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F.G.S.
Gregory And The Hawk returns with her second FatCat album ‘Leche’, a more mature and honest collection of songs than her previous releases, which sees her expanding instrumentally onto piano and harp yet conveying a sense of her bedroom recording roots.
Contributors include Jeremy Backofen (Felice Brothers), Rob Laakso (Amazing Baby, Diamond Nights, Mice Parade, Swirlies), and Adam Pierce (Mice Parade, Swirlies).
Contributors include Jeremy Backofen (Felice Brothers), Rob Laakso (Amazing Baby, Diamond Nights, Mice Parade, Swirlies), and Adam Pierce (Mice Parade, Swirlies).
TRACK LISTING
For The Best
Landscapes
Over And Over
Soulgazing
Geysir Nationale
Frebeight
Olly Olly Oxen Free
A Century Is All We Need
Leaves
Puller Return
Hard To Define
Dream Machine
The Free Fall Band are five very young timeless pop creators bursting with melody and sublime choruses, hailing from Mataró, a village north Barcelona.
‘Elephants Never Forget’ was the band’s debut album, produced by Miqui Puig and released on LAV Records. The record sums up The Free Fall Band perfectly: echoes of The Beatles, Jonathan Richman, The Shins, The Zombies… fun and emotion in equal measure, carefully assembled arrangements and a youthful image.
2013 put them at the forefront of Spanish pop, thanks to landmark moments such as their performance at the Primavera Sound Festival and supporting Rodriguez in Barcelona. They also released their first step on El Segell del Primavera, an EP with covers of The Strokes, Violent Femmes, New Order, Booker T. & The MGs and Jonathan Richman.
And now their second album arrives. It’s called ‘The Münster Sights’ and shows the band in another level: the songs reflect a band that have been playing and growing as musicians. The album was produced by Darren Hayman (he used to play in Hefner and has a long and amazing solo career) and engineered by Giles Barrett (from London popsters Tigercats), a perfect choice for The Free Fall Band as they’ve long been fans of both musicians. As a result ‘The Münster Sights’ sounds richer and fatter than their previous efforts and contains such great numbers as ‘Fontana’ and ‘I Want To Know’.
‘Elephants Never Forget’ was the band’s debut album, produced by Miqui Puig and released on LAV Records. The record sums up The Free Fall Band perfectly: echoes of The Beatles, Jonathan Richman, The Shins, The Zombies… fun and emotion in equal measure, carefully assembled arrangements and a youthful image.
2013 put them at the forefront of Spanish pop, thanks to landmark moments such as their performance at the Primavera Sound Festival and supporting Rodriguez in Barcelona. They also released their first step on El Segell del Primavera, an EP with covers of The Strokes, Violent Femmes, New Order, Booker T. & The MGs and Jonathan Richman.
And now their second album arrives. It’s called ‘The Münster Sights’ and shows the band in another level: the songs reflect a band that have been playing and growing as musicians. The album was produced by Darren Hayman (he used to play in Hefner and has a long and amazing solo career) and engineered by Giles Barrett (from London popsters Tigercats), a perfect choice for The Free Fall Band as they’ve long been fans of both musicians. As a result ‘The Münster Sights’ sounds richer and fatter than their previous efforts and contains such great numbers as ‘Fontana’ and ‘I Want To Know’.
TRACK LISTING
I Want To Know
City Of Raleigh
Fontana
Look At Me Run, Dear
Lonesome Cowboy, Solitary Peggy Sue
Oh, What An Awkward Day
By Your Window
Every Man
The Barbershop
A Friend’s Homecoming
The Münster Sights
Running elbows in quick from the City of the Big Shoulders with Wake Up Applauding. Delivered loudly, dripping in unintelligible menace with the occasional flash of dark humor, their bathtub mixture of dope-sick guitars claws at your purse, ramming into an unhealthy sense of propulsion and repetition that seems chemical, unreal.
This is villains-plotting-evil kinda punk, mutants in the sewers emerging and wreaking havoc… Mothra shorting out high-voltage power lines and melting, screaming, onto a fleeing populace. Corrosive, driving, repetitive, pissed off, these guys deliver that evil cruisin’ vibe, tight and pushing 100 but with just a rotted off stump of a hand grossing everyone out and shifting gears.
This is villains-plotting-evil kinda punk, mutants in the sewers emerging and wreaking havoc… Mothra shorting out high-voltage power lines and melting, screaming, onto a fleeing populace. Corrosive, driving, repetitive, pissed off, these guys deliver that evil cruisin’ vibe, tight and pushing 100 but with just a rotted off stump of a hand grossing everyone out and shifting gears.
TRACK LISTING
1. Reclaimed Would
2. Jason Polak
3. Speed Camera
4. No Wave Jose
5. Interlude A
6. We Never Close
7. Ghost Bag
8. Fucktown Reality
9. Interlude B
10. Wake Up Applauding
11. Art Seen
Originally dropped in 2016 on Aiwo Rec., Forum's self-titled EP became one of those secret weapons whispered about in after-hours corners. It's a hazy blend of dusty drum machines, rolling 303s and dreamy breaks that bottled the spirit of Germany's late-night underground at the height of the so-called "outsider house" wave. Now back via WARNING, this reissue keeps everything intact, from the tropical drift of 'Yucatan' to the sheer groove hypnosis of 'Space Train.' It's an EP that moves between house, breakbeat and sunrise euphoria with a knowing hand. A modern cult classic reborn.
TRACK LISTING
Yucatan
Untitled Modus
Space Train
Papillon
The holidays are weird, man. Ostensibly, they’re about family and fun and food and festivities, but more often they portend arguing with your family about politics- and that mental dance you have to do where you’re like “Should I get Trevor a gift even though my funds are dwindling and I’m not even sure if he’s going to get me one in return so this could end up being a whole awkward thing???”
The reality of the holidays lies somewhere more liminal, in the space between joy and depression, between excitement and boredom, between “peace on earth and goodwill toward men” and “I think I might murder my entire family.” So who better to teach us the true reason for the season than Dude York, a band whose music so often seems to exist in an in-between space of their own? Dude York are funny and serious and earnest and deeply ironic all at the same time. The three friends who comprise the band—Peter Richards (guitar, vocals), Claire England (bass, vocals) and Andrew Hall (drums, vocals)—have spent their four years together applying their particular Dude York-ian sensibility to topics like mental health, breakups, and the power of art and friendship.
Now they’ve returned with Halftime for the Holidays to pop some chestnuts right on your fire and tackle their most poignant theme yet; THE MOST WONDERFUL TIME OF THE YEAR. Halftime for the Holidays is a holiday record for how the holidays actually feel. Tracks like “Takin’ Care of Christmas” (it’s exactly what you think it is) and “Jingle Bells Rock” (it’s not) deliver the requisite tacky cheer. “Greatest Gift is You” and “My Favorite Part (Of This Time of Year)” soar like the greatest pop-punk love songs, with the added benefit of CHRISTMAS. And songs like “Long Distance Christmas” and “Break Up Holiday” testify to the loneliness that they can spring on you without warning. It’s a record that manages to wrap the strangeness of sleeping in your childhood twin bed and the soft wonder of waking up to snow into one delightful white elephant present that you won’t re-gift.
Halftime for the Holidays is self-consciously goofy, but refreshing in its willingness to tackle the misery and joy of the season with equal force. So deck the halls, engage in a regrettable make out session underneath the mistletoe, and rest assured that no matter what kind of reindeer games the universe is playing with you this year, Dude York has you covered.
The reality of the holidays lies somewhere more liminal, in the space between joy and depression, between excitement and boredom, between “peace on earth and goodwill toward men” and “I think I might murder my entire family.” So who better to teach us the true reason for the season than Dude York, a band whose music so often seems to exist in an in-between space of their own? Dude York are funny and serious and earnest and deeply ironic all at the same time. The three friends who comprise the band—Peter Richards (guitar, vocals), Claire England (bass, vocals) and Andrew Hall (drums, vocals)—have spent their four years together applying their particular Dude York-ian sensibility to topics like mental health, breakups, and the power of art and friendship.
Now they’ve returned with Halftime for the Holidays to pop some chestnuts right on your fire and tackle their most poignant theme yet; THE MOST WONDERFUL TIME OF THE YEAR. Halftime for the Holidays is a holiday record for how the holidays actually feel. Tracks like “Takin’ Care of Christmas” (it’s exactly what you think it is) and “Jingle Bells Rock” (it’s not) deliver the requisite tacky cheer. “Greatest Gift is You” and “My Favorite Part (Of This Time of Year)” soar like the greatest pop-punk love songs, with the added benefit of CHRISTMAS. And songs like “Long Distance Christmas” and “Break Up Holiday” testify to the loneliness that they can spring on you without warning. It’s a record that manages to wrap the strangeness of sleeping in your childhood twin bed and the soft wonder of waking up to snow into one delightful white elephant present that you won’t re-gift.
Halftime for the Holidays is self-consciously goofy, but refreshing in its willingness to tackle the misery and joy of the season with equal force. So deck the halls, engage in a regrettable make out session underneath the mistletoe, and rest assured that no matter what kind of reindeer games the universe is playing with you this year, Dude York has you covered.
TRACK LISTING
01. Break Up Holiday
02. Hollywood Holiday
03. The Greatest Gift Is You
04. My Favorite Part (Of The Time Of Year
05. Long Distance Christmas
06. Takin Care Of Christmas
07. Jingle Bells Rock
08. True Meaning
09. Silent Night
Killer Nu Groove / 90's NYC House style tracks on Tartelet
B FROM E (Frej Garcia Levin) represents a new generation of talented young artists making waves in Copenhagen. Of Mexican-Danish descent, and born and raised in the notorious tower blocks of the south-western suburbs of Copenhagen, the 27-year old is on the up-and- up. In high demand as the founder of boom bap rap group NATKAT, producer of pop outfit Ny Sensei (New Sensei) and head of tape-only label Buddahood, the multi-talent seems to have a hand in everything at the moment. His 2017 debut ‘Porno TR-XXX’ (C.U.P) saw some of the hottest names in the game spinning B FROM E at last year’s Dekmantel festival, resulting in offers from several well-known record labels.
His new record on Tartelet Records comes as four cuts exploring different paths of the garage house sound. The opener ‘Dark Energy’ is fueled by filthy breaks and a nostalgic theme that would not be out of place in an early Atari computer game. ‘The People (Dream Mix)’ is a trippy tour through subtle layered melodies, carried by a stripped-back groove.
On the B-side you will find ‘Positive Sister (2605 Tool)’: a chunky cut with a serious bassline. Saving the best for last, ‘You Will See’, rounds off the record in style. A feel-good tune that is sure to get plenty of spins this summer. HOT TIP!
B FROM E (Frej Garcia Levin) represents a new generation of talented young artists making waves in Copenhagen. Of Mexican-Danish descent, and born and raised in the notorious tower blocks of the south-western suburbs of Copenhagen, the 27-year old is on the up-and- up. In high demand as the founder of boom bap rap group NATKAT, producer of pop outfit Ny Sensei (New Sensei) and head of tape-only label Buddahood, the multi-talent seems to have a hand in everything at the moment. His 2017 debut ‘Porno TR-XXX’ (C.U.P) saw some of the hottest names in the game spinning B FROM E at last year’s Dekmantel festival, resulting in offers from several well-known record labels.
His new record on Tartelet Records comes as four cuts exploring different paths of the garage house sound. The opener ‘Dark Energy’ is fueled by filthy breaks and a nostalgic theme that would not be out of place in an early Atari computer game. ‘The People (Dream Mix)’ is a trippy tour through subtle layered melodies, carried by a stripped-back groove.
On the B-side you will find ‘Positive Sister (2605 Tool)’: a chunky cut with a serious bassline. Saving the best for last, ‘You Will See’, rounds off the record in style. A feel-good tune that is sure to get plenty of spins this summer. HOT TIP!
TRACK LISTING
Dark Energy
The People (Dream Mix)
Positive Sister (2605 Tool)
You Will See
Timothy J Fairplay is back on the label with a 7” single containing two tracks cut from a rock of uranium. “Pathfinder Theme” and “UFO’s Over China” might differ in sound and tempo but are connected by a radiant feeling. The two tracks bathes in a greenish/yellow bright toxic aura.
This plutonium charged music carries with it some quality elements known from his earlier repertoire like for example a primitive yet crisp beat working as foundation to a few but very exquisite synth sounds.
Timothy J. Fairplay stands on the shoulders of past Italian masters and the works of John Carpenter but with an accentuated alien feel. Something otherworldly, maybe good, maybe harmful, is hidden in the vibe on both sides of this 7”. The balance between good and evil is very even - yin/yang from outer space!
This plutonium charged music carries with it some quality elements known from his earlier repertoire like for example a primitive yet crisp beat working as foundation to a few but very exquisite synth sounds.
Timothy J. Fairplay stands on the shoulders of past Italian masters and the works of John Carpenter but with an accentuated alien feel. Something otherworldly, maybe good, maybe harmful, is hidden in the vibe on both sides of this 7”. The balance between good and evil is very even - yin/yang from outer space!
TRACK LISTING
A. Pathfinder Theme
B. UFOs Over China
The idea for this album is centred around Cole's childhood. 2014 Forest Hills Drive is the address of his childhood home in Fayetteville, NC - which he bought back this year - coincidentally also in 2014. The record title celebrates this; and the album tracks centre around various times in his life: growing up, chasing his dreams and fame, and coming full circle to realize none of that matters - and rather family / friends and being able to come home is what counts.
TRACK LISTING
"Intro"
"January 28th"
�"Wet Dreamz"
"03' Adolescence"
"A Tale Of 2 Citiez"
"Fire Squad"
"St. Tropez"
"G.O.M.D."
"No Role Modelz"
"Hello"
"Apparently"
"Love Yourz"
"Note To Self"
The first of 2 EPs 2 proceed the next Future Sound Of London album in 2025.
Side A is a deeply moody dark ambient journey through mists of choirs to a place of ritualist electronic beat swamp finally being spat on a leaf suburb road somewhere in Surrey - what just happened !
Side B unlike the previous side this begins far more reflective, as the journey progress it becomes more unsettling once more - a baroque minimalist piece followed by modular synths melding with breaks and drum machine - ambient field recordings , a mesh of carefully gathered and selected samples - FSOL perfection.
Side A is a deeply moody dark ambient journey through mists of choirs to a place of ritualist electronic beat swamp finally being spat on a leaf suburb road somewhere in Surrey - what just happened !
Side B unlike the previous side this begins far more reflective, as the journey progress it becomes more unsettling once more - a baroque minimalist piece followed by modular synths melding with breaks and drum machine - ambient field recordings , a mesh of carefully gathered and selected samples - FSOL perfection.
TRACK LISTING
1. Fentanyl
2. Being Human
3. Leafy Suburbs
4. Humans Being
5. Slow Moving Carcass
6. Out Of View
Departing from the hypnotic, loop-based space-rock jams of their earlier work, the self-titled album from Portuguese/German duo Splitterzelle finds Pedro Pestana (10 000 Russos, Tren Go! Sound System) and Sidney Jaffe (Arcane Allies, Burnpilot, Parse, Ornamental) taking a much more produced approach driven primarily by drum machine and synths. Pounding sub-bass and dark electronic textures are at the forefront here, finding a middle ground between club-ready industrial techno heaviness and droning psychedelic noise. Following their solo projects' collaboration on 2021’s Tren Go! Sound System & Ornamental 'Assessment' LP and a few Portuguese and German tours, Sidney and Pedro soon came to realise a new band was bubbling away and officialised their partnership in 2023 with the emergence of Splitterzelle. Starting out as a guitar and drums duo, their time together and also perhaps the geographical circumstances of living in different countries allowed them the freedom to explore radically different creative approaches between 2024's live session album 'The Drumhard Sessions Vol. 1' and the full-throttle electronics of the the incoming 'Splitterzelle' LP:
"Out of several recording sessions came the collaborative Drumhard Sessions Vol. 1 and this self-titled LP. However, both of these couldn't be more further apart in approach. Where DHSV1 was performed and recorded live in the studio with no overdubs, the S/T LP is the exact opposite with overproduced layers of sound, sub bass and ear candy all the time. The modus operandi was pretty much to record and jam whenever a possibility arose when we were together on tour and then work on the material in our separate home studios once we returned."
"Out of several recording sessions came the collaborative Drumhard Sessions Vol. 1 and this self-titled LP. However, both of these couldn't be more further apart in approach. Where DHSV1 was performed and recorded live in the studio with no overdubs, the S/T LP is the exact opposite with overproduced layers of sound, sub bass and ear candy all the time. The modus operandi was pretty much to record and jam whenever a possibility arose when we were together on tour and then work on the material in our separate home studios once we returned."
TRACK LISTING
1. Golem
2. Disciple
3. Periphery
4. Resilience
5. Shield
6. Splitterzelle
Phil Mison returns with a second album under his Ambala-moniker, presenting a generous set of aquatic beats and moonlit synth-grooves of the highest quality.
A true architect of the Balearic sound, Mison has released music under several monikers, among them Ambala, Reverso 68 and Cantoma, whose debut has been canonized as an all-time chill-out great.
On this sophomore Ambala LP, Mison continues to elaborate and seek new avenues for the chill-out sound, layering solid digital grooves with organic instrumentations and dreamy synth leads.
Several instrumentalists from the Music For Dreams roster guest the album. Guitarist Santino Surfers (Jonas Krag) serves up a number of exquisite solos throughout the album, ranging from smoky twang to Mediterranean romance. Composer Troels Hammer and pop ambient artist The Swan And The Lake provide tranquil sweeps of keys and synth, often blooming into dreamy little melodies.
Also featuring on the album are producers Anders Ponsaing, WALTHER and OliO.
A true architect of the Balearic sound, Mison has released music under several monikers, among them Ambala, Reverso 68 and Cantoma, whose debut has been canonized as an all-time chill-out great.
On this sophomore Ambala LP, Mison continues to elaborate and seek new avenues for the chill-out sound, layering solid digital grooves with organic instrumentations and dreamy synth leads.
Several instrumentalists from the Music For Dreams roster guest the album. Guitarist Santino Surfers (Jonas Krag) serves up a number of exquisite solos throughout the album, ranging from smoky twang to Mediterranean romance. Composer Troels Hammer and pop ambient artist The Swan And The Lake provide tranquil sweeps of keys and synth, often blooming into dreamy little melodies.
Also featuring on the album are producers Anders Ponsaing, WALTHER and OliO.
TRACK LISTING
1. End Of The Day
2. Pyramid Parachute
3. Amor Bailar
4. Through The Gate
5. Morning Lights
6. Paradise
6. Release My Mind
7. Eko Mania
8. Sergios Theme
9. Blue Future
10. Slow River
11. Quiet Yellow Purple
12. Don't Forget
13. Amor Bailar (Dan Idjut Mainline Mix)
Originally released in 1985, this remastered deluxe edition of ‘Crashing Dream’, the second album from Los Angeles-based Paisley Underground band Rain Parade.
Includes a second disc of unreleased bonus material / alternate versions.
For fans of The Three O’clock, Dream Syndicate.
Includes a second disc of unreleased bonus material / alternate versions.
For fans of The Three O’clock, Dream Syndicate.
TRACK LISTING
CD1
Depending On You
My Secret Country
Don't Feel Bad
Mystic Green
Sad Eyes Kill
Crashing Dream
Shoot Down The Railroad
Man
Fertile Crescent
Invisible People
Gone West
Night Shade (Live At
Shibuya Hall)
CD2
Only Business
My Dog's Last Dream
Invisible People
Tranquility Base
The Sniper
Novocaine
Only Business
Ain't That Nothin'
Mystic Green
Don't Feel Bad
Home
Depending On You
Every Morning Does
This record is a Chicago collaboration between Vick Lavender and a legendary singer and producer, Ron Carroll. Ron is best known as the voice of timeless winners like Back Together, Angel and Lucky Star. Vick Lavender is a high profile producer and remixer and a regular on Cataleya Music. He runs his own Sophisticado Recordings label and has recently released two LPs, Beyond and Time Traveler. All I Got For You (Is Love) is a proper vocal anthem. It features funky guitars, star kissed keys and a committed vocal delivery. This is classic Soulful House from Carroll and Lavender! Paint A Picture is a key driven winner that will put you in a positive mood. Modern House songs that really deliver like the classics are rare, but Vick and Ron are on point with the memorable All I Got For You (Is Love).
TRACK LISTING
A. All I Got For You (Is Love)
B. Paint A Picture
The Jazzcodes and Michele Chiavarini kick off this fine survey of contemporary deep house with 'Wolf Dust (Saison Rework)' which draws on jazz-inflected motifs and feeds them into a steady groove with layered keys sitting over a controlled kick pattern. 'Friday' from DJ Romain works in a more direct frame driven by looping piano stabs and clipped drums with diva vocals injecting heat. 'In The Moment' has an air of cool jazz to it with deft horns and spoken word that muse on the great genre while Saison's 'This Is A House Record' sure is that: classic drums and knotted little synths bring a warming vibe for grown-up floors.
TRACK LISTING
The Jazzcodes, Michele Chiavarini - Wolf Dust (Saison Rework)
DJ Romain - Friday
Hiva - In The Moment
Saison - This Is A House Record
The No Fuss crew keep it real with more house groves that have plenty of musical virtues and not just obvious drops and samples. Saison & Rimarkable open with the dubby sounds of 'Make It Shake' which are complemented by soft acid lines and nice buffed metal textures, while DJ Romain cuts up a more choppy groove with the skippy drums and 90s swing of 'Snap Crackle Pop.' Matt Gillespie's 'Give Me Love' pulls back into a smoother, deep sound with deft chords infusing the cuddly drums with a cheeky charm. Igor Gonya & Stogov bring a more tech-leaning sound for the closer, with radiant synth coming on like a newly emerging sun.
TRACK LISTING
Saison, Rimarkable - Make It Shake
DJ Romain - Snap Crackle Pop
Matt Gillespie - Give Me Love
Igor Gonya, Stogov - Came Back Raw
The Pleased As Punch crew have every right to be as they roll out another eccentric disco 12". It's Saison that kicks off with the expressive and true 'I Can Make Good Music', a freewheeling collage of excitable loops, florid strings and disco drums with loopy vocals building the heat. 'You Are The One' from Fresco Edits is a chunky, drum-first sound with bobbling bass notes and great swing. Mainline's 'Heat Up The House' calms the vibe and sinks into a deeper, more smooth house sound for when the mood switches once the sun sets and DiscoPlex's 'The Funk' then brings a big finish with monstrous kicks and chopped and smeared synths bring the colour to a Kerri Chandler style groove.
TRACK LISTING
Saison - I Can Make Good Music
Fresco Edits - You Are The One
Mainline - Heat Up The House
DiscoPlex - The Funk
'Salt Around My Bed' is the sophomore album from spectral folk singer-songwriter Mynolia. Blending melancholy and lyrical surrealism, the tracks are a portal into Mynolia's singular world: a sound that is earthen and serene with cosmic moments threaded in, resulting in a mystic folk that is tinged in a Berliner haze and a Southern heat.
After more than a decade living in Berlin, Germany, having settled into her adult life following formative years spent in constant motion, Mynolia made the decision to embark on another new beginning. She landed in the remote wilderness of the American South, a place where she was able to draw those curative breaths and bring forth her most transformative work to date.
