A band willing to keep their pallet open to almost any influence – Hi-Life guitars, countered with New Wave wash, from U2 to The Feelies. It could be Phil Spector's mid-70s lost recordings inspired by the depth of second-line drum bands from New Orleans; an album filled with anthems.

A book about creative genius from the Talking Heads co-founder and author of How Music Works.

A 'Sleeping Beauty' is a brilliant idea that is ahead of its time.

So many breakthroughs in arts or science were like this, lost on their initial audience and only later revived and acknowledged to be great.

This book asks, why do some ideas fall asleep? And how do they wake up?

We love to believe in a meritocracy of ideas - that greatness is always recognised, innovation always seized upon and rewarded. Yet so many of the people we now recognise as the world's great creators initially got little traction for their work. It was only later, often much later, that their work comes roaring back to life and made a lasting impact.

Discoveries as diverse as dark matter to continental drift, technologies from solar panels to the steam...

SUPER LIMITED SIGNED COPIES

A book about creative genius from the Talking Heads co-founder and author of How Music Works.

A 'Sleeping Beauty' is a brilliant idea that is ahead of its time.

So many breakthroughs in arts or science were like this, lost on their initial audience and only later revived and acknowledged to be great.

This book asks, why do some ideas fall asleep? And how do they wake up?

We love to believe in a meritocracy of ideas - that greatness is always recognised, innovation always seized upon and rewarded. Yet so many of the people we now recognise as the world's great creators initially got little traction for their work. It was only later, often much later, that their work comes roaring back to life and made a lasting impact.

Discoveries as diverse as dark matter to continental drift, technologies from solar panels to the steam...

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

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

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

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

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

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

TRACK LISTING

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

From Ramsey Street to global icon, this is the revelatory exploration of one of the world's most successful pop stars, Kylie Minogue. From her late-eighties beginnings - capturing our hearts as Charlene in Neighbours - to her gold-plated hits like 'Spinning Around' and 'Padam Padam' soundtracking the euphoria of dancefloors the world over, Kylie Minogue is a modern-day icon. But, having sold over eighty-million records internationally and becoming the bestselling Australian pop star of all time, who is the 'real' Kylie? And how has she remained a mystery while also navigating a forty-year career in the fickle world of pop?Pop-academic and award-winning writer Michael Cragg takes us on a journey into the psyche of one of the world's most enigmatic pop stars.

Via a mix of brand new interviews, a dash of oral history and some joyfully irreverent music writing, Can't Get You Out of My Head aims to put the puzzle pieces together.

Cult psych rock group Uncle Acid and the Deadbeats are on the loose again with their seventh and latest crime against music, 'Shapes Of Midnight', released on Killer Candy Records. Through tracking live to tape at the legendary Abbey Road Studios while using the finest 1960s EMI console technology, the band have perfected their "Evil Beatles" sound with 45 minutes of ragged downer rock. Combining down tuned, fuzzed out guitars with two part vocal harmonies, pop melodies and subversive paperback horror lyrics, the band have carved out their own unique sonic world, which continues to evolve.

TRACK LISTING

1. House By The Grave
2. Shapes Of Midnight
3. When Evil Wakes
4. Don’t Let It Control You
5. Psycho On The Loose
6. I Won’t Sleep (’Til You’re Gone)
7. The Other Side Of The Sky
8. Sleep No More

The second instalment of Chapter Music’s acclaimed Australian post-punk compilation series 'Can’t Stop It!' is released on vinyl for the first time as a deluxe double album.

The compilation was originally released on CD in 2007 and presents an incredible array of inventive and often previously unheard music from the period 1979-1984. Now Chapter Music updates the compilation with six never before reissued bonus tracks, plus new liner notes, photos and layout.
This is a fantastically rich and dynamic time in Australian music history, a time when Australia stepped out of the shadows of overseas influence and asserted its own musical identity for perhaps the first time.

'Can’t Stop It! II' features tracks that have now become touchstones in Australia's post-punk history, including 'Lamborghini' by Severed Heads and proto Oz-rap classic 'Do the Job' by Use No Hooks, plus early works by the likes of Dead Can Dance’s Lisa Gerrard and Hunters & Collectors’ Mark Seymour.

Bonus tracks include the astounding 'How' by Brisbane's This Five Minutes, which pre-dates The Stone Roses' 'Fool's Gold' by at least five years, and Tasmania's own performance punk Chainmale with his outlandish Freakout.

TRACK LISTING

1. The Systematics– International Voltage
2. International Exiles – Let’s Be Sophisticated
3. Asphixiation – The Crush
4. Tactics – Watch My Hands
5. Severed Heads – Lamborghini
6. The Goat That Went “OM” – The Pirate Song
7. Use No Hooks – Do the Job
8. Microfilm – Centrefold
9. Scattered Order – Swiss Like Knives and Forks
10. The Jetsonnes – Newspaper
11. Rhythmx Chymx – The Now Generation
12. Brrr Cold – Mothers At War
13. SoliPsiK– See Saw
14. Wild Dog Rodeo – Charging the Lighthouse
15. Belle Du Soir – Treasure Island
16. Ya Ya Choral – God’s Buzzsaw
17. Essendon Airport – I Feel A Song Coming On
18. Swell Guys – Sidetracking
19. Scapa Flow – Somewhere
20. Nuvo Bloc – Never Mind
21. Lachelle – Purple Hearts
22. Chainmale – Freakout
23. This Five Minutes – How
24. Chocolate Grinders – People With Leukaemia
25. Tiny Town – Living Out Of Living
26. Aural Indifference – Baby Love

Grammy- and Academy Award-winning rapper and actor Common is widely regarded as one of the most influential Chicago rappers of all time. He is best known for his sophisticated lyrics and jazz-rap, which introduced the world to hip-hop classics such as "I Used to Love H.E.R.", "The Light" and "GO!". He started his career with "Can I Borrow a Dollar?", which immediately drew attention thanks to its top-notch production and clever, playful lyrics. Common worked with contemporary household producers like No I.D., The Twilite Tone and The Beatnuts to create this album, which put Chicago hip hop on the map.

TRACK LISTING

Side A
1. A Penny For My Thoughts
2. Charms Alarm
3. Take It Ez
4. Heidi Hoe
5. Breaker 1/9
6. Two Scoops Of Raisons

Side B
1. No Defense
2. Blows To The Temple
3. Just In The Nick Of Rhyme
4. Tricks Up My Sleeve
5. Puppy Chow
6. Soul By The Pound
7. Pitchin' Pennies

From São Paulo, Brazil comes CSS, the first South American band Sub Pop had foisted upon the global marketplace. 'Cansei de Ser Sexy', Portuguese for “Tired of Being Sexy,” is improbably, unbelievably and nearly eponymously their debut. It is a thick, pulsating thing full of haphazard synths ('Alala') and a come-on of call and response that tears down any attempt at posturing ('Art Bitch', 'Patins'). It is equal parts rock mantra and throwback into something new, transcending boundaries of genre and geography. It careers full speed into dance territory, into the unknown and untouched, to emerge all hot and bothered with wild electro-rock. Pretension? Absent. Friction? Probable. They are the un-pretension: unfinished, exposed, and throwing all they have right at you. It is quick, tightly-wound, unfastened and supreme. Not a sneer but a giggle. To paraphrase from the Portuguese: “Not only music, but a new way to live with it. An unfinished group that, unlike preserving itself until getting ‘to the point,’ was bravely showing off, turning everything into style.” Fashion. Art. Design. Cinema. Panties thrown and received. Micro shorts and dirty legs. How does it happen? It happens like this…

TRACK LISTING

1. CSS SUXX
2. Patins
3. Alala
4. Let’s Make Love And Listen To Death From Above
5. Art Bitch
6. Fuckoff Is Not The Only Thing You Have To Show
7. Meeting Paris Hilton
8. Off The Hook
9. Alcohol
10. Music Is My Hot, Hot Sex
11. This Month, Day 10

‘Cannonball’ is the highly anticipated debut album from Man/Woman/Chainsaw. Produced by Margo Broom (Fat White Family, Big Joanie), and Seth Evans (Geordie Greep, Black Midi), it includes the singles ‘Only Girl’, and ‘Nosedive’. Grand and exuberant, rich with unconventional structures and world-beating choruses, the long-awaited record makes good on the band’s years of hard touring while unearthing new dimensions and unlikely facets in their songwriting; It is a sharp, smart first record, one which presents Man/Woman/Chainsaw exactly as they are right now.

TRACK LISTING

1. Only Girl
2. Canyons
3. Goddamn, Lizard Man!
4. Lighter
5. Nosedive
6. Get Up And Dance
7. Snakebite
8. Flick Of The Wrist
9. The Thing
10. Still Angry
11. Something Else To Give

For over 20 years, Canadian hardcore heavyweights Cancer Bats have built a reputation for relentless intensity, explosive live shows, and a fiercely loyal global following. With seven acclaimed studio albums (six JUNO-nominated), they’ve toured extensively across North America, Europe, Asia, and beyond, becoming a defining force in modern heavy music. Their career has taken them from underground clubs to major international festivals, with strong support across the UK and appearances at major events including Download, Leeds, Reading, Slam Dunk, and 2000 Trees.

Now celebrating more than two decades together, Cancer Bats return stronger than ever - delivering one of their most ambitious and anticipated releases to date: their eighth studio album, 'Give Me Dirt'. Recorded with renowned producer Kurt Ballou, the album captures the band’s raw power while pushing their sound into new territory. Inspired by nature, travel, and personal reflection, the record explores themes of loss, resilience, and reconnection with the natural world.

TRACK LISTING

TBA

A heavyweight slice of Caribbean DUB! Between 2021-2023 Ruido reworked original Discos Fuentes masters with vintage gear, transforming Colombian tropical classics from the 60's into raw, energy-dubbed, remixed, and reimagined for today. An essential 45RPM for dub heads and tropical groove lovers worldwide.

TRACK LISTING

1. Cumbia Saramuya (Rebajada Dubmix)
2. Mosaico Y Descontrol

To mark it's 10-year anniversary, Secretly Canadian are making a new variant of Whitney’s debut album available in the UK for the first time. Whitney make casually melancholic music that combines the wounded drawl of Townes Van Zandt, the rambunctious energy of Jim Ford, the stoned affability of Bobby Charles, the American otherworldliness of The Band, and the slack groove of early Pavement.

Their debut, ‘Light Upon the Lake’marks the culmination of a short, but incredibly intense, creative period for the band. To say that Whitney is more than the sum of its parts would be a criminal understatement. Formed from the core of guitarist Max Kakacek and singing drummer Julien Ehrlich, the band itself is something bigger, something visionary, something neither of them could have accomplished alone. Ehrlich had been a member of Unknown Mortal Orchestra, but left to play drums for the Smith Westerns, where he met guitarist Kakacek. That group burned brightly but briefly, disbanding in 2014 and leaving its members adrift. Brief solo careers and side-projects abounded, but nothing clicked. Making everything seem all the more fraught: both of them were going through especially painful breakups almost simultaneously, the kind that inspire a million songs, and they emerged emotionally bruised and lonelier than ever.

TRACK LISTING

1. No Woman
2. The Falls
3. Golden Days
4. Dave's Song
5. Light Upon The Lake
6. No Matter Where We Go
7. On My Own
8. Red Moon
9. Polly
10. Follow

To mark the 45th anniversary of its release, Secretly Canadian release Yoko Ono’s seminal 1981 album 'Season of Glass'.

One of Pitchfork’s Top 200 albums of the 1980s, 'Season of Glass' was released in June 1981, just seven months after the senseless murder of Ono’s husband and creative partner, John Lennon. Full of songs about love, loss, anger and fear, the album reflected Ono’s experience in stark detail, creating almost a companion piece to Ono and Lennon’s 1970 Plastic Ono Band “primal scream” albums. “'Season of Glass' was really just being me, I suppose,” Ono told Newsweek in 1982.

“Sort of, it was like a primal scream in a way; you know, something happened in my life, and I just had to say it. And I think it was therapeutic for me more than anything else. And I was pretty honest, I suppose.”

Ono’s fifth studio album, 'Season of Glass' was also the artist’s most commercially successful to date, cracking the Top 50 on Billboard’s Album Chart, but it was not without controversy. The album’s cover was a photograph of Lennon’s blood-soaked glasses, just as they were returned to Ono from Roosevelt Hospital after his murder. Though David Geffen, the head of Geffen Records, who had released Ono and Lennon’s 'Double Fantasy' in November 1980, and released the original version of 'Season of Glass', implored Ono to change the cover, Ono stood her ground.

“The record company called me and said the record shops would not stock the record unless I changed the cover,” Ono wrote in the liner notes to 'ONOBOX.' “I didn’t understand it. Why? They said it was in bad taste. I felt like a person soaked in blood coming into a living room full of people and reporting that my husband was dead, his body was taken away, and the pair of glasses were the only thing I had managed to salvage – and people looking at me saying it was in bad taste to show the glasses to them.”

“I’m not changing the cover,” Ono recalled telling Geffen. “This is what John is now.”

Backed by the same band that had played on 'Double Fantasy', the sound of 'Season of Glass' sits in alignment next to that album, which at the time was already considered an artistic triumph for Ono, who was inspiring young artists like the B-52s and Sonic Youth.

In the years since its release, the honest, loving, sometimes harrowing nature of the songs on 'Season of Glass' have meant that it has only gained in stature. Now universally embraced as a powerful artistic statement about grief and loss, it is considered a landmark release, and among Ono’s best works; a fully realized artistic statement. Ultimately, 'Season of Glass' is a stunning, cathartic listen. Still, Ono has always insisted there’s one thing the album is not: healing.

“What healing? That’s another thing most people don’t know, but the widows of the world will know,” she told the Los Angeles Times nearly a decade after the album’s release. “Losing a husband is something you can’t shake. It’s not just a feeling of missing him. It’s something more that could never heal. His loss will always stay.”

TRACK LISTING

1. Goodbye Sadness
2. Mindweaver
3. Even When You're Far Away
4. Nobody Sees Me Like You Do
5. Turn of the Wheel
6. Dogtown
7. Silver Horse
8. I Don't Know Why
9. Extension 33
10. No, No, No
11. Will You Touch Me
12. She Gets Down on Her Knees
13. Toyboat
14. Mother of the Universe
15. Walking on Thin Ice
16. I Don’t Know Why (demo)
17. Dogtown (alternate version)

Ace Records are delighted to release Candi Staton’s new album “Back To My Roots”. The soul legend has recorded a sensational set of songs that draw heavily upon her gospel roots.

It is best to let this great lady of soul speak for herself: “This album was recorded over several years. We took our time. I planned for it to be my last full album, so it was a labor of love and a family affair. My son Marcus produced, mixed and mastered it. My daughter Cassandra runs our label and kept all the business straight.
“My son Marcel came up with the bass line for ‘1963’. My sister Maggie Peebles joined me for two songs we sang as kids. My British bandleader, Ernie McKone, cut ‘Shine A Light’ in London, which is only right considering it’s a Rolling Stones classic.

“Mark Nevers, who produced some of my past Americana albums, stepped in to do some sweetening on certain tracks. Guitar great Jonathan DuBose Jr gave ‘I Missed the Target Again’ new life. Blues great Larry McCray added some zing to 'Hang on in There'.

“My longtime friend William Bell was the perfect person to sing ‘My God Has A Telephone’ with me. I’d just like to thank my other sons, Terry and Clarence Jr for their support.”

Staton’s voice has always been a powerful and emotive instrument and it has never sounded finer. No wonder “Back To My Roots” was nominated for Best Gospel Album at the 2026 Grammys, her first nomination in 40 years.
It’s time to go back to church. God’s Candi store is open.

TRACK LISTING

SIDE ONE
1. I MISSED THE TARGET AGAIN (RADIO EDIT)
2. IT'S GONNA RAIN
3. HANG ON IN THERE
4. SHINE A LIGHT
5. THE LORD WILL MAKE A WAY

SIDE TWO
1. THERE WILL BE PEACE IN THE VALLEY
2. 1963
3. REACH DOWN AND TOUCH HEAVEN FOR ME
4. LOVE BREAKTHROUGH
5. IN GOD'S HANDS WE REST UNTROUBLED

7”
SIDE ONE
1, MY GOD HAS A TELEPHONE
SIDE TWO
1. GOD'S GONNA USE ME ANYWAY

The continued adventures of Gibbons on the wheels of steel...

