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

TRACK LISTING

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

Gregory And The Hawk returns with her second FatCat album ‘Leche’, a more mature and honest collection of songs than her previous releases, which sees her expanding instrumentally onto piano and harp yet conveying a sense of her bedroom recording roots.

Contributors include Jeremy Backofen (Felice Brothers), Rob Laakso (Amazing Baby, Diamond Nights, Mice Parade, Swirlies), and Adam Pierce (Mice Parade, Swirlies).

TRACK LISTING

For The Best
Landscapes
Over And Over
Soulgazing
Geysir Nationale
Frebeight
Olly Olly Oxen Free
A Century Is All We Need
Leaves
Puller Return
Hard To Define
Dream Machine

The 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)

Compiled with guitarist PJ Court, this 2-CD compilation boasts re-mastered music as well as a beautifully annotated booklet boasting rare photos and personal memories from the band.

Back in the mid-80s, The Primitives combined the fuzz guitars of The Jesus & Mary Chain with the pop sensibilities of Blondie and a nod to cult heroes The Velvet Underground. They swiftly rose from being a popular Indie guitar outfit to charting worldwide with “Crash”, kickstarting a craze in bands fronted by blonde female singers (Transvision Vamp, The Darling Buds et al).

Between 1985 and 1987, the band issued five singles/EP’s on independent label Lazy Records (also home to My Bloody Valentine and later Birdland) before signing with RCA.

This 2-CD set also boasts their promo-only live album at the ICA; as such, it offers their entire Lazy output from that period.

TRACK LISTING

Disc 1
1. Thru The Flowers
2. Across My Shoulder
3. She Don't Need You
4. Lazy
5. Really Stupid
6. We Found A Way To The Sun
7. Where The Wind Blows
8. Stop Killing Me
9. Buzz Buzz Buzz
10. Laughing Up My Sleeve
11. Ocean Blue
12. Shadow (Guitar Version)
13. Thru The Flowers (New Version)
14. Everything Shining Bright
15. Nothing Left
16. Across My Shoulder
17. Crash
18. Spacehead
19. Nothing Left (Sounds Version)

Disc 2
1.I'll Stick With You
2. Dreamwalk Baby
3. Buzz Buzz Buzz
4. Nothing Left
5. Out Of Reach
6. Carry Me Home
7. Don't Want Anything To Change
8. Think I'll Stick With You
9. Dreamwalk Baby
10. Run Baby Run
11. Thru The Flowers
12. Nothing Left
13. Where The Wind Blows
14. Out Of Reach
15. We Found A Way To The Sun
16. Don't Want Anything To Change
17. Across My Shoulder
18.Everything's Shining Bright
19. Buzz Buzz Buzz
20. Stop Killing Me
21. I Wanna Be Your Dog

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

‘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

The Free Fall Band are five very young timeless pop creators bursting with melody and sublime choruses, hailing from Mataró, a village north Barcelona.

‘Elephants Never Forget’ was the band’s debut album, produced by Miqui Puig and released on LAV Records. The record sums up The Free Fall Band perfectly: echoes of The Beatles, Jonathan Richman, The Shins, The Zombies… fun and emotion in equal measure, carefully assembled arrangements and a youthful image.

2013 put them at the forefront of Spanish pop, thanks to landmark moments such as their performance at the Primavera Sound Festival and supporting Rodriguez in Barcelona. They also released their first step on El Segell del Primavera, an EP with covers of The Strokes, Violent Femmes, New Order, Booker T. & The MGs and Jonathan Richman.

And now their second album arrives. It’s called ‘The Münster Sights’ and shows the band in another level: the songs reflect a band that have been playing and growing as musicians. The album was produced by Darren Hayman (he used to play in Hefner and has a long and amazing solo career) and engineered by Giles Barrett (from London popsters Tigercats), a perfect choice for The Free Fall Band as they’ve long been fans of both musicians. As a result ‘The Münster Sights’ sounds richer and fatter than their previous efforts and contains such great numbers as ‘Fontana’ and ‘I Want To Know’.

TRACK LISTING

I Want To Know
City Of Raleigh
Fontana
Look At Me Run, Dear
Lonesome Cowboy, Solitary Peggy Sue
Oh, What An Awkward Day
By Your Window
Every Man
The Barbershop
A Friend’s Homecoming
The Münster Sights

Before they became Black Sabbath, the band were known as Earth - a blues-driven powerhouse already making a name for themselves in the mid-60s. This new release presents rare early recordings from that era, remastered from long-lost tapes and acetates. Featuring previously unheard tracks, demos, and alternative takes, the collection captures Earth’s evolution as they pushed toward the heavy metal sound that would soon change rock music forever.

TRACK LISTING

1. Blue Suede Shoes
2. Evenin’
3. Wee Wee Baby
4. “Untitled”
5. Free Man
6. Song For Jim (Guitar Version)
7. Song For Jim (Flute Version)
8. Wicked World
9. Warning

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

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

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

STAFF COMMENTS

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

The holidays are weird, man. Ostensibly, they’re about family and fun and food and festivities, but more often they portend arguing with your family about politics- and that mental dance you have to do where you’re like “Should I get Trevor a gift even though my funds are dwindling and I’m not even sure if he’s going to get me one in return so this could end up being a whole awkward thing???”

The reality of the holidays lies somewhere more liminal, in the space between joy and depression, between excitement and boredom, between “peace on earth and goodwill toward men” and “I think I might murder my entire family.” So who better to teach us the true reason for the season than Dude York, a band whose music so often seems to exist in an in-between space of their own? Dude York are funny and serious and earnest and deeply ironic all at the same time. The three friends who comprise the band—Peter Richards (guitar, vocals), Claire England (bass, vocals) and Andrew Hall (drums, vocals)—have spent their four years together applying their particular Dude York-ian sensibility to topics like mental health, breakups, and the power of art and friendship.

Now they’ve returned with Halftime for the Holidays to pop some chestnuts right on your fire and tackle their most poignant theme yet; THE MOST WONDERFUL TIME OF THE YEAR. Halftime for the Holidays is a holiday record for how the holidays actually feel. Tracks like “Takin’ Care of Christmas” (it’s exactly what you think it is) and “Jingle Bells Rock” (it’s not) deliver the requisite tacky cheer. “Greatest Gift is You” and “My Favorite Part (Of This Time of Year)” soar like the greatest pop-punk love songs, with the added benefit of CHRISTMAS. And songs like “Long Distance Christmas” and “Break Up Holiday” testify to the loneliness that they can spring on you without warning. It’s a record that manages to wrap the strangeness of sleeping in your childhood twin bed and the soft wonder of waking up to snow into one delightful white elephant present that you won’t re-gift.

Halftime for the Holidays is self-consciously goofy, but refreshing in its willingness to tackle the misery and joy of the season with equal force. So deck the halls, engage in a regrettable make out session underneath the mistletoe, and rest assured that no matter what kind of reindeer games the universe is playing with you this year, Dude York has you covered.

TRACK LISTING

01. Break Up Holiday
02. Hollywood Holiday
03. The Greatest Gift Is You
04. My Favorite Part (Of The Time Of Year
05. Long Distance Christmas
06. Takin Care Of Christmas
07. Jingle Bells Rock
08. True Meaning
09. Silent Night

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

Timothy J Fairplay is back on the label with a 7” single containing two tracks cut from a rock of uranium. “Pathfinder Theme” and “UFO’s Over China” might differ in sound and tempo but are connected by a radiant feeling. The two tracks bathes in a greenish/yellow bright toxic aura.

This plutonium charged music carries with it some quality elements known from his earlier repertoire like for example a primitive yet crisp beat working as foundation to a few but very exquisite synth sounds.

Timothy J. Fairplay stands on the shoulders of past Italian masters and the works of John Carpenter but with an accentuated alien feel. Something otherworldly, maybe good, maybe harmful, is hidden in the vibe on both sides of this 7”. The balance between good and evil is very even - yin/yang from outer space!

TRACK LISTING

A. Pathfinder Theme
B. UFOs Over China

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

The first of 2 EPs 2 proceed the next Future Sound Of London album in 2025.

Side A is a deeply moody dark ambient journey through mists of choirs to a place of ritualist electronic beat swamp finally being spat on a leaf suburb road somewhere in Surrey - what just happened !

Side B unlike the previous side this begins far more reflective, as the journey progress it becomes more unsettling once more - a baroque minimalist piece followed by modular synths melding with breaks and drum machine - ambient field recordings , a mesh of carefully gathered and selected samples - FSOL perfection.

TRACK LISTING

1. Fentanyl
2. Being Human
3. Leafy Suburbs
4. Humans Being
5. Slow Moving Carcass
6. Out Of View

“We created a holiday inside our heads.”

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

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

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

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

STAFF COMMENTS

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

TRACK LISTING

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

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

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

TRACK LISTING

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

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)

Pure world magic brims from every groove of this new set of pearlers from the Beauty & The Beat label. We know nothing about Loopcinico, who is behind the originals, but they blend plenty of Latin, cumbia and expressive percussive sounds into ass-wiggling grooves. Cow bells litter 'Curimbobata', which has stringy rhythms and external synths weaving in and out. 'Maquio' has busy, relentless handclaps and acoustic strings with shamanic spoken words, then 'Upaon-acu' and 'Calma-cara' bring sunny spiritualism to another pair of urgent rhythms. Leonidas lays down hefty, bass-driven rhythms that make these suited to club deployment and open-air dancing this summer.

TRACK LISTING

Side 1:
Loopcinico - Curimbobata
Loopcinico - Maquio
Loopcinico - Upaon

Side 2:
Loopcinico - Calma-Cara
BATB X Loopcinico - Maquio (Leonidas Remix Disco Dub)

Side 3:
BATB x Loopcinico - Curimbobata (Leonidas Remix)

Side 4:
BATB x Loopcinico - Maquio (Vidock Remix)

US outfit Garth only left behind a small trail of records, but this obscure 1980 7" still carries the peculiar charm of disco's stranger back rooms. Recorded between New York and Los Angeles across the late 70s, 'Special Part Of My Life' opens in warm, soulful territory through Henrietta Pam Garth's soft vocal glide, before J. Albert Garth gradually enters the frame and pushes the track somewhere more feverish and floor-facing. There's a lovely looseness to it all: the groove is slightly frayed at the edges in that very particular pre-digital way. On the flip, 'The Groove' heads somewhere far murkier, featuring wiggling synth effects and huge hovering atmospherics drifting over the top of the beat that gives the whole thing this faintly eerie quality which, honestly, makes it all the better.

TRACK LISTING

Special Part Of My Life
The Groove

Monsieur Van Pratt is back once again with more of his so-wrong-they're-right disco edits, reshaping source material with the usual deft touch. His opener 'Linda' runs on clipped drums, tight bass loops and bright string stabs then 'Oye Un Momento' keeps its original vocal but reinforces the groove with heavier kicks and 'El Ritmo Que Te Atrap' has a kitsch Europe feel. On the flip, Disco 86 shifts towards something classier with 'Crees Que Soy Sexy' riding lush chords and plenty of glistening melodies drawn from the Rod Stewart original and 'Tu Amor' is packed with electric vocals and retro future keys for a full send finish.

TRACK LISTING

Monsieur Van Pratt - Linda
The Move - Oye Un Momento
Chisko Disco - El Ritmo Que Te Atrapa
Disco 86 - Crees Que Soy Sexy
Disco 86 - Tu Amor

The Jazzcodes and Michele Chiavarini kick off this fine survey of contemporary deep house with 'Wolf Dust (Saison Rework)' which draws on jazz-inflected motifs and feeds them into a steady groove with layered keys sitting over a controlled kick pattern. 'Friday' from DJ Romain works in a more direct frame driven by looping piano stabs and clipped drums with diva vocals injecting heat. 'In The Moment' has an air of cool jazz to it with deft horns and spoken word that muse on the great genre while Saison's 'This Is A House Record' sure is that: classic drums and knotted little synths bring a warming vibe for grown-up floors.

TRACK LISTING

The Jazzcodes, Michele Chiavarini - Wolf Dust (Saison Rework)
DJ Romain - Friday
Hiva - In The Moment
Saison - This Is A House Record

Tokyo's Realrockdesign collective marks a full 30 years of cross-disciplinary creativity with the first of a planned trilogy. The A-side hands over a crown jewel from West Coast legend DJ Garth's Grayhound catalogue in 'Twenty Minutes Of Disco Glory', which gets remixed by DJ Harvey with a slow, deep, dark and come-to-me groove with a fizzy motif lingering like a trapped bee. The flip turns to German veteran Nectar, who is enjoying some deserved time back in the spotlight and shows why here: 'Fairy Trails' is a deliciously psychedelic descent into the underworld that perfectly befits its title. 'What Tha?' is paranoid and unsure with a writhing bassline, detuned synths bringing a freaky edge and a dubby, shuffling groove that is as inviting as the rest of the track is wonderfully weird.

TRACK LISTING

DJ Garth & ETI - Twenty Minutes Of Disco Glory (DJ Harvey Remix)
Nectar - Fairy Trails
Nectar - What Tha?

Just six months after their debut album 'Wasted On Youth' reached No.3 in the UK Official Albums Chart, The Molotovs release their second album, 'Welcome To Urbia'. The next phase for London-based siblings Matt (18) and Issey (20), following a year that has taken them from relentless grassroots touring to national television, chart success and arena-level support.

TRACK LISTING

1. Born In Society
2. Join Us
3. My Metallic Wife
4. Tell Me
5. The Man Who Could Never Be
6. Father Flag
7. Is There Any Hope?
8. Stories
9. Urbia
10. You, Me - Shadow Boxer

Inspiral Carpets' 'Burn Like The Sun' - their first studio album in 12 years. The album marks a major new chapter for Inspiral Carpets following a period shaped by loss, reflection and renewal. An extended hiatus left the future of the band uncertain, and the return to writing and recording became something deeper than simply making another record. What emerged is an album rooted in endurance, connection, and forward motion. At the centre of that story is the return of original frontman Stephen Holt, whose rejoining of the band reconnected Inspiral Carpets with their earliest creative identity while opening the door to an entirely new era. Rather than revisiting the past, the band approached 'Burn Like The Sun' determined to create something fresh, relevant and emotionally honest - a record that acknowledges their history without being defined by it.

TRACK LISTING

1. Burn Like The Sun
2. Drag The Bag
3. Touching From A Distance Too Far
4. Meeting On The Hill
5. Truth Hurts
6. Wolf At The Door
7. Sacrifice
8. Contact
9. Us Alone
10. By Your Side

Formed in 2011, The Spook School carved out a reputation as one of the most beloved queer acts of their generation. Nominated for Scottish Album of The Year in 2018 with their third and final studio album Could It Be Different? on Alcopop! Records, it was an internationally acclaimed release that was packed with hope and good will, passionately championing LGBTQ+ rights and inclusivity years ahead of the public discourse.

Following their final farewell tour and subsequent split in August/September 2019, The Spook School staged their own disappearance to the moon, remaining otherwise inactive, save for a sold-out duo of December 2023 reunion shows celebrating the 10th anniversary of their Fortuna POP! debut album Dress Up.

Now, with the political climate growing ever more hostile and LGBTQ+ rights under threat around the world once more, the time is ripe for The Spook School’s return with new album Like A Heartbeat; the heroes we deserve, carrying a message of resilience, solidarity, and—vitally—hope for the future.

“Unfortunately our songs seem more relevant than ever.” laments Nye. “We kind of hoped our old material would become culturally outdated, but we still feel we have something so important to say, especially as things seem to be getting so much worse. Something particularly infuriating about the last few years is the never-ending torrent of conversations and decisions about trans people's right to exist which take place without any trans people actually having a voice. Sometimes the level of ignorance is so extreme that it would almost be funny if it wasn’t being used as the basis to try and kick us out of society, but when it’s judges, or politicians, or employers that are choosing to get all of their ‘facts’ from anti-trans hate groups it’s not funny—it’s dangerous and negligent.”

Recorded with Rod Jones of Scottish rock titans Idlewild at his Post Electric Studio in Leith, Edinburgh, new album Like A Heartbeat is undeniably The Spook School’s most fully realised, cohesive, and sonically refined record to date. This is a timely, vital return. 

TRACK LISTING

Side A
Margins
Saying It All
Corporate Caring
A Little Clearer
Falling
Same Old Song

Side B
Time
Can’t Speak Up
Survive
New Town
You’re Wrong

Entering a new era with a refreshed lineup, Gen and the Degenerates return with 'Earthly Delights' — their most ambitious and fully realised project yet. Blending sharp wit with emotional honesty, the album unpacks identity, grief, sexuality and the chaos of modern life. A more cohesive yet expansive evolution of their sound, it’s a caustic, absurd soundtrack to strange times — never without joy or defiance.

TRACK LISTING

1. I Used To Be Charming
2. Hotter On The Internet
3. Rich Boyfriend
4. It’s A Lot
5. It Can Always Get Worse
6. Party At The End Of The Universe
7. Favourite Jumper
8. Sex Symbol
9. We Should Do This Again Sometime
10. Honey You’re Still In The Game

The Last Dinner Party present a 7” vinyl of their newly released tracks 'Big Dog' and 'Knocking at the Sky'.

