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

TRACK LISTING

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

Cat Power returns with "Jukebox", her second album of cover songs and a tribute to the great vocalists who have influenced her over the years. Recorded in Dallas, Memphis and Miami with Stu Sikes (who also worked on Loretta Lynn's Grammy-winning "Van Lear Rose"), it contains twelve tracks, eleven of which are covers and one, "Song To Bobby", is brand new and a suitable inclusion as she wrote it about meeting Bob Dylan for the first time (it also precedes her version of "I Believe In You" on this record). This is the first record she has made with her band Dirty Delta Blues – the quartet of Dirty Three's Jim White, Delta 72's Gregg Foreman, Jon Spencer Blues Explosion's Judah Bauer and Lizard Music's Erik Paparozzi – and they make up a big part of this album. Also making guest appearances on the record are Spooner Oldham (Neil Young, Janis Joplin), Larry McDonald (Toots & The Maytails, Taj Mahal), Teenie Hodges (Al Green, Memphis Rhythm Band) and Matt Sweeney (Chavez). Time Out once wrote that Cat Power was 'a master of interpretation' and "Jukebox" highlights just that. Although her second album of covers, it's not really the sequel to "The Covers Record" (2000), instead a fascinating new chapter in Chan Marshall's artistic arc.

TRACK LISTING

New York (Frank Sinatra)
Ramblin (Wo)man (Hank Williams)
Metal Heart (2008 Version) (Cat Power)
Silver Stallion (Highwayman)
Aretha, Sing One For Me (George Jackson)
Lost Someone (James Brown)
Lord, Help The Poor & Needy (Jessie Mae Hemphill)
I Believe In You (Bob Dylan)
Song To Bobby (Cat Power)
Don't Explain (Billie Holiday)
Woman Left Lonely (Janis Joplin)
Blue (Joni Mitchell)

First collaboration between DJ-musician-composer, Elisabeth Esselink and the husband and wife team of Jon Spencer (of avant-punksters Pussy Galore, Boss Hog, Heavy Trash and head honcho of Blues Explosion) and Cristina Martinez, Boss Hog frontwoman. They met after Esselink DJ’ed at a gig supporting the Blues Explosion.
· The trio immediately recorded at Esselink’s studio beneath her indie record shop in Amsterdam, and also in New York and mailed tracks between the two as they added and edited on the way. The resultant album mixes and matches the best of both their approaches, tough, eclectic, explosive, retro and yet also at the cutting edge of 21st century dance music.

The debut album from The Supreme Dicks, available on vinyl for the first time.

Falling somewhere between Captain Beefheart, Throbbing Gristle and SALEM in the lineage of musicians who’ve found a muse in the nasty, brutish brevity of life, Supreme Dicks chose to cloak disarmingly real paranoia and grief in the contemporary trappings of late '80s and early '90s lo-fi college rock. They may have inhabited the same sonic and physical space as colleagues like Dinosaur Jr (Lou Barlow was an occasional Dick, and at least one early Dinosaur Jr show was actually played by Dicks in disguise), but they stripped away all youthful yearning and anticipation in favor of a bleak and unblinking certainty. Honest, frank, and free of ironic distance. Obtuse and yet so essential that it can’t help but feel familiar to anyone who’s ever spent a sleepless night wondering whether there's any point to all of this. And, on occasion, warm, intimate and lovely.

The Supreme Dicks formed while students at Massachusetts’ Hampshire College in the twilight of the Reagan era. The campus was a fractured posthippie free-for-all that many students theorized was a right- wing think tank experiment in pitting progressives against each other. The constantly revolving lineup centered around songwriters Daniel Oxenberg and Jon Shere, and whoever else was around and willing to torture an instrument. They advocated the teachings of Wilhelm Reich and were vocal about focusing their creative energy via celibacy. This may do much to explain the constant, unrelenting tension that provides the driving force behind the most powerful moments in their music. Regardless of tempo or arrangement, Supreme Dicks songs play like soundtracks to autoerotic asphyxiation, haunting tones that ring in the ears at the moment consciousness is lost and not guaranteed to return.

TRACK LISTING

In A Sweet Song The Arabian Song The Sun's Bells
Jack Smith
That I May Never Forget And Stay Garden Of Your
Past Jack-O-Lantern
River Song
The Fallout Song
Azure Dome
The Forest Song (or Especially When The October
Wind With Frosty Fingers, Punishes My Hair)
Hyacinth Girls
Ten Past Eleven
Woody Would've Wanted It That Way
Strange Song

The second album from The Supreme Dicks, available on vinyl for the first time.

Falling somewhere between Captain Beefheart, Throbbing Gristle and SALEM in the lineage of musicians who’ve found a muse in the nasty, brutish brevity of life, Supreme Dicks chose to cloak disarmingly real paranoia and grief in the contemporary trappings of late '80s and early '90s lo-fi college rock. They may have inhabited the same sonic and physical space as colleagues like Dinosaur Jr (Lou Barlow was an occasional Dick, and at least one early Dinosaur Jr show was actually played by Dicks in disguise), but they stripped away all youthful yearning and anticipation in favor of a bleak and unblinking certainty. Honest, frank, and free of ironic distance. Obtuse and yet so essential that it can’t help but feel familiar to anyone who’s ever spent a sleepless night wondering whether there's any point to all of this. And, on occasion, warm, intimate and lovely.

The Supreme Dicks formed while students at Massachusetts’ Hampshire College in the twilight of the Reagan era. The campus was a fractured posthippie free-for-all that many students theorized was a right- wing think tank experiment in pitting progressives against each other. The constantly revolving lineup centered around songwriters Daniel Oxenberg and Jon Shere, and whoever else was around and willing to torture an instrument. They advocated the teachings of Wilhelm Reich and were vocal about focusing their creative energy via celibacy. This may do much to explain the constant, unrelenting tension that provides the driving force behind the most powerful moments in their music. Regardless of tempo or arrangement, Supreme Dicks songs play like soundtracks to autoerotic asphyxiation, haunting tones that ring in the ears at the moment consciousness is lost and not guaranteed to return.

TRACK LISTING

Synaesthesia
CúChulain (Blackbirds Loom)
Columnated Ruins/Seeing Distant Chimneys
Along A Bearded Glade
Swell Song
Showered
A Donkey's Burial In A Tower On A Mirage
Adoration De L'Agneau Mystique
Porridge For The Calydonian Boar
Siberian Penal Colony (Ode To Joel Stanley)
Green Wings Fly Adventure (Showered Reprise)

‘NEONTWANG’ was recorded in London at Rory Attwell’s Lightship95 with the Warm Brains man on production duties, a combination that has delivered the band’s strongest set of songs to date.

‘NEONTWANG’ also marks the full debut of new member Jon ‘Simmo’ Simkins as a full writing member of The Twang. Simmo was also the brains behind the video for album track ‘The Wobble’ which premiered on The Fly’s website in October who described it as ‘resembling Ariel Pink doing Tears For Fears’.

‘NEONTWANG’ marks an important moment for the band. Their fourth album, lead singer Phil Etheridge described making it as ‘easily the most fun we've had in the studio since before the band got a record deal’. Having lived through (and survived) the slings and arrows of (much) outrageous fortune, the band have found a space where they are back to the core values that have kept them together as a writing unit for over a decade.

‘NEONTWANG’ comprises a series of recordings that encompass light touch balladry, dub, trip hop and sunshine pop. That early leak of ‘The Wobble’ from the album points the way, a track that veers from delicate melody to overdriven industrial noise, it is the perfect pointer for an album that cares only for its own quality. Those who know their music may also note the echo of club culture, a constant driver for the band, in album closer ‘Bywyd Da’, with its reference to Inner City’s club classic ‘Good Life’. Welsh speakers (or users of Google translate) will get the joke.

TRACK LISTING

1. City Lights
2. Larry Lizard
3. New Love
4. The Wobble
5. Sucker For The Sun
6. Almost Anything
7. Happy Families
8. Medicine
9. Bigger Than You
10. Step Away
11. Bywyd Da

Music from the "Rauhnächte" - DIE WILDE JAGD go hunting in the thicket of Neo-Krautrock, Electronica and Synthpop.

Every year anew, during the Rauhnächte (those harsh nights between Christmas and Twelfth Day), the Wild Hunt (Die Wilde Jagd) rides across the country: raucous, jeering hunters from the nether world, whose path it is better not to cross. This is an ancient Germanic myth, which, in slightly varied form, is known in many parts of Europe and whose name Ralf Beck and Sebastian Lee Philipp have aptly chosen for their new project. The two first met in 2006 in Düsseldorf's Salon des Amateurs , a meeting place for new and established experimental musicians and artists, also known as Germany's "postpunk Hacienda". It seems no coincidence that Düsseldorf is the duo's founding city: their music is full of subtle references to local acts, such as Kraftwerk, NEU!, DAF, Liaisons Dangereuses, Pyrolator, the Krupps and Propaganda. Since their first meeting, Beck and Philipp regularly come together during the time of the Rauhnächte to record in Beck's well-equipped studio. Using the numerous analog keyboards and recording devices assembled there, and combining them with a diverse range of percussion instruments, they create their own "hunting music", which at times sounds unsettling, like swampland or a dark forest, but also urgent and pressing, like incandescent lasers or a hypnotic dance. Their soundscape is marked by repetitive guitar loops, electronic percussion, drums and synthesizers. Booming tom-toms and medieval-sounding flutes herald the start of the hunt. Whispering, reciting voices conjure up the spirits of the woods, while synthetic sounds, melodies and noises flit about before they are re-captured, structured and grounded by crystalline beats and pulsating bass lines.

About the musicians: Ralf Beck is a musician and producer from Düsseldorf. He has released several albums as part of the duo Nalin & Kane, as well as under the name Unit 4. He collects old synthesizers and effect pedals and has already worked together with Karl Bartos. In his studio Uhrwald Orange he has recorded music by Propaganda, Kreidler, Black Devil Disco and many more.

Sebastian Lee Philipp is part of the Berlin-based electro-wave duo Noblesse Oblige and composes music for theatre and radio plays. Between 2001 and 2006 he lived in London where he ran the club night "Caligula" and performed as a DJ.

TRACK LISTING

1 Wah Wah Wallenstein (7:46)
2 Austerlitz (7:24)
3 Torpedovogel (3:59)
4 Durch Dunkle Tannen (4:56)
5 Der Elektrische Reiter (6:45)
6 Morgenrot (6:27)
7 Jagd Auf Den Hirsch (7:25)
8 Der Meister (4:18)

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

TRACK LISTING

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

Skip James was a Delta blues enigma, whose mesmerizing guitar playing and haunting voice produced bluer than blue masterpieces. This beautifully re-mastered collection of his seminal 1931 recordings shows why his otherworldly blues cast its spell on many blues greats from Robert Johnson to Eric Clapton.
Arguably the greatest of the original Delta blues guitarists with his mesmerizing and truly unique style. 'The Rough Guide To Skip James' highlights his diverse repertoire of songs ranging from deep, dark Delta blues to upbeat barrelhouse piano tunes and spirituals.

TRACK LISTING

Hard Time Killin’ Floor Blues
I’m So Glad
Drunken Spree
If You Haven’t Any Hay Get On Down The Road
Cherry Ball Blues
Be Ready When He Comes
Little Cow And Calf Is Gonna Die Blues
Devil Got My Woman
How Long “Buck”
Jesus Is A Mighty Good Leader
Cypress Grove Blues
Illinois Blues
22-20 Blues

Joni Mitchell turns 80: Ermitage celebrates the nine times Grammy winner with the release of this vinyl album featuring the artist performing live on the BBC in 1970

Star singer- songwriter of Canadian music and author of songs such as "Big Yellow Taxi", "River" and "A Case of You".

For all the fans around the world always eager for the releases of the great singer- songwriter and particularly since a few months ago she returned to the stage after the brain aneurysm that struck her in 2015 and left her unable to speak or walk let alone play the guitar.

TRACK LISTING

1. Chelsea Morning
2. The Gallery
3. Cactus Tree
4. My Old Man
5. For Free
6. Woodstock
7. All I Want
8. California
9. Big Yellow Taxi
10. Both Sides, Now

For its second anniversary, Samba Jean-Baptiste’s 2023 LP, ‘Cardinal' arrives on vinyl and CD. Two years on from its original release on Samba’s own AM Radio imprint, this physical release via Scenic Route Records celebrates an album that’s quietly built a devoted following for its intimate songwriting, cinematic arrangements, and deeply human detail.

This edition features alternative artwork by Rafi Goudy and, for CD buyers, a 32-page lyric booklet featuring images captured by Samba himself.

An intimate, richly textured record that’s grown into a modern cult classic, ‘Cardinal’ stands as a deeply personal snapshot of a singular artist - now a tactile home experience.

TRACK LISTING

1.Running To The Nearest Body Of Water
2. Perfect & Learning
3. I Could’ve Cried
4. Umlaut
5. Windows
6. Seven Less Functions (feat. Chloë LeStage)
7. Song 6
8. Luca’s Song
9. Signs
10. A Wish Slanted
11. Storytime
12. The Primate
13. Texas Sundial V1
14. Quick Before Something Drastic Happens
15. Better Now
16. Uptown Lovebug
17. Talk / Pleasure
18. Cardinal
19. Window Seat
20. +ad 

wing!’s debut EP MISSED IT JUST THE ONCE is a ghostly instrumental hip hop project shaped by instinct, collaboration, and the constraints of a work lunch break - combining sample-based beat-making with live instrumentation.
Emerging from a period of creative exploration and personal transformation, MISSED IT JUST THE ONCE marks a pivotal moment for wing!, the moniker of Bexleyheath born-and-raised producer Adam Swan. “This EP was a breath of fresh air for me,” he shares. “It was the first time I had multiple tracks I was proud of. The idea of having an EP to listen back to and be excited about was completely new to me.”

Each track on the EP tells its own story, both in sound and in the moments of its creation. The first single "Out From Outer" was the first track written for the EP, and its original skeleton was conceived during wing!’s lunch break from working in a coffee shop - a habit that has been the basis of all of the tracks on the EP. “I was listening to a lot of Brazilian funk and thinking about how J Dilla layered samples on Geek Down,” he recalls. “I wanted it to feel like a live DJ endlessly flipping samples over a drum loop.”

