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.

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

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

TRACK LISTING

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

'Flaming Pie' (1997) is widely regarded as one of Paul McCartney’s strongest late-career albums, reflecting a relaxed, confident return to classic songwriting. Featuring the breezy 'The World Tonight', the reflective, lush 'Young Boy', and the tender, Grammy-winning ballad 'Calico Skies', the album blends modern production with McCartney’s timeless melodic sensibility, drawing on rock, pop, and acoustic influences. 'Flaming Pie' reaffirmed McCartney’s relevance in the 1990s and was celebrated as a creative renewal that bridged his 60s legacy with contemporary audiences.

TRACK LISTING

1. The Song We Were Singing
2. The World Tonight
3. If You Wanna
4. Somedays
5. Young Boy
6. Calico Skies
7. Flaming Pie
8. Heaven On A Sunday
9. Used To Be Bad
10. Souvenir
11. Little Willow
12. Really Love You
13. Beautiful Night
14. Great Day

Essex punk duo The Meffs return with their second album 'Business', following their 2024 release 'What a Life'. After a huge 2025 touring with major acts, selling out shows across the UK and Europe, and playing festivals like Glastonbury, 2000 Trees and Download, Lily (vocals/guitar) and Lewis (drums) headed into the studio with producer Dan Weller to create 11 of their most intense and politically charged tracks yet. Blending frantic punk energy with sharp commentary on the music industry and modern life, 'Business' captures the raw sound of their live shows while showcasing the band’s anger, vulnerability and refusal to be pigeonholed.

TRACK LISTING

1. Dreamin'
2. What A Nightmare
3. Where Did It All Go Wrong?
4. Business
5. Law
6. Fight
7. Disorder (Wake Up)
8. Love To Lose
9. So Modern (Keep Up)
10. God Complex
11. Like Gravity

Southpaw FLHC, who bridge the gap between the old and new generations of hardcore with elements of punk, metal and hip hop, crashed the scene with their debut, self-titled EP, released in 2020. They haven’t taken a breath since, releasing seven singles with accompanying music videos.

Clearly, their DIY ethic is strong, as the band has also consistently hit the road — and hard. They've shared stages with and toured alongside With Blood Comes Cleansing, Tracheotomy, Bodysnatcher, Surfaced, and Hoods, inciting furious moshpits in every city they played. In 2025, they embarked on a headline run with Cutthroats, Kind Eyes, Unvow, and Resistor. Their hometown roots run deep as marrow, as evidenced by the fact that they headline and packed the first-ever show at a brand new venue called HARDLOVE in Jacksonville. Southpaw FLHC ain’t playing and they've established themselves as an up and comer in the hardcore scene.

This is only the beginning. Their worldwide partnership with Spinefarm will allow them to ascend to the next level — because that is where they are ultimately headed. The band will drop its first-ever full-length in 2026 and it will serve as a definitive moment in Southpaw FLHC's history. It will be their heaviest material to date and serve as a statement of self-empowerment, pushing through struggle, perseverance, and building a legacy that speaks to all walks of life. 

TRACK LISTING

1. Rolling Stone
2. Run Game
3. TTG
4. Nail In The Coffin
5. The Gavel
6. Torches
7. The Path (ft. Eric Ellis)
8. Play The Fool
9. The Standard
10. DTWD 

From the Costa-shortlisted author of I'm Not With The Band, a collection of interviews with the weird and wonderful musicians who defined an iconic era Whatever happened to the weirdos? The rock'n'roll rebels? The children of The Revolution who not so much raged against The Man as barely acknowledged the concept of authority?Sylvia Patterson remembers them. The freaks, geeks and oddballs who picked up microphones and instruments not to become rich or famous but because they were too mad (or unemployable) to do anything else. I'm Not With The Man is the flipside to Sylvia's award-winning memoir I'm Not With The Band, celebrating the era of 'the rock 'n' roll nutter' through her own encounters with some of music's most uncompromising mavericks.

From a cursing Adam Ant to a formidable Chrissie Hynde, from a carousing Liam Gallagher to a coruscating Sinead O'Connor, from a comedy Wu Tang Clan to an unrepentant Marianne Faithfull, and many, many more. Hilarious, revealing and poignant, I'm Not With The Man heralds a farewell fanfare to the heroically unhinged, those who lived on the edge of not only society but their own precarious sanity. We will not see their like again.

We can't resist the carefully fused and treated sounds of The Reflex who shows his class again here with more multitrack remixes that bring vintage grooves bang up top date without stripping them of their seasoned charms. 'Cherry Dub' is packed with big riffs and well known vocal-hooks but is dubbed out top perfection with screeching guitar solos destined to send dancers wild. The flip side is a more warm and breezy roller for sunny days and cocktail sessions, again with an iconic vocal and top line adding that familiarity that always unites dancers.

TRACK LISTING

Cherry Dub
Love Look

Justin K Broadrick (GODFLESH) and Mick Harris (Napalm Death) drop militant, hard techno on split LP. New album doubles the track count (and runtime) of the duo's last collab.

Stalwart Birmingham, UK innovators Justin K Broadrick and Mick Harris have connected again as JK Flesh and Monrella to deliver the warehouse-destroying hard techno LP 'Shouting The Odds', five years after their last EP, 'See Red'.

Featuring four tracks from each artist, 'Shouting The Odds' invokes both the feeling of listening to late night pirate radio and sweating in a darkened warehouse as the rafters shake, complete with the perfect amount of analog wow and flutter. Brimming with gnarled, unrelenting kicks hovering between 130–140bpm, the split format deftly showcases both artist's individual strengths, while displaying undeniable commonality.

Broadrick's side leans traditional hard techno, filled with mesmerizing, minimal synth arpeggios and contrasting toplines, all aligned and maligned by shrewd transitions. Harris' section presents more experimental and house influences, using bright, distorted synth hits and a touch of forlorn melody. The tracks take on a life of their own through expert use of filters and just the right amount of delay, stutter, and glitch.

Never before has an album filled with such shining, shimmering synths been so black and threatening. JK Flesh and Monrella have hard techno down to a science.

“No-nonsense old school flavoured techno bangers. We're flying the flag for outsider techno." - Justin K Broadrick

TRACK LISTING

1. JK Flesh - Conditional
2. JK Flesh - Transactional
3. JK Flesh - Disagreeable
4. JK Flesh - Used / User
5. Monrella - Night Before Rake
6. Monrella - Slightly Over
7. Monrella - Double Red
8. Monrella - Shelf

Featuring Dolly Parton, Vince Gill, Sam Bush, Jerry Douglas, Sierra Hull, Sarah Jarosz, Aoife O’Donovan, & more, 'The Fiddle and the Drum' brings together 5x Grammy winning soprano Renée Fleming and 19x Grammy-winning banjo virtuoso Béla Fleck for a celebration of Appalachian folk music.

Produced by Béla Fleck, the album mines a rich vein of America’s musical heritage, weaving the expressive depth of Fleming's voice with the brilliance of Fleck’s banjo, backed by an all-star bluegrass line up and special guests including Dolly Parton, Vince Gill, Mike Bub, Sam Bush, Jerry Douglas, Stuart Duncan, Sierra Hull, Sarah Jarosz, Aoife O’Donovan and Bryan Sutton.

Through mountain songs, haunting ballads, and folk hymns, 'The Fiddle and the Drum' honors the roots and emotional power of Appalachia, just in time for America’s 250th anniversary.

TRACK LISTING

1. He's Gone Away / Storms Are On the Ocean
2. In The Pines feat. Dolly Parton
3. The Fiddle and the Drum feat. Jerry Douglas
4. My Epitaph
5. The Scarlet Tide feat. Vince Gill
6. The Cuckoo feat. Jerry Douglas
7. Blackest Crow feat. Aoife O'Donovan
8. Scarlet Ribbons
9. he's gone away (reprise)

'Honesty Flowers' is the fourth studio album from Italian multi-instrumentalist Alessio Ferarri under the Upupayāma moniker - an epic double album. 'Honesty Flowers' finds Upupayāma's ever mind-blowing brew of organic psychedelic rock meets global grooves at its most percussive, lively and distorted. Equally hedonistic and heady, it courses through rhythmic funk grooves, doubled-down scorched fuzz riffing, winding motorik jams, tranquil drones and pastoral acid-folk across its seventy-minute runtime.

TRACK LISTING

1. Fliiim / Laliīmph
2. Gilded Meditations
3. Mystic Chords Of Memory
4. Oyob
5. In The Solstice Sun
6. Sound Mirrors
7. Mokushō
8. Old Sky, Wandering Clouds
9. Yuya
10. Baobab
11. Morning Temple

Editing is a specialist game that is easy to play but difficult to master. King Most is more adept than many, as he shows with a third outing here on his own KM label. This one finds him spreading his wings a little, flying away from r&b and hip-hop and migrating towards more worldly grooves with Afro and Latin undercurrents. 'Tony Trinidad' brings swirling guitar echo and coconut percussion to a crispy slow jam, then 'Hermanos Cub' pumps up the funk with blazing horns and vocals. There's lush polyrhythmic looseness and string melodies to 'Zimbabwe Thorn' and earthy disco charm to 'Bebe Cameroon' with its seductive vocal leads. Cultured cuts.

TRACK LISTING

Tony Trinidad
Hermanos Cuba
Zimbabwe Thorn
Bebe Cameroon

UK Balearic boss Pete Herbert has been dropping sounds inspired by his worldly travels for years and now gems from the last 20 years all make it on to this essential long player. These are all sounds for sunny spots, watery retreats and beach bliss-outs with Pete's signature touch everywhere. 'Back To Bahia' is a bubbly and loose house sound, 'Later That Night' has an edge that makes it suited for sundown dancing and 'South Seas' is a horizontal escape, while 'Legzira Sunrise' is dubby downtempo with tender chords that sink you in deep. This is the sort of record that elevates your collection with magical tunes for many different moments.

TRACK LISTING

Early One Evening
Dear Hector
Far Flung
Back To Bahia
Havana Landing
Later That Night
At Zuka
South Seas
Legzira Sunrise

Over the past twenty years Future Islands have travelled a rare arc, from promising newcomers to best-kept secret, from cult favourites to heroes of the genre. As they reach this remarkable milestone, they resist the obvious move. Instead of a ‘best-of’ compilation victory lap, Future Islands present 'From a Hole in the Floor to a Fountain of Youth' - an immediate and accessible collection – half of which has never appeared on streaming services – comprising alternate hits, rarities, and fan favourites that showcase the band’s palette and bring further colour to their uniquely universal appeal.

As the title suggests, this double-LP traces the group’s journey from humble origins toward ever-widening horizons. Twenty songs for twenty years, four members of the band, four sides of vinyl. Future Islands have always been more than a viral moment; their career contains extraordinary depth and nuance, often overshadowed by louder peaks. These songs reveal a band comfortable with subtlety, grace, and emotional endurance - and they have never sounded more eternal.

The songs were first gathered into a playlist by bass lynchpin William Cashion, who also chose the title - “I’ve always loved the imagery of that lyric,” he makes clear, “the hole in the floor is the everyday, but the fountain is the magic that happens when the life you dreamed about actually becomes the one you’re living. It’s the dream and the reality existing in the same room.” A well-known Tennessee Williams quote talks of this kind of duration - “time is the longest distance between two places.” It is time that really separates the floor from the fountain.

Yes, Future Islands can wow and dazzle, but this release is about something else, something understated and more profound. “This is for everyone who has carried these songs with them, from the first house parties to the rooms we’re playing today,” explains Cashion.

TRACK LISTING

1. The Ink Well
2. Pinnochio
3. Happiness of Being Twice
4. In the Fall
5. Awake and Dreaming
6. Virgo Distracts
7. Find Love
8. Cotton Flower
9. The Fountain
10. Tomorrow
11. One Day
12. The Chase
13. Calliope
14. Six Weeks
15. Haunted By You
16. Sail
17. As Long As You Are
18. Days
19. Rager
20. Glimpse

'Flirty Ghost' is an evocative LP by Rachel Kitchlew, a jazz and contemporary harpist known for pushing the boundaries of her instrument. A blend of jazz, ambient, and experimental sounds, the album was crafted in a spontaneous, deeply personal atmosphere, recorded late at night in the cozy, smoky setting of SFJ headquarters. Inspired by everything from Henry Mancini to Dorothy Ashby, this LP captures an eerie, playful essence, like a ‘flirty ghost’, while celebrating exploration and self-expression. The album holds emotional depth, particularly in tracks like ‘Truncate’ and ‘Cyclical’, which were recorded shortly after the passing of Rachel's grandmother, Sheila Horton, whose work is featured on the back cover. With the collaboration of close friends and talented musicians, ‘Flirty Ghost’ represents a new chapter for Rachel, marking a joyful departure from her solo harp work into a collective, experimental musical journey.

TRACK LISTING

1. Mammone
2. Panther Jam
3. Heady
4. Truncate
5. Cyclical
6. Opium Lounge
7. Leopard Slug
8. Heady Reprise 

Chart topping British singer-songwriter Maisie Peters returns with much anticipated third studio album ‘Florescence’, co-produced with 2x Grammy Winner Ian Fitchuck with collaborators including Marcus Mumford and Julia Michaels. 'Florescence' reflects on how the right love can help heal the wrong ones. It’s an album about perspective, self-realisation, healing, and ultimately, learning how to flourish. This lands as Maisie’s first new LP since she became the youngest solo British female artist in almost a decade to land a UK No.1 album with ‘The Good Witch’ back in 2023. Since then, she’s had the A-list co-signs via Phoebe Bridgers, Sam Smith and Olivia Rodrigo. She’s had a fiercely devoted fandom flock to headline tours around the world. And she’s played shows from Wembley Arena, to Glastonbury, to stadium slots with Taylor Swift and Coldplay.

“Florescence means ‘the process of flowering, of developing richly and fully’ and to me, this album describes exactly that. These 15 tracks depict a blossoming of myself from ages 23 to 25 and a blossoming of a true real love that anchors both me and this record. It tells the story of the last few long winters, with all of their villains and thorns, heartbreaks and rains, and it leads you, by the end, into a perfect English spring, into the hope and catharsis that comes when the first wildflower blooms. It’s a true representation of healing, of finding hope and peace and strength not just in somebody else, but in yourself. It is clear skies, cherry pits on the grass, windows flung open - it is Sussex country roads and London corner shop wine that leaves a stain when you kiss. It is the feeling of flying, then falling, then flying again. It is knowing that there was a point to all the sadness of before, and the point is the woman you see in this mirror now, and the person you see by her side. Love is weaved into every strand of every song on this album and for good reason - love is timeless, love is pure, love is organic and simple and effortless and real. I hope you find this album to be that as well.”

TRACK LISTING

1. Mary Janes
2. Audrey Hepburn
3. Say My Name In Your Sleep
4. Old Fashioned
5. Houses
6. Kingmaker (with Julia Michaels)
7. Vampire Time
8. My Regards
9. You You You
10. If You Let Me (with Marcus Mumford)
11. Flat Earther
12. Questions
13. Girl’s Just Flying
14. You Then Me Now
15. Nothing Like Being In Love

Released at the end of the initial period of Wire’s 3rd act – after Send and before the band’s post-Bruce Gilbert re-invention – Read & Burn 03 never quite got the attention it deserved. However the opening track 23 Years Too Late, with its tour narrative text and motorik rhythm stands as one of the band’s finest achievements of any era in the view of both core fans & the band (a rare point of agreement!)

The original EP, 3rd in the Read & Burn series and the one not compiled on to the Send album, was the last non-historic release by the original Wire line up of Colin Newman, Graham Lewis, Bruce Gilbert & Robert Grey and has never been properly released on vinyl.

The 2026 version brings the original 4 tracks and adds 3 more.

While some of the tracks originated as part of the 2021-2022 sessions that gave forth Send, others have a more storied history. 23 Years Too Late actually started life as a highly transformed cover of the 70’s Wire single Dot Dash – performed under the name Dip Flash as part of Iain Sinclair's London Orbital, a night at the Barbican London on 25th October 2022, celebrating London’s M25 motorway (AKA The Orbital). The never previously released piece in its original form is included as an additional track. Meanwhile Desert Diving actually started life as a version of the Chairs Missing track Heartbeat as performed live at the Garage, London during Wire’s series of concerts there in May 2000.

The original version of Our Time and an alternate mix of Desert Diving are the other additional tracks.

TRACK LISTING

1. 23 Years Too Late – original intro (9:44)
2. Our Time (4:33)
3. No Warning Given (5:26)
4. Desert Diving (5:31)
5. 23 Years Too Late (24 Years Later Edit) (3:17)
6. Our Time (original mix) (4:23)
7. Desert Diving (alt mix) (5:32)
8. Dip Flash (7:20)

Kendra Morris's 2025 board-game concept album 'Next' quickly became a fan favorite, toping several year-end lists and cementing it's place as one of the most creative album campaigns.