That regenerative experience becomes a tangible thing throughout 'Salt Around My Bed'. As Mynolia spent her days learning the land and leaning into the necessary solitude of her new home, she tapped into the unhurried rhythm humming around her. She wrote songs, captured field recordings, and gave worn-in instruments new life. She taught herself various production techniques as she went, spending hours in an overheating home studio moulding difficult lessons and fresh wisdoms into hypnotic synths and lush vocals.
After more than a decade living in Berlin, Germany, having settled into her adult life following formative years spent in constant motion, Mynolia made the decision to embark on another new beginning. She landed in the remote wilderness of the American South, a place where she was able to draw those curative breaths and bring forth her most transformative work to date.
That regenerative experience becomes a tangible thing throughout 'Salt Around My Bed'. As Mynolia spent her days learning the land and leaning into the necessary solitude of her new home, she tapped into the unhurried rhythm humming around her. She wrote songs, captured field recordings, and gave worn-in instruments new life. She taught herself various production techniques as she went, spending hours in an overheating home studio moulding difficult lessons and fresh wisdoms into hypnotic synths and lush vocals.
TRACK LISTING
1. Pennies Are Gold
2. Holy Line
3. Arcade of Trees
4. Cool Night
5. Run Like Hell
6. Groceries
7. Dragon
8. Needle (ft. Spencer Cullum)
9. Take the Mountain by Surprise
10. Surrender & Ash
11. Early Bird (My Dove)
There’s no stopping NYC quintet GIFT.
After their critically acclaimed album 'Illuminator' (2024), praised by Rolling Stone, Stereogum, and CLASH, with remixes by This Is Lorelei and GUM, they announce Frenzy For The Thrill, their boldest, loudest album yet.
Produced by Teddy Mars (Samples From Mars), their latest effort is an exhilarating blend of psych, dance, and rock, cementing their place in NYC’s hottest new wave of bands.
After their critically acclaimed album 'Illuminator' (2024), praised by Rolling Stone, Stereogum, and CLASH, with remixes by This Is Lorelei and GUM, they announce Frenzy For The Thrill, their boldest, loudest album yet.
Produced by Teddy Mars (Samples From Mars), their latest effort is an exhilarating blend of psych, dance, and rock, cementing their place in NYC’s hottest new wave of bands.
TRACK LISTING
1. See The Heavens
2. Hand To The Flame
3. The Fly
4. Every Step
5. Instant Rush
6. Come Back Down
7. Higher Than The Knife
8. I Wanna Be A Toy
9. I Wish I Met You In Another Life
10. Into Oblivion
11. Demon Inside
CMAT marks the one-year anniversary of her Ivor- and Choice-winning / Mercury-losing EURO-COUNTRY with the vinyl release of four live songs from the album! Recorded with The Very Sexy CMAT Band at their 20,000-capacity headliner at St Anne’s Park in Dublin, the tracks capture the energy, humour and infectious joy that make confirms the Dunboyne Diana as one of this era's standout live acts.
"Please enjoy these four recordings of myself and the Very Sexy CMAT Band at full tilt with 20,000 people standing in a field in Dublin. It was a dream show and serves to confirm my status as a NATIONAL TREASURE (in Ireland)."
"Please enjoy these four recordings of myself and the Very Sexy CMAT Band at full tilt with 20,000 people standing in a field in Dublin. It was a dream show and serves to confirm my status as a NATIONAL TREASURE (in Ireland)."
TRACK LISTING
SIDE A
1. The Jamie Oliver Petrol Station (Live at St Anne's)
2. When A Good Man Cries (Live at St Anne's)
SIDE B
1. Running/Planning (Live at St Anne's)
2. EURO-COUNTRY (Live at St Anne's)
In the eleven years since her last project, Erykah Badu has gathered not conclusions but a series of existential insights. 'Before the World Blows': The Abi and Alan Experiment exists within the tension between introspection and growth. Abi is Badu. Alan is The Alchemist. Recorded over 18 months in Dallas and Los Angeles, the album is the inevitable collision of two iconoclasts—hypnotic, funny, blunt, deeply personal, and impossible to categorize neatly.
Meditative and fluid, 'Before the World Blows' finds Badu contemplating which parts of ourselves and our stories are worth protecting before the world breaks and fragments. Love, innocence, dreams, memories, womanhood. The album unfolds in four movements, charting the progression of self through the prisms of love, art, and identity, inviting us to sit with difficult feelings. Passion blurs with desire, hope with grief, each song revealing another illuminating facet of the inner Baduverse.
The Abi and Alan Experiment began more than three years ago after Badu told her longtime creative partner Cold Cris that she had always wanted to rap over Mobb Deep’s 'The Realest', a gritty, pounding Alchemist production. “I also program as well, but not like Al,” she says. “His collection of music is impeccable. His taste is brilliant. His choices are kindred to what I love. He’s very soulful.” Their conversations grew into a full-fledged collaborative project. The duo’s first studio session together in Los Angeles yielded the crackling ballad 'Next to You', which uses the same sped-up ’70s soul sample as 'The Realest', establishing the album’s creative language: Alchemist’s sample-based architecture meeting Badu’s gift for rhythmic, jazz-informed experimentation. Rather than typecasting Badu, his dream collaborator, with beats that matched her existing catalog the music was guided by Badu’s instincts & skill, and the Alchemist let the music evolve on its own terms.
Alchemist sent Badu a collection of instrumental beats, which she deconstructed and sculpted into tracks that felt uniquely hers, looping his warm, punchy samples with instruments from soft kalimba notes to immersive chords and drums. The result moves fluidly between soul, blues, funk, rock, jazz, and underground hip-hop, yet belongs entirely to none of them. From 2024 to 2025, Abi and Alan road-tested the entire album live, performing in intimate, phone-free settings with Badu’s digital collective, The Cannabinoids, and Alchemist on the MPC, fine-tuning the tracks along the way.
Badu has always seen art as an inevitable, infinite extension of the self. At any point in space and time, that means evolution is inevitable, too. Before the world blows, it’s worth it to keep exploring. To have one more kiss. One more hit of that blunt. Before the world blows, it’s worth it to get to know thyself.
Meditative and fluid, 'Before the World Blows' finds Badu contemplating which parts of ourselves and our stories are worth protecting before the world breaks and fragments. Love, innocence, dreams, memories, womanhood. The album unfolds in four movements, charting the progression of self through the prisms of love, art, and identity, inviting us to sit with difficult feelings. Passion blurs with desire, hope with grief, each song revealing another illuminating facet of the inner Baduverse.
The Abi and Alan Experiment began more than three years ago after Badu told her longtime creative partner Cold Cris that she had always wanted to rap over Mobb Deep’s 'The Realest', a gritty, pounding Alchemist production. “I also program as well, but not like Al,” she says. “His collection of music is impeccable. His taste is brilliant. His choices are kindred to what I love. He’s very soulful.” Their conversations grew into a full-fledged collaborative project. The duo’s first studio session together in Los Angeles yielded the crackling ballad 'Next to You', which uses the same sped-up ’70s soul sample as 'The Realest', establishing the album’s creative language: Alchemist’s sample-based architecture meeting Badu’s gift for rhythmic, jazz-informed experimentation. Rather than typecasting Badu, his dream collaborator, with beats that matched her existing catalog the music was guided by Badu’s instincts & skill, and the Alchemist let the music evolve on its own terms.
Alchemist sent Badu a collection of instrumental beats, which she deconstructed and sculpted into tracks that felt uniquely hers, looping his warm, punchy samples with instruments from soft kalimba notes to immersive chords and drums. The result moves fluidly between soul, blues, funk, rock, jazz, and underground hip-hop, yet belongs entirely to none of them. From 2024 to 2025, Abi and Alan road-tested the entire album live, performing in intimate, phone-free settings with Badu’s digital collective, The Cannabinoids, and Alchemist on the MPC, fine-tuning the tracks along the way.
Badu has always seen art as an inevitable, infinite extension of the self. At any point in space and time, that means evolution is inevitable, too. Before the world blows, it’s worth it to keep exploring. To have one more kiss. One more hit of that blunt. Before the world blows, it’s worth it to get to know thyself.
TRACK LISTING
1. Echos
2. I Just Play A Part
3. Crossfade (feat. DJ Creole Princess, Westside Gunn, Joi)
4. Witch Doctor
5. Valentine (feat. DRAM)
6. Next 2 U
7. Love Me Not
8. Breezy
9. Abracadabra
10. To The Moon (Plan C) (feat. Steve Lacy)
11. They Ain’t You (feat. Thundercat)
12. What The People Say (Apostle 1)
13. Hot BiBi (Apostle 2)
14. No I.D. (feat. Westside Gunn)
15. I Know That Man (feat. Earl Sweatshirt)
16. Black Box (feat. Kamasi Washington)
"One ring to rule them all, one ring to find them; One ring to bring them all, and in the darkness bind them.“
Presenting ‘The Lord of the Rings’, a limited edition deluxe 14LP vinyl box set of the original 1981 BBC Radio full-cast dramatisation of JRR Tolkien’s masterpiece, released for the first time in its original 26-episode broadcast format. Over 13 hours of newly-mastered audio drama in superb stereo sound with every tense cliffhanger (and stirring theme music reprise) intact, plus a standalone bonus disc of the series’ celebrated soundtrack by the renowned composer Stephen Oliver.
The contents are pressed on Clear and Forged Gold coloured vinyl. Each box set is individually numbered and features beautiful original artwork, re-imagining the landscape of Tolkien’s Middle-earth.
Starring Ian Holm (Alien, The Lord of the Rings & The Hobbit, Chariots of Fire) as Frodo, Michael Hordern (Barry Lyndon, Gandhi, Paddington) as Gandalf, John Le Mesurier (Dad’s Army) as Bilbo, Bill Nighy (Love Actually) as Sam, and Robert Stephens (Romeo and Juliet) as Aragorn, alongside Gerard Murphy (Batman Begins), Peter Vaughan (Game of Thrones), Simon Cadell (Watership Down) and Michael Graham Cox (The Stone Tape) this acclaimed 1981 full-cast production was dramatised by Brian Sibley and Michael Bakewell.
An 8-Page booklet, featuring behind the scenes cast photos and a note about the making of the series by dramatist Brian Sibley, is also included along with full cast and credits for every episode.
Presenting ‘The Lord of the Rings’, a limited edition deluxe 14LP vinyl box set of the original 1981 BBC Radio full-cast dramatisation of JRR Tolkien’s masterpiece, released for the first time in its original 26-episode broadcast format. Over 13 hours of newly-mastered audio drama in superb stereo sound with every tense cliffhanger (and stirring theme music reprise) intact, plus a standalone bonus disc of the series’ celebrated soundtrack by the renowned composer Stephen Oliver.
The contents are pressed on Clear and Forged Gold coloured vinyl. Each box set is individually numbered and features beautiful original artwork, re-imagining the landscape of Tolkien’s Middle-earth.
Starring Ian Holm (Alien, The Lord of the Rings & The Hobbit, Chariots of Fire) as Frodo, Michael Hordern (Barry Lyndon, Gandhi, Paddington) as Gandalf, John Le Mesurier (Dad’s Army) as Bilbo, Bill Nighy (Love Actually) as Sam, and Robert Stephens (Romeo and Juliet) as Aragorn, alongside Gerard Murphy (Batman Begins), Peter Vaughan (Game of Thrones), Simon Cadell (Watership Down) and Michael Graham Cox (The Stone Tape) this acclaimed 1981 full-cast production was dramatised by Brian Sibley and Michael Bakewell.
An 8-Page booklet, featuring behind the scenes cast photos and a note about the making of the series by dramatist Brian Sibley, is also included along with full cast and credits for every episode.
TRACK LISTING
LP1:
1. Episode 1 - The Long Awaited Party
2. Episode 2 - The Shadow Of The Past
LP2:
1. Episode 3 - The Black Riders
2. Episode 4 - Trouble at The Prancing Pony
LP3:
1. Episode 5 - The Knife in the Dark
2. Episode 6 - The Council of Elrond
LP4:
1. Episode 7 - The Fellowship of the Ring
2. Episode 8 - The Mines of Moria
LP5:
1. Episode 9 - The Mirror of Galadriel
2. Episode 10 - The Breaking of the Fellowship
LP6:
1. Episode 11 - The Riders of Rohan
2. Episode 12 - Treebeard of Fangorn
LP7:
1. Episode 13 - The King of the Golden Hall
2. Episode 14 - Helm’s Deep
LP8:
1. Episode 15 - The Voice of Saruman
2. Episode 16 - The Black Gate is Closed
LP9:
1. Episode 17 - The Window on the West
2. Episode 18 - Minas Tirith
LP10:
1. Episode 19 - Shelob’s Lair
2. Episode 20 - The Siege of Gondor
LP11:
1. Episode 21 - The Battle of Pelennor Fields
2. Episode 22 - The Houses of Healing
LP12:
1. Episode 23 - Mount Doom
2. Episode 24 - The Return of the King
LP13:
1. Episode 25 - Homeward Bound
2. Episode 26 - The Grey Havens
LP14 - Stephen Oliver – Music From The BBC Radio Dramatisation Of J. R. R. Tolkien's The Lord Of The Rings:
1. The Lord of the Rings
2. O Elbereth Gilthoniel
3. The Road Goes Ever On
4. In Western Lands Beneath the Sun
5. Seek for the Sword that was Broken
6. Shadowfax
7. O Lórien
8. Forth Rode the King
9. The March of the Ents
10. The Battle of Pelennor Fields
11. Lament for the Fallen
12. Gil-galad was an Elven King
13. In Caras Galadhon
14. The Tree-Lords
15. Gwaihir’s Song
16. Long Live the Halflings
17. The Healing of the Shire
18. Bilbo’s Last Song
This expanded version of the 'Ringer' EP (2008) has been remastered by Kieran Hebden with two tracks added from the same era.
Includes a booklet of unpublished photographs taken by Jason Evans for the original release.
Includes a booklet of unpublished photographs taken by Jason Evans for the original release.
TRACK LISTING
1. Ringer
2. Trancer
3. Ribbons
4. Swimmer
5. Moma
6. Wing Body Wing
'John Son' captures The Fat Lady Sings at their most open-hearted and ambitious. Across these songs, the band threads jangling guitars with sharp emotional detail, building a world where memory, regret, and hope collide. It's an album that moves with purpose -- melodic, literate, and unafraid to sit with the difficult moments. Every track feels like a postcard from a life half- lived and half- understood, delivered with the band's unmistakable blend of tenderness and bite.
TRACK LISTING
1. Boil
2. Show Of Myself
3. Alien
4. Drunkard Logic
5. World Exploding Touch
6. Horse Water Wind
7. This Guitar
8. Johnny Sunrise
9. Stealing A Plane
10. Colourblind
11. But
12. Providence
The Fat Lady Sings' debut album 'Twist' stands out as a deeply felt, emotionally charged slice of early-'90s Irish alternative rock, driven by Nick Kelly's distinctive song writing and the band's blend of pop-rock, indie, and dream-tinged textures.
The Fat Lady Sings emerged in Dublin in 1986 before relocating to London, where they built a strong live following and released several independent singles. Fronted by singer- songwriter Nick Kelly , the band gained notable attention in Ireland, scoring multiple Top 20 singles in 1990-91. Their line up for the debut album featured Kelly, Tim Bradshaw, Dermot Lynch, and Robert Hamilton.
Released in May 1991 on East West Records, 'Twist' marked the band's first major-label album and showcased their ability to merge alternative rock , pop-rock , and jangly, emotionally resonant song writing . The album followed the major- label single Man Scared and produced three additional singles: 'Arclight', 'Twist', and 'Deborah'.
The album credits highlight the band's hands-on creative approach, with production contributions from both the band and producers Mike Roarty and Paul Hardiman.
The Fat Lady Sings emerged in Dublin in 1986 before relocating to London, where they built a strong live following and released several independent singles. Fronted by singer- songwriter Nick Kelly , the band gained notable attention in Ireland, scoring multiple Top 20 singles in 1990-91. Their line up for the debut album featured Kelly, Tim Bradshaw, Dermot Lynch, and Robert Hamilton.
Released in May 1991 on East West Records, 'Twist' marked the band's first major-label album and showcased their ability to merge alternative rock , pop-rock , and jangly, emotionally resonant song writing . The album followed the major- label single Man Scared and produced three additional singles: 'Arclight', 'Twist', and 'Deborah'.
The album credits highlight the band's hands-on creative approach, with production contributions from both the band and producers Mike Roarty and Paul Hardiman.
TRACK LISTING
1. Broken Into
2. Arclight
3. Who Wants You
4. Twist
5. Love Turned Upside Down
6. Deborah
7. Man Scared
8. Be Still
9. Gravy Train
10. Contact
11. Dronning Maud Land
Oscar-nominated composer Max Richter's new album 'While The Flood Rages', drawn from Richter's latest collaboration with choreographer Wayne McGregor, MaddAddam, inspired by Margaret Atwood's trilogy.
Across 15 tracks split into three acts, Richter blends orchestral writing, electronics, processed field recordings, choir and piano to create an immersive sonic journey.
Themes of ecological collapse, technological acceleration and resilience run throughout, with recurring piano motifs providing moments of reflection amid dense, cinematic soundscapes.
Across 15 tracks split into three acts, Richter blends orchestral writing, electronics, processed field recordings, choir and piano to create an immersive sonic journey.
Themes of ecological collapse, technological acceleration and resilience run throughout, with recurring piano motifs providing moments of reflection amid dense, cinematic soundscapes.
TRACK LISTING
1. Wave After Wave
2. Their Eerie Music
3. While The Flood Rages
4. The City Was A Chaos
5. Sensorium
6. Quiet
7. Tell The Bees
8. Data Ballistics
9. O Let Me Not Be Proud
10. A Sweet Air
11. Amniotic
12. Dawn
13. Background Radiation
14. My Body Is My Earthly Ark
15. Now We Can Sing
Celebrating 30 years of ‘Filthy Lucre’ Live, the incendiary 1996 recording that captured the Sex Pistols’ explosive reunion tour of the same name, this landmark live album returns for the first time as a 2LP, set on red vinyl. The album documents Johnny Rotten, Steve Jones, Paul Cook and Glen Matlock reuniting nearly two decades after their original implosion, revisiting the songs that transformed punk and the world we live in today. Recorded at the band’s Finsbury Park performance, the release delivers a raw and uncompromising snapshot of the Sex Pistols at full volume, reaffirming their enduring influence and confrontational spirit.
Drawing heavily from ‘Never Mind The Bollocks, Here’s The Sex Pistols’, the setlist features defining tracks including “Bodies”, “No Feelings”, “New York”, “God Save The Queen” and “Pretty Vacant”. Performed with the same abrasive energy that established the band as one of the most influential acts in British music history. This special edition also includes the Japanese bonus tracks for the first time, making it the definitive version of this iconic live recording for fans and collectors alike.
Drawing heavily from ‘Never Mind The Bollocks, Here’s The Sex Pistols’, the setlist features defining tracks including “Bodies”, “No Feelings”, “New York”, “God Save The Queen” and “Pretty Vacant”. Performed with the same abrasive energy that established the band as one of the most influential acts in British music history. This special edition also includes the Japanese bonus tracks for the first time, making it the definitive version of this iconic live recording for fans and collectors alike.
TRACK LISTING
A
Bodies
Seventeen
New York
No Feelings
Did You No Wrong
B
God Save The Queen
Liar!
Satellite
(I'm Not Your) Steppin' Stone
C
Holidays In The Sun
Submission
Pretty Vacant
EMI
D
Anarchy In The U.K.
Problems
No Fun
Buddies
Before he was Caribou, Dan Snaith was a 20-something student in a "crappy" Toronto bedroom, recording music on a beat-up computer that used to strain under the weight of digital recording.
'Start Breaking My Heart' was Snaith's 2001 debut, originally released under the name Manitoba. Twenty-five years on, it still sounds like an artist finding his voice in real time — rainbow melody, hopscotch percussion, and playground laughter stitched into warm, tactile electronic pop.
Reflecting on the record, Snaith said it was the first time something clicked — he'd been making music since his early teens, but this was when he first felt he understood what he wanted his tracks to be. That moment coincided with the chance encounter that changed everything: he met Kieran Hebden (Four Tet) at a UK festival, who helped Dan get this album released — the start of a career that has spanned a quarter century and many albums since.
'Start Breaking My Heart' was Snaith's 2001 debut, originally released under the name Manitoba. Twenty-five years on, it still sounds like an artist finding his voice in real time — rainbow melody, hopscotch percussion, and playground laughter stitched into warm, tactile electronic pop.
Reflecting on the record, Snaith said it was the first time something clicked — he'd been making music since his early teens, but this was when he first felt he understood what he wanted his tracks to be. That moment coincided with the chance encounter that changed everything: he met Kieran Hebden (Four Tet) at a UK festival, who helped Dan get this album released — the start of a career that has spanned a quarter century and many albums since.
TRACK LISTING
1. Dundas, Ontario
2. People Eating Fruit
3. Mammals Vs Reptiles
4. Brandon
5. Children Play Well Together
6. Lemon Yoghourt
7. James' Second Haircut
8. Schedules & Fares
9. Paul's Birthday
10. Happy Ending
Up in Flames is Dan Snaith's second album, originally released under the Manitoba moniker on March 31, 2003 .
Made with the same modest home setup as its predecessor, it nonetheless sounds like a different artist entirely — a kaleidoscopic rush of sun-bright melodies, tumbling percussion, and psychedelic pop that traded the hushed intimacy of 'Start Breaking My Heart' for something warmer, bigger, and more joyfully overstuffed, encompassing 1960s psychedelia, Madchaster swagger and shoegaze swoon.
Snaith was later forced to change his artist name after a well-documented lawsuit, and 'Up in Flames' stands as the final album released under the Manitoba name — a high point to go out on. The record was met with widespread critical acclaim, and has since been recognized by Pitchfork as one of the standout albums of the 2000s. It remains, by most accounts, one of Snaith's finest and most beloved records.
Made with the same modest home setup as its predecessor, it nonetheless sounds like a different artist entirely — a kaleidoscopic rush of sun-bright melodies, tumbling percussion, and psychedelic pop that traded the hushed intimacy of 'Start Breaking My Heart' for something warmer, bigger, and more joyfully overstuffed, encompassing 1960s psychedelia, Madchaster swagger and shoegaze swoon.
Snaith was later forced to change his artist name after a well-documented lawsuit, and 'Up in Flames' stands as the final album released under the Manitoba name — a high point to go out on. The record was met with widespread critical acclaim, and has since been recognized by Pitchfork as one of the standout albums of the 2000s. It remains, by most accounts, one of Snaith's finest and most beloved records.
TRACK LISTING
1. I've Lived On A Dirt Road All My Life
2. Skunks
3. Hendrix With Ko (featuring Koushik)
4. Jacknuggeted
5. Why The Long Face
6. Bijoux
7. Twins
8. Kid You'll Move Mountains
9. Crayon (featuring Koushik)
10. Every Time She Turns Round It's Her Birthday
'The Milk of Human Kindness' is Dan Snaith's third studio album, originally released in 2005. It marked the first record credited to the Caribou name, after Snaith dropped his previous Manitoba moniker following a threatened lawsuit from Handsome Dick Manitoba of The Dictators.
Rather than start from scratch, Snaith folded the two sides of himself together — the icy precision of 'Start Breaking My Heart' and the sun-drenched sprawl of 'Up in Flames' — into something both hypnotic - influenced by French progressive rock and German krautrock of the 1970s - and pastoral.
