Ikebe Shakedown's powerful instrumental soul takes "big unison horns, slinky bass lines, tight little guitar licks-and blends them with tasty grooves culled from '70s-style horn-driven funk (WNYC Soundcheck)." The Brooklyn-based collective is set to follow up their well-received self-titled debut album with the heavier, more mature sound of their second full-length Stone By Stone.

The self-produced album was recorded at the famed "House of Soul" Daptone Studios in Bushwick, Brooklyn. Notes bassist Vince Chiarito, "Thinking of all the great music that has come out of the Daptone Studio really pushed us to refine our songs and grow as a band. It was really inspiring to record there." The band adds that, "Stone By Stone is a much more layered and arranged album. The self-titled debut captured the raw energy of us playing live and the new record is much more of a studio effort. Psychedelic textures weave in and out of the grooves while the horn section offers an explosive response. The songs are heavy and danceable and show our moodier, more melodic side."

The seven-piece band-named after a favorite Nigerian boogie record and pronounced "ee-KAY-bay" formed in 2008 and has developed a mighty horn section anchored by tight, deep-pocketed grooves. Following 2009's debut EP Hard Steppin', the band released their self-titled debut full-length LP on Ubiquity Records in 2011 that Okayplayer called "an adventurous trip through time" and "one of the best releases of the year." Their music has also been featured on a number of television shows and commercials including HBO's Eastbound and Down, Mini Cooper and Vans.

TRACK LISTING

1. The Offering
2. Stone By Stone
3. The Beast
4. By Hook Or By Crook
5. Rio Grande
6. Last Stand
7. Cover Your Tracks
8. Chosen Path
9. The Illusion
10. Dram

Iron & Wine's Sam Beam and the members of Calexico convened in December 2004 at Calexico's home base of Wavelab Studios in Tucson, Arizona. The idea of working together had been tossed around for over three years, though neither bands' schedule loaned itself into making it a reality until then. The resulting session "In the Reins", is a mini-album that is a truly harmonious affair sure to satisfy fans of both bands. The seven tracks are Sam Beam originals and were fleshed out by the full Calexico band. The record also features newcomer Natalie Wyants on vocals, Salvador Duran, a local fixture of the Tucson Flamenco scene, on vocals and Botas. Of course no Wavelab experience would be complete without the appearance of Nick Luca (NL Trio/John Doe Band) and Craig Schumacher, both of whom contributed to the record in the form of engineering and performance.

TRACK LISTING

He Lays In The Reins
Prison On Route 41
History Of Lovers
Red Dust
16, Maybe Less
Burn That Broken Bed
Dead Mans Will

When José González became a household name across the world with the help of 250,000 coloured bouncing balls and a Sony Bravia television commercial featuring his spare and moving version of The Knife's song, "Heartbeats", it was the second time fame came calling and caused a truly remarkable phenomenon. While studying biochemistry at the university of Gothenburg, José's debut album "Veneer" was released in his Swedish homeland in 2003. It made him a national star. Featuring "Heartbeats" and ten other resonant, acoustic songs, "Veneer" turned José, a Gothenburg (via Argentina) native, into a Top Ten recording artist. This, his second album continues where "Veneer" left off. Another stunning collection of captivating songs.

TRACK LISTING

1: How Low
2: Down The Line
3: Killing For Love
4: In Our Nature
5: Teardrop
6: Abram
7: Time To Send Someone Away
8: The Nest
9: Fold
10: Cycling Trivialities 

The giant avalanche that is THE LONDON DIRTHOLE COMPANY is back with another slab of prime-time partisan punk noise. With a Futurist disdain and Dadaist sense of sardonic humour, the MODERN IST EP celebrates the realities of the Family Of Noise as a truly interactive social experiment. The genuinely odd bunch of protagonists that make up the bands personnel stretch the boundaries of conventional group structure and methods. A truly outsider approach that reverberates with its nebulous intensity and spirit of joy. The result is a fractious cacophony created (on this record) by four drummers, 3 guitarists a bass player and 2 different vocalists. Live the band rotate up to a dozen singers if occasion and availability conspire. The music has elements and attitudes in common with The Monks, Velvet Underground, Pussy Galore and The Fall without any direct plagiarism or imitation. These bands are but ships in the night to the Battleship Dirthole and its crew of desperate fellows. PROFESSOR THE CONFESSOR is an intimate memoir of utterances from the dark recesses of The Professor’s mind. CRYING ONIONS is a sleazy ballad of all-consuming pleasure, timeless romance, sensual purgatory, erotic possession, empty tears, disrobing and eating an onion. TOMORROW, TODAY faces up to the bleak realities of a passion consumed and the vagaries of the staring up from the gutter as you watch your former partner dance the same dance you fell for with someone else. The strapping fit and healthy London Dirthole Company pedigree on this recording; The Nuns, Pulkas, Echobelly, Headbutt, Felix Moment Power Trio, Lot Lizards, Project Dark, Headcleaner.

Infi nite Worlds via House Anxiety Records is the reissue of Vagabon’s criti cally acclaimed debut album.

The renowned label that launched everyone from King Krule to Courtney Barnett, amongst many others, has announced itself as the European home for the heralded record, which garnered numerous accolades including Pitchfork’s Best New Music tag earlier in 2017.

TRACK LISTING

The Embers
Fear & Force
Minneapolis
Mal L’aise
100 Years 
Cleaning House
Cold Apartment
Alive And A Well

In May 1976 a record was released that would have an unforeseen and lasting impact on the music industry “Ten Percent” by Double Exposure was an early release on the New York independent label Salsoul Records. America was in the grip of a disco explosion with new clubs opening on a weekly basis; Salsoul saw what was happening and swiftly created a sound for their label, heavily influenced by the music then coming out of Philadelphia, aimed directly at New York’s dance-floors. Records like “Salsoul Hustle,” “Tangerine” and “You’re Just The Right Size” by The Salsoul Orchestra borrowed heavily from the beautifully orchestrated Philadelphia International records but added a more percussive, bass heavy depth that New York’s DJs loved. So what was so special about this particular single then? Double Exposure was, after all, just another band, “Ten Percent” just another song; one of many “disco” records released that week. First of all Salsoul became the first record label to make a twelve inch single available to Joe Public - the exotic format was previously only available to DJs as promotional items or bought under the counter at certain record stores. Not only that though, the extended version was created by Walter Gibbons, a DJ at New York’s Galaxy 21 who’d built his reputation making exclusive versions of tracks to play in his sets.

In 1976 it was unheard of for a DJ to set foot in a recording studio, being seen as little more than living jukeboxes by the serious music industry. Recording studios were strictly the domain of recording artists and producers so Walter found himself in a unique position, gaining access to a world no DJ had been granted before.

Or so we thought...
The Men In The Glass Booth tells the full story. Featuring ground breaking re-edits and remixes by some of the Disco era's most influential DJs including Walter Gibbons, Bobby DJ Guttadaro, Tom Savarese, Jellybean Benitez, Tee Scott and John Luongo, this opulent release also includes a 40 page book which features exclusive photos and insights from some of the story's key figures.

STAFF COMMENTS

Patrick says: BBE answer the prayers of all us non-millionaire disco fans, taking us on a journey through the alternative 12" history via this exhaustive collection of acetates and DJ edits. Mega!

After an epic licensing odyssey that's taken us almost 20 years, we're finally able to announce the 5LP boxset release of the first ever official re-issue of all five of the iconic Lansdowne recording sessions by the legendary UK jazz combo, the Don Rendell/Ian Carr Quintet.
The five albums; Shades Of Blues (1965), Dusk Fire (1966), Phase III (1968), Change Is (1969) and Live (1969), have reached almost mythical status in the collector's world. Regarded as holy grail artefacts for even the seasoned aficionado, the collective second hand market value comes to an astonishing £6000.
Many have tried - and failed - to reissue these albums by legitimate means. However, two decades since our initial approach, Universal Music has gone to great lengths to research their vast archives, and we have finally managed to succeed.
The complete Don Rendell & Ian Carr Lansdowne recording sessions have now undergone a full and unprecedented boxset reissue. We located and acquired the original analogue master tapes from the Universal vaults and created masters at Abbey Road Studios to produce audiophile quality 180g pressings replete with replica artwork - shape, design, and even paper stock. No stone has been left unturned to deliver this absolute labour of love to the highest possible standard! The enclosed booklet contains never before seen photographs, interviews with the remaining living band members and liner notes from BBC Radio 3 presenter and award-winning jazz writer Alyn Shipton.
The band played together for seven years and during this fruitful time they made a plethora of deeply melodic, post-bop British jazz compositions that later on took influences from Indo and more spiritually guided jazz. Produced by the influential Denis Preston and recorded at his Lansdowne Studios in London, the band was primarily made up of saxophonist Don Rendell, trumpeter/composer Ian Carr, and pianist/composer Michael Garrick. This is UK jazz at its absolute finest, and the quality of our box set pays testament to that.

TRACK LISTING

1 Blue Mosque
2 Latin Blue
3 Just Blue
4 Sailin'
5 Garrison '64
6 Blue Doom
7 Shades Of Blue
8 Big City Strut
9 Ruth
10 Tan Samfu
11 Jubal
12 Spooks
13 Prayer
14 Hot Rod
15 Dusk Fire
16 Crazy Jane
17 On! [clip]
18 Les Neiges D'Antan (Snows Of Yesteryear)
19 Bath Sheba
20 Black Marigolds
21 Elastic Dream
22 One Green Eye
23 Boy, Dog And Carrot
24 Cold Mountain
25 Black Hair
26 Mirage
27 On Track
28 Vignette
29 Pavanne
30 Nimjam
31 Voices
32 You've Said It 

Charting a course between electronic experimentation and the dark echoes of 1980s post-rock, ishi vu’s music transports the young artist’s philosophical meditations in Gothenburg to imagined dancefloors worldwide. Created in response to a deep transformational experience, his debut album 'La Luz' is truly unique: channelling all genres and none into a depiction of some of the most fundamental human feelings. La Luz is a vivid and poignant distillation of club culture into something familiar, temporarily distant, but fresh. With the precision of someone who has thought carefully about an exact psychological, physical - and perhaps even spiritual - effect they want to provoke.

TRACK LISTING

Side A
La Luz BLue18
This Is Your Life - Vinyl Version
Isolated Incidents

Side B
Poison Dart
Bell-Tower Trip

Side C
Neverending Elation
Brightly Burning, Yet Alone
A.S.I.S.O.A. 1000

Side D
The Wasp
SANCTUAry, It MUST HappeN AGain!
10 Tolls: A Threnody For The Luz
Persuaded To Embrace In Saving Faith
[A CURIOUS END]

Single-LP Edit Of Piñata Lacquered At Half Speed Master By Metropolis Mastering In London For The Highest Fidelity. Featuring Danny Brown, Mac Miller, Earl Sweatshirt, Raekwon, Scarface, Domo Genesis, Ab-Soul, Polyester the Saint, BJ The Chicago Kid, Big Time Watts, G-Wiz, Casey Veggies, Sulaiman, Meechy Darko & Freddie Kane. “Piñata is a gangster Blaxploitation ­lm on wax,” says Gibbs. As a producer, Madlib, quite simply, is music. 

TRACK LISTING

A1. Supplier
A2. Scarface
A3. Deeper
A4. High (ft. Danny Brown)
A5. Harold’s
A6. Bomb (ft. Raekwon)
A7. Shitsville
A8. Thuggin’
A9. Real
A10. Uno
B1. Robes (ft. Domo Genesis & Earl Sweatshirt)
B2. Broken (ft. Scarface)
B3. Lakers (ft. Ab-Soul & Polyester The Saint)
B4. Knicks
B5. Shame (ft. BJ The Chicago Kid)
B6. Watts (ft. Big Time Watts)
B7. Piñata (ft. Domo Genesis, G-Wiz, Casey Veggies, Sulaiman, Meechy Darko, & Mac Miller).

BJÖRK: Our cover feature is a career-spanning piece by Tamara Palmer on Iceland’s most noted export since the foundation of their parliament in 930, with a terrifically gorgeous cover image by our illustrator, Marly Beyer. -MARCELLUS HALL delivers a 30-plus page excerpt from a graphic novel about life in indie-rock in the early 1990s that’s just stunning and lyrical and we are so stoked to be able to run it. -Hot on the heels of their world tour, it’s an engaging photo essay from Detroit’s premier music photographer Doug Coombe on the return of garage punk heroes BE YOUR OWN PET. -Mike Turner spends serious time with BMX champion CHELSEA WOLFE, right when she might be suspended from competition for being trans. -Ana Gavrilovska digs deep into the work of up-and-coming multimedia artist WAYNE PHOENIX. -Uncharacterizable instrumental musicians PENGUIN CAFE are back (under the direction of originator Simon Jeffes' son Arthur Jeffes) and Kurt Reighley is writing beautifully on them. (Their first two records for Eno’s label are The Shit.) Cassette tape reviews; Lucy Sante delivers a tribute to the olden days of mp3 blogs, because she writes in every issue and we are lucky AF for this fact; Mimi Lipson weighs in on cats versus dogs in her advice column; Andy Beta talks of Annea Lockwood in the Icons column; the reissue of the issue is a box set of Pauline Anna Strom, by Michelle Dove; Fred Thomas on “why Sonic Youth's most underrated record deserves a second look” (guess which one it is!); an overview of reissue label Mesh Key for a new column on the people who run labels and stuff like that. In the new column Tracked (on music supervisors) Martin Douglas talks to Tiffany Anders, and it’s largely about her work on RESERVATION DOGS! Then there’s the column PHYSICAL GRAFFITI by editor McGonigal, an epic look at dozens of recent LP releases plus a few books (that’s right, it’s a bona fide multi-page record review column), plus the debut of our food column with a disastrous visit to the Russian Tea Room courtesy of noted genius QUINTRON.

43°C, the debut LP by French electronic producer Basile3, is the result of a decade of cultivating a musical identity that focuses on hybridization, sonic recycling, and playfulness. The enigmatic title "43°C" signifies a haze of bliss (4+3=7, the producer's lucky number) backdropped by the ecological state of a world that’s grown slightly but surely warmer.

In this anticipation fiction, Basile3 offers a soundtrack that is an exploration of club music, electronica infused with r&b and ambient synths. The French producer warmly invites listeners to his state of mind, blooming with genre-bending floating soundscapes.

Featuring TelmaCappelo, Daisy Ray, Loydfears, Lucy Sissi Miller and Minor Science.

TRACK LISTING

1. Wire Rise Feat. Lloydfears
2. Air Quality
3. Grateful, After All
4. U Stole The Summer
5. Secret Gathering
6. Love Machine Feat. Daisy Ray
7. 4Friends
8. My Window Feat. Lucy Sissy Miller
9. In The Clouds
10. Sirens Feat. Thelma Cappello
11. …And Tuning (Stereo Mix)

“We created a holiday inside our heads.”

‘A Deeper Life’, Chaos In The CBD’s debut album over 10 years in the making, is nostalgic for the duo’s nature-filled youth, exploring the magical coastline and lush rainforest of New Zealand. “The title refers to our childhood, which was idyllic,” says Ben. “It was just the sun, the sand, the sea, waterfalls, birds and fish…” The album’s blissful setting is also depicted on the album cover: a painting, by a childhood friend, of the beach where they grew up in Devonport.

‘A Deeper Life’ whirls that profound love of house music and wide-ranging influences – from Brazilian to R&B, ambient to Italo to deep house and downtempo pop – into a serene, cohesive whole with their signature finesse. The result is an international dance sound that feels unmistakably like Chaos and ebbs and flows from the beach party to the club to the afterhours.

On the album they’ve teamed up with a number of US legends and married their vocals with the UK underground: Josh Milan of house pioneers Blaze brings his soulful vocals to the bossa nova beats of ‘I Wanna Tell Somebody,’ a future jazz-dance anthem. Unheralded Chicago house hero and Larry Heard collaborator Lee Pearson Jr. goes deep over ‘More Time’’s broken beat flex. And on ‘Maintaining My Peace’, the brothers have matched veteran house singer-songwriter Stephanie Cooke with UK grime MC Novelist, on a slinky LDN interpretation of LA hip-hop and g-funk.

Also featured on the album are New Zealand jazz artist Nathan Haines, frequent collaborator Isaac Asaeili and more.

STAFF COMMENTS

Matt says: Rich, expansive, highly musical long player from New Zealand deep house poster boys Chaos In The CBD. With tons of character and a variety of moods and tempos explored throughout, it's one of those albums you know is gonna be on constant rotation throughout the year. Don't wanna miss this one folks...

TRACK LISTING

A1. Down By The Cove
A2. Mountain Mover Feat. Alex Cosmo Blake
A3. Maintaining My Peace Feat. Novelist & Stephanie Cooke
A4. Tears Feat. Saucy Lady
B1. Brain Gymnasium
B2. I Wanna Tell Somebody Feat. Josh Milan
B3. Ōtaki Feat. Finn Rees
B4. Love Language Feat. Nathan Haines
C1. A Deeper Life Feat. Isaac Aesili
C2. More Time Feat. Lee Pearson Jr. Collective
C3. Tongariro Crossing Feat. Nathan Haines
D1. Barefoot On The Tarmac
D2. Marlboro Sounds
D3. The Eternal Checkout Feat. Cenk Esen

King Gizzard & The Lizard Wizard 'Live In Austin '24' was recorded when the Aussie psych-rock polymaths rained down on Austin on November 15 2024.