Now six months after the record's release, Karma Chief is thrilled you bring you a 45 featuring a fan-favorite tune from the record and a brand new dub remix.

'Flat Tire,' the album's announcement track, tips its hat to old reggae from the 60’s. Inspired by the records Kendra's parents would bring home from trips to Jamaica, the tune brings you a catchy, bouncy chorus you just can't get out of your head. 'Flat Tire' was recorded with all vintage gear and tracked through a Tascam 388. It also features Ray Jacildo, collaborator of The Back Keys, Yola, on piano and organ.

The B-side of the 45 features a dub remix of 'Flat Tire' by the one & only Paul Cherry. "As soon as we recorded 'Flat Tire,' Terry and I agreed immediately that there should be some sort of dub remix... the tune was made for that," Kendra says. Terry threw out Cherry's name and they agreed he was the man for the job. The final product perfectly echoes classic late 60s dub by building from of the basics of the song...stripping the production down further, playing up the reverb and adding echoes, pauses and delays in all the right places.

TRACK LISTING

A. Flat Tire
B. Flat Tire (Dub Mix)

White Flowers, the long-running collaboration between Joey Cobb and Katie Drew, exists within what they call “the realm” – a shared creative space, wherein time, rather than being a restrictive force, is fluid and boundless, and music exists as an endless conversation with their past and present selves. Adopting what the band describe as a “sketchbook” approach to writing, White Flowers is the product of a decade’s worth of recordings - snippets nestled away on hard drives, only to truly make sense years later.

On Dreams For Somebody Else, the band expand upon the dark-hued dream pop of their debut, this time channelling the catharsis of dance music via repetitive structures and “sad, euphoric sounds”: a mosaic of soaring choruses swirl around imposing arrays of synths, guitars, and percussion. Drawing inspiration from Annie Ernaux’s The Years, the album delves into themes of isolation, dissociation and identity. “The album has that same feeling of disassociating from your own life, because you’re just blending into everyone else”, the band explains. “There’s a sadness there, because it’s as if you’re looking back on things that happened to you, and they feel like they don’t belong to you anymore”. It’s the dull ache of nostalgia intertwined with a sense of wonder at what could lie ahead - the hopeful optimism and endless loss that defines the human experience. “It’s this idea of identity not being a fixed thing, but something that’s always changing. It’s a fluid thing, similar to time. Things aren’t really fixed, but rather in a constant state of change. It’s important to remember that we’re all going through that.”

TRACK LISTING

Side A
1. Spinning
2. Heaven
3. Backseat
4. Tear
5. Lamp

Side B
6. Heart Breaks
7. Visual
8. In The Sky
9. Dreams For Somebody Else
10. Thinking Of You

The message, the shareable essence, here, is light; it is the seed in the ground that becomes a plant and then a flower, blooming at its peak and then inevitably wilting so that the cycle can begin again; it is the quest for beauty in chaos, from which harmony is born to transcend it. On 'Volume III', Mathieu David Gagnon and his Flore Laurentienne return to celebrate the magnificence of the river and its floral and sylvan surroundings.

'Volume III' is also a more in-depth exploration of the arrangement of acoustic and synthetic elements that characterize Flore Laurentienne. Unlike the first three albums, most of the pieces were developed with the band members during residencies and concerts before being recorded, which enriched the compositions at a stage when they were still evolving. The band fuels the project and stimulates Gagnon's writing by advancing the sound of the project, nourishing it and allowing it to go further.

This new milestone also marks the end of a trilogy that began in 2019 with 'Volume I' – with the inherent and parallel aspiration of reaching a third volume in order to pay tribute to Volume 3, L'Infonie's (a Quebec cult collective that blended jazz, prog, art music, and poetry) first album. The latter did not influence Flore Laurentienne's music per se, but rather its conception of freedom in composition, combining classical and improvisation.

The progression of 'Volume III' is in line with the evolution of the project: while the first track, 'Fleurs', is similar to what 'Volume II' offered, '(À travers les) Chablis', the closing track, gives us a glimpse of what the next installment might sound like. It's an album to be enjoyed alongside its two predecessors, while also looking forward to the next step. Flore Laurentienne is constantly evolving, but from the beginning, the vision has remained the same: to create music that is alive, true, human, and uncompromising.

TRACK LISTING

1. Fleurs
2. Régate
3. Petit Matin
4. Le Temps
5. Fleuve VII
6. Fleuve VIII
7. Navigation VII
8. (À Travers Les) Chablis

Pink Floyd 'Live from the Los Angeles Sports Arena, April 26th, 1975' spotlights the band during their rapid ascent. 'The Dark Side of the Moon' had taken Pink Floyd from a hugely successful breakout British band to one of the biggest rock groups on the planet. Arenas and stadiums would now play host to their performances. The 'Wish You Were Here' Tour was announced in early March 1975, just one month prior to commencing. The shows instantly sold out and broke box office records, including that of the Los Angeles Sports Arena, which in a single day sold all of its 67,000 ticket allocation for the scheduled four-night run. An extra fifth show signalled a residency, and sold out within a matter of hours. The recording that lays the foundation of this historic release was created by the late bootlegger Mike “Mike the Mic” Millard, whose tapes from concerts across Los Angeles in the 1970s became renowned for their surprisingly clear sound quality. To conceal his recording equipment from venue security, Millard would often pretend to be disabled and arrive to concerts in a wheelchair. Many of Millard’s bootlegs were pressed onto vinyl unofficially, however he did not condone the sale of his recordings for profit. Pink Floyd’s penultimate concert at the Los Angeles Arena was no exception, remaining unreleased and unheard by all but a few audio trading collectors, until now. Meticulously restored and remastered by Steven Wilson, this is the definitive live recording of Pink Floyd’s 1975 tour. At the time of the Los Angeles Sports Arena shows, Pink Floyd were in a period of creative transition. While a new album had originally been expected earlier in 1975, the band embarked on their North American tour whilst still developing new material live, on stage. The performance opened with early versions of songs initially titled as ‘Raving and Drooling’ and ‘You’ve Got To Be Crazy’, later evolving into ‘Sheep’ and ‘Dogs’ which would feature on their tenth album, Animals. ‘Shine On You Crazy Diamond’ in its two parts bookended another new composition, ‘Have A Cigar’. Following these new compositions, the band performed 'The Dark Side of The Moon' in full, with ‘Echoes’ as an encore.

TRACK LISTING

1. Raving and Drooling (Live bootleg - Los Angeles Sports Arena, 1975)
2. You've Got To Be Crazy (Live bootleg - Los Angeles Sports Arena, 1975)
3. Shine On You Crazy Diamond (1-5) (Live bootleg - Los Angeles Sports Arena, 1975)
4. Have a Cigar (Live bootleg - Los Angeles Sports Arena, 1975)
5. Shine on You Crazy Diamond (6-9) (Live bootleg - Los Angeles Sports Arena, 1975)
6. Speak to Me (Live from the Los Angeles Sports Arena, 1975)
7. Breathe (In The Air) (Live from the Los Angeles Sports Arena, 1975)
8. On the Run (Live from the Los Angeles Sports Arena, 1975)
9. Time (Live from the Los Angeles Sports Arena, 1975)
10. The Great Gig in the Sky (Live from the Los Angeles Sports Arena, 1975)
11. Money (Live from the Los Angeles Sports Arena, 1975)
12. Us and Them (Live from the Los Angeles Sports Arena, 1975)
13. Any Colour You Like (Live from the Los Angeles Sports Arena, 1975)
14. Brain Damage (Live from the Los Angeles Sports Arena, 1975)
15. Eclipse (Live from the Los Angeles Sports Arena, 1975)
16. Echoes (Live from the Los Angeles Sports Arena, 1975)

Pleasure, shame, and survival often arrive tangled together, indistinguishable in the moment. 'Camgirl', from Crippling Alcoholism, takes that entanglement as its starting point. Rather than separating desire from damage, the record allows them to coexist, tracing a path through obsession, performance, and persistence without offering clean resolution.

'Camgirl' is the 2025 breakthrough album from Boston’s Crippling Alcoholism, a record that frames pop immediacy against obsession, endurance, and collapse. Built from ear-wormy hooks and abrasive noise rock textures, the album smuggles grotesque and confrontational subject matter into songs that remain deliberately melodic. Pleasure and revulsion blend throughout, with choruses that linger even as the lyrics refuse comfort.

Released on September 12, 2025, 'Camgirl' follows a loose narrative centered on a sex worker moving through cycles of exploitation and survival, treating intimacy as spectacle and visibility as threat. Songs flicker between desire and despair, confession and performance, flooded with artificial light. Despite its subject matter, the record resists nihilism. Its closing moments arrive quietly triumphant, not through escape or redemption, but through persistence itself.

Originally released on vinyl by Portrayal of Guilt Records, the first pressing of 'Camgirl' sold out quickly. The Flenser reissue makes the album widely available for the first time, reaffirming it as a defining statement from a band operating at the intersection of pop form, noise, and lived experience.

TRACK LISTING

1. Mr. Sentimental
2. Saran Wrapped Cash
3.LADIES' NIGHT (feat. Luxury Skin)
4. Pay Pigs
5. Bedrot
6. MONET
7. Pretty In Pink (feat. Luxury Skin)
8. Pliers (feat. Luxury Skin)
9. Screentime
10. I Have A Key To Your House
11. CAMGIRL
12. Sweet Talk (feat. Ameokama)
13. TARAVISTA (feat. Luxury Skin)
14. Mary Kate & Ashley
15. Despair (feat. Latter)

Nobody could have ever guessed the trajectory that hardcore would have taken back when this movement was first formed. And in the early 2000s, nobody would have guessed that a band like TERROR would still be one of the most influential bands in the subgenre, 24 years after their start. Their aggression, coupled with a love and appreciation for the scene that so many have come and gone from, or even forgotten altogether, has let them thrive- now unveiling their tenth full length record, 'STILL SUFFER'.

Originating from Los Angeles, California, during a time when hardcore needed a band to smash things back to center as the genre found itself falling off track, TERROR rushed in, immediately made their mark and never let go. Working with producer (and former guitarist) Todd Jones, the band created ten fast, aggressive, in-your-face tracks that embrace the themes that made TERROR so influential in the first place. Songs about self empowerment, survival and an unrelenting will to face challenges head on with the values and support found within these walls.

'STILL SUFFER' was rounded out with engineering and some additional production by Taylor Young at The Pit Recording Studio, mixing by Jon Markson, and mastering by Brad Boatright at Audiosiege, with additional vocal engineering by Jay Zubricky at GCR Audio, and drum engineering at Studio 606 by Taylor Young and Oliver Roman. Guest vocals on the album come from Jay Peta of Mindforce on 'Beauty in the Losses', Brody King of God's Hate and Dan Seely of King Nine on 'Deconstruct It', along with Hot Water Music's Chuck Ragan providing an assertive delivery on 'Fear The Panic', a song which was also co-produced by New Found Glory's Chad Gilbert.

From the start, TERROR has never turned their back on the things that made this band so vital since its inception. With the release of 'STILL SUFFER', it's clear that the band has no sign of letting up, continuing to succeed on their mission to deliver hardcore authentic to themselves and to show the world that this is much more than just music. This community and movement that nobody can truly put into words, is the exact place the energy comes from that fuels TERROR to continue to build and grow with 'STILL SUFFER'.

“Forever doesn’t change, you’re damaged just like me.”

TRACK LISTING

1. Erase You From My World
2. Still Suffer
3. Promised Only Lies
4. Destruction Of My Soul
5. Fear The Panic
6. Death Of Hope
7. Beauty In The Losses
8. A Deeper Struggle
9. To Hurt The Most
10. Deconstruct It

The first album of original music from Americana and dance music-obsessed English artists Flying Mojito Bros.

FMB has gained a growing US fanbase thanks to their unique style, dubbed Desert Disco and Outlaw House—a redefined Americana sound that moves from poolside vibes to the dancefloor. The album features a stellar lineup of artists including Scott Hirsch, Will Worden and Rob Chaney (plus more to be announced!) and has garnered support from influential figures like Diplo, Phish, Pretty Lights, BBC 6 Music, and KEXP.

Just Passing Through showcases FMB’s evolution, combining their signature re-edits and remixes with live band recordings. It’s a bold step in their journey, blending 1970s-inspired rock and electronic rhythms with collaborations from top musicians like Shawn Lee (Young Gun Silver Fox), Joe Harvey-Whyte (The Hanging Stars), and Joe Stoddart (ABBA Voyage).

This album marks a new chapter in FMB’s creative journey, capturing their exploration of redefined Americana and the cross-cultural rock exchange between the US and UK.

TRACK LISTING

A1. Area 54
A2. Wild Mountain Honey
A3. Take The Long Way
A4. New Mexico ‘76
A5. Just Passing Through
B1. Glitter
B2. Daniel’s Disco
B3. Catch Me
B4. Lost To The Desert
B5. Slow Train Fuego
B6. Thunder Exchange

The Small Faces’ legendary 1968 No.1 album 'Ogdens’ Nut Gone Flake' returns in stunning new editions. Lavishly recreated as a limited facsimile LP with half-speed mastering for richer, more dynamic sound. Features classic hits like 'Lazy Sunday' plus the iconic 'Happiness Stan' story concept. Definitive 3-CD set includes mono & stereo mixes and rare archive recordings from 1967–68 sessions. Released on Kenney Jones’ new Nice Records label, with premium packaging, artwork, and exclusive content.

TRACK LISTING

LP Tracklisting:
1. Ogdens` Nut Gone Flake
2. Afterglow
3. Long Agos And Worlds Apart
4. Rene
5. Song Of A Baker
6. Lazy Sunday
7. Happiness Stan
8. Rollin` Over
9. The Hungry Intruder
10. The Journey
11. Mad John
12. Happydaystoytown

CD Tracklisting:
CD1 - Ogdens' Nut Gone Flake (MONO):
1. Ogdens` Nut Gone Flake
2. Afterglow
3. Long Agos And Worlds Apart
4. Rene
5. Song Of A Baker
6. Lazy Sunday
7. Happiness Stan
8. Rollin` Over
9. The Hungry Intruder
10. The Journey
11. Mad John
12. Happydaystoytown

CD2 - Ogdens' Nut Gone Flake (STEREO):
1. Ogdens` Nut Gone Flake
2. Afterglow
3. Long Agos And Worlds Apart
4. Rene
5. Song Of A Baker
6. Lazy Sunday
7. Happiness Stan
8. Rollin` Over
9. The Hungry Intruder
10. The Journey
11. Mad John
12. Happydaystoytown

CD 3 - Outtakes & Rarities:
1. Ogdens’ Nut Gone Flake (early session version) (mono)
2. Afterglow (alternate USA mix) (stereo)
3. Long Agos And Worlds Apart (alternate USA mix) (stereo)
4. Rene, The Dockers Delight (early session version) (stereo)
5. Song Of A Baker (alternate USA mix) (stereo)
6. Lazy Sunday (alternate USA mix) (stereo)
7. Happiness Stan (backing track) (mono)
8. Bun In The Oven (early session mix) (mono)
9. The Fly (take 4 instrumental version) (stereo)
10. The Journey (single version) (mono)
11. Mad John (take 7 early session version) (stereo)
12. Mad John (single version) (mono)
13. HappyDaysToyTown (alternate USA mix) (stereo)
14. Kamikhazi (take 7 backing track) (mono)
15. Every Little Bit Hurts (early session mix) (mono)
16. (If You Think You’re) Groovy (backing track) (mono)
17. Afterglow Of Your Love (alternate single mix) (mono)
18. Ogdens’ Nut Gone Flake (alternate take phased mix) (stereo)

THIS IS A RECORD STORE DAY 2026 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 18TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM (BST) ON MONDAY APRIL 20th).

War Child - x2 Crystal Clear Transparent Bio LP Vinyl - Remastered and expanded gatefold x2 Clear LP pressing, features 7 bonus tracks never on vinyl before.

THIS IS A RECORD STORE DAY 2026 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 18TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM (BST) ON MONDAY APRIL 20th).

2026 Record Store Day Reprise of the 1968 album 'LIVE' by the 13th Floor Elevators. Panned at the time for being billed as "live" when in fact it was a compilation of previously recorded studio masters, outtakes and alternate mixes. The "very loud" crowd noise was overdubbed and was actually taken from a boxing match and wholly inappropriate for the purpose. Now, almost 60 years on, the album masters are available, in their original sequence, without the crowd noise, to be enjoyed in their full psychedelic splendor. Includes a pull-out giant 6-panel souvenir poster.

THIS IS A RECORD STORE DAY 2026 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 18TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM (BST) ON MONDAY APRIL 20th).