TRACK LISTING

1. Big Dog
2. Knocking at the Sky

That one summer that felt like everything… until it wasn’t. The rain-soaked phone booth, the pool, the fireworks, the moments where it almost felt real. kensuke ushio’s summer’s end score lives right in that space between tenderness and collapse, where quiet love turns into chaos in an instant.

This soundtrack captures every emotional shift of the Reze Arc. From intimate cues like 'in the pool' and 'in the sea' to the overwhelming intensity of 'edge of chainsaw (typhoon ver.)', this is the full experience of the film, pressed onto vinyl.

In the eleven years since her last project, Erykah Badu has gathered not conclusions but a series of existential insights. 'Before the World Blows': The Abi and Alan Experiment exists within the tension between introspection and growth. Abi is Badu. Alan is The Alchemist. Recorded over 18 months in Dallas and Los Angeles, the album is the inevitable collision of two iconoclasts—hypnotic, funny, blunt, deeply personal, and impossible to categorize neatly.

Meditative and fluid, 'Before the World Blows' finds Badu contemplating which parts of ourselves and our stories are worth protecting before the world breaks and fragments. Love, innocence, dreams, memories, womanhood. The album unfolds in four movements, charting the progression of self through the prisms of love, art, and identity, inviting us to sit with difficult feelings. Passion blurs with desire, hope with grief, each song revealing another illuminating facet of the inner Baduverse.

The Abi and Alan Experiment began more than three years ago after Badu told her longtime creative partner Cold Cris that she had always wanted to rap over Mobb Deep’s 'The Realest', a gritty, pounding Alchemist production. “I also program as well, but not like Al,” she says. “His collection of music is impeccable. His taste is brilliant. His choices are kindred to what I love. He’s very soulful.” Their conversations grew into a full-fledged collaborative project. The duo’s first studio session together in Los Angeles yielded the crackling ballad 'Next to You', which uses the same sped-up ’70s soul sample as 'The Realest', establishing the album’s creative language: Alchemist’s sample-based architecture meeting Badu’s gift for rhythmic, jazz-informed experimentation. Rather than typecasting Badu, his dream collaborator, with beats that matched her existing catalog the music was guided by Badu’s instincts & skill, and the Alchemist let the music evolve on its own terms.

Alchemist sent Badu a collection of instrumental beats, which she deconstructed and sculpted into tracks that felt uniquely hers, looping his warm, punchy samples with instruments from soft kalimba notes to immersive chords and drums. The result moves fluidly between soul, blues, funk, rock, jazz, and underground hip-hop, yet belongs entirely to none of them. From 2024 to 2025, Abi and Alan road-tested the entire album live, performing in intimate, phone-free settings with Badu’s digital collective, The Cannabinoids, and Alchemist on the MPC, fine-tuning the tracks along the way.

Badu has always seen art as an inevitable, infinite extension of the self. At any point in space and time, that means evolution is inevitable, too. Before the world blows, it’s worth it to keep exploring. To have one more kiss. One more hit of that blunt. Before the world blows, it’s worth it to get to know thyself.

TRACK LISTING

1. Echos
2. I Just Play A Part
3. Crossfade (feat. DJ Creole Princess, Westside Gunn, Joi)
4. Witch Doctor
5. Valentine (feat. DRAM)
6. Next 2 U
7. Love Me Not
8. Breezy
9. Abracadabra
10. To The Moon (Plan C) (feat. Steve Lacy)
11. They Ain’t You (feat. Thundercat)
12. What The People Say (Apostle 1)
13. Hot BiBi (Apostle 2)
14. No I.D. (feat. Westside Gunn)
15. I Know That Man (feat. Earl Sweatshirt)
16. Black Box (feat. Kamasi Washington)

'10 Days in China - The Live EP' features four live performances from Wham!’s historic 1985 concerts in Beijing and Guangzhou, as seen in the highly acclaimed, 5-star rated documentary 'Wham! 10 Days in China'. As the first Western Pop group to perform in China, these performances cemented the duo as global superstars. Featuring previously unreleased live audio, newly mixed and mastered from the original recordings.

TRACK LISTING

1. Wake Me Up Before You Go-Go (Live in Beijing)
2. Everything She Wants (Live in Guangzhou)
3. Freedom (Live in Beijing)
4. Careless Whisper (Live in Guangzhou)

"One ring to rule them all, one ring to find them; One ring to bring them all, and in the darkness bind them.“

Presenting ‘The Lord of the Rings’, a limited edition deluxe 14LP vinyl box set of the original 1981 BBC Radio full-cast dramatisation of JRR Tolkien’s masterpiece, released for the first time in its original 26-episode broadcast format. Over 13 hours of newly-mastered audio drama in superb stereo sound with every tense cliffhanger (and stirring theme music reprise) intact, plus a standalone bonus disc of the series’ celebrated soundtrack by the renowned composer Stephen Oliver.

The contents are pressed on Clear and Forged Gold coloured vinyl. Each box set is individually numbered and features beautiful original artwork, re-imagining the landscape of Tolkien’s Middle-earth.

Starring Ian Holm (Alien, The Lord of the Rings & The Hobbit, Chariots of Fire) as Frodo, Michael Hordern (Barry Lyndon, Gandhi, Paddington) as Gandalf, John Le Mesurier (Dad’s Army) as Bilbo, Bill Nighy (Love Actually) as Sam, and Robert Stephens (Romeo and Juliet) as Aragorn, alongside Gerard Murphy (Batman Begins), Peter Vaughan (Game of Thrones), Simon Cadell (Watership Down) and Michael Graham Cox (The Stone Tape) this acclaimed 1981 full-cast production was dramatised by Brian Sibley and Michael Bakewell.

An 8-Page booklet, featuring behind the scenes cast photos and a note about the making of the series by dramatist Brian Sibley, is also included along with full cast and credits for every episode.

TRACK LISTING

LP1:
1. Episode 1 - The Long Awaited Party
2. Episode 2 - The Shadow Of The Past

LP2:
1. Episode 3 - The Black Riders
2. Episode 4 - Trouble at The Prancing Pony

LP3:
1. Episode 5 - The Knife in the Dark
2. Episode 6 - The Council of Elrond

LP4:
1. Episode 7 - The Fellowship of the Ring
2. Episode 8 - The Mines of Moria

LP5:
1. Episode 9 - The Mirror of Galadriel
2. Episode 10 - The Breaking of the Fellowship

LP6:
1. Episode 11 - The Riders of Rohan
2. Episode 12 - Treebeard of Fangorn

LP7:
1. Episode 13 - The King of the Golden Hall
2. Episode 14 - Helm’s Deep

LP8:
1. Episode 15 - The Voice of Saruman
2. Episode 16 - The Black Gate is Closed

LP9:
1. Episode 17 - The Window on the West
2. Episode 18 - Minas Tirith

LP10:
1. Episode 19 - Shelob’s Lair
2. Episode 20 - The Siege of Gondor

LP11:
1. Episode 21 - The Battle of Pelennor Fields
2. Episode 22 - The Houses of Healing

LP12:
1. Episode 23 - Mount Doom
2. Episode 24 - The Return of the King

LP13:
1. Episode 25 - Homeward Bound
2. Episode 26 - The Grey Havens

LP14 - Stephen Oliver – Music From The BBC Radio Dramatisation Of J. R. R. Tolkien's The Lord Of The Rings:
1. The Lord of the Rings
2. O Elbereth Gilthoniel
3. The Road Goes Ever On
4. In Western Lands Beneath the Sun
5. Seek for the Sword that was Broken
6. Shadowfax
7. O Lórien
8. Forth Rode the King
9. The March of the Ents
10. The Battle of Pelennor Fields
11. Lament for the Fallen
12. Gil-galad was an Elven King
13. In Caras Galadhon
14. The Tree-Lords
15. Gwaihir’s Song
16. Long Live the Halflings
17. The Healing of the Shire
18. Bilbo’s Last Song

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

TRACK LISTING

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

The Fat Lady Sings' debut album 'Twist' stands out as a deeply felt, emotionally charged slice of early-'90s Irish alternative rock, driven by Nick Kelly's distinctive song writing and the band's blend of pop-rock, indie, and dream-tinged textures.

The Fat Lady Sings emerged in Dublin in 1986 before relocating to London, where they built a strong live following and released several independent singles. Fronted by singer- songwriter Nick Kelly , the band gained notable attention in Ireland, scoring multiple Top 20 singles in 1990-91. Their line up for the debut album featured Kelly, Tim Bradshaw, Dermot Lynch, and Robert Hamilton.

Released in May 1991 on East West Records, 'Twist' marked the band's first major-label album and showcased their ability to merge alternative rock , pop-rock , and jangly, emotionally resonant song writing . The album followed the major- label single Man Scared and produced three additional singles: 'Arclight', 'Twist', and 'Deborah'.

The album credits highlight the band's hands-on creative approach, with production contributions from both the band and producers Mike Roarty and Paul Hardiman.

TRACK LISTING

1. Broken Into
2. Arclight 
3. Who Wants You
4. Twist 
5. Love Turned Upside Down 
6. Deborah 
7. Man Scared 
8. Be Still 
9. Gravy Train 
10. Contact 
11. Dronning Maud Land

The Mars Volta's latest album, 'Lucro Sucio; Unfinished Business', which marks their first official live release since 2005’s 'Scabdates'.
 
Far from a straightforward live performance of their most recent studio album, 'Lucro Sucio; Los Ojos del Vacío', this new release is a deep reinterpretation of the source material with an added twist: the band’s invitation for fans to participate in the album-making process.
 
The project began with a cryptic countdown timer on The Mars Volta’s official website, which revealed an interactive voting mechanism allowing fans to choose which live performances would make the cut. Each track was represented by a cryptic symbol corresponding to the city where the performance was recorded during the band’s acclaimed fall 2025 tour. 

TRACK LISTING

1. Fin
2. Reina Tormenta / Enlazan Las Tinieblas
3. Mictlán
4. The Iron Rose
5. Cue the Sun / Alba Del Orate
6. Voice In My Knives / Poseedora De Mi Sombra
7. Celaje
8. Vociferó
9. Mito De Los Trece Cielos
10. Un Disparo Al Vacío / Detrás De La Puerta Dorada
11. Maullidos
12. Morgana/Cue the Sun (Reprise)
13. Lucro Sucio 

'The Milk of Human Kindness' is Dan Snaith's third studio album, originally released in 2005. It marked the first record credited to the Caribou name, after Snaith dropped his previous Manitoba moniker following a threatened lawsuit from Handsome Dick Manitoba of The Dictators.

Rather than start from scratch, Snaith folded the two sides of himself together — the icy precision of 'Start Breaking My Heart' and the sun-drenched sprawl of 'Up in Flames' — into something both hypnotic - influenced by French progressive rock and German krautrock of the 1970s - and pastoral.

The record was met with strong critical acclaim, and its singles, 'Yeti' and 'Barnowl', remain fan favorites to this day. Against the backdrop of the legal name change it is simultaneously the end of a chapter while also quietly setting the stage for the run of albums that would follow.

TRACK LISTING

1. Yeti
2. Subotnick
3. A Final Warning
4. Lord Leopard
5. Bees
6. Hands First
7. Hello Hammerheads
8. Brahminy Kite
9. Drumheller
10. Pelican Narrows
11. Barnowl

'20th Century Paddy - The Songs of Shane MacGowan' is a sonic love letter to a catalogue that shaped generations. The album features a wide ranging mix of icons and contemporary disruptors, each bringing a unique perspective to the tracks that defined Shane MacGowan's career.
The lineup of artists include:

Amble / Bob Geldof / Bruce Springsteen / Camille O’Sullivan / Cronin / Damien Dempsey / David Gray / David Keenan / Dropkick Murphys / Garron Noone / Glen Hansard / Hozier / Jimmy Artache / Johnny Depp / Johnny Mac and The Faithful / Kate Moss / Kingfishr / Liam Ó Maonlaí / Lisa Moorish / Lisa O'Neill / LYRA / Madra Salach / Moya Brennan / Mundy / Picture This / Pinch of Snuff / Primal Scream / Steve Earle / The High Kings / The Jesus and Mary Chain / The Libertines / The Murder Capital / The Pogues / Tom Creagh / Tom Waits / U2

TRACK LISTING

1. A Rainy Night in Soho - Bruce Springsteen
2. Fairytale of New York - Hozier
3. Sayonara - The Libertines
4. Aisling - Picture This
5. Streets of Sorrow / Birmingham Six - LYRA
6. Turkish Song of the Damned - Madra Salach
7. The Body of an American - Dropkick Murphys
8. The Snake With the Eyes of Garnet - Amble
9. The Broad Majestic Shannon - Liam O'Maonlai
10. If I Should Fall From Grace With God - Steve Earle
11. Fiesta - Johnny Mac and The Faithful
12. Paddy Public Enemy No.1 - Tom Creagh
13. Yeah, Yeah, Yeah, Yeah, Yeah - U2
14. Gabrielle - The Pogues
15. A Pair of Brown Eyes - Primal Scream
16. The Sunnyside of the Street - Kingfishr
17. Victoria - Mundy
18 Donegal Express - Pinch of Snuff
19. The Old Main Drag - David Gray
20. I'll Be Your Handbag - The Jesus and Mary Chain
21. Streams of Whiskey - The High Kings
22. The Sick Bed of Cuchulainn - David Keenan
23. USA - Jimmy Artache
24. Rain Street - Lisa Moorish
25. White City - Garron Noone
26. Summer in Siam - Tom Waits
27. Sally MacLennane - Damien Dempsey
28. Mother Mo Chroi - Moya Brennan
29. The Song With No Name - The Murder Capital
30. Lonesome Highway - Kate Moss
31. Haunted - Johnny Depp & Imelda May
32. Dark Streets of London - Lisa O'Neill
33. St John of Gods - Bob Geldof
34. Bottle of Smoke - Glen Hansard
35. London You're a Lady - Cronin
36. You're The One - Camille O’Sullivan

English psychedelic group Black Market Karma's newest release is the thirteenth in. All of which have been written and produced by band leader and multi instrumentalist Stanley Belton.

They have collaborated with Sonic Boom (Spacemen 3), The Telescopes, Les Big Byrd and The Underground Youth, and toured with The Black Angels and The Warlocks. Between 2024 and 2026 they released three albums on Fuzz Club Records: 'Wobble', 'Mellowmaker' and 'Live at Fuzz Club Festival 2025'.

'The Grease Ladder' is eleven tracks of neo psychedelia, psychedelic rock, psychedelic pop and alternative, cut to transparent green vinyl.

TRACK LISTING

1. Sister Transistor
2. Time Too Little
3. Brain Batter
4. Absent Loves
5. The Grease Ladder
6. The State Of Me
7. Playground Of You
8. Marching In Reflection
9. Tools Of The Small
10. Always Faithful
11. Brother Combuster

Karen Dalton’s 1971 album, In My Own Time, stands as a true masterpiece by one of music’s most mysterious, enigmatic, and enduringly influential artists. Celebrating the album’s 50th anniversary, Light in the Attic is honored to present a newly remastered (2021) edition of the album on LP, CD, cassette, and 8-Track.

All audio has been newly remastered by Dave Cooley, while lacquers were cut by Phil Rodriguez at Elysian Masters.

A newly expanded booklet—featuring rarely seen photos, liner notes from musician and writer Lenny Kaye, and contributions from Nick Cave and Devendra Banhart—rounds out the CD (32-pgs) and LP (20-pgs) packages.
The Oklahoma-raised Karen Dalton (1937-1993) brought a range of influences to her work. As Lenny Kaye writes in the liner notes, one can hear “the jazz of Ella Fitzgerald and Billie Holiday, the immersion of Nina Simone, the Appalachian keen of Jean Ritchie, [and] the R&B and country that had to seep in as she made her way to New York."

Armed with a long-necked banjo and a 12-stringed guitar, Dalton set herself apart from her peers with her distinctive, world-weary vocals. In the early ‘60s, she became a fixture in the Greenwich Village folk scene, interpreting traditional material, blues standards, and the songs of her contemporaries, including Tim Hardin, Fred Neil, and Richard Tucker, whom she later married. Bob Dylan, meanwhile, was instantly taken with her artistry. “My favorite singer in the place was Karen Dalton,” he recalled in Chronicles: Volume One (Simon & Schuster, 2004). “Karen had a voice like Billie Holiday and played the guitar like Jimmy Reed.”

Those who knew Dalton understood that she was not interested in bowing to the whims of the record industry. On stage, she rarely interacted with audience members. In the studio, she was equally as uncomfortable with the recording process. Her 1969 debut, It’s So Hard to Tell Who’s Going To Love You The Best, reissued by Light in the Attic in 2009, was captured on the sly when Dalton assumed that she was rehearsing songs. When Woodstock co-promoter Michael Lang approached Dalton about recording a follow-up for his new imprint, Just Sunshine, she was dubious, to say the least. The album would have to be made on her own terms, in her own time. That turned out to be a six-month period at Bearsville Studios in Woodstock, NY.

Producing the album was bassist Harvey Brooks, who played alongside Dalton on It’s So Hard to Tell Who’s Going To Love You The Best. Brooks, who prided himself on being “simple, solid and supportive,” understood Dalton’s process, but was also willing to offer gentle encouragement, and challenge the artist to push her creative bounds. “I tried to present her with a flexible situation,” he told Kaye. “I left the decisions to her, to determine the tempo, feel. She was very quiet, and I brought all of it to her; if she needed more, I’d present options. Everyone was sensitive to her. She was the leader.”

