Nintendo and Laced Records are linking up to bring the sweeping music of The Legend of Zelda™️: Breath of the Wild to vinyl records. This collaboration marks the first time a Nintendo soundtrack has been commercially released on vinyl outside of Japan. 

The unforgettable music of The Legend of Zelda: Breath of the Wild introduced bold new musical textures to the series, while embracing classic themes. From the first spine-tingling piano notes of 'Main Theme' to the final choral-orchestral stirrings of 'Epilogue', the soundtrack follows the ups and the downs of Link’s epic adventure. Each element of the game enjoys a distinct musical palette, including the iconic minimalist piano of the open world, the alien sounds of Sheikah technology, the tension-filled rhythms of enemy encounters, and the orchestral grandeur of the Divine Beast battles. The composition team comprised Manaka Kataoka, Yasuaki Iwata, and Hajime Wakai. 

TRACK LISTING

8LP Tracklisting:
LP1:
1. Main Theme
2. A Sheikah Tower Emerges
3. Sheikah Tower
4. The Shrine's Trial Begins
5. The Shrine's Trial
6. The Temple Of Time
7. The Old Man's Secret
8. One Hundred Years Ago
9. Impa Speaks
10. A Legendary Tale
11. The Stables
12. Kass's Theme
13. Kass: Song Of Shrines
14. Kakariko Village
15. Hateno Village
16. Kass: Legendary Verse

LP2:
1. The Great Plateau
2. Overworld (Day)
3. Galloping (Day)
4. Galloping (Night)
5. By The Water
6. Ruins
7. Overworld (Freezing)
8. Overworld (Fiery Heat)
9. Overworld (Scorching Desert)
10. Overworld (Battle) - Original Soundtrack Ver.
11. Battle (Shrine) - Original Soundtrack Ver.
12. Stone Talus Battle
13. Hinox Battle
14. Guardian Battle
15. Battle Inside The Divine Beast
16. Molduga Battle
17. The Lord Of The Mountain
18. Omen Of The Blood Moon
19. The Blood Moon
20. Game Over

LP3:
1. Sidon's Theme
2. Zora's Domain
3. Vah Ruta, Divine Beast Of Water
4. Recovered Memory: Mipha's Touch
5. Battle With Divine Beast Vah Ruta
6. An Accord With Sidon
7. Exploring Divine Beast Vah Ruta
8. A Blight Ganon Appears
9. Battle With Waterblight Ganon
10. A Heart Container Appears
11. Reuniting With Mipha
12. A Champion's Divine Gift
14. A Divine Beast's Majesty
15. Mipha And The Divine Beast
16. Naydra, Possessed
17. Attendants To The Sacred Springs
18. Restoring Malanya's Power
19. Malanya's Spring
20. Lurelin Village

LP4:
1. Cave
2. Vah Medoh, Divine Beast Of Wind
3. Rito Village
4. Recovered Memory: Revali's Flap
5. The Flight Range
6. Minigame: Flight Range
7. Battle With Divine Beast Vah Medoh
8. Teba's Encouragement
9. Warbler's Nest Melody
10. Kass's Theme (Song Of The Hero Ver.)
11. Exploring Divine Beast Vah Medoh
12. Battle With Windblight Ganon
13. Reuniting With Revali
14. Revali And The Divine Beast
15. Pondo's Lodge
16. Minigame: Bird-Man Research Study
17. Restoring A Great Fairy's Power
18. Great Fairy Fountain

LP5:
1. Lava Landscape
2. Vah Rudania, Divine Beast Of Fire
3. Goron City
4. The Abandoned North Mine
5. Recovered Memory: Daruk's Mettle
6. Battle With Divine Beast Vah Rudania
7. Exploring Divine Beast Vah Rudania
8. Battle With Fireblight Ganon
9. Reuniting With Daruk
10. Daruk And The Divine Beast
11. Minigame: Contest Of Endurance
12. The Lost Woods
13. Korok Forest
14. Meeting The Deku Tree
15. Master Sword Obtained
16. Memories Of The Sword
17. Tree And Sword: Words Of Wisdom
18. Hestu's Dance

LP6:
1. Vah Naboris, Divine Beast Of Thunder
2. Kara Kara Bazaar
3. Gerudo Town
4. The Yiga Clan Hideout
5. Proud Master Kohga
6. Battle With Master Kohga
7. Recovered Memory: Urbosa's Hand
8. Vah Naboris Lookout Post
9. Battle With Divine Beast Vah Naboris
10. Exploring Divine Beast Vah Naboris
11. Battle With Thunderblight Ganon
12. Reuniting With Urbosa
13. Urbosa And The Divine Beast
14. Minigame: Sand-Seal Race
15. Sand-Seal Race: Win

LP7:
1. Recovered Memory: Zelda's Awakening
2. Zelda's Behest
3. Hyrule Castle Town Ruins
4. Hyrule Castle
5. Calamity Ganon Appears
6. The Champions' Power Mobilized
7. Battle With Calamity Ganon (First Form)
8. Battle With Calamity Ganon (Second Form)
9. Dark Beast Ganon Appears
10. Battle With Dark Beast Ganon
11. Do You Really Remember Me?
12. Staff Credits
13. Epilogue

LP8:
1. Tarrey Town
2. Trothed In Tarrey Town
3. Hateno Ancient Tech Lab
4. Akkala Ancient Tech Lab
5. 2017 Nintendo Switch Presentation Trailer
6. Shrine Of A Champion
7. The Final Trial
8. The Monk Maz Koshia
9. The Princess And The Champions
10. The Champions' Ballad: Finale
11. The Champions' Ballad

2LP Tracklisting:
1. Main Theme
2. Overworld (Day)
3. The Shrine's Trial
4. The Stables
5. Galloping (Day)
6. Hateno Village (Day)
7. Kakariko Village (Day)
8. The Temple Of Time
9. Overworld (Battle) - Original Soundtrack Ver.
10. Battle (Shrine) - Original Soundtrack Ver.
11. Stone Talus Battle
12. Hinox Battle
13. Guardian Battle
14. Kass's Theme
15. Great Fairy Fountain
16. Attendants To The Sacred Springs
17. The Lost Woods
18. Korok Forest (Day)
19. Zora's Domain (Day)
20. Battle With Divine Beast Vah Ruta
21. Reuniting With Mipha
22. Rito Village (Day)
23. Battle With Divine Beast Vah Medoh
24. Reuniting With Revali
25. Gerudo Town (Day)
26. Battle With Thunderblight Ganon
27. Reuniting With Urbosa
28. Goron City (Day)
29. Reuniting With Daruk
30. Hyrule Castle
31. Battle With Calamity Ganon (Second Form)
32. Battle With Dark Beast Ganon
33. Do You Really Remember Me?
34. Epilogue

John Cooper Clarke may have a doctorate and a poem on the English Literature GCSE syllabus, but don’t let that fool you: the “Poet Laureate of Punk” is still a bona fide iconoclast. In Have It, a collection of scathing new poems, the Bard of Salford puts his pen to work across a host of painfully funny critiques of modern life. 

The holidays are weird, man. Ostensibly, they’re about family and fun and food and festivities, but more often they portend arguing with your family about politics- and that mental dance you have to do where you’re like “Should I get Trevor a gift even though my funds are dwindling and I’m not even sure if he’s going to get me one in return so this could end up being a whole awkward thing???”

The reality of the holidays lies somewhere more liminal, in the space between joy and depression, between excitement and boredom, between “peace on earth and goodwill toward men” and “I think I might murder my entire family.” So who better to teach us the true reason for the season than Dude York, a band whose music so often seems to exist in an in-between space of their own? Dude York are funny and serious and earnest and deeply ironic all at the same time. The three friends who comprise the band—Peter Richards (guitar, vocals), Claire England (bass, vocals) and Andrew Hall (drums, vocals)—have spent their four years together applying their particular Dude York-ian sensibility to topics like mental health, breakups, and the power of art and friendship.

Now they’ve returned with Halftime for the Holidays to pop some chestnuts right on your fire and tackle their most poignant theme yet; THE MOST WONDERFUL TIME OF THE YEAR. Halftime for the Holidays is a holiday record for how the holidays actually feel. Tracks like “Takin’ Care of Christmas” (it’s exactly what you think it is) and “Jingle Bells Rock” (it’s not) deliver the requisite tacky cheer. “Greatest Gift is You” and “My Favorite Part (Of This Time of Year)” soar like the greatest pop-punk love songs, with the added benefit of CHRISTMAS. And songs like “Long Distance Christmas” and “Break Up Holiday” testify to the loneliness that they can spring on you without warning. It’s a record that manages to wrap the strangeness of sleeping in your childhood twin bed and the soft wonder of waking up to snow into one delightful white elephant present that you won’t re-gift.

Halftime for the Holidays is self-consciously goofy, but refreshing in its willingness to tackle the misery and joy of the season with equal force. So deck the halls, engage in a regrettable make out session underneath the mistletoe, and rest assured that no matter what kind of reindeer games the universe is playing with you this year, Dude York has you covered.

TRACK LISTING

01. Break Up Holiday
02. Hollywood Holiday
03. The Greatest Gift Is You
04. My Favorite Part (Of The Time Of Year
05. Long Distance Christmas
06. Takin Care Of Christmas
07. Jingle Bells Rock
08. True Meaning
09. Silent Night

Gregory And The Hawk returns with her second FatCat album ‘Leche’, a more mature and honest collection of songs than her previous releases, which sees her expanding instrumentally onto piano and harp yet conveying a sense of her bedroom recording roots.

Contributors include Jeremy Backofen (Felice Brothers), Rob Laakso (Amazing Baby, Diamond Nights, Mice Parade, Swirlies), and Adam Pierce (Mice Parade, Swirlies).

TRACK LISTING

For The Best
Landscapes
Over And Over
Soulgazing
Geysir Nationale
Frebeight
Olly Olly Oxen Free
A Century Is All We Need
Leaves
Puller Return
Hard To Define
Dream Machine

The follow-up to their Top 10 album 'Heatwave In The Cold North', this 13-track collection blends uplifting, vintage soul with sharp, modern storytelling. Produced by Danny Lafrombe and Jon McClure, it's their most accomplished work yet.

TRACK LISTING

1. Haircut
2. Late Night Phone Call
3. Fucked Up
4. I Want You So Bad
5. D Minor
6. Crying Over You
7. Is This How Happiness Feels?
8. Laid Back
9. UFO
10. I Got The Sun
11. Forever
12. Who Cares?

They were coming back to life. They were free and getting freer. The heart-breaking, soul-building new novel about the transformative power of love, from the Sunday Times-bestselling KAE TEMPESTRothko Taylor has washed up with the tide, back in their hometown, Edgecliff.

Fifteen years since they left it behind. The past is accelerating towards them: the skateboard kids on the high street that remind them of their teenage years, the splintered benches looking out to sea, where their mum Meg clutched her cans. The nice bit of town, where their dad Ezra tried and failed to build a happy home.

And Dionne's block. Beautiful, extraordinary Dionne, the only person who had ever looked at them and seen what was there. Back then, overwhelmed and full of fear, they sank beneath the surface into chaos.

But they made it out alive. And this time, Rothko is determined that things will be different. His first novel in a decade, Having Spent Life Seeking is about family and forgiveness; redemption and atonement; desire and abandon; selfhood and community.

The things we seek when we are hiding, and what finds us, if we can let ourselves be seen.

FEATURING AN EXCLUSIVE NEW INTERVIEW WITH SIR PAUL McCARTNEY

Persuasive, captivating and bursting with insight, this dual biography by acclaimed journalist Jim Windolf dives into the surprisingly supportive, occasionally rivalrous, always fertile relationship between Bob Dylan and the Beatles.

Few artists have shaped pop culture as profoundly as the Beatles and Bob Dylan. In Where the Music Had to Go, Jim Windolf offers a new, persuasive interpretation of how two of the twentieth century's greatest recording artists influenced one another - and reveals how their apprenticeships, accomplishments and legacies are uncannily intertwined.

From Dylan's early dismissal of the Beatles as being for 'teenyboppers' to his rapid acknowledgment of their talent, the book captures the pivotal moments that pushed Dylan to 'go electric' and inspired the Beatles to deepen their lyrics. Packed with vivid anecdotes (the Beatles rehearsing Dylan songs; Dylan spending hours at Lennon's childhood home), the book paints a picture of a relationship full of camaraderie, rivalry and mutual evolution.

Windolf's meticulous research uncovers hidden gems, peeling back layers of history to reveal the stories fans didn't even know they were missing.

From Lennon's and McCartney's lyrical transformations to George Harrison's growth as a songwriter, the book showcases the ripple effects of the Beatles-Dylan connection. More than a music biography, this is a front-row seat to the forces that shaped the sound of a generation.

“One foot out the door, another in the otherworld...”

So begins Hannah Lew’s debut, self-titled solo record, soaked in imperious, wide-eyed pop songwriting and a girl-group/post punk aesthetic that belies the artist’s history in the U.S. underground. A towering, hook-laden album, it’s infused with an optimism and surrealism that conversely deals with the times we find ourselves in.

Recorded at home in Richmond, CA and in The Best House studio with Maryam Qudus in Oakland CA, with the assistance of a crack team of West Coast musicians, this album sees Hannah Lew stepping out from behind the legacy of her two groups Grass Widow and Cold Beat. While musically bearing similarities with her previous work, “Hannah Lew” is a bold leap into direct pop territory, making ample use of a vocal style that teases out the inherent melancholy in her melodies. Mastered by Sarah Register, each song is a perfectly honed nugget that frequently pulls the heart in two directions at once.

Themes of change, breaking up, shattering old ways of being are shot through the record. For the front cover, a photograph of the artist’s face was printed, ripped up and re-assembled, resembling the creative process embarked upon by Lew for her first “solo” material. The album feels instinctual, almost dream-like in its assemblage of sweeping synths and pulsating, propulsive drum machine beat patterns with Lew’s vocal performances sensitive and caressing over the top. Increasingly relying on the subconscious and dreams to guide her creative process, Hannah Lew frequently abandons literal interpretations or linear narratives, the songs seeming to exist in a swooning, effortless flow-state while remaining emotionally hard hitting.

On an album where every song could be a single, there are kaleidoscopic shades and varying emotional tones in abundance. First single Another Twilight is carried along a pumping, Italo-disco-style 4/4 beat and mono-synth bass line, the low end pulling at the heart and body. Lew’s vocal melody teases the track before swan-diving into a gorgeous chorus as she sings “it’s all over baby and I don’t mind... in decline, I take my time...” The album is suffused with moments like this. On slow builder Damaged Melody, an arpeggiated synth elongates the verse before a cascading synth showers down melodic glitter. The stunning Replica uses dual swirling synth patterns before a driving, synthpop chorus for the ages carries Hannah Lew’s vocal into the stereo field, sailing in on a high register singed with the embers of a break up.

In a departure from previous groups, her solo songs are guided by dreams and free association inspired by Dada and the Surrealist movement and sculpted afterwards. As such, the songs reveal themselves on repeated listens, revealing traces of heartbreak inspired by both personal and global elements - Hannah Lew regards the album “a wartime album.” On Move In Silence, Lew intones “there’s a war outside, just out of view,” revealing the dichotomy at play throughout. With the songs evolving naturally and in a flow state, the pressures and sadnesses of the modern age bleed through, mixed in with Lew’s inherent love, sensitivity and fractured-but-intact optimism. On the swooning, sublime Sunday layers of Numanoid synths open up for the commanding vocal performance pontificating on grief, love, pain as she “feels the ache on Sunday...” As the chorus builds and Lew’s call-and-response vocal adds to the emotional tension, it almost feels like too much to take.

Elsewhere, there are echoes of Hannah Lew’s previous work. On Time Wasted a bass guitar comes in with a heavy, punk attack before the synths and vocal harmonies reminiscent of later Cold Beat elevate everything. The glassy, sweetly resigned closer The Clock sounds like so classic it could be cover, a sweetened Jesus & Mary Chain tune perhaps, before it erupts into volcanic chorus that could only come from Hannah Lew in 2026.

TRACK LISTING

1. Time Wasted
2. Sunday
3. Another Twilight
4. Siloed
5. Replica
6. Damaged Melody
7. Move In Silence
8. Distance Of The Moon
9. The Clock

Stunning and more confident follow up to 2023’s breakthrough album ‘Carvings’. Released on Basin Rock who released breakthrough albums for Julie Byrne, Jim Ghedi, Nadia Reid, Andrew Tuttle, Aoife Nessa Frances.

‘Sharing the same dusky light as Jessica Pratt’s records, the Norwegian singer traces the gap between reality and memory in swaddled vocal harmonies, to a reassuring acoustic guitar motif’

Evergreen In Your Mind, the new and third album from Norwegian singer-songwriter Juni Habel, exists in two worlds at the same time. Songs were recorded in quiet corners of her home, on the piano in the school where she works, and it uses the physical world around her to provide percussion. It also takes place, as she herself attests, within a dream; an imagined place in which her desire for oneness with each other and the world around us is finally realised.

Evergreen In Your Mind was recorded with co-producer Stian Skaaden, it’s Habel’s first album in three-years, following the breakthrough success of 2023’s Carvings LP. Formed of eleven new recordings, the songs here remain delicate, Habel’s voice playing an elegant lead role – but there are fluctuations too.

These small shifts in Habel’s sound result in a notable stride forward. More focus went into the groove of these songs. Playfulness was embraced and, perhaps most importantly, patience played a fundamental role in shaping the album with time and care given to every element of these songs. “We always aim to capture effortlessness - but the way of getting there is anything but effortless,” Habel reveals.

This extra time that was given to the project gave Juni the space to nurture her creativity. She would read and listen to music, hike into the hills, place herself within nature and seek out stillness. Not as a deviation from her work but as a fundamental part of the process. It’s a search for connection, and it’s a recurring theme across Evergreen In Your Mind; the polarity between stillness and passion, also our resistance to these desires, and the things we want to live and experience.

The album’s title-track and fist single feels indicative of this narrative. A gorgeous, delicate folk song, it finds Habel out in the woods, hiding from real life, caught in the space between the natural world and the pull of modernity. “It’s nostalgic. It’s about looking back and realizing things will be different,” Habel says. “Its about visualizing something beautiful in your head that you keep clinging onto.”