This is a 4xLP featuring the original poster art by Jason Galea and photos from the show by Maclay Heriot, and it is mixed and mastered by James Plotkin: master and pressing plates licensed from Fuzz Club.

TRACK LISTING

1. Head On/Pill
2. Field Of Vision
3. Antartica
4. Wah Wah
5. Road Train
6. Flight B741
7. Raw Feel
8. Nuclear Fusion
9. Straws In The Wind
10. Intrasport
11. Set
12. Extinction
13. Interior People
14. Shanghai
15. Grow Wings And Fly…
16. Le Risque
17. Mars For The Rich
18. Converge
19. Witchcraft
20. Gila Monster
21. Dragon
22. King Gizzard & The Lizard Wizard W/King Stingray - Treaty

In 2022, Daniele “Shield” Contrini of Rebirth Records proposed Paraíso to the great man himself, a compilation honouring Alfredo’s legacy. After Alfredo’s passing in December 2024, the project was final; with artists rallying to honour his vision and memory.

Before becoming a global clubbing hotspot, Ibiza embodied freedom—a place where sunrises blurred into sunsets and music became a way of life. In the 1950s and '60s, the island drew artists, hippies, and outsiders seeking escape and creative liberty.

In 1976, Alfredo Fiorito, fleeing political repression in Argentina, arrived in Ibiza and stayed. A former music journalist, he soon began DJing at Amnesia, a farmhouse-turned-club where time bent and boundaries dissolved. With eclectic, genre-defying sets, Alfredo blended reggae, flamenco, soul, rock, and early house, crafting a hypnotic energy that captivated a generation.

British DJs like Trevor Fung, Paul Oakenfold and Danny Rampling brought this “Balearic Beat” back home. But Balearic wasn’t a style it was a mindset. As DJ Leo Mas said, it was “a state of mind,” where rhythm, spirit, and psychedelia merged.

Other clubs like KU, Es Paradis, Pacha, and Lola’s amplified the movement. Visual artists such as Yves Uro gave it a striking identity, and DJs like César de Melero, DJ Pippi, and Jon Sa Trinxa carried the sound into a new era. José Padilla’s sunset sessions at Café del Mar birthed chill-out music as breath, not just beat.

But the 1990s brought change. Laws requiring roofs on clubs altered the open-air magic. Commercialisation followed; freedom became luxury, and many pioneers left.

Still, the Balearic spirit lives—raw and untamed. It pulses in hidden parties, intimate venues like Pikes and Hostal La Torre, and sacred places like Benirrás and Las Dalias.

Featuring 16 tracks of classic and true Balearic sound; alongside House & proto-House tracks that Mr Fiorito spun, the album also includes an unreleased Alfredo track and stands as a tribute to the man, the music, and the enduring spirit of true Ibiza.

TRACK LISTING

A1. It’s Immaterial – Driving Away From Home
A2. The Woodentops – Why Why Why (Leo Mas & Fabrice Balearic Militant Dub Edit)
A3. Nitzer Ebb – Join In The Chant (Lies! Instrumental)
A4. Georgie Red – Help The Man (Help Yourself Alternative Mix)
B1. Elkin & Nelson – Jibaro (enrolle)
B2. Willie Colon - Set Fire To Me (Inferno Dub Edit)
B3. Funkapolitan – As The Time Goes By
B4. DJ Alfredo, Cathy Battistessa & Arian 911 – Moral Of The Story (UNRELEASED)
C1. Mandy Smith – I Just Can't Wait 'The Cool & Breezy Jazz Version
C2. Mr Fingers – Mystery Of Love
C3. Jose Padilla – Still Waters (A Man Called Adam Mix)
C4. Alfredo – Inspiration
D1. Atlas – Compassion
D2. 808 State - Pacific State
D3. 51 Days - Paper Moon (Edit)
D4. The Sabres Of Paradise – Smokebelch II (Beatless Mix)

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

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

TRACK LISTING

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

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

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

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

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

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

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

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

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

Two decades of guitar loops, beats, and melodies collide on Paul Whalley's stunning debut "Initialised" – a nine-track sonic statement that transforms years of accumulated musical fragments into something genuinely explosive. The Wigan-based multi-instrumentalist finally hit Alien Sound studios in October 2023, turning what began as an instrumental project into an unflinching examination of growing up in 1980s Skelmersdale.

Mastered by Ride's Mark Gardener, tracks like the chilling "I See Dead Pixels" build from bass-driven foundations into overwhelming walls of sound that recall Mogwai's dynamic shifts and Godspeed You! Black Emperor's apocalyptic grandeur, while "Bad Movie" delivers Sonic Youth-inspired guitar barrages over the memorable refrain "We're just a scene, in a bad movie."
This isn't background music – it's foreground music that demands attention and rewards it generously.

Whalley's guitar work layers with the precision of someone who's spent years perfecting every loop and transition, creating controlled chaos that feels both deeply personal and universally powerful. The emotional weight behind these songs – intensified by profound personal loss during the album's completion – never overwhelms the music but instead gives it gravity and urgency. "Initialised" announces a significant new voice in British alternative music that's essential listening for anyone who believes guitar music still has vital stories to tell.

STAFF COMMENTS

Barry says: A roaring, atmospheric collision of post-rock, avant electronics and post-punk that swims with the melodicism of pop music but washed in layers of reverb and drenched in saturation. A selection brimming with tension and release, brought together beautifully.

TRACK LISTING

1.I See Dead Pixels 04:45
2.Glitters 03:53
3.Afterlife 02:20
4.Bad Movie 03:57
5.Shadow In My Way 03:02
6.Never Know 03:18
7.These Streets Are Paved With Gold 03:23
8.Don't Dismantle Your Love 03:18
9.When They Come Looking For You 02:40

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

Ron Basejam is, of course, a project from Crazy P co-founder James Baron where he focuses on deep and heavy house. He lands on Leeds label 20/20 Vision here with 'Maynard', which is a trudging rhythm brought to life with bluesy vocals and big horns. 'Bighorn' then works the filters to cook up an emotionally charged and loopy sound and 'Is It Daylight?' cuts more loose with a soulful, dusty sound that Moodymann would love. Last but not least is the cosmically charged 'The 8 Bit Slowdown' with its jazzy reed work and raw, broken, driving beats. A smart and varied four tracker from a real G.

TRACK LISTING

Maynard
Bighorn
Is It Daylight?
The 8 Bit Slowdown

Gorillaz were, from the very beginning, as much conceptual art as they were a musical group. A collaboration between Albarn and visual artist Jaimie Hewlett, the project was conceived as a “virtual band” that could comment on the empty and manufactured nature of popular culture. They quickly expanded into videos, books, comics, and games which detailed a complex and surreal mythology and engaged with a variety of social and political issues.

But Plastic Beach took this to a new level. Damon Albarn's encounter with plastic pollution at Hallsands Beach inspired the album's meditations on the Anthropocene – an epoch marked by significant human impact on Earth's geology and ecosystems. The book positions Plastic Beach as a concept album that reflects on the Anthropocene, combining commentary on environmental degradation and consumer culture with attempts to imagine a future beyond the rapacity and destructiveness of this era.

The Gigi Galaxy (Gary Martin) classic returns via another timely reissue two years after the last and restores a cult Detroit techno classic to circulation, complete with its 2023 remix from Delano Smith. The original remains a sci-fi floor weapon: relentless four-to-the-floor drive meets a throbbing, neo-disco bassline that evokes a Giorgio Moroder fantasia reimagined through Jeff Mills' Purpose Maker lens. Smith's remix subtly reframes the track for the floor by looking further back and drawing on austere early-70s Kraftwerk synth tones and restrained electro swing. Classic and contemporary sit comfortably side by side here, which is why this is such an evergreen favourite.

TRACK LISTING

Interview With An Alien
Interview With An Alien (Delano Smith Remix)

A fully illustrated, enhanced and reformatted edition of Johnny Marr’s acclaimed autobiography, Set the Boy Free, sumptuously re-imagined with additional archival photography and exclusive updates by Marr himself. A slick redesign integrating the classic text and photographs with expanded imagery from the archives of Angie Marr, this enhanced edition of Johnny Marr’s bestselling autobiography is so much more than the story of the much-loved guitar wizard. It’s the inside track of popular music over the last forty years, laid bare by a musical legend at the heart of it all and never far from the Top 10.

A true collector’s item, Johnny Marr: Set the Boy Free also includes a brand-new introduction by Marr and his previously unpublished, highly personal eulogy for Smiths bassist and school friend Andy Rourke. Published to celebrate the 10th anniversary of the original edition of Set the Boy Free and the 40th anniversary of the release of The Smiths’ The Queen Is Dead – voted the greatest album of all time by NME – this illustrated anniversary edition includes swathes of never-before-published photography from this classic Smiths era, and comes at a time when Marr’s stature as a musician, songwriter and household name confirms his position as a modern cultural icon.

There is a kinetic energy that binds drummer and producer Karriem Riggins and singer-songwriter, rapper, and producer Liv.e, the spark that happens when instinct meets flow and spirit finds rhythm.

Their collaborative debut as GENA (short for “God Energy, Naturally Amazing,” and loosely inspired by Gina from Martin), 'The Pleasure Is Yours' feels like a playful, soulful conversation between two kindred improvisers: Liv.e’s smoky, unpolished vocals glide through Riggins’ warm, percussive universe. Rooted in jazz, soul, and hip-hop, Liv.e brings a raw, experimental approach to R&B, while Riggins known for his work with Common, Erykah Badu, The Roots, Madlib, and his close kinship with J Dilla, extends his lifelong dialogue between jazz improvisation and beat science.

Together they create a world that’s analog and ethereal, percussive and poetic, bridging eras without settling in one, the sound of two artists finding a new shared language rooted in rhythm, vulnerability, and exuberance.

TRACK LISTING

1. Who's Got A Problem With Gena
2. Theybetterbegladihavetherapy
3. Left The Club Like "Really Nigga!"
4. You've Outdone Yourself Today
5. Unspoken
6. TGD
7. Readymade
8. Douwannabwihtastar
9. This Is So Crazy
10. Lead It Up
11. Howwefl
12. Doobie Doo Wew
13. Circlez
14. Dream A Twinkle
15. Thatsmyluvr
16. Omo Iya Ati Baba

The most abstract, playful and confounding of reggae subgenres, dub is a vital component of sound system culture that has wielded disproportionate influence. Emerging as an underground phenomenon in Kingston during the early 1970s, dub was wrought by sonic alchemists such as King Tubby, Lee 'Scratch' Perry, Prince Jammy and Scientist, conjuring musical mutations at the mixing desk. Dub reached other lands through the Jamaican diaspora and as Lloyd 'Bullwackie' Barnes furthered the form in New York, Dennis Bovell, Mad Professor and Adrian Sherwood conjured their own dub masterworks in London, Jah Shaka and his acolytes subsequently helping dub to achieve global reach.

Widely adopted by post-punk producers and later a crucial influence on the underground dance music scenes of several continents, dub indelibly changed the techniques and aesthetics of music production with far-reaching effects; it's no exaggeration to say that without dub, there would be no hip-hop or house music. Dub is made from studio trickery, its auteurs fashioning something new by subtraction rather than addition, reversing standard recording techniques. It is a music of absence and deception, a ghostly sonic doppelganger with bass primacy and torpedoed song structures, full of holes and unexpected twists.

The evolution of dub marks the birth of the remix and the emergence of the studio as an instrument in itself, a place where songs can be pulled apart and given wild reshaping, rendering a disembodied new form that is often cosmic and typically jagged. Dub's progression is also inseparable from the troubled history of post-colonial Jamaica, blighted by caustic Cold War interventions, attendant gang culture and communal breakdowns. Through first-hand testimony with dub's most noteworthy creatives, David Katz's monumental forensic history of an astounding subgenre that sounds like the future five decades after its inception stands as the authoritative book on a musical art form that continues to fascinate, generation after generation.

Light in the Attic is honored to announce the long-awaited reissue of Synthesizing: Ten Ragas to a Disco Beat, the revolutionary 1982 album from composer and musician Charanjit Singh. Pairing Indian classical ragas with then-state-of-the-art Roland synthesizers and drum machines, Singh created an electronic masterpiece that was far ahead of its time.

Recording live at Mumbai’s HMV studios, Singh married the past to the future—blending the ancient Indian tradition of ragas (a melodic framework, similar to a scale, from which musicians can improvise or compose) with pulsating, electronic dance beats. Released without fanfare, it faded into obscurity and Singh retired from recording to focus on private concerts, but that’s where the story begins…

Released in cooperation with Singh’s estate, Synthesizing: Ten Ragas to a Disco Beat arrives on June 26th. The 10-track album was remastered by Johanz Westerman at Ballyhoo Studio Mastering and stretched across 2-LPs for the highest quality listening experience. The vinyl was pressed at Optimal Media and housed in a gatefold jacket that replicates the original artwork.
An accompanying 16-page LP booklet features previously-unreleased photos and two new essays: the first from Arshia Fatima Haq and Jeremy Loudenback of Discostan—a multimedia collective and record label focusing on music from South West Asia and North Africa—while the other comes from filmmaker and writer Rana Ghose of event and film production entity REProduce Artists, who managed Singh in his final years and documented his triumphant return to the stage. Additionally, fans can find a limited-edition pressing of Synthesizing: Ten Ragas to a Disco Beat on ‘Pearlescent Transcendent Future’ Color Wax, while the album will also be reissued on CD with a 32-page booklet containing all of the above.

TRACK LISTING

Raga: Bhairavi
Raga: Lalit
Raga: Bhupali
Raga: Todi
Raga: Madhuvanti
Raga: Meghmalhar
Raga: Yaman
Raga: Kalavati
Raga: Malkauns
Raga: Bairagi 

Released in 1984, this was the second album released by Polydor and the first and only to be billed to Ian Dury & The Music Students. Songwriting duties were shared between Ian Dury, Russell Hardy, Rod Melvin and a young American songwriter/multi-instrumentalist Michael McEvoy.

Whilst performed by effectively a new line up there were many familiar names who worked on ‘4000 Weeks’ Holiday’. Though Chas Jankel did not write any of the songs, he did play lead guitar as a guest whilst Ed Speight and Geoff Castle, who had played on Dury's seminal New Boots and Panties!! LP in 1977, guested on guitar and Moog synthesizer. The sessions also featured celebrated reggae/ska trombone player Rico Rodriguez MBE, whilst most of the recordings were performed by the 'Music Students', made up of McEvoy, Rhys-Jones, drummer Tag Lamche and saxophonist Jamie Talbot.

The single 'Really Glad You Came' was released and the band performed on National TV inc The Tube. The album also contains 'Peter the Painter' written on request from British Pop artist Peter Blake, Dury’s former teacher at London's Royal College of Art. Blake was having an exhibition at The Tate Gallery, London and asked Dury to compose a theme tune for it. 'Peter the Painter' was that theme tune.

The cover art, one of the last ever designed by Barney Bubbles featured Ian Dury with the Campaign for Nuclear Disarmament (CND) logo (the peace sign) into his hair – in 1984 Ian was an official face for the campaign group in Britain.

TRACK LISTING

1. You're My Inspiration
2. Friends
3. Tell Your Daddy
4. Peter The Painter
5. Ban The Bomb
6. Percy The Poet
7. Very Personal
8. Take Me To The Cleaners
9. The Man With No Face
10. Really Glad You Came

Released in 1981, the album followed his final album on Stiff ‘Laughter’ (with The Blockheads) and was Ian’s first album with Polydor Records. At a suggestion of Island Records founder Chris Blackwell, Ian Dury flew to the Bahamas to record ‘Lord Upminster at Compass Point Studios in Nassau, Bahamas, newly reunited with his long-time collaborator Chaz Jankel. There they were to work with reggae rhythm duo Sly Dunbar (drums) and Robbie Shakespeare (bass guitar) and keyboardist Tyrone Downie, while backing vocals came from amongst others no less than Tina Weymouth of Talking Heads and Tom Tom Club fame, along with her sister Laura Weymouth.

The album covers a diverse range of musical styles reflecting Dury's influences and background in pub rock, early rock and roll and British music hall whilst also taking in funk and post disco rhythms and is notable for featuring a Sly Dunbar composition in ‘Girls (Watching)’.

There was also not least the single which was deemed controversial enough to be banned from the airwaves ‘Spasticus (Autisticus)’ which was Ian’s protest against the International Year of Disabled Persons, which he considered to be patronising and insensitive. Years later the now critically lauded song was broadcast live worldwide during the opening ceremony of the 2012 Summer Paralympics, performed by Orbital and members of the Graeae Theatre Company.