Dalton, who rarely performed her own compositions, selected a range of material to interpret—from traditionals like “Katie Cruel” and “Same Old Man” to Paul Butterfield’s “In My Own Dream” and Richard Tucker’s “Are You Leaving For The Country.” She also expanded upon her typical repertoire, peppering in such R&B hits as “When a Man Loves a Woman” and “How Sweet It Is.” In a departure from her previous LP, Dalton’s new recording offered fuller, more pop-forward arrangements, featuring a slew of talented studio musicians.

While ‘70s audiences may not have been ready for Dalton’s music, a new generation was about to discover her work. In the decades following her death, a slew of artists would name Karen Dalton as an influence, including Lucinda Williams, Joanna Newsom, Nick Cave, Angel Olsen, Devendra Banhart, Sharon Van Etten, Courtney Barnett, and Adele. In the recent acclaimed film documentary Karen Dalton: In My Own Time, Cave muses on Dalton’s unique appeal: “There’s a sort of demand made upon the listener,” he explains. “Whether you like it or not, you have to enter her world. And it’s a despairing world.” Peter Walker, who also appears in the film, elaborates on this idea: “If she can feel a certain way in her music and play it in such a way that you feel that way, then that’s really the most magical thing [one] can do.” He adds, “She had a deep and profound and loving soul…you can hear it in her music.”

TRACK LISTING

Something On Your Mind
When A Man Loves A Woman
In My Own Dream
Katie Cruel
How Sweet It Is
In A Station
Take Me
Same Old Man
One Night Of Love
Are You Leaving For The Country

Hailed as a masterpiece of it’s genre, and considered by many as ground zero for Deathrock, 'Only Theatre of Pain' is a seminal work of unholy power and pitch black emotion. Whilst this record may have it’s roots in punk - the origins of this true original version of Christian Death took place in Southern California during the early 80’s hardcore explosion - it cannot be overstated how important this record was in shaping the subsequent landscape. Emerging like an adrenaline shot into the heart of darkness, this unrestrained and mysterious recording still remains unclassifiable.

Featuring the late visionary Rozz Williams (then only in his teens) alongside punk luminary Rikk Agnew (guiding light in the Adolescents), James McGearty and George Belanger, Only Theatre of Pain’s musical exploration is adorned with psychosexual lyricism and an innate struggle with faith. Rozz’s vocals creep and possess, demonic and haunting, against the captivating, unmistakable guitar work of trailblazer Agnew. It’s a performance, but also a truth, perhaps 'Only Theatre of Pain' is an art show, as much as it is an era defining record.

Aside from their spellbinding sound, it may have also been the lore of Christian Death that set them apart from other LA goth bands of the time. A near-nude Rozz Williams nailed to a cross at the Whiskey a Go Go may have played a part, but what it is apparent when you listen to the unhallowed musical stages on 'Only Theatre Of Pain' is a depth of vision and orchestration that goes beyond the simple stance of brooding many of their contemporaries emulated, delving into the realms of pure unadulterated catharsis. The result is an eradefining statement that remains as unsettling, innovative, and resonant today as it was over four decades ago.

'Only Theatre Of Pain' is presented here newly remastered with early demo’s and rare material, further demonstrating why Christian Death stood alone in their sound and approach. This journey of religious depravity, recorded by the legendary producer Thom Wilson in a matter of days, harnesses the huge concepts of band projecting older than their years. Ahead of the curve in sonic artistry and visual aesthetics, this slab of sacrilegious American punk is nothing short of essential listening for the gothic inclined. A must for fans of The Misfits, Bauhaus and The Cramps.

TRACK LISTING

1. Cavity- First Communion
2. Figurative Theatre
3. Burnt Offerings
4. Mysterium Iniquitatis
5. Dream For Mother
6. Stairs - Uncertain Journey
7. Spiritual Cramp
8. Romeo’s Distress
9. Resurrection - Sixth Communion
10. Prayer
11. Dogs
12. Romeo’s Distress
13. Deathwish
14. Desperate Hell
15. Spiritual Cramp
16. Cavity - First Communion
17. Sleepwalk (1982 Demo)
18. Invocation (1982 Demo)
19. Cavity-First Communion (Alternate Version)
20. Lord’s Prayer (Alternate Version)

A major figure in electronic music and pioneer of cosmic disco, Space was founded in 1977 by Didier Marouani. 'Magic Fly', its first single, embodies its futuristic DNA (a melodious, cosmic and disco-inspired composition).

Following its worldwide success, 3 albums were released in 2 years : 'Magic Fly' (1977), blending melodic richness with synthetic innovation, delivered both dancefloor hits and midtempo tracks. 'Deliverance' (1977) is a typical 70s concept album, ranging from disco to cosmic electronic music. 'Just Blue' (1978) is a more melancholic album featuring broader orchestrations and complex harmonies. These 3 records sold over 10 million copies worldwide.

'The Art Of Space Disco (1977-1978)' presents Space's most iconic tracks and sums up two fruitful intense years of musical innovation. 

TRACK LISTING

LP Tracklisting:
1. Magic Fly
2. Carry On, Turn Me On (edit)
3. My Love Is Music (edit)
4. Deliverance (edit)
5. Tango In Space 
6. Fasten Seat Belt
7. Running In The City (edit)
8. Just Blue
9. Ballad For Space Lovers
10. Baby's Paradise

CD Tracklisting:
1. Magic Fly
2. Carry On, Turn Me On
3. My Love Is Music
4. Deliverance
5. Tango In Space
6. Fasten Seat Belt
7. Running In The City
8. Just Blue
9. Symphony
10. Velvet Rape
11. Ballad For Space Lovers
12. Baby's Paradise 
13. Magic Fly (The Toxic Avenger Remix)
14. Tango In Space (Alex Gopher Rework)
15. Carry On, Turn Me On (Dimitri From Paris & DJ Deep Remix Parts I, II & III) 
16. My Love Is Music (The Reflex Revision)
17. Tango In Space (Antoine Bourachot Remix)
18. Magic Fly (Domenico Torti Remix)
19. My Love Is Music (Joe Smooth & Mr. Root Remix)
20. Final Signal (Domenico Torti Remix)

One of the most influential progressive rock bands of the late ‘60s / early ‘70s, Soft Machine’s initial line-up was Robert Wyatt (drums, vocals), Kevin Ayers (bass, guitar, vocals), Daevid Allen (guitar) and Mike Ratledge (organ). They emerged from the UK underground in 1967, featuring prominently at epoch-making London venues such as the UFO Club and Middle Earth to establish a powerful reputation over the next decade with a series of accomplished albums and some innovative concert performances (notably in the UK and France) and with a support slot on the Jimi Hendrix Experience US tours throughout 1968.

After two albums for ABC/Probe – The Soft Machine and Volume Two – they signed to CBS/Columbia with a line-up consisting of Wyatt, Ratledge, saxophonist Elton Dean and bassist Hugh Hopper, releasing their most successful long player, Third, in 1970. This was followed by four more albums during a period of significant acclaim across Europe, and a frequently evolving line-up.

Soft Machine disbanded in 1978, apart from the occasional reunion, before being relaunched as Soft Machine Legacy in 2004, touring extensively and making many more albums. Since 2016 they have been known simply as Soft Machine and in March this year the current line-up issued their latest album, Thirteen. They will be playing live across the UK and Europe for the rest of the year and well into 2027, including festivals and club dates in Italy, The Netherlands, Germany, Austria, Switzerland and Hungary.

This extensive boxed set presents the story of the most vital, influential period in the Soft Machine story. Centred around their five CBS albums, all remastered from the original ¼” tapes and including the discovery of an entirely different and previously unreleased set of recordings of their Fifth album, it also contains all of their extant BBC sessions (some have been released before, decades ago, these are the complete performances for the first time) and a significant amount of previously unavailable audio-visual, full concert recordings from Europe (UK/France/Belgium/Germany).

Packaged in a sturdy 12” x 12” slipcase, with a hardback book featuring many rare photographs and extensive notes by journalist and author Sid Smith, progressive rock fans (who buy detailed boxed sets like this in large quantities), will delight in this comprehensive examination of one the great names in the genre.

TRACK LISTING

CD 1:
“Third”
Released in June 1970
Facelift
Slightly All the Time
Moon in June
Out-Bloody-Rageous

CD 2:
London – May 1970
Facelift
Moon in June
Esther’s Nose Job

CD 3:
BBC Radio Sessions 1970
Slightly All the Time
Out-Bloody-Rageous
Eamonn Andrews
BBC Session - 4th May 1970
Facelift
Esther’s Nose Job
BBC Radio 1 “In Concert” – 31st May 1970
Virtually
Fletcher’s Blemish
BBC Radio 1 session – 15th December 1970

CD 4:
The Promenade Concert
Royal Albert Hall 13th August 1970
Recorded and broadcast by BBC Radio Three
Out-Bloody-Rageous
Facelift
Esther’s Nose Job
Pig
Orange Skin Food
A Door Opens and Closes
Pigling Bland
10:30 Returns to the Bedroom

CD 5:
“Fourth”
Released in February 1971
Teeth
Kings and Queens
Fletcher’s Blemish
Virtually Part 1
Virtually Part 2
Virtually Part 3
Virtually Part 4

CD 6:
BBC Radio 1 In Concert
11th March 1971
Blind Badger
Neo Caliban Grides
Out-Bloody-Rageous
Eamonn Andrews
All White
Kings and Queens
Teeth
Pigling Bland
Returns to the Bedroom
Slightly All the Time
Noisette

CD 7:
Gondel Filmkunsttheater, Bremen, Germany
23rd March 1971
Radio Bremen concert
License from Radio Bremen / Studio Hamburg – OneGate Media
Facelift
Virtually
Slightly All the Time
Fletcher’s Blemish
Neo-Caliban Grides
Out-Bloody-Rageous
Eamonn Andrews
All White
Kings and Queens
Teeth
Pigling Bland

CD 8:
BBC Radio sessions 1971
BBC Radio 1 session – 1st June 1971
Neo-Caliban Grides
Dedicated to You But You Weren’t Listening
Eamonn Andrews / All White
BBC Radio 1 session – 15th November 1971
As If
Drop
Welcome to Frillsville
BBC Radio 1 session – 11th July 1972
Fanfare
All White
M C
Drop

CD 9:
“Fifth”
Released in July 1972
All White
Drop
M C
As If
L B O
Pigling Bland
Bone
Bonus tracks
The Alternative Fifth Sessions
As If
Untitled Blow
Pigling Bland
(coda) Esther’s Nose Job
All White (Take Two)
As If
Drum Solo
Pigling Bland

CD 10
BBC Radio 1 In Concert
20 July 1972
Fanfare
All White
Slightly All the Time
M C
Drop
Stumble
L.B.O.
As If
Riff
Gesolreut

CD 11:
“Six”
Released in February 1973
The live record:
Fanfare
All White
Between
Riff I
37 ½
Gesolreut
E.P.V.
Lefty
Stumble
5 from 13 (for Phil Seamen with Love & Thanks)
Riff II
The studio record:
The Soft Weed Factor
Stanley Stamp’s Gibbon Album (for B.O.)
Chloe and the Pirates
1983

CD 12:
“Seven”
Released in October 1973
Nettle Bed
Carol Ann
Day’s Eye
Bone Fire
Tarabos
D.I.S.
Snodland
Penny Hitch
Block
Down the Road
The German Lesson
The French Lesson

CD 13:
BBC Sessions 1973 – 1974
BBC Radio 1 John Peel session – 20th November 1973
Stanley Stamps Gibbon Album
Hazard Profile (Part 1)
Sinepost
Down the Road
BBC Radio 3 Jazz in Britain session – 26th August 1974
North Point
The Man Who Waved at Trains
Hazard Profile (Parts 1 – 4)

CD 14:
Montreux Festival
4th July 1974
Hazard Profile
The Floating World
Ealing Comedy
Bundles
Land of the Bag Snake
Joint
The Man Who Waved at Trains
Peff
The Man Who Waved at Trains (reprise)
LBO
Riff II
Lefty
Penny Hitch (coda)

Disc 15 – Blu-ray video
The Video vaults 1970 - 1971
Theatre de la Musique, Paris
2nd March 1970
Recorded for French television – LICENSED FROM INA FRANCE
Eamonn Andrews
Backwards
Mousetrap
Out-Bloody-Rageous
Facelift
Vocal improvisation
Esther’s Nose Job / Pigling Bland
Pop Deux
12 December 1970
The Recording of Soft Machine Fourth - LICENSED FROM INA
BBC TV – Anatomy of Pop
10th January 1971
Neo-Caliban Grides
Theatre 140, Brussels
14th January 1971
Filmed for “Pop Shop” – Belgian TV – LICENSED FROM SONUMA BELGIUM
Improvisation
Neo-Caliban Grides
Out-Bloody-Rageous
Kings and Queens
Teeth
Pigling Bland
Esther’s Nose Job (excerpt)
….It’s Nothing
Mousetrap
Noisette

Disc 16 – Blu-ray video
The Video vaults 1971 – 1975
‘Beat Club’ Radio Bremen TV Session
23rd March 1971
Licensed from Radio Bremen / Studio Hamburg – OneGate Media
Neo-Caliban Grides
Out-Bloody-Rageous
Vocal improvisation
Eamonn Andrews / All White
Berliner Jazztage Philharmonichalle, West Berlin
7th November 1971
Licensed from ARDPLus GmbH
Neo Caliban Grides
Slightly All The Time
Drop
M C
Out-Bloody-Rageous
As If
Dark Swing
Pigling Bland
Esther’s Nose Job (Outro)
Filmed 5th November 1972 at CBS Studios, London
for “Emission Rockenstock”
Broadcast 30th January 1973 ORTF French Television
Licensed from INA
The Soft Weed Factor
LBO
Gesolreut
BBC TV – FULL HOUSE
17th February 1973
Soft Machine interviews and the band perform
Gesolreut
Fanfare / All White

Disc 17 – Blu-ray video
The Video Vaults 1973 – 1974
Soft Machine & Friends ‘Jazz Workshop’
Congresszentrum, Hamburg, Germany on May 17, 1973
Licensed from Radio Bremen / Studio Hamburg – OneGate Media
Fanfare
All White
Link 1
The Soft Weed Factor
Link 2
37 ½
Link 3
Riff
Stanley Stamps Gibbon Album
Chloe and the Pirates
Gesolreut
E.P.V.
Link 4
Stumble
One Across
Riff II
Bataclan, Paris
29th May 1973
Broadcast on “Pop Deux” – French TV 30th June 1973
Licensed from INA
Riff / Down The Road
Gesolreut / Chloe And The Pirates
Montreux Jazz Festival
4th July 1974
Licensed from Universal Music Operations
Hazard Profile
The Floating World
Ealing Comedy
Bundles
Land of the Bag Snake
Joint
The Man Who Waved at Trains
Peff
The Man Who Waved at Trains (reprise)
LBO
Riff II
Lefty
Penny Hitch (coda)

‘The Clocks' was originally issued in 2007 as a CD-only limited edition of 110 for members of 'The Bevis Frond Online Community'. It comprised 19 previously unissued tracks. Most of these were home demos featuring just Frond frontman Nick Saloman on all instruments and vocals. Since then, it has never been re-issued in any format. It is therefore with great pleasure that Blue Matter are re-issuing it for the first time, and now as a vinyl double album and limited CD. Due to certain circumstances, three of the original tracks could not be used, so these have been replaced these with another three previously unheard tracks from Nick Saloman's extensive archives. These songs include the seven minute 'She's Taken It All', originally intended for 2004's 'Hit Squad' album but dropped at the last minute due to timing constraints. The beautiful 'You Better Make Do' and the edgy 'Devil Doll' have also been added. We are delighted to be able to make this 'long lost' album available once again and think it will be a welcome addition to the Bevis Frond canon.

TRACK LISTING

Side One.
1 Worlde Is Older
2 The Clocks
3 Home Is Where The Head Is
4 Cut To The Quick
Side Two.
5 Bless Him
6 Anything You Say
7 Devil Doll
8 God
9 When I’m Gone
10 I Need The Rush.
Side Three.
11 Watch The Sun
12 You Better Make Do
13 Little Ray
14 She’s Taken It All.
Side Four.
15 Things He Said
16 I’ll Save Myself
17 I Wasn’t There
18 I’m Better Now
19 Shades 

What happens after happily ever after? And how do you make forever count? These are the preoccupations at the heart of The Big Moon’s buoyant yet beautifully bittersweet fourth album, Forever.

Four years on from last LP Here Is Everything – and a further eight since frontwoman Juliette Jackson first laid the foundations for the band – the London-formed four-piece find themselves in a very different, if similarly challenging, headspace. Where that record was conceived in the context of COVID and found Jackson processing the life-altering experience of new motherhood, Forever examines what’s left when you’ve already checked off many of the major milestones, and is tempered by a first-hand understanding of life’s fragility.

The truth is, the past couple of years have been a big readjustment for Jackson. In 2024, she was diagnosed with a cholesteatoma – a benign but destructive cyst inside the eardrum which has to be removed with surgery. Jackson explains, “I permanently lost most of the hearing on one side, which was pretty much existential, because writing songs is my job and my identity.”