The track served as the catalyst for the formation of wing!’s live band: after sending it to drummer Joe Killick, they had their first rehearsal and began transforming the music into a live experience, soon joined by bassist Kai Charlton. They made their debut at The Windmill Brixton in April 2024. As a trio playing live, they bridge the gap between beat-driven electronic & hip hop music and live jazz-inflected improvisation. Their blend of trip-hop textures with post-rock dynamics contributed to the EP’s final completion, with all three performing on the closing track.

Closing track In A Second I Will Need A Second’s post-rock inspired sound blends seamlessly with wing!’s more native hip-hop beatmaking. Drawing influence from the likes of Godspeed You! Black Emperor and Butch Kassidy, the track's energy is built around a drum crescendo of epic proportions. Initially hesitant to incorporate live drums over the usual sampling, wing! ultimately embraced the organic energy it brought to their live and recorded sound. The track’s momentum is driven by drummer Joe Killick’s subtle dynamic shifts. Kai Charlton brings deeply melodic bass, resulting in a piece that feels immense while remaining introspective.

The EP came hot off the back of opening Green Man Festival’s iconic Mountain Stage after winning the Green Man Rising competition.

MISSED IT JUST THE ONCE is wing! planting his flag in the ground, and making their first definitive statement. Boom bap grooves melding seamlessly with trippy ambiance and propulsive composition. With ‘In A Second I Will Need a Second’ the trio close out their debut EP in an epic conclusion. wing! continue to move from strength-to-strength, and have cemented themselves as one to watch with this release. With Missed It Just The Once, wing! establishes himself as an artist unafraid to follow his instincts, experiment freely, and find creativity in unexpected places.

TRACK LISTING

Side A
Let The Rest Go
Out From Outer
Pack It In
In A Second I Will Need A Second

Side B
Let’s Just See (Physical Only Bonus)

'John Son' captures The Fat Lady Sings at their most open-hearted and ambitious. Across these songs, the band threads jangling guitars with sharp emotional detail, building a world where memory, regret, and hope collide. It's an album that moves with purpose -- melodic, literate, and unafraid to sit with the difficult moments. Every track feels like a postcard from a life half- lived and half- understood, delivered with the band's unmistakable blend of tenderness and bite.

TRACK LISTING

1. Boil
2. Show Of Myself
3. Alien 
4. Drunkard Logic 
5. World Exploding Touch 
6. Horse Water Wind
7. This Guitar
8. Johnny Sunrise 
9. Stealing A Plane 
10. Colourblind 
11. But 
12. Providence

For the first time ever, Michael Jackson’s ‘Thriller’ is available on Red & Black Marble vinyl, celebrating the world’s biggest-selling album and the first album to be certified triple Diamond by the RIAA. Released in 1982, Thriller changed pop music forever, featuring seven U.S. Top 10 hits including “Billie Jean,” “Beat It” and “Thriller,” and helped Michael win a record-setting eight Grammy Awards in one night.

TRACK LISTING

Side A
1. Wanna Be Startin’ Somethin’
2. Baby Be Mine
3. The Girl Is Mine (feat. Paul McCartney)
4. Thriller

Side B
1. Beat It
2. Billie Jean
3. Human Nature
4. P.Y.T. (Pretty Young Thing)
5. The Lady In My Life

God of War is Douglas Dulgarian (They Are Gutting A Body Of Water), Scott Turner (hooky) and Sam Silbert (hooky, circle of fire).

It's 2007. You’re watching your older cousin play SSX tricky. How is he such a monster at this game. Dude for real what the fuck. Such style, such finesse. I know he smokes weed. Should I tell Aunt Vicky? No no no- that would ruin this moment. He is racking up points that were formerly unheard of, and with such grace. There’s no expression on his face. And considering that he just sat open mouthed at the dinner table staring into nothing for forty minutes, this revelation is more than remarkable. It seems as if he has always existed in this moment. As if his very essence was plucked from the ether. And perhaps he has. He was made for this moment.

TRACK LISTING

Side A
1. Some Prank
2. Defeater
3. Mickey Don’t Pose
4. Linda
5. Raphael Bad As Shit (ft. Big Nick)
Side B
6. Gorgeouses Apartment
7. New Deal
8. No Juniors
9. Mischief Night
10. Recital

'A Safe Place To Be Wild' is the seventh LP from Jordan Rakei, arriving after more than a decade of pushing the boundaries of soul, jazz and alternative R&B. Fearless, intimate and emotionally direct, the album finds Jordan embracing uninhibited self-expression and placing vulnerability at the centre of his songwriting. Stripping everything back to raw feeling and unfiltered moments, 'A Safe Place To Be Wild' captures an artist fully stepping into himself, confronting the fear of exposing his inner world and finding power in doing so.

TRACK LISTING

1. Eden
2. Promise
3. Would Ya Mind
4. Enemies
5. Grace
6. Paradise
7. Games
8. From The Outside
9. Mirror
10. Go
11. I'm Out
12. If I
13. Pub
14. Whispers in the Wind

'Legendary Children (All of Them Queer)' is a celebrated 1994 dance-pop track by former Frankie Goes to Hollywood frontman Holly Johnson. The song acts as an upbeat LGBTQ+ historical roll-call, honoring historical queer icons from Andy Warhol to Leonardo da Vinci, and was notably performed at London's Gay Pride in 1994. The song is based on the iconic Paris Is Burning and features the brilliant vocals of Helen Terry (Culture Club/2wo Third3). 

Released on the album 'Soulstream', the song is famous for its spoken-word verses and euphoric chorus celebrating legendary figures like Oscar Wilde, Jean Cocteau, and Joe Orton. The overarching message is captured in its defiant lyric: "The answer is clear, they're all of them queer."

Now 2026 sees brand new versions by Luv Foundation (UK). George from the Sharp Boys, a dear friend of Holly's and Mark Loverush, mentioned to Holly that Luv Foundation (UK) should do the rework. Mark Loverush and Julian Napolitano wanted to capture as much of the original essence as possible, keeping that 90s flavor while giving the remix a big, classic feel reflective of how it would sound today. 

This is a limited edition of 700 pink vinyl, including 2 of the original versions alongside 2 remixes by Luv Foundation (UK).  It comes in brand new artwork by Philip Marshall. 

TRACK LISTING

1. Legendary Children (All Of Them Queer)
2. Legendary Children (All Of Them Queer) (Saturday Night In Heaven Mix)
3. Legendary Children (All Of Them Queer) (Luv Foundation (UK) Remix)
4. Legendary Children (All Of Them Queer) (Luv Foundation (UK) Extended Remix) 

The definitive illustrated story of electronic sound, from WWI to the AI-enabled future, presented by the godfather of the genre. Jean-Michel Jarre is a true pioneer of electronic music. From his early role in electronic sound to his current work with AI, technology is at the forefront of everything he does.

Having amassed an extraordinary collection of electronic and electroacoustic instruments – one of the largest and most important in the world – JMJ provides the ideal raw materials for this unique illustrated book. Machines begins in 1913 with The Art of Noises Futurist manifesto and chronicles the genre as fundamentally European, originating with Surrealism and the Bauhaus, and later shaped by radio. Detailed descriptions of more than eighty instruments – from the iconic ARP 2500 to rare, bespoke, one-off creations – illustrate shifts in electronic sound.

Throughout, JMJ’s personality and devotion to the electronic cause shines through, aided by biographical anecdotes and his unparalleled depth of knowledge.

A definitive discographic guide to the resurgent wave of British Jazz music over the last 15 years, compiled by the DJ and broadcaster Gilles Peterson, one of the most significant figures in British Jazz in modern times.

The last fifteen years have seen a renaissance in British Jazz as a new young and diverse generation of players fusing jazz music with a wide-array of cultural influences to be found uniquely in London and around the UK - including afrobeat, hip-hop, reggae, dubstep, grime, future soul and electronic music. Artists such as Ezra Collective, Shabaka Hutchings, Nubya Garcia, Sons of Kemet, Moses Boyd and Yussef Dayes blend technical skills with a new-found cultural energy to give 21st Century British Jazz a new identity that nonetheless draws upon the lineage and pantheon of the great modern American jazz artists - John Coltrane, Miles Davis, Pharoah Sanders, Herbie Hancock, Elvin Jones et al. Gilles Peterson has been the entry point into the careers of many of the musicians featured in this book and is in a unique position to tell this story. Aside from his position as a trusted BBC radio broadcaster and club DJ, he is also an avid record collector and most of the records featured here have been personally given to him by the artists. In this book he has brought together a definitive and unparalleled collection of new wave British Jazz releases. The book features 100s of stunning and striking artworks, often uniquely designed specifically for him. This book is a near-complete guide to the record releases of every new British Jazz artist to emerge in the last fifteen years lovingly brought together by perhaps the most-important figure in bringing this music to a global audience.

Defying the odds of emerging from one of the most economically deprived areas of the UK, West Lothian, which succumbed to the devastating effects of Thatcher’s de-industrialisation in the 80’s, The Snuts proved themselves to be only Scottish band to break through and gain international acclaim in the past 5 years, despite the unprecedented challenges stacked against them.

After rising from grass roots venues to sold-out arenas, The Snuts return with their most personal album to date. Since their chart-topping 2021 debut 'W.L.', the band have consistently evolved, refusing to be defined by genre, both with their follow up LP, the politically angst driven 'Burn the Empire' (2022) and in 2024, their energetic pop-driven 'Millennials'.

Their new record, 'Joy In Short Moments', pairs anthemic songwriting with honest themes of mental wellness, crisis, identity, growth and belonging after a succession of life changing events leading to their most personally raw and visceral songs to date.

TRACK LISTING

1. In Motion
2. Youth Ain't Easy
3. Defibrillator
4. Joy In Short Moments
5. PTS
6. Get Up, Get Out
7. Country Music
8. Summer Rain
9. Motherlands
10. Warsaw
11. Little Marathon Man 

'Doggone' was recorded in Portland, Oregon in January of 2025 at the Center for Sound, Light and Color Therapy with longtime collaborator Ryan Oxford. It features Akron/Family founding member Dana Buoy (drums), Rick Pedrosa (Rose City Band/Abronia) on pedal steel & guitar, and Alex Chapman (bass). Guest contributions come from Devendra Banhart and Portland singer-songwriter Merle Law. The album will be mastered by Amy Dragon (Nathaniel Rateliff, Big Thief, Moon Duo).

'Doggone' centers around themes of community, aging, recognizing your gift is in your blood, carving out your own version of success, planting seeds/growing roots, and the impact of place on creative work. Silverstein continues to explore the intersection of loner-folk, cosmic country, and kraut-laden choogle found across his previous releases.

While writing the songs for this record, Silverstein discovered his uncle was a songwriter and manager for North Country Band, a 1970s Grateful Dead–inspired country-rock group from Minnesota. Silverstein had been DJing the album & showing live performances to friends before knowing his uncle's involvement. This furthered his understanding of his uncle's life in music (performing with Doc Watson, putting on shows for Jerry Jeff Walker, etc.) and gave him the inspiration and motivation to keep pressing on with the album.

Album art features an archival photo of Hat ‘n’ Boots, a famous landmark designed by Pacific Northwest artist Lewis Nasmyth in 1953 for a Western-style gas station, now in Seattle's Oxbow Park due to a community-led effort to save them from demolition. The iconic roadside attraction fell into disrepair after the original gas station closed in 1988. In 2003, the community rallied to have the structures moved, and they were restored and reopened as a park landmark in 2005. 

TRACK LISTING

1. Coming Back Around
2. Out of Tune (feat. Devendra Banhart)
3. Drop of a Dime
4. Portland Works
5. Realize (feat. Merle Law)
6. Patchouli
7. Amblin’
8. Helluva
9. Onlyness

Featuring collaborations with Charlotte Plank, Glaive, okgiorgioand more. ‘50 Ballerinas’ is the debut album from Brooklyn-basedelectronic producer Jjigitz, one of the fastest-rising names in theU.S. UKG and Speed Garage scene. ‘50 Ballerinas’ expands Jigitz's world with alarger-than-life visual and creative concept inspired by ballet,movement, and community.

TRACK LISTING

1. What I Feel
2. Car Crash (ft. Charlotte Plank)
3. Magic
4. Seeing Stars (ft. Venbee)
5. Someone Else (ft. Rose Gray)
6. Bodies
7. You're My Nature (ft. Killen., Rebecca & Fiona)
8. Trackstar
9. 50 Ballerinas (ft. Okgiorgio, Tabi)
10. Can't Be Nothing But What I Am (ft. Glaive)
11. Thumbs (ft. Lamb)
12. Overtime (ft. KUČKA)
13. Makeup Sex (ft. Charlotte Plank)

The Wow! Scenario is the project from comedian, actor and musician James Acaster and his lifelong friend Graeme Wicks.

The project formed in 2004 in Kettering, Northamptonshire. The sessions for their debut album began in 2007. 'Stand in the Star. A Verse and a Chorus', the debut album by The Wow! Scenario will now be released in 2026.

Graeme Wicks and James Acaster had already decided to call it a day when they recorded all of their songs in December 2007 with producer Chris Hamilton - one of the few people who actually liked their music. Indeed, the band name itself came from a drunk audience member trying to tell them they didn't have 'the X factor' but repeatedly getting the term wrong, "you don't have the wow scenario, guys. You need to get the wow scenario."

After three years of believing they were going to be one of the most important bands of all time, the duo had lost faith. They were playing poorly attended gigs every week and the response from the small audiences ranged from throwing shoes at the band to chasing them out of the car park and trying to punch their car. They were working extremely hard but making no progress. They'd both attended singing lessons every week since the band's inception but still hadn't reached the standard they'd hoped for when it came to harmonies or (in Acaster's case) basic pitch. In the end, they had to accept The Wow! Scenario was an acquired taste - or at least it would be if they could fully execute the ideas they had in their heads. Which they could not.

Even though they'd decided to give up, they approached the recording sessions with a new found enthusiasm. Other people's opinions no longer mattered to them, they were recording this for themselves, with Chris - someone who liked them so much he'd contacted them on MySpace and practically begged to record their songs. They spent a month sleeping in the studio, recording jazzy guitars and freewheeling drums, singing flatly, and periodically visiting the airport to make field recordings. In January 2008, Hamilton mixed all the songs, delivered the album, then the band split up and kept all of it to themselves.