The album cover for Evergreen In Your Mind also adds shimmer. A striking photograph of Juni among the mountains, it was taken on a day trip to Rondane, a five-hour drive each way from her home. Habel explains. “It was awe-inspiring to drive all the way up into the high mountains, with its wide plains and intense colours. For an album with music that at times likes to hide itself, I think it fitted nicely with such an epic, grand, and powerful landscape.”

TRACK LISTING

A1 Another High
2 I’d Like To See It
3 Pearl Cloud Song
4 Tessa
5 I Lay My Trust

B1 Evergreen In Your Mind
2 Stand So Still
3 Gitarhum
4 Sage
5 Colours Close To Me
6 Statues

Good Kid isn’t your typical rock band; they’re likely the biggest indie act you’ve never heard of. What started as 5 computer science students distracting themselves from assignments—Nick Frosst on vocals, Jon Kereliuk on drums, Michael Kozakov on bass, and David Wood and Jacob Tsafatinos on guitars—quickly exploded into something much bigger, evolving into a massive global community welcoming people to show up unapologetically as themselves.

With four popular EPs under their belt, Good Kid’s debut full-length, 'Can We Hang Out Sometime?', delivers the high-energy hooks and inventive riffs that have become a hallmark of their sound, while boldly pushing into new territory; longtime fans will find the signature Good Kid bangers they’ve come to love, but also hear the band exploring fresh textures, rhythms, and sonic twists in their grittiest offering yet.

TRACK LISTING

1. Rift
2. Eastside
3. Coffee
4. Cicada
5. Tea Leaves
6. Alone With Me
7. Ghost Keeper
8. Tornado
9. Wall
10. Ginger Lemonade

'Live in Japan' is a double live album by George Harrison, originally released in July 1992. Captured during Harrison’s 1991 tour of Japan—the first time he had performed a full set of concerts since the 1970s—the album showcases a mix of solo material and iconic Beatles songs, all performed with the backing of Clapton and his seasoned band. It marked Harrison’s second official live release, following the landmark Concert for Bangladesh two decades earlier. 

TRACK LISTING

1. I Want To Tell You (Live In Japan, 1991)
2. Old Brown Shoe (Live In Japan, 1991)
3. Taxman (Live In Japan, 1991)
4. Give Me Love (Give Me Peace On Earth) (Live In Japan, 1991)
5. If I Needed Someone (Live In Japan, 1991)
6. Something (Live In Japan, 1991)
7. What Is Life (Live In Japan, 1991)
8. Dark Horse (Live In Japan, 1991)
9. Piggies (Live In Japan, 1991)
10. Got My Mind Set On You (Live In Japan, 1991)
11. Cloud Nine (Live In Japan, 1991)
12. Here Comes The Sun (Live In Japan, 1991)
13. My Sweet Lord (Live In Japan, 1991)
14. All Those Years Ago (Live In Japan, 1991)
15. Cheer Down (Live In Japan, 1991)
16. Devil's Radio (Live In Japan, 1991)
17. Isn't It A Pity (Live In Japan, 1991)
18. While My Guitar Gently Weeps (Live In Japan, 1991)
19. Roll Over Beethoven (Live In Japan, 1991)

Fifteen years after 'Personal Jesus', Nina Hagen returns to her great passion for gospel music with 'HiGHWAY TO HEAVEN'. Together with producer Warner Poland, her band, and friends such as Nana Mouskouri and Gitte Hænning, she reinterprets classics—from Mahalia Jackson to Sister Rosetta Tharpe to Kitty Wells. 

The album combines Southern gospel, Americana, reggae, and punk: from the powerful reworking of 'Somebody Prayed for Me' to the Americana version of 'Never Grow Old' and a German version of 'Everybody Wanna Go to Heaven'.  'HiGHWAY TO HEAVEN' is a lively, genre-defying gospel-rock-pop album, full of joy, spirituality, and Nina Hagen's unmistakable personality. 

TRACK LISTING

1. Everybody`s Gonna Have A Wonderful Time Up There 
2. Never Grow Old Ft Nana Mouskouri 
3. Walk With Me Jesus
4. Trouble Of The World
5. Somebody Prayed For Me
6. Needed Time
7. Hand It Over Ft Daniel Welbat
8. Let’s Be Happy
9. There´s A Highway To Heaven Ft Gitte Hænning 
10. Everything’s Gonna Be Alright
11. Dust On The Bible
12. Dry Bones
13. Alle Wollen In Den Himmel 
14. Gospel Ship 

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

Reunited with Nick Heyward for first studio album since 1984!

TRACK LISTING

Vanishing Point
The Unloving Plum
That's A Start
Dynamite
Come Back To Me
Someone
A Wonderful Life
Soul Bird
Raincloud
Sunshine 

Existing in a liminal space between genres, 'INTERLUDE', the second album from composer, pianist and now singer HANAKIV is as mysterious as it’s seductively unconventional, with piano, often prepared, only one of its elements, both analogue and electronic. First inspired by “those crystallised moments where time almost stands still, pain hasn’t yet fully set in, and happiness is still just a glimpse,” it provides, all the same, “a sense of hope that standing still is part of living.” In its making, HANAKIV has created a space that allows her to address feelings long buried, whether the grief behind the lead single ‘Sunbeams’, where staccato rhythms punctuate murmured vocals; the eerie apparitions obscuring the innocence of ‘Lastele’, originally intended as a lullaby for her nephews; or the poignant torpor behind ‘May Song’s brittle blur of harmony and percussive pizzicatos.

'INTERLUDE’s range is further intimated by its contributors, including Portico Quartet’s Milo Fitzpatrick, who, as well as playing double bass throughout, co-wrote the refreshed long-term live favourite, ‘Intro’, and the eloquent closer, Stillness’. Also present are saxophonist Pille-Rite Rei, cellist Joanna Gutowska, violinist Gabriel Green, and PIKE on drums, helping capture the instances HANAKIV calls “in- betweens”. Among these are two sunny mornings, years apart, during which the strangely forlorn yet haunting ‘Hommikud’ coalesced.

Another significant turning point came with the writing of ‘Numb’. “Before then,” she confesses, “I was under the impression I was making music about stillness. This made me realise it was about numbness instead, and how easy it is to mix them up.” Listening to it, one gets a sense of what she means: though built around cascading piano lines, its tranquillity is undercut by unsettling swathes of cello strings, leaving the listener dazed. “I’d thought I was fine and functional,” she elaborates, “but I realised I wasn’t feeling. I wasn’t really living my life.”

Back then, having completed a master’s degree in Electroacoustic Composition at the Estonian Academy of Music and Theatre, she’d left behind her familiar instrument for internships in Malmö and Reykyavik.

After a while, albeit only appreciated in hindsight, it was as though a part of her had perished.

Finally able to play whenever she liked again, reignited her imagination, working on her own terms, all of it at home. “I could literally record at midnight,” she laughs. “There's a lot of felt on the piano due to neighbours and housemates, but I worked constantly, changing what I wanted. It was amazing, if I'm honest!”

This shift in emphasis empowered by the one instrument on which she could rely, lies at 'INTERLUDE’s heart. Nowhere is this illustrated more elegantly than in its final two pieces, which bring resolution and redemption in the insistent unfurling of ‘January Song’ and a crowning closure with ‘Stillness’.

Yet ultimately that’s exactly what HANAKIV does here, and in a world unlike any other. Unpredictable, unfathomable, candid and carefree, 'INTERLUDE' embodies flaws embraced as well as senses regained. After all, pianos come with a key. “That’s why,” she concludes, “'INTERLUDE' has so much life. It's not only about numbness. It’s about what’s on the other side.

TRACK LISTING

1. Intro
2. Sunbeams
3. Numb
4. Hommikud
5. Liikumatult
6. Ma Langen
7. May Song
8. Lõpulau
9. Lastele
10. January Song
11. Stillness

Celebrated music critic Ann Powers explores the life and career of the legendary Joni Mitchell What you are about to read is not a standard account of the life and work of Joni Mitchell. Instead, it’s a tale of long journeying through a life that changed popular music: of a homesick wanderer forging ahead on routes of her invention, and of me on her trail, heading toward the ringing of her voice. One of the most celebrated artists of her generation, Joni Mitchell has inspired countless musicians and writers, while never stopping still herself.

In Travelling, celebrated music critic Ann Powers seeks to understand the paradox of Mitchell – at once both elusive and inviting – through her myriad journeys. Drawing on extensive inter­views with Mitchell’s peers and deep archival research, Powers takes readers to rural Canada, charts the course of Mitchell’s musical evolution, follows the winding road of Mitchell’s collaborations with other greats and explores the loves that fed her songwriting. Kaleidoscopic in scope and intimate in detail, Travelling is a fresh and fascinating addition to the Joni Mitchell corpus – and one that questions whether an artist can ever truly be known to their fans.

Renowned party DJ, producer and collector The Gaff deals in all sorts of global grooves and here links up with Caleb Hart, who was born in Tobago and is now based on the west coast of Canada. They collide their vast inspirations into a global bass banger inspired by years of crate digging. 'Let's Build' is a big sound with big drums, dark synth grooves and hooky future soul as well as a sleazy vocal. Calypso, bass house and a dark piano all collide in HD colour. The instrumental is no slouch either, and both of these are sure to bring the heat this winter and beyond.

TRACK LISTING

Side 1
Let's Build (feat Caleb Hart)

Side 2
Let's Build (Instrumental)
Let's Build (Acappella)

'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

Two turntables and a microphone. There is a truth in the clarity of that simple coda, a truth that also belies the breadth of what is possible within its confines. Sometimes you gotta get reminded. 'I Guess U Had To Be There', the new album from NYC rapper ELUCID and veteran producer Sebb Bash, is one of those ones. So fresh it sounds like it was made tomorrow, but bet money you could put this on in ’89 and get heads bopping.

There are moments in music when masters of their craft cross paths at the height of their respective powers—records like Madvillainy, Liquid Swords, Dr. Octagonecologyst, and Hell Hath No Fury—where the result is more than the sum of its parts. ELUCID and Sebb Bash find themselves in this heady, seemingly effortless ephemera on 'I Guess U Had To Be There'. Everything is both familiar and groundbreaking. The beats shift and flip under ELUCID’s feet but he tightropes it all, delivery nimble as a mountain goat, producer and rapper moving in perfect synchronization. Some shining stars make memorable appearances: billy woods, Breezly Brewin, Estee Nack, Shabaka Hutchings. But this is a two-man show, and the duo keep the spotlight where it belongs. 'I Guess U Had To Be There' is a captivating, convention-defying listen and a high-water mark for two of the best artists in the genre.

TRACK LISTING

1. First Light
2. Cantata
3. Hands N Feet (feat. Estee Nack)
4. Make Me Wise
5. Coonspeak
6. Equiano (feat. Shabaka Hutchings)
7. The Lorax (feat. Billy Woods)
8. Fainting Goats (feat. Breeze Brewin)
9. I Say Self
10. Visitation Place
11. Alive Herbals
12. Parental Advisory

Lately, it feels like the world is one endless bad news cycle. Joshua Idehen isn’t here to pretend otherwise – but on the spoken word artist’s new album, I Know You’re Hurting, Everyone Is Hurting, Everyone Is Trying, You Have Got To Try, he provides a phenomenal sonic, poetic space. Made with his creative partner, musician Ludvig Parment, the album (out 6 March 2026) is an urgent but transcendent collection that holds you through it all, filled with grief, euphoria and hope.

I Know You’re Hurting… comes after the virality of Idehen’s track Mum Does The Washing, a wry and whipsmart poem examining how the world works (which started life as a Twitter thread), set to Parment’s spacious beats. The song has seen the pair propelled beyond Idehen’s wildest dreams this past year, with support from the likes of Jamz Supernova and Huw Stephens leading to sold-out shows and packed out festival performances including rammed crowds at Glastonbury and Green Man, an appearance on Later with Jools, and a support slot on Baxter Dury’s European tour this winter. For Idehen, this is all so special because it marked a new era of his career after around two decades of writing poetry. “In a nutshell, the song has changed my life,” he says.

Across the album, that means uplifting choirs, cozy samples and exuberant, sometimes house-tinged beats. “I am personally drawn to music that transports you to a place, or scene or mindset,” says Parment. This is topped with ruminative musings on morality and human connection; about the longer loves in life – like friendships, family – that sustain us. These come from Idehen and Parment, along with a host of friends and collaborators, including writers Leone Ross and Charlotte Manning, and vocalist Amanda Bergman, to help expand on the topics of the record without sounding preachy. Similarly, there are musical guests including saxophonist Pete Fraser and Shabaka Hutchings on flute, each helping to imbue the album with a rich warmth.

From the opening track You Wanna Dance Or What?, there are poignant stories about the possibilities of human connection – here, a memory of a stranger approaching Joshua when he was feeling low at a club in Leicester Square – set against Parment’s freeing beats. There are memories of sunrises on Hampstead Heath (It Always Was), celebrations of the liturgic power of the club (This Is The Place), affirmations that kept Idehen afloat in a particularly dark time (Brother), all dotted with his observations and notes from past conversations with people from all walks of life. On Choose Yourself, Idehen is not so interested in the hokey bath bomb self-care that has dominated discourse the past few years, but in reinforcing self-belief and self-worth – all while never getting too mawkish (see: lines like “Choose a balanced diet/Eat the rich!”). Everything Everywhere All At Once is a stunning exploration of the sliding doors moments of our lives, contemplating all the universes that exist within his daughter, followed by a choral reprise, singing a melody composed by Idehen. “I’m not confident with singing or songwriting, so when the choir sang something I had made and brought it back to me, I had proper tears.”

After years of honing his craft, I Know You’re Hurting, Everyone Is Hurting, Everyone Is Trying, You Have Got To Try finds Joshua Idehen’s pen reaching the next level. This is work that is truly arresting – but simultaneously, thanks to Parment’s soundscapes, it often makes you want to wave your arms in the air and dance. In these bleak times that try to push us all further apart, it’s a beautiful, powerful manifesto for hope and collectivism. As Joshua puts it: “There's a likelihood that we might be planting seeds that we won't get to see harvested…but the planting is good. The planting is just as important as the watering and the tending and the harvesting. We all have to play a part so that we can have some redemption.”

TRACK LISTING

1 A You Wanna Dance Or What?
2 A Interlude – It Won’t Always Be Like This
3 A It Always Was
4 A This Is The Place
5 A Interlude – What You Need To Hear
6 A Could Be Forever
7 A Mum Does The Washing
8 A Don’t Let It Get You Down
9 A My Love
10 B Interlude – How I Found Forgiveness
11 B Brother
12 B Whatever Comes
13 B Choose Yourself
14 B Everything Everywhere All At Once
15 B Everything Everywhere All At Once Reprise
16 B Tourn It Around
17 B What Is Redemption 

Scandinavian indie pop four-piece Hater end a three-year hiatus following their formidable third album Sincere with the release of 'Mosquito', an intriguing dream pop drama played out across eleven gripping instalments of self-examination.

On 'Mosquito', Malmö-based Hater sound rejuvenated – they embrace the raw indie pop approach that they’ve become known for, but with a more direct, polished songwriting style. The band have refined their shoegaze roots into something sharper, more melodic, and deeply resonant. 'Mosquito' overflows with stories where mythical twists (vampires, Cupid, mosquitos) are underpinned by the sad-eyed yearning for true love. But this is not your typical album about love the band are keen to point out.

'Angel Cupid' unfurls in slow motion, a gorgeously controlled diatribe against bland love songs when you’re locked out of that emotion yourself. The curious lead single 'This Guy?' is a mystery in itself: the tale of a strangely confused interloper, unidentified and unidentifiable – and the band themselves call it “a quiet confusing song”. Entering an echoey cavern of gothic strangeness, 'Stinger's insistent drums and Caroline’s lyrics worm into the inner thoughts of a love struck supernatural.

An emotional rollercoaster by any other name, 'Mosquito' spills over with half remembered broken hearts and broken promises, filled with torture and tingle, yet punctuated by hopes and dreams for future resolutions.

'Mosquito' was recorded in the splendid isolation of AGM Studios in Vollsjö, Sweden, with long-time collaborator Joakim Lindberg at the controls and bassist Adam Agace returning to the fold. They completed the project at Lindberg’s famed Studio Sickan, with Caroline Landahl, Måns Leonartsson, Rasmus Andersson, and Adam Agace all contributing equally to a sound that morphs between punchy introspection and melancholy realisation.

TRACK LISTING

1. Landslide
2. Angel Cupid
3. This Guy?
4. Stung Again
5. Mosquito
6. Brighter
7. Guts
8. Still Thinking Of You
9. Stinger
10. Sad Eyes
11. Last Summer I'll Spill

Kiss All The Time. Disco, Occasionally. is the fourth studio album by GRAMMY-award winner Harry Styles. Executive produced by Kid Harpoon.

TRACK LISTING

TBA

Just shy of double platinum sales in the UK, The Zutons second album, an assured and full-blooded northern soul-rock confection, was issued in April 2006 and peaked at number two in the charts. This is its very first vinyl reissue.

Lead single 'Why Won't You Give Me Your Love’ went Top 10, as did the follow-up, ‘Valerie’, a song that has now achieved certified classic status thanks to the incredible popularity of the cover version produced by Mark Ronson and featuring Amy Winehouse the following year.

Chief songwriter Dave McCabe explained that many of the album’s tunes were "about giving yourself a bit of a hard time… 'cause you've gone out and got drunk or let someone down." Several were inspired by the band’s experiences promoting their first album 'Who Killed The Zutons?' on tour; ‘Valerie’ and ‘Oh Stacey (Look What You've Done!)’ in particular.

Reviewers at the time generally concluded that their unpretentious, sax-enhanced shenanigans brightened the drab English airwaves and John Murphy of musicOMH.com summed it up nicely: “Since 'Who Killed The Zutons', they've hit the big time, whether it be through Mercury nominations or support slots with both U2 and REM. Yet this hasn't gone to the band's collective head, as 'Tired Of Hanging Around' is as delightfully quirky, original and catchy as its predecessor, whilst also representing something of a leap forward.”

