Tara Busch (I Speak Machine) to record vocals, bringing in session bassist Kuma Harada (Van Morrison, Billy Ocean), the Minimoog player Max Middleton (Jeff Beck, Kate Bush), and lead guitarist Mike Lindsay (Tunng) to complete the recordings before John Foxx came on board to create the album’s artwork and Eoin Richardson illustrated the band.

'For All This Beauty' is a work of great passion, celebrating the music that Benge was brought up on, using a spectacular array of vintage synthesisers and recording gear, talented writers and musicians, and the beautiful voices of all the singers involved. It is an album of sparkling electronic alt-pop, nearly 20 years in the making.

TRACK LISTING

1. Atoms (featuring Tara Busch)
2. Foolish (featuring Elizabeth Bernholz)
3. Between The Trees (featuring Tara Busch)
4. Dive Deep (featuring Hannah Peel)
5. Echoes (featuring Serafina Steer)
6. Motorcade (featuring Tara Busch)
7. The City (featuring Hannah Peel)
8. Wake Up (featuring Serafina Steer)
9. Sleep (featuring Julian Venter)

UNRELEASED STUDIO TRACKS FROM THE OCT 1977 MEMPHIS RECORDING SESSIONS THAT UNLEASHED HUMAN FLY!!
MIXED BY ALEX CHILTON, POISON IVY AND LUX INTERIOR!!

With tracks selected and mixed in the late 1980s, Gravest Gravy was designated by Lux and Ivy for release years ago, but for reasons lost to time, remained shelved until now. Completely rippin’ versions of classic early Cramps tracks, two of which feature Alex Chilton on organ. Cut from the analog source tapes, and mastered expertly in Nashville. Stay Sick! Turn Blue!

In October 1977, the Cramps, who were at that time, Lux Interior on vocals, Poison Ivy on guitar, Bryan Gregory on guitar, and Nick Knox on drums, ventured into Ardent Studios with the extraordinarily talented musician and producer, Alex Chilton. These sessions were responsible for the first two Vengeance Records releases, both permanently disfiguring the music world in 1978.

Surfin’ Bird / The Way I Walk

Human Fly / Domino

In 1979, young British degenerates were treated to a five track 12” EP by the Cramps called Gravest Hits, which featured all four tracks released in the USA, along with another from the October 1977 sessions, a great channeling of Ricky Nelson’s hit Lonesome Town. From there, the band released their first LP, Songs The Lord Taught Us, again working with Alex Chilton, and went onward, releasing records and touring all over until the sad passing of Lux in 2009.

What Cramps fans might not know, was at Ardent, the band had planned to record their song T.V. Set to be their first A side, along with another track or tracks. Alex told them that he liked to have a band play every song they knew and the best of the batch would be committed to vinyl. This was fantastic advice, and luckily for us, that’s what the Cramps did. This is how Lonesome Town found its way to Gravest Hits. But, there was much more to the story.

In the late 1980s, Lux and Ivy endeavored to release more recordings from the October 1977 sessions. It was to be titled Gravest Gravy. It was a record for the fans, a journey back to Memphis, back to the first Cramps records, that, try as it might, the world has been unable to heal from. Lux and Ivy mixed several tracks between June 14 and 30, 1989 at Present Time Recorders, in North Hollywood. Alex mixed a few tracks in Memphis. The album had a title, a cover by the great Stephanie Chernikowski, who passed away recently, but for reasons lost to time, Gravest Gravy was shelved.

In 2026, we sought to change that. It was apparent that this record absolutely needed to be with the fans. A team, still severely cramped from initial contact with the band, began to form and got to work.


Greetings. Henry Rollins here.
I am beyond stoked to announce the formation of The Cramps Inc. that will restart the Cramps’ label Vengeance Records, create official merchandise, and venture into the vaults to unleash unheard recordings of this amazing band.

The Cramps Inc. is the artist formerly known as Poison Ivy Rorschach, Larry Hardy, owner and operator of In The Red Records, and Jimmy Maslon, a former Rollin’ Rock recording artist, film producer, and owner of the Herschel Gordon Lewis, and Doris Wishman film catalogs. Both have deep ties to Lux and Ivy, forged over decades. Ivy is the major beneficiary. Larry and Jimmy are handling all the logistics. They are perfect for this.

Ian MacKaye and I, operating as RAM Prod. (Rollins and MacKaye), are working on behalf of The Cramps Inc., coming up with release ideas, handling tape maintenance, editing, mixing, mastering and lacquer cutting responsibilities. We are aligned with Inner Ear Studios in Arlington, VA and Infrasonic Sound in Nashville, TN.

Many Cramps records and items, such as t-shirts you see on the Internet—are bootlegs. The Cramps Inc. is striving to right that wrong and recently made a deal with the merchandising company Easy Partners. Cool designs for official merch are well underway.

The tracks on Gravest Gravy were contained on seven 1/4 inch reels. Six were generated by Lux and Ivy, one by Alex. The tapes were carefully transferred by Brian Kehew. He was happy to report that all seven reels had withstood the test of time, and the tracks were in pristine condition. Many of the songs had multiple mixes. We had to determine which ones were the keepers. Over several nights of concentrated listening, and copious notetaking, I was able to get an understanding of the changes made from mix to mix. Within a few nights, I was able to determine that the last mix of each song was the keeper. Not only did the tracks sound to be at their fullest potential, it made sense.

I sent the mixes and my notes to Ian MacKaye, whose ears I trust more than anyone I know. I asked him to take his time, go through the tracks and form an opinion of my selections. Days later, he reported back that he agreed with me on all of them. He then volunteered to do some EQ and level adjustment on two of the tracks with Don Zientara at Inner Ear Studios, in Arlington, Virginia.

Days later, all the tracks were at Infrasonic Sound, an excellent studio in Nashville, Tennessee for mastering under the careful watch of engineer Pete Lyman. I sat for hours and listened as Pete coaxed the frequencies to be at their best. The results were two six song sides of the Cramps, extracted from a 1977 amber block, de-fossilized and ready to be inflicted upon the ears of those who would rather Stay Sick and Turn Blue than hope for sunny weather.

TRACK LISTING

01. T.V. Set
02. Weekend On Mars
03. Twist & Shout
04. Jungle Hop
05. Can’t Hardly Stand It
06. Hungry
07. The Natives Are Restless
08. Domino
09. Can’t Find My Mind
10. Rockin’ Bones
11. Problem Child
12. Rocket In My Pocket

Hannah Peel’s 'Underland' draws a glorious and vivid electronic map of the ground below, and what comes buried beneath that ground. Melodies that feel like they’ve been lifted directly from the soil merge with rhythm tracks that could be insects burrowing caves through the undergrowth, and gorgeous ambient echoes intertwined with spectral voices… these elements in Hannah’s hands are the true sound of the underground.

Hannah’s album is the soundtrack to the new Underland film directed by Rob Petit, a cinematic documentary that draws inspiration from Robert Macfarlane’s 2019 book of the same name.

Hannah Peel on 'Underland': “I had read Robert’s book back in 2019, and even included some words from it for my 2022 album ‘The Unfolding’. The chance to actually compose for the book's film in return though, beautiful synchronicity! Scoring for these astronauts of the underworld, those sacred ancient cave systems, the mysteries of the universe’s secrets, exploring what would they actually sound like? Those haunting descents that remind us of our planet’s past and future, asking us to look deep into our ancestors' stories and evaluate where we will go next, made it a profound film to work on. I used ancient Mayan Pod Trumpets and an iron age horn called a Carnyx mixed with baroque choir, string orchestra and synths to bring to life a score that had to combine mythology, technology and possibility.”

TRACK LISTING

1. Into The Underland
2. Xibalba
3. Little Miss Why
4. Seeing In The Dark
5. All They Had Was Fire
6. Poverty Sinks Underground
7. Dark Matter Mass
8. The Waiting Wonder
9. Epochs And Aeons
10. The Crux
11. You Don’t See Sunlight
12. The Forbidden Tomb
13. The Earth Doesn’t Forget
14. The Uranium Lights Up
15. We Fall Together
16. Time Crumbled in Moments Like This
17. The Sacred Chamber
18. The Acent
19. The Surface 

Mogwai’s iconic second album ‘Come On Die Young’ reissued on a fresh grey coloured vinyl. Presented in a gatefold sleeve with original artwork, this reissue comes with a digital download code.

Originally released in March 1999, ‘Come On Die Young’s artwork references The Exorcist and a title scalped from a well-known Glasgow gang slogan. Instead of the cover’s suggested apocalypse-harbouring, pre-millennial assault on the senses however, this second offering from the band was a darkly elegiac – and surprisingly restrained – response to the aural fireworks of their ‘Young Team’ debut from two years earlier. 

TRACK LISTING

1. Punk Rock:
2. Cody
3. Helps Both Ways
4. Year 2000 Non-Compliant Cardia
5. Kappa
6. Waltz For Aidan
7. May Nothing But Happiness Come Through Your Door
8. Oh! How The Dogs Stack Up
9. Ex-Cowboy
10. Chocky
11. Christmas Steps
12. Punk Rock/Puff Daddy/Antichrist

Mogwai’s groundbreaking debut album ‘Mogwai Young Team’, originally released in October 1997 is repressed and refreshed on red coloured vinyl. Housed in a gatefold sleeve with original artwork, the red vinyl comes with a digital download code.

The original recording engineer for the album, Paul Savage, whose production credits include Franz Ferdinand and The Twilight Sad, remastered the album in 2022.

Recorded in what was soon to become Chemikal Underground’s own Chem19 studios by label owner and The Delgados’ drummer Paul Savage (for the princely sum of £2.000), the sessions were, by the band’s own admission, ‘turbulent, disorganised and hastily mixed’. 

TRACK LISTING

1.Yes! I Am A Long Way From Home
2. Like Herod
3. Katrien
4. Radar Maker
5. Tracy
6. Summer (Priority Version)
7. With Portfolio
8. R U Still In 2 It
9. A Cheery Wave From Stranded Youngsters
10. Mogwai Fear Satan

Things moved at some pace in the early years of UK punk and not much moved faster than Mark Perry, founder of Sniffin’ Glue, the fanzine that would inspire a thousand others and lasted for only 12 issues from July 1976 to August 1977.

SG12 came with a free flexi of the first track from Perry’s group Alternative TV. ‘Love Lies Limp’ was a reggae-grounded lament for impotence – or at least for lost desire – that was as far from a stereotypical punk track as you could get. It was a statement: ATV were going to break the moulds quicker than the mould factory could make them.

Most punk groups hit a spot and stood on it, either embroidering their style or echoing themselves. Perry’s ever-changing combo were restive, forever eyeing the next zone. Whatever they tried, you always got the feeling they were going somewhere – and would probably get there. Where they ended up each time tended to be a step further away from commercial success or easy categorisation.

Their trajectory from providers of thinking fan’s Can, reggae and even Zappainfluenced punk to arguably the first avant-garde outfit to emerge from the new wave is encapsulated in their two sessions for the John Peel show, released here on vinyl for the first time, in Sniffin’ Glue’s 50th anniversary year.

On the first session there’s an Auntie-protects-sensitive-ears version of ‘Love Lies Limp’, censored by a comic car horn, and ‘Action Time Vision’ – as close to a signature tune and trad punk as they got. ‘Still Life’ is a hard, slow driver from the first LP, ‘The Image Has Cracked’ (one of the essential debuts of the era, whose variations suprised fans and telegraphed the group’s intent). Perry considers the take on ‘Life After Life’ here, with “wonky” guitar solo, better than the single release.

Session two looked back a bit and forward a lot, with ‘The Good Missionary’ and ‘Release The Natives’ at the core – lenghty, improvised signposts on the road to the second LP, ‘Vibing Up The Senile Man (Part One)’. Creative repetition, droning guitars and the spirit of free jazz had arrived and ATV were spinning off in a direction musical miles from that of their peers. The session is completed by live favourite ‘Going Round In Circles’ and a sultry ‘Nasty Little Lonely’.

Perry has propelled ATV through the decades accompanied by a cast of dozens, switching sounds and styles, and active up to this day. These sessions, released in a limited edition of 350 with sleeve notes by Perry and vintage images including an Alternative TV family tree, catch his group in the raw at a crucial early junction on their long journey.

TRACK LISTING

1. Love Lies Limp
2. Action Time Vision
3. Still Life
4. Life After Life
5. The Good Missionary
6. Release The Natives
7. Going Round In Circles
8. Nasty Little Lonely

Released to coincide with their first shows in more than a decade, ‘Shimmer’ is the startling comeback single from Belfast-based indie dreampop outfit Language of Flowers.

After signing to Portland’s Shelflife Records on the basis of a four-track demo in 2003, Language of Flowers went on to become a much-loved staple of the London indie scene.

Their debut album ‘Songs About You’ received critical acclaim, with reviews noting the band's classic influences from bands such as the Field Mice and Heavenly, as well as the Smiths, Comet Gain, the Go-Betweens and Lush. The band went their separate ways in 2007, albeit reuniting on occasion for a few intermittent shows in the early 2010s.

However, after last year’s successful re-release for ‘Songs About You’ via Daydream Records, Language of Flowers started writing again, with more of an emphasis on their dreampop leanings.

A new album is expected in 2027, but first comes the hazy, atmospheric ’Shimmer’, the first offering in a new transatlantic collaboration between Shelflife and Precious Recordings of London. It features artwork by Bren Sweeney plus one of the late Bentley Cooke’s demos for the never released second album on the B-side

TRACK LISTING

1. Shimmer

The Drums’ 'Portamento' captures the band at their most direct and emotionally raw — a defining slice of early 2010s indie pop that blends jangling guitars with stark, introspective lyricism. Released in September 2011, the album saw Jonny Pierce push beyond the breezy surf-pop of their debut into darker, more personal territory, giving 'Portamento' a lasting resonance with fans.

Featuring standout tracks like 'Money', 'What You Were', and 'Days', the record earned widespread critical acclaim and helped cement The Drums as one of the key voices of the era’s indie scene. Over time, 'Portamento' has grown into a cult favourite, praised for its minimal production and emotional honesty.

TRACK LISTING

1. Book Of Revelation
2. Days
3. What You Were
4. Money
5. Hard To Love
6. I Don't Know How To Love
7. Searching For Heaven
8. Please Don't Leave
9. If He Likes It Let Him Do It
10. I Need A Doctor
11. In The Cold
12. How It Ended

'The Drums' is the debut studio album by American indie pop band The Drums. It was released June 7, 2010. The album contains the singles 'Let's Go Surfing', 'Best Friend', 'Me and the Moon' and 'Forever and Ever, Amen' as well as 'Down By The Water', which had previously been released as part of the band's 'Summertime!' EP. The album was recorded in Jacob Graham's apartment in Florida, the band's apartment in New York City, and in a shack in Woodstock, New York. 

TRACK LISTING

1. Best Friend
2. Me And The Moon
3. Lets Go Surfing
4. Book Of Stories
5. Skippin' Town
6. Forever And Ever Amen
7. Down By The Water
8. It Will All End In Tears
9. We Tried
10. I Need Fun In My Life
11. I'll Never Drop My Sword
12. The Future

Making its long-awaited debut on vinyl, Chumbawamba’s multi-million-selling 'Tubthumper' returns in a special expanded 2LP edition curated by the band themselves. Originally released in 1997, the album became a global success, selling more than 3.5 million copies worldwide and over 3 million copies in the United States alone, reaching No. 3 on the Billboard 200 and earning Platinum and Multi-Platinum certifications across numerous territories. At its heart is the era-defining anthem 'Tubthumping', one of the biggest singles of the 1990s, which reached No. 2 in the UK, No. 6 on the US Billboard Hot 100 and No. 1 in multiple countries including Australia, Canada, Ireland, Italy and New Zealand.

The song has since become a fixture of popular culture through extensive use in films, television programmes, advertising campaigns, video games and sporting events around the world. This newly expanded edition features the original album alongside a bonus fourth side personally curated by the band, including 'Enough Is Enough (Kick It Over)', 'Farewell To The Crown', 'Top Of The World (Ole Ole Ole)', 'Bella Ciao' and 'Tony'. Also featuring the hit single 'Amnesia', which reached the UK Top 10 and became a staple of alternative radio, this definitive release is further enhanced with newly compiled credits, complete lyrics and exclusive song notes from the band, offering fresh insight into one of the most successful and enduring alternative albums of the 1990s.

Nearly three decades on, 'Tubthumper' remains a unique blend of infectious pop hooks, folk influences and sharp social commentary that continues to resonate with audiences worldwide.

TRACK LISTING

1. Tubthumping
2. Amnesia
3. Drip Drip Drip
4. The Big Issue
5. The Good Ship Lifestyle
6. One By One
7. Outsider
8. Creepy Crawling
9. Mary Mary
10. Small Town
11. I Want More
12. Scapegoat
13. Enough Is Enough (Kick it Over)
14. Farewell To The Crown
15. Top Of The World (Ole Ole Ole)
16. Bella Ciao
17. Tony

Take a look at the sonic landscape of club culture today and Colleen ‘Cosmo’ Murphy stands out as one of the pioneers on many fronts. Whether she’s dropping Cosmedelica remixes on her Love Dancin’ sound system at We Out Here festival, hosting listening sessions for her hugely influential Classic Album Sundays, or telling ‘Turntable Tales’ for BBC’s Radio 4, she has created new avenues for experiencing music and thinking deeply about how it affects us and our communities.