Ten years later, in January 2018, The Wow! Scenario returned to the studio. They'd independently revisited the album and loved all of it except for the vocals. The plan was to delete the vocals, re-record the vocal melodies on saxophone, clarinet and fiddle, then possibly release the project as an instrumental album. Mark Brown and Guy Fletcher recorded their parts beautifully, Hamilton mixed the entire album for the second time in ten years, then Wicks and Acaster listened back to everything and agreed that while the instrumentals had been elevated, the songs still sounded incomplete. They needed vocals after all, apparently. Ha. Ha. Ha.

The third and final studio session took place in March 2023 when singers Emma Daman and BC Camplight performed the vocal parts the way they were always meant to be performed. Finally the songwriters heard what had been in their heads all those years ago. They'd finally graduated from 'impenetrable' to 'an acquired taste'. This was huge.

Just over a year later, Hamilton sat down to mix the album for the third time in his goddamn life, and by March 2025, 'Stand in the Star. A Verse and a Chorus' was actually, properly, hilariously, complete.

Obviously, the decision to go back on their original plan and share this music with other people could result in more shoes being thrown at them and open their car up to multiple punches but it's a risk they're willing to take. It took them over 20 years, but James Acaster and Graeme Wicks finally 'got the wow scenario'.

Whether anyone else will get The Wow! Scenario remains to be seen.

TRACK LISTING

1. Diving!
2. Once More! 
3. Golf Socks! 
4. Alpaca Spinner! 
5. Reality! 
6. Instructions! 
7. Zacuti! 
8. The Curse!

Recently hailed by The Guardian as "British techno's great survivor," Nigeria-born, UK-based Ibrahim Alfa Jnr continues with the fine form shown on his recent Infinite Black Inside LP with this first EP on his newly minted label Infinite Black. The music was made after the end of a time of bad health, which means there is a feeling of both relief and reflection here. The nameless tracks are all overtly technological in their DNA - spanned synths warp around mechanical kicks on the opener as detuned jazz keys tumble through the mix. ''Track 2' floats on skittish breakbeats, there's moody downtempo on 'Track 4' melodically-inspired hope on 'Track 6.' An adventurous and rewarding EP.

TRACK LISTING

Track 1
Track 2
Track 3
Track 4
Track 5
Track 6

Since its understated debut in a former South London industrial space in 1991, Ministry of Sound has become a defining force in dance music worldwide. As CBGB was to punk and Studio 54 to disco, Ministry emerged as the quintessential home of house the venue that captured and propelled an era. Inspired by the groundbreaking disco and rave clubs of the 1980s, including New York s Paradise Garage and Manchester s Hacienda, Ministry built its reputation on an unparalleled sound system and a philosophy that placed music and movement above trends.

The club elevated DJs to stardom and championed influential names such as Larry Levan and David Morales. What began as a cult hotspot quickly grew into a global phenomenon, expanding into the world s largest independent record label. This dynamic volume offers an eclectic, immersive portrait of the club s history and cultural impact.

Archival photography, posters, and record sleeves appear alongside immersive photography and personal recollections from musicians and cultural figures including Paul Oakenfold, Judge Jules, DJ Paulette, LTJ Bukem, Princess Julia, Pete Tong, Steve Angello, and Honey Dijon among many more. Blending the official with the underground, the iconic with the candid, the book captures the spirit, irreverence, and enduring legacy of a true legend of club culture.

Proto jackin’ hip-house/punk-funk from the third coast. Originally issued in 1984 on Chicago’s scene-defining Mitchbal label, Z-Factor’s 'Dance Party Album' is where boyhood friends Jesse Saunders and Vince Lawrence reinvented the 909 for the Warehouse, WBMX, and beyond. Come for the spaced-out, lo-fi Italo synths, stay for the micro-budget four-on-the-floor drum machine rattles.

TRACK LISTING

1. I Am The DJ ft. Jesse Saunders 
2. Fantasy (Vocal) ft. Jesse Saunders 
3. Thorns 
4. Fantasy (Instrumental) 
5. Fast Cars ft. Vincent Lawrence 
6. My Ride 
7. Her Way

'Teen of Denial: Joe’s Story' is a freshly reimagined take on Car Seat Headrest’s beloved breakout, 'Teens of Denial', now celebrating its 10th anniversary.

On the original album, Toledo often used the name “Joe” as a pseudonym – a sly homage to Daniel Johnston. Revisiting 'Teens...' in the run-up to its 10th birthday, he felt called to give Joe a unique backstory and began tweaking the album to tell that tale. The group returned to the studio with 'Teens...' producer Steve Fisk to update accordingly – tweaking lyrics, revising arrangements, and recording new songs in the “Denial-style,” including ‘Optimistic Son” and the anthemic ‘Joe Drives Again’. The result retains 'Teens’ dark edge and youthful cynicism, but allows a bit of hard-won compassion into the mix.

TRACK LISTING

1. Fill In The Blank
2. Vincent
3. Destroyed By Hippie Powers
4. (Joe Gets Kicked Out of School For Using) Drugs With Friends (But Says This Isn't A Problem)
5. Optimistic Son
6. Drunk Drivers/Killer Whales
7. 1937 State Park
8. Joe Drives Again
9. Cosmic Hero
10. The Ravenous House
11. Connect the Dots (Song of Secretariat)
12. Joe Goes to School

BBC 6Music radio presenter, DJ and Future Bounce label head, Jamz Supernova, presents a new compilation 'Dance Around The World' on Mr Bongo.

An evolution of her radio show, event series and Bandcamp community under the same name, this compilation plots a globe-spanning day-into-night voyage across 16 tracks, from artists, countries and scenes that have shaped Jamz' musical worldview. Each track, many of which are exclusive to this comp, tells a story of heritage and roots, whilst pushing boundaries and pioneering new sounds in their respective regions. From the Reunion Island to Latin America, East Africa to the Caribbean and Pacific, it's a 24-hour cycle moving from downtempo to dancefloor.

The concept of 'Dance Around The World' began in the summer of 2025 but has ultimately been a part of Jamz' journey in music since the beginning. At the centre of it is her 15-year career as radio presenter - her tastes evolving from the early days on Reprezent Radio, to a 1Xtra residency and now a Saturday daytime show on BBC 6Music. There has always been a desire to highlight music from underrepresented scenes to new audiences.

Far removed from algorithmic influence, each scene, each artist is one that Jamz has a personal connection to. Split across two sides, marking two interconnected moods, the Day side features sun-soaked sounds rooted in activism, storytelling and heritage. Bringing together Equiknoxx founder Gavsborg and dub educator, Riddim Writer, Groundsound's rhythmic yet deeply powerful track 'Bittersweet' kicks things off. It sets the scene and intention for the compilation whilst starting a percussive thread that runs through every track. Elsewhere, the all- female Maloya group SIMANGAVOLE collaborate with SOA RAVELO for a hypnotic, communal song that hits the spirit. Moving through the Day you'll find a love letter to the sounds of Cape Town from Esa Williams, beats-heavy, garage rock courtesy of Rio's Orua, and a fusion of traditional Guadeloupean grooves with contemporary jazz and hip hop via Celia Wa. Venturing out to Tumaco on the Pacific side of Colombia, Verito Asprilla serves up a futurefacing, reggaeton heater, 'Quiero Ser Buena'. Night falls, the rhythms get rowdier the basslines get heavier. Jako Maron's electronic remix blends his Reunion Island roots with a chugging synth soundscape. Jus Now, the duo of Trinidadian percussionist Keshav and UK producer Sam Interface, showcase their club- driven global sound melding UK bass influences with a Caribbean drum- heavy flavour. Sam then joins Jamz for 'Tan Toddy' a fierce dancehall production seen through the lens of UK bashment, with Lateena on the mic and Moses Boyd on the drums. 'Sin Africa' is another highlight, with A&R led by Jamz. Brenda's pumping, heads- down Latin club sound marrying with a deeper message to Diva Cruz's lyrics. This thread permeates many of the tracks. "Almost everybody on this compilation has been touched or altered in some ways by colonisation. We choose joy and we choose to celebrate what we have and what we've done, but we can't ignore that there has been a colonised existence", Jamz states.

More than a compilation, this is a sonic celebration connecting cultures, scenes and perspectives. Each artist and each track expanding boundaries and borders whilst honouring what has come before them.

TRACK LISTING

1. Groundsound - Bittersweet
2. SIMANGAVOLE & SOA RAVELO - NY AMPELA
3. Esa Williams - Vanguard Drive (Kwaai Dub)
4. Orua - Capoeira Demo 
5. Verito Asprilla - Quiero Ser Buena 
6. Lenna Bahule - Tulamie\u0302 
7. Celia Wa - Broke 
8. 15 15 - WIPIP 
9. Lo Rwa Kaf - Daou Minm (Jako Maron Remix) 
10. Brenda x Diva Cruz - Sin Africa 
11. Surreal Sessions - Corona 
12. Catu Diosis & Neana - Delulu 
13. Jus Now - Yalode (Feat. As Ganhadeiras de Itapua) 
14. EVEHIVE & Clementaum - Vulgo Kebradera (ft MC VICKY)
15. Jamz Supernova x Sam Interface - Tan Toddy (Feat. Lateena) 
16. Mokotron - Colonised Existence

Jacques Greene’s third studio album - 'jg' - is his most immediate and sharpest expression to date.

His first self-confessed ‘club album’, 'jg' spans eleven razor sharp dancefloor tracks, mixed by Pearson Sound and mastered by Joker, featuring an ‘arsenal of supremely talented, kind, generous people’ such as CFCF, umru, DJ BORING and Ouri.

Much of the album was made during a time of personal upheaval in a world resurfacing from lockdown, which brought into acute focus the importance of intentionality, presence and joy - Greene found himself returning to the people and places that gave him a sense of purpose, resulting in an album that reaches toward hopefulness and immediacy. The album also comes fifteen years after Jacques Greene’s breakout track 'Another Girl', and 'jg' sees the Montreal producer dig even further into the sound that has made him one of the most influential electronic producers of his generation.

“After stripping away a ton of filters and reverbs, a more direct, sometimes intense, collection of work emerged”, says Greene. “It’s me, it’s jg.”

TRACK LISTING

1. Closer (ft DJ BORING)
2. Presence
3. Seconds (ft Ouri & Jonah Yano)
4. Two (ft SAM-E)
5. Everyone (ft SEES00000)
6. Time To Go (ft CFCF)
7. What You Say (ft umru)
8. Breathe (ft crushed)
9. Waiting (ft Sølv)
10. Halation
11. Slowly

There is a hush most of us only knew as children, the warm drift between familiar household sounds and being carried to bed, a place that belongs to you and to some self you have not met yet. June McDoom’s debut full-length, 'Follow the Light', lives in that dream space and then keeps walking, slipping out of time and waking somewhere new, barely familiar enough to feel like home yet wholly your own. She came up in a Jamaican household on the edge of the Florida Everglades, an existence built of extended family, communal care, bass and harmonics. Her father, a carpenter and a student of sound, built his own speakers and kept three sound systems going across as many rooms. His low end would rise through her bedroom floor like some wayward cat while she lay above it with folk records, finding harmonies that were new and hers alone. Two musics in one room. Lushness as past and premonition. She found folk on her own, somewhere between the cast recording of The Sound of Music and Simon and Garfunkel, while everyone around her called it sleepy music. She did not mind being the only one. The solitude let her fall for harmony first, before words, before anything else, and harmony is still the thing she reaches for. Generationally speaking, the music was already in the air. Her grandfather, Colin Smith, is a distinguished mento man who played banjo and guitar and built his own rumba boxes, worked to keep Jamaica’s oldest acoustic folk form alive. Mento is the root of all of it: ska, rock steady, reggae, dub and everything after. He is the one who put a guitar in her hands. An inheritance, a gift and a map. Even her name is part of it, though she will tell you she landed on it more by feel than reason. She records as June McDoom, born Alyssa, June being a nickname one of her grandmothers, Joan, went by, a name she thought was cool to carry and simply liked the sound of. An etheric channel that reverberates all the same. A dub all its own.

Made slowly and by hand with her longtime partner Evan Wright, 'Follow the Light' lays the harmony of folk over the rhythm of dub, with Dionne Warwick, Minnie Riperton, Pentangle and the washed guitars of Cocteau Twins haunting its outer edges. Voice and guitar seeking each other out first, then everything else stacked across long days in the studio they keep at home, restraint kept on purpose. The lead single 'Without You' is the whole method surfacing, split open and sparkling like a geode in a creek bed. Angelic heroics, and nothing less.

At the heart is family. Her grandmother Aggie, the light behind 'Memory', guiding still. And underneath, the quieter truth the record keeps: none of us are only one person, but a continuum of selves, the ones who shaped us and the ones we have yet to meet. Future you is an ancestor your current self gets to greet. Press play and the same invitation is yours: A few minutes out of time, a place that turns familiar the longer you stay until you surface somewhere new and find it was yours all along

TRACK LISTING

1. Human Angel
2. Without You
3. Outside The Window
4. Forever
5. Get Out Of My Life
6. Grandpa
7. Dream Dub
8. Memory
9. Mountain
10. Searching To Find
11. Weaver
12. Follow The Light

Chloe Slater’s debut album ‘Riot Youth’ unfolds in the fleeting, chaotic moments before doomsday – a coming of age record fit for the modern world. Arriving right on time in an era when hopelessness and nihilism run rife, painting the truest portrait of what it is to be young, British, and brave enough to be hopeful today.

Across 10 tracks, she departs her signature, succinct commentary on the issues plaguing her generation: social divide, toxic internet culture, our dwindling sense of community, the climate crisis and, ultimately, the vampirish billionaire class cashing in on our collective misery. She playfully shifts from these frank descriptions of society to moments of gorgeous, gut-punching poetry, crafting anthemic choruses and intoxicating one-liners from the gripes many of us can barely muster the words for.

TRACK LISTING

1. Mother Nature's Killing Spree
2. Can I Finish Please?
3. The Underground
4. I've Never Felt So Hated
5. Southern Youth
6. Go Outside
7. Get Me Out
8. Helpless
9. Ugly
10. Let It Happen

'I Don't Know How But They Found Me...Again!' is the deluxe version of Jensen McRae’s critically acclaimed 2025 album 'I Don’t Know How But They Found Me!'