TRACK LISTING

1. Tired Of Hanging Around 
2. It’s The Little Things We Do 
3. Valerie 
4. Someone Watching Over Me 
5. Secrets 
6. How Does It Feel?
7. Why Won't You Give Me Your Love?
8. Oh Stacey (Look What You've Done!)
9. You've Got A Friend In Me
10. Hello Conscience
11. I Know I'll Never Leave

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)

Yanuka is the solo project of acclaimed keyboardist, composer and producer Tomer Zuk and here he makes his debut on Ma Ze Music with Hashrika and No Tomorrow. Known for his cinematic touch and eclectic style, Zuk blends Middle Eastern motifs, hypnotic grooves, and meditative atmospheres into what feels like a modern-day Morricone from the desert. There are psyched out 60s elements, Library music overtones, funk, soul and jazz instrumentals and great sound designs all bringing these two mysterious and enchanting sounds alive. The first is a late-night wander that echoes Khrangbuin and the second is all wah-wah magic and slick, rolling rhythms.

TRACK LISTING

Hashrika
No Tomorrow

Released in August 1970 on the Liberty label, the album was recorded in March and April of that year and established Hawkwind as one of the most exciting and original bands to emerge from the UK Underground scene. Tracks such as ‘Hurry On Sundown’, ‘Mirror of Illusion’, ‘Be Yourself’, ‘Seeing It As You Really Are’ and ‘Paranoia’ set the scene for the legendary Space Rock style that Hawkwind would explore to great acclaim and success in the 1970s and beyond.

CD/BLU-RAY
This limited-edition deluxe boxed set comprises three CDs and a Blu-Ray disc and features a brand new remaster of the original album an additional CD of rare live recordings from 1970 from Dave Brock’s archives along with with seven bonus tracks drawn from a 1969 demo session, both sides of the ‘Hurry On Sundown’ single and a studio out-take and new stereo and 5.1 Surround Sound mixes of the album by Stephen W Tayler. The set is completed with an illustrated book with new essay, making this boxed set the definitive release of this legendary album.

CD
This expanded edition of this wonderful album has been newly remastered from the original master tapes and includes six bonus tracks drawn from a 1969 demo session and both sides of the ‘Hurry On Sundown’ single.

VINYL EDITION
This new vinyl edition of this wonderful album has been newly remastered from the original master tapes and has been cut at AIR Studios. The release restores the original 1970 gatefold LP artwork and is the definitive vinyl edition of this wonderful album.

First time vinyl reissue of this incredible library record, as part of Be With Records's crucial Music De Wolfe reissue campaign. 140g vinyl. Limited to just 750 worldwide.

This is that absolute stank-face filth: hard, espionage drama-soul and tough, jazzy street-funk. 'Hogan, The Hawk & Dirty John Crown' sounds like the soundtrack of a blaxploitation movie from the early 70s and, packed with funky fusion and smoother orchestral numbers, it is basically that.

Featuring a veritable who's who of killer library break snakes - Alan Parker, Alan Hawkshaw (under sneaky alias William Parrish), Simon Haseley, Reg Tilsley and Gordon Grant - it's not hard to see how this commands over £350 on secondary markets.

This beautifully presented reissue, part of Be With's fresh campaign with the legendary library label Music De Wolfe, is well overdue.

Recorded for De Wolfe in 1972, 'Hogan, The Hawk, Dirty John Crown' is a fantastic start-to-finish listen. The flute-funk of Hawkshaw and Parker's opener 'The Hawk' comprises driving, fuzzy, wah-wah-drizzled bell-laced breaks with synths and basslines to murder for. Up next, Haseley's 'The Happening' is a carefree, rhythmic builder with strings and horns. Let's face it, it doesn't prepare us for the monster that follows...

Hawkshaw and Parker's amazing 'Main Chance' is likely the reason you're here; it's a moody, beaty proto-hip-hop banger; all rolling drums and flute-laced, organ-drenched, synth-funk breaks. Just sensational - you'll want to play it again and again and again.

The cool AF 'Hogan Baby' has a soft, rounded, bluesy feel - it's a lighter number and Haseley's work here sounds more than a little indebted to Burt Bacharach. It's melancholic, reflective and contains ace breaks with beautiful flutes and wistful horns. It's just gorgeous. Grant's pounding 'Dirty John Crown' brilliantly conjures swirling string-swept serenity atop driving, incisive drama-funk breaks. Sublime. Hawkshaw and Parker come roaring back with the murky, creeping crime-funk of 'Swarf' with killer basslines underpinning slow-mo high-class flute-funk.

Reg Tilsley enters the fray with the bright, snappy, carefree 'Turnover'. It's lightweight but still retains some nice orchestral movements. The brief 'Tarantula' gets us back on track - from the pen and chops of Hawkshaw and Parker, are we surprised? - with the driving crime funk breaks, super clean yet brooding. Synths, sax and 'nuff guitars. YES.

Side 2 opens with the car chase swag of Haseley's dramatic, driving 'Precinct'. Jazzy, instrumental flute funk over great percussive breaks. We love this. Haseley's rolling 'Sidewinder Version 1' is robust and exuberant with bouncy horns before a cracking Parker-Hawkshaw one-two featuring the tense 'Pressure' and the deeply soulful 'Call Me', a relaxed, medium-tempo organ feature. With building piano and strings Gordon Grant's excellently titled 'Scorch' is as aggressive and dramatic as you'd hope. Hawkshaw and Parker's furtive flute-funk of 'Digger' precede the light, melodic and romantic themes of Tilsley's 'Marianne' whilst 'Sidewinder Version 2', a faster iteration of Track B2 sees Haseley close out this remarkable set in bouncy, bright fashion.

The audio for 'Hogan, The Hawk, Dirty John Crown' has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

TRACK LISTING

1. A. Parker / W. Parrish - The Hawk
2. S. Haseley - The Happening
3. A. Parker / W. Parrish - Main Chance
4. S. Haseley - Hogan Baby
5. G. Grant - Dirty John Crown
6. A. Parker / W. Parrish - Swarf
7. R. Tilsley - Turnover
8. A. Parker / W. Parrish - Tarantula
9. S. Haseley - Precinct
10. S. Haseley - Sidewinder Version 1
11. A. Parker / W. Parrish - Pressure
12. A. Parker / W. Parrish - Call Me
13. G. Grant - Scorch
14. A. Parker / W. Parrish - Digger
15. R. Tilsley - Marianne
16. S. Haseley - Sidewinder Version 2

'Great Day' is one of the very best albums on the Music De Wolfe label and certainly one of the most sought after library records, full stop. It's been sampled by such heavyweights as Madlib, LTJ Bukem, El-P and The Alchemist (among many others). You likely already know all this. If you don't, get to know. One listen through and the £350 asking price for a VG copy starts to all make sense...

Originally released in 1972, it's credited to Music De Wolfe legends Simon Haseley (real name Simon Park) and "Peter Reno" (a collaborative alias used by composers Clifford "Cliff" Twemlow and Peter Taylor) Confused? No matter. It's one of the most consistent libraries you'll ever hear, packed with heavy blaxploitation-esque drama-funk break themes.

It opens with the feel-good, breezy piano beat number 'Little Big John' before switching up to modern sweeping orchestral with heavy drums on the warm, deeply emotive 'Summer Friend'. Total highlight 'Hammerhead' is as heavy as you'd want, from a track so-titled. It's a driving, imposing, orchestral funk-rock monster, famously used by The High & Mighty for their classic 'Dirty Decibels' and, also, it was used as the backing for Beyonce's ace 'Woman Like Me'.

Up next, 'Crimson' is melodic, plaintive and moodily introspective; a soft, oboe-enhanced instrumental of delicate beauty. Again, ace beats and breaks abound. The expansive title track, 'Great Day' is melodic and bold; a horn-fuelled, mid-tempo rhythmic workout which builds to rather big end. Rounding out this first side, 'Hard Crust' ups the ante with thrilling wah-wah funk-rock, a dramatic, pounding and aggressive thriller. Killer!

Side B opens with the steady, stealthy crime-funk of 'Highball' before segueing brilliantly into the Hammond-laced relentless flute-funk of the driving 'Bora'. The powerful wah-wah wonderful 'Hold Back' is haunting orchestral funk-rock, sampled by Madlib, El-P, Rakim, Sean Price and The Alchemist. It's easy to see why. Swaggering and staggering.

The cop show funk of 'Silver Thrust' is fast, purposeful and persistent. Is it a cover version of the godlike 'Stepping Stones'  from Johnny Harris's Movements album? Either way, with up-tempo drums, bongos and flute you're going to be thrusting all night. The dynamic 'Convoy' is a brassy, organ-fuelled sports-soundtrack b-boy breaks monster. Super Bowl Soul! Essential. To close out this quite extraordinary set, the insistent 'Barracuda' presents dramatic rock feels over a persistent funky flute beat. It was sampled by LTJ Bukem for his classic 'Sunrain' from 2000.

The audio for 'Great Day' has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

TRACK LISTING

1. Little Big John
2. Summer Friend
3. Hammerhead
4. Crimson
5. Great Day
6. Hard Crust 
7. Highball
8. Bora
9. Hold Back
10. Silver Thrust
11. Convoy
12. Barracuda 

'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

Released in November 1968, George Harrison’s 'Wonderwall Music' was the first solo album released by a member of the Beatles and the first LP to be released by Apple Records. The soundtrack music for director Joe Massot’s debut feature-length film, Wonderwall, the predominantly instrumental album is an intricate, vibrant tapestry of western rock music and compositions in an Indian classical style. In 1992, George recalled, “I decided to do it as a mini-anthology of Indian music, because I wanted to help turn the public on to Indian music.

TRACK LISTING

1. Microbes
2. Red Lady Too
3. Tabla And Pakavaj
4. In The Dark
5. Drilling A Home
6. Guru Vandana
7. Greasy Legs
8. Ski-ing
9. Gat Kirwani
10. Dream Scene
11. Party Seacombe
12. Love Scene
13. Crying
14. Cowboy Music
15. Fantasy Sequins
16. On The Bed
17. Glass Box
18. Wonderwall To Be Here
19. Singing Om

As a direct result of the Beatles’ keen curiosity about experimental music and other avant-garde artistic expression, Apple Records launched its short-lived Zapple subsidiary in February 1969 as a forum for unfettered sonic exploration, or, as announced at the time, “more freaky sounds". George’s 'Electronic Sound' and John Lennon and Yoko Ono’s 'Unfinished Music No. 2: Life With the Lions', both released in May 1969, were Zapple’s only releases before it was closed down. 'Electronic Sound’s cover art, painted by George, depicts his Moog IIIp (which was later used on four tracks by the Beatles on their album Abbey Road) with the four modules from which the sound was synthesized. Each side of the 'Eletronic Sound' LP featured one exploratory long-form work.

TRACK LISTING

1. Under The Mersey Wall
2. No Time Or Space

In the four years after The Clipse dropped their classic 'Lord Willin' the duo was able to build a legacy that had fans hungry for new material. After the smoke cleared and they hit the studio the Virginia brothers recorded the confidently mature sophomore effort, 'Hell Hath No Fury'. Best known for their unconventional radio smash 'Grindin', Clipse are no strangers to taking risks with the boundary-pushing Neptunes, who return as trusted co-pilots for 'Hell Hath No Fury'. As always the duo is right at home over The Neptunes crafted beats which perfectly embrace Pusha's inventive drug-game metaphors and Malice's soul-baring confessionals.

From the bouncy lead single 'Mr. Me Too' and the Slim Thug assisted 'Wamp Wamp' to the oddly haunting 'Keys Open Doors' to 'Momma I'm Sorry', 'Hell Hath No Fury' represents some of the duo's best work. On the hypnotic 'Keys Open Doors', over the eerie mix of screwed-up angelic voices, chimes and congas, the brothers run circles around the competition, while the spine-tingling boom-bap of 'Ride Around Shining' sets the stage for Pusha's hilarious boasts. Whether rhyming over distorted, lo-fi guitar plucks ('Dirty Money') or overblown 808s ('Trill'), the brothers come with colorful references and inventive word play that easily places them in a lyrical class of their own.

TRACK LISTING

1. We Got It For Cheap (Intro)
2. Momma I'm So Sorry
3. Mr. Me Too (featuring Pharrell Williams)
4. Wamp Wamp (What It Do) (featuring Slim Thug)
5. Ride Around Shining (featuring Ab-Liva)
6. Dirty Money
7. Hello New World
8. Keys Open Doors
9. Ain't Cha (featuring Re-Up Gang)
10. Trill
11. Chinese New Year (featuring Roscoe P. Coldchain)
12. Nightmares (featuring Bilal And Pharrell Williams)

'Cerulean' is a voyage into vast, alien sonic landscapes where speaker-blowing bass and euphoric trance synths meet classical harmonies, tactile sound design and Harle’s own field recordings of waves lapping against the shore. It embodies Harle’s pursuit of melancholic euphoria - a blend of megalophobic majesty and raw humanity - inspired by Andrei Tarkovsky’s Stalker, existing “on the threshold between dreams and reality.”

Seeking “the best melodies sung by the best voices,” Harle enlisted an exceptional cast of collaborators, including Caroline Polachek, Clairo, Julia Michaels, PinkPantheress, Oklou and MNEK, alongside newer voices like kacha, and even his own daughters. Across 13 tracks, 'Cerulean' balances dancefloor power with emotional resonance to brilliant effect. Meanwhile, Harle’s wide-ranging influences - from hedonistic rave to the haunting Dark Souls video game series, Philip Glass’s 'Einstein on the Beach', and Renaissance and Elizabethan composers like Monteverdi, Thomas Tallis, and William Byrd - underpin the album’s dazzling, genre (and centuries)-spanning focus.

Born in North London, Harle’s early exposure to avant-garde concerts and chart pop shaped his singular musical lens. Emerging from the visionary PC Music collective with 2013’s 'Broken Flowers', he became one of pop’s most adventurous producers, collaborating with the iikes of Charli XCX, Carly Rae Jepsen, Oklou, FKA twigs, Florence and The Machine, Shygirl, Dua Lipa, and co-executive producing Caroline Polachek’s acclaimed Pang, and subsequently earning a GRAMMY nomination for his work on 'Desire, I Want to Turn Into You'.

Fusing rave maximalism, classical composition, and emotional depth, 'Cerulean' is the latest evolution of Harle’s artistic journey, distilling his lifelong fascination with beauty, wonder, and the unknown. “I just have this mad desire to make my own favourite music,” he says. “That’s all I’ve ever wanted to do.”

TRACK LISTING

1. Noctilucence
2. Starlight (feat. PinkPantheress)
3. Azimuth (feat. Caroline Polachek)
4. Facing Away (feat. Clairo)
5. Raft In The Sea (feat. Julia Michaels)
6. Island (da Da Da)
7. Te Re Re (feat. Kacha)
8. Laa
9. O Now Am I Truly Lost
10. Two Hearts
11. Crystallise My Tears (feat. Oklou And MNEK)
12. On & On (feat. Caroline Polachek)
13. Teardrop In The Ocean

On their new roots rock album, 'Barnburners!', Handsome Jack keep their sound raw and rugged, delivering a seamless yet unpolished blend of classic rock, swamp rock, and blues that feels instantly familiar while remaining personal and authentic. Fronted by the soulful vocals and remarkable guitar skills of Jamison Passuite, with Joey Verdonselli and Bennie Hayes anchoring a killer rhythm section and handling backing vocals, the Lockport, NY trio taps into the DNA of that old-time rock n’ roll and gets the party started. Roots rock hasn’t sounded this good in a long time!

TRACK LISTING

1. Barnburner
2. Tonight We Ride
3. It’s Only Business
4. Polk Salad Annie
5. Blue Falls Motel
6. Do It! To It!
7. I’m Hooked
8. Poly Molly
9. Let’s Go Downtown
10. Ghost Woman

'Join Hands' is a kitchen-sink fuzz-pop clusterfuck party record, the debut album from Brighton's colourful alt-rock 4-piece congratulations.

They say you have your whole life to make your first album... how do you cut that down to a 37-minute slice?

Through its laser- focused 10- track runtime, the record treats rock music with irreverence and complete non- seriousness. Combining works in progress from the band's primary songwriters bassist Greg Burns and guitarist Jamie Chellar, with some scraps dating back several years prior to the band's inception, all members of congratulations have combined to to hone and flesh out these songs with vigourous performances and arrangements brimming with ideas and colour.

Leah Stanhope's formidable vocal performances can turn on a dime from spectrally angelic to hellish, and James Gillingham's turn on the tubs combines featherweight intricacies with sledgehammer force. Shameless pop melodies fight with Jamie's jagged wonked guitars, Greg's thick fuzz bass rumble, crunched electronic beats and a smorgasbord of mangled synths and samples relatively new to the band's sonic palette. These muscular songs take control of the band and wilfully steer them off on sharp tangents (Nevagunna's blown out sax invasion, This Life's this- thing's- broken ending, Bubbles's Bollywood excursion).

With composition taking place over several years, the bulk of the record tracking was done in a single week to capture the pace and immediacy of the band's rapturously received live shows. Then began a lengthy tinkering process, with producer Luke Phillips (Icebeing) on board to add power and spice treatments to the recordings and complete mixing on the album, tying the whole thing together with a big green/blue/ red/yellow (take your pick) bow.

TRACK LISTING

Nevagonna
Fought 4 Love
My Hair
This Life
Dr. Doctor
Jonny Hands
City Boy
I Feel Severe
Bubbles
Hollywood Swingers

There is a certain solace to be found in minimal music—a contemplative joy that emerges through sustained repetition and subtle variation. 'Solo Three', the slyly absorbing new album from Michigan-based composer and multi-instrumentalist Erik Hall, embodies that hypnotic charge while boldly reimagining a distinct selection of contemporary classical works.

Hall’s affinity for minimalism began decades ago, when as a jazz-studies drummer at the University of Michigan he first encountered Steve Reich’s 'Music for 18 Musicians'. The piece altered his trajectory completely. Years later, amid a creative lull, he revisited that formative work by attempting a solo reconstruction. Working alone in his home studio, Hall painstakingly recreated Reich’s intricate, interlocking architecture—supplanting the piece’s orchestral palette with instruments he had on hand—and performing every part himself without loops, programming, or sequencers.

