In January 2025 Alex Cameron exploded his life in a controlled detonation largely ignored by the universe. The charred remains of Cameron’s life fragmented and reassembled into 9 synthetic rock songs detailing his world’s deep confusion and regret.

He continues to find pieces of his own reflection in the shattered characters he creates and embodies. The promised Messiah. Agamemnon’s appetite for war. Mel Gibson’s ransom note. Humanity’s Pro-War destiny. A cold war breakup. These are songs of protest against life itself. This is the world our fathers feared and here is its soundtrack.

TRACK LISTING

Side A
1. No Soldier
2. Statue Down
3. Stand-in Man
4. Testoterone in Blue
5. Jesus Never Had No Porno

Side B
1. Ricochet
2. No Guns, Come Alone
3. Red Hook Rain
4. Violent Man

Mexican-born singer, songwriter, and producer Girl Ultra (Mariana de Miguel) continues to redefine the sound of Latin alt-pop and R&B with her signature blend of moody nostalgia, funk-laced grooves, and genre-defying experimentation. With a dedicated global fanbase and a reputation as one of Mexico’s most forward-thinking artists, she has become a leading voice in a new wave of Latin music that is both emotionally raw and sonically adventurous.

RRRomeo is Girl Ultra’s most ambitious and transformative project to date. Co-produced alongside the legendary funk duo Chromeo, the album was recorded between Mexico City and Los Angeles and draws inspiration from synth-pop, house, darkwave, indie rock, city-pop, and analog funk. Across eight tracks, Girl Ultra blends shimmering nostalgia with modern production, creating a bold and cinematic sound that reflects both her cultural roots and artistic evolution. Featuring collaborations with Buscabulla, Chromeo, Jean Tonique, and Empress Of, RRRomeo is a fearless statement from an artist pushing beyond genre boundaries and firmly establishing her place at the forefront of contemporary Latin alternative music.

TRACK LISTING

Side A
1. ¡El groove de Romeo!
2. Te Caigo
3. Mentirasmentiras (feat. Buscabulla)
4. RRRomeo
Side B
1. Denisse
2. Ironía (feat. Chromeo)
3. Ramera (feat. Jean Tonique)
4. Tomás (feat. Empress Of)

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

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

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

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

TRACK LISTING

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

Teenage Fanclub’s 'Do Not Dare To Dream' takes its name from Norman Blake’s 'I Do Not Dare To Dream', an infectious anthemic song driven by ringing acoustic guitars, joined at the end by duelling electric guitars that wrap around each other like a reassuring hug. Blake says that the title is meant to mock those memes that urge people to “dare to dream,” which to him are “kind of ridiculous... I don’t think the world works that way.”

Teenage Fanclub’s 13th album is full of songs that are calmly resolute, taking stock of the fraught state of the world without succumbing to despair. Blake’s warm, organ washed midtempo ballad 'Day In The Sun' and Raymond McGinley’s 'Over And Over' both speak to how everyone can find a renewed sense of purpose by opening their hearts. “We can still be cheerful and optimistic in the face of things not being great,” McGinley says. “My parents’ generation lived in Glasgow when there were bombs falling out of the sky. And here we are, however many years later. Things change.” Blake and McGinley are joined on 'Do Not Dare To Dream' by their bandmates Euros Childs (keyboards and vocals), Francis Macdonald (drums) and David McGowan (bass). This quintet has played together long enough now that neither of Teenage Fanclub’s principal songwriters and guitarists feel the need to fuss over their songs or work up arrangements before they enter the studio. They’d rather wait for the rest of the group’s input.

The initial sessions took place over 14 days at Black Bay Studio, in the township of Kirkibost, on the Scottish Outer Hebrides island of Great Bernera. Teenage Fanclub likes to take advantage of what a studio has available to use, and at Black Bay the band found a Domus church organ (prominently heard on many songs, including 'Over And Over') and a lot of different synthesizers. Euros Childs on keys brings a lot of sonic colour on this record, from the ’70s sound of the Solina String Ensemble on 'Tomorrow People' to the Mellotron flutes on McGinley’s gently reflective 'Take Time', and across every other song. Add to that the musicality of David McGowan’s counterpoint melodies on bass and Francis Macdonald playing so freely and expressively on the drums and you can hear how it all adds up to the confident collective identity of the band that McGinley was talking about.

As longtime fans are likely aware, Teenage Fanclub record each album in a new place so that they can let its unique atmosphere influence the music. Great Bernera is their most remote recording location yet, which helped the band focus on the work but also put them in a place of awe, surrounded as they were by the crashing sea and ancient ruins. Blake recalls “not too far from the studio, on the adjacent island of Lewis, there’s an ancient monument called the Callanish Stones, which is older than Stonehenge. The whole area is kind of magical.” McGinley expands, “it’s a place where they had a lot of Neolithic monuments. Later on it was a Viking area. And on our time off, we’d go see these things which are like, I don’t know, 5000 years old. Some of us went for a walk every morning, ‘round over the hills and stuff. I think all that plays into the feeling on the record, being in this kind of timeless landscape with connections to unknown civilizations from a long, long time ago. All those things that make you feel small, but in a good way.”

The result is a collection of songs suffused with the proper perspective of musicians who have been around for a while, recorded in a place that has been around even longer. As Blake puts it, “I think what happens is you just move from one thing into the next and before you know it, 30 years have passed. McGinley adds: “Yeah, it’s been a while since we started doing this thing we do, but to us it feels like no time at all. In the place where we made the record people would have been singing thousands of years ago. Life is short, but music is eternal.”

TRACK LISTING

1. There Was You
2. Tomorrow People
3. Over And Over
4. Be With You Tonight
5. The Same Air
6. I Do Not Dare To Dream
7. Take Time
8. Day In The Sun
9. Somewhere To Land
10. Young And Wise

Danielle Ponder is done waiting for a future version of herself to arrive. Now, the Rochester-born, Atlanta-rooted singer-songwriter is unapologetically living in the moment. This realization powers 'Everything Has Changed', Ponder's anticipated sophomore album (and debut on Dead Oceans in partnership with Phoebe Bridgers).

The LP is Ponder’s most self-assured statement to date: it was crafted through a period of immense transformation as the beloved vocalist propelled from being a lawyer to a full-fledged musical powerhouse. That artistic freedom threads the album, as heard on lead single, 'Power', which serves as both a declaration and an affirmation for the Black diaspora. Other highlights include the revelatory 'Sun and Moon', the towering blues ballad 'God of You', and the devastatingly vulnerable 'Open Windows'.

'Everything Has Changed' dismantles the stories Ponder once told herself and finds peace in what remains—all themes that have shaped much of her journey.

Music was always a constant presence throughout her life, but practicality initially took over in adulthood. While performing with her family’s band and later developing her own projects, Ponder pursued a legal career focused on criminal justice reform. It wasn’t until her late 30s that she allowed herself to seriously imagine music as more than a side pursuit. In 2021, at age 39, she finally took the leap, leaving law behind to pursue her artistry full-time.

The gamble paid off: she signed her first record deal in 2022, becoming a trailblazer on her own unusual path to worldwide renown. Her debut album 'Some of Us Are Brave' introduced Ponder as one of soul music’s most compelling new voices, thanks to singles like 'Someone Like You', 'Roll The Credits', and the empowering title track. The LP earned critical acclaim along with dozens of major sync placements, including the latest Apple campaign for the iPhone 16 Pro. She’s since had four major TV appearances, including Jimmy Kimmel Live! Ponder has also sold out shows across North America and Europe, including festival appearances at Bonnaroo, Lollapalooza, Afropunk, and the Montreux Jazz Festival.

But if that album documented her arrival, 'Everything Has Changed' documents her evolution. 

TRACK LISTING

1. Seasons
2. God of You
3. Power
4. SKN
5. Sun and Moon
6. Garden
7. Everything Has Changed
8. NWAS (interlude)
9. Ya Mama's Love Song
10. Open Windows
11. Blues
12. Made My Bed
13. Time Is A Wild Thing
14. Laurel Canyon

'Creole Culture' is the triumphant return of Dawn Richard’s King Creole era. Steeped in history but with its flag planted firmly in the future, 'Creole Culture' pulls elements from Richard’s heritage as a Black and Native American woman who has spent a lifetime making and engaging with music. Following 'New Breed' (2019) and 'Second Line' (2021), 'Creole Culture' is akin to a panel of a triptych: a fully-realized sonic and narrative universe in which Richard, as King Creole, rebuilds her hometown of New Orleans in her image. She not only honors her city for what it was or what it gave her, but stakes a claim for it as a cradle of global culture now and for all time.

'Creole Culture' follows two acclaimed avant-garde R&B albums with composer Spencer Zahn — the later of which, 2024’s 'Quiet in a World Full of Noise', found Richard exorcising the specters of grief and trauma in the wake of her father Frank Richard’s health struggles and the killing of her cousin Cisco. It is a softer take on the brass-soaked swagger of Richard’s previous King Creole efforts, an evolution brought about when she realized she had left a crucial viewpoint out of her exploration of New Orleans: her own. “New Breed was the story of New Orleans through my father’s eyes,” Richard explains. “I used his samples, his music, his cultures, his work with Chocolate Milk, his side of the family. Second Line was my mom — her interludes riddled the album with her depiction of what is meant to be a Creole woman in New Orleans. The masculine and feminine sides of King Creole had expressed themselves through them, but the story felt unfinished, like my version of the story was untold.”

That story is, for lack of a better word, complex: at turns triumphant and tragic, sexy and mournful, braggadocious and contemplative. 'Creole Culture' presents Richard’s New Orleans as a utopian soundscape — an intoxicating blend of R&B, soul, hip-hop, pop, and jazz — that’s survived and thrived despite the dystopian circumstances visited upon it. Richard presents the melange of influence and artifact on 'Creole Culture' with the care of a botanist nurturing new hybrids in a rose garden.

What emerges from that care is at once delightful and unexpected, enlisting a crew of guest stars including Big Freedia, Anjelika “Jelly” Joseph, Tarriona “Tank” Ball, and Durand Bernarr for features that play against type. Tank’s turn at spoken word verse on 'l v r' serves to add dimension to King Creole’s New Orleans, as does Joseph’s undeniable voice on 'chuuuurch'. “I’m not normally a features girl,” says Richard, ”but King Creole can’t build a world from scratch without help. What’s beautiful about the features here — which is also true of my band and producers — is they come from people who understand the materials of the world they’re from, they’re people I love, and they’re people who are just extraordinary at what they do. They’re part of the atmosphere of this place. You need them for the record to breathe.”

In the end, that’s what King Creole creates: a space where Dawn Richard can breathe, can be at peace with herself, and let loose with others. From finding love in opening single “enough” to relishing in the Afrocaribbean futurism of “fiesta,” 'Creole Culture' is a tremendous, freeing breath of fresh air. It captures the resolve of a woman and a place who’ve survived the unimaginable and sees the future not as something to be endured, but as something to be created. Dawn Richard has been making that future one album at a time over the course of her career. 'Creole Culture' is her most stunning one yet.

TRACK LISTING

1. A Creole Culture
2. Enough
3. Only Fans
4. Chuuuuurch
5. Groove City
6. L V R
7. Pilates
8. Baby, Can We?
9. Motives
10. Fiesta
11. Faith In The Fire

'Moulded By Industry' is William D Drake's six album, his first for ten years and a return to the richly layered sonic texture and epic production of his majestic Briny Hooves. He is joined by long time collaborators James Larcombe, Dean Gaisburgh-Watkyn and Steve Jackson, with the addition of a new crew member, singer Treana Morris. Moving on from his nine years of pianistic and compositional duties in Cardiacs, Drake's solo work has been known for its synthesis of Mellotron-driven grandeur with a surreal playfulness.

But the deep heart of Drake's work is in its powerful evocation of the landscape of the countryside and its connection with love, longing and loss. To this end, his own enigmatic lyrics have rubbed shoulders with poetry drawn from across the centuries. From obscure sources such as Samuel Spree to the poetry of Thomas Hardy and Rupert Brooke, his settings make old words shimmer with human emotion. The texture of his music also reflects an inspirational lack of concern for distances of time. The earthy breath of his harmonium is interwoven with tones teased from archaic instruments by James Larcombe – hurdy-gurdy, dulcitone and melodeon. But Drake's sound-world is no museum. Here, ancient words and the timbres of ancient instruments become one with the rush of a moment's emotion.

'Moulded By Industry' brings this approach a new sonic depth, intoxicatingly shaded by Treana's lush vocal harmonies and underpinned by Steve's rhythm. Dean's evocative guitar textures give an oceanic sense, tinged with Americana, recalling his work with Drake in their alt country band Nervous. These many layers of sound are drawn together into vivid soundscapes by the painterly mixing of producer Ott. Renowned for his work in electronica and dub, Ott's two decades of experience working with artists such as Sinéad O'Connor, the Orb and Brian Eno bring an organic touch here, more akin to the elemental forces of land and sky than grid electricity. More than any of Drake's previous albums, 'Moulded By Industry' reignites the emotional urgency of old texts.

The gorgeous single 'The Flickering Shade', haunted by glimmers of lost possibilities, is set from words by Thomas Ashe. Turtledove's heady evocation of the blissful madness of love sets the words of an anonymous 17th century ballad. above all, the album is a testament to Drake's love of John Clare, 'The Northamptonshire Peasant Poet'. Clare wrote as the centuries old process of enclosure, in which wild and common land was appropriated commercially, was accelerating. His works, rather than representing simple sentimentality, are passionate love poems to the landscape and cries from a soul reeling from the creeping unfamiliarity devouring it. This sense of the tension between passion and ill-ease has its most potent expression in Green Shadows. The brooding, slow-tempo energy of Steve's drums drive a horizon-wide lament, alternately lulled by Treana's vocal textures and made restless by James' plaintive hurdy-gurdy and the emotive pull of Dean's slide guitar. The present moment is also a time of enclosure, both metaphorically, as our lives, memories and emotions are drawn into the commercial space of social media, and literally as land and water are swallowed by vast data centre developments.

'Moulded By Industry' celebrates a regained sense of being in the moment in the landscape, in life and in love. The album closes with the utterly delightful single 'Love In The Universe'. The kind of song that could make a cynic use the word 'joyous' without irony, this Harry Nilsson-esque romp reassures us, with a wink, that 'in an infinite universe everything has its place ... even the human race'.

TRACK LISTING

1. The Flickering Shade
2. Bliss Again
3. Green Shadows
4. Turtledove
5. A Vision
6. The Storm
7. Me Fish Bring
8. Distant Hills
9. Love In The Universe

The road to Death Valley Girls’ 'Welcome to Earth' begins in the ashes of California’s Eaton Fire. After losing her home in Altadena and soon after her beloved dog Tommy, lead singer and songwriter Bonnie Bloomgarden confronted questions that resisted easy answers: What survives catastrophe? What remains after loss? How do you rebuild a life when the things that once defined it are gone? The album that emerged from those questions is among the most intimate and searching works Death Valley Girls have ever made.

Throughout the band's body of work, they have treated music as both celebration and search party. Albums like 'Glow in the Dark', 'Darkness Rains', 'Under the Spell of Joy', and 'Islands in the Sky' transformed their space rock sound into a vehicle for spiritual inquiry, finding flashes of transcendence amid everyday chaos. But 'Welcome to Earth' feels distinct from its predecessors. It focuses less on escaping the world and more on understanding how to remain connected after devastation.

What emerged was not a psych-punk record about loss, exactly, but about connection: the invisible threads linking people, animals, memories, landscapes, and lives across time. The album's title functions as both a greeting and a reminder, a welcome from the natural world to a species that has largely forgotten its place within it. Again and again, the songs return to the possibility that separation may be humanity's most persistent illusion.

That idea of connection extends beyond the songs themselves. After the fire, Bloomgarden found herself held aloft by the musicians who now make up Death Valley Girls: drummer Bailey Chapman, guitarist Laena Myers, bassist Alana Amram, saxophonist Sarah Safaie, and keyboardist Gregg Foreman - who devastatingly passed away not long after. They carried her through grief, through the band's first tour after the loss, and a year for her to be ready to write again. Their presence shaped not only the spirit of 'Welcome to Earth', but its sound: a more expansive, communal energy that feels inseparable from the people who helped bring it into being. "I don't think this record could have been made with any other group of people," Bloomgarden shares. Tragically, the album also stands as the final Death Valley Girls recording to feature Gregg's contributions.

Yet for all its weighty questions, 'Welcome to Earth' is remarkably joyful. 'Plant Magic' turns renewal into a communal celebration. 'Basic Witch', featuring Seth Bogart, transforms heartbreak into hard-won self-awareness. 'Message From the Venus Flower' and 'I Love You' reimagine grief as evidence of an enduring connection rather than an ending. Musically, the album remains unmistakably Death Valley Girls: exuberant, melodic, curious, and gloriously open-hearted. Girl-group harmonies drift through hazy psychedelic passages; voices gather into communal chants; choruses arrive with the buoyancy of a collective sing-along. That communal spirit echoes throughout the album's many voices: twenty-three guest singers appear across the record, including a children's chorus whose bright presence lends the songs a fresh sense of wonder. Longtime collaborator Laura "The Kid" Kelsey returns throughout the album, as well as Little Ghost who was equally central to the process, contributing backing vocals throughout the record, creating the album artwork, and remaining a constant creative presence both in the studio and on the road. 'Welcome to Earth' also features acclaimed jazz vocalist and multi-Grammy-nominated artist Gretchen Parlato.

What makes 'Welcome to Earth' so moving is its refusal to separate the cosmic from the deeply personal. Bloomgarden searches for meaning everywhere, following those threads wherever they lead. The result is Death Valley Girls' most intimate album, but also their most expansive: a record that looks directly at loss and somehow emerges more open to wonder. In the end, 'Welcome to Earth' proposes a radical idea disguised as a danceable rock-and-roll record. It suggests that healing begins not when grief disappears, but when we recognize how deeply connected we have always been.