So here we are at Volume 5 of this series that once again captures Colleen’s unique take on Balearic. ‘Anger is Divisive’ runs the spoken word sample weaved into the pastoral ambience of ‘Quiet Storm’ from Sewell and The Gong’s Patron Saint Of Elsewhere on Chris Coco’s DSPPR label from 2025. It’s a fitting opening to a collection put together with and for love.

Born from the same lockdown isolation as Balearic Breakfast, ‘Fruits of Life’ from Sakura Murakami’s 2020 album Hot Liquor offers a Tiki flavoured cocktail of tropical psychedelia. Digging deeper into her crates, Colleen then uncovers Flayer’s ‘Wanna Get Back Your Love’, a slow and sleazy piece of cosmic soul from Italy in 1983.

Richard Earnshaw’s ‘Rise’, featuring Roy Ayers and spoken word artist Ursula Rucker, was hidden away on his only album from 2019. This slow jazz infused groover proves to be the perfect segue record as the collection hits the dancefloor with the Spiritual Life style deepness of ‘Ore Yeye O’ by Moroccan house producer Cee ElAssaad and vocalist QVLN (Quetzal Guerrero).

We then return to spoken word with Joshua Idehen’s diasporic club anthem ‘Everything Everywhere All At Once’. You’re in it deep now, head down next to the speakers as The Seven Ups bring you ‘A Cosmic Scale’, a heavy slab of psych rock meets afrobeat by way of Melbourne. We then take a trip over to Sheffield where Richard Barratt under his Crooked Man alias reunites with his dance music subverters All Seeing I for a wonderfully skewed mutant disco classic.

Bringing things down gently with the sun kissed ‘80s soul of Lovetempo ft Wattison’s ‘Wanna Be With You’ (ft. Mattison) out of Brooklyn, Colleen eases into the perfect exit to her eclectic journey with Santana drummer Michael Shrieve joined by Kevin Shrieve and the great Klaus Schulze for the Berlin new age cosmic epic from 1984 ‘Transfer Station Blue’.

Music for the head and feet brought to you with love by one of our masters of sonics and selection.

TRACK LISTING

1. Sewell & The Gong - Quiet Storm (Ruf Dug Remix)
2.Sakura Murakami - Fruits of Life
3. Flayer - Wanna Get Back Your Love (Extended Mix)
4. Richard Earnshaw - Rise ft. Ursula Rucker & Roy Ayers
5. Cee ElAssaad & QVLN - Ore Yeye O (Doug Gomez Remix)
6. Joshua Idehen - Everything Everywhere All At Once (Cosmodelica Extended Mix)
7. The Seven Ups - A Cosmic Scale (Cosmodelica Remix)
8. The All Seeing I - The Return of the Crooked Cat (Crooked Man Mix)
9. Lovetempo - Wanna Be With You (Turbotito Remix)
10. Michael Shrieve - Transfer Station Blue

After cutting his teeth in the late '70s No Wave scene with bands Theoretical Girls and The Static, Glenn Branca made his first solo statement, 'Lesson No. 1', in 1980. The inaugural release on legendary post-punk / dance label 99 Records, 'Lesson No. 1' unveils Branca's visionary guitar concepts with two monstrous, side-long compositions that helped forge NYC's downtown art-punk sound and acted as a massive influence on countless young groups, including Sonic Youth and Swans.

The title track is easily Branca's most-accessible moment; its driving beat and interlocking patterns resemble German pioneers Neu! playing Philip Glass. Never before (or since) has minimalism sounded so euphoric. 'Dissonance' is the A-side's polar opposite. Dark, skittish and unhinged, Branca leads his band (guitar, keyboard, bass, drums and sledgehammer) through block after block of industrial terror, leaving listeners drained in the process.

TRACK LISTING

1. Lesson No.1 For Electric Guitar
2. Dissonance

What's most striking about Manchester Orchestra's debut full-length, 'I'm Like a Virgin Losing a Child', isn't how much the Atlanta-based group have evolved in the two decades since its release, but how much of their identity was already there from the very beginning. Recorded without a label, outside expectations or even a surplus of material, the album found the band embracing spontaneity over perfection and, in the process, establishing the emotional and sonic hallmarks that would become their defining quality.

The organ that swells throughout the album-opening 'Wolves at Night' recalls the band's Southern gospel upbringing, but when laid atop a dirty, downtuned guitar riff indebted to '90s fuzz, it creates competing impulses that ripple through every corner of the record. Songs that begin as near-whispers swell into walls of sound, while the droning atmosphere of 'Where Have You Been?' and 'I Can Barely Breathe' hint at the cinematic scale of the group's future even as quieter moments like 'I Can Feel Your Pain' and 'Sleeper 1972' elevate a delicate vulnerability that's long been the heart of Andy Hull's songwriting. Across the album, Hull's words arrive with a startling maturity for a 19-year-old, yet they're cut with the wide-eyed urgency of someone experiencing adulthood in real time. As he grapples with spirituality, romance, identity and mortality — moving effortlessly between existential dread and full-hearted adoration, private reflection and a yearning to understand the world around him — he writes with remarkable honesty, never dulling the rawest edges of his emotions or worrying how they might be received.

It's that transparency and fearlessness that helped Virgin transcend the scene that first embraced it. Word of mouth quickly carried the album far beyond the underground.

TRACK LISTING

1. Wolves at Night
2. Now That You're Home
3. The Neighborhood Is Bleeding
4. I Can Feel Your Pain
5. Where Have You Been?
6. I Can Barely Breathe
7. Sleeper 1972
8. Golden Ticket
9. Alice and Interiors
10. Don't Let Them See You Cry
11. Colly Strings
12. Wolves at Night (Reimagined)
13. Now That You're Home (Reimagined)
14. The Neighborhood Is Bleeding (Reimagined)
15. I Can Feel Your Pain (Reimagined)
16. Where Have You Been? (Reimagined)
17. I Can Barely Breathe (Reimagined)
18. Sleeper 1972 (Reimagined)
19. Golden Ticket (Reimagined)
20. Alice and Interiors (Reimagined)
21. Don't Let Them See You Cry (Reimagined)
22. Colly Strings (Reimagined)

Ian Pooley's 'Roller Skate Disco EP' Returns with Digital Debut and Vinyl Repress

Definitive Recordings brings back one of the label's early house gems with a remastered reissue of Ian Pooley's 'Roller Skate Disco EP'. Originally released in 1994, the EP returns for the first time as a digital release while also receiving a new vinyl repress. Alongside the original material, the reissue expands the package with the previously unreleased track 'Unity' and the Bandcamp-exclusive 'Never Give Up'.

For more than three decades, Ian Pooley has been one of house music's most respected producers and DJs. Emerging from Mainz, Germany, with a deep love for the sounds of Chicago and Detroit, he has built a career defined by subtle artistry, impeccable groove, and timeless musicality. His acclaimed albums 'Meridian' and 'Since Then', remixes for artists including Daft Punk and Jovonn, and releases on labels such as Plus 8, Innervisions, Rekids, and his own Pooledmusic have established him as one of the true masters of deep and soulful house music.

The title track, 'Roller Skate Disco', immediately captures the uplifting spirit of classic 90s house. Built around an infectious disco-inspired sample, funky guitar loops, and a warm, rolling house bassline, the track is complemented by a looping female vocal that gives it an unmistakable feel-good energy. 'Sure!' follows with a groove driven by crisp TR-909 drums, deep synth chords, and a playful TB-303 sequence, while a repeated female vocal ties the arrangement together into a hypnotic club workout.

'The Brückenkopf at 7 AM', named after the legendary club in Pooley's hometown of Mainz, moves into deeper territory. Dreamlike synth textures, a memorable deep house piano motif, and another signature 303 sequence combine to create one of the EP's most atmospheric moments. The previously unreleased 'Unity' continues this journey with a hypnotic groove, deep house aesthetics, and another beautifully woven acid line, making it a natural addition to the original release. Completing the digital edition, 'Never Give Up' arrives as a Bandcamp exclusive, pairing playful M1 organ sounds with a rolling 303 sequence and an effortlessly flowing house groove.

More than thirty years after its original release, 'Roller Skate Disco EP' remains a perfect snapshot of Ian Pooley's early sound and a testament to the timeless appeal of classic house music. This expanded edition celebrates one of Definitive Recordings' defining releases while introducing it to a new generation of listeners.

TRACK LISTING

A1. Roller Skate Disco
A2. Sure!
B1. The Brückenkopf at 7am
B2. Unity

Nala Sinephro's acclaimed debut album 'Space 1.8' returns as a one-off double vinyl pressing to mark five years since its release. The record has been newly cut across two discs.

TRACK LISTING

1. Space 1
2. Space 2
3. Space 3
4. Space 4
5. Space 5
6. Space 6
7. Space 7
8. Space 8

As the genre-defying masters of stoner metal, the latest iteration of Sleep finds founding member and lead songwriter Al Cisneros newly partnered with the generational talent of Dale Crover (Melvins, Redd Kross) on drums and the iconoclastic Bubba Dupree (Void) on guitar. While simpler minds may seek out the redundancy of a monotonous iterative exercise, the road map of new album 'Hempispheres' is an exploratory vision, one replacing overload with nuance and subtlety yet maintaining the interplay that made the band so special from the outset. So while the discourse on messageboards and comment sections bemoan the amicable absence of long-time guitarist Matt Pike, real heads, visionaries and open-minded truth-seekers alike will be rewarded with not the Sleep album they anticipated or expected, rather with Hempispheres being the album that is needed.

TRACK LISTING

1. Have Spacesuit Will Travel 
2. The Morrisist 
3. Hempispheres
4. Arrival of the Industry Ships
5. Whole Wheat Mountain Well Baked

Fully licensed, all tracks remastered ! Bim Sherman’s seminal second album from 1978 returns in true showcase style, complete with both vocal and dub versions. Recorded at Randy's and Channel One, the record features the legendary mixing touch of King Tubby's Studio, with Jammy at the controls. Rhythms are delivered by top-tier musicians from the Roots Radics and Soul Syndicate. Back in print with its original Jamaican album artwork!

TRACK LISTING

A1. My Woman
A2. My Woman (Part Two)
A3. Lovers’ Leap
A4. Lovers’ Leap (Part Two)
A5. My Brethren
B1. My Brethren (Part Two)
B2. It Is Raining
B3. It Is Raining (Part Two)
B4. Chancery Lane
B5. Chancery Lane (Part Two)

Recorded without a label, outside expectations or even a surplus of material, Manchester Orchestra's 2nd EP found the band embracing spontaneity over perfection and, in the process, establishing the emotional and sonic hallmarks that would become their defining quality.

TRACK LISTING

1. The Procession
2. Alice and Interiors
3. Slow to Learn
4. I’d Rather Have
5. Play It Again, Sam! You Don’t Have Any Feathers

'Songs for Sinners' is an album about the push and pull of belief: running toward something, running away from it, and living in the charged space between the two. Throughout this LP — his second solo album and first in six years — Moses Boyd doesn’t preach or offer answers. Instead, he makes a record that treats faith as something deeply personal, unstable and human — a force that can comfort, unsettle, divide and restore. Gospel is part of the language, but not the whole sentence. Across a vocal-heavy set that folds together jazz, soundsystem culture, 808s, choir harmonies and Caribbean rhythm, Boyd asks what sacred music can sound like without arbitrary rules boxing it in.

Boyd is already one of the most inventive figures in music: a MOBO Award winner, Mercury Prize-shortlisted artist and a drummer, composer and producer who has spent years expanding the possibilities of jazz without ever treating the genre as a museum piece. A decade after 'Rye Lane Shuffle' helped introduce his restless imagination to a wider audience, 'Songs for Sinners' feels like a return and a leap forward — an album that reintroduces Boyd as a brilliant player and singular artist with a vision that reaches beyond category.

Musically, 'Songs for Sinners' is as open-ended as its themes. It is gospel-influenced, but not in the traditional sense. The album moves through different textures with ease: bruised jazz chords, bass-heavy soundsystem weight, electronic pulses, organ swells, handclaps, choral lift and moments of raw, communal singing.

TRACK LISTING

1. Precious
2. War - Moses Boyd, Raelle
3. More To Life - Moses Boyd, Shantéh
4. Say Yeah
5. Saviour
6. Criticise - Moses Boyd, Amber Simone
7. Praise
8. Guess I'll Be Alright
9. I Surrender All (Interlude)
10. I Surrender
11. It Is Well
12. I Believe

A Wednesday song is a quilt. A short story collection, a half-memory, a patchwork of portraits of the American south, disparate moments that somehow make sense as a whole. Karly Hartzman, the songwriter/ vocalist/guitarist at the helm of the project, is a story collector as much as she is a storyteller: a scholar of people and one-liners. Rat Saw God, the Asheville quintet’s new and best record, is ekphrastic but autobiographical and above all, deeply empathetic. Across the album’s ten tracks Hartzman, guitarist MJ Lenderman, bassist Margo Shultz, drummer Alan Miller, and lap/pedal steel player Xandy Chelmis build a shrine to minutiae. Half-funny, half-tragic dispatches from North Carolina unfurling somewhere between the wailing skuzz of Nineties shoegaze and classic country twang, that distorted lap steel and Hartzman’s voice slicing through the din.

Rat Saw God is an album about riding a bike down a suburban stretch in Greensboro while listening to My Bloody Valentine for the first time on an iPod Nano, past a creek that runs through the neighborhood riddled with broken glass bottles and condoms, a front yard filled with broken and rusted car parts, a lonely and dilapidated house reclaimed by kudzu. Four Lokos and rodeo clowns and a kid who burns down a corn field. Roadside monuments, church marquees, poppers and vodka in a plastic water bottle, the shit you get away with at Jewish summer camp, strange sentimental family heirlooms at the thrift stores. The way the South hums alive all night in the summers and into fall, the sound of high school football games, the halo effect from the lights polluting the darkness. It’s not really bright enough to see in front of you, but in that stretch of inky void – somehow – you see everything.

The songs on Rat Saw God don’t recount epics, just the everyday. They’re true, they’re real life, blurry and chaotic and strange – which is in-line with Hartzman’s own ethos: “Everyone’s story is worthy,” she says, plainly. “Literally every life story is worth writing down, because people are so fascinating.”

But the thing about Rat Saw God - and about any Wednesday song, really - is you don’t necessarily even need all the references to get it, the weirdly specific elation of a song that really hits. Yeah, it’s all in the details – how fucked up you got or get, how you break a heart, how you fall in love, how you make yourself and others feel seen – but it’s mostly the way those tiny moments add up into a song or album or a person.

TRACK LISTING

1. Hot Grass Smell
2. Bull Believer
3. Got Shocked
4. Formula One
5. Chosen To Deserve
6. Bath County
7. Quarry
8. Turkey Vultures
9. What’s So Funny
10. TV In The Gas Pump

“Slide in the party like three monkeys wearing a trench,” GDP says in the opening seconds of 'Cross Off Matthew', his first solo album in over a decade. The line is indicative of the New Jersey emcee/ producer’s relationship with music, one that’s ebbed and flowed throughout his career and eclectic discography. Entirely self-produced, 'Cross Off Matthew' feels like a reintroduction as well as an expansion of what makes the cult rapper so beloved. GDP came up in the respective punk, hardcore, and skateboarding scenes of New Jersey, roots that inspired his DIY approach to making hip-hop. He applied a decidedly punk ethos to his brand of neo-boom bap on early releases like 2009’s 'Realistic Expectations' and 2011’s 'Useless Eaters', albums that celebrated his youthful indiscretions but also signaled an old soul lying beneath the surface.

He opted to release them on punk/indie labels (including Run For Cover and Ride The Fury Records) instead of more traditional hip-hop outlets, and along with an ambitious touring schedule, he carved out a dedicated fanbase throughout the early 2010’s. 'Cross Off Matthew' is a slow-cooked labor of love, born out of taking enough time away from something to understand the journey with greater perspective and appreciation.“I’m older, arguably wiser, but that creative fire stayed with me,” he says. “I wanted to make something that felt nuanced, something that I could feel proud of.” Throughout the album, the production toggles between foreboding and facetious just as deftly as his bars. Tracks like 'Island In The Sky' and 'Location Therapy' make rap confetti out of caustic guitars and glaring distortion, while 'Seroquel' and 'Rock For Light', (the latter a nod to NJ rap royalty, The Outsidaz) embrace GDP’s signature blend of East Coast hip-hop and punk sensibilities, with lyrics that highlight the sharp wit and heady philosophizing that he made his name on. GDP examines vices, interpersonal relationships, the collective dread of late-stage capitalism as well as the pitfalls and rewards of trying to lead a creative life throughout it all. The wiseman that peaked out from beneath the shield of debauchery on his early releases has now come to the forefront, as GDP’s trademark humor and commentary feel refined by years of life lived experience.