Stoic by nature, Jackson forged forward with songwriting regardless but found herself faltering. “I couldn't hear properly, everything sounded out of tune and I was just struggling to find a point at all, just writing these miserable songs I couldn't really hear.” The answer was to shift her outlook completely, manifesting “a happy ending that didn’t exist yet.”

“I just decided to write songs for this imaginary time, one or two years in the future, when I would be all healed and happy again. I didn’t know if I would ever get to that point but, by projecting and almost tricking myself into it, it actually became a really nice way of writing.”

It proved an extremely fruitful approach, producing some of the brightest songs of The Big Moon’s career to date. Recorded over three weeks at Norfolk’s Bam Bam Studios, with Kevin Morby-collaborator Sam Cohen co-producing alongside the band, Forever is brimming with hook-heavy alt-pop gems, not least because Jackson had fallen out of love with writing verses. “Over the years I've got more impatient with music,” Jackson explains with a grin. “I just like getting straight to the point.”

As bandmate Celia Archer explains, they hope the album proves uplifting. “They're not trivial songs lyrically or thematically or musically, but Jules has shown us you can face all this stuff and choose to be hopeful and find power from it. Hopefully other people can apply that to their own lives.”

TRACK LISTING

Side A
1. Gravity
2. Three Things
3. Fun
4. F.O.R.E.V.E.R
5. Sounds

Side B
6. You Remind Me That I'm Dying (and that it’s good to be alive)
7. Speed Bump
8. Can I Get A Reading Please
9. I See You, Honey
10. Chill

'Gold Is The Metal (With The Broadest Shoulders)', Coil’s vital 1987 album, is remastered and reissued.

The album was the third in a trilogy that began with 'Scatology' and 'Horse Rotorvator', with much of the material emerging from the same period of recordings. It hones an "electro-erotics of sound," blending textural instrumental pieces with notable field recordings – including a drunken brass band captured in Mexico and a Thai boxing arena recorded by Sleazy. A key moment of serendipity is found in ‘Metal In The Head’, which features a malfunctioning Fairlight sampler randomly rearranging and distorting the music.

Remastered under the guidance of original member Stephen Thrower, this new edition features restored artwork, previously unseen imagery and new sleeve notes, and marks the start of a new reissue series through The Grey Area of Mute.

Established in 1982 by Peter Christopherson (Sleazy) and John Balance, Coil began as an art and music project before expanding into a trio with Thrower in 1984. Their work remains a profoundly influential and enigmatic force within industrial and experimental music, fearlessly exploring themes of queerness, sex, drugs, magick and freedom.

TRACK LISTING

1. The Last Rites Of Spring (2026 Remaster)
2. Paradisiac (2026 Remaster)
3. Thump (2026 Remaster)
4. For Us They Will (2026 Remaster)
5. The Broken Wheel (2026 Remaster)
6. Boy In A Suitcase (2026 Remaster)
7. Golden Hole (2026 Remaster)
8. Cardinal Points (2026 Remaster)
9. Red Slur (2026 Remaster)
10. ...Of Free Enterprise (2026 Remaster)
11. Aqua Regalia (2026 Remaster)
12. Metal In The Head (2026 Remaster)
13. Either His, Or Yours (2026 Remaster)
14. Chickenskin (2026 Remaster)
15. Soundtrap (2026 Remaster)
16. The First Five Minutes After Violent Death (2026 Remaster)

Now featuring corrected album title and artwork and sequenced as originally planned by Wayne Hussey including the full-length version of ‘Love Me To Death’ previously omitted from the album release and never released on vinyl in full before.

The Mission were formed in 1986 by former Sisters of Mercy band members Wayne Hussey and bassist Craig Adams, soon adding guitarist Simon Hinkler - all of whom are in the present day line-up and about to celebrate 40 years since the release of their debut album ‘God’s Own Medicine’.

Following a couple of EP releases the band signed a seven-album recording contract with Phonogram in July 1986 and their debut album, ‘God's Own Medicine’, was recorded in six weeks with producer Tim Palmer, an acquaintance from Hussey's Dead or Alive days.

The Mission quickly established their own identity and following which saw ‘God's Own Medicine’ chart at #14 and featuring some of the band's most enduring tracks, including 'Wasteland' (a #11 hit) as well as the Top 30 singles 'Severina' (featuring All About Eve’s Julianne Regan on guest vocals) and 'Stay With Me' all of which have become staples of the group's live set and fan favourites for generations.

God’s Own Medicine has never been released on colour vinyl and has been unavailable on vinyl since 2017.

TRACK LISTING

1. Wasteland
2. Bridges Burning
3. Garden Of Delight (Hereafter)
4. Severina
5. Let Sleeping Dogs Die
6. Sacrilege
7. And The Dance Goes On
8. Dance On Glass
9. Stay With Me
10. Love Me To Death (Original Full Length Version)

Following the success of their debut album ‘God’s Own Medicine’, The Mission expanded their sound with a collection of epic, emotionally charged songs that combined soaring melodies, dramatic atmospherics and arena-sized ambition.

In 1987 The Mission enlisted Led Zeppelin's John Paul Jones to produce their second studio album, ‘Children’, engineered by Mark 'Spike' Stent.
The album charted in the UK at #2 and featured the #12 hit single 'Tower of Strength' along with its follow up 'Beyond the Pale'.

The Children Play world tour, included a seven-night residency at the London Astoria where John Paul Jones made a guest appearance on keyboards alongside additional shows with Robert Plant, the first dates the band played in Latin America, and a small tour of Japan ending with an eight-date arena tour of the UK.

'Children' helped establish The Mission as one of the most influential bands of their generation and stands as a cornerstone of the late-'80s gothic and alternative rock scene.

'Children' has never been released on colour vinyl and has been unavailable on vinyl since 2017.

TRACK LISTING

1. Beyond The Pale
2. A Wing And A Prayer
3. Heaven On Earth
4. Tower Of Strength
5. Kingdom Come
6. Breathe
7. Child’s Play
8. Shamera Kye
9. Black Mountain Mist
10. Heat
11. Hymn (For America)

Released in 1990, 'Carved In Sand' captured The Mission at the height of their creative and commercial powers. Having played a number of European festivals supporting the Cure in 1989 the band embarked on a low-key Scottish Highlands tour followed later that year by a headline appearance at the Reading Festival, before returning to the studio to complete the album.

Released in February 1990, Tim Palmer was re-enlisted to produce the record, while Reeves Gabrels, Baluji Shrivastav, and Guy Chambers also made contributions. The first single, 'Butterfly on a Wheel', released in January 1990 charted at #12, followed by the Top 40 singles 'Deliverance', 'Into the Blue' and 'Hands Across the Ocean' with the album itself charting at #7. 

'Carved In Sand' has been unavailable on vinyl since 2017.

TRACK LISTING

1. Amelia
2. Into The Blue
3. Butterfly On A Wheel
4. Sea Of Love
5. Deliverance
6. Grapes Of Wrath
7. Belief
8. Paradise (Will Shine Like The Moon)
9. Hungry As The Hunter
10. Lovely

Darkness can be revealing. Joy feels different after grief, sharper and clearer. Though allowing the light in again after desolation can be incredibly challenging, especially when the wounds of the past still haunt the present. 'The Lying Swans', Gloria de Oliveira’s third full length, explores this in depth, like a work of Gothic literary fiction set in motion by the image of a woman fleeing a haunted house; this central image also shaped the album's visual world. Produced by Randall Dunn (Anna von Hausswolff, Sunn O))), Marissa Nadler) and recorded between Iceland, New York and Berlin, the result is an oneiric world where enchantment and danger coexist.

“I numb my hurt one last time”, sings de Oliveira in the first single 'Fading Faces', as a farewell to darker times. The ethereal lightness of the shimmering synth layers contrasts with thunderous drums and glam-rock inflected guitars. The resulting tension amplifies the song’s bittersweet beauty, fully embodied her siren voice, yearning and unguarded. The accompanying music video, directed by de Oliveira herself, depicts her stranded like a Pre-Raphaelite water nymph on a mystical Brazilian beach, between black cliffs and pink sand.

On 'Fading Faces', Gloria de Oliveira offered "This is not only the first single, but also the very first piece of music I wrote when I started working on the album. It was also the first song that Randall Dunn and I later recorded together in Iceland. In many ways, it’s the reason the album even exists - ‘Fading Faces’ required me to allow myself this degree of vulnerability that permeates ‘The Lying Swans’. Musically, it still follows the tradition of my previous albums to some extent, while simultaneously drawing on new modes of expression.”

TRACK LISTING

1. Leda Saw Eyes
2. Fading Faces
3. Sacred Hearts
4. The Voyager
5. Wounded Birds
6. The Wind Took It Away
7. The Perfect Con
8. Shadows In The Fog
9. Cranes In Flight

'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) 

“When I was a teenager, Charlie Harper was my hero,” admits Del Greening, guitarist from notorious Brighton punks Peter and the Test Tube Babies. “I saw him on Top of the Pops snarling through ‘Stranglehold,’ like a man trying to start a riot on his own, and that was it. I was in. Not long after, I was crushed against the front barrier at Crawley Leisure Centre, watching the UK Subs, half suffocated, probably deaf for three days and loving every second of it.

“I met Charlie a few times over the years,” continues Del. “Always seemed like a decent chap. Then he started turning up at Peter and the Test Tube Babies gigs, not just casually, either. Every time I looked up, there he was, front row, arms folded, watching my hands like a mechanic inspecting a suspicious engine noise. Slightly unnerving, if I’m honest. I kept thinking, what does he want? Should I be playing better? Afterwards, he’d come over. “Love your guitar playing. We should do a project together…”

And so the seed was sown for a beautiful new punk rock partnership. Charlie, as established, is a long-time admirer of Del’s guitar playing and is also based in Brighton. With Del no longer touring with the Test Tubes and Charlie doing ‘slightly’ less gigs with the Subs, they both had time to start something new and fresh. And fresh it certainly was. With no rehearsals, no pre-production and some skeletal song ideas, Del and Charlie, alongside Vicky Smith from the Ramonas on bass and Marley Perez (Charlie's grandson) on drums, they headed to Brighton Road recording studios and got to work in October 2025.

The result was the debut self-titled album by Derik & The Disasters. Fourteen songs that tap into both Charlie and Del’s musical legacies whilst creating a sound that is unique and vibrant, with lyrics that don’t shy away from tackling the many issues facing the world today. ‘New Palestine' is taken from the album while ‘False Flags’ is exclusive to this single. Play loud!

TRACK LISTING

1. New Palestine
2. Flase Flags

“When I was a teenager, Charlie Harper was my hero,” admits Del Greening, guitarist from notorious Brighton punks Peter and the Test Tube Babies. “I saw him on Top of the Pops snarling through ‘Stranglehold,’ like a man trying to start a riot on his own, and that was it. I was in. Not long after, I was crushed against the front barrier at Crawley Leisure Centre, watching the UK Subs, half suffocated, probably deaf for three days and loving every second of it.

“I met Charlie a few times over the years,” continues Del. “Always seemed like a decent chap. Then he started turning up at Peter and the Test Tube Babies gigs, not just casually, either. Every time I looked up, there he was, front row, arms folded, watching my hands like a mechanic inspecting a suspicious engine noise. Slightly unnerving, if I’m honest. I kept thinking, what does he want? Should I be playing better? Afterwards, he’d come over. “Love your guitar playing. We should do a project together…”

And so the seed was sown for a beautiful new punk rock partnership. Charlie, as established, is a long-time admirer of Del’s guitar playing and is also based in Brighton. With Del no longer touring with the Test Tubes and Charlie doing ‘slightly’ less gigs with the Subs, they both had time to start something new and fresh. And fresh it certainly was. With no rehearsals, no pre-production and some skeletal song ideas, Del and Charlie, alongside Vicky Smith from the Ramonas on bass and Marley Perez (Charlie's grandson) on drums, they headed to Brighton Road recording studios and got to work in October 2025.

“We set up, and Charlie suggested we just start jamming until something happens,” laughs Del. “I fucking hate jamming, I find it pointless. So, I voiced my opinion. “What's the point of just endlessly jamming for hours in a studio that we're paying for? It's not as if a hit is just going to suddenly pop up from nowhere.” “That's how I wrote ‘Stranglehold”’ Charlie snapped back. Fair point!

“He also mentioned that the Subs' classic track ‘Warhead’ had also emerged from a jam but had been discarded and disliked by ex-guitarist Nicky Garrett and ex-bassist Paul Slack and had been thrown in the bin, which he retrieved; “the song outlived them both.” Charlie laughed. Was that our first argument? I’m not sure. I knew there weren’t gonna be many.

“We’d finally got everything plugged in and ready to record, guitars humming with feedback, everyone poised to go, then Charlie would suddenly start telling a story. Ten minutes later, he’d forgotten who the story was about, where it happened, or why he’d started telling it in the first place. By the end, even Charlie looked confused! He then suggested a couple of chords, A and C, and after going around in circles for 20 minutes, nothing seemed to be happening. That's when I got out my latest song, ‘Deadlines’. I had typed out the chord sheets, arrangement and lyrics, and I distributed them around the studio floor for everyone to see. We tried it, and it sounded fantastic. We then did another one of Charlie's ‘Cyber War’, and the original jam produced ‘Divide’, then I threw in another riff, ‘Lost’, which I’d based around a brass riff idea that I’d written on my son’s Casio keyboard he had used for his school music lessons. Not a bad result, four songs in one six-hour session. Third of an album, maybe?”

With ‘Deadlines’, ‘Divide’, ‘Cyber War’, and ‘Lost’ all written in the first six-hour session. Somehow, against all the odds, Charlie’s completely chaotic method was working. With most of Marley’s drums recorded and him now away on tour, the sessions moved to (engineer) Ali Gavin’s tiny back-garden studio in Aulburn Village in Mid Sussex.

“The routine quickly settled in,” explains Del. “Ali engineered. I layered guitars and vocals. Charlie sat behind us, throwing in ideas, stories, lyrics, or complete confusion, depending on the hour. Somehow, out of all that chaos, the album slowly began to take shape.”

However, a brief period of ill health for Charlie led to the Disasters working on some songs without him. “The three of us ended up recording a couple of new tracks, ‘Scars’ and ‘The Disasters’. Vicky played bass while Ali engineered, then jumped behind the drums while I handled the guitars. We sent the rough tracks over to Charlie. He loved them. By the final sessions, the album had become something none of us had expected. Not really a Subs record and not really mine or a Charlie solo record. Something completely different.”

“What I wanted on this album,” Charlie said, “Was that thing you do at the end of the Test Tubes set. Peter’s already gone for a beer, but you’re still out there, stretching the guitar out, and the crowd are hanging on every note. “That’s what I wanted, and that's what you gave me.”

From chaos and confusion comes Derik & The Disasters. Fourteen songs that tap into both Charlie and Del’s musical legacies whilst creating a sound that is unique and vibrant, with lyrics that don’t shy away from tackling the many issues facing the world today. This is punk rock in 2026. Play Loud. 

TRACK LISTING

1. Divide
2. Lost
3. Clickbait
4. New Palestine
5. Used and Abused
6. Deadlines
7. Parasite
8. The Disasters
9. L.G.B.T.
10. The Takeover
11. Squirrel
12. Scars
13. Cyber War
14. Strait of Hormuz

Following the Home Listening Acid and House Compilation releases, Mark Churcher aka A-Eno-Acid returns with his debut LP.

A raw transmission from the underground - deep, hypnotic and unapologetically acid. Rooted in the late-1980s sound of warehouse parties, pirate radio and underground dancefloors, this is an album built for DJs, dancers and heads who know. 808s, squelching 303s and hypnotic grooves - pure acid house energy.

TRACK LISTING

A1. The Last Jack
A2. America Wake Up
A3. That’s Amazing
B1. I Believe In Music
B2. Hard Drive
B3. Devils Playground
C1. Living A Best Life
C2, The Bee’s Mouth
C3. Fallout
D1. Short Circuit Control
D2. Timeless
D3. Eno Acid

The seminal psych-rock classic 'The Evil One' by Roky Erickson And The Aliens is reissued by Fire Records in a deluxe 15-track edition, restoring the original front cover from San Francisco’s 415 Records release for the first time since 1981. Presented across two LPs cut at 45 rpm for maximum sonic depth and clarity, the release brings together the complete recordings from the legendary 1978 and 1979 sessions. The package includes a collector’s booklet with liner notes by acclaimed Austin music journalist Joe Nick Patoski, who attended a recording session for The Evil One in 1979. Alongside rare photographs and archival images from the collection of Roky’s then manager, Craig Luckin.

Following his release from Rusk State Hospital in 1974, Erickson formed The Aliens and channelled his experiences and fascination with horror and science fiction into a singular new sound. Moving beyond the psychedelic garage blues of the 13th Floor Elevators, the band created harder, more ferocious rock built around jagged guitars, strange melodies and a propulsive rhythm section.

Produced by Creedence Clearwater Revival bassist Stu Cook, The Evil One includes some of Erickson’s most celebrated recordings, including ‘Two Headed Dog’, ‘I Walked With A Zombie’ and ‘It’s A Cold Night For Alligators’. Erickson’s unmistakable voice and surreal lyrics, populated by zombies, demons, vampires and atomic monsters, gave the album a character unlike anything else in rock. Both the LP and CD editions feature rare photographs and images from the archive of Erickson’s then manager and the sessions’ executive producer, Craig Luckin.