The record was met with strong critical acclaim, and its singles, 'Yeti' and 'Barnowl', remain fan favorites to this day. Against the backdrop of the legal name change it is simultaneously the end of a chapter while also quietly setting the stage for the run of albums that would follow.
Rather than start from scratch, Snaith folded the two sides of himself together — the icy precision of 'Start Breaking My Heart' and the sun-drenched sprawl of 'Up in Flames' — into something both hypnotic - influenced by French progressive rock and German krautrock of the 1970s - and pastoral.
The record was met with strong critical acclaim, and its singles, 'Yeti' and 'Barnowl', remain fan favorites to this day. Against the backdrop of the legal name change it is simultaneously the end of a chapter while also quietly setting the stage for the run of albums that would follow.
TRACK LISTING
1. Yeti
2. Subotnick
3. A Final Warning
4. Lord Leopard
5. Bees
6. Hands First
7. Hello Hammerheads
8. Brahminy Kite
9. Drumheller
10. Pelican Narrows
11. Barnowl
Lex Walton (née Alex) is an American songwriter, actress, prose poet, and filmmaker whose work is unflinchingly confessional, and whose live performances are filled with ecstatic masochism and flailing. In addition to her catalog of a dozen or so mostly home-recorded albums, EPs, and singles, she has recorded collaborations with Devi McCallion (Black Dresses, Girls Rituals), Geese, and Ezra Furman, written the pop music manifesto The Sound Rocker's Prayer, and starred in Louise Weard's five-hour epic film Castration Movie Anthology II: The Best Of Both Worlds.
ULTIMATE LOVE FOREVER is Lex’s unwavering, iconoclastic Sub Pop debut. Some of the tracks already have fans and the music press heated up, so we’ll let the critics do the talking! PASTE: “Walton’s wiggly, anxious power pop wades through pages of dead links and forum threads to get to its incendiary hooks... anachronistic collage of Edwardian portrait artists, country greats, and noise rock heroes… a roadside altar… with its lo-fi hissing and tongue-twisting one-liners.” The Quietus: "For fans of early Jonathan Richman, NYC gutter punks Dollhouse, or staring at the fluorescent lights of the Walgreens ceiling on your third day withdrawing from psych meds, barely able to parse the words ‘Medicaid coverage has lapsed’ as a pharmacist misgenders you. And also, later Jonathan Richman."
ULTIMATE LOVE FOREVER was written by Lex Walton, produced by Lex and Dan Boeckner, recorded, mixed, and mastered by Ben Greenberg at Thump and Circular Ruin in Williamsburg, with assistant engineer Alice Cohen. ULTIMATE LOVE FOREVER features appearances from Boeckner (Wolf Parade, Handsome Furs), Emerson Borakove, Alice Cohen, Brendan Dunphy, Emily Green (Geese), Greenberg (Uniform, The Men), Scotty Malcolm, Sarah Neufeld (Arcade Fire), and Sam Revaz (Geese).
ULTIMATE LOVE FOREVER is Lex’s unwavering, iconoclastic Sub Pop debut. Some of the tracks already have fans and the music press heated up, so we’ll let the critics do the talking! PASTE: “Walton’s wiggly, anxious power pop wades through pages of dead links and forum threads to get to its incendiary hooks... anachronistic collage of Edwardian portrait artists, country greats, and noise rock heroes… a roadside altar… with its lo-fi hissing and tongue-twisting one-liners.” The Quietus: "For fans of early Jonathan Richman, NYC gutter punks Dollhouse, or staring at the fluorescent lights of the Walgreens ceiling on your third day withdrawing from psych meds, barely able to parse the words ‘Medicaid coverage has lapsed’ as a pharmacist misgenders you. And also, later Jonathan Richman."
ULTIMATE LOVE FOREVER was written by Lex Walton, produced by Lex and Dan Boeckner, recorded, mixed, and mastered by Ben Greenberg at Thump and Circular Ruin in Williamsburg, with assistant engineer Alice Cohen. ULTIMATE LOVE FOREVER features appearances from Boeckner (Wolf Parade, Handsome Furs), Emerson Borakove, Alice Cohen, Brendan Dunphy, Emily Green (Geese), Greenberg (Uniform, The Men), Scotty Malcolm, Sarah Neufeld (Arcade Fire), and Sam Revaz (Geese).
TRACK LISTING
1. For Thee I Sing
2. Hipster Runoff
3. Yr Op-Ed Won’t Get You Into Heaven Anymore
4. USA = FAG NATION
5. I Wish I Was An M80
6. Adrian Borland Will Have His Revenge On London
7. Ultimate Love 4Ever
Wewantsounds is delighted to present 'Comme à la Radio: On Air', a limited-edition 2-LP companion, limited to 2,000 copies worldwide to its expanded edition of Brigitte Fontaine’s landmark 1970 album 'Comme à la Radio'. Featuring previously unreleased live recordings made for the French ORTF radio between 1969 and 1971 with Areski Belkacem and a host of outstanding musicians, the set is complemented by a second LP of unissued studio recordings, including two instrumental versions of the title track and the complete 10-minute take of 'Leo'. Newly remastered from the original tapes, 'Comme à la Radio: On Air' offers an unique insight into the making of one of the most groundbreaking works in French music. The package also includes a 4-page bilingual booklet featuring an essay by Brigitte Fontaine biographer Benoît Mouchart and an introduction by Saravah's Benjamin Barouh.
TRACK LISTING
1. Comme À La Radio - La Fine Fleur de la Chanson Française 1971
2. Tanka II - Niok 1969 - La Fine Fleur de la Chanson Française
3. Le Brouillard - Niok 1969 – La Fine Fleur de la Chanson Française
4. L'été L'été - Libre Parcours 1970
5. Le Goudron - Libre Parcours 1970
6. Le Noir C'est Mieux Choisi - Les Enfants Sont Tous Fous 1969
7. Les Beaux Animaux - Les Enfants Sont Tous Fous 1969
8. Ô Thèbes toi qui nourrit Sémélé - L'anti Fête 1969
9. Comme À La Radio – Inst. Version
10. Comme À La Radio – Alt. Inst Take
11. Leo - Complete Take
12. Tanka II - Alternate Mix
Vancouver r&b lover and multi-instrumentalist Kutcorners turns his attention to two classic cuts on his The Freshest Recordings label. He kicks off with a rework of Control-era favourite 'When I Think Of You ', which he reworks as a lithe and slippery bass-first bounce that is seductive and steamy. On the flip, it's 'Got Til It's Gone' that gets pulled apart and rebuilt as a gentle bumping but decidedly late-night slow jam with silky soft chords and the original vocals slightly smudged and pitched up amid some old-school scratching and hip-hop bars. It's persuasive and tasteful and sure to get r&b heads hot under the collar.
TRACK LISTING
When I Think Of You (Kutcorners Remix)
Got Til Its Gone (Kutcorners Remix)
A two-way Italian/Mexican stand-off here, as Saint Wax founder Gledd (real name Eduardo Barbi) and Kaninchenbau label chief The Funk District (Fernando Mendoza) deliver their first joint EP since 2022. The latter steps up first with two solo workouts, the Clavinet-splashed nu-disco-goes-bluesy deep house shuffle of 'The River Bends Back' and the Rhodes rich deep house disco of 'Got To Be Alright' - before the duo combine on two collaborative cuts. 'I Said' is a gospel-powered slab of ever-building disco-house hedonism, while 'Down The Middle' is deeper, more bass-heavy and topped off with classic soul vocal samples. Gledd then takes over, following the infectious piano house bounce of 'I Said' with the colourful, acid-flecked excellence of 'Blessin'.
TRACK LISTING
The Funk District - The River Bends Back
The Funk District - Got To Be Alright
Gledd & The Funk District - I Said
Gledd & The Funk District - Down In The Middle
Gledd - Nobody Is Cryin' (feat Sokur)
Gledd - Blessin'
'Frozen Flashes' is the new album by Okvsho, the Zurich-based project of brothers Christoph and Georg Kiss.
Recorded through sessions in Zurich and London, the album begins with musicians playing together in the room. Improvisations, rhythms, textures and small spontaneous moments are captured, then sampled, cut and rearranged into nine carefully shaped tracks.
Featuring collaborations with Azekel, Melodiesinfonie, FloFilz, Tenderlonious and Hadel, 'Frozen Flashes' is built around the moments that are impossible to plan — brief flashes that appear in a session, disappear again, and sometimes become the starting point for an entire song.
Recorded through sessions in Zurich and London, the album begins with musicians playing together in the room. Improvisations, rhythms, textures and small spontaneous moments are captured, then sampled, cut and rearranged into nine carefully shaped tracks.
Featuring collaborations with Azekel, Melodiesinfonie, FloFilz, Tenderlonious and Hadel, 'Frozen Flashes' is built around the moments that are impossible to plan — brief flashes that appear in a session, disappear again, and sometimes become the starting point for an entire song.
TRACK LISTING
1. L'atterrissage
2. Where moments wait
3. Pluto - Drifting ft. Azekel
4. Never done, always trusted
5. sl.wm.ed ft. FloFilz & Melodiesinfonie
6. La Joconde ft. Hādel
7. Rootree ft. Tenderlonious
8. Place of two
9. Algoriddim Pt. 3
Sometimes a little pressure can be a good thing. For Scarlet Rebels, the task of following up two acclaimed albums that crashed into the UK Top 20 and turned the Welsh four-piece into one of the most talked-about rock bands of the last 10 years was a challenge they were determined to rise to.
The result is Scarlet Rebels’ electrifying fourth album, F'lawed By Design'. With frontman Wayne Doyle plus his brother, drummer Gary Doyle, guitarist Chris Jones and bassist Carl Oag teaming up once again with producer Chris Clancy, it sees the Llanelli band deliver 11 anthemic songs that combine the powerful with the personal.
'Flawed By Design' is the sound of a band at the top of their game, from Wayne’s emotive vocals and lyrics, to the powerhouse rhythm section and Chris Jones’ blazing guitar. Yet there’s an emotional core to 'Flawed By Design' that runs even deeper than its arena-sized ambition. By the band’s own admission, it’s the most introspective record they have ever written. It‘s that marriage of ambition, emotion and human connection that defines both 'Flawed By Design' and Scarlet Rebels themselves.
“I want us to be recognized for the depth of our material,” says Wayne. “I want us to be known as a band that writes heartfelt songs that resonate and touch people. We want to move people physically, but we want to move them emotionally too.”
With 'Flawed By Design', Scarlet Rebels have done just that.
The result is Scarlet Rebels’ electrifying fourth album, F'lawed By Design'. With frontman Wayne Doyle plus his brother, drummer Gary Doyle, guitarist Chris Jones and bassist Carl Oag teaming up once again with producer Chris Clancy, it sees the Llanelli band deliver 11 anthemic songs that combine the powerful with the personal.
'Flawed By Design' is the sound of a band at the top of their game, from Wayne’s emotive vocals and lyrics, to the powerhouse rhythm section and Chris Jones’ blazing guitar. Yet there’s an emotional core to 'Flawed By Design' that runs even deeper than its arena-sized ambition. By the band’s own admission, it’s the most introspective record they have ever written. It‘s that marriage of ambition, emotion and human connection that defines both 'Flawed By Design' and Scarlet Rebels themselves.
“I want us to be recognized for the depth of our material,” says Wayne. “I want us to be known as a band that writes heartfelt songs that resonate and touch people. We want to move people physically, but we want to move them emotionally too.”
With 'Flawed By Design', Scarlet Rebels have done just that.
TRACK LISTING
1. God's Honest Truth
2. This Is Happening Now
3. Don't Look Down
4. Chains
5. Stuck
6. Hanging On A Rope
7. Run
8. Happy Ever After
9. Never Be Enough
10. Let It Out
11. Fool Your Heart
With the release of their third studio album, ‘Repetition Compulsion’, London post-punk trio Black Doldrums complete their interconnected “State of Mind Trilogy”: a three-album exploration of the psychological forces that shape identity, memory and human connection, which began with their 2022 debut, ‘Dead Awake’, and most recently, 2024’s ‘In Limerence’.
Drawing inspiration from 80s gothic post-punk, synth-pop and darkwave, alongside the atmospheric film scores of John Carpenter and Vangelis, the London trio build on the emotional and sonic foundations of these influences to create something cinematic, modern and unmistakably their own.
Rich in detail, artistic ambition and emotional weight, ‘Repetition Compulsion’ is Black Doldrums’ most fully realised work to date.
Drawing inspiration from 80s gothic post-punk, synth-pop and darkwave, alongside the atmospheric film scores of John Carpenter and Vangelis, the London trio build on the emotional and sonic foundations of these influences to create something cinematic, modern and unmistakably their own.
Rich in detail, artistic ambition and emotional weight, ‘Repetition Compulsion’ is Black Doldrums’ most fully realised work to date.
TRACK LISTING
1. Repetition
2. The Uncanny
3. Waiting
4. Beat The Rain
5. Echoes
6. Compulsion
7. No One's Talking To Me
8. Bat Bomb
9. No Words Can't Lie
10. Die With Me
11. Eulogy
Serving as the genesis for a legendary career, 'Beautiful Freak' captures Eels at the very beginning of their journey. Blending alternative rock, lo-fi charm, and melancholic pop across twelve foundational cuts, it features iconic early singles like 'Novocaine for the Soul', and 'Susan's House'. This 30th Anniversary edition is available on clear vinyl with black and blue splatter with an extended deluxe tracklist featuring non-album tracks never before released on vinyl.
TRACK LISTING
1. Novocaine For The Soul
2. Susan's House
3. Rags To Rags
4. Beautiful Freak
5. Not Ready Yet
6. My Beloved Monster
7. Flower
8. Guest List
9. Mental
10. Spunky
11. Your Lucky Day In Hell
12. Manchild
13. Fucker
14. Susan's Apartment (Mike Simpson Remix)
15. Dog's Life
16. Stepmother
17. Everything’s Gonna Be Cool This Christmas
18. If I Was Your Girlfriend (Live)
19. Altar Boy
20. Novocaine For the Soul (Moog Cookbook Remix)
21. Animal
22. Your Lucky Day in Hell (Mike Simpson Remix)
Los Bitchos — a band already defined by the collision of cultures — are taking their cross-continental spirit even further with a new album that celebrates global unity through collaboration. Drawing from their own diverse roots — spanning Australia, Turkey, Sweden, and the UK — the band dives deeper into the idea that music is a universal language, one that thrives on exchange, curiosity, and connection. Inviting guest artists from different corners of the world, blending rhythms, textures, and traditions into a vibrant, borderless mix. The record becomes more than an album; it’s a celebration of shared humanity, showing that when cultures meet, they don’t clash — they dance.
“If we don’t learn from each other we can’t progress.” - Los Bitchos.
Having spent the best part of a decade playing together and touring the world, the global cast of collaborators that Los Bitchos have signed up for …& Friends Vol 1 is a testament to the joy and inclusivity they’ve spent their career spreading. Across Vol 1’s nine tracks, former King Gizz tourmate Ambrose Kenny-Smith lends his talents to “Holding Cell”; first single “Hang Up (Pt 2)” features parts from both Black Pumas’ Adrian Quesada and genre-blurring Sudanese-American musician Sinkane; “Conexiones” brings in Peruvian-influenced New Yorkers Chicha Libre, the instrumental “Forest” was co-written by Simon Burke of The Meltdown, and “El Pençe” features vocals sung in Turkish by Kit Sebastian.
“If we don’t learn from each other we can’t progress.” - Los Bitchos.
Having spent the best part of a decade playing together and touring the world, the global cast of collaborators that Los Bitchos have signed up for …& Friends Vol 1 is a testament to the joy and inclusivity they’ve spent their career spreading. Across Vol 1’s nine tracks, former King Gizz tourmate Ambrose Kenny-Smith lends his talents to “Holding Cell”; first single “Hang Up (Pt 2)” features parts from both Black Pumas’ Adrian Quesada and genre-blurring Sudanese-American musician Sinkane; “Conexiones” brings in Peruvian-influenced New Yorkers Chicha Libre, the instrumental “Forest” was co-written by Simon Burke of The Meltdown, and “El Pençe” features vocals sung in Turkish by Kit Sebastian.
TRACK LISTING
A Side
1. Hang Up (Pt 2) (feat. Adrian Quesada & Sinkane)
2. El Pençe (feat. Kit Sebastian)
3. Walk In Salem
4. Holding Cell (feat. Ambrose Kenny-Smith)
B Side
1. Cross
2. Forest
3. Sunset
4. Conexiones (feat. Chicha Libre)
5. Next Selection (Prelude)
Australian psychedelic rock band Druid Fluids return with 'Pareidolia', an ambitious second album exploring perception, superstition and the human instinct to find meaning in patterns, whether real or imagined. Written and recorded in Adelaide at songwriter and producer Jamie Andrew’s home studio, 'Pareidolia' unfolds across ten expansive and immersive tracks that push the possibilities of psychedelic music.
Psych-rock and melodic pop collide with krautrock rhythms, cinematic dreamscapes, classically inspired arrangements and experimental production. No two songs inhabit quite the same world, and the album never lingers in one room for long. Influenced by the inventive songwriting of The Beatles, The Beach Boys and Frank Zappa, the atmospheric sophistication of AIR and contemporary psychedelia from Tame Impala, King Gizzard and Melody’s Echo Chamber, Druid Fluids balance vintage warmth with a distinctly modern sense of possibility. 'Pareidolia' is hypnotic, intimate and surreal. Melodies twist and reform, rhythms circle back upon themselves and subtle motifs appear like half-recognised symbols. Its labyrinthine passages and dream-logic imagery invite listeners into an immersive space where clarity and confusion remain in constant negotiation.
'Pareidolia' follows the band’s acclaimed 2023 debut, 'Then, Now, Again & Again', whose first vinyl pressing sold out worldwide. Since then, Druid Fluids have toured Europe and shared stages with The Brian Jonestown Massacre, Wolfmother, Psychedelic Porn Crumpets, The Murlocs and Amyl and the Sniffers. Immersive, melodic and wonderfully unpredictable, 'Pareidolia' is a psychedelic masterpiece that rewards repeat listening, revealing new details and hidden connections with every spin.
Psych-rock and melodic pop collide with krautrock rhythms, cinematic dreamscapes, classically inspired arrangements and experimental production. No two songs inhabit quite the same world, and the album never lingers in one room for long. Influenced by the inventive songwriting of The Beatles, The Beach Boys and Frank Zappa, the atmospheric sophistication of AIR and contemporary psychedelia from Tame Impala, King Gizzard and Melody’s Echo Chamber, Druid Fluids balance vintage warmth with a distinctly modern sense of possibility. 'Pareidolia' is hypnotic, intimate and surreal. Melodies twist and reform, rhythms circle back upon themselves and subtle motifs appear like half-recognised symbols. Its labyrinthine passages and dream-logic imagery invite listeners into an immersive space where clarity and confusion remain in constant negotiation.
'Pareidolia' follows the band’s acclaimed 2023 debut, 'Then, Now, Again & Again', whose first vinyl pressing sold out worldwide. Since then, Druid Fluids have toured Europe and shared stages with The Brian Jonestown Massacre, Wolfmother, Psychedelic Porn Crumpets, The Murlocs and Amyl and the Sniffers. Immersive, melodic and wonderfully unpredictable, 'Pareidolia' is a psychedelic masterpiece that rewards repeat listening, revealing new details and hidden connections with every spin.
TRACK LISTING
1. Needles in Strawberries
2. Petrichor
3. Pirouette
4. Carousel
5. Dream Sequence
6. Ebbs & Flows
7. Patterns on The Wall
8. Cora Monty
9. The Kind of Sweet Right Before Rot
10. Pareidolia
11. At The Table - vinyl only
12. Ytnom aroC - vinyl only
13. Reflects A Glare - vinyl only
Grammy-winning producer, songwriter, and performer La Roux returns with her long-awaited fourth album, 'Old Flames'.
Composed, written, produced, and arranged by La Roux herself, 'Old Flames' clears the space for something new.
Composed, written, produced, and arranged by La Roux herself, 'Old Flames' clears the space for something new.
TRACK LISTING
1. Old Flames (Intro)
2. Cabin Fever
3. Lose Myself
4. Falling
5. To Make Our Love
6. Your Lover
7. Final Fantasy
8. Night Vision
9. I Just Keep Crying
10. Baby Line
11. Old Flames
Hailed as a masterpiece of it’s genre, and considered by many as ground zero for Deathrock, 'Only Theatre of Pain' is a seminal work of unholy power and pitch black emotion. Whilst this record may have it’s roots in punk - the origins of this true original version of Christian Death took place in Southern California during the early 80’s hardcore explosion - it cannot be overstated how important this record was in shaping the subsequent landscape. Emerging like an adrenaline shot into the heart of darkness, this unrestrained and mysterious recording still remains unclassifiable.
Featuring the late visionary Rozz Williams (then only in his teens) alongside punk luminary Rikk Agnew (guiding light in the Adolescents), James McGearty and George Belanger, Only Theatre of Pain’s musical exploration is adorned with psychosexual lyricism and an innate struggle with faith. Rozz’s vocals creep and possess, demonic and haunting, against the captivating, unmistakable guitar work of trailblazer Agnew. It’s a performance, but also a truth, perhaps 'Only Theatre of Pain' is an art show, as much as it is an era defining record.
Aside from their spellbinding sound, it may have also been the lore of Christian Death that set them apart from other LA goth bands of the time. A near-nude Rozz Williams nailed to a cross at the Whiskey a Go Go may have played a part, but what it is apparent when you listen to the unhallowed musical stages on 'Only Theatre Of Pain' is a depth of vision and orchestration that goes beyond the simple stance of brooding many of their contemporaries emulated, delving into the realms of pure unadulterated catharsis. The result is an eradefining statement that remains as unsettling, innovative, and resonant today as it was over four decades ago.
'Only Theatre Of Pain' is presented here newly remastered with early demo’s and rare material, further demonstrating why Christian Death stood alone in their sound and approach. This journey of religious depravity, recorded by the legendary producer Thom Wilson in a matter of days, harnesses the huge concepts of band projecting older than their years. Ahead of the curve in sonic artistry and visual aesthetics, this slab of sacrilegious American punk is nothing short of essential listening for the gothic inclined. A must for fans of The Misfits, Bauhaus and The Cramps.
Featuring the late visionary Rozz Williams (then only in his teens) alongside punk luminary Rikk Agnew (guiding light in the Adolescents), James McGearty and George Belanger, Only Theatre of Pain’s musical exploration is adorned with psychosexual lyricism and an innate struggle with faith. Rozz’s vocals creep and possess, demonic and haunting, against the captivating, unmistakable guitar work of trailblazer Agnew. It’s a performance, but also a truth, perhaps 'Only Theatre of Pain' is an art show, as much as it is an era defining record.
Aside from their spellbinding sound, it may have also been the lore of Christian Death that set them apart from other LA goth bands of the time. A near-nude Rozz Williams nailed to a cross at the Whiskey a Go Go may have played a part, but what it is apparent when you listen to the unhallowed musical stages on 'Only Theatre Of Pain' is a depth of vision and orchestration that goes beyond the simple stance of brooding many of their contemporaries emulated, delving into the realms of pure unadulterated catharsis. The result is an eradefining statement that remains as unsettling, innovative, and resonant today as it was over four decades ago.