TRACK LISTING

1. Welcome to Earth
2. Basic Witch
3. Plant Magic
4. Sing for Yourself
5. Message From the Venus Flower
6. I Love You
7. Fire and Brimstone
8. Life So Far
9. How Losing Everything in the Fire Taught Me to Love Myself

Between the late 1960s and the mid-1980s, musicians across the Dutch Caribbean islands of Aruba, Curaçao, and Sint Maarten created music that crossed stylistic boundaries, forming a close-knit network shaped by common histories and identities, while rarely receiving wider recognition. From the psychedelic funk of local stars Sugar Ice Tea and Cryptus Confession to the Latin influences of visiting musicians like Puerto Rican star Mon Rivera via Surinamese-influenced soul and the garage rock of Los Honda, the islands nourished a huge array of styles and talent. Antiyano Progresivo unfolds against the backdrop of a rapidly transforming Caribbean. During the twentieth century, oil industries, migration and tourism reshaped the islands, creating unparalleled cultural exchange while deepening social divisions. African, Latin American, North American and European musical traditions intertwined with local forms, producing a rich and distinctive musical landscape. Tambú, tumba, calypso and Caribbean dance music coexisted alongside soul, funk, psychedelic rock, reggae, Latin music and American and British pop. Musicians moved fluidly between these styles, developing sounds that were unmistakably local while remaining connected to wider currents across the Caribbean and beyond. The period also coincided with growing movements for cultural and political self- determination. Events such as Curaçao's Trinta di Mei uprising in 1969, the emergence of Black Power movements and increasing calls for greater autonomy fostered renewed pride in African heritage, local languages and cultural expression. These ideas resonated through music, inspiring artists to challenge conventions and create work that reflected changing identities.

TRACK LISTING

1. Quinteto Winoe - La Cumbanchera
2. Los Dangers - Punda Y Otrabanda
3. Sugar Ice Tea - Madua
4. Superfly Bros of St. Martin - Another Star
5. Grupo Enry - Ahi Viene El Sheriff
6. Los Honda - Nunca Volveras
7. Explosion - Remalloo
8. The Hornet's – The Hornet’s Revolution
9. Double You And Tee - Confusion
10. Lloyd And The Joys - The New York Business
11. Cryptus Confession - Rhythmotion
12. Brotherhood of Man - Big Lou
13. Lloyd And The Joys - That Look of You
14. Mystic Roots - Loose Yourself
15. St. Maarten's Rolling Tones - It's a Feeling
16. Cool Creations of St. Maarten - Wish Upon Love

'Ghosts (100 Days of Morning)' sees the return of one of Britain’s most beloved artists, Jamie T. A confronting 11-track collection of former ghosts brought to life during a difficult time in his life, 'Ghosts (100 Days of Morning)' nods to growing up and leaving youth behind, love, loss and the brittle nostalgia of halcyon indie-era nights. 'Ghosts...' is as much about letting go as it is reclaiming his identity.

The album, produced in part by Jamie, James Dring (Loyle Carner / Blur) & Hugo White (The Maccabees), includes the single ‘3310’ alongside the introspective album closer ‘Tallahassee’ and Damon Albarn collaboration ‘Cocktail’

TRACK LISTING

TBC

The definitive autobiography from Alice Cooper, the Godfather of Shock Rock and one of the world's most iconic musicians with a career spanning six decades.

The definitive oral history of Pink Floyd as told by friends, associates, family members and the band themselves through exclusive, never before published interviews. Bestselling music author Mark Blake has been an associate and collaborator of Pink Floyd for over thirty years. Shine On takes on the behemoth task of capturing the most comprehensive history of the band ever compiled, drawing on huge amounts of new, archive and unpublished interview material with Gilmour, Waters, Mason and Wright.

No other writer has interviewed the members of Pink Floyd as often nor as thoroughly, which is candidly apparent in this textured, gripping and consistently surprising biography. For the first time, the band's story is told as an oral history with each chapter presented through the words of the band, their friends, contemporaries and supporting musicians. The accessible structure and high level of detail means that the narrative is both approachable to casual readers and magnetic to the committed.

Shine On is comprised of a significant amount of previously unpublished material, including a rare interview with Rosemary Breen lamenting that her younger brother Roger, aka Syd Barrett, should have never become a musician as well as exclusive new interviews with Pink Floyd's Nick Mason and Guy Pratt, reflecting on their enduring legacy and rather more complicated recent twists and turns in the bands story. Shine on is a forensic retelling of one of the most turbulent and enduring groups in rock music history, a complex history that only someone as skilled and insightful as Blake can navigate.

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...

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

TRACK LISTING

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

This might be Illegal Disco, but that doesn't mean it's bad - quite the opposite. The edits of the inimitable Monsieur Von Pratt are worth being arrested for. He knows how to tweak and toy with a well-chosen original just enough to turn up the heat without distilling any of the original, authentic vibes. 'You Can Dance' is a slinky, soulful anthem with a mid-tempo groove that will lock in anyone. 'Get Happy' has shimmering vocals that burst with joy and will get big smiles as well as big reactions. Last but not least is the gloriously upbeat and excitable disco of 'Gotta Have Lovin.' Pure fire from the Pratt, as always.

TRACK LISTING

You Can Dance
Get Happy
Gotta Have Lovin'

'Walt Disco' turns years’ worth of graft to the band's artistic advantage; songs grapple with the disorientation of growing up (amidst gender dysphoria, changing relationships, a volatile industry) but eventually land in a place of gratitude and acceptance.

The kind of fearlessly ambitious, alt-rock opus that could come from no other group. Including the raw and electric single 'Coup de Foudre' and new release 'Lies'.

P.P. Rebel is the harmonium-led, spiritually inspired project of Melbourne artist Paris Rebel Richens (Singer of Parsnip, Hierophants), who has been making all kinds of extraordinary sounds over the past fifteen years and has more recently found a new direction through the spiritual path of Kriya Yoga.

Drawing on both Eastern spiritual traditions and Western influences such as The Incredible String Band, The Velvet Underground, Syd Barrett, and Skip Spence, P.P. Rebel has developed a sound distinctly its own: beautiful, calming, spiritually charming songs for the soul. 

TRACK LISTING

1. Sanctuary
2. Gregor Mendel

3. Happy
4. Ascension
5. Swathe
6. You Are Hidden

7. Hiranyaloka

For decades Devo have been working non-stop at Recombo DNA Laboratories on a new kind of research to keep up with the mutating world around us. That extensive research is now ready for public consumption once again. Futurismo were the first to bring you this on vinyl and now they present unhindered access into Devo’s labs, documenting the scientific analysis and demonstrations as conducted by the band between the years 1977-2008.

This tireless research has manifested itself in Recombo DNA…an unmissable collection of studio demos and unreleased rare tracks that span Devo’s entire recording career, from their original basement days to their famed ’Freedom Of Choice’ era, right the way through to unused demos from their last studio album. You may know the track ‘Baby Doll’ but do you know it’s original incarnation as ‘Satan’? If you submit to the findings of Recombo DNA Labs you will, Futurismo’s version of this compilation includes six bonus tracks taken from the archives that had never been released, or even heard before.

This limited edition 4xLP set is a sonic fusion of demos, alternate versions and outtakes, demonstrating the true breadth and talent of one of America’s most important bands. But this set doesn’t stop at four beautiful slabs of mutated vinyl, also included is ’The Somewhere Suite’ served up on the format it was originally intended to be back in the May of ‘89, advertised although never released, it’s contained here in all it’s full length glory on a 3” Mini CD. Recombo DNA is also coming on a 3xCD digipak version for the very first time from Futurismo, including all the wonderful artwork and bonus material. Devo’s Recombo DNA is an essential addition to the collection of any science fearing spud, and the perfect sister release to last years Art Devo. The original 2017 pressing of Recombo DNA sold out in less than 48 hours, so grab this while you can. Each set includes 4xLP on limited edition coloured vinyl and includes a Mini CD. This fantastic collection of devolved recordings and bonus tracks are contained within the gloss laminated wide spined sleeve, with newly tweaked artwork, a huge A1 poster, full colour inner sleeves and liner notes by Gerald V Casale. Submit to these findings and witness audio mutation in action.

TRACK LISTING

Sequence (a) :
A Necessary Response With Gerald Casale
Recombo DNA (Demo)
The Words Get Stuck In My Throat (Live)
Sloppy (I Saw My Baby Gettin’) (Demo)
Be Stiff (Alternate Mix)
Pink Pussycat (Demo)
Goo Goo Itch (Alternate Version)
Strange Pursuit (Demo)

Sequence (b) :
The Day My Baby Gave Me A Surprise (Demo)
Bushwacked (Prosthetic Version)
Girl U Want (Demo Alternate Version)
Turn Around (Demo Alternate Version)
Snowball (Demo Alternate Version)
Luv & Such
Conscious Mutation With Mark Mothersbaugh

Sequence (c) :
Gates Of Steel (Demo Alternate Version)
Planet Earth (Demo Alternate Version)
Whip It (Demo Alternate Version)
Cold War (Demo Alternate Version)
Time Bomb
That’s Pep (Demo Alternate Version)
Mental Warfare With Gerald Casale And Mark Mothersbaugh

Sequence (d) :
Ton ‘O Luv (Instrumental Demo)
Make Me Dance (Labeled ’Make Me Move’)
Gotta Serve Somebody (Live) By Dove
I Saw Jesus
Psychology Of Desire (Demo)
Pity You (Demo)

Sequence (e) :
Beautiful World (Demo)
Race Of Doom (Demo)
I Desire (Demo)
Big Mess (Demo)
Pink Pussycat (Demo)
The 4th Dimension (Alternate Rough Mix)
Here To Go (Alternate Rough Mix)

Sequence (f) :
Some Things Don’t Change (Rough Mix)
Big Adventure (Rough Mix)
No Noise (Rough Mix)
Love Is Stronger Than Dirt
Faster And Faster
Modern Life
We Are Unique With Gerald Casale And Mark Mothersbaugh

Sequence (g) :
The Only One (Demo) With Vocal By Toni Basil
Baby Doll (Demo)
Some Things Never Change (Demo)
Plain Truth (Demo)
Happy Guy (Demo)

Sequence (h) :
Before Baby Doll There Was Satan With Mark Mothersbaugh
Satan (Pre-Baby Doll)
Red Alert (Unreleased)
Sad Song (Unreleased Instrumental)
Mind Games (Demo)
Later Is Now (Instrumental)
It’s Not Nuclear Bombs You Must Fear With Booji Boy

Sequence (i) :
The Somewhere Suite (Studio Version Demo)

DJ Spanish Fly is one of the foundational figures of Memphis rap. Long before the city's underground sound would influence artists across the globe, his homemade mixtapes circulated hand-to-hand throughout Tennessee and the wider South, defining a raw, bass-heavy style that would become the blueprint for generations of rap producers.

'Cadillac Warning' collects a wealth of previously unreleased recordings from the 1990s, excavating the eerie, hypnotic world Fly built from primitive home recording equipment, drum machines and booming car stereos. Named after the talking alarm system in his prized 1978 Cadillac Coup DeVille, the album captures a period when the car was both status symbol and mobile headquarters, carrying his music from clubs and college campuses to gas stations and neighbourhood streets across Memphis.

Championed by the likes of A$AP Rocky, Legowelt, LIM, and more - DJ Spanish Fly's lasting impact on the wider hip-hop landscape is seeing a renewed global interest from underground rap and electronic music communities alike.

TRACK LISTING

1. Who's The Man
2. U Cain't Hide ft. Capt C
3. Jealous
4. Badguy
5. Git Buck ft. Lady Dia
6. Cocaine Call
7. Come Back
8. Shake Dat
9. The Medicine
10. Rollin’ In My Cadillac

'Jealous / Git Buck' offers a first glimpse into the world of 'Cadillac Warning', DJ Spanish Fly’s forthcoming collection of previously unreleased Memphis rap recordings.

'Jealous' opens with a field recording made by Fly in the early 1990s, capturing the talking alarm system of his prized 1978 Cadillac Coup DeVille as it warns would-be carjackers to “move away from the vehicle” – a moment that would later inspire the album’s title. One of the foundational figures of Memphis rap, Spanish Fly helped define the city’s raw, bass-heavy sound long before it spread across the globe. Built from eerie synths, booming 808s and DIY production, 'Jealous / Git Buck' captures the hypnotic street energy that made his homemade tapes legendary throughout the South.

Championed today by figures including A$AP Rocky, Legowelt and NTS Radio, Fly’s pioneering work continues to find new audiences across hip-hop and electronic music alike. 

TRACK LISTING

1. Jealous
2. Git Buck ft. Lady Dia

In August 2025, Lee Bains decamped to the Cherry Street Tavern in Chattanooga, Tennessee, a scene known for holding a light for collective good and personal freedom, in order to record a live album. Over that weekend, a group of anti-war activists, union workers, queer rights organizers, inclusive pastors, and people of goodwill—old-time folks—came from Tennessee, Alabama, and Georgia to gather at the Cherry Street Tavern. That weekend, that small group of people on Cherry Street, just like innumerable other groups that day and throughout history, demonstrated to each other and to the microphones, that, in 2025, the South was comprised of free people, no matter what. Free South 2025. Free South 2026. Free South forever.

Lee Bains is a poet and songwriter from Birmingham, Alabama, who since 2012 has released four studio albums of what Rolling Stone calls “Southern gospel punk," and will publish his debut poetry collection Work Lunch with Hub City Press in 2026 after several of the poems were first published by the New Yorker in 2021.

TRACK LISTING

1. The Company Man
2. (In Remembrance Of The) 40-Hour Week
3. Whitewash
4. Done Playing Dead
5. Rednecks
6. Gentlemen
7. Outlaws
8. Nail My Feet Down To The Southside Of Town
9. God's A-Working, Man

Written and produced alongside her sister Lucy Green between Phoebe's flat in Manchester and their parents' home in the coastal town of Lytham St Annes, 'Premature Nostalgia' finds Phoebe Green at her most psychologically unguarded - documenting the impulse to grieve moments before they've even disappeared, turning spiralling inner monologues, warped electronics and metallic textures into fractured, emotionally combustible alt-pop.

A darker and more enigmatic companion to 2025 EP 'The Container' and her acclaimed debut album 'Lucky Me', 'Premature Nostalgia' draws inspiration from artists such as Imogen Heap, Oklou, Jockstrap, James Blake, FKA twigs and Sega Bodega - embracing warped electronics, fragmented structures and more experimental forms of pop songwriting. The album also features collaborations with Picture Parlour's Katherine Parlour and incorporates field recordings and metallic textures pulled directly from Manchester's industrial landscape and club culture.

At its core, however, the album remains rooted in the bond between Phoebe and Lucy - sisters, collaborators and proud adopted Mancunians navigating the realities of independent artistry together.

TRACK LISTING

1. Showing Off
2. There's Always Someone Kicking The Seat
3. I Don't Play It Cool, I Play It Steaming
4. Polluting You With Me
5. Screen Glow Halo
6. Clothes Still On 
7. Double Vodka Lemonade
8. Pressing The Bruise 
9. Happy Birthday 
10. Silver 
11. Gum for the Aftertaste

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. 

California-based couple Allie Schulz and Alex Pasternak are Florecer, a producer and vocalist combo who draw on the energy that having their daughters gave them. 'Babies' and 'energy giving' are not often heard in the same sentence together, given the demands newly born small people often have on parents' time and sleep, but judging by these sounds, this pair have been fully inspired. The title cut is tropical and dub and kosmiche all collide into an undulating rhythm that's bright and demanding of your attention. Coyote dubs it into a more smooth affair and then 'What I Knew' rides world dub with steel drums. 'Running Behind' slows to a deep, soft plod with whimsical vocals this time, and Chris Coco turns up the reverb for a lovely, sleepy dub of his own.

TRACK LISTING

Sleep Training
Sleep Training (Coyote Dub)
What I Knew
Running Behind
Running Behind (Chris Coco Dub)

Master Peace returns with a highly anticipated second album 'If I Don't Love You, Who Will?', led by singles 'Love Hate' and 'Sucker Punch!'. Winner of the Ivor Novello Rising Star Award, his critically acclaimed debut 'How To Build A Master Peace' was backed by BBC Radio 1, Franz Ferdinand, The Streets and Zane Lowe. Support tours with Franz Ferdinand and The Streets followed along with shows with Bastille, Good Neighbours and 5 Seconds Of Summer, plus sold-out headline Scala and Electric Ballroom shows.

Across 'If I Don't Love You Who Will?', Peace explores young romance in all its forms - lovelorn, romantic, confident, bolshy and sometimes in crisis. 'Sucker Punch!' captures one of the album's more intimate moments, balancing tenderness with the sense of urgency that runs throughout his work.

The release and news follows previous singles 'ONE of ONE' and 'Love Hate' (feat. Thomas Day)’, which introduced listeners to this new era and began sketching out the shape of the forthcoming album. Picking widescale playlists, press and radio support the releases showcase an artist becoming increasingly comfortable in his own skin, broadening his sound without losing the energy and individuality that first set him apart.

As Master Peace moves from his acclaimed 'Stupid Kids' EP into his 2nd album 'If I Don’t Love You, Who Will?' will find Master Peace at his most complete yet: sharper, more assured and backed by some of the industry’s very best.

TRACK LISTING

1. Save Your Love xx
2. New Boyfriend
3. Falling In Love With You Friends
4. Back At Me
5. Act Live You Know?
6. Love Hate feat. Thomas Day
7. Stay On Me!
8. ONE of ONE
9. Sucker Puncher!
10. Never Moved On?

For two decades, Pokey LaFarge has walked his own iconoclastic road — forthright, genuine, unafraid to put it all out there. 'Rent Money' marks another step forward, arguably his finest collection yet: both a heartfelt personal statement and no-nonsense social commentary. Twanging guitars, plucky rhythms, and captivating melodies make the album soar and swing, its joyous refrains masking an undercurrent of worry fitting for troubled times. As ever, the Illinois native crosses genre boundaries with ease, blending strains of 20th-century American music through earnest songcraft and subversive creativity. Rent Money stands as a high-water mark for LaFarge — a defining work from a one-of-a-kind artist of rare ingenuity and candor, crafting deeply human music all his own.

TRACK LISTING

1. The Thing
2. My Baby Loves Me
3. Hambone
4. Rent Money
5. Stick Together
6. Work
7. Stranger
8. Can't Take it With You
9. Told You No
10. Big Boss Man
11. On and On

When is a record ever finished? Baxter Dury’s eighth album, 'Allbarone', seemed to be done and dusted after release last autumn, yet super-producer Paul Epworth (Adele, U2) decided it was a good idea to work on extensions of five of tracks from the album. Not just extensions - full on electro-disco mixes that take tracks apart from the edges and reorder them into relentless dance floor tools built to perfectly soundtrack the small hours.