TRACK LISTING

1. Funky Disco (Pops)
2. Red (Letter)
3. Girls (Watching)
4. Wait (For Me)
5. The (Body Song)
6. Lonely (Town)
7. Trust (Is A Must)
8. Spasticus (Autisticus)

The definitive story of the slackers and shoegazers who reinvented rock.

Twenty years after his acclaimed postpunk best-seller, Rip It Up and Start Again, Simon Reynolds tells the tale of what happened next: the underground explosion of noisepop, shoegaze, slacker rock and grunge that reverberated through the late Eighties into the early Nineties.

Capturing the musical exhilaration of the era along with the alienation of youth during a period of ascendant conservative politics and glitzy mainstream pop, Still in a Dream celebrates a golden age of guitar reinvention, a second psychedelia of mind-blowing sounds pioneered by bands like My Bloody Valentine and Sonic Youth. In Britain, groups like Cocteau Twins and Slowdive escaped into shimmering dreamworlds while American underground rockers like Dinosaur Jr. and Pavement blended apathy and urgency into thrilling noise.

A propulsive and personal account from a journalist who covered this music in real time from the frontlines, Still in a Dream vividly recreates a period that was the last blast for the analogue culture of vinyl records and music papers, before the Internet changed everything.

The work of BIG|BRAVE is ever-expanding. The trio’s singular masterful sculpting of sonics into songcraft tucks layers of vulnerability into frenetic storms. 'In Grief Or iI Hope' is an innovative vision of electro-acoustic sound and emotive storytelling, an endless bounty of overwhelming distortions and devastating beauty. in grief or in hope marks a shift for BIG|BRAVE towards denser guitar-oriented compositions. With longtime touring bassist Liam Andrews (MY DISCO, Aicher) joining guitarist/vocalist Robin Wattie and guitarist Mathieu Ball in the studio for the first time, the pieces are keenly layered with a rich tapestry of harmonics and tonal intricacies. The trio’s instinctual progressions made more vivid through live recording, harnessing the gargantuan and storied sound of their performances. Wattie writes: " All that I could reflect on was grief and hope; death and life; cause and effect; shared experiences of being a human person.” The tenth album for the ensemble, 'In Grief Or In Hope' pays homage to their past while looking into their future. Standout 'The Ineptitude for Mutual Discernment' expands on lyrical themes first explored on 2015’s 'Au De La' where 'Verdure' echoes melodies from the title track of 2014’s 'Feral Verdure'. These references to their past serve as potent reflections on BIG|BRAVE’s evolution as artists. A sonic whirlpool of string instruments surround Wattie’s commanding vocals as she shifts from spectral undulations on pieces like 'What May Be The Kindest Way To Leave' to the direct, spare declarations of the title track. The ambiguity of mountainous chords on 'An Uttering of Antipathy' are coupled with autotuned phrases emphasizing the protagonists’ isolation inside the fray. Together the trio shift deliver emotional momentum that vividly describes the complex and deep feelings of struggle, pain, and transcendence. 'In Grief Or In Hope' transmits that sense of humanity with every gesture.

TRACK LISTING

1. What May Be The Kindest Way To Leave
2. A Shape Of Shame
3. The Ineptitude For Mutual Discernment
4. Holding Tongue
5. Verdure
6. Skin Ripper
7. An Uttering Of Antipathy
8. In Grief Or In Hope

'Lithic' is Laura Misch’s immersive new album, a sonic journey through stone, water, wind, and lightning. Building on the ethereal heights of 'Sample of Sky' and the earthy intimacy of 'Sample of Earth', Misch conjures music from caves, quarries, rock pools, and coastal edges, merging field recordings with saxophone, voice, electronics, strings, and percussion. Struck slate, ancient lithophones, hydrophones, and geophones create rhythms and textures that feel both primordial and contemporary. Across London, Cornwall, Hydra, and Dungeness, Misch captures the dialogue between human and more-than-human, crafting a record that resonates like deep time itself. 'Lithic' is a meditation on nature, aging, and connection, offering listeners a profound, elemental listening experience that is at once visceral, meditative, and electrifying.

The album’s conceptual foundations are inspired by deep listening practices, eco- acoustics and geology. Inspired by artists and thinkers such as Barbara Hepworth, Pauline Oliveros, Annea Lockwood, eco-psychotherapist and author of Weathering Ruth Allen and David Haskell’s writing on the origins and evolution of sound, 'Lithic' considers sound as an ancient material itself; something that can shape and transform over time. It is a deeply feminine record, tracing the rough and soft edges of aging, the weathered lines etched upon a face, the worn fractures in a rockface.

TRACK LISTING

1. Breathing
2. Kairos
3. Echoes
4. Siren
5. Scrolls
6. Soften
7. Circle
8. Fo[r]est
9. Jealousea (ft. Alfa Mist)
10. Mythic
11. Shell
12. Spiral 

Acclaimed composer and pianist Poppy Ackroyd returns with ‘Liminal’. Written and recorded during a period of profound upheaval and transition, it marks a return to the core of Ackroyd’s practice, bringing piano and violin back together. 

For the first time since 2019’s ‘Feathers’, Ackroyd reunites these two instruments exclusively, with every sound on the album drawn from piano and violin alone. Melody, harmony, rhythm and texture are all extracted from the physical bodies of the instruments themselves, from bowed and plucked strings to percussive elements. Working within these limitations remains central to her creative process.

TRACK LISTING

1. In The Mist
2. Shimmer
3. Continuum
4. For Those Who Wait
5. The Unknown
6. Drift
7. Weightless
8. Between Two Worlds

'TRON Ares: Divergence' reimagines the original 'TRON: Ares' soundtrack with 20 songs – a mix of previously unreleased 'TRON: Ares' score material from Nine Inch Nails alongside remixes from ARCA, Mark Pritchard, Boys Noize, Lanark Artefax, Chilly Gonzales, Danny L Harle, Jack Dangers, Pixel Grip, Working Men’s Club, The Dare and Schwefelgelband

TRACK LISTING

1. Converge
2. I Know You Can Feel It (Mark Pritchard Remix)
3. Godmode
4. A Question Of Trust (Boys Noize Remix)
5. Operand
6. Zero State
7. Empathetic Response (Lanark Artefax Remix)
8. 100% Expendable (Chilly Gonzales Remix)
9. Who Wants To Live Forever? (Danny L Harle Remix)
10. Infiltrator (Jack Dangers Remix)
11. A Framework
12. Ghost In The Machine (Boys Noize Remix)
13. What Have You Done? (Boys Noize Remix)
14. As Alive As You Need Me To Be (Pixel Grip Remix)
15. The First Betrayal
16. I Know You Can Feel It (Working Men's Club Remix)
17. Shadow Over Me (The Dare Remix)
18. Terminal
19. Forked Reality (Schwefelgelb Remix)
20. As Alive As You Need Me To Be (Arca Remix)

These days – on the new, ninth Fink album – Greenall is operating within a lineage of authentic, quietly revolutionary artists from England’s verdant southwestern toe. Artists like Michael Chapman. In 1970, the elusive acoustic guitar wizard released an album called 'Fully Qualified Survivor'. The cult-classic served as a lodestar for Greenall – along with bandmates Tim Thornton and Guy Whittaker – as he began jigsawing together 'The City Is Coming to Erase it All', the follow-up to 2024’s 'Beauty In Your Wake'. He even considered covering a song from it, but in the process, inadvertently stumbled into what became the album’s opener. ‘Wishing For Blue Sky’ circles a universal teenage ache: waiting for life to start. “No point dying of patience” goes the first lyric as crunching footsteps cue a resonant, open-tuned acoustic swaying into view. By 18, Greenall was fed up with waiting, so he left suburban Bristol and saw the world, sending postcards from the edge, waiting tables, squirreling away tips for the next flight. Thornton had similar experiences when the guitarist/drummer busked across Europe.

This is nowstalgia more than nostalgia, though; there’s a parallel between these 18-year-olds and Fink’s autumn-aged family men. “You’re expected to be boring and settling down at this age,” Thornton says. “But we’ve still got this tremendous wanderlust. We want to go and discover, and also achieve things. It’s a nice life – home and family – but fuck, I can’t wait to get back out there.” City is a product of this hunger for discovery, and idolatry of the album as a form – like we had in 1974. City’s cover mirrors its interior, the first song is the greeting, the instrumental closer the conclusion. It’s a story. It’s a record for people who, like its creators, are curious. People who happily face a little cold for music, who light a crackling fire back home, who sit with these songs until they’re ready to chase after their own blue sky 

TRACK LISTING

1. Wishing For Blue Sky
2. Does The Shade Choose Who To Comfort
3. Two Magpies
4. Memorise Your Senses
5. Dark Edges
6. Keeping You Awake
7. I Buried All The Answers
8. Spirit Of Place 

'Horrorble' is a full-length dub reinterpretation of Mekons’ acclaimed 2025 album 'Horror', created in collaboration with Tony Maimone (Pere Ubu). Songs from 'Horror' are pulled apart and reshaped into a drifting dub landscape. Basslines stretch and dissolve, rhythms echo into open space and tracks are dismantled and reassembled into versions that drift, jar and unravel. Working with Maimone, the album treats dub as subtraction, space and echo rather than simple revision, revealing hidden textures and new emotional weight within the original recordings.

The partnership has deep roots. Mekons first toured with Pere Ubu in 1988 and later worked closely with Maimone in the early 1990s. That shared history informs the exploratory spirit of Horrorble, reframing the urgency of 'Horror' through atmosphere, rhythm and sonic deconstruction.

Featuring a guest appearance from Benji Webbe of Skindred on 'Mudcrawlers', the album transforms familiar material into immersive, echo-laden soundscapes that emphasise tension and depth.

The original 'Horror' confronted climate catastrophe, economic violence and political decay through rock and roll, punk and melody. 'Horrorble' reveals its shadow counterpart. Formed in Leeds in the late 1970s, Mekons have always operated as a collective, working outside trends and expectations. Guided by the belief that the political and personal remain inseparable, they continue to create on their own terms, combining experimentation with a call to organise and resist.

TRACK LISTING

1. Before The Ice Age (Version)
2. Sad And Sad And Sad (Version)
3. War Economy (Version)
4. A Horse Has Escaped (Version)
5. The Western Design (Version)
6. Glasgow (Version)
7. You're Not Singing Anymore (Version)
8. Private Defense Contractor (Version)
9. Sanctuary (Version)
10. Surrender (Version)
11. Mudcrawlers Ft. Benji Webbe (Version)
12. Fallen Leaves (Version)

'Tell Me It's A Dream' is both the title of Rosa Walton's bright, brilliant, skyreaching debut solo album, but also, says the 26-year-old musician best known as one half of Let's Eat Grandma, "kind of like the title of my life."

"It's about being really ambitious, and seeing enhanced beauty in the world, and knowing that seeing things in that way isn't unrealistic," she continues. "It's about striving for that ultimate freedom."

Recorded in a joyful stay at Wales' residential StudiOwz, 'Tell Me It's A Dream' rings with the audible fizz of friends hanging out and having fun. Though many of its lyrics began during a complicated time for Walton, the record itself is a testament to choosing life and pleasure and the people that make it all worthwhile. "A lot of the record is about stretching outwards and acknowledging how far love can take you; about expressing how I feel about the people I love through music in ways that words can't," she says. "It was important to capture that lightness from the recording, because that spirit is in a lot of the songs."

Frequently euphoric and brightly emotional, the songs themselves aim heavenwards. 'Heart To Heartbreak' cracks through the clouds of a break up, taking influence from emotionally-rich bands like The Cure and Prefab Sprout to translate the feeling at its core. "This is a song about feeling like everything in your life has shattered but realising that relationship was holding you back and the world is opening up," she says. "I wanted this song to feel really visual, like things are starting to sparkle and look colourful again."

An album full of light and magic, born from the purist, most uncalculated of intentions, 'Tell Me It's A Dream' is an inspiring clarion call to listen to your own. As Walton says: "I think a lot of the attitude in the songs is about being ambitious in life and following your dreams. And so that's what I intend to do."

TRACK LISTING

1. Heart To Heartbreak
2. Sorry Anyway
3. Taking The Roof Down
4. Wave Machine
5. When Will It All Reveal
6. Halfway Round The World
7. Prettier Things
8. July
9. Romance Is Dead On

Another Taste is back with their follow up album: Another Taste II delivers eight new cuts of boogie, funk, and obscure disco influenced productions, recorded live to tape. Comes with Download code.

After lighting up renowned clubs like KOKO London, Jazz Café London,Tresor Berlin, New Morning Paris, and festivals like Love Supreme (UK), Lost Village (UK), Nuits Sonores (FR), Hamburg Jazz (DE), Lowlands (NL), ADE Amsterdam - the band has surfaced from the studio anew, mixing myth with music.

If their debut record in 2024 was an introduction to their musical range, Another Taste II is the full immersion. The two-sided album plays like a neon-lit cab ride where the radio is set to groove. Expanding their palette with sharper songwriting, denser arrangements, and a fictional universe.

The album showcases Another Taste’s collective at full strength: Barend Lippens, Bobby van Putten, Bob Roche, Teun van Zoggel, Sarina Voorn, Diogo Carvalho, and Florian Verhagen. Together they summon a sound that is electrifying, communal, and unmistakably theirs, joined on “Peace Call” by Arp Frique and the Perpetual Singers, and bolstered throughout by a dedicated brass section.

Another Taste II is engineered and mixed by Bobby van Putten, mastered at The Carvery by Frank Merritt, with artwork and design by Timo ter Braak, Walt van der Veen and Robert Reinartz.

The new album presents a collaborative creation that’s both timeless and unpredictable, pulling listeners deeper into the band’s universe with every spin.

TRACK LISTING

Party Lights
Waiting Game
Run Into Love
Peace Call
Don’t Stop
Blue Feather Movement
Never Down
Into The Night

Beloved indie rock heroes follow-up to last year’s critical smash 'Thick Rich And Delicious' (album #44 for those keeping count!).

TRACK LISTING

1. Lost In The Sun
2. Out With A Theory
3. One Last Blow
4. We Outlast Them All
5. A Grand Ceremonial Jester
6. Dagon’s Plunger
7. Advance Without Dropping
8. No Shoe Fits (Floating Babies)
9. Arthur Square
10. Landscaping
11. (How Would You Like A) Chariot Ride
12. When You’re My Clown (Nothing Happens)

If you were to ask Joey Quiñones where he found inspiration for his music, you wouldn't have to look far from where the East LA son grew up. Listen to his work, and you're transported to a two-block radius of his neighborhood— from the liquor store to Sign of Music record store on Whittier Boulevard and back to a homie's house. In those two blocks, you hear cumbia blaring from the stores, punk rehearsals from a garage, oldies drifting from a neighbor's yard—a sensory overload that follows you home, all those genres singing in your head at once.

This isn't a revelation to longtime fans of Quiñones' music. He has established himself as a premier interpreter of his generation, dedicating his career to offering his unique perspective on the Chicano soul songbook. But before Thee Sinseers, before the lush orchestrations and pitch-perfect harmonies that became his signature, Quiñones cut his teeth leading various backing bands for visiting Jamaican ska and dancehall acts touring Southern California. He describes those years as reggae college, getting yelled at by every Jamaican artist who had a record out. Those years of apprenticeship in rock steady and roots reggae would inform everything that followed—and on his new solo record 'Inna Soul Steady Situation', Quiñones finally showcases those influences front and center.

TRACK LISTING

1. Soul Steady Situation
2. Guess That’s Just Loving You
3. There Must Be Something
4. Don’t Let Go
5. In My Arms
6. For You
7. Driftin’
8. Don’t Be Late
9. Bolsita
10. One More Night
11. Situation 2

Following an illustrious stint as founding member of Mercury Music Prize nominated The Comet Is Coming, and also Soccer96, the producer and synthesist Danalogue heralds a new chapter, with his debut solo album Teleportations. His music has been supported by Mike D from The Beastie Boys and Thom Yorke, has been A-listed on BBC6 Music, where he has performed sessions for Mary Anne Hobbs, Tom Ravenscroft, Gilles Peterson and Steve Lamacq. His tracks have featured on numerous TV shows such as I May Destroy You, Black Ops and Utopia. He recently wrote his first video game soundtrack for C Smash VRS on Playstation, his work featuring alongside UNKLE and Ken Ishii. As an integral part of the legendary East London studio/venue/community Total Refreshment Centre, Danalogue has produced/mixed records for Snapped Ankles, Joshua Idehen and Rozi Plain, and collaborated on albums with Alabaster DePlume, and Sarathy Korwar.

TRACK LISTING

Side A
Awakening On The Planet
Mother Of Mars
Far Beyond The Sun
Moebius Triptych
You Are On The Right Track 

Side B
Theta Wave Convergence
Arrival At Rho Ophiuchi
Fallen Out Of Phase
Onto The Next Dimension
Earth Remembrance Day

The deliciously hedonistic autobiography of Claire Manumission - the club promoter, performer and mastermind behind Ibiza’s most iconic club nights. The most intriguing part of Manumission, Ibiza’s most notorious club night, is that if anyone else told you the story, you would scarcely believe them. Claire Manumission however, one half of the boundary-pushing duo behind the scenes, remembers it all.