50+ years in the making, Walter's personal take on a classic New York tribal groove edit finally makes it to 10" wax, with one of his special DJ tools on the flip.

Another authentic vintage edit to rock your body. As always, limited copies and high demand so cop now or cry later. 

TRACK LISTING

A. Can't Stop Talking
B. Can't Stop Talking 

Brighter Discs opens with its first release from label founders Kamma & Masalo. Born out of Brighter Days, the duo’s long running party series since 2014. A colourful get together where generations mix freely, DJ legends share space with new voices, and the dancefloor is treated as common ground. Brighter Discs carries this same spirit into recorded form, a natural continuation following the Brighter Days compilation previously released on Rush Hour.

Brighter Discs starts things off with ‘Can’t Fake The Feeling’, built around the original vocal by Renee Mohannon, taken from the 1989 release produced by house music pioneer Joe Smooth. The vocal is fully cleared and officially licensed, with everything surrounding it newly written and produced, resulting in a club track that honours the emotional core of the original vocal while giving it new space to shine.

The ‘Club Mix’ unfolds with immediate lift, a classic yet upfront house energy carried by Kamma & Masalo’s elevating instrumentation moving in lockstep with Renee Mohannon’s vocal. A pure club track celebrating dance music to the fullest.

On the flip you will find K&M’s ‘Unity Dub’, a darker, percussion driven workout that strips things back and presents the track in a different light. A twilight version that highlights the duo’s versatility and deep dancefloor understanding.

Kamma & Masalo have tested both cuts extensively while touring, from sun soaked festival stages to esoteric club spaces. Each version has been shaped in real rooms and refined on the road, ensuring the tracks are heard in their best possible form.

All produced with care and free-spirited party energy, Brighter Discs 001 marks the beginning!

TRACK LISTING

can't fake the feeling (s)
can't fake the feeling (radio mix)
can't fake the feeling (K&M Unity dub)

Scoring the lives of small-time players, pimps, junkies, and prostitutes lurking around his simultaneously blessed and cursed existence, Wee mastermind Norman Whiteside lived in an entirely different Columbus than Capsoul's Bill Moss or Prix’s Clem Price. Alternating between Stevie Wonder's dreamy soul and Sly Stone's druggy groove, You Can Fly On My Aeroplane bypasses Whiteside's everyday gritty street life reality, focusing instead on the airy sounds of fantasy and masquerade. Smooth, sexy, and synthy, You Can Fly On My Aeroplane is a peerless and sprawling psychedelic soul concept album and a sure'fire panty soaker to boot.

TRACK LISTING

A1 You Can Fly On My Aeroplane
A2 Leavin' You Alone
A3 Put It In Real Good
A4 Alone (Reprise)
B1 I'm All Changed
B2 Alone
B3 Find Me, Love Me
B4 Try Me
B5 Aeroplane (Reprise)

After nearly three years, *Can You Feel It Vol. 5* marks the release of a brand-new installment in Tramp Records’ Disco/Boogie series. Like all four previous volumes, Vol. 5 offers a colorful mix of songs from the late 1970s and early 1980s. From extremely rare tracks to easily accessible ones and even unreleased material—this release has everything to make a collector’s heart race. Once again, these songs will get you on your feet, inspire you to dance, and transport you back to the glittering world of the late 1970s. CAN YOU FEEL IT?

Let's take a closer look at a few of the songs on this album. Kicking things off are Bill Deal & The Rhondels, a band that needs no introduction. The same cannot be said for Tom Balistreri and Ryjel. The latter presents “Heart’s On Fire,” a seven-minute journey into previously unreleased deep disco. "Old Mother Winter" may not be a typical disco song, but it’s undoubtedly a fantastic composition. The Stone Mill Band is relatively unknown even among hardcore collectors. The most recent track on this album is by singer Tory Wynter who already contributed a song for Can You Feel It Vol.4. “Oh Let The Rain Fall Down” was released in 1988.

The second record opens with “Been Thinkin' About You” by Avatar—an amazing song and probably the rarest gem on this album, in stark contrast to Piz-Zazz - a record you can find easily for a few dollars. Saxophonist King Perkoff was born in Santa Monica, California, but now resides in Berlin, and with “When You Live In Marin” he delivers a real disco-funk banger! Glenn “Shake & Bake” Doughty played professional football as a wide receiver for the Baltimore Colts from 1972 to 1979. Together with some of his teammates, he founded the Shake & Bake Band in 1975. We probably aren’t telling Tramp fans anything new here. Anyway, a little over two years ago, we reissued the first of their two extremely hard to find 45-RPM singles (“Shake & Bake Pt. 1 & 2”). We also included a DJ-friendly edit of the song on “Movements Vol. 12.” It is a must for us here at Tramp that we also reissue their second single, “Starflight Disco Pt. 1 & 2,” soon!

So there you have it, 13 obscure but brilliant MODERN SOUL, DISCO and BOOGIE tunes of which all have not been compiled anywhere else. We sincerely hope you enjoy our guided tour back into the late 1970s and 80s Disco era.

TRACK LISTING

Bill Deal & The Rhondels - "Freak 'n' Freeze" (LP)
Ryjel - "Heart's On Fire"
Tom Balistreri & Nightstream - "Started Out Dancing"
Ron Moore - "Old Mother Winter"
Stone Mill Band - "Livin' For A Lie"
Tony Vitale - "Get Up & Get Down"
Tory Wynter - "Oh Let The Rain Fall Down"
Avatar - "Been Thinkin' About You" (vocal)
Willie King Juan Dickey - "Hot On Your Spot"
Piz-Zazz - "Rock (Rock Your Body)"
King Perkoff Band - "When You Live In Marin"
The Shake & Bake Band - "Starflight Disco" (feat S-Sence)
Bionic Funk - "Keep On Pullin'"

Back in print to celebrate the 20th anniversary of Cantrell's third album! Newly remastered and now with a previously unreleased bonus track. 'Humming By The Flowered Vine' showcases the singer’s songwriting gifts and scholarly knowledge of old-school country. With the album's initial release, she sealed her reputation as country’s unofficial archive keeper, a woman devoted to preserving the roots of roots music.

TRACK LISTING

1. 14th Street
2.  What You Said
3. And Still
4. Khaki & Corduroy
5. Letters
6. California Rose
7. Wishful Thinking
8. Poor Ellen Smith
9. Bees
10. Old Downtown
11. Hammer and Nails

Proper modern deep house from the Clone Royal Oak camp. Quoting G (a fresh project from a long-time label mainstay) delivers timeless emotive "We're all in it together" rollers built for those blue hours when the sun starts to peek through the shutters. Tried and tested just LAST WEEK at Love International by our own Kickin' Pigeon and Red Laser's Matt Triggs to nowt but rapturous reception, this deep house gem arrives just in time for peak time party season and is unlikely to leave record boxes until the end of the summer. Essential! 

TRACK LISTING

A1. I Can Feel It In My Bones
A2. I Can Feel It In My Bones (Instrumental)
B1. Please Don't Leave Me. 
B2. I Can Feel It In By Bones (Acapela) 

The Geto Boys’ 1991 breakthrough 'We Can’t Be Stopped' returns to vinyl for its 35th anniversary, newly remastered. Certified Platinum by the RIAA, it includes 'Mind Playing Tricks on Me', with restored artwork and upgraded audio.

TRACK LISTING

1. Rebel Rap Family
2. We Can’t Be Stopped
3. Homie Don’t Play That
4. Another Nigger in the Morgue
5. Chuckie
6. Mind Playing Tricks on Me
7. I’m Not a Gentleman
8. Got Let Your Nuts Hang
9. Fuck a War
10. I Ain’t With Being Broke
11. Quickie
12. Punk-Bitch Game
13. The Other Level
14. Trophy2

With modern dating being reduced to app-swiping, toxic nonchalance and even balloon-popping humiliation, we’re losing recipes on how to properly yearn for each other. But while most try to keep their guards up, Baby Rose is staying devoted to what’s real. Fresh off winning her first GRAMMY Award in the Best R&B Album category for her part on Leon Thomas’ 'MUTT', the unmistakable contralto returns with 'Yearnalism', her third studio album steeped in confidence, care and liberating love. The singer-songwriter-producer defines yearnalism as the process and documentation of desire in its many forms: “Desiring freedom, desiring love, desiring what you can't have, desiring expansion.”

This streamlined 12-song LP of soon-to-be classics creates a bumpy roadmap of desire free from ego. Rose notes that despite the current trend of “too cool” emotional avoidance in music and entertainment, she pushed herself and her collaborators to bare a different side of themselves. “If you're coming into my court, you're coming to yearn,” she declares with a laugh. Three albums in, Yearnalism is a sonic snapshot of Rose at her most self-assured. “This is me really honing in and trusting that signature, catching lightning-in-a-bottle sound,” she says. “This is kind of a lesson in me really figuring out that my favorite process is being a part of the crew, being a part of this whole moment.” Baby Rose has been building up to this moment, brick by brick, for almost a decade. Raised between Washington D.C. and Fayetteville, N.C. on artists like Nina Simone, Donny Hathaway and Janis Joplin, the musician born Jasmine Rose Wilson has been a mainstay in alternative R&B since her 2019 debut, 'To Myself'. That’s when the smoky resonance of her voice and a wise-beyond-her-years presence first stopped listeners in their tracks. Since then, she has held her own on records with Ari Lennox, Big K.R.I.T., Q, BADBADNOTGOOD and J. Cole. She closed out the end credits of Hollywood blockbuster Creed III and lent her talents to A24’s Materialists both onscreen and off by giving the film’s soundtrack two songs of aching texture and moonlighting as a wedding singer in a cameo. She’s graced stages with everyone from Robert Glasper to Vince Staples and made appearances in performance art at The Museum of Modern Art and ballets at Lincoln Center for the Performing Arts in arrangements by Misty Copeland’s choreographer, the legendary Kyle Abraham. Her industry admirers include heavyweights like SZA, Alicia Keys, Kendrick Lamar, J. Cole, H.E.R, Kehlani, James Blake and Olivia Dean. Plainly put, Rose’s name rings bells and her artistry speaks even higher volumes. Getting to the level of self-love that each track of 'Yearnalism' exudes has been a journey for Rose and one that she plans to keep taking. Rose credits therapy for allowing her to call past bouts of anxiety and depression by their names, friends like SZA for introducing her to methods of breathwork and meditation and keeping God first for helping her stay grounded through her journey. With her continued study of Yearnalism, Rose reminds the listener that it’s worth it to say the hard parts out loud with honesty and to love in spite of fear

TRACK LISTING

1. When I'm Gone
2. But, Nvm
3. Is This Love (feat. Elmiene)
4. Dressed In Metal
5. Let Me Go
6. Better
7. Friends Again (feat. Leon Thomas)
8. Sunday
9. Believe Me
10. The Reason
11. All My Love
12. Jasmine's Sonnet

Curated by Brian d'Souza (aka Auntie Flo), "Plants Can Dance" is a new compilation bringing together a global community of artists, exploring the creative possibilities of biosonification - transforming signals from plants, ecosystems and the natural world into sound. The project marks the culmination of several years of d'Souza’s work across music, ecology and technology.

The album arrives at a time when more artists are turning toward nature as both subject and collaborator, such as Brian Eno’s Earth Percent, which formally recognises Nature as an artist. "Plants Can Dance" sits within a wider cultural shift, which is redefining the relationship between sound and the living world.

The project builds on several years of work by d'Souza, whose "Plants Can Dance" events have taken place across the UK, Europe, India and Africa, appearing in institutions including the V&A, Tate and the Design Museum. What began as a series of intimate gatherings has since evolved into a global platform, reflecting a growing appetite for work that reconnects music with the natural world.

The compilation features contributions from leading practitioners including Modern Biology (Tarun Nayar) in collaboration with saxophonist Zekarias Musele Thompson, OMMA (Olga Maximovam founder of Playtronica), Jason Singh, Dr Helen Anahita Wilson, Justin Wiggan in collaboration with celebrated Norwegian jazz musician Arve Henriksen, Lamine Touré, Bit Marten and Balam, alongside new work from d'Souza himself. Using a range of tools - from commercially available devices to bespoke modular systems - artists translate electrical activity, environmental data and organic processes into musical material.

The processes behind each piece differ - from interpreting plant biodata to translating wind patterns into compositional structures - and the results are as varied as they are compelling. The record spans ambient, jazz, electronica and modern classical, yet all pieces are unified by a shared intent: to reimagine music as a space of collaboration between human and more-than-human worlds.

At the core of "Plants Can Dance" is a question about how we define music, and how we choose to listen. Traditional musical forms, with their fixed tempos and predictable structures, give way here to something more fluid and less easily controlled. The listener is invited to surrender expectation and engage with sound as an evolving environment rather than a linear narrative. In this context, the compositions function as what d'Souza describes as “acoustic ecologies” - sonic systems shaped by biological, environmental and elemental forces unfolding in real time.

Accompanying the release is a printed zine offering reflections from each artist, and deeper insight into the ideas and debates surrounding this practice. Rather than presenting definitive answers, "Plants Can Dance" positions itself as an artistic exploration grounded in curiosity, experimentation and critical thought.

Ultimately, "Plants Can Dance" is less concerned with proving whether plants “make music” than with changing how we listen. By inviting audiences to engage with sound shaped by non-humans, it opens up new ways of perceiving the environments we inhabit - not as passive backdrops, but as active, dynamic participants in a shared ecological network. In doing so, it offers a quietly radical proposition: that by listening differently, we might begin to relate to the natural world differently too.

TRACK LISTING

Side 1
1. Brian d'Souza - Hector's Sunflower (Edit)
2. Jason Singh - Tsubaki
3. Modern Biology & Zekarias Musele Thompson - Growing Roots
4. Justin Wiggan & Arve Henriksen - A Spectral Wind
5. Helen Anahita Wilson - Porcupine and the Outdoor Girls (Dr Who Mix)

Side 2
1. OMMA - voices
2. Lamine - Bougainvillea
3. Bit Marten - Sansevieria
4. Balam - Ixora Coccinea
5. Brian d'Souza & Lamine - Monstera Vs SnakePlant

JJerome87 is the solo moniker of British songwriter Joe Newman, musician and frontman of the critically acclaimed Mercury Prize and Ivor Novello-winning band, alt-J. Recorded in LA alongside producer Carlos De La Gaza, a dedicated group of session musicians and a trio of female vocalists, The Canyon is a collection of alt-J (esque) songs with a Californian, Motown, Blues and Gospel energy.

STAFF COMMENTS

Barry says: A brilliantly chameleonic suite of slo-blues and swampy rock with a little hint of Alt-J's otherworldly wonkiness. Though there is a hint of the sound of his former band and an obviously recognisable vocal style (though a lot less than you'd think - if that was an Alt-J sticking point for you, like it was for me), this is a uniquely forged solo expedition, and it's a great one to boot.

TRACK LISTING

Side A
Mr. Alligator
Green Velvet
Quaaludes
Interlude
Juicy
Walkaway Music

Side B
Brush Me Like A Horse
Two Hearts
Track And Field
Last Man Alive
Pennine

Stonewall disco classic by Spanish duo Baccara. It reached number 1 in 18 countries.

STAFF COMMENTS

Matt says: Sir, can you boogie? Yes sir, I can boogie. Then boogie you shall, good sir! And everyone boogied.

TRACK LISTING

1. Yes Sir, I Can Boogie
2. Yes Sir, I Can Bookie (Karaoke Version)

This second album by Marcos Valle (1965) is one of the foundational works of bossa nova. In fact, the record includes one of the most widely heard and covered Brazilian songs in history: ‘Samba de Verão.’ In addition to his work as a composer—alongside his brother Paulo Sergio—Marcos Valle also begins to reveal himself here as a great singer, with a soft, almost fragile voice, while his acoustic guitar recreates the same intimacy of the nighttime atmosphere in which he composed most of the songs. First vinyl reissue in over 50 years! Pressed on 180g vinyl.