TRACK LISTING

1. Another Country
2. Seroquel
3. Island In The Sky
4. Mezzanine
5. Holsten’s
6. Location Therapy
7. Bipped
8. Undone (Feat. Fatboi Sharif)
9. Rock For Light
10. Money For Nothing
11. Ethereal Sphere
12. Doom Loop

Following on from 2025's third instalment in Simple Minds' Live album series, and the joint memoir celebrating the lifelong friendship between the band's singer Jim Kerr and guitarist Charlie Burchill, Our Secrets Are The Same, Simple Minds return with their nineteenth studio album, 'Sacrosanct'.

Their first album of new material since 2022's 'Direction Of The Heart', its eight outstanding songs, finds lifelong collaborators Kerr and Burchill on supremely confident form, on one of their most vital albums in decades, one which recaptures the magic and majesty of the band's early years.

TRACK LISTING

1. Elysium
2. King of the Underworld
3. Beginner Boys
4. Jerusalem (State of Mind)
5. Our Secrets Are the Same
6. Songs
7. Alive in This Moment
8. The Next Right Thing
9. Seven - CD Mediabook Bonus Track
10. Your Name In Lights - CD Mediabook Bonus Track
11. Beginner Boys (Single Version) - CD Mediabook Bonus Track
12. Jerusalem (State of Mind) (Single Version) - CD Mediabook Bonus Track
13. Songs (Single Version) - CD Mediabook Bonus Track

This expanded version of the 'Ringer' EP (2008) has been remastered by Kieran Hebden with two tracks added from the same era. 

Includes a booklet of unpublished photographs taken by Jason Evans for the original release.

TRACK LISTING

1. Ringer
2. Trancer
3. Ribbons
4. Swimmer
5. Moma
6. Wing Body Wing 

Toronto-based multi-instrumentalist MorMor returns to stunning form with sophomore album ‘No One Alive Will Listen’ via Promised Land Records.

Recorded between London, Toronto, and at Rick Rubin’s Shangri-La studios, the new LP features co-production collaborations from the likes of Hudson Mohawke, Jack Peñate, Russell Boring, Kane Ritchotte, John Keek, and Caleb Laven.

Including singles ‘Like Heaven’ (featuring Celeste), ‘Don’t Need It’ and ‘Hurt You’, the record is teeming with life and bursting with fresh perspective.

MorMor (Seth Zara Nyquist) is celebrated for his introspective blend of indie pop, R&B, and dreamlike synth textures. A self-taught multi-instrumentalist, MorMor crafts emotionally rich soundscapes marked by vulnerability and sonic depth.

TRACK LISTING

1. Don't Need It
2. Like Heaven (feat. Celeste)
3. Hurt You
4. Hard To Say Goodbye
5. Dawn 2 Interlude
6. Dawn 2
7. Ecstasy
8. It's Alright
9. Hold
10. Wish I Had My Life Back
11. Touch
12. Erase Me
13. Open Wounds

This is the sound of dream Texas, the cinematic Texas conjured in film and 20th century literary and art myth… big dark blueing horizons swallowing the infinite distance, a lonely poetry of sound, but also a stock taker of the iconoclastic, psychedelic, art rebel side of Texas… the cracked rock music side of Texas, the avant-garde in concrete cracks, the recklessly used, mind expanding drugs Texas, the dripping eastern swamps, the Houston house parties with the sounds of records blasting down the block and becoming musique concrète in the hot summer night.

Chrome Chasm’s debut album 'Interpreter' is ambient, minimal in feel, maximal in texture, beautifully disorienting, vastly spacious— until it isn’t. It's a naturalistic shapeshifter, taking majestic form in the aforementioned elements and then dissolving back to raw genetic material to form anew. Spiritual jazz overtones, pedal steel moans and buzzing, noisy ambient visions are upended by grey-folded psychedelic unveilings. Interpreter’s three expansive tracks present a most detailed performance by its three deft musicians and the outcome often feels like a gorgeous collage in real-time.

Chrome Chasm was formed in 2024 by three of Houston’s brightest underground stars: Mlee Marie (Hearts Of Animals) on alto saxophone, flute and voice (whose long-form experimental sax performances helped inspire the formation of the band), Will Adams (Lower Dens/ Ka-Nives) on pedal steel, synth, percussion and voice, and Tom Carter on guitar. Carter has been casting a long shadow over Texas psychedelia and American underground music for over 3 decades, most notably with the Houston based Charalambides, a powerful creative force of the pre-new weird America era of experimental and avant psychedelic music, and most notably since with his solo guitar magnum opus 'Long Time Underground' (which was deemed among the best experimental albums of 2015 by Pitchfork).

'Interpreter’s opening track 'The Star', recorded almost completely live in one room and one take, is a 16-minute manifesto on ‘Dream Noir.’ An astute scholar of cross-genre connectivity and the through-lines of kosmische and spiritual-leaning sonic realms can hear echoes of Cluster, the skronk and beauty of Rahsaan Roland Kirk, and the architectural ambient flow of Harold Budd and Philip Glass in the tidal lapping of distorted guitar, mantra-like saxophone and pedal steel flow. From its deconstructed, pastoral opening moments to its proto-electronic center that crests into a bombastic polytonal climax, Chrome Chasm never neglect narrative arc for experimentation and avant technique. In fact, as a group, they effortlessly control, open, fill and contract space in abeyance to emotional vibration. 'The Star', and indeed the album as a whole, feels more like a communion or extended poem, in direct communication with the listener, than it does a ‘captured experience.’

Across the three longform tracks of Interpreter, Chrome Chasm conducts a masterclass in fusing real time performance energy with an abstract, cut-up master’s reimagining of the literal. They demand the listener meet their music with dream logic and then, like the best dream peddlers, they present a labyrinth to fall into and experience, a place where explanation and conclusion become obsolete, and engagement and immersion become sublime.

TRACK LISTING

1. The Star
2. Gabriella
3. Animus / Bats

English psychedelic group Black Market Karma's newest release is the thirteenth in. All of which have been written and produced by band leader and multi instrumentalist Stanley Belton.

They have collaborated with Sonic Boom (Spacemen 3), The Telescopes, Les Big Byrd and The Underground Youth, and toured with The Black Angels and The Warlocks. Between 2024 and 2026 they released three albums on Fuzz Club Records: 'Wobble', 'Mellowmaker' and 'Live at Fuzz Club Festival 2025'.

'The Grease Ladder' is eleven tracks of neo psychedelia, psychedelic rock, psychedelic pop and alternative, cut to transparent green vinyl.

TRACK LISTING

1. Sister Transistor
2. Time Too Little
3. Brain Batter
4. Absent Loves
5. The Grease Ladder
6. The State Of Me
7. Playground Of You
8. Marching In Reflection
9. Tools Of The Small
10. Always Faithful
11. Brother Combuster

Ten years after 'All My Demons Greeting Me As A Friend' introduced AURORA’s extraordinary musical universe to a global audience, 'The Moth Tapes' takes listeners back to where it all began.

Built from intimate early recordings, demos and previously unreleased material from the original era, ‘All My Demons Greeting Me As A Friend (The Moth Tapes)’ opens AURORA’s archive to offer a new perspective on the creative foundations of her landmark debut and on the beginnings of an artistic journey that has since taken her around the world.

Unrefined and deeply personal, 'The Moth Tapes' is both a celebration of where AURORA began and a bridge to the artist she has become.

TRACK LISTING

LP Tracklisting:
1. Black Water Lilies (Vocal Files)
2. All My Demons Greeting Me as a Friend
3. Let Me Heal You (demo)
4. Runaway (14th August 2013 demo)
5. Running With The Wolves (Hunting demo)
6. The Silent Twins (demo) 

CD Tracklisting:
1. Runaway
2. Conqueror
3. Running with the Wolves
4. Lucky
5. Winter Bird
6. I Went Too Far
7. Through the Eyes of a Child
8. Warrior
9. Murder Song (5, 4, 3, 2, 1)
10. Home
11. Under the Water
12. Black Water Lilies
13. Black Water Lilies (Vocal Files)
14. ⁠All My Demons Greeting Me as a Friend
15. Let Me Heal You (demo)
16. Runaway (14th August 2013 demo)
17. Running With The Wolves (Hunting demo)
18. The Silent Twins (demo) 

‘Rejoice’ is a very special collaboration between Tony Allen, the legendary drummer and co-founder of Afrobeat, and Hugh Masekela, the master trumpet player of South African jazz.

Having first met in the ’70s through their respective close associations with Fela Kuti, the two world-renowned musicians talked for decades about making an album together. When, in 2010, their touring schedules coincided in the UK, the moment presented itself, and producer Nick Gold took the opportunity to record their encounter. Shortly after the very sad passing of Hugh Masekela in 2018, and with renewed resolution, Tony Allen and Nick Gold, with the blessing and participation of Masekela’s estate, unearthed the original tapes and finished recording the album in summer 2019 at the same London studio where the original sessions had taken place.

‘Rejoice’ can be seen as the long-overdue confluence of two mighty African musical rivers – a union of two free-flowing souls for whom borders, whether physical or stylistic, are things to pass through or ignore completely. According to Allen, the album deals in “a kind of South African-Nigerian swing-jazz stew”, with its roots firmly in Afrobeat. Allen and Masekela are accompanied on the record by a new generation of well-respected jazz musicians, including Tom Herbert (Acoustic Ladyland / The Invisible), Joe Armon-Jones (Ezra Collective), Mutale Chashi (Kokoroko) and Steve Williamson.

The critically acclaimed album has been described by The Guardian as “a remarkably coherent blend of swing and Afrobeat, featuring some of Allen’s finest work behind the kit to date and Masekela’s inimitable horn melodies.”

TRACK LISTING

1. Robbers, Thugs and Muggers (O’Galajani)
2. Agbada Bougou
3. Coconut Jam
4. Never (Lagos Never Gonna Be The Same)
5. Slow Bones
6. Jabulani (Rejoice, Here Comes Tony)
7. Obama Shuffle Strut Blues
8. We’ve Landed

A Perfect Circle are repressing their 2018 album 'Eat The Elephant'. This unique pressing is on white vinyl with red and blue splatter. Featuring the band’s hits 'Disillusioned' and 'The Doomed', this special version is sure to remind fans of the distinct sound and powerful lyricism of the group led by Maynard James Keenan.

TRACK LISTING

1. Eat The Elephant
2. Disillusioned
3. The Contrarian
4. The Doomed
5. So Long, And Thanks For All The Fish
6. TalkTalk
7. By And Down The River
8. Delicious
9. DLB
10. Hourglass
11. Feathers
12. Get The Lead Out

Aaron Dilloway returns to Dais Records with 'No Skill Comedy Mind Reading', his first true full-length album since 2017, a collection of characteristically jarring, absurdist material. Marked by his signature distortions and contortions — feedback-shrouded found sounds, field recordings, and vocal improvisations — 'No Skill...' collects nearly a decade of select solo work and yet, feels distinctly in the present: a scattered product of volatility, both harsh and humorous.

Few contemporary experimental artists over the past quarter-century are as prolific and revered as Dilloway, a pioneer of the American Midwest noise scene, a former member of Wolf Eyes, and the founder of the Oberlin-based label and record shop Hanson Records. But for wielding such an immense catalog, he has released only two proper solo LPs, amid a steadier output of tape releases and collaborative projects, with 'No Skill...' completing what has become an ambiguous album trilogy starting with his 2012 landmark 'Modern Jester'.

TRACK LISTING

1. Raw Hyde
2. My Brain Has Finished Growing
3. Forced Auctioneer
4. Find A New Way To Laugh
5. Bring Me The Head Of The Unknown Comic
6. Possession Audition Tape
7. The Levitation Hacker
8. Supporting Actor (for Pieter & Phil)

Hydroplane would be familiar to anyone already following these breadcrumb trails – Andrew Withycombe, Bart Cummings and Kerrie Bolton were the group’s core, all members of The Cat’s Miaow. With Cat’s Miaow drummer Cameron Smith itinerant, having moved to London, the trio used this opportunity to expand their music. It’s a subtle, but important shift. If The Cat’s Miaow was about the perfect, minimalist, two-minute pop song, Hydroplane’s music was far more open-ended, embracing the loops and drones, sampled house-y shuffle beats, the burbling of a Roland Jupiter-4 synth, all of which the trio joined, effortlessly, to their endless capacity for moving, elegant melodicism. They may have only planned to release one seven-inch single, but the sound Hydroplane created was so bewitching, so compelling, that the project’s lifespan ran for around half a decade, and they ended up releasing three albums, including a self-titled debut recently reissued by Efficient Space, and seven singles. There are all kinds of compelling things happening in the music compiled here – the hazy repetition of the gentler side of Krautrock is in here, somewhere, which also suggests Stereolab at their most intimate and disarmed; the gently drifting guitars, gauzy and oneiric, set the songs adrift and floating, each one lost in its own imagined, distracted world.

Songs like 'The Love You Bring' set indistinct tonal floats across dance rhythms, in a way not quite heard since My Bloody Valentine’s 'Instrumental' – but with the added gift of Bolton’s gorgeous voice. This loose coalition with dance music, and the quiet experimentalism at the heart of Hydroplane, also gestures towards peers like Hood, Acetate Zero and Other People’s Children, and releases on renegade labels like Wurlitzer Jukebox and Enraptured. Like those groups and labels, The Cat’s Miaow were reconciling independent pop music’s past – sweet melody and melancholy, chiming and droning guitars – with the futures promised by DIY electronics and nascent digitalia, the interface of indie and IDM that led to some of the underground’s most blissful, texturally swoonsome music. All that is here, but also, the poise of the melodies is pure Cat’s Miaow, though, with Bolton’s voice sailing, pacifically, over some of the most pared-down, gorgeous music made during their decade. It was a time, too, when such music could make waves – 'We Crossed The Atlantic', one of their early singles, was picked up by John Peel, who played it repeatedly on his legendary radio show, the song reaching #13 on his 1997 Festive 50. That the song itself was a cover of a tune by 1960s Australian beatnik-pop-poet Pip Proud felt even more perfect – a group of outsiders paying tribute to another outsider, played on the radio one of the few broadcasters brave and human enough to take a chance on this music. But it was a time where everything was up for grabs, and genres were flowing into each other: folk songs went drone; indie re-discovered noise; ambient pop floated, again, out onto the dancefloor. And while they may have been sequestered away in Melbourne, Australia, Hydroplane felt core to that scene, a quietly driving force. Compiling material from across their brief but mercurial career, this double album perfectly captures the magic and mystery of Hydroplane’s dreamlike, perfect pop songs.

TRACK LISTING

1. We Crossed The Atlantic
2. The Love You Bring
3. When I Was Howard Hughes
4. Failed Adventure
5. Stars (Twilight Mix)
6. Grand Central
7. International Exiles
8. Merry-Go-Round
9. Radios Appear
10. City Terminus
11. Min Min Light
12. Oregon Snow
13. Cherry Lake
14. Blackout
15. Please Don’t Say Goodbye
16. Museum Station
17. Blue Train
18. You Were There
19. Something Better Beginning

PISS is a noisy, genre-bending four-piece band from Vancouver, B.C. Combining punk, poetry, sound collage, performance art, and visual art, the band creates a multidisciplinary body of work that blurs the line between personal and political.

Powered by thoughtful musicianship, energetic live performances, and a crystal-clear artistic mission, PISS writes punk music that aims to transcend the limitations of a well-established genre. Their work draws inspiration from a range of unexpected influences: literary giants, philosophers, filmmakers, painters, psychoanalysts, activists, children, members of a German anarcho-feminist militant group, and conversations with audience members. These voices represent varying ideological beliefs about gender-based violence and enable PISS to create art that depicts challenging and controversial issues such as sexual violence and enculturated gender norms without reduction, romanticization, polemics, or dogmatism.

'you made me / skin on linen' is the band’s debut full-length. It depicts a childhood shaped by structural, systemic, and intimate violence. Throughout the record, art-making motifs serve as metaphors for the myriad ways we carry the effects of this violence: each experience leaves an impression, gradually creating or deforming the self, much like a piece of clay moulded by every mark it receives.