Indian psych-rock pioneers The Flintstones - Rhett May and Clayton Saunders, who both grew up in Calcutta orphanages - helped ignite India’s underground psych scene. Their rare, earliest single, "Happy By My Side / Be Mine" (1968), was originally released on EMI India and is now signed to the underground Seelie Court label. This sunny, whimsical, and slightly eccentric 7” will return for Record Store Day 2026 as a facsimile edition, complete with the original psychedelic picture sleeve - the only surviving copy. Super rare and out of print for six decades.

THIS IS A RECORD STORE DAY 2026 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 18TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM (BST) ON MONDAY APRIL 20th).

After being out of print for over a decade, we present the long-awaited 20 year anniversary vinyl repress of Flying Lotus’ classic debut album — a record that defined the emerging LA beat scene and Flying Lotus as its talismanic figurehead. This RSD LP edition includes remastered audio by Daddy Kev; a brand new sleeve design incorporating a sleek, metallic mirriboard sleeve with emboss detailing and exclusive colored vinyl. Digital re-release coming out Friday April 17th in an effort to promote the RSD release.

THIS IS A RECORD STORE DAY 2026 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 18TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM (BST) ON MONDAY APRIL 20th).

Pink Floyd Live From the Los Angeles Sports Arena, April 26th, 1975 contains 16 live recordings captured by the renowned bootlegger Mike Millard at the band’s legendary Los Angeles Sports Arena concert on April 26th, 1975. The audio has been lovingly restored and remastered by acclaimed producer and musician Steven Wilson. This Record Store Day exclusive vinyl version includes 4 LPs printed on clear vinyl.

THIS IS A RECORD STORE DAY 2026 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 18TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM (BST) ON MONDAY APRIL 20th).

Two stone-cold hip hop greats brought together on vinyl for the very first time. This special 12" release features the Dub mixes of 'Rapper's Delight' and 'The Message' on limited edition colour vinyl.

THIS IS A RECORD STORE DAY 2026 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 18TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM (BST) ON MONDAY APRIL 20th).

Brand new collection of ten recently unearthed and previously unrelased demo recordings from the debut album by Bat for Lashes, 'Fur and Gold', which celebrates its 20th anniversary in 2026.

THIS IS A RECORD STORE DAY 2026 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 18TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM (BST) ON MONDAY APRIL 20th).

Celebrate Alison Goldfrapp’s Top 15 album Flux
with this strictly Limited Edition deluxe vinyl release. Pressed here on a never-before-available physical format, and with no future repress planned, this edition is a true collectible for fans and archivists alike.

Created for RSD, this exclusive 16-track edition is pressed on lilac 12" vinyl and features a brand-new sleeve image unique to this release. Six of the tracks make their physical-format debut, making this the most immersive version of Flux ever offered.

THIS IS A RECORD STORE DAY 2026 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 18TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM (BST) ON MONDAY APRIL 20th).

Remastered from the original BYG Records tapes and cut for the first time ever at half-speed at the UK’s world-famous Stardelta Studios by Grammy Award–winning mastering engineer Lewis Hopkin, this exclusive RSD 2026 edition features a deluxe gatefold sleeve, archival artwork, and a 16-page booklet exploring the storytelling and mythology of the beloved Radio Gnome Invisible saga. Released under BYG Records - the original label that recorded the album before licensing it to Virgin - this definitive deluxe reissue delivers the best sound quality Flying Teapot has ever had: a true cosmic upgrade for Gong’s mind-bending masterpiece. Originally unleashed in 1973, Flying Teapot kicked off the eccentric Radio Gnome Invisible trilogy, introducing the wild, otherworldly universe of Gong. Here reside the Pot Head Pixies, space-faring creatures who ride interstellar teapots and transmit transcendent messages via Radio Gnome Invisible. At its core, the album is a surreal fusion of psychedelia, jazz improvisation, and anarchic humour, propelled by Daevid Allen’s visionary madness. Featuring the cult anthems “Radio Gnome Invisible,” “Flying Teapot,” and “Zero the Hero,” this edition resurrects Gong’s signature blend of absurdity and brilliance - now with stunning clarity that reveals every swirl of synth, every playful whisper, every glimmer of cosmic chaos. Half-speed mastered. Fully teapot-powered. Out exclusively for Record Store Day 2026.

THIS IS A RECORD STORE DAY 2026 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 18TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM (BST) ON MONDAY APRIL 20th).

Recorded in Dublin for a special televised event, 'Flicker Featuring The RTÉ Concert Orchestra (Live)' features fan favourites from Niall's multi-platinum debut album 'Flicker' including “This Town,” “Too Much to Ask,” “Fire Away,” and “Flicker,” reimagined with full symphonic accompaniment. Originally released in 2018, this marks the first time this live orchestral collection has been made available on vinyl, pressed on exclusive moonlight grey LP.

THIS IS A RECORD STORE DAY 2026 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 18TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM (BST) ON MONDAY APRIL 20th).

Ultra Clear Bio LP Vinyl - A first ever colour pressing for the sixth and final studio album by the Walker Brothers, initially released in July 1978, which has been cut to lacquer from the original ¼ inch master tapes. The last of their three albums issued on GTO Records, unlike its predecessors it was made up entirely of original songs and, though it was largely ignored by the public upon release, it has long since been reappraised as something of a lost classic. Indeed, the four tracks written by Scott Walker on side one are now widely regarded as some of his finest compositions, foreshadowing his re-emergence as an avant-garde artist in the mid-80s and influencing the work of Japan, Radiohead, Pulp and others. The experimental, string-laden single ‘The
Electrician’ is particularly noteworthy; a remarkable piece that Midge Ure has claimed was the inspiration for the Ultravox smash ‘Vienna’. And while Davie Bowie’s Heroes (1977) was brought to the studio by Scott as a creative reference, Bowie was equally taken by Nite Flights, listening to it while creating The Lodger (1979) and covering the title track in 1993 for his Black Tie White Noise album. 30 years after its release, UNCUT scribe Chris Roberts called Nite Flights, “one of the most important works of its time", praising the synergy of the trio’s individual styles. Though they worked independently, the album has a coherence that belies the fact it even the band members described it as more like three miniature solo efforts than a true group album.

THIS IS A RECORD STORE DAY 2026 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 18TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM (BST) ON MONDAY APRIL 20th).

The all-star indie rock tribute to the legendary music of Fleetwood Mac is making its vinyl debut! The album features bands and artists such as HAIM, MGMT, Tame Impala put their signature sound to Fleetwood Mac classics of all eras of the band, including “Dreams,” “Rhiannon,” “Landslide,” and more. This limited edition 2-LP set has been pressed on translucent sea blue vinyl exclusively for Record Store Day.

'Generic Flipper', the debut album by Flipper, remains the most absorbing full-length LP to emerge from the early San Francisco punk scene. A constant source of imitation for so-called “noise rock” bands, it has yet to be surpassed in its nihilistic glee.

Recorded between October 1980 and August 1981 and released in 1982 on the indispensable Subterranean Records, this album functions as a chaotic, sticky mass of individual personalities: the magma-like bass eruptions and dual vocals of Will Shatter and Bruce Loose, Ted Falconi’s icy guitar scraping and the relentless beat of drummer Steve DePace. At times playful and taciturn, paranoid and absurd, Generic charts a deliberate path that willfully chances destruction.

In early ’80s punk, when the hardening default was “faster-shorter-louder,” Generic subverts the nascent hardcore scene with a strictly applied regimen of turgid-slowerheavier. The lyrics are bleak, yet unnervingly beautiful. 'Ever' sets the tone with trademark restraint—“Ever wish the human race didn’t exist? And then realize you’re one too?”—while closer 'Sex Bomb' is a churning, 8-minute epic with looping bass, saxophone accompaniment and electronic effects of dropping bombs.

Tons of indie bands have attempted to recreate Flipper’s mix of acidic guitar, metallic bass sludge and sardonically brilliant lyricism, using the seemingly effortless template they pioneered; however, the effect usually drives listeners right back to Generic. While most of their contemporaries wilt under direct comparison, No Trend, the Butthole Surfers, feedtime and Church Police are a few who can stand the frigid heat.

TRACK LISTING

1. Ever
2. Life Is Cheap
3. Shed No Tears
4. I Saw You Shine
5. Way Of The World
6. Life
7. Nothing
8. Living For The Depression
9. Sex Bomb

There's a tendency in metal to mistake aggression for honesty, volume for depth. To confuse the performance of darkness with its actual weight. 'Hidden Fires Burn Hottest', the new album from San Francisco-based post-black metal band Bosse-de-Nage, sidesteps this entirely. It’s the group’s most fully realized work yet, precisely because it refuses to be pinned down.

Bosse-de-Nage have been working with The Flenser for over fifteen years. They were one of the first bands the label ever partnered with and have the longest active relationship in the label's history. But unlike most bands who build momentum through constant touring and visibility, Bosse-de-Nage has largely existed apart from the music world's usual machinery. They've evolved on their own terms, in relative isolation, allowing the work to develop without outside pressure or influence. What began rooted in black metal anonymity has mutated into something that actively defies categorization. The aggression is still there, but it's no longer the point.

'Hidden Fires Burn Hottest' finds the band treating emotions like physical objects, feelings with spatial properties. 'No Such Place' describes a space that can't exist but does anyway, somewhere between thought and location. 'Immortality Project' examines infinite possibility not as promise but as problem, endless options collapsing under their own weight. These songs don't use metaphor to describe emotion. They make emotion into something you could theoretically touch.

Tracked by Jack Shirley (Deafheaven, Oathbreaker) at Atomic Garden East and mixed and mastered by Richard Chowenhill of Agriculture, 'Hidden Fires Burn Hottest' was years in development, with some tracks beginning in 2018. The long writing process offered time that most records don't get. Time to live with ideas, revise endlessly, to let structures settle. For the first time, lyricist Bryan Manning wrote everything in advance, creating a surplus to pull from rather than working under deadline pressure. The difference shows.

Coming off 'Further Still', an album built on constraint and economy, Bosse-de-Nage sought the opposite: sprawl, strangeness, fewer rules. Space for ideas to develop without rushing them. Dynamics that move through quiet as much as noise. Presence earned through atmosphere instead of volume. The record even includes 'Mementos', which might be considered the first love song the band has ever written.

Nothing here coheres into a theme. These are pieces pulled from low moments and private feelings made public through sound. The band has never been interested in positivity, in music that resolves cleanly or offers comfort. But bleakness doesn't mean humorlessness. There's something darkly funny running through much of it, even when it shouldn't be.

'Hidden Fires Burn Hottest' doesn't explain itself. It just insists: what you feel is as real as what you can see.

TRACK LISTING

1.Where To Now?
2. Mementos
3. In The Name Of The Moth
4. With A Shrug
5. No Such Place
6. Triangular Dream
7. Underwater
8. Frenzy
9. Immortality Project
10. Leviathan

Carve is the second full-length by Bay Area artist Kathryn Mohr. Written over the course of five years and recorded over several weeks in a rural singlewide in the Mojave Desert, the album centers on love experienced as a form of grief, not as an aftermath of loss, but as a condition of intimacy itself. Mohr describes Carve as an album about how memory exists outside the body, embedded in places and landscapes. It is shaped by her first return to the American Southwest since a childhood road trip at age five, and by the experience of moving through terrain that holds emotional weight long after its origins fade. The record considers how intimacy feels after years of isolation, and what it takes to carve out a life that allows for trust, presence, and feeling rather than mere survival. The project took form after a difficult tour that ended in Joshua Tree. Mohr pointed her car into the desert and drove alone, crisscrossing the Mojave on dirt roads. Months later, she returned to record the album, working alone with an acoustic guitar, a field recorder, and limited supplies. Following that period, Mohr began to allow for intimacy and connection. The time she spent recording Carve in the desert did not create isolation so much as mirror it. Working alone out of an old, western-themed jail Airbnb, the physical enclosure reflected the emotional conditions under which much of the record had been written: distance, restraint, and long stretches of stillness. In that context, love was not experienced as escape, but as something inseparable from impermanence and the awareness of loss. This tension between connection and inevitability sits at the center of Carve. Some of the album’s songs were written earlier, during a prolonged period marked by emotional distance and apathy. Over those four years, Mohr was working through unprocessed childhood memories and their long-term effects on her ability to connect with others. The work was slow and difficult, involving a fundamental reshaping of how she related to herself and to the world. Carve was mixed by Richard Chowenhill of Flenser labelmates Agriculture. Rather than offering resolution, the album documents the act of remaining present within tension. Carve is not about escaping grief, but about accepting it as inseparable from love itself. Kathryn Mohr’s previous effort “Waiting Room” received the coveted ‘Best New Music' designation and a score of 8.4 from Pitchfork.

TRACK LISTING

1 Bone Infection
2 Doorway
3 Angle Of Repose
4 Commit
5 Property
6 I Do
7 Idiocy
8 Owner
9 Cells
10 Chromium 6
11 Trouble Me
12 Crow Eyes

Across its pulsing repetitions and shifting emotional landscapes, the record explores the tension between the eternal and the transient – a reflection of the contradictions shaping contemporary life. Progress and exhaustion, community and isolation, being overwhelmed and longing for rest. The band treats music as a space where opposites meet: euphoria and melancholy, healing and excess, closeness and distance. More than an album, 'immer für immer' is described by the band "as a ritual against the feeling of being lost", carrying within it moments of grief, anger, desperation and the everyday struggles that accumulate at the edges of modern existence.Sonically, the album occupies a world where motorik rhythms, experimental instincts and pop sensibility intertwine. Elements of krautrock, post-punk, shoegaze, ambient and electronica dissolve into one another, further refining the group’s distinctive sound – one that resists easy categorisation but remains entirely their own.

The six-piece – Atom Parks (vocals), Valentin Bringmann (guitar), Henrik Rohde (guitar), Sebastian Derksen (guitar/synth), Sascha Neubert (bass) and Timo Lexau (drums) – are based in Leipzig, Germany and known for generating moments of intensity, energy and communion through their performances. As the band describes it: “We make music to find stability in chaos, defining our own space within the dimensions. It’s new and different every time we enter.” 'immer für immer' emerged through the group’s intuitive, non-hierarchical process of live improvisation. Every song grew from moments created in real time, a method they also applied to their previous albums – their self-titled debut, written entirely on tour, and 'ZWEI', a concept record inspired by the children’s game 'telephone' and recorded in a church. For Flying Moon In Space, creativity is not about chasing perfect sounds but capturing flashes of meaning, those rare moments in which something unfamiliar and deeply felt appears. To create the new album, the band spent ten days at Kinett, a former cinema in Kusel that has evolved into an international hotspot for forward-thinking music. Its atmosphere, history and resonant acoustics played a decisive role in shaping the sound. Within this unusual space, Flying Moon In Space found the ideal environment to expand their sonic universe – a place where the eternal and the fleeting could finally meet.

TRACK LISTING

1. Barbarian
2. Drifter
3. All Thats Love
4. We Come In Peace
5. Where Are You
6. Each Moment Of Your Past
7. Again + Again
8. Zx473-A
9. -270°

'Gone Down Meadowland' is the much-anticipated debut album release from Norwich, UK psych outfit Floral Image, via the renowned Fuzz Club. More than ever, the band wanted to produce a brand of East-Coast psychedelia that reflected the natural lusciousness and glorious solitude of the immediate world around them. Over 30 songs were conjured, considered and arranged before being whittled down to a final 10 that epitomise what they do best - ten tracks of vivid hue, harnessed live power, all laced together in fluid lyrical harmonies. Taking inspiration from band favourites Woods, KGLW, Stereolab, among many others, a string of at-home recording sessions commenced over a 6-week period across the summer of 2024.

TRACK LISTING

1. Meadowland
2. The Dream
3. Burning 305
4. Call Up The Doctor
5. The Score
6. Boogietown
7. Tiergarten
8. Howling Dog Song
9. Twist Of A Nerve
10. Sun For Hire

You've just ordered Pizza Hut and a 2L Mountain Dew. You've loaded up RuneScape on your PC. No school tomorrow. Your parents don't care if you stay up all night long. A perfect Summer night.

You are 31 years old. The year is 2026.

TRACK LISTING

1. In Fine Fettle
2. An Orb In The Sky (Sends The Orks Awry)
3. Skylark Summit
4. The Wolf At The Edge Of The World
5. Puffin Song
6. Lift Thissen
7. Great Grinding Staircase
8. Beast Beyond Belief
9. Swords For All
10. The Meadow Bends (Pt. I)
11. The Meadow Bends (Pt. II)
12. Skies Over Isafdar
13. Street Of The Holy Field

Auntie Flo delivers two extended versions of Costa Rica based singer-songwriter Doe Paoro. If you liked Auntie Flo's 'Green City', check these...

Doe Paoro approached Brian d’Souza aka Auntie Flo to do a remix for her album 'Living Through Collapse' last year. He loved the parts she sent so much he asked her if he could do two remixes, press onto vinyl and release via A State Of Flo.

