Beck returns with 'Ride Lonesome', his first album of all-new material since the GRAMMY-winning 'Hyperspace'. Harkening back to the rich, atmospheric sounds of 'Morning Phase' and 'Sea Change', the album reunites Beck with musicians from those acclaimed releases. Produced by Beck and mixed by Nigel Godrich, 'Ride Lonesome' marks a compelling return to the intimate, cinematic style that defines some of his most celebrated work.

TRACK LISTING

1. Ride Lonesome
2. Run Away
3. In The Night
4. Failed Words
5. Bleed
6. Disappearing Act
7. For Your Love
8. Slow Canyon
9. It Ends Right Here
10. Falling Through My Hands
11. If You Don’t Know What Love Is
12. Beyond The Light

At the beginning of this year, Dry Cleaning released their new album, Secret Love. The third album from the London-based group consisting of lyricist Florence Shaw, guitarist Tom Dowse, drummer Nick Buxton and bassist Lewis Maynard received glowing accolades across the globe. Now, Dry Cleaning announce this expanded version, Secret Love (Deluxe Edition), featuring three brand-new tracks recorded during album sessions with producer Cate Le Bon last year; ‘Grass’, ‘I Have The Key’, and the recently released single, ‘Sliced by a Fingernail’.

For the deluxe edition, BULLYACHE (who choreographed visualisers for all 11 songs of Secret Love), joined forces with the band again to visuals for the three new tracks, all shot at the Mandrake Hotel in London. Secret Love (Deluxe Edition) also features alternate Erica Eyres artwork.

Bassist Lewis Maynard comments: “As difficult as it is to choose the final tracklist, we've learned with previous records that songs which don't make the album will see the light of day and sometimes even receive more attention. This is the first time we've released a deluxe edition, and we're especially excited because it includes some of our favourite songs from the session.”

Florence Shaw says: “The three new songs have a lot of tenderness and vulnerability to them. They’re about feelings of love and loss but also humour that comes along with those heavy feelings.

‘Sliced by a Fingernail’ is about looking for places to hide; fantasies like packing yourself into the centre of a huge flower bud, but also more everyday ones like being part of the crowd at a karaoke bar.

‘Grass’ is about grieving for someone still alive. The lyrics use some metaphors from nature inspired by two trips; one to see the melting Rhône Glacier in Switzerland and the other to Laurissilva, the ‘living fossil’ ancient forest on the island of Madeira. Whilst it has lots of imperfections and was a bit improvised, Cate [Le Bon, producer] had a real affinity for the vocal performance we chose for this track.

The lyrics to ‘I Have The Key’ came from a feeling of sadness and helplessness at the state of the world. The genocide in Gaza had begun around the time I was writing some of the lyrics. The saxophone part was improvised by Bruce Lamont at the Loft studio in Chicago, and the structure and delivery of the vocal, as well as the choice of words came as a response to his playing.”

“These are three short films that sum up our response to the record,” say BULLYACHE. “We tried to contain all the beautiful conflicts and contrasts. Each video is a portrait of elation, grief, push and pull. With Nicole Nevitt and Sam Dilke playing the different poles of the songs, Nicole’s hair whipping against Sam’s exhaustive thrash against the luxury of the Mandrake Hotel.”

In support of Secret Love, the year has already seen Dry Cleaning play shows across North America, the United Kingdom, Europe, New Zealand, and Australia. The next leg of their tour takes the band to South America and back to the UK and Europe for festival appearances including Rock en Seine, Green Man, Latitude, Sonic City, with more to be added. 

TRACK LISTING

Side A
Hit My Head All Day
Cruise Ship Designer
My Soul / Half Pint
Secret Love (Concealed in a Drawing of a Boy)
Let Me Grow and You’ll See the Fruit
Side B
Blood
Evil Evil Idiot
Rocks
The Cute Things
I Need You
Joy

Bonus 12”
Slice By A Fingernail
Grass
I Have The Key

A new compilation of Bowie's 1965 recordings with famed producer Shel Talmy (The Kinks / The Who etc). The album includes the various backing bands for Bowie at the time; Davie Jones and the Lower Third, Davie Jones, and The Mannish Boys which feature Jimmy Page on guitar. 

TRACK LISTING

LP Tracklisting:
1. You've Got A Habit Of Leaving
2. I Pity The Fool
3. Baby Loves That Way
4. I'll Follow You
5. Take My Tip
6. Glad I’ve Got Nobody
7. I Want Your Love
8. Cupid
9. Keep Up With The Jones (Instrumental)
10. Certain Woman
11. Leave Her To Me
12. You Gotta Tell Her

CD Tracklisting:
1. You've Got A Habit Of Leaving
2. I Want Your Love
3. Cupid
4. I Pity The Fool
5. Baby Loves That Way
6. Keep Up With The Jones (Instrumental)
7. Leave Her To Me
8. I'll Follow You
9. You Gotta Tell Her
10. Take My Tip
11. Certain Woman
12. Glad I've Got Nobody
13. Today
14. I Want My Baby Back
15. I Live In Dreams
16. Bars Of The County Jail
17. That’s Where My Heart Is
18. I Do Believe I Love You
19. You've Got A Habit Of Leaving (Alternative Overdub/Vocal)
20. I Pity The Fool (Alternative Vocal)
21. Baby Loves That Way (Alternative Vocal)
22. Take My Tip (Alternative Vocal)

Twenty years after the release of one of the most captivating albums of the 2000s, Howling Bells announce the 20th Anniversary Edition of their self-titled debut album, released on 2nd October via Nude Records.

Originally released in 2006, 'Howling Bells' marked a striking debut for the Australian band Produced by Grammy Award-winning Ken Nelson (Coldplay, Gomez, The Charlatans), the album introduced their cinematic blend of darkly romantic songwriting, atmospheric guitars, and Juanita Stein's unmistakable vocals. Hailed upon release as a moder alternative classic, Pitchfork raised Stein's "thoroughly unexpected, confidently strange, and immediately commanding voice, while NME simply called it "an extraordinary album." The Guardian described it as "bruising, narcotised rock'n'roll, refracted through the bottom of a glass, darkly... on the verge of unequivocal magnificence'. MOJO celebrated "an utterly flawless, heart-twisting vocal throughout," praising her ability to turn "tales of sorrow and betrayal" into "something exquisite," and Clash observed that it's the voice that grabs you," calling it a wonderfully lucid piece of songwriting, emotion lingering on each note.'

Twenty years later, the album retains its intoxicating magic. Still, the opening seconds pull you in; still, the record won't let you go. For the first time ever on vinyl, listeners can experience one of the great alternative debuts of its era in a format worthy of its enduring legacy.

"OK, now I can finally listen to Setting Sun on vinyl and be reminded all over again why I love Howling Bells" Chris Martin.

"There was a time when we thought great records would just keep rolling in. We didn't realize we were living in a golden age until it was gone. Twenty years later, Howling Bells stands as a testament to what we've been missing" Brandon Flowers.

“A haunting, beautiful and at times emotionally brutal debut by one of alt-rock's unsung talents” Brett Anderson.

"Listening to Howling Bells' debut album was a cultural awakening for me back in the early 2000s. It reminded me that writing artful, sophisticated pop music was absolutely possible. Twenty years later, this record still sounds so fresh and exciting" Anna Calvi.

TRACK LISTING

Side A
The Bell Hit
Velvet Girl
Low Happening
Broken Bones
Wishing Stone
A Ballad For The Bleeding Hearts

Side B
The Night Is Young
Across The Avenue
Setting Sun
Blessed Night
In The Woods
I’m Not Afraid

Beloved in equal measure for her deceptively subtle voice and her meticulous, incisive lyrics, Phoebe Bridgers’s solo records Stranger in the Alps (2017) and Punisher (2020) have been accompanied by a number of collaborations, including the supergroup boygenius, with whom Bridgers won three Grammys for 2023’s the record. Her songs are hallmarked by a kind of intimacy that’s hard-found in contemporary music, and scale between the macro and the micro with an ease that’s matched only by her towering, prodigious way with words.

Before Brian Eno did it, Mort Garson was making discreet music. Julliard-educated and active as a session player in the post-war era, Garson wrote lounge hits, scored the 1969 moon-landing and plush arrangements for Doris Day, and garlanded weeping countrypolitan strings around Glen Campbell’s By the Time I Get to Phoenix.

In the mid-1970s, a force of nature swept across the continental United States, cutting across all strata of race and class, rooting in our minds, our homes, our culture. It wasn’t The Exorcist, Goodbye Yellow Brick Road, or even bellbottoms, but instead a book called The Secret Life of Plants. The work of occultist/ former OSS agent Peter Tompkins and former CIA agent/dowsing enthusiast Christopher Bird, the book shot up the bestseller charts and spread like kudzu across the landscape, becoming a phenomenon.

Seemingly overnight, the indoor plant business was in full bloom and photosynthetic eukaryotes of every genus were hanging off walls, lording over bookshelves, and basking on sunny window ledges. The science behind Secret Life was specious: plants can hear our prayers, they’re lie detectors, they’re telepathic, able to predict natural disasters and receive signals from distant galaxies. But that didn’t stop millions from buying and nurturing their new plants.

Perhaps the craziest claim of the book was that plants also dug music. And whether you purchased a snake plant, asparagus fern, peace lily, or what have you from Mother Earth on Melrose Avenue in Los Angeles (or bought a Simmons mattress from Sears), you also took home Plantasia, an album recorded especially for them. Subtitled “warm earth music for plants…and the people that love them,” it was full of bucolic, charming, stoner-friendly, decidedly unscientific tunes enacted on the new-fangled device called the Moog.

The album gained an enormous cult following decades after its release. Sacred Bones’ 2019 reissue helped introduce Plantasia to a wider global audience, sparking a remarkable second life for Garson’s unlikely masterpiece.
What was once a strange artifact of 1970s plant-mania has become a beloved evergreen, rediscovered and re-embraced by a new generation of listeners and flourishing far beyond its original moment, evolving from obscure novelty into a beloved cult classic and streaming-era touchstone.

Now, 50 years after its original release, Mother Earth’s Plantasia marks a major anniversary moment. Half a century on, it continues to resonate - an enduring reminder of Mort Garson’s ability to make the synthetic feel strangely alive and the whimsical feel oddly profound.

TRACK LISTING

01. Plantasia (3:23)
02. Symphony for a Spider Plant (2:41)
03. Baby’s Tears Blues (3:03)
04. Ode to an African Violet (4:04)
05. Concerto For Philodendron And Pothos (3:09)
06. Rhapsody In Green (3:28)
07. Swingin’ Spathiphyllums (2:59)
08. You Don’t Have To Walk A Begonia (2:31)
09. A Mellow Mood For Maidenhair (2:17)
10. Music To Soothe The Savage Snake Plant (3:23)

'The Age Of Everything' is Johnny Marr's fifth full length studio record. Written in London, developed live on the road across the East Coast of North America and recorded in Manchester, 'The Age Of Everything' captures the energy and tensions of the city. Sharp, fast and dynamic, filled with ideas and possibilities.

“This is the record that’s been the most cathartic. The title came to me early in the process and became an inescapable idea. It seemed to sum up the way I think a lot of people are feeling. It’s all encompassing, but it's not necessarily a negative statement. There’s a sense of overwhelm in the culture brought about by technology, but looking at it with a different light, there could also be a sense of possibility.” Johnny Marr

TRACK LISTING

1. Spin
2. Beyond The Rain
3. It's Time
4. How Come
5. Ophelia
6. That Feeling
7. In And Out Of Love
8. Just Once More
9. Fire With Fire
10. All In A Life

In an age of algorithms, Westside Cowboy are pure-spirited proof of the magic that can only come from human connection. Just three years on from forming in Manchester, starting a band for the fun of it without so much as a plan to even play a gig, the quartet - Jimmy Bradbury (vocals, guitar), Reuben Haycocks (vocals, guitar), Aoife Anson O'Connell (vocals, bass) and Paddy Murphy (drums) - have crafted perhaps the year’s most exciting debut by simply figuring out what feels good, and following it into the horizon.

There’s no computer that could make 'It Goes On'. No formula to creating the joyous whack of emotion that comes from these four mates pooling their ideas and watching them fly. “If you go in with a preconceived notion of what you're doing, it’s sort of destined to fail because you’re not truly being yourself,” suggests Aoife. “So because we didn’t think we were gonna [do any of this] at the beginning, all we were thinking was: ‘What’s going to be the most enjoyable thing to play right now?’"

Aoife, Reuben and Paddy all knew each other from the Royal Northern College of Music; Jimmy and Paddy had played in a band together a few years previously. When they decided to sit in a practice room as a quartet for the first time, there was only one rule for what would follow. “We just wanted to make simple music. I think the reason there was such chemistry - and when we look back, even after two weeks we were really working well together - is because it was such a simple statement of intent,” recalls Reuben. “Any time we’d disagree on something - which was very rare - we’d just consult the original mission statement: if you’ve got too many chords in it, you’re wrong.”

A purposeful reaction against the “more abstract” styles they’d individually been dallying with before, Westside Cowboy swiftly became a place for concise, straight-hitting ideas influenced by “early rock’n’roll: Lonnie Donegan, The Beatles and The Velvet Underground,” says Paddy. Jimmy remembers spending the bulk of 2023 playing the first five songs of an Elvis Presley album on repeat. “When we started the band, people would ask who was in it and we’d be like, ‘We got this guy who works in a guitar shop, only listens to Elvis and dresses like Marty McFly - you know, that guy!’” Aoife laughs.

If these were the solid early seeds of Westside Cowboy, then the biggest thing that’s shaped them into the exploratory, melodically robust band they are now, has been their own journey. When they did start playing gigs (their first two shows were at a coffee shop, and for an animal rights charity), they found that their songs were being stretched and pushed forward in real time. Paddy notes that the true crux of It Goes On’s propulsive, heady opening track ‘Kick Stones (The Boys)’ is “as much about how we made it as the lyrics”.

“We loved the way it felt to play, but we thought we couldn’t record it like that or people would think we wanted to be a stadium rock band,” Aoife jokes. Instead, they translated it through their own lens, using a live recording of The Velvet Underground’s ‘What Goes On’ as their primary reference point. “We always thought, if we can pull this off it could be really fun,” Paddy grins. “Taking this mad, ‘70s rock thing but then having it played by a bunch of scrawny kids.” Since those first shows, Westside Cowboy have found themselves notching up an increasingly wild list of live milestones. Last year, they won Glastonbury’s prestigious Emerging Talent Competition, leading them to an opening slot on the televised Woodsies Stage. Since then, they’ve toured with Black Country, New Road and Geese while, later this year, they’ll play their biggest headline gigs to date, including stop offs at London’s O2 Kentish Town Forum and Manchester’s Albert Hall. Winning the Glastonbury slot, says Reuben, felt like “the first moment that we realised we really were a band”. Now, with the making of 'It Goes On', Westside Cowboy have underlined exactly what kind of band they want to be.

Recorded with producer Loren Humphrey (Geese, Cameron Winter, Wunderhorse) at Greenmount Studios in Leeds over a period that saw them thinking on their feet and remodelling their production into an even more directly energetic new form, there’s an urgency of feeling to 'It Goes On' that could only ever really happen with a young group’s debut record. “First albums are often my favourites because you can tell there’s a point to prove. You’re firing on all cylinders because you know that this may never happen again,” says Paddy. “You’re trying to create these big feelings, but all you have with you to string it together is a pencil and a Pritt Stick.”