TRACK LISTING

1. Kai and Friends
2. I Wanted To Be A Singer
3. Andrea I
4. Time Loop At Hot Slit
5. Manon On The Trial Of Gisèle Pelicot
6. A Little Girl's Horse Craze Betrays Her
7. Toni
8. There Was A Door
9. Andrea II
10. How Can You Act Opposite To This Emotion?
11. Blocking A Scene You Can't Remember
12. Self-blame With Thorn Necklace and Hummingbird
13. Vikki
14. Rote Zora. “Resistance is Possible.” Emma, no. 6, June 1984, pp. 39-41.
15. I Keep Trying To Change The Ending

'This Was Once Fields' is Gently Tender's first new music since 2023; sonically inspired by the landscapes of the rolling hills and rugged moors of the British countryside, the band’s stirring indie rock sound is built from lush harmonies and pastoral melodies, touching on elements of folk, punk and soul. Seeking escape from the city in the relief of the great outdoors, front man Fryer would head out from the studio to the green belt of North London to simply walk for miles upon miles, often until the last moments of light disappeared into the dusk."The view of London from afar at nighttime was what really ignited a spark in me. I would reflect on my life and myself as I exist inside the city I've lived in for my entire life, that I've loved and fallen out of love with over again. The city does weigh on me heavily but it's not easy to leave a place you’ve loved forever. A collective effort since its very inception, Gently Tender opened its arms to musicians Francesca Brierley (multi-instrumentalist and vocalist who also makes music as heka) and Evie Hilyer-Ziegler (with whom Sam had played alongside in folk group Broadside Hacks and brings flourishes of violin and flute) to join former Palma Violets Sam Fryer, Pete Mayhew and Will Doyle, plus guitarist Adam Brown

TRACK LISTING

1. A Mound A Field
2. Everything Will Be Fine By Now 
3. Dont Sleep 
4. Go Get It! 
5. City Of The Beast
6. 10000 Steps From The Door
7. Staring At Fields
8. Wild In The Uplands
9. Ferme Park Ditty 
10. This Was Once Fields

The debut Peacefrog album from Kenny Dixon Jr. aka Moodymann originally released in 1998 is an album of truly epic proportions, a must have for any and all collectors and lovers of house music. Utilising soul, funk, gospel, and even hip hop production techniques and alternating from mellowed-out disco dubs like 'Mahogany Brown' and 'Stoneodenjoe' to more raw and dirty tech-house tracks like 'Me and My People's Eyes'. 'Mahogany Brown' delivers a slice of Black American music that affirms Kenny's reputation as a major influence on house music today.

TRACK LISTING

1. Radio
2. Sunshine
3. On The Run
4. M.E.A.N.D.N.J.B
5. Mahogany Brown 5
6. Me And My Peoples Eyes
7. Stoneodenjoe (House)
8. Joy Part III D Black Sunday

Bass Persuades, the tenth studio album by 3x Grammy Award-winning, multi-platinum artist Miley.

Bass Persuades marks Miley’s first album under Atlantic Records and her return to the live stage with a limited engagement at the Hollywood Bowl for two nights. Bass Persuades follows her latest studio albums Something Beautiful and Endless Summer Vacation, featuring the 2x Grammy Award-winning global smash hit “Flowers”. Miley would go on to win the Best Country Duo/Group Performance Grammy for her collaboration “II MOST WANTED” with Beyoncé.

Josienne Clarke the “voice of a haunted angel” once the dark-hearted darling of the English folk scene, returns to the tradition a decade after winning her BBC Folk Award. Having spent the intervening years honing her singular voice as a singer/songwriter, she now revisits her most treasured folksongs to find their skeletal essence. In ‘Regenerene MMXXVI’, these ancient melodies are elemental and re-embodied; stripped of artifice and breathed back to life through a sparse, spectral ensemble of nylon string guitar, field organ, piano, harp, recorders, and the atmospheric shimmer of electric guitar. 

TRACK LISTING

1. Katie Cruel
2. Banks of the Primroses
3. John Riley
4. Lily of the West
5. Silver Dagger
6. Bushes, Briars and Thorns
7. Green Grow the Laurels
8. Black is the Colour
9. Fotheringay
10. Hares on the Mountain
11. Thaw
12. You Have To Leave To Return 

DjRUM is one of the most revered DJs of his generation and also a virtuoso musician and producer, but he’s a long, long way from what most people would imagine when they see the words “DJ/producer”.

His all-vinyl, three-deck DJ sets, while technically expert, are spontaneous, sometimes extreme and hardcore, unafraid to make stylistic and sonic handbrake turns, “I like things to be a bit bumpy,” as he puts it; “to have ups and downs and f*ck with expectations!”

His productions, on the other hand, are lovingly and meticulously structured – he describes his process in the studio as “meditational” – and even when they, too, reject genre boundaries or ramp up tempos and bass, the finesse is the point: they’re as close to postclassical composition as they are to rave tracks as such.

This mix is the moment where he brings together all the elements that have made him what he is, and becomes a more integrated musical whole than ever before. As a basis he composed four new pieces which move between different sonic registers, and asked likeminded experimentalists Skee Mask and Clark for exclusives “Flip” and “Clonk Dual”, using these as coordinates to map out the mix.

Rather than get into the painstaking headspace he used for building tracks, he let himself take the free, first-thought-best-thought feeling of DJing into the studio, knowing that the cerebral work had already gone into the track selection. He mixed vinyl live, then chopped up those mixes, collaged and overdubbed them, conscious of not trying too hard, but working it until it felt right.

Ambient and breakcore, classical and punk, deep acid and chaotic percussion flow into a river of sound on this mix. It has the kind of elegance that only someone who’s put in billions of sweaty rave moments holding utter chaos just in check can manage, it joins together things that should never work with uncanny perfection, and then moments later knocks you sideways with a ragged cut or foolish sample.

You’ll never quite know if this is the DjRUM of the lawless derelict building party full of punks and freaks, or the DjRUM who will sit at home sculpting a single minute-long string ensemble recording until it perfectly matches his conceptual vision. Because, of course, it’s both, the whole time and his DJ-Kicks mix connects these two modes of expression. He was always both, and on this mix, he’s shed both skins, and – once again – become himself.

TRACK LISTING

LP TRACKLIST
A1. DjRUM - Turning
A2. Skee Mask - Flip
A3. |||||||||||||||||||| - Causalities
A4. DjRUM - Psychic Video
B1. DjRUM - Leave Me Alone
B2. E Wata - U D S2S
B3. Chewlie - Run
C1. Bugge Wesseltoft - Flimmer
C2. The Raincoats - Only Loved At Night
C3. Clark - Clonk Dual
C4. DjRUM - To Do What To Do
D1. Chris Watson - Waiting (aka Adult Cheetah)
D2. Lino Capra Vaccina - Antico Adagio
D3. Chris Watson - El Divisadero

CD TRACKLIST
1. Chris Watson - Glastonbury Ocean Soundscape
2. DjRUM - Turning
3. Venetian Snares - Miss Balaton
4. Uwalmassa - Untitled 12
5. Clark - Clonk Dual
6. Human Resources - New T
7. DjRUM - Psychic Video
8. Idris Ackamoor & The Pyramids - Traponga
9. Atrice - Hatara
10. Lino Capra Vaccina - Antico Adagio
11. Susumu Yokota - Fearful Dream
12. Lo.Sai - Voi Siete Qui
13. Kimyan Law - Chungwa
14. Core Self - Suspiria
15. The Raincoats - Only Loved At Night
16. Chris Watson - Glastonbury Ocean Soundscape
17. DjRUM - Leave Me Alone
18. Chewlie - Run
19. Bugge Wesseltoft - Flimmer
20. Chris Watson - El Divisadero
21. emptyset - Point
22. Planet Battagon - Salacians Of Trans-Neptunia
23. Skee Mask - Flip
24. Eli Keszler - Sun
25. E Wata - U D S2S
26. Chris Watson - Waiting (aka Adult Cheetah)
27. |||||||||||||||||||| - Causalities
28. Mark - Incantation For The Protection Of JC
29. upsammy - Relict
30. A.Fruit - Measures of Dispersion
31. Sandro Mussida - EEE
32. DjRUM - To Do What To Do
33. Actual Proof - Maybe We’ll Stay (Sileni Remix)

Acid Jazz presents the next instalment of the Spring Revisited series, in collaboration with Ace Records. Continuing the theme of top dance DJ and producer talent exploring the Spring Records catalogue, NYC’s ’45 Queen’ Natasha Diggs takes on Millie Jackson’s ‘What Went Wrong Last Night’ over two sides.

After the series was launched in 2025, with another Millie Jackson mix (in the form of Dimitri From Paris’ take on ‘We Got To Hit It Off), it has continued to make waves, with a run of sell-out and charttopping 12” and 7” releases, before a remarkable 2LP compilation.

With deep roots in New York’s club legacy, Natasha Diggs is the perfect figure to explore the Spring Revisited vision - the originator meets innovator - and the original 7” B-side is a regular in her residency DJ box. Meanwhile, the original’s late-‘70s message of female empowerment felt like a natural fit:

'Instead of dealing with the heartbreak of waiting around for a man who’s not ready or who’s playing games, Millie picks herself up, gets herself looking fine, and goes out to DISCO!’ says Natasha.

She gives ‘Pt. 1’ an extended intro, reminiscent of some later-era Diana Ross, before escalating to a dancefloor frenzy for ‘Pt. 2’. We’ve given you both options, with Pt. 2 giving the straight-up hit on the A-side, while the B-side is pressed with both for the full experience.

TRACK LISTING

1. What Went Wrong Last Night, Pt. 2 (Natasha Diggs Remix)
2. What Went Wrong Last Night, Pts. 1 & 2 (Natasha Diggs Remix)

Today, new Brighton trio Post Common announce their signing to Brace Yourself Records alongside word of their self-titled debut EP arriving November 20th. The band, comprised of current and former members of UK DIY stalwarts JOHN, TRAAMS, Sisterland and more, also offer a first peak behind the curtain of their intense sonic world with the EP’s lead single ‘Space/Time’.

‘Space/Time’ lays out an effective roadmap for the unwieldy beast that is Post Common, comprised of Stuart Hopkins (guitar/vocals), Ian Humes (bass) and John Newton (drums/vocals) - a project that shares DNA with the trio’s musical heritage but that expands outwards taking in elements of electronic and industrial music alongside their love of post-hardcore.

At the centre of their sonic alchemy is the thrilling juxtaposition of Hopkins’ and Newton’s shared vocals - like a MacKaye and Picciotto of the verdant English south coast, the two play off each other to stunning effect. The former’s often yearning, searching melodies are perfectly counterpointed by Newton’s famed guttural bark as they trade lines that walk a fine margin between romance and dystopia, poetry and mundanity. It’s exquisite corpse songcraft at its finest.

“This was the first experiment of me writing lyrics and Stu mangling them in his own way,” explains Newton. “It’s a really good illustration of that exquisite corpse process. It feels like a natural opener to introduce the band and EP. A lot of drum pads and electronic stuff; a deliberate attempt to play around and challenge more traditional instrumentation.”

Post Common were initially formed by Hopkins and Newton after the former moved back to Brighton and they hit it off over a shared love of DIY punk rock, particularly Dischord Records, but also a desire to play with more industrial and electronic flourishes, finding particular inspiration in highly influential New York duo Suicide.

The ranks were bolstered with Ian Humes joining on bass, after Newton and Humes struck up a friendship across a record shop counter, Humes becoming the perfect foil between Hopkins and Newton’s self-recognised differing approaches.

After this meeting of minds and mutual interests, Post Common truly came to life in the practice room - while there was no identikit, hardened decision as to what the band should sound like, they quickly found a unique, intensely physical sound that’s best experienced in a small room surrounded by sweating, living bodies - something that’s already been seen at select shows across the South East including an appearance at this year’s Great Escape festival and a slot opening for Mclusky.

The band quickly decamped to The Bookhouse in South London alongside engineer Tom Hill to lay down the fruits of their earliest efforts in the guise of this four-track EP. ‘Space/Time’ is joined here by the careening, motorik ‘Check Atomizer’, before opening up into a cavernous second side - comprised of ‘Invisible Tools’ and ‘Paywall’ - that hits like a punch to the gut and showcases the haunting emotion of Hopkins’ vocal leads, before Newton’s gruff, fierce husk returns in the EP’s final implosive meltdown.

That interplay between Post Common’s joint vocalists never fails to walk a thrilling tightrope both sonically and thematically across the EP. “Sometimes we collaborate, and sometimes we write separately,” Hopkins offers. “John’s more dystopian and industrial, like he’s Bauhaus, while I’m personal. If he’s brutalist, I’m more introspective - if he’s the outside of the house, I’m the inside.”

TRACK LISTING

Side A
1. Space/Time
2. Check Atomizer

Side B
3. Invisible Tools
4. Paywall

The tenth album of Clinic’s career, 'Wild In The Streets' takes the current temperature of the nation in their own inimitable style. These dozen songs are marked by urgency, surreal wordplay and trademark wit. For a band determined to chart their own course, Clinic continue to push forward in new and unexpected ways.

Nearly 30 years since they first founded Clinic as a quartet, Blackburn and Hartley’s chemistry remains as potent as it ever was, perhaps even more so. “We’ve known each other since school,” says Blackburn. “Hartley was always interested in electronics and drum machines, even as a teenager. He’s into rhythms, whether it’s reggae and funk or more conventional guitar music, whereas I was always into songs and melodies. I think that's why Clinic works so well.”

'Wild In The Streets' is now set to take its place beside past triumphs like 2000’s 'Internal Wrangler', 2006’s 'Visitations' and 2012’s 'Free Reign'. “We’ve always had this absolute faith in what we do,” Blackburn adds. “It’s relatively outsider-ish music, but that’s something that’s motivated us to keep going, because it’s good to have things that are a little out on the fringes. There’s just not enough of that kind of music these days.”

TRACK LISTING

1. Wild In The Streets
2. Model Citizen
3. Back to Nature
4. You and I
5. Hypnotised
6. The Gardener
7. Mouse Trap
8. Energies
9. (It Was) Heaven
10. The Time Has Come
11. Well Wisher
12. It’s a Pleasure

On their third album, FANGS, London collective HMLTD have created an entirely new genre: Götherdammerüng (or ÜberGöth). Predictably unpredictable, it could not be further away from their last outing, 2023 rock opera The Worm. The sixteen-piece orchestra has been traded in for Ableton, the timpani and violins replaced with side-chained four-to-the-floor and rave synths, and the gospel choir swapped for guttural gothic howling and black metal screams. The result is both unique and terrifying: a total reinvention and rehabilitation of the goth genre, through the looking glass of modern electronic and doomscroll-era dance music.

This new beginning was accompanied by a change in personnel, with Theo Spark and Andrei Martynchyk joining the fray alongside original members Henry Spychalski and Duc Peterman. Decamping to a ruined château in the Loire Valley, the quartet became obsessed with vampire lore, and the EBM and goth sound that inspired their early work: Fad Gadget, DAF, Nitzer Ebb, Suicide and Bauhaus. FANGS also points to more contemporary influences like Crystal Castles, German hardcore, 2000s blog-house a la Justice, and 2020s sleazepop.

The world crafted in FANGS is full of cosmic pessimism, glowing horror, imperceptible evil and digital dismemberment, ancient curses and ruined castles, Vampires. But it is also a thoroughly fun, and funny, record, as danceable as it is deep. Born of the club, some tracks would not sound out of place on Brat. Like a Smiths song which sounds happy and carefree until your brain tunes in to the misery of the lyrics, it can be listened to - and enjoyed - on two levels. One can get lost in the throb of bass and ludic synths, or tune into the horror of the lyrics which overlay them.

FANGS attempts to offer up a reflection to a culture that - like a Vampire - has lost its own. The result is something not only thoroughly modern, original, and inventive - but that feels genuinely dangerous and potent. FANGS delights in this ambiguity: simultaneously indicting decadence, decay, and moral rot, while luxuriating in its intoxication by it. Cacophonous sub-bass becomes a chthonic call of the void; seraphic rave synths become the screech of Valkyries; four-to-the-floor becomes a deathly funeral march. Vampire apocalypse.

TRACK LISTING

1. What The Hell
2. I Used To Ride In Limousines
3. Umami
4. Dancing On Your Grave
5. A Thousand White Horses
6. Close To You
7. Chateau Vamp Freestyle
8. Grab The Crucifix
9. Shudder
10. Blitzkrieg
11. Sorry For Laughing (ft. Corpus Delicti) 

IMPRESS!VE Collective & BBE Music present: Terry Callier – Live Peace. There was no one quite like Terry Callier, and Live Peace captures the rare magic of his live performances in their most intimate and spiritual form. Recorded live in Leeds in the late 1990s and early 2000s at shows run by Lubi Jovanovich & Gip Dammone of The DIG! Family, this release documents an artist whose music transcended genre, era, and expectation, offering truth, compassion, and deep emotional connection rather than spectacle. Recorded live by renowned sound engineer Martin Dixon at The Yardbird Suite / The Underground in Leeds in 1998 and 2001), these performances feature Terry alongside his hand-picked ‘Family Band’; which included legendary guitarist Jim Mullen, Chris Kibble on keys and famed percussionist Bosco D’Oliveira. Painstakingly restored from the only surviving source using modern AI-assisted audio tools, the aim was never to polish away the grain, but to let Terry’s voice, message, and band shine once more. Sparse, soulful, and profoundly human, the recordings preserve the immediacy of nights where packed rooms fell into pin-drop silence, hanging on every word and note. From the aching beauty of “What Colour Is Love” to the cinematic power of “Lazarus Man,” this album reminds us what a master storyteller and spiritual presence Terry Callier was. Live Peace stands as a powerful reminder of why Terry Callier remains one of music’s most revered and influential voices, whose songs of love, justice, and humanity resonate as strongly now as ever. This project is fully endorsed by Terry's daughter Sunny Callier - and the cover photo and sleeve images are all suitably also previously unseen visual treasures.

