With two deeply cherished compilations already in the bag, Luke Una steps up for the third volume in his É Soul Cultura series on Mr Bongo. A love letter to the dancefloor and its power to unite people from all corners of society amid growing division and extremist politics. Genre-spanning in nature, the 15 tracks travel between cosmic soul, boogie, proto-house, slo-mo technoid grooves, drum machine afro, astral bass-bugging futurism, jazz funk, dance, and disco. Each having the ability to move the body as much as the heart.

From his formative years in Sheffield to co-founding Manchester’s much-fabled Electric Chair with Justin Crawford, through to helming the iconic LGBTQ institutions of Homoelectric / Homobloc, Luke has spent 40 years immersed in dance music. His latest outlet, É Soul Cultura, has grown from a label to a globe-spanning events series with Luke holding residencies and embarking on tours across the world from Japan and Australia to America and Europe.

“For me, the dancefloor was never about a one-dimensional, thudding, 130 BPM beat only. It's a much more dynamic, broader vision than that. I cut my teeth in an era where a 100 BPM record had as much impact, excitement, and energy as a 134 BPM dancefloor jazz funk or techno record”, Luke mentions. É Soul Cultura Volume 3 is the perfect embodiment of that notion: “It’s about four decades in the trenches playing dance music, the late-night afters, the shebeens, the basements, warehouse parties, the eight-hour journeys in East London, through to festival sets at Houghton and We Out Here. It’s music unconstrained by genre or tempo and more about making your body move”.

But this isn’t simply a collection of disparate dance tracks; they carry meaning and soul. “It’s less about escapism, more about reconnection. My experience of post-covid has been the coming together of all the clans in various clubs and gatherings. A reaction to a very toxic world out there, where the aggro rhythms of division have sought to divide us, and people don't meet as often. The coming back together face-to-face in clubs has encouraged a real love in the air, there's a real togetherness and collective spirit”.

Opening up the compilation is a track that channels that very message, the transcendental, soul-rousing Harris & Orr ‘Spread Love’. Joining the dots from there, to the low-slung deep house closer of Fatdog ‘Remember’, you’ll find electronic drum machine Nigerian funk, sitting side by side with dancefloor Cape Verdean brilliance, a post-punk cover of Fela Kuti, rubbing shoulders with cosmic electro, and an Una-championed, 8-minute, kickless DJ Harvey remix. There’s jazz funk in various guises moving from boogie synth to astral travelling, slo-mo acidic raw techno, and a ‘79 soul stepper, alongside swirling percussive Italo disco and tribal-charged house. All infused with an innate ability to bring people together.

As society becomes increasingly fractured, É Soul Cultura Volume 3’s message is more than movement. It’s about dance music’s power to unify people from all walks of life and break down the barriers that divide us

TRACK LISTING

1. Harris & Orr - Spread Love
2. Terry And Deep South - Trying To Get By
3. Toshiyuki Honda - Burnin' Waves
4. Igna Igwebuike - Disco Bomp
5. Janette Renee - What's On Your Mind (Super Club Remix)
6. Grupo Serenata - Sodade, Tem Pena D’Mim
7. Vital Disorders - Zombie
8. Alphonsus Idigo - Flight 505
9. DJ Food - Peace (Harvey's 30 Something Mix)
10. Man Jumping - In The Jungle
11. Stars - Dancin’ People
12. Gaucho - Dance Forever (Club Version)
13. 49th Floor - Night Passage (Bongo Mix)
14. Orion Agassi - Desacato
15. Fatdog - Remember (Ft. CJ Raine)

'Trying Times' is James Blake’s seventh studio album and features British rapper Dave, and singer-songwriter Monica Martin. Written between Los Angeles and London, it’s a record about being in love whilst battling the limits of the self against a backdrop of global uncertainty. He explores the tension between intimacy and isolation, the pressure to curate and perform even as everything, inside and out, feels fragile and precarious. Themes of reflection, both literally and metaphorically, run through the record’s visual presentation, as Blake holds a mirror to the contradictions of modern connection - how we see ourselves, how we’re seen by others, and what gets lost in between. It’s about the disorienting loop of joy and dread: feeling safe in love, yet knowing the bubble could burst at any moment; struggling to stay present while global anxiety and private doubt pull you in different directions. A meditation on love, identity, and fragility in an age where the world feels balanced on a knife edge.

Since emerging in the early 2010s, British producer, songwriter, and musician James Blake has become one of the most influential artists of his generation. He has earned nine GRAMMY® nominations and two wins, a Mercury Prize, and an Ivor Novello Award, while his groundbreaking blend of electronica, soul, hip-hop, and alternative R&B has shaped the sound of contemporary music. Across six acclaimed albums, including his GRAMMY®-nominated 'Playing Robots Into Heaven', the platinum-selling ‘Overgrown', and the UK Top-5 'Friends That Break Your Heart', Blake has evolved from post-dubstep visionary to globally celebrated vocalist, composer, and producer. His signature sound and midas-touch production have supported some of the most defining artists and albums of the last decade, including Beyoncé, Kendrick Lamar, Frank Ocean, ROSALÍA, SZA, Travis Scott, Jay Rock’s GRAMMY®-winning hit “King’s Dead" and most recently ground breaking UK rapper Dave.

TRACK LISTING

Side A
1 Walk Out Music
2 Death Of Love
3 I Had A Dream She Took My Hand

Side B
1 Trying Times
2 Make Something Up
3 Didn’t Come To Argue (ft. Monica Martin)

Side C
1 Days Go By
2 Doesn’t Just Happen (ft. Dave)
3 Obsession
4 Rest Of Your Life

Side D
1 Through The High Wire
2 Feel It Again
3 Just A Little Higher


Exclusive Bonus 7”
Side A: So Far Away (Carole King Cover)
Side B: Landslide (Fleetwood Mac Cover)

The follow-up to 'High Art Lite', 'Ruins' is an album shaped by grief, reflection, and transformation; a record that captures both the weight of loss and the strange beauty that comes with it. Written after a self-imposed break from songwriting, it represents a shift in focus and perspective for Joseph Oxley. “I wanted to step away from what I thought I was supposed to make,” he explains. “The worst advice anyone can give you is, ‘If it ain’t broke, don’t fix it.’ It’s always broken. It always needs fixing.”

At its core, 'Ruins' explores loss not as emptiness but as presence, something that reshapes the world around you. The album finds Oxley wrestling with the dualities of human experience: the tension between what’s said and unsaid, between humanism and nihilism, public and private, despair and acceptance. “Hope and despair don’t cancel each other out,” he says. “They can co-exist — that’s what makes it feel real.”

Somewhere within a lifetime of repeats, reruns, and reboots, TVAM lives, crafting work that touches on our memories while toying with our fears, creating a world in which broadcast becomes performance. Since his debut album 'Psychic Data' burst from a small bedroom studio in Wigan, TVAM has defined the sound and spectacle of nostalgia’s grip on modern life, from the sloganeering of 'Porsche Majeure' to the electioneering of 'Semantics', his music has gained daytime playlisting on BBC 6 Music and has been featured on TV including groundbreaking series Succession.

Musically, 'Ruins' is expansive and immersive. Dark but magical, it is filled with reverb-drenched synths, fractured textures and hammer-blow snares. Guitars weave through the mix with a newfound restraint, creating space for atmosphere and emotion to take centre stage. "Broken reality” textures collide with driving rhythms, recalling the cinematic pulse of Floodland-era The Sisters of Mercy, and the melodic melancholy of Disintegration-era The Cure. The result is a record that finds beauty in dissonance and light in the wreckage.

TRACK LISTING

1. Comfort Collar
2. The Gloom
3. The Words
4. Real Life
5. Powder Blue
6. Follow Me Home
7. Winter Rose
8. In Memory
9. Love Like Glue
10. Sweetness & Light
11. The Haunted

In the hands of Courtney Barnett, fragments of everyday life become rich and riveting. A deft lyricist and virtuosic guitarist, she is an emblem of millennial wit and one of Australia’s most successful musical exports.

Creature of Habit, Courtney Barnett’s fourth studio album, marks a decisive new chapter in her musical evolution. It’s a bold, emotionally resonant record that explores the central question: how to get out of your own way so you can truly feel your life. Written in the wake of a relocation from Australia to Los Angeles and the closure of her long-running label Milk! Records, Barnett was grappling with changes that put the future of both her life and career in question. Rather than internalizing those feelings, she decided to bring all this swirling confusion directly into the recording process.

Based for much of her adult life in Melbourne, Barnett first found critical acclaim with 2013’s The Double EP: A Sea of Split Peas, and broke into the mainstream in 2015 with her debut album, Sometimes I Sit and Think, and Sometimes I Just Sit. Garnering a coveted Best New Artist Grammy nomination and numerous other accolades, the album stands as a generational classic. Barnett followed her debut with 2017’s Lotta Sea Lice , an acclaimed collaborative record with Kurt Vile, and eschewed the vignettes of her early records on 2018’s Tell Me How You Really Feel, her humid, political sophomore record, which featured the Margaret Atwood-invoking single “Nameless, Faceless”. In 2021, she released Things Take Time, Take Time, a remarkable artistic step forward. Now, 5 years later, she’s made the move to Fiction Records and is back with this incredible new record - a brilliant, bold and addictive musical statement.

TRACK LISTING

Side A
Stay In Your Lane
Wonder
Site Unseen (featuring Waxahatchee)
Mostly Patient
One Thing At A Time

Side B
Mantis
Sugar Plum
Same
Great Advice
Another Beautiful Day

Four-time GRAMMY Award-nominated global superstar RAYE, is releasing her highly anticipated sophomore album 'THIS MUSIC MAY CONTAIN HOPE'. The album, set in 4 “seasons” with each side of the vinyl being a different season, takes listeners on a sonic journey that begins with darkness and ends with light.

“Music is medicine. I’ve always said that, and I guess I’m in the process of making medicine for myself that I can share with the world. I want us all to say to ourselves that it’s going to be all right, and I’m going to have faith in the seeds that I’ve planted beneath the snow. I wanted to create something that is a hug or bed or soft place for that person who needs it.” - RAYE

TRACK LISTING

TBC

“I’ve always wanted to make work that’s a reflection of my life experience,” says singer-guitarist James Petralli, leader of venturous L.A.-based rockers White Denim. “The just-below-the-surface significance to ‘13’ as an album title is that I was born on the thirteenth of August. ‘13’ in numerology can signify independence, creativity, and a solid foundation, but inversely is often considered to be unlucky and can signify chaos and misfortune. Like everyone, I can certainly see both sides in my life.”

‘13’ also happens to be the thirteenth album of White Denim’s career. An incandescent, groove-heavy alchemy of rock, funk, dub, soul and down-dirty blues – and plenty more besides – it’s imbued with the same questing spirit that’s been the band’s trademark since first starting in Austin, Texas, some 20 years ago.

Petralli’s wide-ranging musical appetites have become more voracious over time. The sounds and textures of ‘13’ are informed by everyone from Scritti Politti to The Gap Band, Terry Reid to King Tubby, Caetano Veloso to John Cale, Stevie Wonder to ‘80s-era Steve Winwood. Such diversity is reflected in multi-faceted gems like “(God Created) Lock And Key”, “Only A Fool” and “That’s Rap”. The seed of the project is rooted in the irresistible “Chew Nails”. “It’s a straightforward glam-rock tune,” says Petralli. “My take on the ‘New York Groove’, which is itself a take on the Bo Diddley beat. It has a big ol’ guitar riff and a singalong chorus. It’s familiar territory for me, yet the vocal is perhaps more forward than most things I’ve done for the band. It’s the song that made me feel like I was definitely making a White Denim album.”

The duality of ‘13’ is immediately apparent. The pungent funk-blues of opener “(God Created) Lock And Key” begins with a piece of waggish self-mythology – “On the thirteenth day God created White Denim…” – but soon goes somewhere darker. “This is a Beefheart / Sun Ra sort of thing,” Petralli explains. “I hope that it’s a somewhat terrifying, startling, and visceral piece for everyone that hears it. Everything I say in that song is the truth. It's about power, generational cycles of abuse, shame, violence, and survival. The things that we all understand and know and see and push down to get through the day.”

Elsewhere, the temperate “Time Time” heads into the kind of soulful, horn-gilded territory that earmarked White Denim’s previous album, 2024’s critically lauded ‘12’. Here, Petralli addresses the roll of the years, creative freedom and the importance of family: “It’s a sort of promise that, as long as I’m alive, I will try to prioritise my wife and children and our relationships above all else.” This is a key theme of ‘13’. “I felt that I had to write about my life and experience as a middle-aged dad trying to do better for a family and make sense of this life through making art,” he adds.

A similar sensibility drives the fabulous “Earth To”, a hallucinatory piece of self-reflection that charts Petralli’s journey thus far. Though, as ever with White Denim, it also speaks to the universal. “If you zoom out a little bit, the song is ultimately a sort of takedown of the American dream,” he says.

Then there’s “Keep Calling Me (Baby)”, which rides a fine line between dubby calypso and shimmery sunshine-pop. Petralli likens it to “sort of Ace of Base meets Cyndi Lauper meets Roy Orbison in my mind. Nick Lowe’s ‘Jesus Of Cool’ tells me it’s OK to do whatever you want. He gave me permission to do this one.”

The song features band members Michael Hunter (keyboards) and Cat Clemons (guitar), alongside original drummer Josh Block, who, having also journeyed west from Texas in recent times, is now Petralli’s neighbour. Block’s presence on ‘13’ - alongside the likes of Matt Young (drums, percussion), Jesse Chandler (clarinet, sax, flute), Kosta Galanoupolis (bass), and Dawes siblings Griffin and Taylor Goldsmith – highlights both the fluid nature of latter-day White Denim and Petralli’s determination to honour the band’s initial directive. Also aboard is fellow original, bassist Steve Terebecki. “I wouldn’t call a project White Denim if it didn't include significant contributions from another founding member of the group,” asserts Petralli. “‘12’ and ‘13’ both feature Josh and Steve in various capacities. I recorded and arranged these last two records for the most part, but I really don’t ever want to be alone. Music has given me a place and purpose in this world. And it’s been the primary way I’ve connected with other people over the years.” ‘13’ proves that Petrali continues to do so. And in imperious style

TRACK LISTING

Side A
(God Created) Lock & Key
Chew Nails
Only A Fool
Time Time
Crossfyre
Keep Calling Me Baby

Side B
1. Earth To
That’s Rap
3. Hired Hand #2
4. Ruby
5. Matchbook Baby
6. Quiet Moments
7. Drive Trucks

'Nothing’s About to Happen to Me' is the eighth studio album by Mitski. All songs and vocals are by Mitski. The album was produced and engineered by Patrick Hyland and mastered by Bob Weston, with assistance on drums and logistics from Kris Bulakowski. Continuing the musical through line established with 'The Land Is Inhospitable' and 'So Are We', the album features live instrumentation by The Land touring band and ensemble arrangements. The orchestra was recorded at Sunset Sound and TTG Studios, arranged and conducted by Drew Erickson, engineered by Michael Harris, with additional engineering by Isaac Diskin and assistance from Alex Miller. Standout singles include 'Where’s My Phone?', 'I’ll Change for You', and 'If I Leave'.