Big feelings are at the heart of the matter: these are songs that aim to distill the confusion, desperation and blind hope of youth into eleven tracks that hit you in the chest. Westside Cowboy describe it as ‘the yank’. “There’s a major key, triumphant sound to some music - like the first Arcade Fire album, or ‘Someone Great’ by LCD Soundsystem - where there’s a persistence that’s contemporary and energetic, but also a simplicity,” Paddy continues. “It’s as though someone is shoving emotion into it in a way that feels like it’s reverberating,” Aoife nods. The lyrics across Westside Cowboy’s debut might often be up for interpretation, but the emotion that pours out of them is clear. On ‘Well Done Kid, You Did It’ they address the confusion of trying to make your way in a broken and terrifying world with the same cathartic forward motion of its central idea: that sometimes, all you can do is try your best. The rousing ‘Pin Up Boys’, explains Reuben, became “heavier and more aggro” every time they played it live; a mirror to its preoccupations with the struggles of self control. Meanwhile, though ‘Worried Age’ might wear its fears in its title, there’s a sense of defiance and resistance to its steadily escalating sonic scale that feels like strength. By the track’s raucous, screaming crescendo, the only answer is to come together and dance it out.

In a time of terrifying division and conflict, Westside Cowboy always try to focus on what unites us. Early on in the group’s life, they co-created No Band Is An Island: a Manchester-based collective putting on fundraising nights to spotlight both local artists and important issues via speakers from charities and direct action groups.I think we wanted to engage with politics in a way that felt more impactful beyond the music,” notes Aoife. In their current video for ‘Kick Stones (The Boys)’, they called upon the skills of FC United: a splinter team that started when Man United were sold to an American corporation. “They’re very community minded and they have a similar atmosphere to what we want to be,” says Reuben. “Their ethos is ‘making friends not millionaires’.”

'It Goes On' ends with ‘You Could Have Died There On The Dancefloor’: a track that the quartet purposefully wanted to leave as the record’s parting note. It’s a wide-eyed, open-hearted ellipsis that cuts to the core of everything that’s come before; the final air punch in the name of hope. “The final lyric is ‘I am everything but perfect / But I’m trying, so please keep me around,” smiles Reuben. “And that’s the spirit of Westside Cowboy.”

TRACK LISTING

1. Kick Stones (The Boys)
2. Paper Chains
3. Dobro
4. Well Done Kid, You Did It
5. Worried Age
6. Big Wheels
7. Pin Up Boys
8. Coyote
9. Patchwork
10. Take My Leaving As I Love You
11. You Could Have Died There On The Dancefloor

'Gold Is The Metal (With The Broadest Shoulders)', Coil’s vital 1987 album, is remastered and reissued.

The album was the third in a trilogy that began with 'Scatology' and 'Horse Rotorvator', with much of the material emerging from the same period of recordings. It hones an "electro-erotics of sound," blending textural instrumental pieces with notable field recordings – including a drunken brass band captured in Mexico and a Thai boxing arena recorded by Sleazy. A key moment of serendipity is found in ‘Metal In The Head’, which features a malfunctioning Fairlight sampler randomly rearranging and distorting the music.

Remastered under the guidance of original member Stephen Thrower, this new edition features restored artwork, previously unseen imagery and new sleeve notes, and marks the start of a new reissue series through The Grey Area of Mute.

Established in 1982 by Peter Christopherson (Sleazy) and John Balance, Coil began as an art and music project before expanding into a trio with Thrower in 1984. Their work remains a profoundly influential and enigmatic force within industrial and experimental music, fearlessly exploring themes of queerness, sex, drugs, magick and freedom.

TRACK LISTING

1. The Last Rites Of Spring (2026 Remaster)
2. Paradisiac (2026 Remaster)
3. Thump (2026 Remaster)
4. For Us They Will (2026 Remaster)
5. The Broken Wheel (2026 Remaster)
6. Boy In A Suitcase (2026 Remaster)
7. Golden Hole (2026 Remaster)
8. Cardinal Points (2026 Remaster)
9. Red Slur (2026 Remaster)
10. ...Of Free Enterprise (2026 Remaster)
11. Aqua Regalia (2026 Remaster)
12. Metal In The Head (2026 Remaster)
13. Either His, Or Yours (2026 Remaster)
14. Chickenskin (2026 Remaster)
15. Soundtrap (2026 Remaster)
16. The First Five Minutes After Violent Death (2026 Remaster)

Futurismo proudly present a vital compilation born in the shadows of American punk; 'AMERICAN GRAVE Gothic Punk / Deathrock USA: 1978-1988', the third volume in their Altered Vision anthology series.

Drawing from darkest depths of the American spirit, 'American Grave' is testament to a subculture spawned from late night savagery, graveyard hangouts and suburban isolation. Deathrock, post-punk, goth, whatever term you prefer, this compilation showcases the sounds and aesthetics of a tarnished golden era, an underground movement that took the DIY concepts of punk and the velocity of a burgeoning hardcore scene and immersed it in echoes, distortion, tribal rhythms and macabre vocals, thematically preying upon cult horror flicks, surrealism, and the manipulation of religious iconography. Whilst the UK had a counterpart scene many would hail as Goth, this was different, this was a truly American incarnation, a new breed of youth haunted by the ghosts of old blues, garage and glam, bleak theatrical imagery dressed up to evoke a response, smeared eyeliner, leather, bones…black. This was a backlash against a culture in decay, bucking against a puritanical oppression brought on by the archaic social standards set by their parents. It was aggression manifested as gloom, it was a ceremony, the celebration of death.

'American Grave' has been co-curated by Wesley Eisold (Cold Cave/American Nightmare/Heartworm Press) in collaboration with Futurismo head honcho Del Jae, to bring you a haunting tracklist ranging from the all important integral mainstays of the genre to those rarer and more elusive artists, including many recordings that have never been reissued before on any format. Featuring the music of Christian Death, T.S.O.L., The Cramps, Of A Mesh, The Gun Club, Twisted Roots, Kommunity FK, The Brainz, Theatre Of Ice, Burning Image, Fur Bible, PSI Com, Shadow Of Fear, Super Heroines, 45 Grave and more.

The music on this compilation is reinstated further from a visual perspective by an array of incredible images by famed punk photographer Edward Colver, and lovingly designed to the level you would expect from a Futurismo release. 

TRACK LISTING

1. Christian Death - Spiritual Cramp
2. Of A Mesh - Guillotine
3. Super Heroines - Convicts
4. T.S.O.L. - Code Blue
5. PSI Com - Human Condition
6. Shadow Of Fear - In The Flesh
7. The Cramps - Human Fly
8. Burning Image - The Final Conflict
9. The Gun Club - Death Party
10. Your Funeral - I Want To Be You
11. The Brainz - Elementary Monster
12. Theatre Of Ice - She Sleeps
13. 45 Grave - Violent World
14. Middle Class - The Call
15. Altar de Fey - Veil Of Death (Demo)
16. Mighty Sphincter - Waltz In Hell
17. Dead Moon - Graveyard
18. Twisted Roots - Are There Cobwebs On My Face?
19. Fur Bible - Plunder The Tombs
20. Kommunity FK - Restrictions
21. Lords Of The New Church - New Church
22. The Naked And The Dead - Taboo
23. The Flesh Eaters - See You In The Boneyard
24. Red Temple Spirits - Dreamings Ending

Common Primitives is the second collaborative album between Andy Bell (Ride guitarist, Oasis bassist) and Essex-based harp and synth duo Masal. It’s a stunning, meditative collection which veers from kosmische to astral jazz by way of Turkish folk tunes and all the way back again.

Their first outing, 2023’s acclaimed Tidal Love Numbers, consisted of four lengthy and almost ambient tracks and is included here on vinyl for the first time as part of a two-record set with the new album. By contrast, the seven tracks that make up Common Primitives are almost concise, but also a lot more layered and complex.

“We tend to work from initial, free-jammed ideas, building form and arrangement from there,” explains Masal’s Al Johnson. “Above all, we believe you should go where the vibe takes you.”

For Andy, that vibe was very much jazz legend Pharoah Sanders’ classic 1977 album Pharoah, which was reissued a few years ago.

“It puts me into a hypnotic state,” he explains. “That’s why I worked with more guitar loops on this record. The Tisziji Muñoz part on ‘Harvest Time’ has had me in a vice-like grip for the last three years and it arrives here via the Vini Reilly filter.”

For Özlem Simsek, there is nostalgia, too, and she even adds vocals as well as her heavenly harp to the opening track, ‘After Kâtibim’, based on a traditional Turkish folk song she had sung as a child growing up in Istanbul.

From there, the album takes us on a real journey, with the apt, impressionistic titles added by Andy once it had all been pieced together. There’s the beautiful, elegant ‘I Swear We Are Infinite’; the atmospheric ‘Yuzuki Fighting Spirit’ and the beatific ‘Soap And Water’. ‘Tower Of Babylon’ was named after the novelette by Ted Chiang, its structured creation reflecting that in the story; first single ‘The Morning Of The Trip’ finds Andy playing his guitar “as if it was a waterfall”. The journey ends with ‘Rudi’s Dream – The Third Bardo’, the trio accelerating onto the autobahn for a krautrock crescendo inspired by their studio’s resident cat.

TRACK LISTING

CD:
1. After Kâtibim
2. I Swear We Are Infinite
3. Yuzuki Fighting Spirit
4. Soap And Water
5. Tower Of Babylon
6. The Morning Of The Trip
7. Rudi’s Dream – The Third Bardo

Vinyl:
Record 1 - Tidal Love Numbers
A1. Murmuration Of Warm Dappled Light On Her Back After Swimming
A2. The Slight Unease Of Seeing A Crescent Moon In Blue Midday Sky
B1. Tidal Love Conversation In That Familiar Golden Orchard
B2. A Pyramid Hid By Centuries Of Neon Green Undergrowth

Record 2 - Common Primitives
A1. After Kâtibim
A2. I Swear We Are Infinite
A3. Yuzuki Fighting Spirit
B1. Soap And Water
B2. Tower Of Babylon
B3. The Morning Of The Trip
B4. Rudi’s Dream – The Third Bardo

It's hard to pin an age on chest.'s music - constantly in motion, where spontaneous energy collides with timeless electricity. The name is no accident: its five members first bonded in the darkness of Supersonic, one of Paris' beating hearts of independent music, over a shared love of loud rock'n'roll and sonic experimentation. That friendship shaped a sound that's hybrid by nature - abrasive noise rock, unifying melodies and hard-hitting electronic energy - all filtered through a healthy dose of self-deprecation.

Tipped by NME as one of the "100 artists to watch in 2025" before even releasing a record, chest. confirmed the hype with their debut EP All Good Things End (Howlin Banana, February 2025), then went on to open for DITZ, Jehnny Beth, Heavy Lungs and KNIVES, and tore through La Maroquinerie, Rock en Seine and Eurosonic Noorderslag. In autumn 2025, the band self-produced their debut album at Studio La Frette (Nick Cave, Arctic Monkeys), absorbing industrial, techno and shoegaze influences - with Otto, Cor and Entertainment as standout tracks. chest. is emerging as the spearhead of a French rock scene that's no longer afraid of anything.

TRACK LISTING

Side A
Everyone Learns To Leave Quietly
Lotus Eater
cor
Otto
Half Step // Full Step

Side B
Raincheck
Roger Roger
Entertainment
Again
I'm Proud

Kokoroko today announce Tempos Difíceis Sempre Passam, a new remix EP reimagining tracks from their acclaimed album Tuff Times Never Last through the lens of some of Brazil's most exciting contemporary artists.

Translating the album's title into Portuguese, Tempos Difíceis Sempre Passam reflects both the enduring message at the heart of the original record and the creative dialogue between Kokoroko's expansive musical world and Brazil's rich, genre-defying music scene. The four-track collection brings together a handpicked group of artists whose individual approaches blur the boundaries between a variety of genres and contemporary Brazilian sounds.

To be released digitally and on limited vinyl, the EP also sees the return of acclaimed artist Luci Pina, whose artwork for Tuff Times Never Last is reimagined for this new chapter, creating a visual thread between the original album and its Brazilian counterpart.

Leading the announcement is Never Lost (Luedji Luna Remix), available now on all digital platforms. The celebrated Brazilian singer-songwriter brings her unmistakable warmth and emotive vocal sensibility to the track, offering a beautifully understated reinterpretation that deepens the song's themes of hope, resilience and togetherness.

Completing the EP are three further remixes from across Brazil's vibrant musical landscape. Onome of Kokoroko joins forces with acclaimed guitarist Nyron Higor for a richly textured rework of Da Du Dah, while producer Aleh Ferreira delivers a rhythm-driven reinterpretation of the same track. Closing the collection, Bruno Berle transforms Closer To Me with his signature blend of intimate songwriting, Brazilian groove and experimental pop sensibilities.

Together, the remixes offer fresh perspectives on Tuff Times Never Last, extending the album's spirit of optimism while celebrating the creative connections between London and Brazil. 

TRACK LISTING

A1 - Kokoroko - Da Du Dah (Onome Remix Feat. Nyron Higor)
A2 - Kokoroko - Never Lost (Luedji Luna Remix)
B1 - Kokoroko - Da Du Dah (Aleh Ferreira Remix)
B2 - Kokoroko - Closer to Me (Bruno Berle Remix) 

Manchester-born poet, writer, and producer Antony Szmierek has announced the release of his second album, Decoding Birdsong. Just eighteen months after his critically acclaimed debut, Szmierek returns with a new body of work that signals a clear evolution in both sound and scope. Rooted in his personal touchstones within electronic music, the album pairs expansive, immersive production with his trademark razor-sharp lyricism.

Where his debut had been a solo endeavour, Decoding Birdsong brims with collaboration, including Australia’s Pretty Girl, London band Los Bitchos, and Bristol producer 1-800 GIRLS, as well as Imogen and the Knife and indie pop star Ellur. Speaking about the new record, Antony explains “Decoding Birdsong is about choosing to believe in something. Coincidence as a religion. Making your own luck in the face of loneliness and doubt. The smallest things can feel seminal, seismic and life affirming if you just choose to lean in, but it also asks if this is a dangerous way to live. What happens when your numbers come in? What are the consequences of luck? Should you listen to the birds, or are you only ever going to hear what you want to hear? To help us explore this: a heron, dice, a plummeting airplane, the late-night TV show Aussie Gold Hunters and a fibreglass replica of Godzilla.”

Decoding Birdsong follows the wild success of his debut album, 2025’s Service Station at the End of the Universe, which launched Antony into a whirlwind of Glastonbury, Jools Holland, and repeat BBC airplay. He’s sold out venues across the UK and Europe, and in February 2026 performed to 20,000 while closing Solomun’s Alexandra Palace shows. The former English teacher had been working at a college for special needs students when his blend of spoken word and dance music started taking off, earning him accolades such as 6Music’s Artist of the Year in 2023 following his Poems To Dance To EP, and frequent comparisons to Mike Skinner, Jarvis Cocker and John Cooper Clarke.

TRACK LISTING

Side A:
1. Chalk
2. The Heron
3. Bookie’s Favourite (ft. Ellur)
4. Godzilla Hotel (ft. 1-800 Girls)
5. Seminal
6. Flight Simulator (ft. Imogen and the Knife)

Side B:
1. Dave’s Angling Superstore (ft. MAX RAD)
2. The First Five Minutes Of Magnolia (ft. Pretty Girl)
3. The Same Heron Again
4. Commune
5. You’re Not Supposed To Do This Forever
6. Decoding Birdsong
7. Aussie Gold Hunters

DINKED EDITION 7” TRACKLISTING:
Side A:
Three Crystals
Side B:
Seminal - Los Bitchos Remix

You have to wonder why Railcard took so long to be born: their debut album feels like it should have been in your collection for years.

But it wasn’t until 2025 that Rachel Love (Dolly Mixture), Ian Button and Peter Momtchiloff (Heavenly) met at a gig, realised that they were exactly the same age, and decided that this was an excellent reason to form a new band. The shared history, the same pop references, the parallel lives… Railcard had to happen, and there was no time to lose. Two Steps At A Time - the album title and theme song - express exactly how quickly Railcard have worked since then - jumping over pavement cracks and whistling past graveyards to get these songs written, recorded and released while they are still sweet and fresh.

The band released three digital EPs in early 2026, which were then gathered onto a CD and released by Skep Wax and Slumberland. The CDs sold out very quickly. (New copies will be made available to coincide with the album release.) The critical response to a mail-order-only CD was far greater than anyone expected.