TRACK LISTING

Disc: 1
1. What About Me (What You Gonna Do About Me)
2. Band introductions
3. What Colour Is Love
4. Interlude
5. Jazz My Rhythm & Blues
6. Fix The Blame
7. If I Could Change Your Mind

Disc: 2
1. When My Lady Danced
2. Nobody But Yourself To Blame
3. Lazarus Man
4. Keep Your Heart Right
5. Midnite Mile
6. Love Theme From Spartacus

John Prine’s Found Dogs is a newly curated archival release celebrating the 30th anniversary of Lost Dogs & Mixed Blessings. Drawn from the original recording sessions and demos from the era, Found Dogs collects alternate versions, acoustic performances, and five previously unreleased tracks, offering a rare look into Prine’s songwriting and studio process during a pivotal period of his career.

Highlights include alternate takes of “Ain’t Hurtin’ Nobody” and “Quit Hollerin’ At Me,” a solo acoustic version of “Humidity Built the Snowman,” demos such as “Lake Marie,” and unreleased recordings including “Hey Ah Nothin’,” “World Without Love,” and “Dogs in Burlington.” All tracks have been newly remastered for vinyl.

TRACK LISTING

1. Ain't Hurtin Nobody - Alternative Version
2. All The Way With you - Acoustic Version
3. Lake Marie - Demo
4. Humidity Built the Snowbman - Solo Acoustic
5. Quit Hollerin' At Me - Alternaitve Version
6. Hey Ah Nothin' - Previously Unreleased Track
7. World Without Love - Previously Unreleased Track
8. All For The Love of A Girl - Johnny Horton Cover
9. Dogs In Burlington - Previously Unreleased Track
10. My God Thank You John - Previously Unreleased Track

Since first recording together during the pandemic, sibling duo Sons of Sevilla – brothers Henry and Reuben Vaun Smith – have travelled widely in search of inspiration, collaboration, and new musical experiences.

This October, they return with their third album, It Could Be Today, a warm and soulful collection shaped by life on the road and their experiences since 2025’s Street Light Moon. Following a period living and recording in southern Spain, the brothers returned to West Yorkshire, expanded the band’s live lineup, and toured the United States supporting producer and performer Skinshape (William Dorey).

During the tour, they recorded the double A-side single “Forever Heaven” / “Changing” at Max Shrager’s (Say She She, That’s Love Records) New Jersey studio. Inspired by the collaboration, they later joined Skinshape in London to record It Could Be Today.

Produced using vintage equipment and classic instruments, the album blends blue-eyed soul, Californian grooves, and psychedelic pop infl uences. Featuring drummer Ben Spruce and additional contributions from Skinshape, the record is rich in shimmering guitars, warm basslines, lush keys, strings, and Reuben Vaun Smith’s distinctive vocals.

Standout moments include “Drive By Honey,” “Midnight Glow,” “Jet Plane,” “Dance Alone,” and the uplifting title track. The result is Sons of Sevilla’s most confi dent and emotionally resonant album yet, capturing the spirit of travel, connection, and musical exploration that continues to defi ne the duo’s journey.

TRACK LISTING

A1. Drive By Honey
A2. It Could Be Today
A3. She Could Be Anywhere
A4. Midnight Glow
A5. I Can Depend On You
B1. You Left Me Cold
B2. Dance Alone
B3. Anyone But The Right One
B4. Jet Plane
B5. Colours Of The Garden

Wewantsounds is delighted to present 'Comme à la Radio: On Air', a limited-edition 2-LP companion, limited to 2,000 copies worldwide to its expanded edition of Brigitte Fontaine’s landmark 1970 album 'Comme à la Radio'. Featuring previously unreleased live recordings made for the French ORTF radio between 1969 and 1971 with Areski Belkacem and a host of outstanding musicians, the set is complemented by a second LP of unissued studio recordings, including two instrumental versions of the title track and the complete 10-minute take of 'Leo'. Newly remastered from the original tapes, 'Comme à la Radio: On Air' offers an unique insight into the making of one of the most groundbreaking works in French music. The package also includes a 4-page bilingual booklet featuring an essay by Brigitte Fontaine biographer Benoît Mouchart and an introduction by Saravah's Benjamin Barouh.

TRACK LISTING

1. Comme À La Radio - La Fine Fleur de la Chanson Française 1971
2. Tanka II - Niok 1969 - La Fine Fleur de la Chanson Française 
3. Le Brouillard - Niok 1969 – La Fine Fleur de la Chanson Française
4. L'été L'été - Libre Parcours 1970 
5. Le Goudron - Libre Parcours 1970 
6. Le Noir C'est Mieux Choisi - Les Enfants Sont Tous Fous 1969 
7. Les Beaux Animaux - Les Enfants Sont Tous Fous 1969 
8. Ô Thèbes toi qui nourrit Sémélé - L'anti Fête 1969 
9. Comme À La Radio – Inst. Version 
10. Comme À La Radio – Alt. Inst Take 
11. Leo - Complete Take 
12. Tanka II - Alternate Mix 

After a successful Record Store Day launch sharing hits from Yukee's Garden Party, the pint size funster from CBeebies returns to the real world with her pals Wet Leg, via this very limited edition 7" single.

Taken from the episode where the #1 selling band play The Slime Sisters (a duo of pop star snails on their way to a festival - slowly), this 7" contains the heartwarming song from the episode ('Doing What You Love') and a B side of Yukee covering '11:21'.

Strictly limited to 500 never to be repressed on Pink Glitter Slime Sisters Snail Trail Vinyl, Yukee has community, friendship and cooperation at its heart, because after all - things sound better when we play together.

TRACK LISTING

1. Doing What You Love (Yukee ft. Wet Leg)
2. 11:21 (Wet Leg Cover by Yukee)

Sound Records is proud to present 'Tremors in Copper', the debut full-length album from producer, composer and sound designer Jackson Almond.

FFO: Clark, Joy Orbison, Overmono, Four Tet, Bonobo, Boards of Canada, Leon Vynehall and Aphex Twin. 

TRACK LISTING

1. From False Love
2. Move With The Herd
3. Green Language ft AUNCE
4. Dualism
5. When I'm Next To You
6. Tunnel
7. Falling
8. The Shadow Parade
9. Still Strung To My Ribs ft AUNCE

Vidrig Var, the new album from Dungen, is an open and intimate exploration of the end of a long-term relationship

"De flesta sager det tar minst ett ar, jag horde nagon som vanta tre Det bara pagar i mig dag efter dag, allt jag gor blir fel"

"Most say it takes at least a year, I heard of someone who waited three It just keeps going in me day after day, all I do goes wrong"

This year marks 25 years since the release of the band's self- titled debut, and four years since their previous album 'En Ar F\u200Bo\u200Br Mycket Och Tusen Aldrig Nog'.

Despite lyrics in Swedish, their hybrid of psych, folk and pop has won them a substantial international audience, stars like Jack White, Tame Impala and Fleet Foxes among them.Dungen consists of Gustav Ejstes, Reine Fiske (guitar), Mattias Gustavsson (bass) and Johan Holmegard (drums). Vidrig Var is produced by frontman Ejstes and go-to producer Mattias Glava.

Breaking internationally with their cult classic Ta det lungt, Dungen have been a staple of modern psych-rock for over two decades. Their fans include Tame Impala's Kevin Parker (who actually requested the group mix his first record), and their influence has been enormous for a group that performs primarily in Swedish. Vidrig Var is their 12th album, not counting several instrumental and live releases. Drawing inspiration from the terrible spring of the title, the band pushes their sound in interesting new directions. The steadily transforming stretch of "En Gang I Timmen" melds flutes with overdriven guitars and a deep bass pulse, while "Djurgarn" pairs singer Gustav Ejstes' intimate vocals with tambourines and a contrapunctal woodwind line, a stripped down but exceedingly beautiful snapshot of the band's sound.

TRACK LISTING

Vidrig Var
Ingenting Var Speciellt
Bouppdelning
En Gang I Timmen
Inga Latta Skona Ord
Snurra Pa Hjulet
Alltid En Mandag
Borja Om
En Dag I September
En Chans Till

Produced by Kev Jones (Wunderhorse), ‘Speak Softly, Son’ is the hotly tipped debut album from Little Grandad.

Just a few months after launching their debut tracks, the London four-piece waste no time at all, taking rare, precious days off the road to put down their debut album. The band has made quick work of creating a buzz since forming just over a year ago. Gigging relentlessly and picking up new fans everywhere they play. It’s a story as old as time.

Their songs sound like a sort of Venn diagram of rust-belt Americana, Brooklyn-informed slacker-rock, and warm yet ramshackle British indie guitar rock. It also sounds nothing like those things. It’s chaotic, teeters on the brink of collapse, but somehow hangs together. It’s properly exciting because you can’t put your finger on what it is, and neither can they.

“Speak Softly, Son” is a timely approximation of where Little Grandad are at, and an excellent advertisement for those live shows. Here’s where the story really starts...

TRACK LISTING

Side A
A Minute on the Lips
Sleepwalking
Babe, We’ve Run Out Of Time
Sandalwood
They Can Only Have Each Other

Side B
Nothing Days
Tiny Feet
Middle Seat Of The Car
Unmasked
Naked in Bed

Bringing together five architects of punk and hardcore, FAKE NAMES channel decades of experience into a sound that feels immediate, electric, and entirely their own.

Built on the collision of '70s UK punk, classic hardcore, and guitar-driven power-rock, Punk Ruins finds the band pushing their chemistry further than ever--balancing sharp melodic instincts with explosive guitars, driving rhythms, and the restless energy that defines great punk rock. A rare collaboration between five influential musicians whose combined history spans decades of underground and alternative music.

THE BAND:

Fake Names features an all-star lineup of punk innovators:
Brian Baker -- Minor Threat, Bad Religion, Dag Nasty
Michael Hampton -- S.O.A., Embrace
Dennis Lyxzen -- Refused, INVSN, The (International) Noise Conspiracy
Johnny Temple -- Girls Against Boys, Soulside
Mario Rubalcaba -- Rocket From The Crypt, OFF!

The group first joined forces in 2016, forming what Brian Baker calls a "mutual admiration society." Despite their collective history, the chemistry was immediate-- once they were in the same room, it felt like they had been playing together for years. With Punk Ruins, FAKE NAMES continue to build on that foundation, bringing together five distinct musical histories without becoming defined by any one of them.

The result is a record that connects the raw spirit of punk's past with the urgency of the present.

TRACK LISTING

1. Until It's Normal
2. Good Old Days 
3. Punk Ruins 
4. Cover The Distance 
5. What I Tell Myself
6. Diamond Buzz 
7. Language Lost 
8. Beautiful Scars 
9. If You Could See Me Today
10. The Little Wonders 
11. Scream 
12. Paradise

X-Ray Spex released their debut album, "Germfree Adolescents," in 1978, featuring the title track, "Germfree Adolescents." The album is considered a classic of the punk era. Poly Styrene's lyrics often addressed social and consumerist issues, and her unconventional fashion sense and energetic stage presence added to the band's overall identity.

While X- Ray Spex had a relatively short- lived career, disbanding in 1979, they left a lasting impact on the punk scene, and their music continues to be celebrated for its originality and influence. Poly Styrene sadly passed away in 2011, but her contributions to punk rock remain influential.

TRACK LISTING

Art-I-Ficial
Obsessed With You
Warrior In Woolworths
Let's Submerge
I Can't Do Anything
Identity
Genetic Engineering
I Live Off You
I Am A Poseur
Germ Free Adolescents
Plastic Bag
The Day The World Turned Dayglo

2026 marks the tenth anniversary of Big Crown Records. A lot can happen in 10 years, and a lot did. From very humble origins, Big Crown has become one of the most respected independent imprints in the world with an incredibly talented international roster and an incomparable catalog of timeless music. Leon Michels & Danny Akalepse opened the doors at Big Crown in 2016 with a simple ethos: put out good music they believe in regardless of genre.

BCR10 - Ten Years of Big Crown is somewhere between a retrospective and a state of affairs, tried-and-true gems from the back catalog mixed with rock-solid tunes from the newest records. A double LP with choice tracks by Bacao Rhythm & Steel Band, Lady Wray, Brainstory, Derya Yıldırım & Grup simsek, El Michels Affair, Thee Lakesiders, Dave Guy, Les Imprimés, Homer, Thee Marloes, Lee Fields & The Expressions, Bobby Oroza, Marco Benevento, The Shacks, Paul & The Tall Trees, Thee Heart Tones, Surprise Chef, 79.5, Liam Bailey, and Holy Hive. A deeper dive into the Big Crown story is told perfectly in the liner notes by the one and only, journalist & DJ, Jeff Mao.

TRACK LISTING

1. Bacao Rhythm & Steel Band - PIMP
2. Lady Wray - Piece Of Me
3. Brainstory - Mnemophobia
4. Derya Yıldırım & Grup imek - Cool Hand
5. El Michels Affair feat. The Shacks & Lee Fields - Tearz
6. Thee Lakesiders - Parachute
7. Dave Guy - Footwork
8. Les Imprimés - Love & Flowers
9. Homer feat. Hether - Now That It’s Over
10. Thee Marloes - Not Today
11. Lee Fields & The Expressions - Never Be Another You
12. Bobby Oroza - This Love
13. Marco Benevento - Houdini
14. The Shacks - This Strange Effect
15. Paul & The Tall Trees - Then We’ll Wave (So Long)
16. Thee Heart Tones - Forever & Ever
17. Bacao Rhythm & Steel Band - Xxplosive
18. El Michels Affair feat. Piya Malik - Murkit Gem
19. Surprise Chef - Spiky Boi
20. El Michels Affair feat Florence Adooni - Say Goodbye
21. Lady Wray - Guilty
22. 79.5 - Terrorize My Heart (Disco Dub)
23. El Michels Affair & Black Thought - Grateful
24. Liam Bailey - Cold & Clear
25. Holy Hive feat. Mary Lattimore - Oh I Miss Her So

A major figure in electronic music and pioneer of cosmic disco, Space was founded in 1977 by Didier Marouani. 'Magic Fly', its first single, embodies its futuristic DNA (a melodious, cosmic and disco-inspired composition).

Following its worldwide success, 3 albums were released in 2 years : 'Magic Fly' (1977), blending melodic richness with synthetic innovation, delivered both dancefloor hits and midtempo tracks. 'Deliverance' (1977) is a typical 70s concept album, ranging from disco to cosmic electronic music. 'Just Blue' (1978) is a more melancholic album featuring broader orchestrations and complex harmonies. These 3 records sold over 10 million copies worldwide.

'The Art Of Space Disco (1977-1978)' presents Space's most iconic tracks and sums up two fruitful intense years of musical innovation. 

TRACK LISTING

LP Tracklisting:
1. Magic Fly
2. Carry On, Turn Me On (edit)
3. My Love Is Music (edit)
4. Deliverance (edit)
5. Tango In Space 
6. Fasten Seat Belt
7. Running In The City (edit)
8. Just Blue
9. Ballad For Space Lovers
10. Baby's Paradise

CD Tracklisting:
1. Magic Fly
2. Carry On, Turn Me On
3. My Love Is Music
4. Deliverance
5. Tango In Space
6. Fasten Seat Belt
7. Running In The City
8. Just Blue
9. Symphony
10. Velvet Rape
11. Ballad For Space Lovers
12. Baby's Paradise 
13. Magic Fly (The Toxic Avenger Remix)
14. Tango In Space (Alex Gopher Rework)
15. Carry On, Turn Me On (Dimitri From Paris & DJ Deep Remix Parts I, II & III) 
16. My Love Is Music (The Reflex Revision)
17. Tango In Space (Antoine Bourachot Remix)
18. Magic Fly (Domenico Torti Remix)
19. My Love Is Music (Joe Smooth & Mr. Root Remix)
20. Final Signal (Domenico Torti Remix)

Love or its absence dominates the intimate songs on the new album from ARBORIST – the musical outlet of Mark McCambridge. 'Looking For Love', Arborist’s fourth album of exquisitely inventive Americana, places us firmly in his hometown of Belfast, allowing it to act as a microcosm of the wider-world, with all its foibles and charms. We find fictional protagonists scouring the dark corners of the city, wiling-away afternoons in strip clubs, wandering the streets in all weather and reflecting on the harsh reality of modern society, all in search of an elusive love – emphasising our need for it now more than ever.

'Looking for Love' is Arborist’s first album to be self-produced by McCambridge, largely from his home studio in Belfast – and at times it feels like we are in the room with him. It’s a different kind of record for him as previously he has always sought collaboration; whether it be with Kim Deal who chose to sing intertwined harmony on his debut single 'Twisted Arrow', or recording in The Curfew Tower owned by The KLF’s Bill Drummond who described Mark’s songwriting as being “riven with more loss than any record since Leonard Cohen quit this world”, and who Matthew E White and his Spacebomb band collaborated with to such astonishing effect on the previous Arborist LP, 2023’s 'An Endless Sequence of Dead Zeros', winner of the prestigious Northern Ireland Music Prize. This time, with no outside producer steering the way, McCambridge found that the quiet hours were where he felt most at ease, despite periods of trial and error, and, by his own admission, moments of feeling genuinely lost in it all.