"Teach Us Of Endings" sees a classic Balearic groove, gloriously uplifting disco-style strings and complete with Green City-style drum rolls and a killer Ziggy Funk bass line, just wait for those strings to come in = bliss.

"Maya" is exotic, deep and hypnotic. Centred around a Ziggy Funk groove with analogue washes and Midle Eastern sounding instrumentation.

A State of Flo supports Earth Percent. 10% of the revenue generated from this release will be paid to environmental charities

Support from Colleen ‘Cosmo’ Murphy, Luke Una, Dar Disku, Paula Tape, Sean Johnston, Gabriels, Batida etc

STAFF COMMENTS

Matt says: Tropical house overlord Auntie Flo returns with some high grade extensions (no not the kind that pop up on your Instagram feed!). Doe Paoro's enchanted strings and mallets get elevated to a higher level of revelry through 'Flo's deft touch.

TRACK LISTING

A1.  Teach Us Of Endings (Auntie Flo Extended 12” Version)
B1.  Maya (Auntie Flo Extended 12” Version)

After a nearly five-decade (and counting) career as one of his generation’s defining rock bassists, Flea releases his first full-length solo album, 'Honora', on Nonesuch Records. Time and space have finally allowed him to return to his first musical loves: jazz and playing the trumpet. The album features the track ‘Traffic Lights’, co-written with Thom Yorke and Josh Johnson, as well as the previously released ‘A Plea’.

For 'Honora', which takes its name from a beloved family member, Flea composed and arranged the music, and also plays trumpet and bass throughout, joined by an elite crew of modern jazz visionaries: album producer and saxophonist Josh Johnson, guitarist Jeff Parker, bassist Anna Butterss, and drummer Deantoni Parks. The record features vocals from Flea, as well as friends Thom Yorke and Nick Cave. Mauro Refosco (David Byrne, Atoms for Peace) and Nate Walcott (Bright Eyes), among others, also join the band. The album comprises six original songs – including one co-written by Flea, Johnson, and Yorke – as well as interpretations of tunes by George Clinton and Eddie Hazel, Jimmy Webb, Frank Ocean and Shea Taylor, and Ann Ronell.

“Deantoni and I played what became ‘Traffic Lights’ the first day,” Flea explains. “Something about it reminded me of Atoms for Peace, so I sent it to Thom. Just knowing him, I thought it would be a rhythm and a sensibility that he would relate to. And I was right, he did. With a gorgeous melody and the words, you know, about living in the ‘upside down’ and how do you make sense of things when we’re getting all this fake shit and real shit? Everyone has their ways of dealing with the world. But he’s just the warmest, free flowing, jamming motherf*cker.”

Best known as a founding member and bassist for the Red Hot Chili Peppers, Flea was first introduced to live jazz as a child, when family friends played the music together in his own living room. “It was the greatest thing I ever saw,” he recalls. “The wildness, warmth and we of it. Straight Bebop. Boom. I knew there were higher things on this earth, way above the pettiness that had left me disheartened. The holy trifecta of my life, music, sports and nature was complete.”

Though he dreamed of being like his heroes Dizzy Gillespie, Miles Davis, and Clifford Brown, Flea’s path went a different direction: His close friend Hillel Slovak asked him to pick up the bass and join his rock band when he was sixteen, leading Flea into a decades-long career with the hugely successful Chili Peppers.

But late one night in 1991, in the midst of that band’s ascent, Flea was acting in the now-classic Gus Van Sant film My Own Private Idaho when he shared with a friend, “I want to make an instrumental record with deep hypnotic grooves, trippy melodies layered on top, meditations on a groove.” The caveat was that he first needed to get his trumpet-playing together.

As Flea neared his sixtieth birthday, he realized if he did not pick up the trumpet again, he probably never would. So he resolved to practice every day for two years–in the midst of a stadium tour with Red Hot Chili Peppers, with a wife and newborn at home. At the end of those two years, he would make an album, regardless of where his knowledge or talents ended up.

Until 'Honora', Flea had never been scared of making music before. He worried that the all-star band he had assembled would think he was “a non-playing motherf*cker, charlatan, rock poseur or fan.” But, he says, “It turns out they were all the most genuinely supportive people, moving me deeply and daily with their generous spirits… Sitting in a room and playing the music with them made me feel like I was on drugs. I was buzzing, tripping and floating around the studio. I love them, they truly gave of themselves. I bow all the way down.”

STAFF COMMENTS

Barry says: Well, this isn't what I was expecting. I knew Flea was a fan of the ol' jazz, and i'm obviously aware he's a very proficient bassist, but I didn't quite expect this level of spiritual groove and soaring chill. It's a testament to Flea's skill and a suprise honestly that if he's got this in the talk, it hasn't come out earlier. It's lovely.

TRACK LISTING

1. Golden Wingship
2. A Plea
3. Traffic Lights
4. Frailed
5. Morning Cry
6. Maggot Brain
7. Wichita Lineman
8. Thinkin Bout You
9. Willow Weep For Me
10. Free As I Want To Be

In 'Osni the Flare', the second chapter of Tristan Allen’s mythic trilogy, finds the composer, producer, and puppeteer following a mortal’s transformation into deity through the discovery of fire. Recorded over four years using wordless vocals, organs, ocarinas, an arsenal of toy instruments, and intricate sound design, 'Osni the Flare' unfolds the origins of flame and temporality across four sonically and visually compelling acts. Weaving a creation myth that shifts between beauty, shadow, and wistful embers, Allen provides a portal to meticulously crafted, emotionally potent sound and story that echo through a fantastical realm.

Born in Saratoga Springs, New York, with early childhood memories from his family’s tenure in Japan, Allen’s path wound through formative encounters including teacher Andy Iorio, who encouraged improvisational techniques in the young musician’s burgeoning interest and prowess at the piano, and Amanda Palmer, who discovered them at 16 during a Berklee summer program and crowdfunded their first release. After studying piano at Berklee, co-founding the live-electronics collective Nue, touring China with metal band Dent, and releasing two solo-piano EPs, Allen fled Boston for Brooklyn in 2018.

A Craigslist ad led to puppetry training under Mike Leach, who spent six months teaching them to properly walk a marionette, leading to a position as a performer at the vaunted Puppetworks Theater. This rigorous work, combined with exposure to their father’s Bread and Puppet Theater artifacts and Balinese shadow puppetry, led Allen to their creative practice: composing for acoustic instruments, arranging electronically, and performing through puppetry.

'Osni the Flare' traces a creation myth following the titular character who awakens in a garden and picks apples from a tree. Beckoned by a Loon, Osni sets forth to safeguard the tree from winter’s chill. When the Loon is devoured by a Dragon, Osni ventures into its belly and discovers embers. In offering these embers to the tree, it catches flame—the origin of fire itself. Iso, god of the sea, intervenes with a flood that drowns Osni’s garden. In death, Osni’s soul enters the shadow realm to join Tin and Iso, becoming the deity of fire—'Osni the Flare'.

The album sounds more human and childlike than its predecessor, 'Tin Iso and The Dawn', shifting from the overseer perspective of deities to follow the first mortal character in Allen’s world. Underpinned by new love, the project channels feelings into music that becomes an enchantment all its own. Like Tin Iso, the album opens and closes with piano as a portal representing home, as Osni embarks across three realms: the land of the living, the in-between, and the beyond.

Recorded almost entirely with an Aston condenser mic in Allen’s Brooklyn apartment overlooking the Cypress Hills Cemetery, 'Osni the Flare' was built from toy piano and flutes, ocarinas, harmonium, pump organ, electric and upright bass, gadgets, and extensive collections of music boxes and bells. The vocal melody— inspired by partner Virginia Garcia Ruiz’s humming evoking Pan’s Labyrinth—was Allen’s first foray into voice, using wordless melody to allow listeners to remain protagonists. Flutes were meticulously recorded note by note from Balinese sulings, Chinese souvenir shop finds, and bird-shaped ocarinas. Music boxes were wound slowly, sampled individually, then rearranged and tuned to double Virginia’s humming. A dying Casio SK-1 with a blown-out speaker is paired with a harmonium to form chordal textures.

TRACK LISTING

1. Osni Opening
2. Act I: Garden
3. Act I: Loon
4. Act II: Dragon
5. Act II: Pyre
6. Act III: Umbra
7. Act III: Rite
8. Act IV: Flood
9. Act IV: Everglow
10. Osni Closing

Pan American, the musical project of Mark Nelson, returns with the new album 'Fly The Ocean In A Silver Plane'. 

“The music on this record is a reflection of journeys and travel. The real world kind and the metaphorical ones as well. Having experienced the arrival of my children, the decline and departure of my parents, and the many years of venturing out and returning home in my own life, travel feels like the perfect tropology to consider the mysteries we inhabit. Travel and its impressions, rituals, superstitions—the possibilities and risk-all open up onto the landscape of our biggest questions, fear and wonder.

“Two songs established the spine of this music. Songs I’ve always loved, it seems even before I’d heard them. The first one, and the source of the title is ‘You Belong to Me’ by Jo Stafford. Colonial overtones unmissable to our modern ears aside, it’s also a beautiful mid century romance—and an ode to the threat of a shrinking world. The song represents the loneliness and the mystery of being alone and left behind. The singer is not asking their loved one to shut down horizons, merely reminding them to return when the traveling is done. To set aside The Silver Plane of transition, change and the in-between for the intimacy of solid earth.

“The second song is ‘Promised Land’ by Chuck Berry. Also about a journey and another one that moves easily between allegory and narrative. The singer is on the move across segregated America trying to get to the promised land of California. The song is both a tall tale that evokes Mark Twain, and an American epic that can keep good company with Herman Melville. When the hero finally makes it to California, his first instinct is to call home and reassure the Old World that he’s safely arrived in the new one.

“The songs on Fly the Ocean in a Silver Plane were recorded at home over the last couple years. I played electric guitar, rubber bridge acoustic guitar, Ableton Live and an Electron Digitone synth. My friend Mallory Linnehan aka Chelsea Bridge contributed beautiful violin and vocals to a couple of the songs. We recorded those performances on a summer afternoon in Chicago at the Not Not space with the windows open.

“The cover is a photo of my mom—one I never saw when she was alive. With the headscarf and that excited, nervous expression, she looks about to embark on a journey. Ready, finally, to cross the tarmac and board the Silver Plane. “Wishing safe travels to all.” — Mark N / Pan•American

TRACK LISTING

1. SILVER PLANE, NOW BOARDING
2. DEATH CLEANING
3. ENTRANCE TO THE AFTERLIFE
4. DESERT UNDER BRIDGE
5. HEAVEN'S WAITING ROOM
6. SILVER TRAMWAY (IN SNOW)
7. HONEYMAN-SCOTT
8. TAXI TO THE TERMINAL GATE
9. A WINDOW IN THE STRINGS
10. GOLDEN GATE, SILVER CITY

Madonna’s 'Confessions on a Dance Floor' is not only one of the most celebrated albums of the 21st century but continues to be an influential reference within pop and dance music. Originally released in 2005, the record features 12 seamless club tracks including the global hits 'Hung Up', 'Sorry', 'Jump' and the deep cut favorite 'Get Together'. For the first time, the full continuous mix has been pressed on 2LP silver vinyl and carefully adapted to its groundbreaking technical specifications, while preserving the album's club flow as Madonna originally intended. The dance floor is calling, no time to hesitate.

TRACK LISTING

1. Hung Up
2. Get Together
3. Sorry
4. Future Lovers
5. I Love New York
6. Let It Will Be
7. Forbidden Love
8. Jump
9. How High
10. Isaac
11. Push
12. Like It Or Not

'Lush Life' is the Sonar Kollektiv debut EP by German singer, songwriter and multi-instrumentalist Flo Naegeli.

Originally hailing from the Bavarian forests of southeastern Germany, Naegeli began his musical journey at the age of seven as a folk accordionist, later switching to electric guitar and developing a disciplined approach to songwriting and musicianship that led to formal music studies and a professional career. After moving to eastern Germany, he gradually stepped away from band projects to focus on solo work, embracing self-production tools to realise a sound that blends soulful songwriting with warm, organic instrumentation.

Written and largely recorded by Naegeli himself, 'Lush Life' is a deeply personal yet accessible collection of songs reflecting on fatherhood, family relationships and friendship.

Tracks such as 'Love By The Hour' and 'Freedom' explore his relationships with his father and mother respectively, while 'Closer' reflects on intimacy and emotional resilience, and “Shake” captures the bittersweet feeling of separation from a close friend. Despite the introspective themes, the EP carries a strong sense of optimism and warmth throughout. Flo’s soulful vocals and assured arrangements are supported by select guest musicians on drums, trumpet, cello and strings, resulting in a sound that feels both intimate and uplifting.

'Lush Life' positions Flo Naegeli as a distinctive new voice within the Sonar Kollektiv catalogue, combining emotional depth with broad appeal across soul, indie and modern singer-songwriter fans.

TRACK LISTING

1. Shake
2. Freedom
3. Closer
4. Quiet Power
5. Colorblind
6. Love By The Hour

4 To The Floor is committed to delivering seminal house music to wax, making sought after heritage tracks readily available on vinyl for crate diggers to add to their collections. The fourth edition of the series pays homage to one of the most loved names in house music – Sandy Rivera. Known for his soulful dancefloor cuts he has produced timeless classics, with his long-lasting career and multitude of aliases captured by this 12” release. Opening the A-side is the Moodymann Edit of Kings of Tomorrow’s ‘Fall For You’, featuring the stunning vocals of long-time collaborator April Morgan, followed by Sandy’s grooving ‘Come Into My Room’ which features LT Brown. On the flip is Soul Vision’s ‘Don’t Stop’ with its atmospheric strings and gospel vocal. The release is closed with Kings Of Tomorrow featuring Elzi Hall ‘Show Me’, an atmospheric club cut that shows the versatility of this house legend.

STAFF COMMENTS

Matt says: Worth it from the KOT track alone, "Fall For You" would keep you warm through the coldest of winters. The rest of the EP is pure soul throughout. 4 To The Floor delivering must-have house music at a reasonable price!

TRACK LISTING

A1. Kings Of Tomorrow Featuring April - Fall For You (Sandy Rivera's Classic Mix - Moodymann Edit) 
A2. Sandy Rivera Featuring LT Brown - Come Into My Room (Take It Back Mix) 
B1. Soul Vision - Don't Stop (Remix) 
B2. Kings Of Tomorrow Featuring Elzi Hall - Show Me 

Out of Baltimore, Maryland comes The S.E.T. who are crafting 100% unapologetic hardcore music. Formed between bassist Che (founder of Flatspot Records), guitarist Brady (formerly of Turnstile), and drummer Ryan (formerly of End It), the band started through jam sessions in early 2024. Before they knew it, they had instrumentals for seven songs written and were ready to put lyrics to the tracks, and the search for a vocalist began. Che spotted Tim hopping on stage and grabbing the microphone at Disturbin’ The Peace Festival, invited him to try out for vocalist, and The S.E.T. was then complete.

This isThe S.E.T.'s debut EP, 'Self Evident Truth'. It’s 15 minutes of fury and groove, taking cues from Baltimore acts such as Gut Instinct (whose Sebastian Gorgone features on 'White Lies') and Stout and the crossover sounds of New York like Leeway and Judge. Recorded and mixed by Justin Day at New Noise Recording and mastered by Brad Boatright at Audiosiege, the tracks roar with thick bass lines, fast-paced drums, and rage fueled vocals. Lyrics come from a place of candor, expressing the basis of equal rights and defying the propaganda the current administration is spewing.

As The S.E.T. comes into fruition, the band wants to exist as a place to put words to action and come together as a community through both their music and live shows.

TRACK LISTING

1. This Chain
2. T.M.T.
3. White Lies (feat. Gut Instinct)
4. Predetermined Hate
5. Prey Strikes Back
6. Truth Revealed
7. Self Evident Truth

Unreleased Records is the label founded by Arodes, recognized for its afro-house, melodic, and club-oriented sound within the international electronic music landscape. Through a combination of high-quality productions, a strong and carefully developed artist roster, and an expanding live platform, Unreleased Records positions itself as a forward-thinking imprint that bridges underground credibility with international audience reach, and are now, after much demand, debuting on vinyl, with this standout 4 tracker EP with 3 tried and tested club bangers, and 1 unreleased gem.

So far, “Gwele,” “Don’t Mind,” and “Nothing’s Changed” have already been supported by heavyweights of the scene, including, Ante Perry, Black Coffee, Bluckther, Camilo Franco, Carl Bee, Chus & Ceballos (Ceballos), Cincity, Deer Jade, Djuma Soundsystem, Enoo Napa, Facundo Mohrr, Hyenah, Jonathan Kaspar, Joseph Capriati, Mauricio Brigante, Moeaike, Nicolas Masseyeff, Queen Rami, Sasha Carassi, Simone Vitullo, THEMBA, and Xinobi.