'Only Theatre Of Pain' is presented here newly remastered with early demo’s and rare material, further demonstrating why Christian Death stood alone in their sound and approach. This journey of religious depravity, recorded by the legendary producer Thom Wilson in a matter of days, harnesses the huge concepts of band projecting older than their years. Ahead of the curve in sonic artistry and visual aesthetics, this slab of sacrilegious American punk is nothing short of essential listening for the gothic inclined. A must for fans of The Misfits, Bauhaus and The Cramps.
TRACK LISTING
1. Cavity- First Communion
2. Figurative Theatre
3. Burnt Offerings
4. Mysterium Iniquitatis
5. Dream For Mother
6. Stairs - Uncertain Journey
7. Spiritual Cramp
8. Romeo’s Distress
9. Resurrection - Sixth Communion
10. Prayer
11. Dogs
12. Romeo’s Distress
13. Deathwish
14. Desperate Hell
15. Spiritual Cramp
16. Cavity - First Communion
17. Sleepwalk (1982 Demo)
18. Invocation (1982 Demo)
19. Cavity-First Communion (Alternate Version)
20. Lord’s Prayer (Alternate Version)
Three years after the release of their debut album, Do Nothing return with their much anticipated sophomore, 'Friend World'. The Nottingham four piece consisting of Chris Bailey, Kasper Sandstrøm, Charlie Howarth, Andrew Harrison, emerge bolder, self-assured and more energetic than ever.
Lead single 'Stars' is a synth-laden track with hypnotic riffs, meandering vocals and bouncing basslines. The single, already a fan favourite, paves the way for listeners to enter the 'Friend World' that Do Nothing have created. At first glance, the album is overflowing with hard hitting guitars, infectious rhythms and frontman Bailey's signature razor-sharp witted lyricism, but dive deeper into tracks such as 'These People Want Blood' and standout track 'Loner', to find an alternative take on the album, representing a softer and more pensive side of the band's writing.
Lead single 'Stars' is a synth-laden track with hypnotic riffs, meandering vocals and bouncing basslines. The single, already a fan favourite, paves the way for listeners to enter the 'Friend World' that Do Nothing have created. At first glance, the album is overflowing with hard hitting guitars, infectious rhythms and frontman Bailey's signature razor-sharp witted lyricism, but dive deeper into tracks such as 'These People Want Blood' and standout track 'Loner', to find an alternative take on the album, representing a softer and more pensive side of the band's writing.
TRACK LISTING
1. Misery
2. The Nail
3. Act Natural
4. These People Want Blood
5. Stars
6. Smile
7. Dog 2
8. Loner
9. Yes
10. Paris Jesus
11. Incommunicado
Scott Fagan’s new album 'Soon', 55 years in the making, revives songs from his lost 1971 Broadway rock opera.
Alongside songwriting partner Joe Kookoolis, Fagan conceived and wrote the rock opera, an age-old story of an artist forced to make a devil’s bargain between their principles and success, intending it to be the follow-up to his classic 1968 debut, 'South Atlantic Blues'. But fate intervened. The production (which starred Fagan and a young Richard Gere) closed early, the album was shelved, never to be recorded or heard. Until now.
Recorded over seven days in July 2025 at the hallowed Sam Phillips Recording Service in Memphis with a crack rhythm section, the thirteen songs on Soon illustrate Fagan’s extraordinary facility and range as a singer and songwriter of great sensitivity, passion, and humour.
From its rousing gospel opener ('Let The World Begin Again'), through fiery, protest songs ('Faces Names and Places', 'Straight'), and tender-hearted ballads ('Child of Sympathy', 'To Touch the Sky'), the album is by turns, uplifting, mournful, righteous, giddy, soulful (title track, 'Soon'), and anthemic (closer, 'Please Be Well'). This feels like an album of lost classics waiting to be rediscovered.
Scott Fagan has been waiting a long time for the world to hear these songs. The long, long wait is over, 'Soon'.
Alongside songwriting partner Joe Kookoolis, Fagan conceived and wrote the rock opera, an age-old story of an artist forced to make a devil’s bargain between their principles and success, intending it to be the follow-up to his classic 1968 debut, 'South Atlantic Blues'. But fate intervened. The production (which starred Fagan and a young Richard Gere) closed early, the album was shelved, never to be recorded or heard. Until now.
Recorded over seven days in July 2025 at the hallowed Sam Phillips Recording Service in Memphis with a crack rhythm section, the thirteen songs on Soon illustrate Fagan’s extraordinary facility and range as a singer and songwriter of great sensitivity, passion, and humour.
From its rousing gospel opener ('Let The World Begin Again'), through fiery, protest songs ('Faces Names and Places', 'Straight'), and tender-hearted ballads ('Child of Sympathy', 'To Touch the Sky'), the album is by turns, uplifting, mournful, righteous, giddy, soulful (title track, 'Soon'), and anthemic (closer, 'Please Be Well'). This feels like an album of lost classics waiting to be rediscovered.
Scott Fagan has been waiting a long time for the world to hear these songs. The long, long wait is over, 'Soon'.
TRACK LISTING
1. Let The World Begin Again
2. Soon
3. Music Music
4. Roll Out the Morning
5. Faces Names and Places
6. Child of Sympathy
7. Straight
8. Wait
9. To Touch the Sky
10. What’s Gonna Happen To Me When I’m 50
11. Sing a Happy Song
12. It Won’t Be Long
13. Please Be Well
'Beam Cottage' is the new album from singer, musician and actor Johnny Flynn and his sister Lillie. Gathering music from their childhood alongside reworkings of tracks from Johnny's extensive catalogue, the album opens with new original 'The Music of the Spheres' and includes Lillie's songwriting debut 'Brockwell Park'. It features reinterpretations of traditional songs and covers including Paul Simon's 'The Boy In The Bubble' and Hank Williams' 'Rambling Man', and closes with a lullaby penned by their father. Produced by Charlie Andrew (Alt-J, Marika Hackman, London Grammar), lead single 'The Ghost Of O'Donahue' features acclaimed South African vocal harmony group The Joy.
TRACK LISTING
1. Rambling Man
2. The Music of the Spheres
3. Brockwell Park
4. The Ghost of O'Donahue ft. The Joy
5. Hares on the Mountain
6. The Boy In The Bubble
7. Between the Wars
8. The Lady is Risen
9. Dink's Song
10. Tell Old Bill
11. Idumea
12. Moon River
13. Been Listening
14. Sleepy Head
A UK Top 5 album upon original release, 'For Your Pleasure' is the second studio album by Roxy Music. Commercially even more successful than their debut album, it cemented Roxy's position as one of the UK’s most inventive rock bands and is widely seen as both their definitive album and as one of the greatest art-rock/glam-rock albums of all time.
Originally released on 23 March 1973 by Island Records, the album expands on the experimental nature of their self-titled debut, featuring more elaborate production and experimentation. It was their last album to feature synthesiser player Brian Eno.
Originally released on 23 March 1973 by Island Records, the album expands on the experimental nature of their self-titled debut, featuring more elaborate production and experimentation. It was their last album to feature synthesiser player Brian Eno.
TRACK LISTING
2LP Tracklisting:
1. Do The Strand
2. Beauty Queen
3. Strictly Confidential
4. Editions Of You
5. In Every Dream Home A Heartache
6. The Bogus Man
7. Grey Lagoons
8. For Your Pleasure
9. Pyjamarama - AIR Studios outtake
10. Beauty Queen - AIR Studios outtake
11. Strictly Confidential - AIR Studios outtakes
12. Editions Of You - AIR Studios outtake
13. The Bogus Man - AIR Studios outtake
14. Grey Lagoons - AIR Studios outtake
15. For Your Pleasure - Eno tapes
2CD Tracklisting:
1. Do The Strand
2. Beauty Queen
3. Strictly Confidential
4. Editions Of You
5. In Every Dream Home A Heartache
6. The Bogus Man
7. Grey Lagoons
8. For Your Pleasure
9. Pyjamarama - AIR studios outtake
10. Beauty Queen - AIR studios outtake
11. Strictly Confidential - AIR studios outtake
12. Editions Of You - AIR studios outtake
13. Bogus Man - AIR studios outtake
14. Grey Lagoons - AIR studios outtake
15. For Your Pleasure - Eno Tapes
16. Pyjamarama - 2026 remaster
17. The Pride and the Pain
18. Grey Lagoons - BBC Paris Theatre, London, August 1972
19. Pyjamarama - Peel Sessions March 1973
20. Do The Strand - Peel Sessions March 1973
21. Editions Of You - Peel Sessions March 1973
22. For Your Pleasure - Peel Sessions Nov 1972
3CD/DVD Box Set Tracklisting:
CD1 – For Your Pleasure:
1. Do The Strand
2. Beauty Queen
3. Strictly Confidential
4. Editions Of You
5. In Every Dream Home A Heartache
6. The Bogus Man
7. Grey Lagoons
8. For Your Pleasure
CD2 – Demos, Rehearsals & Studio Outtakes:
1. Pyjamarama - guitar & vocal
2. Do The Strand - piano & vocal
3. Beauty Queen - tremolo piano
4. Beauty Queen - electric piano
5. Beauty Queen - piano & vocal
6. Strictly Confidential (segue into)
7. Editions Of You - electric piano
8. In Every Dream Home A Heartache - farfisa & guitar
9. In Every Dream Home A Heartache - tremolo guitar
10. For Your Pleasure - electric piano
11. Pyjamarama - Rehearsal 1973
12. Bogus Man - Rehearsal 1973
13. Grey Lagoons - 1971 Demo (Original title The Bogus Man Part 2)
14. Pyjamarama - AIR Studios outtake
15. Beauty Queen - AIR Studios outtake
16. Strictly Confidential - AIR Studios outtakes
17. Editions Of You - AIR Studios outtake
18. The Bogus Man - AIR Studios outtake
19. Grey Lagoons - AIR Studios outtake
20. For Your Pleasure - Eno tapes
CD3 – Live sessions, Singles & Instrumentals:
1. Grey Lagoons – BBC Paris Theatre (London) August 1972 (first live performance)
2. For Your Pleasure – Peel Sessions November 1972
3. Do The Strand – Peel Sessions March 1973
4. Editions Of You - Peel Sessions March 1973
5. Pyjamarama - Peel Sessions March 1973
6. In Every Dream Home A Heartache - Peel Sessions March 1973
7. Pyjamarama A side single
8. The Pride And The Pain B side single
9. Do The Strand (instrumental)
10. Beauty Queen (instrumental)
11. Strictly Confidential (instrumental)
12. Editions Of You (instrumental)
13. In Every Dream Home A Heartache (instrumental)
14. The Bogus Man (instrumental)
15. Grey Lagoons (instrumental)
16. For Your Pleasure (instrumental)
DVD – TV & Live Performances:
1. Pyjamarama – Top of the Pops (lost tape)
2. For Your Pleasure – Full House November 1972
3. Grey Lagoons – Full House November 1972
4. Do The Strand – Old Grey Whistle Test April 1973
5. In Every Dream Home A Heartache - Old Grey Whistle Test April 1973
6. Do The Strand – Live at Montreux April 1973
7. Grey Lagoons - Live at Montreux April 1973
8. Beauty Queen - Live at Montreux April 1973
9. The Bogus Man- Live at Montreux April 1973
10. In Every Dream Home A Heartache- Live at Montreux April 1973
11. Editions Of You- Live at Montreux April 1973
12. Do The Strand – Musikladen 1973
13. Editions Of You – Musikladen 1973
14. In Every Dream Home A Heartache – Musikladen 1973
Striped Light was conceived by Benge several decades ago and in 2007 he enlisted Sam Genders (Tunng) to co-write the songs and over a period of a few years, invited Hannah Peel, Elizabeth Bernholz (Gazelle Twin), Serafina Steer, Juliana Venter and Tara Busch (I Speak Machine) to record vocals, bringing in session bassist Kuma Harada (Van Morrison, Billy Ocean), the Minimoog player Max Middleton (Jeff Beck, Kate Bush), and lead guitarist Mike Lindsay (Tunng) to complete the recordings before John Foxx came on board to create the album’s artwork and Eoin Richardson illustrated the band.
'For All This Beauty' is a work of great passion, celebrating the music that Benge was brought up on, using a spectacular array of vintage synthesisers and recording gear, talented writers and musicians, and the beautiful voices of all the singers involved. It is an album of sparkling electronic alt-pop, nearly 20 years in the making.
'For All This Beauty' is a work of great passion, celebrating the music that Benge was brought up on, using a spectacular array of vintage synthesisers and recording gear, talented writers and musicians, and the beautiful voices of all the singers involved. It is an album of sparkling electronic alt-pop, nearly 20 years in the making.
TRACK LISTING
1. Atoms (featuring Tara Busch)
2. Foolish (featuring Elizabeth Bernholz)
3. Between The Trees (featuring Tara Busch)
4. Dive Deep (featuring Hannah Peel)
5. Echoes (featuring Serafina Steer)
6. Motorcade (featuring Tara Busch)
7. The City (featuring Hannah Peel)
8. Wake Up (featuring Serafina Steer)
9. Sleep (featuring Julian Venter)
Nashville’s Jess Kerber focuses on the profound resonances of simple moments, pairing delicate acoustic guitar lines with her rich and captivating tenor. 'The World Is Dark, but I Want It to Be Funny', her second LP for Felte, is a deeply affecting collection of homespun poetry and natural artistry that finds the artists reflecting on personal history, the emotional intricacies of relationships, and the value of cosmic perspective. She explains,“These songs come from a space of feeling a little left behind, so a lot of the album is about realizing and accepting impermanence, and learning how to be good to yourself and to others.”
Opening with 'Familiar Strangers', Kerber gets to the heart of her greatest talents: fluid fingerpicking, emotive vocal cadences, feather-light touches of piano, and subtle harmonies. 'Louisiana Song' positions a lyrical chain of childhood recollections up against the literal rising waters that will one day submerge a cherished place: “I think about being southern / and the sand on the gulf coast / When I think about returning / I am wading in a graveyard”.
Throughout 'The World Is Dark...', Kerber navigates an emotional tightrope, fully aware of the ills of the world while trying to find connections and peaceful corners. Even with all their nuances and challenges, she suggests, our relationships are essential to staying grounded, even when we lose them. “Much of my writing is about facing the struggles head-on, balancing what you need to do to survive while remaining true to yourself,” she says. There are echoes of influences like Joni Mitchell, Gillian Welch, and Lomelda, though Kerber injects her own unique wit, wonder, and humility into every passage, allowing the listener into her head for a spell while quietly taking up residence in theirs.
Opening with 'Familiar Strangers', Kerber gets to the heart of her greatest talents: fluid fingerpicking, emotive vocal cadences, feather-light touches of piano, and subtle harmonies. 'Louisiana Song' positions a lyrical chain of childhood recollections up against the literal rising waters that will one day submerge a cherished place: “I think about being southern / and the sand on the gulf coast / When I think about returning / I am wading in a graveyard”.
Throughout 'The World Is Dark...', Kerber navigates an emotional tightrope, fully aware of the ills of the world while trying to find connections and peaceful corners. Even with all their nuances and challenges, she suggests, our relationships are essential to staying grounded, even when we lose them. “Much of my writing is about facing the struggles head-on, balancing what you need to do to survive while remaining true to yourself,” she says. There are echoes of influences like Joni Mitchell, Gillian Welch, and Lomelda, though Kerber injects her own unique wit, wonder, and humility into every passage, allowing the listener into her head for a spell while quietly taking up residence in theirs.
TRACK LISTING
1. Familiar Strangers
2. Louisiana Song
3. When You Look Down
4. The World is Dark, but I Want It to Be Funny
5. A Size 2 Big 4 U
6. My Very Best Friend
7. Who Do You Know
8. Changing
9. All I Wanna Do Is Shine
The long overdue autobiography from singer-songwriter and '80s pop sensation Nick Heyward. In 1981, Nick Heyward and school friends Graham Jones and Les Nemes signed their band Haircut One Hundred to Arista records. Less than two years later, frontman and principal songwriter Heyward had left.
But within that short period, they scored four Top 10 singles, a number two platinum album with Pelican West and countless magazine covers for Heyward who had become both a pin-up and a star. Forty-four years later and the original reunited Haircut One Hundred have finally released their second album. The intervening years saw Nick carve out a critically acclaimed solo career, one that saw him at home on the eighties nostalgia circuit whilst being feted by the cream of nineties britpop aristocracy when he signed to Alan McGee’s Creation in 1998. Since 1983 he has released nine solo albums.
This is Nick’s story. It is a book about childhood dreams and jealousy, about international fame and being a commercial outcast, about depression and enlightenment and about the longest overdue comeback in pop music history. In Fantastic Days, singer-songwriter and ’80s pop sensation Nick Heyward tells the story of his time as frontman and songwriter for Haircut One Hundred, his depression and breakdown following the band’s split, time spent on Creation Records in the mid-’90s, his (non-denominational) spiritual reawakening and the subsequent reformation of the band he left in 1982. Fantastic Days is a funny, self-deprecating and soul-searching read.
But within that short period, they scored four Top 10 singles, a number two platinum album with Pelican West and countless magazine covers for Heyward who had become both a pin-up and a star. Forty-four years later and the original reunited Haircut One Hundred have finally released their second album. The intervening years saw Nick carve out a critically acclaimed solo career, one that saw him at home on the eighties nostalgia circuit whilst being feted by the cream of nineties britpop aristocracy when he signed to Alan McGee’s Creation in 1998. Since 1983 he has released nine solo albums.
This is Nick’s story. It is a book about childhood dreams and jealousy, about international fame and being a commercial outcast, about depression and enlightenment and about the longest overdue comeback in pop music history. In Fantastic Days, singer-songwriter and ’80s pop sensation Nick Heyward tells the story of his time as frontman and songwriter for Haircut One Hundred, his depression and breakdown following the band’s split, time spent on Creation Records in the mid-’90s, his (non-denominational) spiritual reawakening and the subsequent reformation of the band he left in 1982. Fantastic Days is a funny, self-deprecating and soul-searching read.
'What’s In Between' is the debut album from Radio Free Alice, one of this year’s most exciting breakout bands. Recorded across three continents with producers Peter Katis (The National, Interpol), Ewan Pearson (The Rapture, M83) and Finn Billingham, the Melbourne-based indie rock band’s debut LP blends infectious melodies, sharp songwriting, clever humor and global ambition.
TRACK LISTING
1. Crying With You
2. Undressed
3. Rule 31
4. What’s In Between
5. Kick In The Shins
6. Big Ideas (feat. Rachel Brown)
7. Lunch Money
8. Bottleshops
9. Four Leaf Clover
10. The Intersection
11. Waiting
‘The Clocks' was originally issued in 2007 as a CD-only limited edition of 110 for members of 'The Bevis Frond Online Community'. It comprised 19 previously unissued tracks. Most of these were home demos featuring just Frond frontman Nick Saloman on all instruments and vocals. Since then, it has never been re-issued in any format. It is therefore with great pleasure that Blue Matter are re-issuing it for the first time, and now as a vinyl double album and limited CD. Due to certain circumstances, three of the original tracks could not be used, so these have been replaced these with another three previously unheard tracks from Nick Saloman's extensive archives. These songs include the seven minute 'She's Taken It All', originally intended for 2004's 'Hit Squad' album but dropped at the last minute due to timing constraints. The beautiful 'You Better Make Do' and the edgy 'Devil Doll' have also been added. We are delighted to be able to make this 'long lost' album available once again and think it will be a welcome addition to the Bevis Frond canon.
TRACK LISTING
Side One.
1 Worlde Is Older
2 The Clocks
3 Home Is Where The Head Is
4 Cut To The Quick
Side Two.
5 Bless Him
6 Anything You Say
7 Devil Doll
8 God
9 When I’m Gone
10 I Need The Rush.
Side Three.
11 Watch The Sun
12 You Better Make Do
13 Little Ray
14 She’s Taken It All.
Side Four.
15 Things He Said
16 I’ll Save Myself
17 I Wasn’t There
18 I’m Better Now
19 Shades
North London’s DIY icon Delilah Holliday's latest album 'Fat Cat', released via One Little Independent Records. The project marks a significant progression in her sound, weaving together downtempo electronic art pop, trip-hop textures and rich, synth-led production shaped by club influences.
Rooted in independence and creative freedom, Holliday has consistently developed a sound that resists easy categorisation. Her work blends emotional honesty with sonic exploration, establishing her as a distinctive voice within the UK’s alternative landscape.
Formless offers an entry point into the album’s wider world, signalling a collection that is both expansive and cohesive. Across 'Fat Cat', themes of identity, control and transformation are explored through immersive production and a vocal style that remains both powerful and unmistakably her own.
With 'Fat Cat', Holliday continues to evolve on her own terms—delivering a record that feels refined, confident, and fully realised.
Rooted in independence and creative freedom, Holliday has consistently developed a sound that resists easy categorisation. Her work blends emotional honesty with sonic exploration, establishing her as a distinctive voice within the UK’s alternative landscape.
Formless offers an entry point into the album’s wider world, signalling a collection that is both expansive and cohesive. Across 'Fat Cat', themes of identity, control and transformation are explored through immersive production and a vocal style that remains both powerful and unmistakably her own.
With 'Fat Cat', Holliday continues to evolve on her own terms—delivering a record that feels refined, confident, and fully realised.
TRACK LISTING
1. Fat Cat
2. Loop 7
3. Formless
4. Dream In Colour
5. Dred
6. God Willing
7. Free State
8. Odyssey
9. This Is
10. Love Bits
11. Skyline
What happens after happily ever after? And how do you make forever count? These are the preoccupations at the heart of The Big Moon’s buoyant yet beautifully bittersweet fourth album, Forever.
Four years on from last LP Here Is Everything – and a further eight since frontwoman Juliette Jackson first laid the foundations for the band – the London-formed four-piece find themselves in a very different, if similarly challenging, headspace. Where that record was conceived in the context of COVID and found Jackson processing the life-altering experience of new motherhood, Forever examines what’s left when you’ve already checked off many of the major milestones, and is tempered by a first-hand understanding of life’s fragility.
The truth is, the past couple of years have been a big readjustment for Jackson. In 2024, she was diagnosed with a cholesteatoma – a benign but destructive cyst inside the eardrum which has to be removed with surgery. Jackson explains, “I permanently lost most of the hearing on one side, which was pretty much existential, because writing songs is my job and my identity.”
Stoic by nature, Jackson forged forward with songwriting regardless but found herself faltering. “I couldn't hear properly, everything sounded out of tune and I was just struggling to find a point at all, just writing these miserable songs I couldn't really hear.” The answer was to shift her outlook completely, manifesting “a happy ending that didn’t exist yet.”
“I just decided to write songs for this imaginary time, one or two years in the future, when I would be all healed and happy again. I didn’t know if I would ever get to that point but, by projecting and almost tricking myself into it, it actually became a really nice way of writing.”
It proved an extremely fruitful approach, producing some of the brightest songs of The Big Moon’s career to date. Recorded over three weeks at Norfolk’s Bam Bam Studios, with Kevin Morby-collaborator Sam Cohen co-producing alongside the band, Forever is brimming with hook-heavy alt-pop gems, not least because Jackson had fallen out of love with writing verses. “Over the years I've got more impatient with music,” Jackson explains with a grin. “I just like getting straight to the point.”
As bandmate Celia Archer explains, they hope the album proves uplifting. “They're not trivial songs lyrically or thematically or musically, but Jules has shown us you can face all this stuff and choose to be hopeful and find power from it. Hopefully other people can apply that to their own lives.”