Railcard made their live debut in December 2025 and had by then recruited their fourth member: Allison Thomson (Trash Can Sinatras, The Love Band), whose flawless trumpet and swirly keyboard-playing complete the Railcard sound, allowing the band to fulfil the significant ambition and range of the songs, which are mostly co-written and often co-sung by Love and Button. “Flannelette” and “Sunday Sun”, delicate and swoony, could almost be Slapp Happy at their most Bacharach. “Foxy”, mysterious and charming, has more than a hint of Kate Bush December magic. The raucous duet “I’m A Disaster” is The Kinks meets deadpan Shangri-Las. The title track could have been an alternative theme tune for Whatever Happened To The Likely Lads. “Runaround” is like a school choir doing The Raincoats. “Unstable Neighbour”, mesmerising and insistent: it might make you think of Stereolab; we might imagine an indiepop Hawkwind. Peter Momtchiloff also contributes two wonderful songs on the album: the fragile and hallucinatory “Paper Thin” and the Love-meets-Undertones rush of “Hillman Minx”.

As with the first EPs, Railcard enlisted the sonic services of Medway psych expert Allan Crockford (of The Prisoners, JTQ and many more) who has delivered mixes that pump with vintage valve energy and reverby depth.

Two Steps At A Time is released on Skep Wax and Slumberland September 18th, and the band have a string of UK dates through the summer and Autumn.

Ian Button also performs with The Penrose Web, Heavenly, Swansea Sound and The Catenary Wires. Peter Momtchiloff also performs with Heavenly and Would-be-goods.

TRACK LISTING

Side A
1. Two Steps At A Time
2. 1962 Forever
3. Hillman Minx
4. Flannelette
5. Foxy
6. I’m A Disaster

Side B
1. Paper Thin
2. Unstable Neighbour
3. Runaround
4. When You Say You Love Me Something’s Wrong
5. Snow Blind
6. Sunday Sun

The Intermittent Signal is the sound of resistance.

In the year since The Sick Man Of Europe’s debut album was released, the world has moved on. Steady hands have slipped from the levers of power, logic has shifted underground and the message grows more urgent with every passing day.

Repetition has been relearned and the machine rhythms repurposed, this time with increased intensity. Arrangements have moved beyond the bare bones economy of the first record and there’s a newfound melodicism in places. Clarity and conviction ring true through the static and noise, while utopian ideas to remodel a broken system gain traction. This is a rejection of the attention economy and a call to reconnect through community and organisation. Those simple acts that were once commonplace have become increasingly radical as new fractures emerge.

“Through repetition the message has gained weight and become something more urgent,” The Sick Man Of Europe explains. “The vehicle for this message needed to evolve, grow to gain the strength to carry it. We’ve landed on something more expansive, immediate and immersive. Less is more. Until it isn't.”

TRACK LISTING

Side A
A1. Negative Stimuli (5:52)
A2. Chromophobia (3:37)
A3. Apathy (4:41)
A4. The Cadogan Gate (6:43)

Side B
B1. The Intermittent Signal (3:36)
B2. Eyeless/Mindless (3.59)
B3. Creatures Of Habit (5:09)
B4. A Love Song (7:05)

'Music, Fashion, Film', the much-anticipated follow-up to the global pop and era-defining sensation 'Brat' by Charli XCX

TRACK LISTING

Rock Music
SS26
Card Declined
Camera
2007
I’m Afraid
Yeah
Wink Wink
Persona
Magic Metal Montana
No One Lasts Forever (featuring David Cronenberg)

Order all 4 of the limited Coloured LPs in the "Curated by" series of  albums and you'll receive a free Faust tote bag!

For Wüsthoff, music began long before Faust. As a child he watched his father lose himself in music, playing accordion renditions of operettas, film themes and folk songs with complete absorption. At eleven he discovered jazz through a radio programme tracing its history, then taught himself guitar and piano as a teenager, developing an instinctive relationship with sound driven by curiosity rather than convention. That outlook would become central to Faust, not simply as a band but as an enduring way of thinking. Reflecting on those formative years, Wüsthoff describes them as the experience that shaped everything that followed: without Faust, he says, he would never have made this record in the way he has today.

Produced by Onnen Bock alongside Bureau B's Gunther Buskies, Fliegen Lernen continues that philosophy. Drawn from decades of archived recordings, new studio experiments and collaborations with musicians in Hamburg, it is a living extension of Faust's open-ended creative spirit. Ideas emerge through chance as much as intention, with sounds, words and stories setting one another in motion until they gradually find their own form. Its title, simultaneously suggesting "flies are learning" and "learning to fly", perfectly captures the playful shifts in perspective that have long defined Wüsthoff's work.

Throughout Fliegen Lernen, Wüsthoff revisits and reimagines ideas that have animated his career for more than half a century. Much of the material grew from electronic sequences discovered in his archive, some echoing the patterns behind the homemade "Spieluhr" frequency-divider and sequencer he built during his Faust years.

Opener "Hörst Du Die Schritte" crashes jerky piano figures into a wiry punk-funk groove, with rhythmic saxophone and deadpan vocals creating something stranger than No Wave but irresistibly danceable. "Sonntag Nachmittag" drifts into electroacoustic territory, balancing synthetic textures, live drums and melancholic piano motifs, while "Charm Quarks Boogie" offers a brief detour into clipped digital minimalism. Tracks such as "Down, Down And Come To Me" and the title piece lock into mechanical funk rhythms filled with squealing saxophone, bubbling electronics and spoken-word passages, locating a contemporary version of the playful tension that always defined Faust.

Elsewhere the album reveals a more atmospheric and exploratory side. "Sandra Tanzt" unfolds like a shadowy soundtrack, while "Sendepause" transforms kosmische textures into weightless funk. "Erstbesteigung" emerged from an improvised session featuring Wüsthoff on MS-20 and Faust's original ARP 2600, gradually dissolving language itself into streams of fragmented syllables. The haunting "Schongang" recalls fourth-world ambience and late-night jazz introspection, before closing track "Ganz Gut, Oder" expands into a stomping, hallucinatory desert-psych excursion.

Throughout it all, the ordinary becomes a source of invention. Vacuum cleaner hoses become rhythmic loops, rubber gloves squeak in the bath, shells and stones are rubbed together for texture, while a simple
encounter with a fly in the kitchen becomes the basis for the album's title track. By turns humorous, reflective, cinematic and groove-driven, Fliegen Lernen demonstrates that Wüsthoff's creative imagination remains as restless as ever. Rather than recreating the past, it embodies the same openness that made Faust so singular in the first place: a belief that any sound, object or passing observation can become the spark for something unexpected. More than fifty years after those formative experiments, Wüsthoff continues to approach music as an act of curiosity, collaboration and continual discovery.

TRACK LISTING

A1 Hörst du die Schritte
A2 Sonntag Nachmittag
A3 Charm Quarks Boogie
A4 Down, Down And Come To Me
A5 Fliegen lernen schnell
A6 Sandra tanzt
B1 Sendepause
B2 Erstbesteigung
B3 Schongang
B4 Ganz gut, oder?

Order all 4 of the limited Coloured LPs in the "Curated by" series of albums and you'll receive a free Faust tote bag!

Werner ‘Zappi’ Diermaier has spent decades channeling spontaneity into a unique rhythmic language; a direct, instinctive and vital beat born from the creative freedom which has long defined the spirit of Faust. This same intuitive approach is at the heart of his new LP ‘Gugaruz’, created in collaboration with Dirk Dresselhaus (Schneider TM) and Elke Drapatz, a record which grew organically from shared experiences, chance encounters and the energy of collective interaction. The project’s unlikely starting point came in a Vietnamese restaurant, when Diermaier pointed to a piece of pickled baby corn and exclaimed “Gugaruz”, an Austrian dialect word for maize. That small moment triggered a chain reaction of ideas that would eventually shape the album’s imagery, titles and sound world. Popcorn cooking in a kitchen both became the source material for field recordings used on the opening track and inspired the cover artwork, establishing a process in which everyday sounds and environments became integral musical elements.

Throughout the album, Diermaier’s percussion serves as both foundation and driving force. His playing is entirely intuitive, developed in real time through improvisation and close interaction with the other musicians. Initial sessions as a trio, with Elke Drapatz operating the drum effects and trigger module and Dirk Dresselhaus on bass, were recorded in the latter’s ZONE studio in Berlin over a day and a half, before Uwe Bastiansen and Ilpo Väisänen added overdubs in Hamburg and Kuopio, Finland. The music captures moments as they happened, preserving the initial impulse rather than refining it into predetermined forms.

The titular “Gugaruz” introduces the album’s approach, transforming field recordings and percussion into a shifting landscape of metallic textures, resonant tones and atmospheric electronics. Next comes the expansive “Big Field”, inspired in part by the vast agricultural landscapes surrounding Diermaier’s home in Brandenburg. Built on a foundation of timpani-sized toms and metronomic cymbal, this fifteen minute psychedelic journey rides a hypnotic bassline through synth scree, languid guitar and reversed vocals, roaring into a crescendo before the melodic elements collapse in on themselves for the finale.

Elsewhere, “Saurer Regen” sees funky breaks and jazzy syncopation buried under an avalanche of guitar distortion and feedback, while “Space Agent” combines primal rhythmic drive with psychedelic and exploratory elements. The second half of the album moves into more spacious territory: “Yesterday’s Gift” and “Seeding” explore atmosphere and texture without abandoning the rhythmic sensibility that underpins the entire work.

Closing piece “Schleuse” returns to the album’s fascination with physical environments and found sound. Built from recordings made on the metal railings of a watergate near Diermaier’s home and expanded through additional harbour recordings, the track transforms elements of landscape and infrastructure into music.

‘Gugaruz’ stays true to the Faustian ideals, rejecting fixed structure in favour of a nonhierarchical musical collaboration built on listening and shared exploration. Shaped by the dialogue between Diermaier’s intuitive rhythmic approach, the interplay between Dresselhaus, Drapatz, Bastiansen and Väisänen and the use of the studio as an instrument, the album captures inspiration at its source, preserving the immediacy, energy and unpredictability of the moment in which it was created.

TRACK LISTING

A1 Gugaruz
A2 Big Field
A3 Saurer Regen
B1 Space Agent
B2 Yesterday’s Gift
B3 Seeding
B4 Schleuse

Order all 4 of the limited Coloured LPs in the "Curated by" series of albums and you'll receive a free Faust tote bag!

Since childhood, Jean-Hervé Peron has embraced creativity wherever he finds it. Whether duetting with the sound of his footsteps, collaborating with cement mixers or experimenting with whatever instrument he can get his hands on, play is at the heart of everything he does. This new album gathers ideas, memories and unfinished projects accumulated across his whole lifetime. Its tongue-in-cheek subtitle, ‘Maybe Of Interest’, offers a typically Peronian joke: MOI can suggest a certain self-confidence or egocentrism, yet the subtitle gently undercuts it, revealing the vulnerability, humour and self-awareness that run throughout the record. In fact, MOI is anything but solitary. Credited to FaUSt, with the "US" deliberately capitalised, the record reflects Péron's belief in collaboration, friendship and collective creativity, bringing together a wide network of musicians, engineers, writers and performers from across the extended Faust family. In fact, more than twenty people contributed to the recording sessions, making MOI as much a collective endeavour as a personal statement.

Recorded over two winter weeks at Schiphorst studio in northern Germany and deftly combining the contradictory forces of meticulous planning, free improvisation and chance discovery, MOI draws equally from childhood memories, Fluxus principles, dadaist humour and deeply personal experiences. The resulting album moves effortlessly between musique concrète, avant-pop, jazz, spoken word and experimental electronics, united by Péron's curiosity and irrepressible sense of play.

From the opening collage of "Charles et Léon", assembled from electronics, tape manipulations, found sounds and francophone samples, MOI inhabits a world where memory, accident and invention continually overlap. "Diabolus in Musica" transforms a chance encounter with the infamous tritone into an unlikely avant-pop miniature, while "Splash!" revels in multilingual voices, backmasked fragments and restless rhythmic movement. Elsewhere, Fluxus-inspired pieces such as "Metro Nomen" and the spoken-word meditation "Make Me Up" explore identity, language and the creative possibilities of disruption.

Balancing the album's experimental impulses are some of Péron's most emotionally direct compositions. "Du Fehlst Mir", written following the loss of a beloved companion, unfolds as a moving late-night jazz ballad, while "Telele" draws on childhood influences to create an atmosphere that is by turns choral, dreamlike and unsettling. The spacious jazz textures of "Quinten & Quarten", the shifting beauty and abrasion of "L'Orchestre des Anges", and the socially conscious reflections of "Writings On The Wall" further demonstrate the remarkable breadth of Péron's musical vocabulary.
The album closes with "Doux Ami", which moves from sombre introspection towards a joyful communal celebration, encapsulating the spirit that runs through MOI.

Throughout the record, Jean-Hervé Péron presents FaUSt as a living network of friendships, ideas and creative exchanges.

TRACK LISTING

1 Charles & Leon
2 Diabolus in Musica
3 Splash!
4 Du fehlst mir
5 L'Orchestre des Anges
6 Make Me Up
7 Quinten & Quarten
8 Metro Nomen
9 Dann stimmt irgendetwas nicht mehr
10 Telele
11 Writings On The Wall
12 Doux Ami

Order all 4 of the limited Coloured LPs in the "Curated by" series of albums and you'll receive a free Faust tote bag!

For over half a century, Hans Joachim Irmler has pursued the outer limits of sound. As a child, he would neglect his flute to pluck at the strings of his grandmother’s zither, cutting his fingers in search of greater resonance and volume. Drawn from an early age to the physical power of sound, he eventually found his instrument in the organ, whose vast sonic range offered seemingly endless possibilities; he still performs on the first organ he built himself. Expanding his sonic palette with synthesisers, tape manipulation and self-modified electronics, Irmler has relentlessly treated music less as composition than as a force of nature, capable of overwhelming, disorienting, destabilising and transforming both performer and listener alike.

Ungebunden continues this trajectory. Recorded alone in the Faust studio in Scheer over the course of just three weeks, the album does not revisit Faust as a repertoire or a historical artefact, but as a continuous vessel for pure creativity. Working largely through improvisation, Irmler begins with little more than a direction or impulse, allowing the material to reveal its own logic as it unfolds.

The opening piece, "Gefallen", emerges from a haze of mournful mellotron tones and distant organ figures. Feedback blooms and collapses across the stereo field, amplifiers pushed into saturation until buzzing distortion begins to reveal hidden harmonies. Beneath waves of oscillation and overdriven circuitry, fragile melodic fragments appear, only to be submerged once more beneath barrages of electronic noise. Piano and organ intertwine in heady counterpoint while seismic drum strikes sporadically pierce the wall of sound before the track drifts into a closing elegy.

"Zerfallen Teil I" moves deeper into unstable territory. Sustained drones and wavering string textures drift against detuned keyboards and cascading delay lines, creating shifting rhythmic relationships that seem perpetually on the verge of disintegration. Synthesiser motifs spiral upwards before being interrupted by bursts of interference, mechanical screeches and abrupt spatial dislocations, the track's tone straddling experimental electronics and the churn of doom rock.

The transition into "Zerfallen Teil II" introduces a surprising sense of propulsion. Jazz-inflected drumming gathers the fragments of its predecessor and drives them into unexpectedly rhythmic territory, where psychedelic motifs drift in and out of focus, as though deep-space communications transmitted decades earlier are only now arriving from beyond the horizon.
Closing track "Auseinandergefallen" condenses the album's concerns into a final surge of concentrated intensity. Massive synthesiser figures advance through roaring distortion while pulsing waveforms, whistles and electronic chatter orbit around them. At once oppressive and playful, structured and chaotic, the piece embodies the tension at the heart of Irmler's process.
Through Ungebunden, Hans Joachim Irmler poses Faust as a question, its sound a force capable of unsettling assumptions, disrupting perception and opening unforeseen possibilities.