After thirteen years of silence from the compound, during which anticipation has grown day by day, Boards of Canada finally return. Inferno retains their signature melodies and atmospheres, drawing on the esoteric influences explored in Societas X Tape (their 2019 NTS mix for Warp Records’ 30th anniversary) and the darker ambience introduced on Tomorrow’s Harvest, further deepened by an expanded role for speech soundbites.

Spanning seventy minutes, the new album is available on special edition limited red translucent 2LP vinyl in triple gatefold sleeve with a 16-page booklet, black 2LP vinyl and CD with 20-page booklet.

STAFF COMMENTS

Barry says: One of the most beloved electronica bands of the past several decades returns for another highly anticipated slice of retro-futuristic, saturated bliss. Bucolic drifting ambience and deep, clattering percussion with guitars and those ever-present vocal snippets. Undeniably brilliant .

TRACK LISTING

A1. Introit
A2. Prophecy At 1420 MHz
A3. Hydrogen Helium Lithium Leviathan
A4. Age Of Capricorn
A5. Father And Son
B1. Somewhere Right Now In The Future
B2. Naraka
B3. Acts Of Magic
B4. Memory Death
B5. The Word Becomes Flesh
C1. Into The Magic Land
C2. Blood In The Labyrinth
C3. Deep Time
C4. All Reason Departs
D1. Arena Americanada
D2. The Process
D3. You Retreat In Time And Space
D4. I Saw Through Platonia

A friend of mine told me he had visited the place that Cancer House live and record. He said they jammed together all afternoon. In the moment, in the zone so to speak, he became more and more convinced that what they were making together was the best music he had ever been involved with. As the afternoon drifted by, second by revelatory second, he began making grandiose plans to release the recording. By the time it was dark outside the windows he imagined it as a future lost classic, a key live document of a scene, a moment and an aesthetic. He thought about all the record she loved. He thought about the great, little known, statements of lo-fi, downer indie: dark, sweet, crawling guitar music by bands like Farewood, Bedhead, UN, or The Sonora Pine. He could even picture the sleeve down to the last detail.

The session ended and as they were all packing up he asked about the recording. And someone said ‘oh, we weren’t recording.’ ”- Jack Rollo

STAFF COMMENTS

Liam says: Don't sleep on this folks, me and Matt have been absolutely bowled over by this. Amazing slowcore from Chicago, Cancer House will scratch the itch of those who love a bit of Codeine, Deathcrash and Moin. Proper beautiful misery, this is one of our tips of the year!

TRACK LISTING

1 Camera Obscura
2 Waterscene
3 In My Pocket A Letter, A Red Wrecked Line
4 Flowers Over There
5 Bloodchimes
6 The Moth

Summer Cannibals initially cut their teeth on the Portland, Oregon circuit, sharing the stage and receiving encouragement from peers such as The Thermals. Along the way, they released a pair of fantastic full-lengths on their own New Moss Records label, including 2015’s 'Show Us Your Mind' —recorded by legendary NW engineer Larry Crane and was recently named one of the best of 2015 by Sound Opinions co-host Jim DeRogatis. The band has since spent an unhealthy amount of time on the road, earning accolades and adding plenty of fresh converts to their highlycharged, no frills attack. It seems only logical that when the band decided to sign to a label, they chose a label like Kill Rock Stars, which has a long history of putting out fearless, female-led bands like Bikini Kill and Sleater- Kinney. “Summer Cannibals take us back to our roots,” says KRS President Portia Sabin. “Jessica is a great songwriter and the band is super exciting live, it’s a perfect fit.” The new album 'Full Of It' is the band’s defining statement to date. Recorded at the amazing analog recording studio The Dock with producer Chris Woodhouse (Thee Oh Sees, Wild Flag), the LP is one of those massive leaps forward that every band hopes to achieve at least once in their career. Aided by a new powerhouse rhythm section of drummer Devon Shirley and bassist Jenny Logan, the 11 songs spark with that perfect mix of snotty attitude, unbounded energy, and window rattling volume.

TRACK LISTING

1. Go Home
2. Just A Little Bit
3. I Wanna Believe
4. Say My Name
5. Not Enough
6. Full Of It
7. The Lover
8. Talk Over Me
9. Make Up
10. Fallen
11. Simple Life

This new EP from 30-year US progressive veteran and master sound engineer Darwin Chamber was written with the idea of a San Francisco acid trip in mind, from the initial dose to the first onset of weirdness, then on to peak time mind melting. A DJ Spun remix of 'The Acid Test' is jacked deep house with hints of strangeness hidden in the background, then things really get liquid and trippy on 'Never Coming Down', 'The Acid Test' in original form is pure 303 aquatics and '25th Century Acid Cat' is an explosion of colour. 'Get Down' brings a bit more tension and anxiety as things begin to unravel.

TRACK LISTING

The Acid Test (DJ Spun Mix)
Never Coming Down
The Acid Test
25th Century Acid Cat
Get Down

Parris returns to his and Call Super’s Can You Feel The Sun imprint with "Drippin’". A four-track love letter to the amber-lit glow of communal field maneuvers in the dusk on his most house-focused and personal release yet.

Continuing the themes explored on 2024’s "Passionfruit EP", Parris embarks further down his unparalleled sound path on "Drippin’". His latest solo outing draws inspiration from vivid memories of yesteryear, particularly experiences at Watching Trees Festival and various trips to Amsterdam, and subsequently constructed with friends in mind to play out. The resulting four tracks encompasses some of his most intimate material to date.

The title track bursts with measured fervour and a raptor-like throb, percussive configurations in tight pistons which induce rave friction hysterics across the dancefloor melee. "Got Me Feelin’" dramatically switches tact, a sentimental roller entangled in swooning pads and r’n’b vocals while swigging lovingly from the ecky spring. "True Vargo" stomps further with acute hedonism, a sun-descending swooner that flows effortlessly in melodic serenity. Closer "Crooning In The Trees" leans most wayward, an evolving scene architected by Parris’ uncanny samples and disassociated groove that purrs with wide-eyed wonder. Another stand-out release from one of UK club’s most unique voices.

STAFF COMMENTS

Matt says: The esteemed Can You Feel The Sun continues its remit to deliver sublime deep house and fresh contemporary sounds. Frontline signing, Parris returns to the London imprint with four functional joints.

TRACK LISTING

drippin
got me feelin
true vargo
crooning in the trees

Industrial/metal/glam outfit Orgy was the first act signed by Korn’s Jonathan Davis to his Elementree imprint, and the move paid off right away with their 1998 debut, which went Top 30 and scored a huge hit with its cover of New Order’s 'Blue Monday'. With the full cooperation of the band, Real Gone Music have had it remastered for vinyl (by Mike Milchner of Sonic Vision) and placed this platter inside a beautiful gatefold jacket.

TRACK LISTING

1. Social Enemies
2. Stitches
3. Dissention
4. Platinum
5. Fetish
6. Fiend
7. Blue Monday
8. Gender
9. All the Same
10. Pantomime
11. Revival
12. Dizzy

One of the all-time Balearic greats gets an official re-rub by friend of Balearic London, Holmes Price. Taking the charms of the classic "Cool And Breezy Jazz Version" - produced by Pete Waterman's in-house team at his '80s powerhouse PWL Records, and also included here in all its glory - rearranging the phrasing and adding a meatier contemporary house groove, it's the perfect update for the modern dancefloor that we hope will also introduce the timeless 'original' mix to some new ears. Mega tackle. 

TRACK LISTING

A1. I Just Can't Wait (Holmes Price remix)
B1. I Just Can't Wait (Cool And Breezy Jazz Version)

'A Imitacao do Vento' is the newest solo album by Brazilian singer-songwriter Mateus Moura, an artist born in Rio de Janeiro and raised in Para, in the North of Brazil.

Drawing from the rich musical traditions of the Amazon and northeastern Brazil, the record blends contemporary songwriting with acoustic textures, subtle electronics, and lyrical storytelling rooted in nature and memory. Across 12 beautifully arranged tracks, Mateus navigates rhythms from baiao to waltz and MPB, with intimate performances that capture both poetic depth and melodic warmth. Whether for fans of folk, world music, or independent singer-songwriters, A Imitacao do Vento delivers a compelling, immersive listening experience.

TRACK LISTING

1. Orelha de pau
2. E preciso confiar feat Mainumy e Anne Dias
3. Estrela d'Alva feat. Cacau Novais
4. Manhazinha feat. Lariza
5. Celeste feat. Karimme Silva
6. O sopro feat. Malu Guedelha
7. Marujo de alto-mar feat. Iris da Selva
8. Mateus
9. Voz da noite feat. Rafael Pavone
10. Por la Madre Tierra feat. Camila Rodrigues
11. Luana
12. Solo

When Henry Street & Sacred Rhythm Music join forces for a remix outing, it should be obvious the source material and resulting productions are of the utmost caliber. This record proves such a case in point: Johnny "D" DeMairo & Joe Claussell team up for two takes on Candi Staton’s 1979 disco opus 'When You Wake Up Tomorrow.’ The original, whose pedigree could be inferred simply by reading Patrick Adams’ and Jimmy Simpson’s names on the label, is a faultless dance floor cut featuring all the elements you’d expect—lavish horn and string arrangements, sparkling synthesizer accents, and plenty of hand-beat drumming—along with with Staton’s peerless voice. Johnny D’s mix starts carefully, the vocal refrain accented with auxiliary percussion until the rug is pulled out from under us, the ensuing chasm making the following thrust of the track that much more powerful. On the flip. Claussell’s take starts with reinforced four-on-the-floor, along with a studio count-in, perhaps alluding back to his previous ‘It Seems To Hang On’ edit. As the track establishes itself, ample room is afforded for interplay between bass and guitar, with all the interlacing elements aggrandizing the mood with careful shots of delay and expertly-timed pivots in atmosphere. Both sides are proof of what shouldn’t need evidence: two masters of their craft assembling two wholly new mixes that far surpass the banal copy and paste, add and subtract methodology slung by the less blessed. Pressed on white vinyl, with a custom jacket to boot. 

STAFF COMMENTS

Matt says: Anyone that's been following these Warner Bros. reworkings knows what to expect by now. Frankly huge extensions with all the usual JC flamboyance and glamour. Much like the others, they don't hang around long...Over enthusiastic isolator action not included - that's over to you ;)

TRACK LISTING

A1. When You Wake Up Tomorrow (Henry St Feast Mix)
B1. When You Wake Up Tomorrow (Joe Claussell Mix)

THIS IS A RECORD STORE DAY 2026 EXCLUSIVE LIMITED TO ONE PER PERSON.

40th Anniversary of the classic and controversial 1986 EP from Jim and William Reid, it also features the title track to Psychocandy, plus four acoustic radio sessions.

THIS IS A RECORD STORE DAY 2026 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 18TH 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 8PM (BST) ON MONDAY APRIL 20th).

Best of from legendary punk band Lunachicks. Contains tracks from all of their studio albums.

THIS IS A RECORD STORE DAY 2026 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 18TH 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 8PM (BST) ON MONDAY APRIL 20th).

Blue, red and yellow ecoformat inkplosion 12” vinyl featuring four never before heard remixes of single 'Can You Hear Me?'

THIS IS A RECORD STORE DAY 2026 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 18TH 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 8PM (BST) ON MONDAY APRIL 20th).

A landmark live set from one of jazz’s most fearless innovators. Recorded April 4, 1964, at New York City’s Town Hall, Town Hall Concert 1964 Vol. 1 finds the legendary bassist-composer leading a powerhouse sextet featuring Eric Dolphy, Clifford Jordan, Jaki Byard, Dannie Richmond, and Johnny Coles. Blending blues, explosive swing, and avant-garde bursts, this high-wire performance captures Mingus at his boldest — uncompromising, urgent, and alive with possibility.

A creative high point for Mingus and one of his most revered small ensembles, this extraordinary recording serves as a snapshot of a group in peak form. Famously, Dolphy had just told the band he’d be leaving the group after their upcoming European tour. Well known for being volatile as well as deeply and sincerely emotional, Mingus composed the two pieces performed here as a send-off to him. One a playful, fiery goodbye, the other an introspective spiritual farewell, a retitling of Meditations. Tragically, Dolphy would die just months later in June of ’64 of complications from diabetes.

Often confused with the legendarily disorganized 1962 concert and another concert from Tyrone Guthrie that was mistitled Town Hall, this show is focused, sharp, and deeply expressive.

This single-disc LP set has been remastered by five-time Grammy Award-winning engineer Michael Graves, with vinyl mastering by renowned engineer Jeff Powell. Pressed on 180-gram vinyl, it features the original artwork, meticulously restored and reproduced.

Eaves Wilder releases her eagerly anticipated debut album 'Little Miss Sunshine'. The record marks a stellar evolutionary leap for the North London singer-songwriter who first came to attention back in 2020, aged 16, with her self-recorded lockdown release 'Won’t You Be Happy'. Eaves began working on 'Little Miss Sunshine' after a period of reflection which saw her question whether she could ultimately do justice to the music in her head.

Time spent with the record will reveal ten songs that look to the cycles of nature to explain and celebrate the emotional weather that makes us human. “At my lowest,” recalls Eaves, who at once point even laughs as she recalls how she resolved to give up music altogether with a view to entering a convent: “I just wanted to be unhuman, unfeeling and unmoved. Like a mountain or a tree. Or the sky. These are all things that have a purpose but I didn’t know what my purpose was. And so what I had to was figure it out, song by song.”

On 'Little Miss Sunshine', it’s a story told in thrilling instalments, from the opening seconds of the album’s sonic establishing shot and lead single 'Hurricane Girl' a sensational synergy of diaphanous shoegaze harmonies and elemental rock guitars inspired by watching documentaries about storm chasers, using the metaphor to shine a light on friends who have been compelled to seek out tempestuous relationships. “I feel like this is my Pearl Jam song,” she explains, “The first time I ever listened to Pearl Jam. I was up this huge mountain in Wales. In the same week, I also heard 'Jagged Little Pill' by Alanis Morissette for the first time.”

From here, right through to its achingly evocative requiem to childhood 'Summer Rolls', each song on 'Little Miss Sunshine' acts as shining a co-ordinate in an arc of self-discovery.

Over the course of two years, Eaves worked tirelessly to finesse every single verse, chorus, pre-chorus and middle eight on 'Little Miss Sunshine' before entering the studio with the album’s co-producer Andy Savours (My Bloody Valentine, The Killers, The Horrors). This is an album on which every single detail has earned its right to be there, bearing testament to the singular musical vision of its creator.

TRACK LISTING

1. Hurricane Girl
2. Just Say No!
3. Everybody Talks
4. Mountain Sized
5. The Great Plains
6. English Tea
7. Ropeburn
8. LA
9. Daisy Chain Reaction
10. Summer Rolls

"Sometime in 2020 I listened to Canto Ostinato for the first time, and my enthrall- ment with the piece had begun. I was transfixed by its particular amalgam of harmony, repetition, and pacing. By the spring of 2023 I had constructed and released my own solo interpretation, and I assumed at that point my working relationship with the composition had run its course. But I underestimated its magnetism. The following year I was back in its grips, having been invited by Metropolis Ensemble’s Andrew Cyr to expand on the foundation I had laid with the piece. Soon I was in Brooklyn, on a newly-formed team of six with Cyr and the members of Sandbox Percussion, thrilled to be helping architect a brand new large-ensemble arrangement of Canto Ostinato for a summer solstice perfor- mance at the Brooklyn Botanic Garden. We did so, our cohort growing to include the students of The New School’s Sandbox Percussion Summer Seminar, as well as composers David Leon, Ben Wallace, and Ledah Finck and the Bergamot Quartet. It was a day we will all remember—sweeping, dreamlike, and what felt like a quintessential culmination. But even then... the piece still beckoned, and it became imperatively clear that this new orchestration called for the embarkment on a studio album—a permanent document of our now-collective ardor. Refined over a year and recorded in New York, 2025, this performance recasts the piece anew in a towering framework of mallet percussion, woodwinds, strings, and piano. It is our truest attempt at conveying Canto’s beauty and magnitude in all its kaleidoscopic harmony, dynamism, tension, and release. I stand once again in awe of Simeon ten Holt’s monumental creation, and to be a thread among this particular sonic fabric is one of the great pleasures of my musical life. I don’t assume we might be so fortunate again... but who knows..."
- Erik Hall

TRACK LISTING

1. Sections 1-16
2. Sections 17-30
3. Sections 31-40
4. Sections 41-55
5. Sections 56-73
6. Sections 74-87
7. Sections 88-90
8. Sections 91-94
9. Sections 95-106

Unguarded, wholly realised and entirely his own – Wesley Joseph’s long-awaited debut album sees the singer, songwriter, producer and director at his most confidently vulnerable, expressing the many layers of his creative life journey.