Each track finds a groove and takes its journey right through the middle of the original track, to create classic 12" extended remixes, adding a whole load of echoing dub over flickering percussion tracks, madly addictive basslines and gloriously languid disco rhythm tracks. From 'Kubla Khan’s hefty low-end groove to 'Alpha Dog’s deconstructed nightclub dub via 'Schadenfreude’s Eurodisco bass and fizzing hi-hat pulse, Paul Epworth’s phenomenal new mixes lift Baxter’s tracks up to another level.

Finally, 'Allbarone' done, and it's become the perfect soundtrack to whatever you’re doing this weekend.

TRACK LISTING

1. Kubla Khan (Paul Epworth Extended Version)
2. Allbarone (Paul Epworth Extended Version)
3. Alpha Dog (Paul Epworth Extended Version)
4. Schadenfreude (Paul Epworth Extended Version)
5. Return of the Sharp Heads (Paul Epworth Extended Version

'Phren' is the third release of Opale, a series curated by Maple Death and publishing house Canicola Edizioni, sister imprints that for last decade have been exploring and researching the intersection of music and narrative through images and sound, giving life to new dialogues between the two languages, with a visionary and militant approach. Each Opale release will see the parallel production of an LP and illustrated book, linked together by a red thread that runs through atmospheres, emotional temperatures, glimpses of content, and collected in a precious limited edition box set that include posters and unique designs. Marta Salogni & Stefano Pilia’s album is accompanied by artwork, images and a 32 page Singer stitch binding illustrated book/carnet d’artiste by Sarah Mazzetti. Sarah Mazzetti is an Italian illustrator and visual artist whose work moves between drawing, publishing and visual storytelling. Her illustrations have appeared in publications including The New York Times, The New Yorker, Die Zeit and The Guardian, and she has collaborated with brands such as Louis Vuitton and Dr. Martens. She is the author of several illustrated books, including works published by Canicola Edizioni. Her practice explores the relationship between narrative, memory and imagined worlds.

A structure rises from the water: an object suspended between architecture and landscape, between reflection and depth. Its surface mirrors the world around it, while within its walls another space exists, a place of listening, isolation and encounter.

'Phren', the first collaborative work by Marta Salogni and Stefano Pilia, emerges as a layered and articulated sound-hymn-dialogue between Stefano’s abstract guitar work and Marta’s manipulation of tape machines. Conceived alongside the imagined space created by Sarah Mazzetti for the Opale series, a project by Maple Death Records and Canicola edizioni, the album becomes a form-shifting composition where memory itself is continuously transformed through resonance, repetition and reconfiguration.

Here, sound is not preserved as an object of the past, but treated as a living material: something capable of carrying traces, absorbing new meanings and generating unfamiliar voices.

The album develops from a simple yet constantly shifting principle: a sound is set in motion and then passed through a series of interconnected systems where it is delayed, altered and returned in another form. Stefano Pilia’s guitar travels through a complex chain of modular processes, composed of different stages of preamplification and filtering, before entering a tape echo system that introduces further layers of repetition, resonance and spatial displacement. These signals are then absorbed into Marta Salogni’s Revox tape machines, where additional lines of delay, modulation and environmental transformation reshape the material once again.

The resulting music is not a dialogue between two instruments, but a shared system — a living architecture in which a single signal moves simultaneously through parallel and serial pathways, gathering traces of each passage. Sound becomes a material in constant motion: a gesture becomes an echo, the echo becomes a new gesture, and the distinction between origin and reflection gradually begins to dissolve. 

TRACK LISTING

1. Sopra L'acque Scavate
2. Dove Mettersi Un Vento
3. Muti Nell’attesa
4. La Memoria Vacilla
5. Ma La Mia Anima è Testimone
6. E Il Mio Fiume Scorre Verso Te, Oh Mare, Accoglimi 

Saccades, the solo project of Nicholas Wood — one half of the acclaimed electronic duo The KVB — returns with the new album 'Golden Days'.

Influenced by music from across the globe, 'Golden Days' draws particular inspiration from crate-digging discoveries: obscure psychedelic music and rare soul records from the 1960s and ’70s. The album also takes cues from contemporary artists including Air, Khruangbin, Darkside and Jack J.

A strong sense of hauntology runs throughout the record, particularly in its atmospheric effects, hypnotic loops and woozy production. These elements also nod towards Wood’s early solo project Die Jungen, while the album’s deliberately hazy character creates the feeling of a half-forgotten dream.

Lyrically, 'Golden Days' is romantic and introspective, leaning into the outsider perspective that has remained a constant across all of Wood’s musical projects. It is the most laid-back Saccades record to date, placing deep bass grooves at the forefront while making greater use of shimmering acoustic guitars than previous releases.

“'Golden Days' was influenced by music from across the globe, but particularly by digging through obscure psych and rare soul records from the ’60s and ’70s,” explains Wood. “There is a big hauntological feeling to the album, especially in the use of effects and loops, which is also a nod back to my early solo project Die Jungen. The production has a more deliberately hazy feel this time, giving it the atmosphere of a half-forgotten dream.”

Wood introduced Saccades in 2017 with a self-titled debut album, departing from the dark, driving soundscapes of The KVB to embrace stripped-back psychedelic melodies, bedroom-pop intimacy and vintage-inspired songwriting.

The project’s follow-up, 'Flowing Fades', arrived in April 2021 and was accompanied by a UK tour. On the album, Wood expanded the Saccades palette by incorporating elements of yacht rock and vintage synthesizers while maintaining the project’s relaxed, carefree character.

Saccades returned in 2023 with 'Land of the Hearth', a more electronic and Balearic-leaning record that retained the blissed-out qualities for which the project had become known. The album wove together sun-soaked atmospheres with subtle undercurrents of tension.

In 2025, Wood unveiled a series of Saccades singles, including 'Sightseer' and 'Greek Fire', exploring a more lo-fi pop direction with pronounced hauntological influences. Blending woozy, nostalgic production with an ethereal and introspective core, these tracks laid the foundations for the immersive world of 'Golden Days'. 

TRACK LISTING

1. Slacker
2. Golden Days
3. It Doesn't Matter
4. Thinking Of You
5. Laid Back
6. Kind Of
7. An Analogy
8. Solipsism
9. Greek Fire
10. Almost Shangri-La
11. Ze Roberto
12. Somewhere Else

It's been seven years since Detroit singer and songwriter Stef Chura released her last album, 'Midnight'. Plenty of dramatic and life-altering things happened in those seven years: She broke off an engagement, she left Detroit for New Orleans (and then Louisville), she gave birth to her first child, she ultimately returned to Detroit. But those events are not the true story of 'Dancing Alone on the Concrete', her third album and second for Saddle Creek. Here's what happened while Stef Chura was writing the songs that would eventually become 'Dancing Alone on the Concrete': She practiced the piano and the guitar a whole lot, and she went on dates.

Single for the first time in years, Chura used the 2020 Covid lockdowns as an excuse to start over in New Orleans, where, like everyone else, she was mostly stuck indoors, unable to tour or play locally. "I was just writing and practicing," she says. "I was going back and forth, playing songs on the guitar and the piano, and it lent itself to the writing process in a nice way." Chura's singing voice has always been unique—it's brassy but contained, like a muted trumpet.

The album, recorded at Athens' Chase Park Transduction studio with David Barbe (Sugar) and Andy LeMaster (Now It’s Overhead) and produced by Robert Schneider of Apples in Stereo, even features R.E.M.'s Peter Buck and Mike Mills on "Danny.”

Much of 'Dancing Alone on the Concrete' concerns the ways in which our need for love convinces us to betray ourselves just to keep the other person around. "I tried to change my thoughts for you, I tried to rearrange who I was for you," she sings in 'The Concrete', "But you found out." It's an unusual framing—the issue isn't the narrator's selling herself out, it's her getting caught doing so.

"When I was in New Orleans, the freedom to date was exciting," Chura says. "But there's this search for love in the album, and no real arrival at any point in time."

'Dancing Alone on the Concrete's key is right there, the adverb in the album's title: alone. Not loneliness, but personal comfort, self-affirmation, healthy solitude. And while these songs never quite arrive at the love they're searching for, the rightful object of her affection is right there in every song, in the form of the person singing them. 

TRACK LISTING

1. Leadweight
2. The Concrete
3. Babydoll
4. Lovesick
5. Wishin’
6. Thunder and Lightning
7. Danny
8. Be My Hound
9. Heavy Hitter 

Often hailed as 'one of the defining glam albums', Mott the Hoople's All the Young Dudes from 1972 was an influential record upon its release and continues to impress listeners to this day. Produced by David Bowie, the album contains a balanced selection of well-written songs by Ian Hunter and his bandmates. With Bowie on board adding his distinctive style to the songs, the band is on a roll, making this an essential record for '70s rock fans all over the globe.

TRACK LISTING

Side A
1. Sweet Jane
2. Momma’s Little Jewel
3. All The Young Dudes
4. Sucker
5. Jerkin’ Crocus

Side B
1. One Of The Boys
2. Soft Ground
3. Ready For Love/After Lights
4. Sea Diver

'The Whole Of The Moon' is a classic. It’s a song about awe and hope and love for the people who show us the best of this often broken world, the blessed few who show the way and introduce us to things and thoughts.

Keith McIvor aka JD Twitch of Optimo was one of those people, and this version of the track - electronic, euphoric, open-hearted - was made by some members of the broader Optimo community after his terminal brain cancer diagnosis in 2025. The task of making a version that could’ve been heard on the dance floor at Planet Peach, Mas, or the Sub Club on a Sunday night or Monday morning brought them together across oceans, an act of joy amidst so much loss.

It was never intended to be released, but as it made its way to friends and others, it also felt wrong not to. Its sentiment is universal and applies to so many incredible people in music and beyond that are sadly missed.

So here is the Watergirls’ first and last track, presented as a limited white label with some particularly lethal mixes from Sean Johnston of Hardway Bros and A Love From Outer Space. We’re giving all the profits to charity. It’s meant to be played out. It’s meant to make two friends hug and sing into each other’s faces. It’s for Keith and for everyone like him.

TRACK LISTING

1. The Whole Of The Moon (Full Moon Mix)
2. The Whole Of The Moon (Hardway Bros Total Eclipse Mix)
3. The Whole Of The Moon (Hardway Bros Amorphous Dub)

Elastica’s iconic self-titled debut album reissued by Rough Trade Records in a new edition boasting rarities and b-sides.

Striking their own, distinct path in March 1995, Elastica proved uniquely fresh-sounding as the London four-piece delivered on the reputation they had built up gigging around the capital beyond in the months ahead its release.

Home to the likes of 'Line Up', 'Waking Up' and 'Connection', singles at once timeless yet in the moment, Elastica’s debut captured the fraying emotions, hazy experience and burning energy of life, love and after-hours adventure.

Absorbing atmospheres and attitudes of their post-punk and new wave forbears, Justine Frischmann (vocals, guitar), Annie Holland (bass), Donna Matthews (guitar, vocals) and Justin Welch (drums) poured their own identities into the album’s 15 tracks which balancing youthful swagger, with sage-like observation and a knowing cool that made Elastica and their debut effortlessly timeless.

TRACK LISTING

1. Line Up
2. Annie
3. Connection
4. Car Song
5. Smile
6. Hold Me Now
7. S.O.F.T.
8. Indian Song
9. Blue
10. All-Nighter
11. Waking Up
12. 2:1
13. Vaseline
14. Never Here
15. Stutter
16. See That Animal
17. Spastica
18. Cleopatra
19. Car Wash
20. Blue (Donna's 4-Track Demo)
21. Brighton Rock
22. In The City (BBC Radio 1 Session)
23. Pussycat
24. Rockunroll (BBC Radio 1 Session)
25. Gloria (BBC Radio 1 Session)

Allison de Groot is a clawhammer banjo player from Winnipeg, Canada whose work spans old-time, bluegrass, and folk traditions. A recipient of the Steve Martin Prize for Excellence in Banjo and an Americana Music Association Instrumentalist of the Year nominee, she is perhaps best known for her duo with fiddler Tatiana Hargreaves, whose albums 'Hurricane Clarice' and their self-titled debut earned recognition from the IBMA, the Canadian Folk Music Awards, and the JUNOs.

Rich Ruth is a Nashville-based multi-instrumentalist (born Michael Ruth) who records for Third Man Records. His solo albums draw from ambient, spiritual jazz, minimalism, and synth-driven post-rock, compositions that begin with looping drones and synthesizers and expand outward through collaboration. He is also a third of Shrunken Elvis, a Nashville trio born from long European drives and winter jam sessions, uniting Ruth with pedal steel guitarist Spencer Cullum and guitarist Sean Thompson in a shared creative space that prizes intuition over ambition. Their well-received self-titled debut arrived in 2025.

The two came together when Ruth was set to produce a solo record for de Groot. Over the course of about a year in Ruth's Nashville studio, the project quietly shifted: the two began composing together, and what emerged is shaped as much by space and process as by melody. De Groot's clawhammer banjo moves through looping and delay, set against Ruth's synthesizer arrangements in a way that balances the tactile immediacy of acoustic instruments with the enveloping qualities of electronics. Patrick M'Gonigle contributed violin and string arrangements throughout, while Shrunken Elvis bandmate Spencer Cullum brings his pedal steel to several tracks, adding another layer of atmospheric depth to the record's palette.

Shortly after completing the album, the group debuted the material live at Big Ears Festival as one of the event's surprise performances, a stripped, minimalist set that reflected the spirit of the recordings.

The album captures two distinct musical voices finding not so much a meeting point as a new, shared language.

TRACK LISTING

1. Nervion 
2. New Intervention 
3. Bass Crust
4. 10-14
5. Distance From Then
6. Sorgin
7. Rocks from the Moon 
8. A Wizard and a Stork

Mexico's Rubinskee mixes up slapping house and techno on some of Europe's finest labels and has done so since 2011. His latest is an understated outing that veers into deep, melodic realms where warm textures meet precise machine-driven grooves, and it is inspired by solitary weekends in Sao Paulo. Opener 'Half Meal' rolls effortlessly, while 'Sigueme' brings a playful Brazilian swing and 'Too Many Days' adds a touch of melancholy. Don Alex Albert's hypnotic remix deepens the drive for the club while 'So Tight' is soulful low-end pressure, and the live version of 'Us Less' closes things with an intimate, organic feel.

TRACK LISTING

Half Meal (Kilo Mix)
Sigueme (Funchal Mix)
Too Many Days
Too Many Days (Don Alex Albert Remix)
So Tight (feat Shoao)
Us Less (Live Version)

This book begs the question: why should an album make you feel good? In 1989, The Cure’s Robert Smith was going to turn thirty years old. His fears and anxieties of age—having not yet written his pinnacle album—caused Smith to embark on the band’s undoing with Disintegration. The result was an LP drenched in melancholy sublime, a beautiful decree of breaking down to build anew.

From the fame and notoriety of The Cure after their hit, “Just Like Heaven,” to the departure of the only other consistent band member, Lol Tolhurst, it’s clear that the grisly spiral into the depths of pain is stamped throughout Disintegration. This book explores the depths of Smith’s masterpiece by way of the French Modernist Charles Baudelaire and his poem, “Spleen.” Much like Smith, Baudelaire took his temperament and softened the edges of sorrow, transforming it into a mass of supercharged emotion: a tenuous concoction of sin and sex, lust and monstrosity, self-hatred and fear… all cauterized by the malaise (and acceptance) of eternal melancholy. And through Disintegration lies Robert Smith’s corpus—his spleen.

It’s here that The Cure’s upheaval and Smith’s heroic martyrdom became the catalyst for his masterpiece.

Nothing But Thieves return with their fifth studio album, 'Stray Dogs'. Recorded at Angelic Studios — where the band made their debut album — 'Stray Dogs' reconnects the Southend five-piece with their DIY roots. The album was written in unison over a dedicated 5-month period, resulting in the band creating their most liberating and cohesive work to date. Featuring the euphoric new single ‘Evolution’, the 12 track album explores themes of community, belonging and shared experience.

Join The Pack 

TRACK LISTING

TBC

Joy Division release 'Eternal', a brand new multi-disc live boxed set.

Pulling together myriad audio sources from audience recordings to sound desk tapes to international radio broadcasts, the set features 16 full audio concert recordings across 14 CDs, plus ca. 2 hours 20 mins of live video on a DVD, recorded between March 1979 through May 1980, just two weeks before Ian Curtis' tragic death.

TRACK LISTING

CD1 - Hope And Anchor:
1. Exercise One
2. She's Lost Control
3. Shadowplay
4. Leaders Of Men
5. Insight
6. The Only Mistake
7. Disorder
8. Glass
9. Digital
10. Warsaw
11. Transmission
12. I Remember Nothing
13. Interzone
14. Ice Age
Recording date: 1st March, 1979
Audio source: Mixing an audience recording by Jonathan Crabb, with a second audience recording (taper unknown). Both recordings previously unheard.

CD2 - Bowdon Vale Youth Club + Acklam Hall:
Bowdon Vale Youth Club
1. Exercise One
2. She's Lost Control
3. Shadowplay
4. Leaders Of Men
5. Insight
6. Disorder
7. Glass
8. Digital
9. Ice Age
10. Warsaw
11. Transmission
12. I Remember Nothing
13. No Love Lost
Recording date: 14th March, 1979
Audio source: "Exercise One" from a sound desk recording, with the rest of the show from an audience recording by Malcolm Whitehead.
Acklam Hall, London
1. Disorder
2. She's Lost Control
3. Shadowplay
4. Wilderness
5. Insight
6. Candidate
7. Digital
Recording date: 15th May, 1979
Audio source: An audience recording by Jonathan Crabb

CD3 - The Factory, Manchester:
1. Dead Souls
2. The Only Mistake
3. Insight
4. Candidate
5. Wilderness
6. She's Lost Control
7. Shadowplay
8. Disorder
9. Interzone
10. Atrocity Exhibition
11. Novelty
12. Transmission
Recording date: 13th July, 1979
Audio source: A previously unheard sound desk recording.