TRACK LISTING

A1 Gefallen
B1 Zerfallen Teil I
B2 Zerfallen Teil II
B3 Auseinandergefallen

The second album by South London seven-piece Fat Dog, 'Cancel Me (I’m Tired)'. After releasing their debut album 'WOOF.' in 2024 and becoming one of the UK’s most exciting breakthrough bands in the process, they have a good reason to be tired. They’ve spent the period since 'WOOF.’s release spreading their raucous, infectious and irresistible bark around the world. The reason that they want you to cancel them is that they’ve been around the world and they’re tired. But if Fat Dog - Joe Love, Chris Hughes, Morgan Wallace, Ellis Dickson, Michael Dunlop, Dillon Harrison and Jed Bevington - are tired with the world, the world is not tired of them. In fact, the world can’t get enough of them.

With follow up 'Cancel Me (I’m Tired)', Fat Dog have created an exhilarating, swaggering, panoramic, inventive, re-inventive, re-re-inventive electro-punk-art-pop-rock’n’roll-space-country triumph that deserves all the adjectives. Over ten mind-bending and melodic tracks, it blends electro-pop anthems, cascading rave bangers, cowboy-tinged pitstops and swirling psychedelia. Into its lyrical orbit, the record pulls mentions of addiction, family ties, love, AI, ancestry, extra-terrestrials, Chris Tarrant, S&M, B&M, H&M and M&Ms. 'Cancel Me (I’m Tired)' possesses all the rabid frenzy and electrifying excitement of their debut but now delivered on a grand and glorious scale. Big, big things are ahead. Fat Dog are only just getting going. 

Bonobo, AKA Simon Green, returns with his new album 'Distance in Static' — evoking fragments of memory and meaning echoed across more than two decades at the forefront of electronic music. The acclaimed British musician, producer and DJ — known for his richly textured, globally influenced sound palette — continues his long-standing tradition of inspired collaborations, featuring Joy Crookes, Ichiko Aoba, Nilüfer Yanya, Arooj Aftab, Nicole Miglis (Hundred Waters) and Aanya Martin.

Lyrics appear in English, Urdu and Japanese, while historic Iranian samples and guzheng recordings sit alongside Green’s own meticulously processed instrumentation, woven together across recording sessions spanning LA, Tokyo, London and beyond with a significant portion of the record completed at Neil Young’s legendary Broken Arrow Ranch in California. It’s a record that represents the culmination of over 25 years as an artist and DJ. A reminder, if ever one was needed, of Bonobo’s enduring influence — newly felt by a generation rediscovering ’90s genres through a contemporary lens. That duality — introspective composer and club-focused selector — sits at the heart of a body of work full of depth, detail and emotion: both beautiful and driving; as ambitious and forward-thinking as ever

TRACK LISTING

1. Dawn
2. Cycles
3. Fire on the Water (feat. Arooj Aftab)
4. Drift
5. Talk to Me (feat. Nicole Miglis)
6. Uncasually
7. Always on Your Side (feat. Joy Crookes)
8. Youth’s Fountain (feat. Nilüfer Yanya)
9. Shokoufeh
10. Can’t You See (feat. Aanya Martin)
11. ID700
12. Me and You
13. Equinoctial (feat. Ichiko Aoba)
14. Mercury (feat. Kanako Yamamoto)

On 'Sirenas', Los Angeles quartet Allah-Las explore psychic vistas of atmospheric instrumental storytelling.

The band’s sixth album coalesces around a more spontaneous soundscape shaped by freeform experimentation, intuitive vibrations, and open-ended moments of inner and outer worlding.

Channeling a fluid sweep of influences, from The Durutti Column, I.A.O., and Popol Vuh’s scores for Werner Herzog to Jacques Cousteau’s expansion of The Silent World beneath the ocean’s surface, 'Sirenas' mediates on subconscious grooves loosely imagined and deeply felt, and opens up previously unimagined pathways in the process.

'This Mirror Weighs a Ton' finds Interpol turning inward while continuing to move forward. Across the record, reflection, distortion and perception become a lens through which familiar shapes are refracted into something slightly alien, as if seen through a different kind of light. Synthesizers, strings, acoustic guitars and percussion are integrated into the fabric of the songs, expanding the palette while revealing colors already latent within it. Nothing feels imposed. Instead, the additions deepen the band’s language of restraint, atmosphere and tension. The result is an album that feels expansive, uncanny and alive with forward motion, not a reinvention but an evolution that allows Interpol to continue transforming without losing their identity.

TRACK LISTING

1. This Mirror Weighs a Ton
2. See Out Loud
3. Iron City
4. Wounded Soldier
5. Wings On Fire
6. Ever the Actor
7. So Rides the Reindeer
8. Darling Thoughts
9. Wake Up
10. Enemy
11. Bird and The Serpent
12. Sudden

When the members of Adult DVD first started experimenting with synths the Leeds-based band had zero expectations as to where it would take them. Now signed to Fat Possum Records, their debut album Adult DVD, establishes their landing point, an irreverent new voice existing in the space between electronic euphoria and spiky hardcore energy.

Both unique in their approach and thrilling in impact, the band’s music has been shown love by Stereogum, Rolling Stone UK and The Line of Best Fit among others. Their breakout moment came with the single “Bill Murray,” an incessantly catchy distillation of people on the internet believing Tom Hanks and Bill Murray are the same person. More recently, the glitchy and anthemic “Real Tree Lee” was an A-list record at BBC 6Music and had support from BBC Radio 1.

At both Brighton’s The Great Escape and SXSW in Austin this year the band were championed as one of the buzziest acts of the festival with snaking queues of people waiting hours to see them perform . A relentless touring schedule in 2025 saw them hone their status as festival headliners in waiting, picking up a global army of new fans and playing to huge crowds at Glastonbury, Green Man, End Of The Road and more. The band recently toured Japan where they were greeted by fans in homemade Adult DVD merch, played a series of sold-out shows and saw posts about their performances go viral with millions of views.

In the making of their exhilarating debut album, vocalist Harry Hanson and synth-player Greg Lonsdale, alongside Danny Blackburn (guitar/synth), Jake Williams (synth), Jonathan Newell (drums), and George Manson (bass), went harder on what was already working for them: witty observational songwriting based in real-life characters and a pulsating synth-punk sound perfect for both the rave and the mosh pit. Fusing together an intense musical workout with depictions of a motley crew of figures ranging from 5G conspiracy theorists to an existential cowboy, Adult DVD is the electrifying sound of a band exceeding their own expectations while going just as hard, if not harder than their adrenaline-fuelled live shows.

On Adult DVD Hanson and Lonsdale continue to take a screenwriter’s approach to songwriting, filling their lyrics with stories pulled from the outskirts of society yet painting a vivid and comic picture of modern Britain. “We don't take things too seriously,” Lonsdale explains. “The lyrics have got sillier, the songs have got sillier. We make music for people to enjoy, so let them have a laugh.”

Produced by the band at The Nave Studios Leeds , the general theme of the album is to let go and take life a little less seriously. “Cowboy On Aisle Three” conjures an image of a wrangler swapping the rodeo for a supermarket over a swaggering synth riff . It’s an EQ-pushing beast that merges an existential crisis with the band’s playful spirit and relentless pursuit of bangers. Speaking about the song, Hanson says: “I came up with the idea when I was in Lidl. I’m sure everyone has thought, ‘Imagine if I just went nuts now,’ to get out of doing the big shop.”

Adult DVD might favour fiction over facts but that’s not to say these songs don’t tap into something real. Album opener “Do As I Please” unpicks the myth of community spirit and zeroes in on the post-pandemic sensation of the self-serving individual. “World’s Best Boss,” meanwhile, rages against authority figures warped by tiny amounts of power (“I’m shaking your hand just because I get paid”) and the importance of establishing an identity outside work. Another hit of pure unbridled energy, the industrial clatter of “Jesus Christ Supercar” finds the band taking aim at life’s bullshitters all too quick to explain away their lack of adventure. It stands as the opposite to their song “Do Something,” one of a few occasions when Adult DVD tips its cap to the band’s older material. “‘Do Something’ was about somebody trying things,” Lonsdale explains. “‘Jesus Christ Supercar’ is about always putting an excuse in the way.”

Simmering with boredom, wasted time, scams and a preoccupation with death and sex, the Adult DVD universe is a place to escape to and also get lost. These are songs that untangle the complicated ways in which people find themselves living, mining both laughter and energy from thinking. “There isn't that much down time on the album,” Hanson says in reference to its pulsating energy and high BPM count. “It's got harder in both directions. It’s like the EPs but on steroids.”

Adult DVD closes with a two song salvo that pushes things to new heights. “Real Tree Lee” shows what happens when questioning the truth leads to falling down the “cretin side” of the internet and into a bog of conspiracy theories. “I remember my mate from school whose dad used to make his own diesel in his shed,” says Lonsdale. “There was another guy who had loads of guns, too. We were interested in writing about these old boys with wild shit going on and where they go when they spend too much time online.”

“Rolling Face”—an acid house exploration of a wild night out that ends with its main character out of his mind — brings the album to a close. Its frantic pace, heavy breakbeats, and chanted vocals captures the band’s pulsating live show, concluding a journey that hurtles out of the screen and into real life. “The album starts in the evening and by the end of it, it's like it’s 3am,” says Hanson.

That release, from the twin streams of mundanity and chaos of modern life, makes Adult DVD one of the most entertaining and essential albums of the year. 

TRACK LISTING

Side A
1.⁠ ⁠Do As I Please
2.⁠ ⁠Coffin Dodger
3.⁠ ⁠Cold Caller
4.⁠ ⁠Minimal Criminal
5.⁠ ⁠Jesus Christ Supercar
6.⁠ ⁠Cowboy On Aisle Three
7.⁠ ⁠The Steaks Are High

Side B
8.⁠ ⁠World’s Best Boss
9.⁠ ⁠All I Need
10.⁠ ⁠Ghillie Suit
11.⁠ ⁠Real Tree Lee
12.⁠ ⁠Rolling Face

Chicago band Beach Bunny revisits their first three original releases, Animalism, Pool Party, and Crybaby. Featuring fan-favorite tracks “February,” “July,” and “6 Weeks,” this revamped edition reintroduces the band’s roots over a decade later.

Begun a decade ago as a Trifilio solo project, Beach Bunny have amassed a loyal fanbase thanks to things such as constant touring and collaborations with artists like Tegan and Sara and Marina. And today, Beach Bunny continues to nurture their community with appearances at Coachella and Lollapalooza and by curating their own Pool Party festivals in their hometown of Chicago.

So far, this approach has worked like a charm. The band - the name refers interchangeably to both Trifilio and the full band that also features bassist/lead guitarist Anthony Vaccaro and drummer Jon Alvarado - has landed viral hits such as the RIAA-certified Platinum "Prom Queen" and "Cloud 9” and the RIAA-certified Gold "Sports," and earned over a billion streams on Spotify alone plus countless appearances on critics' best of the year lists. 2022’s Emotional Creature, which debuted at No. 1 on Billboard’s Heatseekers Albums chart, while “Vertigo," the first single released from Tunnel Vision, became their highest charting song at AAA radio to date upon its 2024 release.

TRACK LISTING

Side A
Intro
6 Weeks
Oozin
California
Baby

Side B
July
Deja Vu
Waves
Shoegazer
Ghost

Side C
Feb
Boys
Jenny

Side D
Screen-printed D-Side

Finally! The sixth studio album Dinosaur Jr. have recorded in the 20 years since their triumphal rebirth. Created in short, intense bursts over the course of a year at Amherst's Bisquiteen Studio, 'There Near' was recorded almost entirely by Dino's core trio -- king of the thunder tubs, Murph, human tornado Lou Barlow on bass/vocals and the inimitable J Mascis on guitar/vocals -- with a bit of piano and organ work by local master musician, Ken Mauri. And the album roars from start to finish.

Trying to define the essence of Dino's sound is never easy. It's an instantly recognizable blend of loose vocals, sharp guitars and an animalistic rhythm section, but these parts combine into a whole far more magical and exciting than its components.

J's guitar tone throughout 'There Near' is even more animalistic than usual, perhaps owing partly to the fact he's playing through a recently acquired 70's Mesa Boogie MK 1 amp. “I bought the same amp that Chris Dixon had when we made our first album,” J says. “Chris recorded us at his house with his amp. It has a real interesting sound I haven't gotten for a while. And it's something I was trying to get back to on this album.”

Asked about the philosophical opacity of his lyrical approach, J says. “I'm not always sure what a song is 'about' when I'm writing it. I guess the meaning will present itself at some point. I'll use whatever words work. And a lot of it will be influenced by whatever esoteric mumbo jumbo I'm reading at the time. I try not to think too hard about any of it. Someone suggested this album sounds more upbeat, but I guess that's to do with my delivery, because lyrics like 'No Friends' might make you think otherwise. But I usually write in the third person. It's all just make believe.”

While it's true 'There Near' does present a slightly softer lyrical edge on some of J's songs, even a relatively gorgeous ballad like 'Put It Down' eventually explodes in a shower of fiery guitar distentions. It's just what happens. Meanwhile the two tunes provided by Lou -- 'Blowin' Up' and 'No One's Ready' -- may have less frenzied musical settings, but their lyrics sound like pointed and timely attacks on our current regime. As is so often the case, Lou's melodic constructions have a friendly mien, but his lyrics cut like knives.

'There Near' continues Dinosaur Jr.'s string of classic albums. The new songs are sure to sound amazing with their monstrous riffs blaring from live stages amidst their historical brethren. Can't wait to catch them live, but in the meantime 'There Near' will be a constant companion. The nearer the better.

TRACK LISTING

1. Several Got Away
2. No Friends
3. Everything At Once
4. Take Me With You
5. Blowin' Up
6. Gone Off
7. Clam Along
8. Walk Me Back
9. Read The Room
10. Put It Down
11. No One's Ready

Shapeshifting trio Vanishing Twin present their new album 'Archives', a collage of postmodern songcraft that finds transcendence in the shared experience of creation.

The album’s title alludes to Vanishing Twin’s distinctive approach of listening to, piecing together and reworking daily recording sessions. Founding member Cathy Lucas describes the process as “gathering material together, riffing with it, turning it around on itself, trying to put the pieces together and create a story with it”. With Lucas now relocated to rural France, and Valentina Magaletti and Susumu Mukai in London, the three connected by swapping songs and fragments of instrumentals in a virtual studio space. Geographic distance is bridged by their hivemind creativity, with multi-instrumentalist input from each member.

Each player brings a wide experience of collaboration and improvisation, with listening back and editing studio sessions an integral part of the creative process. Concepts of authorship and ownership dissolve in Vanishing Twin’s music, as members swap instruments and lose themselves in the collaborative moment. The archives of the album title become documents of the trio’s collective intelligence.

The chaotic energy of 'Archives' pushes Vanishing Twin into unfamiliar shapes and directions. Out of their comfort zones, the trio find new moments of enlightenment and delight. Deep in the mix, you might hear Magaletti picking up the bass, Mukai unexpectedly sitting in on drums, or Lucas slipping chameleon-like between the gaps.

'Archives' refines Vanishing Twin’s model of collective music making, where egos are dispelled in playful games of mix and match, and creativity flows between the three multi-instrumentalists. Operating between and outside conventional categories of genre, they sit alongside fellow travellers such as Tara Clerkin Trio and Still House Plants, stretching the idea of the contemporary music ensemble. A decade into their existence, Vanishing Twin are more mercurial than ever.

TRACK LISTING

1. Life By The Hand
2. Sugar Stone
3. Familiar Fruit
4. Hazama
5. Bring Me The Axe
6. So Calm (Case Study House No. 8)
7. Wherever You Are
8. Archives
9. Oral Tradition

LIVE IN ARLES 1975 is the seventh album in the acclaimed live series from German experimental rock pioneers CAN, overseen by founding member Irmin Schmidt and released on Mute.