The result is 'Forever Ends Someday': 13 tracks of self-examination cut with expansive escapism. On the Danny Brown feature 'Peace of Mind', meanwhile, Joseph blasts through his anxieties and delivers a bass-rattling anthem with confidence and reassurance, 'July' finds Joseph collaborate with Jorja Smith as the pair perform a rejoiceful callback, recorded in their hometown of Walsall, reminiscing on how far they’ve come, as well as all they have lost.

Three years in the making, Joseph took time away from the spotlight to find his story, choosing to pursue the honesty of his art rather than capitalising on career momentum - with highlights including a sold-out headline date at London’s KOKO and a sold-out North American tour. “I just treated the record like a vessel, throwing things into it from my life all the time,” he says.
The title 'Forever Ends Someday' refers to the fleeting beauty of the present moment – “the idea that when you’re young things will last forever but then you grow up to realise youth is borrowed,” Joseph explains – the album’s tracks depict an honest reflection of human experience through both the light and dark.

Recorded between London, Walsall, Los Angeles and “halfway up a mountain in Switzerland,” Joseph enlisted a core team of collaborators and co-producers to execute his vision over the three years of writing. He worked closely with composer Nicholas Jaar (The Weeknd, FKA Twigs), who lent his soundscaping sensibility to several tracks, producer Harvey Dweller (Loyle Carner, Joy Crookes), Mercury Prize-nominated Tev’n (Rina Sawayama, SBTRKT), A. K. Paul (Nao, Fabiana Palladino), Al Shux (JAY Z, Kendrick Lamar, SZA), Ryan Raines (Paul McCartney, Dominic Fike) and producer Romil Hemnani (Brockhampton).

From Walsall to the world, 'Forever Ends Someday' shows that Joseph’s legacy has only just begun.

TRACK LISTING

1. Distant Man
2. White Tee
3. If Time Could Talk
4. Pluto Baby
5. Quicksand
6. Peace Of Mind (feat. Danny Brown)
7. Blinded
8. July (feat. Jorja Smith)
9. Seasick
10. Manuka
11. Mind Games
12. Shadow Puppet
13. 100 Miles

It’s tempting to think of Orriols as a kind of savant or outsider artist working in isolation, but this sells short the breadth of his collaborations and the human warmth of his music. On one hand, you can hear the crackle of campfires – literally on songs like Benparit – and on the other, there are the subtle but always noticeable studio interjections, electronic hints and full-band rockouts (like the propulsive Càmping) that keep you guessing and make the album a bit more of a white-knuckle ride than you might expect. Roses Grogues (Yellow Roses) is perhaps the most interesting curveball of all: a languid, discursive ballad originally written and performed in the 1970s by UK folk-rockers Heron, it features Heron’s own Steve Jones, who provides a beautiful, delicate piano. Along with the jubilant closing title track, it provides a joyous coda to one of the most unexpected triumphs of the year so far.

STAFF COMMENTS

Barry says: Beautifully performed modern folk-tinged singer-songwriter business from Ferran Orriols which he brought he came to Manchester to play recently. Beautifully bucolic psychedelic folk, soft rock and warmly evocative alt-rock. A truly staggering selection of influences, brought together with grace and skill. Lovely.

TRACK LISTING

1.Cançons 00:40
2.Fer l'amor 03:41
3.Mustang 03:42
4.Les dents 01:24
5.Hermoses 03:40
6.Les presses 03:55
7.Conservadors 01:16
8.Perot i jo a la intempèrie 01:35
9.La Morronga 01:47
10.Gràcies a tu 03:23
11.El Grinch 00:56
12.Artistes 03:44
13.Estima 02:57
14.Benparit 01:49
15.Tom Delonge 01:35
16.Andana 9 i 3/4 00:56
17.La marmota 01:27
18.La granota 00:35
19.No t'estimaré sempre igual 02:54
20.Ai, setembre! 01:49
21.Càmping 01:55
22.Lluçanès 00:49
23.Roses grogues 04:49
24.Darrere els horts 03:23
25.Bridport Calling (bonus track) 03:37
26.Bruce Springsteen i el miracle olímpic (bonus track) 03:34
27.Sobre el dipòsit (bonus track) 01:53
28.La tristesa com un regal (bonus track)

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

The Masonics are the Kings Of Medway Beat, known for being 'the best Rhythm and Beat combo since The Milkshakes', and there's a very good reason for that...With Mickey Hampshire (The Milkshakes, Mickey And The Salty Seadogs, Mickey And Ludella, Mick Hampshire), Bruce Brand (The Pop Rivets, The Milkshakes, Auntie Vegetable, Thee Headcoats, The Kravin' "A"s, The Clique, Dutronc, The Voo-Dooms and more) and John Gibbs (The Wildebeests, The Kaisers), this Medway-based trio fire rhythm 'n' beat and rock 'n' roll! 

As it often happens, while Richie Weeks and Jerome Derradji were working on Volume 3 of the Love Magician Archives, Richie uncovered a couple more unreleased Jammers tracks that never saw release on Salsoul. He believes these songs were intended for a second Jammers album that, sadly, never materialized.

So here you go—two absolute stormers of NYC Boogie and post-disco madness. All the usual suspects are on the tracks, delivering that signature sound. What can we say but: thank you, Richie, for giving us even more heat to play out!

TRACK LISTING

A1. Can You Keep It Up?
B1. Halfway There

Perfect Imperfection is the first studio album from Eric Cantona. Music sits alongside his work in theatre, cinema, poetry, painting and photography as an essential outlet for expression. The album features eleven songs written and composed by Cantona (with ‘Avoir le choix’ and ‘Perfect Imperfection’ co-written with Johan Dalgaard, and ‘Droigts’ composed by Gaëtan Roussel). 

TRACK LISTING

Avoir Le Choix
On Se Love
Let's Hope
Perfect Imperfection
Droigts
Les Dechirures
We'll Believe In Ourselves
Que Je Travestis
We Drive
Of The Sun
A La Gorge Des Loups

In the last two years, Barry Can’t Swim has released two albums – 'When Will We Land?' and 'Loner'. The debut was nominated for a Mercury Music Prize, winning 2024’s Best Dance Act on BBC Radio 1 and being nominated for Best Dance Act at the BRIT Awards in the same year. The latest album, 2025’s 'Loner', hit the top ten in the UK charts and was number one in the dance charts.

This summer, Barry Can’t Swim cemented his position as one of the most singular new voices in electronic music with a gangbusting performance as a headliner at All Points East in London’s Victoria Park, building on his back-to-back performance with Bonobo at Coachella in 2024. Barry’s 'Late Night Tales' mix brings together disparate styles and forms them into a coherent narrative. The powerful house tracks, like Lance DeSardi’s ‘Power of Suggestion’ and Daniel Avery’s remix of Factory Floor, intertwine with the abstract grooves of Freddie Da Stupid or Ronald Langestraat’s leftfield reading of Boz Scaggs’ ’70s smash ‘Lowdown’. There are exclusive tracks from Barry Can’t Swim himself (in the form of new single ‘Chala’ and an exclusive edit of Superpitcher’s ‘Yves’) and from friends and contemporaries, like Ninja Tune labelmate O’Flynn. Leaving aside the obvious quality of the mix, with its serpentine twists and dramatic turns, you can tell Josh is a fan of this series by bringing in his own personal poet, the brilliant Seamus, for the spoken word section right at the end. He’s a one-man Late Night Tales programmer. 

TRACK LISTING

1. Jackson Mico Milas - Sea, Interior
2. Majid Bekkas & Magic Spirit Quartet - Annabi
3. Jesse Bru - The Coast
4. Loket - Afternoon At Barenquell
5. Superpitcher - Yves (Exclusive LNT Edit)
6. Scott Orr - Scott B3 Barry Can't Swim - Sometimes I Feel So Alone
7. Marigold Sun - Here Lies Love
8. Barry Can't Swim - Chala (My Soul Is On A Loop)
9. Freddy Da Stupid - Back To Pangea Part II (Jazzapella Version)
10. Factory Floor - How You Say(Daniel Avery Remix)
11. Ronald Langestraat - Lowdown
12. Lance Desardi - The Power Of Suggestion
13. O'Flynn - Kola
14. Accelera Deck - This Bliss
15. Pépe - Goma (A-Mix)
16. This Mortal Coil - The Lacemaker
17. St Francis Hotel - Dawn
18. Barry Can't Swim - Ferdinand Magellan (Exclusive Felt Cover Version)
19. Seamus - Ultrasound (Exclusive LNT Spoken Word Track) 

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)

The Soft Pink Truth (Drew Daniel also of Matmos) grafts chamber music and electronic music into a beguiling new hybrid pop album that evokes mid-20th century film soundtracks with nods to minimalism. 'Can Such Delightful Times Go On Forever?' features artwork by Robert Beatty (Tame Impala, The Weeknd). The new album features a host of special guests: Bill Orcutt offers one of his most delicate performances committed to record. Other guests include strings arranger Ulas Kurugullu, harpists Neleta Ortiz and Cecilia Cuccolin, pianists Koye Berry and M.C. Schmidt, strings player Kurugullu, and the Ebu String Quartet, as well as woodwind players by Brandon Wilkins and Evelyn Frances and Zach Rowden of celebrated noise duo Tongue Depressor provides grinding double bass drones. Wedding emotional expression with canny references to the inherited history of recorded music, the chimes, organ and pizzicato strings on 'Phrygian Ganymede' recall Bernard Herrmann’s scores for classic Alfred Hitchcock films, while galloping marimbas lend a sense of screwball comedy on 'L’Esprit de L’Escalier'. 'Can Such Delightful Times Go On Forever?' is a singular album that speaks to the prowess of Drew Daniel as a composer and producer, deftly interlacing pop structure and classical timbre while interlacing subtle electronic sound design with gorgeous acoustics. Across the album Daniel embraces a spirit of drama and romanticism that blurs the boundaries between unconscious desire and everyday reality. The Soft Pink Truth has created a sound world of lavish fantasy that acts as a balm and counterpoint to the communal pains of modern life.

TRACK LISTING

1. Mere Survival Is Not Enough
2. And By And By A Cloud Takes All Away
3. Phrygian Ganymede
4. Underneath (I)
5. L'Esprit De L'Escalie
6. Time Inside The Violet
7. Orchard
8. Underneath (II)

Geologist is the nom-de-théâtre of Brian Weitz, whose pursuits have been an active part of the music underground since since he was 15, playing and working in alignment with an organic ensemble of friends that would one day choose to call what they were doing Animal Collective. 'Can I Get a Pack of Camel Lights?' migrates from that tradition, containing a number of surprise affects of its own. #1 is that it is the first-ever proper Geologist solo album! For real. Surprise #2 is its pursuit of a musical answer to the not-oft-enuf-ast question: what if, back in the 80s, Ethan James had made a hurdy gurdy album for SST?

Geologist’s affirmative answer to the question begins with another question—'Can I Get a Pack of Camel Lights?'. It’s also the first step into a rippling songscape in which his hurdy gurdy gives and takes multiple forms, an epic electro-acoustic textile of many colors cut from the life and times of Brian Weitz. It’s an inspired ride through his phases and stages, with traditional sounds, ritual moods, avant, prog-jazz, kraut, post-punk and minimalist vibes merging in electronic infinity.

TRACK LISTING

1. Oracle Road
2. Tonic
3. RV Envy
4. Not Trad
5. Color In The B&W
6. Compact Mirror/Last
7. Names
8. Government Job
9. Pumpkin Festival
10. Selley Duvall
11. Sonora
12. Last Names (w/Drums – Bonus Track)

For the first time since his viral holiday album ‘A Joyful Sound’ released in 2020, Kelly Finnigan (Monophonics) is back with two new original Christmas songs. ??‘I Can’t Wait (For Christmas Time)’ is a heavy yet laid back cut with a straight ahead pop arrangement. It’s that rust belt soul sound with the kind of harmonies that fuel Southern California cruisers; deep and emotive with just the right amount of instrumentation to push Finnigan’s tender voice forward. The tune also features label mate Kendra Morris and her band on backing vocals. Akin to previous KF releases or gems by The Escorts or The Four Mints, this record is meant for you and yours, wrapped in pretty paper under the tree until Christmas morning.

Then save some room for cookies and the b-side…

'Snowy Night In Ohio' feels like a slow moving midnight train making its way from Cincinnati to Memphis. Inspired by Finnigan’s first winter in Ohio, his love for gospel records, and horn arrangements by Isaac Hayes. This is a true stand out instrumental that oozes ice cold soul. It has a brief vocal message from Finnigan that feels testimonial and heartfelt. Featuring Colemine’s own Terry Cole and Jimmy James, plus Billy Aukstik and Morgan Price. Kelly says to be sure to treat yourself after a taxing year with a record the whole family can enjoy this holiday season. Merry Christmas!

TRACK LISTING

I Can't Wait (For Christmas Time)
Snowy Night In Ohio

'FYC40' is the very best of Fine Young Cannibals. It’s been 40 years since The Fine Young Cannibals shot out from the UK and took over the world with their mix of soul, pop, post-punk, and new wave. They scored 8 UK Top 40 Hits & 2 U.S. Billboard #1 Singles, Grammy nominations and 2 Brit Awards.
Formed in 1985 by Andy Cox, David Steele (ex-The Beat), and Roland Gift, they broke through with ‘Johnny Come Home’ and a cover of ‘Suspicious Minds.’

Their 1989 album 'The Raw & the Cooked' brought global fame, topping US and UK charts with ‘She Drives Me Crazy’ and ‘Good Thing,’ both Billboard #1 hits. In just a few years, the band achieved commercial success, critical acclaim, and enduring influence, with songs still featured across film, TV, and playlists.