That recording, released on Western Vinyl in 2020, arrived during the fraught early months of lockdown and resonated deeply with listeners. Pitchfork praised it for making “a minimalist standard freshly thrilling to revisit,” and it won the 2021 Libera Award for Best Classical Record. Even Reich himself wrote to congratulate Hall, saying he had “reinvented the piece.” With 'Solo Three', Hall brings this trilogy to a sweeping close. Instead of focusing on a single composition, he weaves together multiple works by several visionary composers: Glenn Branca, Charlemagne Palestine, Laurie Spiegel, and a return to Steve Reich.

The result is a rich, varied homage to American minimalism—at once reverent and exploratory. Branca’s 'The Temple of Venus Pt. 1' unfolds in oscillating organ and prepared piano; Palestine’s 'Strumming Music' becomes a meditative blur of felted piano and guitar; Spiegel’s 'A Folk Study' is recast with acoustic warmth in lieu of electronics; and Reich’s 'Music for a Large Ensemble' closes the album with a 16-minute, kaleidoscopic rush of overlapping melodies and jubilant rhythmic patterns. True to his method, Hall performs and records every part himself, layering instruments one by one like sonic bricks. The approach is deeply human and quietly defiant in an age of faceless automation. “It’s just so much more compelling to actually play every note,” Hall says. “Those micro-differences between takes create a sort of living, breathing magic.” That living, breathing magic fills every corner of Solo Three. It’s both a reverent ode to the composers who shaped Hall’s musical identity and a vivid reminder that minimalism’s hypnotic beauty—its patience, precision, and quiet emotional power—still speaks urgently to the present moment.

TRACK LISTING

1. The Temple Of Venus Pt. 1 (Glenn Branca)
2. Strumming Music (Charlemagne Palestine)
3. A Folk Study (Laurie Spiegel)
4. Music For A Large Ensemble (Steve Reich)

Often lauded a masterpiece, 'Spirit Of Eden' marked a radical change from Talk Talk’s synth-pop beginnings - moulding into an album that would go onto pioneer post-rock. The album was produced over the course of almost a year, compiling improvised, experimental performances which culminated in a mixture of jazz, ambient, and rock into one of the most experimental albums. Released in 1988, the album has somewhat grown in cult status to frequently appear on a number of greatest albums of all time lists. The album will be cut at half-speed for the first time at Metropolis Studios, following up from the half-speed master of 'It’s My Life' at the end of 2024.

TRACK LISTING

1. The Rainbow
2. Eden
3. Desire
4. Inheritance
5. I Believe In You
6. Wealth

Hannah Diamond’s debut album 'Reflections' expanded to include 'Reflections Remixes' and selected 'Reflections Instrumentals' across two LPs. This upscaled edition is pressed on Milky Way Clear Glitter vinyl, in a gatefold sleeve featuring the Remixes Star artwork, and premium board inner sleeves, enhanced with metallic lavender HD monograms. It also includes a high-gloss poster insert of the original Moon artwork and lyric sheet. No secret track.

TRACK LISTING

1. Reflections
2. Invisible
3. Love Goes On
4. Never Again
5. True
6. Concrete Angel
7. The Ending
8. Shy
9. Fade Away
10. Make Believe
11. Invisible (Dylan Brady Remix)
12. Love Goes On Feat. Bladee (Palmistry Remix)
13. True (umru Remix)
14. Fade Away (Mechatok Remix)
15. Make Believe (Yung Sherman Remix)
16. Invisible Instrumental
17. Love Goes On Instrumental
18. Concrete Angel Instrumental
19. Fade Away Instrumental
20. Make Believe Instrumental

US thrash metal titans, Megadeth released their tenth studio album ‘The System Has Failed’ in September 2004. Following the direction set by its predecessor ‘The World Needs A Hero’ it headed further into the bands thrashier past and was a hit amongst fans and critics alike. Debuting at number 18 on the Billboard charts, the album received positive reviews across the board stating it as vital and solid. 

TRACK LISTING

1. Blackmail The Universe
2. Die Dead Enough
3. Kick The Chair
4. The Scorpion
5. Tears In A Vial
6. I Know Jack
7. Back In The Day
8. Something That I’m Not
9. Truth Be Told
10. Of Mice And Men
11. Shadow Of Deth
12. My Kingdom

'Puzzle' is following up the praised 'Slow Summer' EP release earlier this year which saw the always evolving orchestra take on well-known tracks from Bananarama, The Kinks and Lana Del Rey and rearrange them in their own unique, slow and quirky instrumental mix. Now, to free themselves from doing covers and recording other's music (they've released two instrumental Christmas albums in 2023 and 2024 with traditionals etc, recorded as a backing band for Scottish maestro James Yorkston on his last two Domino records releases), the orchestra leader Karl Jonas set up some rules within this very free flowing orchestra, for this new project: - To compose original compositions and since the orchestra members are all amazing artists and musicians on their own, Karl Jonas asked everyone to bring a sketch/idea/track each to the recording sessions. And since the orchestra involved 13 musicians for this session,they needed to not get stuck on some parts as time in the studio was limited (two days). So, everyone was given one hour to present their track to the others, play it around a little and then put it on tape. Spontaneity over production! Of course, this could easily have turned into a chaotic recording, but since the orchestra is used to this recording method (more than five albums) and have devoted itself to improvisations and in the moment-recordings - this session turned into one of their greatest experiences so far. The vinyl version comes with extraordinaire artwork by artist Lisa Jonasson.

TRACK LISTING

1. Sprouts
2. Ode To KJ
3. Bumpy Road, Go!
4. Horizon / Horisont
5. Divorce
6. Slow Dancing
7. Granvitmossa (Girgensohn's Bogmoss)
8. Na Na Na Na (na Na Na)
9. Östersjön
10. Keep On Building A World
11. The Conservative's Fault
12. Flintbacken
13. Solero

ATA Records proudly present the latest release from The Flying Hats, 'Blender'. Following the buzz surrounding their debut LP and the soft limited pre-release of 'Blender', anticipation for this single has been huge - and with good reason.

“I've never heard something so perfectly combine funk and reggae and do it in a way that is dancefloor gold”. - Monkeyboxing.

The Flying Hats - the Leeds quartet responsible for one of the standout albums of the year - return in phenomenal form with two previously unreleased cuts of the highest calibre. Both tracks strike hard somewhere between Kingston and New Orleans, as if The Meters were channelling Jackie Mittoo or Sound Dimension were jamming with Jimmy Smith.

Thick, funky-reggae organ leads the charge with killer breakbeats, bass pressure, and rhythm-section fire designed to light up any dancefloor worth its salt. Both sides are built for selectors, collectors and dance DJs alike.

TRACK LISTING

1. Blender
2. Hot Cakes

For his third new album release for Drag City, Tashi Dorji turns to the electric guitar. After the furious acoustic improvisations that drove the previous two - ‘Stateless’ and ‘we will be wherever the fires are lit’ - it’s easy to imagine an album of his electric guitar improvisations as an encompassingly incendiary essay. Especially when titled 'low clouds hang, this land is on fire'. After all, this is a man capable of tearing up the place with the tactile musical violence of Bill Orcutt and Derek Bailey. And yet, this knowledge serves to set up a greater shock: the album’s disarmingly gentle musical drift.

When asked why he turned the knob down from 11 for this album, Tashi says simply, “To find the silence.” As ever with Tashi, this is a political statement. Even the search for silence takes intention and happens for a reason. In this time of such institutional inhumanity, what is there to feel but exhaustion?When seeing the faces of the deprived, what is there to feel other than hopelessness? In the face of such grief, what words are there to say?

So, Tashi got a couple of amps, moved from the shed where he’d done his first two Drag City titles, set up in a room in the family home with high ceilings and dialled in the reverb. Once the sound was in the space, reflecting in a manner that he felt congenial with his mood, he taped it. It’s a striking signal, meditative and melancholy, with a delicacy comparable to the lineage of Loren Connors or Bill Frisell, the songs at times developed with the deliberate exposition of themes in raga’s alap form. It’s a sound that lives within silence.

Once he’d laid down the sound, Tashi went back and listened to the composition of each piece. Then the words came easily.They’re the titles of these songs, they provide the narrative - ora prism, to allow us to gaze unblinking upon the awesome rot of empire. These are Tashi’s punk anthems for the year 2026… for all the years, really - to be thrown to the people outside the walls, to aid them in their quest to be allowed in

TRACK LISTING

1. Low Clouds Hang, This Land Is On Fire
2. Murmur
3. Burn The Throne
4. We Overflow The Streets And Squares Like The Sea In A Spring Tide... And That Very Instant The Tyrants Of The Earth Shall Bite The Dust
5. Black Flag Anthems
6. They Fall Because They Must Fall
7. Gathering
8. Still
9. But Go Not "back To The Sediment" In The Slime Of The Moaning Sea, For A Better World Belongs To You, And A Better Friend To Me
10. Storm The Heavens
11. A New Morning Breaks

Been waiting time to drop this full heavy cut 12" Version of the 1983 single 'Mind Games', from Gilles Peterson album of the 2024 and this is the BIG cut from that LP on 12 inch for the first time. 'Mind Games' is a total club destruction jazzy Disco Jazz masterpiece. On the flip we have 'The Essence of Jai' another downtempo beast. To top it off, we have a rather wonderful previously unreleased version of 'Song for my father' by Horace Silver, this being more a cover of the Leon Thomas version.

TRACK LISTING

1. Mind Games
2. The Essence Of Jai
3. Song For My Father

'ElectroSoul' is the new album from 2 x GRAMMY Award-nominated producer, songwriter and multi-instrumentalist, DJ Harrison.

This is the Richmond, VA artist’s first truly collaborative record with guests spanning lo-fi hip-hop, rock, jazz, funk and electronic soul.

DJH decided to invite artists to join him on the LP after a sudden health scare in 2024. Close interaction with his tight musical community helped him to heal after unexpected time out.

Featured artists & musicians include Yazmin Lacey, Yaya Bey, Fly Anakin, Pink Siifu, Kiefer, Angélica Garcia, Miguel Atwood-Ferguson & many more. 

STAFF COMMENTS

Barry says: Super smooth electro soul, luscious poppy production and a host of perfectly placed guests. There are just enough wonky tape effects and crispy MPC saturation to make it all feel like a particularly impressive live lounge show too. Top modern soul.

TRACK LISTING

1. Fresh Squeezed Drums
2. OG Players
3. Can’t Go Back Ft. Nigel Hall
4. Sepia Visions
5. It’s All Love Ft. Yazmin Lacey
6. Ballade De Vixen Ft. Miguel Atwood-Ferguson
7. Recycled
8. End Of Time Ft. Grebes
9. Y’all Good? Ft. Pink Siifu
10. Curtis Joint
11. SmokeSetBreak
12. Stay Ready Ft. Yaya Bey
12. NeverFold
14. Beginning Again Ft. Kiefer
15. Seek God Ft. Fly Anakin
16. The Floyd
17. Turn Away Ft. Angélica Garcia
18. Ain’t Going Back (Sound Genesius Remix)

Metal and avant-pop artist Poppy returns with 13 bold new tracks on her seventh full-length, 'Empty Hands'. Produced by Jordan Fish (Bring Me the Horizon), Poppy follows up her previous album, 'Negative Spaces', with a daring set of songs that blurs the lines between heavy and hypnotic, cementing her status as a rising visionary within the rock genre.

STAFF COMMENTS

Barry says: New poppy eh? If you know what to expect, then it's much of the same crisp, precise anthemic (and heavy af) downtuned metalcore business with Poppy's (Mary Rose Pereira) athletic melodies and gruff snarls draped atop. It's a brilliant mix, and a real treat for the modern metal fans.

TRACK LISTING

TBC

The Chambers Brothers are four biological brothers who cut their teeth in church choirs and on the gospel and folk circuit around Southern California. But things really picked up halfway in the 1960s when they started performing in New York and in 1968 scored their only hit “Time Has Come Today”. This 11-minute opus spent five consecutive weeks at #11 (yes, really!) on the Billboard Hot 100 and really showcased the progressive mindset of the brothers; the group combined American blues and gospel traditions with the effects-laden sound of psychedelic rock that was very much in-vogue around that time.

TRACK LISTING

Side A
1. All Strung Out Over You
2. People Get Ready
3. I Can't Stand It
4. Romeo And Juliet
5. In The Midnight Hour
6. So Tired

Side B
1. Uptown
2. Please Don't Leave Me
3. What The World Needs Now Is Love
4. Time Has Come Today

Somewhere close to Manchester’s ever changing city centre, as the sun fades and peeks through the newest glass facade, you’ll find Shaking Hand. One part in shadow, the other basking in prisms of light as they sketch out their own sonic landscapes in the dusty redbrick mill they call home. One that is just about clinging on from the encroaching developments that surround them.

Against this back-drop where buildings are constantly torn down & built back again, the three piece craft away. Pulling from early post-rock, and 90s US alternative rock, crafting their own brand of Northwest-emo. Assembling something new, yet nostalgic. Looking ahead towards the transforming horizon. Shaking Hand’s music is built on tension and release – quiets that stretch, louds that overwhelm. Repetition that feels both hypnotic and destabilising. “The best ideas are when it feels like it’s just about to fall apart and we’re only just holding on,” says Freddie.

The band’s musical DNA runs through experimental guitar outfits like Women, Slint, Sonic Youth, Pavement, and Ulrika Spacek, balanced with the melodic sensibility of Big Thief and the dynamic intimacy of Yo La Tengo. Their compositions push against structure: sudden jolts of tempo, polyrhythms that almost fall apart, and riffs that unravel into something fragile or ecstatic. Yet, as Ellis notes, there’s an underlying warmth too: “Like walking through an empty city late at night but catching flickers of life in the buildings you pass.”

Early ideas like ‘Night Owl’ and ‘Sundance’ grew out of George’s lockdown “bedroom years,” where new tunings (open E, drop D, and stranger Pavement-inspired set-ups) opened up uncharted textures. Later, in grim rehearsal rooms, the murky epic ‘Cable Ties’ and the hypnotic ‘Mantras’ absorbed the gloom and grit of the band’s surroundings.

The album was recorded with producer David Pye (Wild Beasts, Teenage Fanclub) at Nave Studios in Leeds, housed in a converted church. “The live room was huge and perfect for capturing our sound,” says George. Determined to bottle their onstage energy, the band tracked the foundations live, layering vocals and guitars later. Soviet-era microphones, odd mic placements, and even phone-recorded demos fed into the mix. “You’ve got to watch out for David though,” Freddie laughs. “He made me play four tambourines in one hand, really hurt, man.”

Lyrically, the record drifts between abstraction and lived moments. George’s words often spill out instinctively, words falling into place before their meaning becomes clear. “A lot of the lyrics look like they’re buried in abstraction,” he says, “but when I look back I can see what they were about — whether that’s an emotional response at the time or just an observation of what was happening around me”. There’s contrast at the heart of it all – optimism vs. doubt, the lightness of youth vs. the monotony of work, a city in constant redevelopment vs. the people drifting through it.

The album artwork is taken from unused plans for the 1970s redevelopment of Los Angeles by architect Ray Kappe, entitled ‘People Movers’. Hypothetical buildings for real people, it feels a complement to the band’s own constructions. One thing’s for sure, Shaking Hand’s debut is built to last.

STAFF COMMENTS

Barry says: Massive pick for me this week, this brilliant alt-rock post-everything debut from Manchester's Shaking Hand. Jagged, flickering melodies come of out of nothing (instantly reminiscent of the Samuel Jackson Five or Yndi Halda's mid-heavy guitar drive) before being joined by woozy vocals and sky-cracking melodic boom. Ace. RIYL : Cloth, SJ5, Ascent Of Everest, Pavement.

TRACK LISTING

1. Sundance
2. Mantras
3. In For A... Pound!
4. Night Owl
5. Up The Ante(lope)
6. Italics
7. Cable Ties

This exceptional release brings together two of Marcia Griffiths’ most remarkable recordings. Both tracks originally appeared on her acclaimed debut solo album Sweet and Nice, produced by Lloyd Charmers and released on Trojan Records in 1974. These two gorgeous tracks are extremely popular today as highlighted by the hundreds of thousands views on Youtube but incredibly, this is the very first time these two gems are issued on a 7" single!

TRACK LISTING

The First Time I Ever Saw Your Face
Gypsy Man

“Fever” and its Dub version “Influenza Dub” were released together around 1974 (exact year unknown but it has been registered for copyrights in 1974 & 1972) on 7” vinyl on the Upsetter label in Jamaica only… This is therefore the very first release on 7” vinyl of these two Reggae masterpieces outside of Jamaica and it is the first reissue of the original Jamaican single on 7”, finally making these two exceptional and popular tracks available again in their original iconic format. The original Jamaican pressings are now quite rare, expensive and highly in demand among collectors and Reggae enthusiasts alike.

TRACK LISTING

Fever
Influenza Dub

The concept tying together every last note and lyric of ‘Earth-Sized Worlds’ - the debut album from the London/Oxford self-dubbed ‘Flowerkraut’ collective Mandrake Handshake - is an awfully simple one: ‘Welcome to Space Beach’. A mantra to unite under one aesthetic roof the various creative compulsions of this complex, multi-limbed organism - varying at any one time between 7 to 10 members - it’s an album that conspires the alienating vastness of the cosmos against the warm nostalgias of home. Full of surprise, leftfield turns and closeted experimentations, tape-soaked Brazilian Sambas morphs into Kosmische Kraturock crusades, and shimmering avant-pop electronics melt into sweetened psychedelic bliss… “Welcome to the Spacebeach - the new era of the Mandrake. Here, where the sea joins the sky, and where the trees touch the stars and where we will have you stay a while”.

With news of their biggest UK headline show to date at London’s No90 (Hackney Wick) on February 28th next year, Mandrake Handshake are certainly firing on all cylinders as their debut album release draws ever closer. Having already showcased lead singles ‘Charlie’s Comet’, ‘King Cnut’ and ‘The Change And The Changing’ as they experiment further with their eccentric brand of ‘Flowerkraut’: a hedonistic, brain-frying feast of krautrock, art-pop and psychedelia.