Alongside the original album’s tracklist, the deluxe release features twelve new songs widely available for the first time: stripped-back versions of songs written before the recording of 'I Don’t Know How But They Found Me!' had finished, live favourites heard on McRae’s recent headline tours and festivals appearances, a new version of 'Mother Wound' featuring Maisie Peters as well as new tracks elsewhere featuring contributions from Brandi Carlile and Brittany Spencer.

On the new tracks, McRae explains: “There were so many songs I wrote after writing but before we finished recording the second album that still felt like they lived in this world--very much coming to terms with the reality that no one was going to save me from myself, and that healing is something I would ultimately have to do on my own. I think the sparseness aptly reflects the solitude that is required of that kind of healing--although there are of course a couple songs that required a team to put together and feel right.”

From the very beginning, fans have fallen in love with Jensen McRae for the sharp, evocative and clear-eyed songwriting. "The most profound choices of my life often felt like things I did before I was ready to do, and I had to grow into them,” says McRae. Her songs have a way of giving shape to these leaps, cliff jumps and trust falls, and on her 2025 album, 'I Don’t Know How But They Found Me!', Jensen McRae went further than ever, evolving from a promising young artist to a fully grown songwriter and star.

An avid journaler, McRae has been breathlessly documenting her existence since she was 18. Her first album, 'Are You Happy Now?', was a mission statement for the artist who grew up an automatic outsider: a Black Jewish girl from Los Angeles, hellbent on making folk music in spite of the world's attempts to box her into other, more stereotypically Black genres. McRae looked to her songwriting heroes (Alicia Keys, Carole King, James Taylor, Stevie Wonder) to build a sonic world all her own. As her audience grew and with myriad doors began unlocking, it "became the record of my coming-of-age. But it was a quiet coming-of-age, one that mostly took place inside my own head."

Next, 'I Don’t Know How But They Found Me!' took place against the backdrop of romantic turbulence and McRae's rapidly growing audience. "I had never been in love before," McRae said. "Not really. And then I had two life-altering relationships back to back in my early twenties. This album was primarily an exploration about how love and intimacy knock the wind out of you, can take your legs out from under you." She has also had multiple viral moments, including in the run up to writing 'I Don’t Know How But They Found Me!', when McRae posted a solo verse and chorus online, little more than a piece of a demo, and it took off. Covers, duets, and an avalanche of new fans followed (including the likes of Justin Bieber, Stormzy, and Dan Nigro to name a few); the song was the beginning of "Massachusetts", which would become her first Dead Oceans release.

McRae ventured to North Carolina to record 'I Don't Know How But They Found Me!' with Brad Cook (Waxahatchee, Suki Waterhouse, Bon Iver), also enlisting the help of Hippo Campus's Nathan Stocker on guitar, Bon Iver's Matthew McCaughan on drums, and her younger brother, Holden McRae, on keys. "It felt like summer camp. None of us wanted to leave," McRae said. "It was such a joyous ten days of pure creative expression." In the process, I Don't Know How But They Found Me! found its footing--a vibrating, urgent collection of songs moored by razor-sharp lyrical specificity and timeless pop melodies.

The unusual title of her second album? Taken from a line in McRae's favorite film, Back to the Future. A key protagonist survives a hail of bullets, and the image resonated with McRae. “I really connected with the idea that I could've easily collapsed beneath the weight of what happened to me, but I didn't. I didn't even know it,” McRae says, “but I was bulletproof the whole time."

TRACK LISTING

1. The Rearranger
2. I Can Change Him
3. Savannah
4. Daffodils
5. Let Me Be Wrong
6. Novelty
7. I Don't Do Drugs
8. Tuesday
9. Mother Wound
10. Praying For Your Downfall
11. Massachusetts
12. Call It Even
13. God Has A Hitman
14. One More Cowboy
15. How You Get 'Em (Is How You Lose 'Em)
16. Taboo
17. Your Friend
18. Annihilated
19. Richard Siken
20. Just Like You
21. God Has A Hitman (feat. Brandi Carlile)
22. One More Cowboy feat. Brittney Spencer
23. Mother Wound feat. Maisie Peters

Viragezero was born on a cold Sunday evening in December, on the way home from a Chris Cohen concert at Geneva’s Face Z festival. In the winter night emerged the desire to create a new collective space, nourished by the long drifting journeys of kosmische musik.

Initially conceived as a parallel playground bringing together the duo Citron Citron, former members of L’Éclair and musicians from Magic & Naked, the project quickly developed its own gravity. This self-titled debut album sketches a world both familiar and distorted, where everyday landscapes slowly slip into stranger territories.

Driven by nervous synths, hazy guitars, shifting electronic textures and rhythms drawing from 1990s trip hop and abstract hip hop, Viragezero builds a suspended and immersive music. A music guided as much by sensation as by structure, where repetition becomes a moving force and tensions evolve without ever fully resolving.

At the centre of the album are Zoé Sjollema’s lyrics, drawn from fragments of dreams collected over several years. Her instinctive writing blurs the boundaries between reality and imagination, tracing recurring themes of solitude, wandering, exhaustion. and disconnection. Rather than telling stories, the songs unfold as emotional states, inhabited by shifting landscapes, distorted memories and fleeting impressions.

Somewhere between dream pop, electronica, IDM and spectral songwriting, Viragezero delivers a dense and instinctive debut album. A nocturnal and hypnotic record that transforms fragments of reality into constantly shifting sonic matter.

TRACK LISTING

1. Balcon 
2. Rien Ne Vient 
3. Ticket Fantôme 
4. Ex Elf
5. Labyrinthe
6. Larmes De Feu
7. Tracasse 
8. Dans Les Ruines 

Jess Williamson has built one of the most distinctive voices in American music — crystalline, acrobatic, and unmistakably her own. The Texas-born, Los Angeles-based singer, songwriter, and multi-instrumentalist has spent the better part of a decade carving out her own lane at the intersection of indie folk, alt-country, and a deeply personal confessional tradition. Now, on her seventh studio album, she steps into new creative territory.

Produced by Shooter Jennings, the album finds Williamson's artistry meeting its ideal counterpart. Jennings brings a deep-roots sensibility and studio instinct honed across decades, and together they've crafted twelve songs that honor the grit and sweep of classic country while remaining unmistakably contemporary. Williamson's voice remains the central instrument: front and center, emotionally unguarded, carrying the kind of weight that demands a room go quiet. But with Jennings at the helm, the sonic canvas is richer and more expansive than anything in her catalog to date — full of texture, warmth, and that ineffable Nashville-meets-Laurel-Canyon atmosphere that lives somewhere between Linda Ronstadt and Waylon Jennings.

TRACK LISTING

1. Goodbye to All That
2. High Heels and Blue Jeans
3. Country Mile
4. A Mile South of Heaven
5. Tracking the Tropics
6. Dark Day in Dallas
7. Hum of the City
8. Texas Time
9. Someone Else’s Horses
10. Legends Die
11. Battle Scar
12. The Gem and Mineral Show

Drawing from the larger career spanning 6LP box, comes a shorter/sweeter collection featuring just the highlights! These are the quintessential compositions and timeless classics that shaped Coltrane's career and influence. Essential listening!

TRACK LISTING

1. STRAIGHT STREET - John Coltrane 
2. TRINKLE, TINKLE - Thelonious Monk with John Coltrane 
3. BLUE TRAIN - John Coltrane 
4. MILESTONES - Miles Davis 
5. SO WHAT - Miles Davis 
6. GIANT STEPS - John Coltrane 
7. NAIMA - John Coltrane 
8. MY FAVORITE THINGS - John Coltrane
9. EQUINOX - John Coltrane 
10. A LOVE SUPREME, PT. 1 - ACKNOWLEDGEMENT - John Coltrane

The wait is over. The Lilacs finally deliver their highly anticipated debut, 'Keeping Up With The Joneses'. Born between the streets of Manchester and Paris, this is The Lilacs’ definitive coming-of-age debut album. It’s a raw, high-stakes blend of "misspent youth" anthems and "boy meets girl" stories, capturing the reality of growing up without ever losing sight of where they're from.

TRACK LISTING

1. Miss Behavin
2. Girl Behind The Bar
3. Put The World To Rights
4. Grace
5. Keeping Up With The Joneses
6. If The Jacket Fits (Then It’s Yours To Keep)
7. What’s The Worst That Can Happen?
8. Vicarage Road
9. Too Much Of A Good Thing
10. Asking For A Friend

Kaitlyn Aurelia Smith returns with 'Ruin: It’s Not Just Music', a new studio album that marks one of the most decisive statements in her creative trajectory. 

Across the past decade, KAS has established herself as a unique voice in experimental electronic music, a composer and synthesist whose work dissolves the boundaries between ambient electronica, contemporary classical, composition, and immersive sound design. Her new album 'Ruin: It’s Not Just Music' arrives with a distinctive gravitational pull. The record moves with greater physical force, placing rhythm and impact at the centre of its architecture, revealing a more confrontational and embodied dimension of KAS’s musical language. 

TRACK LISTING

1. Introduction
2. Ruin
3. GTP!
4. I’m Just Being Honest
5. Obsessed
6. 19 Minutes 
7. I Don’t Know What It Is 
8. That Is Like You 
9. It’s In Everything You Say 
10. On The Low

'The Age Of Everything' is Johnny Marr's fifth full length studio record. Written in London, developed live on the road across the East Coast of North America and recorded in Manchester, 'The Age Of Everything' captures the energy and tensions of the city. Sharp, fast and dynamic, filled with ideas and possibilities.

“This is the record that’s been the most cathartic. The title came to me early in the process and became an inescapable idea. It seemed to sum up the way I think a lot of people are feeling. It’s all encompassing, but it's not necessarily a negative statement. There’s a sense of overwhelm in the culture brought about by technology, but looking at it with a different light, there could also be a sense of possibility.” Johnny Marr

TRACK LISTING

1. Spin
2. Beyond The Rain
3. It's Time
4. How Come
5. Ophelia
6. That Feeling
7. In And Out Of Love
8. Just Once More
9. Fire With Fire
10. All In A Life

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

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

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

TRACK LISTING

1. Jealous
2. Git Buck ft. Lady Dia

Lily Juniper’s debut album, ‘Bloom Gloom’. Co-written and produced by long term collaborator and partner yours.truly, the record holds a mirror up to ourselves and the world around us. Inspired by sounds of the early 2010’s post dubstep and indie scenes and written with feelings at the forefront, the album explores themes of self discovery, nostalgia and the endless battle between light and dark, with each track telling a story of what it means to be human.

"I’ll be turning 30 as this record comes out, which feels like a really poignant way to close the chapter on the past 10 years - for me it has felt like a decade of extended childhood. In getting older and happier, I’ve also gone to deeper and darker places. Trying to grow and find a sense of inner peace in a world that feels more confusing and sad than ever. There’s light, there’s dark. There’s bloom, there’s gloom"

TRACK LISTING

1. Feels Good
2. Who Am I, You?
3. Quiet Tired
4. Subdued
5. Way To Love
6. Glow
7. Fading
8. Fold
9. Sorry
10. One Night Blues
11. Babe
12. I Know I Don't
13. Lungs

A cross-label career spanning compilation to celebrate the 100th birthday of jazz legend John Coltrane. This is the first truly comprehensive career overview on the accomplished musician and bandleader to date, including early compositions from 1951 through to his final creative outputs before his passing in 1967. This collection of 6 discs on 180g vinyl will be a fabulous anchor piece for Coltrane devotees and a perfect place for new fans to explore his catalog & legacy.

TRACK LISTING

1. WE LOVE TO BOOGIE - Dizzy Gillespie Sextet 
2. TWO BASS HIT (Alternate Take) - Miles Davis Quintet 
3. JOHN PAUL JONES - Paul Chambers 
4. IF I WERE A BELL - Miles Davis Quintet 
5. STRAIGHT STREET - John Coltrane 
6. WHILE MY LADY SLEEPS - John Coltrane 
7. WELL YOU NEEDN’T - Thelonious Monk 
8.TRINKLE, TINKLE - Thelonious Monk with John Coltrane 
9. SLOW DANCE - John Coltrane with the Red Garland Trio 
10. BLUE TRAIN - John Coltrane 
11. PRISTINE - Art Blakey’s Big Band
12. MILESTONES - Miles Davis 
13. OLEO (Live) - Miles Davis & John Coltrane
14. BAGS & TRANE - Milt Jackson & John Coltrane 
15. SO WHAT - Miles Davis 
16. COUSIN MARY - John Coltrane 
17. GIANT STEPS - John Coltrane 
18. SYEEDA’S SONG FLUTE - John Coltrane 
19. I’LL WAIT AND PRAY - John Coltrane
20. NAIMA - John Coltrane 
21. LIKE SONNY - John Coltrane
22. MY SHINING HOUR - John Coltrane 
23. CHERRYCO - John Coltrane & Don Cherry
24. MY FAVORITE THINGS - John Coltrane 
25. VILLAGE BLUES - John Coltrane
26. CENTRAL PARK WEST - John Coltrane 
27. MR. SYMS - John Coltrane 
28. BODY AND SOUL - John Coltrane 
29. BLUES TO ELVIN - John Coltrane 
30. EVERYTIME WE SAY GOODBYE - John Coltrane 
31. EQUINOX - John Coltrane
32. INDIA (Live) - John Coltrane 
33. IN A SENTIMENTAL MOOD - Duke Ellington & John Coltrane 
34. MY ONE AND ONLY LOVE - John Coltrane & Johnny Hartman 
35. ALABAMA (Live) - John Coltrane 
36. A LOVE SUPREME, PT. 1 - ACKNOWLEDGEMENT - John Coltrane
37. STELLAR REGIONS - John Coltrane 

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

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

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

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

TRACK LISTING

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Bonus: Soundcheck from TBC performance

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

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

The fourth studio album from Julia Jacklin, The Gem, will be released on 25 September and marks the Australian musician’s debut release on 4AD.

The Gem was produced by Jacklin and Robert Muinos and recorded entirely in Melbourne. First single "Get Away From Me (I Think I’ll Love You Soon)’"is a bold and fun nod to eighties jangle rock and to the Melbourne sound she fell in love with.

ABOUT THE GEM:
“I want to love and be loved, but I also want to be free. The tension between those two things has been the central question of my life,” says Jacklin. It’s also the theme that underpins The Gem.