Despite playing many of the parts himself, McCambridge still called upon old friends from the community around him; Spacebomb’s resident bassist Cameron Ralston (Bonnie Light Horseman, Hiss Golden Messenger) again features throughout the record, alongside Eamon Ferris (The Waterboys) on drums, with the great and the good from Belfast’s vibrant music scene. Grainne Meyer plays concert harp and Aga Olek plays violin for the quasi-title track 'Looking 4 Love' – an off-kilter love-letter to Belfast. Meilana Gillard provides a sleazy saxophone on 'Bye Bye Johnny Cash' – a seedy tale of a man obsessively visiting a dancer in a club, and The Larne Community Youth Choir provide backing vocals for 'Go Kill The Fatted Calf' – a song Mark wrote about his son growing up, a take on the parable of the prodigal son, with Jonny Ashe’s blistering guitar solo adding an album highlight. The Errigal Ensemble String Quartet and Aisling Agnew’s breathtaking flute solo feature on 'What Is It You’re Asking' – a song about love, or its absence, both personally and universally in these times.

The album was engineered by longtime collaborator Ben McAuley (Van Morrison) and mixed by Jimmy Robertson (Anna Calvi, Beth Gibbons, Fat Dog). The results are staggering, devastating and uplifting in equal measure, calling to mind albums such as Songs Ohia’s 'Magnolia Electric Co'., The Divine Comedy’s 'Regeneration', The Blue Nile’s 'Hats' and Wilco’s 'Ode to Joy', as well as early-70s records from John Cale, John Lennon and Bill Fay.

TRACK LISTING

1. Looking 4 Love
2. Empty Handed
3. Bye Bye, Johnny Cash
4. Go Kill The Fattened Calf
5. Fire
6. A Dream of a Rose
7. I’ve Been a Flâneur
8. Sono Io
9. What Is It You’re Asking
10. Exploded View
11. The Taming of Horses

To celebrate the 10th anniversary of 'Lost Themes II', Sacred Bones is proud to present a new expanded art edition of John Carpenter’s acclaimed second album of non-soundtrack compositions. Featuring newly commissioned artwork by Randy Ortiz, this anniversary edition pairs the original album with a bonus 7” containing 'Real Xeno', now available on vinyl outside its original, limited Sacred Bones Society release for the first time. The B-side features an exclusive etched design created especially for this edition.

'The Lost Themes' series has grown into one of the defining chapters of Carpenter’s career. Free from the constraints of the screen, these compositions have taken on lives of their own, expanding Carpenter’s legacy beyond film scores. Released in 2016, 'Lost Themes II' broadened the sonic world of its predecessor, pairing Carpenter’s unmistakable gift for atmosphere and suspense with his trademark minimal synth, richer arrangements, and electric and acoustic guitars.

A decade on, 'Lost Themes II' remains a landmark in a series that has grown far beyond imagined soundtracks, standing as essential works in Carpenter’s catalog and a testament to his musical vision and remarkable ability to create worlds that extend far beyond film.

TRACK LISTING

1. Distant Dream 
2. White Pulse 
3. Persia Rising 
4. Angel’s Asylum 
5. Hofner Dawn 
6. Windy Death 
7. Dark Blues 
8. Virtual Survivor 
9. Bela Lugosi 
10. Last Sunrise 
11. Utopian Facade 
7":
12. Real Xeno 

A vital vinyl-era snapshot of Dark Globe’s early years — spanning deep breakbeat pressure, tribal club tracks and psychedelic electronic drift.

'Glowing Embers (Collected Psychedelic Beats 1993–97)' captures Dark Globe during one of the most exploratory periods in UK electronic music, bringing together key recordings from 1993 to 1997 — years in which Matt Frost and Pete Diggens were carving out a distinctive sound between underground club culture and more immersive, psychedelic listening spaces.

Originally emerging through their own Violent Drum imprint before being signed by Leftfield to Hard Hands, Dark Globe made records that were built for vinyl and shaped in real time: lean, melodic, physical productions made with drum machines, samplers and synths running live, then performed to tape by hand. These were not tracks endlessly assembled on a screen, but instinctive live arrangements captured in the moment — music with movement, tension and human feel pressed into every pass.

The result is a collection that shows both sides of Dark Globe’s identity. The dancefloor cuts — including 'Mondo Scuro', 'Silver Surfer (Ambience Mix)', 'The Ascendor' and 'Def Hedd Disco' — are tightly tuned and produced with the floor in mind: deep low-end, hypnotic groove, stripped-back momentum and a strong melodic signature running through each track. The B-side opens out into the more transportive side of their work, with 'Glowing Embers Part 1 & 2', 'Mantra Parts 5 and 6' and 'Take Me to the Sound (Two Lone Swordsmen Mix)' moving into richer, more psychedelic and inward-looking territory.

At the centre of the release are the key tracks that have long defined Dark Globe’s cult reputation: 'Silver Surfer (Ambience Mix)', 'Mondo Scuro', 'The Ascendor', 'Glowing Embers', and Andrew Weatherall’s Two Lone Swordsmen mix of 'Take Me to the Sound'. Together they capture a group working at the meeting point of club functionality and sonic imagination — music made for sound systems, but equally for deep listening.

The collection also reflects a wider moment in British electronic culture when the dancefloor and the ambient room carried equal weight, and when artists were free to move between breakbeat, tribal house, downtempo and psychedelia without compromise. That spirit runs throughout Glowing Embers: one side outward-facing and physical, the other expansive, emotional and hallucinatory.

More than a retrospective, 'Glowing Embers (Collected Psychedelic Beats 1993–97)' is a definitive vinyl-era document of Dark Globe’s formative years — raw, visionary and built exactly as this music was meant to be heard.

TRACK LISTING

1. Mondo Scuro
2. Silver Surfer (Ambience Mix)
3. The Ascendor
4. Def Hedd Disco
5. Glowing Embers Part 1
6. Glowing Embers Part 2
7. Mantra Parts 5 and 6
8. Take Me to the Sound (Two Lone Swordsmen Mix)

With 'Stadt der blauen Eier: Selected Recordings and Rarities 1980-1981', Tapete Records is releasing a retrospective of Korpus Kristi, one of the early punk bands in West Germany that is today, quite unjustly, less well known.

Alongside The Wirtschaftswunder and Die Radierer, Korpus Kristi were part of the so-called ‘Limburger Pest’, which produced some of the most original releases on the West German underground scene in the early 1980s. Spanning a total of 12 tracks, the compilation features single releases, rarities and selected tracks from the 1981 album, finally making the band’s brief but remarkable body of work accessible once again.

TRACK LISTING

1. Korpus Kristi (Rough Mix)
2. Stadt Der Blauen Eier (7" Version)
3. Dein Gesicht
4. Boykott Communication (Rough Mix)
5. Scharf
6. Unterm Glas
7. Ausgesetzt
8. Rattentanz
9. Tai
10. Freirakete in die Bonusstadt
11. Himmelfahrt
12. Stadt der blauen Eier (LP Version)

Beloved Scottish band The Twilight Sad make their long-awaited return with 'IT’S THE LONG GOODBYE', their sixth studio album released via Rock Action Records. 'IT’S THE LONG GOODBYE' is a cogent story of loss and personal crisis, rooted in specific experience. Set to urgent and guitar-rich arrangements from Andy MacFarlane, with James Graham’s distinct, raw and impassioned vocals, the result is a pinnacle for THE TWILIGHT SAD in a career of tremendous integrity and artistry, and a record that honours the band’s ability to turn lived experience into fully felt music.

Including the blistering single 'WAITING FOR THE PHONE CALL' and featuring the legendary Robert Smith of The Cure, 'IT’S THE LONG GOODBYE' was recorded in London’s Battery Studios with Andy Savours (My Bloody Valentine) and mixed by Chris Coady (Yeah Yeah Yeahs, Slowdive, DIIV).

STAFF COMMENTS

Barry says: An unbelievably candid but sonically incendiary new album from The Twilight Sad, sitting comfortably in the top echelons of their most effective sonic statements. Boldly moving through electronica, post-punk and easily delivering one of their greatest outings to date.

TRACK LISTING

1. GET AWAY FROM IT ALL
2. DESIGNED TO LOSE
3. ATTEMPT A CRASH LANDING - THEME
4. WAITING FOR THE PHONE CALL
5. THE CEILING UNDERGROUND
6. DEAD FLOWERS
7. INHOSPITABLE/HOSPITAL
8. CHEST WOUND TO THE CHEST
9. BACK TO FOURTEEN
10. TV PEOPLE STILL THROWING TVS AT PEOPLE

For twenty-five years, Yeah Yeah Yeahs have built one of modern rock's most beloved catalogs. 'Hidden In Pieces: Live at the Royal Albert Hall' gathers songs from across their history and reimagines them through intimate arrangements featuring strings, piano and double bass. Recorded over two nights at London's Royal Albert Hall and including performances from San Diego, Chicago, New York and Mexico City, the album finds Karen O, Nick Zinner and Brian Chase presenting songs from every era of the band's career in a new light. Conceived as part of the band's Hidden In Pieces tour and featuring arrangements by music director, arranger and conductor Jherek Bischoff, the collection moves from staples like 'Maps', 'Gold Lion' and 'Zero' to more recent highlights including 'Blacktop'.

TRACK LISTING

1. In Heaven
2. Blacktop
3. Gold Lion
4. Hyperballad
5. Cheated Hearts
6. Isis
7. Warrior
8. Skeletons
9. Runaway
10. Spitting off the Edge of the World
11. Mars
12. Maps
13. Zero
14. Y Control (Live in San Diego)
15. Let Me Know (Live in San Diego)
16. Hysteric (Live at the Beacon Theatre)
17. Despair (Live at The Chicago Theatre)
18. Isis (Live at The Orpheum Theatre)

Khudgarzi is the stunning, self-produced, debut full-length album from American composer and theatre artist, Sheherazaad. A cinematic blend of dystopic folk-noir and experimental pop laced with South Asian musical sensibilities, that has established her as one of the most distinctive new voices in contemporary music. Immersive, genre-defying soundscapes.

‘Khudgarzi’ (English: Selfishness), is the anticipated follow-up to the American songstress-producer-theatre artist Sheherazaad’s highly praised 2024 EP ‘Qasr’. The record encompasses a woman's forensic deep dive into the space between duty and autonomy; sacrifice and survival. While composing, Sheherazaad became consumed by the figure of the so-called Khudgarz Aurat – the "Selfish Woman" – a label she had heard since childhood, levelled at women whose desire for agency was often met with suspicion or exile.

"Selfishness became a kind of silent prayer," Sheherazaad recalls. "A portal into a haunted universe of anxieties and desires. I was made to fear a 'selfish' kind of woman – embracing her felt like stepping into a forbidden forest I'd been running away from."

Written in the aftermath of a broken engagement, 'Khudgarzi' carries the emotional debris of rage, guilt and grief, while imagining an alternative mythology populated by women who shapeshift between storytellers, courtesans, historians, survivors and witnesses. Across ten theatrical pieces, Sheherazaad refuses neat resolutions, instead creating an oral archive where feminine survival is neither sanctified nor condemned, but revealed as an ongoing ritual of performance, strategy and insurgency.

Alongside the album’s announcement, she shares "Andhera" (Darkness), an album centrepiece. The song emerges from the same shadowy universe first conjured by last year's single "Gulukara". It’s a Bolly-goth pop hymn, following a vilified lover who ushers in cosmic darkness, transmuting heartbreak into something vast, mythical and the deepest pigment of darkness.

Musically, 'Khudgarzi' expands the wilderness of Sheherazaad's signature dystopic folk-noir and dark pop sound, where instruments from Hindustani, Turkish, Arabic and Carnatic traditions – including tanbur, santoor, veena, rabab, ghatam and gungaroo – intertwine with weather recordings, breath, echoes, moans and the sounds of the animal world. Resultingly, every song becomes its own self-contained universe: an enchanted back alley, a desert wasteland, a rain-soaked steel plant, or an artificial constellation suspended in silence.

Mostly sung in Urdu, with passages in English and Tamil, the album explores layered questions of language and belonging. Throughout, Sheherazaad preserves the intimacy of room noise and stillness, allowing spacious arrangements to absorb the brooding lyricism. "So much music feels like an assault to me," she says. "I want to open a gentle rupture, where a listener may truly sit with herself."

The songs came together like a diasporic family across disjointed time zones: recorded between Brooklyn, London, and the San Francisco Bay Area, with fragments arriving from Istanbul, Islamabad, and Trivandrum among others.

A cast of more than thirty musicians contributes to the project, including Ria Modak, Sarathy Korwar, Jay Chakravorty, Shunya and Qasim Naqvi, while emerging India - based artists Irfana and Daatri Dadhich appear as sympathetic co-narrators. Though born from an exploration of selfishness, the record ultimately became an exercise in shared storytelling and generosity.

Neither villain nor virtue, 'Khudgarzi' presents selfishness as instinct and reclamation. Rather than offering answers, Sheherazaad leaves space for listeners to navigate their own relationship between sacrifice and selfhood, illuminating a world of contradictions that lingers long after the final note.

TRACK LISTING

1. Qatil
2. Pakeezah
3. Registaan
4. Gulukara
5. Mard
6. Haqeeqat
7. Andhera
8. Zeher
9. Kohinoor
10. Haqeeqat II

'Burning Song', composer and organist Kali Malone’s first new album since 2024’s 'All Life Long', represents a transformation in her compositional strategy towards a process that is intuitive and direct. The album was recorded at the historic Thomaskirche in Leipzig, Germany, where J.S. Bach was cantor for the last 27 years of his life; his body rests beneath the sanctuary. Malone is the first musician to perform contemporary works on the church’s Bach Organ, an instrument completed in 2000 but with bespoke tuning and temperament systems based on historical norms of the baroque period. She is joined by Lucy Railton on cello and Stephen O’Malley on bowed acoustic guitar, the same trio that honed a profound connection based on deep listening through the development of Malone’s work 'Does Spring Hide Its Joy'. Chord follows chord, each in slow succession, emerging like stones of various shades and shapes on a winding path. The trio moves as one, stepwise, through passages that are alternately ambiguous and radiant.

TRACK LISTING

1. Grieving Figure 
2. Map The Path 
3. Bells On A Branch 
4. Crawling Ashore 
5. Sounding A Void 
6. Heavy With Fruit 
7. My Eve My Dawn 

Father John Misty’s landmark 2015 sophomore album, I Love You, Honeybear, is back on vinyl, remastered and repackaged as a single LP (It was originally released as a double LP).

The now-classic album includes fan favorites “Chateau Lobby #4 (in C for Two Virgins),” and the title track, “I Love You, Honeybear.” On release I Love You, Honeybear earned a Pitchfork Best New Music, a perfect score from Exclaim!, and rave reviews from NME, Mojo, Q, Spin, and more. It was hailed as one of the best albums of 2015 by Pitchfork, Billboard, The A.V. Club, NME, and Stereogum. I Love You, Honeybear was produced by Josh Tillman and Jonathan Wilson, and mixed by Phil Ek. This 2024 edition was remastered in 2024 by Adam Ayan at Ayan Mastering.

TRACK LISTING

1. I Love You, Honeybear
2. Chateau Lobby #4 (in C For Two Virgins)
3. True Affection
4. The Night Josh Tillman Came To Our Apt.
5. When You're Smiling And Astride Me
6. Nothing Good Ever Happens At The Goddamn Thirsty Crow
7. Strange Encounter
8. The Ideal Husband
9. Bored In The USA
10. Holy Shit
11. I Went To The Store One Day

‘Pre-post-truth’ sees Swansea Sound expand their musical ambition and broaden their lyrical targets. This album is loud and it’s outspoken, but it’s also energetic, emotional and very witty. There’s an awareness of impotence too: the songs are often self-mocking, asking if it’s even possible to make subversive statements in a world where the communication channels are all owned by the tech-bros themselves.

In 'The Grease That Oils the Wheels', a runaway train of a song, Amelia and Hue sing three duets: in the first part, they’re a young couple struggling to make ends meet in a gig economy dominated by Uber and Deliveroo; in the second they are in a middle class band, arguing how much money they should spend on online influencers to achieve digital fame, and in the third they are a wealthy political couple (think Nick Clegg and his wife) who’ve traded in their political influence to secure lucrative jobs advising big-tech companies. The one thing all three pairs have in common is that they are totally expendable: they are merely the grease that oils the wheels.

'20mph', musically more akin to Wire or The Ruts, presents a tech-bro who is surprised how easy it is to stir his British followers up into a frenzy of fascistic rage – ‘I thought they’d go for trans/but no, it’s speeding bans’. The choruses feature the fired-up mob, chanting the song title as they head out to destroy another speed camera and replace it with a Union Jack.