Widely regarded as one of their finest performances, even by the band members themselves, this concert took place at the Roman Théâtre Antique in Arles. The lineup consisted of the core four members: Schmidt, Michael Karoli, Jaki Liebezeit and Holger Czukay. The band played as part of a festival that included other artists such as Nico and Kevin Ayres.

The recording was unearthed from the Spoon Records vaults, after long only existing through the stories of those who were there. To celebrate its first release, it feels only fitting that the sleeve notes include first-hand accounts from people who attended the show.

As with the rest of the series, this release captures the unique nature of CAN’s onstage improvisations. Every show was different, and these recordings offer a fresh look at a band whose creative process never truly finished.

TRACK LISTING

1 Arles 75 Eins
2 Arles 75 Zwei
3 Arles 75 Drei
4 Arles 75 Vier
5 Arles 75 Fünf
6 Arles 75 Sechs

For the best part of the last decade, Dumfries-born, Glasgow-raised Liam Shortall AKA corto.alto has been in his home studio in the Southside of the Scottish city, cooking up frenetic improvisations, diligently wonky productions and genre-spanning compositions with a close-knit group of local collaborators. Now signed to Ninja Tune, the multi-instrumentalist producer, composer and performer announces “SOME SMALL FORTUNE”, which finds Shortall at his most expansive and unpredictably exciting, working with his widest range of features to date, collaborating with the likes of Mick Jenkins, Vector, anaiis, Oscar Jerome, Jacob Alon (Brit Award winner), BINA., Terra Kin and Eriff alongside his longtime Glaswegian band, drummer Graham Costello, Mercury Prize nominated Fergus McCreadie and saxophonist Mateusz Sobieski to produce an electronic, classical, pop and indie-influenced record that extends far beyond the confines of its meticulous making.

It’s been an intense but rewarding few years for Shortall and his corto.alto project (the stage name a nod to his Irish-Spanish heritage, translating as “short.tall” in Spanish). The release of his debut album ‘Bad With Names’ saw him nominated for the 2024 Mercury Music Prize – alongside fellow Scot and now label-mate Barry Can’t Swim and the likes of Charli xcx, Ghetts, Beth Gibbons (Portishead), Nia Archives, CMAT and more – and saw him booked to play hundreds of shows across the world, including high-profile festival performances and a sold-out UK tour that featured his own personally curated 2000-capacity “Made In Glasgow” mini-festival at the city’s legendary Barrowlands Ballroom venue.

The music he makes as corto.alto is never easily categorised. It leans as much on his formal studies at the prestigious Royal Conservatoire of Scotland, as on his time spent as part of the burgeoning and fertile music scene in Glasgow; incorporating an eclectic mix of influences that draw as much on his affinity with club-culture and all its forms of Electronic Music, or to his love of classic Hip-Hop, Soul and Funk. His 2024 album ‘30/108’ saw him freely blend genre, tempo and instrumentation across 30 tracks – one released each day of the month, drawn from a pool of 108 demos and accompanied by live performance videos – showcasing his flair for fast-thinking creativity, innovation and improvisation over a more rigid studio approach. Exploring the fertile ground between live instrumentation and electronic productions and sound design is also a cornerstone of corto.alto’s blistering live shows that – along with handling bass, synth, trombone and effects – sees him turn band-leader, amongst his crew of hyper-talented musicians; all close friends and frequent collaborators.

It’s this fresh outlook and a hunger to subvert expectations that sets Shortall apart, winning him a new generation of music fans unbeholden to any one scene, alongside champions across radio and media like Gilles Peterson, Sian Eleri, Jamz Supernova, Deb Grant, KCRW and many more.

“If Hiatus Kaiyote and Masters At Work had a child, corto.alto would be it - the future is now!” GILLES PETERSON.

TRACK LISTING

Side A
SOME SMALL FORTUNE
THIEF
APRIL (feat. anaiis)
TEMPLE
GO (feat. Vector)
NOTHING (feat. Eriff)
DON’T LISTEN
PRAYED WE WOULD (feat. Oscar Jerome)

Side B
PAPER
WHODIS (feat. Mick Jenkins)
YURA
OMNI (feat. Terra Kin)
IJUSTIDONTKNOW
SOMETHING (feat. BINA.)
NOBLEHILL (feat. Jacob Alon)

New very limited 8 track album from Four Tet, includes 2 tracks previously available digitally!

TRACK LISTING

Track1:()vȯOOOOOOOooo☼ྀ☼ྀྀ༽༽༽༽༽༽༽ʅ()ʃꐑ(༽༽༽ȯ ) ༽༽༽༽ྀྀྀ) ( ) : : : ( ) ༽༽༽༽༽༽༽༽༽ʅ()ʃꐑ(༽༽༽༽༽༽༽༽༽༽༽༽) (l ̡̡̡ Ɵʅ༽ྀ҉ྀO◉☼ྀ⊖☼ྀ☼ྀ❁҉ྀ☼ྀ☼ྀྀྀ☼ྀ☼ྀ______oOo___________+-_.:._-*”+-_.:._☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉-*"+-_.:.*"+-_.:._-*"+-_.:._-*"+-ʅ( ) ȯ ) v ȯ ) _.:._-*"+-_.:._-*"+-_.:._-*"+-_.:._-*"+-_.:._-*"+-_.:._-*"))ʅ(ʅ(☼ྀ◞⊖◟☼ྀ◉༽∷▲∵⣎⡇ྀ∷༽◉☼ྀ◞⊖◟☼ྀꉂ ꆭ(☼ྀ❁)ᕗ҉ྀƟʅ( ) : : : ( ) (Ɵʅ()vȯ))ʅ

Track2:༽༽ྀ༽ɷԾᄑ◟ᄑ

Track3:☼ྀ☼ྀྀྀ☼ྀ☼ྀ::°。* ̧.·* ́ ̈・*・.°。· ́ ̈ ́ ゚* ́ ̈・。・ ゚. ́ ̈ ゚..·・*.。* ̈°。.・*。 ̧.·* ́.l ̡̡̡ Ɵʅ()vȯ))ʅl ̡̡̡ ʅ()ʃꐑȯ ) ༽༽༽༽ྀྀྀ: : ( ) (l ̡̡̡ Ɵʅ( ) ȯ ) v ȯ ) ) ( ) : : : ( ) V V V Ɵʅ()ȯ))ʅʅ()ʃꐑȯ ) ༽༽༽༽ྀྀྀ) ( ) : ☼ྀ◉༽∷▲∵⣎⡇ྀ: : ( )


Track4:☼ྀ☼ྀ◉҉ྀO◉☼ྀ⊖☼ྀ☼ྀ❁҉ྀ☼ྀ☼ྀྀྀ☼ྀ☼ྀ: : : ( ) (l ̡̡̡ Ɵʅ()ʅ()ʃꐑȯ ) ༽༽༽༽ྀྀྀ) ( ) : ☼ྀ◉༽∷▲∵⣎⡇ྀ: : ( )

Track5:☼ྀ☼ྀ◉ྀO◉◖ƪ❍⊁◞..◟⊀⦁⦁⦁❍|◗щ(*ᄋ△Φ☆)ノ☼ྀ⊖☼ྀ☼ྀ❁ྀ☼ྀ☼ྀྀྀ☼ྀ☼ྀ______oOo___________+-_.:._-*”+-_.:._-*"+-_.:._-*"+-_.:._-*"+-_.:._-*"+-_.:._-*"+-_.:._-*"+-_.:._-*༽༽༽༽༽༽༽ʅ()ʃꐑ(༽༽༽ȯ ) ༽༽༽༽ྀྀྀ) ( ) : : : ( ) ༽༽༽༽༽༽༽༽༽ʅ()ʃꐑ(༽༽༽༽༽༽༽༽༽༽༽༽) (l ̡̡̡ Ɵʅ༽ྀ"+-_.:._-*"+-_.:._-*"+-_.:._-*")) ʅ(ʅ(☼ྀ◞⊖◟☼ྀ◉༽∷▲∵⣎⡇ྀ∷༽◉☼ྀ◞⊖◟☼

Track6:°。* ̧.·* ́ ̈・*・.°。· ́ ̈ ́ ゚༽༽༽༽ྀྀྀ: : ( ) (l ̡̡̡ * ́ ྀ̈∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀ☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉☼ྀ◞⊖◟☼ྀྀ∷༽◉

Track7:Ɵʅ( ) v ȯ ) ) ☼ྀ◞⊖◟∷༽◉☼ྀ◞⊖◟☼ྀꉂ ꆭ(☼ྀ❁)ᕗʅl ̡̡̡ / \ / \ ( ( o ʅ( ) ☼ྀ☼ྀ◉҉ྀO◉☼ྀ⊖☼ྀ☼ྀ❁҉ྀ☼ྀ☼ྀྀƟʅ( ) v ȯ ) ) ☼ྀ◞⊖◟∷༽◉☼ྀ◞⊖◟☼ྀꉂ ꆭ(☼ྀ❁)ᕗʅl ̡̡̡ / \ / \ ( ( o ʅ( ) ☼ྀ☼ྀ◉҉ྀO◉☼ྀ⊖☼ྀ☼ྀ❁҉ྀ☼ྀ☼ྀྀྀ☼ྀ☼ྀ: : : ( ) (l ̡̡̡ Ɵʅ()vȯ))ʅl ̡̡̡ ʅ()ʃꐑȯ ) ༽༽༽༽ྀྀྀ: : ( ) (l ̡̡̡ Ɵʅ( ) ȯ ) v ȯ ) ) ( ) : : : ( ) V V V Ɵʅ()ȯ))ʅʅ()ʃꐑȯ ) ༽༽༽༽ྀྀྀ) ( ) : ☼ྀ◉༽∷▲ྀ☼ྀ☼ྀ: : : ( ) (l ̡̡̡ Ɵʅ()vȯ))ʅl ̡̡̡ ʅ()ʃꐑȯ ) ༽༽༽༽ྀྀྀ: : ( ) (l ̡̡̡ Ɵʅ( ) ȯ ) v ȯ ) ) ( ) : : : ( ) V V V Ɵʅ()ȯ))ʅʅ()ʃꐑȯ ) ༽༽༽༽ྀྀྀ) ( ) : ☼ྀ◉༽∷▲

Track8:҉҉҉҉●ྀ●ྀ●҉ྀྀ ྀ͞ ●ྀ●ྀ●҉ྀྀ ྀ͞ ●ྀ●ྀ●҉ྀྀ ྀ͞ ●ྀ●ྀ●҉ྀྀ ྀ͞

BODEGA's upcoming brand-new album 'All Inside Aquarium' sees the band expanding far beyond their minimalist post-punk origins towards soaring anthemic rock, sans the 'indie'.

The group's goal was, "Let's go back to melodic tunes, let's be more of a proper rock band," Hozie explains. Sonically, the band aimed for "this late '80's/early 90's Stone Roses-meets-Janes Addiction thing, with more riffing and guitar solos." Where the band's earlier material took a more explicitly sociopolitical bent, Hozie and Belfilgio's writing on 'All Inside Aquarium' is deliberately more concerned with the personal, poetics, and play.

With each single from the album, the band have created a limited edition 7" singles series. Each 7" has a unique colour and individual exclusive artwork that corresponds to a section of the 'All Inside Aquarium' album cover designed by Nikki. BODEGA, passionate defenders of the lost art of curating B-sides, made sure that each disc comes with an exclusive B-side track that's not available digitally, or on the album. Vinyl collectors and BODEGA heads will surely want to catch them all.

TRACK LISTING

All Inside Aquarium
Weather Me
Literary World
Astro Night Ride
Pick Up The Check
Oxygen
Fear Not The Fear
Slow Train
Combustible
Pile Driver
Backbeaten
Olivia

"A concert is an event where songs come back to life. That's why this album is called 'Live!'" explains Jarvis Cocker of this unique record in the Pulp canon. “It's both a statement of fact (it's a recording of a live band) & a challenge (come on! Everyone come alive!).”

It’s also Pulp’s first film soundtrack album: the Garth Jennings directed movie “What Do You Do For an Encore?” which is to be released worldwide this autumn.

Pulp’s relationship with Garth Jennings dates back to 1997: the year he directed the promo video for the song 'Help the Aged'. When Pulp announced that they were touring again back in 2023, Garth got in touch & offered his services in helping to design the staging concept. Then, in June 2025, he filmed the band’s two performances at the O2 Arena in London. This footage provides the main content of the film.

The O2 shows also provide the content of this live album. They were the 566th & 567th performances of the band’s career & provide a snapshot of a group at the height of its powers. Recorded the week 'More' - Pulp’s first album in 24 years - hit Number 1 on the Official UK Chart, the album captures the very moment the band returned as a creative force. Old classics & new classics brought together for the first time.

TRACK LISTING

1. Intro (feat Kelly Macdonald)
2. Spike Island
3. Slow Jam
4. Sorted for E's & Wizz
5. Disco 2000
6. Help the Aged
7. Farmers Market
8. This is Hardcore
9. Sunrise
10. Something Changed
11. Grown Ups
12. O.U.
13. Do You Remember the First Time?
14. Mis-Shapes
15. Got to Have Love
16. Babies
17. Common People
18. A Sunset

The last few years have been transformative for Nate Amos. Between delivering breakout records both as a solo artist — under his This Is Lorelei moniker — and with his band Water From Your Eyes, sold out shows across multiple continents, to seeing some of today’s most influential artists cover his songs, the ascending songwriter has found his stride. As the first This Is Lorelei album for Matador Records, The Singer in My Band takes the building blocks of the Great American Songbook and twists those elemental pieces into new shapes, at once both strangely familiar and endearingly offbeat in Amos’ signature style.

Written while touring the globe in support of releases from both his bands, The Singer in My Band arrives as the first true “road record” in Amos’ discography. “The ideas incubated while daydreaming in the car without access to any instruments,” he recalls, “so instead of being home and writing on the guitar or a computer, they developed slowly and subconsciously, existing as a sort of intangible thing while looking out the van window.”

2024’s Box for Buddy, Box for Star was Amos’ first attempt at an intentionally written full-length solo album, tackling newfound sobriety through a roving tongue-in-cheek take on musical personas, all strained through Amos’ genre-agnostic lens. It was a critical and word-of-mouth success, spawning a deluxe version with covers and collaborations including MJ Lenderman, Hayley Williams, Jeff Tweedy, Cameron Winter and many more.

The Singer in My Band came together in the same apartment Amos has produced much of his music, with final touches made at his parents’ house in St. Johnsbury, Vermont. Amos engineered, produced, and performed everything on Singer, save for a blistering banjo lead on the title track courtesy of his father, bluegrass musician Bob Amos, and the occasional vocals from his sister Sarah Amos and partner Al Nardo. “They’re three people who had a fundamental impact on what this album was to begin with, and the ways they could contribute were things that I had in mind as I was writing the songs,” he explains.

There’s an economy of style to Singer that’s distinct in the Lorelei catalog, harkening back to Amos’ earliest experiences with songwriting and a lifelong reverence for bluegrass music. “It’s the most fundamental form of music to me,” he says, but is quick to note any influence is more as a set of principles than a sound. “There’s a simplicity to bluegrass, where there are very particular rules and a very particular box - songs have to stand up by themselves in terms of melody, lyrics and chord progression.”

Inspired by the textured and organic production of Gordon Lightfoot, songs like “Billy Came Back” and “The Kid With the Crown” feature richly layered choruses made all the more effective by their spartan verses. The glitchy vocal harmonies on “Oh No Now My” feel beamed in from some distant future, fleetingly captured on decaying equipment for the album’s most anthemic song, second only to the widescreen climax of “Hey Sarah Is It Gonna Rain Forever.”

There’s Joey, Billy, Genevieve, Sarah, and the ever present Buddy, an Altman-esque ensemble cast who populate the album’s stories, scattered through distinctly American scenes and landmarks. As narrators go, they aren’t terribly reliable. They traffic in wild stories and chaotic experiences that are at once weirdly specific and just a bit blurry, mirroring Amos’ experience of these last several years. “It’s funny, I sent my dad the album after I finished it, and he said it was kind of an “on the road beatnik” album and that kind of reframed it for me,” says Amos. “It really is like a collection of chaotic experiences that you have while travelling. They’re also very much little works of fiction with elements of truth to them.”