CD4 - YMCA, London:
1. Dead Souls
2. Disorder
3. Wilderness
4. Auto-Suggestion
5. Transmission
6. Day Of The Lords
7. She's Lost Control
8. Shadowplay
9. Atrocity Exhibition
10. Insight
Recording date: 2nd August, 1979
Audio source: Sound desk recording.

CD5 - Futurama, Leeds:
1. I Remember Nothing
2. Wilderness
3. Transmission
4. Colony
5. Disorder
6. Insight
7. Shadowplay
8. She's Lost Control
9. Atrocity Exhibition
10. Dead Souls
Recording date: 8th September, 1979
Audio source: An audience recording by Duncan Haysom.

CD6 - Les Bains Douches, Paris:
1. Passover
2. Wilderness
3. Disorder
4. Love Will Tear Us Apart
5. Insight
6. Shadowplay
7. Transmission
8. Day Of The Lords
9. Twenty Four Hours
10. Colony
11. These Days
12. A Means To An End
13. She's Lost Control
14. Atrocity Exhibition
15. Interzone
16. Warsaw
Recording date: 18th December, 1979
Audio source: Radio broadcast recording, France Inter.

CD7 - Paradiso, Amsterdam:
1. Passover
2. Wilderness
3. Digital
4. Day Of The Lords
5. Insight
6. New Dawn Fades
7. Disorder
8. Transmission
9. Love Will Tear Us Apart
10. These Days
11. A Means To An End
12. Twenty Four Hours
13. Shadowplay
14. She's Lost Control
15. Atrocity Exhibition
16. Atmosphere
17. Interzone
Recording date: 11th January, 1980
Audio source: Radio broadcast recording, VARA.

CD8 - Effenaar, Eindhoven:
1. Love Will Tear Us Apart
2. Digital
3. New Dawn Fades
4. Colony
5. These Days
6. Ice Age
7. Dead Souls
8. Disorder
9. Day Of The Lords
10. Auto-Suggestion
11. Shadowplay
12. She's Lost Control
13. Transmission
14. Interzone
15. Atmosphere
16. Warsaw
Recording date: 18th January, 1980
Audio source: An audience recording.

CD9 - The Warehouse, Preston:
1. Incubation
2. Wilderness
3. Twenty Four Hours
4. The Eternal
5. Heart And Soul
6. Shadowplay
7. Transmission
8. Disorder
9. Warsaw
10. Colony
11. Interzone
12. She's Lost Control
Recording date: 28th February, 1980
Audio source: Sound desk recording.

CD10 - Lyceum, London:
1. Incubation
2. Wilderness
3. Twenty Four Hours
4. The Eternal
5. Heart And Soul
6. Love Will Tear Us Apart
7. Isolation
8. Komakino
9. She's Lost Control
10. These Days
11. Atrocity Exhibition
12. Heart And Soul
13. Incubation
14. Komakino
15. Isolation (Instrumental)
16. Isolation
Recording date: 29th February, 1980
Audio source: Sound desk recording (tracks 1-10), matrix sound desk / audience recording by Duncan Haysom (track 11), audience recording (tracks 12-16).

CD11 - Moonlight Club:
2nd April, 1980
1. The Sound Of Music
2. Wilderness
3. Colony
4. Love Will Tear Us Apart
5. A Means To An End
6. Transmission
7. Dead Souls
8. Sister Ray
3rd April, 1980
1. Love Will Tear Us Apart
2. Glass
3. Digital
4. Heart And Soul
5. Isolation
6. Disorder
7. Atrocity Exhibition
8. Atmosphere
Recording date: 2nd & 3rd April, 1980
Audio source: An audience recording by Andy Hooper.

CD12 - Winter Gardens, Malvern:
1. Disorder
2. Wilderness
3. Twenty Four Hours
4. Heart And Soul
5. Atmosphere
6. Love Will Tear Us Apart
7. Isolation
8. Interzone
9. She's Lost Control
10. Girls Don't Count
Recording date: 5th April, 1980
Audio source: An audience recording by Tim Bayes.

CD13 - Ajanta Theatre, Derby:
1. Dead Souls
2. Wilderness
3. Digital
4. Insight
5. Passover
6. Heart And Soul
7. Isolation
8. These Days
9. Transmission
10. She's Lost Control
11. Colony
12. Girls Don't Count
Recording date: 19th April, 1980
Audio source: An audience recording by Tim Bayes.

CD14 - High Hall, Birmingham:
1. Ceremony
2. Shadowplay
3. A Means To An End
4. Passover
5. New Dawn Fades
6. Twenty Four Hours
7. Transmission
8. Disorder
9. Isolation
10. Decades
11. Digital
Recording date: 2nd May, 1980
Audio source: Sound desk recording.

DVD:
Bowdon Vale Youth Club (14/03/79)
1. She's Lost Control
2. Shadowplay
3. Leaders Of Men

Apollo, Manchester (27/10/79)
1. Wilderness
2. Colony
3. Autosuggestion
4. Love Will Tear Us Apart
5. Shadowplay
6. She's Lost Control
7. Transmission

Apollo, Manchester (28/10/79)
1. Sound Of Music
2. Shadowplay
3. Colony
4. Day Of The Lords
5. Twenty Four Hours
6. Disorder
7. Walked In Line
8. I Remember Nothing
9. Transmission

Bonus: Soundcheck from TBC performance

Plan K, Brussels (16/10/79)
1. Love Will Tear Us Apart
2. Wilderness
3. Disorder
4. Colony
5. Insight
6. Twenty Four Hours
7. New Dawn Fades
8. Transmission
9. Shadowplay
10. She's Lost Control
11. Atrocity Exhibition
12. Interzone

Appears in two audio versions: original and restored audio (using Les Bains Douches 1979 audio)

'Cooked' comes a la - yet so far from - 2022’s 'Shebang' with transcendent and trenchant flow from Oren Ambarchi. Flying in international collaborators Joe Talia, Johan Berthling, Will Guthrie, Eiko Ishibashi, Jim O’Rourke, Michiko Ogawa, Marcus Pal, Fredrik Rasten, James Rushford, Andreas Werliin & Konrad Sprenger into the mix, Cooked sets foot tapping, mind boggling, heart quailing, earth turning. RIYL: Edgar Froese, Steve Hillage, Godley & Crème

TRACK LISTING

1. Hidden Tableau
2. Sleight Of Hand

Sixth studio album by American Celtric Punk band Dropkick Murphys, originally released in 2007.

The album debuted at #20 on the US Billboard 200 chart, and was included in Rolling Stone’s list of the Top Albums of 2007.

TRACK LISTING

1. Famous For Nothing
2. God Willing
3. The State Of Massachusetts
4. Tomorrow’s Industry
5. Echoes on “A” Street
6. Vice And Virtues
7. Surrender
8. (F)lannigan’s Ball
9. I’ll Begin Again
10. Fairmont Hill
11. Loyal To No One
12. Shattered
13. Rude Awakenings
14. Johnny, I Hardly Knew Ya
15. Never Forget

Equal parts playful and melancholic, Baxter Dury crafts a uniquely British world where wit and vulnerability share the same barstool. Released in 2011, 'Happy Soup' is the critically acclaimed third album by English singer-songwriter Baxter Dury, featuring what he famously described as a sound of "seaside psychedelia". The record pairs Dury's droll, spoken-word observations and deadpan delivery with breezy, minimalist indie-pop arrangements and sweet backing vocals from singer Madelaine Hart.

TRACK LISTING

1. Isabel
2. Claire
3. Leak at the Disco
4. Afternoon
5. Happy Soup
6. Trellic
7. Picnic on the Edge
8. Hotel in Brixton
9. The Sun
10. Trophies

Just three years after the hypnotic crunch of 'Purge', 25 years after an uncertain hiatus that nearly scuttled the band, and 38 years since GODFLESH’s inception, Broadrick and bassist-at-arms Ben Green set out to mercilessly crush this cold world with their tenth and penultimate album, this year’s 'Decay'.

TRACK LISTING

1. Master and Slave
2. Living : Ending
3. Feral Colony
4. Fear Of Man
5. Fodder
6. Consume Me

A bold, immersive reimagining of Shaker musical tradition, Academy Award-winning composer Daniel Blumberg’s score for Mona Fastvold’s 'The Testament of Ann Lee' presents radical reinterpretations of traditional hymns with original compositions shaped directly on set. Developed in deep collaboration with Fastvold, the music grew alongside the film’s choreography and performances, drawing on the physicality and ecstatic vocal practices of Shaker worship.

Blumberg assembled nearly 100 singers, including extreme vocal improvisers Maggie Nicols, Phil Minton, Shelley Hirsch, Freya Edmondes alongside a cast of untrained voices – to create a wordless cacophony of vocal textures that mirrors the Shakers’ ecstatic spiritual practices. This vocal landscape intertwines with tuned percussion, spectral bell tones, celeste, and an ensemble of experimental string players, forming a sonic world that is both elemental and deeply spiritual. The soundtrack includes ten reimagined Shaker hymns performed by the cast, plus three original songs, including end‑credits song ‘Clothed by the Sun’ performed as a duet by Blumberg and Amanda Seyfried.

TRACK LISTING

1. The Testament of Ann Lee
2. Manchester
3. Hero Prayer One
4. Walk To Infirmary
5. Infirmary
6. Walk to Wardleys
7. Wardleys
8. Worship
9. Sex Celeste
10. Beautiful Treasures
11. Search for Ann
12. I Never Did Believe
13. Hunger & Thirst
14. Ship
15. Lower Deck
16. Today Today
17. Storm
18. All is Summer
19. Magical Boat Ride
20. John's Running Song
21. Whores
22. Niskayuna
23. The Eclipse
24. Bow Down O Zion
25. Building & Growing
26. William Walking
27. I Love Mother (Pretty Mother's Home)
28. Arrest
29. Stone Prison
30. Shattuck
31. Down to the Deep
32. Beautiful Treasures Funeral
33. Clothed by the Sun

The 2LP version of the Marc Bolan / T. Rex collection ‘1974-1977’ culls the cream from a plethora of previously unreleased rehearsal takes and studio demos, from arguably the most adventurous and pioneering period of Marc’s career.

Lovingly mastered and curated from a stash of Marc’s own tapes unearthed towards the end of 2024, the recordings are a fascinating document of an artist brimming with renewed vim and creativity. They also document how Marc and his super-hot band kept the tapes rolling when recording all over the world, from London to the USA, to Germany and France and back to London.

Included of course is I’m Dazed, the “lost” T. Rex single unearthed from those tape boxes in 2024. Remastered and released on cosmic yellow seven-inch on Marc’s birthday in 2025 (with a new take of Billy Super Duper on its B-side), it helped mark the occasion of Marc being awarded an official English Heritage Blue Plaque. The honour made him just one of 5 pop musicians to ever receive the accolade, alongside Freddie Mercury, John Lennon, Jimi Hendrix and Bob Marley. Two very different takes of I’m Dazed shimmer here: the 2025 single version remixed by Steven Wilson, and another, much slower take, led by languid drums, clavinet and piano.

74-77 comes in 2LP packaging with photography by Kevin Cummins, The set was curated for Demon by “T.Rexpert” Martin Barden and mastering undertaken by AIR Studios’ Phil Kinrade.

TRACK LISTING

1. Bolan’s Zip Gun
2. I Really Love You Babe (Take 5)
3. All Alone (Working Version)
4. Calling All Destroyers (Working Version)
5. Savage Beethoven (Take 4)
6. Bust My Balls (Take 6)
7. I’m Dazed (Take 3)
8. Billy Super Duper (Warm Up)
9. Galaxy Wild (Take 2)
10. Damaged Suit (Take 5)
11. I Never Told You (Take 3)
12. Dreamy Lady (T.O.T.P. Take 3)
13. Ain’t That A Shame (Take 9)
14.. Funky London Childhood (Studio Take)
15. London Boys (Take 2)
16. We Love To Boogie (Take 4) (Overdub)
17. I’m A Fool For You Girl (Take 3) (With Overdubs)
18. 20th Century Baby (Studio Take)
19. Hot George (Studio Take)
20. Universe (Take 3 Instrumental)
21. Write Me A Song (Studio Take – Short Edit)
22. Celebrate Summer (Studio Take – Edit 1)
23. Mellow Love (Studio Take – Short Edit)
24. I’m Dazed (Take 2) (Steven Wilson 2025 Mix)

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

Spice is always nice.

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

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

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

A signal dispatched out into the darkness

We are here
We are alive
And we are together


CHEERS NO EARS
JPD/DG/OSEES 

The final album is both a love letter to early 80s New York and a tribute to the late, great Dave Ball.

Electronic music legends Soft Cell, aka singer and frontman Marc Almond and multi-instrumentalist and producer Dave Ball, are set to release 'Danceteria', their sixth and final studio album.

'Danceteria' the album is a big, classy and playful farewell to 47 years of Marc and Dave making music as Soft Cell and features career-defining performances from our electronic pop legends. Reminiscent of Sparks and Pet Shop Boys and with lyrics Lady Gaga would kill for, the album takes you on a vivid journey through a day in early 80s New York, bouncing round the clock from night to bleary daybreak and headlong back into the club.

Marc provides an initial snapshot into the album: "'Danceteria' is a love letter to New York in the early 80's. The time we spent in New York - where we recorded our first 3 albums - shaped us both as artists and people. To celebrate this period is a fitting farewell to Dave Ball and the final Soft Cell studio album."

'Danceteria' is equally a tribute to the late, great Dave Ball. The final album is one of the last bodies of work Ball co-wrote and produced before his sad, untimely passing on the 22nd of October 2025. Almond led the obituaries, describing Dave as a "brilliant musical genius". The world's media followed, hailing him as an electronic music pioneer, plus music stars including Neil Tennant and Chris Lowe from the Pet Shop Boys, Mute Records' Daniel Miller, Cabaret Voltaire and Richard Norris from Dave's techno duo The Grid contributing an outpouring of elegiac praise. Dave finished 'Danceteria' two days before he passed away and it is in full tribute to him that the album release went ahead as planned.

It is also because of Dave's passing that 'Danceteria' simply has to be the last Soft Cell album, as Marc explains: 'There can be no more recordings of Soft Cell without Dave, it would not be possible. The sad reality is that Dave Ball was half of Soft Cell, and live work aside, I can't write Soft Cell songs without him."

TRACK LISTING

LP Tracklisting:
1. Elusive (Vinyl Edit)
2. Danceteria
3. The Space Inside (Vinyl Edit)
4. Times Square (Vinyl Edit)
5. Two Of A Kind
6. The Rainbow Room (Vinyl Edit)
7. In Heaven (When I Dance With You)
8. Decadence Is Hard Work
9. Losing Yourself
10. After Hours
11. Wave To America
12. Out Come The Freaks

CD Tracklisting:
1. Elusive
2. Danceteria
3. The Space Inside
4. Times Square
5. Two Of A Kind
6. The Rainbow Room
7. In Heaven (When I Dance With You)
8. Decadence Is Hard Work
9. Crackland
10. What Is Your Morality
11. Losing Yourself
12. After Hours
13. Wave To America
14. Out Come The Freaks

Space Afrika, the Manchester/Berlin-based duo of Joshua Tarelle Reid and Joshua Inyang, make raw, intensely detailed, visceral music with shades of ambient, trip-hop, techno, and modern classical, drawing spacious urban dubscapes from the contours of their city.

'Quiet Storm' expands on their sound and scale as a sprawling, collaborative vision shaped with profound patience and intention, embedding their own coming-of-age story within a moving suite of cathartic abstraction. Songs allude to spirituality and the human condition, the tension between boldness and softness, ambition and persistent inner demons.

Speaking to the multidisciplinary nature of the project is the involvement of celebrated artist Glenn Ligon, whose work deals with Black identity and queerness. A central inspiration at the onset of recording, Ligon offered his work Figure #30 (2009) for the cover artwork, and following the completion of recording, he agreed to provide the project's name—an unprecedented gesture from the pioneering artist.

Listening to the final sequence, Ligon thought of "Quiet Storm," the 1970s radio format known for smooth, late-night programming with themes of life and love.

'Quiet Storm' brings the listener through various scenes, interludes, and arcs, marked by a sense that its movement is fluid and its characters are fleeting. Into-the-mirror monologues grapple with the existential and the immediate: survival, autonomy, purpose.

The album opens with the explosive, string-backed 'Vanity', featuring Grammy Award winner Axelle Fanyo. At first fixated on the crevices of a quiet room, “Vanity” unfurls under Fanyo's expressive soprano, traversing a wide emotional spectrum from sublime contemplation to poignant, heart-piercing pain.

Throughout the record, words spoken and sung are placed sparingly to powerful effect. '2MLN's beauty and catharsis is a collective slow march, featuring British-Nigerian artist Tony Njoku, with guitar and lead bass by Gabriel Evans, London's PIKE on drums, and Copenhagen's GB on keys and strings.

Heavy yet hopeful, Joshua Tarelle Reid and Joshua Inyang remind you of their journey so far. An appropriately cryptic and transportive outro for their open-ended opus, 'Quiet Storm' is a landmark level-up: self-produced, self-funded, and manifested out of sheer drive and conviction.
Through bent time and low-lit haze, undoubtedly, Space Afrika has arrived.

TRACK LISTING

1. Vanity (ft. Axelle Fanyo)
2. Crying Never Had a Voice ~ (ft. Vanessa Bedoret)
3. From the Heart of Knowing (ft. Alto Aria)
4. Ballad for A'G' (ft. RXK Nephew, Klein)
5. Black and Gold
6. H00D Ambient Validation (ft. Any1)
7. 2MLN (ft. Tony Njoku)
8. We Live. Joy
9. Pretty Gospel (ft. Kiala Ogawa)
10. If This Is Hell (ft. Deuén Regards)

Dylan John Thomas returns with his electrifying second album, 'Nothing Here Worth Taking'.

Entirely written by Dylan, the album was recorded at Magic Box studios over the past year. Anchored by the gravitational pull of his unmistakable vocal and longstanding relationship with the acoustic guitar, the 10-track set is gritty, raw and emotionally charged. A rousing, carousing blast of brass, blues, banjo, piano and classic, retrofutureproof, singalong songwriting. It marks a bold step forward for one of Scotland's most compelling voices.

Includes the singles 'Heaven Knows You're Lonely' and 'Got You On My Mind'.