When Jacklin first moved to Melbourne from Sydney in 2017, she discovered a little bar on a back street in Collingwood, where bands pushed dining tables to the side and set up in a corner on the floor. She didn’t know anyone in town but knew she wanted to make the city her home, so she started hanging out there, forcing herself out of her comfort zone. The pub was named The Gem.

Fast forward eight years and Jacklin, with three celebrated solo records under her belt – Don’t Let The Kids Win (2016), Crushing (2019), and PRE PLEASURE (2022) – was looking to make a fourth. With time on her hands – she was out of contract with her record label, was searching for a manager – she decided to make the record at home in Melbourne, something she’d never done before.

She called up an old drinking buddy Robert Muinos, owner of Rat Shack studios, which is located above The Gem, and brought in friends Jacob Diamond (guitar), Mimi Gilbert (bass), and Jess Elwood (drums). Recording happened in close quarters, in converted hotel room accommodation upstairs at the pub. As it was a residential bar, they couldn’t record late into the night for fear of bothering the neighbour and sound bleed was a glorious constraint: foot traffic to the hairdresser and the tattoo parlour next door, loud music from the bands and the kitchen crew downstairs. If anyone needed a break from the sessions, they would venture downstairs and watch a band playing. Jacklin and the band even played two unannounced shows there to try out the songs before recording them.

They thought they’d smash out the record in two weeks, like she’d always done, but that wasn’t the case. In fact, it took nearly a year of tinkering to arrive at something Jacklin could get behind. “The Gem felt like a metaphor for the whole process, because a lot of it did feel like digging. I felt like I was doing it almost in the dark, just trusting I was going to find something.” It conjures images of excavation, of reinvention, of trusting your instincts and surrounding yourself with the people and things that make life worthwhile. It’s a soaring document of the songwriter’s journey back to herself.

The band got matching tattoos on the last day of The Gem sessions: a neat little circle to represent an opal – Jacklin’s favourite gemstone. Fittingly, one of the bartenders at The Gem did it. “It did really feel like we’d done something special together. And I think as a group, it felt important to commemorate it. I’m glad we all have these little gems on us.”

TRACK LISTING

1. Brand New
2. God Sometimes
3. If I Had The Hand Of God
4. The Hardest Thing
5. Angel Vision
6. Real Life
7. Get Away From Me (I Think I'll Love You Soon)
8. You Turned On The Tap
9. Walk On Me
10. I Wish

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

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

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

TRACK LISTING

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

London-based Swedish singer-songwriter Josefin Öhrn (previously of Grammy nominated Josefin Öhrn + The Liberation) debut album 'Cherry' featuring vocals from Bobby Gllespie (Primal Scream) and Anton Newcombe (The Brian Jonestown Massacre), with guitar from Andy Bell (Ride).

Josefin’s most intimate and self-defined album yet, 'Cherry' explores themes of fresh starts, desire, love and grief. It taps into a new and very interesting phase of music, seen on recent releases from Robyn (Sexistential) and Lykke Li (The Afterparty), where the experiences of women are put out there without shame in colourful candidness, such records tap into a fascinating period of raw, intense and highly transformative self-actualization.

Josefin wrote the songs on 'Cherry' during a new phase of her life, it captures the sense of liberty, excitement and vulnerability that comes with such a re-birth. Explored with an intensity that’s sensual, vulnerable and unguarded. At its core lies the female gaze – not as a concept, but a lived experience with a sense of longing running through the album like a pulse: a longing for connection, for freedom.

Musically, 'Cherry' has echoes of the hypnotic psych-rock of Josefin’s previous band Josefin Ohrn + The Liberation (Rocket Recordings) but the arrangements, structures and mixing on 'Cherry' are less avant-garde and closer to the laid-back atmospheres of Kurt Vile, Lana Del Rey or Natalie Bergman with clear hooks and with Josefin’s voice standing front and centre – intimate, magnetic, unwavering – which allows for the album’s stark emotional immediacy.

Josefin personally asked Kalle Jerneholm Gustavsson (Soundtrack Of Our Lives), who she had worked with previously, to produce the album. “We recorded it in his studio, Svenska Grammofonstudion, Gothenburg. It’s an amazing studio where artists can stay, so I was totally living the album, breathing music every waking and sleeping hour as I was far away from my everyday life in London” explains Josefin. “It was a beautiful experience.”

TRACK LISTING

1. Electrified
2. Dreaming Of You
3. Cherry Tree
4. Lose Yourself
5. The Real Thing
6. Always On My Mind
7. What If
8. I Want You
9. Jag Ger Dig Min Morgon
10. The Shoreline 

A clerestory is an upper section of wall, most often in a church punctuated by windows. It is a powerful image for grasping this luminous new music from Jules Reidy. Light casts shadows, of course, and logics of shadowing, mirroring, and distorted reflection—of key importance for Reidy’s work as a whole—inform the sumptuous surfaces of 'Clerestory'.

‘Shadow Symmetric’ is a string quartet commissioned and performed by the JACK Quartet as part of their JACK Studio program. Reidy’s pairing with the quartet is felicitous: JACK are one of the preeminent new music ensembles working today, with a particular interest in just intonation, an important component of Reidy’s music. The piece’s gentle pacing and constrained dynamic range invites us to become immersed in its language of static resonance, complex beating tones, and subtle harmonic surprise. Through it, there threads a melodic theme, passed between instruments and tuning systems, almost at the threshold of perception but with the same yearning quality familiar to listeners of Reidy’s guitar works.

‘Clerestory Windows’ offers up a distorted mirror image of the string quartet, arranged as a series of episodes that each remake the material in their own way. It begins with an arrangement of the string quartet material for MIDI strings and voices, then moves into a lyrical 12-string acoustic guitar air performed at the installation opening, before the strings from the first side reappear, now frozen and stretched into slow-moving waves. From this emerge flickering arpeggios, achieved by arranging the string quartet material for the RMI. This cues a move into more active terrain, preparing the way for the delirious final episode, where the string quartet material is re-arranged once more, eventually giving way to spacious chords shadowed by a pair of ringing sine tones.

TRACK LISTING

1. Shadow Symmetric
2. Clerestory Windows I
3. Clerestory Windows II
4. Clerestory Windows III
5. Clerestory Windows IV
6. Clerestory Windows V

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

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

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

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

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

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

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

TRACK LISTING

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

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

Since childhood, Jean-Hervé Peron has embraced creativity wherever he finds it. Whether duetting with the sound of his footsteps, collaborating with cement mixers or experimenting with whatever instrument he can get his hands on, play is at the heart of everything he does. This new album gathers ideas, memories and unfinished projects accumulated across his whole lifetime. Its tongue-in-cheek subtitle, ‘Maybe Of Interest’, offers a typically Peronian joke: MOI can suggest a certain self-confidence or egocentrism, yet the subtitle gently undercuts it, revealing the vulnerability, humour and self-awareness that run throughout the record. In fact, MOI is anything but solitary. Credited to FaUSt, with the "US" deliberately capitalised, the record reflects Péron's belief in collaboration, friendship and collective creativity, bringing together a wide network of musicians, engineers, writers and performers from across the extended Faust family. In fact, more than twenty people contributed to the recording sessions, making MOI as much a collective endeavour as a personal statement.

Recorded over two winter weeks at Schiphorst studio in northern Germany and deftly combining the contradictory forces of meticulous planning, free improvisation and chance discovery, MOI draws equally from childhood memories, Fluxus principles, dadaist humour and deeply personal experiences. The resulting album moves effortlessly between musique concrète, avant-pop, jazz, spoken word and experimental electronics, united by Péron's curiosity and irrepressible sense of play.

From the opening collage of "Charles et Léon", assembled from electronics, tape manipulations, found sounds and francophone samples, MOI inhabits a world where memory, accident and invention continually overlap. "Diabolus in Musica" transforms a chance encounter with the infamous tritone into an unlikely avant-pop miniature, while "Splash!" revels in multilingual voices, backmasked fragments and restless rhythmic movement. Elsewhere, Fluxus-inspired pieces such as "Metro Nomen" and the spoken-word meditation "Make Me Up" explore identity, language and the creative possibilities of disruption.

Balancing the album's experimental impulses are some of Péron's most emotionally direct compositions. "Du Fehlst Mir", written following the loss of a beloved companion, unfolds as a moving late-night jazz ballad, while "Telele" draws on childhood influences to create an atmosphere that is by turns choral, dreamlike and unsettling. The spacious jazz textures of "Quinten & Quarten", the shifting beauty and abrasion of "L'Orchestre des Anges", and the socially conscious reflections of "Writings On The Wall" further demonstrate the remarkable breadth of Péron's musical vocabulary.
The album closes with "Doux Ami", which moves from sombre introspection towards a joyful communal celebration, encapsulating the spirit that runs through MOI.

Throughout the record, Jean-Hervé Péron presents FaUSt as a living network of friendships, ideas and creative exchanges.

TRACK LISTING

1 Charles & Leon
2 Diabolus in Musica
3 Splash!
4 Du fehlst mir
5 L'Orchestre des Anges
6 Make Me Up
7 Quinten & Quarten
8 Metro Nomen
9 Dann stimmt irgendetwas nicht mehr
10 Telele
11 Writings On The Wall
12 Doux Ami

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

For over half a century, Hans Joachim Irmler has pursued the outer limits of sound. As a child, he would neglect his flute to pluck at the strings of his grandmother’s zither, cutting his fingers in search of greater resonance and volume. Drawn from an early age to the physical power of sound, he eventually found his instrument in the organ, whose vast sonic range offered seemingly endless possibilities; he still performs on the first organ he built himself. Expanding his sonic palette with synthesisers, tape manipulation and self-modified electronics, Irmler has relentlessly treated music less as composition than as a force of nature, capable of overwhelming, disorienting, destabilising and transforming both performer and listener alike.

Ungebunden continues this trajectory. Recorded alone in the Faust studio in Scheer over the course of just three weeks, the album does not revisit Faust as a repertoire or a historical artefact, but as a continuous vessel for pure creativity. Working largely through improvisation, Irmler begins with little more than a direction or impulse, allowing the material to reveal its own logic as it unfolds.

The opening piece, "Gefallen", emerges from a haze of mournful mellotron tones and distant organ figures. Feedback blooms and collapses across the stereo field, amplifiers pushed into saturation until buzzing distortion begins to reveal hidden harmonies. Beneath waves of oscillation and overdriven circuitry, fragile melodic fragments appear, only to be submerged once more beneath barrages of electronic noise. Piano and organ intertwine in heady counterpoint while seismic drum strikes sporadically pierce the wall of sound before the track drifts into a closing elegy.

"Zerfallen Teil I" moves deeper into unstable territory. Sustained drones and wavering string textures drift against detuned keyboards and cascading delay lines, creating shifting rhythmic relationships that seem perpetually on the verge of disintegration. Synthesiser motifs spiral upwards before being interrupted by bursts of interference, mechanical screeches and abrupt spatial dislocations, the track's tone straddling experimental electronics and the churn of doom rock.

The transition into "Zerfallen Teil II" introduces a surprising sense of propulsion. Jazz-inflected drumming gathers the fragments of its predecessor and drives them into unexpectedly rhythmic territory, where psychedelic motifs drift in and out of focus, as though deep-space communications transmitted decades earlier are only now arriving from beyond the horizon.
Closing track "Auseinandergefallen" condenses the album's concerns into a final surge of concentrated intensity. Massive synthesiser figures advance through roaring distortion while pulsing waveforms, whistles and electronic chatter orbit around them. At once oppressive and playful, structured and chaotic, the piece embodies the tension at the heart of Irmler's process.
Through Ungebunden, Hans Joachim Irmler poses Faust as a question, its sound a force capable of unsettling assumptions, disrupting perception and opening unforeseen possibilities.

TRACK LISTING

A1 Gefallen
B1 Zerfallen Teil I
B2 Zerfallen Teil II
B3 Auseinandergefallen

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

TRACK LISTING

Beachball (feat Teya Flow)
Gulf Dream
Shining Star

Weezer founding member and original bassist, Matt Sharp, while working on a series of “lost-albums” from the cutting room floor of his creative-life, stumbled upon a curious multitrack reel of analog tape. This mysterious reel found at the bottom of a treasure chest of other master recordings just happened to contain Weezer's very first studio sessions.

These were the very same recordings that were responsible for earning the band a record contract for their iconic debut 'Blue' album. These newly discovered sessions feature raw, vividly emotional and ecstatic versions of the band's timeless hit songs 'Say It Ain’t So' and 'Undone (The Sweater Song)'. Sharp and legendary music producer Joe Chicarrelli took these recordings to Los Angeles’ famed East/West Studios to take a deeper look into this mythic reel of 1-inch Ampex tape. What the two men quickly discovered was the original lineup (with guitarist Jason Cropper) in an infectious, explosively joyful, feral form.

Making the decision to honor the original intention of the music and the traditional technology of the era, the songs were remixed from top to bottom, from tape to vinyl, in a 100% analog process.With Sharp as producer and Chicarrelli on the mix, the result of these sessions makes up the entirety of '1192' (named after the month and year it was originally recorded.) The illuminating spirit of the performances on '1192' are guaranteed to turn the world upside down for blue album fans everywhere.

This album stands on its own as an essential entry into the band’s discography and is crucial to understanding the first chapter in Weezer's storied history.

TRACK LISTING

1. No One Else - Take 1 (1192 Mix)
2. Say It Ain’t So -Take 2 (1192 Mix)
3. Undone – The Sweater Song (1192 Acoustic Mix)
4. The World Has Turned And Left Me Here (1192 Mix)
5. Surf Wax America (1192 Mix)
6. Say It Ain’t So (1192 Vocal and Guitar Mix)
7. The World Has Turned And Left Me Here (1192 Vocal and Guitar Mix)
8. Undone – The Sweater Song (1192 Band Mix)
9. No One Else - Take 2 (1192 Mix)
10. Say It Ain’t So - Take 1 (1192 Mix))

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

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

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

TRACK LISTING

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

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

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

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

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

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

TRACK LISTING

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

To commemorate the one-year anniversary of Julia Wolf's breakout second full-length album, 'Pressure', (featuring her hit single 'In My Room') this record is pressed on cloudy "You've Lost A Lot Of Blood" red vinyl with an 8-page tour photo booklet featuring never before-seen photos

TRACK LISTING

1. Kill You Off
2. Pearl
3. Fingernails
4. Loser
5. FYP
6. Limewire
7. Girls
8. Jennifer's Body
9. In My Room
10. Sunshine State
11. You've Lost A Lot of Bloo 

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

TRACK LISTING

TBC

Jawdropped put every last drop of themselves into Secret To Spare ; aside from engineer work from Colin Knight (Agriculture) and an expert mixdown from Alex Farrar (MJ Lenderman, Waxahatchee), the quartet self-produced this record to capture just how their live shows feel in the moment.