Varying anywhere between 7-10 members - including a dedicated, flamboyant tambourine shaker - their pristine, multi-limbed spectacle of a live show has journeyed up and down the UK and EU in recent times. With multiple headline tours to their name, including a sold-out show at London’s iconic 100 Club and headline slot on the BBC Introducing stage at Truck Festival earlier this year, the group have already ticked off slots at the likes of Wide Awake, Green Man and Manchester Psych Fest, as well as shows with psych-figureheads W.H Lung, Pale Blue Eyes, Triptides and Sugar Candy Mountain, and will embark on a UK tour supporting Del Amitri in December as their profile continues to soar.

With two critically acclaimed EPs already to their name - ‘Shake The Hand That Feeds You’ (released via Nice Swan Records) and ‘The Triple Point of Water’ - Mandrake Handshake’s long list of press champions includes The Independent, The i, NME, Loud & Quiet, Dork, DIY, So Young, The Line Of Best Fit, Rough Trade, Clash, Crackand Guitar World, as well as extensive BBC 6 Music (Deb Grant, Don Letts, Gideon Coe), Radio X (John Kennedy) airplay, and being crowned BBC Introducing Oxford/Buckinghamshire's Band of the Year.

STAFF COMMENTS

Barry says: Full of surprise, leftfield turns and closeted experimentations, tape-soaked Brazilian Sambas morphs into Kosmische Kraturock crusades, and shimmering avant-pop electronics melt into sweetened psychedelic bliss

TRACK LISTING

Side A
Time Goes Up
Hypsersonic Super-Asterid

Side B
Charlie’s Comet
The Change And The Changing
Lorenzo’s Desk

Side C
King Cnut
Barranmode

Side D
Find The Tree And Dig (Deep)!
Earth Sized Worlds

Instant House returns with their long-awaited second 7-inch release, from one of the most respected and underground names of the 1990s deep house era. This essential edition features the out-of-print yet highly sought-after remix of “Hat Hat”, reimagined by the legendary Joe Claussell, a deep, spiritual reconstruction that stands as a true collector’s gem. On the flip side lies the timeless Instant House classic “Mellow Out,” a defining deep house cut that captures the pure essence of the early ’90s movement. Pressed in limited quantities, this 7-inch is a must-have for true deep house collectors and admirers of Instant House and the golden era of late ’80s / early ’90s underground house.

STAFF COMMENTS

Matt says: Any house head worth their salt knows that Joe Claussell's Instant House project is one of the finest early examples of the genre. Two truly rare tracks from the catalogue are repressed on a double headed 7" here. history and function collide!

TRACK LISTING

A1. Hat Hat
B1. Mellow Out

"Transition" features the inimitable Nathan Haines on saxophone and flute, and Laroye on remix duties

Written as a reflection on movement, change, and creative renewal, "Transition" captures the emotional landscape of an artist evolving through sound.

The original version is a warm and melodic six-minute trip through soulful house textures, layered keys, and Haines’ fluid, expressive sax, a record built for that moment when the dancefloor exhales and reconnects.

On the flip, Tom Laroye reimagines "Transition" with his signature jazz-tech fusion, fusing broken rhythms, deep house stabs, and afrobeat-inspired percussion into a sophisticated, floor-ready reinterpretation.

SUPPORT FROM:

Jimpster, Fouk, Peter Kruder, Craig Smith (6Th Borough Project), Pete Herbert, Mr Redley (Rinse), Louise Chen (NTS), Pete (BBE), Bill Brewster

STAFF COMMENTS

Matt says: Sumptuously electric, pulled taut and rhythmically fluent; the kind of tech-house music that used to be the want of DJs like Henrik Schwarz and Ame. Laroye's on hand to give the track a modern and jazzy flourish that's wrought with emotion.

TRACK LISTING

A. Transition Ft. Nathan Haines (Original Mix)
B. Transition Ft. Nathan Haines (Laroye Tech Jazz Remix)

Full of joy, they ran to meet him.
Then threw one of the shirts over each of them,
and when the shirts touched their bodies they were transformed into swans,
and flew away over the woods.

The record is comprised of a series of improvised recordings made over the course of an evening in Autumn ’23, captured at the Jabu home studio, south Bristol while Teresa was staying in town for a show. Everything was recorded into the desk in a single take and left as it was, no editing or overdubs, instruments were swapped around and effects units left buzzing ground hum scattered over the floor.

Teresa and Guest (Jasmine of Jabu) provided the vocals, taking words from anything at hand - poetry books, an old copy of the Whole Earth Catalog - their voices winding together, echoing out each other’s melodies. This approach is mirrored by the instrumentals, anchored by something at times - a bassline, one of Birthmark’s synth drones or a fizzing chord but always on the edge of collapsing in on itself or floating away. The tracks become more soporific as the record goes on (and as the night got later), ending on a refrain of ‘say you think its true’ as the instrumental finally dissolves the pedals get dialled up to 11 and Birthmark’s drones turn into distant lasers in a last swan song of feedback.

Recorded Sep 2023 in Bristol, BS3, by:

Teresa Winter (vocals, fx)
Guest (vocals, guitar, fx)
Birthmark (synth, fx)
A.Childs (samples, bass, guitar)

TRACK LISTING

1. 1
2. 2
3. 3
4. 4

Recorded in a fully equipped studio in Brooklyn, New York, this project was born from the idea of gathering musicians who deeply admire Kuniyuki’s work and inviting them to contribute to the composition. The line-up features: Lekan Babalola – master percussionist and composer on African drums and percussion, James Bergeau – lead guitar, Joe Claussell – main voice and additional percussion, and Kuniyuki Takahashi – acoustic piano, keyboards, and drum programming.

The release represents a rare convergence of visionary artists, heartfelt collaboration, and world-class musicianship.

Limited. Exceptional. Essential.

Don’t miss your chance to secure the final chapter of the "Divine Harmonics" series.

STAFF COMMENTS

Barry says: Deep, slowly whirling synth riffs wrap around a beautifully organic series of rhythmic paddling and echoic skittering. Elsewhere, jazzy keys and unfolding grooves float about the stereo field, deeply rooted in the rhythm and momentum of hand-played percussion. Incredibly emotive, exciting ambient music.

TRACK LISTING

A. From Then Until Now (The Cosmic Arts Epic Version) [17:20]
B. From Then Until Now (Drum Dub Two) [6:17]

Glasshouse Red Spider Mite share their much awaited debut EP ‘What Do You Mean The Monster?… Hahaha’ on its first vinyl pressing.

Recorded by Louis Milburn (Folly Group) - a “one of a kind friend & talented producer” according to bassist Alex - in the back of an audio equipment shop, the EP is a diverse but cohesive collection of slow-burners, delivering an incredibly well-developed exploration of instrumental and lyrical storytelling, and the band’s longstanding musical relationships with each other.

Growing up together in Devon, and initially forced together by the encouragement of a secondary school music teacher, Glasshouse Red Spider Mite began in earnest in 2023 in Brighton. Their first two singles in 2024 created a buzz in the local scene and industry; with this EP they have attempted to create their first signature body of work, and plant their flag in the ground. The band say “The songs were written before we even dreamt of playing our first shows, let alone before seeing the release of our first music as a band. No one knew about these songs & we weren't exactly sure if people would one day hear them. They only existed between us four until we found the courage to give this band a go.”

Drummer Benji explains that the EP is “a testament to our friendship, a strong bond & commitment to the cause. A vessel for therapy - helping each other keep mobilised, in belief & pushing towards a collective objective or something out of our individual control or capacities… an emotional outpouring of vulnerability, absolute honesty & healing.”

The EP immerses the listener, carefully rising from tense beginnings into unflinching heights. Guitarist Ethan says that the songs “all help to tell a story from a time that feels hard to put into words.” Each rhythm is a fault line waiting to crack open. Despite this, the tracks manage to remain sensitive in their delivery, through layers of swelling guitar, atmospheric strings and insistent percussion. Slow-building, deliberate, and massive in its impact. The band say this EP is about “facing all the pieces of yourself that you’ve let run riot. It’s about revealing yourself to yourself. Questioning your judgements & challenging your laurels. Using past pain to build a fear-free future. It’s post-rock. It’s the sound of the hole in your heart & the pit in your stomach.”

On ‘What Do You Mean The Monster…’ the band have tried to “encapsulate the highs & lows which the 'monster' that life seems to be, swallows you whole… there's been a lot of change, turbulence & learning to understand ourselves, which we think is trapped in the music we make.”

‘What Do You Mean The Monster?… Hahaha’ is available for the first time vinyl, containing a 20+ minute physical exclusive track ‘Spider Mite Season’. It is the band’s first release on London indie label, Memorials of Distinction, whose previous releases include Porridge Radio, caroline, Grove, Naima Bock, Kiran Leonard, and JPEGMAFIA.

In the wake of the EP, Glasshouse Red Spider Mite had sold out headline shows in London (Third Man) and Brighton (Alphabet), followed by their festival debut playing 2 sets at End Of The Road Festival, followed by their international debut at 043 in Maastricht, and then supporting Dutch Interior on their UK tour. This followed supporting Porridge Radio’s UK tour in 2024.

TRACK LISTING

Side A
Everyone Loves You
Ant Mill
Time For Change
I’m Batman

Side B
Spider Mite Season

Kutiman joins Batov Records’ Middle Eastern Grooves Series with explosive double-sider

Batov Records is thrilled to announce the debut of pioneering producer, multi-instrumentalist, and multidisciplinary artist Kutiman on its highly collectable Middle Eastern Grooves 45s series. The release features two essential, souk-fuelled, psych-funk heaters: “Haraka” and “Khamsin”.

A prolific musical force, Kutiman delivers the goods on “Haraka” (“movement”), layering neck-snapping rock drums, irresistible psychedelic basslines, and haunting organ riffs, with microtonal-bending synths and tabla-inspired percussion.

On the B-side, “Khamsin” (“heatwave”) continues the trip with another heavy dose of Middle Eastern psych and funk, culminating in a blistering guitar solo in his signature Middle Eastern style by longtime collaborator Uri Brauner Kinrot (Ouzo Bazooka, Boom Pam), who also contributes beguilingly languid bass guitar riffs.

Both tracks showcase Kutiman’s distinctive ability to fuse regional traditions with modern grooves, marking a bold new addition to the label’s standout series.

Audrey Hall is one of the UK’s most respected female Reggae & Lovers singers from the 80s! Working with the legendary producer Donovan Germain, here is a reissue, with a Dub for the first time ever. Created from the original multitracks this one sounds heavy in a crucial 80s Reggae Lovers style! Decades of radio and soundsystem support worldwide! Rodigan, Coxsone and more. Crucial female vocals from the brilliant Audrey Hall!

TRACK LISTING

A1. Eight Little Notes
B1. Notes In Dub

Quadeca got his start on YouTube around ten years ago, posting mostly hip-hop freestyles, mixtapes and more, building a steady following through the years. His 2022 record, 'I Didn't Mean To Haunt You', was his first major departure from hip-hop, containing folktronica, indie rock, shoegaze and many more genre elements.

TRACK LISTING

1. Sorry4dying
2. Tell Me A Joke
3. Don't Mind Me
4. Picking Up Hands
5. Born Yesterday
6. The Memories We Lost In Translation
7. House Settling
8. Knots
9. Fantasyworld
10. Fractions Of Infinity
11. Cassini's Division

London based singer, songwriter and producer Harvey Causon’s debut album, 'Square Breath', is in many ways a shift. Inspired as much by dance as it is music, it is a graceful, atmospheric album, with shifting ambient textures underscored by skittering grooves. The title 'Square Breath' reflects that: since he was a child, Causon noticed that when he is anxious or inspired, he naturally breathes in a ‘square motion’. The album perfectly portrays this heightened yet meditative state, Causon’s stream-of-consciousness lyrics exposing his quantum-speed thought processes while deftly-constructed songs blend off-kilter R&B, sparse ambient, and soaring electronica. Yet 'Square Breath' has an earthiness, aided by a rotating cast of friends, strings, horns, and backing vocals, this warm palette of sounds elevates and expands on his previous work, giving it a richness and space that sets it apart. At the same time, the walls of Causon’s mind claustrophobically close in around you, as his anxieties on everything from the worsening climate crisis to our increasing tech-dependency to a slowly-ending long term-relationship are laid bare. 

TRACK LISTING

1. Winded Abdomen
2. Psycho
3. Laminar Flow
4. Folklore
5. Picking Up Smoke
6. Faultlines
7. Nostalgia
8. Backburner
9. The Hague
10. Impasse
11. Myelin
12. Torpor
13. Memorabilia

Limited edition of 250 hand stamped and numbered 7” single. Featuring two new songs from MEMORIALS, the duo consisting of Verity Susman (Electrelane) and Matthew Simms (Wire).

TRACK LISTING

1. Cut Glass Hammer
2. Reasonably Invisible 

October 08, 2025 – a-ha are celebrating the 25th anniversary of Minor Earth, Major Sky with a special edition release, out December 12. The album marked a defining moment in the Norwegian trio’s career. Originally released in 2000, it signaled a triumphant comeback after a seven-year hiatus, reaffirming both their lasting relevance and continued creative evolution.

The 25th Anniversary Edition pairs the original tracklist—remastered in 2019—with four exclusive live recordings from a-ha’s 2001 concert at Oslo’s Valhall Arena, now available on vinyl for the very first time. Pressed on two high-quality 180g silver vinyl LPs, this edition is a must-have for collectors and fans alike, offering a renewed perspective on a modern classic while celebrating a-ha’s enduring legacy in pop music.

Minor Earth, Major Sky tells the story of a band that, while seemingly pausing between 1994 and 2000, never stopped making music. The group has described this period as transitional: “ „No one believed that it was over, it was more that nothing kept us together at that point,” recalls Magne Furuholmen in the liner notes of the 2019 Deluxe Edition. The spark for their reunion came in 1998, when a-ha performed at the Nobel Peace Prize Concert in Oslo—a one-off appearance that unexpectedly reignited their creative chemistry and paved the way for a new album that picked up right where Memorial Beach (1993) left off.

The Anniversary Edition features the full set of remastered originals—from the soaring title track Minor Earth, Major Sky and the dreamy Velvet to the timeless hit Summer Moved On—alongside four previously unreleased live versions (Minor Earth, Major Sky, The Sun Never Shone That Day, Velvet, and Summer Moved On). Blending studio precision with live emotion, this collection offers fans a rare glimpse into a-ha’s artistic vision and stage energy during that pivotal era.

“We make a-ha music, no matter the circumstances,” Magne Furuholmen wrote in 2019. A quarter of a century later, the 25th Anniversary Edition of Minor Earth, Major Sky stands as proof of that statement—a testament to the band’s timeless sound and enduring creative spirit.

TRACK LISTING

A
1.Minor Earth, Major Sky (2019 Remaster)
2.Little Black Heart (2019 Remaster)
3.Velvet (2019 Remaster)
4.Summer Moved On (2019 Remaster)

B
1.The Sun Never Shone That Day (2019 Remaster)
2.To Let You Win (2019 Remaster)
3.The Company Man (2019 Remaster)
4.Thought That It Was You (2019 Remaster)
5.I Wish I Cared (2019 Remaster)

C
1.Barely Hanging On (2019 Remaster)
2.You’ll Never Get Over Me (2019 Remaster)
3.I Won’t Forget Her (2019 Remaster)
4.Mary Ellen Makes The Moment Count (2019 Remaster)

D
1.Minor Earth, Major Sky (Live, Oslo 2001)
2.The Sun Never Shone That Day (Live, Oslo 2001)
3.Velvet (Live, Oslo 2001)
4.Summer Moved On (Live, Oslo 2001)

In a world where vulnerability is often hidden behind noise, Sheffield singer songwriter Mathew J Hall dials back the static with 'Full Weight', a driving, emotionally charged EP that burns with urgency

Mathew takes inspiration from the weirdness of Aldous Harding and Amen Dunes while embracing the songcraft of greats like Neil Young and Jeff Buckley. Released via Tip Top Recordings (Mandrake Handshake, Japanese Television, Pearl & The Oysters), EP 'Full Weight' is a six track offering of emotionally driven, lyrically agile, eccentrically produced indie-rock

Mathew's journey began with a childhood guitar and quietly grew into a private archive of hundreds of songs, never meant for anyone but himself. After stints with local outfits The Velotones and Violet May, he broke away to carve out his own space, one where every note and word belonged to him. Stepping into the studio with friends and trusted collaborators, he found the freedom and confidence to let the world in. The result is 'Full Weight', a bold new chapter in Mathew's musical story. 

'5:32' is the natural way to introduce Mathew's gloriously unique voice and
songwriting, evoking Sheffield's musical royalty such as Richard Hawley. As the single artwork depicts, '5:32' was conceived by Mathew "in bed, during COVID, eating cereal and taking my meds. As Thom Yorke once said, 'no one is really a solo artist'". The surging, cathartic anthem 'Weight Of Love' is about a simple case of unrequited love. Mathew says, "In my case, it's a story of my dad leaving. The cover artwork is of me and my brother around the age he left" . Further tracks like 'Lady Luck' lean into a slowburning groove of shimmer and snarl, while the fully exposed 'Creature Of Comfort' is built on skeletal instrumentation.

'Full Weight' captures the duality of refusing to choose between fragility and force. It's music that aches, bleeds, and ultimately triumphs: a testament to the strength in showing your cracks.

TRACK LISTING

1. Headspace (Sunrise)
2. 5:32
3. Weight Of Love
4. Four Letter Words
5. Lady Luck
6. Creature Of Comfort

Long-awaited vinyl reissue of 'Alarm Clock', first released in December of 1970 and one of Richie Havens' most iconic albums, unavailable on vinyl for decades! Deluxe 180g limited edition reissue, galaxy effect coloured vinyl, also includes 2 never before released bonus tracks.

Recorded amidst the Vietnam War's turmoil and the tragic Kent State shootings of 1970, 'Alarm Clock' was Havens' urgent wake- up call to a generation - a powerful warning against an overreaching government.

This reissue includes two never- before- released tracks: 'Nobody Knows', recorded during the same sessions, and a deeply moving rendition of Graham Nash's 'Military Madness'.

A testament to Havens' artistic integrity and commitment to social justice, Alarm Clock remains a timeless masterpiece. 