TRACK LISTING

1. Nothing Here Worth Taking
2. Heaven Knows You're Lonely 
3. The Bridge 
4. Got You on My Mind 
5. Call It a Day 
6. Dining With The Devil Next Door 
7. Come and Get It 
8. Thinking About You 
9. Sequel 
10. All the Days of My Life

Jason Dungan (aka Blue Lake) and Johan Carøe find beauty in the rhythms and repetitions of domestic life for collaborative album, ‘Routine’.

Copenhagen-based multi-instrumentalists Jason Dungan and Johan Carøe didn’t set out to make an album. Instead, as the title ‘Routine’ suggests, they found their way there through a process of habitual making and listening, developing an intuitive musical language to reflect the dreamlike meanderings and creative play of life's quiet moments. ‘Routine’ blends pop orientated sounds, Avant-garde minimalism, folk and new age with the emotive depth of filmscore.

Their meeting was not entirely coincidental. Previously in bands such as Squares and Triangles, Jason Dungan has since recorded multiple albums under the moniker Blue Lake, including the lauded ‘Sun Arcs’, pursuing his passion for self-built percussion and multi-string instruments. Johan Carøe meanwhile is a composer whose film soundtrack work has seen him collaborate with Angelo Badalamenti, Arp, and Sofie Birch, at whose Andersabo residency (curated by Dungan) the pair first met, resulting in the highly praised album ‘Repair Techniques’ written by Birch and Carøe.

‘Routine’ emerged organically over many years against the backdrop of great personal change. As Carøe said goodbye to his father and welcomed his first child, the pair sent each other fragments of melodies and patterns, working up responses when time allowed to assemble a sonic palette that combined acoustic instrumentation of zither, clarinet, cello, saxophone (among others) with the textures of tape, drum machine and Yamaha DX7 synth. Inspired by the vulnerability and DIY ethos of Arthur Russell’s home recordings, the vision of labels like Disques de Crepescule, and the art pop, experimentation inherent to late ‘70s and early ‘80s recordings from NYC and Japan alike, Dungan and Carøe conjured new forms for their folk, leftfield pop and avant garde influences from the low-lit living rooms of Copenhagen and rural Sweden. “I’m very interested in the ways in which music and art emerge from our wider experiences as people, workers, parents and in the daydreaming activity of making music,” Dungan explains of a process which allowed the duo’s individual styles to drift apart and merge together seamlessly. “I think the process was definitely capturing moments in time, but over a long time,” Carøe adds. “It was a bit like improvisation, but with time stretched.”

The music floats with grace and humility, remaining sophisticated yet acutely introverted. Whether on ‘Clouds’, where soft layers of zither and clarinet are moved along by a featherlight bass riff and the hypnotic clip-clop of the primitive groovebox, or the gentle grandeur of cello rising and falling through ‘Routine 1’, the album reveals itself over 10 instrumental tracks, evoking the ineffable calm that descends when the light changes and the world turns inwards. The act of time passing became a key creative ingredient to the evolution of the album, enriched with the exciting challenge to transform their passing rounds of home recordings via a slow release musical dialogue. Jason found creative moments in the twilight hours to lay down zither, melodica, acoustic guitar to name but few, while Johan utilising “line-in and headphones” would manipulate, stretch and pitch Jason's melodic pathways during newly born naptimes.

Carøe rhythmically plucks and slides the stringed cello instrument, leaving palpable foundations on ‘Hymn’ and ‘Chords’, in a treated, stylistic approach akin to Mabe Fratti, while ‘Silence’ draws to a close with a gospel touch. Dungan’s harp-motion zither flourishes reveal more classical connotations on ‘Reunion' with inspiration of Bedroom Community’s Nico Muhly as organs rise with Moogs, culminating with a climatic choral outro from friend, mezzo-soprano Anna Caroline Olesen.

‘Routine’ then is their first collaboration, an album of deep and sincere reflection with inviting overtones that gesture with unrushed authenticity. A document of a new-found friendship that opens a window into the most personal of spaces, where the daily practices of music and life exist side-by-side to wondrous effect.

TRACK LISTING

1. Chords
2. Clouds
3. Hymn
4. Mornings with Rita
5. Routine I
6. Silence
7. Home I
8. Home II
9. Reunion
10. Sweden Organ

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

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

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

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

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

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

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

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

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

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

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

TRACK LISTING

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

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

Following the 2023 album 'Young Hearts', produced in collaboration with Kenny Beats, '22 Durnham Dew' finds Benny Sings turning inward for his most personal album to date.

After decades of touring and recording, Benny has embraced a more grounded, family-focused lifestyle. '22 Durnham Dew' was created with and about his immediate family, featuring contributions from both his wife and daughter. Across its songs, Benny reflects on fatherhood, family life, and the everyday moments of adulthood.

Long celebrated as one of the most distinctive voices in modern pop, Benny Sings continues to showcase the warmth, craftsmanship, and effortless charm that define his work.

TRACK LISTING

1. You Love Me
2. Do No Harm (ft. Baby Rose)
3. Homerun
4. 22 Durnham Dew
5. Pull Yourself Together
6. Syllable Salad
7. Be Myself (ft. Tune-Yards & Ana Tijoux)
8. Parachute
9. Castle
10. Real Person (ft. Elijah Fox)

Emerging in 2023, Die Anstalt are a Berlin-based post-punk and minimal synth trio who quickly established themselves with a blistering fusion of early EBM, synth-punk, and classic post-punk. Their sound channels the grit and tension of 1980s industrial sub cultures while feeling unmistakably contemporary. Recently signed to City Slang worldwide, the band are reissuing their independently released debut album through the label.

Die Anstalt sound like no one else, even if everyone hears something different. Depending on who you ask, you'll catch traces of Malaria!, Boy Harsher, DAF, early EBM, synth-punk, or X-Mal Deutschland. Then there's the surf guitar, a detail that shouldn't work but somehow holds the whole thing together. The result is theatrical, confrontational, hypnotic, and relentlessly physical. They write slogans that stick. They're appropriately furious. Live, they're less a concert than a controlled explosion.

Their songs give voice to generational exhaustion, the dystopian absurdities of the present, warmongers, the manosphere, and the constant sense that the world is coming apart at the seams. Somehow, they also sound unmistakably like Berlin. That doesn't happen often, maybe once a decade, if we're lucky.

Most of all, Die Anstalt are proof that beneath the noise, the algorithms, and the endless churn of industry discourse, something vital still burns: rage, conviction, and hope in equal measure. At their core, they are a punk band. No posturing. No compromise. No messing around. They don't ask for permission. They burn it all down.

TRACK LISTING

1. Alles Kariert
2. Kriegen
3. Der Mann
4. Kalter Schweiss
5. Stillstand
6. 11. Stock
7. Ich Will
8. Dieser Hass
9. Isolation (Bonus Track)

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

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

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

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

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

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

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

TRACK LISTING

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

We Shine In The Darkness have made a superb start to life with two first EPs that both sold out. Their third is another hot one with dancefloor-savvy reworkings set to light up summer floors. The A-side reimagines 'Beachball', the beloved 1997 Ibiza house anthem that here becomes a smooth, nu-disco bumper with fine-grain synths and an electro-funk vibe that is finished with a great vocal from Ukrainian singer Teya Flow, lending the track fresh emotional pull. The B-side shifts into 'Gulf Dream', a deeper, more hypnotic and cosmic disco sound that takes its time to unfold, before closer 'Shining Star' channels New York's Neo funk lineage into something super cool and loved up, swaggy and full of summer heat. Vital cuts for vibey selectors.

TRACK LISTING

Beachball (feat Teya Flow)
Gulf Dream
Shining Star

Originally released in September 1996, ‘Coming Up’ represented the creative and commercial peak for a rejuvenated Suede… some debut indeed for new band members guitarist Richard Oakes and keyboardist Neil Codling. A UK No. 1 album which spent just shy of an entire year in the album chart, the vivid, electrifying ‘Coming Up’ spawned five UK Top 10 singles – ‘Trash’, ‘Beautiful Ones’, ‘Saturday Night’, ‘Lazy’ and ‘Filmstar’. Elsewhere, grimy glam stompers meet elegiac ballads and stadium anthems. 30 years on, ‘Coming Up’ still packs all of its original punch.

TRACK LISTING

LP Tracklisting:
1. Trash
2. Filmstar
3. Lazy
4. By The Sea
5. She
6. Beautiful Ones
7. Starcrazy
8. Picnic By The Motorway
9. The Chemistry Between Us
10. Saturday Night

CD Tracklisting:
CD1 - Coming Up 2026 Master:
1. Trash
2. Filmstar
3. Lazy
4. By The Sea
5. She
6. Beautiful Ones
7. Starcrazy
8. Picnic By The Motorway
9. The Chemistry Between Us
10. Saturday Night

CD2 - Coming Up 2026 Steven Wilson Mix:
1. Trash (2026 Steven Wilson Stereo Mix)
2. Filmstar (2026 Steven Wilson Stereo Mix)
3. Lazy (2026 Steven Wilson Stereo Mix)
4. By The Sea (2026 Steven Wilson Stereo Mix)
5. She (2026 Steven Wilson Stereo Mix)
6. Beautiful Ones (2026 Steven Wilson Stereo Mix)
7. Starcrazy (2026 Steven Wilson Stereo Mix)
8. Picnic By The Motorway (2026 Steven Wilson Stereo Mix)
9. The Chemistry Between Us (2026 Steven Wilson Stereo Mix)
10. Saturday Night (2026 Steven Wilson Stereo Mix)

CD3 - B-Sides:
1. Europe Is Our Playground (Original Single Mix)
2. Every Monday Morning Comes
3. Have You Ever Been This Low?
4. Another No One
5. Young Men
6. The Sound Of The Streets
7. Money
8. Sam
9. W.S.D.
10. Jumble Sale Mums
11. This Time
12. Saturday Night (Original Demo)

CD4 - B-Sides / Bonus Tracks:
1. These Are The Sad Songs
2. Feel (Full-Length Single Version)
3. Sadie
4. Digging A Hole
5. Graffiti Women
6. Duchess
7. Rent (Live)
8. Saturday Night (Live)
9. Asda Town (Anderson)
10. Together
11. Bentswood Boys
12. Shipbuilding

CD5 - Coming Up At The BBC:
1. Trash (Evening Session 29th August 1996)
2. Filmstar (Reading Festival 22nd August 1997)
3. Lazy (Evening Session 29th August 1996)
4. By The Sea (Reading Festival 22nd August 1997)
5. She (Evening Session 29th August 1996)
6. Beautiful Ones (Evening Session 29th August 1996)
7. Starcrazy (Mark Radcliffe Session 23rd September 1996)
8. Picnic By The Motorway (Reading Festival 22nd August 1997)
9. The Chemistry Between Us (Roskilde Festival 3rd July 1999)
10. Saturday Night (Evening Session 29th August 1996)

WHO in their right minds would release four albums on the same day…?

Who in their right minds – being a mainly vocal group – would release an album of lyricless music…?

And who in their right minds would buy this stuff…?

Well, here’s a collection of four more delectable morsels for your educated palate which will hopefully provide answers to those questions.

TRACK LISTING

CD1 - Fourteen Rhythm & Beat Greats:
1. Seven Days
2. Black Sails (In the Moonlight)
3. Exactly Like You
4. A Girl Called Mine
5. Sad Girl Mambo
6. I Want You
7. Cadalina
8. No-One Else
9. I Need No-One
10. You Did Her Wrong
11. Can You Tell Me
12. Red Monkey
13. Take You Home Tonight
14. Wo’ Now

CD2 - The Men With The Golden Guitars:
1. Chatham Drive
2. General Belgrano
3. Scapa Flow
4. The Wrong Man
5. The Klansmen Kometh
6. Thunderbird
7. Mumble The Peg
8. The Yorkshire Ripper
9. Flatfoot
10. Dogwatch on Monkey’s Paw
11. Every Corner
12. Can You Tell?
13. Dreadnaught
14. Shed Country ‘83

CD3 - The Milkshakes In Germany:
1. I’ll Find Another
2. If I Get You
3. Last Night (Was the Last Time)
4. She’s The Kind Of Girl
5. Love Can Lose
6. Comes Along Midnight
7. One Day You Die
8. Late at Night
9. I’m Asking You
10. I Need Lovin’
11. Found My Girl
12. Sometimes I Wantcha (For Your Money)

CD4 - Nothing Can Stop These Men:
1. You Got Me Girl
2. Little Bettina
3. Ida Honey (Tell Me You’ll Be Mine)
4. She’s No Good to Me
5. Chatham Train
6. Dull Knife
7. She’s just Fifteen Years Old
8. The Grim Reaper
9. Everywhere I Look
10. I’m the One For You
11. That’s My Revenge
12. You’ve Been Lyin’

The Milkshakes were mainly Mickey Hampshire (Git/Vox); Billy Childish (Git/Vox); Bruce Brand (Drums); Russ Wilkins (Bass)

When punk rock group the Pop Rivets broke up in 1980, Billy Childish joined forces with Mickey Hampshire, a Pop Rivets roadie who had been performing in a group called Mickey and the Milkshakes with his cohort Banana Bertie. The two began writing songs together and the group released their first LP, 'Talking ’bout Milkshakes!' in 1981. With Childish and Hampshire sharing guitar and vocal duties, Bruce Brand on drums, and Bertie on bass (later replaced by Russ Wilkins then John Agnew), the Milkshakes’ sound was a primitive blend of British beat groups, like the early Kinks at their toughest, and hard-rocking American guitar instrumentalists like Link Wray. This sound came to be known as the “Medway sound” and the core members have been playing a variation on it throughout their whole careers.

The Milkshakes were a very prolific group, recording nine records in their four years together, and the band was very much a blend of Childish’s primitive songwriting and Hampshire’s more melodic leanings. The group also masterminded and backed a Medway girl group, the Delmonas.

When Mickey left The Milkshakes in 1984 Childish, Brand and Agnew went on to form Thee Mighty Caesars. Mickey and Bruce now play in The Masonics along with Ludella Black from The Del Monas, and Russ lives in Scotland and fronts the Wildebeests as well as being Lord Rochester.

TRACK LISTING

CD1 – Talking 'Bout Milkshakes:
1. She'll Be Mine
2. Pretty Baby
3. For She
4. I Want'cha (For My Little Girl)
5. Ruhrge Beat
6. After Midnight
7. Bull's Nose
8. Shed Country
9. Don't Love Another
10. Tell Me Where's That Girl
11. Can'tcha See
12. Love You the Whole Night Through
13. There's Nothing You Can Say or Do
14. I Say You Lie

CD2 – After School Session:
1. Shimmy Shake
2. I Can Tell
3. Tell Me Child
4. Goodbye Girl
5. More Honey
6. Soldiers of Love
7. El Salvador
8. Let's Stomp
9. Hide and Scatter
10. Jaguar
11. That Girl of Mine
12. You Can Only Lose
13. Little Minnie
14. Cadillac

CD3 – Thee Knights Of Trashe:
1. I'll Use Evil
2. What You've Got
3. Girl, It No Good
4. I'm Out of Control
5. I Dreamt Last Night (That I Lay Dead)
6. Bill's Beat (Instrumental)
7. Old Time Shimmy
8. Can't Seem to Love That Girl
9. Club M.I.C. (Instrumental)
10. Despite the Danger
11. You're Asking Too Much
12. Cassandra
13. Green Hornet (Instrumental)

CD4 – The Milkshakes Revenge!:
1. Let Me Love You
2. I Want You
3. If I Saw You
4. Graveyard Words
5. Boys
6. Little Girl Be Good
7. Pipeline
8. She Tells Me She Loves Me
9. Little Girl (Mumble The Peg)
10. Every Girl I Meet
11. The One I Get
12. Baby What's Wrong?

Recorded with legendary producer Dave Fridmann (Nick Cave, MGMT, The Flaming Lips) at his own Tarbox Road Studios in western New York, 'Hotel Usona'—Protomartyr's seventh full-length studio album—is an effort that finds the Detroit post-punk outfit reckoning with the horrors of our current moment. It is not easy listening.

It’s essential.

Over the last two decades, Protomartyr—vocalist Joe Casey, drummer Alex Leonard, bassist Scott Davidson, guitarist-multi-instrumentalist and co-producer Greg Ahee—have built one of the most rewarding and often exhilarating bodies of work in recent memory by veering in and out of darkness, grappling with what most frightens us, saddens us, disgusts us, embarrasses and enrages us. The stuff that makes us human.

Casey has imagined his country as an aging hotel here, each song a room haunted by its own troublesome guest: the slow paralysis of modern life ('Sounds We Cannot Hear'), AI ('Feed the Sewer'), deportation ('Third Country'), warped patriotism ('Exalted Eagles'), violence ('The Knife Dream'), JD Vance ('Converts'), and the often unbearable weight of becoming a father anyway ('Checking Out'). It’s a hard look at a nation in free fall, gripped by fascism.

Musically, Ahee has built worlds within a world, drawing new influence from the Middle East and ‘50s exotica, finding common ground between dread and joy, a speciality. All of it—Leonard’s drumming in particular—is rendered more tangible and terrifying by Fridmann, whose son, Jon, contributes horns. You can feel the stakes in every song, feel the band levitating to meet them. They’ve never sounded more powerful. 

TRACK LISTING

1. The Old Hotel
2. Sounds We Cannot Hear
3. Converts
4. Exalted Eagles
5. The Knife Dream
6. Feed the Sewer
7. Lavender – Gospel
8. Third Country
9. Checking Out

Originally released on 27th September 1996, ‘Northern Exposure’ is widely regarded as one of the greatest mix compilations ever made. Thirty years on, it sounds as vital as ever - a testament to the fearless vision that went into its creation.

At a time when DJ culture was still writing its own rules, Sasha and John Digweed pushed against the grain. Drawing on sounds discovered during early trips to America - from Rabbit in the Moon to Future Sound of London - they built something that prioritised atmosphere over dancefloor convention. DJ Mag panned it on release. History changed their tune.

'Northern Exposure Redux' marks the 30th anniversary with a definitive reissue of both original mixes. The 3CD version also includes a newly created ambient mix. Shaped by the spirit of Bill Laswell and Mad Professor, it explores the deeper, more hypnotic DNA that always ran beneath the surface. 'Northern Exposure Redux - North' includes classic tracks by Keiichi Suzuki, The Future Sound Of London, and Banco de Gaia. 'Northern Exposure Redux - South' includes classic tracks by Dope On Plastic, Pete Lazonby, and a newly recreated version of ‘Dark And Long (Dark Train)’ by none other than Darren Emerson himself. Both vinyl versions also include a download code for both the North And South mixes, as well as the individual tracks. 