"We wanted to capture the essence of how we play live - the unfiltered Jawdropped sound."

The result is a record that's as raw as it is meticulous.

TRACK LISTING

1. The Line
2. Monday
3. Split Lip
4. Cellulite
5. High Beams
6. Cup
7. Smoglight
8. Pitch Black
9. Whiplash
10. Two

Jake Xerxes Fussell has established himself as a devoted listener and contemplative interpreter of folk songs, drawing from a deep personal reservoir of favorites. 'The Old Beloved Path', Fussell's sixth album, is raw and intimate, stripping away outside noise and settling into a hypnotic rhythm. Tradition and memory intertwine throughout. 

TRACK LISTING

1. No 1
2. Rock Island Line
3. Every Time I Go to Town
4. Rosin Some
5. Boney
6. Early Early in the Spring
7. Boll Weevil
8. Sandy Land
9. Of All the Beast-es in the World

Part experimental indie and part '70s soft rock, Califone's first record in three years finds creative force Tim Rutili reaching new levels of harmony, fragility, and confidence

Whether detailing aging goths retaining their identity through year- long spooky decorations ('Halloween'), an imagined conversation with an inbred monarch ('Habsburg Jaw'), or the conflicts between identity and technology ('Ox- Eye'), 'Villagers' nine tracks spread out and luxuriates in the messy darkness of modern life.

Like sitting in awe on the porch swing at the end of the world, Califone's latest marvels at the edge of the universe spreading into the darkness of infinity. With 25 years of Califone in his catalog (not to mention a variety of other projects, including alt rock heroes Red Red Meat), the Chicago- born, Los Angeles- based knows well how to find that moment of awe and bliss even as things are falling apart.

Part poet, part abstract painter, and always surrounded by a variety of hypertalented collaborators (here including longtime cohorts Ben Massarella, Michael Krassner, Rachel Blumberg, and Brian Deck, as well as the likes of Nora O'Connor and Finom's Macie Stewart), Rutili has always excelled at luring listeners through elusive lyrics, flashes of shadows and images coming together in disarming unity.

TRACK LISTING

1. The Habsburg Jaw
2. Eyelash
3. McMansions
4. Villagers
5. Comedy
6. Ox-Eye
7. Halloween
8. Skunkish

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

TRACK LISTING

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

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

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

TRACK LISTING

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

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

TRACK LISTING

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

One of Britain's most beloved alt-rock acts returns. Twilight is the eighth studio album from Jesus Jones, and their most anticipated release in years, their first new record in eight years.

Since forming in 1988, Jesus Jones have sold over two million albums worldwide, scored eight UK Top 40 singles, and delivered one of the defining anthems of a generation. "Right Here, Right Now" topped the US charts in 1991 and remains a global radio staple to this day.

Twilight finds the five-piece, led by singer-songwriter Mike Edwards, venturing boldly beyond their comfort zone, while honouring the restless spirit that has always defined them: the collision of rock dynamics with the experimental freedom of dance music.

It's the sound of a band who know exactly who they are, and are thrilled to prove it all over again.

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

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

TRACK LISTING

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

Volume 3 of the Jazz Sessions is here and brings the original Acid Jazz star James Taylor into play, and on the 40th Anniversary of his solo career.

Formerly a member of the Prisoners, who split in 1986, he recorded his first single as the James Taylor Quartet - a take on Herbie Hancock’s ‘Blow Up’ - later that year for Acid Jazz-precursor Re-Elect The President, before working extensively with the label in the foundation of his lauded career and beyond. It is apt that the anniversary of that session is marked with James’ first release in a Trio format.

’The Truth’ sees him working with noted players Theo Carasco on drums and Orlando Flemming on upright bass, to recreate a sound influenced by the records that Les McCann, Hampton Hawes and Lonnie Liston Smith were making in the early ‘70s.

The sound world of the trio involves an extensive interaction with analogue electric keyboards, be it the Fender Rhodes - James lead instrument throughout - the Solina string synthesiser and Hammond Organ. The trio is joined by Aref Durvesh’s Tablas and on three tracks, vocals are added by gospel-trained singer Liz Jai.

The material includes takes on Vince Guaraldi’s ‘Lucy & Linus’ and ’Thus Sprach Zarathustra’, as well as the inspirational vocal title track and the cosmic jazz of 'Aref’s Space’.

A fitting continuation of James Taylor’s catalogue on Acid Jazz, as he returns to the label that started his career.

TRACK LISTING

1. Linus & Lucy
2. The Truth
3. Elevation
4. Get Carter
5. Thus Sprach Zarathustra
6. Another Day
7. Aref’s Space
8. Nothing Else

When JIM’s debut album 'Love Makes Magic' was released in 2023, it marked the culmination of an experiment that began during the strange days of the pandemic. Cooped up in his studio, James Baron started tinkering with what would become a new musical project. The result was Vicious Charm’s first LP release.

Several tracks were overseen by veteran producer and musician Eddie Stevens (Moloko, Sia, Zero 7), who provided ideas, keyboards and guidance throughout the recording process.

Sadly, 'The Curious Case Of Existence' was completed in the shadow of the death of Crazy P vocalist Danielle Moore, whose passing in August 2024 continues to be deeply felt by everyone who knew her.

Her memory inevitably finds its way into the album’s closing track, 'Windmills', in which JIM recalls a road trip the pair took through the landscapes of Palm Springs and Las Vegas several years ago.

“I wanted to write something about her but I was struggling to find what it was I wanted to say... We had just driven past Palm Springs when Mary Lattimore’s version of ‘Wait For Now’ by Cinematic Orchestra came on, and it’s just harp and vocals and is absolutely jaw-dropping. It’s this long stretch, with windmills either side of the road, hundreds of them, and this red sky — we were both welling up. It was a real moment. I’d rather remember Dani in this positive way than any other.” 

TRACK LISTING

1. Keeps Me Warm
2. Love Over Gold (featuring Edie Baron)
3. My Dreams Are Strange
4. Posthumous Love
5. Chalet Café (featuring Jason Williamson)
6. Wires
7. Hold On To The World
8. The First Last Dance
9. Play Out To Fade
10. Windmills 

A recent signee to Chess Club Records, Jo Geller aka Jo From School, finds herself among the independent label’s pedigree of homegrown artists who have gone on to attain major success. Alumni such as Billie Marten, an artist long admired by Jo, as well as Wolf Alice, are just a couple of names who found their initial support through Chess Club.

At 22-years-old, Jo From School’s graceful, carefully crafted but devastatingly delivered songs hit with an air of maturity that lands far beyond her years. An embrace for spontaneity and imperfection gives her material its character; primarily as an artist focussed on doing things her own way.

Writing on the piano since the tender age of nine, Jo self-taught herself guitar as a teenager during lockdown, joining the illustrious Brit School: “I was the only musician in my world until I went to Brit School, then I was the worst musician there,” she says. “It gave me a kick. I went from thinking that it was cooler to not care about anything, to realising the more you cared, the cooler and more individual it made you.” 

TRACK LISTING

1. Release
2. Six Years Of Keeping On
3. Chicken
4. Underhand
5. Julia Roberts
6. Weight 

Experience the timeless voice of folk legend Joan Baez on the LP “In Concert”. This captivating live album showcases her pure, crystal-clear vocals and emotional depth, bringing traditional songs and contemporary folk classics to life. From the haunting beauty of “Babe, I’m Gonna Leave You” and “Black Is The Color Of My True Love’s Hair” to powerful renditions like “What Have They Done To The Rain” and “Kumbaya,” every track captures the intimacy and intensity of Baez at her best.

TRACK LISTING

Side A
1. Babe, I’m Gonna Leave You
2. Geordie
3. Copper Kettle
4. Kumbaya
5. What Have They Done To The Rain
6. Black Is The Color Of My True Love’s Hair
7. Danger Waters (Hold Me Tight)

Side B
1. Gospel Ship (When We’re Traveling Through The Air)
2. The House Carpenter
3. Pretty Boy Floyd
4. Lady Mary
5. Até Amanhã
6. Matty Groves

On June 29th, 2023, Jeremiah Chiu walked into the Vintage Synthesizer Museum (VSM) in Highland Park, Los Angeles, with no plan more specific than “let’s fire this stuff up and see what happens.” Exploring theVSM’s vast collection of classic, rare and staple synthesizers, he would sequence, trigger, and layer the machines together with help fromVSM founder/curator Lance Hill. Hill recalls: "Jeremiah arrived before the engineer showed up. We talked for maybe 5 minutes before he started programming a sound and sequence into the Gleeman Pentaphonic. By the time the engineer showed up, Jeremiah had built several other parts around the Gleeman that weren't synced by any Control method but sounded like they were just calling and responding to each other. They plugged the Tascam 388 into the patch bay, and hit record. Jeremiah played with it, and that was it. First piece written and recorded in under an hour. It felt natural, fun and free. And that's pretty much how the rest of the session went. Constant ecstatic motion. It was the funnest non-HipHop session I've ever worked on."

The resulting album – 'In Electric Time' - was recorded in just two days, and edited to completion in the two days following. It was captured fully analog by engineer Ben Lumsdaine, who contributes performances on a few tracks himself. Cooper Crain (of Bitchin Bajas) makes an appearance as well; but ultimately the collection is an intuitive expression of organic electronic Music conceptualized and created in-context by Chiu alone, as he calls on a lifetime of work in sound synthesis to paint a fulgent, refreshingly undercut sequence of cinematic sketches and in-process themes. In some ways, 'In Electric Time' reflects the directness of Raymond Scott’s electronic studio recordings — with sharp cuts and room chatter — and, in others, it conjures the in-the-Moment magic of Harmonia.

TRACK LISTING

1. ElectroComp 101
2. Seawater Swell
3. For Voices
4. Rococco Rondo
5. A Cloud Song
6. Rhythm Bell
7. Brush with Thin Air
8. Rhythm Serge
9. State Stone Railway
10. Transparent Spheres
11. Echo Arp Hold
12. In Electric Time

In August 2022, the late Australia-based, French born fourth-world music legend Ariel Kalma was invited to participate in BBC Radio 3’s Late Junction series of special collaborations.The program pairs artists who have not previously worked together to create new music cooperatively. Kalma was quick to suggest working with two musicians whom he had never met – International Anthem recording artists Jeremiah Chiu & Marta Sofia Honer, whose critically-acclaimed duo debut 'Recordings from the Åland Islands' had been released just a few months earlier. An invitation was sent to Chiu and Honer, which was received with great enthusiasm, as Chiu had long been a fan of Kalma’s work, even citing him as a major influence on his approach to electronic music composition.

The essential structure of the Late Junction collaboration was that the Artists would work together to create around twenty minutes of music.They began passing music back and forth, some that Kalma had started, and some that Honer & Chiu had started, with each adding to or editing the track before returning it to the other.The music would only go back and forth a few times before being finalized. After meeting their twenty minute goal for the program Kalma, Chiu and Honer agreed that they would continue to work together to try to push the Music further.The freshly minted trio felt like there was much more to be said and more work to be done.The Late Junction program was broadcast in September of 2022. Simultaneously, Kalma, Chiu and Honer began expanding upon the music they had started for the purpose of the broadcast, working diligently on the music for several months. Their collective approach to this work was born in improvisation and realized via collage-based editing.The end result brings several distinct musical moments — recorded sometimes decades apart — into conversation with one another, forming new narratives from building blocks of old ones.There are snippets of improvised playing from each musician, edited together with recordings that Kalma had made in the 70s at GRM, and even moments of audio notes — like Kalma explaining his ideas — that would make it into the final mixes.

TRACK LISTING

1. Ten Hour Wave
2. Breathing In Three Orbits (Intro)
3. Breathing In Three Orbits
4. The Closest Thing To Silence
5. Dizzy Ditty
6. Une Ombre Légère
7. New Air
8. Écoute Au Loin
9. A Treasure Chest
10. Stay Centered
11. Stack Attack

The energy that Johnny Cash and the Tennessee Three captured on the legendary At Folsom Prison record can probably never be duplicated. That being said, Hello, I'm Johnny Cash comes very close. This forgotten album is arguably one of the five best albums in the Cash discography. It is fueled by superb original Cash songs and well executed covers. It contains "See Ruby Fall" (co-written with Roy Orbison) and one of his best 70s hits, "Blistered." The lean, minimalist instrumentation of the Tennessee Three ensures the album with great rhythm, leaving Johnny Cash's voice as effective as ever. The album reached No. 1 on the country charts and No. 6 on the pop charts.

TRACK LISTING

SIDE A
1. Southwind
2. The Devil To Pay
3. 'Cause I Love You
4. See Ruby Fall
5. Route # 1, Box 144
6. Sing A Traveling Song

SIDE B
1. If I Were A Carpenter
2. To Beat The Devil
3. Blistered
4. Wrinkled, Crinkled, Wadded Dollar Bill
5. I've Got A Thing About Trains
6. Jesus Was A Carpenter

Following the “immaculate and eternal soul” (The Guardian) of The Indications’ 2019 album, 'American Love Call', 'Private Space' unlocks the door to a wider range of sounds, boldly launching the band into a world of synthy modern soul and disco beats dotted with strings. Anchored by the high-low harmonies of Aaron Frazer (drums/vocals) and Durand Jones (vocals), and rounded out by Blake Rhein (guitar), Steve Okonski (keys), and Mike Montgomery (bass), The Indications are true masters at melding revival sounds with a modern attitude. The ten tracks across 'Private Space' provide for both an escapist fantasy and a much-needed recentering after a tumultuous 2020.

Developed after being apart for much of the year, 'Private Space' is creatively explosive and delights in upending expectations. Throughout, The Indications highlight a collective resiliency – as well as the power of a good song to be a light in the darkness. From an Indiana basement (where the band recorded their 2016 self-titled debut LP as college students), The Indications have catapulted into the soul limelight and an international stage. Following their sophomore album 'American Love Call'
 — a dreamy but pensive record of big string arrangements and sweet soul stylings — The Indications became revered by vintage music fans, the lowrider community and late-night television.