In all of its decadent glory. This is the story – her story - of the club that changed the scene forever. The Motel: High Times in 90s Ibiza expertly navigates the cast of 1.5 million guests – from supermodels and superstar DJs, rock royalty and Hollywood A-listers - that passed through its doors and delivers a story through raucous, jaw-dropping anecdotes that capture an incredibly unique point in time, place and culture.

It is only right that Manumission gets to tell this story; With her partner Mike, she re-wrote party history by creating a brand new space for it to happen in. And, for once, it is a corner of cultural history seen from the perspective of a woman who tilted club life on its axis. The afterglow of “Brat Summer” demonstrates that people yearn for either the nostalgia or the lifestyle that Manumission helped curate during her career.

Youth culture today is a high-execution homage to the 90s club scene - only, of course, more Insta-friendly. This book will be the catalyst that relaunches Manumission back into the public conscious whilst evolving their legacy for future generations. Nearly two decades after the club’s last party, interest has never been higher as to just what shocking acts happened behind its doors.

It can’t all be true. Can it? Submit to Claire Manumission as she unleashes a candid, shocking and empowered tell-all from the epicentre of global youth culture. Strap yourself in.

My Precious Bunny, the solo project from Lily Wolter of dream-pop duo Penelope Isles, will release her debut album 'A Moment In My Eyes'.

Stepping out on her own, Wolter crafts music that feels like a memory: sun-faded, sprawling, and deeply alive. It's intimate and cinematic all at once: music for late-night heart- to- hearts and long drives to nowhere in particular, every note heavy with nostalgia and motion.

Co-produced with childhood friend Allister Kellaway (Last Living Cannibal), 'A Moment In My Eyes' is both a personal milestone and a shared vision brought to life. The songs shimmer with texture and feeling: warped pop sensibilities, bursts of saxophone, warm analogue synths and restless guitars collide with raw choral power, in a sound that feels spontaneous, magnetic and full of momentum. There's a sense of community in the way the melodies fold into each other, like old friends catching up, finishing each other's thoughts mid-sentence.

Born and raised on the Isle of Man, caught somewhere between myth and mist, Wolter's music feels inseparable from the landscape that shaped her. At times deeply personal and confessional, at others sweeping and orchestral, her songs move with a sense of purpose, like something shaped by time and tide. With some of Brighton's best musicians performing on the album, My Precious Bunny is gaining momentum fast.

TRACK LISTING

1. Times That Passed
2. Blackcurrants
3. Tryin But I'm Dyin
4. Wack
5. Joys Of Adulthood
6. Young Pup 
7. KookieCannibal 
8. Longacre
9. Punchin
10. I Go Up, You Go Down
11. A Moment In My Eyes

'Paradessence', Visible Cloaks’ third full length, is a work of emergence and illusion. The album’s fourteen songs shift, heave, and shimmer against a faintly luminous backdrop of night, a cavernous space shaped by sparse hyperreal representations of the natural world. The arrangements are simultaneously grandiose and fragile, both an inversion and culmination of what came before and as adventurous as anything they’ve produced so far.

Since transforming from Cloaks to Visible Cloaks in 2014, Spencer Doran and Ryan Carlile have mapped a complex matrix of oppositional concepts: organic and artificial, chance and deliberate, authentic and replicated. The album title itself, drawn from author Alex Shakar’s satirical portmanteau of “paradoxical” and “essence,” reflects these tensions directly: the paradessence of consumer product is the “schismatic core” that gives rise to its desirability (in Shakar’s example, coffee is desired because it is both relaxing and stimulating simultaneously). The balancing act of 'Paradessence' brings these strains into greater urgency as life in the 21st century is reordered by these same tensions.

Silence is an important character in 'Paradessence', felt not only in the sculpting of sound but in the pressure it exerts on everything and what emerges. The group took influence from architectural theorist Christopher Alexander’s concept of “positive space,” an idea that the same degree of care can be given to the shape of the void around an object as the construction of the object itself. We hear how sounds carry their own silence, oscillating in and out of existence, running through life cycles like a microorganism.

There is a collectivity to the instruments that underpin 'Paradessence'. They move like a herd, as when wind drifts over a field of leaves and the air becomes visible in the absence of motion; multiple species cohabit the same song, protruding, receding, and transforming over the course of several minutes. “Instead of creating pieces that function horizontally as environments,” says Doran, “we wanted to conceptualize them as living material changing in space, continually in flux.” Song-forms steer away from ambience towards pure abstraction. Utopianism hovers at the edges; a relationship to imagined futures which is neither naïve, cynical, nor nostalgic.

The world Visible Cloaks have built over time is often rendered physical by collaborators, a familiar cast of whom return for 'Paradessence'. Motion Graphics (Joe Williams) makes an appearance on “synthetic woodwinds” and also co-mixed the album, contouring its shapes with his signature sheen. Interlinked pieces 'Shapes' and 'Thinking' were developed with environmental music innovators Yoshio Ojima and Satsuki Shibano, who also worked with the duo on the intergenerational FRKWYS collaboration serenitatem. The latter piece features a spoken text written by Ojima, read in Japanese by Shibano and in French by composer and longtime friend Félicia Atkinson.

Componium Ensemble, Doran’s “indeterminate chamber music” project of self-playing software instruments, provides the infrastructure for 'System' in a moment of Pessoa-ian heteronymity. The album also features Ioana Șelaru, a Romanian composer and violinist who lends her voice and string playing to 'Intarsia'. Doran describes their collaboration as “an exercise in illusionary presence” which they jointly developed from “the idea of juxtaposing her real instrument playing with virtual instruments to blur the boundaries between synthetic string instruments and those existing in reality.”

Șelaru’s charged performance on 'Intarsia' is a clear demonstration of the dramatic core of 'Paradessence': an urgent sculptural undertaking, an instrument and a human voice modulated by a sea of synthetic growth. Doran describes how for him “this slippage between the real and the virtual captures something else entirely, something strange and ineffable that is an inherent aspect of life in digital modernity, both online and in real life.” It is electronic music which not only conjures an abstract representation of our current dream reality through its shifting forms but builds imagined spaces which are emotionally nuanced and rise to moments of grace.

TRACK LISTING

1. Apsis
2. Skylight
3. Disque (ft. Motion Graphics)
4. Balloon
5. Slippage
6. Zinna
7. Telescoping (Lockgroove Version)
8. Shapes (ft. Yoshio Ojima And Satsuki Shibano)
9. Thinking (ft. Félicia Atkinson, Yoshio Ojima And Satsuki Shibano)
10. Swirl
11. Steel
12. Intarsia (ft. Ioana Șelaru)
13. System (ft. Componium Ensemble)

Sudanese-American artist Dua Saleh continues their boundless ascent with 'Of Earth & Wires', a resolutely warm, spiritual, and frenetic album exploring notions of home, humanity, and renewal.

Featuring contributions from Justin Vernon (Bon Iver), aja monet, Gaidaa, and more, Saleh threads and deconstructs indie, R&B, and electronic pop with flashes of Sudanese folk, UK dance, and reggaeton, sounds intrinsic to their story, all held together by ambitious, future-facing production and clear-eyed lyricism.

Saleh’s soulful, gritty, shape-shifting style has found fans from The New York Times to NME, alongside their breakout role in the Netflix series Sex Education, making 2024's Ghostly International debut, 'I SHOULD CALL THEM', a proper arrival. The highly anticipated 'Of Earth & Wires' responds to the moment as both a watershed in their career and an urgent dialogue with struggles faced on a universal level.

TRACK LISTING

1. 5 Days
2. B Re A T H E
3. Flood (feat. Bon Iver)
4. Cállate
5. Firestorm
6. I Do, I Do
7. Keep Away (feat. Bon Iver)
8. Glow (feat. Bon Iver)
9. Speed Up
10. Anemic (feat. Gaidaa)
11. ALL IS LOVE (feat. Aja Monet)

Having Fun Records serves up the next course in its officially sanctioned Bootlegger Series with King Gizzard and the Lizard Wizard — 'Live in NYC: Italian Feast'. Captured at Forest Hills Stadium on August 2, 2025, this release leans fully into the playful maximalism that’s come to define label Bootlegger outings—where the object is as much the experience as the music. Pressed as a full-colour picture disc, Side A is a pepperoni pizza, Side B a heaping plate of spaghetti and meatballs. The accompanying flexi adds a light appetizer—Caesar salad and garlic bread—and yes, it all arrives with a custom napkin, because details matter.

TRACK LISTING

1. Gaia
2. Rats In The Sky
3. Predator X
4. Supercell
5. Road Train
6. Superbug
7. Minimum Brain Size
8. Oddlife
9. The Grim Reaper

Sixteen killer 70s reggae funk and soul cuts from the likes of John Holt, Lee Perry, Cornel Campbell, The Cimarons, The Chosen Few and more featuring superb reggae takes on songs by artists including The Jackson 5, William DeVaughn, Diana Ross and The Supremes, War, The Temptations, Roberta Flack, The Stylistics and others!

Well-documented is the influence of American black music on Jamaican styles of the 1960s – from the birth of ska music, when The Skatalites ska-ified the jump-up southern USA rhythm and blues music of Rosco Gordon, Louis Jordan and Fats Domino, through to the creation of rocksteady when Jamaican artists like The Techniques, The Paragons, Alton Ellis and The Melodians turned to the slower rhythms and soulful harmonies of groups such as The Impressions and The Drifters for inspiration.

Less-well established is that in the 1970s Jamaicans didn’t (shock!) stop listening to American black music styles, with many 70s reggae artists as invested in soul, funk and the proto-disco sounds of Philadelphia, as was the case with rhythm and blues in the previous decade. In the 1970s, while Jamaica promoted its own roots reggae styles around the world, powerhouse USA soul labels such as Motown, Philadelphia International and Stax Records were at the same time all popular on the island.

This interaction between American and Jamaican music was not limited to Jamaica. In Britain, first-generation Caribbean-émigré children in the 1960s and early 70s grew up with an equal love of both soul and reggae, which manifested itself in the home-grown arrival of lovers rock in the mid-1970s.

Soul Jazz Records’ new ‘Reggae Island Soul’ tells this story of how soul and funk-infused reggae in the 1970s united the sounds of Jamaica, USA and the UK into a highly-addictive cultural hybrid of styles.

Featuring 36 tracks in total, with 5 brand new original recordings, spanning newly commissioned songs and an expansive original score. Long-time Peaky Blinders collaborators Antony Genn and Martin Slattery return to compose the film’s original score, while Grian Chatten from Fontaines D.C. and Amy Taylor of Amyl & the Sniffers contribute powerful new recordings that bring new voices to the Peaky Blinders soundscape.

Alongside the original material, the soundtrack features a curated selection of needle-drops from artists who have shaped the Peaky Blinders sound, including Nick Cave, Lankum, and McLusky. Highlights include a newly recorded version of Nick Cave’s ‘Red Right Hand,’ Grian Chatten’s collaboration with Lankum on ‘Hunting The Wren (The Immortal Man version),’ and two transformative Massive Attack covers—one by Grian Chatten, the other by Girl In The Year Above. 

TRACK LISTING

1. Opening Scene/ The Currency - Antony Genn, Carlos O’Connell And Martin Slattery
2. The Immortal Man - Antony Genn, Carlos O’Connell And Martin Slattery
3. Ruby’s Scarf - Antony Genn, Martin Slattery And Grian Chatten
4. Nobody’s Son - Amy Taylor,Tom Coll, Antony Genn And Martin Slattery
5. No Heaven No Hell For Duke Shelby - Antony Genn And Martin Slattery
6. People Person - Andrew Falkous, Jack Egglestone, Damien Sayell
7. Duke And Beckett Strike A Deal - Antony Genn And Martin Slattery
8. An Intruder In The House - Antony Genn And Martin Slattery
9. Ada And Duke - Antony Genn And Martin Slattery
10. Opium Dreams - Antony Genn, Martin Slattery And Grian Chatten
11. Tommy, Kaulo And Zelda - Antony Genn And Martin Slattery
12. Black Dahlia - Grian Chatten, Antony Genn And Martin Slattery
13. Beckett Tests Duke - Antony Genn And Martin Slattery
14. Close The Door - Antony Genn And Martin Slattery
15. Dukes Descent - Antony Genn And Martin Slattery
16. A Hero’s Death - Grian Chatten, Carlos O’Connell, Conor Curley, Conor Deegan III, Tom Coll
17. Pig Pen - Antony Genn And Martin Slattery
18. Puppet - Grian Chatten, Antony Genn And Martin Slattery
19. A Gun Is No Good - Antony Genn And Martin Slattery
20. Tommy Vs Duke - Antony Genn And Martin Slattery
21. St Elizabeth’s Mortuary - Antony Genn And Martin Slattery
22. Confession - Carlos O’Connell, Antony Genn And Martin Slattery
23. Stable Shootout - Antony Genn And Martin Slattery
24. Red Right Hand (Immortal) - Nick Cave, Mick Harvey And Thomas Wydler
25. The Bullet - Antony Genn And Martin Slattery
26. The Coin - Antony Genn And Martin Slattery
27. Teardrop - Girl In The Year Above
28. Romance - Grian Chatten, Carlos O’Connell, Tom Coll, Conor Curley, Conor Deegan (III)
29. The Map - Antony Genn And Martin Slattery
30. Angel - Grian Chatten, Antony Genn And Martin Slattery
31. The Tunnel - Antony Genn, Martin Slattery And Grian Chatten
32. Medusa - Grian Chatten, Antony Genn And Martin Slattery
33. Tommy Vs Beckett - Carlos O’Connell, Antony Genn And Martin Slattery
34. Father And Son - Antony Genn And Martin Slattery
35. Hunting The Wren (The Immortal Man Version) - Lankum With Grian Chatten
36. Ellipsis - Grian Chatten, Antony Genn And Martin Slattery

Telehealth was forged in the opportunity-rich environment of post-COVID Seattle as a scalable music startup with similar goals. Co-founded in 2022 by married couple and fellow gambling enthusiasts Alexander Attitude (synths/vox/guitar) and Kendra Cox (synths/vox), and joined by longtime collaborators Ian McCutcheon (drums), John O’Connor (bass), and Dillon Sturtevant (guitar), the group aims to financialize any difference of opinion over how the in-shambles local “music scene” should proceed.

Can you be DIY and have good SEO? Can one earn progressive cultural cachet and hard cash at the same time? Is art funded by tech industry “culture grants” kind of a bummer, authentically gorpcore (young men are embracing the “quarter-zip lifestyle” according to the New York Times), or ironically punk? For Telehealth, the answer to these questions aren’t yes or no, but rather, an untapped gap in the music market waiting for a band visionary and unhinged enough to bet on the spread. Produced by Trevor Spencer, 'Green World Image', Telehealth’s sophomore LP (following debut LP Content 'Oscillator' and a Sub Pop Singles Club release, both from 2023), and its IPO with angel investors Sub Pop, is a vertically-integrated artwork for the post-grunge, post-flannel Seattleite, and consumers around the globe who are also ready to financialize their own passion for music.

Trauma-informed, results-driven, and eminently danceable, the weirdo punk record is inspired by Attitude’s tenure as a former architect in a Climate Pledged- city that has perfected the art of “Green World” architecture with its network of efficiently zoned 5-over-1s. Telehealth’s PNW post-punk creates similar architectural spaces, where the gleaming, futuristic, tech-industrial rhythms and synths of Bezos-era Seattle commingle with the raw, independent, underground sound the city lovingly preserves for cultural texture and marketing purposes. The outcome? Think XTC, REM, and YMO with a stronger focus on ROI. Imagine The B-52s, but B2B. Envision a bigger-brained Brainiac, a transhuman Gary Numan, or a terminally online Pylon. Finally, a band with assets diverse enough to play in your basement or the Amazon Spheres.

TRACK LISTING

1. [user Onboarding Sequence]
2. The Telehealth Shuffle
3. Kokomo 2
4. Donor Country (A GOoD CAuSe)
5. Age Of Muralcide
6. Things I've Killed
7. Cost Of Inaction
8. Silver Spoon
9. Cool Job
10. Yassify Me
11. Maria, Machine
12. Villain Era
13. Living, Laughing, Loving, Trying

Virga III is the third installment in Eluvium’s inspired experimental series – and the first in nearly five years. In unmistakable contrast to the dense, ominous sprawl of Virga II, the works that make up Virga III offer an almost divine reprieve. The nervous tension, loss of control, and patient recontextualization that inspires each volume of the Virga series manifests in unique ways.