TRACK LISTING

A1. Arodes & Alessio Cristiano – Gwele (Extended Mix)
A2. Super Flu – Don’t Mind
B1. Moeaike – Lift Me High
B2. Martim Rola & Mats Westbroek – Nothing’s Changed

A fresh A-side from Durand Jones & The Indications finds drummer and falsetto king Aaron Frazer taking the lead on 'Let's Take Our Time'. Aaron and the boys lean right into their break and better wheelhouse with a tune that feels like it would be comfortable right next to a Mayfield-era Impressions' track.

The flip, 'Flower Moon' taken from the group's most recent full-length effort Flowers finds the group truly in top form: pocket drums classic horn arrangements, and simply angelic group harmonies.

TRACK LISTING

1. Let’s Take Our Time
2. Flower Moon

Akusmi is the project moniker of French-born, London based composer, multi-instrumentalist and producer Pascal Bideau. 'Fleeting Future' is a  hallucinatory, genre-defying blend of minimalism, cosmic jazz and Fourth World influences, and in its quest for optimism in the face of unknown and limitless possibility. ‘Fleeting Future’ stands apart as an inventive and inspirational debut.

The creation of the album’s richly colourful and multi-layered sound world was originally inspired by Bideau’s journey to Indonesia, where he immersed himself in traditional Gamelan and gong music. Many of the themes, motifs and melodies on ‘Fleeting Future’ seed from the ‘Slendro’ scale, one of the essential tuning systems used in Gamelan. However it is not musical scales, but scales as in the size or extent of things that most fascinates Bideau, specifically he explains; “the compelling way things dramatically change when you shift from any given scale to another.”

The album connects directly to nature and the wider world in its evocation of perceptive shifts and transitions from microscopic to macro scale, as evidenced by the opening title track ‘Fleeting Future’, on which a simple dotted saxophone line morphs and billows into synths, brass and strings, indicating the musical voyage that lies ahead. Like the start of a journey or adventure it is full of anticipation, its arborescent growth conveying the optimism of the unknown and of limitless possibility. The album centrepiece ‘Neo Tokyo’ is a vibrating, ebullient mass of colliding elements which feels like zooming in to the electron level, as it teeters on the edge of chaos. The title is a reference to Katsuhiro Otomo’s Akira, a dizzying work of art set in a sprawling futuristic metropolis.

‘Yurikamome’, meanwhile, is an imaginary soundtrack inspired by Bideau’s yearning to visit Japan which he fuels by watching Youtube videos of drives and rides through Japanese landscapes and cities. “It’s amazing” he adds, “that we have the ability to access almost anywhere in the world and see what it’s like, that people document it and upload it. It’s never going to be any replacement for the real thing, but with places that really touch you, it works.” The track is named after a Japanese monorail train line which rides from Shinbashi to Toyosu, a last journey that feels like a new beginning.


‘Fleeting Future’ was composed and recorded by Bideau between 2017 and 2019 in his North London studio and features additional contributions recorded in Berlin by Florian Juncker (trombone), Ruth Velten (saxophone) and regular collaborator Daniel Brandt of Brandt Brauer Frick (drums / electronic percussion). Having been living through uncertain times, one thing that keeps spiralling into the unknown is the future, about which Bideau leaves us with a final thought:

“The future is fascinating: It is constantly readjusting to new events. I feel we left a linear approach to the future to enter an arborescent one where all the data and information we have about what could happen is exponentially ever-growing. Following a branch might allow you to glimpse into what it may become, but the evolution of the whole picture might very well render the prediction totally obsolete, and even meaningless. In that sense, there is not one future but innumerable ones all cancelling each other. That’s what makes it fleeting.”

TRACK LISTING

1. Fleeting Future
2. Sarinbuana
3. Divine Moments Of Truth
4. Neo Tokyo
5. Longing For Tomorrow
6. Cogito
7. Concrescence
8. Yurikamome

Turma da Bênção – A Semba Gathering Across Generations

"Conjunto Angola 70 & Paulo Flores"

The Turma da Bênção project brings together Conjunto Angola 70, a collective dedicated to recreating and preserving the golden-era sound of Angolan music from the 1970s, and Paulo Flores, one of the most important ambassadors of semba worldwide and one of the creators of kizomba. Throughout his career, Flores has built bridges between tradition and modernity, helping shape the global understanding of contemporary Angolan music.

Recorded in Lisbon in 2018 in an intimate 'roda de semba' setting, informal jam sessions rooted in collective rhythm and storytelling, Turma da Bênção gathers legendary musicians such as Botto Trindade (guitar), Joãozinho Morgado (congas) and Teddy N’Singui (guitar); mid-generation artists including Galiano Neto (percussion), Paulo Flores (vocals and artistic direction) and Pirika Duia (viola); and younger creators such as Mayo Bass (bass), Jéssica Pina (trumpet) and Armando Gobliss (keys).

The result is a powerful dialogue between eras. Classic Angolan repertoire meets new compositions, all deeply rooted in semba — the rhythmic and poetic foundation from which kizomba later emerged.

The album revisits emblematic songs such as "Runfo da Liberdade", "Memórias de Gui" and "Lamento de Duia", while introducing new works including "Morgadinho", "Catuta 45", "Boas Festas Conterrâ" and "Réveillon", the latter awarded Semba of the Year at the Angola Music Awards in 2020.

Before this LP, Keep On Pushin Records released the singles Turma da Bênção presents: "Joãozinho Morgado" and Turma da Bênção presents: "Botto Trindade", building anticipation for what now becomes the label’s first full-length vinyl release.

Issued on vinyl in the year Angola celebrates 50 years of Independence, Turma da Bênção stands as a symbolic statement, honoring the elders, empowering the present generation, and ensuring that the pulse of semba continues to resonate across borders.

Turma da Bênção is more than an album. It is a rare intergenerational encounter and a living celebration of Angola’s musical heritage.

TRACK LISTING

Boas Festas Album Version
Reveillon
Memoria De Guy
Morgadinho Album Version
Catuta 45
Rufo Da Liberdade
Agarrem
Lamento

In a homecoming for the LA native, 2026 heralds Steven Ellison aka Flying Lotus’ debut release on his own label Brainfeeder – an explosive and utterly unique 7-track EP titled 'BIG MAMA' encompassing the boundary-exploding approach to music and storytelling that has cemented his status as one of the most influential and creative voices in modern experimental music.

A creative of many mediums, the GRAMMY-nominated FlyLo is just as likely to appear at Sundance with a film as he is to headline a music festival. Thanks to his passion for animation, experimental films, and the future, his visual output has been equally as expansive, provocative, and avant-garde as that of his genre-defying music.

TRACK LISTING

1. BIG MAMA
2. CAPTAIN KERNEL
3. ANTELOPE ONIGIRI
4. IN THE FOREST - DAY
5. BROBOBASHER
6. HORSE NUKE
7. PINK DREAM

'Pink Floyd at Pompeii - MCMLXXII', the groundbreaking 1972 film directed by Adrian Maben. Digitally re-mastered from the original 35mm footage, with enhanced audio newly mixed by Steven Wilson. Set in the hauntingly beautiful ruins of the ancient Roman Amphitheatre in Pompeii, Italy, this unique film captures Pink Floyd performing an intimate concert with additional rare behind-the-scenes footage of the band beginning work on The Dark Side of the Moon at Abbey Road Studios. The accompanying album release will see the performance presented on vinyl for the first time.

STAFF COMMENTS

Barry says: I will never fall out of love with Pink Floyd, and this sees them at their youthful, experimental best. Wonderfully rich, bursting with moments of psychedelic perfection and unsurprisingly, goes incredibly well with mushrooms. Probably.

TRACK LISTING

LP & CD Tracklist:
1. Pompeii Intro
2. Echoes - Part 1
3. Careful With That Axe, Eugene
4. A Saucerful Of Secrets
5. Set The Controls For The Heart Of The Suna
6. One Of These Days
7. Mademoiselle Nobs
8. Echoes - Part 2
9. Careful With That Axe, Eugene - Alternate Take
10. A Saucerful Of Secrets - Unedited

4K UHD, Blu-ray & DVD Tracklist:

Feature Film
1. Pompeii Intro
2. Echoes Part 1
3. On The Run
4. Careful With That Axe Eugene
5. A Saucerful Of Secrets
6. Us And Them
7. One Of These Days
8. Mademoiselle Nobs
9. Brain Damage
10. Set The Controls For The Heart Of The Sun
11. Echoes Part 2

Concert
1. Pompeii Intro
2. Echoes Part 1
3. Careful With That Axe, Eugene
4. A Saucerful Of Secrets
5. One Of These Days
6. Set The Controls For The Heart Of The Sun
7. Echoes Part 2

Aaron Warren and Bjorn Copeland have been playing music together since 1999: nine years as Flaccid Mojo and twenty-six years as Black Dice. This partnership has been a ramble, a supply run through the wasted landscape of contemporary music. Stacking up the dumb, the muffled, and the used-up, the pair consistently create unbalanced, breathtaking mutant constructions. The latest example is 'Loose Jacks', Flaccid Mojo's second full-length. Made from free phone apps, fractured youtube videos, and cracked-screen electronics—the scorched and crumpled sediment of the streaming-industrial complex—Loose Jacks is the wide, hysterical grin of finding treasure in the end days.

Flaccid Mojo’s songs are built for live performance, with a modular arsenal of rhythms, stabs, and payoffs all at the ready. It’s their way of centering the physical; of ensuring the bodily dictates of each song’s composition reassert these commands on everyone in the audience. The satisfaction of a loop that runs until it’s in your blood, the bassline sculpted into a shove, the snare hit as sharp as a stranger’s elbow. You can feel like a ghost passing through some other band’s record, but 'Loose Jacks' is all brick wall, weighted blanket, strong hands launching you atop a pile of bodies. It’s a liberatory, unspiritual experience. A carnal one.
As with their debut LP, Flaccid Mojo (released 2022 by Castle Face), Loose Jacks was recorded by Chris Coady, whose been at Black Dice shows since the nineties. It’s good to work with people who get it, who aren’t going to argue about key or “the grid.” Similarly, Loose Jacks was mastered by Sarah Register, whose band Talk Normal shared a wall with the Black Dice practice space.

TRACK LISTING

1. Conversational Excess
2. Creep Meter
3. Bang Your Chain
4. VHS Motherfucker
5. Milk And Bones
6. Born Dumb
7. Cold Roller
8. Infinity Upgrade

Daniele Baldelli and Jolly Mare come together for a record that feels less like a collaboration and more like a shared state of mind. "Flusso Uno" moves through Afro-cosmic kraut-inflected psychedelia and cinematic electronics with a natural, unforced flow, where rhythm, texture and narrative all pull in the same direction.

Rather than referencing the past, the EP treats it as a living language. The longform, ritualistic percussion of early cosmic dance culture meets the hypnotic motorik pulse of krautrock and the more structured, sample-driven tribalism that followed in later decades. What ties it all together is a deep sense of atmosphere and intention: music that feels physical, emotional and quietly transportive. 'We particularly focused on ritual percussions, hypnotic grooves and suspended atmospheres, trying to blend musical anthropology, auteur electronics and narrative instinct.'

"Dhol Parade" opens the journey like a slow-burning procession, drums circling and expanding as if guiding the listener into another space. With "Icari" the perspective lifts, melodic lines drifting and tilting, constantly searching for balance between gravity and flight. "Huldufolk" pulls everything back into a shadowy, nocturnal zone, where textures feel half-real, half-imagined.
Finally, "Viaggio Tascabile" loses the record in a quietly reflective way, a compact voyage that sums up the EP’s philosophy: small in scale, deep in meaning. "Flusso Uno" is not about nostalgia or revivalism. It is about taking the spirit of cosmic culture and letting it breathe in the present, where storytelling, dancefloor intuition and sonic exploration still meet. A record made for open ears, open minds and long nights.

STAFF COMMENTS

Matt says: The cosmic maestro is at it again, this time joined by Jolly Mare for very quintessential display of that afro-funky sound!

TRACK LISTING

A1. Dhol Parade
A2. Icari
B1. Huldufolk
B2. Viaggio Tascabile

Chalybeate documents a month long stay by Tokyo based producer aus in Ikaho, one of Japan's most established Onsen (hot spring) towns, during autumn 2024.

Working from field-recordings captured inside multiple ryokan baths, aus synthesized the subterranean movement of the onsen's with local details: the bubbling of source water, the hosuzuki lantern plants and wind chimes placed at each inn, and the surrounding insects and birds. Rather than portraying Ikaho as a landscape, the recordings trace the town's respiration.

The material was first presented on site as an installation unfolding across eight different baths, where visitors listened while soaking in roten-buro (open air hot baths). The project drew wide attention for proposing listening as a bodily act, inseparable from heat, moisture, and duration.

Chalybeate re constructs that installation as an album. The recordings were left to sit for a year within Ikaho's air and humidity, allowing the sound itself to slowly change. The title refers to Ikaho's iron rich mineral water, known as "Golden Water," which oxidizes upon contact with air and leaves rust colored traces in its baths. Following this process, the album's sound was repeatedly re submerged and re worked, gradually absorbing a corroded texture.

Tape hiss, gentle distortion, and subtle fluctuations rise quietly, like steam.
What remains is not documentation but residue.

Mixing was handed over to Manchester based producer The Humble Bee by Craig Tattersall, known for his work with The Boats and The Remote Viewer, after aus exhausted himself traversing Ikaho's steep stone steps. The exchange mirrors the work itself: from bathtub to hot spring, from sound to something that surrounds the body.

Woodwind like tape noise and the movement of water dissolve into one another.
The music does not arrive all at once. It settles slowly, as if lowering into warm water.

STAFF COMMENTS

Barry says: I've been enamoured with Flau since 2008's run of Geskia's 'Silent 77' and The Boats' 'Faulty Toned Radio', both of which I was OBSESSED with, and still am. This is a beautifully languid, environmental ambient beauty that is rich in the airy, tape-glitchy otherworldliness that Flau specialise in. Stunning.

TRACK LISTING

1. Below The Surface We Shimmer And Shine
2. I Follow A Barren Path Across The Old Mountain
3. Blushing Copper Light
4. Specular Ochre
5. In Dark Hours, Your Colours Glow Their Brightest
6. The Mulberry And The Stone
7. Juniper
8. We Flow Ever Downwards, Until We Blossom

Following the release of Stereolab’s latest album, Instant Holograms On Metal Film and Fed Up With Your Job / Constant And Uniform Movement Unknown - the groop return with Cloud Land / Flashes In The Afternoon on 7” and digital, available everywhere for the first time.

“After 15 years, the retro-futurists make a radiant return” - The Guardian

TRACK LISTING

1. Cloud Land
2. Flashes In The Afternoon

Unlike much of Florian Hecker's recent work, such as 2021's 'Synopsis Seriation' or 'Hecker Leckey Sound Voice Chimera', his acclaimed PAN-released collaboration with Mark Leckey, there's no single overarching narrative that binds 'Natural Selection'. Hecker describes the sprawling, nine-track album as a "constellation of pieces originating from related investigations", and the clue's in the title. Ranging from under a minute to over half an hour, these works have been grouped together because they share very specific properties, using correlated modes of synthesis and approaching timbral metamorphosis in a similar way. Pieces that might seem incongruous at first are united not by one concept, but by a cluster of queries that Hecker has been probing diligently for the last few years, ideas related to automated file selection, database-generating sequencing systems and the prospect of synthetic cognition.

They were written in parallel with a range of Hecker's recent multi-disciplinary inquiries: 2022's Galerie Neu exhibition TEMPLEXTURES, that examined machine listening and charted uncategorizable auditory sensations; 2021's diffusion of olfactory sonics and evaluation of the perception of space 'RESYNTHESIZSERS'; and 'INSPECTION', an algorithmic reconstruction of sounds that uses human hearing to parse their vital timbral characteristics. But 'Natural Selection' doesn't require any rigorous background study. In fact, it's one of Hecker's most playful and approachable sets in years, exhibiting the same balance of intensity, mischief and brain-twisting theory that made albums like 'Sun Pandämonium' and 'Acid in the Style of David Tudor' so enduringly influential.

Beginning with the brief 'f92ex0.03', 40 seconds of heaving synthesized textures and disorienting frozen reverb trails, the album immediately hits a different pace with the lengthy 'Syn 21845 8 J15 Q12', a piece Hecker wrote with the help of his friend Vincent Lostanlen, an applied mathematician who is one of the leading voices in the field of computational auditory analysis. The track takes microscopic glissandi fragments from a database of source material for Lostanlen's time- frequency scattering process and spatiotemporally reverses them, creating an unsettling, utterly beguiling audio illusion. What sounds like a barrage of whooshing, perpetually reversing acoustic impressions is actually a progressive metamorphosis of both forward and backward time - no audio is actually reversed.