TRACK LISTING

1. Love Will Work It
2. Witchoo
3. Private Space
4. More Than Ever Lyrics
5. Ride or Die
6. The Way That I Do
7. Reach Out
8. Sexy Thang
9. Sea of Love
10. I Can See

Neither a sequel nor a satellite to 'The Wild Hunt', The Tallest Man On Earth's EP, 'Sometimes The Blues Is Just A Passing Bird', is a statement in its own right. While many post-LP EPs round up same-session tracks or studio experiments for diehard fans, these five austere folk songs were written on the road and recorded during a recent break from touring.Tthey're unmistakably Tallest, marked by the vulnerability in Kristian Matsson's croak of a voice, the strident complexity of his guitarwork, and his thoughtful, often fractured lyrics inspired, ostensibly, by his native sweden - specifically the mountainous region of Dalarna, northwest of Stockholm. And yet, despite the same elements, 'Sometimes The Blues Is Just A Passing Bird' has a very different character from 'The Wild Hunt'. It's slightly darker, more wounded, muted, and meditative. The EP allows Matsson to explore one particular mood: a primary colour in his palette, a bluesy melancholy that defines and permeates every song here.

TRACK LISTING

1. Little River
2. The Dreamer
3. Like The Wheel
4. Tangle In This Trampled Wheat
5. Thrown Right At Me

There are pop stars, and then there is Prince. In this kaleidoscopic, freewheeling biography, John McKie examines the remarkable life and career of one of the most mysterious figures in music through the prism of the record most widely considered his masterpiece, 1987's Sign o' the Times. Drawing on more than 200 interviews with friends, ex-girlfriends, bandmates, recording engineers, bodyguards, personal assistants, wardrobe designers and hairdressers, accomplished music writer John McKie examines the life of this musical polymath with the help of many of the people who knew him best.

Family members and friends discuss his childhood when he learned to master several instruments, there is new information on how he made the soundtrack to Purple Rain, the full story about why he decided to stop using his name, the now legendary Super Bowl half-time show and that guitar solo at the Rock 'n' Roll Hall of Fame which has been viewed on YouTube 100 million times. McKie also dives into the personality of the man: what made him laugh, the way he hired and fired colleagues, what he was like to live with, how his relentless drive to make music led to him recording for hours without sleep, how he changed his car stereo to road test his new hits and even booked his guitar and album sleeves their own seats on flights. Prince: A Sign o' the Times is the most comprehensive book ever written about one of the most enigmatic and talented pop stars of all time.

David Bowie was the original influencer. For five decades, his songs helped shape the landscape of popular music. But what did he listen to? Which artists, songs and albums did Bowie tune in to throughout his life?This book, the first of its kind, reveals more than 100 artists that made it onto Bowie’s turntable.

David Bowie: Music Lover is a compelling mix of personal insight and expert commentary, jointly written by Bowie’s lifelong friend, collaborator and listening companion, Geoff MacCormack, and Jérôme Soligny, author of the seminal Rainbowman, who knew Bowie for 25 years. From Classical to Britpop, Electronica to Delta Blues, the book explores Bowie’s eclectic playlist, redolent of the decades he lived through but also of his deep interest in all genres and eras of music. It’s a story that begins with Little Richard on Bowie’s childhood Dansette record player, and ends with Kendrick Lamar, a go-to listen during the recording of Blackstar, released just two days before he died.

An indispensable guide for Bowie fans and all Music Lovers.

Cruise Music continues to serve up irresistible nuggets with its Vinyl Jams series, now reaching volume 15. Once again, it is a various artists affair that blends high production value with the right amount of emotional depth and dance floor kicks, this time looking at the warmer side of house. Keller's 'Stressed Out' is clean vocal house with a catchy wiggle and soulful bass roll, Mirko & Meex that layer a soaring diva vocal into 'There's A Light' that could well become an instant classic. Pianos rule on Oliver Knight & Angelala's 'Your Sunshine,' which is a perfect outdoor cruiser for the hotter days and Dino DZ closes down with the well-sampled 'I Like It.' These are refined, accessible summer house sounds but done with a touch of class.

TRACK LISTING

Keller - Stressed Out (The Dukes Original Mix)
Mirko & Meex - There’s A Light
Oliver Knight, Angelala - Your Sunshine
Dino DZ - I Like It

'Keep Stepping!' is the follow up to 2025’s 'Away' EP which saw Jaime establish himself as a dynamic new producer with an exciting future.

Whereas his debut EP, 'Away' has deep connections to Jaime’s home in rural Kent, 'Keep Stepping!' is an EP with the city in mind. Inspired by Jaime's time living in South London, the EP takes inspiration from London’s soundsystem sonics with Rosso mixing in bright melodies and dreamlike atmospherics to create a sound of his own. Much like the hum of the capital, there is an underlying groove that flows through it, whilst Jaime’s playful production keeps the music sounding buoyant and fresh. Influenced by the exuberant atmosphere of summer in the city, 'Keep Stepping!' embraces positivity and the importance of getting out of your own head and engaging with the community around you.

TRACK LISTING

1. Devotion
2. Walk
3. Night After Night
4. Speak 

Jack Wyllie, saxophonist, flautist, and composer, is perhaps best known as the co-founder of Mercury Prize-nominated widescreen minimalists Portico Quartet and as one-third of the revelatory ambient improvising trio Szun Waves. Yet his distinctive voice on flute, soprano saxophone, and tenor saxophone marks him out as a key figure in contemporary music. A keen collaborator whose projects have drawn on ambient, fourth-world, electronica, and modern classical influences, 'Eternal Spring' is the first recording released under his own name.

Featuring collaborators as diverse as former Portico Quartet bandmates drummer Duncan Bellamy and bassist Milo Fitzpatrick, iconoclastic Polish artist Hania Rani, cellist Dobrawa Czocher, and Australian mezzo-soprano Lotte Betts-Dean, 'Eternal Spring' draws inspiration both from Wyllie’s love of verdant nature and from the idea of a constant, flickering sense of hope. Its compositions balance elevating melodies with cyclical rhythms while unashamedly reaching for something hopeful and beautiful.

Shimmering, rippling, budding, and blossoming—yet still appealingly familiar—'Eternal Spring' is one of those rare records that reveals the magic all around us by gently removing us from our everyday circumstances.

Whether welcoming a new day or painting night skies, 'Eternal Spring' celebrates life and its cyclical nature. Indeed, the music not only demanded the title for itself but also compelled Wyllie to release it under his given name.

“I realised I’m ready to own it,” he says.

As likely to provoke references to ambient and jazz as it is to classical music and post-rock, the album is united by an essential bucolic sense of renewal and replenishment. It also embraces a wide range of touchstones, from John Adams to John Surman, from Ryuichi Sakamoto to James Holden. Wyllie additionally acknowledges Keith Jarrett’s Arbour Zena, recorded with Jan Garbarek and Charlie Haden, as well as a kinship with South Korean director Kim Ki-duk’s serene film Spring, Summer, Fall, Winter... and Spring.

Having first mapped out the compositions on piano and synthesizers, Wyllie developed their nascent rhythms alongside Portico Quartet drummer Duncan Bellamy, finding confidence in the project’s restorative intentions. Recording sessions subsequently expanded to Saint Thomas Church in Clapton, Max Richter’s Studio Richter Mahr, and finally London’s Fish Factory.

“It was like I’d found a natural space between all my projects,” he says, “something I could hone in on.” 

TRACK LISTING

1. Lightness
2. Eternal Spring
3. Magazine
4. Pavillion
5. Actor
6. Green Lights
7. Love Colour
8. Juniper
9. Yesterday Today 

Live 1977 at the PARIS BATACLAN, the final date of the Heartbreakers’ European year.

The soundtrack to an unreleased film, recorded by Marc Zermati of Skydog Records. Unavailable for a decade.

One year earlier, 50 years ago this December, THE HEARTBREAKERS arrived in London to join the Sex Pistols on the ‘Anarchy’ tour. They spent most of 1977 there, recording ‘L.A.M.F.’ and cementing their status as elder statesmen of the punk movement. This last date of their European tour was to be their very last as a band – until the reunions of course. Drummer Jerry Nolan had already jumped ship; his substitute is The Clash’s Terry Chimes. The gig was filmed for a movie that was never to be – this is the soundtrack recording. 

On October 15th and 16th, 2020, drummer Daniel Villarreal was joined by guitarist Jeff Parker and bassist Anna Butterss for two afternoons of recording in the backyard of Chicali Outpost in Los Angeles. For all three musicians, it was the first ensemble recording session they’d done in-person since the pandemic locked the world down just seven months prior. Some choice moments from these sessions made it onto Villarreal’s critically-acclaimed 2022 album 'Panamá 77', but most of the music remained unreleased.

'Lados B' is a deep dive into the high-level spontaneous music made by Villarreal, Parker, and Butterss across those two days in 2020. Villarreal is heard leading the group through various rhythmic modes and structures for improvisation – flow as informed by the Latin funk of Fania Records as it is by the otherworldly humanity trance of Brain Records – while Parker and Butterss draw on their extensive experience playing free together (as heard on their ETA IVtet LPs) to build harmonic buoys for their spontaneous melodicism. The result is a beautifully vivid illustration of context, creativity, and collective composition from a particularly rich moment in history.

TRACK LISTING

1. Traveling With
2. Sunset Cliffs
3. Republic
4. Chicali Outpost
5. Bring it
6. Salute
7. Daytime Nighttime
8. Things Can Be Calm
9. Rug Motif

The bleak, hard-driven third LP by the Wipers (originally released in 1983) offers Greg Sage at his most chased and breathless, lashing out with sharp staccato notes as if melody were his only defense. The 3rd LP from the PDX punks finds them tightening up their sound to create what is arguably the Wipers' definitive album statement. Kurt Cobain listed it in his top 50 albums of all time. A distant cousin of the preceding Youth of America but undoubtedly no less excellent and no less venomous, Over the Edge is a return to the easily digestible song lengths of Is This Real?; however, it all but leaves that debut in its wake. On the strength of some brave/smart radio stations that decided to play this album's "Romeo" (a propulsive horn-flecked slammer in the vein of "Youth of America"), Wipers solidified their status as a certifiable force in the American underground of the early '80s. Songs like "Messenger" and "What Is" show Greg Sage's increasing skill as a pop songwriter. Despite the fusion of punk and pop, the record hardly mirrors the bands that would later be called punk-pop. In fact, this collision of the two elements makes what followed decades later seem twee.

TRACK LISTING

1. Over the Edge
2. Doom Town
3. So Young
4. Messenger
5. Romeo
6. Now Is the Time
7. What Is
8. No One Wants an Alien
9. The Lonely One
10. No Generation Gap
11. This Time

Nobody Broke Your Heart is the revealing biography of one of the most enigmatic and revered singer-songwriters of the late 20th-century. Featuring original interviews with many of his friends and collaborators and, for the first time, with the participation of his family - many of whom speak on the record for the first time - offering rare and intimate insights into his troubled life and enduring legacy. From his childhood in Texas, through to his settling in the counter-cultural hotbed of Portland, Oregon, to the heights of critical acclaim and an Oscar nomination, this biography captures the beauty and pain that permeated both his life and music.

While honouring the profound emotional resonance of songs like "Between the Bars," "Waltz #2 (XO)," and "Miss Misery," the book also confronts the heartbreaking circumstances surrounding his untimely death. More than a chronicle of tragedy, Nobody Broke Your Heart is a celebration of an artist whose delicate melodies and haunting lyrics have touched millions of fans around the world. This is the essential portrait of a tortured genius whose music continues to inspire-and whose legacy, at last, is fully illuminated.

The debut album by Twisted Teens from New Orleans.

TRACK LISTING

1. Twisted Teen
2. Marionette
3. Something’ I Haven’t Told Ya
4. When The Wire Get Cut
5. Tic Tac Toe
6. The Valley Spirit Never Dies
7. Sister Heat
8. Rando
9. Sea Of Love
10. Waiting For The Whip
11. Cool Former Friend

Twisted Teens are a rockin roll duo from New Orleans who have taken the history of american blues, country, garage rock and punk and drilled it into something new. This is their second album released on Jazz Life.

TRACK LISTING

1. Is It Real?
2. Wild Connection
3. I Operate
4. Little Seed
5. 100 Bill Is Gone!
6. Peekaboo Hand
7. Not Real
8. Who Could It Be
9. Circus Clown
10. Hurricane
11. White Hot Coal
12. Corpse Pose

Ken Kesey’s Ultra Rare 1966 studio recording of the Acid Test with The Grateful Dead . Legendary documentation of the 1965-66 Bay Area Acid Test scene from 14 hours of the actual trip (recorded in a studio). Lots of amazing mind games and word play with Ken Kesey and Ken Babbs in good form, ad libbed poetry, fractured harmonica solos, tape loops and the Grateful Dead lurking in the background. Originally released in March 1966.

TRACK LISTING

1. Ken Kesey
2. Ken Babbs And Harmonica
3. Take Two
4. Bull
5. Peggy The Pistol
6. One Way Ticket
7. Bells & Fairies
8. Levitation
9. Trip X
10. The End

Folk music has a bad habit of being presented as a deathly serious concern. It’s something you cry to, it’s overly sacred, it’s solemnly considered by critic-historians. But Folk Bitch Trio, former high school friends Heide Peverelle (they/them), Jeanie Pilkington (she/her) and Gracie Sinclair (she/her), have a shared sense of humour that is embedded deep in their music, and that sets it alight, safe from the self-serious traps of the genre. 'Now Would Be A Good Time', their debut album, tells vivid, visceral stories, and is funny and darkly ironic in the manner of writers like Mary Gaitskill or Otessa Moshfegh. Their music sounds familiar, but the songs are modern, youthful, singing acutely through dissociative daydreams and galling breakups, sexual fantasies and media overload, all the petty resentments and minor humiliations of being in your early twenties in the 2020s. Folk Bitch Trio have already toured across Australia, Europe and the US, supporting bands as disparate as King Gizzard, Alex G and Julia Jacklin. They’ve signed with Jagjaguwar, a home for singular icons and iconoclasts (Bon Iver, Angel Olsen, Sharon Van Etten, UMO and others), and they’ve found their first diehard fans with dazzling harmonies and acerbic lyricism that transcend genre expectations and audience lines. These are the stakes: Learning how to live a life free of lovesickness and loser exes, when to sink into contemporary nihilism and when to have a laugh with your friends, and why being alive can feel so ephemeral and unreal. In this sense, 'Now Would Be A Good Time' feels like a manual for modern living: a missive from three proud Folk Bitches finding beauty and wisdom where they can, together.