Four years on from last LP Here Is Everything – and a further eight since frontwoman Juliette Jackson first laid the foundations for the band – the London-formed four-piece find themselves in a very different, if similarly challenging, headspace. Where that record was conceived in the context of COVID and found Jackson processing the life-altering experience of new motherhood, Forever examines what’s left when you’ve already checked off many of the major milestones, and is tempered by a first-hand understanding of life’s fragility.
The truth is, the past couple of years have been a big readjustment for Jackson. In 2024, she was diagnosed with a cholesteatoma – a benign but destructive cyst inside the eardrum which has to be removed with surgery. Jackson explains, “I permanently lost most of the hearing on one side, which was pretty much existential, because writing songs is my job and my identity.”
Stoic by nature, Jackson forged forward with songwriting regardless but found herself faltering. “I couldn't hear properly, everything sounded out of tune and I was just struggling to find a point at all, just writing these miserable songs I couldn't really hear.” The answer was to shift her outlook completely, manifesting “a happy ending that didn’t exist yet.”
“I just decided to write songs for this imaginary time, one or two years in the future, when I would be all healed and happy again. I didn’t know if I would ever get to that point but, by projecting and almost tricking myself into it, it actually became a really nice way of writing.”
It proved an extremely fruitful approach, producing some of the brightest songs of The Big Moon’s career to date. Recorded over three weeks at Norfolk’s Bam Bam Studios, with Kevin Morby-collaborator Sam Cohen co-producing alongside the band, Forever is brimming with hook-heavy alt-pop gems, not least because Jackson had fallen out of love with writing verses. “Over the years I've got more impatient with music,” Jackson explains with a grin. “I just like getting straight to the point.”
As bandmate Celia Archer explains, they hope the album proves uplifting. “They're not trivial songs lyrically or thematically or musically, but Jules has shown us you can face all this stuff and choose to be hopeful and find power from it. Hopefully other people can apply that to their own lives.”
TRACK LISTING
Side A
1. Gravity
2. Three Things
3. Fun
4. F.O.R.E.V.E.R
5. Sounds
Side B
6. You Remind Me That I'm Dying (and that it’s good to be alive)
7. Speed Bump
8. Can I Get A Reading Please
9. I See You, Honey
10. Chill
More than twenty years after reinventing post-punk with their now cult debut, Nouvelle Vague opens a bold new chapter with 'A Date with Depeche Mode', a full-length reimagining of one of the most influential and beloved catalogues in modern music.
Few bands have shaped pop culture like Depeche Mode. Few artists have mastered the art of musical reinterpretation like Nouvelle Vague. Bringing these two worlds together feels both completely unexpected and utterly inevitable.
Recorded between Rio de Janeiro and Paris, the album transforms thirteen Depeche Mode classics into intimate, cinematic and deeply emotional songs. What were once driven by machines become warm, organic and timeless, revealing the songwriting at the heart of these iconic compositions.
Performed by an exceptional international cast of guest vocalists - including Skye Edwards (Morcheeba), Beth Hirsch, Flavia Coelho, Mélanie Pain, Phoebe Killdeer, Fredrika Stahl and more - each track offers a unique encounter between a voice and a song, staying true to the signature Nouvelle Vague approach.
From 'Enjoy the Silence' and 'Personal Jesus' to 'Stripped', 'Just Can't Get Enough' and the fan-favourite 'Ice Machine', these timeless songs are reborn through bossa nova, jazz, French pop and Latin influences without ever losing their emotional power.
Few bands have shaped pop culture like Depeche Mode. Few artists have mastered the art of musical reinterpretation like Nouvelle Vague. Bringing these two worlds together feels both completely unexpected and utterly inevitable.
Recorded between Rio de Janeiro and Paris, the album transforms thirteen Depeche Mode classics into intimate, cinematic and deeply emotional songs. What were once driven by machines become warm, organic and timeless, revealing the songwriting at the heart of these iconic compositions.
Performed by an exceptional international cast of guest vocalists - including Skye Edwards (Morcheeba), Beth Hirsch, Flavia Coelho, Mélanie Pain, Phoebe Killdeer, Fredrika Stahl and more - each track offers a unique encounter between a voice and a song, staying true to the signature Nouvelle Vague approach.
From 'Enjoy the Silence' and 'Personal Jesus' to 'Stripped', 'Just Can't Get Enough' and the fan-favourite 'Ice Machine', these timeless songs are reborn through bossa nova, jazz, French pop and Latin influences without ever losing their emotional power.
TRACK LISTING
1. Enjoy the Silence (feat. Skye Edwards & Larry Love)
2. Never Let Me Down Again (feat. Flavia Coelho)
3. Only When I Lose Myself (feat. Mélanie Pain)
4. Shake the Disease (feat. Fredrika Stahl)
5. A Question of Lust (feat. Beth Hirsch)
6. Behind the Wheel (feat. Lily Oaks)
7. Personal Jesus (feat. Skye Edwards)
8. Halo (feat. Phoebe Killdeer)
9. Leave in Silence (feat. Nedime Girisken)
10. Any Second Now (feat. Morenike)
11. Just Can't Get Enough (feat. Eva de Marce)
12. Stripped (feat. Eva de Marce)
13. Ice Machine (feat. Lisa Crawley)
'A Safe Place To Be Wild' is the seventh LP from Jordan Rakei, arriving after more than a decade of pushing the boundaries of soul, jazz and alternative R&B. Fearless, intimate and emotionally direct, the album finds Jordan embracing uninhibited self-expression and placing vulnerability at the centre of his songwriting. Stripping everything back to raw feeling and unfiltered moments, 'A Safe Place To Be Wild' captures an artist fully stepping into himself, confronting the fear of exposing his inner world and finding power in doing so.
TRACK LISTING
1. Eden
2. Promise
3. Would Ya Mind
4. Enemies
5. Grace
6. Paradise
7. Games
8. From The Outside
9. Mirror
10. Go
11. I'm Out
12. If I
13. Pub
14. Whispers in the Wind
The Needles, active in the late 1990s, were a fistful of energetic and powerful punk rock. The band, dealing with the grueling schedule of recording, touring and daily life, split. Exiting the stage for the final time but leaving a legacy of great rock songs behind. Recently there has been signs of a resurgent interest in the band with the Newcastle band Bear Park covering 'Teenage Bomb'. Powell said of live performances, "well if the records are well received we are hopeful of reuniting the band for a couple of gigs or so - I know Eric is really keen to get the band back on stage, would be fantastic wouldn't it? A major influence on the band was the producer Mark Nicol - the production values Nicols brought to the band developed their sound from raw sugar cane, rough at the best of times, to a high octane, take no prisoners rock n roll.
The original band comprised Dave Dixon, Paul Curtiss, Richey Wolfe and Johnny Wolfe. United by a shared hatred of the same things, school friends. When self confessed ‘loser’ Dave Dixon and ‘teacher’s pet’ Paul Curtiss decided to do something with their lives they roped in the only other person they knew who was into the same music, Johnny Wolfe, laying the foundations for what would become The Needles.
The fiery three-piece played their first gig at an Internet café in April 1996, after several pub and club gigs in their hometown of Aberdeen, coaxed another friend, Richey Wolfe, onto keyboards. With the line-up complete they were ready to take on the world. Richey made his debut with the band at Aberdeen’s Lemon Tree… with his leg in a plaster. Long-time Needles stalkers, the newly formed Lithium Records aka Mark Nicols, approached the band in April ’98 and asked them if they wanted to ‘do’ a single. They did. The result of this was ‘Teenage Bomb’. Dave, on the band’s writing style said, “when we started, so many popular bands were writing wanky, ironic songs that didn't mean anything. We just wanted to strip everyone down to their raw emotions and make them burst into tears and burn their record collections for being so futile and pointless.” Teenage Bomb was a success – capturing the live spirit of the band. It was short, straight to the point, and pricked up the ears of music lovers and radio stations around the country and abroad and flew out of records stores far and wide/ “There is no perfection. We are artists, we strive on chaos.” The band finally split in 2007 to pursue new projects. Dave, Paul, and John went on to form the Hidden Masters with Nic Denholm (Owsley Sunshine) and former Bangtwister bassist Alpha Mitchell. The Hidden Masters went on to record an album entitled 'Of This And Other Worlds' for Rise Above/Metal Blade Records and perform backing vocals on Trembling Bells and Bonnie Prince Billy's 2012 album The Marble Downs. Singer Dave Dixon later went on to front The Shiverin' Sheiks, who released the debut single 'Guided Missiles' on BrewDog Records in 2013, while bassist Paul Curtiss (née Milne) formed London-based psychedelic pop band The Magnetic Mind, which released the 7" single 'Maybe the Stars, Maybe the Sun, on Heavy Soul Records in 2012.
The original band comprised Dave Dixon, Paul Curtiss, Richey Wolfe and Johnny Wolfe. United by a shared hatred of the same things, school friends. When self confessed ‘loser’ Dave Dixon and ‘teacher’s pet’ Paul Curtiss decided to do something with their lives they roped in the only other person they knew who was into the same music, Johnny Wolfe, laying the foundations for what would become The Needles.
The fiery three-piece played their first gig at an Internet café in April 1996, after several pub and club gigs in their hometown of Aberdeen, coaxed another friend, Richey Wolfe, onto keyboards. With the line-up complete they were ready to take on the world. Richey made his debut with the band at Aberdeen’s Lemon Tree… with his leg in a plaster. Long-time Needles stalkers, the newly formed Lithium Records aka Mark Nicols, approached the band in April ’98 and asked them if they wanted to ‘do’ a single. They did. The result of this was ‘Teenage Bomb’. Dave, on the band’s writing style said, “when we started, so many popular bands were writing wanky, ironic songs that didn't mean anything. We just wanted to strip everyone down to their raw emotions and make them burst into tears and burn their record collections for being so futile and pointless.” Teenage Bomb was a success – capturing the live spirit of the band. It was short, straight to the point, and pricked up the ears of music lovers and radio stations around the country and abroad and flew out of records stores far and wide/ “There is no perfection. We are artists, we strive on chaos.” The band finally split in 2007 to pursue new projects. Dave, Paul, and John went on to form the Hidden Masters with Nic Denholm (Owsley Sunshine) and former Bangtwister bassist Alpha Mitchell. The Hidden Masters went on to record an album entitled 'Of This And Other Worlds' for Rise Above/Metal Blade Records and perform backing vocals on Trembling Bells and Bonnie Prince Billy's 2012 album The Marble Downs. Singer Dave Dixon later went on to front The Shiverin' Sheiks, who released the debut single 'Guided Missiles' on BrewDog Records in 2013, while bassist Paul Curtiss (née Milne) formed London-based psychedelic pop band The Magnetic Mind, which released the 7" single 'Maybe the Stars, Maybe the Sun, on Heavy Soul Records in 2012.
TRACK LISTING
1. Let You Down
2. Girl I Used To Know
3. Stop Messin Me Around
4. Only If You Want Me To
5. Because I Can Dream
6. Back Where I Belong
7. Starting To Worry Me
8. Devil At Your Door
9. We Got The Soul
10. Beautiful Dream
It’s hard to think of a single musician from the state of Utah - a lamentable statistic that has recently been disproved by the emergence of Sam Burton, an idiosyncratic young voice that flowered in the land of salt flats, beehives and bigamy and is now flourishing in Los Angeles, where he has quickly made a name for himself.
Burton is the natural heir to a long line of unsung singer songwriters - such ‘downer folk’ troubadours as Bob Desper, Dana Westover and Tucker Zimmerman - whose recordings he weaned himself on at an impressionable age. Following in the footsteps of the forgotten, and having keenly absorbed the music of the ages, Burton has honed his talent with passionate discipline. With his shadowy baritone and subtly intricate picking, his carefully crafted songs ooze rock hard resignation and melancholy conviction, and he has arrived at a style that is both timeless and deeply personal.
‘Fairweather Friend’ features production by Jonathan Wilson (Father John Misty, Angel Olsen, Margo Price) in Topanga and Echo Park and is influenced by the environment of Los Angeles and Burton’s relationship to his own heart and integrity.
Burton is the natural heir to a long line of unsung singer songwriters - such ‘downer folk’ troubadours as Bob Desper, Dana Westover and Tucker Zimmerman - whose recordings he weaned himself on at an impressionable age. Following in the footsteps of the forgotten, and having keenly absorbed the music of the ages, Burton has honed his talent with passionate discipline. With his shadowy baritone and subtly intricate picking, his carefully crafted songs ooze rock hard resignation and melancholy conviction, and he has arrived at a style that is both timeless and deeply personal.
‘Fairweather Friend’ features production by Jonathan Wilson (Father John Misty, Angel Olsen, Margo Price) in Topanga and Echo Park and is influenced by the environment of Los Angeles and Burton’s relationship to his own heart and integrity.
TRACK LISTING
1. Fairweather Friend
2. After Days Slip Away
3. I'm A Stranger
4. Lilac Man
5. Tomorrow Takes A Dream To
6. Find
7. Picture People
8. Before Waking
9. Free Again
10. Light Gone Away
11. Start Over
12. Do You Still Know Your Man
“When I was a teenager, Charlie Harper was my hero,” admits Del Greening, guitarist from notorious Brighton punks Peter and the Test Tube Babies. “I saw him on Top of the Pops snarling through ‘Stranglehold,’ like a man trying to start a riot on his own, and that was it. I was in. Not long after, I was crushed against the front barrier at Crawley Leisure Centre, watching the UK Subs, half suffocated, probably deaf for three days and loving every second of it.
“I met Charlie a few times over the years,” continues Del. “Always seemed like a decent chap. Then he started turning up at Peter and the Test Tube Babies gigs, not just casually, either. Every time I looked up, there he was, front row, arms folded, watching my hands like a mechanic inspecting a suspicious engine noise. Slightly unnerving, if I’m honest. I kept thinking, what does he want? Should I be playing better? Afterwards, he’d come over. “Love your guitar playing. We should do a project together…”
And so the seed was sown for a beautiful new punk rock partnership. Charlie, as established, is a long-time admirer of Del’s guitar playing and is also based in Brighton. With Del no longer touring with the Test Tubes and Charlie doing ‘slightly’ less gigs with the Subs, they both had time to start something new and fresh. And fresh it certainly was. With no rehearsals, no pre-production and some skeletal song ideas, Del and Charlie, alongside Vicky Smith from the Ramonas on bass and Marley Perez (Charlie's grandson) on drums, they headed to Brighton Road recording studios and got to work in October 2025.
The result was the debut self-titled album by Derik & The Disasters. Fourteen songs that tap into both Charlie and Del’s musical legacies whilst creating a sound that is unique and vibrant, with lyrics that don’t shy away from tackling the many issues facing the world today. ‘New Palestine' is taken from the album while ‘False Flags’ is exclusive to this single. Play loud!
“I met Charlie a few times over the years,” continues Del. “Always seemed like a decent chap. Then he started turning up at Peter and the Test Tube Babies gigs, not just casually, either. Every time I looked up, there he was, front row, arms folded, watching my hands like a mechanic inspecting a suspicious engine noise. Slightly unnerving, if I’m honest. I kept thinking, what does he want? Should I be playing better? Afterwards, he’d come over. “Love your guitar playing. We should do a project together…”
And so the seed was sown for a beautiful new punk rock partnership. Charlie, as established, is a long-time admirer of Del’s guitar playing and is also based in Brighton. With Del no longer touring with the Test Tubes and Charlie doing ‘slightly’ less gigs with the Subs, they both had time to start something new and fresh. And fresh it certainly was. With no rehearsals, no pre-production and some skeletal song ideas, Del and Charlie, alongside Vicky Smith from the Ramonas on bass and Marley Perez (Charlie's grandson) on drums, they headed to Brighton Road recording studios and got to work in October 2025.
The result was the debut self-titled album by Derik & The Disasters. Fourteen songs that tap into both Charlie and Del’s musical legacies whilst creating a sound that is unique and vibrant, with lyrics that don’t shy away from tackling the many issues facing the world today. ‘New Palestine' is taken from the album while ‘False Flags’ is exclusive to this single. Play loud!
TRACK LISTING
1. New Palestine
2. Flase Flags
Brighton kosmiche pop outfit Fujiya & Miyagi announce brand new album 'New Shiny Object’, released 30th October through Impossible Objects Of Desire.
Fujiya & Miyagi know when something is worth waiting for. ‘New Shiny Object’ is an album which has been through multiple iterations over its four-year recording span, only to emerge with the truth. An ode to the transfixing, magical properties art can have, it’s consciously the work of older musicians – or as David puts it, “people who’ve lived a life.” The new record also marks 26 years of Fujiya & Miyagi and 20 years since their breakthrough album 'Transparent Things' became a global hit. This saw the band tour the world for the first time and gain notoriety of a different kind through a Jaguar car advert featuring the slinky rhythms of 'Collarbone'. Follow up third album 'Lightbulbs' (2008) led to a synch in 'Breaking Bad' the hip-shaking funk of 'Uh', securing their place in many new fans’ hearts - and in the Spotify playlist foreverland.
Initially the plan was for 'New Shiny Object' to have been recorded live, with Fujiya & Miyagi stripping back their sound to the bare essentials. Aspects of that stripped back approach remain, with ‘New Shiny Object’ emphasising directness, and the band’s melodic prowess. “I wanted us to write melodies that really touched people,” David explains. “There’s tendencies to pour your guts out on everything, whether that’s musically or verbally. I think music’s better when it’s got a bit of space. We wanted all the parts of each song to connect like the mechanism in a watch.”
It’s a record that can discuss personal loss and fatherhood, often openly emotive while also displaying a wry sense of humour. David Best's lyrics are match fit on this record and full of his vivid, pithy take on the world. A succinct nine tracks, ‘New Shiny Object’ speaks to you in a direct, often moving fashion. “I think, as I get older, I'm more open,” David observes. “I’m trying to let my guard down. When you get to a certain age and you’re trying to express emotions, you need to be a bit braver and say exactly how you feel.”
‘New Shiny Object’ is the work of a band for whom the latest challenge is always the most thrilling. The title song draws from the stubborn energy that has kept Fujiya & Miyagi motoring along for more than two decades, navigating a difficult industry with values and dignity intact. “When you
are writing a song or coming up with ideas; it's always the new ones that are most exciting,” David points out. “At its core though it’s about the thirst for new ideas and the joy in creating something from nothing. Which will never not be a magical thing.”
For fans of LCD Soundsystem, Neu!, CAN, Talking Heads and New Order, 'New Shiny Object' is Fujiya & Miyagi's unique and thoughtful take on everyday life, transformed into art and ready for the dancefloor.
Fujiya & Miyagi know when something is worth waiting for. ‘New Shiny Object’ is an album which has been through multiple iterations over its four-year recording span, only to emerge with the truth. An ode to the transfixing, magical properties art can have, it’s consciously the work of older musicians – or as David puts it, “people who’ve lived a life.” The new record also marks 26 years of Fujiya & Miyagi and 20 years since their breakthrough album 'Transparent Things' became a global hit. This saw the band tour the world for the first time and gain notoriety of a different kind through a Jaguar car advert featuring the slinky rhythms of 'Collarbone'. Follow up third album 'Lightbulbs' (2008) led to a synch in 'Breaking Bad' the hip-shaking funk of 'Uh', securing their place in many new fans’ hearts - and in the Spotify playlist foreverland.
Initially the plan was for 'New Shiny Object' to have been recorded live, with Fujiya & Miyagi stripping back their sound to the bare essentials. Aspects of that stripped back approach remain, with ‘New Shiny Object’ emphasising directness, and the band’s melodic prowess. “I wanted us to write melodies that really touched people,” David explains. “There’s tendencies to pour your guts out on everything, whether that’s musically or verbally. I think music’s better when it’s got a bit of space. We wanted all the parts of each song to connect like the mechanism in a watch.”
It’s a record that can discuss personal loss and fatherhood, often openly emotive while also displaying a wry sense of humour. David Best's lyrics are match fit on this record and full of his vivid, pithy take on the world. A succinct nine tracks, ‘New Shiny Object’ speaks to you in a direct, often moving fashion. “I think, as I get older, I'm more open,” David observes. “I’m trying to let my guard down. When you get to a certain age and you’re trying to express emotions, you need to be a bit braver and say exactly how you feel.”
‘New Shiny Object’ is the work of a band for whom the latest challenge is always the most thrilling. The title song draws from the stubborn energy that has kept Fujiya & Miyagi motoring along for more than two decades, navigating a difficult industry with values and dignity intact. “When you
are writing a song or coming up with ideas; it's always the new ones that are most exciting,” David points out. “At its core though it’s about the thirst for new ideas and the joy in creating something from nothing. Which will never not be a magical thing.”
For fans of LCD Soundsystem, Neu!, CAN, Talking Heads and New Order, 'New Shiny Object' is Fujiya & Miyagi's unique and thoughtful take on everyday life, transformed into art and ready for the dancefloor.
TRACK LISTING
1) 'Lowest Common Denominator'
2) 'Point 33 Recurring'
3) '158'
4) 'Elasticated Waste'
5) 'Simple Pleasures'
6) 'No Green Light'
7) 'Yakult Classics'
8) 'New Shiny Object'
9) 'Manufacturing Delays'
The seminal psych-rock classic 'The Evil One' by Roky Erickson And The Aliens is reissued by Fire Records in a deluxe 15-track edition, restoring the original front cover from San Francisco’s 415 Records release for the first time since 1981. Presented across two LPs cut at 45 rpm for maximum sonic depth and clarity, the release brings together the complete recordings from the legendary 1978 and 1979 sessions. The package includes a collector’s booklet with liner notes by acclaimed Austin music journalist Joe Nick Patoski, who attended a recording session for The Evil One in 1979. Alongside rare photographs and archival images from the collection of Roky’s then manager, Craig Luckin.
Following his release from Rusk State Hospital in 1974, Erickson formed The Aliens and channelled his experiences and fascination with horror and science fiction into a singular new sound. Moving beyond the psychedelic garage blues of the 13th Floor Elevators, the band created harder, more ferocious rock built around jagged guitars, strange melodies and a propulsive rhythm section.
Produced by Creedence Clearwater Revival bassist Stu Cook, The Evil One includes some of Erickson’s most celebrated recordings, including ‘Two Headed Dog’, ‘I Walked With A Zombie’ and ‘It’s A Cold Night For Alligators’. Erickson’s unmistakable voice and surreal lyrics, populated by zombies, demons, vampires and atomic monsters, gave the album a character unlike anything else in rock. Both the LP and CD editions feature rare photographs and images from the archive of Erickson’s then manager and the sessions’ executive producer, Craig Luckin.
'The Evil One' has since become a landmark of cult rock, with its songs covered by generations of artists and its influence extending across punk, alternative and psychedelic music. As Craig Luckin recalls, “Roky considers 'The Evil One' to be his favourite album that he ever recorded. He really loves that album.”
Austin music journalist Joe Nick Patoski, who attended one of the album’s 1979 sessions, contributes a new essay to the LP and CD packaging, exploring Erickson’s extraordinary career, enduring influence and place in Texas rock history.
More than a standalone reissue, this deluxe edition of 'The Evil One' opens an exciting new series honouring Roky Erickson’s extraordinary body of work, with 'Gremlins Have Pictures' and 'Don’t Slander Me' to follow in 2027.