Hecker's more succinct diversions are just as energizing and, inserted between his durational experiments, necessarily palate cleansing. On the jackhammer 'm syn 260e 2402', he turns an analysis tool into a synthesizer, rooting out spectral phantasms from runaway code, and on 'Layer', coaxes a digital reverb unit into shaping its "infinite space" into criss- crossing synthetic whirrs. There's even a move towards technoid cohesion on the hallucinatory 'm syn bold heuristic driver', that uses a revised and extended model of Lostanlen's time-frequency scattering process developed by members of the mathematician's team. Hecker transforms harsh digital noise into an emergent rhythm, scanning the detritus until it turns into a an unintentionally dubwise sequence of undulating pulses.

A variation of this process is also used to drive the album's extended closer 'M 35/36', a symphonic 35-minute blur of ghost frequencies and nebulous textures that's accented with kaleidoscopic xenharmonic iridescence.

TRACK LISTING

1. F92ex0.03
2. Syn 21845 8 J15 Q12
3. Nat. Sel. 260e I
4. M Syn 260e 2402
5. Nat. Sel. 2015
6. Layer
7. M Syn Bold Heuristic Driver 08. Seg Rev C
9. M 35 36

The new Roberta Flack collection, 'WITH HER SONGS: THE ATLANTIC ALBUMS, 1969-1978', is the first retrospective release since the GRAMMY® Award-winning singer passed away in 2025. A celebration of her acclaimed tenure with Atlantic Records, the 8CD set presents newly remastered versions of her first eight studio albums.

'WITH HER SONGS' spans Flack’s Atlantic debut First Take through her self-titled 1978 album, covering a period when she emerged as one of the most commercially and critically successful artists of the 1970s. She was the first solo artist to win the GRAMMY® Award for Record of the Year in consecutive years, for 'The First Time Ever I Saw Your Face' (1973) and 'Killing Me Softly With His Song' (1974). Flack recorded multiple Top 40 hits and sold millions of albums with the label, building a catalog that moved fluidly between soul, jazz, folk, and pop.

'WITH HER SONGS' includes eight newly remastered studio albums: 'FIRST TAKE' (1969), 'CHAPTER TWO' (1970), 'QUIET FIRE' (1971), 'ROBERTA FLACK & DONNY HATHAWAY' (1972), 'KILLING ME SOFTLY' (1973), 'FEEL LIKE MAKIN’ LOVE' (1975), 'BLUE LIGHTS IN THE BASEMENT' (1977), and 'ROBERTA FLACK' (1978).

Together, they chart a sustained period of creative momentum, from the intimacy of 'FIRST TAKE' and 'CHAPTER TWO' to Roberta Flack & Donny Hathaway, a landmark collaboration that produced the GRAMMY®-winning hits 'Where Is the Love' and 'The Closer I Get to You'. That success continued with her next two albums, 'KILLING ME SOFTLY' and 'FEEL LIKE MAKIN’ LOVE', whose title tracks both went to #1 on the Billboard Hot 100. More hits followed as her initial run with the label concluded with 'BLUE LIGHTS IN THE BASEMENT' and 'ROBERTA FLACK'.

'WITH HER SONGS' follows renewed activity around Flack’s catalog, including last year’s release of 'KILLING ME SOFTLY' and 'FEEL LIKE MAKIN’ LOVE' in Dolby Atmos Spatial Audio. 

TRACK LISTING

CD1 - First Take (1969):
1. Compared To What
2. Angelitos Negros
3. Our Ages Or Our Hearts
4. I Told Jesus
5. Hey, That’s No Way To Say Goodbye
6. The First Time Ever I Saw Your Face
7. Tryin’ Times
8. Ballad Of The Sad Young Men

CD2 - Chapter Two (1970):
1. Reverend Lee
2. Do What You Gotta Do
3. Just Like A Woman
4. Let It Be Me
5. Gone Away
6. Until It’s Time For You To Go
7. The Impossible Dream
8. Business Goes On As Usual

CD3 - Quiet Fire (1971):
1. Go Up Moses
2. Bridge Over Troubled Water
3. Sunday And Sister Jones
4. See You Then
5. Will You Still Love Me Tomorrow
6. To Love Somebody
7. Let Them Talk
8. Sweet Bitter Love

CD4 - Roberta Flack & Donny Hathaway (1972):
1. I (Who Have Nothing)
2. You’ve Got A Friend
3. Baby I Love You
4. Be Real Black For Me
5. You’ve Lost That Loving Feeling
6. For All We Know
7. Where Is The Love
8. When Love Has Grown
9. Come Ye Disconsolate
10. Mood

CD5 - Killing Me Softly (1973):
Killing Me Softly With His Song
Jesse
No Tears (In The End)
I’m The Girl
River
Conversation Love
When You Smile
Suzanne

CD6 - Feel Like Makin’ Love (1975):
1. Feelin’ That Glow
2. I Wanted It Too
3. I Can See The Sun In Late December
4. Some Gospel According To Matthew
5. Feel Like Makin’ Love
6. Mr. Magic
7. Early Ev’ry Midnite
8. Old Heartbreak Top Ten
9. She’s Not Blind

CD7 - Blue Lights In The Basement (1977):
1. Why Don’t You Move In With Me
2. The Closer I Get To You
3. Fine, Fine Day
4. This Time I’ll Be Sweeter
5. 25th Of Last December
6. After You
7. I’d Like To Be Baby To You
8. Soul Deep
9. Love Is The Healing
10. Where I’ll Find You

CD8 - Roberta Flack (1978):
1. What A Woman Really Means
2. You Are Everything
3. Independent Man
4. If Ever I See You Again
5. And The Feeling’s Good
6. Knowing That We’re Made For Each Other
7. Come Share My Love
8. Baby I Love You So
9. When It’s Over

On their powerful new album When A Flower Doesn’t Grow, Softcult (Mercedes and Phoenix Arn-Horn) deliver their most unflinching and transformative work to date. Written during a period of personal upheaval and self-discovery, the record charts a journey through trauma, disillusionment, empowerment and eventual liberation.

Musically, Softcult continue to expand their world of grunge, shoegaze and alt-rock textures, pairing fuzz-laden riffs and dreamy soundscapes with raw, confessional lyricism. The result is both intimate and universal: a record for anyone who has ever felt trapped or diminished by their surroundings and a rallying cry to nurture ourselves and each other in the pursuit of freedom and authenticity.

TRACK LISTING

SIDE A
1. Intro
2. Pill To Swallow
3. Naive
4. 16/25
5. She Said, He Said
6. Hurt Me
SIDE B
1. I Held You Like Glass
2. Queen Of Nothing
3. Tired
4. Not Sorry
5. When A Flower Doesn't Grow

Robin Pecknold brings light to the bleakest of winters with Fleet Foxes' 'A Very Lonely Solstice' a 13-track career spanning collection recorded in December 2020, at Brooklyn, NY's St. Ann & the Holy Trinity Church.

'A Very Lonely Solstice' captures a poignant moment in time. The recording was originally broadcasted as a live-stream event on the winter solstice of 2020, just days after New York declared a state of emergency tightening restrictions again in response to increasing COVID-19 cases. Pecknold describes the set as "me by myself on the longest night of the year... honoring the loneliness of 2020 with a nylon string and some songs new and old." Fans worldwide tuned in while quarantined at home, finding solace and a sense of community in a period of extreme isolation.

Much of the performance showcases a solo focus on Pecknold who offers up acoustic arrangements of fan-favorite songs spanning Fleet Foxes' catalog. Selections cover all four of the band's studio albums, including their 2008 self-titled debut album ("Tiger Mountain Peasant Song") to 2011's Helplessness Blues ("Blue Spotted Tail") and 2017's Crack-Up ("If You Need To, Keep Time On Me"), all the way to their latest release, Shore. Resistance Revival Chorus joins Pecknold on Shore tracks "Wading In Waist-High Water" and "Can I Believe You." Also featured: a cover of Nina Simone's "In The Morning" and a rearrangement of the traditional "Silver Dagger."

TRACK LISTING

1. Wading In Waist-high Water
2. Sunblind
3. In The Morning
4. Tiger Mountain Peasant Song
5. Maestranza
6. Helplessness Blues
7. Silver Dagger
8. Featherweight
9. A Long Way Past The Past
10. Blue Spotted Tail
11. If You Need To, Keep Time On Me
12. I'm Not My Season
13. Can I Believe You

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

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

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

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

TRACK LISTING

1. Blender
2. Hot Cakes

After the success of their debut album 'Terrapath', which cemented their status as the stewards of the UK's prog-rock scene, Plantoid have returned with their sophomore release: the enigmatic, arresting, and at times downright catchy 'Flare'.

Staying true to the band's math-rock roots, the album is awash in heavy, reverberated guitar licks, tempo changes, and mind- altering chord progressions - all while expanding Plantoid's signature sound towards new horizons, like wall- of- sound shoegaze and vocal-forward rock-pop. It does what all second albums do best; retain the core DNA that set its predecessor apart from the fray, yet evolve enough to excite old fans and new listeners alike.

If you're here for the time changes, long track durations, and jazzy mid-song freakouts, don't you worry, you'll still find plenty across the album's nine sprawling tracks. It's just that Plantoid have been able to tap into something deeper, more lived-in.

TRACK LISTING

1. Parasite
2. Ultivatum Cultivation
3. The Weaver
4. Dozer
5. Good For You
6. Worn
7. Splatter
8. Slow Moving
9. Daisy Chains

The 1st release for the new Plastic & Sounds label, founded by Shinichi Atobe and featuring brand new recordings from the legendary Japanese producer. For the label debut we get two tracks. The first, "Whispiers Into The Void", is a mid-tempo, deep house jaunt with fluttering rhythms, cascading dub shards and evocative piano notes; rooted with heartbeat of bass. The second, "Fleeting_637" is slightly faster paced, riding a bouyant wave of bassy bubbles and whale-like sine tone communication. Deep, almost Drexciyan in nature. 

It's a glorious return from one of the most illusive and cult adored producers of the deep techno / house cannon.

STAFF COMMENTS

Matt says: The Japanese legend returns with a brand new label. Presented beautifully with high quality vinyl pressing, poly lined inners and slick Japanese aesthetics; it's a suitably well designed housing for these deep, underwater techno vibrations. No one does it like Shinichi, and the producer's unfathomable dexterity is perfectly on show here.

TRACK LISTING

A1. Whispers Into The Void
B1. Fleeting_637

In 2015 Sam Shepherd – aka Floating Points – released his break out, critically acclaimed debut 'Elaenia'. He followed up the album with 'Reflections - Mojave Desert', a short film and soundtrack featuring tracks recorded in the Mojave Desert.

'Ratio'; an epic track bordering on 19-minutes that harks back to his earlier dance floor focussed releases. Floating Point developed 'Ratio' as part of his solo live electronic show at festivals around the world. The track became a fan favourite, a true highlight of the set.

'Ratio' was be released on 19th October 2017. The track was also available on vinyl, presented as a deconstructed mix of the 18+ minutes. Repress of original 2017 release. 

TRACK LISTING

1. Ratio (Pt. II Organ)
2. Ratio (Pt. II Dub) 

Originally released in 1998 'First Floor' is Detroit/Chicago auteur Theo Parrish’s debut album. Released on vinyl in two parts for maximum playability; the raw bluesy, soulful offbeat grooves have long since buried themselves deep under the skin of the house community.

Showcasing Theo’s innovative use of drum programming and effects its uniquely loose but taut knit of minimalist elements worked to maximal, hypnotic effect have solidified its reputation as a contemporary classic and served as a corner stone for Theo’s truly legendary status.

'First Floor' is one of those albums that has transcended generic borders to influence heads of all stripes with its unmistakable soul-nuzzling texture and groove. Essential.

TRACK LISTING

1. First Floor Metaphor
2. Only The Beginning
3. Sweet Sticky
4. Paradise Architects
5. Love Is War For Miles

Originally released in 1998 'First Floor' is Detroit/Chicago auteur Theo Parrish’s debut album. Released on vinyl in two parts for maximum playability; the raw bluesy, soulful offbeat grooves have long since buried themselves deep under the skin of the house community.

Showcasing Theo’s innovative use of drum programming and effects its uniquely loose but taut knit of minimalist elements worked to maximal, hypnotic effect have solidified its reputation as a contemporary classic and served as a corner stone for Theo’s truly legendary status.

'First Floor' is one of those albums that has transcended generic borders to influence heads of all stripes with its unmistakable soul-nuzzling texture and groove. Essential.

TRACK LISTING

1. Electric Alleycat
2. JB's Edit
3. Dark Patterns
4. Heal Yourself And Move
5. Sky Walking

Never before heard tunes from the heart of Manchester circa 1989. The lost demos of the band that was Joanna, recorded at iconic Strawberry and Pentagon Studios were discovered in a Manchester apartment loft after 35 years on the shelf. For fans of The Stone Roses, Happy Mondays and Charlatans.

With the release of 'Hello Flower', Joanna is no longer “the most popular band without a record out,” as NME called them in 1990, but their singular spirit is now available for anyone who wants a taste.

TRACK LISTING

1. If You Don't Want Me To
2. Bandit Country
3. Hey Presto 
4. Weather Vane 
5. Mr. Sunshine
6. Hello Flower 
7. It's Worth A Try
8. Gardeners' World

Robert has been a long-standing fabric favourite since the institution's earliest years, clocking up over 20 sets in Room 2, including a live session on New Year's Eve, 2012. In 2008, he'd turn in Fabric 39 which is among the most revered contributions to the fabric mix canon. Now, with the forthcoming ‘fabric presents Floorplan’ mix, the story comes full circle - marking both the duo’s debut on the iconic mix series and a monumental moment for the family project.

Emerging from a musically rich Detroit upbringing steeped in Motown and vinyl culture, Robert Hood became an early member of the seminal ’90s collective Underground Resistance, helping to spearhead the rise of techno. Going solo, Hood created minimal techno with his “Minimal Nation” LP. Groundbreaking productions, acclaimed performances, and his own M-plant label followed, until in ’96 he formed Floorplan - an alter ego to expand beyond minimal techno into gospel, soul and house-infused techno. Immersed in music from an early age, Lyric eventually caught the same electronic spark that’s driven her father for decades. In 2014, after the release of Hood’s debut Floorplan album “Paradise”, the project evolved as the then-16-year-old Lyric joined him to perform as Floorplan, including a supreme closing set at Dekmantel’s Boiler Room stage. Two years later, Lyric officially became a full member of Floorplan, cementing their father–daughter collaboration, and they’d release their co-produced album “Victorious” on M-Plant that same year.

For this latest fabric installment expect the most high octane mix & dynamic expression of funky techno you’re likely to hear all year. Not ones to shy away from vocal tracks, there’s plenty of soulful (read: spiritual) vox littered throughout the pounding 4/4 rhythms and incessant nightclub loops that Hood and Lyric utilize to devastating effect through a selection that encompasses the myriad moods and textures held in the repertoire of these genre stalwarts. 

TRACK LISTING

A1. Floorplan - You're A Shining Star 
A2. Dale Move - Praise 
B1. Tony Romera, Crusy, Low Steppa - Watch Out 
B2. Will Clarke - Weekend Love Ft. House Gospel Choir 
C1. Floorplan - Only God 
C2. Mathias Kaden - Piano Bomb! 
D1. Wh0 - The Power Ft. Anelisa Lamola 
D2. Cristoph - String Thing 

Before Chat Pile took on sold out tours and widespread critical acclaim, they played Roadburn 2023, their biggest show to date, in front of a packed room of 3,000 on the festival's main stage. Fresh off the release of God’s Country, the Oklahoma quartet brought their suffocating, sludgy noise rock to Tilburg for their first ever European performance, delivering a set that felt like a milestone. The bleakness, the anguish, the raw absurdity—it all scaled up effortlessly, proving that Chat Pile’s chaos could consume any audience, no matter the size.

The set was recorded and later remixed by the band’s longtime engineer Jared Stimpfl, capturing the full weight of the performance. The result is something both massive and unrelenting, a document of Chat Pile at a pivotal moment, pushing their sound to its heaviest and most visceral extremes.