'The Evil One' has since become a landmark of cult rock, with its songs covered by generations of artists and its influence extending across punk, alternative and psychedelic music. As Craig Luckin recalls, “Roky considers 'The Evil One' to be his favourite album that he ever recorded. He really loves that album.”

Austin music journalist Joe Nick Patoski, who attended one of the album’s 1979 sessions, contributes a new essay to the LP and CD packaging, exploring Erickson’s extraordinary career, enduring influence and place in Texas rock history.

More than a standalone reissue, this deluxe edition of 'The Evil One' opens an exciting new series honouring Roky Erickson’s extraordinary body of work, with 'Gremlins Have Pictures' and 'Don’t Slander Me' to follow in 2027.

TRACK LISTING

1. Two Headed Dog (Red Temple Prayer)
2. I Walked With A Zombie
3. Night Of The Vampire
4. Mine Mine Mind
5. White Faces
6. Creature With The Atom Brain
7. The Wind And More
8. Bloody Hammer
9. Don’t Shake Me Lucifer
10. Click Your Fingers Applauding The Play
11. If You Have Ghosts
12. Cold Night For Alligators
13. Stand For The Fire Demon
14. Sputnik
15. I Think Of Demons

Queens of the Stone Age have always remained enduringly, singularly magnetic. It isn't just their sound. It's their spirit. They are provocative in the most essential sense: unafraid to explore the dark, the sexual, the surreal, the absurd. It's art that snarls and seduces in equal measure, and never more so than on the band’s ninth album, 'Perfecth'.

Kintsugi — the Japanese art of repairing broken pottery by filling its cracks with gold — holds that what has been shattered is made more beautiful, not less, by the act of repair. This is the spirit in which 'Perfecth' was made. An album that could only have been made right now thanks to Homme, Troy Van Leeuwen, Michael Shuman, Dean Fertita, and Jon Theodore taking significant evolutionary steps as a collective and arriving at hard-won clarity, its nine songs map different forms of love: of family, friends, and others both significant and insignificant. The loves that break you beyond survival and the loves that put you back together.

Birthed from sessions tracked everywhere from New Orleans to Los Angeles, the music is fearless and boundless, moody and menacing, gentle and strange. Here, Queens have moved a career's worth of jagged pieces into alignment. "Every song sounds like it's from a different world," says Homme. "And that's on purpose, because it's trying to stitch together all these emotions revolving around love, lust, foolishness, and the sort of wisdom that comes as a gift from all that."

The record is called 'Perfecth' because "perfect," as a word, has never been honest. It doesn't exist. So, Homme broke the word and made it "perfecth," a more appropriate spelling for a term that never felt right to begin with. "Nothing in this world is perfect, but everything seems to be 'perfecth'," he explains. "And that title is funny when you're in a group, but it ain't so funny when you're alone.”

TRACK LISTING

1. It's Only Love
2. Insignificant Other
3. Where The Goth Girls At?
4. Mono
5. From the Cliff
6. Sunday
7. Easy Street
8. Phantom Limb
9. Run Away From the Mob

The tenth album of Clinic’s career, 'Wild In The Streets' takes the current temperature of the nation in their own inimitable style. These dozen songs are marked by urgency, surreal wordplay and trademark wit. For a band determined to chart their own course, Clinic continue to push forward in new and unexpected ways.

Nearly 30 years since they first founded Clinic as a quartet, Blackburn and Hartley’s chemistry remains as potent as it ever was, perhaps even more so. “We’ve known each other since school,” says Blackburn. “Hartley was always interested in electronics and drum machines, even as a teenager. He’s into rhythms, whether it’s reggae and funk or more conventional guitar music, whereas I was always into songs and melodies. I think that's why Clinic works so well.”

'Wild In The Streets' is now set to take its place beside past triumphs like 2000’s 'Internal Wrangler', 2006’s 'Visitations' and 2012’s 'Free Reign'. “We’ve always had this absolute faith in what we do,” Blackburn adds. “It’s relatively outsider-ish music, but that’s something that’s motivated us to keep going, because it’s good to have things that are a little out on the fringes. There’s just not enough of that kind of music these days.”

TRACK LISTING

1. Wild In The Streets
2. Model Citizen
3. Back to Nature
4. You and I
5. Hypnotised
6. The Gardener
7. Mouse Trap
8. Energies
9. (It Was) Heaven
10. The Time Has Come
11. Well Wisher
12. It’s a Pleasure

To celebrate the 10th anniversary of 'Lost Themes II', Sacred Bones is proud to present a new expanded art edition of John Carpenter’s acclaimed second album of non-soundtrack compositions. Featuring newly commissioned artwork by Randy Ortiz, this anniversary edition pairs the original album with a bonus 7” containing 'Real Xeno', now available on vinyl outside its original, limited Sacred Bones Society release for the first time. The B-side features an exclusive etched design created especially for this edition.

'The Lost Themes' series has grown into one of the defining chapters of Carpenter’s career. Free from the constraints of the screen, these compositions have taken on lives of their own, expanding Carpenter’s legacy beyond film scores. Released in 2016, 'Lost Themes II' broadened the sonic world of its predecessor, pairing Carpenter’s unmistakable gift for atmosphere and suspense with his trademark minimal synth, richer arrangements, and electric and acoustic guitars.

A decade on, 'Lost Themes II' remains a landmark in a series that has grown far beyond imagined soundtracks, standing as essential works in Carpenter’s catalog and a testament to his musical vision and remarkable ability to create worlds that extend far beyond film.

TRACK LISTING

1. Distant Dream 
2. White Pulse 
3. Persia Rising 
4. Angel’s Asylum 
5. Hofner Dawn 
6. Windy Death 
7. Dark Blues 
8. Virtual Survivor 
9. Bela Lugosi 
10. Last Sunrise 
11. Utopian Facade 
7":
12. Real Xeno 

The Twelve Songs Of Christmas tells the whole story by covering a dozen Christmas number ones, stretching from Rudolph The Red-Nosed Reindeer in 1950 - a song that feels like it's been around forever - to Wham's Last Christmas, which finally made it to number one in 2023, thirty-nine years after it was first released.

Each chapter will talk about the background behind each song, the songwriter and the performer. Not all of them will be Christmas songs - the Beatles dominated the Christmas number one slot in the sixties, and the Spice Girls likewise in the late nineties, but none of them were Christmas songs. Pink Floyd's one and only number one single soundtracked a bleak Christmas at the end of the seventies, with the country, a few months into the Thatcher era, in a depressing state of flux.

The book also digs into the Christmas records that didn't make it to number one, including lesser-known gems like Kate Bush's December Will Be Magic Again, denied in 1980 as the world mourned the death of John Lennon, and Mariah Carey's leviathan All I Want For Christmas Is You, which has still never made it to become the Christmas number one, even in the streaming era.

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.

A former architect of the cult DiY sound in Nottingham, as well as being a member of downtempo outfit Bent, Nail is a house making machine whose own distinct fingerprint is all over everything he makes. His sound is raw but never hostile - he always finds a neat sample to bring some soul to his louche, loose drums. This EP for his In The Dance label starts with 'And So', a wonky sound infused with sensual whispers, while 'Before' blends woozy pad work with deep drums and prickly percussion. 'Grief' is a sombre affair with bluesy sax lines weaving between the dusty drums, and 'Size A Dat' gets choppy, playful, and funky. Another majestic EP.

TRACK LISTING

And So
Before
Grief
Size A Dat

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 

The Garden, experimental punk duo made of twin brothers Wyatt and Fletcher Shears new album 'Bootleg'.

Recorded in Los Angeles and produced by Wyatt and Fletcher, the 14-track album is packed with The Garden's eclectic instrumentation and visceral production work.

Formed in 2011 by twin brothers Wyatt Shears and Fletcher Shears, The Garden built their signature "Vada Vada" style from the raw foundation of bass, drums, and eerie electronic textures. Their minimalist approach delivers an explosive, genre- defying sound that is equal parts chaotic, precise, and unmistakably original.

Blending an uncanny, arthouse- inspired visual identity with fearless creativity, The Garden has become one of alternative music's most influential cult acts, beloved by Tyler, the Creator and Mac DeMarco. Renowned for their explosive live performances, they've cultivated a fiercely dedicated global following while inspiring a new generation of artists and fans drawn to their singular creative vision.

TRACK LISTING

1. Ugly
2. Pin Drop 
3. 5 Mile Ponytail 
4. White Cadillac 
5. Bootleg 
6. A 50's Guys Eyes 
7. Duck and Cover 
8. Eve of Nothing 
9. The Mess 
10. The Kockroach 
11. Down Doggy 
12. Flailing on the Tracks
13. Banned from Paradise 
14. Hansel and Gretel

Hole's landmark 1991 debut, Pretty On The Inside, returns to vinyl for Record Store Day Essentials in a definitive new release overseen by founding guitarist Eric Erlandson. Newly remastered for vinyl, the album presents Hole's incendiary debut with enhanced fidelity while honoring the spirit and impact of the original recording.

Produced by Kim Gordon and Don Fleming, Pretty On The Inside introduced Hole with a fearless fusion of noise, punk, and alternative, establishing the band's singular voice and laying the foundation for one of the most influential careers in modern rock. Featuring the original lineup of Courtney Love, Eric Erlandson, Jill Emery, and Caroline Rue, the album remains as visceral, provocative, and vital today as it was when it first emerged from the alternative underground.

This worldwide release delivers the album's raw power with renewed depth and detail while preserving the intensity of the original recordings. Presented with the full album artwork and thoughtfully restored packaging, Pretty On The Inside returns as a definitive archival presentation celebrating the uncompromising beginning of one of alternative rock's most distinctive and enduring bands.

TRACK LISTING

A1. Teenage Whore
A2. Babydoll
A3. Garbage Man
A4. Sassy
A5. Good Sister / Bad Sister
B1. Mrs. Jones
B2. Berry
B3. Loaded
B4. Starbelly
B5. Pretty on the Inside
B6. Clouds

Clara Mann’s luminous new album, Wishbone, is built on contrast; the brightest passages made legible by shadow, as Mann strove to picture a beautiful life and then to allow herself to want it, with absolute vulnerability.

Leaning deliberately into the songwriting tradition, Mann reached for the rough-edged, performance-driven spirit of artists like Fiona Apple and Tom Waits; while keeping faith with an older lineage of plainspoken English balladry. With the folk singer’s instinct for letting air move through a song and trusting a melody to carry without ornament, the songs across the new album resist the costume-drama pieties of revivalism. The ballad here is a living form; a way of telling the truth, at a slight angle.

Produced by 4AD resident Fabian Prynn, Mann was also joined by guitarist Kit Mosely, double bassist Marianne Schofield, as well as Owen Spafford on viola, Martin Egidi on cell and Tennessee Woodiel on banjo. The album shimmers without dilution; beautiful and bright with grounding intention, a product of the collaborative approach to the recordings.

TRACK LISTING

Side A
Fortuna
Go Getter
Wishbone
I’m Everyone Who’s Ever Said I Love You
The Izaac Walton Hotel

Side B
Oblivion
News From Home
All My Devotion
Connie’s Song
Song For Joy
Video Games

Grammy-winning, Harvard-educated, Rock & Roll and Metal Hall of Fame inducted artist, songwriter, and activist Tom Morello is living proof of the transformative power of rock’n’roll. Known for his innovative guitar work and socially conscious songwriting, Morello rose to prominence as a founding member of Rage Against the Machine and Audioslave — two groundbreaking bands responsible for multiple Grammy Awards and more than 30 million albums sold worldwide. Rolling Stone named him one of the “Greatest Guitar Players of All Time,” and his career has spanned music, activism, film, television, and philanthropy. Whether on stage, at rallies, or on picket lines, Morello continues to use music as a force for unity and change.

TRACK LISTING

1. Beth From Electronics
2. Everyone Gets Everything They Want
3. Adjourn It (feat. Serj Tankian & Roman Morello)
4. I Am Not Yours To Command
5. Soldier In The Army Of Love (feat. Roman Morello)
6. Unconquered (feat. Kneecap)
7. Date Night
8. The Last Rung On The Ladder
9. Everything Burns (feat. Beartooth)
10. Pretend You Remember Me
11. Untethered
12. They Can’t Kill Us All

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!

Fishtailing across a trimmed sod lawn, the parking lot of a box-store strip mall, a fast food drive-thru––it’s a hyperreal Americana fantasy that calls Caroline Rose (she/they) home on 'Gentling the Horse at the Walt Whitman Mall'. The release doubles as the debut of SUCK records, the LA based artist’s own imprint—a fitting next form for an enigmatic musician whose work resists settling into one shape. 'Gentling the Horse at the Walt Whitman Mall' stretches the ordinary into the uncanny. The record pairs sharply observed, memoiristic songwriting with expansive guitar textures that render the everyday with violent clarity and mythic scale. Beneath its melodic sweep and signature hooks runs a current of violence and American dream leakage. It’s Ennio Morricone with an AR15: surf guitars, spaghetti westerns, and suburban dread colliding until they become their own sharp vernacular. Reality is unstable, so we’ll keep telling stories—and for Rose, the sinister slickness of the everyday grows a new head. Working with producer John Congleton, Rose built the record through humor, layering, and instinct rather than polish. Songs like 'Conversations with Shiv', 'Goddamn Train', and 'Everything in its Right Place' were recorded in studio for the first time, with sessions that prized first impulses over perfection. The result is panoramic but never precious—songs that feel meticulously constructed while always threatening to mutate. Over the last six years, Rose’s music has evolved alongside their work organizing around stronger labor protections and collective bargaining rights for musicians and crews. Creative and political practice have increasingly become the same project as Rose’s career has taken on its hyper-independent form. Those concerns echo throughout 'Gentling the Horse'. Its landscapes are populated by inherited systems that feel absurd yet inescapable, where humor becomes a survival tactic and satire reveals the quiet violence embedded in everyday American life.

TRACK LISTING

1. Yip Yip Yow
2. Chow Mein
3. Valery (please don’t be mad at me)
4. Cement Head
5. Goddamn Train
6. Notes to Teenage Self
7. Conversation with Shiv (AKA liquid k song)
8. Hello Again, Jim
9. Calm
10. RIDE (!!!)
11. Everything in its Right Place

Does everything have to feel so heavy all the time? Claud Mintz fights with this question all the time. Not polite little tiffs, either: Big, dragout, existential wars, the kind that might push you to eventually change the tenor of your whole life. The 10 songs on their rich and resplendent third album 'Me and the Music' find the 27-year-old Brooklyn-based singer-songwriter-producer grappling with that question and coming up, triumphantly, with something close to an answer: Things can be heavy, but that doesn’t mean you can’t have fun.

Things can be heavy, but that beer in your hand isn’t—why not hold it aloft for a moment, sing along with the friends surrounding you, forget your troubles for the length of a perfect indie-pop song? 'Me and the Music' is Claud’s first album in three years, since 2023’s acclaimed 'Supermodels'. Both 'Supermodels' and 2021’s 'Super Monster', were largely inspired by “this one situationship” that, they realised sometime during the writing of 'Me and the Music', “really wasn’t ever anything.” "'Supermodels' was such a serious record, and I just sulked in feelings for so long,” says Claud. “There’s a difference between being sincere with life and taking life too seriously.” Coming to that realization changed everything: On 'Me and the Music’s title track, they sing that “this is the last song I let you ruin,” and they meant it. Once Claud wrote that song—at the famed Electric Lady Studios with their friends Hank Heaven and Annie DiRusso—they began to feel totally unburdened. “It released a lot of regret that I was carrying with me, and it allowed me to be like… this is so fun,” they say. “Making music is so fun.” 'Me and the Music’s MO, then, is songs that capture the knottiness of growing up and existing in the world that don’t lose a sense of playfulness or fun. It’s a quintessential slice-of-life record, touching on new romance and inside jokes and Gap commercials and the band America and the place America, and treating all those things with care and consideration.

'Me and the Music' lead single 'She Doesn’t Love Me' is, in many ways, the core of the album—a light-feeling song about what it’s like to be queer and trans in America in the 2020s. (It is a strident, driving anthem that doesn’t shy away from pain—and still makes you want to, as Claud sings on the track, put your “beers in the air.”) When Claud wrote the song with Heaven and DiRusso, they felt firmly that it should be a yacht rock song; the demo ended up “lo-fi and indie” anyway. Me and the Music was produced by Claud and John Congleton (Alvvays, St. Vincent) and represents a full-circle moment for Claud, who finally felt, with this record, that they were a confident enough producer to assume a co-producer role (and have since gone on to produce a string of viral singles by Romy Mars). Collaboration is, of course, an essential part of Claud’s work—who are we without our friends? In addition to Claud, they’re one-quarter of Shelly, a band they founded with Clairo, Noa Getzug and Josh Mehling. Me and the Music sees Claud reuniting with their longtime collaborator Dan Nigro (Olivia Rodrigo, Chappell Roan) on “The Legend.” It explores the feeling of being deeply in love with someone who doesn’t want to be seen with you, says Claud: “It’s sort of about a shitty relationship, and wanting to flaunt love, but not being able to do that,” they say. But, if 'Me and the Music' has a true love song, it’s 'I Owe You', a dream-pop road song that’s devotional and rich. It captures the spirit of 'Me and the Music' as a whole: Taking things day by day, taking stock of what’s around you, and embracing the beautiful things when they arrive. That doesn’t feel so heavy.