The songs on Virga III are composed and performed by Cooper, as always, but in the Virga universe, he essentially feels a unique collaboration within himself. As Cooper explains, “The Virga series affords me an opportunity to return to an older version of myself, but with a new level of understanding. Practicing more patience interacting with these built musical systems and recordings, I hesitantly duet with my past self in a new performance or manipulative layer, only after digesting the first for as long as possible, to a point of it conjuring new and uncharted feelings, in hopes of curating a sense of therapeutic self-awareness and discovery. A mixture of the exploratory mindset against a painterly emotional resonance, gradually unfurling itself unto itself.”

TRACK LISTING

1. A.M.
2. The Fires At Night
3. Remains
4. Hallucination II
5. Microfauna
6. Communication
7. Virga III
8. Sore

Scottish-Portuguese sound artist and producer SHHE returns with ‘THALASSA’, a six-part ambient work that gives voice to the Mediterranean Sea at a moment of ecological, political, and existential crisis. Balancing introspection with political urgency, ‘THALASSA’ is an immersive body of work, one that listens closely, and asks how we might learn to do the same.

Sonically, 'THALASSA' is a minimal, immersive ambient journey, where breath, voice, and modular synthesis intertwine to create a meditative yet urgent soundscape. Fans of Biosphere, William Basinski, Fennesz, and other exploratory electronic artists will find much to connect with. Pressed in Scotland on eco-friendly bio-vinyl, with exclusive artwork by Alexandria-born artist Aya Tarek that reflects the reflective, layered depths of the sea. With no digital shortcuts, the record offers a tactile, contemplative listening experience that mirrors its conceptual focus on water, ecology, and transformation.

TRACK LISTING

1. Pneuma
2. Katávasi
3. Allásso
4. Emfánisi
5. Peras
6. Anodos

Multi-instrumentalist Broken Keys brings plenty of laidback Los Angeles cool and sun-baked bliss as he returns to Outer Spaceways ahead of his new album Moving With the Current. 'Do I Have To' is the first single from it and is utterly horizontal, with gentle guitar strums and lazy drums infused with a forlorn, drifting vocal. Beat maker extraordinaire Tall Black Guy brings his Detroit flavour to a dusty, downtempo instrumental with a subtle bass swagger and swirling, cosmic sense of melodic infinity. Gorgeous.

TRACK LISTING

Do I Have To (Album Version)
Do I Have To (Tall Black Guy Remix)

Kelley Stoltz is an American songwriter, multi‑instrumentalist, and DIY innovator whose career stretches back to the late 1990s, when he began self‑recording lush, psych‑tinged pop and garage rock in his San Francisco home studio. Born in New York City in 1971, and raised in Michigan, Stoltz has released a remarkable catalog of albums on labels including Sub Pop, Third Man, and Castle Face Records often playing all of the instruments himself and drawing comparisons to the melodic craftsmanship of the major 60’s pop auteurs and the quirkiness of lesser known 80’s power-pop & new wave.

After issuing his 18th album, 'La Fleur' in 2024 to critical notice, he returns in 2026 with his 19th full‑length release, 'If You Don’t Know Me, Buy Now', a collection that continues his long exploration of hook‑laden psych‑pop, introspective lyrics, and richly textured arrangements that both honor his influences and push his sound forward, reinforcing his status as one of the most prolific and singular voices in underground rock. Guests Brigid Dawson of the Osees, Karina Denike of Dance Hall Crashers, Pete Straus of the Dwarves and Allyson Baker Dirty Ghosts and other guests provide backing vocals on several tracks.

TRACK LISTING

1. Competitive Bastard
2. Not Gone
3. Turn The Earth
4. Seventeen Lines
5. Repercussions
6. Daughters Of The Golden West
7. Watts Moon Starr
8. Look Again
9. Come On Spirit
10. Radio Station
11. Queen Of Diamonds
12. The Aches & Pains Of Middle Age
13. Love In Any Language - CD BONUS TRACK
14. Heathers House - CD BONUS TRACK

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

TRACK LISTING

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

From dazzling electronic futurism to pioneering post-punk, via pop, metal, bassline, bleep techno and generation-defining indie rock, Sheffield has long been a crucible for worldleading music.

Some artists have excelled on the fringes, others have achieved global success, but all remain connected through a fervently independent ethos. In Sheffield, creativity flourished in the face of isolation, economic decline and bleak political circumstances, resulting in some of Britain's most groundbreaking and singular music. But the region's ingrained humility and dogged stoicism means it has never been documented or celebrated to the level of more hubristic cities.

In Groovy, Laidback and Nasty, acclaimed Sheffield journalist Daniel Dylan Wray sets out to remedy this, telling the story of the city's DIY spirit and the musical visionaries and innovators who helped build its inimitable legacy. Exhaustively researched and spanning almost seven decades, it features over 150 interviews with the likes of Pulp, Arctic Monkeys, The Human League, Cabaret Voltaire, Self Esteem and Richard Hawley, along with countless others.

Both a compelling cultural study and an unapologetic love letter to the city, this - finally - is the definitive musical history Sheffield so richly deserves.

Shapeshifting, collaborative, endlessly inventive and robustly empowering: Black music has transformed British culture and society, and gifted generations of Black Britons a powerful means to reject misrepresentation and find freedom and joy in sound. From the height of jungle and hip-hop in the 90s to the London uprisings in 2011, the birth of UK trap and the rise of grime superstars like Stormzy, filmmaker and DJ Jesse Bernard examines how Black culture in Britain is moulded by creativity drawn from Lagos and Los Angeles, Sao Paolo and South London. Escaping Babylon takes a deep dive into the history of Black British music to celebrate its richness, heritage and towering legacy.

Nurtured on 90s alternative indie, lucky break’s music melds the emotional directness of Fiona Apple, the wide-eyed warmth of Bedouine and the Americana-leaning alt rock of Lucinda Williams. Fans of Alvvays, Hole, Phoebe Bridgers and The Breeders will find familiar touchstones here.

lucky break is a hand-drawn cartoon character and a girl with a guitar, an ever-expanding container for the feelings that come with making art. She can be very sad and very joyful, living somewhere between worlds. On her debut for Fire Records, made it!, lucky break builds a new world for her character to inhabit.

'made it!' collects songs written between the ages of 19 and 23, documenting the uncertainty of early adulthood, the end of a first major relationship and the process of learning to stand up for yourself. Tracks like 'Crush' pair sharp lyrical insight with big drums and crisp bass, while 'Head Down' uses bright, dreamy guitars to explore themes of politics, consumer culture and moral complacency.

Confessional, direct and emotionally precise, lucky break’s songwriting is matched by a versatile and expressive vocal performance that shifts across moods and styles throughout the record. Produced with Elliott Woodbridge in Burbank, 'made it!' is a playful, self-assured debut from a young artist who has already found her voice and is stepping confidently into a bright future.

TRACK LISTING

1. Big Swing
2. Burning String
3. Camp Song
4. City Lights
5. Crush
6. Darklight
7. Head Down
8. If People Could Fly
9. Pictures Of Herself
10. Red Balloon
11. Spinning Cup

When Elder Island went into the studio to record the follow-up to their critically acclaimed 2021 album, 'Swimming Static', they were determined to “turn everything on its head”. The trio are celebrated for their brooding indie-electronica that draws on their Bristol roots, creating vastly detailed and immersive soundscapes. But 'Hello Baby Okay' marks a new era for the band, fuelled by a longing for transcendence and euphoria. An effervescent counterpoint to the current times, their new music is threaded through with a liberated energy, lilting funk-pop guitars, danceable beats and a renewed sense of play. “We wanted the joy to shine through,” they say.

While 'Swimming Static' was densely constructed, with instrumentation meticulously layered in the editing suite, its follow-up was a totally different process where “we did the complete opposite,” says Katy. When they went into the studio in 2023, they went back to their roots with free-flowing jam sessions, rekindling their sense of spontaneity while channeling the warm embrace of the dancefloor. “Our sound got pigeonholed into a chillout coffee-shop playlist space,” says Luke, but in fact, David continues, “DJ culture has been heavily influential on our approach to music.”

TRACK LISTING

1. Ordinary Love
2. Pink Lemon
3. Bang
4. White Corridor
5. Snapshot
6. Faster Faster
7. Broken Melody
8. Letters
9. Bigger Than Us
10. The Inner Light

'It's Just My Opinion' is a sharp, cohesive album that is rooted in who Girli always been. Growing up in North London, she absorbed the chaos and hooks of the indie sleaze scene, and now she channels that restless energy into songs that feel alive, pulsing like a sweaty gig in Camden or Shoreditch. It's classic girli alt-pop -- nostalgic, chaotic, and fearless, but sharpened with a bold new edge.

Girli has been teasing the new era since the end of 2025, sharing 'Better Undressed' and the powerful recent single 'Slap on the Wrist'. Known for her shimmering, highconcept production and fearless commentary, girli now pivots toward a more grounded, girl-next- door energy, trading gloss for grit, and polish for raw, intimate expression.

Since emerging with her breakthrough sophomore album, 'Matriarchy', Girli has carved a space in the alternative scene for bold, boundary-pushing storytelling. Her ability to merge pop essence with underground energy has earned her a tight- knit and dedicated fanbase.

As an openly LGBTQ+ artist and advocate for social change, Girli continues to intertwine her personal journey with broader cultural conversations. Her past work has touched on themes of identity, politics, mental health, and more - and this new chapter builds on that same spirit of activism, but through a softer, more human lens.

TRACK LISTING

1. Blue Sky
2. Slap On The Wrist
3. Pedestal
4. Don't Make Me Cry 
5. Bones
6. Lifestyle
7. Romantic Sadness
8. Squirm
9. Light In The Dark
10. Traces
11. Better Undressed
12.The Answer

For anyone who loves music this is a backstage pass to a life lived fully as one of rock's greatest heroes. Clem was not just a drummer; he was the heartbeat of Blondie. His talent, energy, and passion for music were unmatched, and his contributions to our sound and success are immeasurable.

Beyond his musicianship, Clem was a source of inspiration both on and off the stage. His vibrant spirit, infectious enthusiasm and rock solid work ethic touched everyone who had the privilege of knowing him – Debbie Harry and Chris Stein. Clem began writing The Other Side of the Dream more than 20 years ago, often setting it aside amid relentless touring and recording schedules.

When cancer treatment and illness forced his retirement in 2024, completing the book became a priority. As a founding member of Blondie, Clem went on to influence a wide number of musicians, effortlessly moving between genres, bands and countries. In The Other Side of the Dream, Clem Burke reflects on his extraordinary journey from the gritty streets of New York City to global superstardom.

With candour and wit, he recounts the explosive punk scene that gave rise to Blondie, the creative partnerships that defined their music and the challenges of navigating fame in a constantly evolving industry. It's a rock and roll memoir like no other.

The 10-track 'Train On The Island' was co-produced by long-time collaborator John Parish (PJ Harvey, Dry Cleaning) at Rockfield Studios in Monmouth, Wales, where the pair recorded the New Zealander’s previous bodies of work, 'Party' (2017), 'Designer' (2019) and 'Warm Chris' (2022). Joining Harding and Parish on 'Train On The Island' were pedal steel player Joe Harvey-Whyte, harpist Mali Llywelyn, synth artist Thomas Poli, drummer Sebastian Rochford (Polar Bear) and Huw Evans (H. Hawkline) on bass, vocals, acoustic/electric guitar and organ.

TRACK LISTING

1. I Ate The Most
2. One Stop
3. Train On The Island
4. Worms
5. Venus In The Zinnia
6. If Lady Does It
7. San Fransisco
8. What Am I Gonna Do?
9. Riding That Symbol
10. Coats

Continuing the series of Isis reissues, 'In the Absence of Truth' is the band’s 2006 release, remastered by James Plotkin.

The album expands upon the group's previous full-length, 'Panopticon', further exploring lead singer Aaron Turner's clean vocals (though his former techniques, which relied more on screaming and growling, are still present as well). Musically, the album is dynamic, ranging from extended musical ambience to almost tribal drumming. Isis continued their lengthy songwriting; 'In the Absence of Truth' is Isis' longest record, at almost 65 minutes.

TRACK LISTING

1. Wrists Of Kings
2. Not In Rivers, But In Drops
3. Dulcinea
4. Over Rot And Thorn
5. 10 Shards
6. All Out Of Time, All Into Space
7. Holy Tears
8. Firdous E Baren
9. Garden Of Light

Continuing in the series of Isis reissues, 'Wavering Radiant' is the band’s final and 2009 release, remastered by James Plotkin. 

The album was produced by Joe Barresi, and the band split just over a year after its release. The album continues Isis' history of lengthy songwriting, yet presents a slight departure from the soft-loud dynamics and post-metal aesthetic which characterized previous releases. It is widely considered the band’s most accessible release in their catalog.

TRACK LISTING

1. Hall Of The Dead
2. Ghost Key
3. Hand Of The Host
4. Wavering Radiant
5. Stone To Wake A Serpent
6. 20 Minutes / 40 Years
7. Threshold Of Transformation

Nick Bike rides again with a new trip out on his Chosen Spokes label, and as always, these are on the money mixes for dub disco heads. 'Kiss Me Say It' is devilishly slow and purposeful with rotation dub and funky bass riffs rising and falling to irresistible effect. The strings bring sophistication and the chords a golden charm that swells the heart. The groove feels ever on the rise but never boils over. The flipside dub is even more focused, with the diva vocal doused in echo for a spaced out vibe. Pure perfection.

TRACK LISTING

Kiss Me Say It
Kiss Me Dub It

Originally released on CD in 2006, It's A Feedelity Affair marked a formative moment in Hans Peter Lindstrøm's early career, compiling key tracks from his first wave of 12-inch releases between 2003 and 2006. Now, twenty years after the founding of his Feedelity label, the album is presented for the first time as a newly remastered vinyl edition.

Upon its original release, the album received widespread international attention, including a Best New Music rating (8.4) from Pitchfork. The track I Feel Space has since become one of Lindstrøm's most enduring and recognizable works. The album also documents some of his earliest collaborations with Prins Thomas and Christabelle, resulting in tracks such as Boney M Down and Lovesick.

Released at a time when electronic music was shaped by extended runtimes and physical formats, It's A Feedelity Affair captured a club culture rooted in patience, atmosphere, and spatial awareness rather than immediacy. Its long-form approach remains central to the album's lasting appeal and resonates strongly with today's renewed focus on vinyl and immersive listening experiences. The album stands as a document of an era marked by experimentation, expansive club tracks, and an open-ended vision of electronic music.

Lindstrøm relaunched Feedelity in 2024, with the label returning in 2025 alongside his most recent album Sirius Syntoms and the single Cirkl, marking a full-circle moment for the imprint. A new studio album is currently in progress and expected in autumn 2026.

TRACK LISTING

A1. Lindstrøm - Fast & Delirious
A2. Lindstrøm - Limitations
B1. Lindstrøm Feat. Christabelle - Music (In My Mind)
B2. Lindstrøm - Cane It For The Original Whities
C. Lindstrøm - There's A Drink In My Bedroom And I Need A Hot Lady
D1. Lindstrøm - I Feel Space
D2. Lindstrøm - Arp She Said
E1. Lindstrøm Feat. Prins Thomas - Further Into The Future
E2. Lindstrøm - Gentle As A Giant
F1. Lindstrøm - Another Station
F2. Lindstrøm - The Contemporary Fix

Foxbam Inc is building up a fine head of early steam and after featuring the likes of LFO's Gez Varley and Mark Archer, that looks set to continue into 2026 with this latest various artists EP. It's a white knuckle ride through panel beating techno fervour, starting with Foxtrot's 'Tartan Tripper', which could be called paint stripper, it's that caustic. Collision lays down flat, hard, distorted drums on 'Plop Projekt', Egebamyasi offers up a stuttering, bass-driven club take on an unmistakable 80s electronic classic and Minimum Syndicat's 'Tunnel Chase' is a slower, darker, more foreboding closer that carries serious weight and a soot-black atmosphere from which there is no escape.

STAFF COMMENTS

Mine says: Has their ever been a more marmite remix than this rework of "Blue Monday"? We're due to find out...

TRACK LISTING

Foxtrot - "Tartan Tripper"
Collision - "Plop Projekt"
Egebamyasi - "Blue Monday Rmx"
Minimum Syndicat - "Tunnel Chase"

Reunited with Nick Heyward for first studio album since 1984!

TRACK LISTING

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

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

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

TRACK LISTING

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

Modern Woman, the London art-rock outfit fronted by Sophie Harris, release their anticipated debut album ‘Johnny’s Dreamworld’. ‘Johnny’s Dreamworld’ represents the culmination of Modern Woman’s journey from Harris’s early, intimate songwriting project into a full-bodied band capable of folding post-punk, avant-garde, and folk traditions into a live force of dynamic originality. At its heart, the record explores the strange poetry buried within the ordinary. Harris’s lyrics, steeped in literary detail and filmic atmosphere, draw from a fascination with the dark underbelly of the everyday and the contradictions of womanhood.

Harris explains, “A vital theme I’ve always wanted in Modern Woman is the idea of conflicting things, of the tender/harsh, loud/quiet and scrappy/polished. The style of everybody’s playing, drawing from a melting pot of influences, coming together to form something new.