TRACK LISTING

1. In A Lake
2. Where’s My Phone?
3. Cats
4. If I Leave
5. Dead Women
6. Instead Of Here
7. I’ll Change For You
8. Rules
9. That White Cat
10. Charon’s Obol
11. Lightning

'Stardust' is Danny Brown at his most free – stepping outside the frame to make something raw, melodic, and a little unhinged. The production comes from a crazy cast of outsiders including Frost Children, Underscores, Femtanyl and more. Pulling from experimental pop and underground electronics the final product is messy, emotional, and held together with a strange kind of clarity.

“I wanted this record to be vulnerable, honest, and free with no crutches – this music has way more white girl hair twists than hip-hop head nods.” – Danny Brown

The overall direction for this record is really positive and hopeful – Danny is feeling energised, creatively charged and inspired by working with an amazing mix of exciting producers and collaborators on this record. He is the centre of gravity within the musical world he's curating and the link between all the artists/features.

TRACK LISTING

1. Book Of Daniel
2. Starburst
3. Copycats
4. 1999
5. Flowers
6. Lift You Up
7. Green Light
8. What You See
9. Baby
10. Whatever The Case
11. 1L0v3myL1f3!
12. RIGHT FROM WRONG
13. The End
14. All4U

Los Angeles six-piece The Sophs have ridden a wave of notoriety ever since signing to Rough Trade Records on the strength of their demos - which they cold-emailed to labelheads Geoff Travis and Jeannette Lee before they ever even played a show. Following last year’s releases of stand-alone singles ‘I’M YOUR FIEND’, ‘SWEAT’, and ‘DEATH IN THE FAMILY’ and worldwide touring, the band are ready to unleash their debut album GOLDSTAR, out March 13, 2026.

The band’s brutal honesty, flamingly intrusive thoughts, and broad genre-spreading caught the attention of Rough Trade founders Geoff Travis and Jeannette Lee immediately. When Ramon sent a demo reel out to his favorite indies, he wasn’t expecting any replies. But Travis and Lee were in his inbox the next day, asking if he’d hop on a call.

Rough Trade heard the sort of creativity and variety — and “don’t expect me to act pretty” sentiment — that could get The Sophs — including Ramon, Sam Yuh (keyboards), Austin Parker Jones (electric guitar), Seth Smades (acoustic guitar), Devin Russ (drums), and Cole Bobbitt (bass) — a slot on nearly any stage. At any moment, The Sophs are entering pop-punk; blazing through funk; talk-singing to the audience. Their enthusiasm for every iteration is evident, and Ramon’s rich, full voice deftly nestles into endless categories, utterly chameleonic.

“We never try to be as versatile as we end up being,” Ramon said. GOLDSTAR has a Delta Blues-style song; it has a ZZ Top-inspired tune. To some degree, The Sophs see song creation like pop art: they’re focused on the idea of reproducing something over and over again until it's meaningless. “I want to steal and plagiarize and borrow,” Ramon explains.

The record asks, where’s my gold star? Where’s my validation? Why am I not being rewarded for how much of a good person I am? Am I doing mitzvahs for the right reason? The titular track — which kicks off with flamenco-style fingerpicking — wrestles with the philosophy of really being good and what that looks like.

Most of The Sophs’ songs don’t let the listener relax — mostly because you never know what’s coming next. The band has a passion for sudden and complete destruction, for playing with the tension between pulled-back silence and total explosion. That’s where you hear The Sophs members’ as they really are: explosively positive, happy, collaborative. Think of the “degenerative posturing” instead as a “jester’s privilege.” When they’re playing together in a room, you see nothing like the character they’re putting forward. Instead, you feel a bombastic, thrilling energy that underlies the sextet’s creative power.

TRACK LISTING

1. THE DOG DIES IN THE END
2. GOLDSTAR
3. BLITZED AGAIN
4. SWEAT
5. HOUSE
6. SWEETIEPIE
7. DEATH IN THE FAMILY
8. A SYMPATHETIC PERSON
9. They Told Me Jump, I Said How High
10. I’M YOUR FIEND

Fcukers’ debut album Ö finds the band in full-throttle mode, encapsulating the unruly, kinetic energy that has earned them status as party starters. Due for release on 27th March on Ninja Tune, ö was produced by Kenneth Blume (FKA Kenny Beats) - recorded last year in a whirlwind two week recording session following an initial prospective meeting between the trio, with multi-Grammy-winning engineer Tom Norris (Lady Gaga, Charli XCX, The Weeknd etc.) on board to mix the record, and additional production coming from Dylan Brady of 100 Gecs across three of the album’s tracks. Containing recent breakout singles “Play Me”, and “I Like It Like That” – the latter already proving a firm live-favourite at their riotous headline shows – Ö guides the listener through all the highs and lows of a metaphorical night-out in Fcukers world. Sharp, muscular and oozing with the kind of peak-time party energy that the duo have honed throughout their short existence, Ö demonstrates a band firmly in command of their sound, working at the top of their game, and ready to set the pace for 2026.

TRACK LISTING

1. Beatback
2. L.U.C.K.Y
3. Butterflies
4. If You Wanna Party Come Over To My House
5. Play Me
6. Shake It Up
7. I Like It Like That
8. TTYGF
9. Lonely
10. Getaway
11. Feel The Real

Kim Gordon’s vision of art and noise has come sharper into focus just as readily as it has changed—a paradigm of possibility that, four decades on, still feels like a dare. The adventure continues on the artist’s third solo album, 'PLAY ME'.

'PLAY ME' is distilled and immediate, expanding Gordon’s sonic palette to include more melodic beats and the motorik drive of krautrock. “We wanted the songs to be short,” Gordon says of her continued collaboration with LA producer Justin Raisen (Charli XCX, Sky Ferreira, Yves Tumor). “We wanted to do it really fast. It’s more focused, and maybe more confident. I always kind of work off of rhythms, and I knew I wanted it to be even more beat-oriented than the last one. Justin really gets my voice and my lyrics and he understands how I work—that came forth even more on this record.”

In 2019, Gordon’s debut solo LP 'No Home Record' proved she was attuned as ever to vanguard sounds, mixing avant-rap and footwork into her sonic conceptual art. 'The Collective', in 2024, was brick-heavy and even more daring, led by the tectonic industrial clatter of her packing-list-cum-rage-rap banger ‘BYE BYE’ and earning two Grammy nominations.

The fast-following 'PLAY ME' processes, in Gordon’s inimitable way, the collateral damage of the billionaire class: the demolition of democracy, technocratic end-times fascism, the A.I.-fueled chill-vibes flattening of culture - where dark humor voices the absurdity of modern life. But despite its frequent outward gaze, 'PLAY ME' is an interior record, one in which a heightened emotionality pulses through physical jams, rejecting definitive statements in favor of an inquisitiveness that keeps Gordon searching, ever in process.

TRACK LISTING

1. PLAY ME
2. GIRL WITH A LOOK
3. NO HANDS
4. BLACK OUT
5. DIRTY TECH
6. NOT TODAY
7. BUSY BEE
8. SQUARE JAW
9. SUBCON
10. POST EMPIRE
11. NAIL BITER
12. BYEBYE25!

Jim Noir's last LP 'AM Jazz' was critically acclaimed, orbiting the top 10 of many best albums of the year lists, including the number 2 spot in our very own chart back in 2020.

In the intervening years, Noir has managed to release a criminally underrated masterpiece, 2023's ‘Rotate’ LP, under the ‘Co-Pilot’ moniker, with long time collaborator Leonore Wheatley (International Teachers of POP/Soundcarriers), along with 18 E.P.'s released direct to fans via Patreon.

'Programmes for Cools' draws from the best cuts from these E.P.'s, bookended with instrumental intermissions which evoke Noir's excursions into computer game music (Little Big Planet), with an orchestrated focus, as if scored by John Barry with Mort Garson waving the conductor's baton at a vintage synth ensemble.

The last time Noir embarked on a similar creative exorcism was for 2012's Jimmy's Show LP which selected choice cuts from 18 E.P. 's released via straight to fan subscription over as many months. The resulting album is one of his most lauded and beloved by fans, with the vinyl now selling for silly money on Discogs.

Programmes for Cools is Jimmy's Show's spiritual successor, idiosyncratic, other worldly and brimming with timeless melodies. Noir's influences seep through the track list, wrapped with a haunting, dreamlike delivery.

First single 'Out Of Sight' is a Fleetwood Mac meets Selected Ambient Works era Richard D James, four to the floor banger. Already a fan favourite, it propels Side A forward with a somewhat misplaced optimism, much like Neil Young's 'Walk On' starting On the Beach.

Side B is more esoteric, exemplified by 'Fireworks’which includes lyrics and vocals from Marie Claude Dequoy,produced with the wooze of golden era Boards of Canada. Elsewhere, influences as disparate as Stevie Wonder, on the wonky clav funk of 'The Fountain', and Ian Brown 'I think I found it' illustrate Noir's disregard for musical straightjackets (the latter may have the most unapologetic baggy, hypnotic groove since the Mondays' 'Halleluiah').

As the album swells to its conclusion, via the epic Led Zeppelin meets the Warhol clique 'Morning Light’and the heart tugging finale of 'Motorbike’(the first song released from the most recent run of E.P.'s), there is a sense of completion and finality... ‘This is the last Jim Noir album. There are no more Jim Noir albums after this one. This time I'm serious. It's been the hardest I've ever worked on anything. I think I have created my own Be Here Now...Sorry.’ Joking and hyperbole aside, the album has more of an Abbey Road feel, and needs to be experienced in one sitting. If the infamous Davyhulme prankster is to be believed and this is his final outing, then you could wish for a more fitting album. - NM

TRACK LISTING

1.start
2.out Of Sight
3.the Fountain
4.these Are Things
5.manchester Cat
6.longsword
7.harum Scarum
8.bit 42
9.one More Hand
10.i Think I Found It
11.fireworks
12.morning Light
13.motorbike
14.close

SAULT RETURN AND IN FINE FORM WITH 'CHAPTER 1' - THEIR 13TH ALBUM. THE ELUSIVE COLLECTIVE LED BY PRODUCER INFLO UNLEASH ANOTHER MASTERPIECE THAT FEATURES CONTRIBUTIONS FROM R&B SINGER CLEO SOL, SINGER-SONGWRITER JACK PEÑATE, AND LEGENDARY HITMAKERS JIMMY JAM AND TERRY LEWIS.

IN A STATEMENT ACCOMPANYING 'CHAPTER 1', THE GROUP NOTED THAT THE ALBUM “MOVES WITH PATIENCE AND BELIEF. RHYTHM, BREATH, AND SILENCE SIT SIDE BY SIDE, CREATING A SPACE THAT IS REFLECTIVE YET CHARGED. THERE IS WARMTH AND EXPECTATION. A SENSE THAT SOMETHING IS GATHERING.”

TRACK LISTING

1. GOD, PROTECT ME FROM MY ENEMIES
2. CHAPTER 1
3. FULFIL YOUR SPIRIT
4. PROTECTOR
5. GOOD THINGS WILL COME AFTER THE PRESSURE
6. CREATE YOUR PROPHECY
7. LOVE DOES NOT EQUAL PAIN
8. LORD HAVE MERCY
9. DON’T WORRY ABOUT WHAT YOU CAN’T CONTROL
10. PUPPET

Ambiguous Desire is Parks at her most confident and experimental, supplanting live band sessions for modular synths, ableton plugins and samplers that channel the frenetic, vibrant spaces she was immersed in, all while spotlighting the acclaimed poetry and lyricism she’s beloved for.

Reflecting on the making of the record, Parks shares, "I danced more than ever as I made this record, I made more friends than ever too, found myself in the weird underbelly of New York juke nights, unleashed, laughed and laughed and laughed. This record has desire at its centre. Desire is a life force, it’s a wanting, a yearning, a momentum - we are all alive because there is something or someone we want - desire is an engine. But it is also mysterious, tangled, random, enlightening and HUMAN."

Parks crafted the album with producer Baird (Brockhampton, Kevin Abstract). Their process unfolded between NYC’s vibrant, community-rooted nightlife and long, introspective days spent in Baird’s downtown loft. The result is Parks’ most vulnerable, self-affirming, and euphoric work to date.

TRACK LISTING

1 Blue Disco
2 Jetta
3 Get Go
4 Senses Ft. Sampha
5 Heaven
6 Beams
1 South Seconds
2 Nightswimming
3 2SIDED
4 Luck Of Life
5 What If I Say It?
6 Floette

For nearly 30 years, SUNN O))) – Stephen O’Malley and Greg Anderson – have pushed the boundaries of heavy music, straddling the worlds of the avant-garde and rock to forge a style instantly recognisable as their own. Now, SUNN O))) return with their first album of new material since 2019’s acclaimed Pyroclasts. Their tenth album – their debut for Sub Pop – demonstrates the duo’s mastery of time and space, light and dark, and their willingness to evolve their unmistakable sound into bold new forms.

The eponymously titled SUNN O))) was tracked at Bear Creek Studios, Woodinville, Washington with Brad Wood (HuM, Tar, Sunny Day Real Estate, Liz Phair). This location proved crucial to the recording process. “The vast tracking room had big windows looking out on trees,” says O’Malley. “We could go hiking and be out in the woods, spend time outdoors. That became a big part of it.”

SUNN O))) have long welcomed collaborators into their self-contained world: past work has featured, Attila Csihar (Mayhem), composer Hildur Guðnadóttir, multi-instrumentalist Steve Moore, polymath Mark Deutrom, Silkworm’s Tim Midyett and legendary singer-songwriter Scott Walker. But on this album O’Malley and Anderson found fresh possibilities in the primal territory of the duo format, performing all the instrumentation themselves. “What’s been happening with our performances over the last couple years with the two of us and no other collaborators has been really fresh and exciting,” says Anderson.