Other tracks come at the same theme from different angles: the poignant, chiming Flamin Groovies-like 'On Our Own' traces the history of a building and the people who inhabited it: once upon a time it was a small venue where the band first played; in the 80s it was demolished to make way for an office block, giving employment to the white collar working class (‘the work was dull but paid enough’), and now the building lies empty: all those clerical jobs have been sucked up by AI. The friends who played and worked together don’t hang out any more because they are all stuck at home, doom-scrolling.

But there’s no point getting nostalgic. As the title of the album suggests, the pre-post-truth era of innocence is long-gone, if it existed at all. The eerie psych pop of 'That Life' sees the band immersed in a haze of memory, struggling to access some Utopian space that may be a pre-tech world, or may be childhood – it’s hard to separate the two.

Either way, it has disappeared. And, as 'Mean To Be Mean' reminds us, it wasn’t that great in the past anyway: a world dominated by well-paid opinion-formers, mostly male, who had the power to police our culture.

This may all sound a bit serious, and it is, but Swansea Sound never sound solemn, and take the piss out of themselves quite happily. In 'Merch Stall' the cosy world of DIY indie gigs is mocked, and in 'Sell Out Everything', the owner of a supposedly subversive record label celebrates his ability to promote his music on social media: ‘We like to stick with X/Cos Threads don’t get you very far. We sell out everything.’

There are love songs here too. 'Wrong Way Round', sweet, warm and catchy in a Squeeze kind of a way, is a fond tribute to a loved one who can gently nudge you out of depression. Double de-clutch is an ode to the Dylan Thomas book-bus, sometimes seen at music festivals in Wales. Its owner, Jeff Towns, realised it was hard to get people to come and buy poetry books from his shop, so converted an old bus into a mobile store and took the books to the people instead: a temporary, mobile, analogue idyll. Dylan Thomas himself is echoed in the lyrics, linking the song back to a truly bygone time, an imagined pre-post-truth era, where maybe we saw things more clearly.

For now though, Swansea Sound are not downbeat, and have faith in the restorative power of loud pop music. Pub-rocker The Band That Brought Back Rock n Roll may be 100% sardonic, but you can definitely throw yourself around to it.

TRACK LISTING

1. 20mph
2. Wrong Way Round
3. Mean To Be Mean
4. On Our Own
5. The Band That Brought Back Rock N Roll
6. Double De-clutch
7. Lost Your Mind
8. That Life
9. Merch Stall
10. The Grease That Oils The Wheels
11. Sentimental
12. Sell Out Everything

‘Poltergeist’ is the debut solo album from Sam Herlihy, best known as the frontman and lyricist for the mid-2000s indie rock band Hope of the States. Following the group’s split in 2006, Herlihy continued his musical career by forming the indie outfit The Northwestern and collaborating on projects like Racetrack Gospel and Dark Houses, before later reuniting with Hope of the States in late 2024. 

TRACK LISTING

1. Insignificance
2. Calamity
3. Golden Arches
4. Black River / Black Rabbit
5. Bottomless Pit
6. Noah
7. Mary Rearranged
8. I Am (not) Dead
9. Jenny
10. Office Job
11. Universal Anywhere
12. In The Dark 

San Francisco’s 21 st century take on disco has long tended towards the cosmic and psychedelic, a reflection of the Bay Area’s long association with trippy, mind-altering music. Over the years, Leng Records has periodically dived into these fertile waters, delivering inspired slabs of cosmic-minded and dub-flecked excellence from 40 Thieves and, more recently, Marshall Watson and Cole Odin.

It’s to Watson, a long-serving producer and sound designer whose work has previously appeared on labels including Sprechen, Shades of Sound, Seven Villas, Italians Do It Better, Highpoint Lowlife and NuNorthern Soul, that Leng has turned this time around. It marks his first solo appearance on the imprint and lands two years on from his inspired Odin collaboration, Voyager.

‘Little Monster’ is Watson at his most potent, club-focused best. Built around rock-solid disco drums and a deliciously dubby, low-slung bassline, the track slowly builds via waves of intergalactic electronics, spaced-out and echoing vocal samples, audible nods to cosmic rock and bursts of starry synth melodies. Thickening and increasing in effects-laden intoxication as it progresses, ‘Little Monster’ not only lives up to its name but also cements Watson’s growing reputation as one of 21st century cosmic disco’s most distinctive talents.

Fittingly, the accompanying remix comes from Leng regulars and fellow San Francisco residents 40 Thieves. Delivering a genuinely epic, near nine-minute excursion, the veteran collective drag Watson’s inspired original mix further towards Daniele Baldelli style dub disco-meets-Afro-cosmic territory. Expect bolder, funkier bass, echoing synth motifs, eyes- closed electric guitar solos, echoing synth snippets and wild, sustained organ chords. It’s cosmic disco in dub… and the perfect accompaniment to Watson’s future cosmic disco classic.

TRACK LISTING

A1 Original Mix
B1 40 Thieves Version

‘Blood Spilled’ - the latest single from Blonde Redhead - pairs cascading guitars, relentless rhythms and one of vocalist, multi-instrumentalist and songwriter Kazu Makino’s most explosive vocal performances, with an exploration of mortality, grief and the enduring bond between body and soul.

The song surges with ecstatic intensity as Kazu lingers on “each and every cell” and the urge to “sing and scream just to hear myself,” transforming these moments into affirmations of the beauty, vulnerability and freedom of physical existence.

Suspended between the earthly and the ethereal, the track finds transcendence, not by escaping the body, but by fully inhabiting it, turning profound loss into a fierce celebration of being alive.

TRACK LISTING

1. Blood Spilled
2. Crimson Door

Having been a Hospital Records mainstay for over two decades, Logistics infuses his signature drum & bass sound palette into 'Run A Red Light', a 2023 future classic home to a fusion of pop & electronic influences that Everything But The Girl have become widely acclaimed for over the years. 

TRACK LISTING

1. Run A Red Light (Logistics Remix)
2. Run A Red Light (Logistics Instrumental Dub Mix)

• 3CDs OF EARLY REHEARSAL RECORDINGS AND LIVE SHOWS.

• INTIMATE RECORDINGS CAPTURING THE BAND'S FORMATIVE YEARS, FROM THE ARCHIVE OF HOUSE OF LOVE BASSIST CHRIS GROOTHUIZEN.

• INCLUDES PREVIOUSLY UNRELEASED VERSIONS OF CLASSICS SUCH AS 'SHINE ON', 'CHRISTINE', 'DESTROY THE HEART', 'MAN TO CHILD', 'BEATLES AND THE STONES', 'REAL ANIMAL' AND MORE.

• WITH INSIGHTFUL SLEEVENOTES FEATURING NEW INTERVIEWS WITH THE BAND.

In 1988, The House Of Love's debut album arrived as a fully-formed piece of pop perfection, following two years of intensive writing, rehearsing and live performances. 'The Gift' explores those two years, as the band leapt from the Camberwell squat scene into the centre of the UK's indie world as it went overground.

Taken from the archive of bassist Chris Groothuizen and compiled by him with chief songwriter Guy Chadwick’s full approval, this 3CD set offers unprecedented insight into the development of one of the standout bands of the late 80s British music scene. Featuring previously unheard rehearsal recordings and live shows captured in London and Paris, all of which has been carefully restored and remastered using the latest technology, 'The Gift' is an essential part of The House Of Love's origin story.

Complete with sleevenotes featuring interviews with all four surviving members, a 1986-1988 gigography and previously unseen imagery and flyers from the band's own archive, 'The Gift' provides a level of attention to detail guaranteed to excite the House Of Love's extensive worldwide fanbase, and anybody with a passion for the British indie scene of that time and place.

TRACK LISTING

DISC ONE
1. Into The Tunnel (Rehearsal At Andy’s, 1986)
2. Welt (Rehearsal At Andy’s, 1986)
3. Shine On (Rehearsal At Andy’s, 1986)
4. Christine (Rehearsal At Andy’s, 1986)
5. Mr Jo (Acoustic Recording Session, 1987)
6. Welt (Acoustic Recording Session, 1987)
7. Touch Me (Acoustic Recording Session, 1987)
8. I Don't Know Why I Love You Like I Do (Acoustic Recording Session, 1987)
9. Never (Rehearsal #2, 1987)
10. I Don't Know Why I Love You Like I Do (Rehearsal #2, 1987)
11. Touch Me (Rehearsal #3, 1987)
12. Mr Jo (Rehearsal #3, 1987)
13. Hope (Rehearsal #3, 1987)
14. Flow (Rehearsal #3, 1987)
15. In A Room (Rehearsal #4, 1988)
16. Hope (Rehearsal #4, 1988)
17. Beatles And The Stones (Rehearsal #4, 1988)
18. Flow (Rehearsal #4, 1988)

DISC TWO
Live At The Gift, New Cross Gate, London, 18th July 1986
1. Shine On
2. I Don't Know Why I Love You Like I Do
3. Love
4. Safe
5. You've Really Gotta Hold On Me
6. Touch Me
7. Christine
8. Real Animal
9. Instrumental
Live At Camden Palace, Camden, London, 20th November 1986
10. Happy
11. Christine
12. Hope
13. Shine On
14. This Strength
15. Real Animal

DISC THREE
Live At University Of London, Bloomsbury, London, 7th October 1988
1. Sulphur (Fade In)
2. Nothing To Me
3. Love In A Car
4. Plastic
5. The Hedonist
6. Shine On
7. Christine
8. Destroy The Heart
9. The Road
10. Man To Child
11. Salome
12. I Wanna Be Your Dog
Live At La Cigale, Paris, 30th October 1988
13. Fisherman's Tale
14. Happy
15. Nothing To Me
16. Love In A Car
17. Plastic
18. The Hedonist
19. Shine On
20. Christine
21. The Road
22. Destroy The Heart
23. Man To Child
24. I Wanna Be Your Dog
All tracks previously unreleased except for Disc 1 tracks 5, 6 and 7 and Disc 3 tracks 1-14, 16, 22 and 24.

Limited edition 15th anniversary vinyl repress of The Fall's 'Ersatz GB' on transparent blue vinyl.

'Ersatz GB' was the 28th studio album by post-punk band The Fall.

Originally released on Cherry Red Records on 14 November 2011, 'Ersatz GB' was the Fall's first album on Cherry Red!

The album marked the first time in the history of The Fall that the group released three consecutive studio albums recorded with the same line-up!

The album was produced by Mark E. Smith and the Fall's frequent collaborator and former bass guitarist Simon Archer.

In his sleeve notes for the album, Smith wrote that "brighter mixes and versions existed but these were dismissed because brightness does not fit with 'Erzatz GB'!"

TRACK LISTING

SIDE A
1 Cosmos 7
2 Taking Off
3 Nate Will Not Return
4 Mask Search
5 Greenway
6 Happi Song
SIDE B
1 Monocard
2 Laptop Dog
3 I've Seen Them Come
4 Age Of Chang

A new vinyl edition of the debut album by Genesis prepared with the approval of Tony Banks, Peter Gabriel, Anthony Phillips and Mike Rutherford.

Featuring a new stereo mix by Stephen W Tayler.

Includes a bonus 12-inch EP featuring new mixes of 'A Winter's Tale', 'One Eyed Hound' and 'Image Blown Out' and 'Visions Of Angels' (previously unreleased).

Originally released in March 1969, ‘From Genesis To Revelation’ was the debut album by Genesis., the first step on a pathway that took the band to considerable success and acclaim in the 1970s and beyond.

This vinyl edition is the first re-issue of the album to have been prepared with the approval of Tony Banks, Peter Gabriel, Anthony Phillips and Mike Rutherford and features a wonderful new stereo mix by Stephen W Tayler, presenting the album in a new form, focussing more on the band contributions with less emphasis on the orchestrations of the original album mixes. The new mixes are both remarkable and revealing.

TRACK LISTING

Side One
1 Where The Sour Turns To Sweet
2 In The Beginning
3 Fireside Song
4 The Serpent
5 Am I Very Wrong?
6 In The Wilderness
Side Two
1 The Conqueror
2 In Hiding
3 One Day
4 Window
5 In Limbo
6 Silent Sun
7 A Place To Call My Own
Side Three (45 rpm)
1 A Winter's Tale
2 One Eyed Hound
Side Four (45 rpm)
1 Image Blown Out
2 Visions Of Angels

Deluxe 5 disc (4CD + Blu-ray) box set edition of the debut album by Genesis prepared with the approval of Tony Banks, Peter Gabriel, Anthony Phillips and Mike Rutherford.

Featuring new stereo, 5.1 & Atmos mixes by Stephen W Tayler, along with remastered versions of the original mono and stereo LP mixes, singles and rare demos.

With bonus video content of Tony Banks, Peter Gabriel and Mike Rutherford at AIR Studios in London discussing the album and reviewing the new mixes. 

Includes a 68-page illustrated book with an extensive essay featuring contributions from Tony Banks, Peter Gabriel, Anthony Phillips and Mike Rutherford.

Originally released in March 1969, ‘From Genesis To Revelation’ was the debut album by Genesis, the first step on a pathway that took the band to considerable success and acclaim.

This new 4 CD / Blu-ray box set edition is the first re-issue of the album, prepared with cooperation and approval of original band members Tony Banks, Peter Gabriel, Anthony Phillips and Mike Rutherford.

It features wonderful new stereo, 5.1 Surround Sound and Atmos mixes by Stephen W Tayler, presenting the album in a new form, focussing more on the band contributions with less emphasis on the orchestrations of the original album mixes. The new mixes are both remarkable and revealing.

The set includes remixes of ‘A Winter's Tale’, ‘One Eyed Hound’ and album out-takes ‘Image Blown Out’ and ‘Visions of Angels’ (previously unreleased) along with new remasters of the original stereo mix and the rare mono mix of the album and associated singles, along with a CD of demos from 1967 and 1968, four of which are previously unreleased and mixed by Stephen W Tayler. The set also features a Blu-ray disc with the new Dolby Atmos, 5.1 Surround Sound and Stereo mixes of the album and bonus video content of Tony Banks, Peter Gabriel and Mike Rutherford at AIR Studios in London discussing the album and reviewing the new mixes. Finally, the set features a 68-page illustrated book with an extensive essay by Jon Dann with contributions from Tony Banks, Peter Gabriel, Anthony Phillips and Mike Rutherford.

TRACK LISTING

DISC ONE 
From Genesis To Revelation
The new mixes by Stephen W Tayler
1. Where The Sour Turns To Sweet
2. In The Beginning
3. Fireside Song
4. The Serpent
5. Am I Very Wrong?
6. In The Wilderness
7. The Conqueror
8. In Hiding
9. One Day
10. Window
11. In Limbo
12. Silent Sun
13. A Place To Call My Own
Bonus tracks
14. A Winter’s Tale
15. One Eyed Hound
16. Image Blown Out
17. Visions Of Angels

DISC TWO
From Genesis To Revelation
The mono LP mix remastered
1. Where The Sour Turns To Sweet
2. In The Beginning
3. Fireside Song
4. The Serpent
5. Am I Very Wrong?
6. In The Wilderness
7. The Conqueror
8. In Hiding
9. One Day
10 Window
11. In Limbo
12. Silent Sun
13. A Place To Call My Own
Bonus tracks
14. Build Me A Mountain (rough mix)
15. A Winter’s Tale (mono single mix)
16. One Eyed Hound (mono single mix)
17. That’s Me (mono single mix)
18. The Silent Sun (mono single mix)

DISC THREE
From Genesis To Revelation
The original stereo LP mix
remastered
1. Where The Sour Turns To Sweet
2. In The Beginning
3. Fireside Song
4. The Serpent
5. Am I Very Wrong?
6. In The Wilderness
7. The Conqueror
8. In Hiding
9. One Day
10. Window
11. In Limbo
12. Silent Sun
13. A Place To Call My Own

DISC FOUR 
Demos 1967 & 1968
1. Patricia (1967 demo)
2. Try A Little Sadness (1967 demo)
3. She is Beautiful (1967 demo)
4. One Day (demo 1968)
5. The Magic Of Time (demo 1968)
6. Hey! (demo 1968)
7. Sea Bee (demo 1968)
8. The Mystery Of The Flannan Isle Lighthouse (demo 1968)
9. Hidden in The World Of Dawn (demo 1968)
10. Hair on the Arms and Legs (demo 1968)
11. Epic (A Place to Call My Own) (demo August 1968)
12. Am I Very Wrong? (demo August 1968)
13. In Limbo (demo August 1968)
14. The Conqueror (demo August 1968)

DISC 5 - BLU-RAY
Blu ray From Genesis To
Revelation
96 kHz / 24-bit Atmos, 5.1
Surround Sound & Stereo
mixes by Stephen W Tayler
1. Where The Sour Turns To Sweet
2. In The Beginning
3. Fireside Song
4. The Serpent
5. Am I Very Wrong?
6. In The Wilderness
7. The Conqueror
8. In Hiding
9. One Day
10. Window
11. In Limbo
12. Silent Sun
13. A Place To Call My Own
Bonus tracks
14. A Winter’s Tale
15. One Eyed Hound
16. Image Blown Out
17. Visions Of Angels
Video content
18 ‘From Genesis To
Revelation’ Tony Banks, Peter
Gabriel & Mike Rutherford
in conversation at AIR
Studios, London – 14th April
2026

A new 2CD edition of the debut album by Genesis prepared with the approval of Tony Banks, Peter Gabriel, Anthony Phillips and Mike Rutherford.