TRACK LISTING

1. Keiichi Suzuki – Satellite Serenade (Transasianexpress Mix)
2. The Future Sound Of London – Cascade (Part 1)
3. Young American Primitive – These Waves
4. God Within – Raincry (Submerged)
5. Rabbit In The Moon – Out Of Body Experience
6. Morgan King – I’m Free (NE Mix)
7. Aether feat. Maria Nayler – Kites
8. Fuzzy Logic x Erire – Obsession (Quantum Loop Mix)
10. William Orbit – Water From A Vine Leaf (Spooky’s Xylem Flow Mix)
10. Apollo 440 - Liquid Cool (Deep Forest Ice Cold @ The Equator Mix)
11. Banco de Gaia – Last Train To Lhasa

Northern Exposure Redux - South Tracklisting:
1. Dope On Plastic – Wave Dub
2. Drum Club – Sound System (Underworld Mix)
3. Castle Trancelott – The Gloom
4. Pete Lazonby – Wave Speech (NE Edit)
5. Evolution – Phoenix
6. The Light – Dusk
7. X-Tracks – Plan ‘94 (The Voyage)
8. Mellow Mellow – I Can’t Stop (Parrot Trance)
9. Banco de Gaia – Heliopolis (Eedupolis Dog Mix)
10. Humate & Rabbit In The Moon – East (Opium Den Mix)
11. Darren Emerson – Dark And Long (Dark Train) 

The two biggest constants throughout Xiu Xiu's catalog are honesty and evolution. This remains true with 'Dear God, I Hate Myself' as it delivers a look at responsibility, fear, healing, and societal roles wrapped in rich gothic pop music. The sound is still distinctly Xiu Xiu, but Jamie Stewart's vocals are finally effortless paired with vibrant melodies full of subtlety and the distinct sonic accents expected of this anticipated Xiu Xiu release. The result is a record that proves that art can be pop and pop can challenge you to look inside yourself. Each new Xiu Xiu release has evolved alongside the lives of Jamie Stewart and company. On this record you'll find more intensity and introspection than ever before, but sonically and lyrically it continues to move forward with a subtly new perspective ' hyper-focused yet aware of a larger, external picture unfolding. The pace of the record grips you, the music offers layers of detail, and the themes focus on not just the past or stark present but hint towards vespers of the future as well. 'Dear God, I Hate Myself' will challenge you and force you to look inside yourself, but only after you get lost in the music. It's passionate, it's energetic, and it affects you. 'Dear God, I Hate Myself' is a beautiful piece of humanist art. It's an important addition to the growing body of intelligent music from Xiu Xiu. And it's a brilliant gothic pop record that can stand next to anything.

TRACK LISTING

1. Gray Death
2. Chocolate Makes You Happy
3. Apple For A Brain
4. House Sparrow
5. Hyunhye's Theme
6. Dear God, I Hate Myself
7. Secret Motel
8. Falkland Rd.
9. The Fabrizio Palumbo Retaliation
10. Cumberland Gap
11. This Too Shall Pass Away (For Freddy)
12. Impossible Feeling

7 Inch:
1. The Ropes Have Pulled Tight (Bonus)
2. Cute Pee Pee (Bonus)

Grace Ives' melodic ideas simply do not leave her alone. She is always singing. Much of her work stems from simple and relatable nuggets of experience. It is almost as if putting her thoughts to a melody are a way of processing the world as she sees it unfold around her. These humble origins of her ridiculously catchy songs are, she says, result of a “keep it simple, stupid” approach, one that she pulls off with the fire-y confidence of artists such as Bratmobile or Minutemen. As Grace would have it: “I’m a man of few words, or just the same words over and over again. Everything about me is very laid back, my music is just supposed to be fun, danceable. I write songs so that they get stuck in people’s heads. I follow a formula. 'Butterfly' is two notes, 'Mansion' is six. I’m trying to keep it minimal, just so I can get this idea out and listen to it. I just try to crank these out, not so I can do something else, like sleep, drink, or go to a party, but so I can do more. I’m relatable, I shop on a budget, I’m your friend, and I want to write songs for you… to dance to. And I’m a great cook—I make a killer bolognese.”

TRACK LISTING

1. Mansion
2. Butterfly
3. IDK What I Should Do
4. Icing on the Cake
5. Wow
6. Lucky
7. Ocean
8. Anything
9. Something in the Water
10. Nightmare
11. What's it For?
12. Mirror

Acid Jazz continues to explore the Ballistic Brothers catalogue via an exciting remix project with renowned remixer Dominic Dawson.

Dawson has produced many underground club hits since the 1990s, including the UK Top 30 hit ’Shake It Baby’ under the name Hydraulic Dogs. He has released music on dozens of labels including Defected, Strictly Rhythm and R&S, as well as performing remix duties for The Chemical Brothers, Orbital, A Man Called Adam and many more. Here he tackles five of his favourite cuts from the Ballistics, and Acid Jazz houses them on a single 12” EP.

The Ballistic Brothers unique sound - perfectly straddling a number of club cultures - first broke through with their massive club hit ‘Blacker’, and over two albums, two EPs and numerous singles they explored and implemented a vision that saw funk, reggae, boogie, hip hop beats and house music effortlessly fuse together. The core members, Rocky & Diesel from X-Press 2, Ashely Beedle and label owner (and later Soul Revivers-founder) David Hill had the depth of knowledge to carry it off.

The EPs five tracks reflect that eclectic sound, tackling ‘Blacker’ of course, but also the out-and-out ska of ‘Peckings’ and the heavy roots reggae sound of ‘Jah Jah Call Me’. A New York house-style dub of ‘Come On’ leads the way and Dominic shakes our spiritual jazz roots with a take on the Alice Coltrane-approved ‘A Love Supreme’

TRACK LISTING

1. Come On (Dominic Dawsom Dub Flex Mix)
2. Love Supreme (Dominic Dawsom Dub Flex Mix)
3. Blacker (Dominic Dawsom Dub Flex Mix)
4. Peckings (Dominic Dawsom Dub Flex Mix)
5. Jah Jah Call Me (Dominic Dawsom Dub Flex Mix)

This was the fourth album by The Go-Betweens. Record Collector called it “one of the greatest albums of the decade” and Uncut wrote that “everything comes together with the perfect fourth album”. Drummer Lindy Morrison said “We produced this ourselves and it’s got the best songs, and I think every single song is a classic.” The band entered the studio determined to create the album they envisioned. Forster later wrote, “If this was to be our last shot, it had to be on our terms. There’d be no drum machines, no piecemeal recording, no acquiescence to higher authority. Our intention was to expand on the crisp, woody sound of 'Before Hollywood', to include a grander, more exotic range of instrumentation.”

TRACK LISTING

1. Spring Rain
2. The Ghost and the Black Hat
3. The Wrong Road
4. To Reach Me
5. Twin Layers of Lightning
6. In the Core of a Flame
7. Head Full of Steam
8. Bow Down
9. Palm Sunday (On Board the S.S. Within)
10. Apology Accepted

Soul II Soul's classic gets the Cinthie treatment. The Berlin based DJ, producer and label owner behind 803 Crystal Grooves, Collective Cuts and We R House, and the mind behind the influential Elevate record store, turns her attention to one of British soul's iconic collectives. 'Missing You', originally released in 1990, gets stripped back to its raw emotion and rebuilt for the floor. The Club Mix retains the original's emotion while driving it with low-end and a peak-time arrangement. The two dubs go further; raw, tool-ready cuts built for DJs.

A classic reworked with real house lineage. Missing You is built for 2026 club sets.

TRACK LISTING

1. Cinthie‘s Club Mix
2. Cinthie‘s Dub 1
3. Cinthie‘s Dub 2

The word ‘Tystnad’ – literally translated – means silence. In this case, the Silence is less that of zen buddhism or that of John Cage, rather the name of the studio where Flowers Must Die – carriers of the torch of Swedish psychedelia for now nearly 20 years – retreated to make their most head-expanding album to date. Located near the Norwegian border in the verdant rural Värmland region, Silence Studios has been a countercultural hub for decades, attaining a legendary status as a residential outpost where bands can retreat to stretch out creatively and focus their psychic powers.

From just such origins, Flowers Must Die have crafted a collection of expansive and incandescent jams that maps out a lysergic trajectory between the idealistic, anything-goes mania of early ‘70s psychedelia and the 21st century. 'Tystnad' is the sound of a band buoyed by the afterglow of their last Rocket release, 2017’s 'Kompost' and its attendant touring, and expanding into extrapolations that marry the wildest free improv with haunting melody.

If 'Tystnad', as the band claim, is to be their last recording made in one room at the same time, then it displays a formidable escape velocity. Who’s to say whether Flowers Must Die have tapped into a Swedish continuum, one including the like of Pärson Sound, Dungen or Goat. What’s clear is that 'Tystnad' is a timeless treatise, and a potent channeling of spirits –transcending genre in search of enlightenment anew.

TRACK LISTING

1. Vet ej
2. Raka Vägen För Damo
3. Nåja
4. Mantra
5. Ombudsmän
6. Tystnad
7. Lycka Åt Alla, Och Må Ingen Gå Härifrån Besviken

20 Palavras ao Redor do Sol is the debut album by the iconic Brazilian singer-songwriter Cátia de França. This amazing album has not been in print since its release in 1979 and is essential for every fan of MPB. Produced by Zé Ramalho, this classic album has a unique psychedelic feel and a warm folk sound, and you'll find yourself returning to it time and time again. In 2023, Cátia de França was one of ten Brazilian artistic figures honoured with the Milú Villela Award. She was also nominated for a Latin Grammy in 2024.

TRACK LISTING

Side A
1. O Bonde
2. Quem Vai Quem Vem
3. Vinte Palavras girando ao redor do Sol
4. Djaniras
5. Kukukaya (Jogo da Asa da Bruxa)
6. Itabaiana

Side B
1. Porto de Cabedelo
2. Ensacado
3. Coito das Araras
4. Os Galos
5. Sustenta a Pisada
6. Eu Vou Pegar o Metro

Seventh studio album by the Dropkick Murphys, originally released in 2011. This was the band’s highest charting album to date, making its debut at #6 on the Billboard Hit 200 charts.

The album also features guest appearances by Bruce Springsteen, Fat Mike (from NOFX), Chris Cheney (from The Living End) and actor/comedia Lenny Clarke.

TRACK LISTING

1. Hang ‘Em High
2. Going Out In Style
3. The Hardest Mile
4. Cruel
5. Memorial Day
6. Climbing A Chair To Bed
7. Broken Hymns
8. Deeds Not Words
9. Take ‘Em Down
10. Sunday Hardcore Matinee
11. 1953
12. Peg O’ My Heart
13. Walk Don’t Run
14. The Irish Rover

Since forming in 2020, Long Island hardcore band Pain Of Truth have had an immense six years - releasing an EP, two splits, and a full-length, and touring across the globe. This is their sophomore album, 'Pain Of Truth'. Working with GRAMMY winning producer Will Putney (Body Count, Incendiary, Counterparts), Pain Of Truth’s sound has been amplified tenfold across the eleven track album. The band blends old school style with new school swagger, as lyrics build from a place of resistance, struggle, and drive. Expect aggressive vocals backed by unified shouts, riffs that move from dirty grooves to electrifying, and drums that provide a pulsating rhythmic backbone made to intensify every mosh part.

TRACK LISTING

1. Obliteration
2. Done For
3. Stranded
4. This Hatred
5. Unforgiven
6. Chinatown, NY
7. Fed By Fear
8. Beyond The Damage
9. Filth In Your Head
10. Web Of Lies
11. Destroy It All

Since the release of 'DAMAGED' in 2024, Michael Fiedler aka GHOST DUBS has been surfing intensifying waves of adulation, earning praise from such diverse underground legends as Justin Broadrick (Godflesh/Jesu), Regis, Stefan Betke (Pole) and Steve Von Till (Neurosis). With second album 'Oblique', his mastery of sculpting sound waves results in a spellbinding set of alien soundscapes: larger in scale, richer in tone and considerably more cinematic than its predecessor. Lower, deeper and moodier, its cloudy abstractions, shadowy pulsations and submerged rhythms find Fiedler reaching further into his own sonic void, crafting blurred melodies and addictive narco loops into something simultaneously heavyweight and hypnotic.

Lead single and album opener 'Low Times' sets the atmospheric pressure to maximum, resembling a dream date between prime dirt-house era Andy Stott and Berlin dub-tech pioneers Basic Channel. From there, 'Oblique' descends into a series of enchanting mood scenes: the furtive, balletic gyrations of 'After All', the haunting ambience and buried heartbeat throb of 'Soft Collapse', and the noirish atmospherics of 'Blackout Dust', which worms its way into the mind like some forgotten David Lynch scene. The spirit of reggae is more distanced here than on 'DAMAGED', but the ghost of Jamaican dub still permeates these foggy soundscapes, particularly on 'Bombed Suburbs', where Augustus Pablo-style melodicism is chopped, screwed and slowed into a magnetic lock groove.

Superficially minimal but maximal in its minute detail, Oblique is a record of contorted reflections, mesmeric echoes and tantalising audio mirages. By the vaporous mist of closing track 'Almost a Structure', obvious rhythm has been craftily filtered away, leaving a blurred and blunted residue full of mystery and implied narrative. Dense in the best possible sense and crushing when played loud yet equally potent played quiet, 'Oblique' imagines dub techno burning its own rigid rulebook: sensual, funky and concussive rather than dry or alienating. Following Fiedler’s recent work scoring Sound of Falling, recognised at Cannes in 2025, 'Oblique' finds Ghost Dubs shedding his influences and making it clear he has arrived at a sound entirely his own — essential deep listening and a bewitching dose of future shock.

TRACK LISTING

1. Low Times
2. Cold Data
3. After All
4. Soft Collapse
5. Long Way To Go
6. Blackout Dust
7. Dead Channel
8. Attack
9. Overthinking
10. Decay
11. Bombed Suburbs
12. Almost A Structure

We are all at the unforgiving whim of life’s extremes. For every moment of overwhelming sorrow, there’s another of indescribable bliss. For every death, there’s a birth. For all of the darkness, there’s just as much light.

Deathchant have never shied away from extremes. Their sound seamlessly oscillates from high-octane rubber-burning riffs and gravelly chants to purring feedback and melodies as expansive as the desert at night. After gathering millions of streams, earning enthusiastic acclaim, and an endless string of packed shows, the Los Angeles, CA quartet—Thomas J Lemieux a.k.a. TJ [guitar, vocals, keys, bass], Doug Stuckey [guitar, vocals], Quinn-George Camacho [bass], and Nick “Joose” Mcdonnell [drums]—explore life’s highs, lows, and everything in between on their fourth full-length LP, 'KOVA' [RidingEasy Records].

Named after their late friend Davey Kova, it’s simultaneously a raucous send-off worthy of a Viking, an introspective look at manhood, and a dyed-in-the-wool badass barnstorming hard rock record.

“To me, Deathchant means very intense brotherhood and friendship,” observes TJ. “I have a truly safe place to express every facet of myself. Even though we’re really heavy, this is also a vehicle for me to explore softer sides of music and wear my heart on my sleeve. For the last nine years, it’s allowed me to be a raw nerve. It was often brutal, because we lived our lives in the world of motorcycle culture, drugs, and partying. At the same time, I always had space for reflection. We implicitly trust one another. It’s rare for a friendship—let alone a four-way working relationship. I recently became a new dad, went through a divorce, and experienced serious loss. All of these massive shifts fed into the music, making it angrier, but more revealing and intimate.”

TRACK LISTING

1. Enemy
2. Red Sun
3. Funeral Pyre
4. Reverie
5. Worshipper
6. Ruin
7. Kova
8. Forgiveness
9. Requiem

The first definitive biography of one of the most influential British groups of all time. Told by lifelong fan and bestselling, critically acclaimed music historian Bob Stanley, this is the story of how a group of working-class boys from Newcastle Upon Tyne became the biggest act in the UK before the Beatle revolution of 1963.

Scoring 34 hit singles under their own name, The Shadows landed a further 35 hits alongside Cliff Richard who – along with other surviving members – has spoken exclusively to Bob for the book.

With a legion of famous fans from David Gilmour to Pete Townshend, ‘The Shadows’ aims to cement the group’s legacy as one of the most significant and commercially successful British acts in their own right

Mildred is a band from Oakland, CA of four equal parts. They don’t have a lead singer, no one person writes the songs. The songs that make up their debut album Fenceline come together as a group with their genesis sprouting from any one of their members each time. This isn’t a case of Henry (vocals, guitar), Jack (vocals, guitar), Matt (vocals, bass, woodwinds) or Will (drums, production) sauntering in and slapping their latest offering down on the table to be fleshed out as they see it in their mind though. Mildred have a quieter, sweeter process. The songs are often wrestled from the lead writer by the other three, a lyric might have been mumbled absentmindedly for a few days before one of the other three grabs at it, forcing the lead writer to focus on something great they had come up with without really noticing. If you ask any Mildred member what their favourite part of Fenceline is, it will never be something they wrote. If you pin them down and ask them what their favourite part of something they did write was, it will always be something somebody else added to it.

This is what makes Mildred - in many ways a classic four piece - so special. This wonderfully easy bond between four friends just hanging out and writing songs is so palpable it’s intoxicating. Summed up neatly by Clash Magazine saying, “imagine if Pavement went Americana and you’d be close”, Mildred make music that is pure and poetic, gently addictive and never overwrought. They describe the creation of the band as being born from “deciding that playing/talking about/thinking about music together is fun and something we want to structure our lives around as best we can”. Mildred is a vehicle for these four people to continue to spend time in each other’s company, encouraging whatever phrase one of them might have been humming to be explored as fully as possible, nurtured into something tangible. Most bands are formed so they can get out of whatever diy space they start out playing in, Mildred was formed so they can spend more time there.