The compositions on SUNN O))) are expansive and panoramic yet finely detailed, reflecting the arboreal setting in which they were recorded. Amidst howling feedback and glacial crunch, one finds surprisingly delicate moments: a field recording of water trickles beneath, piano interludes lend a hushed, solemn feel. All while the duo attains fresh heights of telepathic intensity as they shape music that breathes the bracing, earthy air of the Pacific Northwest.

Framing the album visually are two paintings by the late American artist Mark Rothko. Liner notes are by award-winning British writer Robert Macfarlane, famed for his works concerning landscape and the relationship between humanity and nature. Through the work of the band, Macfarlane, and Rothko, sound, word and visual combine into a fully immersive experience that is undeniably, completely SUNN O))).

TRACK LISTING

1. XXANN
2. Does Anyone Hear Like Venom?
3. Butch's Guns
4. Mindrolling
5. Everett Moses
6. Glory Black

José González has delivered a new album, Against the Dying of the Light, a companion and further meditation on the themes of his critically acclaimed album, Local Valley. Where Local Valley turned inward toward place, language, and personal reflection, this new record widens its gaze, becoming an urgent call to preserve the light of humanity with all its flaws, at a moment when, technology increasingly shapes how we think, feel, and relate to one another.

While José has always embraced technological advancement, he questions the assumption that every new possibility must be pursued to its maximum potential, especially when progress comes at the expense of human flourishing, attention, and empathy.

Keeping in the tradition of folk music as protest, José’s new single — sharing its title with the forthcoming album — urges listeners to resist systems that dehumanize and divide: “Disconnect from every algorithm, every perverse incentive that drags you down. Let’s rebel against the replicators, against the dying of the light. Kill the codes that feed the hate, keep the codes that make you thrive, celebrate the f**king fact that we’re alive.”

Across the album, González works within a deliberately minimal framework, pushing his familiar palette to new heights through subtle variation, restraint, and detail. Each song unfolds with its own distinct character, proving how much emotional and musical range can be achieved within self - imposed limitations. Written in English, Swedish, and Spanish, the record reflects his Swedish - Argentine roots and frames its humanist message as a global one rather than a purely personal or political statement.

José González is one of the most quietly influential artists of our generation. The Swedish - Argentine artist has built a singular musical world from hypnotic, minimal guitar work and his unmistakably gentle voice — a sound that has become deeply personal to millions of listeners worldwide. With billions of streams across platforms and hundreds of thousands of physical records sold, González’s songs often act as emotional landmarks. Ask almost anyone, and they can name at least one of his tracks tied to a defining moment in their lives.

TRACK LISTING

1. A Perfect Storm
2. Etyd
3. Against The Dying Of The Light
4. For Every Dusk
5. Sheet
6. Pajarito
7. Losing Game (Sick)
8. Ay Querida
9. U / Rawls Slöja
10. Gymnasten
11. Just A Rock
12. You & We
13. Joy (Can’t Help But Sing)

Life Slime is the sixth full-length album by Pictish Trail (AKA Johnny Lynch) — a strange, tender, psychedelic electro-pop record shaped by transformation, exhaustion, hope, guilt, and renewal. Written at home on the Isle of Eigg and recorded at Mike Lindsay’s studio down in Margate (Tunng / LUMP), the album follows 2022’s critically acclaimed Island Family, further refining Lynch’s world of lo-fi electronics, warped pop melodies, baggy psych rhythms and emotionally direct songwriting. It’s a record that balances woozy synth-pop, motorik propulsion and intimate acoustic songwriting, all infused with the emotional messiness that gives the album its title.

Across the album’s singles — the guilt-stained psych-pop ballad ‘Hold It’, the life-affirming shimmer of ‘Infinity Ooze’, the late-night confession of ‘Torch Song’, the expansive eight-minute centrepiece ‘Another Way’, and the cinematic closer ‘Werewolf Ending’ — Life Slime charts a journey from emotional fracture to uneasy release. ‘Sorry Eyes’ brings a punchy electro-pop strut with a sharp emotional edge, ‘Crystal Cave’ drifts through crystalline guitars and shoegaze haze into transformation, and the title track ‘Life Slime’ moves with a slow, weary swagger toward bittersweet acceptance. Together, these tracks form a cohesive album statement about surrender, resistance, change and renewal.

TRACK LISTING

A1 Hold It
A2 Life Slime
A3 Toxic Spillage
A4 Battery Pack
A5 Another Way
B1 Sorry Eyes
B2 Infinity Ooze
B3 Crystal Cave
B4 Torch Song
B5 Werewolf Ending

The legendary singer/songwriter Morrissey returns with his much anticipated 14th solo album, his first in over 5 years. The album also marks his return to Sire Records, the home of the early Morrissey solo albums, and of course, The Smiths catalog.

Morrissey is rightly acknowledged as one of the greatest lyricists of his generation, and a hugely influential figure in pop music over the last 40+ years.

Make-Up Is A Lie was recorded in France and features 11 new songs, all which are certain to become classics in Morrissey’s catalogue. A superb cover of Roxy Music’s “Amazona” rounds out the 12-track album.

“Make-Up Is A Lie”, the album’s title track, is the first single and is the perfect introduction to the infectious grooves, melodies and lyrics that are a theme through the entire album. Morrissey’s legions of fans around the world will embrace this album with enthusiasm.

TRACK LISTING

1. You’re Right, It’s Time
2. Make-Up Is A Lie
3. Notre-Dame
4. Amazona
5. Headache
6. Boulevard
7. Zoom Zoom The Little Boy
8. The Night Pop Dropped
9. Kerching Kerching
10. Lester Bangs
11. Many Icebergs Ago
12. The Monsters Of Pig Alley

HEADS UP! We knew we were onto a good thing with our Dinked pressing of the debut album from the incredible overpass...but we didn't know quite how good a thing this was going to be.

Many many super keen fans missed out on the launch copies of our lush DInked Edition last night which broke our hearts. So we've liaised with the label, management and band to increase the pressing to look after some of you who missed out.

This is now a 1,000 pressing.
Still super limited.
Still likely nowhere near enough for demand.
You still need to act fast.

EXTRAS ON SALE AT 5pm TODAY!

Hotly anticipated debut album from the fast-rising Birmingham four-piece whose heart-on-sleeve, emotional indie rock and powerful live shows have earned them a devoted young following across the UK and Europe.

Produced by Rich Turvey (Blossoms, Rachel Chinouriri) and mixed by Cenzo Townshend, the debut follows large sold-out headline shows across the UK and Europe, support slots including with Wunderhorse and Inhaler, and appearances at Reading & Leeds, Boardmasters and Isle of Wight Festival.

TRACK LISTING

1. Union Station
2. Sandman
3. Is This Real?
4. Fall In Love
5. Bonnie & Clyde Pt. 2
6. Forever. You
7. Spinning
8. I Will
9. Get Up!
10. Heaven

SLAG joined hands on the Brighton seafront in September 2023 and brought their music to the people 2 months later. Since then, they have cemented themselves as a household name of the Brighton music scene and are continuously working on getting their sticky fingers in the pies of other cities across the UK and the world.

The band is comprised of Amelie Gibson (guitar and vox), Seb Cooper (Keys and Bvs), Luke Martin (Drums), Freya Eastcott (Bass and Bvs) and Dan Phillips (guitar). They all like each other very much and this is why they don’t mind going on tour in a car that only has 3 doors. The music they make is a glorious Frankenstein of influences that looks a little bit like prog rock in the right lighting. When they perform it’s like watching the Winx Club reach their full potential through the irrefutable power of friendship.

SLAG won’t tell you that they’re the best because they don’t feel qualified to make your mind up for you, but with outstretched arms they invite you to see for yourself.

TRACK LISTING

Side A
Face Off
Losing
Still Here
Private Gyno
Dislocated

Side B
1. Ripped
2. Heaven
3. Legs

Irish duo Chalk’s full-length debut LP, Crystalpunk, speaks directly to the upbringing and roots of the band members—award-winning musicians and filmmakers Ross Cullen [vocalist + producer] and Benedict Goddard [multi-instrumentalist + director]. The beauty, confusion, complexity, and intensity of their youth – lived under the shadow and around the scars of conflict – are entangled in the industrial dance-punk hybrid encoded in the record’s DNA, aptly entitled Crystalpunk.

“This record is us waving a flag for that generation — the ones who inherited confusion, resilience, and a fractured sense of self.” They’re waving that flag as intensely as possible too. For the uninitiated, Chalk mainlines the reaction between genres, eras, and cultures, commuting this collision into their sound. The Belfast group could comfortably power an underground warehouse party after-dark, incite a mid-day festival mosh-pit, or shake an arena on any given evening. Their power has seamlessly translated to the stage with the group packing venues and delivering alternately sweaty and electrifying performances to a growing rabid fan base. As a group, they've sold out shows across the UK, EU and USA, notched festival performances such as Glastonbury, SXSW, BBK, Trans Musicals and more across 11 countries and were handpicked to tour alongside IDLES and Fontaines D.C..

Coming from dissimilar backgrounds and rallying together naturally, Ben and Ross first crossed paths in film school. As the story goes, Ben had noticed a framed poster of Dublin disruptors Gilla Band in one of Ross’s Instagram photos and felt a kinship before ever actually speaking to him. “Nobody else at our school was into experimental noise guitar bands, so that was all I needed to see,” laughs Ben. Emerging in 2022, Chalk initially made waves with songs like “Them,” “Velodrome,” and “Static.”

In 2025, the guys hit the studio in Donegal with producer and longtime creative cohort Chris W Ryan to bring Crystalpunk to life. Documenting youth and living fully in their process allowed the band to create their most immersive piece to date.

Ultimately, they come-of-age and tell a story that resonates beyond borders. Not just a portrait of the band, but one of their home, a complicated place where the sacrifices made and risks taken by activists, artists, ravers and punks created the only environment that a band like Chalk could emerge from. Crystalpunk is not about choosing a side, it’s about choosing the future.

TRACK LISTING

Side A
Tongue
Pain
Can’t Feel It
Longer
One-Nine-Eight-Zero

Side B
Eclipse
Skem
I.D.C.
Béal Feirste
Ache

Cosmic exploration. Spiritual transformation. Unbridled spontaneity. These are the guiding principles of Pigeon, a psychedelic five-piece rooted in the English seaside town of Margate, yet making music that transcends borders. Pigeon are Falle Nioke (vocals, percussion), Graham Godfrey (drums), Josh Ludow (bass), Steve Pringle (keys, synths) and Tom Dream (guitar), musicians whose combined credits include Little Simz, Michael Kiwanuka, SAULT and Saul Williams.

Their debut album, OUTTANATIONAL, is a thrilling collection of party songs without limits: think William Onyeabor in outer-space or early Hot Chip making motorik afrobeat in a 70s New York loft. Building on a string of acclaimed EPs that have been playlisted on 6Music and led to coveted live slots at UK festivals like Glastonbury, Pigeon have evolved out of Afro-disco territory into something moodier. It’s an expansive record laced with heady krautrock, post-punk and punk-funk, indebted to the power of the groove and questing to find the meaning of home. Pigeon must fly.

TRACK LISTING

1. NRG
2. Black James Dean
3. Miami
4. Horse With A Blind
5. 117
6. Mirror Test
7. Hype Prototype
8. Future Country
9. Today Is Another Day
10. Caramel

wing!’s debut EP MISSED IT JUST THE ONCE is a ghostly instrumental hip hop project shaped by instinct, collaboration, and the constraints of a work lunch break - combining sample-based beat-making with live instrumentation.
Emerging from a period of creative exploration and personal transformation, MISSED IT JUST THE ONCE marks a pivotal moment for wing!, the moniker of Bexleyheath born-and-raised producer Adam Swan. “This EP was a breath of fresh air for me,” he shares. “It was the first time I had multiple tracks I was proud of. The idea of having an EP to listen back to and be excited about was completely new to me.”

Each track on the EP tells its own story, both in sound and in the moments of its creation. The first single "Out From Outer" was the first track written for the EP, and its original skeleton was conceived during wing!’s lunch break from working in a coffee shop - a habit that has been the basis of all of the tracks on the EP. “I was listening to a lot of Brazilian funk and thinking about how J Dilla layered samples on Geek Down,” he recalls. “I wanted it to feel like a live DJ endlessly flipping samples over a drum loop.”

The track served as the catalyst for the formation of wing!’s live band: after sending it to drummer Joe Killick, they had their first rehearsal and began transforming the music into a live experience, soon joined by bassist Kai Charlton. They made their debut at The Windmill Brixton in April 2024. As a trio playing live, they bridge the gap between beat-driven electronic & hip hop music and live jazz-inflected improvisation. Their blend of trip-hop textures with post-rock dynamics contributed to the EP’s final completion, with all three performing on the closing track.

Closing track In A Second I Will Need A Second’s post-rock inspired sound blends seamlessly with wing!’s more native hip-hop beatmaking. Drawing influence from the likes of Godspeed You! Black Emperor and Butch Kassidy, the track's energy is built around a drum crescendo of epic proportions. Initially hesitant to incorporate live drums over the usual sampling, wing! ultimately embraced the organic energy it brought to their live and recorded sound. The track’s momentum is driven by drummer Joe Killick’s subtle dynamic shifts. Kai Charlton brings deeply melodic bass, resulting in a piece that feels immense while remaining introspective.

The EP came hot off the back of opening Green Man Festival’s iconic Mountain Stage after winning the Green Man Rising competition.

MISSED IT JUST THE ONCE is wing! planting his flag in the ground, and making their first definitive statement. Boom bap grooves melding seamlessly with trippy ambiance and propulsive composition. With ‘In A Second I Will Need a Second’ the trio close out their debut EP in an epic conclusion. wing! continue to move from strength-to-strength, and have cemented themselves as one to watch with this release. With Missed It Just The Once, wing! establishes himself as an artist unafraid to follow his instincts, experiment freely, and find creativity in unexpected places.