This interplay defines the album’s sound, delicate one moment, raw and untamed the next. Layers of violin and saxophone stretch across a foundation of propulsive drums and bass, creating something equally methodical and volatile. Harris’s lyrics remain rooted in the female experience; “I find it interesting to explore the rawer side of femininity that is often hidden; girlhood relationships and the complexities of female fixation and obsession.”

TRACK LISTING

1. Johnny’s Dreamworld
2. Neptune Girl
3. Offerings
4. Killing A Dog
5. Daniel
6. Fork/Heart
7. Blessed Day
8. Dashboard Mary
9. The Garden 

'In Time of Dragons' is the 18th album in Amos’ illustrious 36-year career, which has celebrated over 12 million records sold, thousands of concerts, eight Grammy nominations, and numerous awards.

“'In Times of Dragons' is a metaphorical story about the fight for Democracy over Tyranny, reflecting the current abhorrent non accidental burning down of democracy in real time by the ‘Dictator believing Lizard Demons’ in their usurpation of America.” – TORI AMOS

TRACK LISTING

TBC

May Day 2026 welcomes the release of The Boo Radley's third album since they got back together at the start of this decade.

'IN SPITE OF EVERYTHING' is their ninth record since forming in Wallasey back in 1988.

It was their third album, 1993's 'Giant Steps', that announced them as genuine visionaries, fusing shoegaze with psychedelia, dub reggae, jazz, and Beach Boys-influenced harmonies. 1995's chart-topping follow up, 'Wake Up!' featured the inescapable sound of that Britpop Summer that was 'Wake Up Boo!'

Continuing on from the comeback album, 'Keep On With Falling'(2002), and its follow-up , 'Eight' (2023), the new album from the iconic British alternative rock trio is a defiant statement of perseverance and creative survival from a band that has weathered industry indifference, lineup changes, and two decades of separation. Fans can expect the band to continue their trajectory of experimentation balanced with the melodic sophistication that has defined their best work.

TRACK LISTING

1. Affected 
2. Rejected
3. Soloarcide
4. Do Better, Know Better 
5. Hey, I Know
6. Living Is Easy 
7. King Budgie 
8. Through The Crack In The Window 
9. Bring Them Back Again 
10. This Is The Place 
11. Song For Natalie 
12. Wasn't I Enough?

Named after the road where he grew up, ‘POWERSCROFT’ marks a defining new chapter for an artist who has spent the past decade shaping the sound of UK dance music. Drawing from jungle, broken beat, grime, garage, soul and dub, the album channels the energy of the dancefloor while remaining deeply rooted in memory, instinct and identity. It captures what it feels like to be inside IZCO’s world, where thoughts, memories and influences collide.

Hailing from East London, IZCO is a producer and DJ spearheading a new generation that is bringing soul back to the dancefloor. Shaped by the rich musical heritage of his hometown, he has developed a sound that feels familiar yet forward-looking, diverse yet distinctly his own. That sound has taken him across the globe, from New York to Tokyo, alongside standout sets at We Out Here, Outlook and Glastonbury.

IZCO began his journey making grime beats for local rappers including Capo Lee, Novelist and Reek0, before becoming a key figure in the UK’s evolving garage and dance music landscape. In 2018, he launched his long-running Rinse FM show and released his debut EP 'Tek 5', earning early underground acclaim. His production credits include PinkPantheress’ breakout track ‘Passion’, created alongside Jkarri, as well as collaborations and remixes for artists such as Katy B and Greentea Peng.

Beyond his solo work, IZCO is a label head, promoter and co-founder of the Brighter Days Family, a collective built on community, craft and cooperation. With ‘POWERSCROFT’, he steps fully into the spotlight, presenting his most personal and fully realised body of work to date. “This album is about channeling my true musical personality and character,” he says. “I’m marking a new chapter by paying tribute to my foundations.”

RIYL: Brighter Days Family, Nia Archives, Kaytranada, Interplanetary Criminal, Bakey

TRACK LISTING

1. Bluebell
2. Japan Greatly (feat. Reek0 And S.I)
3. Turn Me On
4. Dinero (feat. P Wavey)
5. Down 4 (feat. Osquello)
6. Strike A Pose (feat. Camille Munn)
7. Longest Road (feat. PK)
8. Komodo
9. Somebody Jump (feat. Reek0)
10. Wonderluv
11. Tek Control (feat. Liam Bailey)
12. Guiding Star (feat. Reek0)

Mclusky are a band who were a band, weren’t a band, then are a band again. they formed in the late nineties and unformed, for the first time, in 2005, after three albums, opinions of which can be found on the internet.

The path to re-becoming a band started in 2014, with the band playing sporadic shows to raise money for a local venue threatened with closure and after some misadventures, which can be put down to life in its most wonderful forms, in 2025 they released their first record in twenty years, and now in 2026, they continue with more new music in the form of this 6-song mini album.

TRACK LISTING

1. I Know Computer
2. As A Dad
3. Spock Culture
4. Hi! We're On Strike
5. Fan Learning Difficulties
6. That Was My Brain On Elves

Gap Mangione's monumentally influential 'Diana In The Autumn Wind'. And, without question, Be With's White Whale.

They said it could never be done. And with good reason.

Be With have spent the past 12 years trying to license this legendary 1968 recording from Gap and, after much work, it's finally here. Remarkably, this is the first ever vinyl reissue of Gap Mangione's 'Diana In The Autumn Wind', produced with the full and extensive participation of Gap. An exceedingly rare album, it's been coveted by funk, soul, jazz and hip-hop sample fiends for decades.

It's unarguably *the* most sought after album for J Dilla / Madlib sample collectors. It has also been brilliantly sampled by A Tribe Called Quest, Large Professor, Ghostface Killah, Kendrick Lamar and Talib Kweli.

But this record is so much more than a sample-spotters curio. It's solid gold throughout. Bursting with killer funky-jazz grooves and tracks adorned with warm electric piano, the release is notable for featuring some extremely significant players at the very outset of their careers; Tony Levin, at 21, whose superb playing on both acoustic and electric bass was the harmonic mainstay of the trio and Steve Gadd, at 23, one of the greatest drummers of his generation.

With acceptable copies of this holy grail changing hands for $400, to call this reissue "much-needed" underplays just how vital it is. Gap's story is told in his words alongside rare photos across a sumptuously designed 2-page insert and, to augment this deluxe edition further, its all wrapped up in a beautiful, no-expense-spared luxury tip-on sleeve, as per the original hens-teeth release. And, while we're talking packaging, just take a look at that cover - a work of art in and of itself.

The tracks are short but complex, with that extraordinary rhythm section backing the beautiful piano, organ and electric piano work of Gap. It's like the best ever library funk breaks record you have never heard - but all your favourite golden age rap producers were all over it, long ago. It's a stunning blend of the vibrant, driving music of the Gap Mangione Trio coupled with the sensitive composition and superb orchestration of Gap's legendary brother, Chuck Mangione, who helmed an amalgam of seemingly disparate elements – rock, big band jazz, solo improvisation and "classical" music - into a spectacularly cohesive whole that has aged wonderfully well. As Gap himself notes in the liners, "with this group I was able to explore and add new and exciting elements from rock, Brazilian and then-current pop music." 

TRACK LISTING

1. Boy With Toys
2. Diana In The Autumn Wind
3. Long Hair Soulful
4. Yesterday
5. The XIth Commandment
6. St. Thomas
7. You're Nobody Till Somebody Loves You 
8. Pond With Swans 
9. You Are My Sunshine
10. Free Again
11. Dream On Little Dreamer
12. Graduate Medley

'Flowers in the Dirt' (1989) marked a creative resurgence for Paul McCartney, presenting him as a vital, contemporary songwriter at the close of the 1980s. Track highlights include the bright, Beatlesque 'My Brave Face', the heartfelt ballad 'Put It There', and the polished pop single 'This One'. Several songs were co-written with Elvis Costello, a collaboration that sharpened McCartney’s lyrical edge and drew critical attention. Culturally, the album is often seen as a late-career comeback, reestablishing McCartney’s artistic credibility and introducing his music to a new generation of listeners.

TRACK LISTING

1. My Brave Face
2. Rough Ride
3. You Want Her Too
4. Distractions
5. We Got Married
6. Put It There
7. Figure Of Eight
8. This One
9. Don’t Be Careless Love
10. That Day Is Done
11. How Many People
12. Motor Of Love
13. Où Est Le Soleil?

VALVE video games and IPECAC RECORDINGS have a partnership that dates back almost 15 years when we released the PORTAL 2 soundtracks. Since then, there’s been releases of some of the biggest video game soundtracks out there including TEAM FORTRESS 2, DOTA 2 and the entire HALF-LIFE series. These have been some of Ipecac’s best-selling physical and digital releases on the label.

HALF-LIFE: ALYX was originally released digitally as a series of 11 chapters from 2020–2022, and the physical release brings those together in two different formats

The HL:A game itself has sold over 2MM copies since 2020 and had added to the Half-Life series of games that has sold over 30MM copies.

TRACK LISTING

CD Features All 72 Tracks From The HL:A Series Over 4 CDs
2LP Features 21 Tracks Selected By The Composer, And Includes A Download Card With All 72 Tracks

Although it can’t be stated as any genre outright, 'A Way In' lends itself to the worlds of Afrobeat, Cumbia, Salsa, Jazz, Reggaeton and Soul; a stirring of potent rhythms and enigmatic melodies that make Mitchum Yacoub’s sophomore album stand tall in the world of groove music. Across the syncopated dance tracks, ethereal soundscapes, and steady backbeats, are tales of anguish, love, uprising, and healing. Ten tracks that expose and celebrate the human spirit.
Yacoub engineered, produced, and mixed the entirety of the album, ensuring the meticulously layered sound appreciated by fans of his debut 'Living High in the Brass Empire'. We are reunited with Travis Klein, Bradley Nash, and Wesley Etienne, his inimitable horn section not to be missed on record or on stage. Featuring the rising voices of Divina Jasso and Lourdes Iri on half of the tracks, 'A Way In' has no shortage of stand-out singles that will carry you from morning into night.

TRACK LISTING

1. Mr. Terrestrial
2. 89
3. Hurtin’
4. Profecía
5. Sala
6. When I’m With You
7. Away
8. Deseo Celestial
9. De La Selva
10. Gold

'The Great Divide', the highly anticipated new album from 2x Grammy Nominee Noah Kahan.

A reflection on Noah’s past, his now-complicated relationship to family, friends, his native Vermont, as well as the disconnect and distance that silence and unspoken truths create between people.

Produced by 'Stick Season' collaborator Gabe Simon as well as new collaborator Aaron Dessner

TRACK LISTING

TBC

When Ekko Astral dropped their searing debut 'Pink Balloons' in 2024, it would be another year and change before Trump took office and deployed the National Guard to Washington, D.C. Recorded immediately after the 2024 U.S. General Election, Ekko Astral’s second album 'The Beltway Is Burning' was always intended as a real-time historical document in the form of a dark comedy. Each song plays out like a vignette, with Ekko Astral beckoning listeners into their fictionalized version of The Beltway, in which Adam Sandler is a god-president and the DMV has become a demilitarized zone, a wasteland run by butt rockers and Soundcloud rappers. On the surrealist lead single 'Lil Xan Goes To Washington', the titular character travels to D.C. to lobby for addiction assistance legislation before succumbing to the cartoonish horror that is K Street, ultimately becoming a sellout himself. Such noisy, absurd caricatures abound on beltway, whose anchors are simultaneously heavier, poppier, and more complex than on predecessor pink balloons. Take the album’s pop diamond 'Lovesick American Romance': a 90s rock-indebted anthem that snarls at mainstream culture’s embrace of the manosphere. And then there’s the album’s centerpiece, 'This Is Not A Call To Action But A Lamentation On The Situation At Hand (Or, Capital Riot)', which sees the band take an entirely new direction in a stretched-out, climactic barn-burner that invites listeners into the band’s funhouse version of D.C. Where 'Pink Balloons' was written to uplift, 'The Beltway Is Burning' is meant to remind you of the stakes. On penultimate track 'Blood Mountain', Holzman asks “if I don’t know what’s wrong / how can it be righted?” This kind of tension is omnipresent in Ekko Astral’s work, grounding beltway in our present reality, injecting urgency and realism into each song despite their surrealist contours.

TRACK LISTING

1. Body Generation
2. Lil Xan Goes To Washington
3. Horseglue
4. Beltway
5. WMATA
6. This Is Not A Call To Action But A Lamentation On The Situation At Hand (Or, Capital Riot)
7. Elegy For A System
8. Lovesick American Romance
9. Dude With Guitars
10. Sandler '36
11. Blood Mountain
12. Comet Ping Pong

Metric’s relentless pursuit of timeless songwriting and fiercely independent ethos have cemented their place as one of the most essential and ahead-of-the-curve bands of the last two decades. The trailblazing Toronto outfit was founded by songwriting and production partners Emily Haines and Jimmy Shaw, along with bandmates Joshua Winstead and Joules Scott Key. Though both were also founding members of the influential and sprawling Canadian indie rock outfit Broken Social Scene, Metric was always the top priority, and shortly after they met and cemented their mission, they left Toronto for New York in search of like-minded artists. There, they found themselves at the center of the city’s burgeoning indie sleaze scene alongside bands like LCD Soundsystem, The Strokes, TV On the Radio, Yeah Yeah Yeahs, Interpol.

Their 10th studio album 'Romanticize The Dive' harkens back to the free spirit of that era, kicking off with Haines nostalgically imploring the listener to “let me take you back, it was the start of something...” before pulling back the curtain on a band that has consistently stayed true to each other and their ethics for decades. In a tribute to lifelong friendship, the album also reunites the dream team behind their 2009 breakout album 'Fantasies' at Electric Lady Studios in New York. All at once a heartfelt reflection on their history, a celebratory gift to those who have been along for the ride, and an outstretched hand to new fans, 'Romanticize The Dive' is another testament to the band’s unwavering love for each other and their insatiable desire to push themselves as artists.

TRACK LISTING

1. Victim Of Luck
2. Wild Rut
3. Time Is A Bomb
4. Crush Forever
5. Tremolo
6. Moral Compass
7. As If You're Here
8. Loyal
9. Antigravity
10. Clouds To Break
11. Leave You On A High

By 1983, many of Scotland's post-punk bands had broken up or moved south to chase the major labels in London. That vacuum was filled by an influx of young musicians who were determined to remake the scene in their own image. In this compelling and dynamic oral history, Grant McPhee chronicles the radical transformation of Scotland's independent music scene from 1983-1995.

Including archival photos and drawing from over 100 interviews with the key players of the time, Grant McPhee allows them to set the scene in their own words; including the Cocteau Twins, Shop Assistants, Teenage Fanclub, The Jesus and Mary Chain, Primal Scream and many more. Postcards from Scotland is the definitive story of the radicals, misfits and experimentalists who made independent music what it is today.

Brighton quartet ladylike sign to cult label Heist or Hit (Her’s, Westside Cowboy) and announce their debut EP 'It’s A Pleasure Of Mine, to Know You’re Fine'.

The EP delicately treads the tightrope between folk and post-rock - evidence of the particular kind of quiet the four-piece inhabit: Natural, controlled, and brimming with a subtle euphoria, it speaks to renewal, growth and repair. The quartet — Georgia Butler (vocals, guitar), Spencer Withey (vocals, guitar, synth), James Ely (drums), and Archie Sagers (six-string bass) serve their folk rare: raw and pastoral, but with a side of textural, atmospheric builds directly wired into the tensions of the modern world. It’s a formula that has gained them slots at Green Man; Left Of The Dial; The Great Escape; and Dot To Dot, plus support slots with Ugly, Mary in the Junkyard and Lime Garden.

After soft-launching the idea of starting a project together at End of the Road, the band’s initial practices took place in a recital room on a brutalist university campus. A setting that, on the surface, is wildly at odds with the rural authenticity of their sound. Pause and look, however, and the campus may have seeped its way into the architectural structures of their songs, with an emphasis on functionality, honesty, and the incorporation of rougher textures and exposed materials. The alchemy lies in the band’s ability to marry those spaces, and when raw elements meet modernity, they absolutely soar.

The band’s forthcoming debut EP was recorded with producer Ali Chant (Aldous Harding, Perfume Genius, PJ Harvey). It captures the quiet urgency that has always been ladylike’s hallmark. Across four tracks, they explore cycles renewal, and the beauty of persistence, finding poetry in English idioms and the banality of the mundane.

TRACK LISTING

Side A
1. Burning Heather
2. Rome (in Progress)
3. Mountains
4. Burning Heather (continued)

Side B
1. Fresh Linen
2. Sour Carol, I

In 'Requiem', Irmin Schmidt (co-founder of CAN) blurs the line between composition and environment, delivering a quietly radical, contemplative masterpiece.

Created at his home in Southern France, the record unfolds in two sections, pairing prepared and unprepared piano with recordings of the natural world around him: water, birds, frogs, shifting air and quiet nocturnal hums. What began as a spontaneous capture of a nightingale’s song evolved into a personal ritual, with Schmidt responding instinctively at the piano and later shaping the material with long-time collaborator René Tinner. The result is a liminal space that allows the listener to embark on their own journey of contemplation.