TRACK LISTING

1LP Tracklisting:
1. Johnny Come Home
2. Blue
3. Suspicious Minds
4. Funny How Love Is [Re-recorded Version]
5. Ever Fallen In Love
6. She Drives Me Crazy
7. Good Thing
8. Don’t Look Back [7” Remix]
9. I’m Not The Man I Used To Be
10. I’m Not Satisfied
11. It’s OK (It’s Alright)
12. The Flame 

2LP Tracklisting:
1. Johnny Come Home
2. Blue
3. Suspicious Minds
4. Funny How Love Is [Re-recorded Version]
5. Ever Fallen In Love
6. She Drives Me Crazy
7. Good Thing
8. Don’t Look Back [7” Remix]
9. I’m Not The Man I Used To Be
10. I’m Not Satisfied
11. It’s OK (It’s Alright)
12. The Flame
13. Love For Sale [1990 Mix]
14. Wade In The Water
15. Motherless Child
16. Couldn’t Care More
17. Tell Me What
18. Social Security
19. I’m Not The Man I Used To Be [Cook II Soul 7” Mix]
20. She Drives Me Crazy [The Reflex Edit]
21. Blue [Version]
22. I’m Not Satisfied [Prince Paul 7” Mix]
23. Don’t Look Back [Luke Mornay Remix]
24. Johnny Come Home [Frankie Knuckles Remix]

2CD Tracklisting:

CD1:
1. Johnny Come Home
2. Blue
3. Suspicious Minds
4. Funny How Love Is [Re-recorded Version]
5. Ever Fallen In Love
6. She Drives Me Crazy
7. Good Thing
8. Don’t Look Back 3:47 [7” Remix]
9. I’m Not The Man I Used To Be
10. I’m Not Satisfied
11. It’s OK (It’s Alright)
12. The Flame
13. Love For Sale [1990 Mix]
14. Wade In The Water
15. Motherless Child
16. Couldn’t Care More
17. Tell Me What
18. Social Security

CD2:
1.She Drives Me Crazy [Flight Facilities Remix]
2. Ever Fallen In Love [DJ Q Remix]
3. Johnny Come Home [Initial Talk Remix]
4. She Drives Me Crazy [The Reflex Revision]
5. Blue [Mark Kamins Remix]
6. Suspicious Minds [John Luongo Suspicious Mix]
7. She Drives Me Crazy [Louil Silas Jr. Extended Version / Feat. Monie Love]
8. Good Thing [Julian Mendelsohn Extended Version]
9. Don’t Look Back [Thompson/Barbiero Extended Version]
10. I’m Not The Man I Used To Be [Cook II Soul Mix]
11. I’m Not Satisfied [Prince Paul 12” Mix]
12. Johnny Come Home [Frankie Knuckles Classic Club Feeling] 

4CD & DVD Tracklisting:

CD1 - Fine Young Cannibals & Bonus Tracks:
1. Johnny Come Home
2. Couldn’t Care More
3. Don’t Ask Me To Choose
4. Funny How Love Is
5. Suspicious Minds
6. Blue
7. Move To Work
8. On A Promise
9. Time Isn’t Kind
10. Like A Stranger
11. Love For Sale
12. Wade In The Water
13. Motherless Child
14. Johnny Come Home [Anne Dudley Version]
15. Couldn’t Care More [Anne Dudley Version]
16. Move To Work [Anne Dudley Version]
17. Blue [Version]
18. Suspicious Minds [John Luongo U.S. 7” Mix]
19. Funny How Love Is [Re-recorded Version]
20. Johnny Come Home [Extended Mix]
21. Suspicious Minds [Extended Version]

CD2 - The Raw & The Cooked & Bonus Tracks:
1. She Drives Me Crazy
2. Good Thing
3. I’m Not The Man I Used To Be
4. I’m Not Satisfied
5. Tell Me What
6. Don’t Look Back
7.It’s OK (It’s Alright)
8. Don’t Let It Get You Down
9. As Hard As It Is
10. Ever Fallen In Love
11. Social Security
12. You Never Know
13. Hold Me [Demo]
14. I’m Not The Man I Used To Be [Demo Version]
15. I’m Not Satisfied [Demo Version]
16. Tell Me What [Demo Version]
17. As Hard As It Is [Demo Version]
18. Race Track [Demo]
19. She Drives Me Crazy [Louil Silas Jr. U.S. 7” Mix]
20. Good Thing [10” Alternative Mix]
21. Ever Fallen In Love [Extended Version]

CD3:
1. The Flame [Dave Way Mix]
2. I’m Not The Man I Used To Be [Matt Dike Remix]
3. She Drives Me Crazy [The Monie Love Remix]
4. Good Thing [Prince Paul Remix]
5. I’m Not Satisfied [Prince Paul Groovie Organ Mix]
6. It’s OK (It’s Alright) [Ploeg Club Mix]
7. Ever Fallen In Love [Arthur Baker Club Senseless]
8. Johnny Come Home [Mark Moore 12” Remix]
9. I’m Not The Man I Used To Be [Dancin’ Danny D Remix]
10. She Drives Me Crazy [The Justin Strauss Mix]
11. I’m Not Satisfied [Matt Dike 12”]
12. I’m Not The Man I Used To Be [Juan Atkins Remix]
13. Johnny Come Home [Mousse T Cocktail Mix]
14. Don’t Look Back [Luke Mornay Extended Remix]

CD4:
1. She Drives Me Crazy [Flight Facilities Remix]
2. Ever Fallen In Love [DJ Q Remix]
3. Johnny Come Home [Initial Talk Remix]
4. She Drives Me Crazy [The Reflex Edit]
5. The Flame [Mario Più & Ricky Le Roy Experience Mix]
6. She Drives Me Crazy [Cerrone Remix]
7. Johnny Come Home [Mousse T Extended Mix]
8. She Drives Me Crazy [Dimitri From Paris Remix]
9. The Flame [Mario Scalambrin Heartbeat Mix]
10. Johnny Come Home [Derrick Carter Remix]
11. She Drives Me Crazy [Roger Sanchez Time & Space Mix]
12. The Flame [Gigi D’Agostino Mix]
13. I’m Not The Man I Used To Be [Rollo & Sister Bliss Monster Mix]

DVD:
Promo Videos
1. Johnny Come Home
2. Blue
3. Suspicious Minds
4. Funny How Love Is
5. Ever Fallen In Love
6. She Drives Me Crazy
7. Good Thing
8. Don’t Look Back
9. I’m Not The Man I Used To Be
10. I’m Not Satisfied
11. The Flame
Live At The Paramount – 21 October 1989
12. Johnny Come Home
13. Like A Stranger
14. Couldn’t Care More
15. Good Thing
16. Tell Me What
17. Time Isn’t Kind
18. I’m Not Satisfied
19. Funny How Love Is
20. Ever Fallen In Love
21. Don’t Look Back
22. Suspicious Minds
23. I’m Not The Man I Used To Be
24. It’s OK (It’s Alright)
25. My Girl
26. She Drives Me Crazy
FYC At The BBC
27. Couldn’t Care More [Live At The Haçienda – On Whistle Test]
28. Don’t Ask Me To Choose [Live At The Haçienda – On Whistle Test]
29. Johnny Come Home [on Top Of The Pops]
30. Suspicious Minds [on Top Of The Pops]
31. Funny How Love Is [on Wogan]
32. Ever Fallen In Love [on Top Of The Pops]
33. She Drives Me Crazy [on Top Of The Pops]
34. Good Thing [on Top Of The Pops]
35. I’m Not The Man I Used To Be [on Top Of The Pops]

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

After an incredible year with their debut album 'Who Let The Dogs Out' — released in January and followed by what felt like a thousand sold-out shows and countless festival appearances across the globe — Lambrini Girls cemented their place as one of the most talked-about, loved, hated, debated and celebrated bands of the year. The record has become a fixture on end-of- year lists from fans, press and record stores alike.

Now, 'Who Let The Dogs Out' returns in a very special end-of-year edition. But this isn’t one of those over- priced deluxe versions — quite the opposite. It’s a stripped-back, black-and-white, DIY, down-to-earth punk rock version, complete with alternative artwork by none other than fellow legend, visual artist David Shrigley.

TRACK LISTING

1. Bad Apple
2. Company Culture
3. Big Dick Energy
4. No Homo
5. Nothing Tastes As Good As It Feels
6. You’re Not From Around Here
7. Scarcity Is Fake (Communist Propaganda)
8. Filthy Rich Nepo Baby
9. Special Different
10. Love
11. Cuntology 101

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. 

Greatest hits’ compilation, the first time a complete overview of The Fall’s career has been available on vinyl.

When the CD was originally released it was seen as the most complete and best overview of the bands recorded work and has yet to be bettered.

As with the other Fall re-issues it has been compiled by Daryl Easlea (who also wrote the notes) in conjunction with Fall expert Conway Patton and has been mastered by long time engineer Andy Pearce with art by Becky

The Fall were an English post-punk band, formed in Manchester in 1976. The band existed in some form until 2018, built around its founder and only constant member Mark E. Smith.

Initially associated with the punk movement of the late 1970s, the group's music went through several stylistic changes over the years, but was often characterised by an abrasive guitar-driven sound and frequent use of repetition, and was always underpinned by Smith's distinctive vocals and often cryptic lyrics. The band was noted for its prolific output: they released over 25 studio albums, and more than triple that counting live albums and other releases. They never achieved widespread public success beyond a handful of minor hit singles.

The band were long associated with BBC disc jockey John Peel, who championed them from early on in their career and cited The Fall as his favourite band, famously explaining, "They are always different; they are always the same."

TRACK LISTING

SIDE ONE
1 Repetition
2 How I Wrote 'Elastic Man'
3 Totally Wired
4 Lie Dream Of A Casino Soul
5 The Classical
SIDE TWO
1 The Man Whose Head Expanded
2 Cruiser's Creek
3 Mr Pharmacist
4 There's A Ghost In My House
5 Hit The North
6 Victoria
SIDE THREE
1 Telephone Thing
2 Free Range
3 Lost In Music
4 Behind The Counter - Single Version
5 Touch Sensitive
SIDE FOUR
1 Theme From Sparta FC - Single Version
2 Blindness
3 Bury
4 New Facts Emerge

Two slices of brilliant, Gospel disco from Reginald O'Neal Cuie. Originally released on 33rpm 7" (not the most wonderful format), Athens of the North scut the tape onto a loud 12 inch for the first time. A strong two sider, (500 12" only)

TRACK LISTING

1. I Can Do All Things Through Christ Jesus Which Strengthen Me
2. Let This Mind Be In You Which Is Also In Christ Jesus

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

As part of National Album Day 2025’s celebration of rock, Secretly Canadian are making Yeah Yeah Yeah’s fifth album available on limited edition Twister Vinyl. It could only be called alchemy, the transformative magic that happens during the Yeah Yeah Yeahs' most tuned-in moments in the studio, when their unique chemistry sparks opens a portal, and out comes a song like "Maps" or "Zero" or the latest addition to their canon, "Spitting off the Edge of the World featuring Perfume Genius" — an epic shot-to-the-heart of pure YYYs beauty and power.A thunderstorm of a return is what the legendary trio has in store for us on Cool It Down, their fifth studio album and their first since 2013’s Mosquito. The eight-track collection, bound to be a landmark in their catalog, is an expert distillation of their best gifts that impels you to move, and cry, and listen closely

TRACK LISTING

A1.Spitting Off The Edge Of The World - Featuring – Perfume Genius
A2.Lovebomb
A3.Wolf
A4.Fleez
B5.Burning
B6.Blacktop
B7.Different Today
B8.Mars

As part of National Album Day 2025’s celebration of rock, Secretly Canadian are making the deluxe version of Porridge Radio’s celebrated album available on limited edition Flame Orange Opaque Vinyl, containing 5 bonus tracks. Porridge Radio grew out of Dana Margolin’s bedroom, where she started making music in private. Living in the seaside town of Brighton, she recorded songs and slowly started playing them at open mic nights to rooms of old men who stared at her quietly as she screamed in their faces. Though she eventually grew out of them, for Margolin these open mic nights unlocked a love of performing and songwriting, as well as a new way to express herself. She decided to form a band through which to channel it all and be noisier while she was at it – so Porridge Radio was born. Inspired by interpersonal relationships, her environment - in particular the sea - and her growing friendships with her new bandmates (bassist Maddie Ryall, keyboardist Georgie Stott, and drummer Sam Yardley) Margolin’s distinctive, indie-pop-but make-it-existentialist style soon started to crystallise. Quickly, the band self-released a load of demos and a garden-shed-recorded collection on Memorials of Distinction, while tireless touring cemented their firm reputation as one of UK DIY’s most beloved and compelling live bands. Now, they are taking that development a step further, as they put out their label debut, Every Bad

TRACK LISTING

A1. Born Confused
A2. Sweet
A3. Don't Ask Me Twice
A4. Long
A5.Nephews
B1.Pop Song
B2.Give/Take
B3.Lilac
B4.Circling
B5.(Something)
B6.Homecoming Song
C1.Talking About It
C2.Sweet (Demo)
C3.Good For You (With Lala Lala)
D1.Let's Not Fight (Porridge Radio X Piglet)
D2.Strong Enough (Porridge Radio X Piglet)

Features "FTA" and the band's cover of Wilco's "Far, Far Away"

Minimal and nuanced, 'Diary of a Candle' is a consoling, melodic suite from acclaimed experimental composer, musician, and producer Faten Kanaan. On this album Faten uses counterpoint as a narrative tool to create music that is mysterious, smudgy, and deeply melodic. From the repetitive structures of modern minimalism and early music/baroque influences - to more languid textural ebbs and tides, there's a warmth in her use of synthesizers that gives her work a curiously timeless feel. Composing intuitively, her music creates its own world - one that isn't easily categorised.

'Diary of a Candle' is punctuated with tender woodwinds and richly-layered strings, touched by the hazy atmospheres of 1970s/1980s films. Its understated heart-on sleeve romanticism follows the rhythm of nature: it bends in the breeze, drifts through the air, and settles on the ground. The ambiance is not an escapism, but the re-focusing of a lens through which humans are no longer the protagonists. Instead, a landscape's intimate details become the central figures.

With the sparseness of Hiroshi Yoshimura's 1982 album 'Music for Nine Post Cards' as a starting-point influence, Faten's music exudes a wistful yet hopeful sentiment, honouring moments of beauty in the world around us. Some of the album titles are inspired by East-Asian rites and folkloric superstitions, often related to nature.

All music written performed and mixed by Faten Kanaan and mastered by Heba Kadry.

TRACK LISTING

1. Afternoon
2. Celadon
3. Tsukumogami (Sensu)
4. Book Of Changes
5. Supercore
6. Acorns
7. Soseol
8. Alcoyana-Capri
9. Scene For A Wooden Room
10. Sondol Baram
11. Barjees
12. Naming The Cloud (Version 2)

A pair of Duster universe oddities, on vinyl for the first time. “Take Off Your Face” (better known as “Untitled 80”) is an unissued demo from the turn of the century, while the instrumental for “Create The Scene” was pulled from the 2010 sessions that produced Canaan Amber’s solo debut CA

TRACK LISTING

1. Take Off Your Face
2. Create The Scene (Instrumental)

"There was a time — call it Saturn returns, call it the early '90s, call it the last gasp before the internet devoured everything — when the Zero Boys found ourselves staring into a different kind of fire. We had grown out of our hardcore skin — not in rejection but in evolution. We were restless. Songs no longer came in bursts of pure speed; they twisted, expanded, asked questions. Structure was no longer the enemy. We let the songs breathe, and in return, they told us things we hadn't expected to hear. The songs collected here from 'Make It Stop' (1991) and 'The Heimlich Maneuver' (1992) capture that moment. Recorded less than a year apart, these two albums are documents of a moment when we were following instinct — pushing the edges of our own sound, threading personal spiritual exploration through the fuzz and the fury. It wasn't religious. It was searching. Trying to locate the self inside the noise of the world. Trying to speak honestly about confusion, resistance, and the parts of ourselves that don't fit neatly into slogans or genres. At the time, we knew we were changing, but we didn't know into what. Now, decades later, playback reveals something clearer. These songs — lyrically, musically, emotionally — feel more urgent in the now than they did then. The politics have aged well, which is both a triumph and a tragedy. What we wrote in a moment of creative combustion now sounds like warning flares — about institutions, about violence, about the quiet need for meaning under it all. So yes, 'Playback is Hell.' But not the hell of torment. The hell of fire. The hell of transformation. The heat of memory and meaning suddenly rising again. Thanks for listening — then, now, and next."

- Paul Mahern, 2025

TRACK LISTING

1. Make It
2. Anatomically Incorrect
3. Birds
4. Twin
5. Stick My Hands
6. Fly Bite
7. Godless Girl
8. In The Back Of My Mind
9. Purely Intentional
10. Shade
11. Green Army Jacket
12. Trust Anyone
13. So Excited
14. Parasite Man
15. Bleach Blanket Boi Oi Oi

‘3, 10, WHY, WHEN.’ is the third studio album from Jamie Woon, his first since 2015’s Mercury Prize nominated ‘Making Time’.

Co-produced by Jamie and Grammy award-winning Swedish producer Martin Terefe, the release comes after Jamie’s notable time away from the public sphere, reminding us of his distinctive talent. Soulful and catchy as ever, this album sees Jamie explore themes of meaning and purpose with startling vulnerability. Tight songwriting meets expansive, genre-hopping moods. Woon’s previous work includes collaborations with Disclosure, Lil Silva, Elmiene, Holly Walker, and Burial.

Includes the singles ‘Heavy Going...’ & ‘When’.

TRACK LISTING

1. All (The Way)
2. Place N Time
3. Pulling On A Thread
4. A Velvet Rope
5. Heavy Going…
6. Peace Of Mind
7. When
8. The Heart’s Mountaines
9. Ghost
10. What’s The Matter

Sababa 5 return with another essential 45 for Batov Records’ Middle Eastern Groove series. This time, they team up with two very different artists on two distinct tracks built from the same hypnotic groove: soulful Turkish alt-pop sensation Canay Doğan and reed flute specialist Itzhak Ventura.

After four albums and a strong run of 45s and EPs, plus support from tastemakers like Gilles Peterson, Cerys Matthews, Gideon Coe and Jeremy Sole, Sababa 5 lay down a cinematic, slow-burning groove built for hazy summer days. Raz Man’s crisp drumming locks in with Amir Sadot’s psych-soul bassline.