TRACK LISTING

Side A
Let The Rest Go
Out From Outer
Pack It In
In A Second I Will Need A Second

Side B
Let’s Just See (Physical Only Bonus)

Birds are alluring, fascinating creatures. Unencumbered by earthly concepts, they soar through the skies, only briefly interacting with those of us watching them from below. It's like they inhabit a parallel world, almost, one where the turmoil of daily life on Earth is entirely escapable. When deary, the London- based dreampop three-piece of Ben Easton, Dottie Cockram and Harry Catchpole named their debut album 'Birding', it wasn't just as an homage to our feathered friends--they were referencing the sense of expansion, wonder, and abandon their music evokes. They chose the title to draw attention to the direct impact humans have on the world around us, whether that be nature, or ourselves.

With 'Birding', deary have purposely evolved their sound, opting for starker lyrics and heavier instrumentation than on their previous releases. A perfect example of this is 'Smile', the album's opener: amid buzzsaw guitars and airy windchimes, Dottie sings of the announcement of a national epidemic of violence against women. It's a haunting track, and the first time the band have tackled such an intense subject matter.

'Seabird', the album's lead single, takes 'Smile's heaviness and transmutes it into something heartening. Propelled by Harry's Portishead-esque backbeats, the track sonically resembles a wide open sky, with layer upon layer of guitar chords echoing to the heavens. Other focus tracks include the seven-and-a-half-minute long dreampop epic 'Alfie' and 'Alma', probably the album's most pop-forward moment.

Across 11 tracks that run the gamut from ocean-deep shoegaze riffs to
cloud-light sprinkles of ethereal indie, Birding is the sound of a band who
have definitively found their groove.

TRACK LISTING

1. Smile
2. Seabird
3. Baby's Breath
4. Gypsophila 
5. Blue Ribbon
6. Garden Of Eden
7. Alma
8. No Sweeter Feeling
9. Terra Fable
10. Alfie
11. Birding

'Sexistential' is the most ecstatic record that Robyn has ever made, the sound of one of contemporary music’s most influential artists coming home. After the club music meditations of 2018’s 'Honey', the album features nine, deeply playful pop songs that tie back to her era-defining 'Body Talk' trilogy, designed to feel “like a spaceship coming through the atmosphere at a really high speed and crash landing”, she says. “That’s how I felt, like I’d had all these experiences searching too far out into space, and now I’m crashing back into myself.”

Co-produced mainly with longtime collaborator Klas Åhlund, 'Sexistential' is emphatic and punchy, defiant about both emotional and biological pleasure, need and softness. The album’s title started life as an in-joke before she realised it said everything she wanted to say. “Exploring my sensual life is the same feeling as when I make a good song,” she explains. “It’s such a beautiful kind of sensitive vibration that takes so much work to keep afloat. I feel like the purpose of my life is to stay horny - it doesn’t even have to be about sex, but it’s feeling sensual and attracted to things that I enjoy, and not letting anything take over that.”

TRACK LISTING

1. Really Real
2. Dopamine
3. Blow My Mind
4. Sucker For Love
5. It Don't Mean A Thing
6. Talk To Me
7. Sexistential
8. Light Up
9. Into The Sun

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

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

TRACK LISTING

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

'Existence is Bliss' is the sophomore album from London-based post-punk six-piece Deadletter. This album follows their critically acclaimed 2024 debut, 'Hysterical Strength'.

TRACK LISTING

1. Purity I
2. To The Brim
3. Songless Bird
4. It Comes Creeping
5. What The World Missed
6. Cheers!
7. Among Us
8. Focal Point
9. (Back To) The Scene Of The Crime
10. Frosted Glass
11. He, Himself, And Him
12. Meanwhile In A Parallel

'Hard Hearted Woman' is Ora Cogan’s debut on Sacred Bones, blending haunted folk, psych rock, and shadowy country into an intimate, cathartic sound. Written in Nanaimo, B.C., and recorded with collaborators from country and experimental scenes, the album reflects resilience and tenderness amid a hardening world. Inspired by nature, community, and late-night reflections, it explores themes of survival, mystery, and connection. Tracks like 'Honey', 'The Smoke', and 'Division' address social issues and emotional depth, creating a shimmering, jewel-toned work devoted to staying open and human in fractured times.

TRACK LISTING

1. Honey
2. The Smoke
3. Division
4. Bury Me
5. Limits
6. Love You Better
7. River Rise
8. Believe In The Devil
9. Outgrowing
10. Too Late

Multi-instrumentalist, producer, and artist Shabaka (a.k.a Shabaka Hutchings) third solo album 'Of The Earth', his first solo album to be released via his own label 'Shabaka Records’, and an album entirely written and produced by Hutchings himself.

'Of The Earth' sees Shabaka return to his signature saxophone sound, alongside accomplished electronics and production, as well as traditional woodwind and percussion instruments from around the world, a combination indicative of Hutchings’ diverse talents and the overall sound on 'Of The Earth'.

Hutchings is highly regarded for his work with The Comet Is Coming, Sons of Kemet, Shabaka and the Ancestors, and from his two most recent solo projects 'Perceive its Beauty, Acknowledge its Grace', and 'Afrikan Culture’. As a musician he has also worked with a wealth of prestigious artists such as Andre 3000, TURNSTILE, Floating Points, Mulatu Astatke, The Sun Ra Arkestra, Lianne La Havas, Saul Williams, and more.

TRACK LISTING

1. A Future Untold
2. Those Of The Sky
3. Go Astray
4. Step Lightly
5. Call The Power
6. Dance In Praise
7. Ol' Time African Gods
8. Marwa The Mountain
9. Light The Way
10. Stand Firm
11. Space Time
12. Eyes Lowered

However dimly we perceive it, we are living through a change of worlds. The one we were born into is slipping away, reshaped and denuded by human action. What remains is the question of what we will carry forward, and how we will refuse to surrender ourselves. Will Oldham’s new album, 'We Are Together Again', feels like an answer. In Oldham’s songs - and in the circle of others gathered beneath the name Bonnie “Prince” Billy - friendship, community, and the stubborn joy of making art with others become a means of persistence. This isn’t a denial of collapse, which would be delusion, but a kind of defiance: remaining fully human, fully joyful, in a world with a diminishing horizon.

'We Are Together Again' was recorded at End of an Ear studios in Louisville, Kentucky. After a brief sojourn in Nashville for 'The Purple Bird' it continues his recent ambition - beginning with 'I Made A Place' and 'Keeping Secrets Will Destroy You' - to make records in Louisville.

TRACK LISTING

1. Why Is The Lion
2. They Keep Trying To Find You 
3. Strange Trouble
4. Life Is Scary Horses
5. (Everybody's Got A) Friend Named Joe
6. Vietnam Sunshine
7. Hey Little
8. Davey Dead
9. The Children Are Sick
10. Bride Of The Lion

For his new album, Irreparable Parables, Andrew Wasylyk felt a strong desire to write a set of songs featuring an element hitherto rare in his work: the human voice. Equally strong was the conviction that he did not want to sing them himself.

The Scottish multi-instrumentalist and composer set about assembling a group of guest singers, sending out the songs to wherever they were in the world. The vocals were recorded remotely and then, like migrating birds, winged their way back to Scotland. The result is an album of great beauty which, perhaps preeminently in Wasylyk’s work, expresses the vulnerability and resilience of the human spirit.

Six singers appear on the record, represented by six songbirds illustrated on the sleeve by Clay Pipe Music’s Frances Castle. The cuckoo is a nod to Belle and Sebastian’s 2004 single ‘I’m A Cuckoo’, that band’s Stuart Murdoch being the first voice you hear on the new album. When the vocal for ‘Private Symphony #2’ arrived, says Wasylyk, “it was everything that I was looking for and more. But this is Stuart Murdoch. Of course he’s going to make something incredibly beautiful and thoughtful.”

The song lyrics were, for the most part, written by the singers. The music is Wasylyk’s creation. He navigates a sound world that lies somewhere beyond the borders of classical and jazz, ambient and abstract. It is difficult to describe, but easy to understand, which is to say to feel. That is the way Wasylyk’s work is experienced: as a feeling. It takes you back to childhood, perhaps, to feelings of comfort and safety, or to memories of walks at sunrise and sunset, or to the way a shadow falls on a particular field in a particular place at a particular time in your life. This is consoling music. That is why, though pretty, it is not merely pretty. These are songs to shore up the soul.
Wasylyk writes in a room, in his native Dundee, full of “half-broken” instruments. He picks these up, plays a little, seeking an idea, a feeling, a door that lies ajar. The musical palette of Irreparable Parables includes brass and woodwind, a six-piece string section, guitar, bass, drums, vibraphone, Mellotron, Fender Rhodes, tape loops, synthesisers and percussion. The strings were arranged by the cellist Pete Harvey, a long-term collaborator.
Among the other guest vocalists are Gruff Rhys of the Super Furry Animals, Saya Ueno from Japan’s Tenniscoats and Peter Brewis from Field Music. Wasylyk himself takes the lead vocal on the title track, though a throat infection and touch of pitch-shifting have altered his singing in a way that even he, having fallen out of love with his own voice, finds acceptable.
The heart of the record can, arguably, be found in two tracks, ‘Love Is A Life That Lasts Forever’ and ‘Spectators In The Absence of God’, sung respectively by Molly Linen and Kathryn Joseph. The former, bright with trumpets, was inspired by the writing of Derek Jarman. “I was feeling deeply upset about the world and wanted to try and write something that was obviously hopeful,” Wasylyk says.

‘Spectators …’ offers an emotional counterpoint. It is an “apocalyptic hymn” that seems to grapple with watching human suffering from afar, too distant to be at physical risk, but experiencing the psychological wounding, and feelings of helplessness, even complicity, that come with constant awareness of other people’s pain. “Kathryn’s a pal, I love her dearly, and she’s a brilliant artist who really feels what she writes,” Wasylyk says. “The cracked tenderness of her voice is spellbinding.”

The album closes with an instrumental piece, ‘Soul Enters The Ocean Sun Climbs Out Of The Sea’, all piano and strings, that offers a sense of resolution and ascension. A good moment, too, for Wasylyk to reflect upon the artistic companionship that he enjoyed while making this record – the songbirds that answered his call: “These humans are incredible at what they do. I’m deeply grateful and feel so lucky. It blows my mind.”

TRACK LISTING

Side A
1. Private Symphony #2 (Feat. Stuart Murdoch)
2. The Cold Collar (Feat. Gruff Rhys)
3. Love Is A Life That Lasts Forever (Feat. Molly Linen)
4. First Moonbeams Of Adulthood
5. Road To The Amber Room
Side B
1. Hachi No Su (Feat. Saya From Tenniscoats)
2. In Portmanteau (Feat. Field Music)
3. Irreparable Parables
4. Spectators In The Absence Of God (Feat. Kathryn Joseph)
5. Soul Enters The Ocean Sun Climbs Out The Sea

Dinked Edition Extra CD:
01. Private Symphony (Instrumental Mix)
02. The Cold Collar (Instrumental Mix)
03. Love Is A Life That Lasts Forever (Instrumental Mix)
04. First Moonbeams Of Adulthood (Alternative Mix)
05. Road To The Amber Room (Alternative Mix)
06. Hachi No Su (Instrumental Mix)
07. In Portmanteau (Instrumental Mix)
08. Irreparable Parables (Instrumental Mix)
09. Spectators In The Absence Of God (Instrumental Mix)
10. Soul Enters The Ocean Sun Climbs Out The Sea (Alternative Mix)

“I’ve always wanted to use that title,” Sam Beam says of 'Hen’s Teeth', his eighth full-length album and his sixth for Sub Pop Records. “I just love it. To me it suggests the impossible. Hen’s teeth do not exist. And that’s what this record felt like: a gift that shouldn’t be there but it is. An impossible thing but it’s real.”

'Hen’s Teeth' and his previous album, 'Light Verse', are siblings of a sort. They were recorded during the same sessions after a year-long dry spell, with the same band, at Waystation studio in Laurel Canyon. “When I’ve been on a writing kick, and the band can meet me where I’m at, they push me into something I hadn’t imagined. I’m at a point in my life where spontaneity is a lot more important to me. I don’t have as much to prove as I used to. I’m a lot freer and I love making music more than ever. There are no right or wrong answers. You just pray for your luck and try your best.”

In this case prayers were answered and luck struck hard. The musicians cohered so quickly and inspired each other so much that they were often getting songs recorded in just a few takes, sometimes at the rate of two or three per day. The two albums might therefore be thought of as fraternal twins: they share DNA and complement each other but have distinct identities and are defined as much by their differences as their similarities.

'Light Verse' (2024) took its name from a form of poetry that makes heavy use of wordplay, humor, and nonsense. Its cover depicts figures in silhouette, floating or falling through a cyanotype sky. It’s a sweet and airy album, impressionistic, at times even flirting with abstraction, a hearty shaking off of the doom and gloom of the Covid era. Many of the songs are named for ideas or feelings that gesture toward hope amidst uncertainty: 'You Never Know', 'All in Good Time' (a gorgeous duet with Fiona Apple), 'Cutting It Close', 'Taken by Surprise'.

The world of 'Hen’s Teeth' is earthier, darker, more robust and more tactile than that of 'Light Verse'. The songs have titles like 'Roses', 'Robin’s Egg', 'Dates and Dead People', 'Singing Saw'. “Run into the one you love forever / Laugh into each other’s empty mouth,” Beam sings on 'Roses', the album’s first track. It’s one of several songs in which lovers are depicted as so deeply entwined they physically merge. 'Paper and Stone' recalls that “But for the time we fell in two / You’d be me and I’d be you / One crust of bread could fit in our mouths / You’d breathe in and I’d let it out.” And on 'In Your Ocean', we find Beam “Praying for dry ground / Though I only want to drown / When I find myself swimming in your ocean.”

The cover is a portrait of Beam surrounded on all sides by flourishing ferns and other tropical plant life. He is wearing a pin-stripe jacket and holding a massive cluster of grapes, prodigious beard spilling down his chest. He could be a local harvest god or a gentleman outlaw holed up in a jungle cave. There are white feathers covering his eyes but these somehow do not suggest blindness. Rather they seem to literalize the poetic notion of an artist’s vision taking flight. The whole surreal scene is washed in humid, spooky red. It’s somewhere between Leonora Carrington and Frida Kahlo, and the contrast with the cool blue-white palette of 'Light Verse' could not be starker.

“The experiments in this one were more with genre than with form. For the last couple years one of my go-to’s has been Van Morrisson’s 'Astral Weeks', that style where jazz musicians play folk music and it blossoms in different ways than folk musicians are normally interested in doing. ‘Singing Saw’ feels like a song that Dock Boggs and Simon & Garfunkel might have done together. ‘Roses’ and ‘In Your Ocean’ are straight forward folk rock, but they build to these apocalyptic endings. ‘Dates and Dead People’ and ‘Defiance, Ohio’ take a lot from Tropicalia, which is some of my favorite music too. I don’t see it as that much different from jazz. All these forms have been in rock music forever.”