Following his release from Rusk State Hospital in 1974, Erickson formed The Aliens and channelled his experiences and fascination with horror and science fiction into a singular new sound. Moving beyond the psychedelic garage blues of the 13th Floor Elevators, the band created harder, more ferocious rock built around jagged guitars, strange melodies and a propulsive rhythm section.
Produced by Creedence Clearwater Revival bassist Stu Cook, The Evil One includes some of Erickson’s most celebrated recordings, including ‘Two Headed Dog’, ‘I Walked With A Zombie’ and ‘It’s A Cold Night For Alligators’. Erickson’s unmistakable voice and surreal lyrics, populated by zombies, demons, vampires and atomic monsters, gave the album a character unlike anything else in rock. Both the LP and CD editions feature rare photographs and images from the archive of Erickson’s then manager and the sessions’ executive producer, Craig Luckin.
'The Evil One' has since become a landmark of cult rock, with its songs covered by generations of artists and its influence extending across punk, alternative and psychedelic music. As Craig Luckin recalls, “Roky considers 'The Evil One' to be his favourite album that he ever recorded. He really loves that album.”
Austin music journalist Joe Nick Patoski, who attended one of the album’s 1979 sessions, contributes a new essay to the LP and CD packaging, exploring Erickson’s extraordinary career, enduring influence and place in Texas rock history.
More than a standalone reissue, this deluxe edition of 'The Evil One' opens an exciting new series honouring Roky Erickson’s extraordinary body of work, with 'Gremlins Have Pictures' and 'Don’t Slander Me' to follow in 2027.
TRACK LISTING
1. Two Headed Dog (Red Temple Prayer)
2. I Walked With A Zombie
3. Night Of The Vampire
4. Mine Mine Mind
5. White Faces
6. Creature With The Atom Brain
7. The Wind And More
8. Bloody Hammer
9. Don’t Shake Me Lucifer
10. Click Your Fingers Applauding The Play
11. If You Have Ghosts
12. Cold Night For Alligators
13. Stand For The Fire Demon
14. Sputnik
15. I Think Of Demons
For their second LP, Iconoclast HaHa, San Francisco fourpiece Aluminum take the shoegaze, big beat, and alt-pop of their debut, Fully Beat (Felte, 2024), and raise the temperature to a boil. In contrast to previous self-recorded efforts, the album comprises a set of electrifying, full-band studio performances all recorded, mixed, and mastered across an inspired week with recording engineer Jack Shirley at Atomic Garden Studio in Oakland. Lead vocalists and songwriters Marc Leyda and Ryann Gonsalves continue to strike a balance between pop catchiness and experimental abandon while infusing these songs with spontaneity, immediacy, and post-punk tenacity. “We intended for this to be a more guitar-forward album,” notes Leyda, “so we recorded through Marshall stacks to give it a heavier feel, and to get a faster, more punkish sound that will be massive and immersive in a live setting.” Thematically, Gonsalves notes major inspiration from “the frustration of living within a societal system that sets you up for failure, always ‘not being enough’ or ‘being too much’, and all the anger, exhaustion, and pressure to comply.” Reflecting on the confluence of mood, message, and maelstrom across Iconoclast HaHa, Leyda elaborates with his ultimate artistic question: “When it feels like the world is tipping toward devastation, you keep pushing and trying to make something powerful and meaningful, because what else can you do?”
TRACK LISTING
01. Give Me A Reason
02. Killing Time
03. Shell
04. Feels Just Like It
05. Lovely People
06. Distant Noise
07. An Opportunist
08. Paper Cup
09. Styptic Powder
10. I’ll See You There
11. Still Life
12. So Low
13. Skip
Emerging from Manchester’s underground, SILVERWINGKILLER (Yushang Ni and James Baca) are a high-energy electronic two-piece carving out their own uncompromising corner of the UK music scene.
“Manchester is the first place I ever felt free,” says Shanghainese Yushang, a freedom that underpins the duo’s unrestrained sound. Their music is a collision of cultures and technologies: world music influences twisted through analogue arpeggiators, aggressive basslines, frenetic live breakbeats, and vocals split between English, Mandarin and Shanghainese. The result is a sonic assault—urgent, chaotic, and impossible to ignore.
Inspired by human culture, science fiction and deep cut video games, the duo bring an otherworldly yet deeply human perspective to their work. The SILVERWINGKILLER live show is visceral and infectious, as witnesses to their shows with Machine Girl and Fat Dog will testify, equal parts punk ferocity and electronic experimentation, demanding the audience move, react, and confront the intensity head on.
Ear-gouging synth stabs, rib-snapping breakbeats, and vocals which swerve enticingly between Mandarin, English, and Shanghainese are unleashed with a danceable vigour that is nigh-on impossible to resist… We’re dead excited!
“Manchester is the first place I ever felt free,” says Shanghainese Yushang, a freedom that underpins the duo’s unrestrained sound. Their music is a collision of cultures and technologies: world music influences twisted through analogue arpeggiators, aggressive basslines, frenetic live breakbeats, and vocals split between English, Mandarin and Shanghainese. The result is a sonic assault—urgent, chaotic, and impossible to ignore.
Inspired by human culture, science fiction and deep cut video games, the duo bring an otherworldly yet deeply human perspective to their work. The SILVERWINGKILLER live show is visceral and infectious, as witnesses to their shows with Machine Girl and Fat Dog will testify, equal parts punk ferocity and electronic experimentation, demanding the audience move, react, and confront the intensity head on.
Ear-gouging synth stabs, rib-snapping breakbeats, and vocals which swerve enticingly between Mandarin, English, and Shanghainese are unleashed with a danceable vigour that is nigh-on impossible to resist… We’re dead excited!
TRACK LISTING
Side A
人民公園 (PEOPLE'S SQUARE)
S.W.K.
ROOF ON FIRE (X OVER9000)
JING'AN TEMPLE
HOLD UP (ALL FIREARMS IN THE UNITED KINGDOM)
Side B
KID AFRICA
WORLDSTAR
电子水稻田 (E-SILT)
GUNMAN CORNER
SHANG FILM
'Songs for Sinners' is an album about the push and pull of belief: running toward something, running away from it, and living in the charged space between the two. Throughout this LP — his second solo album and first in six years — Moses Boyd doesn’t preach or offer answers. Instead, he makes a record that treats faith as something deeply personal, unstable and human — a force that can comfort, unsettle, divide and restore. Gospel is part of the language, but not the whole sentence. Across a vocal-heavy set that folds together jazz, soundsystem culture, 808s, choir harmonies and Caribbean rhythm, Boyd asks what sacred music can sound like without arbitrary rules boxing it in.
Boyd is already one of the most inventive figures in music: a MOBO Award winner, Mercury Prize-shortlisted artist and a drummer, composer and producer who has spent years expanding the possibilities of jazz without ever treating the genre as a museum piece. A decade after 'Rye Lane Shuffle' helped introduce his restless imagination to a wider audience, 'Songs for Sinners' feels like a return and a leap forward — an album that reintroduces Boyd as a brilliant player and singular artist with a vision that reaches beyond category.
Musically, 'Songs for Sinners' is as open-ended as its themes. It is gospel-influenced, but not in the traditional sense. The album moves through different textures with ease: bruised jazz chords, bass-heavy soundsystem weight, electronic pulses, organ swells, handclaps, choral lift and moments of raw, communal singing.
Boyd is already one of the most inventive figures in music: a MOBO Award winner, Mercury Prize-shortlisted artist and a drummer, composer and producer who has spent years expanding the possibilities of jazz without ever treating the genre as a museum piece. A decade after 'Rye Lane Shuffle' helped introduce his restless imagination to a wider audience, 'Songs for Sinners' feels like a return and a leap forward — an album that reintroduces Boyd as a brilliant player and singular artist with a vision that reaches beyond category.
Musically, 'Songs for Sinners' is as open-ended as its themes. It is gospel-influenced, but not in the traditional sense. The album moves through different textures with ease: bruised jazz chords, bass-heavy soundsystem weight, electronic pulses, organ swells, handclaps, choral lift and moments of raw, communal singing.
TRACK LISTING
1. Precious
2. War - Moses Boyd, Raelle
3. More To Life - Moses Boyd, Shantéh
4. Say Yeah
5. Saviour
6. Criticise - Moses Boyd, Amber Simone
7. Praise
8. Guess I'll Be Alright
9. I Surrender All (Interlude)
10. I Surrender
11. It Is Well
12. I Believe
'Love & Other Lies' teems with a dark sentimentality and a pronounced gloomy sensibility drawing from British new wave, post-punk, goth, and 1960s rock n’ roll. Strains of The Cure, Depeche Mode, The Sisters of Mercy, Siouxsie and the Banshees, Tears for Fears, and even The Beatles abound. Hegna’s emotive baritone is swathed in period-perfect Prophet-5 synthesizers and glistening counter-melody guitars lines, and supported by intricate but lyrical basslines and cold and mechanical drums. The lyrics are veiled, visceral, and abstract, yet peppered with shard’s of truth from Hegna’s life and his observations. They reflect a modern world where reality itself feels increasingly tenuous, truth is subjective, communities are shattered by irreconcilable division, and a collective malaise hangs in the air. In this dystopia, if love is merely another lie, it suggests a bleak outlook for our future; essentially, the title is a fancy way of saying that “We Are All Fucked.” 'Love & Other Lies' picks up where it’s previous album, 'Reverb & Seduction', left off. That album was a radical departure from Federale’s previous releases which featured mostly instrumentals. “There are a lot more similarities than you think,” he says of the group’s seemingly two distinct aesthetic periods. “When we were referencing the obscure influences, we liked the drama and darkness. Those elements are in new wave, goth, and post-punk. I just grabbed another couple of colors from the Crayon box.”
TRACK LISTING
1. A Strange Vice
2. Thick As Thieves
3. Kill The Rabbit
4. No Cure
5. Sad Machine
6. Fear Naught
7. I Want A New Drug
8. The Score
9. It Ain't Easy
10. Hey
Grandmaster Flash & The Furious Five
The Breaks: Grandmaster Flash & The Furious Five Definitive Collection - Zoetrope Vinyl Edition
BMG
Grandmaster Flash & The Furious Five were a pioneering hip hop group formed in the South Bronx, New York City. Known for innovative DJ techniques and socially conscious lyrics. Inducted into the Rock and Roll Hall of Fame in 2007.
This compilation album features some of the most influential hip-hop single of all time in 'The Message', together with 'Scorpio' - one of the greatest electro recordings ever produced.
A gritty, plain-spoken and vividly cinematic portrait of black street life in New York circa ‘82 and a fascinating time capsule of rap's early attempts with the album format - this album earned respect on its own terms.
This compilation album features some of the most influential hip-hop single of all time in 'The Message', together with 'Scorpio' - one of the greatest electro recordings ever produced.
A gritty, plain-spoken and vividly cinematic portrait of black street life in New York circa ‘82 and a fascinating time capsule of rap's early attempts with the album format - this album earned respect on its own terms.
TRACK LISTING
1. The Message (Greg Wilson and Che Dub Mix)
2. White Lines (Don't Do It)
3. Scorpio (4.53 Mins Version)
4. New York New York (7" Edit)
5. The Message (Extended Version)
6. It's Nasty (Genius of Love)
7. Freedom
8. The Adventures of Grandmaster Flash on the Wheels of Steel - (Extended Version)
'Sacrament' returns on blackened purple vinyl to celebrate its 20th anniversary. Originally released in 2006, the album includes 'Redneck', 'Walk With Me In Hell', and 'Again We Rise'. 'Sacrament' followed 'Ashes of the Wake' and earned the band its first Grammy nomination with 'Redneck'.
TRACK LISTING
1. Walk With Me In Hell
2. Again We Rise
3. Redneck
4. Pathetic
5. Foot To The Throat
6. Descending
7. Blacken The Cursed Sun
8. Forgotten (Lost Angels)
9. Requiem
10. More Time To Kill
11. Beating On Death's Door
Makito / Mark Funk & Danny Cruz / Bonetti / Raffaele Ciavolino & FederFunk
Cruise Music Vinyl Jams Vol XVI
Cruise Music
Cruise Music really does what it says on the tin - serve up the sort of grooves that are easy to slip into a ride along with, especially when the sun is out and the mood gets a little more playful than usual. Their 16th edition of this long-running series is another super fly collection of effective groove and classic house attitude. Makito opens with the funky licks and disco colour of 'Jailhouse Funk' while Mark Funk and Danny Cruz pull back and allow plenty of sunshine and jazzy sax warmth into 'The Vibe.' On the flip, Bonetti gets remixed by Vertigini for some filter-driven and dusty house goodness and Raffaele Ciavolino and FederFunk bring a little Latin heat and percussive texture. Classy stuff.
TRACK LISTING
Makito - Jailhouse Funk
Mark Funk, Danny Cruz - The Vibe
Bonetti - Good Things (Vertigini Remix)
Raffaele Ciavolino, FederFunk - Going Home
'Doggone' was recorded in Portland, Oregon in January of 2025 at the Center for Sound, Light and Color Therapy with longtime collaborator Ryan Oxford. It features Akron/Family founding member Dana Buoy (drums), Rick Pedrosa (Rose City Band/Abronia) on pedal steel & guitar, and Alex Chapman (bass). Guest contributions come from Devendra Banhart and Portland singer-songwriter Merle Law. The album will be mastered by Amy Dragon (Nathaniel Rateliff, Big Thief, Moon Duo).
'Doggone' centers around themes of community, aging, recognizing your gift is in your blood, carving out your own version of success, planting seeds/growing roots, and the impact of place on creative work. Silverstein continues to explore the intersection of loner-folk, cosmic country, and kraut-laden choogle found across his previous releases.
While writing the songs for this record, Silverstein discovered his uncle was a songwriter and manager for North Country Band, a 1970s Grateful Dead–inspired country-rock group from Minnesota. Silverstein had been DJing the album & showing live performances to friends before knowing his uncle's involvement. This furthered his understanding of his uncle's life in music (performing with Doc Watson, putting on shows for Jerry Jeff Walker, etc.) and gave him the inspiration and motivation to keep pressing on with the album.
Album art features an archival photo of Hat ‘n’ Boots, a famous landmark designed by Pacific Northwest artist Lewis Nasmyth in 1953 for a Western-style gas station, now in Seattle's Oxbow Park due to a community-led effort to save them from demolition. The iconic roadside attraction fell into disrepair after the original gas station closed in 1988. In 2003, the community rallied to have the structures moved, and they were restored and reopened as a park landmark in 2005.
'Doggone' centers around themes of community, aging, recognizing your gift is in your blood, carving out your own version of success, planting seeds/growing roots, and the impact of place on creative work. Silverstein continues to explore the intersection of loner-folk, cosmic country, and kraut-laden choogle found across his previous releases.
While writing the songs for this record, Silverstein discovered his uncle was a songwriter and manager for North Country Band, a 1970s Grateful Dead–inspired country-rock group from Minnesota. Silverstein had been DJing the album & showing live performances to friends before knowing his uncle's involvement. This furthered his understanding of his uncle's life in music (performing with Doc Watson, putting on shows for Jerry Jeff Walker, etc.) and gave him the inspiration and motivation to keep pressing on with the album.
Album art features an archival photo of Hat ‘n’ Boots, a famous landmark designed by Pacific Northwest artist Lewis Nasmyth in 1953 for a Western-style gas station, now in Seattle's Oxbow Park due to a community-led effort to save them from demolition. The iconic roadside attraction fell into disrepair after the original gas station closed in 1988. In 2003, the community rallied to have the structures moved, and they were restored and reopened as a park landmark in 2005.
TRACK LISTING
1. Coming Back Around
2. Out of Tune (feat. Devendra Banhart)
3. Drop of a Dime
4. Portland Works
5. Realize (feat. Merle Law)
6. Patchouli
7. Amblin’
8. Helluva
9. Onlyness
Wewantsounds is delighted to reissue Brigitte Fontaine’s landmark 1970 Saravah album 'Comme à la Radio', recorded with Areski Belkacem (who sadly died last June), Wadada Leo Smith and the Art Ensemble of Chicago. This deluxe edition pairs the original album with rare bonus material. The release is accompanied by a lavish 24-page bilingual booklet featuring an introduction by journalist Andy Beta, essays by Wadada Leo Smith, Brigitte Fontaine biographer Benoît Mouchart and Benjamin Barouh, plus a recent interview with Brigitte Fontaine and the late Areski Belkacem. The booklet also includes complete lyrics and a selection of rare archival photographs by Jean-Pierre Leloir and Philippe Gras.
TRACK LISTING
1. Comme À La Radio
2. Tanka II
3. Le Brouillard
4. J'ai 26 Ans
5. L'été L'été
6. Encore
7. Léo
8. Les Petits Chevaux
9. Tanka I
10. Lettre À Monsieur Le Chef De Gare De La Tour De Carol
11. Comme À La Radio – English Version
12. J’ai 26 Ans – English Version
13. Le Goudron – 7’’ Single
14. Le Noir C'est Mieux Choisi – 7" Single
15. Les Beaux Animaux – 7’’ Single
16. L'été L'été – Early version
17. L'été L'eté – Instrumental Version
18. Tanka I – Instrumental Version
19. Tanka II – Instrumental Version with Flute
20. Le Brouillard – Instrumental Version
21. Lettre À Monsieur Le Chef De Gare – A Cappella English Version
A swirling tapestry of Arabian psychedelic soul, Bazaar Noir’s debut album ‘Veil Of Bidaya’ by Shuko (Anderson .Paak, Evidence, Chance The Rapper), Roberto Di Gioia (BJ The Chicago Kid, Max Herre) and Jan Krause (The Poets Of Rhythm).
This is a journey through sound, spirit and a lot of tape hiss. Recorded entirely with vintage analogue gear, the album bridges East and West, past and present - blending hypnotic grooves, dusty desert funk and cosmic soul into a cinematic debut that feels both timeless and otherworldly.
At its heart lies the luminous focus track ‘Dreams of Gold’, featuring acclaimed Cairo vocalist Heide Al Sabban. Her voice floats like incense over the 1970s soul track’s reverb-drenched guitars and boogie analogue synths, weaving a tale of longing and transcendence that captures the album’s essence - the search for beauty behind the veil.
This is a journey through sound, spirit and a lot of tape hiss. Recorded entirely with vintage analogue gear, the album bridges East and West, past and present - blending hypnotic grooves, dusty desert funk and cosmic soul into a cinematic debut that feels both timeless and otherworldly.
At its heart lies the luminous focus track ‘Dreams of Gold’, featuring acclaimed Cairo vocalist Heide Al Sabban. Her voice floats like incense over the 1970s soul track’s reverb-drenched guitars and boogie analogue synths, weaving a tale of longing and transcendence that captures the album’s essence - the search for beauty behind the veil.
TRACK LISTING
Veil Of Bidaya
Saif
Tarantula w/ Shuko
A Long Straight Road
Disco Inferno
Planet Of The Japes w/ Shuko
Sahar
Marrakesh
Night Ride
Ancient Hymne
Sarazade
Cold Medina
The Wonder
Habbibi
Rescue Me
Al Saghir
Dreams in Gold w/ Heidi Al Sabban
Wax Digits keep rolling out the groovy jams with an eighth instalment, and this time it is back to the Various Artists format. Fingerman is the label owner and he goes first here with 'Phunkee Party', a seductive sound with twanging bass riffs and chunky drums under soaring vocals. The talented I Gemin then drops 'Sambalike', a more nuanced and subtle groove that worms its way under your skin and then the love gets dialled up on the flip side thanks to Chuggin Edits and 'Anita's Mystery', a blissed-out roller bathed in sun. Smokecloud Records boss Osmose shuts down with some bright, retro disco soul in the form of an edgy rework of 'Ur Luv.'
TRACK LISTING
Fingerman - Phunkee Party
I Gemin - Sambalike
Chuggin Edits - Anita's Mystery
Osmose - Ur Luv
It’s not every day you hear about a new Lost Animal album. In fact, it’s been ten years between drinks. The debut 'Ex Tropical' (Hardly Art/Sub Pop) was released in 2011, and followed by 'You Yang' (Remote Control) in 2016. So what happened, and where’s frontman/mastermind Jarrod Quarrell been for the last ten years?
From the horse's mouth, “I don't give a fuck about productivity”. A humbling reply. It confirms Quarrell's MO: here’s an artist as a non-conformist. And when he does see fit to bless us with his unique vision of what music can sound like, it has the ability to completely charm and disarm. Amongst a sea of rock bands, LA is essentially a solo act. Simply put; LA is JQ. But on the other hand, amongst an ocean of solo acts, LA possesses the grandiosity of a full band, punk in spirit, but without being fast, or heavy.
Armed with keys and synths, timbres align more with what a toucan might listen to, as opposed to what's heard commonly throughout Melbourne's gig economy. Strings are gently plucked and horns are tenderly blown. These are the colourful brush strokes that decorate the upper frequencies. They’re the ticket to a far away land;exotic, and potentially very dangerous. If the crew from Hear My Eyes are reading this, consider Lost Animal performing 'Give Some Get Some' as the soundtrack to the next time you screen The Hangover Part 2. Yeah, the one where shit gets super fried in Thailand.
The album examines the underbelly of what a ten year journey might rub up against. As one may expect, a lot of that action is below the belt. Tracks like 'Do That Thing', and 'In<inity Repeats', showcase the bass as the propulsive vehicle. It rides alongside a drum machine, where a swinging 3/4 beat mimics sensuality and sexuality. Bobbing back up to the surface, the buoyancy of the wah guitar lets it all coalesce. So soak it up.
Rewinding, a few things have happened in the past ten years that are worth illuminating. Shags is no longer commandeering the bass full time. Though he does make an appearance on a couple tracks. The main difference from present day to yesteryear LA is Dan Luscombe (The Drones). Luscombe has jumped into the role of producer (and also part of the live band). One could say he’s a producer of the Spector-ilk: playing a hands-on approach and assisting Quarrell's song crafting. He may have suggested to add a chorus or two, but the chord progressions remain distinctly Lost Animal. You'll recognise them easily by their beauty, combined with either fragility or rigidity. Luscombe is arguably the defining force that made this album happen. Perhaps he had Quarrell at gunpoint. Yet to be confirmed. Regardless, thank fuck for Luscombe because it may have been another decade.
But the album's defining feature is arguably Quarrell's lyricism. He may not cross-examine where he's been, but his voice does unmask where he is: absolved and reincarnated. The decade-long journey has resulted in him looking inwards and unlocking himself. The album's many mantras suggest that he may be a bird ('I'm a Bird Now'), or that he is living on another planet ('Never is Forever'). Whatever and wherever he may be, 'Give Some Get Some' invites the listener to reflect on their own journey over the past decade. Because the game's got a price. So ask yourself what have you taken, and what have you given? Life ain't a box of chocolates. It's a bowl of berries. And when fruit symbolizes temptation, get some.
From the horse's mouth, “I don't give a fuck about productivity”. A humbling reply. It confirms Quarrell's MO: here’s an artist as a non-conformist. And when he does see fit to bless us with his unique vision of what music can sound like, it has the ability to completely charm and disarm. Amongst a sea of rock bands, LA is essentially a solo act. Simply put; LA is JQ. But on the other hand, amongst an ocean of solo acts, LA possesses the grandiosity of a full band, punk in spirit, but without being fast, or heavy.