Approaching his 89th year, Schmidt - a classically trained composer and recipient of major cultural honour in both France and Germany - brings present and distant memories into focus, their merging forming one of his most affecting and inspiring works.

TRACK LISTING

1. Part 1
2. Part 2

'In the Last Hour of Light' is a memoir about letting go—of people, of memories, of the desire to stop time from moving too fast. The songs were born in the wake of Hrishikesh's mother's death, as the years since push her further into the past; in the moments spent waiting for his father to recover in his hospital room; in the dream of a daughter that he will never have. There are love songs, too—but the kind of love that has the patina of a long-shared life, where there is as much time behind you as there may be left ahead.

The lineup of Hrishikesh's band included Shahzad Ismaily (Feist, Arooj Aftab), Ken Pomeroy, Mike Haldeman (Moses Sumney, Dawn Richards), Joshua Crumbly (Leon Bridges, Kamasi Washington), Oliver Hill (Kevin Morby, Broken Bells, Vagabon), Sean Mullins (Sam Evian), and Cole Kamen-Green (Beyoncé, Taylor Swift); with featured guest vocals from Iron & Wine, Fenne Lily, Ken Pomeroy, and Uwade Hart (St. Vincent), Zosha Warpeha (L'Rain), and Dustin O'Halloran.

TRACK LISTING

1.Stray Dogs (with Iron & Wine) 
2. Dark Circles (with Fenne Lily) 
3. Rollercoaster 
4. Things Change, Even Now 
5. The Ocean (with Uwade) 
6. Big Sky (with Ken Pomeroy) 
7.Charlie, Short For Charlotte 
8. When I Look At You 
9. Your Voice (with Ken Pomeroy) 
10. Swimming Pool 
11. Home Movies 

M83 is one of the most influential electronic artists of the past two decades, known for his singular ability to merge synth-driven emotion with cinematic scale. From 'Hurry Up, We're Dreaming' to numerous film and soundtrack works, his music consistently bridges pop culture and auteur cinema.

With 'Resurrection', M83 delivers his second soundtrack of the year, following 'A Necessary Escape'. Composed, performed and recorded by Anthony Gonzalez, the album is the original score for Bi Gan's visionary science- fiction film, selected in Official Competition at Cannes 2025 and awarded the Prix Special du Jury.

Released on M83's new label Other Suns, 'Resurrection' unfolds across 10 instrumental pieces + 2 silent film bonus tracks, blending ethereal electronics and orchestral textures. Focus track 'Sullen Passage', featured in the film's trailer, stands as a luminous, emotional signature moment.

TRACK LISTING

1. Spinning Fury
2. Clamor Of Time
3. A Scent
4. From Bright Lights
5. Spectres
6. Transfiguration Overture
7. Serpentine
8. Resurrection
9. Sullen Passage
10. Spinning Fury (Part 2)
11. Fantasmers (Silent Film Part 1)
12. Fantasmers (Silent Film Part 2)

Angelo De Augustine returns with 'Angel in Plainclothes', his fifth album and most inspired work yet-a deeply felt rendering of his multi-year journey of healing and renewal. The record showcases De Augustine's powerful melodies and poignant lyrics across tracks like the haunting elegy 'Empty Shell', the hopeful 'Spirit of the Unknown', and standout psychedelic country piece 'Mirror Mirror'. Themes explore life's fragility, second chances, and picking up the pieces after an undiagnosed illness forced him to re-learn basic abilities: "I'm trying to figure out who I am now," De Augustine says. "I feel like I may have been given a second chance at life, and I'd like to live it."

Written, recorded, arranged, produced, and mixed by the artist at his recording studio A Secret Place in Southern California, the album marks his first time welcoming collaborators in years, including string arranger Oliver Hill (Kevin Morby, Helado Negro), harpist Leng Bian, background vocalist/percussionist Wendy Fraser, producer Thomas Bartlett (who produced De Augustine's 'Tomb', as well as St. Vincent, Bebel Gilberto), and co-producer Jonathan Wilson (Angel Olsen, Father John Misty) on 'The Cure'. The result is a powerful statement of hope: "One of the most helpful things that kept me going was the people in my life telling me that everything was ultimately going to be okay. I hope these songs end up having the same kind of effect on people out in the world, and help them know that miracles are possible."

TRACK LISTING

1. Empty Shell
2. Pet Cemetery
3. Spirit Of The Unknown
4. The Cure
5. Mirror Mirror
6. Cosmic Ride
7. The Universe Was Our Mother
8. With A Love So Kind
9. Pictures On My Wall
10. Goodbye Baby Blue

'The End is Not the End' is undeniably Atreyu’s heaviest album ever and their most adventurous. “We realized what made Atreyu great in the beginning was that we didn’t sound like anyone else,” frontman Brandon Saller explains. “We didn’t really make sense anywhere. We weren’t an emo band, a metal band, a punk band — but somehow it all worked. We kind of just carved our own path.”

Produced by Matt Pauling, Atreyu’s tenth album is vibrant, inventive, and beautifully aggressive. “It’s our heaviest, most metal record we’ve made,” Saller points out. “But it’s also the biggest musical journey we’ve taken in years.”

TRACK LISTING

1. The End Is Not The End
2. Dead
3. Break Me
4. All For You
5. Ghost In Me
6. Glass Eater
7. Wait My Love, I’ll Be Home
8. Ego Death
9. Death Rattle
10. Children Of Light
11. In The Dark
12. Afterglow
13. Break The Glass

Venturing into “a limbo world between medieval tropes and modern-day decay”, New Orleans musician Urq (half of art punk duo Spllit) returns with a new solo offering. Recorded over a single, intense month, 'This Dismal Village' is a homespun document that sits somewhere between jittery punk, dreary psychedelia, and hooky bedroom pop. Recorded to 4-track, the record embraces limitation as a creative engine, resulting in a sound that is raw, unsettled, and deeply atmospheric. The album is set not in a fixed point in time or geography, but a liminal environment where dystopic visions and archaic fixtures exist side by side. In the dismal village, kings and witches share space with televisions, skyscrapers, and modern enterprise; organ fanfares echo down streets populated by disgruntled townsfolk and whispered gossip. It is simultaneously the dark ages, 1950s suburbia, and a 21st-century metropolis. Embracing anachronism was central to the project’s identity, an attempt to collapse history into a single, uneasy present. Sonically and philosophically, the album sits firmly in the tradition of rough and raw cassette rock. Guided By Voices’ Bee Thousand looms large as an influence, particularly its ability to build an entire world through unpolished, first-take recordings. Robert Pollard’s idea of the “four P’s” (psych, punk, prog, and pop) serves as a neat summary of the artist’s musical instincts and each element can be traced right through the heart of 'This Dismal Village'. Further inspiration comes from post-punk’s so-called “Calgary Sound,” a loose movement blending psych pop, post-punk, and math/prog elements with a home-recorded, unpretentious ethos. The result is an album that unrolls like a place wandered through, uneasy, occasionally familiar, and impossible to pin down in time. All captured on tape before it could disappear like an apparition, like a dream only half-remembered.

TRACK LISTING

1. Another Mystery
2. Glutton's Coupon
3. Airs Of The Sledgehammered
4. This Dismal Village
5. An Honest Film
6. Took Blest
7. Kings In Bed
8. Watching The Soothsayers
9. We Don't Need This Song

'XKatedral Anthology I' is the first release in a series of archival releases dedicated to presenting music by XKatedral affiliated composers working within the realm of slowly evolving harmonic and timbral music. This double-vinyl set contains an array of pieces dating from 2010 - 2020. Four of the works included here were originally released on cassette tape early on in the label’s history, while the two remaining pieces were presented by the label for the first time on this compilation. This record is released in conjunction with reissues of 'XKatedral Anthology Series II-III'.

The works 'Ir Himinn, Grooenn' by Kristofer Svensson, 'Disquiet (Heart)' by Marta Forsberg and 'Lamé' by Isak Edberg were first released on the cassette tape compilation 'XKatedral Volume II' in 2016. Svensson’s piece from 2014 combines gamelan percussion and prepared piano intricately interwoven in a way that obscures the boundaries between the two instrument groups. Forsberg and Edberg’s pieces both use a monolithic form to explore the timbral and harmonic spaces provided by the Düben Baroque organ situated in Tyska Kyrkan in the oldest part of Stockholm. While similar in terms of instrumentation the two works differ formally - Edberg’s 'Lamé' composed in 2010 uses the registers of the organ to articulate a seamless spectral transformation while Forsberg’s 'Disquiet (Heart)' from 2014 deals in blocks of sound with a varying degree of opacity, saturation and intensity.

'Glory' for two electric guitars by Caterina Barbieri and Kali Malone was composed and recorded in Tempo Reale in Florence, Italy, and was originally released on the cassette tape compilation 'XKatedral Volume III' in 2016. This music takes the form of an ever-evolving hypnotic pattern shared by the two instruments articulated through an additive and subtractive canon.

'Dissolving Ceremony', composed in 2012 by Edberg/Erlandsson/Lisinski, was first presented publicly on the self-released record Stratum. The music contained in that release was formed from a collection of gamelan percussion instruments augmented by two sets of live-electronic instruments tuned to the harmonic framework formed by the partials of the metal percussion. Originally positioned in the center of the record running order between two long monolithic process-based pieces, 'Dissolving Ceremony' now stands on its own as a memory of a time and methodology from the not so distant past.

The newest piece in this set is 'Shipwrecks' by Daniel M Karlsson. While this work is a recent one Karlsson should be considered one of the forerunners of the musical expression contained within this record set. Active within new music for two decades his strongly articulated musical ideas and constantly evolving craftsmanship has resulted in an enormous body of work, and has served as an inspiration for many of his fellow composers. This piece is a celebration of transposition and its immense capacity for timbral transformation using a vast array of instruments performed, recorded and electronically treated by the composer to form a liquid uncanny topography where a deeply personal harmonic language constantly shifts, slides and shivers.

TRACK LISTING

1. Kristofer Svensson - Ir Himinn, Grooen
2. Marta Forsberg - Disquiet (Heart)
3. Isak Edberg - Lamé 
4. Edberg/Erlandsson/Lisinski - Dissolving Ceremony
5. Kali Malone & Caterina Barbieri - Glory
6. Daniel M Karlsson - Shipwrecks

'XKatedral Anthology II' is the second installment in a series of archival releases dedicated to presenting music by composers affiliated with XKatedral working within the realm of slowly evolving harmonic and timbral music. This double-vinyl set contains an array of pieces dating from 2018 - 2020. This collection of pieces focuses on the use of synthetic sound and algorithmic composition languages as tools for precise work within the realm of spectral exploration. In addition to this, the electronic instrumentation in many of the pieces is augmented by acoustic instruments. This record is released in conjunction with reissues of 'XKatedral Anthology Series I & III'.

The first piece on Side A is Kali Malone’s 'Music for Low Quartet'. This piece is an adaptation of the composition 'Rose Wreath Crown' originally released on The Sacrificial Code in 2019. In this iteration, the music is scored for two double basses played by Vilhelm Bromander and Zach Rowden, and sine tone electronics performed by Malone herself. The recording of this piece was made at EMS in 2019. Closing Side A is Jessica Ekomane’s 'First Light'. This computer music work focuses exclusively on digital sound, layering razor sharp synthetic textures into an otherworldly dynamic weave. The music heard here is an adaptation of a piece originally commissioned by Semibreve in 2020.

Side B contains the work 'Hands Melt In The Sun' by Mats Erlandsson. This composition is built from electronically processed tuned zithers and synthetically generated tones arranged in a series of chordal inversions over a sustained fundamental tone. This music, written as a love-letter to the localized drone tradition of Stockholm in the years 2008-2012, was composed and recorded in seven days while in residence at Ställbergs Gruva in Bergslagen, in the summer of 2018.

Opening the second half of the collection is 'Rough Draft v.7' by Theodor Kentros. Kentros’s compositional practice usually combines acoustic and electronic source material and in this piece he molds the output of the Buchla 200 and a collection of recorded wind instruments into a molten mass of sound. In its original form, this music was presented as a multichannel immersive work and even in the current stereo configuration it retains some of that enveloping sense of depth. The second piece on Side C, 'Inertia', is by Wilma Hultén, who makes her debut on record here. An exclusively synthetic piece, 'Inertia' utilizes internal digital feedback in a sealed synthetic system to manifest a harmonic field that swells and abates throughout the length of the piece, interspersed by small gestural elements.

Closing Side D of 'Anthology II' is Maria W Horn’s work 'Dies Irae' for vocal quartet, pitched glass and synthesis. 'Dies Irae' uses a modified form of traditional tonal harmonic language to invoke an uncanny and restless middle ground between the classical western polyphonic vocal tradition and contemporary electronic music. The version heard here is a live recording from Eric Ericssonhallen in Stockholm on May 30th 2020. Performing the piece here are the vocalists Katarina Henryson, Lisa Holmgren, Vilma Ogenblad and Paula Wegmann, as well as Maria herself on glass and electronics.

TRACK LISTING

1. Kali Malone - Music For Low Quartet
2. Jessica Ekomane - First Light 
3. Mats Erlandsson - Hands Melt In The Sun 
4. Theodor Kentros - Rough Draft V.7 
5. Wilma Hultén - Inertia
6. Maria W Horn - Dies Irae

'XKatedral Anthology Series III' is the third installment in a series of archival releases dedicated to presenting music by composers working within the realm of slowly evolving harmonic and timbral music. The pieces presented here focus on the use of synthetic and acoustic sound as well as algorithmic composition as tools for precise work within the realm of spectral exploration.

This double-vinyl set is issued in celebration of the label’s decennalia and contains works from 2014 - 2025. It is released in conjunction with reissues of 'XKatedral Anthology Series I-II'.

'My Falling Sinks' by Kali Malone is a sparse descending melody for justly tuned organ, cello and acoustic guitar featuring Lucy Railton and Stephen O’Malley. The piece is a compositional sketch in septimal just intonation made on an experimental tuning organ at La Temple de La Tour-de-Peilz while in residency at La Becque in 2021.

'Empyrean Flare' by Maria W Horn was composed in 2022 for 'The Dawn Chorus' by choreographer Stina Nyberg. This piece uses the Tintinnabuli technique created by Arvo Pärt to animate four supersaw oscillators in slow diatonic arpeggiation, circling around a minor tonic triad, and destabilizing the harmonic framework by means of glissandi and amplifying the sum of its parts by means of analog tape saturation.

'Tessellation' by David Granström was composed using generative synthesis methods in the summer of 2017. The musical periodicity and harmonic movement heard within the piece emerges as a result of fixed synthesized tape loops - exploring a space that opens up between antithetical worlds.

'To Whoever Shall Inherit the Earth' is the first piece of solo music made by Jessica Ekomane and it came together, according to the composer, almost by accident. The work was recorded late one night a decade ago and captures a fleeting, fragile, and unrepeatable moment preserved exactly as it happened.

'Smoking Mother' by Stephen O’Malley was created for Gisèle Vienne’s 'Der Teich / L’Etang' by Robert Walser. It was composed during a residency at the SMEM synthesis archive in Fribourg in 2018 and produced at EMS in August 2020. The piece draws from the works of Zia Mohuiddin Dagar, Krzysztof Penderecki and Popol Vuh while exploring the roots of minimalism.

'Att böja själarna' by Mats Erlandsson was composed in 2018 and was included in 'On Eternity', a collection of four texts and four ten minute cassette loops released in the form of a limited edition box set in 2021 by Irrlicht Förlag. This work features performances by Gaianeh Pilossian and Sara Fors, on violin and voice respectively.

'This will be my last piece for organ' was composed by Theodor Kentros in 2025 and uses groups of clustered oscillators through resonant feedback to synthesize the fluctuating frequencies heard wandering through physical space when detuning an organ.

'Fault Lines' was composed by Daniel M Karlsson using generative methods with a deterministic and finite output solidified for this release. This piece features vocal performances by Sara Fors, Ansis Bētiņš and Artūrs Čukurs.

TRACK LISTING

1. Kali Malone - My Falling Sinks
2. Maria W Horn - Empyrean Flare 
3. David Granström - Tesselation 
4. Jessica Ekomane - To Whoever Shall Inherit The Earth 
5. Stephen O’Malley - Smoking Mother 
6. Mats Erlandsson - Att Böja Själarna
7. Theodor Kentros - This Will Be My Last Piece For Organ 
8. Daniel M Karlsson - Fault Line

First time CD release for Pixies unique first ever ‘Acoustic’ live performance at the Newport Folk Festival in 2005. This recording sees the reunited line-up of Frank Black, Kim Deal, Joey Santiago and David Lovering give alternate takes on 22 of the biggest Pixies favourites and is Presented in deluxe 2CD gatefold packaging twenty years after it’s original release on DVD.