For many years, Amos’ This Is Lorelei project was known only to a close knit group of creatives in Chicago, where he relocated in his early 20s and produced hundreds of albums and EP’s, tracing the outlines for both of his prolific projects before relocating to New York. In the time since, he’s flourished as a wildly creative polymath who is equally adept at slinging heartworn hooks and eyeball-exploding art-pop. These are songs about songwriting as a way of life – messy, debilitating, transcendent – from one of the most gifted contemporary interpreters of the form.

TRACK LISTING

Side A
I Will Eat My Heart in the Morning Light
On No How My
Billy Came Back
Watching Heaven Fall
Sailing (Your Baby’s Down)

Side B
The Singer In My Band
Nitro
Hey Sarah Is It Going To Rain Forever
The Kid With the Crown
And I Haven’t Seen My Love in Quite a While
Don’t You Cry in Lonesomeness

Bonus 7”
Side A
Chestnut

Side B
Dust in the Wine

Penelope Isles returns.

After a brief disappearance into solo records and restless touring, Wolter siblings Jack and Lily resurface with 3: a record drenched in salt and sun, with the tide pulling at its edges.

Three years have gone by since the band’s last show. Somewhere in between, life happened. Lily spent six months in Sri Lanka and Indonesia, trading songs for surfboards and stepping back from music for the first time in years. When Jack went out on the road with CMAT, Lily started a band of her own. ‘3’ is the sound of this magnetic songwriting duo finding each other again.

Written on a monthlong surf trip to Lagos, Portugal, these are songs with sandy feet and sunburnt shoulders, hooks that glow and harmonies that ache. Beauty built carefully, like a perfect sandcastle on a summer holiday, only to be flattened in an instant by your auntie’s passing cruelty. There's sweetness here, but it comes with teeth.

A year later, the band flew to the Isle of Lewis off Scotland’s northwest coast to record the album live at Black Bay Studio. Perched on a sheltered harbour, twenty miles from the nearest shop, the refurbished fish factory was the first room the band had ever recorded in outside their home studio. Engineers Pete and Cal, truly dedicated to the island they live on, held the room for ten days, offering the kind of generous, unhurried attention that lets a record breathe. The remote landscape pulled the Isles into new, thrilling territory. They kept binoculars close by, peering through the soaring live-room window to scan the sprawling coastal view for white eagles and dolphins.

3 is record of firsts for the Brighton-based band. The first as a true three-piece, with close friend Joe Taylor (Anna B Savage, Iona Zajac) joining on drums, and the first they’ve ever recorded live. Jack and Lily trade shimmering guitars and sunlit harmonies like shared secrets, while Joe Taylor anchors it all: falsetto drifting wistfully above, drums crashing below. These are songs that read like postcards or pages ripped from a diary and slipped under someone's door. Recording the album live has kept the ink wet and the page still warm.

The album carries a lot of the band’s adopted hometown of Brighton. 'Bom Bane's' is named for the off-kilter Kemptown restaurant the band orbited. ‘Embo' is two verses long and a nostalgia-soaked love letter to a seafront flat at Embassy Court, and the people and memories that passed through it. Most of all 3 is an album made from a lot of love for each other, and the people who have been a part of the band’s lives over the last few years. "Jack and I are blood," says Lily. "Sometimes we're both in tears because of how special it feels."
Still obsessed with love, with heartbreak, with what lingers after, Penelope Isles carve out something new here. A shifting coastline of sound: hazy, luminous, and always on the verge of collapse.

“Penny Isles is such a big part of our personalities,” says Jack. “So it’s about time we got back to it.”

'Bossanova' is the third Pixies album. The band continued to work with Gil Norton after collaborating to such success on their platinum-selling second album 'Doolittle'. Their third album in as many years, 1990 was a particularly fertile time for the band with Kim Deal also having success with The Breeders, who released their debut album 'Pod' just a few months prior.

Featuring the singles ‘Allison’ (a tribute to jazz and blues pianist Mose Allison), ‘Dig For Fire’ and ‘Velouria’, plus the first cover to feature on one of their albums ‘Cecilia Ann’ (originally by The Surftones), 'Bossanova' showed a less primal side to the band, with surf and space rock rising to the fore. Lyrically, Black Francis is even more cryptic with a recurring sci-fi theme running throughout, which in turn influenced Vaughan Oliver’s classic planet design for the sleeve.

TRACK LISTING

1. Cecilia Ann
2. Rock Music
3. Velouria
4. Allison
5. Is She Weird
6. Ana
7. All Over The World
8. Dig For Fire
9. Down To The Well
10. The Happening
11. Blown Away
12. Hang Wire
13. Stormy Weather
14. Havalina

'Trompe le Monde' bookended a golden run of landmark records released in quick succession that cemented Pixies as one of the best of a generation.

Translated from French to mean “fool the world”, 'Trompe le Monde' showed the band still restless to push their sound forward. With producer Gil Norton again at the controls, their fourth album is arguably their most playful with Black Francis’s lyrics on UFOs and conspiracy theories keeping things weird while power pop creeps in to amplify the space rock established on predecessor 'Bossanova'.

'Trompe le Monde' goes full throttle with 15 tracks coming in a quickfire 40-minute salvo. It proved to be the end of act one for the band with them taking over a decade before returning to stage together.

STAFF COMMENTS

Andy says: This is an absolutely incredible record. Motorway to Roswell: what a stunner.

TRACK LISTING

1. Trompe le Monde
2. Planet of Sound
3. Alec Eiffel
4. The Sad Punk
5. Head On
6. U-Mass
7. Palace of the Brine
8. Letter to Memphis
9. Bird Dream of the Olympus Mons
10. Space (I Believe In)
11. Subbacultcha
12. Distance Equals Rate Times Time
13. Lovely Day
14. Motorway to Roswell
15. The Navajo Know

Dundalk’s finest The Mary Wallopers have announced details of their third album – produced by The Coral’s James Skelly and packed with their own songs - a new single and their biggest headline tour to date, including arena shows in Scotland and Ireland

Paddywhackery follows up 2023’s hugely acclaimed Irish Rock’n’Roll. That album saw the band grow in confidence, writing their own songs for the first time. Paddywhackery finds them leaping forwards to create an album that sounds like it’s been made by a band with a tightness and a power that’s unparalleled in music right now.

Recorded in an intense two-week period in Liverpool with producer James Skelly and engineer Chris Taylor, Paddywhackery lets the band’s grand wildness shine through and allows their songs to flow out of the speakers with the kind of verve and potency that will make you - the listener - press play again, and again, and again.

Andrew and Charles Hendy on the album: “It’s mainly about the fact that people would call us “paddywhackery” because we are too Irish or whatever, but it’s all very fucking hip to be Irish the last couple of years, and maybe that’s performative too, it’s very sincere. If all you do is serious songs, it sterilises everything. It becomes like there’s only one human emotion and its seriousness. People are terrified of being laughed at. If people are going to call us paddywhackery anyway, we might as well just call the album Paddywhackery. So its more of a “fuck you” than anything else. We want to spread like a virus and destroy anyone who thinks they are above The Mary Wallopers”.

TRACK LISTING

Side A
Crowns of England
The Juice
Seán na Sagart
Smuggling the Tin
Castlecoe Hill

Side B
The Big Mixer
Worker’s Song
Banks of the Roses
Landlord’s Demise
Kit Kat Club
Mickey Dam

We went back to an older method of writing for this one.
We jammed and jammed and jammed.
I took the tapes home and ironed out some mutant tunes.
We went back into the studio and burned them to tape live and then I took it home to Stu-Stu-Studio and did the vocals and bought in Tom Dolas & Brigid Dawson to put the finish on.

Spice is always nice.

Mixed it all up in the cauldron and thus we have a strange brew indeed
Floating in the smoke we have:
A couple long jams, a couple short jams and a finale that’ll dump a bucket of ear worms on you
(reminiscent of “the axis”?)
Dip your toe in organ rock and roll

So without further ado
We present to you
“OFF COURSE”

An album wondering where the fuck are we and how did we get here

A signal dispatched out into the darkness

We are here
We are alive
And we are together


CHEERS NO EARS
JPD/DG/OSEES 

‘Renascent’ marks the long-awaited return of legendary Manchester outfit The Durutti Column, their first new studio album in over fifteen years.

Around the guitar work of Vini Reilly, the album plays between sonic atmospherics and structure: warm ambient washes, piano, beats and guest vocal turns by a new generation (Caoilfhionn Rose).

Both contemporary and otherworldly, and with a swathe of new champions citing the band as an influence (Blood Orange, Harry Styles, The Avalanches, Mark William Lewis), 'Renascent' is a timely and vital rebirth for The Durutti Column.

TRACK LISTING

1. Echoes In The Memory
2. Your Shadow At Morning
3. Time Present And Time Past
4. Agonistes
5. Liars
6. Vapour In A Matchbox
7. Your Shadow At Evening
8. Sargasso Sea
9. Scammer
10. For Friends Everywhere
11. All They See is Fire - CD Only

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

New music from The Strokes arrives now, beginning with a new song, 'Going Shopping'. Produced by Rick Rubin, 'Reality Awaits' is the 7th album from The Strokes.

TRACK LISTING

1. Psycho Shit
2. Dine N’Dash
3. Lonely in the Future
4. Falling out of Love
5. Going to Babble On
6. Going Shopping
7. Liar’s Remorse
8. The Fruits of Conquest
9. Pros and Cons

Released in October 1995, 'Ask Me Tomorrow' could have easily been the fourth Slowdive album, sounding like an acoustic deconstruction of the group’s early recordings, still dreamlike and ethereal but recontextualized by discernible lyrics and a country-folk aesthetic.

“We put quite a lot of reverb on the vocals,” Neil recalls of the primitive recording style, “and because we were all in one room recording straight to tape, there was a lot of bleed, it made everything sound really reverby. It gave the mix this really cool, murky sound and sort of inadvertently bridges the gap to Slowdive a little.”

Channelling the sorrowful songwriting of Leonard Cohen, Nick Drake, Townes Van Zant, and Fairport Convention, as well as contemporaries like Mazzy Star, Tindersticks, and Cowboy Junkies, this tone is set by the transcendent opener 'Love Songs on the Radio', in which Rachel’s angelic vocals are suspended in air by slow, sleepwalking guitar and minimalist bass and drum flourishes.

“I sang that song sitting on a mattress in the kitchen of Neil’s flat,” Rachel recalls. “It was exciting because I really enjoyed the songs, and it felt like this entirely new thing was forming with only me, Neil and Ian.”

“It was a very easy record to make, very off the cuff,” Ian confirms. “The atmosphere had been so toxic at the end of Slowdive, that it just felt so positive to be starting over with Rachel, Neil and myself, having a good time doing something completely different.”

TRACK LISTING

1. Love Songs on the Radio
2. Sarah
3. Tomorrow's Taken
4. Candle Song 3
5. You're Beautiful
6. Where Is the Love
7. After All
8. Pictures
9. Mercy

After playing with the band on their first tours of the US and Europe, Simon Rowe and organ/piano player Alan Forrester had joined the group full-time for the next record, essentially turning Mojave 3 into Mojave 5. Not only that, but the four men in the band also moved into a farmhouse in Cornwall, building a small studio in a cowshed where they demoed songs for what became 'Out of Tune'.

“It was a real communal experience living on this village farm with Ian, Alan, and Simon, and a few other friends,” says Neil. “It was our own little Big Pink.”

“That was a real Band-y sort of atmosphere,” agrees Ian, “very old school, with everyone learning their parts and playing at the same time. Our sound became bigger, more raucous and poppy, as a result.”

“I was living in London and coming down to stay for a few weeks at a time,” says Rachel. “We were young and just really having fun with it.”

Based on his work on Belle & Sebastian’s 'If You're Feeling Sinister', the band hired producer Tony Doogan and decamped to Cava Studios in Glasgow to properly record 'Out of Tune', which turned into a long process of remixing, rerecording, and adding new elements like pedal steel and brass. While the procedure was laboured, the highly polished result is a bright, largely upbeat record that showcases a new sophistication in Neil’s lyrics while sounding much more like Neil Young, Bob Dylan, and Gram Parsons than anything resembling Slowdive.

TRACK LISTING

1. Who Do You Love
2. Give What You Take
3. Some Kinda Angel
4. All Your Tears
5. Yer Feet
6. Caught Beneath Your Heel
7. Keep It All Hid
8. Baby's Coming Home
9. To Whom Should I Write

With the band returning to London to work and live at the famed Fortress studios, 'Excuses for Travellers' was the first of two consecutive albums recorded with the help of friend and electronic artist Mark Van Hoen. Combining the melancholy and stripped-down intimacy of 'Ask Me Tomorrow' and the Laurel Canyon soul of 'Out of Tune', it finds the band refining their touch to create a more cohesive record that rightfully sits at the middle of their ever-morphing sound.

“With 'Out of Tune' I was sort of obsessing a little too much over Bob Dylan and Neil Young,” says Neil, “whereas on 'Excuses for Travellers' the influences had been absorbed a little more, and the band made it into its own thing. Mark’s production really helped as well.”

Lusciously textured with restrained guitar, drums, pedal steel, horns, and piano, it’s an introspective campfire record that lets Neil’s voice and songwriting take centre stage ('In Love with a View', 'My Life in Art', 'She Broke You So Softly'), while also featuring the only two Mojave tracks solely credited to Rachel ('Bringin’ Me Home') and Ian ('Got My Sunshine').

Reflecting on his growth as a songwriter, Neil says, “Unlike Slowdive, where the music is at the forefront and nobody is focusing on what anyone's saying, you couldn’t really hide the lyrics with Mojave 3. I had to think about them more, work harder on them.”

TRACK LISTING

1. In Love with a View
2. Trying to Reach You
3. My Life in Art
4. Return to Sender
5. When You're Drifting
6. Any Day Will Be Fine
7. She Broke You So Softly
8. Prayer for the Paranoid
9. Bringin' Me Home
10. Got My Sunshine

Never ones to sit still, 'Spoon and Rafter' marked another shift for the band. While still containing echoes of singer-songwriters and alt-country, the record represents a Technicolor expansion of their palette that utilizes electronics, glockenspiels, melodica, and Beatlesque production.

“It’s quite a bonkers album, really,” says Ian. “By that stage we had our own studio again on the north Cornish coast in the UK. We had time to pick up different instruments and just faff around. It was quite a process, but it’s my favourite record we did.”

“We sort of entered our Beach Boys phase of Mojave 3,” says Neil, “where we became more interested in different instrumentation and a fuller sound. Thanks to Mark [Van Hoen] it was the first time we used an early Pro Tools system to edit stuff together, so some of the tracks are much longer and more orchestrated, like ‘Bluebird of Happiness,’ which has three different sections that were all recorded separately and then chopped together.”

And while Mojave 3 had few instances of breaking into mainstream culture, album cuts 'Bluebird of Happiness' and 'Bill Oddity' were poppy enough to both be featured in 2003 episodes of The O.C.

TRACK LISTING

1. Bluebird of Happiness
2. Starlite #1
3. Bill Oddity
4. Writing to St Peter
5. Battle of the Broken Hearts
6. Hard to Miss You
7. Tinkers Blues
8. She's All Up Above
9. Too Many Mornings
10. Between the Bars

By the time of their final album, Mojave 3 had journeyed a long way from the dreamy, country-tinged sadcore they started with. Reminiscent of the late days of Slowdive, both Neil and Rachel had released solo records, Ian was playing in other bands, and Neil was once again going off on his own to finish the album himself.

Leapfrogging the sonic direction of their previous album, 'Puzzles Like You' brings in jangly Byrds guitars and uptempo Sixties pop melodies for a positively bright and fun record that feels right at home next to indie rock contemporaries like The Shins and Band of Horses, while sounding nearly unrecognizable next to the band they were on 'Ask Me Tomorrow'.