"A gut-churning amalgam of molten guitars, pile-driving drums, and agonized howls, Chat Pile’s sound is as ugly as their inspiration." Pitchfork

"The bleakness, the anguish, the raw absurdity — it all scaled up effortlessly, proving that Chat Pile’s chaos could consume any audience, no matter the size." Bandcamp"

TRACK LISTING

1. “Hello, Hello, Hello” 00:44
2. Why - Live At Roadburn, 2023 03:11
3. “Thoughts On The ‘Dam” 00:36
4. Tropical Beaches, Inc. - Live At Roadburn, 2023 03:39
5. “What A Guy” 00:53
6. Pamela - Live At Roadburn, 2023 04:25
7. “Beloved By Toni Morrison, Check It Out” 00:45
8. Cut - Live At Roadburn, 2023 04:14
9. “Do Y’all Got Arby’s Here?” 00:35
10. Rainbow Meat - Live At Roadburn, 2023 02:17
11. “Setlists Are For Cowards” 00:48
12. Anywhere - Live At Roadburn, 2023 05:55
13. “Talked About Robocop Already” 01:01
14. Crawlspace - Live At Roadburn, 2023 04:35
15. “Two More Songs” 00:43
16. Dallas Beltway - Live At Roadburn, 2023 04:17
17. “My Mom Would Never Forgive Me” 00:57
18. Garbage Man - Live At Roadburn, 2023 04:07

The Wild Swans are a post-punk band from Liverpool, England, formed by Paul Simpson in 1980 shortly after he left the Teardrop Explodes. Members of the Wild Swans have also been members of Echo & the Bunnymen, the Icicle Works, the Woodentops, the Brian Jonestown Massacre and the Lightning Seeds. Their second album Space Flower is fun, infectious and colourful, brimming with unabashed, playful psychedelia.

TRACK LISTING

Side A
1. Melting Blue Delicious
2. Butterfly Girl
3. Tangerine Temple
4. Immaculate
5. Space Flower

Side B
1. Chocolate Bubblegum
2. I’m A Lighthouse
3. Magic Hotel
4. Vanilla Melange
5. Sea Of Tranquility

Since A Larum, Flynn has carved out a singular path as both a critically acclaimed musician and award-winning actor. He has released a string of celebrated albums including Been Listening, Country Mile, and Sillion, continually evolving his sound while maintaining his signature storytelling.

As an actor, he's earned accolades for roles on stage and screen, notably portraying David Bowie in Stardust and starring in films like Emma (2020) and Netflix’s The Dig.

He also composed and performed the beloved theme song for the BAFTA-winning series Detectorists, where his evocative music became inseparable from the show’s gentle, melancholic charm.

TRACK LISTING

The Box
The Wrote & The Writ
Tickle Me Pink
Brown Trout Blues
Eyeless In Holloway
Shore To Shore
Cold Bread
Wayne Rooney
Leftovers
Sally
Hong Kong Cemetry
Tunnels
All The Dogs Are Lying Down
Shore To Shore (Reprise)

Three Blind Mice's treasured recordings released on vinyl!

It was digitized from the remaining 2-inch master tapes, and under the supervision of Takeshi Fujii, the founder of Three Blind Mice, Yoshihiko Kaminari, the 'guardian of the TBM sound' who was also in charge of this live recording, was in charge of track down. It recreates the TBM sound from half a century ago. This is a valuable record that vividly captures the passion of Japanese jazz in the 70s, at its peak! Recorded Live May 27, 1976 at Yamaha Hall, Tokyo

Original Recording Produced by Takeshi Fujii
Produced for Release by Akiomi Hirano
Recorded & Mixed by Yoshihiko Kannari
OBI Strip
Japanese Import

TRACK LISTING

Side 1
A. Sailing Ice 20:43
Side 2
B. Olive's Step 23:01

Experience the perfect blend of design and performance with these 45 RPM adapters. The 7 adapter ensures optimal contact between your 7" vinyl and the turntable, effectively reducing vibrations and enhanicing sound clarity. With a diameter of 3.8 cm, it fits your 'dinked' singles precisely - ideal for both audiophile setups and professional DJ use.

'Wish You Were Here 50' gives fans an exciting new perspective into one of Pink Floyd’s most iconic and best-loved records. The 50th anniversary edition features the original album plus a bonus disc of studio rarities including previously unreleased alternate versions and demos presenting Pink Floyd's eighth studio album in a brand new way that demands repeat listening. Featuring 'Shine On You Crazy Diamond', the hypnotic 'Welcome To The Machine', the scathing 'Have a Cigar', and the essential title track, Wish You Were Here is undoubtedly one of the most important album releases in the history of popular music. The record’s themes of absence, isolation, transience, and comment on the insincerity of the music business are embodied in the iconic album artwork. 50 years since its release, Wish You Were Here sounds as resonant and vital as ever. This special anniversary edition allows fans, for the first time, to delve deeper into a pivotal moment in Pink Floyd’s history.

STAFF COMMENTS

Barry says: There aren't enough words in the world I could use to describe how important this album is in my personal musical development and the impact on the musical landscape as a whole. Add to that the extended, definitive nature of this beautiful looking special edition and you have something very special indeed. A must-have.

TRACK LISTING

1LP Tracklisting:
1. Shine On You Crazy Diamond (Pts. 1-5)
2. Welcome To The Machine
3. Have A Cigar
4. Wish You Were Here
5. Shine On You Crazy Diamond (Pts. 6-9)

3LP & 2CD Tracklisting:
1. Shine On You Crazy Diamond (Pts. 1-5)
2. Welcome To The Machine
3. Have A Cigar
4. Wish You Were Here
5. Shine On You Crazy Diamond (Pts. 6-9)
6. Wine Glasses
7. Have A Cigar (Alternate Version)
8. Wish You Were Here (featuring Stéphane Grappelli)
9. Shine On You Crazy Diamond (Early Instrumental Version, Rough Mix)
10. The Machine Song (Roger’s Demo)
11. The Machine Song (Demo #2, Revisited)
12. Wish You Were Here (Take 1)
13. Wish You Were Here (Pedal Steel Instrumental Mix)
14. Shine On You Crazy Diamond (Pts. 1-9, New Stereo Mix)

Blu-ray:
Wish You Were Here Original 5-track Album
2025 Dolby Atmos Mix
2011 5.1 Surround Mix
1975 Stereo Mix
1975 4.0 Quad Mix
Bonus Audio Material (stereo)
Wine Glasses
Have A Cigar (Alternate Version)
Wish You Were Here (featuring Stéphane Grappelli)
Shine On You Crazy Diamond (Early Instrumental Version, Rough Mix) 
The Machine Song (Roger’s Demo) 
The Machine Song (Demo #2, Revisited) 
Wish You Were Here (Take 1) 
Wish You Were Here (Pedal Steel Instrumental Mix) 
Shine On You Crazy Diamond (Pts. 1-9, New Stereo Mix) 
Live Bootleg (stereo)
Raving And Drooling (Live From The Los Angeles Sports Arena, 1975) 
You've Got To Be Crazy (Live From The Los Angeles Sports Arena, 1975) 
Shine On You Crazy Diamond (1-5) (Live From The Los Angeles Sports Arena, 1975) 
Have A Cigar (Live From The Los Angeles Sports Arena, 1975) 
Shine On You Crazy Diamond (6-9) (Live From The Los Angeles Sports Arena, 1975) 
Speak To Me (Live From The Los Angeles Sports Arena, 1975) 
Breathe (In The Air) (Live From The Los Angeles Sports Arena, 1975) 
On The Run (Live From The Los Angeles Sports Arena, 1975) 
Time (Live From The Los Angeles Sports Arena, 1975) 
The Great Gig In The Sky (Live From The Los Angeles Sports Arena, 1975) 
Money (Live From The Los Angeles Sports Arena, 1975) 
Us And Them (Live From The Los Angeles Sports Arena, 1975) 
Any Colour You Like (Live From The Los Angeles Sports Arena, 1975) 
Brain Damage (Live From The Los Angeles Sports Arena, 1975) 
Eclipse (Live From The Los Angeles Sports Arena, 1975) 
Echoes (Live From The Los Angeles Sports Arena, 1975) 
Videos
Shine On You Crazy Diamond (Part I) – Screen Film
Shine On You Crazy Diamond – Screen Film
Welcome To The Machine – Screen Film
Storm Thorgerson Short Film, 2000 – Screen Film

Another new project coming on Macadam Mambo is the first release of the duo Hun Hun.

Hun Hun are 2 young brothers from Bruxelles who are doing a very special music in an ethno-shamanic-tribal vibe pretty cinematographic. With this first opus, an album of 10 tracks, they bring us on a journey into deep, dark and mysterious atmospheres with natural backgrounds from the forest, beautiful vocals, singular percussions, and rhythms that would easily fit for intro sets at Boccacio in 1988. This album could have been easily released on Crammed Disc in the 80’s, but it has a modern touch from today that makes it a proper gem for Macadam Mambo.

TRACK LISTING

A1. O
A2. Mainland
A3. Frantic Flow Of The Gong
A4. Column Ll
A5. Dead End
B1. Spell
B2. Avalon
B3. Neon God
B4. Horizon Drift
B5. Yell (Stray Dog) 

The second studio album by British blues rock greats Fleetwood Mac, again produced by Mike Vernon, took just four days to record, hit the streets in August 1968 and was another success in the UK and Europe.

It featured contributions from Christine Perfect (soon to be Christine McVie) of Chicken Shack on keyboards, Duster Bennett on harmonica and various saxophone players, including Johnny Almond.

The opening shuffle, ‘Stop Messin’ Round’ sets the tone. Bursting with energy, it’s loose yet controlled; about “as much fun as you can have with a guitar without getting arrested”, as Classic Rock put it 50 years on. ‘Lazy Poker Blues’ carries that same vibrant spirit, adding clever double entendre lyrics that perfectly suit its playful title.

It’s also worth mentioning ‘Need Your Love Tonight,’ a blues ballad elevated by the addition of an orchestra, and the stunning ‘Love That Burns’, which showcases leader Peter Green’s spellbinding talent.

One moment he’s sharp and penetrating, and the next he’s gentle and delicate, delivering the kind of performance that B.B. King once said gave him “the cold sweats”.

TRACK LISTING

1. Stop Messin’ Round
2. I’ve Lost My Baby
3. Rollin’ Man
4. Dust My Broom
5. Love That Burns 
6. Doctor Brown
7. Need Your Love Tonight
8. If You Be My Baby
9. Evenin’ Boogie
10. Lazy Poker Blues
11. Coming Home
12. Trying So Hard To Forget

Anyone unfamiliar with the early Fleetwood Mac, when they were led by the consummate guitarist and songwriter Peter Green, would do well to start here with this remarkable 1969 collection.

It is comprised of their initial four non-album UK singles and their B-sides, a song from their self-titled debut album, two tracks from their second album, 'Mr. Wonderful', and two pieces by blues artist Eddie Boyd, featuring Fleetwood Mac, and sourced from Boyd’s Blue Horizon album, '7936 South Rhodes'.

Capturing the essence of the band during this period, it’s a compelling document of their unique fusion of Chicago and British blues. Cuts like ‘Albatross,’ ‘Black Magic Woman,’ and ‘I Believe My Time Ain't Long’ are
enduring classics and among their very finest work.

Take a stroll through some of the best blues-rock ever made, music which laid the groundwork for one of the world's most beloved bands before their global breakthrough the following decade with 'Rumours'.

TRACK LISTING

1. Need Your Love So Bad
2. Coming Home
3. Rambling Pony 
4. The Big Boat 
5. I Believe My Time Ain’t Long 
6. The Sun Is Shining
7. Albatross
8. Black Magic Woman
9. Just The Blues
10. Jigsaw Puzzle Blues
11. Looking For Somebody
12. Stop Messin’ Round

The Waterboys Present: Rips From The Cutting Room Floor (Extras from "Life, Death And Dennis Hopper") is the genre-defying companion to The Waterboys’ Sun Records debut album Life, Death, and Dennis Hopper. Written and self-produced by Mike Scott and the storied international rock band, the eclectic album is comprised of 16 all new tracks including “The Next Time I Saw Elvis”, “Still Raging On”, and an alternate version of “Golf, They Say”.

TRACK LISTING

CD
01. Western Roll Call
02. The Next Time I Saw Elvis
03. Cinema, C’est La Vie
04. On The Set Of The Last Movie
05. Alejandro Jodorovsky's Arrival In Taos
06. Crystal Morning, New Mexico
07. Funkout At The Mud Palace
08. Cowboy Bill, Guy Grand And Texas
09. Still Raging On
10. Flipside Of The American Dream
11. Thank You Mr. Schneider
12. The Counterculture Holdout
13. Stanley In I Love The Movies
14. Dennis In Ameridreams
15. A Few Words About Dennis Hopper
16. Golf, They Say (James Version)

Vinyl
SIDE A
A1. Western Roll Call
A2. The Next Time I Saw Elvis
A3. Cinema, C’est La Vie
A4. On The Set Of The Last Movie
A5. Alejandro Jodorovsky's Arrival In Taos
A6. Crystal Morning, New Mexico
A7. Funkout At The Mud Palace
A8. Cowboy Bill, Guy Grand And Texas
SIDE B
B1. Still Raging On
B2. Flipside Of The American Dream
B3. Thank You Mr. Schneider
B4. The Counterculture Holdout
B5. Stanley In I Love The Movies
B6. Dennis In Ameridreams
B7. A Few Words About Dennis Hopper
B8. Golf, They Say (James Version)

The Reflex is a disco don with a fine ear for tweaking a classic and bringing the same sensibilities to his own originals. This new one on Flex7 is a marriage of funk, soul and disco that is going to bring joy to any party. 'Without Ur Luv' has big and silky vocals and loved-up call and response with funky lines and glittery synths. On the flipside is 'Xpress Urselves', a rework of a funky classic with all the guttural vocal cries, big horns, percolating drums and killer bass. It retains the original's charm, though with a new school edge. Two highly effective jams.

TRACK LISTING

Without Ur Luv
Xpress Urselves

jaimie branch’s FLY or DIE II: bird dogs of paradise, originally released in the fall of 2019, was hugely anticipated in its time.

Roughly a year before its release, and following the success of her debut Fly or Die album, branch whisked her incredible quartet across Europe for a string of performances in November 2018. Across that tour, the group stretched a songbook in-process to its limit, improvising en modo deconstructivo, tugging at the music’s edges and relentlessly morphing the sound of a four-fold liberation machine that included branch (trumpet), Chad Taylor (drums), Jason Ajemian (bass), and newcomer Lester St. Louis (cello), who had recently replaced Tomeka Reid.

The continued rise of branch’s star coincided with an increasingly deep connection to International Anthem as the label formed tighter and tighter bonds with friends across the pond, particularly in London, where most of bird dogs of paradise was recorded – in studio at Total Refreshment Centre over three days, and live at Café OTO over two nights that same week – at the tail end of that November 2018 tour. The album itself captures a very significant moment in the arc of the band. St. Louis’s presence had provided a fresh injection of virtuosic curiosity, and the interplay between him and Ajemian rejiggered the crew’s string-driven multi-rhythmic plonk swing while also refreshing their alternately aggressive and melodious heavy-bite bowing within an ever-expanding pocket. It was a highly fertile foundation for branch to experiment and explore, reach for the nether regions of her instrument, and continue to focus and refine her flagship ensemble into a wholly original sound.

FLY or DIE II: bird dogs of paradise also introduced the wider world to branch’s singing voice. “prayer for amerikkka pt. 1 & 2” - written and first performed by branch in Paris on the night of the 2018 US midterm elections - has since become a rallying cry for those who share her sense of justice in a world controlled by those who are seemingly unconcerned with it. And on “love song” (for assholes & clowns), branch shows us her cards with a wink and a smile. “So much beauty lies in the abstract of instrumental music,” branch says in the album’s original notes, “but being this ain’t a particularly beautiful time, I’ve chosen a more literal path. The voice is good for that.”

TRACK LISTING

Side A
1. Birds Of Paradise
2. 4. Prayer For Amerikkka Pt. 1 & 2
3. Lesterlude Twenty-Three N Me, Jupiter Redux
5. Whales

Side B
1. Simple Silver Surfer
2. Bird Dogs Of Paradise
3. Nuevo Roquero Estéreo
4. Love Song (for Assholes & Clowns)

Richard Lysons started buying singles in 1970 and was fascinated by the ones that did not make the charts. Flops On 45 is a highly original and readable look at the records that somehow got away. It looks beyond the chart successes of everyone from Kate Bush to Suzi Quatro, from David Bowie to The Hollies.

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'Fleetwood Mac Live 1975' captures the incredible electricity of the band’s first tour with the legendary lineup of Stevie Nicks & Lindsey Buckingham joining Mick Fleetwood, John McVie, & Christine McVie. Recorded 50 years ago at the Capitol Theatre (Passaic, NJ, 10/17/75) & Jorgensen Auditorium (University of Connecticut, Storrs, CT, 10/25/75), the album features the band’s recent hits 'Rhiannon' & 'Landslide' along with some early Fleetwood Mac favorites, including 'Hypnotized' & 'Oh Well'. Pressed on vinyl for the very first time!