On 'Gaip', returning collaborator Canay Doğan brings her emotive and distinctive voice, turning the groove into a deep psychedelic soul cut. The feel recalls the kind of Turkish soul Leon Michels (El Michels Affair) has helped craft with Derya Yıldırım & Grup Şimşek. The title, borrowed from Arabic, refers to “the unseen” or “the unknown”. “This is our second time working with Canay”, say the band. “She brings bold energy, deep emotion, and a voice that really stands out in Turkish music”.

On the flip, 'Seher' takes the same groove somewhere else entirely, featuring the haunting tones of the ney – a reed flute found in Persian, Turkish, Jewish and Arabic music – played by Itzhak Ventura. 'Seher' means “dawn” in Turkish, and the track captures that quiet, mysterious moment before sunrise. “That feeling is deeply present in this track”, say the band, “stillness, awakening, and a touch of mystery”.

Though they share the same root groove, 'Gaip' and 'Seher' explore different moods and textures – two individual pieces that complement each other while standing firmly on their own. Another essential addition to the Sababa 5 catalogue.

TRACK LISTING

1. Sababa 5 & Canay Doğan - Gaip
2. Sababa 5 & Itzhak Ventura - Seher (Instrumental) 

Karate’s first five years, boxed in classic Numero fashion and annotated by frontman Geoff Farina. Collaging DC posthardcore, De Stijl, and Django Reinhardt, this five LP set includes their self-titled debut, In Place of Real Insight, The Bed Is In The Ocean, period 7”s, and previously unissued 1993 demo. 41 late millennium accounts of 2AM bike rides, punk house floors, skinny dipping, regrettable tattoos, and Interstate 95 commuting, all remastered from the original tapes and housed in sturdy tip-on sleeves for the discerning Karate enthusiast. Don’t drown.

TRACK LISTING

LP1 S/T
A1 Gasoline
A2 If You Can Hold Your Breath
A3 Trophy
A4 What Is Sleep?
A5 - - -
B1 Bad Tattoo
B2 Every Sister
B3 Bodies
B4 Caffeine Or Me?

LP2 In Place Of Real Insight
C1 This, Plus Slow Song
C2 New Martini
C3 Wake Up, Decide
C4 It’s 98 Stop
D1 New New
D2 The New Hangout Condition
D3 On Cutting
D4 Die Die
D5 Today Or Tomorrow

LP3 The Bed Is In The Ocean
E1 There Are Ghosts
E2 The Same Stars
E3 Diazapam
E4 The Last Wars
E5 Bass Sounds
F1 Up Nights
F2 Fatal Strategies
F3 Outside Is The Drama
F4 Not To Call The Police

LP4 Demo
G1 Cherry Coke
G2 Remembering To Forget
G3 Hard Song
G4 First Time
H1 Dating Is Stupid
H2 Starfish
H3 Schwinn
H4 Remembering Reprise

LP5 7” And EPs
I1 Death Kit
I2 Nerve
I3 Cherry Coke (7inch Version)
J4 The Schwinn (7inch Version)
J5 Operation: Sand
J6 Empty There

Jens Lekman is an accidental wedding singer. But he’s also a wedding singer for a reason. Ever since his 2004 song 'If You Ever Need a Stranger (To Sing at Your Wedding)' he has had a side gig fielding requests from strangers to sing at their weddings. For over twenty years, he’s had a particular vantage point from which to see the role love songs can play in our lives. In 2020, he and novelist David Levithan co-conceived a novel-with-music, Songs from Other People’s Weddings. Originally this album was meant to contain the songs from the weddings in the book, but as the novel came together, Lekman began to imagine what happened between the book’s chapters. The book and the album eventually became intertwined but also found their own paths. The book remained the structure of the story, but the album sometimes snuck behind the scenes. Stories from the songs made their way into the book and vice versa. The result is an exploration of what we sing about when we sing about love -- euphoria, doubt, dislocation, tenderness, conflict, playfulness, gratitude, ingratitude, longing, belonging, questioning, answering. It’s very much about a relationship and how it’s reflected through the relationships and weddings of others, but most of all it’s a lovesong to lovesongs

STAFF COMMENTS

Barry says: Lens Lekman clearly has a nice time, he did a song over 20 years ago called 'If You Ever Need A Stranger (To Sing At Your Wedding)' and then people, obviously asked him to sing at their wedding so he did! Lots of them, and they're here for you to listen to while NOT at a wedding. What fun.

TRACK LISTING

1. The First Lovesong
2. A Tuxedo Sewn For Two
3. Candy From A Stranger
4. Two Little Pigs
5. Speak To Me In Music
6. With You I Can Hear My Own Voice
7. I Want To Want You Again
8. GOT-JFK
9. Wedding In Brooklyn
10. For Skye
11. Increasingly Obsolete
12. On A Pier, On The Hudson
13. Wedding In Leipzig
14. LEJ-GOT
15. You Have One New Message
16. Just For One Moment
17. The Last Lovesong

An electrified meeting of minds, 'Candy Girl 'is a lost 1975 session by jazz pianist Mal Waldron, recorded in Paris with core members of the mighty Lafayette Afro Rock Band, the American funk unit who had made France their home and whose deep grooves would later be mined by generations of hip-hop producers.

By 1975, Waldron was a decade into his self-imposed exile from the United States—a transformed musician who had reassembled his sound in Europe and Japan after a devastating breakdown in the early '60s. His post-1969 output had stripped jazz down to its core elements: modal intensity, locked grooves, and hypnotic repetition. Candy Girl doesn’t interrupt this trajectory—it extends it, wrapping Waldron’s minimalist mantras around the funked-up chassis of the Lafayette rhythm section.

Originally released in microscopic quantities on the Calumet label and long shrouded in obscurity, 'Candy Girl' was recorded spontaneously in the studio of French producer Pierre Jaubert, whose Paris HQ had become the workshop for both avant-garde jazz (Archie Shepp, Art Ensemble of Chicago, Steve Lacy) and psychedelic funk (Lafayette Afro Rock Band AKA Ice). This session finds Waldron jamming freely with bassist Lafayette Hudson, drummer Donny Donable, and keyboardist Frank Abel on clavinet, Moog and more—laying down raw, unfiltered instrumental funk with an experimental edge.

Highlights include the low-slung vamp of 'Home Again', the crisp, break-laden groove of 'Red Match Box', and the mesmeric swirl of the title track 'Candy Girl' —a minor-key electric piano waltz with hints of cosmic soul. There's even a deep cut for the crate diggers: the somber yet meditative 'Dedication to Brahms', where Waldron deconstructs the Romantic composer’s third symphony into a sparse jazz reverie.

Unlike his polished sessions for Japanese labels or the avant-garde swing of his earlier Prestige work, 'Candy Girl' feels more spontaneous, even accidental — and that’s part of its power. It’s a document of Waldron as bandleader, collaborator, and explorer, captured in the midst of a vibrant, cross-cultural scene in mid-70s Paris. Never officially issued with a cover and barely released at all, 'Candy Girl' is a rare convergence of two underground traditions: Waldron’s Euro-exile electric jazz and the raw, sampled-future funk of the Lafayette Afro Rock Band. Now finally resurfaced, it deserves its rightful place in both stories.

This official edition features audio remastered by The Carvery, new liner notes by Francis Gooding, and packaging that pays tribute to the obscure original release, complete with replica Calumet label artwork. For years it lived in the shadows; now Candy Girl finally steps into the light — a vital rediscovery from one of jazz’s most distinctive voices.

TRACK LISTING

1. Home Again
2. Red Match Box
3. Bits And Things
4. Dedication To Brahms
5. Candy Girl

The 'Canvas' EP. is the final piece in a trilogy of conceptually-linked EPs that the band have released post-COVID. This release sees the band steer in new directions towards a harder-edged, metal-influenced direction, and a lyrical fearlessness that has shaken up the scene, divided long-time fans and sparked urgent conversations while drawing in a new wave of listeners. The band are looking to widen their audience and traverse over to different 'alternative' scenes. The band's tracks have landed several editorial playlists, including: Today's Punk (Spotify), SkatePark Punks (Spotify), New in Rock (Apple Music) Track info: Growing up with rampant homophobia left Millennials with past behaviours to unpack and internalisations to unlearn. DARKO’s powerful single ‘Override!’ ponders what became of the kids who were bullied for being themselves. DARKO blend raw vulnerability with their trademark intensity. The result is a powerful, cathartic anthem that confronts past pain while fighting for a better future.

TRACK LISTING

Grey Havens
Dared To Dream
Canvas
Override!
Hectic
Goodbye Bastards
Aux III

'Impala', the fabled second Songs: Ohia full-length, originally released in 1998 and long out-of-print, is finally back in print. This release includes the addition of a remastered demo of ‘Tess’ originally captured during recording sessions for Impala. “Lorain, Ohio; it's a tough place to grow up. You either escape or you don't. Given the industry that exists (or existed) there — the steel mill, Ford plant, and shipyard — the mix of people is like none other. One thing is for sure though, it's blue collar through and through. What's this have to do with a new release from Songs: Ohia? Well, Jason — main Songs man, like myself, grew up in this god-forsaken hole of a city and as much as you can leave the city, it never leaves you. Impala offers further testament to the songwriting talents of Jason Molina. The tracks contained herein offer a glimpse into the soul of a man burdened with trying to exorcise the demons of life, loss, and subsistence. This isn't something one can fake. It comes from growing up with the knowledge that the factories your parents worked in are not an option for you and that your only real option is to try and get out (easier said than done). Pared down to only Jason and Geof Comings for this release, the tracks on 'Impala' are simultaneously the sparsest and most textured yet to be released by the band. Consider this to be the one of the most honest and strongest releases from Songs: Ohia. Our suggestion: Head to the local Knights of Columbus, grab a seat at the bar, order a Genesee, and drink away your paycheck to this one. That's what they're doing in Lorain.”

TRACK LISTING

1. An Ace Unable To Change
2. Easts Heart Divided
3. This Time Anything Finite At All
4. Hearts Newly Arrived
5. Till Morning Reputations
6. One Of Those Uncertain Hands
7. A Humble Cause Again
8. The Rules Of Absence
9. Just What Can Last
10. Program: The Mask
11. Structuring: Necessity
12. Separations: Reminder
13. Program And Disjunction
14. Tess (Impala Session Bonus Track)

FUTVRST debuted in 2022 with a Star Creature 7" alongside label mainstay and fellow Bay Area funker E. LIVE. Their latest release finds the duo a slightly updated but possibly backdated disco affair. The drum machine has been traded for acoustic kit and some synth swaps for six stringers. The A Side serves up a California tribute, vo-coded slapper that would make Moroder catch a stank face. The B-Side delivers supreme disco boogie ala their idol Nile Rodgers with Grade A songwriting and excellently delivered vocals from studio collaborator Danke. Where as their first outing was geared for the heads, this sophomore single will be turning all heads, ears first to the dancefloor. Star Creature continue to dominate! 

STAFF COMMENTS

Matt says: Futvrst join Introverted Funk this week and steer the Star Creature mothership back to its original themes - heavy hitting modern boogie and electro-funk.

TRACK LISTING

A. Los Francisco
B. You Can't Stop Me 

Barry Can’t Swim’s rise has been nothing short of meteoric. Following the success of his debut album 'When Will We Land?', Barry has continued to solidify himself as one of the most exciting names in electronic music today and his new album 'Loner' further cements that. 

STAFF COMMENTS

Barry says: Grand, crescentic electronic music that's filmic and evocative, packed full of moments of divine calm and shadowy drive. Though this is predominantly an electronic album, there are wisps of tropicalia and African percussion, bringing to mind the rhythmic acoustics of Bonobo or Caribou. A beautifully produced, uplifting journey.

TRACK LISTING

1. The Person You’d Like To Be
2. Different
3. Kimpton (with O’Flynn)
4. All My Friends
5. About To Begin
6. Still Riding
7. Cars Pass By Like Childhood Sweethearts
8. Machine Noise For A Quiet Daydream (feat. Séamus)
9. Like It’s Part Of The Dance
10. Chosen
11. Marriage
12. Wandering Mt. Moon

Cuban-born percussionist Candido de Guerra Camero (1921 - 2020), known simply as Candido, was one of the foremost pioneers of Afro-Cuban jazz and an innovator in conga drumming along with along with Diego Iborra and Chano Pozo. Candido was responsible for embracing the tuneable conga drum, the frst to play multiple congas, and for developing techniques that all conga players use today.

Candido played with Dizzy Gillespie, Charlie Parker, Billy Taylor, Stan Kenton, among many others. As a leader he recorded seventeen albums for several different labels, including Blue Note with the album 'Beautiful' (1971), and Chesky Records with Inolvidable with Cuban singer Graciela. Presented here is Candido'S complete 1962 LP 'Conga Soul', featuring Jimmy Cleveland on trombone and pianist Lalo Schifrin, also responsible for all the arrangements.

TRACK LISTING

1. Conga Soul
2. The Lady Is A Tramp
3. Toccata
4. The Champ
5. Love For Sale
6. Big Noise From Winnetka
7. New Secrets
8. Lady Eve
9. Dark Eyes
10. Long, Long Summer
11. Candido Cocktail (Bonus Track)

Many famed music producers are known for a particular sound that has its day and then ages out. Rick Rubin is known for something else: creating a space where artists of all different genres and traditions can home in on who they really are and what they really offer. He has made a practice of helping people transcend their self-imposed expectations in order to reconnect with a state of innocence from which the surprising becomes inevitable.

Over the years, as he has thought deeply about where creativity comes from and where it doesn't, he has learned that being an artist isn't about your specific output; it's about your relationship to the world. Creativity has a place in everyone's life, and everyone can make that place larger. In fact, there are few more important responsibilities.

The Creative Act is a beautiful and generous course of study that illuminates the path of the artist as a road we all can follow. It distils the wisdom gleaned from a lifetime's work into a luminous reading experience that puts the power to create moments - and lifetimes - of exhilaration and transcendence within closer reach for all of us.

Over the course of nearly a decade making music, Alicia Jeanine and Jed Smith have charted a distinctive course through the history of pop, evoking influences as varied as the 60s folk of early Fairport Convention and Vashti Bunyan, the sunshine pop of Margo Guryan and Laura Nyro, and indiepop touchstones like Dear Nora, Marine Girls and Dolly Mixture.

Their new album, 'How Long Can It Last', finds Jeanines grappling with themes of personal upheaval and self-excavation, adding weight to their finest set of songs yet. With Alicia’s lyrics incisively interrogating connections, ruptures, and time and its reverberations, songs like 'Coaxed a Storm', 'What's Done Is Done', and 'On and On' combine rich melody with co-composer Jed’s crisp arrangements (along with contributions from longtime live show bassist Maggie Gaster) to stellar effect.

Where 'How Long Can It Last' really shines is, as always, in the songs. While the themes are sometimes heavy, the melodies and harmonies are simply heavenly, elevating these economical songs to give each the feeling of a lost classic. From the first notes of opener 'To Fail' to jaunty closer 'Wrong Direction', this album announces itself as the work of a band in full command of their art (and craft).

TRACK LISTING

1. To Fail
2. You Can’t Get It Back
3. You’ll Figure It Out
4. Coaxed A Storm
5. That’s What You Say
6. What’s Done Is Done
7. On And On
8. What’s Lost
9. What You Do
10. One Art
11. Satisfied
12. How Long Can It Last
13. Wrong Direction

The Richard Sen remixes of John Grant were commissioned in 2016 but were never released. Since then, enquiries about release have continued to this day. Sen's remix of 'Disappointing' featured on Andrew Weatherall's Beats In Space mix in 2016 and was a staple in his DJ sets, especially at ALFOS. Charlie Bones, Ivan Smagghe and Optimo also supported it at the time. This release on Sen's DIYC label follows his much hyped album, India Man. In addition, Richard's compilation, Dream The Dream on Ransom Note (2023) was voted Best British Compilation by DJ Mag. These remixes have also been gaining much interest from the listeners of Sen's weekly show on Do!! You!!! Radio.

STAFF COMMENTS

Barry says: Grant's syrupy vocals and Sen's impeccable melodic ear come together into a wonderfully athletic selection of minimalistic, rhythmic Balearic house numbers. The energy behind this has been brewing for some time, and it's nice to finally see it in the wild.