TRACK LISTING

1. God's A Different Sword
2. Hotel TV
3. The Actor
4. Moth Song
5. I’ll Find A Way
6. Cathode Ray
7. Foreign Bird
8. That’s All She Wrote
9. Sarah
10. Mary’s Playing The Harp

Run The Jewels, the super dynamic duo of El-P and Killer Mike, two of the most distinctive and celebrated names and voices in rap.

The immensely anticipated album includes guest collaborators RATM frontman Zack de la Rocha, Blink 182's Travis Barker, Foxygens Diane Coffee and Beyonce producer, Boots, but the duo maintains that the album is first and foremost about the creative partnership between the MCs themselves. Abrasive and in your face, the duo appear limitless in their vocal capacity, whether working as a tag team, storytellers, or engaging in braggadocio battles of one-upmanship. This is not an album for the faint hearted!

TRACK LISTING

1. Jeopardy
2. Oh My Darling Don't Cry
3. Blockbuster Night Part 1
4. Close Your Eyes And Count To Fuck (feat. Zack De La Rocha)
5. All My Life
6. Lie, Cheat, Steal
7. Early (feat. Boots)
8. All Due Respect (feat. Travis Barker)
9. Love Again (Akinyele Back)
10. Crown (feat. Diane Coffee)
11. Angel Duster
12. Blockbuster Night Part 2 (feat. Despot & Wiki)

Angus & Julia Stone's seventh studio album, 'Karaoke Bar', is another evolution in the pair’s history of songwriting, recording, and producing. A vibrant collection of songs born out of adventures across the world, carrying with them the spirit of the places, people and moments that inspired their creation. With 'Karaoke Bar', they open the doors to yet another chapter: a record that leans into joy.

Across the record, Angus and Julia share vocals — singing line for line, together in unison or in harmony throughout — set within musical production that brings the songs to life, making choices that elevate the story of each song in that way Angus and Julia do so well. Lyrically and musically, they bring to life a feeling we all know but can’t quite reach without music — something between nostalgia, melancholy, and presence. A portal into a sense of life being lived. 

TRACK LISTING

1. Karaoke Bar
2. Monroe
3. Celestial Bodies
4. The Start
5. Strangely Strangely
6. Brightest Place
7. Take Me Back to Japan
8. Cowgirls Lover Boi
9. The Cherry Farm
10. Mexico City

Jamie Webster returns with 'Running Round The Sun', his fourth album and a record that marks a more reflective and vulnerable chapter in his songwriting. Led by new single ‘Just Begun’, the album builds on the directness and working-class perspective that have defined Webster’s earlier releases, while exploring themes of identity, resilience and mental wellbeing with greater openness. Following three UK Top 10 albums, sold-out tours and appearances at major festivals including Glastonbury Festival, 'Running Round The Sun' captures an artist continuing to evolve while remaining closely connected to his roots and audience.

TRACK LISTING

1. Ode To Me & You
2. Modern Living Symphony
3. Small Town Life
4. Wherever You Are
5. Just Begun
6. Turning Point
7. Breadline
8. 241 Tuesday
9. Everybody's Gotta Love
10. King Of Queens
11. Across The River

'Bloque 6' (1968), by Juan Carlos Calderón, is a landmark recording in the history of modern jazz in Spain, markedly different from the albums Calderón would record just a few years later under the influence of funk, disco music, and even flamenco.

Juan Carlos Calderón enjoyed a long and successful career, composing and arranging some of the most iconic songs by Spanish artists such as Joan Manuel Serrat, Mocedades, and Ana Belén, among many others. However, his musical beginnings were closely tied to the world of jazz. His training as a pianist and the restless, adventurous spirit he shared with his brothers—alongside whom he opened one of Spain’s first jazz clubs, a venue that welcomed many of the world’s leading jazz figures—shaped the early stages of his career and led him into the jazz scene.

His recording debut came in 1968 with the release of 'Juan Carlos Calderón presenta a Juan Carlos Calderón', followed a few months later by 'Bloque 6'. For the recording of this album, he assembled a group of prominent Spanish jazz musicians, including Pedro Iturralde, Vlady Bas, and Pepe Nieto. The repertoire combines original compositions, such as the outstanding ‘Sambando,’ with interpretations of works by Miles Davis, Thelonious Monk, and Oliver Nelson. The album’s sound invites comparison with Nelson’s celebrated 'The Blues and the Abstract Truth' period, reflecting strong hard bop and modal jazz influences.

In 1969, the album was awarded Best International Jazz Album of the Year in the United States, and years later it was reissued on CD by the prestigious Blue Note label.

TRACK LISTING

1. Milestones
2. Bad Feeling
3. Sambando
4. Stolen Moments
5. Straight No Chaser
6. Bloque 6

Coming on the heels of Jackpot Records' vinyl reissue of The Wild Magnolias' S/T debut LP, we proudly announce the band’s follow-up record, They Call Us Wild. Championed by critic Robert Christgau as creating “the most boisterous recorded party I know.”

The band released this funk masterpiece in 1975, but now with a psychedelic streak running deeply throughout it. While the first album (which was also the first commercially released record by a Mardi Gras Indian group) declared "Smoke Your Peace Pipe (Smoke It Right)", They Call Us Wild is a different type of "elevated" sonic celebration. Vocals echo and drip; saxophones and keyboards swing from each other’s arms, and the omnipresent multi-layered percussion, which The Wild Magnolias were known for, showcase why they continue to be one of the most sampled bands of all time (they have been sampled by everyone from Nas to Public Enemy to Jungle Brothers).

With producer Philippe Rault at the helm once again, he continued to capture the dense magic within the band, but on They Call Us Wild, they are taking a darker, more haunted approach with their music. The smokey interplay on songs like “Injuns, Here We Come”, with its jazzy piano/bass meltdown (courtesy of Erving Charles Jr. & Wilson Turbinton of the legendary New Orleans funk band The Gaturs), solidified them as a band rather than capturing a moment...even though the celebration in the studio is still going just as strong. The band also takes itself to new sonic territory, for instance, slowing things down with “Jumalaka Boom Boom,” with its sexy groove and spoken-word storytelling sections that rival the best of P-Funk.

TRACK LISTING

1 They Call Us Wild
2 New Suit
3 Ah Anka Ting Tang Boo Shanka Boo
4 Fire Water
5 Injuns, Here We Come
6 New Kinda Groove
7 Jumalaka Boom Boom
8 We’re Gonna Party
9 Ho Na Nae

Simply obliterating any conception of the Wipers as a mere punk band, Greg Sage released this follow-up to "Is This Real?" in 1981 - a sophisticated, overwhelming response to the evil times marked by the turn of the decade. Broken up into six long songs, "Youth of America" is a much colder, harrowing experience than the teen angst of their debut. Vocally, Sage comes off as sleep-deprived and forsaken, snarling not only at his own predicament but at the predicament of the entire world. The centerpiece of the album is the title track, a dire ten minutes of paranoia and angst that gave Sage the space to showcase his wildest, darkest playing yet. As bassist Brad Davidson and drummer Brad Naish hold the same hypnotic rhythm for the entire song, the guitar careens and swoops with such a frantic energy it seems as though it's the only thing keeping Sage alive in the maelstrom of sound. It's a fitting commentary that the exacting, post-punk legends Mission of Burma and squalling, noisy thugs The Melvins both saw fit to cover the track. Jackpot Records have kept to the high standards set by our previous reissues (The Wipers' "Is This Real?" and the self-titled Beauregarde LP), and "Youth of America" is pressed on high-quality vinyl at RTI and packaged in a sturdy, old-fashioned tip-on sleeve. The tracks have been mastered from original tapes by Greg Sage himself, and the cover is identical to the original sleeve as issued in 1981. Deluxe reissue of their second LP, from 1981, Mastered from original tapes by Greg Sage himself, Considered by Kurt Cobain one of the top 50 records ever. Sturdy, old-style heavy duty jacket and high quality vinyl. One of the most passionate and influential punk records ever.

TRACK LISTING

A1 Taking Too Long 3:05
A2 Can This Be 2:55
A3 Pushing The Extreme 3:15
A4 When It's Over 6:30
B1 No Fair 4:25
B2 Youth Of America 10:30

The album that started it all and earned Run the Jewels Pitchfork ‘Best New Music’ & Guardian 5-star accolades.

A collaboration between two veteran rhymeslayers — Brooklyn's El-P and Atlanta's Killer Mike— Run the Jewels have gone from an underground rap project to a worldwide sensation, headlining festivals, topping critics polls, and nabbing Grammy nominations.
 
This release includes the previously EU-only deluxe tracks ‘Pew Pew Pew’ and remixes from Dave Sitek and BSBD.

TRACK LISTING

1. Run The Jewels
2. Banana Clipper (feat. Big Boi)
3. 36" Chain
4. DDFH
5. Sea Legs
6. Job Well Done (feat. Until the Ribbon Breaks)
7. No Come Down
8. Get It
9. Twin Hype Back (feat. Prince Paul)
10. A Christmas Fucking Miracle
11. Pew Pew Pew (feat. DJ Qbert)
12. Sea Legs (Dave Sitek Remix)
13. 36" Chain (BSBD Remix)

‘Run the Jewels 3’ is where Killer Mike and El-P hit their stride,pushing the envelope with firebrand lyrics and explosive production that grips from start to finish.

Tracks like ‘Talk To Me’ and ‘Legend Has It’ bring you into aworld where no bar is wasted, and every beat hits like a hammer.

TRACK LISTING

1. Down (feat. Joi)
2. Talk to Me
3. Legend Has It
4. Call Ticketron
5. Hey Kids (Bumaye) (feat. Danny Brown)
6. Stay Gold
7. Don't Get Captured
8. Thieves! (Screamed the Ghost) (feat. Tunde Adebimpe)
9. 2100 (feat. BOOTS)
10. Panther Like a Panther (Miracle Mix) (feat. Trina)
11. Everybody Stay Calm
12. Oh Mama
13. Thursday in the Danger Room (feat. Kamasi Washington)
14. A Report to the Shareholders / Kill Your Masters

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

The long-awaited memoir from Simple Minds' founder members and lifelong collaborators, Jim Kerr and Charlie Burchill. A candid, moving and kinetic story of self-realisation through the power of music, Our Secrets Are The Same is the remarkable joint memoir by Simple Minds' founder members, Jim Kerr and Charlie Burchill. It not only reveals the inner workings of one of the most innovative and successful British bands of the past half-century, but the deeply personal tale of an extraordinary friendship which powered teenage dreams into visionary action. Exploring key songs, places, years and events in the Simple Minds story, and told in the distinct voices of both men, Our Secrets Are The Same explores a bond which has encompassed stratospheric highs and humbling lows, marriages and divorces, fatherhood, fickle fame, tricky inter-band dynamics, the occasional explosive bust up, and a ruthless streak to rival the Sicilian Mafia.

Their connection is grounded in shared experiences and a set of values and codes so deeply ingrained they don't need to be spoken. For Our Secrets Are The Same is not just the story of two rock stars, but of two sons, brothers, partners and parents who have never forgotten where they come from. Two men who have remained deeply bonded to their roots and each other, while fulfilling a teenage dream to form a world-class live band and take their music around the globe.

Fascinating and funny, evocative and inspiring, this unforgettable memoir captures a unique journey through life and music, and a friendship like no other.

At the turn of the millennium, Britain was suffering from a post-britpop hangover. The whirlwind successes of Oasis and Blur had fizzled out and the British music industry, stagnant and directionless, was churning out bland singer-songwriters, identikit girl-groups and boybands - music culture was a vacuum, waiting to be filled. However, across the Atlantic, something was brewing.

In New York City, The Strokes were exploding across the music scene, igniting a new wave of rock'n'roll that catalysed and inspired a new genre: indie rock. Suddenly, kids from both sides of the Atlantic wanted to pick up an instrument, cause a ruckus and join a band. Spawned out of regional D.I.Y scenes and the success of genuinely independent labels and venues, this is the story of 'the last indie scene' in the UK.

Based on thrilling, informative and often hilarious interviews, The World Was A Mess But His Hair Was Perfect chronicles the legendary gigs, records, parties, drugs and cheap decadence that coalesced to form a messy, dissolute movement and subculture. An impactful and entertaining social history, author Janine Warren conducts personal interviews with core movers and shakers from the era: from members of the Libertines, Franz Ferdinand, Bloc Party and The Cribs, as well as pivotal figures such as controversial NME editor Conor McNicholas and superstar producer Paul Epworth.

The life of an icon in her own words, across five decades. Throughout her career, Joni Mitchell graced BBC radio and television with magical performances and open, in-depth, at times controversial interviews. An anonymous talent, a blossoming starlet, a white-hot star and a bona fide legend: the BBC had the inside scoop on it all.

This illuminating collection of transcripts, conversations and appearances is a tapestry of Joni's thoughts and inspirations, a memoir told in moments across five decades. Individually, they are captivating accounts, snapshots of key moments in Joni's long career. But read together they offer a window into the mind of a truly original artist - told through her own words and the memories of those who were there with her.

Compiled and guided by BBC journalist and author Tom Hagler, River of Words: Joni Mitchell at the BBC is the story of an incredible life lived on the airwaves.

The fifth solo LP from My Morning Jacket frontman Jim James explores the psychic fallout of the digital age. After unearthing a vast archive of music he’d composed for two major film-scoring projects in the early 2010s, James experienced a sudden rush of inspiration and transformed those fragments into an immersive work of soulful psychedelia. His first new solo album in eight years, 'Wowed Out' arrives as a visionary new offering from one of the most adventurous artists in 21st century rock music.

TRACK LISTING

1. Baby Dear
2. Hands On
3. Come Again
4. Lost Child
5. Home (Green)
6. We Love Our Life
7. Wowed Out
8. Whole Heart (Into It)
9. Rewind It
10. Your Door