“It’s a much perkier, more ‘indie’ record,” says Neil, “although there's still some quite nice country stuff on there. ‘Most Days’, ‘Big Star Baby’, and Ian’s song ‘The Mutineer’ are some of my favourite songs that Mojave made.”

Sadly, after recording her vocals for the album, Rachel entered a period of illness that would prevent her from touring or recording for several years. Combined with the fact that their five-album deal had been completed, Neil had a growing solo career, and they never sold enough records to live off of in the first place, the band seemed to be reaching its natural conclusion. And so (after briefly reforming for a 2011 tour) Mojave 3 disappeared, blown away by the desert sands they came from.

Over the next few years, the shoegaze sound Neil and Rachel first made together was discovered and mythologized by a new generation, and it was Slowdive’s turn to be reborn, becoming bigger and more beloved than anyone could have imagined.

As a result of their unpredicted success, Mojave 3’s own myth has grown, resulting in their records being some of 4AD’s most requested reissues of the last decade. With these 2026 reissues putting all five albums in print once again, perhaps it’s Mojave 3’s time to rise from the ashes and fly once again.

TRACK LISTING

1. Truck Driving Man
2. Puzzles Like You
3. Breaking the Ice
4. Running with Your Eyes Closed
5. Most Days
6. Big Star Baby
7. Ghost Ship Waiting
8. Kill the Lights
9. You Said It Before
10. To Hold Your Tiny Toes
11. Just a Boy
12. The Mutineer

Mike D will release his debut album Thank You on August 28, marking the first full length offering of new music from a Beastie Boys alum since 2011. Tracing its origins back to a series of zero-pressure, experimental recording sessions at Mike’s home studio, the album features a dozen servings of sonically inventive post-electronic grooves and hypnotic hooks that find Mike D’s unmistakable voice leading the listener through an aural playground that defies categorization.

TRACK LISTING

1. Switch Up
2. What We Got
3. True Colors
4. That’s Right
5. Secrets Pt. I & II
6. I Don’t Care
7. Make It Stop
8. Crypto
9. Here We Are
10. Back To Start
11. It’s Time
12. Thank You

Scotland's incomparable and influential Arab Strap are back with their ninth studio album 'Half-Told Tales': almost exactly 30 years since the beloved duo’s first ever single, 'The First Big Weekend', was released. The follow-up to 2024's acclaimed 'I'm totally fine with it 👍 don't give a fuck anymore 👍' , 'Half-Told Tales' is rich with Aidan Moffat and Malcolm Middleton’s trademark wit and dark humour, whilst creating moments from quiet brooding to a self-described “disco-metal incantation that might make you dance” . Including the single 'You You You', the album was recorded with long-time collaborator Paul Savage (Mogwai, Belle and Sebastian, Franz Ferdinand).

TRACK LISTING

1. I Get Noise
2. You You You
3. Be a Man
4. Fighting For You
5. Glamour Magick
6. Gape
7. Under Offer
8. Basic Physics
9. Sunsong
10. Dollar Park
11. Mr. Splitfoot
12. Ampersand
13. Fragments
14. Beats Per Minute

‘Baby You’re A Winner’ is a perfect illustration of the elevated musicality of the album that bears its name. Linking up across the record’s twelve tracks with producer Ali Chant (PJ Harvey, Perfume Genius, Yard Act), Baby You’re A Winner showcases a real levelling up for Grandmas House: more layered and involved than their trio of previous EPs - Grandmas House (2021), Who Am I (2023), Anything For You (2025) - with a greater focus on the use of vocals and harmonies to embolden the meticulously crafted arrangements.

It’s the sound of the quartet - Yasmin Berndt (guitar, vocals), Poppy Dodgson (vocal, drums), Zoë Zinsmeister (bass, vocals) and Polly Jessett (guitar) - bringing a greater sense of nuance and space to their music, while deploying myriad genres to maximum effect. From the righteous, elasticated rock of recent single ‘DOG’ to the syncopated post-punk and brass blasts of ‘Dance’ and on to the chamber folk ambiance of closer ‘Spring’, Baby You’re A Winner is the most authentic, realised portrait of Grandmas House to date.

The songs here navigate a precarious balancing act between sadness and catharsis, ultimately landing in a place of salvation - the product of the band’s tight-knit friendship, this album is their gift to the world, born from a period of grief and hardship but emerging from the other side with profound love and strength. It’s a testament that even when the odds are against you, anyone can be a winner.

“We wrote this album about the existential crisis of going through life,” explain the band. “It’s about love and infatuation but also about grief and loneliness. It’s emotional, powerful, sad and a good time all at once.” 

TRACK LISTING

Side A:
Baby You’re A Winner
DOG
Blue Oblivion
The Table
Hurricane
Dance

Side B:
Next Big Hit (Choo Choo)
Taxidermy
Soaked
I Miss That House
How It Is
Spring

A Certain Ratio (ACR) revisit one of their most influential works, Force, with the new, accompanying companion album Force Majeure, out via Mute.

Offering a fresh perspective on ACR’s enduring legacy, it celebrates the 40th anniversary since its release. Force Majeure is a deep dive, featuring unreleased original versions of tracks from the album, which differs from the 1986 release, including the title track ‘Force’, which never appeared on the original album.

TRACK LISTING

1 Only Together (FM)
2 Bootsy (FM)
3 Naked and White (FM)
4 And Then She Smiles (FM)
5 Take Me Down (FM)
6 Anthem (FM)
7 The Runner (FM)
8 Force (FM)
9 Nostromo A Go Go (FM)

Blossoms return with their 6th studio album, ‘Songs From The Wedding Cake’. Featuring singles 'Meet Me In Love' and 'Joke About Divorce', the Wedding Cake, nickname for Stockport’s Town Hall where band member Tom Ogden got married, spans 10 tracks and follows up the 2024 number 1 album 'Gary'. The album, produced by Shawn Lee, was recorded entirely to tape.

TRACK LISTING

1. Joke About Divorce
2. Husband
3. Meet Me In Love
4. The Kardashians
5. Additional Driver
6. Fall Into You
7. Guts
8. Uma Thurman
9. Where Have You Been My Whole Life?
10. The Deep End

A Certain Ratio (ACR) revisit one of their most influential works, Sextet, with the new, accompanying companion album The Joy of Sextet out via Mute.

Offering a fresh perspective on ACR’s enduring legacy, it celebrates the 45th anniversary since its recording, featuring a new mix of the original Sextet album session tapes by longtime collaborator Andy Meecham (The Emperor Machine). The tracklist includes beloved songs such as ‘Lucinda’ and ‘Knife Slits Water’.

Take up your favourite position in front of the speaker and enjoy this fresh take on the classic album.

TRACK LISTING

1 Lucinda (EM)
2 Crystal (EM Night Version)
3 Gum (EM)
4 Knife Slits Water (EM)
5 Tumba Rhumba (EM)
6 Day One (EM)
7 Below the Canal (EM)
8 Waterline (EM Dub)
9 Knife Slits Water (EM 12” Version)

Originally released in 1990 by Happy Mondays, Pills ‘n’ Thrills and Bellyaches captured the chaotic, euphoric spirit of the Madchester movement, blending indie rock, acid house rhythms and funk grooves into a sound that helped reshape British alternative music. Featuring era-defining tracks such as “Step On” and “Kinky Afro,” the record became both a commercial breakthrough and a cultural snapshot of a generation fuelled by dance culture and Northern nightlife.

More than three decades later, its grooves, attitude and genre-blurring production still resonate strongly with contemporary audiences, influencing modern indie and electronic artists alike.

TRACK LISTING

LP Tracklisting:
Side One
A1. Kinky Afro
A2. God's Cop
A3. Donovan
A4. Grandbag's Funeral
A5. Loose Fit
Side Two
B1. Dennis And Lois
B2. Bob's Yer Uncle
B3. Step On
B4. Holiday
B5. Harmony

2CD Tracklisting:
Disc One - Album Remastered
1. Kinky Afro
2. God's Cop
3. Donovan
4. Grandbag's Funeral
5. Loose Fit
6. Dennis And Lois
7. Bob's Yer Uncle
8. Step On
9. Holiday
10. Harmony
Disc Two - Remixes Remastered
1. Hallelujah (Club Mix)
2. Rave On (Club Mix)
3. W.F.L. (Think About The Future Mix)
4. Step On (Stuff It In Mix)
5. Kinky Groovy Afro Remix (12")
6. Loose Fit (Perfecto 12" Mix)
7. Tokoloshe Man
8. Hallelujah (Daniel Avery Edit)
9. Loose Fit (Shadow Child Edit)
10. Gods Cop (Anna Prior Edit)
11. Step On (Paul Oakenfold Edit)
12. Hallelujah (Ewan Pearson Remix)

5LP Box Set Tracklisting:
Side One - Album Remastered
A1. Kinky Afro
A2. God's Cop
A3. Donovan
A4. Grandbag's Funeral
A5. Loose Fit
Side Two - Album Remastered
B1. Dennis And Lois
B2. Bob's Yer Uncle
B3. Step On
B4. Holiday
B5. Harmony
Side Three - Madchester - Rave On Remastered
C1. Hallelujah
C2. Holy Ghost
C3. Clap Your Hands
C4. Rave On
Side Four - Hallelujah Remastered
D1. Hallelujah (MacColl Mix)
D2. Hallelujah (Club Mix)
D3. Rave On (Club Mix)
D4. W.F.L. (Think About The Future Mix)
Side Five - Baby Bighead Bootleg Remastered
E1. Hallelujah (Live at Elland Road, 1991)
E2. Donovan (Live at Elland Road, 1991)
E3. Kinky Afro (Live at Elland Road, 1991)
Side Six - Baby Bighead Bootleg Remastered
F1. Clap Your Hands (Live at Elland Road, 1991)
F2. Loose Fit (Live at Elland Road, 1991)
F3. Holiday (Live at Elland Road, 1991)
F5. Rave On (Live at Elland Road, 1991)
Side Seven - Baby Bighead Bootleg Remastered
G1. E (Live at Elland Road, 1991)
G2. Tokoloshe Man (Live at Elland Road, 1991)
G3. Dennis And Lois (Live at Elland Road, 1991)
Side Eight - Baby Bighead Bootleg Remastered
H1. God's Cop (Live at Elland Road, 1991)
H2. Step On (Live at Elland Road, 1991)
H3. Bobs Yer Uncle (Live at Elland Road, 1991)
Side Nine - Remixes Remastered
I1. Step On (Stuff It In Mix)
I2. Kinky Groovy Afro Remix (12")
I3. Loose Fit (Perfecto 12" Mix)
I4. Tokoloshe Man
Side Ten - Remixes Remastered
J1. Hallelujah (Daniel Avery Edit)
J2. Loose Fit (Shadow Child Edit)
J3. Gods Cop (Anna Prior Edit)
J4. Step On (Paul Oakenfold Edit)
J5. Hallelujah (Ewan Pearson Remix)

4CD Bookset Tracklisting:
Disc One - Album Remastered
1. Kinky Afro
2. God's Cop
3. Donovan
4. Grandbag's Funeral
5. Loose Fit
6. Dennis And Lois
7. Bob's Yer Uncle
8. Step On
9. Holiday
10. Harmony
Disc Two - Madchester - Rave On - Hallelujah Remastered
1. Hallelujah
2. Holy Ghost
3. Clap Your Hands
4. Rave On
5. Hallelujah (MacColl Mix)
6. Hallelujah (Club Mix)
7. Rave On (Club Mix)
8. W.F.L. (Think About The Future Mix)
Disc Three - Baby Bighead Bootleg Remastered
1. Hallelujah (Live at Elland Road, 1991)
2. Donovan (Live at Elland Road, 1991)
3. Kinky Afro (Live at Elland Road, 1991)
4. Clap Your Hands (Live at Elland Road, 1991)
5. Loose Fit (Live at Elland Road, 1991)
6. Holiday (Live at Elland Road, 1991)
7. Rave On (Live at Elland Road, 1991)
8. E (Live at Elland Road, 1991)
9. Tokoloshe Man (Live at Elland Road, 1991)
10. Dennis And Lois (Live at Elland Road, 1991)
11. God's Cop (Live at Elland Road, 1991)
12. Step On (Live at Elland Road, 1991)
13. Bobs Yer Uncle (Live at Elland Road, 1991)
Disc Four - Remixes Remastered
1. Step On (Stuff It In Mix)
2. Kinky Groovy Afro Remix (12")
3. Loose Fit (Perfecto 12" Mix)
4. Tokoloshe Man
5. Hallelujah (Daniel Avery Edit)
6. Loose Fit (Shadow Child Edit)
7. Gods Cop (Anna Prior Edit)
8. Step On (Paul Oakenfold Edit)
9. Hallelujah (Ewan Pearson Remix)

Some artists don’t ask permission; they just land in your gut and stay there. Some records arrive polished and pristine. Others bleed the moment you press play. On their debut album ‘Put A Smile On For Me’, the fast-rising London four-piece Keo choose the latter. Raw, bruised, and unflinchingly self-aware, their first full-length release captures the emotional fallout of love, guilt, shame, and self-destruction with a clarity that feels almost confrontational. The record captures a band documenting themselves in real time, preserving every fracture, ugly thought and moment of collapse without compromise.

Blending grunge intensity, shoegaze textures and confessional songwriting, the record draws on the charged candour of artists including Led Zeppelin, Sun Kil Moon and Smashing Pumpkins, while carrying the lyrical directness and storytelling instinct of artists like Radiohead. Across its 11 tracks, Keo move between moments of towering vulnerability and total collapse, pairing brooding atmospheres with melodies that feel built to be screamed back in over-spilling rooms.

“The next big guitar band." - The London Standard.
“A sound that has given UK guitar its biggest kick up the fretboard in years.” Rolling Stone UK.
“Keo are already that band." - DORK.
“There’s something undeniably compelling about Keo’s willingness to lay everything bare.” -Kerrang!
"Indie-rock’s most promising new proposition” - DIY.

The Dinked Edition of ‘Put A Smile On For Me’ comes in an exclusive collector’s format featuring alternative artwork and a limited yellow marbled vinyl pressing. It includes a heavyweight outer sleeve with alternate artwork, a printed inner sleeve, transparent outer sticker and exclusive fold-out poster. 

TRACK LISTING

Side A
Be Happy
That’s Me
Fly
Best I Can Do
Bird On The Wire

Side B
Pistol
Loser
Black Dress
Blue Song
Spent On You

Stoke-On-Trent’s most tuned-in and turned-out trio are releasing debut album Punch Card, which might be the avant-garde pop record of the year.

Driven by a desire for sonic collage and bolstered by lateral thinking, ‘Punch Card’ is a crafty lesson in how, with touches of masterful manipulation, the collision of opposing forces can cause sparks to fly and an irrepressible need to dance. “Our aim is to undermine anything leaning too far one way or the other. We shoot for homogeneity - if it sounds good and its component parts can't be pulled out, we’ve matched the job description,” they say of finding balance in their desire to ‘pull the rug’ musically whenever listeners least expect it.

Much like the typo in their name, now proudly worn by the band as a badge of honour, the result is an album of happy accidents that truly embody their audiences’ visceral knee-jerk reactions. The cut-out windows of an eighties protocomputer punch card that line the sleeve offer a portal into Formal Sppeedwear’s universe.

After signing with melodic in 2023, the trio’s now sold out 2024 debut EP - a self-titled, self-produced 12” sample of elastic bass arrangements, leaping guitar motifs and sparse, un-assuming percussive work - picked up notable fans at BBC 6 Music and helped to secure shows around the country with the likes of Fat Dog, Preoccupations, Warmduscher and Divorce. A legion of listeners grew, barraging Instagram DMs curious to unearth the mystery behind their idiosyncratic, off-kilter lyrics – usually a product of Beck’s phonetically-associated wordplay.