TRACK LISTING

1. Gay Witchcraft
2. Just Kidding
3. The Legend
4. She Doesn't Love Me
5. The Reach
6. Spells and Fortune Tellers
7. I Owe You
8. I’m Too Sensitive
9. Me and the Music
10. Let’s End on a Good Note

The Original Messe Noire returns…For the first time since its unholy birth, 'Twin Temple (Bring You Their Signature Sound…Satanic Doo-Wop)' rises again from the crypt.

Twin Temple’s debut album is a brilliant, blasphemous masterpiece that redefines the boundaries of modern rock 'n' roll. By seamlessly blending the classic American sounds of 1950s and 60s girl groups with a fiercely unapologetic, contemporary Satanic ethos, the duo creates a listening experience that is both shockingly original and timeless. The album was recorded using traditional analog techniques, including being cut live to tape in just two days, capturing the essence of Twin Temple’s live prowess.

TRACK LISTING

1. The Devil (Didn’t Make Me Do It)
2. Lucifer, My Love
3. Sex Magick
4. I Know How to Hex You
5. I’m Wicked
6. In Lvx
7. Santa Muerte
8. Let’s Hang Together
9. Femme Fatale
10. In Nox

Nine-time GRAMMY® winner Anderson .Paak and GRAMMY®-nominated rapper Cordae have been operating on the same wavelength for years. What started as pure chemical reaction on 2019’s “RNP” slowly turned into one of hip-hop’s most natural, low-ego partnerships, fueled by back-and-forth gems like “Two Tens” and “Summer Drop” and a series of dynamic TV performances that felt more like two best friends hanging out than a polished routine. On their debut collaborative album, Heavy Is The Crown, that organic bond gets the full-length treatment it’s always deserved.

At its core, the project is a tightrope walk between serious real-life stakes and uncompromising fun. The title isn't just bravado—it speaks directly to the shared weight both artists carry as the primary providers and anchors for their families. But instead of letting that pressure crush the vibe, .Paak and Cordae lean into each other. Meeting as total equals, .Paak’s elastic, soul-drenched musicality anchors Cordae’s razor-sharp lyricism, allowing both to unpack the heavy reality of success and family responsibility without ever losing their spark.

That balance is what makes the album tick. To drive the point home, the album art pays homage to the cult comedy Step Brothers—a nod to the silly, irreverent friendship that birthed the music in the first place. Heavy Is The Crown doesn't feel like a forced corporate crossover or a calculated career move. It’s a record about brotherhood, family, and what happens when two masters of their craft step into the studio simply because nobody makes them laugh, rap, or create quite like the other.

The South Facade is the long-awaited debut album from Ugly.

Since forming in Cambridge in 2016, the six-piece have spent the best part of the last decade relentlessly gigging which eventually led to 2024’s breakout EP Twice Around The Sun, which drew critical acclaim and established Ugly as one of the UK's most exciting and ambitious new bands.

Written over almost three years, The South Facade has been taking shape alongside much of that journey. Rather than bringing finished material into the room, Ugly would gather together and build collectively. Early writing sessions took place during extended retreats in a converted barn overlooking Ely Cathedral, before songs followed the band through rehearsal rooms, bedrooms, studios and eventually onto stages. Ideas were passed between members, arrangements dismantled and rebuilt, choruses rewritten at the eleventh hour and individual parts debated down to the smallest detail.

Some of the songs on their debut album have already become familiar fixtures of Ugly’s live shows. Audiences have effectively watched The South Facade evolve in real time and this October they finally get to hear where the band landed.

TRACK LISTING

Side A
A1. Wasteland
A2. Marina
A3. Nat Cora & The Nations
A4. Die Another Day
A5. In Samphedoo

Side B
B1. Gavement
B2. The South Facade
B3. Gallowine
B4. Orance

Some albums simply get better with time. Others wait patiently for the world to catch up. As it celebrates its 25th anniversary, The Joy of Sing-Sing feels less like an overlooked curiosity and more like one of the great lost British albums of its era.

When Lush came to an abrupt end in 1996 following the tragic death of drummer Chris Acland, guitarist and songwriter Emma Anderson wasn't looking to recreate the past. She was searching for an entirely new musical partnership. A mutual friend suggested she meet singer-songwriter Lisa O'Neill (not the Irish folk singer of the same name), who had recently appeared on Locust's Morning Light and was looking for a full-time collaborator. Unknown to either of them, Emma already owned - and loved - the album. Their first meeting, over a drink, sparked an immediate creative connection. Within weeks they were writing together, united by a love of sophisticated pop, dreamlike atmospheres and leftfield electronica. With producer Mark Van Hoen, who had worked with Lisa on Morning Light, they quickly forged the distinctive sound that would become Sing-Sing.

This 25th Anniversary reissue features newly remastered audio by Kevin Vanbergen (Lush, Pixies, Radiohead and numerous 4AD/Beggars artists) and brand-new artwork by Chris Bigg, celebrated for his long creative partnership with Vaughan Oliver.

Available as a limited pressing of 400, the custom Dinked Archive edition is pressed on translucent 'Delicious' orange vinyl, with a signed 12" x 12" print and a CD of bonus tracks.

Remarkably, Sing-Sing never sounded like a post-Lush band. Rather than revisiting shoegaze, Anderson and O'Neill created something altogether more understated and cinematic: shimmering electronic textures, hypnotic melodies and exquisitely restrained vocals that felt equally indebted to classic pop and forward-thinking electronica.

Released in 2001, The Joy of Sing-Sing quietly occupied a world of its own. At a time when British indie was still dominated by post-Britpop guitar bands, Sing-Sing offered something softer, stranger and effortlessly elegant. The album blended luminous electronics, intricate arrangements and timeless songwriting into a record that refused to follow prevailing trends -and as a result, has barely dated.

From the lilting, lullaby-like opener 'Everything' to the brooding pulse of 'Command', The Joy of Sing-Sing unfolds as a richly textured collection of intimate, cinematic songs. Delicate moments such as 'Tegan' sit alongside the noir-like sweep of 'Far Away from Love', while the surreal, off-kilter pop of 'Panda Eyes' adds a playful twist. Beneath the album's shimmering beauty lies an emotional depth that culminates in 'Underage', a moving tribute to Emma Anderson's former Lush bandmate Chris Acland. Critics recognised its quiet brilliance. Uncut hailed it as "a supernova in indie's imaginary universe of perfect pop," while NME praised its "electronic trip-hoppy vibe," describing Lisa O'Neill's crystalline voice as leading listeners "siren-like into the twilight netherworld where The Carpenters commune with Portishead." Q celebrated its "airy, breathy dreampop" and called it "a plaintive and persuasive debut that promises much."

Time has only strengthened the album's reputation. Long cherished by those who discovered it first time around, The Joy of Sing-Sing has steadily been recognised as one of the hidden gems of early-2000s British independent music. In today's landscape - where dream-pop, shoegaze and beautifully crafted alternative pop have found a new generation of listeners - it sounds remarkably contemporary.

More than twenty-five years after it was first recorded, The Joy of Sing-Sing finally receives the wider recognition it has always deserved: an elegant, emotionally resonant collection of songs that feels every bit as fresh, immersive and quietly captivating today as it did on its original release.

TRACK LISTING

Side A
Everything (2026 Remaster)
Tegan (2026 Remaster)
I'll Be (2026 Remaster)
Me And My Friend (2026 Remaster)
Far Away From Love (2026 Remaster)
Panda Eyes (2026 Remaster)

Side B
Command (2026 Remasater)
Feels Like Summer (2026 Remaster)
Émigré (2026 Remaster)
You Don't Know (2026 Remaster)
Underage (2026 Remaster)
I Can See You (2026 Remaster)

Bonus CD
01 . Hit And Run
02 . Western
03 . I’ll Be (Dub You Can Love Mix)
04 . Make It Mine
05 . Office Party
06 . Far Away From Love (Emma’s 1997 Demo)
07 . Cartoon (Emma’s 1997 Crown Demo)
08 . Everything (Lisa’s Audition Session)
09 . Feels Like Summer (Original Like Band Demo)
10. Tegan ( 8-Track Home Demo)
11. Émigré (Acoustic)
12. Fame (Acoustic)

If the name The Midnight Hour isn't immediately familiar, the music almost certainly is. Ali Shaheed Muhammad is a founding member of A Tribe Called Quest, one of the most beloved groups in hip hop history. Adrian Younge is the Los Angeles-based composer, multi-instrumentalist, and producer who has shaped the sound of some of the most critically admired records of the past two decades. Together, they have been architects of the sound that serious listeners point to when they try to describe what great music feels like.

The music they had been making together had a life of its own. By 2018, it had become The Midnight Hour: their self-titled debut album, recorded to tape with a live rhythm section and a full orchestra, and released to widespread acclaim. In 2020, the duo were deep into sessions for a second album. But then the world shut down, the recordings were shelved. The album never came and remained unfinished and unheard. But now, via their Jazz Is Dead label, The Lost Tapes have been unearthed

TRACK LISTING

SIDE A
1. HARMONY
2. THE MIDNIGHT STROLL
3. CONSTELLATION
4. TIL IT ALL FALLS DOWN
SIDE B
5. THROUGH MY SOUL
6. MAHOGANY
7. DONATO'S RUN
8. MORENO

In the realm of past-life regression hypnotherapy, there is a concept known as “Life Between Lives,” wherein a sacred exchange of energy occurs between two souls in the spirt world, helping a spirit fully understand and forgive a being who hurt them in a past life. This exchange – called “passing the cup of sorrows” – became the unexpected inspiration for William Basinski’s first new album in six years.

While sinking deeper into the daily abyss of our collective negativity bias, William Basinski stumbled upon a video describing the spiritual hypnotherapy exercise known as “passing the cup of sorrows.” Fixed on the glow of a screen that projected mounting anxiety and cynicism at a seemingly interminable pace, Basinski found the testimonials of this fascinating therapeutic practice to be profoundly moving. He sat at his piano, translating the transformation of those traumatic memories of past lives into cathartic tears of the present day.

Channeling the quiet curiosity and asymmetrical patterns of pioneering 20th Century composer, Morton Feldman, Passing the Cup of Sorrows is a single 40-minute piece that employs a solitary piano and subtle electronics to truly haunting effect. It recalls fragments of traumatic memories and projects them as fractals in a slow-moving soft focus that’s as eerie as it is enlightened.

TRACK LISTING

1. Passing the Cup of Sorrows (37:46)

Mike Reed’s Separatist Party sophomore effort and Thrill Jockey debut Sing the Color Blue is a recording assembled over numerous sessions, and a testament to persistence and transformation. The album reunites Mike Reed with Rob Frye, Cooper Crain, Dan Quinlivan (all of the trio Bitchin Bajas), Marvin Tate, and Ben LaMar Gay in a set that moves between composition, reconstruction, improvisation, and song form. Part of what gives Sing the Color Blue its character is the unusual length and shape of its creation. Elements of the album reach back across nearly a decade, starting in January 2022 at Constellation in Chicago and the majority of the recording completed between November 2023 and April 2024 at Electrical Audio. The record unfolded gradually, with Reed returning to the material repeatedly until the album’s final structure revealed itself. Reed reassembled fragments of Tate’s words and performances into new lyrical structures, often changing their original meaning completely. The results are a record where authorship feels layered rather than singular: songs emerge from live interaction, archival excavation, editing, rearrangement, and re-composition at once. The title Sing the Color Blue also reflects that spirit of transformation. Reed has said the phrase grew partly out of a friend’s critique of his nearly all-blue wardrobe and his longstanding attraction to Bauhaus aesthetics. He was also struck by a phrase from a documentary in which a historian described people being instructed to “dance the color blue.” Reed reshaped that line into Sing the Color Blue, a title that suggests synesthesia, instruction, abstraction, and also a subtle relation to the blues and to Chicago’s musical history. In that sense, the title names the album’s larger purpose: turning mood into form, color into sound, and fragments of lived time into music.

TRACK LISTING

Closing
New Angels
Nancarrow Study #6
Tea Leaves pt 1
I Want 7 To Be Around Forever
Last Night on Earth
A Minor House of Charity
Tea Leaves pt 2
Restless in Pieces
Ben’s New Hit
If I Were a Song

We worked closely with surviving members of The Nerves, Paul Collins and Peter Case along with Jack Lee's daughter Cynthia to bring The Nerves - Best Collection to you.

Unlike previous releases that often relied on secondary copies or rips from vinyl and CDs, we were able to locate the original source recordings and have Warren Defever master/remaster them at Third Man Mastering in Detroit for this release. This is what makes this record so special—it features the definitive versions of these tracks as they were originally intended, some have not been heard since the day they were recorded. We hope you enjoy it.

TRACK LISTING

Side A
Hanging On The Telephone
When You Find Out
Give Me Some Time
Working Too Hard
Are You Famous
Letter To G.
Side B
Day In and Day Out
You Won't Be Happy
Stand Back and Take a Good Look
Many Roads to Follow
Why Am I Lonely?
Come Back and Stay / I Need Your Love
Any Day Now
Will You Come Through?
Side C
One Way Ticket
Paper Dolls
Walking Out on Love
House On the Hill
Little Suzy
Radio Station
Everyday Things
Do You Wanna Love Me?
Side D
Things Of The Past
I Don't Fit In
USA
Let Me into Your Life
I Need Your Love
One Way Ticket
Paper Dolls

Marlena Shaw's 'The Spice of Life' is a landmark 1969 soul-jazz album that showcases her powerful, expressive vocals across a rich blend of soul, jazz, blues and socially conscious songwriting. Featuring the timeless classics 'California Soul' and 'Woman of the Ghetto', it remains her signature release.

More than five decades after its release, 'The Spice of Life' continues to resonate for its warmth, sophistication and cultural significance. Blending soul, jazz and socially conscious songwriting, Marlena Shaw's commanding performances have cemented the album as an enduring classic of the Cadet/Verve Records Group catalogue.

TRACK LISTING

1. Woman of the Ghetto
2. Stormy Monday
3. Where Can I Go?
4. I'm Satisfied
5. I Wish I Knew (How It Would Feel to Be Free)
6. Liberation Conversation
7. California Soul
8. Go Away Little Boy
9. Looking Through the Eyes of Love
10. Anyone Can Move a Mountain

For twenty-five years, Yeah Yeah Yeahs have built one of modern rock's most beloved catalogs. 'Hidden In Pieces: Live at the Royal Albert Hall' gathers songs from across their history and reimagines them through intimate arrangements featuring strings, piano and double bass. Recorded over two nights at London's Royal Albert Hall and including performances from San Diego, Chicago, New York and Mexico City, the album finds Karen O, Nick Zinner and Brian Chase presenting songs from every era of the band's career in a new light. Conceived as part of the band's Hidden In Pieces tour and featuring arrangements by music director, arranger and conductor Jherek Bischoff, the collection moves from staples like 'Maps', 'Gold Lion' and 'Zero' to more recent highlights including 'Blacktop'.

TRACK LISTING

1. In Heaven
2. Blacktop
3. Gold Lion
4. Hyperballad
5. Cheated Hearts
6. Isis
7. Warrior
8. Skeletons
9. Runaway
10. Spitting off the Edge of the World
11. Mars
12. Maps
13. Zero
14. Y Control (Live in San Diego)
15. Let Me Know (Live in San Diego)
16. Hysteric (Live at the Beacon Theatre)
17. Despair (Live at The Chicago Theatre)
18. Isis (Live at The Orpheum Theatre)

In 2014, to mark 20-years since the release of their landmark album 'The Holy Bible', Manic Street Preachers embarked on a sold-out tour playing the record in full. More than a decade later, 'The Holy Bible Live' captures an unforgettable show at London’s Roundhouse, documenting a band revisiting a defining chapter of their history.

TRACK LISTING

1. Yes – Live at the Roundhouse, London (2014)
2. Ifwhiteamericatoldthetruthforonedayit'sworldwouldfallapart – Live at the Roundhouse,
London (2014)
3. Of Walking Abortion – Live at the Roundhouse, London (2014)
4. She Is Suffering – Live at the Roundhouse, London (2014)
5. Archives of Pain – Live at the Roundhouse, London (2014)
6. Revol – Live at the Roundhouse, London (2014)
7. 4st 7lb – Live at the Roundhouse, London (2014)
8. Mausoleum – Live at the Roundhouse, London (2014)
9. Faster – Live at the Roundhouse, London (2014)
10. This Is Yesterday – Live at the Roundhouse, London (2014)
11. Die in the Summertime – Live at the Roundhouse, London (2014)
12. The Intense Humming of Evil – Live at the Roundhouse, London (2014)
13. P.C.P. – Live at the Roundhouse, London (2014)

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

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

Anyone with a passing interest in disco will be familiar with the fine work of The Reflex, and now he's back with more of his multitrack magic. First up he beefs up the drums of 'Feel It' with a special 2026 rework that leaves the original vocals intact and brings the soul, while the strings add a touch of class and the baseline never quits. On the flip is an instrumental revisited and reworked for contemporary floors. It's a hip-swinging delight with some majestic jazz-funk overtones.