Armed with keys and synths, timbres align more with what a toucan might listen to, as opposed to what's heard commonly throughout Melbourne's gig economy. Strings are gently plucked and horns are tenderly blown. These are the colourful brush strokes that decorate the upper frequencies. They’re the ticket to a far away land;exotic, and potentially very dangerous. If the crew from Hear My Eyes are reading this, consider Lost Animal performing 'Give Some Get Some' as the soundtrack to the next time you screen The Hangover Part 2. Yeah, the one where shit gets super fried in Thailand.
The album examines the underbelly of what a ten year journey might rub up against. As one may expect, a lot of that action is below the belt. Tracks like 'Do That Thing', and 'In<inity Repeats', showcase the bass as the propulsive vehicle. It rides alongside a drum machine, where a swinging 3/4 beat mimics sensuality and sexuality. Bobbing back up to the surface, the buoyancy of the wah guitar lets it all coalesce. So soak it up.
Rewinding, a few things have happened in the past ten years that are worth illuminating. Shags is no longer commandeering the bass full time. Though he does make an appearance on a couple tracks. The main difference from present day to yesteryear LA is Dan Luscombe (The Drones). Luscombe has jumped into the role of producer (and also part of the live band). One could say he’s a producer of the Spector-ilk: playing a hands-on approach and assisting Quarrell's song crafting. He may have suggested to add a chorus or two, but the chord progressions remain distinctly Lost Animal. You'll recognise them easily by their beauty, combined with either fragility or rigidity. Luscombe is arguably the defining force that made this album happen. Perhaps he had Quarrell at gunpoint. Yet to be confirmed. Regardless, thank fuck for Luscombe because it may have been another decade.
But the album's defining feature is arguably Quarrell's lyricism. He may not cross-examine where he's been, but his voice does unmask where he is: absolved and reincarnated. The decade-long journey has resulted in him looking inwards and unlocking himself. The album's many mantras suggest that he may be a bird ('I'm a Bird Now'), or that he is living on another planet ('Never is Forever'). Whatever and wherever he may be, 'Give Some Get Some' invites the listener to reflect on their own journey over the past decade. Because the game's got a price. So ask yourself what have you taken, and what have you given? Life ain't a box of chocolates. It's a bowl of berries. And when fruit symbolizes temptation, get some.
TRACK LISTING
1. Never is Forever
2. Bowl of Berries
3. Sex Wounds
4. Young Blood Blue Sky
5. I’m a Bird Now
6. Do That Thing
7. After the Sun Cleared the Rain
8. In<inity Repeats
9. True Hearts
10. Give Some Get Some
Surprise Chef’s album 'Frogs In A Pond' is an examination into, and an expression of, a shared human experience. Based in Australia, the quintet found inspiration from European film composers working in the late 60s and early 70s. The music expresses musical themes with a cinematic landscape of moods and feelings that evoke emotion without the listener having watched the film for which the music was composed, pushing boundaries that dictate a unique perspective to their music.
TRACK LISTING
1. Inside Voice
2. Outside Voice
3. Frog Technique
4. Knuckle Sandwich
5. I Love What You’ve Done With The Place
6. Get Well Soon
7. Rupture and Repair
8. The Reno
9. Tadpoles
10. Leg Day
11. Where The Crows Fly Backwards
12. Omnipresence
13. Frogs In A Pond
The South Facade is the long-awaited debut album from Ugly.
Since forming in Cambridge in 2016, the six-piece have spent the best part of the last decade relentlessly gigging which eventually led to 2024’s breakout EP Twice Around The Sun, which drew critical acclaim and established Ugly as one of the UK's most exciting and ambitious new bands.
Written over almost three years, The South Facade has been taking shape alongside much of that journey. Rather than bringing finished material into the room, Ugly would gather together and build collectively. Early writing sessions took place during extended retreats in a converted barn overlooking Ely Cathedral, before songs followed the band through rehearsal rooms, bedrooms, studios and eventually onto stages. Ideas were passed between members, arrangements dismantled and rebuilt, choruses rewritten at the eleventh hour and individual parts debated down to the smallest detail.
Some of the songs on their debut album have already become familiar fixtures of Ugly’s live shows. Audiences have effectively watched The South Facade evolve in real time and this October they finally get to hear where the band landed.
Since forming in Cambridge in 2016, the six-piece have spent the best part of the last decade relentlessly gigging which eventually led to 2024’s breakout EP Twice Around The Sun, which drew critical acclaim and established Ugly as one of the UK's most exciting and ambitious new bands.
Written over almost three years, The South Facade has been taking shape alongside much of that journey. Rather than bringing finished material into the room, Ugly would gather together and build collectively. Early writing sessions took place during extended retreats in a converted barn overlooking Ely Cathedral, before songs followed the band through rehearsal rooms, bedrooms, studios and eventually onto stages. Ideas were passed between members, arrangements dismantled and rebuilt, choruses rewritten at the eleventh hour and individual parts debated down to the smallest detail.
Some of the songs on their debut album have already become familiar fixtures of Ugly’s live shows. Audiences have effectively watched The South Facade evolve in real time and this October they finally get to hear where the band landed.
TRACK LISTING
Side A
A1. Wasteland
A2. Marina
A3. Nat Cora & The Nations
A4. Die Another Day
A5. In Samphedoo
Side B
B1. Gavement
B2. The South Facade
B3. Gallowine
B4. Orance
On their third album, FANGS, London collective HMLTD have created an entirely new genre: Götherdammerüng (or ÜberGöth). Predictably unpredictable, it could not be further away from their last outing, 2023 rock opera The Worm. The sixteen-piece orchestra has been traded in for Ableton, the timpani and violins replaced with side-chained four-to-the-floor and rave synths, and the gospel choir swapped for guttural gothic howling and black metal screams. The result is both unique and terrifying: a total reinvention and rehabilitation of the goth genre, through the looking glass of modern electronic and doomscroll-era dance music.
This new beginning was accompanied by a change in personnel, with Theo Spark and Andrei Martynchyk joining the fray alongside original members Henry Spychalski and Duc Peterman. Decamping to a ruined château in the Loire Valley, the quartet became obsessed with vampire lore, and the EBM and goth sound that inspired their early work: Fad Gadget, DAF, Nitzer Ebb, Suicide and Bauhaus. FANGS also points to more contemporary influences like Crystal Castles, German hardcore, 2000s blog-house a la Justice, and 2020s sleazepop.
The world crafted in FANGS is full of cosmic pessimism, glowing horror, imperceptible evil and digital dismemberment, ancient curses and ruined castles, Vampires. But it is also a thoroughly fun, and funny, record, as danceable as it is deep. Born of the club, some tracks would not sound out of place on Brat. Like a Smiths song which sounds happy and carefree until your brain tunes in to the misery of the lyrics, it can be listened to - and enjoyed - on two levels. One can get lost in the throb of bass and ludic synths, or tune into the horror of the lyrics which overlay them.
FANGS attempts to offer up a reflection to a culture that - like a Vampire - has lost its own. The result is something not only thoroughly modern, original, and inventive - but that feels genuinely dangerous and potent. FANGS delights in this ambiguity: simultaneously indicting decadence, decay, and moral rot, while luxuriating in its intoxication by it. Cacophonous sub-bass becomes a chthonic call of the void; seraphic rave synths become the screech of Valkyries; four-to-the-floor becomes a deathly funeral march. Vampire apocalypse.
This new beginning was accompanied by a change in personnel, with Theo Spark and Andrei Martynchyk joining the fray alongside original members Henry Spychalski and Duc Peterman. Decamping to a ruined château in the Loire Valley, the quartet became obsessed with vampire lore, and the EBM and goth sound that inspired their early work: Fad Gadget, DAF, Nitzer Ebb, Suicide and Bauhaus. FANGS also points to more contemporary influences like Crystal Castles, German hardcore, 2000s blog-house a la Justice, and 2020s sleazepop.
The world crafted in FANGS is full of cosmic pessimism, glowing horror, imperceptible evil and digital dismemberment, ancient curses and ruined castles, Vampires. But it is also a thoroughly fun, and funny, record, as danceable as it is deep. Born of the club, some tracks would not sound out of place on Brat. Like a Smiths song which sounds happy and carefree until your brain tunes in to the misery of the lyrics, it can be listened to - and enjoyed - on two levels. One can get lost in the throb of bass and ludic synths, or tune into the horror of the lyrics which overlay them.
FANGS attempts to offer up a reflection to a culture that - like a Vampire - has lost its own. The result is something not only thoroughly modern, original, and inventive - but that feels genuinely dangerous and potent. FANGS delights in this ambiguity: simultaneously indicting decadence, decay, and moral rot, while luxuriating in its intoxication by it. Cacophonous sub-bass becomes a chthonic call of the void; seraphic rave synths become the screech of Valkyries; four-to-the-floor becomes a deathly funeral march. Vampire apocalypse.
TRACK LISTING
1. What The Hell
2. I Used To Ride In Limousines
3. Umami
4. Dancing On Your Grave
5. A Thousand White Horses
6. Close To You
7. Chateau Vamp Freestyle
8. Grab The Crucifix
9. Shudder
10. Blitzkrieg
11. Sorry For Laughing (ft. Corpus Delicti)
Marlena Shaw's 'The Spice of Life' is a landmark 1969 soul-jazz album that showcases her powerful, expressive vocals across a rich blend of soul, jazz, blues and socially conscious songwriting. Featuring the timeless classics 'California Soul' and 'Woman of the Ghetto', it remains her signature release.
More than five decades after its release, 'The Spice of Life' continues to resonate for its warmth, sophistication and cultural significance. Blending soul, jazz and socially conscious songwriting, Marlena Shaw's commanding performances have cemented the album as an enduring classic of the Cadet/Verve Records Group catalogue.
More than five decades after its release, 'The Spice of Life' continues to resonate for its warmth, sophistication and cultural significance. Blending soul, jazz and socially conscious songwriting, Marlena Shaw's commanding performances have cemented the album as an enduring classic of the Cadet/Verve Records Group catalogue.
TRACK LISTING
1. Woman of the Ghetto
2. Stormy Monday
3. Where Can I Go?
4. I'm Satisfied
5. I Wish I Knew (How It Would Feel to Be Free)
6. Liberation Conversation
7. California Soul
8. Go Away Little Boy
9. Looking Through the Eyes of Love
10. Anyone Can Move a Mountain
A legendary lost classic of British psychedelia, 'Tinkerbells Fairydust' is one of the most celebrated "holy grail" albums in record collecting. Originally recorded for Decca in 1969, the album was withdrawn before release, leaving only a handful of original copies in existence and earning a reputation as one of the rarest and most valuable UK psych LPs ever made.
Blending lush harmony pop, sunshine pop, and baroque psychedelia, the album features the cult favourites 'Twenty Ten', 'In My Magic Garden’, and 'Lazy Day', alongside a superb collection of melodic, richly arranged late '60s recordings. Long admired by collectors and psychedelic music enthusiasts, 'Tinkerbells Fairydust' remains an essential addition to any serious British psych collection.
Blending lush harmony pop, sunshine pop, and baroque psychedelia, the album features the cult favourites 'Twenty Ten', 'In My Magic Garden’, and 'Lazy Day', alongside a superb collection of melodic, richly arranged late '60s recordings. Long admired by collectors and psychedelic music enthusiasts, 'Tinkerbells Fairydust' remains an essential addition to any serious British psych collection.
TRACK LISTING
1. Twenty Ten
2. Marjorine
3. The Worst That Could Happen
4. In My Magic Garden
5. Never My Love
6. (You Keep Me) Hangin’ On
7. Lazy Day
8. Every Minute Every Day
9. Sheila's Back In Town
10. Jeff's Boogie
11. They Didn't Believe Me
12. Whole World
13. Happy
Bringing together five architects of punk and hardcore, FAKE NAMES channel decades of experience into a sound that feels immediate, electric, and entirely their own.
Built on the collision of '70s UK punk, classic hardcore, and guitar-driven power-rock, Punk Ruins finds the band pushing their chemistry further than ever--balancing sharp melodic instincts with explosive guitars, driving rhythms, and the restless energy that defines great punk rock. A rare collaboration between five influential musicians whose combined history spans decades of underground and alternative music.
THE BAND:
Fake Names features an all-star lineup of punk innovators:
Brian Baker -- Minor Threat, Bad Religion, Dag Nasty
Michael Hampton -- S.O.A., Embrace
Dennis Lyxzen -- Refused, INVSN, The (International) Noise Conspiracy
Johnny Temple -- Girls Against Boys, Soulside
Mario Rubalcaba -- Rocket From The Crypt, OFF!
The group first joined forces in 2016, forming what Brian Baker calls a "mutual admiration society." Despite their collective history, the chemistry was immediate-- once they were in the same room, it felt like they had been playing together for years. With Punk Ruins, FAKE NAMES continue to build on that foundation, bringing together five distinct musical histories without becoming defined by any one of them.
The result is a record that connects the raw spirit of punk's past with the urgency of the present.
Built on the collision of '70s UK punk, classic hardcore, and guitar-driven power-rock, Punk Ruins finds the band pushing their chemistry further than ever--balancing sharp melodic instincts with explosive guitars, driving rhythms, and the restless energy that defines great punk rock. A rare collaboration between five influential musicians whose combined history spans decades of underground and alternative music.
THE BAND:
Fake Names features an all-star lineup of punk innovators:
Brian Baker -- Minor Threat, Bad Religion, Dag Nasty
Michael Hampton -- S.O.A., Embrace
Dennis Lyxzen -- Refused, INVSN, The (International) Noise Conspiracy
Johnny Temple -- Girls Against Boys, Soulside
Mario Rubalcaba -- Rocket From The Crypt, OFF!
The group first joined forces in 2016, forming what Brian Baker calls a "mutual admiration society." Despite their collective history, the chemistry was immediate-- once they were in the same room, it felt like they had been playing together for years. With Punk Ruins, FAKE NAMES continue to build on that foundation, bringing together five distinct musical histories without becoming defined by any one of them.
The result is a record that connects the raw spirit of punk's past with the urgency of the present.
TRACK LISTING
1. Until It's Normal
2. Good Old Days
3. Punk Ruins
4. Cover The Distance
5. What I Tell Myself
6. Diamond Buzz
7. Language Lost
8. Beautiful Scars
9. If You Could See Me Today
10. The Little Wonders
11. Scream
12. Paradise
“Slide in the party like three monkeys wearing a trench,” GDP says in the opening seconds of 'Cross Off Matthew', his first solo album in over a decade. The line is indicative of the New Jersey emcee/ producer’s relationship with music, one that’s ebbed and flowed throughout his career and eclectic discography. Entirely self-produced, 'Cross Off Matthew' feels like a reintroduction as well as an expansion of what makes the cult rapper so beloved. GDP came up in the respective punk, hardcore, and skateboarding scenes of New Jersey, roots that inspired his DIY approach to making hip-hop. He applied a decidedly punk ethos to his brand of neo-boom bap on early releases like 2009’s 'Realistic Expectations' and 2011’s 'Useless Eaters', albums that celebrated his youthful indiscretions but also signaled an old soul lying beneath the surface.
He opted to release them on punk/indie labels (including Run For Cover and Ride The Fury Records) instead of more traditional hip-hop outlets, and along with an ambitious touring schedule, he carved out a dedicated fanbase throughout the early 2010’s. 'Cross Off Matthew' is a slow-cooked labor of love, born out of taking enough time away from something to understand the journey with greater perspective and appreciation.“I’m older, arguably wiser, but that creative fire stayed with me,” he says. “I wanted to make something that felt nuanced, something that I could feel proud of.” Throughout the album, the production toggles between foreboding and facetious just as deftly as his bars. Tracks like 'Island In The Sky' and 'Location Therapy' make rap confetti out of caustic guitars and glaring distortion, while 'Seroquel' and 'Rock For Light', (the latter a nod to NJ rap royalty, The Outsidaz) embrace GDP’s signature blend of East Coast hip-hop and punk sensibilities, with lyrics that highlight the sharp wit and heady philosophizing that he made his name on. GDP examines vices, interpersonal relationships, the collective dread of late-stage capitalism as well as the pitfalls and rewards of trying to lead a creative life throughout it all. The wiseman that peaked out from beneath the shield of debauchery on his early releases has now come to the forefront, as GDP’s trademark humor and commentary feel refined by years of life lived experience.
He opted to release them on punk/indie labels (including Run For Cover and Ride The Fury Records) instead of more traditional hip-hop outlets, and along with an ambitious touring schedule, he carved out a dedicated fanbase throughout the early 2010’s. 'Cross Off Matthew' is a slow-cooked labor of love, born out of taking enough time away from something to understand the journey with greater perspective and appreciation.“I’m older, arguably wiser, but that creative fire stayed with me,” he says. “I wanted to make something that felt nuanced, something that I could feel proud of.” Throughout the album, the production toggles between foreboding and facetious just as deftly as his bars. Tracks like 'Island In The Sky' and 'Location Therapy' make rap confetti out of caustic guitars and glaring distortion, while 'Seroquel' and 'Rock For Light', (the latter a nod to NJ rap royalty, The Outsidaz) embrace GDP’s signature blend of East Coast hip-hop and punk sensibilities, with lyrics that highlight the sharp wit and heady philosophizing that he made his name on. GDP examines vices, interpersonal relationships, the collective dread of late-stage capitalism as well as the pitfalls and rewards of trying to lead a creative life throughout it all. The wiseman that peaked out from beneath the shield of debauchery on his early releases has now come to the forefront, as GDP’s trademark humor and commentary feel refined by years of life lived experience.
TRACK LISTING
1. Another Country
2. Seroquel
3. Island In The Sky
4. Mezzanine
5. Holsten’s
6. Location Therapy
7. Bipped
8. Undone (Feat. Fatboi Sharif)
9. Rock For Light
10. Money For Nothing
11. Ethereal Sphere
12. Doom Loop
To celebrate the 25th Anniversary of their 7th album from 23 October, 2001 (their last with Brant Bjork), Fu Manchu is releasing 'California Crossing' 25th Anniversary Edition. Recorded at the legendary Sound City Studios in Los Angeles, California by the band and Matt Hyde (DEFTONES, SLAYER, MONSTER MAGNET), 'California Crossing' is the band’s most commercially successful release.
The 11 song collection includes 'Mongoose' (as seen in a Toyota Super Bowl commercial, Sons of Anarchy, The Hot Chick, Boondock Saints II and more), 'Squash That Fly' (their most successful radio single), 'Bultaco' (featuring vocals by The Circle Jerks’ Keith Morris) and fan favorites 'Separate Kingdom', 'Hang On' and the title track. This limited edition 2,000 unit run is pressed on Custom Red, White and Blue 3 layer color vinyl in a gatefold package. The LP features newly remastered audio for maximum fidelity. "a strangely nihilistic celebration of all things Cali." - The Guardian “Fu Manchu are the stoned Ramones, a matey Motorhead: a band who can rewrite that album into the infinite future and rule perpetually.” – NME
The 11 song collection includes 'Mongoose' (as seen in a Toyota Super Bowl commercial, Sons of Anarchy, The Hot Chick, Boondock Saints II and more), 'Squash That Fly' (their most successful radio single), 'Bultaco' (featuring vocals by The Circle Jerks’ Keith Morris) and fan favorites 'Separate Kingdom', 'Hang On' and the title track. This limited edition 2,000 unit run is pressed on Custom Red, White and Blue 3 layer color vinyl in a gatefold package. The LP features newly remastered audio for maximum fidelity. "a strangely nihilistic celebration of all things Cali." - The Guardian “Fu Manchu are the stoned Ramones, a matey Motorhead: a band who can rewrite that album into the infinite future and rule perpetually.” – NME
TRACK LISTING
1.Separate Kingdom
2. Hang On
3. Mongoose
4. Thinkin’ Out Loud
5. California Crossing
6. Wiz Kid
7. Squash That Fly
8. Ampn
9. Bultaco feat. Keith Morris
10. Downtown In Dogtown
11. The Wasteoid
After a five-year break, Martin Freeman and Eddie Piller return with their latest compilation: ‘On The Corner’. While previous albums have shone a spotlight quite specifically on jazz and soul, the latest iteration takes a more panoramic approach, taking in those loves, but adding in some British Mod stomp, Neo- Library music and some Ye-Ye, as Martin says in his note.
Martin is of course the multi-award-winning actor famed for The Office, The Hobbit, Sherlock and The Responder, but also for his deep love of music, which brought him to us with these compilations. On this volume he has chosen well, with obscure cuts from Santana and Neo-Soul from Kadhja Bonet, and Indo-Funk from Ashal Puthli. These sit alongside jazz from Gary Burton and Buddy Rich as well as favourite Soul 45s, all topped with the wonderful stew of Traffic’s ‘Medicated Goo’.
Eddie founded Acid Jazz in 1988 and even before then was a well-known and successful DJ. His sides show the excitement that he still finds in discovering and playing music. Opening with the synth-led Main Theme from UK cult film The Long Good Friday, he selects beautiful soul and jazzy disco, before entering the world of Brit-Funk with cuts by Hi-Tension and Light Of The World. He brings it home via Ace’s ‘How Long’ and some Brian Auger, which sets us up for the Ye-Ye beat of Jacquelin Taieb and Jacques Dutronc.
Martin is of course the multi-award-winning actor famed for The Office, The Hobbit, Sherlock and The Responder, but also for his deep love of music, which brought him to us with these compilations. On this volume he has chosen well, with obscure cuts from Santana and Neo-Soul from Kadhja Bonet, and Indo-Funk from Ashal Puthli. These sit alongside jazz from Gary Burton and Buddy Rich as well as favourite Soul 45s, all topped with the wonderful stew of Traffic’s ‘Medicated Goo’.
Eddie founded Acid Jazz in 1988 and even before then was a well-known and successful DJ. His sides show the excitement that he still finds in discovering and playing music. Opening with the synth-led Main Theme from UK cult film The Long Good Friday, he selects beautiful soul and jazzy disco, before entering the world of Brit-Funk with cuts by Hi-Tension and Light Of The World. He brings it home via Ace’s ‘How Long’ and some Brian Auger, which sets us up for the Ye-Ye beat of Jacquelin Taieb and Jacques Dutronc.
TRACK LISTING
1. Big Time Operator – Zoot Money’s Big Roll Band
2. Needle In A Haystack – The Whispers
3. Light Of Life – Santana
4. Vibrafinger – Gary Burton
5. Space Shuttle – Buddy Rich
6. Please Open The Door – Little Charles & The Sidewinders
7. Higher Ground – Doug Carn
8. Procession - Kadhja Bonet
9. Funky Mule – Ike Turner
10. Right Down Here – Asha Puthli
11. Top Brass – Matt Berry*
12. Medicated Goo – Traffic
13. Main Title Theme From Long Good Friday – Francis Monkman
14. I Can’t Keep From Crying Baby Sometimes – The Deidre Wilson Tabac
15. Too Late – Mandrill
16. Wounded woman – Sandra Wright
17. I’ve Got To Come In – Jean Battle
18. Don’t You Worry Baby, The Best Is Yet To Come – Bessie Banks
19. Don’t Walk Away - General Johnson*
20. Hi Tension – Hi Tension
21. Time – The Light Of The World
22. How Long – Ace
23. Rope Ladder To The Moon – Julie Tippets and Brian Auger
24. 7th Du Matin – Jacquelin Taieb
25. Le Responsible – Jacques Dutronc
*2LP Only. Note CD has a different running order.
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.
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.