About the players: David Garza on guitar, Sebastian Steinberg on bass, and Tyler Chester on keyboards. Griffin Goldsmith, Beth Goodfellow, and Kyle Crane all play drums. Paul Cartwright plays violin and mandolin among other stringed instruments; he also handled string arrangements for both records. The indie-country trio I’m With Her appears on the ebullient lead single, 'Robin’s Egg', and again on the tender, mournful 'Wait Up'.

“I’m obsessed with duets,” Beam says. “Ever since I did 'Love Letter to Fire' with Jesca Hoop. I just love the form. It’s inherently dramatic. And it’s so fun. I had these songs and I finished them with I’m With Her in mind.” Arden Beam—Beam’s daughter—contributes harmonies and backing vocals on the tracks, 'Roses', 'Singing Saw', 'Defiance, Ohio' and 'Grace Notes'. Her contributions lend a personal poignancy, as well as a wonderful sonic texture, to 'Hen’s Teeth'. Born two months before the release of his debut album, 'The Creek Drank the Cradle' (2002), she is now 23 years old and a musician herself—the first of his children to appear on one of his records.

“It’s exciting, making it more of a family affair. I like making Iron and Wine records, but I like the collaboration even more. Interacting with a bunch of friends and being blown away by what they can bring, musically and emotionally, to a set of three chords. I get to play all day with these people I love and they respond by giving me their most vulnerable, expressive self. It’s the weirdest, best job ever.”

TRACK LISTING

1. Roses
2. Paper And Stone
3. Robin's Egg (feat. I'm With Her)
4. Singing Saw
5. In Your Ocean
6. Defiance, Ohio
7. Wait Up (feat. I'm With Her)
8. Grace Notes
9. Dates And Dead People
10. Half Measures

As Pitchfork praises, Meek “specialises in a philosophical strain of songwriting,” which is evident across 'The Mirror'. There’s a tender power, countered by immutable vulnerability. With an uncanny curiosity, he reveals the uniqueness in the mundane. 'The Mirror' searches for new meaning and the familiar is reframed through Meek’s singular voice.

On 'The Mirror', love, as an idea, is always close – but in its reflection comes an afterimage of the way things could be and how they’ve been before. Meek holds the absurdity of devotion, the choice to love – with equal parts ache and grin, as on today’s single, ‘Gasoline’. He sings, “Making words up while we made love / one month and she’s in my blood.”

Emerging from a decade of work together in Big Thief, the partnership of Meek and producer James Krivchenia on 'The Mirror' arrived from the idea to combine the band’s live, kinetic energy with an oblique electronic world. From production projects including Big Thief’s 'Dragon New Warm Mountain I Believe In You' and his recent solo record, 'Performing Belief', Krivchenia’s work is enlivened through electronic elements, always seeking to deepen sound. The concept for ' The Mirror' welcomed a collective atmosphere in which simultaneous experiment could occur – the musicians responded to each other in real time, while their instruments triggered modular synthesizers.

For 'The Mirror', Meek and Krivchenia welcomed in friends, family, and longtime collaborators including Adrianne Lenker, who contributed vocals, Adam Brisbin on guitar, and Ken Woodward on bass. New creative partners and longtime friends like composer and ambient musician Alex Somers joined in on synthesizer, toy microphone, an old piano, and Mary Lattimore brought in the sounds of her prismatic harp. A rotating cast of four drummers: Jesse Quebbeman-Turley, Jonathan Wilson, Kyle Crane, and Krivchenia provide a wide dynamic arc of grooves. Germaine Dunes, Staci Foster, Jolie Holland, and Lenker sing as a choir on many songs. Meek’s brother, Dylan Meek contributed piano, keys, and vocals. Adrian Olsen created a wide range of sounds and melodies with modular synths.

With his songwriting acting as a compass to the recording process, Meek invited interaction, instead of limiting the tracks to something controllable. The album was recorded in Meek and Dunes' Los Angeles log cabin studio, Ringo Bingo. Meek recorded vocals outdoors on the front porch, looking through the living room window where the band played inside.

As an artist, Meek continues to reveal his singular aptitude as translator of human feeling and its endless portals. Through 'The Mirror', he aptly embraces the unknown with an abiding desire to find the right questions to ask, rather than their answers. “I don’t know the meaning of your dreams,” Meek writes on ‘Déjà vu’, “Though tell me everything.”

TRACK LISTING

1. Gasoline
2. Pretty Flowers
3. Can I Mend It?
4. Ring Of Fire
5. Demon
6. God Knows Why
7. Heart In The Mirror
8. Worms
9. Soul Feeling
10. Deja Vu
11. Outta Body

Recorded at Lisa Stansfield's Gracieland studios in Rochdale as well as New York.

Seen as one of the bands best albums, it contains fan favourite 'Blindness' which was used in a car advert in 2007.

This box released in conjunction with Narnack features the original album as well as sessions, Bsides, a live show from the time and a complete disc of Demos from Chapel Studios.

This Set as with the other Fall reissues has been compiled in conjunction with Fall expert Conway Patton and has notes by Fall guru Daryl Easlea and have been mastered by long time engineer Andy Pearce with art by Becky Stewart

TRACK LISTING

2LP / 4CD - DISC ONE
Fall Heads Roll
1 Ride Away
2 Pacifying Joint
3 What About Us?
4 Midnight In Aspen
5 Assume
6 Aspen Reprise
7 Blindness
8 I Can Hear The Grass Grow
9 Bo Demmick
10 Youwanner
11 Clasp Hands
12 Early Days Of Channel Führer
13 Breaking The Rules
14 Trust In Me

DISC TWO
Sessions And Singles
1 Blindness - John Peel - 04/08/2004
2 Clasp Hands - John Peel - 04/08/2004
3 What About Us - John Peel - 04/08/2004
4 Wrong Place Wrong Time / I Can Hear The
Grass Grow - John Peel - 04/08/2004
5 Job Search - John Peel - 04/08/2004
6 Blindness - Heads Roll - US Alt Version
7 I Can Hear The Grass Grow - Slow Version
8 Bo Doodak - Single
9 Blindness - Interim Version
10 What About Us - Interim Version
11 Clasp Hands - Interim Version
12 Blind Man - Original Demo
13 Blindness - Alt Version

DISC THREE
Chapel Studio Demos
1 The Boss
2 Systamatic Abuse
3 Party Song
4 Twang
5 Get Out
6 The V One
7 Spencers Cut
8 Steve Country
9 Wed Z
10 Boil A Chicken
11 White Line
12 Benneets Rocker
13 Brimstone
14 Fuzz

DISC FOUR
Leeds 27/08/2006
1 Bo Demmick
2 Pacifying Joint
3 Theme From Sparta FC
4 What About Us?
5 Reformation!
6 Mountain Energei
7 Mr Pharmacist
8 Blindness
9 My Door Is Never

Altın Gün, the Grammy-nominated Turkish psych-groove quintet from Amsterdam, return with their sixth studio album Garip — their most ambitious and diverse release to date, and a heartfelt tribute to the legendary Turkish folk bard Neşet Ertaş.

Neşet Ertaş (1938–2012) was a beloved icon of Anatolian music; a gifted singer, lyricist, and bağlama virtuoso who carried the spirit of the ashik folk tradition into the modern era. Garip ("Strange"in English) features ten of his compositions, each reimagined and richly expanded through Altın Gün’s distinctive lens.

An electrifying live band with an ever-growing global following, Altın Gün push their sonic boundaries even further on Garip — weaving in lush Arabesque string arrangements, bursts of saxophone, glimmering synth balladry, and a fresh surge of tightly wound rock ’n’ roll. 

TRACK LISTING

1. Neredesin Sen
2. Gönül Dağı
3. Öldürme Beni
4. Niğde Bağları
5. Benim Yarim
6. Suçum Nedir
7. Gel Yanıma Gel
8. Zülüf Dökülmüş Yüze
9. Gel Kaçma Gel
10. Bir Nazar Eyledim

Heavenly return! As fiercely independent as any punk band, but as sweetly melodic as any chart-topping act, Heavenly combine sharp-edged lyrics with shamelessly joyful pop music.

‘Highway To Heavenly’ shares this musical recipe with the band’s first four albums, all of which were released in the 1990s at a time when sensitive indie types in the UK were sheltering from the prevailing macho-rock storm under the Sarah Records umbrella, and when women in the US were starting to find their Riot Grrrl voices in the small town of Olympia, where labels like K and Kill Rock Stars were designing a new creative space.

Heavenly were on Sarah Records in the UK and on K in the US - and maybe this is a useful shorthand for understanding the band’s ability to meld the attitude of American Riot Grrrl bands with the pop charms of the English indie scene. In terms of style, Heavenly presented an androgynous look – short hair and pinafores for Amelia and Cathy - while Peter Rob and Mathew determinedly avoided the theatrics of male rock. Heavenly did not want to fit in with the hyper-gendered corporate music scene of the 1990s, and the band have stayed determinedly independent ever since (this new album is released on Rob and Amelia’s Skep Wax label). The new songs are full of anger, of grief, of empathy, of love, and set themselves in opposition to the resurgence of the cold ‘masculine energy’ that is making the world a miserable, aggressive place today.

Heavenly have recently enjoyed a huge resurgence of interest from a younger generation of fans, who have cottoned on to Heavenly’s music, but also embraced the band’s inclusive version of feminism. 'Portland Town' is a joyful celebration of a place where diversity is welcomed. 'Press Return' is a demolition of those men who think technology and wealth make them winners rather than sad losers. 'Excuse Me' is an outburst of punk energy, as effervescent as a song on the first Undertones album, gleefully celebrating a teenage romance with the nerdiest boy in school. 'A Different Beat' tells the entire story of a doomed relationship, its heroine falling for and then escaping from an oppressive man, before heading for the metaphorical disco of freedom. Heavenly have clearly been to a disco or two lately: opening track 'Scene Stealing' feels like a distant cousin of Blondie’s ‘Heart Of Glass’ and tells the story of self-obsessed YouTube influencers who don’t know how to treat women with respect. By contrast, album closer 'That Last Day' may be most poignant song about bereavement you will hear all year, certainly the only one you’ll want to sing along to. It’s all pop here, but 'Highway To Heavenly' has a huge range of tones and moods.

The band comprises original members Amelia Fletcher, Peter Momtchiloff, Cathy Rogers and Rob Pursey, who are now joined on drums by Ian Button. (An important element of the Heavenly story was the loss of Mathew Fletcher, who took his own life just before the fourth album was released. It took Amelia, Peter, Cathy and Rob a long time to get over the loss; maybe it took even longer to find a drummer as good as Ian.) The new Heavenly have played a number of sell-out shows in the past couple of years, where older fans have mingled with new devotees. 

'Highway To Heavenly' was recorded at Rumbaba (Deptford, London) and at The Sunday School (Kent). It was produced by Toby Burroughs.

TRACK LISTING

1. Scene Stealing
2. Portland Town
3. Press Return
4. Skep Wax
5. Deflicted
6. Excuse Me
7. A Different Beat
8. Good Times
9. The Neverseen
10. She Is The One
11. That Last Day

Following the crazily limited Dinked Edition white label pressing of this incredible album (it sold out in minutes), we now bring you the official worldwide release on Mute. Hailed as one of the US’s most exciting and provocative new bands, Prostitute’s bracing debut Attempted Martyr has been quite the talking point!


Emerging out of Dearborn, Michigan, this five-piece deal in pure chaos and catharsis - fiery live shows, razor-sharp intensity, and a sound that’s as incendiary as it is brutally tight. Their name reflects their fixation on identity, desperation, and survival under late capitalism.

Attempted Martyr was written in the midst of global and personal turmoil, capturing the zeitgeist of a world unraveling. A loose concept record, it chronicles the rise and fall of a doomed zealot whose pursuit of holy vengeance spirals into a psychotic orgy of violence, greed, and lust. It’s dense, turbulent, and charged with blaring Middle Eastern, African and East Asian influences - all scorched into shape by producer Chris Koltay (The Armed, Mdou Moctar).

With mounting online buzz, critical acclaim and a run of sold-out bootleg editions, Prostitute’s debut continues to gain momentum.

“Really heavy, intense, intriguing, thrilling, and thematically unique album, and aesthetically unique, too” - Anthony Fantano

“Calling the Dearborn noise rockers’ debut “intense” is somehow still underselling it.”- Pitchfork

“...a terroristic noise rock opera, complete with groovy riffs, pummeling drums, and a frontman more crazed than anyone in their orbit” - Stereogum

TRACK LISTING

Side A
A1 All Hail
A2 Judge
A3 M. Dada
A4 Body Meat

Side B
B1 Senegal
B2 In The Corner Dunce
B3 Joumana Kayrouz
B4 Harem Induction Hour

MEMORIALS jump off the waterslides and head above the clouds with their stunning second album, ‘All Clouds Bring Not Rain’. The duo of Verity Susman and Matthew Simms (formerly of Electrelane and WIRE) locked themselves away in a studio in a barn secluded deep in the woods in southwestern France and re-emerged with a beautiful, unusual record that is both melodic and unconventional. For such an ambitious album it’s striking that it was written, performed, recorded and mixed solely by the two of them.

Sounding like an unearthed classic, MEMORIALS twist their influences into their own unmistakable sound. Imagine Nico singing with Can produced by David Axelrod and you’re somewhere in the right ballpark. The record draws inspiration from a wide range of music including folk, dub, post punk, experimental tape music, 60s soul, garage rock, 70s spiritual jazz and Canterbury prog.

This attention to detail in their sound meant finding several other studios to get what they needed to record with, including a harpsichord at 4AD’s studio in London and a vibraphone and vintage Leslie speaker in Stereolab drummer Andy Ramsay’s studio Press Play.

Verity’s distinctive, unadorned singing is a focal point of the record, moving from tender to wild. Her vocal melodies quickly become earworms, providing the tuneful heart around which the songs’ more unorthodox elements are arranged, which is where Matthew’s unconventional approach to recording and production comes to the fore.

With their adventurous arrangements, classic songwriting skills and innovative production techniques, MEMORIALS have created another mesmerising listen that’s accomplished and compelling in its unique approach yet remains dizzyingly immersive - just like their acclaimed live shows.