TRACK LISTING

A1. Disappointing (Richard Sen Remix Vocal)
A2. Disappointing (Richard Sen Remix Instrumental)
B1. Voodoo Doll (Richard Sen Remix Vocal)
B2. Voodoo Doll (Richard Sen Sunshine Dub)

Ajay Saggar has been making music under the moniker Bhajan Bhoy for the last 5 years, releasing several albums and touring around the globe. As a member of both Water Damage and CHELA, he appeared on 3 consecutive nights at Le Guess Who? festival in November 2024. Bhajan Bhoy’s music “plough a peak time psychedelic furrow; from lazy interstellar ragas to lysergic dance music, mellow psychedelic rock and all sorts of kosmische mutations” (The Slow Music Movement).

“Summer In St. Mary’s” is an album of beautiful and highly meditative and minimalist compositions with repetitive motifs, played on a 19th century church organ in the 15th century church of St. Mary’s in the small village of South Cowton in North Yorkshire (U.K.).

It’s an incredibly beautiful church with a rich history. Built in the 1450s by Sir Richard Conyers (who also built his castle on the hill opposite), this handsome church, like the castle, is sturdy in character. Inside the church are the alabaster effigies of Sir Richard Conyers and his two wives. The church is unused but maintained by the the Churches Conservation Trust. Inside is a church organ built by the The Packard Company, who were based in Fort Wayne, Indiana, USA. I dated this particular organ by finding the serial number that had been scratched into the back of the organ, and via a wonderful website setup by a fan of the organ company, could see that it was built somewhere between 1896 - 1898!

I discovered the church in the summer of 2022, whilst on a visit, that summer, to unusual buildings in North Yorkshire with my mum. I saw the organ tucked away in a corner and immediately was drawn to playing it, and heard the amazing sound that emanated from it, and the seeds of an idea to record on it were sown. Over two long days in the summer of 2023, I composed and recorded a number of long compositions. Spending those long hours in the church gave me a stereophonic impression of the auditory surround. Inspired by the “natural musics” of the house’s structure (its acoustics, creaks, wind blowing through the wooden doors and room tone) and the history of it (stain glass windows, effigies of Sir Richard Conyers and his two wives, Latin inscription above the doors), I fell into a spell of playing music in a very open and free manner for many hours that, within the confines of this very special building, felt transcendent and astral.

STAFF COMMENTS

Barry says: Eschewing Bhajan Bhoy's usual widescreen psychedelic fare somewhat for an entirely minimalistic sound palatte seems like it could easily sacrifice some of BB's usual seismic intensity, but 'Summer In St. Mary's' is a completely absorbing, dizzying wonder.

TRACK LISTING

Side A
Sir Richard Conyers
Alice Wycliffe

Side B
Piscina
Font

Side C
Funeray Helmet
Gauntlet

Side D
Custom
Parvis

Amanda Whiting is a highly-acclaimed Welsh harpist & composer. A virtuoso in her field, this classically trained musician has established herself in recent years as an essential player in the UK jazz scene.

Over the past few years, she's had the support of radio stations & tastemakers such as BBC Radio 2 (Jamie Cullum), BBC 6 Music (Cerys Matthews). BBC Radio 3 (Soweto Kinch), Selector Radio (Sian Eleri), NTS Radio (Patrick Forge), FiP (Laurent Garnier), Soho Radio (Tina Edwards) and across Jazz FM, who also nominated her for 'Instrumentalist of the Year'.

Amanda joined the roster of Worldwide Award-winning independent London-based label First Word Records in late 2023, initially via a collaborative project with Don Leisure on 'Beyond The Midnight Sun', as well as a feature on his Welsh Music Prize nominated project 'Shaboo Strikes Back'.

She followed the 'Liminality of Her' record late last year with a divine album of seasonal favourites, from Bill Evans to Vince Guaraldi, on 'A Christmas Cwtch'.

Amanda's 2024 album 'The Liminality of Her' featured in Spotify's 'Best UK Jazz of 2024' and received glowing reviews in Jazzwise, Somewhere Soul, Bandcamp, Clash, AllMusic, Harp Column, Apple Music and HHV, to name a few, along with numerous 'Album of the Year' nods and various other accolades, garnering praise critically and publicly.

Mojo Magazine cites Amanda's compositions as "cinematic, lyrical and lissom by turns".

Amanda has previously performed, toured and collaborated with a wildly eclectic set of artists, including Matthew Halsall, Rebecca Vasmant, DJ Yoda, Gizmo Varillas and Chip Wickham, whilst previously releasing three solo albums on Jazzman Records, and a remix project for the Albert's Favourites imprint.

She's performed with her own trio at numerous festivals across Europe, including We Out Here, and had headline shows at The Jazz Cafe and Hootananny in London, with an upcoming show at the legendary Ronnie Scott's in June 2025.

'Can You See Me Now?' is another triumphant opus from Whiting; laidback, deliciously jazzy and thematically inquisitive, featuring some exceptional production and accompaniment from Adam Scrimshire (Albert's Favourite). The EP begins with the crackling 'Old Ways' intro (inspired by 'Naderman No.6 for Harp') leading into opening track 'Contented'; an epic ethereal piece of tranquil spiritual jazz, complete with the gloriously powerful vocal harmonies of Faye Houston. This sets the mood perfectly for this project, as we head into a short solo for Whiting on 'Still' which appears as it says on the tin. A moment of calm. Lead single 'What Is It We Need?' commences with dusty upright bass from Whiting Trio member Aidan Thorne, ahead of a beautiful goosebump-enducing lead-vocal from the national treasure that is Alice Russell (Tru Thoughts); an absolute powerhouse in her own right. 'Intent' picks up the pace a touch with some delightfully skippy jungle-esque drums from Jon Reynolds. 'It Could Be' follows; a soulful string-laden stepper, again featuring Faye Houston, and hits like the delicate breath of a Summer breeze. We close the set with the appropriately-named 'Moving On', which takes us out with a slightly-warped phasing dreamlike ambience.

The vinyl version of the EP also features two bonus tracks; an instrumental of 'What Is It We Need?' and the wonderful upbeat bop 'Mary Over There', which featured on the recent digital-only deluxe version of 'The Liminality of Her'.

TRACK LISTING

1. Contented
2. Still
3. What Is It We Need? (feat. Alice Russell)
4. Mary Over There
5. Intent
6. It Could Be
7. What Is It We Need? (Instrumental)
8. Moving On

Ramiro Rodriguez—Son Bayoú accordionist–shouted into the microphone: "We started at the pulga and now we're here!" The crowd erupted. He adjusted his red Hohner accordion to lead his band into a blistering rendition of Andres Landero's "La Pava Congona."

"Here" was the Contemporary Arts Museum of Houston: the Bayou City's preeminent modern arts museum which invited the group to perform their barrio cumbia inside their hallowed spaces. When I first met them, formerly as Reyno Sabanero, they had in fact originated within Houston's pulga circuit—a network of Mexican flea markets where cumbia, the people's music of Latinoamérica, has long lived and thrived. I later hired them to perform at a Colombian Independence Day celebration I produced, where, along with two friends and deejays—Miles Ake of San Francisco and Felipe Galván of Houston—we spun cumbia on wax before the band stormed the stage with hand drums and accordions. A group of Colombians in the crowd asked what part of Colombia they came from. "Nah pues, somos de Greenspoint," Rodriguez quipped: the Northside neighborhood where they proudly hailed.

Led by Rodriguez and Juan Torres, Reyno Sabanero morphed into Son Bayoú: an update on their roots sound with a nod to their H-town pride. Few cumbiamberos cite Andres Landero and DJ Screw as inspirations. But then again, Landero and Screw—icons of the pop underground, the latter a patron saint in Houston's signature "chopped and screwed" sound—share more in common than the disparate genres might suggest. "Soy Landeristo, 100 percent," Rodriguez affirmed. His style descends from Andres Landero: the San Jacinto-born squeezebox renegade whose prolific 1960s-1980s recordings for mythical Colombian labels, from Fuentes to Tropical, define the sabanera tradition. As sophomores, Rodriguez and Torres, whose exposure to tropical music stemmed from early years in Monterrey—a cumbia capital with deep cultural ties to Houston—knew in their foremost band ambitions they'd pivot from synth-heavy Tejano cumbia around them to produce something as Colombiano roots as possible. Friends from Monterrey brought sonidero mixtapes. On YouTube, they streamed Soundway Records' impressive anthology, The Original Sound of Cumbia, learning of faraway accordion kingpins from Anibal Velásquez to Aniceto Molina. Son Bayoú—hand-making güiros in high school, disciples of originators—is less a rehash of the Andean past as a new sabanera variant where la costa collides into the swampy concrete jungles of Screwstonia.

TRACK LISTING

1. Flor Campestre
2. Playas Embrujadas

Punk pioneers Crass continue their vinyl reissue series, re-pressing their limited releases by adjacent artists through Crass Records, in association with One Little Independent. The series, including over twenty bands and solo artists recorded at the legendary Southern Studios and produced by Penny Rimbaud, continues with two more historic pieces from the Crass Records catalogue; Anthrax’s ‘Capitalism Is Cannibalism’ and Andy T ‘Weary of the Flesh’.

Anthrax were an English anarcho-punk band formed in Gravesend, Kent, in 1980. They recorded their first demo in 1981 and went on to release two 7” EPs on Crass Records and Small Wonder Records. They appeared on compilations released by Crass Records, Mortarhate Records and Fightback Records. They toured outside the UK twice in the Netherlands with Dutch band The Ex.

In 2007, the band issued a compilation album, ‘One Last Drop’, which included demos, both EPs, the Mortarhate compilation track and two live tracks. The band reformed in 2010, releasing new (and debut) album ‘All for the Cause’ in 2012. Two split singles followed in 2015.

“Of the many bands who Crass provided with an outlet to the world, something marked Anthrax out as a bit special. A combination of fine tunes, intelligent lyrics, angry yet audible delivery and vivid imagery” - Louder Than War

Penny Rimbaud said: “Anthrax were a ‘south of the river’ band, hailing from what was then the industrial wastelands that fringed the Thames prior to gentrification. In a world that put profit before people, Anthrax chose to challenge that conceit with fast, raw outcries of indignation. Yeah, well who said so? Anthrax did, and they did it loud and proud against the horrific complacency of the mainstream. Capitalism Is Cannibalism? Yup, and the pots are on the boil; make mine rare. It was happening then, and it’s happening now, but beware, capitalism’s avid persistence is the very nature of our resistance. Wealth is a ghetto. Babylon will fall. The future is ours if we only dare take it.”

Penny finally notes that “Our [Crass’] interest was never in personalities, profits or power, and neither did we have time for reformist liberals. Our position was solidly revolutionary; we took no prisoners. Ours wasn’t a show, it was a battle, not a living, but a lifestyle, a lifestyle with a difference - rather than looking only to ourselves, we sought to share our gains. I feel that this willingness added great strength to the form of anarchism that we practiced both on stage and out on the street.”

In giving a platform to an impressive array of other bands, Crass Records broadened the front of what popularly became known as anarcho-punk. Not, it must be said, a moniker that Crass themselves much favoured. In this respect, Crass’ classic line, ‘There is no authority but yourself’, makes its point.

TRACK LISTING

Capitalism Is Cannibalism
Violence Is Violence
Prime To Pension
All Things Bright And Beautiful

Mr Bongo proudly presents the third album by Melbourne/Naarm multi instrumentalist, Don Glori, entitled 'Paper Can't Wrap Fire'

A kaleidoscopic genre- surfing odyssey that brings together the worlds of jazz, soul and funk. Feeling both contemporary and classic, familiar yet novel, it's an assured third release that sees an artist in full flight, showcasing their creative prowess and the uniqueness of their musical voice.

Steering in a new direction, Don Glori (aka Gordon Li) has delved headfirst into his songwriting with 'Paper Can't Wrap Fire'. Deftly showcasing his talents as a writer and bandleader, he brings with him a whole host of friends from the creative crossroads that is Naarm. It's an album enriched with more soul, R&B, and funk- oriented songs than his previous jazz- rooted productions, yet there's still plenty of jazz material for those familiar fans of Don's earlier works.

It's a journey infused with a glistening jazz finesse, layered with nourishing vocal harmonies and powered by an instantly relatable human soul. Recorded over two hot summer days in Rolling Stock Studios in Collingwood, Naarm, the lineup of musicians is built up of Don's friends and family. Featuring the backbone team of Tim Cox, Al Kennedy, Joel Trigg, Robyn Cummins and Lachlan Thompson, who were part of Don's touring band before he relocated to London, and a stunning selection of vocalists in the form of ML Hall, Ruby Dargaville, Isadora Lauritz, and Bianca Kyriacou. Also gracing the album are trumpeter extraordinaire Audrey Powne, saxophonist Joshua Moshe, and Alcides Neto who sprinkles some Brazilian magic into the record.

Taking influence from artists including Azymuth, SAULT, Jordan Rakei and Lynda Dawn, as well as from London musical beacons such as NTS and Total Refreshment Centre, Don has run with this, leaned in and come out with a record truly unique to himself and his distinctive core, with no mask necessary.

TRACK LISTING

Disaster
Brown Eyes (Ft. ML Hall)
Flicker (Ft. ML Hall, Bianca Kyriacou)
Janet (Ft. ML Hall)
Song For Ants
Power
Precious
Ron Song
Saturn's Return

Brandon Joseph—known simply as Brandon—emerged from Southern California’s rich creative landscape with a sound that blends understated vulnerability and genre-defying ambition. Brandon found his voice through trial-and-error, persistence and vision, and his songs bear the marks of his resourcefulness: Brandon taught himself guitar by ear, he plays every instrument on virtually every track, and he not only self-produced his debut, he mixed every song as well, finding harmony in their myriad layers.

Following the success of 'Coming Clean' and 'Blush', Brandon’s debut album with Secretly Canadian is both deeply personal and sonically ambitious. Written and recorded entirely in his home studio, some of the songs on 'Before You Go' incubated for years while Brandon’s talent and resources caught up to the visions in his mind. A first-ever trip to his family home in Trinidad proved formative as well. There, Brandon’s worldview became more relaxed, more peaceful, and his music followed suit. “I learned to take my time,” he explains, “to look at life differently, and to look at people without the transactional mindset.” The result is a collection of songs that aren’t afraid to be confidently understated. Lead single 'Right Back' embodies Brandon this, with bright, minimal acoustic guitar underneath Brandon’s warm, romantic vocals. The song opens at the intersection of folk and R&B (think early Frank Ocean or Steve Lacy) but it cracks open into something bigger – a windows-down, major-key floater with wistful lyrics, a feather-light syncopated beat and an irresistible, anthemic feel. Known for his magnetic performances alongside Omar Apollo and Mac Ayres, Brandon’s soulful voice cement his place as one of the most compelling new singer-songwriters to emerge in years.

TRACK LISTING

1. You Look Like Love
2. Right Back
3. Serotonin
4. 2 Good
5. Incomplete
6. Miss U
7. The Sun
8. September
9. You
10. Seeing Stars
11. Her Too

The Notations smash “What More Can I Say” returns to the mother format with their all-time lowrider tail-pipe dragger “I’m Still Here” on this limited, twin-smash Numero Classics 45. Sampled by NxWorries, Anderson.Paak, redveil, and Snoop Dog, these Notations hits are sure to tickle the trainspotters and old-timers alike.

TRACK LISTING

I'm Still Here
What More Can I Say

A truly enigmatic character from the golden era of Jamaican roots music, Icho Candy is an artist that has, to me, always been shrouded in mystery. A devout rastafarian born with a gift for prophetic songwriting, Candy always writes in a way that is true to himself and his deep seated beliefs, regardless of the external pressures he endures as a veteran artist, an incredible feet for an independent artist with a career that spans fifty years.

First recording for the great Joe Gibbs and Jack Ruby in the late seventies, Icho's big break in the industry came with the hit record "Captain Selassie", a track that is widely considered to be one of the greatest rastafari anthems in dancehall. During this time Icho also recorded for labels such as Jah Life, Rockers International, Tesfa, Jah Shaka and many more. Like so many of the great artists in the eighties Icho recorded and toured in America for an extended period alongside Sugar Minott, Nicodemus, Nitty Gritty, King Kong before returning to Jamaica to record two amazing albums for the late Jah Shaka.