Around 6pm on a warm Saturday in August 2005, The Pixies took the stage on the shores of the Atlantic in Newport, Rhode Island to perform this unique set as the same venue where Bob Dylan went ‘electric’.

Playing a completely acoustic performance, the reunited line-up of Frank Black, Kim Deal, Joey Santiago and David Lovering give alternate takes of classic tracks including 'Cactus', 'Subbacultcha', 'Is She Weird', 'Hey', 'Caribou' and many more

TRACK LISTING

1. Bone Machine
2. Cactus
3. Ed Is Dead
4. Been All Around The World
5. Subbacultcha
6. Monkey Gone To Heaven
7. Is She Weird
8. Here Comes Your Man
9. River Euphrates
10. Velouria
11. Wave Of Mutilation (Newport Surf)
12. I Bleed
13. Crackity Jones
14. Gouge Away
15. Hey
16. The Holiday Song
17. Nimrod's Son
18. Mr. Grieves
19. Caribou
20. Vamos
21. Where Is My Mind
22. Gigantic

First ever CD release for this incredible live concert from Ian Dury & The Blockheads at London’s Dominion Theatre on Christmas Eve 1980. Originally transmitted as a special TV performance for the ‘Old Grey Whistle Test’ on BBC2 TV and for John Peel on BBC Radio 1. This live album is exclusively partnered with a bonus second CD of long out of print live album ‘Live! Warts 'N' Audience....Plus!’ recorded at the Brixton Academy a decade later in December 1990 presented together in deluxe 2CD gatefold packaging.

Following on from the run of singles 'Reasons to Be Cheerful, Part 3', 'I Want to Be Straight' and 'Sueperman's Big Sister' 1980 saw the release of new album ‘Laughter’ by Ian Dury & The Blockheads.

The ‘Laughter’ tour took place in December 1980 and on Christmas Eve Ian Dury & The Blockheads performed at London’s Dominion Theatre live on Radio 1 and on TV via BBC2’s ‘Old Grey Whistle Test’ – introduced on TV by Annie Nightingale and on radio by John Peel.

With The Blockheads now featuring former Dr Feelgood frontman, Wilko Johnson on guitar taking the place of the now departed Chaz Jankel the live show also features additional musicians Don Cherry (father of Neneh) and Topper Headon (The Clash) in addition to the Blockheads line up of lan Dury, Davey Payne, John Turnbull, Norman Watt-Roy, Mickey Gallagher and Charlie Charles.

Fast forward 10 years to a concert recorded at the Brixton Academy, London, 22 December 1990 and a line up that featured the returning Chaz Jankel along with amongst others Norman Watt-Roy, Johnny Turnbull, Mickey Gallagher and Davey Payne. This live concert long out of print has previously released as 'Live! Warts 'N' Audience....Plus!, Warts 'N' Audience' (Live: 22 December 1990) and 'All The Best, Mate....'

TRACK LISTING

CD1 - Live In London 1980:
1. Upminster Kid (Kilburn And The High Roads)
2. Clevor Trever
3. Sink My Boats
4. I'm Partial To Your Abracadabra
5. Sueperman's Big Sister
6. Yes And No (Paula)
7. Uncoolohol
8. Delusions Of Grandeur
9. Dance Of The Crackpots
10. What A Waste
11. Hey, Hey, Take Me Away
12. Manic Depression (Jimi)
13. Oh Mr Peanut
14. Hit Me With Your Rhythm Stick
15. Sex & Drugs & Rock & Roll

CD2 - Live In London 1990:
1. Intro
2. Wake Up And Make Love With Me
3. Clevor Trever
4. Inbetweenies
5. If I Was With A Woman
6. Billericay Dickie
7. Quiet
8. My Old Man
9. Spasticus Autisticus
10. Plaistow Patricia
11. There Ain’t Half Been Some Clever Bastards
12. Sweet Gene Vincent
13. What A Waste
14. Hit Me With Your Rhythm Stick
15. Blockheads
16. Reasons To Be Cheerful Pt.3

Saidera is an international trio made up of members based in California and Rio de Janeiro, Brazil. They've dropped some global groove heat on the likes of NYC's Let's Play House and London-based Leng. For this one, they drop the first release from Ceci Discos, based in coastal California, in the form of the original single 'Miscigenacao'. It's a summer, deep cut sound with Balearic, MPB and jazz all colouring the swaying rhythms. The breezy vocals transport you to a coastal setting, while the percussion is lively and authentic, but in keeping with Brazil's carnival tradition there's a political bent to the partying, as Mandela and Fela get name-checked amid some righteous railing against police brutality. The Jacques Renault "Rhythmental Remix" lands more heavy but just as patiently, Diogo Strausz ups the sunshine with his piano-led reverie and the "Saidera Steppers Dub" is one to crank up nice and loud, early in the evening.

TRACK LISTING

Side 1
Miscigenacao (Original Mix)
Miscigenacao (Jacques Renault Rhythmental Remix)

Side 2
Miscigenacao (Diogo Strausz Remix)
Miscigenacao (Saidera Steppers Dub)

The Illegal Disco Limited series never misses. It's all about the king of cheeky edits adding his own spin to a carefully curated mix of disco and funk nuggets and, once again, here Monsieur Van Pratt is back with the goods. Though he always nods to the past with these reworks, he beefs them up with grooves designed for loud systems and to move floors. This one opens with the funk licks and disco stylings of 'Watcha Gonna Do' then gets celebratory with the feel good hands in the air vibes of 'The Contest'. Last but not least, 'Dance With Me' explores a more lavish sound with big vocals and lavish string stabs for good times only. Another doozy from Mr Pratt.

TRACK LISTING

Side 1:
Watcha Gonna Do

Side 2:
The Contest
Dance With Me

Ten years ago, Anderson .Paak didn't just release an album; he staged a full-scale takeover of the soul and hip-hop landscape. Released on January 15, 2016, 'Malibu' served as the definitive arrival of an artist who had spent years grinding in the underground before a star-making turn on Dr. Dre’s Compton. While his previous work hinted at his potential, 'Malibu' was the moment the world met the "Cheeky Andy" persona in full—a virtuosic drummer, a raspy-voiced crooner, and a sharp-witted rapper all rolled into one.

The album is a sprawling, sun-drenched journey through the Southern California coast, blending 1970s funk, church-reared gospel, and gritty boom-bap into something that feels both nostalgic and entirely futuristic. With a heavyweight production lineup including 9th Wonder, Madlib, Kaytranada, and Hi-Tek, the record maintains a warm, analog texture that was a breath of fresh air in an increasingly digital era. It’s an album that breathes, full of intentional imperfections and the kind of "in-the-pocket" groove that can only come from a seasoned live performer.

Beyond the infectious, dance-floor-ready energy of tracks like 'Am I Wrong' and 'Come Down', the album is a deeply autobiographical masterwork. .Paak uses the 65-minute runtime to unpack his life story with startling clarity, touching on his mother’s gambling addiction, his father’s incarceration, and his own brushes with homelessness with a sense of resilience that never feels heavy-handed. He weaves these heavy themes through a lens of triumph, grounded by vintage surfing documentary samples that give the project its cinematic, coastal atmosphere. It’s a celebratory record born out of struggle, anchored by his impeccable technicality on the drums and a guest list—featuring ScHoolboy Q, Rapsody, and The Game—that feels hand-picked to complement his specific brand of West Coast swagger.

A decade later, 'Malibu' stands as a modern classic and the blueprint for the soulful revivalism that would eventually lead .Paak to global superstardom and Grammy-winning heights. It remains a testament to the idea that the most profound music often comes from the most personal places, proving ten years on that the best way to move forward is to stay rooted in the groove.

TRACK LISTING

1. The Bird
2. Heart Don't Stand A Chance
3. The Waters (feat. BJ The Chicago Kid)
4. The Season / Carry Me
5. Put Me Thru
6. Am I Wrong (feat. ScHoolboy Q)
7. Without You (feat. Rapsody)
8. Parking Lot
9. Lite Weight (feat. The Free Nationals United Fellowship Choir)
10. Room In Here (feat. The Game & Sonyae Elise)
11. Water Fall (Interlude)
12. Your Prime
13. Come Down
14. Silicon Valley
15. Celebrate
16. The Dreamer (feat. Talib Kweli & Timan Family Choir)

Isella doesn’t flinch from the horror stitched into the fabric of the feminine experience. Citing writers like Plath Margaret Atwood, and Mona Awad as germinal influences on her lyricism, Isella plunges into the underbelly of expectations of good-girlhood, of valiant womanhood. In her songs she splays out the stakes of it all, plumbing the viscera, unearthing the blood, guts, dirt, and decay lurking beneath. By the time she hit fifteen, Isella’s taste had expanded and grown darker and more mature. Artists like Nine Inch Nails and Tom Waits became a conduit for the kind of raw intensity she’d always been drawn to, and gave her permission to push herself to new depths of expression. This is evidenced on her latest EP; That freedom that Reznor et al. endowed to the songwriter are evidenced on her latest EP; Something is a shell . Isella’s vocals swing from coolly detached to emotional detonation, often in the span of the same song. She brings listeners into a world colored by feminist hyper-realism, challenging listeners to re-define ideas of femininity, and safety; to see that things are not okay.

TRACK LISTING

1. Numbers 31:17-18
2. Out In The Garden
3. Star V
4. The Chicken Is Naked And Afraid
5. Above The Neck
6. Evergreen Soldier

Repressed in a brand new limited colour in honour of its 10 year anniversary, Tycho's Grammy-nominated album, 'Epoch' (Best Dance/Electronic Album), is the final installment in a trilogy following 'Dive' (2011) and 'Awake' (2014) and the culmination of over a decade’s work. The album captures the project's evolution from a delicate solo act into a powerful, multi-layered live band performing on the world’s largest stages.

TRACK LISTING

1. Glider
2. Horizon
3. Slack
4. Receiver
5. Epoch
6. Division
7. Source
8. Local
9. Rings
10. Continuum
11. Field

Composed from 2020 to 2024, 'Alea Iacta Est' (The Die is Cast) is one of Zorn’s most challenging masterworks—a complex and varied piano concerto that runs the gamut of moods, styles, and tempi. Performed brilliantly by four of the most trusted and passionate interpreters of his work—the trio of Brian Marsella, Jorge Roeder, Ches Smith, with guest star Sae Hashimoto on vibraphone on one track—this stunning new work is an essential piece of the Zorn puzzle. Astonishing!

TRACK LISTING

1. Alea Iacta Est Part I
2. Alea Iacta Est Part II
3. Alea Iacta Est Part III
4. Alea Iacta Est Part IV

For bands in San Jose, existence itself is a political act. With almost no venues at their disposal, and a culture dictated by billion dollar corporations, passion is the only option. Formed in 2017, Awakebutstillinbed emerge from this environment screaming out for connection and meaning, their music a vivid rendering of a life spent standing on a precipice (Pitchfork). Absibs debut 'What People Call Low Self-Esteem Is Just Seeing Yourself The Way Others See You' is an album about being crushed by expectations, and loaded with other peoples desires. It is untamable, and undeniable. What began as the solo project of singer/guitarist Shannon Taylor, Absib are now a powerful group, part At the Drive-In, part Kim Shattuck, and (at times) part pre-Good News Modest Mouse. Explosive and honest, Taylors lyrics painfully, purposefully tear out the false seams and sutures that shape us in the eyes of others, revealing underneath the beautiful, beating heart if whatever it is we call the self. On paper, it might sound like familiar territory for emo, but don't be fooled: Absib map out whole areas of the soul previously pushed to the shadows. Plus, they fucking rock.

TRACK LISTING

1. Opener
2. Life
3. Safe
4. Stumble
5. Fathers
6. Interlude
7. Saved
8. Floor
9. Closer

Alabama duo Sister Ray Davies follow their debut album 'Holy Island' with an EP of alternative versions and reworkings. The EP features two remixes by Pye Corner Audio, who has made new shapes out of ‘Aidan’ and ‘Morning Bell’; the former with a harder, Suicide-style approach, the latter expanding on the almost ambient nature of the original and elevating it. “This version of ‘Aidan’ found new space, new depths, new melodies and new rhythms,” enthuses singer/guitarist Adam Morrow. “While the mix of ‘Morning Bell’ carries the song into a whole new, mythic place. “I think the EP adds extra layers of depth to the original album. We’re aware that it’s a short record, so having some additional tracks to dive into feels like a way to extend your stay in that space as a listener. There is more waiting down the rabbit hole. Genre collapses a bit, too, which is great.” There’s a Boards Of Canada-style version of ‘Nave’ by Malaphors – aka Chris Tomsett who, in his Innerstrings guise, spent a couple days wandering around Holy Island filming the stunning trilogy of videos that accompanied the album. The band themselves rework the remaining two tracks. The Portside Dub of ‘Iona’ came from them “sending stems to various effects boxes” and capturing the results, while the Guitar Armada version of ‘Big Ships’ takes a similarly fun approach, with the band inviting nine acoustic guitar players into the old Muscle Shoals Sound Studio B and recording live to tape.

“We tried to include as many friends as we possibly could and capture the wall of sound in real time, versus building it up with the studio,” explains Adam. “Music is fun, and it feels good to turn the studio into a big tent and invite people in.” The duo have been surprised to have been similarly welcomed into many people’s record collections. “We really didn't imagine that our record made in a little corner of Alabama would have the reach that it's had or find the crowd that seems to have really gotten it,” concludes Adam. “Finding that community is really wonderful.”

TRACK LISTING

1. Aidan (Pye Corner Audio Mix)
2. Iona (Portside Dub)
3. Big Ships (Live Guitar Armada Version)
4. Morning Bell (Pye Corner Audio Mix)
5. Nave (Malaphors Mix)

Musician and animator Sean Solomon had great expectations. But when his hopes for an abundant world crashed against an unforgiving reality, he decided to feel nothing. For a time, the Los Angeles-born-and-raised singer/songwriter and cartoonist/animator gave into the void, but artistic expression can be a release valve - a way to comprehend the world and build community, which is exactly what Solomon does on his debut solo album 'The World Is Not Good Enough'.

The album art features Sean's winking take on a Richard Scarry book cover and mirrors the cognitive dissonance that pervades the album, which seamlessly moves from bare-bones acoustic guitar to a Neutral Milk Hotel-esque cacophony of marching drums and horn blasts. "I was thinking about those books and how they show an idyllic version of the world," Sean says. "I thought it was kind of funny -- the contrast between the title and the images. Like, there's a dog walking a dog on the back cover, an elephant drinking out of a coffee cup with its snout. It was fun to study these children's books and think about what my version would be."

Growing up in the San Fernando Valley, Solomon felt especially drawn to both music and animation and immersed himself in episodes of The Simpsons and illustrated stories by graphic novelist and Ghost World author Daniel Clowes. Meanwhile, Sean was an avid fan of seminal '90s and early 2000s punk and alternative acts such as Daniel Johnston, Elliott Smith and Nirvana, the latter of whom he admired for the way they preserved their artistic integrity in the face of global stardom. Adopting his own punk sensibility, Sean and his high school band, the folk-punk Moses Campbell, played all over LA, booking their own shows at coffee shops, houses, and famed DIY venue The Smell. This was followed by playing in the three- piece band Moaning who released two albums on Sub Pop.

After Moaning went on indefinite hiatus in 2023, Solomon thoughtfully wrote and recorded his first solo songs over the better part of two years, culminating in what would become 'The World Is Not Good Enough'. The contemplative eight tracks feature fellow Sub Pop veteran and Sean's former roommate Shannon Lay on backing vocals and guitar and producer Jarvis Taveniere (Whitney, Purple Mountains, Waxahatchee), who produced and stood in on bass and some percussion.

TRACK LISTING

1. Car Crash
2. Finish Line
3. Shooting Star
4. Overdose
5. Remember
6. Postcard
7. Black Hole
8. Korpo

They Might Be Giants treat the entire history of popular music as a trampoline rather than a rulebook. Like two pinballs pinging off of each other through musical murals stretching into a giddy ether, TMBG moves by ricochet. On their album 'The World Is to Dig', the multi- Grammy- winning duo continue bouncing through the pop multiverse, digging into whatever they find with playful zeal. John Linnell and John Flansburgh continue to fire ideas off one another like particles in a perpetual motion experiment, each collision producing a new angle, a new melodic left turn, resulting in tracks packed with esoteric references, mischievous details, and left- field detours. Untethered from trends, immune to nostalgia, and equally ready to draw from Tin Pan Alley theatrics and contemporary pop culture references, 'The World Is to Dig' is the sound of a band very much in motion; not chasing relevance, but generating it on their own terms.

TRACK LISTING

1. Back In Los Angeles
2. Wu-Tang
3. Sleep's Older Sister
4. Je N'en Ai Pas
5. Outside Brain
6. Let's Fall In Lava
7. Telescope 
8. Garbage In 
9. What The Cat Dragged In
10. They Might Be Feral
11. Get Down
12. New Wave Will Never Die
13. Overnight Sensation (Hit Record)
14. Character Flaw
15. Hit The Ground
16. What You Get
17. Slow
18. In The Dead Mall