TRACK LISTING

1. Life Could Be A Cloud
2. Cut Glass Hammer
3. I Can't See A Rainbow
4. Dropped Down The Well
5. In The Weeds
6. Reimagined River
7. Mediocre Demon
8. Bell Miner
9. Lemon Trees
10. Watching The Moon
11. Wildly Remote
12. Holy Invisible

Two Piers release the second in their ‘Presents’ compilation series with Steve Mason (Beta Band, King Biscuit Time) stepping up to the curation table to deliver a stunning compilation of tracks entitled ‘The Romance of Unknowing’.

Steve Mason presents: The Romance of Unknowing takes in influences from Northern Soul, Punk, Folk, Hip-Hop, Soul and Post-Punk, spanning tracks from 1965 to 2005.

“There was a club in Dunfermline (Fife) called The Kronk and the DJ there, called Lel Palfrey would play incredible sets going from House into Hip Hop into Reggae and back into House. Occasionally ending with Booker T’s Green Onions. As someone with wildly eclectic music taste who had been a Mod, Lel helped sure up my opinion that there should be no boundaries in music. It’s just a line of Human expression that stretches back into our past and will continue. Forever. Open your arms and come with me.” - Steve Mason 2025

Scottish singer, songwriter, and producer Steve Mason rose to widespread critical acclaim in the late ‘90s as a member of the Beta Band, with their creative approach and maverick attitude, the Beta Band earned a glowing reputation among fans and the UK press during the post-Brit-Pop era, thanks to releases like 1998’s ’The Three EP’s’ and 2001’s ‘Hot Shot’s II’. During the Beta Band’s heyday and following their 2004 breakup, Mason also recorded as King Biscuit Time and has since had a very successful solo career, releasing numerous critically acclaimed albums, including his most recent 2023 album ‘Brothers & Sisters’. In 2025 the Beta Band reformed to play a bunch of Sold Out Live shows across the world.

Steve Mason presents: The Romance of Unknowing follows the release of Richard Norris Presents: Weird Scenes from the Hangout in 2024 on Two Piers, the label that have released such critically acclaimed Compilations as Pop Psychédélique (The Best of French Psychedelic Pop 1964-2019), Strobes in Space (Indie Sleaze, Nu Rave & Future Disco 2000-2009), Night Train (Transcontinental Landscapes 1968-2019) and Soul Psychédélique (The Sounds of Psychedelic Soul & Funk 1967-2024).

TRACK LISTING

2LP tracklisting:
Side 1
A1. Fête - Roland Bocquet
A2. I Think It’s Time (You Were Mine) - Alice Swoboda
A3. Lay This Burden Down - Mary Love
A4. What You See Is What You Get - Stoney And Meatloaf
A5. Left Over People - Alan Price
A6. Never Get Ahead - Bobby Conn
A7. Terminal Stupid – The Snivelling Shits
A8. A Glass Of Champagne – Sailor
Side 2
B1. I See Stars – Supersempfft
B2. I Dig You- Demis Roussos
B3. YaYa (Nelue Rework Mutant Disco Edit) - Ron Rogers
B4. Slippery People (Club Version) – The Staple Singers
B5. Love Is A Serious Business - Alfie Davison
Side 3
C1. Happy (Is My Life) - Andre Willliams / Velvet Hammer
C2. My Little Girl - Bobby Garrett
C3. Waiting For A Train - Flash And The Pan
C4. Flame (Chicken Lips Version) - Bell X1
C5. Release Yo’Delf (Prodigy Remix) - Method Man
Side 4
D1. Hateful - Aaron Carl
D2. Rose Rouge - St. Germain
D3. Imperfect List Pt.1 - Big Hard Excellent Fish
D4. Nothing - Rene Halkett / David Jay

2CD Tracklisting:
CD1
1. Fête - Roland Bocquet
2. I Think It’s Time (You Were Mine) - Alice Swoboda
3. Lay This Burden Down - Mary Love
4. What You See Is What You Get - Stoney And Meatloaf
5. Left Over People - Alan Price
6. Never Get Ahead - Bobby Conn
7. Terminal Stupid – The Snivelling Shits
8. A Glass Of Champagne – Sailor
9. I See Stars – Supersempfft
10. I Dig You- Demis Roussos
11. YaYa (Nelue Rework Mutant Disco Edit) - Ron Rogers
12. Slippery People (Club Version) – The Staple Singers
13. Love Is A Serious Business - Alfie Davison
CD2
1. Happy (Is My Life) - Andre Willliams / Velvet Hammer
2. My Little Girl - Bobby Garrett
3. Waiting For A Train - Flash And The Pan
4. Flame (Chicken Lips Version) - Bell X1
5. Release Yo’Delf (Prodigy Remix) - Method Man
6. Hateful - Aaron Carl
7. Rose Rouge - St. Germain
8. Imperfect List Pt.1 - Big Hard Excellent Fish
9. Nothing - Rene Halkett / David Jay

“You’ve got to die and be reborn between albums,” begins Henry Wade, guitarist for The Orielles, describing the foundations of the band’s fourth studio album, Only You Left. “It comes naturally,” adds singer and bassist Esmé Hand-Halford, “it’s not something we consciously do.”

Through this process of creative renewal, the Manchester-based trio – completed by drummer Sidonie Hand-Halford – have managed to weather a pandemic, defy the fickleness of a trend-led music industry, and emerge, phoenix-like, with something familiarly Orielles, yet altogether different. Recorded in two locations – Hydra and Hamburg – over the summer of 2024, the 11 tracks of Only You Left sees the band consolidate the bold experimentation of their previous LP, Tableau (2022), with a return to the more stripped-back, song-led approach of their early origins.

“There’s nothing more trad than a three-piece,” quips Henry, in reference to the band’s decision to return to their roots as a trio. Originally from Halifax, the Orielles first came to recognition in 2018 with their debut album, the indie-rock Silver Dollar Moment, which is approaching its eighth birthday in February 2026. “These things come in like seven year cycles. So we've come in like a full circle back to a familiar place, just as different people.”

By exploring binaries and contrasts, the Orielles are finding shapes in the chaos and confusion of the world around us – it’s an undertaking that benefits from more than 15 years of close collaboration, driven by friendship and the artistic compulsion to find meaning in music.

TRACK LISTING

Side A
Three Halves
Shadow Of You Appears
Tears Are
Embers
Tiny Beads Reflecting Light

Side B
The Woodland Has Returned
All In Metal
You Are Eating A Part Of Yourself
Whenever (I May Not Feel So Close)
Wasp
To Undo The World Itself

At last, a brand new album from the legendary outfit, The Heads.
'yourprettyplaceisgoingtohell' is their first new material for 20 years.
It will be released almost 30 years on from their seminal debut “Relaxing With”, this will be their fifth studio album proper.

The band are a well established though reclusive part of the UKs underground / cult psychedelic rock scene. A constant four piece, they also perform/record in their own projects; Paul Allen/Anthroprophh, Simon Price/Kandodo and Wayne Maskell and Hugo Morgan are both now in Loop.

The album was recorded over three days whilst the Heads were rehearsing for a couple of live dates with their friends, and peers, Mudhoney. The guitars, drums and bass were laid down live in Bristol, over-dubs added and then mixed/produced by John McBain in Portland.

Initially planned as two single albums, (Volumes 1+2) it soon made sense that they should be put together as a double LP.
Named in a nod to the Stooges' Raw Power classic 'Your Pretty Face Is Going To Hell', it describes the trajectory we're all on.

The Heads are renowned for their brutalist take on psychedelic rock, this new album shows how much they have absorbed from their years of existence, their peers and the world around them. Not much change though, they haven't mellowed out.

The pummel is there, the spaced out sike zones are there, there’s wigged out guitar solos that will peel the paint off the walls, there’s even pop songs if you look/listen hard enough. John McBain has done a grand job in fine tuning the noise and sonic assault.
It's hard to draw a direct “for fans of “ list, because ultimately this album is for fans of The Heads.
However, you can trace the DNA of this album back to the Stooges, Hawkwind, 13th Floor Elevators, Can, Mudhoney, Monster Magnet, Loop, Spacemen 3, MC5 etc. all squeezed through The Head's heavy sonic blender.

A band that only ever existed on the fringes, "if you're not on the edge, you're taking up too much space''.
Life and jobs got in the way a bit but hey, at least that kept it pure.
'One chord, three pedals, six years' was an old mantra of theirs. They've pushed that to 'three chords, double album, 20 years'.
Don't expect another.


notes from Simon Price about the album........
The lyrics reflect a despair at what we, the human race, has done, is doing and will do. Not only to ourselves and to each other but also to the delicate balance of our ecosystems, Gaia, Mother Earth. The creatures and critters really don't deserve us.

But it seems it's so much easier to kill than to create. We're crap custodians, quick to destroy habitats and homes rather than to nurture our inter-connected futures.
Playing loud guitars, creating beautiful noise, gives us release, escape from the mundanities of life. Screaming into the void. Know that doesn't really help much but it's better than nothing.

your pretty place is going to hell, Raw Power from a lost age of comparative innocence.
'what've we done? Made it for nothing? The race was won but can't stop the rushing?' The money machine chews it all up,spitting out diminishing returns, ever increasing pain and poisoning our planetary home.

'So many lives in concrete hives' This is progress? We've lost our connections to the 'Vast One', forgotten that we are a part of the greatest whole. 'Chopping it down, delicate balance.'
if only plastic would rust

Music allows us to vent some frustrations of powerlessness, confusion, anger, of living in a world run by egotistical greedy old men. 'Cos it's always been this way' Does it have to be this way? is this it? really?

we, humanity, are the plague that will choke our planet, the only animal that kills for fun.'The only hope is in the trees, bullets fly but no bees'
in 5000 years, a flicker of a candle in space's eternity, we have managed to go from caves to the moon and yet seemingly get nowhere.
Everybody knows we got nowhere.

Animals adapt or die, only we haven't/can't adapt to our environment, still gathering in excess and hunting wealth to the detriment of all else.
'The earth/the planet, the future is gold/sold'

yourprettyplaceisgoingtohell
Wars rage endlessly, driven by vain ancients, warped realities, climate collapse, greed and desperation.
The innocents are at best ignored, at worst destroyed.

It's not all doom, gloom and pessimistic rantings; shyness, love and loss are also covered.

We know everything and yet have seemingly learnt nothing. snafu
'the less you know, the more that you say' there's a 'post truth' media slop overload,
AI can only speed the descent, junked up food for primitive brains.
wanna just shut out the noise,
so we plug in, bang the drums, hit the fuzz

Apparently we want to go to Mars and beyond but cannot see what we've already got, heaven in a wild flower.
Not to worry, we're fucked, but, hey, we've got enough distractions, such as making this album, so we can ignore that iceberg dead ahead.
yourprettyplaceisgoingtohell

pre-apocalypse blues of rhythmic fuzz and acid rock.

This album will be the soundtrack to navigate 2026.
Released on the Vernal Equinox (March 20th 2026)

TRACK LISTING

Side A
1 Hits Like A Dove
2 Cardinal Fuzz
3 Can't Stop The Rushing
Side B
4 It's About Time...and Space
Side C
5 On
6 Snake Oil
7 Sunquaker
8 Socially Awkward
Side D
9 Entropic Dissolution
10 Bullets Fly But No Bees
11 It's All Over Now Sunshine
12 Off

In a cramped club on the lower east side of Manhattan, armed with only an electric guitar, Jeff Buckley stunned audiences with his mysterious, emotionally uncompromising live sets, packed with eclectic covers and his own originals. The four-track Live at Sin-e EP, released in 1993 was his debut release for Columbia Records; here it's expanded with an eight-page, full color booklet of photos and liner notes. The set includes live versions of favorites like 'Grace', 'Last Goodbye' and Leonard Cohen's 'Hallelujah'.

TRACK LISTING

1. Be Your Husband [Live]
2. Lover, You Should've Come Over [Live]
3. Mojo Pin [Live]
4. Monologue - Duane Eddy, Songs For Lovers [Live]
5. Grace [Live]
6. Monologue – Reverb, The Doors [Live]
7. Strange Fruit [Live]
8. Night Flight [Live]
9. If You Knew [Live]
10. Monologue - Fabulous Time For A Guinness [Live]
11. Unforgiven (Last Goodbye) [Live]
12. The Twelfth Of Never [Live]
13. Monologue - Cafe Days [Live]
14. Monologue - Eternal Life [Live]
15. Eternal Life [Live]
16. Just Like A Woman [Live]
17. Monologue - False Start, Apology, Miles Davis [Live]
18. Calling You [Live]
19. Monologue - Nusrat, He's My Elvis [Live]
20. Yeh Jo Halka Saroor Hae [Live]
21. Monologue - I'm A Ridiculous Person [Live]
22. If You See Her, Say Hello [Live]
23. Monologue - Matt Dillon, Hollies, Classic Rock Radio [Live]
24. Dink's Song [Live]
25. Monologue - Musical Chairs [Live]
26. Drown In My Own Tears [Live]
27. Monologue - The Suckiest Water [Live]
28. The Way Young Lovers Do [Live]
29. Monologue - Walk Through Walls [Live]
30. Je N'en Connais Pas La Fin [Live]
31. I Shall Be Released [Live]
32. Sweet Thing [Live]
33. Monologue - Good Night Bill [Live]
34. Hallelujah [Live]

Bruise Control are a loud-mouth four-piece punk outfit from Manchester who’ve become a serious force in the UK DIY scene. They’ve been carving their name with a ferocious energy, mixing the raw aggression of ’80s hardcore with hooky, jagged indie riffs pulled straight out of the early ’00s. Their new EP and extended physical release, which they co-produced (by their guitarist Niall Griffin), really captures that chaotic, live-wire feel - think shout-along choruses, gritty vocals, and a jagged musical edge that somehow still feels melodic.

On stage, Bruise Control are notorious for bringing the party - wild shows, loose banter, and a real sense of community. They’ve played at festivals like 2000Trees, The Great Escape, Bearded Theory, Left Of The Dial and more, bringing their DIY punk spirit to a big crowd. The band have also played shows with Amyl & The Sniffers, Spiritual Cramp, Civic, Press Club and loads more.