TRACK LISTING

1. Here Comes The Sun
2. To Give All Your Love Away
3. Younger Men Grow Older
4. Girls Don't Run Away
5. End Of The Seasons
6. Nobody Knows
7. Some Will Wait
8. Patient Lady
9. Missing Train
10. Alarm Clock
11. Military Madness

Ten extremely heady and emotionally significant cuts straight from one mind to another, designed to connect. Thick, syrupy ambience, heavy as dark matter; red shifted atmospheres swirl like plasma across silky planes of anti-static and a constantly expanding horizon.

TRACK LISTING

A1. 1izm
A2. K1Deep
A3. RiseMODX
B1. Sub AM
B2. Musicentrydelete
C1. Wavebeats
C2. Wavebeats (dub)
C3. 1 Electric
C4. Depth
D1. EBase

'Hot on the heels of Luv (LuvLuv) comes a sublime new Drum Chums from midland's madlads Wrekin Havoc.
Over the years we've shared great tunes, fun times and A-grade dancefloor debauchery with these permanent party people (our first encounter almost exactly like that Spiderman pointing meme) so it made more sense than we usually do to invite them aboard the V*nga bus for some Balearic-Disco edit excellence.

Things kick off with the sexy throb of 'Shine A Light', a stonewashed funk workout complete with Paisley guitars, Troutman bass grunts and some big time blue-eyed soul vocals. It's a bit like an extended and unheard collaboration between George Michael and Tears For Fears recorded immediately after a particularly heavy night at Future. Unsurprising perhaps that this one's been getting a whole lot of love from DJ Harvey.

'Mars Bar Party' grabs you by the hips from the first bar of its swaying Mediterranean house rhythm, then tugs at every single one of your heartstrings with melancholic pads and a silken vocal croon. Fuuuuuuckin' hell! Sorry, was totally bewitched by the primal power of piano house magic - it's like John Rocca was in the room for a second. Armed with an awesome arrangement and clocking in at ten massive minutes, this may be the ultimate Balearic house journey.

If all this wasn't enough to have you stocking up on 5-HTP and sinus rinse, those crafty cats close the set out with the shimmering disco euphoria of 'Leccy Meet Her'. The bottom end pulses endlessly, Cowley synths trill and a crystal clear Vox soar above, sending us far off into mirrorball orbit. If this isn't a hit at Horse Meat, we'll neck a bottle of poppers and never eat a tomato again.

Each and every track Wrekin Havoc touch is a pearler, but we're particularly chuffed with ourselves for snapping this top trio up.

100% Drum Fun Guaranteed.' - TD Chums 

STAFF COMMENTS

Matt says: Hottest Drum Chums for a while. Just check that last track! Phwwwoooaaar! Endless spins on this one riders! From the fairground to discoball and beyond! 'Let me feel your e-lec-tri-city..!' so so good.

TRACK LISTING

A. Shine A Light
B1. Mars Bar Party
B2. Leccy Meet Her

'A Giant Has Nowhere To Go: Tongue Master Records Presents Selections From Comes With A Smile (2000-2006)' is a celebratory vinyl-only release drawn from the magazine's sixteen cover-mounted compilation CDs. Across some 300 tracks, the magazine presented previously unheard tracks from its eclectic array of interviewees drawn from the worlds of the Singer Songwriter, Americana, Post-Rock, Electronica, and all things Indie.

Comes With A Smile's designer/editor Matt Dornan’s association with Tongue Master Records began with the first TM 7" and has continued to the present day. In some ways the association has come full circle with this curated release. The selections on this album represent the place where the worlds of Tongue Master and Cwas converge. Most remain exclusive to the magazine, and all appear on vinyl for the first time.

Side one features artists who appear in the Tongue Master discography - from established masters Mark Eitzel, Mark Mulcahy and Howe Gelb to the equally idiosyncratic stylings of New York’s The Scene Is Now, Athens’ Sigmatropic (featuring Edith Frost) and London’s cinematic The Real Tuesday Weld. The latter revisits a CWAS favourite, featuring a newly recorded vocal by Sephine Llo, exclusive to this release. Other contributions include intimate demos from Eitzel and Gelb (better known in embellished form by American Music Club and Giant Sand respectively), to standalone gems like Mulcahy’s 'Elephantine' (which gives this collection its title) and the bruised avant-garde blues of The Scene Is Now’s 'The Word'.

The tracks on side two and the accompanying 7” are a diverse selection drawn from the sixteen CDs CWAS issued between 2000 and 2006 that reflect and complement the oeuvre of Tongue Master Records. Here you will find the dense literature-infused art-folk of Lullaby For The Working Class, the sparse acoustic balladry of Nina Nastasia and the curious Matmos-enhanced stylings of veteran polymath and fellow New Yorker David Grubbs. In their wake comes an epic jazz-tinged duel between Douglas McCombs’s Brokeback and sometime labelmates Chicago Underground Duo, and the raw gothic Americana of Blanche. The LP concludes with a haunting lo-fi lament by the sorely missed Jason Molina in his Songs: Ohia guise. The 7" presents two further gems: a concise edit of the lengthy title track from a 2005 12” tour EP from CWAS regulars The American Analog Set, and an acoustic rendition of a track from the album ‘The Great Destroyer’ by shapeshifting veterans Low from the same year.

Together the fourteen tracks hint at the breadth of the CWAS archive, a treasure trove from a not-too-distant musical past. With full lyrics, a special four page insert tracing the history of the magazine, and an Alex Wharton Abbey Road cut, this quality release is a testament to the legacy of Comes With A Smile.

TRACK LISTING

1. The Scene Is Now - Words
2. Howe Gelb - Wolf Pup
3. Mark Mulcahy - Elephantine
4. Sigmatropic Featuring Edith Frost - Haiku 4 (Alt)
5. Mark Eitzel - Bought A Book
6. The Real Tuesday Weld Featuring Sephine Lo - Dreaming Of You
7. Lullaby For The Working Class - In Defense Of Abstractions
8. Nina Nastasia - I Will Never Marry
9. David Grubbs - Aging Young Lovers
10. Brokeback With Chicago Underground Duo - Chomsk, Live!
11. Blanche - Never Again (Demo)
12. Songs: Ohia - Untitled

7”
1. The American Analog Set - Everything Ends In Spring (Edit)
2. Low - Walk Into The Sea (Acoustic Version)

Celebrating 40 Years of one of Britain’s most iconic and era-defining bands, 'The Factory Singles' is the definitive tribute to a group that reshaped the sound of UK music. This fully remastered collection brings together their landmark singles from 1985–1992, capturing the raw energy, innovation, and fearless creativity that made them a cornerstone of the Factory Records and Madchester legacy.

From underground club anthems to crossover hits, every track showcases their unique fusion of attitude, electronic experimentation, and dancefloor-ready grooves. These singles not only defined an era but also laid the foundations for the alternative dance and indie scenes that followed.

STAFF COMMENTS

Andy says: Happy Mondays were always funky, Manchester's answer to New York's ESG, if you like. But with their cartoonish lyrics and wild, often hilarious but also edgy personas, they created a unique space for themselves in the mid 80s music scene. This would explode into multicolour in '88, with their breakout single “Wrote For Luck”. Then everything went wild with the standalone Madchester “Rave On” EP the following year, where a druggier and heavier groove became apparent and (for once!) superior club mixes put the band right at the centre of the burgeoning baggy scene. This singles collection absolutely nails it!

TRACK LISTING

LP Tracklisting:
1. Delightful
2. Freaky Dancin' (7" Edit)
3. Tart Tart
4. 24 Hour Party People (Radio Edit)
5. Wrote For Luck (7" Edit)
6. Lazyitis - One Armed Boxer
7. Hallelujah (Oakenfold 7” Edit)
8. Step On (7" Edit)
9. Kinky Afro (Radio Edit)
10. Loose Fit (Radio Edit)
11.Judge Fudge (7" Edit)
12. Stinkin' Thinkin' (Hague 7" Edit)
13. Sunshine & Love (7" Edit)
14. Angel (Edit)
15. Hallelujah (Club Mix)
16. Step On (Twistin' My Melon Mix)
17. W.F.L. (Think About The Future Mix)

CD Tracklisting:
1. Delightful
2. Freaky Dancin'
3. Tart Tart
4. 24 Hour Party People (Radio Edit)
5. Wrote For Luck (7" Edit)
6. Lazyitis - One Armed Boxer
7. Hallelujah (Oakenfold 7" Edit)
8. Step On (7" Edit)
9. Kinky Afro (Radio Edit)
10. Loose Fit (Radio Edit)
11. Judge Fudge (7" Edit)
12. Stinkin' Thinkin' (Hague 7" Edit)
13. Sunshine & Love (7" Edit)
14. Angel
15. Tart Tart (The Reflex Revision)
16. 24 Hour Party People (Jon Carter's Main Vocal)
17. W.F.L. (Think About The Future Mix)
18. Hallelujah (Club Mix)
19. Rave On (Club Mix)
20. Step On (Twistin' My Melon Mix)
21. Kinky Groovy Afro (Euromix)
22. Loose Fit (Greg Wilson And Ché Wilson Remix)
23. Bob's Yer Uncle (Perfecto Remix)
24. Stinkin' Thinkin' (Junior Style)
25. Sunshine & Love (Far Island Mix)

As Moxy marks an incredible seven years as a trailblazing label, The label unveils Moxy Editions 9 — a four-track collection that captures the spirit of his DJ sets and the global energy of his dancefloor community. Already a highlight of the summer season, these records have been making serious waves across Ibiza and beyond.

At the heart of the release is “Gypsy Woman (Moxy Edit)” — a track that started as a spontaneous edit for Darius’s own sets and quickly took on a life of its own. With re-recorded vocals from Holly Jazz and official publishing clearance, the track has become a defining anthem of the year.

From DC-10 to clubs across Europe, the record has been met with full-room singalongs and explosive reactions. Early support from DJs including Prosper and Liam Palmer has further cemented it as one of the most in-demand edits on the circuit. Now officially released, “Gypsy Woman” arrives on vinyl, just in time for the label’s milestone birthday.

Next up comes a standout comes from Harry Collett “Check up”. A longtime Moxy fan and emerging talent, Collett’s production has already earned support from MK and a growing roster of influential selectors. “Harryette” has been a staple in Darius’s summer sets, marking Collett as one to watch.

Also featured are two more highlights from the summer — “Tengo La Musica (Crackazat Remix)” and “Never Let You Go”, both driven by irresistible samples and undeniable grooves. These cuts embody the energy and emotion of Darius’s signature club sound — upfront and built for the dancefloor.

TRACK LISTING

A1. Darius Syrossian Featuring Holly Jaz - Gypsy Woman
A2. Harry Collett - Check Up
B1. Darius Syrossian - Tengo La Musica (Crackazat Remix)
B2. Harry Collett - Never Let You Go

Genre-defying London artist Anolah's adrenaline-fuelled new single 'Slack Line'. The single features guest vocals from lauded London singer and poet Hak Baker and will be released on Speedy Wunderground as part of their 7” Single Series.

From an upbringing in the midst of many underground scenes, Anolah's
childhood was a whirlwind of city-hopping, sound systems, performing and
creating. Now firmly rooted in London, Anolah's diverse experiences and
encounters with unconventional characters and musicians from many
backgrounds have been a wellspring of inspiration for her journey as a
songwriter and instrumentalist.

Produced by Dan Carey, 'Slack Line' sees Anolah’s far reaching musical
palette - which merges elements of soul, jazz, R&B, punk, and hip hop with
jungle, dub and breakbeat - come together for an incisive and empowering
sub-3-minute powerhouse full of hyperactive bass and glitched-out electronics.

Hak Baker’s guest vocals add further attitude to the track as their vocal lines
merge for its explosive chorus, singing/shouting “Yours and yours will be yours
/ Mines will be mines / Rats don’t get cats eyes / I hear u scurry all fours / Feet
to the floor / Chewin the slackline”.

Speaking on the single Anolah says “Sometimes people get a little too
confident in who they think you are and project that onto you. And it’s like babe we’re not married, I didn’t ask for your input so let me do me and you can do you.”

This 7” release also features a signature dub remix by Carey titled 'Dub Line' which sees the track knolled out and rebuilt, further accentuating the borderless and eclectic sound of Anolah’s musical style.

TRACK LISTING

1. Slack Line
2. Dub Line

US label Lovers Rock Recordings is back with more sophisticated soul sounds from a bona fide legend. There is no deep digging involved for the source material here, but that's not to say the results aren't still essential. First up are the beautifully horizontal grooves of 'Hang Onto Your Love' with dancing keys adding a little playfulness up top and syrupy bass melting the heart from below. On the flip is 'No Ordinary Love' which is an even more slow, immersive sound with gloppy bass and drawn out chords all slowing time and softening reality. No brainers for late night lovers.

STAFF COMMENTS

Mine says: Vol. 1 of the new Sophisticated Soul Legends series was a big hit with you lot and although this one features no vocals, it's no less of a hit. Whether you're a Sade fan or not (and why wouldn't you be...), if you like a bit of late night melancholy (and why wouldn't you!!) then this needs to be in your collection. The instrumental of No Ordinary Love is particularly outstanding if you ask me.

TRACK LISTING

Hang Onto Your Love (Instrumental)
No Ordinary Love (Instrumental)

Joe Banks’ Rock and Role is the definitive biography of Peter Hammill (leader of Van der Graaf Generator, and one of the most unique solo artists in rock). Coming in at over 500 pages, and illustrated with hundreds of images - many rare and previously unseen - Rock and Role is both a highly accessible biography and a serious critical appreciation of one of rock’s genuine visionaries, providing an in-depth look at PH's music and lyrics, investigating the ideas behind his songs, and presenting a portrait of Hammill as both artist and man. 

“A good song can survive and shine in different ways in the hands of different musicians,” says Emmylou Harris. “It can have different meanings at different times in your life. A good song can travel with you anywhere.”

That philosophy has guided her fifty-year career in country music, during which she has covered countless songs across countless genres and put her own indelible stamp on each one. More specifically, it’s the philosophy that animates both Spyboy, her touring band in the late 1990s, and Spyboy, the 1998 live album that demonstrates how these musicians made her songs shine.

Sequencing old songs alongside new ones, the album tests the tensile strength of each one, pushing them into wilder and more psychedelic territory while remaining grounded in earthy country music. It’s completely unique in her catalog, a crucial document of an important chapter in her career, and it’s finally getting reissued after years of being unavailable. “It’s such a special record,” she says. “Well, they all are, but this one is really, really special. That was such a fantastic band and such an amazing time.” Spyboy grew out of Wrecking Ball, Harris’ groundbreaking 1995 collaboration with producer Daniel Lanois. In 1996 and 1997 together with Buddy Miller, Brady Blade and Daryl Johnson, The band, also named Spyboy, toured America and Europe together, never playing a song the same way twice.

Buddy Miller brought along his recording gear and recorded nearly every show on the tour. When their time on the road ended, Miller and Harris sat down together and they culled through hundreds of tracks to choose the ones that best represented the Spyboy ethos of endless possibility. They whittled the original release down to 14 tracks and in 1998 Eminent Records released Spyboy on CD.

TRACK LISTING

My Songbird
Where Will I Be
I Ain't Living Long Like This
Love Hurts
Green Pastures
Deeper Well
Prayer In Open D
Calling My Children Home
Tulsa Queen
Wheels
Born To Run
Boulder To Birmingham
All My Tears
The Maker
Thing About You
All I Left Behind
Get Up John
Sweet Old World

South London’s Jerkcurb – aka Jacob Read – is back with his sophomore album ‘Night Fishing On A Calm Lake’.

After his debut album’s successful release Read had planned to expand Jerkcurb into a full band setup when his father, a painter like himself and a creative inspiration, passed away. Instead of the envisioned plan of taking his project bigger Read returned to the family home and re-examined the material for the new album and instead the album became one of reflection, grief and redemption. It’s not much of a stretch to see clear musical inspirations for the record too – Prefab Sprout, Talk Talk and The Blue Nile, records where the moments of silence are stretched out.

Read produced and engineered the album himself, mostly at home with Lara Laeverenz and Gray Rimmer providing cocals. The album is mixed by Dilip Harris (King Krule, Mount Kimbie).

The enchanting cover artwork was painted at Read’s father’s studio in Camberwell, painted in oil with its dreamlike blur of blue and black . It hints at the early film noir and magical realist influences for the album. 

TRACK LISTING

1) The Rocks
2) Death Valley Morning Dew
3) Hungry
4) Mothematics
5) Loss Dub
6) Larchmont
7) Too Much Intelligence
8) Help You
9) Night Fishing ON A Calm Lake
10) Home On The Ranch
11) Oh No

Jesse Webb is the kernel of The Final Age, with New Hallucinations his second album under this name. A drummer of renown in various pockets of the UK musical underground since the decade before last, with much of his reputation forged in Bristol (he now lives in Hebden Bridge), in this guise he proves himself very able to commandeer a project, with this record’s nine songs featuring the input of twelve other musicians.

It’s a great and tangible ‘drummer’s album’, more so than the previous Final Age LP from 2018, but should still have much to appeal even if that doesn’t sound inherently appealing. Two of Webb’s co-performers from that album have returned. Vocals are shared between him and Annette Berlin, a Bristol scene stalwart who currently sings in Shoun Shoun and is a valuable component of ‘Synth 2’ – hypno-industrial of the Factory Floor ilk – and the slow, low-key ‘Pleasures’. And trumpeter Pete Judge, of Portishead-adjacent jazzers Get The Blessing, enlivens groove-chasing out-rockers ‘Penetralium’, whose particular ambience is on something of a Selvhenter tip.

STAFF COMMENTS

Barry says: Stellar avant downbeat / drone business from Jesse Webb, drummer extraordinaire for some of the fines psych bands in existence. Inventive, engrossing and endlessly developing, this is the sound of a musician pushing the boundaries of their sound outwards into the unknown. Ace.

THIS IS A BLACK FRIDAY 2025 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON FRIDAY NOVEMBER 28th FROM 10AM ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8AM ON SATURDAY NOVEMBER 29th).

Released in 2000 for the noted New York audiophile label Chesky Records,
David Johansen and the Harry Smiths is the folk blues project by David
Johansen (the iconic former lead singer of the hugely infuential New York
Dolls) with support from drummer Joey Baron, bassist Kermit Driscoll,
guitarists Brian Koonin and Larry Saltzman.