Featuring a new stereo mix by Stephen W Tayler, new mixes of A Winter's Tale’, ‘One Eyed Hound’ and ‘Image Blown Out’ and ‘Visions of Angels’ (previously unreleased), along with a remastered version of the original stereo LP mix. 

Includes an illustrated booklet with essay featuring contributions from Tony Banks, Peter Gabriel, Anthony Phillips and Mike Rutherford.

Originally released in March 1969, ‘From Genesis To Revelation’ was the debut album by Genesis, the first step on a pathway that took the band to considerable success and acclaim in the 1970s and beyond.

This edition is the first re-issue of the album to have been prepared with the approval of Tony Banks, Peter Gabriel, Anthony Phillips and Mike Rutherford and features wonderful new stereo mixes by Stephen W Tayler, presenting the album in a new form, focussing more on the band contributions with less emphasis on the orchestrations of the original album mixes. The new mixes are both remarkable and revealing.

Additionally, the set includes remixes of ‘A Winter's Tale’, ‘One Eyed Hound’ and album outtakes ‘Image Blown Out’ and ‘Visions of Angels’ (previously unreleased) along with a new remaster of the original stereo mix of the record. It also features an illustrated booklet with an essay by Jon Dann with contributions from Tony Banks, Peter Gabriel, Anthony Phillips and Mike Rutherford.

TRACK LISTING

DISC 1:
From Genesis To Revelation
The new mixes by Stephen W Tayler
1. Where The Sour Turns To Sweet
2. In The Beginning
3. Fireside Song
4. The Serpent
5. Am I Very Wrong
6. In The Wilderness
7. The Conqueror
8. In Hiding
9. One Day
10. Window
11. In Limbo
12. The Silent Sun
13. A Place To Call My Own
Bonus tracks
14. A Winter’s Tale
15. One Eyed Hound
16. Image Blown Out
17. Visions Of Angels

DISC 2:
From Genesis To Revelation
The original stereo LP mix remastered
1. Where The Sour Turns To Sweet
2. In the Beginning
3. Fireside Song
4. The Serpent
5. Am I Very Wrong
6. In The Wilderness
7. The Conqueror
8. In Hiding
9. One Day
10. Window
11. In Limbo
12. The Silent Sun
13. A Place To Call My Own

Following the release of their debut in late July, Luft quickly return now with a second single, ‘The Punch and Judy Man’. As with that previous single, the digital release is to later be complemented by a limited edition 12” single backed with a vinyl only B-side.

‘The Punch and Judy Man’ once again sees the Berlin-based five-piece working with Luke Haines, a union that increasingly makes great artistic sense given their shared interests in post-new wave pop dynamics and subject matter that scratches the facade of the routines of English suburban life to reveal hidden charms both romantic and malign. Frontman, Tom Dougall, of course has a history of this kind of approach, having also served as the singer in cult-favourites TOY for over a decade, though his choice of imagery and songwriting now feels sharper than ever, the nostalgic references to a bygone era only vaguely disguising the sense that all might not be well. “Behind your back the song’s begun, hear the trickster play the fool” he sings, and with it plugs into that classic British tradition - be that in the songs of Black Box Recorder and Pulp or the films of Ken Loach and Mike Leigh - of uncovering something more sinister lurking amidst the apparently banal.

Brownswood Recordings presents Brownswood Remix Editions 010: SAMURAI Edits, a new 12-inch/digital release that reboots a much-loved classic from the early 2000s for a new generation of dancefloors.

At the centre of the release is “Samurai”, originally released on 12-inch in 2003 as the B-side to Jazztronik’s ‘Dance With Me’. More than two decades later, the track remains a cult favourite within the jazz, broken beat and dance music continuum, it’s a record that helped bridge the worlds of Japanese nu jazz and the bruk scene emerging from West London in the early noughties.

Led by Japanese pianist, composer and arranger Ryota Nozaki, Jazztronik is a fluid music project without a fixed lineup. Nozaki’s musical vision moves freely between classical, jazz and club music, and has seen him compose for film and television as well as produce for a wide range of artists. Jazztronik’s music has found an audience far beyond Japan, with Nozaki continuing to perform both as a DJ and with his live band across Japan, Europe, the U.S. and Asia.

When Samurai first appeared, its potential was perhaps not immediately obvious. Sitting on the B-side of ‘Dance With Me’, the second release on Especial Distribution, the track gradually found its way into the hands of adventurous DJs and tastemakers. Its hypnotic piano melody, fractured percussion and unmistakable dancefloor energy caught the attention of Gilles Peterson and others, becoming a fixture in the jazz-meets-dance underground.

The record’s journey was also part of a wider exchange between Japan and the UK. Especial Records, the Osaka-based label connected to Kyoto Jazz Massive’s Shuya and Yoshihiro Okino, played a crucial role in bringing Japanese sounds to international ears. UK distributor, A&R and label figure Nik Weston, through Mukatsuku, was instrumental in promoting and distributing Japanese records across the UK and Europe. Without this network, Samurai may never have reached the European tastemakers who helped turn it into a dancefloor favourite.

While coming from the other side of the world, Samurai seemed to anticipate, and slot seamlessly into, the musical language developing around West London’s Co-op nights and the emerging bruk scene. With its dub sirens, loose rhythmic feel and jazzinflected musicianship, it demonstrates how new musical movements can emerge through unexpected connections: outlier records from different places suddenly speaking the same language.

'Brownswood Remix Editions 010' revisits that connection, with new edits that re-boot a classic without losing what made the original so special. The remixes bring Samurai back into focus as a contemporary club record, while underlining just how forward-thinking Nozaki’s original composition and production were.

For collectors, the timing is particularly apt: the original 2003 12-inch has become increasingly sought after, with copies commanding significant prices on the secondary market. SAMURAI Edits offers a new way into a record that has long circulated among DJs and collectors, and a chance for a new generation to discover these incredible edits as well as the iconic originals.

TRACK LISTING

1. SAMURAI (Afro Latin Remake)
2. SAMURAI (Samba House Remix)

One of the most charming duos in any genre, Ella Fitzgerald and Louis Armstrong established Verve Records as one of the most exciting jazz labels of all time. Their unmistakable voices, backed by Satchmo's iconic horn, the delectable sound of the Oscar Peterson Trio and drummer Buddy Rich, electrified audiences when the album was first released in 1956, spurring a further pair of collaborative LPs. Ella and Louis offers incredible versions of timeless standards like "They Can't Take That Away from Me," "Cheek to Cheek," "The Nearness of You," "A Foggy Day" and more.

A quintessential Blue Note hard bop outing, Lou Donaldson’s 1960 album Sunny Side Uppresented a winsome program of swinging standards and bluesy originals given deeply felt performances by a quintet with trumpeter Bill Hardman, pianist Horace Parlan, bassists Sam Jones and Laymon Jackson, and drummer Al Harewood.

This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

TRACK LISTING

Side A
1. Blues For J.P.
2. The Man I Love
3. Politely
4. It's You Or No One
Side B
1. The Truth
2. Goose Grease
3. Softly As In A Morning Sunrise

Billie Holiday's life and career ended far too soon in 1959 after a lifetime of personal struggles. But Lady Day's final works for Verve Records, including 1957's Body and Soul, showcase a voice that, despite some changes, lost none of its power to move audiences in much the same way as she did with her bold, early, expressive recordings. These late career interpretations of favorites like "Embraceable You," "Let's Call the Whole Thing Off," "They Can't Take That Away from Me" and the heartfelt title track had a profound influence on generations of song interpreters — a brilliant keepsake of a voice that still resonates today.

After a run of impactful singles that have introduced Nina Simone’s timeless catalog to new audiences, Verve Remixed // Nina Simone arrives as the complete collection of the groundbreaking series. Bringing together every remix from the campaign, the album celebrates Simone’s enduring influence through the lens of today’s top DJs and producers. Solomun, Mochakk, DESIREE, Supershy, HAAi, dublon, Antdot and Austin Millz unite on this single record, each track honoring the power of her original recordings while opening them up for a new generation of global listeners. More than a compilation, Verve Remixed // Nina Simone is the definitive statement of a landmark project—showcasing the lasting impact of Nina Simone’s artistry and the continued evolution of the iconic Verve Remixed series.

TRACK LISTING

That's All I Ask (HAAi Remix) - Extended Edit (6:30)
Take Care Of Business (Solomun Mix) - Extended Version (5:37)
See-Line Woman (Mochakk Mix) (4:48)
Four Women (DESIREE Remix) - Extended Version (4:55)
Work Song (Antdot Remix) - Extended Version (6:07)
Tell Me More And More And Then Some (dublon Remix) - Extended Edit (4:02)
I Put A Spell On You (Austin Millz Remix) (2:38)
Baltimore (Live) (Supershy Remix) (Extended Version) (7:02)

On Ahmad Jamal ’73, one of jazz's most acclaimed small-group pianists traded in his most familiar instrument for something with a new spin, recording his first of seven studio works for the 20th Century label from behind the electric piano. Backed by an expanded orchestra arranged and conducted by album co-producer Richard Evans, the ensuing album merges familiar jazz traditions with the sound of a new era, pairing Jamal's leads with massive string, vocal, and horn arrangements on versions of then-current soul-funk hits (Stevie Wonder's "Superstition," War's "The World is a Ghetto") and spiritual jazz and funk numbers ("Sustah, Sustah," "Peace At Last").

The Verve Vault series is all-analog, cut from the original master tapes by Ryan K. Smith at Sterling Sound and pressed on 180-gram vinyl.

TRACK LISTING

The World Is A Ghetto
Children Of The Night
Superstition
Trilby
Sustah, Sustah
Soul Girl
Peace At Last

Dr. Feelgood’s landmark and influential 1975 debut was famously released in mono. A small number of territories released the album in stereo, which is presented here in remastered form. The rare stereo edition now available on vinyl for the first time in over 50 years. It features the classics “She Does It
Right”, “Roxette” and “All Through The City”.

TRACK LISTING

Side One
1. She Does It Right [3:28]
2. Boom, Boom [2:42]
3. The More I Give [3:26]
4. Roxette [2:53]
5. One Weekend [2:20]
6. That Ain’t The Way To Behave [3:55]
7. I Don’t Mind [2:35]
Side Two
1. Twenty Yards Behind [2:20]
2. Keep It Out Of Sight [2:58]
3. All Through The City [3:06]
4. Cheque Book [4:03]
5. Oyeh! [2:30]
6. Bonie Moronie/Tequila [4:40]

Released in 1998, International Velvet is the hit second studio album by Welsh alt-rock band Catatonia, which topped the UK Albums Chart and became a defining record of the "Cool Cymru" movement. Fronted by Cerys Matthews, the album achieved multi-platinum success powered by infectious, hook-heavy singles like "Mulder and Scully" and "Road Rage".

Following the success of the limited edition 25th anniversary coloured vinyl release in 2023, the album is being repressed on black vinyl.

TRACK LISTING

Side A:
1) Mulder And Scully
2) Game On
3) I Am The Mob
4) Road Rage
5) Johnny Come Lately
6) Goldfish and Paracetamol
Side B:
1) International Velvet
2) Why I Can't Stand One Night Stands
3) Part Of The Furniture
4) Don't Need The Sunshine
5) Strange Glue
6) My Selfish Gene

Daybreaker is the third full-length studio album by British singer-songwriter Beth Orton, released in July 2002 through Heavenly Records in the UK and Astralwerks in the US.

The album marked a stylistic turn for Orton. Following the acclaim of Trailer Park (1996) and Central Reservation (1999)—which helped define the late-1990s "folktronica" movement—Daybreaker pivoted toward a more traditional, organic singer-songwriter sound.

TRACK LISTING

1 "Paris Train" 5:46
2 "Concrete Sky" 4:34
3 "Mount Washington" 6:27
4 "Anywhere" 4:35
5 "Daybreaker" 3:55
6 "Carmella" 3:36
7 "God Song" 5:15
8 "This One's Gonna Bruise" 4:44
9 "Ted's Waltz" 5:41
10 "Thinking About Tomorrow" 6:40

It has long been Bristol Archive Records mission to tell the story of reggae in the city, and they plan to bring a similar level of coverage to the 1990s as they have for previous decades. To kick things off, they have chosen an album from Katsu, now mostly forgotten. They burst onto the Bristol scene in 1995 and over the next couple of years played numerous gigs at Bristol and Bath's top venues, including to thousands at the Bristol Community Festival at Ashton Court and even an appearance at Glastonbury Festival.

Although their gigs received wide acclaim, and they recorded plenty of music, they only managed to self-release a four-track EP and a CD album, both of which sold in tiny numbers. Gigs live in people's memories, but physical releases that transcend generations and tend to be the key to keeping a band's music current, an element Katsu's legacy has been lacking.

The band had originally come together as the musicians behind the first four Armagideon albums and included Phil a former Rhythmite and member of Vin Gordon and the Authentics, Wilbert who had engineered for The Revolutionary Dub Warriors and worked with Adrian Sherwood as well as Guy who would form Dub From Atlantis. They were key members of the local reggae scene, experienced musicians and their recordings are just as good as their live shows were.

Their 1997 album 'Awakening' deserved the release it didn't receive back then, a proper pressing run with distribution, making it available to a wider audience, doing justice to the music. Rather than copying the CD release of the original, they have gone with both the traditional and current reggae format of choice, vinyl. They have selected eight tracks and re-sequenced them to create a very strong LP.

Side A features three strong vocals, leading off with the excellent 'Tenement'; the vocals are complemented by saxophone and a slight dub influence. The following two vocal cuts, 'Inna England' and the title track 'Awakening' head into a more roots direction. All three vocals are highly polished and could easily have come from a decade or more before, timeless, quality reggae. The A side is rounded off with a horns-driven instrumental before Side B heads into the realm of dub, the music that had originally brought the band together and at which they excelled.

TRACK LISTING

1. Tenement
2. Inna England
3. Awakening
4. East Timor
5. Dub In C Minor
6. Pint o' Heavy
7. Anyweather
8. Expresso

Comfort of Strangers is the fourth studio album by English singer-songwriter Beth Orton, released in February 2006 through Astralwerks and EMI.

Recorded at Sear Sound Studio in New York City, the album represents a lean, intimate, and organic evolution in Orton's sound. Departing further from the trip-hop and "folktronica" production of her earlier releases, Comfort of Strangers focuses on raw, minimalist folk-rock arrangements and emotive songwriting

TRACK LISTING

"Worms"
"Countenance"
"Heartland Truckstop"
"Rectify"
"Comfort of Strangers"
"Shadow of a Doubt"
"Conceived"
"Absinthe"
"A Place Aside"
"Safe in Your Arms"
"Shopping Trolley"
"Feral Children"
"Heart of Soul"
"Pieces of Sky"

16 scrap-rock sketches straight from the heart to the gut… Maybe we can keep rock’n’roll alive for one more day? Who knows? The Joe Glass experience is a telecastered-explosion of hooks and guitar charms, one G chord away from tearing a diamond-shaped hole in the stratosphere. Originally Released as a Hallogallo Tape January 2026 Sharp Pins Bassists Strides out under his own banner.

TRACK LISTING

1. Dust on Your Halo
2. New Pose
3. My Friend Doesn't Care
4. Freight Train Woman
5. Dandelion
6. Felicity Crunch
7. Oscar's Midnight Ride
8. Man Who Lost His Diamond
9. Buck Wild
10. Candy Blowout 2
11. All About You
12. Tied Tight
13. It's a Drag
14. Needleheart
15. It’s No Wonder
16. Outontouragain

Released in July 2005, Stars of CCTV is the debut studio album by British indie rock band Hard-Fi, led by frontman Richard Archer.

TRACK LISTING

Side A
1. "Cash Machine" (3:42)
2. "Middle Eastern Holiday" (3:44)
3. "Tied Up Too Tight" (4:48)
4. "Gotta Reason" (2:49)
5. "Hard to Beat" (4:13)
6. "Unnecessary Trouble" (3:44)
Side B
1. "Move On Now" (5:08)
2. "Better Do Better" (4:37)
3. "Feltham Is Singing Out" (4:36)
4. "Living for the Weekend" (3:42)
5. "Stars of CCTV" (3:58)

Released in July 1980 on Parlophone, Searching for the Young Soul Rebels is the acclaimed debut album by Dexys Midnight Runners, led by Kevin Rowland. 

TRACK LISTING

Side One
1. "Burn It Down" (4:21)
2. "Tell Me When My Light Turns Green" (3:46)
3. "The Teams That Meet in Caffs" (4:08)
4. "I'm Just Looking" (4:41)
5. "Geno" (3:31)
Side Two
1. "Seven Days Too Long" (2:43)
2. "I Couldn't Help It If I Tried" (4:14)
3. "Thankfully Not Living in Yorkshire It Doesn't Apply" (2:59)
4. "Keep It" (3:59)
5. "Love Part One" (1:12)
6. "There, There, My Dear" (6:03)