TRACK LISTING

1. Get Like You Used To Be
2. Station Man
3. Spare Me A Little
4. Rhiannon
5. Why
6. Landslide
7. I'm So Afraid
8. Oh Well
9. The Green Manalishi (with The Two Pronged Crown)
10. World Turning
11. Blue Letter
12. Don't Let Me Down Again
13. Hypnotized

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

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The Flaming Lips perform their iconic album, 'Yoshimi Battles The Pink Robots', live in its entirety from the Oklahoma City Zoo Amphitheatre on August 30, 2024. The hometown set will be released as a 2LP, 45 rpm color vinyl featuring new artwork by Wayne Coyne.

TRACK LISTING

1. FIGHT TEST
2. ONE MORE ROBOT/SYMPATHY 3000-21
3. YOSHIMI BATTLES THE PINK ROBOTS PT. 1
4. YOSHIMI BATTLES THE PINK ROBOTS PT. 2
5. IN THE MORNING OF THE MAGICIANS
6. EGO TRIPPING AT THE GATES OF HELL
7. ARE YOU A HYPNOTIST??
8. IT’S SUMMERTIME
9. DO YOU REALIZE??
10. ALL WE HAVE IS NOW
11. APPROACHING PAVONIS MONS BY BALLOON (UTOPIA PLANITIA)

Promises is the result of three distinct musical worlds colliding. Pharoah Sanders’ jazz improvisation and Flo Po’s twinkling electronics are layered over the string section of the LSO, bound together by a loose symphonic structure. These are textures that rarely sit together in a single composition, yet somehow they seamlessly knit into a cohesive whole. It’s quite a feat, one that could only be pulled off by artists as accomplished as these.

The entire album revolves around a recurring phrase played by Sam Shepherd on the piano, harpsichord and celesta. This phrase becomes the central pulse around which the other textures float, suspended in the space inbetween. The loose tempo allows for the improvised saxophone passages to flow freely and for Pharaoh to lean into the most tender moments of his performance.

At the beginning of the album the string section gradually emerges like a delicate silver thread before building through a series of sweeping chord progressions and moments of bittersweet dissonance. This leads into the third movement where Sam Shephard’s deft synth arrangement becomes the focal point. And later on we hear a hushed vocal performance from Pharoah. It’s one of the most touching moments of the album, with years of lived experience seeping through every crack and bend of his voice in a captivating way.

Promises is an album of subtle expression which invokes a feeling of boundlessness. It’s a wide open sonic space where each note is allowed to resonate to its full conclusion. There’s a constant feeling of push and pull, of tension and release, though it never really resolves fully. Something is always left hanging in the air - a question, a prayer, an inexplicable feeling. It’s perhaps one of the most surprising and profound releases of the year. 

STAFF COMMENTS

Matt says: A beautiful orchestral piece that while both resplendent with FP's and PS's wonderful idiosyncrasies; recalls the gorgeous depth of Prefab Sprout's "I Trawl The Megahertz" but without the vocal parts! Epic!

TRACK LISTING

Side 1
1. Promises (Movement 1) (1:16)
2. Promises (Movement 2) (3:56)
3. Promises (Movement 3) (3:16)
4. Promises (Movement 4) (3:39)
5. Promises (Movement 5) (6:06)

Side 2
1. Promises (Movement 6) (8:25)
2. Promises (Movement 7) (3:26)
3. Promises (Movement 8) (9:57)
4. Promises (Movement 9) (5:43)

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First vinyl pressing of this classic since it's initial release in 1996! There's an old saying that goes something like "if you love something, set it free; if it comes back it's yours." That's the sentiment behind 'In Flight'. Consider it the long-lost Linda Perry album. Written and recorded in 1995, it was quietly released and neglected the following year. 'In Flight' has now returned for you to take in and make its splendor yours. 'In Flight' lets you get to know Linda Perry as, well, Linda Perry. Sure, we all know her musical history as well as her production work, but 'In Flight' represents the heart and soul of who Linda is. It's a deep and endearing recording that with each subsequent listening reveals something you might have missed the first time around. Really...go ahead and give it a couple listens and see for yourself.

TRACK LISTING

1. In My Dreams
2. Freeway
3. Uninvited
4. Success
5. Life In A Bottle
6. Fill Me Up
7. Knock Me Out
8. Too Deep
9. Taken
10. Fruitloop Daydream
11. Machine Man
12. In Flight

There aren't a lot of Christmas songs that include Persian Târ, twelve-string guitar, tanpura, and sitar, but Bhopal's Flowers Christmas song 'Incense, Myrrh & Gold' has all of them. Despite their Indian-sounding name, Bhopal’s Flowers are from Montreal, Canada. Since 2018, they have released three well-received albums and one single on labels like Sound Effects and Hypnotic Bridge. In their music, Bhopal’s Flowers—the brainchild of singer, songwriter, and multi-instrumentalist Lionel Pezzano—mix a wide array of influences, including psychedelic rock, sunshine pop, French pop, and Hindustani and Middle Eastern sounds. 'Incense, Myrrh & Gold' is a catchy song about the Magi who came from the East to bring presents to the newborn King.

The B-side features Bhopal’s Flowers' cover of one of the most recorded Christmas songs ever, taking it to places it has never been before. Imagine if the Beatles had decided to record 'Jingle Bells' at the end of a long recording session for their classic album Sgt. Pepper's Lonely Hearts Club Band, with Ravi Shankar present to play a sitar solo. Give Bhopal's Flower's rendition of 'Jingle Bells' a listen and you'll have a good sense of how that might have sounded. The single comes packaged in a stylish, 1970s-inspired sleeve on snow-white bio vinyl, limited to 280 copies.

TRACK LISTING

1. Incense Myrrh & Gold
2. Jingle Bells

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The third release in our psychedelic/garage rock RSD trilogy (previous releases were the Poppies and Double Whammy titles), this time focusing on rare, unreleased and hard to find sunshine pop from the late '60s. Includes an extensive new essay from producer Alec Palao and pressed on "Sunshine" Translucent Orange vinyl.

This fresh white-label serves up a well-known disco gem but lovingly reworked from the original multitrack tapes. It's been done by an absolute Stateside king of disco and soul edits who is a connoisseur of the art form and has long been known for uncovering hidden gems and elevating them with studio finesse. The result is a version that stays true to the soul of the original while sounding absolutely huge on today's sound systems with its feel-good vocal energy and rousing rhythms. Dub and instrumental versions make this an unmissable 12".

TRACK LISTING

Side 1
Disco Flights

Side 2
Disco Flights (Dub)
Disco Flights (Instrumental)

Celebrated DJ, producer, and sonic explorer Auntie Flo (aka Brian d’Souza) — described by The Guardian as “one of global club culture’s most vital voices” — returns with ‘Birds of Paradise’: a rhythmically rich, emotionally resonant, and ecologically grounded new album via his A State of Flo imprint.

‘Birds of Paradise’ draws on d’Souza’s global club experience while deepening his connection with the natural world. Built around classic Roland drum machines and iconic vintage synths, the record is a joyful, body-driven celebration of rhythm and movement, but one grounded in ecology and place. The album’s spiritual centre lies in Saligao, Goa, near d’Souza’s maternal homeland where his Auntie Florie (where the name is derived from) is buried. Where he found his ‘paradise’ nearby, staying in a converted fisherman’s hut and recorded dawn choruses from a riverside studio overlooking mangrove-lined waters. Environmental textures from Japan also make their way into the music, creating a sonic map rooted in lived experience.

‘Birds of Paradise’ is about finding beauty and rhythm in a chaotic world. It’s about listening, to nature, to our bodies, to what’s real. It’s a reminder that dance music can be both joyful and grounded. The album blends Afro-Latin polyrhythms with Western 4/4 patterns, fusing instinctive, dancefloor energy with field recordings that anchor the music in the earth. Described by d’Souza as “tropical with a few deeper edges, a balance of light and dark.”

The new record follows the acclaimed ‘In My Dreams, I’m A Bird and I’m Free’, which earned 4 stars and Global Album of the Month from The Guardian, featured in Disco Pogo’s Albums of the Year, and received support from Luke Una, Resident Advisor, Juno, Bandcamp, Mixmag, DJ Mag, Electronic Sound, The Skinny, Beatport, Ban Ban Ton Ton, and more. The album’s launch show at Omeara London sold out. Other recent projects include the ‘Outernational Dance’ EP on cult label Multi Culti, event series ‘Plants Can Dance (and Mushroom’s Sing)’ which explore plant and fungi bioelectricity as a means of live composition, and ‘Black Beacon’, a haunting cassette release and soundwalk series recorded on the abandoned military island of Orford Ness. There, d’Souza explored the eerie intersection of nature, decay, and deep time, gaining special access to restricted buildings to capture long-form soundscape compositions.

Alongside his production work, d’Souza has emerged as a leading voice at the intersection of sound and science. He curated music for Imperial College’s groundbreaking psychedelic therapy trials, developing six-phase playlists to guide participants through psilocybin-assisted sessions treating conditions such as fibromyalgia and gambling addiction. His five-hour ambient set at Watching Trees Festival, selected as Resident Advisor’s Mix of the Day, continued this exploration into the therapeutic potential of sound in altered states. He also spent six months collaborating with BBC producer Tom Raine on a documentary for BBC World Service, centred on a two-week journey through Kenya and Goa. There, he performed live, led plant music workshops, and joined a deep listening retreat rooted in field recording. “I realised my studio isn’t just four soundproofed walls filled with instruments — it’s the journey itself. It’s the people I meet, the natural world I listen to, and the connections I feel.”

This same commitment to deep listening fuels his live concept Plants Can Dance, a project that combines the biosonification of plants and fungi with modular synthesis. The next event, on 14 September at Hideout Hackney Wick, will feature performances by Stella Z and Lapalace, with d’Souza and resident Lamine playing live alongside responsive plants in collaboration with Repot Hackney Wick and the label Music To Watch Seeds Grow By. “I’ve spent years exploring how electronic music can connect us, not just to each other, but to the natural world. Whether it’s translating mushroom data into melody or capturing birdsong at dawn, it’s about finding resonance across bodies, ecosystems, and machines.”

Rooted in his Goan and Kenyan heritage and shaped by years of travel and collaboration, d’Souza’s creative mission is simple: to reconnect the electronic world with the natural one. Through A State of Flo, he continues to blur the boundaries between club culture, sound art, and ecological awareness.

STAFF COMMENTS

Matt says: More tropical house music from Brian d’Souza's highly acclaimed alias. Rightly hyped, the album showcases myriad styles of the producer's personality. From splashing around the shallows in an exotic paradise to feathers n facepaint dancing under star lit skies, holiday house music never sounded so fresh! Grilled calamari not included.

TRACK LISTING

A1. Paradise 23
A2. Ciebo
A3. Anacyclosis
A4. Joy Mantra
B1. Mamluk
B2. Earth NRG
B3. Mount Kōya
B4. Cobra 

“Every second counts when the end is near.” In Lazarus, Floating Points delivers a score that lets you feel every tick of the clock–slowing time just enough to sink into each moment. Across 6 tracks, his mix of electronic textures, jazz-inflected rhythms, and hypnotic grooves scores from quieter to high-tension scenes–and now, that atmosphere is captured in a stunning vinyl form.

A must-have for Floating Points fans and soundtrack collectors looking to own one of the most distinctive sonic chapters in the Lazarus world.

STAFF COMMENTS

Barry says: A lovely little suite from Mr. Shepherd here, with jazzy percussion loops and flickering samples evoking everything from Four Tet to Pharoah Sanders, and deftly ending in a beautifully crispy, Cascade-adjacent 9-minute JAM. Genius level stuff.

Specially formulated anti-static stylus cleaning fluid safely cleans throughly without leaving residue or static to maintain stylus response. With built in applicator brush for precise application.

It was the arrival of a Studer A80 master recorder at the front door of Sam Shepherd-otherwise known as Floating Points-that caused him to begin building the studio that led to the creation of his debut album, Elaenia. After a slight miscalculation meant that he could not physically get the thing inside his home, what happened next can only be described as a beautiful example of the butterfly effect. Breaking away from making electronic music on his laptop, the DJ, producer and composer spent the next five years engineering Elaenia, all the while deejaying in cities across the globe and working towards his PhD in neuroscience. An incredibly special album that draws inspiration from classical, jazz, electronic music, soul and even Brazilian popular music, Elaenia-named after the bird of the same name-is the epitome of the forward-thinking Floating Points vision in 2015.

TRACK LISTING

Side A
1. Nespole Track
2. Silhouettes (I, II & III)
3. Elaenia
Side B
4. Argenté
5. Thin Air
6. For Marmish
7. Peroration Six
8. Precursor

Everybody Scream is the 6th studio album by Florence + The Machine.

Florence Welch, wrote and produced the album over the past two years with a close-knit circle of collaborators including Mark Bowen of IDLES, Aaron Dessner of The National and American singer-songwriter Mitski. ‘Everybody Scream’ treads through womanhood, partnership, aging and dying; exposing the murky in the mundane. 

TRACK LISTING

LP 1
1
Everybody Scream
One Of The Greats
Witch Dance
2
Sympathy Magic
Perfume And Milk
Buckle
LP 2
1
Kraken
The Old Religion
Drink Deep
2
Music By Men
You Can Have It All

CD Tracklisting:
1. Everybody Scream
2. One Of The Greats
3. Witch Dance
4. Sympathy Magic
5. Perfume And Milk
6. Buckle
7. Kraken
8. The Old Religion
9. Drink Deep
10. Music By Men
11. You Can Have It All
12. And Love

New Zealand indie rock royals, The Bats, have recently had their heads down recording new music and have just announced their 11th full-length album, ‘Corner Coming Up’.

The Bats are Robert Scott, Kaye Woodward, Paul Kean and Malcolm Grant, the much-loved indie rock band from Aotearoa. Since their inception in Christchurch in 1982, The Bats’ music has earned a devoted following around the world, and they remain one of New Zealand’s most cherished and enduring exports. Their music is a perfect blend of bittersweet beauty and deceptive simplicity, and the band has a phenomenal ability to create melodies that linger long after the record has stopped spinning.

The new album strikes a very distinctive and familiar chord that exists in the hearts of fuzzy-loving hearts of fans all round the world. Throughout their 40 plus years of existence, and now with album number 11 ready to share with the world, The Bats have stayed true to their roots, creating timeless music that continues to resonate with fans old and new.

TRACK LISTING

1. The Gown
2. Lucky Day
3. A Line To The Stars
4. Corner Coming Up
5. A Song For The End
6. A Crutch A Post
7. Nature’s Time
8. Smallest Fall
9. Tidal
10. Eyes Down
11. Loline

There’s a kind of quiet violence in how music is consumed today—flattened into background noise, sonic perfume fed into algorithms, sold as lifestyle. It’s entertainment as anesthesia. Sound without the weight. The Spiritual Sound, the new full-length from Los Angeles–based band Agriculture, stands as a pointed refusal of this condition. This is not a playlist. This is not a vibe. It is a demand.

Across its runtime, The Spiritual Sound traces a narrative arc through extremes: searing, sky-cracking catharsis on side A; a slow-burning, devotional undercurrent on side B. The album is largely a fusing of the visions of its two principal songwriters, Dan Meyer and Leah Levinson: distinct voices, deeply complementary.

Meyer writes like someone clawing toward the divine through noise, channeling Zen Buddhism, historical collapse, ecstatic grief. Levinson’s songs move differently: grounded in queer history and AIDS-era literature, amid the suffocating fog of the present, they carry the weight of survival as daily ritual. Her writing asks how to honor queer community and collective struggle without turning it into identity branding or personal mythmaking: how to stay honest, how to stay present. Though distinct, their voices converge in a singular spiritual grammar—one that defines the totality of The Spiritual Sound, not as separate parts, but as one unified expression.

Agriculture’s formation mirrors this duality. What began as a loose collaboration between Kern Haug and Dan Meyer in the Los Angeles noise scene evolved into a shared pursuit of the sublime through heavy music. With the additions of Richard Chowenhill and Leah Levinson, the project solidified into the band’s current form. The ecstatic black metal foundation was laid on 2022’s The Circle Chant, expanded into something more precise and far-reaching on their 2023 self-titled full-length, and deepened further with 2024’s Living Is Easy: a record that embraced devotional intensity and radiant heaviness in equal measure.

Agriculture doesn’t offer salvation. The Spiritual Sound isn’t a map out of the fire. What it offers instead is presence: a confrontation with the moment, however unbearable, however divine. It insists that meaning is still possible, even in a world hell-bent on reducing everything to content, and where suffering itself can be conducive to recovery. As the Buddhist saying goes “the only way out is in.”

TRACK LISTING

1 My Garden
2 Flea
3 Micah (5:15am)
4 The Weight
5 Serenity
6 The Spiritual Sound
7 Dan's Love Song
8 Bodhidharma
9 Hallelujah
10 The Reply

'All My Angels' is another showcase in what makes Speed one of hardcore's current torchbearers. Amazing stuff and not likely to hang around for long - super limited

TRACK LISTING

1. AIN'T MY GAME
2. PEACE
3. ALL MY ANGELS