TRACK LISTING

1. James Alley Blues
2. Darling, Do You Remember Me
3. Delia
4. Little Geneva
5. I Been To Memphis 
6. Katie Mae
7. Old Dog Blue
8. Somebody Buy Me A Drink
9. Poor Boy Blues
10. Don't Start Me Talking 
11. Oh Death

Acclaimed punk-pop pioneers Breakup Haircut return with a second album that pushes their sound further: sharper and tighter, but stays messy in all the right places. This is about leaning into joy, silliness, and trust: in each other, in the process, in the songs. They recorded it in a literal garage (mummified, decaying bird and all), recording DIY-style with their longtime engineer Marvin living on-site for a week of chaos, cowbells, and comfort food.

The result is a punchy and emotionally layered collection that ricochets from resentment to resilience, from burnouts to breakups. Throughout, the band blends high-impact hooks with unexpectedly vulnerable songwriting, making it clear they’re not afraid to be loud and honest. No Worries If Not! is a love letter to the messy, joyful, exhausting, chaotic experience of making music with your friends.

TRACK LISTING

1. Spite! Spite! Spite!
2. I’m Okay (I Lied)
3. Don’t Get Eaten Up
4. Pit Culture
5. Imposter Syndrome
6. Entropy
7. Two Spaghetti Meals
8. A Place That’s Mine
9. I’m A Waste Of Time
10. The Algorithm Is Trying To Kill Me
11. Remy

THIS IS A BLACK FRIDAY 2025 EXCLUSIVE.

Having Fun Records has made a paper airplane shaped King Gizzard and the Lizard Wizard record for Record Store Day. The four song album is inspired by the band's Flight b741 and incorporates songs from various live recordings as part of the band's Bootlegger series. This is a 2025 Black Friday Record Store Day release.

TRACK LISTING

1. Flight B741 (Live In San Diego 24’)
2. Sad Pilot (Live In Boston 24’)
3. Antarctica (Live In Vancouver 24’)
4. Rats In The Sky (Live In Vancouver ’24)

THIS IS A BLACK FRIDAY 2025 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON FRIDAY NOVEMBER 28th FROM 10AM ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8AM ON SATURDAY NOVEMBER 29th).

Celebrate 40 years of 'Take On Me' with eight versions of the iconic track by a-ha, spanning from its 1984 single release to later interpretations. Side A includes two early versions, one instrumental from 1985, and the 40th anniversary extension version. Side B contains symphonic, acoustic, unplugged, and live recordings from 1991 to 2018. The collection highlights the song's evolution over more than three decades. A global hit, 'Take On Me' hit number one in nearly every country, reaching #2 in the UK and Ireland. It topped the Billboard Hot 100 and has remained a cultural touchstone, globally cementing a-ha’s place in pop music history.

TRACK LISTING

1. Take On Me (40th Anniversary Extended Version)
2. Take On Me (1984 Single Version)
3. Take On Me (1985 Single Version)
4. Take On Me (1985 Instrumental Version)
5. Take On Me (2018 Symphonic Version)
6. Take On Me (2017 Acoustic)
7. Take On Me (2017 MTV Unplugged)
8. Take On Me (1991 Live In South America)

As iconic as she was discreet, Françoise Hardy established herself in the '60s as a major artist in the genre of "French chanson." Her voice, songwriting, and ability to surround herself with talented collaborators helped her seduce the whole world and, over the decades, shape a discography of the highest caliber.

This brand-new Best Of compilation is the very first to cover Françoise Hardy’s entire career, spanning from her 1962 debut to her final recordings in 2018. Featuring a timeless 1960s-inspired cover, it brings together her most iconic songs, from early classics like 'Tous les garçons et les filles' and 'Le temps de l’amour' to signature hits such as 'Comment te dire adieu', 'Message Personnel', the viral sensation 'Voilà', and 'Le large'.

TRACK LISTING

LP Tracklisting:
1. Tous Les Garçons Et Les Filles
2. Le Temps De L’amour
3. Le Premier Bonheur Du Jour
4. Mon Amie La Rose
5. L’amitié
6. La Maison Où J’ai Grandi
7. Voilà
8. Des Ronds Dans L’eau
9. Ma Jeunesse Fout L’camp
10. Comment Te Dire Adieu
11. Soleil
12. La Question
13. Message Personnel
14. J’écoute De La Musique Saoule
15. Et Si Je M’en Vais Avant Toi
16. Partir Quand Même
17. Un Peu D’eau
18. To The End (La Comédie) With Blur
19. Puisque Vous Partez En Voyage (with Jacques Dutronc)
20. Tant De Belles Choses
21. La Pluie Sans Parapluie
22. Rendez-vous Dans Une Autre Vie
23. Le Large

CD Tracklisting:
1. Tous Les Garçons Et Les Filles
2. Le Temps De L’amour
3. Le Premier Bonheur Du Jour
4. Mon Amie La Rose
5. L’amitié
6. La Maison Où J’ai Grandi
7. Voilà
8. Des Ronds Dans L’eau
9. Ma Jeunesse Fout L’camp
10. Comment Te Dire Adieu
11. Soleil
12. La Question
13. Message Personnel
14. J’écoute De La Musique Saoule
15. Et Si Je M’en Vais Avant Toi
16. Partir Quand Même
17. Un Peu D’eau
18. To The End (La Comédie) With Blur
19. Puisque Vous Partez En Voyage (with Jacques Dutronc)
20. Tant De Belles Choses
21. La Pluie Sans Parapluie
22. Le Large

With her first album 'Undertow', London-based composer/singer-songwriter Sophia Hansen-Knarhoi reveals stark venerability in a world of sound that is intimate and expansive. Voice and cello entwine to provide a cinematic intensity to songs that tell stories of memory, growth, and the raw, often dark, textures of emotion. with cinematic intensity.. ‘Undertow’ tethers intimacy to the corporeal, spanning violation and deep trust.. It deals with the fallout of the victims of violence against women, voyaging through fear and pain to absolution.

Born in Perth, Western Australia, Hansen-Knarhoi grew up surrounded by the natural world. ‘Undertow’ draws on the stark landscapes of Western Australia. At moments, field recordings are woven into the work, while at others, arrangements reflect its beautiful barren environment through memory. “Engulfing myself in nature has always been a way for me to process the world, to bring me back into my body and my senses”. ‘Undertow’ revels in this remote sonic landscape

Her 2023 debut EP, 'Wildflowers', explores the transition from childhood to adulthood, blending ethereal, delicate vocals with graceful and tender instrumentation to embody memory, trauma, and the moments that shape us. This time, with the skilled Brooklyn producer Randall Dunn as a collaborator, Undertow pushes further into the abstract, a dark and dissociative space. Dunn carves intricate space around the lyrics, etching into the soundscape with tension. Cello and voice interact as dual narrators, layering hypnotic drones, gritty textures and raw emotive vocals.

'Undertow' frames Hansen-Knarhoi in a caught moment, continuing her evolution, and all the sharp objects in the way. “Although rage is a cornerstone of its being, it is grounded in a hope of connection, a sense of healing on the horizon.”

TRACK LISTING

1. Dusk
2. Crying In Pastel
3. All The Things That Aren't You
4. My Mother And Me
5. Undertow
6. Louder Than A Whisper
7. Brave
8. Moving In Denial
9. Afraid 

'Bite The Hand That Feeds You' is the debut EP from Amsterdam-based DJ and producer Jasmín. Blending genres, moods, and eras, it draws on her Dutch-Argentinian roots while channeling the nostalgia of teenage discovery: "that formative era of girlhood where you're growing up online and building your world digitally." Across three tracks, Jasmín explores the tension between this lasting inner world and the harsher realities outside, weaving techno, bass, and dub into percussion-driven music defined by both force and introspection.

Two tracks feature London-born, Lisbon-based artist Older Brother, whose vocals move between meditation and proclamation. 'Overdriven' was built on Jasmín's original instrumental, while 'The Ride' emerged from reworking a fragment of its vocal. Together, they highlight her ability to transform personal dialogue into public expression – music that invites both reflection and release, as much to ponder as it is to dance to.

TRACK LISTING

1. Bite The Hand
2. Overdriven (feat. Older Brother)
3. The Ride (feat. Older Brother)

Sofia Isella's 2024 and 2025 EPs, 'I Can Be Your Mother' and 'I'm Camera' on CD together.

TRACK LISTING

1. The Well
2. Sex Concept
3. Cacao And Cocaine
4. The Doll People
5. Unattractive
6. I Can Be Your Mother
7. All Of Human Knowledge Made Us Dumb
8. Us And Pugs
9. I Looked The Future
10. Hot Gum
11. Everybody Supports Women
12. Muse
13. Josephine
14. Dog's Dinner
15. Crowd Caffeine
16. Man Made
17. Orchestrated, Wet, Verboten

Scrutinized in life, mythologized in death, Tupac Shakur remains a subject of immense cultural significance and speculation nearly thirty years after his murder. Despite a multitude of books, documentaries, and even a feature film, much about Tupac’s story remains shrouded and misunderstood.

Like many icons who died tragically young, Tupac the man has long been obscured—his edges sanded down, his complexity numbed—by the competing agendas that surround his legacy. In Only God Can Judge Me, accomplished biographer and New York Times bestselling author Jeff Pearlman tackles his most nuanced subject, telling the definitive story of Tupac Shakur in unprecedented depth. In this authoritative look at Tupac’s life, Pearlman skillfully recreates West Coast hip hop in all its glory, going inside Death Row Records and on the sets of movies like Juice and Poetic Justice to offer the most clear-eyed rendering to date of the man who still casts a shadow over modern hip hop.

But more than just a biography of a complicated figure, Only God Can Judge Me also captures the time and place in which Tupac rose, a singular moment in music history when West Coast hip hop became a phenomenon and transformed popular music. Featuring nearly seven hundred original interviews and never-before-published details from every corner of Tupac’s life, the result offers a truly singular portrait of one of modern pop culture’s most towering figures. Guided by the voices of those who knew and lived life alongside him, Only God Can Judge Me captures the layers of a man who, even thirty years after his death, remains as elusive as ever. 

When Harmonia made an album, it was about more than just music – it was about a vision. Released in 1975, Deluxe was the band’s second album. Compared to their debut, it focused more on structure, melody, and rhythm. Harmonia showed a more accessible side without losing their depth.

Now, 50 years later, Deluxe returns in a special anniversary edition: a high-quality gatefold with previously unreleased photos and orange vinyl inspired by the original artwork. This edition is for collectors and anyone curious why artists like Brian Eno and David Bowie considered Harmonia a major influence – and why Deluxe remains a blueprint for electronic music today. Brian Eno once called Harmonia “the world’s most important rock band”¹ – a quote that captures just how visionary their music was, and still is.

¹ David Stubbs: Future Days: Krautrock and the Building of Modern Germany, Faber & Faber, 2014.

TRACK LISTING

Side A: 
Deluxe (Immer Wieder)
Walky-Talky
Monza (Rauf Und Runter) 

Side B:    
Notre Dame
Gollum
Kekse

Formed in Buenos Aires by Inés Adam and Martina Nintzel, Pacifica emerged in 2021 from an online friendship sparked by a shared love of The Strokes. What began as a series of YouTube covers quickly evolved into a full-fledged creative force—culminating in their signing to TAG Music after a fan-funded trip to see The Strokes in New York City. Drawing on the raw urgency of early-2000s garage rock, the swagger of post-punk, and the emotional undercurrent of '90s alt, Pacifica’s music feels instantly familiar but entirely their own. Their sophomore album In Your Face marks a new era for the band as they continue to ride the line between vulnerability and rebellion, proving that even in a fractured world, two friends and a couple of guitars can still make something unforgettable.

TRACK LISTING

1. What You Doing
2. Fixer Upper
3. Indie Boyz
4. Just No Fun
5. Don't Blame Me
6. Mine
7. Let Me Have This
8. Corridor
9. Show Your Credentials
10. In Your Face
11. For Us
12. Wasted A Drunk

‘Bourj Hammoud Groove’ is a reissue compilation celebrating the music of Ara Kekedjian, an Armenian- Lebanese musician who helped shape Beirut’s Estradayin pop sound. His songs fuse disco, synth-pop and Armenian melodic traditions into a timeless groove.

The compilation is named after Bourj Hammoud, a Beirut neighbourhood that became the cultural hub for the Armenian community.

This collection comes with an extensive booklet featuring detailed liner notes by Darone Sassounian, chronicling Ara’s life and music, alongside rare and exclusive photographs from the archives.

True to Habibi Funk’s archival ethos, the release combines rediscovery with cultural preservation.

TRACK LISTING

Mini, Midi, Maxi
Ay Dghakner
Ghapama
Seta, Seta
Djeyrani Bess
Karoun, Karoun
Intch Imanai
Ayn Oren
Hayasdani Aghtchiger
Sev Sev Atcher
Karavan

Years ago we saw Kling Klang in a warehouse basement between Oval and Camberwell - two decades ago, I reckon. Synths were rigged up in a DIY sci-fi fashion, wires and cables everywhere. it was heavy. In 2025 we know heavy takes on all forms. It doesn't need to be guitars. We know punk rock takes on all forms, it's not defined by spikey hair. Nothing is anything anymore.

Wrong Speed is proud to be releasing the second Kling Klang album. It makes sense. Two of the band are in Part Chimp. The band is from our world - on the surface. Dig in though and this record is being beamed in from the furthest reaches of the galaxy. Did you watch 'John Was Trying To Contact Aliens' on Netflix? If not, go watch it. It's 15 minutes long. John would love Kling Klang. This is the music he would have been firing into space, had it existed back then.

Synth heavy, hypnotic, soundtrack inspired, motorik music from the past and the future. DIY as hell. Punk rock as hell. Catchy as hell. Creepy and wild.

300 pressed on sweet wasp yellow vinyl. The band is touring the UK, 26th November through to the 7th December - a rare occurrence, don't miss.

TRACK LISTING

1.  Inter
2.Non Zero
3 Tone Defeat
4. Later
5.Floating District
6. Point Dix Sept
7. Anna O
8. Negative Number
9. Codán
10. Half Life

Rooted in London’s DIY scene and with a steady run of compelling singles and unpredictable live shows, Hank have gained a reputation for being “one of the best alternative acts in London right now” (So Young). On record, they slip between noise and melody, intimacy and dissonance, drawing comparisons to forebears like My Bloody Valentine, The Breeders and Beck, while their live performances only serve to elevate these contrasts. The past few years has seen formative performances at DIY parties and support slots alongside Been Stellar, Catcher, DEADLETTER, HighSchool, Mannequin Pussy, RIP Magic, Sorry, and Sunken, with this summer seeing them play their first headline shows across the UK as well as appearing at festivals including Left of the Dial and The Great Escape.

Their debut EP 'Twist Grip' set the tone, produced by Jamie Neville (Mark William Lewis, PVA) and featuring guest spots from Asha Lorenz (Sorry) and Ben Romans-Hopcraft (Warmduscher), it earned quick attention with Still Listening Magazine naming it their EP of the Year for 2024. Their second EP ‘Spiralic' came just six months later; again working with Neville, it showed their first EP was no fluke. From the expansive opener “Stand On Yr Star” to the probing “Temp Fix” (featuring Lola’s longtime friend Theo Bleak), Spiralic explores vulnerability, memory and unease through a circular motif of resurfacing thoughts (hence the title).

To close the year, both EPs are being released on vinyl for the first time, being collected as a mini-album as the third in the exciting series of Dinked’s exciting new ‘Early Doors’ series limited and exclusive pressings for the best new bands around. This special edition is also being expanded with second EP’s previously unheard title track “Spiralic” being added; a meditation on repetition, confrontation and escape which features both Sorry’s Asha Lorenz and Marco Pini (also RIP Magic, Slow Dance), the latter also designing the beautiful sleeve art that extends the record’s spiral theme into its physical form.

TRACK LISTING

Side A
A1. Angel Says
A2. Pull It Off
A3. DYLM
A4. RanThruBlue

Side B
B1. Stand On Yr Star
B2. Temp Fix
B3. Trusted
B4. Dogstar
B5. Spiralic

"Debt" is a new album by Harvey Sutherland about the cost of doing business in the meme economy. In his first LP since the 2022 debut, "Boy", the Australian artist reduces his fusiony disco repertoire to ten microhoused funk essentials. A few years after the neurotic funk of Harvey's psychotherapeutic "Boy", "Debt" is his to-the-point response to pressures that manifest outside the self. But in its own way it remains a reflection of Harvey Sutherland's musical landscapes, which stretch across the grit and glitter of private-press disco and the sensual grids of Metro Area.

The album's title nods to the financial contortions necessary to strive/survive/thrive as an independent artist. But "Debt" is better understood as the ledger of what we owe, and to whom, in the course of a creative life. What's the ROI on being an artist, a son, a friend, a partner, a father? Have we been worth our loved ones' own investments? If that sounds transactional, this is merely the lingua franca of our overwhelmingly digital culture, a grifter's bazaar in which Bob Dylan tunes up over Salt Bae, and Wordsworth's pitch is opposite the Rizzler.

As with "Boy", Harvey Sutherland opens "Debt" to a tight crew of collaborators—the Tampa rap duo (and Jan Jelinek heads) They Hate Change, California native Vicky Farewell, who appears on the smoky lovers' rock of "Remember," and one of Australia's great songwriters, Julian Hamilton of The Presets. The album's globally dispersed cast is a natural extension of a charmed musical life that has taken Harvey Sutherland to the DJ booth at Panorama Bar, a stage on Glastonbury as a bandleader, an opener for Khruangbin and Hot Chip, and a remixer for Disclosure, Cut Copy, Chromeo and loads more. One of "Debt"'s concerns - anxieties!? - is that these experiences are precariously held and easily lost in the infinite scroll of AI slop, which has already become a kind of musical impresario, responsible for music that has been streamed a billion times and made by musicians that don't exist. But "Debt" has no time, or space, for complaint. It's the same game it's always been: artistry or bust.