Their single “Gone to Ground” is "raw, urgent, and emotionally honest — and it’s a great example of how they balance grit and melody". - Punkinfocus

If you like bands who hit hard but still keep things weird and thoughtful, Bruise Control are here for you…

TRACK LISTING

Side A
1 Be Like You
2 Left Behind
3 Spinners Mill
4 Gone To Ground
5 If You’re Not Mine
6 Jumping Ship

Side B (Exclusive To Vinyl)
1 Nostalgia (Demo)
2 Bruise Control (Live In Manchester)
3 Dead On Arrival (Live In Manchester)
4 No More
5 Left Behind (Alternative Version)

The New Eves’ extraordinary debut The New Eve Is Rising was released on 1 August 2025 to critical acclaim. Written in Brighton and at an artistic residency at The Cornish Bank and recorded at Rockfield Studios and Bristol’s Cotham Parish Church, The New Eve Is Rising takes the four-piece’s untamed melting pot of musical styles - an instinctive, incendiary mix of Patti Smith radical poetry, rock’n’roll recklessness, freak folk experimentalism and plenty more - and somehow turns it into a collection of clarion calls that you can still hum. It’s completely immersive; a whole world to dive into that’s taken on a life of its own. “We’re all adhering to The New Eve entity of the band,” Ella notes. “The band knows what it wants.”

Across its nine tracks are references to highwayman’s caves and 12th Century lovers Heloise and Abelard; to krautrock and Swedish cow calls and even lyrics whispered into a bat detector. The band call what they make Hagstone Rock. “There’s a lot of mythology around a hagstone, and it’s different in different places, but generally if you look through the hole of hagstone you can see the truth,” says Ella. “We see ourselves as a rock band, but there’s a lot of depth in there and putting hagstone in front of it felt better.” Pause. “It also has the word ‘hag’ in it, which we really identify with…”Nestled somewhere between primal rock'n'roll live performance and transcendent ritual, there's an unmistakable alchemy that happens when Violet Farrer (guitar, violin, vocals), Nina Winder-Lind (cello, guitar, vocals), Kate Mater (bass, vocals) and Ella Oona Russell (drums, flute, vocals) step onto a stage together.

Now, they've distilled this visceral energy into their extraordinary debut album 'The New Eve Is Rising': a lighting rod of inspiration channelled by a quartet with the ability to create something greater than the sum of their parts. 'The New Eve Is Rising' was written in Brighton and at an artistic residency at The Cornish Bank, co-produced by The New Eves and Jack Osbourne (Bingo Fury) and recorded at Rockfield Studios and Bristol's Cotham Parish Church

TRACK LISTING

1. The New Eve
2. Highway Man
3. Cow Song
4. Mid Air Glass
5. Astrolabe
6. Circles
7. Mary
8. Rivers Run Red
9. Volcano

Ellur is one of those unique artists who combines an undeniable authenticity with a forceful ambition and a voice that reaches beyond her years.

From Halifax, Ellur (named after the Yorkshire pronunciation of her name Ella) writes songs about feeling, battling with, and ultimately drawing comfort from vulnerability in a way that takes influence equally from classic alternative rock as it does the new school of songwriters of today. ‘At Home In My Mind’, her debut album, is an open invite into the world and is a brutally honest reflection on life in your emerging 20s - an arm extended out, looking for people who need a hand to hold.

“Recording this album felt like the crescendo of years of struggling to understand myself. It can get quite claustrophobic living inside my head.” The album is a journey around Ellur’s mind, it dips into different musical genres that have shaped her for the past 24 years – from the 90s indie rock she grew up with, to glitch-pop she discovered in her late teens to the alt-folk she cherishes now. Ellur has created a warm abode for her thoughts and experiences as a young woman growing up in Yorkshire’s Calderdale Valley and ‘At Home In My Mind’ beds them all in, safely together. 

TRACK LISTING

Side A
God Help Me Now
Missing Kid
The Wheel
Dream Of Mine
Yellow Light
Black Sands

Side B
Pushing Away
The World Is Not An Oyster
Disintegrate
Lonelier In Heaven
At Home In My Mind
Knowing

YARD are the electrifying three-piece electropunk band from Dublin. Known for their intense and immersive live shows, YARD bridges the gap between electronica and post-punk, creating an auditory onslaught that leaves audiences sweaty, energised, and strangely unnerved.

Since their inception, YARD has shared stages with the likes of A Place To Bury Strangers, Psychotic Monks and Mandy Indiana. Their electrifying live performances, akin to Death Grips, Nine Inch Nails and The Prodigy, have earned them coveted slots at festivals such as Les Transmusicales, Haldern Pop and Into The Great Wide Open.

With a recent live performance on KEXP, continued support from Rolling Stone, BBC Radio 6, Clash and Louder Than War among others, a string of European festival appearances, featured tracks in Netflix’s ‘House of Guinness’ as well as Nicolas Cage’s ‘The Surfer’ and the release of their second self-titled EP, YARD are set to continue their meteoric rise in 2026.

A recent live review captured the YARD experience perfectly: “In their presence, you see and feel them painstakingly crafting every note and sound with their bare hands, wrestling with different sockets, switches, strings, or even their voices. The venue was transformed into this factory of raw, unadulterated noise which kept us all at the mercy of the sound - collectively banging our heads in synchronicity.”

TRACK LISTING

Side A (EP1)
Trevor
Appetite
Slumber
Sunlight

Side B (EP2)
Essential Tremor
Big Shoes
Friction
Lawmaker
Auto Erotic

London-based, Wrexham-raised artist and producer Art School Girlfriend third studio album 'Lean In'.

Armed with the freedom and space to experiment, 'Lean In' was self-produced in her own East London studio and sees Art School Girlfriend set to move from cult bedroom artist to one of the UK’s most vital artist/producers operating at the moment, tackling alternative rock, electronic pop & experimental ambient sounds in her most cohesive work to date.

'Lean In' arrives at a time where her audience has grown exponentially, partly due to her diverse involvement across the music scene at large – contributions to the work of Daniel Avery, Lane 8, Jasper Tygner and Ghostpoet; being chosen by Bonobo to DJ at his Outliers series at Drumsheds; touring the US with both The Japanese House and Marika Hackman; a notable DJ set for HOR; producing and engineering for up-and-coming post-rock band Pencil; the tastemaker curation of her 5-years-in-the-running monthly radio show on Foundation FM.

TRACK LISTING

1. Doing Laps
2. L.Y.A.T.T.
3. The Field
4. Down The Line
5. Almost Transparent
6. Save Something
7. The Peaks
8. Hope More, Hopeless
9. Lines
10. Framer

Lily Allen returns with West End Girl, her long-awaited fifth studio album. Written and recorded over an intense 10-day period, blending raw honesty with infectious pop craftsmanship, documenting elements of her time in New York with piercing clarity and insight.

TRACK LISTING

CD TRACKLIST:
1. West End Girl
2. Ruminating
3. Sleepwalking
4. Tennis
5. Madeline
6. Relapse
7. Pussy Palace
8. 4chan Stan
9. Nonmonogamummy
10. Just Enough
11. Dallas Major
12. Beg For Me
13. Let You W/In
14. Fruityloop

LP TRACKLIST:
SIDE A:
1. West End Girl
2. Ruminating
3. Sleepwalking
4. Tennis
5. Madeline
6. Relapse
7. Pussy Palace
SIDE B:
1. 4chan Stan
2. Nonmonogamummy
3. Just Enough
4. Dallas Major
5. Beg For Me
6. Let You W/In
7. Fruityloop

'Wuthering Heights' is Charli xcx’s album written for Emerald Fennel’s highly anticipated film 'Wuthering Heights', starring Margot Robbie and Jacob Elordi. The album will be released alongside the film on Valentine’s Day 2026.

TRACK LISTING

TBC

For Mandy, Indiana, the truth is the only way through. On their Sacred Bones debut URGH, the four-piece - vocalist Valentine Caulfield, guitarist and producer Scott Fair, synth player Simon Catling, and drummer Alex Macdougall - are a force of uncanny nature, grafting together a record that is as much a call to action as a parlay into oblivion and transcendence. Across the ten tracks, the band interpolate their own unconventional language into a mantra for self-determination and resilience, forging a template for a brighter future before it fades to black.

Much of the album was written during a residency at an eerie studio house in the outskirts of Leeds, then recorded across Berlin and Greater Manchester. It was an intense environment partially due to the health issues faced by Caulfield and Macdougall during the writing and recording process.

Yet Mandy, Indiana remain uncompromising. Caulfield uses her voice as a distorted instrument and a weapon, oscillating between playful and eviscerating. The throbbing siren-sound of “Magazine” stands alongside the cut-up vocal fry of “try saying” and the shapeshifting ferocity of “ist halt so,” which channels the urgency of protest movements, referencing resistance to the genocide in Gaza while speaking to struggles more broadly, while final track “I'll Ask Her” is a deliberate directness calling out toxic boy’s club culture and a tenacious reckoning that hangs over the album at large.

Although there are still undeniable “bangers” (like the frazzled rap of “Sicko!” featuring billy woods), URGH often feels hewn with precise cinema. From the bristling techno of “Cursive” to the deconstructed feedback loops of “Life Hex,” the album moves between industrial catharsis and cinematic unease, threading a tension that Fair describes as “a remix of itself.” This contrasting palette is both a necessary aspect of the record as well as the underlying connective tissue.

Though deeply personal, URGH reflects the violent, fractured state of the wider world. Caulfield’s lyrics grapple with assault, systemic indifference, and the omnipresence of pain, while also insisting on moments of beauty and solidarity. URGH belongs in the physical world, and the artwork by Carnovsky, featuring an anatomical illustration of Andreas Vesalius, underscores the record’s visceral confrontation with the body and its limits.

URGH is both otherworldly, and physical and cathartic, a first step toward healing and a refusal to let the conversation die. 

TRACK LISTING

Side A
Sevastopol
Magazine
Try Saying
Dodecahedron
A Brighter Tomorrow 

Side B
Life Hex
Ist Halt So
Sicko! Ft. Billy Woods
Cursive
I’ll Ask Her

'My Days of 58' is the eighth Bill Callahan album, his first since 2022. The twelve tunes here open uncanny depths of expression as Bill continues to blaze one of the most original songwriting-and-performance trails out there. With 'My Days of 58', he applies the living, breathing energies of his live shows to the studio process, sharpening his slice-of-life portraiture to cut deeper than ever before.

The core musicians featured on 'My Days of 58' is the group that toured for 2022’s 'REALITY': guitarist Matt Kinsey, saxophonist Dustin Laurenzi and drummer Jim White, whose synergy was evident in 2024’s live 'Resuscitate!'. This showed Bill, as he puts it, “that they could handle anything I threw at them,” adding:

“Improv/unpredictability/the unknown is the thing that keeps me motivated to keep making music. It’s all about listening to yourself and others. A lot of the best parts of a recording are the mistakes—making them into strengths, using them as springboards into something human.”

With this in mind, Bill prepared the songs with each player separately. Taking a note from songwriter, fan and friend Jerry DeCicca, he recorded the basic tracks for all but one song in a duo with Jim White. Meanwhile, he rehearsed with Matt, guitar to guitar, while asking Dustin to make horn charts for a few songs. Bill: “I usually just sing a melody to a horn player or let them try a few takes and go from there. This time I thought, why not get some of the record charted out. There’s always room for spontaneity on top of that. And we did indeed throw some off the cuff stuff on top of the charted horns in a couple cases where they weren’t fully doing what I wanted.

With this record I kept thinking of it as a ‘living room record.’ I’m not talking about fidelity at all here. Living room attitude. Living room vibe. Not too loud, not otherworldly. I asked for the horns to be relaxed like someone on the couch playing, not a blast from heaven or hell.”

For more spontaneity and human colour, Bill called up several other players: Richard Bowden on fiddle, whom he’d seen playing with Terry Allen and loved; pianist Pat Thrasher; bassist Chris Vreeland; and trombonist Mike St. Clair. About pedal steel player Bill McCullough, who he knew from Knife in the Water, Bill says this: “He has a real abstract approach to an abstract instrument—he’s a photographer (shot the front and back cover) and sees the steel in the same way as apertures and f-stops—foreground and midground and background—blurry and sharp. That’s how I’ve always seen the steel so it’s exciting to share that.

But hobo stew is always the idea—throwing together who I have at hand instead of following a recipe. I’m always learning. I know very little after all these years. I go by gut mostly, but sometimes forget all the possible considerations to consider.

The goal of every record at the recording part of the process is to get thrown out of Eden. Every session starts in Eden but you have to get out of there at some point.”

TRACK LISTING

1. Why Do Men Sing
2. The Man I’m Supposed To Be
3. Pathol O.G.
4. Stepping Out For Air
5. Lonely City
6. Empathy
7. West Texas
8. Computer
9. Lake Winnebago
10. Highway Born
11. And Dream Land

Howling Bells return with their first new album in over a decade. The Australian trio's version of hypnotic indie-rock always stood separate from the pack and very much a reflection of their unbreakable union. Equal parts sepia-toned romance and gritty rock’n’roll thrills. Together with long term collaborator Ben Hillier, in the producer’s chair 'Strange Life' is an album that harnesses the unique musical perspective that pricked up the music world’s ears back in their beginnings, but transposes it onto a lifetime’s more experience, ‘Strange Life’ is both familiar and new; a record that will unfurl like an old friend to long term fans whilst speaking in a language that only hard-won experience and a few more trips around the sun can understand. It may be a ‘Strange Life’ and a weird old world, but it sounds better with Howling Bells back in it.

TRACK LISTING

Side A
1. Unbroken
2. Heavy Lifting
3. Angel
4. The Looking Glass
5. Sacred Land
6. Halfway Home

Side B
7. Melbourne
8. Dreamer
9. Chimera
10. Sweet Relief
11. Light Touch

When The Style Council’s debut album 'Café Bleu' was released in 1984, Weller and wing-man Mick Talbot unveiled a cosmopolitan blend of jazz, soul, and pop that felt effortlessly sophisticated and daringly fresh. Café Bleu was more than a debut—it was a statement of intent, redefining what British pop could sound like in a new decade.

Since then, fans have been waiting for a deep dive into the Style Council vaults eager to hear any unreleased material. And now the wait is over.

The 'Café Bleu' Special Edition is a treasure trove for Style Council devotees and music lovers alike - an immersive journey into one of the most inventive eras of Paul Weller’s career. This lavish release unveils a wealth of previously unheard material, including early demos, alternate takes, and unreleased songs that showcase the band’s restless drive for experimentation and evolution.