TRACK LISTING

Feel It '26
Splicey

Flex7 is flexing its muscles here, with the currently ultra-prolific king of the multitrack The Reflex doing what he does best. Everything this producer and Pikes regular touches turns to gold and this time the edit maestro adds his know-how to 'D-Y-D', a low-slung and playful funky disco cut with plenty of atmospheric crowd chatter and jazzy chords that swoon through the mix. After that slice of warm proto deep house, the flip features a B-Boy classic cut that is loose-limbed and irresistibly funky.

TRACK LISTING

D-Y-D
Down Breaks

Nieve’s potent indie-rock confessionals, seamlessly melded with 90’s guitar ambience, continue to resonate with her hyper-engaged fan base. She is now poised to continue her impressive rise in 2026 with a bold new look and sound. 2026; the year of Nieve.

Nieve has picked up fans in acts like Beabadoobee, Yungblud and Grian from Fontaines DC. Her summer has included performances at BST Hyde Park, Crystal Palace Park with Snow Patrol, Bludfest and upcoming performances at Lollapalooza Berlin and Electric Picnic.

LONG BIO:
Debut albums either arrive as a statement or instead pose a question. The question Nieve Ella has found herself asking echoes back, not only through her own life, but through the anxious existentialism of an entire two generations. How Long Will It Take? It’s a vulnerable question for the audience that has grown up alongside Nieve, gravitating towards her self-depreciating humour and straight-talking attitude.

One image haunted her through the album writing process, and it’s one that is behind the album’s visual world: the staircase. “I feel like I’m on one neverending set of stairs and I don’t know how long it’s going to take me to get to the top, and there’s no bottom anymore,” she muses. “You might stop and have a breather but you’re always on those stairs. My legs are wobbly now but I’ve got no choice but to carry on.” That staircase represents her career and the possibility of success, but it also represents her becoming more herself, a version that’s more together and less self-sabotaging. When is she going to get there? It doesn’t matter if you’re a teenager or in your late-30s, you’ll know the constant trying to keep up while being exhaustingly stagnant. Her thrillingly ungovernable debut alt pop album explores that frustrating journey, every metaphorical step of the way.

Even as a young rebellious teen Nieve Ella could sense that staircase ahead. At school, she landed in serious trouble for making TikTok videos during lessons. “I was just chitchatting about my teachers or making jokes about Ofsted,” she laughs. “I’d get hundreds of thousands of views and had about 30,000 followers. It was all because I wanted to build a following so I could start posting singing videos.” Only a couple of years later, singing live every single day on that very TikTok account got her discovered by a young A&R and signed. “I think the school system really failed me and hundreds of thousands of other kids like me who are energetic, or creative, or anyone who breaks the mold,” Nieve says. “But if my brain wasn’t wired the way it is I would not be here today making music.”

Growing up in a small village in Shropshire, Nieve loved Hannah Montana for the idea that a normal girl could switch into a popstar without anyone questioning her. “I used to go to sleep every single night wishing that we won the lottery so that I could have the money to be famous and live in a big house and have music lessons,” she says. Her musical father left the family and moved to Spain when she was four. When she was ten, he passed away, leaving behind two guitars. As a young adult, she began to learn guitar herself, and with it came a different understanding of her purpose: she wanted to make it in music for the both of them.

After three painfully catchy EPs of guitar-driven alt-rock, in the vein of Wolf Alice, beabadoobee, Wet Leg and The Last Dinner Party, Nieve Ella has built serious momentum: a support slot with girl in red, a performance at Reading and Leeds Festival, over 20 million streams, and praise from Rolling Stone UK, who called her a “leader in the next generation of indie.” But when it came to writing her debut album, she pushed her voice into new spaces. “I want to create a sound that people aren’t listening to yet and change culture,” she says passionately.

In this original reimagining of alt pop, How Long Will It Take? experiments with dynamics flipping up and down at the same time, and is full of tiny intrigues and textures, reflective of Nieve’s “creatively chaotic brain”. “I’m not stable or put together. I’m 23 years old and this is the state of my being,” she says excitedly, of idiosyncratic music that has the slant of a rockier, grungier Lola Young.
The album opens with the optimistic indie rock sound of “101” – we’re on the way somewhere! – but then Nieve calls out repeatedly: “TV falling.” For her, the sparse track was to lay out her state of mind immediately: “My brain is like a TV thrown out of a window, carrying all these stories and voices before it smashes.” At times, she admits, she is the one throwing herself out of the window, self-sabotaging and hurting those closest to her.

First groove-led single “Drive” reintroduced Nieve Ella with a quiet swagger – heavy on the bass and drums, it pulses with attitude. The deliberately cheeky chorus “You wanna talk talk talk and blah blah blah” leans into the simplicity of pop boldness rather than shying away from it. On the brash second single, “Bite Back”, she cusses out two people who wronged her. But those flashes of self-assurance are always undercut with insecurity. Surprising third single, “Standing on a Pane of Glass”, is an alt rock anthem that brings a heavy operatic intensity to the stomach-churning feeling of being trapped in a mental headspace. She rides that same rock ‘n’ roll edge into “Back To Basics”, a brooding fourth single about trying, failing and admitting the damage. “Artists are normal people that love and hate and feel so much, and I wrote that song to make it clear that I’m not always the victim; I do handle shit wrongly sometimes,” she explains.

Glitchy electro-pop ballad “Love:Hate” and mid-tempo dance-pop contemplation “At Any Cost” sit in the same emotional room. “They talk about how I feel in my current relationship, and friendships – I know that I take myself out on people and I’m not helping myself by doing that,” she says. Sunny indie rock bop “Romance Is A Desert” with hot riffs and sultry vocals could almost suggest reprieve in the form of a love song. But listen closer and the seduction and the dread are entwined in the images of the lyrics: “I imagine ‘you quench my thirst with your tongue in my mouth’ and it’s so sexy but there’s a snapshot of worry in my eyes – it’s almost like a horror movie,” she explains.

This tornado of emotions spiral into the eye of the storm: the expansive title-track ballad, “How Long Will It Take?”. With a billowing vocal, she claws and grasps at the album’s biggest ask – “How long will it take to change?” – leaving the listener suspended between sadness, determination, resignation and hope.

Nieve doesn’t want people to only know the light, fun parts of her. “I want them to know the mess behind the scenes,” she says proudly of this debut album, a record more interested in proof than polish. Proof that the drama in her head is survivable, maybe even useful: “I want to be that voice for people to feel like it’s going to be OK because I’m going through it too.” Nieve Ella doesn’t have the answers yet and she’s refusing to fake them – but the first step to salvation is always asking the right question.

TRACK LISTING

Side A
101
Drive
Standing On A Pane Of Glass
Romance Is A Desert
Bite Back
At Any Cost

Side B
Angie
Love:Hate
I'M NOT DEAD
Back To Basics
How Long Will It Take?

A whole host of red-hot The Reflex flips have landed recently and this time it's TMB who drop a pair of disco delights. The opener is a smooth and low-slung cruiser with neatly knotted bass riffs and sparkling melodies that lead to a slow but sensual takeoff. On the flip, 'Lady' reworks a classic into a steamy late-night sundown sound with jazzy chords and the original vocals turning up the heat. Both are masterfully tweaked and touched up by a true titan of the edit game.

TRACK LISTING

Real
Lady

A Perfect Circle are repressing their 2018 album 'Eat The Elephant'. This unique pressing is on white vinyl with red and blue splatter. Featuring the band’s hits 'Disillusioned' and 'The Doomed', this special version is sure to remind fans of the distinct sound and powerful lyricism of the group led by Maynard James Keenan.

TRACK LISTING

1. Eat The Elephant
2. Disillusioned
3. The Contrarian
4. The Doomed
5. So Long, And Thanks For All The Fish
6. TalkTalk
7. By And Down The River
8. Delicious
9. DLB
10. Hourglass
11. Feathers
12. Get The Lead Out

Swimming Paul presents his new album, 'Smiling Through The Pain 3'.

TRACK LISTING

1. Downtown
2. Super High (with EV)
3. Stay Cool (with LP Giobbi)
4. Good Girl (With Beaux Neptune)
5. Kisses & Cigarettes (with Malaki)
6. Sunset Of My Youth (with EV)
7. To This Day (with LKS)
8. Red Hair
9. Still Blessed (with Alecc Crisostomo, D38)
10. Problemsss (with Bobbie Johnson)
11. Do You? (with EREZ)
12. Nota De Voz (with Rompen)
13. Dawntown
14. Confuse
15. Soft Launching

UNRELEASED STUDIO TRACKS FROM THE OCT 1977 MEMPHIS RECORDING SESSIONS THAT UNLEASHED HUMAN FLY!!
MIXED BY ALEX CHILTON, POISON IVY AND LUX INTERIOR!!

With tracks selected and mixed in the late 1980s, Gravest Gravy was designated by Lux and Ivy for release years ago, but for reasons lost to time, remained shelved until now. Completely rippin’ versions of classic early Cramps tracks, two of which feature Alex Chilton on organ. Cut from the analog source tapes, and mastered expertly in Nashville. Stay Sick! Turn Blue!

In October 1977, the Cramps, who were at that time, Lux Interior on vocals, Poison Ivy on guitar, Bryan Gregory on guitar, and Nick Knox on drums, ventured into Ardent Studios with the extraordinarily talented musician and producer, Alex Chilton. These sessions were responsible for the first two Vengeance Records releases, both permanently disfiguring the music world in 1978.

Surfin’ Bird / The Way I Walk

Human Fly / Domino

In 1979, young British degenerates were treated to a five track 12” EP by the Cramps called Gravest Hits, which featured all four tracks released in the USA, along with another from the October 1977 sessions, a great channeling of Ricky Nelson’s hit Lonesome Town. From there, the band released their first LP, Songs The Lord Taught Us, again working with Alex Chilton, and went onward, releasing records and touring all over until the sad passing of Lux in 2009.

What Cramps fans might not know, was at Ardent, the band had planned to record their song T.V. Set to be their first A side, along with another track or tracks. Alex told them that he liked to have a band play every song they knew and the best of the batch would be committed to vinyl. This was fantastic advice, and luckily for us, that’s what the Cramps did. This is how Lonesome Town found its way to Gravest Hits. But, there was much more to the story.

In the late 1980s, Lux and Ivy endeavored to release more recordings from the October 1977 sessions. It was to be titled Gravest Gravy. It was a record for the fans, a journey back to Memphis, back to the first Cramps records, that, try as it might, the world has been unable to heal from. Lux and Ivy mixed several tracks between June 14 and 30, 1989 at Present Time Recorders, in North Hollywood. Alex mixed a few tracks in Memphis. The album had a title, a cover by the great Stephanie Chernikowski, who passed away recently, but for reasons lost to time, Gravest Gravy was shelved.

In 2026, we sought to change that. It was apparent that this record absolutely needed to be with the fans. A team, still severely cramped from initial contact with the band, began to form and got to work.


Greetings. Henry Rollins here.
I am beyond stoked to announce the formation of The Cramps Inc. that will restart the Cramps’ label Vengeance Records, create official merchandise, and venture into the vaults to unleash unheard recordings of this amazing band.

The Cramps Inc. is the artist formerly known as Poison Ivy Rorschach, Larry Hardy, owner and operator of In The Red Records, and Jimmy Maslon, a former Rollin’ Rock recording artist, film producer, and owner of the Herschel Gordon Lewis, and Doris Wishman film catalogs. Both have deep ties to Lux and Ivy, forged over decades. Ivy is the major beneficiary. Larry and Jimmy are handling all the logistics. They are perfect for this.

Ian MacKaye and I, operating as RAM Prod. (Rollins and MacKaye), are working on behalf of The Cramps Inc., coming up with release ideas, handling tape maintenance, editing, mixing, mastering and lacquer cutting responsibilities. We are aligned with Inner Ear Studios in Arlington, VA and Infrasonic Sound in Nashville, TN.

Many Cramps records and items, such as t-shirts you see on the Internet—are bootlegs. The Cramps Inc. is striving to right that wrong and recently made a deal with the merchandising company Easy Partners. Cool designs for official merch are well underway.

The tracks on Gravest Gravy were contained on seven 1/4 inch reels. Six were generated by Lux and Ivy, one by Alex. The tapes were carefully transferred by Brian Kehew. He was happy to report that all seven reels had withstood the test of time, and the tracks were in pristine condition. Many of the songs had multiple mixes. We had to determine which ones were the keepers. Over several nights of concentrated listening, and copious notetaking, I was able to get an understanding of the changes made from mix to mix. Within a few nights, I was able to determine that the last mix of each song was the keeper. Not only did the tracks sound to be at their fullest potential, it made sense.

I sent the mixes and my notes to Ian MacKaye, whose ears I trust more than anyone I know. I asked him to take his time, go through the tracks and form an opinion of my selections. Days later, he reported back that he agreed with me on all of them. He then volunteered to do some EQ and level adjustment on two of the tracks with Don Zientara at Inner Ear Studios, in Arlington, Virginia.

Days later, all the tracks were at Infrasonic Sound, an excellent studio in Nashville, Tennessee for mastering under the careful watch of engineer Pete Lyman. I sat for hours and listened as Pete coaxed the frequencies to be at their best. The results were two six song sides of the Cramps, extracted from a 1977 amber block, de-fossilized and ready to be inflicted upon the ears of those who would rather Stay Sick and Turn Blue than hope for sunny weather.

TRACK LISTING

01. T.V. Set
02. Weekend On Mars
03. Twist & Shout
04. Jungle Hop
05. Can’t Hardly Stand It
06. Hungry
07. The Natives Are Restless
08. Domino
09. Can’t Find My Mind
10. Rockin’ Bones
11. Problem Child
12. Rocket In My Pocket

Sadurn’s sophomore album 'The Underworld' is a collection of heart-rendingly personal and instantly relatable songs. Following years of lingering vocal issues for guitarist G DeGroot, the album is the culmination of an emotion- al and spiritual journey and a a deeply personal meditation on loss, healing, and transformation.

Sadurn began in 2017 as a solo project for G DeGroot, and from the start their approach to songwriting was informed more by emotional intuition than any kind of real ambitions to be heard. “I discovered songwriting as an outlet for processing my reality,” they explain. “A lot of times when something is hard to say, it flows more easily in songwriting. It’s a place where you can circle back to your own truth.” After moving to Philadelphia, DeGroot was joined by gui- tarist Jon Cox, drummer Amelia Swain, and bassist Tabitha Ahnert. The group recorded 'Radiator', a debut that immediately connected with listeners and was met with critical acclaim.

Throughout 'The Underworld', the rawness of DeGroot’s lyrics are matched by Cox, Ahnert, and Swain’s evocative playing. Stunning opener 'The Weight' describes the early stages of a relationship deteriorating, with brilliant soloing from Cox and DeGroot’s warm voice intertwining through its widescreen outro. Highlights like 'Mess', 'Never Tell Me', or 'Whole Thing' strike a perfect balance be- tween lush arrangements and intimate performances, while tracks like 'Why Does My Heart' or 'Can’t Stop' add unvarnished, single take moments of spontaneity, or GarageBand demo looseness that perfectly compliment the unabashed longing in the songwriting.

TRACK LISTING

1. The Weight
2. After We Went Under The Bridge
3. Never Tell Me
4. Can’t Stop
5. Mess
6. The Map
7. Why Does My Heart
8. Whole Thing
9. Only Angels

Babehoven, the Hudson NY based indie folk duo of Maya Bon and Ryan Albert, return with their third studio album, 'I See Them, I See Me'. Through fourteen tracks that crackle with clear-eyed vision, Babehoven has crafted a transcendent new collection that gets back to the heart of what makes music meaningful and life worth living. For the first time in Babehoven's prolific output - which includes, most recently, 2024's 'Water's Here In You' - Bon and Albert blew the doors open on their process, inviting in three different engineers to capture the songs in four different studios. The all-star line-up includes Sam Evian, Kevin Copeland, and Phil Weinrobe, who also acted as co-producer. Much of 'I See Them, I See Me' was live-tracked with a six-person ensemble, with Weinrobe instilling a philosophy of "no playback, no headphones, and no preparation" to create maximal presence in the room.

From the opening track 'You're a Liar', the band establishes a new palette: a rollicking blend of indie and alt-country that sparkles with slide guitar, hardanger fiddle, and a sprightly vocal twang paying homage to Emmylou Harris and Patsy Cline, with classic folk-rock artists like Neil Young, Bob Dylan, and The Band as further touchstones.

In 2024, during Babehoven's first headline tour, Bon suffered paralysis of her right vocal chord and was told she might never recover. In light of this, the album rings out as a sort of triumphant fist-pump. While many of Babehoven's songs are built on intricate cyclical melodies, 'I See Them, I See Me' is full of wide, catchy choruses - anthems to be sung by a crowd.