TRACK LISTING

A1. Chop Chop, Movie Boy 
A2. Cigarette
A3. Body Language Ft. Julian Hamilton 
A4. Flash! 
A5. Remember Ft. Vicky Farewell 
B1. Nobody Like U 
B2. Theme For Z 
B3. Running In Place Ft. They Hate Change 
B4. What Do You Need To Feel Heard? 
B5. Hummingbird 

The cover of Liquorice, the third album from Australian indie pop artist Hatchie, features a closely cropped portrait of Harriette Pilbeam laughing, her smudged red lipstick suggesting the glorious aftermath of a kiss. Captured during a spontaneous backyard photo shoot using a dinky digital camera, the image encapsulates a record that is rough around the edges and joyfully undone with themes of longing, lust, and regret. Pilbeam began writing Liquorice in earnest while living in Brisbane over 2022-2023, and later at a home shared with Agius in Melbourne, ultimately completing the demos in mid-2024. As a musician who has previously worn her influences on her sleeve, Pilbeam strove to write from scratch without any specific musical influences in mind; allowing songs to breathe for weeks, rather than rushing ideas. She found herself drawn to the melodic simplicity of her early songs and embraced her musical insecurities: “I wanted to see my limitations as strengths that inform my style.” After working with producers Jorge Elbrecht (Caroline Polachek, Japanese Breakfast, Sky Ferreira) and Dan Nigro (Olivia Rodrigo, Chappell Roan) on Giving the World Away, Pilbeam wanted to complete Liquorice with a single collaborator, ideally a non-male producer who also fronts their own musical project. In September 2024, Pilbeam and Agius returned to Los Angeles to work with Melina Duterte, who records indie rock under the name Jay Som and has production credits on an assortment of projects including the GRAMMY-winning boygenius album the record. “My last album ended up being really dark and introspective and that is one part of me, but there was this whole other side that I felt like I wasn't expressing,” Pilbeam says. “I’m a hopeless romantic and a very silly person, sometimes to a fault.” Now 32 and married, Pilbeam found that “eternal feelings” of yearning and heartache quickly rushed back as she reflected on her experiences as a younger woman. At the same time, she channeled her fondness for tragic romance movies where the characters do not necessarily find a happy ending together. Liquorice is preoccupied with the finite forever. These songs capture the overwhelming, exhilarating, and transforming side-effects of infatuation, even if the entirety of the love story only lasts for one magical night. Like the rich flavors of the twisty, titular candy——sweet, salty, and bitter all in one bite—Liquorice validates how longing and obsession are intertwined in the self-discovery of young womanhood.

STAFF COMMENTS

Barry says: Soaring, reverb-forward guitars and accumulated waves of melody, resulting in a bright but all-encompassing blanket for the Pilbeam's beautifully harmonised vocal. A bold, summery burst of melody and a considerable leap for Hatchie.

TRACK LISTING

SIDE A
1. Anemoia
2. Only One Laughing
3. Liquorice
4. Carousel
5. Sage
SIDE B
6. Someone Else’s News
7. Wonder
8. Lose It Again
9. Anchor
10. Part That Bleeds
11. Stuck

Long-time NuNorthern Soul contributor, B.J. Smith is a man in demand, dividing his time between solo work, playing guitar in Crazy P man James Baron’s popular JIM outfit, collaborating in a variety of well-regarded projects (Smith & Mudd, Bison and White Elephant amongst them) and composing for TV. Due to this impressive list of musical commitments, solo releases have been few and far between of late, with Smith’s most recent NuNorthern Soul release, a stripped back version of his Big Sur single, dropping late 2023.

It's been ever longer since he delivered a volume in his popular and ongoing Dedications To The Greats series, where the singer-songwriter and composer successfully turns his hand to other people’s songs. Since debuting the series on NuNorthern Soul in 2013 via revelatory and inspired covers of tracks by Mos Def and the Pharcyde, Smith has covered cuts by Outkast, Prefab Sprout and Soul II Soul.

On volume four, Smith’s first volume in the series for five years, he delivers a “cover of a cover” – a revolutionary and imaginative interpretation of Billy Swan’s ‘Don’t Be Cruel’, itself a version of a song first made famous by Elvis Presley. It was their mutual love of Swan’s version that brought Smith together with the release’s most prominent guest artist, Joe Harvey-Whyte, whose lilting, bittersweet and deeply emotive pedal steel performances can be heard across the EP.

Smith provides three contrasting takes. The EP is led by the ‘Mother Earth’ version, a slowly unfurling epic in which waves of effects-laden pedal steel and sun-splashed picking acoustic guitars usher in Smith’s eyes-closed vocalisations, settling into a groove reminiscent of his collaborative work with long-time friend and collaborator Paul ‘Mudd’ Murphy that showcases Harvey-Whyte centre stage to joyful effect. As the 14-minute epic progresses, we’re treated to long, languid electric guitar solos, percussion-laden slow-motion builds and hazy, stretched-out organ solos. It’s a breathlessly brilliant concoction that’s a million miles away from either Swan or Presley’s versions.

In contrast, the similarly epic ‘Earth Heart’ version – available in full vocal and instrumental takes – pushes the song front and centre. Following an extended build up, where Tamar Osborn’s gorgeous and fluid flute motifs rub shoulders with languid guitar solos and Harvey-Whyte’s pedal steel, Smith takes to the mic, delivering an emotive performance of the song’s heartfelt lyrics over a hushed, slow-motion groove. The track builds in waves as it progresses, with Smith layering up instrumentation as it rolls towards a fine conclusion.

Completing a superb package is the ‘Root Heart Version’, a Balearic-meets-Americana take built around shuffling drums, toasty bass guitar, extended pedal steel instrumentation, flashes of flute and Smith’s sun-bright acoustic guitar. Loved-up and more than a little saucer-eyed, it’s a bona-fide sunset delight.

TRACK LISTING

A1. Mother Earth Version
B1. Earth Heart Version (Tamar Osborn On Flute)
B2. Root Heart Version

Demi Riquísimo welcomes esteemed Amsterdam based producer & DJ Retromigration to Semi Delicious for the label’s 24th edition. The 'Half Fried’ EP is a perfect union of the sounds synonymous with both the label and artist. Littered with playful nods to the roots of house and techno that’ are sleekly assembled with all the modern trimmings. Deepness in 2025 at it’s finest with finely tuned dynamics ready to rattle bassbins throughout the autumn and beyond.

TRACK LISTING

A1. Half Fried
A2. NE
B1. Where Is The Acid
B2. Halt & Stop

Halina Rice is a London-based electronic music artist known for her groundbreaking approach to music production and live performance.Rice has established herself as a leading figure in the contemporary electronic scene, blending complex soundscapes with immersive visual elements.

Her previous releases have been praised for their innovative use of technology and emotional depth, earning her a dedicated following around the world.

UNREALITY is the latest installment in the NEW WOLRDS series where each track is considered as the creation of a unique environment using textured synths, warped sound design and underpinned by a beat-driven dance sensibility.

Rice has toured the album extensively across the UK and Europe with sold out headline shows as well as festival appearances on the lineup with artists such as Jon Hopkins, Max Cooper and Rival Consoles.

Press coverage for the album includes Mundane Mag, Narc Magazine and previous support for the artist project includes feture length articles in Electronic Sound Magazine, DJ Mag, Mixmag, Decoded, Earmilk and Headphone Commute.

"Rice is part of a frontier movement of like-minded artists who twist, transform and manipulate the hallmarks of electronic dance music and visual accompaniments into exciting new shapes"

TRACK LISTING

1. PINPOINT
2. ENDLESS
3. HYPNOSIS
4. GLITCH
5. ALTERED STATES
6. ANALAOGUE DRIFT
7. SNARES
8. OUTLIERS
9. FREE
10. TIME

“a beautifully expansive collection of interweaving, finger-picked melody, husky vocalisations from elder Kunene and thrumming hand percussion” Ammar Kalia, The Guardian (UK)

Bringing together the elder statesman of the Zulu guitar Madala Kunene and internationally acclaimed Sibusile Xaba, kwaNTU pulls two generations of South African guitar mastery into a single point of focus. Under-represented on recordings outside of South Africa, Madala Kunene (b. 1951), the ‘King of the Zulu Guitar’, is revered as the greatest living master of the Zulu guitar tradition. Sibusile Xaba, whose collaboration with Mushroom Hour Half Hour reaches back to his first recording in 2017 (Open Letter To Adoniah/Unlearning), has garnered international acclaim for his unique voice and virtuoso guitar stylings, which bring together multiple South African guitar lineages in an original, spiritualised fusion. Collaborating with Mushroom Hour and New Soil for kwaNTU, the two players come together to weave a filigree sonic fabric which reaches down to the heartwood of Zulu guitar music but moves resolutely outward, building on the past to create a deeply rooted statement about present conditions and future travels. kwaNTU – which can be roughly translated ‘the place of the life-spirit’ – is also conclave of teacher and student, as Xaba has been taught by Kunene for the last decade. Meditative, rich and sonically sui generis, kwaNTU finds these two musicians linking up within the inimitable space of sound and spirit that they share through Kunene’s teaching.

The great masters of South African music have not all had equal exposure. For many years the generation of musicians who were exiled during apartheid took centre stage, as the regime made it very difficult for those at home to be heard. More recently, a new cohort of important voices, especially in jazz, has broken through to international consciousness. But for the generation of musicians in between – those who shone like beacons in the most difficult final years of apartheid and immediately afterward – international recognition has been slow in coming.

Madala Kunene, ‘the King of the Zulu Guitar’, is among this number. A revered figure for current generations of South African musicians, Kunene began his recording career in 1990, at the bitter end of apartheid, with a now classic self-titled LP for David Marks’ storied Third Ear imprint. Born in 1951 in Cato Manor, near Durban, he had determined to be a musician from early childhood, and by the time he first entered a recording studio he had already had a long career as a popular performer. His virtuoso absorption and transformation of the venerable Zulu maskanda guitar tradition and his richly spiritualised approach to music immediately marked him out as someone special, and in the years that followed, Kunene cemented his position as one of South Africa’s musical elders. He is without doubt the grand master of the Zulu guitar tradition, but his sound and sensibility ranges far beyond it into varied sonic terrain, and he has collaborated with a wide range of musicians both at home and abroad. Now in his mid-seventies, he remains a shining light for those that are making music in contemporary South Africa.

‘He is really an amazing person,’ says the guitarist Sibusile Xaba, who has been mentored by Kunene for over a decade, and now invites a collaboration with him on kwaNTU. ‘As a mentor, he's really powerful in showing us the way. For us to have this opportunity to make music together and have a project together is really a blessing to me.’

Xaba himself grew up in Newcastle, KwaZulu-Natal, where his mother had been in a band and his father sang in a church choir, and from early childhood Xaba played homemade tin guitars. He only later realised that music was his calling. ‘I just loved music. I was fortunate. My parents loved music. And when it was time for me to leave home and go to study outside Newcastle, I knew that music was what I wanted to do. There was no second option. It was just music.’ Moving to Pretoria to study music formally, Xaba committed himself to his craft, developing a unique style that draws on both US jazz masters such as Wes Montgomery and Jim Hall, and the rich and varied heritage of the South African guitar, from inspirational jazz players such as Allen Kwela and Enoch Mthalane, to the music of the Malombo groups and Dr. Philip Tabane (Xaba has previously collaborated with Dr. Tabane’s late son, Thabang), and the Zulu guitar tradition embodied by Kunene.

‘I was really in love with the jazz guitar, I really admired it, and I was digging a lot in that direction,’ says Xaba, recalling his first encounter with Kunene’s music, over a decade ago. ‘And then one day on my timeline, Kunene popped up, and I was like – “What's this sound?” I was so connected to it. It really touched me deep. I started checking out his records, and then I found out he's from the same region as I am, which is Zululand.’ After Kunene played a show at the Afrikan Freedom Station in Johannesburg, Xaba make contact with him, and visited him at home in Durban. They struck up a friendship, and Xaba became the elder’s student, as Kunene began to pass on his knowledge and his inimitable way of playing.

kwaNTU is a tribute to this relationship and the deep learning that has defined it. The album was recorded in Zululand in the town of Utrecht, at a cultural centre called Kwantu Village, which gives its name to the album. ‘It's such a broad word,’ Xaba says, ‘but the elders teach us that Ntu is basically an energy, almost chi, an energy, a force that all living beings have within them. It's a living energy, so kwaNTU is like, almost the place of this energy.’ The two men sequestered themselves for five days of jamming, improvising and planning, and then the session was recorded in one take over a single night, with Gontse Makhene joining on percussion and backing vocals and Fakazile on vocals. Other voices and overdubs were later added in the studio in Johannesburg.

The result is a rich and meditative recording that finds two generations in a deeply engaged dialogue. Teaching and passing on his knowledge, the elder Kunene has brought Xaba into a space of sound and knowledge that they now share; Xaba’s own practice of deep communion with nature and his dedication to his musical craft make him the perfect interlocutor for Kunene. The result is an album that foregrounds the two musicians engaged at the highest levels of responsive listening, sympathetic unity, and collaborative concentration. Bringing an elder statesman of South African music to an international listening audience for the first time in decades by pairing him with one of South Africa’s most important new voices, kwaNTU is a meeting of generations and a powerful demonstration of musical lineage and continuity.

‘Before music, there is sound,’ Xaba observes, speaking of Kunene’s unique approach to music. ‘And sound is like a common compartment…it's not restricted to particular people or particular geographic places, you know what I mean? It's sound. Everybody can hear it. So when he constructs that sound into music, I think everybody resonates with the energy behind his construction of sound into song. Here at home, we really love him for preserving our history through the guitar, through his stories as well the music, the songs that he writes. We really, really admire him.’ 

TRACK LISTING

Umkhulu Omkhulu - An Ode To Credo Mutwa Amandla Emvelo
Izimpisi
Mqhele
Usho Njalo
Wemfana
Izimfijoli
Inkomo
Thisha
Sesikhona
Uhebe

After 20+ years spent fulfilling their contract for Atlantic Records - a contract Williams signed as a mere teenager - Paramore announced in December of 2023 that they were finally an independent band. This surprise collection is self-released by Hayley Williams on her new venture Post Atlantic.

These songs come as the third batch of work released from Williams as a solo artist. The COVID-era saw her release two extraordinary albums - 2020’s 'Petals For Armor' and 2021’s 'Flowers for Vases'. Both albums were gorgeous and stark meditations on loss and offered up a contrast to the high-energy and up-tempo muscle she displays in Paramore. “The record—epitomizing vulnerability and transformative growth—reveals a more mature and introspective side of Williams,” said Pitchfork of Petals, and went on to say of Flowers “her voice is undoubtedly the standout feature... husky and gentle, dangerous yet warm,” and explained that the minimal production “makes this a purposeful reset.”

TRACK LISTING

1. Ice In My OJ
2. Glum
3. Kill Me
4. Whim
5. Mirtazapine
6. Disappearing Man
7. Love Me Different
8. Brotherly Hate
9. Negative Self Talk
10. Ego Death At A Bachelorette Party
11. Hard
12. Discovery Channel
13. True Believer
14. Zissou
15. Dream Girl In Shibuya
16. Blood Bros
17. I Won’t Quit On You
18. Parachute

'Brainwashed' is the twelfth and final studio album by George Harrison. It was released posthumously in November 2002, almost a year after his death at age 58. The album’s overdubs were completed by his son Dhani, session drummer Jim Keltner, and longtime friend and collaborator Jeff Lynne. The album instrumental 'Marwa Blues' went on to receive the 2004 Grammy award for Best Pop Instrumental Performance, while 'Any Road' was nominated for Best Male Pop Vocal Performance.

TRACK LISTING

1. Any Road
2. P2 Vatican Blues (Last Saturday Night)
3. Pisces Fish
4. Looking For My Life
5. Rising Sun
6. Marwa Blues
7. Stuck Inside A Cloud
8. Run So Far
9. Never Get Over You
10. Between The Devil And The Deep Blue Sea
11. Rocking Chair In Hawaii
12. Brainwashed

'Cloud Nine' is the eleventh studio album by English musician George Harrison and the final released in his lifetime. The album was recorded and released in 1987 after he had taken a five-year hiatus from his career as a solo artist. The hit single 'Got My Mind Set on You' from this album re-established Harrison as a critically acclaimed and commercially significant recording artist.

TRACK LISTING

1. Cloud Nine
2. That's What It Takes
3. Fish On The Sand
4. Just For Today
5. This Is Love
6. When We Was Fab
7. Devil's Radio
8. Someplace Else
9. Wreck Of The Hesperus
10. Breath Away From Heaven
11. Got My Mind Set On You
12. Shanghai Surprise
13. Zig Zag

'George Harrison' is the self-titled eighth studio album released in February 1979. It was written and recorded through much of 1978, the same year he married Olivia Arias and became a father for the first time, to son Dhani. Much of the album was written in Hawaii and includes the hit single 'Blow Away' and 'Not Guilty', a song that Harrison originally recorded with the Beatles in 1968.

TRACK LISTING

1. Love Comes To Everyone
2. Not Guilty
3. Here Comes The Moon
4. Soft-Hearted Hana
5. Blow Away
6. Faster
7. Dark Sweet Lady
8. Your Love Is Forever
9. Soft Touch
10. If You Believe
11. Here Comes The Moon (Demo Version) - CD Only

'Gone Troppo' is the tenth studio album by George Harrison, released in November 1982 by Dark Horse Records. It includes 'Wake Up My Love' and 'Dream Away', which was the theme song for the 1981 Handmade Films production Time Bandits. Harrison self-produced the album along with Ray Cooper and Phil McDonald.

TRACK LISTING

1. Wake Up My Love
2. That's The Way It Goes
3. Really Love You
4. Greece
5. Gone Troppo
6. Mystical One
7. Unknown Delight
8. Baby Don't Run Away
9. Dream Away
10. Circles
11. Mystical One (Demo) - CD Only

George Harrison’s ninth studio album, 'Somewhere in England', released June 1981 by Dark Horse Records, featured the John Lennon tribute song, 'All Those Years Ago' (with backing vocals by Paul and Linda McCartney and their Wings bandmate Denny Laine). The majority of the album was recorded towards the end of 1980 and finished the following year.

TRACK LISTING

1. Blood From A Clone
2. Unconsciousness Rules
3. Life Itself
4. All Those Years Ago
5. Baltimore Oriole
6. Teardrops
7. That Which I Have Lost
8. Writing's On The Wall
9. Hong Kong Blues
10. Save The World
11. Save The World (Demo) - CD Only