The space in question for Mildred is a house. The Ward St. house in Berkeley to be exact, already a landmark in Mildred lore. When Fenceline began taking shape Henry, Jack, Matt, and occasionally Will were living there together; Matt hunkered in an “extra-legal” room in the attic where he bathed on his knees and Henry and Will would have to stoop to visit. Jack and Henry shared a wall in adjacent shoeboxes on the middle floor, Henry staring directly out at an old walnut tree they nicknamed Walter. Will was away studying in the desert but would stay whenever he was in town. While living on Ward St. they would write songs in the porous space between the kitchen and the living room after dinner, before they even knew they were a band. A drum set, guitars, and Matt’s woodwinds were always strewn about. After that they would go up to the roof - beautifully painted by Jack for the cover of Fenceline -, Jones the cat often creeping up the stairs curiously behind, and talk the songs over some more, or just continue hanging out, talking about whatever. (The Mildred core belief system goes as follows: “talking about the weather is a legitimate and profound form of human discourse and exchange. So is talking about grocery stores and produce prices. Front lawns are too tidy, let them grow. Free associating is one of life's great pleasures. We believe in the reality of pathetic fallacy. The crunch wrap supreme is the pinnacle of modernity.”).

This is what makes the songs on Fenceline hang together, naturally, as roommates do. These four people are very different in many ways. Jack is a PHD student, often working underground, studying the atom beyond any conceivable point. Will is an environmental lawyer. Matt is an architect, a job he took up properly after a year in a Benedictine monastery. Henry works in affordable housing, helps his dad grow beans, and plays a lot of basketball. The lyrics for their songs are written largely alone and often draw from their own individual lives and experiences but there’s a shared something there. “It makes sense when common threads emerge” they say, “because we do things together a lot as friends: cook, laze about on a weekend, listen to an album, go walkabout, read, go see movies etc. People will tell us after seeing us live that we’re, “like… a real band.” There’s maybe a shared rhythm and camaraderie in our lives that comes through in the music.”

That shared something takes many forms; flaming pinecones floating down the river, scattered papers and dog-eared books, exhausting party conversation and Irish goodbyes, leaves the colour of UPS trucks. Songs often take place across whole days: long days working at Henry’s aunt and uncle’s farm, an afternoon down in San Francisco on the day the sailors come in and booze all day in their cracker-jack uniforms, one of those youthful afternoons that seemed to stretch forever. Others stem from a shared love of a good reference; breadcrumbs dropped from old favourite books, songs and poems, or Matt’s favourite little red book on architecture, waiting to be found by those who love to go over lyrics with a fine-toothed comb. Strikingly literal or intriguingly oblique, Mildred have a remarkable way with lyrics that lodge themselves in your head softly but with such determination that they begin to feel like shimmering memories from your own life. Fenceline is a collection of songs that you want to hold close and delve into, and yet play to everyone you know.

While the lyrics were largely written in and around the Ward St. house, the fleshing out of the songs had to take place elsewhere. The house was owned by septuagenarian slumlord Suzanne, along with 17 others in various states of decay across Oakland. “She drove around in a BMW, with red lipstick smeared on and beyond her lips, and thick black sunglasses” the band recall, “one time she made our friend get down on his knees on the curb and bend over to sign his lease on the passenger seat.” When the band called her one day to let her know that the makeshift sauna they had built in the backyard had gone up in flames and set fire to Walter the tree, she didn’t even call them back. That kind of landlord. Suzanne eventually did catch wind of Matt’s secret bedroom though and that was enough to stir her into action. She called them “matricidal felonious degenerates” and asked if they would inflict such horrors on their own mothers, threatening to lock them out in the next 24 hours. They managed to stay until the end of the month, but Ward St. was no more.

Fleshing out the songs written in Ward St. was therefore largely done in Matt’s new abode. He moved in with a handsome but fragile 97-year-old ex-lawyer/taxi driver who likes to chat about baseball and has a sizable garage. He didn’t mind the band setting up there in the evenings and they would power up a bunch of big stage lights Matt found in a dumpster and play. “They make the room feel atmospheric in a way that borders on over-the-top corny/comical” Mildred say, “often when the lights come out is when our practices devolve into heinous nonsense:bad spoken word, screaming, impersonations etc.” In amongst this heinous nonsense the songs took on their final forms, a lot of that atmosphere creeping into their makeup. Mildred’s songs have a magic that makes them feel like they were purposely written for whatever time of day or time of year you’re listening to them in, maybe a result of this liminal space where they were finalised, maybe just the sign of great songs.

For recording, the band took a week off work and decamped to Luke Temple’s studio in Pasadena, having all been carried through the pandemic by his 2019 album Both-And. Thrilled by the prospect of a full week of just playing music together rather than squeezing in around work, they recorded live together in the room, the only way they know how.

The sound that emerged is warm and organic rather than polished or ‘perfect’. Mildred slip effortlessly into grooves and perfect harmonies on songs like ‘Charlie’, ‘Fenceline’ and the extended rolling free association of ‘Mumblecore Melody’ while on the like of ‘Cobwebs’ with its racing pulse and distant, roomy vocals or closer ‘Hardcore of Beauty’ which tumbles from steady drum-machine languor into yelping, shouting crescendo, you can hear the thrill of more left-field ideas taking shape live in the room. When the recording week had finished, only one song didn’t feel quite right, ‘Fish Sticks’.

Ahead of Fenceline, Mildred have just released their debut twin EPs mild and red, a collection of songs impossible not to play over and over in a startling way considering they were created before Mildred even knew they were a band, with no thoughts beyond just messing around back in Ward St. Arriving purposefully on the scene in that gentle, approachable Mildred way, the EPs picked up support from The Guardian, The Line of Best Fit, DIY, Uncut, The New Cue, Clash, Brooklyn Vegan and more. In amongst the release, they also played made their debut on UK shores with a headline show at The Windmill in Brixton (during which they took a blackout well in their stride with some rip-roaring acapella fun), as well as playing at London’s The Shacklewell Arms and Bristol’s The Louisiana.

While in Bristol with a free afternoon, Mildred took ‘Fish Sticks’ to a friend, Jack Ogborne aka Bingo Fury (The Cindys, Naima Bock), to give it another go in his studio in the basement of a centuries-old pub across the street from what used to be a prison, with a secret passageway connecting the two. It’s not easy to tell that ‘Fish Sticks’ has a very different recording setup as it settles so comfortably in with the rest of Fenceline; but the change of scenery gave it new life and a final product - an endlessly repayable distillation of the Mildred sound with a central guitar line for the ages and irresistible harmonies - that they all liked so much it became the lead single.

A bit of tinkering, overdubs and a beautifully cohesive final mix from Will followed by mastering from GRAMMY nominee Jason Mitchell, and Fenceline was finished.

The title track, and album title, in part stems from long drives (Mildred’s music is perfect for long drives). In the US you can’t drive anywhere for any length of time without seeing an ‘Adopt-a-Highway’ sign. “It’s some sort of state program whereby businesses/individuals sign up to clean a portion of a highway a couple times a year in return for roadside advertisement” Henry explains, “I had the line “I’m adopting a highway... just to try things my way” and then an image of a narrator “adopting” a stretch of highway, not out of civic duty, but as a petty way to remain in someone’s mind, knowing they’ll have to drive past the signs over and over again”.

This is a perfect example of the kind of songwriting that makes Mildred already feel timeless. Ordinary - everyday, even - objects from daily life looked at in such a way as to change the way you see them forever. Songs dance back and forth over the line between crystal clear snapshots of the real world and hazy poetic embellishment, to create a dream-like version of life that is both intensely relatable and tantalizingly out of reach. It’s hard to put your finger on exactly what it is about this band that makes the atmosphere they conjure so enticing but it’s impossible to step away from.

STAFF COMMENTS

Barry says: Deep, melodic country rock and gorgeously evocative instrumentals from Oakland's Mildred. Though all the songs here are impeccably written and perfectly performed, they have the loose collaborative feel of improvisational sessions, which results in something that feels free and easy, and incredibly competent.

TRACK LISTING

1. UPS Brown
2. Fish Sticks
3. Charlie
4. Cobwebs
5. Fenceline
6. Fleet Week
7. Aquinas
8. Mumblecore Melody
9. Pitch Boats
10. Hardore Of Beauty

Carly Rae Jepsen returns with a new double album 'Day and Night'. Across 24 songs, the record dreams up a world lavish enough to hold the full expanse of her identity. The lead single 'On Wires' surges with urgency, capturing the dizzying pull of desire. “It’s about wanting someone so badly you can barely get through the motions of a night out,” she says. “It’s a real ‘come hither’ song, but the chorus is just me repeating ‘I want you,’ because that’s all I can think about.”

TRACK LISTING

TBC

LILDAVE215 is a proud Philly representative who channels funk, soul and acid jazz into his delicious take on disco. For this new outing on the young but already promising Sweet Breeze Sound label, he kicks off with 'Music Takes Me' which rides on slinky drums that slide irresistibly on nice dusty cymbals and has funky riffs down low. The vocals add simple but effective colour that adds to the feel-good nature. 'Carnaval Del Tiempo' is more Latin influenced, with prickly percussion and big vocals, even bigger drums and sax energy all added for when the sun shines down hot.

TRACK LISTING

Music Takes Me
Carnaval Del Tiempo

Chelsea Wolfe enters a new era with 'The Dark', forged in newfound sobriety and deep self-reckoning. Lead single 'Cold' is the album's emotional doorway: the ache of being in relationship yet feeling utterly alone, of loving someone and still knowing they are toxic for you. It's about letting go of the person, the path, and the version of yourself that kept returning to the same wound — not dramatic escape, but the quiet terror of finally saying it plainly: "I'm letting you go."

TRACK LISTING

1. Cold
2. Seethe
3. Humours
4. Swallower
5. Halo
6. The Dark
7. Turn the Key
8. I’m Not There
9. Death is Not the End
10. Dancer in the Sky

Another great personal Dylan album, 'Desire' captures Dylan at the beginning of his 'Rolling Thunder Revue' era. Folk, rock, Middle Eastern themes, and epic narratives, the album is a pop staple throughout.

A wild collection of styles result in an album that ranks in the top of all Dylan efforts. It rambles, rocks, and thunders; the sheer energy is just infectious. Its best-known track and album opener 'Hurricane', is quickly followed by the hypnotic 'Isis' and breezy 'Mozambique'.

TRACK LISTING

1. Hurricane
2. Isis
3. Mozambique
4. One More Cup of Coffee
5. Oh, Sister
6. Joey
7. Romance in Durango
8. Black Diamond Bay
9. Sara

"JPEGMAFIA, a trailblazing force in experimental hip hop, releases his latest solo project, I LAY DOWN MY LIFE FOR YOU. This album, his first since 2021, is a complex and innovative work that showcases his meticulous production skills. Featuring collaborations with Denzel Curry, Vince Staples, and Buzzy Lee, the album explores themes like capitalism, conscription, and propaganda through some of JPEGMAFIA’s most anarchic raps to date. The release is accompanied by an extensive global tour, reinforcing his status as one of the genre’s most incendiary talents. Since his last solo release, JPEGMAFIA has continued to push boundaries in the music industry, most notably with his 2023 collaboration with Danny Brown on Scaring the Hoes, which garnered critical acclaim and chart success. With I Lay Down My Life for You, JPEGMAFIA cements his reputation as a visionary artist, delivering a powerful commentary on the world through his unique lens. The album’s release is set to make a significant impact, both in stores and on stages worldwide."

TRACK LISTING

01. I Scream This In The Mirror Before I Interact With Anyone
02. SIN MIEDO
03. I'll Be Right There
04. It’s Dark And Hell Is Hot
05. New Black History (feat. Vince Staples)
06. Don’t Rely On Other Men (album)
07. Vulgar Display Of Power
08. Exmilitary
09. JIHAD JOE
10. JPEGULTRA! (feat. Denzel Curry)
11. Either On Or Off The Drugs
12. Loop It And Leave It
13. Don’t Put Anything On The Bible (feat. Buzzy Lee)
14. I Recovered From This

Amaze amaze amaze! Academy-Award nominee Daniel Pemberton’s original score for Project Hail Mary. Including stunning imagery from the film, plus over 85 minutes of music from Pemberton’s breathtaking, cinematic score, immersing fans deeper into Grace and Rocky’s extraordinary mission among the stars.

TRACK LISTING

LP Tracklisting:
1. Ryland Grace, Cognition Assessment
2. Last Man On Ship
3. Humanity
4. You Were Loved (Burial)
5. Petrova Line
6. Erratic Maneuver Detected
7. Centrifuge
8. The Message
9. Entering The Tunnel
10. Barrier Language
11. Connection
12. Learning To Communicate
13. Rocky Moves In
14. God Willing
15. A Moment
16. Life is Reason
17. Grace Go Home
18. Time Go Fishing
19. Gravitational Aftermath
20. Tau Amoeba
21. Amaze Amaze Amaze (Fist My Bump)
22. Goodbye My Friend
23. Believe in the Hail Mary
24. Amaze Amaze Amaze (Life On Erid)

CD Tracklisting:
1. Ryland Grace, Cognition Assessment
2. Last Man On Ship
3. Invalid Operation
4. Water Based
5. Humanity
6. Box In A Box
7. Top Secret Clearance
8. You Were Loved (Burial)
9. Petrova Line
10. Erratic Maneuver Detected
11. Cannister Catch
12. Centrifuge
13. The Message
14. Entering The Tunnel
15. Barrier Language
16. Anybody Home?
17. Connection
18. Clock Numbers
19. Learning To Communicate
20. Finding Rocky Voice
21. Rocky Moves In
22. Grace Has Mate
23. God Willing
24. A Moment
25. Life is Reason
26. Grace Go Home
27. Three Days
28. Time Go Fishing
29. Excessive Centrifugal Force
30. Rocky Sacrifice
31. Gravitational Aftermath
32. Tau Amoeba
33. Wake Up Buddy
34. Amaze Amaze Amaze (Fist My Bump)
35. Goodbye My Friend
36. Xenonite Contamination
37. Believe in the Hail Mary
38. Amaze Amaze Amaze (Life On Erid)

Cruise Music really does what it says on the tin - serve up the sort of grooves that are easy to slip into a ride along with, especially when the sun is out and the mood gets a little more playful than usual. Their 16th edition of this long-running series is another super fly collection of effective groove and classic house attitude. Makito opens with the funky licks and disco colour of 'Jailhouse Funk' while Mark Funk and Danny Cruz pull back and allow plenty of sunshine and jazzy sax warmth into 'The Vibe.' On the flip, Bonetti gets remixed by Vertigini for some filter-driven and dusty house goodness and Raffaele Ciavolino and FederFunk bring a little Latin heat and percussive texture. Classy stuff.

TRACK LISTING

Makito - Jailhouse Funk
Mark Funk, Danny Cruz - The Vibe
Bonetti - Good Things (Vertigini Remix)
Raffaele Ciavolino, FederFunk - Going Home

It’s just over 30 years ago that former Suede guitarist Bernard Butler and ex-Thieves frontman David McAlmont unleashed the extraordinary single ‘Yes’ at the beginning of a summer awash with Britpop and Ibiza rave. With its instant-classic sound, augmented by soaring ’60s strings, it sounded epic and most definitely unlike anything else at the time. Rightly, today it’s considered a stone-cold classic.

When it followed in the December of the same year, the album ‘The Sound Of…’ was an immensely satisfying and beguiling mix of classic songwriting, immaculate production, and blending of rock and soul. The album was also singled out by critics as one of the year’s very best. ‘The Guardian’ newspaper awarded it a maximum 5 stars while ’The Times’’s critic commented: “the monumental climax to the seven-minute-long 'You Do' provides a fitting end both to the album and to a relationship that shook so hard that perhaps it had to shatter.”

TRACK LISTING

LP Tracklisting:
1. Yes (Full Version)
2. What’s The Excuse This Time?
3. The Right Thing
4. Although
5. Don’t Call It Soul
6. Disappointment / Interval
7. The Debitor
8. How About You?
9. Tonight
10. You’ll Lose A Good Thing
11. You Do (Full Length)

CD Tracklisting:
1. Yes (Full Version)
2. What’s The Excuse This Time?
3. The Right Thing
4. Although
5. Don’t Call It Soul
6. Disappointment / Interval
7. The Debitor
8. How About You?
9. Tonight
10. You’ll Lose A Good Thing
11. You Do (Full Length)
12. Yes [demo]
13. Yes [four track demo]
14. Yes [instrumental]
15. You Do [demo]
16. You Do [mix 1]
17. Don’t Call It Soul [demo]
18. Don’t Call It Soul [original single version]
19. How About You? [original single version]
20. Tonight [Oompah demo]
21. Tonight (Overnight)
22. What’s The Excuse This Time? [355]
23. Yes [BB & Nigel Godrich 1995 remix]
24. The Argument [outtake from the “Tonight” session]

Way Dynamic, the solo project of Melbourne’s Dylan Young, releases internationally 'Massive Shoe' – a third album that’s playful and understated, luminous and textured. Massive Shoe is minimalist folk-pop, art rock and baroque pop, produced and largely played by Young, who moonlights in Melbourne’s beloved Cool Sounds and Good Morning and has played drums with Snowy Band and Kankawa Nagarra.

It’s tempting to only compare these songs to those of yesteryear – Young’s falsetto, his ear for harmonies and the intricate arrangements all feel timeless. But there’s a sensibility, a turn of phrase, that feels deeply contemporary: it’s telling that Waxahatchee’s Katie Crutchfield described 'Miffed It' as her “favourite song in a VERY long time”, and Katie, MJ Lenderman, This is Lorelei and Black Country New Road have all taken Way Dynamic on tour, while Sir Elton John said that he “just cannot stop listening” to 'Ibiza'. Young’s songs don’t shy away from sentiment, or equally from silliness: on any given song he might suggest a flight to space or earnestly lament a miscommunication. “Can we walk and talk as well?” he asks on “I Was the Dancer”, and we rush to accept the invitation.

TRACK LISTING

1. People Settle Down
2. I Was The Dancer
3. In Review
4. Miffed It
5. Mercy Town
6. My Visit (To Hell)
7. The Others
8. Hurricane
9. Ibiza
10. They Said
11. Evening Star
12. Officially

The No Fuss crew keep it real with more house groves that have plenty of musical virtues and not just obvious drops and samples. Saison & Rimarkable open with the dubby sounds of 'Make It Shake' which are complemented by soft acid lines and nice buffed metal textures, while DJ Romain cuts up a more choppy groove with the skippy drums and 90s swing of 'Snap Crackle Pop.' Matt Gillespie's 'Give Me Love' pulls back into a smoother, deep sound with deft chords infusing the cuddly drums with a cheeky charm. Igor Gonya & Stogov bring a more tech-leaning sound for the closer, with radiant synth coming on like a newly emerging sun.