The A side of this latest seven inch gives us the classic writing style of Icho Candy. Pairing his lyrical depth with an early 70's Phil Pratt style production. An eerie horns line meets the clean sharp, older school backing vocals provided by The Mighty Viceroys to create something magical, the type of record we thought we may have already heard on some scratchy 45 deep in a soundmans crate.

Yakka once again returns to the label on B side duties, providing another Tubby inspired voyage into dusty fx units and quick draw fades. The bassline increases, the vocal decreases but the vibe never ceases.

TRACK LISTING

1. Pave The Way (feat. Yakka)
2. Pave The Dub (feat. Yakka)

Annie & The Caldwells are a family that plays a powerful disco soul from West Point, Mississippi, led by Annie Caldwell (who sings) and her husband of the last fifty years Willie Joe Caldwell, Sr. (who plays guitar).

Annie is backed by daughters Deborah Caldwell Moore [Pronounced de-BOR-ah, or BORA, not debra, you white ass] and Anjessica Caldwell and goddaughter Toni Rivers; their eldest son Willie Jr. is on the bass and youngest son Abel Aquirius is on the drums.

'Can’t Lose My (Soul)' is their new album 40 years in the making … and it’s already gotten rave reviews in MOJO and The Guardian even before it’s been announced.

STAFF COMMENTS

Barry says: Bold, bright soul music that's thoughtful but jubilant, full of orchestral swells and huge, powerful vocals. While the music is decidedly different from the equally celebratory William Onyeabor LP, also on Luaka Bop, they definitely share an uplifting air. A wonderfully rich, hugely enjoyable listen.

TRACK LISTING

1. Wrong
2. Can’t Lose My Soul
3. I Made It
4. Don’t You Hear Me Calling
5. I’m Going To Rise
6. Dear Lord

1959 saw Miles Davis, John Coltrane, Bill Evans and the other members of Miles's sextet come together to record the bestselling jazz album of all time: Kind of Blue. 3 Shades of Blue follows the paths of Miles, Coltrane and Evans to the mountaintop of 1959 and their roads on from there. It's a book about music and business, race and heroin, and an astonishing meditation on creativity and the strange hothouses that can produce its full flowering.

But above all this is the story of three very different men - their struggles, their choices, their inspiration. The tapestry of their lives is, in James Kaplan's hands, an American Odyssey.

Samuel Locke Ward and Jad Fair are two of the most prolific musicians working today. Fair is a founding member of the band Half Japanese, and has released over 200 albums, including albums with Yo La Tengo, Daniel Johnston, Moe Tucker, Kramer, Teenage Fanclub, The Pastels, R. Stevie Moore, DQE, Tenniscoats, The Tinklers, Naomi Ishimaru, Jason Willett, Mosquito, and Strobe Talbot. Samuel Locke Ward has released over sixty solo albums as well as a myriad of collaborations with Bob Bucko Jr, Miracles Of God, SLW cc Watt (with Mike Watt) and the cult new age noise group Boundless Relaxation (with Joe Jack Talcum and The Bassturd). He is a cartoonist for Little Village magazine and like Jad Fair, his style musically and visually is wholly his own Pure Candy is the pair’s third album together following 2023’s Happy Hearts and Destroy All Monsters, both issued by Kill Rock Stars.

Pure Candy is an album of love songs and is the feel good album of the Summer, Winter, Spring and Fall. The music was composed and performed by Ward who’s love of pop music and avant stylings offer seventeen unexpected turns over the course of a three minute song. The vocals and lyrics are by Fair, lyrics overflowing with words of love, joy, happiness, tenderness, hope and inspiration. Uplifting words for a time dearly in need of some upliftings. As with the previous two albums by Fair and Ward, this album was mixed and mastered by Jonathan Hansen and is being co-released on LP by Shrimper Records (who last worked with Fair on his collaborative three cassette box set Wonderful World) and Chicago’s Stationary (Hearts) Recordings.

TRACK LISTING

1. This Love Of Ours
2. Back On Top
3. I Have A Feeling
4. Geniuses Of Love
5. A Powerful Heart
6. A Better Day
7. That Is That
8. A Time For Love
9. Lucky Ones
10. The Love Bee
11. Right All Wrong
12. The Good Stuff
13. Oh Gee
14. Wonderful
15. Angel You
16. Let's Talk
17. My Poem
18. The Prettiest

Two supreme MPB/bossa-nova cuts courtesy of our leading Brazil 45's lady, Claudia.

On the A side, 'Deixa o Morro Cantar' features on Claudia's very first 7", released in 1965 by RGE Brazil. A classy, horn-infused number that really brings out the warming tone of Claudia's iconic voice.

Take to the flip for Claudia's version of the legendary 'Mas Que Nada'. It's a jazzier, folk- funk take on the Jorge Ben classic, that provides a great alternative version of this timeless song.

TRACK LISTING

Deixa O Morro Cantar
Mas Que Nada

Southern-bred, alternative R&B singer-songwriter Mereba artistically embodies self-understanding on 'The Breeze Grew a Fire', her grandest work and first release on Secretly Canadian. To hone in on this latest album, it was necessary for Mereba to reconnect with her whole many-sided self, from her inner child to her inseparable relationships. Mereba peacefully transmutes her beginnings, looking upon her closest kinships and friendships with a keen understanding of their steadying, inspirational force. 'Surrounded by the gentle Breeze' of these relationships and recollections, Mereba is empowered as both an artist and mother, while also being reminded to nurture her childlike wonder. Mereba gracefully shines on the follow-up to her bounteous 2019 debut, 'The Jungle Is the Only Way Out'. In escaping the Jungle, Mereba faced the paradigm shift of birthing a son in 2021 and getting accustomed to a rapidly changing self-outlook. Mereba’s creative output has always relied on her innermost reflections and ideas on whatever was happening around her; but in motherhood, the singer’s perspective widened while her inspiration became more focused, and more individually powerful.

“Even though I'm fully an adult, I had to grow up in a way overnight when he [my son] came,” Mereba explains. “The process of watching him open up to the world, learn how to engage with the world, it is very tender. I feel like it's the most reminded I've ever been of when I was a child and the first memories I have of life.”

The transformation brought Mereba to the intimacy of DIY recording sessions, providing an honest and organic foundation to Breeze. Mereba tapped her longtime production collaborator Sam Hoffman to co-assemble the album’s rich production, which parallels its folk-like warmth. Although Mereba is a true double Earth sign– Virgo and Virgo rising –the development of Breeze was anchored by experiences and memories that span from Atlanta to L.A., Addis Ababa to Greensboro, an intention that speaks to the album’s fluid nature. While nowhere near the end of her musical trek, 'The Breeze Grew a Fire' is a loving, inspiring return to origin, one where Mereba frees a painful past, eases into future possibilities, and goes with life’s flow.

TRACK LISTING

1. Counterfeit
2. Ever Needed
3. Phone Me
4. White Doves
5. Breeze Grew Fire
6. Out Of The Blue
7. Starlight (my Baby)
8. Meteorite
9. Hawk
10. Wild Sky
11. Spirit Guiding
12. Heart Of A Child
13. Sanctuary

Devotees of Richard Swift know that his catalog is sprawly and imaginative, packed with as many finely-honed stone cold classics as one-take, madman experiments. The gems take all shapes and sizes, and while it doesn’t phase the diehard, it does make Swift’s music tricky to introduce to the newcomer: Where to start? What makes the cut? How many crooners? How many wild ones? It’s with this in mind that Secretly Canadian presents '4 Hits & A Miss', our humble swing at gathering the forty-seven minutes and fourteen songs that can initiate the uninitiated. If you don’t know Richard Swift, let the incomparable Kevin Morby catch you up: There’s an old boy-scout myth I heard about as a child where, if you put the right person in the middle of the forest, armed with only a Swiss Army knife, they could build you a chapel.

When I think back on this myth I end up thinking of Richard Swift who, if dropped in the middle of the forest with only a $10 Radio Shack microphone, would somehow construct a studio and within that studio build you a chapel of sound. In fact, he essentially did exactly this at his own National Freedom studio in the middle of the Oregon woods, in a town called Cottage Grove where he recorded countless hours of both his own and other people’s music.

Those chapels of sound will, and I have witnessed it already, awe and inspire generations to come - in the same way that those stone chapels of early Europe do. Each leaves people bewildered and wondering: how was something so massive and so beautiful constructed with such minimal and archaic tools - and in Richard’s case, so quickly?

Once they’ve passed away, most artists seem to finally rest, their catalogs resting eternally beside them. But Richard, from somewhere in the great beyond, seems restless, and the work he began down here on earth continues. His last album, 'The Hex', was released only a few months after his untimely death in 2018 and now, with '4 Hits and A Miss', we have a collection of his most beloved songs all in one place, as well as a new unheard ever before track 'Common Law', recorded around 2012.

Whether you’re a casual fan or a Swift purist, '4 Hits & A Miss' is either a perfect starting place or a destination for us devoted fans to find, yet again, something new to awe and inspire. Like a hidden room inside his already impressive chapel, there’s always something new to discover from our beloved friend and hero, the late great Richard Swift.

Enjoy.

TRACK LISTING

1. The Original Thought
2. Dirty Jim
3. Would You?
4. Atlantic Ocean
5. Buildings In America
6. Common Law
7. Broken Finger Blues
8. Lady Luck
9. A Song For Milton Feher
10. The Songs Of National Freedom
11. The Novelist
12. Ballad Of You Know Who
13. Whitman
14. Walking Without Effort Theme

The long-awaited release of a fan favourite, 'Live In Keele 1977', is the latest in Can’s series of live albums, released on Mute and Future Days.

'Live In Keele 1977' is the newest release in a series of live albums that have been unearthed from the Spoon Records vaults and from fan recordings, then painstakingly assembled by founding member Irmin Schmidt and producer and engineer René Tinner.

This album is a dynamic document of late-period Can. Recorded in March 1977, the core line up of Irmin Schmidt, Jaki Liebezeit, Michael Karoli, and Holger Czukay is augmented by the addition of Rosko Gee (Traffic) on bass. Gee’s recent addition to the line-up meant that Holger Czukay was freed up from bass duties to perform “waveform radio and spec. sounds”, manifesting here as otherworldly sounds, samples and what one reviewer of a later show described as “moontalk to a white continental telephone.”

1977 was a difficult period for Can; their recently released eighth studio album, 'Saw Delight', had been badly received and although posterity has been kinder to the album, the reviews on release were savage. Journalist, broadcaster and author Jennifer Lucy Allan’s meticulous research of the time, place and context of the performance on the accompanying sleeve notes led her to declare of the album: “On paper, unremarkable. In practice, a precious hunk of sonic material.” Before going on to remind us that “The heads know – forums and published books alike agree – that ‘76-’77 is the best of the Can live years (Keele included). A couple of the tracks from this show have been included on fan-made “best of” live bootlegs over the years. And wow, are they right”.

STAFF COMMENTS

Barry says: Yet another entry in the Can live series, once again showcasing one of the greatest live psychedelic bands of all time. This time sees late-era Can in arguably their best live period, and sounds perfect too. What more could you want.

TRACK LISTING

1. Keele 77 Eins
2. Keele 77 Zwei
3. Keele 77 Drei
4. Keele 77 Vier
5. Keele 77 Fünf

A trio of Kansas City soul sweepers, from the sprawling midwest burg’s storied Cavern, Damon, and Forte concerns. Bump and the Soul Stompers’ 1970 sweet soul double sider 'I Can Remember' was a tail pipe-dragging, low rider classic in the making, had it ever been released. A few years later Jerald “Bump” Scott took his new group to Cavern’s subterranean confines to cut the group harmony masterpiece 'Living In The Past', but remained unissued prior to Numero’s discovery of the Cavern tapes. As disco was cresting at the top of the next decade, Sharon Revoal tracked her James Brown meets James Bond stepper 'Reaching For Our Star' - the last 45 released on Marva Whitney’s peerless Forte label.

TRACK LISTING

1. I Can Remember
2. Standing On The Outside

In 2015, Spaceman, Coxon, and friends performed a new original score live at a special film screening at the Barbican Gallery in London. The recording sat on a shelf for 10 years, and will finally be unveiled through this release.. Stranded in Canton is a black-and-white film portrait of Memphis in 1974, shot in bars and on street corners, showing Eggleston’s friends carousing, playing music and firing pistols into the night sky. It is raw, greasy, Quaalude-y and hot. Jagged and intimate, the film is a handheld window into a different world; “Hogarth on Beale Street” as writer Richard Williams describes it in the album’s liner notes. The tones Spaceman and Coxon came up with mirror the ragged nature of the film perfectly. Riffs written under flickering light bulbs, hypnotic tremolo, boozy romances, some barroom boogie, the blues, and hoping the bottle won’t let you down tonight. The characters of Stranded in Canton dance around the music, living their best Memphis lives by any means necessary.

TRACK LISTING

1. I Was Stranded In Canton
2. Last Week I Took A Trip
3. It’s Not Gospel
4. What Train Blues
5. I Don’t Know What I Can Possibly Do
6. Mother’s Milk
7. Back Up William
8. Everybody In Their Life At One Time Or Another
9. Love For The Asking
10. Credits Roll

Although Cannonball Adderley experimented with assorted styles and formats during his career, Cannonball's Bossa Nova [aka Cannonball Adderley and the Bossa Rio Sextet] continues to be an unusual work in his discography. This was not only true because of the Brazilian style to which the LP is devoted, but also because he isn't featured in the company of his usual collaborators, nor any other American jazz musicians. Instead, he's backed by a combo of Brazilian musicians led by the great pianist Sergio Mendes and drummer Dom Um Romao, who later became a member of Weather Report.

"Cannonball Adderley, who had to do some agile dodging to avoid being contaminated by the 'soul jazz' flood, has moved into bossa nova with equally perceptive discrimination. His set with the Bossa Rio Sextet is one of the most distinguished collections he has turned out and he produces some of the most commanding and gorgeously stated solos he has ever recorded."- John S. Wilson, ****1/2 DownBeat

TRACK LISTING

Clouds
Minha Saudade
Corcovado
Batida Diferente
Clouds [single Version]
Joyce's Samba
Groovy Samba
O Amor Em Paz (Once I Loved)
Sambop
Corcovado [alt Tk]

Today, Fashion Club, the alias of Los Angeles-based artist Pascal Stevenson, has announced her highly anticipated sophomore album, A Love You Cannot Shake, due out October 25th via Felte Records. Lead single “Forget,” the steamy art-pop track with country-inspired harmonies from Perfume Genius’ Mike Hadreas, is a conversation between Stevenson and her past self about the power of overcoming struggles. “It’s trying to love a version of myself that I’ve spent so long trying to distance from,” Stevenson says. “But it’s also a recognition that if I drift too far away from the version of myself that I see as really flawed, I might forget the things about myself that I felt I needed to change.”

Though A Love You Cannot Shake is the first album that explicitly addresses her transness, it’s not so much a “coming out” record or a confessional, straightforward tell-all as it is a tastefully abstract distillation of her personal experiences and identities into stirring vignettes that anyone can relate to. Whether it’s the search for self-worth in a society that only values humanity in its relation to capital (“Confusion”), the uncomfortably circular nature of self-growth (“Forget”) or the self-destructive urge to make up for “lost time” (“Ghost”), this LP is rooted in the universal truth that self-actualization is always worth pursuing. Tracks often begin from a place of discomfort and shame, but by the end, they tend to arrive at a more patient, hopeful frame of mind, as Stevenson cherishes the authenticity of a more amorphous emotionality.

TRACK LISTING

1. Faith
2. Confusion
3. Forget (feat. Perfume Genius)
4. Ghost (feat. Jay Som)
5. Enough
6. One Day
7. Ice Age
8. Deny
9. Rotten Mind (feat. Julie Byrne)
10. Deify

Introducing New Gaze's latest double single release, featuring the heartfelt "All We Can See" and the haunting "Dystopian Days”. This London-based classic-pop trio - Andrés Alcover, Rollo Ellison, and Julian Bayliss—offers a captivating blend of radiant melodies and poignant lyrics, making these tracks essential additions to any music collection.

TRACK LISTING

A1. All I Can See
B2. Dystopian Days