Prolific in their output, the band diligently produced Punch Card themselves with mastering from Paul D. Millar (Slug Bug). Led by a preference for sonic variety, they even discarded three tracks not belonging on the record; not because they didn’t fit - but because they did. Through their boomerang voice notes and a sense of telepathy that only college friends bonded by Neu! and Yellow Magic Orchestra could possess, they explain; “There’s definitely a subconscious level to what we do but it’s always driven by what works sonically. The real challenge becomes how to recreate it live.”

Blame those tracks which formed quickly when raw ideas and lyrics flowed from jam sessions in their Tremolo rehearsal room. Jagged, punchy ‘Indecent’ was largely improvised by the trio as a single recorded live take, and ‘The Ballad of DCB’ (avid bookworms in Stoke may have an inkling as to the meaning behind its acronym) was wrangled from a spritely brink of uncertainty after twilight tinkering powered a plethora of jangling guitar lines. Live staple ‘Wait (Hatchet Gets a New Hide) serves as collage of ideas and melodies harking back to the early days of Sppeedwear, completed on a Tascam 488 cassette recorder.

But, between joyfully jarring twists and turns, it is a rare moment of wistfulness which offers the biggest hint to the album’s wider Punch Card themes. A turning point in the recording process, finale ‘Friedrich Backs Up Nothing’ shimmers with strange atmospheres and sound-manipulated cellos; lyrically considering how history might react to the world today.

Formal Sppeedwear may look and sound something like pop, but Punch Card emerges through collision, constraint, and chance - much like the stamped out geometry that inspired its artwork.

TRACK LISTING

Side A
Hit ‘n’ Run
Who Needs Spain Ball?
Indecent
Knutmo 1-5
Aardvark x2
A Concise History
Fleas

Side B
Wait (Hatchet Gets A New Hide)
The Ballad Of DCB
New Brother
Appointment

Julia Holter always knew that there was more to the song 'Materia' than what she included on her wondrous 2024 album, 'Something in the Room She Moves'. She had written the tune not long after the tours for 2018’s 'Aviary' concluded, and it worked well for solo shows—her voice and piano, lyrics still morphing as she played with the meaning.

But on the new 'Materia', a kind of companion LP to 'Something...', Holter has realized not one but two distinct versions of the song. 'Materia 2' is a hallucinatory dream of drum machines, fretless bass, and clarinet, Holter’s voice spiralling through ether alongside that of Jessika Kenney. And on 'Materia 3', intended as a hidden bonus track in an homage to the CD era of her youth, Holter literally slows down the take from 'Something...'. The change not only emphasizes the unpredictable glory of the harmonies within but also reiterates the song’s emotional sophistication, the sense that it’s about learning how to live.

'Materia' is only seven tracks long, but Holter works in nearly that many modes here. There are two astounding improvisations, one where she builds a one-person ensemble of drum machines and synth lines and another where she manipulates her voice until each word seems to contain another symphony. And yet another is built from a riff that came from a demo for Something, a demo that itself is one of 'Materia’s most spellbinding and emotional pieces, 'My Twin'. These seven songs show that Holter is among her generation’s most fluid writers of art-pop, moving among ideas and idioms with true exploratory aplomb. 'Materia' is a kind of playground for Holter, where each distinct scene steadily coheres into a moving whole.

TRACK LISTING

1. The Laugh is in The Eyes
2. My Lost One
3. Fantasy
4. Materia 2
5. Clepsydra
6. My Twin
7. Materia 3 

Inspiral Carpets' 'Burn Like The Sun' - their first studio album in 12 years. The album marks a major new chapter for Inspiral Carpets following a period shaped by loss, reflection and renewal. An extended hiatus left the future of the band uncertain, and the return to writing and recording became something deeper than simply making another record. What emerged is an album rooted in endurance, connection, and forward motion. At the centre of that story is the return of original frontman Stephen Holt, whose rejoining of the band reconnected Inspiral Carpets with their earliest creative identity while opening the door to an entirely new era. Rather than revisiting the past, the band approached 'Burn Like The Sun' determined to create something fresh, relevant and emotionally honest - a record that acknowledges their history without being defined by it.

TRACK LISTING

1. Burn Like The Sun
2. Drag The Bag
3. Touching From A Distance Too Far
4. Meeting On The Hill
5. Truth Hurts
6. Wolf At The Door
7. Sacrifice
8. Contact
9. Us Alone
10. By Your Side

What happens after happily ever after? And how do you make forever count? These are the preoccupations at the heart of The Big Moon’s buoyant yet beautifully bittersweet fourth album, Forever.

Four years on from last LP Here Is Everything – and a further eight since frontwoman Juliette Jackson first laid the foundations for the band – the London-formed four-piece find themselves in a very different, if similarly challenging, headspace. Where that record was conceived in the context of COVID and found Jackson processing the life-altering experience of new motherhood, Forever examines what’s left when you’ve already checked off many of the major milestones, and is tempered by a first-hand understanding of life’s fragility.

The truth is, the past couple of years have been a big readjustment for Jackson. In 2024, she was diagnosed with a cholesteatoma – a benign but destructive cyst inside the eardrum which has to be removed with surgery. Jackson explains, “I permanently lost most of the hearing on one side, which was pretty much existential, because writing songs is my job and my identity.”

Stoic by nature, Jackson forged forward with songwriting regardless but found herself faltering. “I couldn't hear properly, everything sounded out of tune and I was just struggling to find a point at all, just writing these miserable songs I couldn't really hear.” The answer was to shift her outlook completely, manifesting “a happy ending that didn’t exist yet.”

“I just decided to write songs for this imaginary time, one or two years in the future, when I would be all healed and happy again. I didn’t know if I would ever get to that point but, by projecting and almost tricking myself into it, it actually became a really nice way of writing.”

It proved an extremely fruitful approach, producing some of the brightest songs of The Big Moon’s career to date. Recorded over three weeks at Norfolk’s Bam Bam Studios, with Kevin Morby-collaborator Sam Cohen co-producing alongside the band, Forever is brimming with hook-heavy alt-pop gems, not least because Jackson had fallen out of love with writing verses. “Over the years I've got more impatient with music,” Jackson explains with a grin. “I just like getting straight to the point.”

As bandmate Celia Archer explains, they hope the album proves uplifting. “They're not trivial songs lyrically or thematically or musically, but Jules has shown us you can face all this stuff and choose to be hopeful and find power from it. Hopefully other people can apply that to their own lives.”

TRACK LISTING

Side A
1. Gravity
2. Three Things
3. Fun
4. F.O.R.E.V.E.R
5. Sounds

Side B
6. You Remind Me That I'm Dying (and that it’s good to be alive)
7. Speed Bump
8. Can I Get A Reading Please
9. I See You, Honey
10. Chill

Mystery Jets return with ‘A Hole To See The Sky Through’, a conceptually rich new album that acts as the inward-facing counterpart to ‘Curve of the Earth’, shifting focus from vast external landscapes to the intimate ways we perceive and process the world. Inspired by Yoko Ono’s artwork of the same name (used with permission as the cover art) and her recent London exhibition, the record embraces the idea of finding meaning, hope, and perspective through absence, limitation, and reframing.

Mystery Jets are a highly regarded London-based indie rock band, known for their evolving, critically acclaimed albums and captivating live performances. They have been recognized with a prestigious Ivor Novello Award nomination, achieved multiple chart-reaching albums and singles, and are often noted for their distinctive songwriting and artistic longevity.

‘Massive Champion’ is the highly anticipated new album from Bristol’s Getdown Services, the follow up to cult classic debut ‘Crisps’.

An odyssey of anarchic joy, seditious wit and boundless energy, the album finds Josh Law and Ben Sadler pushing deeper into the singular world they have been building for years, while opening up new emotional and lyrical ground. Written in green rooms, on long car journeys and in the gaps between relentless touring, it stands as their boldest and most expansive statement to date, an ode to childhood, British cultural detritus and the absurd poetry of everyday life, distilling everything that has made Getdown Services one of the most exhilarating and unpredictable bands around. In the band’s words it is “about self pity and realising that maybe all of the healing your inner child stuff you hear about isn’t actually total bollocks. Musically and lyrically I think it’s about us trying to clean up our act a bit.”

New single ‘I Can’t Die Like That’ provides the second taste of the album and is the kind of instant earworm built for festival crowds. Wildly infectious, it is quintessential Getdown Services, pairing huge hooks with the band’s perceptive and poignant lyricism. As the band explain, “‘I Can’t Die Like That’ is about the feeling of simple things becoming complicated. We thought it was interesting to think about the ways in which something as straightforward as dying can be difficult. It’s also about clinging on to feelings that comfort you but aren’t necessarily healthy.” Like much of ‘Massive Champion’, it finds catharsis in contradiction, meeting often heavy subject matter with both candour and humour.

A triumph of hard work and the grassroots scene, Getdown Services jokingly coined themselves Britain’s Best Band. With ‘Massive Champion’, it feels less like a punchline and more like a statement of intent. As their audience continues to grow exponentially both at home and across the world, they look every bit on a fast track to becoming one of the country’s biggest and most vital bands. Joyous and utterly singular, ‘Massive Champion’ feels set to soundtrack the year ahead and, very likely, many more to come.

Bloc Party’s place in hearts & minds was never up for debate, but the past four years have reaffirmed that position and simultaneously ignited the a new passion with fans young & old. From touring the world with their friends Paramore to headlining a sold out Crystal Palace Park, performing songs from their seminal debut Silent Alarm through to the constant reinvention of their more recent work, before returning to Reading & Leeds last year to enormous crowds.

Now, propelled by this renewed energy and buoyed by their biggest year of touring in two decades, Bloc Party are ready to release their next album; a narrative work examining a year-long relationship in intimate and often brutal detail, realised in the studio with the legendary Trevor Horn.

TRACK LISTING

22.01.22
Coming On Strong
Love Bombs
Pigwig
Lagoon Blue
Muscleworks
Clark Kent
Worst Birthday Ever
Not Your Problem
Now We Can't Be Friends
Rotherhithe
Stories
Moving On
Eulogy

Five-piece 1000 Rabbits (FKA Rabbitfoot) release their debut EP Are we friends yet?, a six-track release that captures the band’s first two years in motion. Featuring recent singles “Virgin Soil” and “Rubik’s Cube”, the EP arrives via YOUNG as a snapshot of a band defining themselves in real time.

Written across living rooms, rehearsal spaces, and stages over the course of two years, Are we friends yet? captures a formative chapter: six tracks shaped by time, space, and the energy of the people in the room. Some tracks date back to their earliest days, others are more recent, but together they form a vivid introduction to the band’s world. Each track has been molded through live performance, evolving night after night.

The EP’s title - Are we friends yet? - comes from a defining moment that has emerged in their live show; a question posed by River during the closing track “Spring Cleaning”, the final song of both the record and every set they play. It’s a moment that captures both the warmth and vulnerability at the heart of the band.

TRACK LISTING

Side A
White Horse
Virgin Soil
Bear Hunt

Side B
Cinema Aisle
Rubik’s Cube
Spring Cleaning

Massive Attack and Tom Waits release a new collaboration 'Boots on the Ground', with an exclusive to vinyl B-side provided by Waits – a droll and sardonic spoken word piece entitled 'The Fly'.

An accompanying film created by Massive Attack (working with US photo artist "thefinaleye") will be available via the band’s digital platforms. This evocative, high-intensity montage portrays a momentous American epoch that is yet to be named, and comes in the aftermath of the largest public protests in American history - focused on opposition to ICE raids, the militarisation of domestic forces, and state authoritarianism.

'Boots on the Ground' is the first Massive Attack music distributed under a Spotify exemption policy. Further releases are scheduled prior and subsequent to the band’s run of live performances, including their forthcoming European tour and summer festival headlines.

In keeping with the band's sector leading efforts to reduce carbon emissions across both live activity and recorded output, Massive Attack have partnered with Good Neighbor to produce an ‘EcoSonic’ pressing. Manufactured using 100% recycled PET (rPET) rather than traditional PVC, the record is fully recyclable and produced via an energy-efficient injection moulding process - a significant shift in record manufacturing. Packaging follows the same approach, with sleeves made from 100% recycled, FSC®-certified paper stock and outer slipcases produced from recycled polyethylene.

TRACK LISTING

1. Massive Attack & Tom Waits - Boots on the Ground
2. Tom Waits - The Fly

Australian trio DMA’S return with their expansive fifth studio album, 'DMA’S', a confident, self‑titled statement that captures the band at a defining moment in their career.

Written and recorded between the band’s own studio in Glebe, Sydney, and Los Angeles, the 11‑track album showcases the evolution of DMA’S’ unmistakable anthemic sound. While the melodies remain as immediate and emotionally charged as ever, the record introduces fresh sonic textures and favours authenticity over perfection in both delivery and presentation.

DMA’S are Johnny Took, Matt Mason and Tommy O’Dell.

TRACK LISTING

1. El Alamein
2. My Baby's Place
3. Hurracane
4. Killing Time
5. Heatin Park
6. Emailz
7. One & Only
8. Dancing Luck
9. Concrete
10. Windows

For nearly a decade, Lucia has been carving out her place as an artist in the UK indie scene. Her latest record, Picking Petals, is the culmination of that hard graft and bold vision — an album rooted in her Scottish upbringing and shaped by the creative community she has built around her in Glasgow and beyond, featuring collaborations with Lauren Mayberry of CHVRCHES and Abigail Morris of The Last Dinner Party.

Lucia’s debut, Burning Castles, was streamlined and statuesque, built on metronomic beats and synth-led pop. The intention behind Picking Petals sharpened into focus in the face of this. This time, it was crucial to capture the essence of Lucia & The Best Boys’ live shows— loud and electric. In recent years, Fairfull has shared bills with a new wave of women in alternative music: joining Wolf Alice on their Blue Weekend tour in 2022 and, more recently, opening for the aforementioned The Last Dinner Party. In summer 2024, she toured alongside fellow Scottish icon Shirley Manson on the UK and European leg of Garbage’s live shows.

The Scottish synchronicity feels poignant. This rich and historical landscape is where Picking Petals came to be, Lucia heading north to write in weather-beaten bothies alongside the band or in solitude. Likewise, the songwriter was insistent that acclaimed alt-pop producer Yves Rothman experience her stomping ground rather than sun-drenched LA, hunkering down in Mogwai’s Castle of Doom studios, a Glasgow townhouse transformed into a citadel of sound. For some people, Picking Petals will be a coming-of-age album. For Lucia & The Best Boys, it’s just coming home.

TRACK LISTING

Side A
1. Back Inside My Heart
2. Lonely Girl
3. Wolf Cry
4. Better For The Worse
5. You Look Like Somebody In Love

Side B
6. Picking Petals
7. Pleasure And A Prayer
8. Forgot The Arrow
9. Big Romance
10. Ephemeral

Career-spanning 'best of' from Manchester's Courteeners, compiling singles from across all seven of their albums.

TRACK LISTING

1. Are You In Love With A Notion?
2. Cavorting
3. Acrylic
4. You Overdid It Doll
5. Pink Cactus Café
6. Summer
7. Take Over The World
8. Bide Your Time
9. Small Bones
10. The 17th
11. Fallowfield Hillbilly
12. That Kiss
13. Lose Control
14. Modern Love
15. Sycophant
16. Hanging Off Your Cloud
17. The Luckiest Man Alive
18. What Took You So Long?
19. Not Nineteen Forever
20. Plus One Forever

Jungle cemented their status as a major global force with their 2023 album ‘Volcano’ - a record that earned them their first BRIT Award and featured their worldwide smash hit single ‘Back On 74’. The trio - J Lloyd, Tom McFarland and Lydia Kitto - return with their eagerly anticipated new album ‘Sunshine’.

TRACK LISTING

1. Come Back to Me
2. Sunshine
3. Where Are You Now?
4. Move Like You Do
5. Romeo II feat. Bas
6. Carry On
7. The Wave
8. Someday, Somewhere
9. Natural
10. Reflection
11. Heavy on My Soul