TRACK LISTING

Saison, Rimarkable - Make It Shake
DJ Romain - Snap Crackle Pop
Matt Gillespie - Give Me Love
Igor Gonya, Stogov - Came Back Raw

The jaded daughter of a dead preacher-man caught in an exodus, Ethel Cain winds her way through a dizzying attempt at escape from her suffocating upbringing only to find herself crushed within its jaws in the end. Hayden Anhedönia, the woman behind the curtain, serves as the architect for the visceral and haunting world of Ethel Cain. After over four years of meticulously constructing her debut album and the graphic visual world that accompanies it, 'Preacher’s Daughter', was released in May 2022 to critical acclaim, catching fire with her reverent fanbase of daughters and the adoration of The New York Times, Vogue, NPR, Billboard, Vice, TheFADER, NYLON, Paper Magazine, Pitchfork, W Magazine, V Magazine and more.

TRACK LISTING

1. Family Tree (Intro)
2. American Teenager
3. A House In Nebraska
4. Western Nights
5. Family Tree
6. Hard Times
7. Thoroughfare
8. Gibson Girl
9. Ptolemaea
10. August Underground
11. Televangelism
12. Sun Bleached Flies
13. Strangers

TEAM DRESCH ARE BACK with a NEW FUCKING RECORD, 30 years after their last full-length release. Sure, yeah, that’s a long time between releases. BUT, aren’t you dying to hear what 30 years of living, laughing, loving, and losing collagen sounds like? This album SOUNDS LIKE lungs full of grief expelling, eyes and guts wide open, yearning to be one with animals and nature, metal-flange-goth-grunge-punk-ass-rock-and-roll, loaded with inimitable vocal melodies and harmonies, Donna Dresch’s soaring guitaring that grabs you by the heart, so many other rad guitar parts all orchestrally intertwining, ass-thumping bass, and drumming mastery that deserves its own Grammys. The songs are wildly dynamic, compelling, moving, and just… BIG, in feeling and sound. Team Dresch is Donna Dresch, Jody Bleyle, Kaia Wilson, Marcéo Martinez, and Melissa York. Bleyle and Wilson share vocal duties, while Martinez and York take turns bashing the shit out of their drum kits. Bleyle, Dresch, and Wilson all take turns with guitars and bass on this record. Well, Kaia played bass on just one song (but not on the song 'One Song'). The lyrics tell stories of loss and grief, transition and transience, and telling the Christian Right to fuck right off, again. They paint landscapes rich in flora and fauna. In one way or another, these songs are all LOVE songs, when you look at love as the multitude of meaning that it is. If you’re already familiar with Team Dresch’s now widely considered classic emo-queercore sound, this record will give you some of that, but it’s going to take you on some unexpected twisted turns as well.

TRACK LISTING

1. One Song
2. Growing Underground
3. Heard A Bang
4. I've Really Become Some Thing
5. Jamie
6. Still Your Room
7. And Now Your Face
8. I Won't Tell
9. (Where Do) I Belong
10. Every Owl Leaves
11. Last One At The Party
12. Protectors

Globo, one of the 1990s’ great electronic music outliers, return with a 'Redux' version of their sample-heavy 1995 debut album, 'Pro War', released on vinyl for the very first time.

More than three decades later 'Pro War' is a work of supreme irony and a dark inversion of John Lennon and Yoko Ono’s famous slogan, “War Is Over! If You Want It”. Written against the backdrop of Rwanda, the Gulf War and Bosnia, the album explored not only the machinery of conflict itself, but humanity’s recurring attraction to it.

Globo said: “We made 'Pro War' in 1995 and we were reacting to what we saw around us. Everything has changed since then, and yet it’s all somehow the same.” - Absurdist and intentionally darkly comic, 'Pro War' now feels as relevant as ever: a disorientating broadcast from an age of propaganda, conflict and media overload that never really ended.

The Norwich-London force that is Globo emerged in the mid-1990s as one of the UK underground’s most singular electronic acts, fusing sample collage, transmitted media, breakbeats, found sound, cinematic melody and rhythmic vocal montages into a sound that felt both human and eerily technological. While often mentioned alongside contemporaries such as Underworld, Globo occupied a far more fractured, satirical and confrontational space. Decades on, their work endures as an eerily accurate blueprint for the world that followed.

TRACK LISTING

1. Sixties Nineties
2. Alive
3. Beautiful Feeling
4. Flirt with Fascism
5. Onward
6. Cable Card
7. Guess Who’s Back
8. Adult Channel
9. Autosleeper
10. The Fight to Stay Alive
11. Pro War

Ipecac is excited to welcome Cor de Lux to the family. The North Carolina quartet create a boundary-less and lively blend of post-hardcore, shoegaze and experimental guitar rock that feels alive and not hastily edited together. Taking their cues from acts like Fugazi and Blonde Redhead, while sharing the stage with Pile, Superchunk, Archers Of Loaf and more.

The NC quartet have built their identity the old-fashioned way: loud rehearsals, instinctive collaboration, and live shows that turned curious locals into committed followers. They established a voice rooted in tension and movement: post-hardcore urgency, shoegaze atmosphere & guitar-centered unpredictability. Produced by J. Robbins, the album channels the live intensity without blunting its edges.

TRACK LISTING

1. Blind Smile
2. The Cringe
3. Ping Pong
4. Cannibals
5. The Western
6. Bread Bag
7. The Deli
8. Long Face People
9. Strawberries

Retracing two decades with Seattle’s Jeff McIlwain, aka Lusine, reveals one of contemporary electronic and experimental music’s most enduring producers, understatedly consistent yet endlessly curious. His expansive catalog balances melodic structure with textural refinement, drifting into techno, avant-pop, and ambient lanes while never squarely in any one of them.

Following 2023’s 'Long Light', among his most collaborative, song-forward albums to date, McIlwain returns to his minimalist roots for the towering 10th Lusine full-length, 'Melting Days'. Ten songs in conversation with loss and transition, defined by elemental layers and ascending loops that engulf his signature rhythms and beat patterns in pure radiance. “When you’re moving through grief, it’s as if you’re watching your previous life get foggier and foggier,” says McIlwain. While he didn’t set out to make a journey record, 'Melting Days' takes that feeling to its spiritual end, from catharsis to clarity.

TRACK LISTING

1. Sightline
2. Bird’s Eye
3. Apparition
4. Farewell
5. Overlook
6. Pendulum
7. All Clear
8. Intruder
9. These Walls
10. Uncharted

Rayna's fifth full-length under the Black Meteoric Star again serves as a vessel for her lifelong love of dance music alongside spiritual themes, drag and her formative experiences in S/M culture. Since focusing it in Berlin in 2006, the project from the former member of LCD Soundsystem has always carried an avenger quality and here that energy is aimed directly at the current political moment. Wet celebrates the long shared history between electronic music and queer leather/SM culture, imagining a future where the two are fully reconnected. The sounds are sleek, stripped back electro worlds with sci-fi overtones and retro machines used to conjure everything from proto-rawness to ice cold minimalism.

TRACK LISTING

5am Open Air Sunrise
Buttplug Thumb Drive
Control Top
Feel The Energy
Pombagira
S Weat
Squuezed Into These Jeans
Subwoofer Speaker Freaker (feat. Scotia)
The Calling

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

TRACK LISTING

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

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

The Original Motion Picture Soundtrack was scored by Julian Nott, who also scored the previous entries in the franchise. The score was produced by Hans Zimmer, and additional music was provided by Rupert Gregson-Williams, James Dooley, Lorne Balfe and Alastair King.

Wallace & Gromit: The Curse of the Were-Rabbit (2005) is the fourth installment in the Wallace & Gromit series and the first to be feature-length. A parody of classic monster movies, the film centers on Wallace and Gromit in their latest venture as pest control agents. They come to the rescue of their town, which is plagued by rabbits, and find themselves battling a giant were-rabbit which is consuming the town's crops.

TRACK LISTING

1. A Grand Day Out 
2. Anti-Pesto To The Rescue 
3. Bless You, Anti-Petso 
4. Lady Tottington & Victor 
5. Fire Up The Bun-Vac 
6. Your Ladyship 
7. Brainwash & Go 
8. Harvest Offering 
9. Arson Around 
10. A Big Trap 
11. The Morning After 
12. Transformation 
13. Ravaged In The Night 
14. Fluffy Lover Boy 
15. Kiss My Arrrtichoke 
16. Dogfight 
17. Every Dog Has His Day 
18. All Things Fluffy 
19. Wallace & Gromit

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

C.O.F.F.I.N are a punk band from Sydney, Australia. The acronym stands for ‘Children Of Finland Fighting In Norway’. Very much in the same vein as Amyl & The Sniffers, ‘Out In Oslo’ was produced by Declan Mehrtens of Amyl & the Sniffers.

Following on from 2023's 'Australia Stops', 'Out In Oslo' is their most accomplished to date. It sees C.O.F.F.I.N take their songcraft of hard rock & roll to new heights. This isn’t just a band - this is a lifestyle, a calling. Make sure you answer.

TRACK LISTING

1. Out In Oslo
2. Sleep In It
3. Think Bad
4. A Place To Stay
5. 13 Days
6. Won't Let You Down
7. Loose Ties
8. Fair Enough
9. Gettin' Down
10. See Ya Later
11. Miles Away

Ruby of Thanks is the songwriting and home-recording project of Hudson Valley musician Andy Weaver. A fourth-generation New Yorker, Weaver is also a house painter and drummer whose work has included Widowspeak, Castanets, Wildflower, and Andre Ethier. With Ruby of Thanks, he turns toward something quieter: intimate, handmade songs that find beauty in ordinary life.

'Before You Turn Into A Dog' is the project’s second full-length album. Split between solo recordings made at Weaver’s home in Kingston—where he played every instrument himself—and collaborative sessions with friends in Cairo and Catskill, the record values process as much as polish. Several songs preserve their very first complete performances, documenting ideas as they emerge rather than after they’ve been refined.

“Hopefully it captures some spirit of creation,” Weaver says. “The idea of songwriting as a way to process events and create peace at home by working with your hands, making things. Self-recording as a response to capitalism in art.”

That philosophy gives 'Before You Turn Into A Dog' its quiet gravity. These songs dwell in everyday rituals and fleeting moments of transcendence, moving through love, depression, work, and the search for peace with remarkable patience and generosity. Weaver’s warm acoustic guitars, understated melodies, and homespun recordings never ask for attention—they earn it through honesty, intimacy, and careful craft.

There are echoes of artists like Little Wings, John Andrews and the Yawns, and Hand Habits, but Ruby of Thanks resists easy comparison. Like the records that have long defined the Woodsist orbit, 'Before You Turn Into A Dog' feels less like a statement than a place to inhabit: unhurried, deeply human, and quietly transformative.

TRACK LISTING

1. Terror Dogs
2. Spicebush Grove
3. Shadow
4. Chapstick
5. Dandelion Street
6. Backlit Cloak
7. Cherry
8. Flosser
9. When I Turn Around
10. Attic
11. Papers
12. Windowsill

'Dragonflies' is the self-titled debut album from Dhani Harrison and Nigel Godrich.

Dhani Harrison is a two-time Grammy Award-winning musician, composer, and producer. First emerging on the global stage with his band thenewno2, Harrison has since established himself as a distinctive solo artist. His 2017 debut solo album, 'IN///PARALLEL', marked a bold creative evolution, followed by the critically acclaimed 'INNERSTANDING'.

Nigel Godrich is one of the most celebrated producers and recording engineers, best known for his decades-long creative partnership with Radiohead. Beginning his work with the band in 1994, he has produced every Radiohead studio album since 'OK Computer' (1997), helping define one of modern music's most influential catalogs.

Together, 'Dragonflies' brings Harrison and Godrich's decades of songwriting, production, and cinematic composition into a singular new collaborative project.

TRACK LISTING

1.Slower
2. Setting Sun
3. Straight Line
4. Heart or Head
5. Ophelia
6. The Weight
7. In Between
8. End of World

K-LONE returns to Wisdom Teeth with 'Have A Few Days Off' - a mini-LP of vivid, 4K club music that seeks out precious moments of release in an increasingly restless world.

The record marks his first outing on the label since 2023’s 'Swells', and in that time - once again - the world has changed. Thousand acre data centres. Multirotor drones. These long hot summers. K-LONE’s music has always played with escapism, but this time the question is: can music and creativity continue to provide escape when the world gets too loud to block out?

Stylistically the record absorbs the full range of K-LONE’s key musical touchstones - from swinging minimal house through to autonomic d’n’b and drifting ambient techno. Many of his established calling cards are on display here: his bright resounding chords, buoyant basslines, and fragmented vocal hooks. The record is full of joy and rapture, yet something feels off. Amongst the glowing melodies is a creeping dissonance. ASMR vocals float in and out of the mix like eerie audio hallucinations, and synths melt and detune as if warped from excessive heat. Amongst the idyll, life creeps in at the edges.

Colourful yet discordant; familiar yet strange. “You’re looking kinda sleepy. Have a few days off.”

TRACK LISTING

1. Holdup
2. Love Me A Little More
3. Self Care (Live Mix)
4. Have A Few Days Off
5. eerhT owT enO
6. Micro Tonne

Tiffany Day has quickly emerged as one of the most compelling voices in hyper-digital pop, blending emotional chaos, internet-born edge, and forward-thinking production into a sound entirely her own. Born in Toronto and raised in Kansas, Tiffany first broke through with a viral cover of 'Hallelujah', building a YouTube audience of over 500,000 subscribers before graduating high school. She began releasing original music in college, quickly developing a devoted fanbase drawn to her wit, vulnerability, and genre-fluid instincts.

A self-directed creative force, Tiffany has made her live show a defining pillar of her artistry, fusing choreography, visuals, and electronic-driven transitions that push her beyond traditional pop performance. In 2024, she independently funded and sold out several headline shows across a North American tour. She later expanded into the DJ scene, launching BASSFLUFF, a series of standalone events that generated viral moments DJing everywhere from gyms to nail salons.

Her 2025 releases marked a sharp sonic evolution, leaning into electroclash and hyperpop textures. Singles like 'BREAKUP', 'TELL ME WHAT I DID', and 'START OVER' generated millions of views across platforms and earned coverage from NME, Ones to Watch, On The Radar, and beyond, positioning her at the forefront of a new wave of digital-native pop artists.

That momentum culminates in her album 'HALO'. The project debuted at #1 on the Apple Music Electronic chart and #25 on the Billboard Electronic/Dance Albums Chart, drawing early co-signs from artists like Laufey and Yunjin (LE SSERAFIM) alongside coverage from Pitchfork, The FADER, NYLON, LA Times, and more. To mark the release, Tiffany staged three headline shows—each of which sold out in under five minutes. With her production across nearly every track, 'HALO' marks Tiffany's most cohesive and ambitious work to date, solidifying her not just as an artist to watch, but as a defining voice in the next era of hyperpop. 

TRACK LISTING

1. Everything I've Ever Wanted
2. Doit4me
3. Same La
4. Pretty4u
5. Copycat
6. No Luck
7. Breakup
8. Tell Me What I Did
9. Start Over
10. Look Up
11. American Girl
12. Farewell Toledo
13. It's Not Like That Anymore 

Recorded in Los Angeles over Valentine's Day weekend 2025, in the wake of the horrific fires - 'Ghost of American Psychonauts' showcases songs from the (at the time) recently released album 'The Purple Bird' along with various nuggets from the Bonnie Prince Billy songbook, performed by a stellar band comprised of Emmett Kelly (bass), Ryder McNair (piano), Dv DeVincentis (sax), London May (drums), Thomas Deakin (guitar, clarinet), Patrick Shiroishi (sax) and Jacob Duncan (sax). Dave Ferguson (who produced 'The Purple Bird') sings on 'Downstream'.

TRACK LISTING

1. Sometimes it's Hard to Breathe
2. Shorty's Ark
3. London May
4. Downstream
5. Strange Form of Life
6. This Is Far From Over
7. Trees of Hell
8. I See a Darkness 

Celebrate three decades of a cinematic masterpiece. Originally released in 1996, DJ Shadow’s debut Endtroducing..... stands as a monumental achievement in electronic music, famously recognized by the Guinness World Records as the first album created entirely from samples. This 30th Anniversary Edition is the ultimate celebration of a record that changed hip-hop, electronic music and production culture forever.

TRACK LISTING

Side A
1. Best Foot Forward
2. Building Steam With A Grain Of Salt
3. The Number Song
4. Changeling / Transmission

Side B
1. What Does Your Soul Look Like , Pt. 4
2. Stem / Long Stem / Transmission 2

Side C
1. Mutual Slump
2. Organ Donor
3. Why Hip-Hop Sucks In '96
4. Midnight In A Perfect World

Side D
1. Napalm Brain / Scatter Brain (Medley)
2. What Does Your Soul Look Like Pt. 1 / Blue Sky Revisit / Transmission 

One of the dubstep scene's unsung heroes, Commodo teams up with jazz innovator Alfa Mist on 'Deep Harbour', a collaboration that bridges their two worlds, coming out on Black Acre and marking an amazing 100 releases on the label.

The record explores different yet distinct creative directions: a melodic reimagining of late-2000s dubstep shaped heavily by electric piano, and a darker, more abstract interpretation of jazz-influenced half-step. The EP also includes two reimaginings from Anz; her ‘Safe Place Mix’ offering a more subtle, reflective take, while the ‘Defensive Mix’ delivers a rougher, club-focused approach.

“I’ve admired Alfa Mist’s work for some time and wanted to explore a couple of avenues using keyboards,” says Commodo. “One was a more melodic expansion on the late-2000s dubstep sound, the other was a much darker, dissonant take on a jazz-flavoured half-step.” On the remixes, he adds: “Anz is a real producer’s producer with a broad range, and felt like the perfect remixer for this project.”

TRACK LISTING

1. Deep Harbour
2. Deep Harbour (Misty Bay Remix)
3. Deep Harbour (Anz Safe Place Mix)
4. Deep Harbour (Anz Defensive Mix)