TRACK LISTING

3LP Tracklisting:
LP1 – Introducing Expanded:
1. Speak Like A Child
2. Party Chambers
3. Mick's Up
4. Headstart For Happiness (Early Version)
5. Money-Go-Round (Parts 1&2) (Bert Bevans Remix/Club Mix)
6. Long Hot Summer (Extended Version)
7. Le Depart
8. The Paris Match
9. Spring, Summer, Autumn
10. Mick's Company

LP2 – Original Album:
1. Mick's Blessings
2. The Whole Point Of No Return
3. Me Ship Came In!
4. Blue Café
5. The Paris Match
6. My Ever Changing Moods
7. Dropping Bombs On The Whitehouse
8. A Gospel
9. Strength Of Your Nature
10. You're The Best Thing
11. Here's One That Got Away
12. Headstart For Happiness
13. Council Meetin'

LP3 – Introducing Expanded / Post Album Singles And B-sides / Demos, Outtakes And Alternate Versions:
1. My Ever Changing Moods (Long Version)
2. A Solid Bond In Your Heart
3. The Big Boss Groove (12" Version)
4. You're The Dub Thing
5. Long Hot Summer (Pre TSC Demo)
6. Party Chambers (Alternate Version)
7. Up For Grabs (Demo)
8. Mick’s Demo
9. Take It To The Top (Demo)
10. Dropping Bombs On The White House (Alternate Version)

6CD Box Set Tracklisting:
CD1 - Introducing Expanded:
1. Speak Like A Child
2. Party Chambers
3. Money-Go-Round (Parts 1&2) (Original 12 Inch Version)
4. Headstart For Happiness (Early Version)
5. Mick's Up
6. Long Hot Summer (Extended Version)
7. The Paris Match (Early Version)
8. Party Chambers (Instrumental)
9. Le Depart
10. A Solid Bond In Your Heart
11. It Just Came To Pieces In My Hands
12. My Ever Changing Moods (Long Version)
13. Spring, Summer, Autumn
14. Mick's Company
15. Money-Go-Round (Parts 1&2) (Bert Bevans Remix/Club Mix)
16. Long Hot Summer (Club Mix Aka 12" Mix)

CD2 - Original Album:
1. Mick's Blessings
2. The Whole Point Of No Return
3. Me Ship Came In!
4. Blue Café
5. The Paris Match
6. My Ever Changing Moods
7. Dropping Bombs On The Whitehouse
8. A Gospel
9. Strength Of Your Nature
10. You're The Best Thing
11. Here's One That Got Away
12. Headstart For Happiness
13. Council Meetin'

CD3 - Post Album Released Singles, B-sides, Single Edits And Remixes:
1. You're The Best Thing (7" Version)
2. You're The Dub Thing
3. The Big Boss Groove (12" Version)
4. Money-Go-Round (Dance Mix)
5. Long Hot Summer (Don't Matter What I Do) (7" Single)
6. A Solid Bond In Your Heart (Instrumental)
7. My Ever Changing Moods (7" Version)

CD4 - Demos, Outtakes And Alternate Versions:
1. Long Hot Summer (Pre TSC Demo)
2. Party Chambers (Alternate Version)
3. Up For Grabs (Demo)
4. Take It To The Top (Demo)
5. Mick’s Demo
6. Funk Interlude
7. The Big Boss Groove
8. Summertime Song
9. The Paris Match (With Tracey Thorn) (Long Version)
10. Come Away With Me (Demo)
11. Me Ship Came In! (Alternate Version)
12. Dropping Bombs On The White House (Alternate Version)
13. That One In D’ Minor (Demo)
14. Boy Hairdresser
15. A Gospel (Alternate Instrumental Version)
16. A Gospel (Outtake)
17. Mick’s Company
18. I’m In The Mood For Gazza

CD5 - BBC Sessions & Live:
Radio 1 Session 5/5/83
1. Headstart For Happiness
2. Mick's Up
3. Here's One That Got Away
4. The Paris Match
SBH: In Concert 11/6/83. Recorded As Part Of The Respond Package Night At The Paris Theatre London
5. Head Start For Happiness
6. Here's One That Got Away
7. The Paris Match
8. Times Are Tight
Saturday Live 31/12/83 In Session
9. My Ever Changing Moods
10. Mick's Blessings
11. Paris Match
12. Head Start For Happiness
13. Long Hot Summer
BBC Live At The Dominion Theatre Pt.1 14/3/84
14. Meeting Over Yonder
15. My Ever Changing Moods
16. It Just Came To Pieces In My Hands
17. Mick's Up
18. Here's One That Got Away
19. Up For Grabs
20. Dropping Bombs On The White House
21. Long Hot Summer

CD6 – Live Versions:
BBC Live At The Dominion Theatre Pt.2 14/3/84
1. Money-Go-Round
2. Speak Like A Child
3. Headstart For Happiness
4. Hanging On To A Memory
BBC Sight & Sound In Concert - Live At Goldiggers Chippenham 10/3/84
5. Meeting Over Yonder
6. My Ever Changing Moods
7. Speak Like A Child
8. The Whole Point Of No Return
9. Le Depart
10. The Paris Match
11. Party Chambers
12. Money-Go-Round
13. Head Start For Happiness
14. Hanging On To A Memory
15. Dropping Bombs On The White House
16. Long Hot Summer

Celebrating twenty years since its release, Magnolia Electric Co.’s 'Hard to Love A Man' has been expanded and available for the first time on vinyl. This anniversary release of the band’s first EP includes three additional tracks: remastered demos of '31 Seasons in the Minor Leagues', previously titled as 'Tonight I’m So Down', and 'Lonesome Valley', recorded at Echo Park Studios in Indiana during the 'Hard to Love a Man' sessions, as well as 'One Thin Dime', recorded during the Black Ram sessions at Sound of Music Recording Studios in Richmond, Virginia.

‘Working class rock’ is a phrase used frequently to describe The Magnolia Electric Co. Categorically, the band has secured their place amongst like-minded icons such as Bob Seger, CCR, Tom Petty and Bruce Springsteen, but it's not merely an aesthetic description. Magnolia backs it up with their work ethic. Amazingly, The Magnolia Electric Co. will have been on the road eight months by the end of 2005. This fact is most apparent to the band members themselves having been away from their homes and their loved ones for such extended periods of time. Hence the significance of the title track.

When Jason Molina assumes the perspective of the one he left behind on 'Hard To Love A Man' and sings: “It was hard to love a man like you / Goodbye was half the words you knew / While you were waiting for me not to call / I sent my love,” the loneliness and guilt of separation is painfully obvious. The wounded feminine voice of Jennie Benford, coupled with Jason Groth's sweeping guitar and Mike Kapinus' mournful organ dramatically reiterate this sentiment. Mark Rice and Pete Schreiner deliver their signature tight and tasteful rhythm and Nicole Evans adds a new and dynamic voice. While 'Hard To Love A Man' and live set favorite, 'Werewolves Of London' were recorded with Steve Albini at his Electrical Audio Studios, the rest of the tracks were recorded during a brief five day visit home in Indiana at Echo Park Studios with Paul Mahern, whose engineering resume includes The Blake Babies, Lisa Germano and John Mellencamp. As we watch Magnolia grow, Jason Molina doesn't have to coach us through another one, letting the inmates run the asylum. The Magnolia Electric Co. cast no doubt by putting their business in the street.”

TRACK LISTING

1. Hard To Love A Man
2. Bowery
3. Doing Something Wrong
4. 31 Seasons In The Minor Leagues
5. Werewolves Of London
6. 31 Seasons In The Minor Leagues (Tonight I'm So Down) (Demo)
7. One Thin Dime (Black Ram Session)
8. Lonesome Valley (Echo Park Full Band Demo)

With his new record Croak Dream, Puma Blue (real name Jacob Allen) returns to the spectral intimacy that first won him a cult following, now reimagined with the raw, instinctive energy of his live band. The album fuses lo-fi jazz balladry with jungle breaks, krautrock textures and trip-hop atmosphere, drawing comparisons to Portishead, Jeff Buckley, and D’Angelo.

Written in solitude and brought to life in collaboration, Croak Dream was conjured from tape loop sessions at Peter Gabriel’s Real World Studios, co-produced and engineered by Sam Petts-Davies (The Smile, Frank Ocean) where the band improvised to fragments of Allen’s songs they’d never fully heard. The result is a dreamlike collage of baritone sax-drenched ballads and restless grooves: tender, feverish, and alive.

This record marks a daring evolution for Puma Blue, balancing bold sonic experimentation with raw emotional clarity, tailor-made for the stage.

TRACK LISTING

Side A
1 Desire
2 Mister Lost
3 Hold You
4 Croak Dream
5 Heaven Above, Hell Below

Side B
6 (Fool)
7 Hush
8 Jaded
9 Silently
10 Cocoons
11 Yearn Again

Legendary singer, composer and transgender activist Beverly Glenn-Copeland today announces his new studio album, Laughter In Summer - a collaborative effort born from the love story between himself and eco-poet, activist and producer Elizabeth Glenn-Copeland.

From the moment we are born, we begin the long walk home. Elizabeth and Beverly Glenn-Copeland started down the path together nearly half a century ago, and have been trailing it since, hand in hand and song by song. Together, they’ve made a life sharing their unselfish hearts - ones too large for earthly configuration - through art and community, encouraging us all to take our own dance down the road with elemental love and grace.

Now, as Glenn lives with a version of Dementia known as LATE, their walk has taken on a different weight. Out of this season comes Laughter In Summer, an album the couple made together - realising, before long, that it was a love letter to one another: a tender ledger of memories, shared devotion, grief and joy.

Laughter In Summer follows Beverly Glenn-Copeland’s highly acclaimed 2023 record The Ones Ahead, as well as the 2024 collaboration with Sam Smith on a new recording of his classic song “Ever New” for the Red Hot Org Transa compilation record

TRACK LISTING

Side A
1 Let Us Dance (Movement One)
2 Ever New (At Hotel2Tango)
3 Laughter In Summer Feat. Elizabeth Glenn-Copeland
4 Children's Anthem Feat. Elizabeth Glenn-Copeland
Side B
1 Harbour (At Hotel2Tango) Feat. Elizabeth Glenn-Copeland
2 Middle Island Lament Feat. Elizabeth Glenn-Copeland
3 Shenandoah
4 Let Us Dance (Movement Two)
5 Prince Caspian's Dream (At Hotel2Tango)

Vintage recording equipment has long been a bit of a fetish, but to sound pioneers Voka Gentle, even the most magical machines are a means to an end. The band, made up of twins Ellie and Imogen Mason, along with Imogen’s husband, William J Stokes, are a family band in the truest sense. Whilst they started out as a folk trio, their new album Domestic Bliss is an album of throat-grabbing, avant-garde indie rock songs studded with eccentric choices: a synth with its keys jammed, playing a tune of its own making; field recordings – Morris dancers, motorbikes – captured on binaural headphones.

Domestic Bliss is concerned with power: the abuse of it, being on the cusp of it, and what it really means. The album is teaming with imaginary people in picaresque scenes that reveal the band’s rich cultural storehouse. The songs draw on history, literature, everyday life and pop culture references (specifically Jude Law’s 1995 Vogue cover), with tracks like Cheddar Man reflecting on climate change and prehistory and Creon I tracing the unease of authority through the lens of Greek mythology.

Recorded in the orchestral studios of City University, the album folds intimacy into scale, from phone-recorded vocals and samples of breath to heavy, tribal electronics in grand acoustic spaces. The result is by far their most refined record yet, where the band treat the recording studio like an instrument.

TRACK LISTING

Side A
1. Cheddar Man
2. Creon I
3. Torpedo Mike
4. Battle Sequence (I’m Atomic)
5. You Deserve It!

Side B
1. Kinema
2. The Creature
3. K Sees The Deal Go Down
4. Jude Law For Vogue (1995)
5. Ultra Aura Glow Feat. Hamish Hawk

BONUS CD (DINKED EDITION ONLY)
Creon I (Goat Girl Remix)
Cheddar Man (Sonic Boom Remix)
K Sees The Deal Go Down (Jonathan Snipes Remix)
Creon ! (state51 Factory Session)
Cheddar Man (state51 Factory Session)
Battle Sequence (I’m Atomic) (state51 Factory Session)
First Snow (Bo Ningen X Voka Gentle)

On their powerful new album When A Flower Doesn’t Grow, Softcult (Mercedes and Phoenix Arn-Horn) deliver their most unflinching and transformative work to date. Written during a period of personal upheaval and self-discovery, the record charts a journey through trauma, disillusionment, empowerment and eventual liberation.

Musically, Softcult continue to expand their world of grunge, shoegaze and alt-rock textures, pairing fuzz-laden riffs and dreamy soundscapes with raw, confessional lyricism. The result is both intimate and universal: a record for anyone who has ever felt trapped or diminished by their surroundings and a rallying cry to nurture ourselves and each other in the pursuit of freedom and authenticity.

TRACK LISTING

SIDE A
1. Intro
2. Pill To Swallow
3. Naive
4. 16/25
5. She Said, He Said
6. Hurt Me
SIDE B
1. I Held You Like Glass
2. Queen Of Nothing
3. Tired
4. Not Sorry
5. When A Flower Doesn't Grow

Brand new album from punk pioneers Buzzcocks.

It’s punk rock with a Motown vibe! A new album should always have elements of surprise and create its own world, and this does!

It avoids the cliché and expands the Buzzcocks’ magical journey!

Legendary Manchester punk outfit BUZZCOCKS need little introduction. Back in 1977, they gave birth to a generation of independent labels with their debut EP ‘Spiral Scratch’. Thereafter, their melodic punk-pop proved irresistible, leading to hit singles and three landmark albums. They broke up in 1981 but reunited in 1989 and have been going steady ever since. Sadly, singer Pete Shelley passed away in 2018 but founder member and the band’s other singer/ songwriter Steve Diggle has kept the flag flying.

2026 sees them release their 12th studio album 'Attitude Adjustment' which is bursting with 14 brand new tracks that will delight fans of the iconic and much loved Manchester music institution.

TRACK LISTING

SIDE A
1. Queen Of The Scene
2. Games
3.Seeing Daylight
4. Poetic Machine Gun
5. Tear Of A Golden Girl
6. Heavy Streets
7. One Of The Universe (Part One)
8. All Gone To War
9. One Of The Universe (Part Two)
SIDE B
1. Jesus At The Wheel
2. Just A Dream I Followed
3. Feeling Uptight
4. Break That Ball And Chain
5. The Greatest Of Them All