Best known as the longtime DJ for Sugar Ray, DJ Homicide_ brings decades of turntable experience to this pair of soul-soaked hip-hop edits. 'You're No Good (Flip)' rides a classic boom-bap groove, layering warm samples and heavyweight drums into an effortlessly head-nodding cut, while 'Rich Kind Of Poverty (Flip)' digs even deeper with smoky brass, vintage soul textures and laid-back swing. Unfussy, authentic and built on faultless foundations, both sides underscore Homicide's knack for transforming familiar sounds into grooves that feel fresh.
TRACK LISTING
You're No Good (Flip)
Rich Kind Of Poverty (Flip)
Anyone with a passing interest in disco will be familiar with the fine work of The Reflex, and now he's back with more of his multitrack magic. First up he beefs up the drums of 'Feel It' with a special 2026 rework that leaves the original vocals intact and brings the soul, while the strings add a touch of class and the baseline never quits. On the flip is an instrumental revisited and reworked for contemporary floors. It's a hip-swinging delight with some majestic jazz-funk overtones.
TRACK LISTING
Feel It '26
Splicey
Flex7 is flexing its muscles here, with the currently ultra-prolific king of the multitrack The Reflex doing what he does best. Everything this producer and Pikes regular touches turns to gold and this time the edit maestro adds his know-how to 'D-Y-D', a low-slung and playful funky disco cut with plenty of atmospheric crowd chatter and jazzy chords that swoon through the mix. After that slice of warm proto deep house, the flip features a B-Boy classic cut that is loose-limbed and irresistibly funky.
TRACK LISTING
D-Y-D
Down Breaks
Fabio Santanna is a respected scene veteran in his native Brazil and has a wide array of styles in his arsenal, from Balearic, downtempo and chill-out to Latin, lounge and pop. He always brings a modern MPB touch to classic sounds and now lands on the superb Scruniversal. 'Negro Sentimento' opens with a low-slung swagger and claps that sound straight from a Chicago house record in the 80s. 'Funk Na Veia' is even slower and more purposeful with a sexual energy and libidinous, funky vocal.
TRACK LISTING
Negro Sentimento
Funk Na Veia
Proto jackin’ hip-house/punk-funk from the third coast. Originally issued in 1984 on Chicago’s scene-defining Mitchbal label, Z-Factor’s 'Dance Party Album' is where boyhood friends Jesse Saunders and Vince Lawrence reinvented the 909 for the Warehouse, WBMX, and beyond. Come for the spaced-out, lo-fi Italo synths, stay for the micro-budget four-on-the-floor drum machine rattles.
TRACK LISTING
1. I Am The DJ ft. Jesse Saunders
2. Fantasy (Vocal) ft. Jesse Saunders
3. Thorns
4. Fantasy (Instrumental)
5. Fast Cars ft. Vincent Lawrence
6. My Ride
7. Her Way
Manchester Orchestra
You Brainstorm, I Brainstorm, But Brilliance Needs A Good Editor - 21st Anniversary Edition
Favorite Gentlemen
Recorded without a label, outside expectations or even a surplus of material, Manchester Orchestra's 2nd EP found the band embracing spontaneity over perfection and, in the process, establishing the emotional and sonic hallmarks that would become their defining quality.
TRACK LISTING
1. The Procession
2. Alice and Interiors
3. Slow to Learn
4. I’d Rather Have
5. Play It Again, Sam! You Don’t Have Any Feathers
With 'Golden Crown' and his interpretation of Prefab Sprout’s 'Enchanted', Forest Law brings together two songs that reflect both his songwriting and his musical influences. One is an original composition from 2018, rediscovered years later and revived almost unchanged, pairing bright pop melodies with a sharp meditation on power.
The other pays tribute to a song that became a personal obsession after his long-overdue discovery of Prefab Sprout. Together, these recordings highlight Forest Law’s gift for understated arrangements, memorable melodies and lyrics whose depth unfolds with every listen.
The other pays tribute to a song that became a personal obsession after his long-overdue discovery of Prefab Sprout. Together, these recordings highlight Forest Law’s gift for understated arrangements, memorable melodies and lyrics whose depth unfolds with every listen.
TRACK LISTING
1. Golden Crown
2. Enchanted
Father John Misty’s landmark 2015 sophomore album, I Love You, Honeybear, is back on vinyl, remastered and repackaged as a single LP (It was originally released as a double LP).
The now-classic album includes fan favorites “Chateau Lobby #4 (in C for Two Virgins),” and the title track, “I Love You, Honeybear.” On release I Love You, Honeybear earned a Pitchfork Best New Music, a perfect score from Exclaim!, and rave reviews from NME, Mojo, Q, Spin, and more. It was hailed as one of the best albums of 2015 by Pitchfork, Billboard, The A.V. Club, NME, and Stereogum. I Love You, Honeybear was produced by Josh Tillman and Jonathan Wilson, and mixed by Phil Ek. This 2024 edition was remastered in 2024 by Adam Ayan at Ayan Mastering.
The now-classic album includes fan favorites “Chateau Lobby #4 (in C for Two Virgins),” and the title track, “I Love You, Honeybear.” On release I Love You, Honeybear earned a Pitchfork Best New Music, a perfect score from Exclaim!, and rave reviews from NME, Mojo, Q, Spin, and more. It was hailed as one of the best albums of 2015 by Pitchfork, Billboard, The A.V. Club, NME, and Stereogum. I Love You, Honeybear was produced by Josh Tillman and Jonathan Wilson, and mixed by Phil Ek. This 2024 edition was remastered in 2024 by Adam Ayan at Ayan Mastering.
TRACK LISTING
1. I Love You, Honeybear
2. Chateau Lobby #4 (in C For Two Virgins)
3. True Affection
4. The Night Josh Tillman Came To Our Apt.
5. When You're Smiling And Astride Me
6. Nothing Good Ever Happens At The Goddamn Thirsty Crow
7. Strange Encounter
8. The Ideal Husband
9. Bored In The USA
10. Holy Shit
11. I Went To The Store One Day
'Fantasies' is the fourth album released by the Canadian indie rock band Metric, featuring the singles 'Help, I'm Alive' and 'Gimme Sympathy'. Since its release in 2009, 'Fantasies' has grown into Metric’s most-streamed album, racking up over 252 million plays on Spotify alone. Widely celebrated at the time—debuting at No. 1 on Billboard’s Heatseekers and earning Alternative Album of the Year at the 2010 Junos—its enduring popularity continues to make it a defining high water mark in the band's catalog.
TRACK LISTING
1. Help I'm Alive
2. Sick Muse
3. Satellite Mind
4. Twilight Galaxy
5. Gold Guns Girls
6. Gimme Sympathy
7. Collect Call
8. Front Row
9. Blindness
10. Stadium Love
2K88 | Lauren Duffus | Rainy Miller | Bianca Scout
Everything Always Changes, For We’re Truly Here
Fixed Abode
There's a dance scene in Tadeusz Konwicki's Kafkaesque 1965 drama film 'Salto' that lodged itself in Przemysław Jankowiak's head while he was conceiving'Everything Always Changes, For We're Truly Here'. The film plays like a dream and the dance works almost like the payoff, a haunting, poignant moment that subtly references the title itself, which loosely translates as 'leap'. "I like listening through images and seeing through sound," explains Jankowiak, who's better known as 2K88. His music has always been cinematic, but this album in particular, made alongside acclaimed British artists Lauren Duffus, Rainy Miller and Bianca Scout, plays like slow cinema, meditating on themes that smolder evocatively without ever fully igniting. It's best described as hypnagogic R&B, a reverie of affecting vignettes pieced together from unexpectedly vivid elements: sensual vocal hooks, free-flowing raps, submerged rhythms and rough, craggy atmospheres. The four contributors pass sounds and memories back-and-forth, imagining melancholy sci-fi hymns, inverted pop songs and neo-trip-hop outlines that melt away at the edges, falling into a captivating rhythm of their own.
The project was originally commissioned by Unsound in an effort to match up Polish and British artists. Jankowiak had already released 'SHAME', an album that reflected on the impact of Polish rap in the late 1990s and early 2000s, juxtaposing these elements with the aesthetics of UK club music, so presented himself as the obvious figurehead. Miller, Duffus and Scout were at the top of his wish list of collaborators and before long, the quartet were on their way to his home city of Gdynia for a residency, where they began to figure out the harmony between their respective approaches. It was planned as a live performance at first, with 2K88 overseeing and corralling the ideas from each of his allies. Miller, who is widely acclaimed for his unique fusion of rap, noise and ambient music on albums such as last year's 'Joseph, What Have You Done?', would add poetic, inclement contemplations; Duffus, whose weightless, genre-blending productions have seen her release on AD93 and tour with indie rap heavyweight MIKE, provided cloudy but self-assured vocal hooks; while Scout, a producer and performer who shivered between gothic pop and medieval ambiance on 2023's 'The Heart of the Anchoress' offered haunted textures and desolate chorals.
"I think in the back of all our minds was a possible release if the collaboration worked out well," laughs Unsound's Mat Schulz. "And of course it did." After the live performance in Kraków, the four artists turned the dream into a reality, projecting the same ideas onto 10 fully developed tracks. And on the opener, 'Everything Always Changes', the concept solidifies, with coarse noise rubbing against Scout and Duffus's airy vocal tones and booming analog bass provoking tension before Miller's familiar voice cuts through the clouds. "There's a war where the sea meets the sky," he sibilates, "where the lines blur into fantastical dissonance." His imagery matches Jankowiak's faded soundscape, bringing to mind a half-remembered, long-promised history lost to time and politics. "It's trapped in this romantic haze," says Miller. "It conjures images of fictional seaside towns, ghosts of past grandeur living through imaginary romances in the present." And his voice returns on 'Creeping Thistle', AutoTuned to curve gracefully around sparsely populated, burned out terrain: ominous synths, wailing police sirens and reverb that seems to swallow everything around it.
On 'The Quiet's Song' familiar R&B hits and stabs are isolated and surrounded by ominous negative space that Scout impedes on with her reserved incantation. Loose, casual piano themes wisp through the frame like smoky exhalations and those sirens still groan away somewhere in the distance. The various threads are knotted into a more legible form on 'Poetic Fallacy', when Jankowiak's decelerated beats overlap with heartbreaking half-speed melodies and Duffus's elegant hooks. Scout takes the mic for a moment and a broken de-tuned guitar picks out the remnants of a riff. But it's the aptly-titled 'Salto' that gives the album its nucleus, fixating on Jankowiak's all-important visual reference and using its imagery to power a genuine pop miniature, a gauzy, abstract modern R&B anthem that's as impressionistic and suggestive as Konwicki's's film.
The project was originally commissioned by Unsound in an effort to match up Polish and British artists. Jankowiak had already released 'SHAME', an album that reflected on the impact of Polish rap in the late 1990s and early 2000s, juxtaposing these elements with the aesthetics of UK club music, so presented himself as the obvious figurehead. Miller, Duffus and Scout were at the top of his wish list of collaborators and before long, the quartet were on their way to his home city of Gdynia for a residency, where they began to figure out the harmony between their respective approaches. It was planned as a live performance at first, with 2K88 overseeing and corralling the ideas from each of his allies. Miller, who is widely acclaimed for his unique fusion of rap, noise and ambient music on albums such as last year's 'Joseph, What Have You Done?', would add poetic, inclement contemplations; Duffus, whose weightless, genre-blending productions have seen her release on AD93 and tour with indie rap heavyweight MIKE, provided cloudy but self-assured vocal hooks; while Scout, a producer and performer who shivered between gothic pop and medieval ambiance on 2023's 'The Heart of the Anchoress' offered haunted textures and desolate chorals.
"I think in the back of all our minds was a possible release if the collaboration worked out well," laughs Unsound's Mat Schulz. "And of course it did." After the live performance in Kraków, the four artists turned the dream into a reality, projecting the same ideas onto 10 fully developed tracks. And on the opener, 'Everything Always Changes', the concept solidifies, with coarse noise rubbing against Scout and Duffus's airy vocal tones and booming analog bass provoking tension before Miller's familiar voice cuts through the clouds. "There's a war where the sea meets the sky," he sibilates, "where the lines blur into fantastical dissonance." His imagery matches Jankowiak's faded soundscape, bringing to mind a half-remembered, long-promised history lost to time and politics. "It's trapped in this romantic haze," says Miller. "It conjures images of fictional seaside towns, ghosts of past grandeur living through imaginary romances in the present." And his voice returns on 'Creeping Thistle', AutoTuned to curve gracefully around sparsely populated, burned out terrain: ominous synths, wailing police sirens and reverb that seems to swallow everything around it.
On 'The Quiet's Song' familiar R&B hits and stabs are isolated and surrounded by ominous negative space that Scout impedes on with her reserved incantation. Loose, casual piano themes wisp through the frame like smoky exhalations and those sirens still groan away somewhere in the distance. The various threads are knotted into a more legible form on 'Poetic Fallacy', when Jankowiak's decelerated beats overlap with heartbreaking half-speed melodies and Duffus's elegant hooks. Scout takes the mic for a moment and a broken de-tuned guitar picks out the remnants of a riff. But it's the aptly-titled 'Salto' that gives the album its nucleus, fixating on Jankowiak's all-important visual reference and using its imagery to power a genuine pop miniature, a gauzy, abstract modern R&B anthem that's as impressionistic and suggestive as Konwicki's's film.
TRACK LISTING
TBA
¡Forward Russia! formed in Leeds in 2004, from the ashes of other bands that never truly went anywhere; they are Whiskas (guitar), Tom Woodhead (vocals, keys), Katie Nicholls (drums) and Rob Canning (bass). They released a much-admired debut album, 'Give Me a Wall', in 2006, and now they’re back with a 20th Anniversary repress. Available on vinyl for the first time since initial release, the package is a limited edition clear 12” with new lyric sheet & sleeve notes from Steve Lamacq.
TRACK LISTING
1. Thirteen
2. Twelve
3. Fifteen Part 1
4. Nine
5. Nineteen
6. Seventeen
7. Eighteen
8. Sixteen
9. Seven
10. Fifteen Part 2
11. Eleven
Sadurn’s sophomore album 'The Underworld' is a collection of heart-rendingly personal and instantly relatable songs. Following years of lingering vocal issues for guitarist G DeGroot, the album is the culmination of an emotion- al and spiritual journey and a a deeply personal meditation on loss, healing, and transformation.
Sadurn began in 2017 as a solo project for G DeGroot, and from the start their approach to songwriting was informed more by emotional intuition than any kind of real ambitions to be heard. “I discovered songwriting as an outlet for processing my reality,” they explain. “A lot of times when something is hard to say, it flows more easily in songwriting. It’s a place where you can circle back to your own truth.” After moving to Philadelphia, DeGroot was joined by gui- tarist Jon Cox, drummer Amelia Swain, and bassist Tabitha Ahnert. The group recorded 'Radiator', a debut that immediately connected with listeners and was met with critical acclaim.
Throughout 'The Underworld', the rawness of DeGroot’s lyrics are matched by Cox, Ahnert, and Swain’s evocative playing. Stunning opener 'The Weight' describes the early stages of a relationship deteriorating, with brilliant soloing from Cox and DeGroot’s warm voice intertwining through its widescreen outro. Highlights like 'Mess', 'Never Tell Me', or 'Whole Thing' strike a perfect balance be- tween lush arrangements and intimate performances, while tracks like 'Why Does My Heart' or 'Can’t Stop' add unvarnished, single take moments of spontaneity, or GarageBand demo looseness that perfectly compliment the unabashed longing in the songwriting.
Sadurn began in 2017 as a solo project for G DeGroot, and from the start their approach to songwriting was informed more by emotional intuition than any kind of real ambitions to be heard. “I discovered songwriting as an outlet for processing my reality,” they explain. “A lot of times when something is hard to say, it flows more easily in songwriting. It’s a place where you can circle back to your own truth.” After moving to Philadelphia, DeGroot was joined by gui- tarist Jon Cox, drummer Amelia Swain, and bassist Tabitha Ahnert. The group recorded 'Radiator', a debut that immediately connected with listeners and was met with critical acclaim.
Throughout 'The Underworld', the rawness of DeGroot’s lyrics are matched by Cox, Ahnert, and Swain’s evocative playing. Stunning opener 'The Weight' describes the early stages of a relationship deteriorating, with brilliant soloing from Cox and DeGroot’s warm voice intertwining through its widescreen outro. Highlights like 'Mess', 'Never Tell Me', or 'Whole Thing' strike a perfect balance be- tween lush arrangements and intimate performances, while tracks like 'Why Does My Heart' or 'Can’t Stop' add unvarnished, single take moments of spontaneity, or GarageBand demo looseness that perfectly compliment the unabashed longing in the songwriting.
TRACK LISTING
1. The Weight
2. After We Went Under The Bridge
3. Never Tell Me
4. Can’t Stop
5. Mess
6. The Map
7. Why Does My Heart
8. Whole Thing
9. Only Angels
Celebrating the 30th anniversary of its original release, Night Song returns in a special edition on rose leaf green coloured vinyl. A Grammy Award nominee, the album captures the extraordinary meeting of the legendary Nusrat Fateh Ali Khan and Canadian guitarist, producer and composer Michael Brook, whose atmospheric soundscapes provide the perfect setting for Nusrat's ecstatic, transcendent vocals.
With Nusrat's legacy continuing to reach new audiences following the landmark 2024 release of the unearthed archive recording Chain of Light, Night Song remains one of the defining cross-cultural collaborations of its era. This anniversary edition includes a printed inner sleeve with updated liner notes and photographs.
With Nusrat's legacy continuing to reach new audiences following the landmark 2024 release of the unearthed archive recording Chain of Light, Night Song remains one of the defining cross-cultural collaborations of its era. This anniversary edition includes a printed inner sleeve with updated liner notes and photographs.
TRACK LISTING
SIDE A
My Heart My Life
Intoxicated
Lament
My Comfort Remains
SIDE B
Longing
Sweet Pain
Night Song
Crest
After is the Y2K-tinged trip-hop pop project of Graham Epstein and Justine Dorsey, who met on Hinge in Los Angeles and realized they’d probably make a better band than a couple. Born on the same day, August 23, 1995, the duo channels influences from Michelle Branch to Portishead, Fountains of Wayne to Enigma, crafting music that feels both nostalgic and new. Their sound has been praised by Rolling Stone, which wrote, “After… feels like a memory you can’t quite place.”
Released via Mom+Pop Music, tracks like 'Take Me to Sunrise', 'Promise (When You Go)', and 'Snowburn' showcase After’s signature blend of dreamy melodies, textured production, and emotional resonance.
Released via Mom+Pop Music, tracks like 'Take Me to Sunrise', 'Promise (When You Go)', and 'Snowburn' showcase After’s signature blend of dreamy melodies, textured production, and emotional resonance.
TRACK LISTING
1. Take Me To Sunrise
2. Promise (When You Go)
3. Metal
4. Breathe Your Air
5. Fitfully
6. Do Or Die
7. Blow Out The Candle
8. Secret Love Song
9. Open Water
10. Blind
11. Snowburn
12. If You Don’t Know By Now
13. Fell Asleep In The Sun
Welcoming Tori Kudo back to A Colourful Storm with a new edition of Maher Shalal Hash Baz’s 'Faux Départ', a document of a stateside tour that culminated in a recording session at the legendary Dub Narcotic Studio with a one-time ensemble of Greg Saunier and Chris Cohen (Deerhoof), Andrew Maxwell, McCloud Zicmuse, Arrington de Dionyso, Takashi Ueno, Saya Ueno, Naoki Otani, Akiko Hotaka, Masaaki Endo and Naoki Otani. Always spontaneous, never rehearsed. Music in and of this world, seemingly teetering on the verge of collapse.
"We flew to the US for a show with Red Crayola in Los Angeles and initially stayed at Rick Potts' house. There, I met up with The Curtains and hit the road in their car. We headed north, writing down every melody that came to mind. I slept in the gap between the wall and the sofa and got interrupted by a herd of cows along the way, but I finally arrived in Olympia and recorded all the melodies I’d written down, which became 'Faux Depart'. There, I found McCloud, a noble beggar who was sleeping in the studio and playing the bassoon on the street." - Tori Kudo, 2026
"Chris Cohen, who played in Deerhoof from 2001-2006 or so, was an obsessive Maher fan. When our other band, The Curtains, was given a chance to support Maher on a West Coast tour, we got to see up close how Tori leads - often by not leading. He is an unpredictable, wild musical genius and card-carrying eccentric." – Greg Saunier, 2026
"We flew to the US for a show with Red Crayola in Los Angeles and initially stayed at Rick Potts' house. There, I met up with The Curtains and hit the road in their car. We headed north, writing down every melody that came to mind. I slept in the gap between the wall and the sofa and got interrupted by a herd of cows along the way, but I finally arrived in Olympia and recorded all the melodies I’d written down, which became 'Faux Depart'. There, I found McCloud, a noble beggar who was sleeping in the studio and playing the bassoon on the street." - Tori Kudo, 2026
"Chris Cohen, who played in Deerhoof from 2001-2006 or so, was an obsessive Maher fan. When our other band, The Curtains, was given a chance to support Maher on a West Coast tour, we got to see up close how Tori leads - often by not leading. He is an unpredictable, wild musical genius and card-carrying eccentric." – Greg Saunier, 2026
TRACK LISTING
1. Seal and Seagulls
2. Route 5
3. Faux Dépar
4. Honey
5. A Will
6. Rock Garden
7. Cumulonimbus And Thunderstorm In A Morning
8. Cumulonimbus And Thunderstorm In A Morning
9. Cumulonimbus And Thunderstorm In A Morning
10. Cumulonimbus And Thunderstorm In A Morning
11. Cumulonimbus And Thunderstorm In A Morning
12. A Wind
13. Lightning
14. Lightning
15. Palms
16. Palms
17. Trees
18. Trees
19. Bright Lights
20. Seal and Seagulls
'You've Come A Long Way Baby' wasn't just Fatboy Slim’s commercial peak – it solidified his status as a global dance music phenomenon. Released in 1998, the album arrived at a pivotal moment, pushing big beat, breakbeat energy, and witty, sample-heavy experimentation into an instantly recognisable, genre-defying sound. Tracks like 'The Rockafeller Skank', 'Praise You', and 'Right Here, Right Now' became international anthems, soundtracking a generation and propelling electronic music further into the mainstream.
Approaching three decades later, Norman Cook remains one of dance music’s most enduring and influential figures. From the iconic music videos and stadium-filling performances to recent festival appearances at Glastonbury, Coachella, and beyond, Fatboy Slim continues to bridge generations of fans with a catalogue that still feels euphoric, playful, and culturally vital. His influence can be heard across today’s electronic and crossover artists who draw on the same collision of dancefloor energy, crate-digging creativity, and pop immediacy that 'You've Come A Long Way Baby' perfected.
Approaching three decades later, Norman Cook remains one of dance music’s most enduring and influential figures. From the iconic music videos and stadium-filling performances to recent festival appearances at Glastonbury, Coachella, and beyond, Fatboy Slim continues to bridge generations of fans with a catalogue that still feels euphoric, playful, and culturally vital. His influence can be heard across today’s electronic and crossover artists who draw on the same collision of dancefloor energy, crate-digging creativity, and pop immediacy that 'You've Come A Long Way Baby' perfected.
TRACK LISTING
1. Right Here, Right Now
2. Rockafeller Skank
3. Fucking in Heaven
4. Gangster Trippin
5. Build It Up, Tear It Down
6. Kalifornia
7. Soul Surfing
8. You’re Not From Brighton
9. Praise You
10. Love Island
11. Acid 8000
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