TRACK LISTING

1. You're a Liar
2. When You Look at Me
3. Lasagna
4. Monster
5. Blue Around You
6. Something True
7. Red Interlude
8. Jess Has a Place
9. Am I in a Dream
10. Wave Has a Place
11. Neck
12. Beetle on the Scene Pt. 2
13. Three Reds
14. Pelorus

After is the Y2K-tinged trip-hop pop project of Graham Epstein and Justine Dorsey, who met on Hinge in Los Angeles and realized they’d probably make a better band than a couple. Born on the same day, August 23, 1995, the duo channels influences from Michelle Branch to Portishead, Fountains of Wayne to Enigma, crafting music that feels both nostalgic and new. Their sound has been praised by Rolling Stone, which wrote, “After… feels like a memory you can’t quite place.”

Released via Mom+Pop Music, tracks like 'Take Me to Sunrise', 'Promise (When You Go)', and 'Snowburn' showcase After’s signature blend of dreamy melodies, textured production, and emotional resonance.

TRACK LISTING

1. Take Me To Sunrise
2. Promise (When You Go)
3. Metal
4. Breathe Your Air
5. Fitfully
6. Do Or Die
7. Blow Out The Candle
8. Secret Love Song
9. Open Water
10. Blind
11. Snowburn
12. If You Don’t Know By Now
13. Fell Asleep In The Sun

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

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

The new album is inspired by the simultaneously magical and insidious ways that advertising and name-brand technology wraps itself around our memories. It’s an ambivalent ode to the nostalgic pull of commercial jingles and proprietary start-up sounds. The best things in life may be free, but childhood and corporate entertainment products are completely intertwined. The obsession with advertising and consumer technology informs the sonic make-up of the music as a source of raw material out of which the foundations of the tracks were built. Speaking on this impetus for the album Robbie Chater says ““It seems to be bound up with the nature of sampling itself. Once we start digging through forgotten sounds and uncovering their meaning, almost inevitably you get sent down a path of discovery. Every forgotten sound opens another door. And that’s what I love - feeling like a kid again. Diving into this whole world of advertising, looking at how jingles get made, it’s the kind of thing that keeps me interested in sampling as a process, an art form.”

TRACK LISTING

CD TRACKLIST
01. Bd-R
02. Together (feat. Nikki Nair, Jessy Lanza & Prentiss)
03. Xerox Altalink B8055 (feat. Ryoji Ikeda)
04. I Give Everything I Have 2 U (feat. Loaded Honey)
05. Every Single Weekend (feat. Jamie xx)
06. Friends Forever
07. Blue Shadows (feat. Karen O)
08. Logoland
09. Like Clockwork / Hit By Traffic (feat. Khadija Al Hanafi)
10. All The Time In The World (feat. Rivers Cuomo, Vegyn & Baby Marlboro)
11. 3D Glasses Not Included
12. Vida (feat. Erick the Architect)
13. Paradise Island (feat. Khadija Al Hanafi & Mike Patton)
14. Unicorn Quest™ (feat. Ryoji Ikeda)
15. Far Away (feat. John Glacier & Khadija Al Hanafi)
16. Our Love Is Alive (feat. Suzanne Ciani & Barry Can't Swim)
17. Evergreen Altar (feat. Vegyn) * EXCLUSIVE TO VINYL, CD, CASSETTE
18. Can't Get Over Losing You (feat. Portraits of Tracy)
19. Watch Out! It's Cloudy (feat. Khadija Al Hanafi)
20. Highfield (feat. Panda Bear)
21. Under Yr Power
22. SUV Heaven (feat. Khadija Al Hanafi)
23. One More Fantasy (feat. Carly Simon)
24. Break Out Corporate Tag (feat. Ryoji Ikeda & Portraits Of Tracy)
25. Magic Wand (feat. Barry Can't Swim)
26. Superfun!™ TV Spot (feat. Mike Patton)
27. No Bad Memories
28. The Pavements Light (feat. Haruomi Hosono)

VINYL TRACKLIST
SIDE A:
01. Bd-R
02. Together (feat. Nikki Nair, Jessy Lanza & Prentiss)
03. Xerox Altalink B8055 (feat. Ryoji Ikeda)
04. I Give Everything I Have 2 U (feat. Loaded Honey)
05. Every Single Weekend (feat. Jamie xx)
06. Friends Forever
07. Blue Shadows (feat. Karen O)
08. Logoland
SIDE B:
09. Like Clockwork / Hit By Traffic (feat. Khadija Al Hanafi)
10. All The Time In The World (feat. Rivers Cuomo, Vegyn & Baby Marlboro)
11. 3D Glasses Not Included
12. Vida (feat. Erick the Architect)
13. Paradise Island (feat. Khadija Al Hanafi & Mike Patton)
14. Unicorn Quest™ (feat. Ryoji Ikeda)
15. Far Away (feat. John Glacier & Khadija Al Hanafi)
SIDE C:
16. Our Love Is Alive (feat. Suzanne Ciani & Barry Can't Swim)
17. Evergreen Altar (feat. Vegyn) * EXCLUSIVE TO VINYL, CD, CASSETTE
18. Can't Get Over Losing You (feat. Portraits of Tracy)
19. Watch Out! It's Cloudy (feat. Khadija Al Hanafi)
20. Highfield (feat. Panda Bear)
SIDE D:
21. Under Yr Power
22. SUV Heaven (feat. Khadija Al Hanafi)
23. One More Fantasy (feat. Carly Simon)
24. Break Out Corporate Tag (feat. Ryoji Ikeda & Portraits Of Tracy)
25. Magic Wand (feat. Barry Can't Swim)
26. Superfun!™ TV Spot (feat. Mike Patton)
27. No Bad Memories
28. The Pavements Light (feat. Haruomi Hosono) 

On Dummy’s new album, 'do you love the color of the sky?', the Los Angeles-based 5-piece deliver a breathtaking piece of work that introduces new textures and rhythms to their already varied and refined catalog. For the band’s third album, and first for new label home Polyvinyl, the group split time between self-recording at their home studio as well as Studio 22, linking up with frequent collaborator and engineer Joo-Joo Ashworth (Corridor, Automatic, Spiral XP). The band focused on intentionality and experimentation, exploring downtempo dance beats and electronic music while pushing the guitar as far as they could, using new self-sampling and processing techniques. Percussionist Alex Ewell’s overall sound design and production skills can be heard across the album, with layered drum sounds and rhythmic tremolo techniques shining throughout. Tracks like 'Full Spectrum Dominance' and 'Alluvial Fan' showcase the band’s tasteful pop sensibilities, while closing track 'Heaven’s What You Make Of It' features perhaps the strongest vocal delivery yet from vocalist/keyboardist Emma Maatman. Additionally, the dynamic exchange between guitarists Joe Trainor and Nathan O’Dell is absolutely gorgeous, adding a new layer of immersion and directness that is unlike anything the band has done before. The result is Dummy’s most ethereal and sincere record to date, with more feminine and delicate undertones that sit beautifully alongside the gritty and noisy textures the band has become known for. 

TRACK LISTING

1. April Limousine
2. Alluvial Fan
3. Full Spectrum Dominance
4. Squeaky Wheel
5. Touch the Perfect Speed
6. Song of Mana
7. Omen Globe
8. C.B.B.S.I.M.M.P.W.M.
9. N of 1
10. Heaven's What You Make of It

Brighton folk-rockers Levellers have been one of Britain’s most enduring and best-loved bands for nearly 40 years. And part of that incredible success has been built on the timeless anthems that comprised their platinum-selling, second album 'Levelling The Land', which celebrates its 35th anniversary in 2026.

Recorded at Ridge Farm studios in Surrey over the summer of 1991, it was produced by Al Scott, who was charged with translating the band’s incendiary live performances into something more refined within the recording environment. Featuring the huge hit singles ‘One Way’, ‘15 Years’ and ‘Far From Home’, Levelling The Land redefined the UK’s musical landscape providing the soundtrack for a society fed up with the twin evils of Thatcherite politics, and the post-80’s pre-grunge musical wasteland.

Released just a couple of months later, the album also included fan favourites that have grown in stature over the years such as ‘The Game’, ‘Liberty Song’, ‘The Riverflow’, ‘Boatman’ and the incendiary ‘Battle Of The Beanfield’. Its enormous commercial success is testament to both the strength of the band’s songwriting and performance, and Al Scott’s superb production skills. However, both parties knew that the album didn’t truly capture the power of Levellers live.

TRACK LISTING

LP Tracklisting:
1. One Way
2. The Game
3. Fifteen Years
4. The Boatman
5. Liberty Song
6. Far From Home
7. Sell Out
8. Another Man’s Cause
9. The Road
10. The Riverflow
11. Battle of the Beanfield

CD Tracklisting:
1. One Way
2. The Game
3. Fifteen Years
4. The Boatman
5. Liberty Song
6. Far From Home
7. Sell Out
8. Another Man’s Cause
9. The Road
10. The Riverflow
11. Battle of the Beanfield
12. Dance Before The Storm (B-Side)
13. Hard Fight (B-Side)
14. The Devil Went Down To Georgia (B-Side)
15. Last Days Of Winter (B-Side)
16. Plastic Jeezus (B-Side)
17. Liberty Song (Outtake)
18. The Road (Outtake)
19. Far From Home, v1 (Outtake)
20. Boatman Jig, v1 (Outtake)
21. Plastic Jeezus (Outtake)
22. Fifteen Years (Outtake)
23. Another Man’s Cause (Outtake)
24. Far From Home (Outtake)
25. One Way (Dance Mix) (Outtake)
26. One Way (Demo)
27. The Game (Demo)
28. The Boatman (Demo
29. Liberty Song (Demo)
30. Far From Home (Demo)
31. Sell Out (Demo
32. Another Man’s Cause (Demo)
33. The Road (Demo)
34. The Riverflow (Demo)
35. Battle Of The Beanfield (Demo)
36. The Devil Went Down To Georgia (Demo)
37. Last Days Of Winter (Demo)

'The Seeds of Love' is the acclaimed third studio album from Tears for Fears, originally released in September 1989. A commercial and critical triumph, it debuted at No. 1 on the UK Albums Chart and achieved Platinum certification from the BPI within just three weeks. In the United States, the album reached No. 8 on the Billboard 200 and was also certified Platinum.

Widely regarded as one of the defining albums of the 1980s, 'The Seeds of Love' features some of the band's most celebrated recordings, including the hit singles 'Sowing the Seeds of Love', 'Woman in Chains', 'Advice for the Young at Heart', and 'Badman's Song'.

TRACK LISTING

2LP Tracklisting:
1. Woman In Chains
2. Badman’s Song
3. Sowing The Seeds Of Love
4. Advice For The Young At Heart
5. Standing On The Corner Of The Third World
6. Swords And Knives
7. Year Of The Knife
8. Famous Last Words
9. Tears Roll Down
10. Always In The Past
11. My Life In The Suicide Ranks
12. Music For Tables
13. Johnny Panic And The Bible of Dreams
14. Rhythm Of Life (Demo)
15. Advise For The Young At Heart (Demo)
16. Swords And Knives (Demo)
17. Famous Last Words (Demo)
18. Sowing The Seeds Of Love (Instrumental / Demo)

Half-speed Master Tracklisting:
1. Woman In Chains
2. Badman’s Song
3. Sowing The Seeds Of Love
4. Advice For The Young At Heart
5. Standing On The Corner Of The Third World
6. Swords And Knives
7. Year Of The Knife
8. Famous Last Words

3CD Tracklisting:
CD1 - The Seeds Of Love:
1. Woman In Chains
2. Badman's Song
3. Sowing The Seeds Of Love
4. Advice For The Young At Heart
5. Standing On The Corner Of The Third World
6. Swords And Knives
7. Year Of The Knife
8. Famous Last Words

CD2 - The Sun - Single Seeds / 45s and B-sides:
1. Sowing The Seeds Of Love (7" Version)
2. Tears Roll Down
3.Woman In Chains (Single Version)
4. Always In The Past
5. My Life In The Suicide Ranks
6.Woman In Chains (Instrumental Version 2)
7. Advice For The Young At Heart (7" Version)
8. Johnny Panic And The Bible Of Dreams (Instrumental Version)
9. Music For Tables
10.Johnny Panic And The Bible Of Dreams (Mix One)
11.Johnny Panic And The Bible Of Dreams (Mix Two)
12.Sowing The Seeds Of Love (US Radio Edit)
13.Woman In Chains (US Radio Edit)
14.Advice For The Young At Heart (Italian Radio Edit)
15.Year Of The Knife (Canadian Single Version)
16.Johnny Panic And The Bible Of Dreams

CD3 - The Moon - Radio Edits and Early Mixes:
1. The Year Of The Knife (Overture)
2. Year Of The Knife (Early Mix / Instrumental Version)
3. Sowing The Seeds Of Love (Alternate Mix)
4. Tears Roll Down (Alternate Mix)
5. The Year Of The Knife (Steve Chase 7" Remix)
6. Badman's Song (Early Mix)
7. Advice For The Young At Heart (Backing Track)
8. The Year Of The Knife (Instrumental Version)
9. Johnny Panic And The Bible Of Dreams (Mix One / 7" Edit)
10.Sowing The Seeds Of Love (Early Mix / Instrumental)
11.Woman In Chains (US Radio Edit 2)
12.Year Of The Knife (Canadian Single Version / Instrumental)
13.Famous Last Words (French Radio Edit)
14.Woman In Chains (Reprise)

Limited edition 15th anniversary vinyl repress of The Fall's 'Ersatz GB' on transparent blue vinyl.

'Ersatz GB' was the 28th studio album by post-punk band The Fall.

Originally released on Cherry Red Records on 14 November 2011, 'Ersatz GB' was the Fall's first album on Cherry Red!

The album marked the first time in the history of The Fall that the group released three consecutive studio albums recorded with the same line-up!

The album was produced by Mark E. Smith and the Fall's frequent collaborator and former bass guitarist Simon Archer.

In his sleeve notes for the album, Smith wrote that "brighter mixes and versions existed but these were dismissed because brightness does not fit with 'Erzatz GB'!"

TRACK LISTING

SIDE A
1 Cosmos 7
2 Taking Off
3 Nate Will Not Return
4 Mask Search
5 Greenway
6 Happi Song
SIDE B
1 Monocard
2 Laptop Dog
3 I've Seen Them Come
4 Age Of Chang

• 3CDs OF EARLY REHEARSAL RECORDINGS AND LIVE SHOWS.

• INTIMATE RECORDINGS CAPTURING THE BAND'S FORMATIVE YEARS, FROM THE ARCHIVE OF HOUSE OF LOVE BASSIST CHRIS GROOTHUIZEN.

• INCLUDES PREVIOUSLY UNRELEASED VERSIONS OF CLASSICS SUCH AS 'SHINE ON', 'CHRISTINE', 'DESTROY THE HEART', 'MAN TO CHILD', 'BEATLES AND THE STONES', 'REAL ANIMAL' AND MORE.

• WITH INSIGHTFUL SLEEVENOTES FEATURING NEW INTERVIEWS WITH THE BAND.

In 1988, The House Of Love's debut album arrived as a fully-formed piece of pop perfection, following two years of intensive writing, rehearsing and live performances. 'The Gift' explores those two years, as the band leapt from the Camberwell squat scene into the centre of the UK's indie world as it went overground.

Taken from the archive of bassist Chris Groothuizen and compiled by him with chief songwriter Guy Chadwick’s full approval, this 3CD set offers unprecedented insight into the development of one of the standout bands of the late 80s British music scene. Featuring previously unheard rehearsal recordings and live shows captured in London and Paris, all of which has been carefully restored and remastered using the latest technology, 'The Gift' is an essential part of The House Of Love's origin story.

Complete with sleevenotes featuring interviews with all four surviving members, a 1986-1988 gigography and previously unseen imagery and flyers from the band's own archive, 'The Gift' provides a level of attention to detail guaranteed to excite the House Of Love's extensive worldwide fanbase, and anybody with a passion for the British indie scene of that time and place.

TRACK LISTING

DISC ONE
1. Into The Tunnel (Rehearsal At Andy’s, 1986)
2. Welt (Rehearsal At Andy’s, 1986)
3. Shine On (Rehearsal At Andy’s, 1986)
4. Christine (Rehearsal At Andy’s, 1986)
5. Mr Jo (Acoustic Recording Session, 1987)
6. Welt (Acoustic Recording Session, 1987)
7. Touch Me (Acoustic Recording Session, 1987)
8. I Don't Know Why I Love You Like I Do (Acoustic Recording Session, 1987)
9. Never (Rehearsal #2, 1987)
10. I Don't Know Why I Love You Like I Do (Rehearsal #2, 1987)
11. Touch Me (Rehearsal #3, 1987)
12. Mr Jo (Rehearsal #3, 1987)
13. Hope (Rehearsal #3, 1987)
14. Flow (Rehearsal #3, 1987)
15. In A Room (Rehearsal #4, 1988)
16. Hope (Rehearsal #4, 1988)
17. Beatles And The Stones (Rehearsal #4, 1988)
18. Flow (Rehearsal #4, 1988)

DISC TWO
Live At The Gift, New Cross Gate, London, 18th July 1986
1. Shine On
2. I Don't Know Why I Love You Like I Do
3. Love
4. Safe
5. You've Really Gotta Hold On Me
6. Touch Me
7. Christine
8. Real Animal
9. Instrumental
Live At Camden Palace, Camden, London, 20th November 1986
10. Happy
11. Christine
12. Hope
13. Shine On
14. This Strength
15. Real Animal

DISC THREE
Live At University Of London, Bloomsbury, London, 7th October 1988
1. Sulphur (Fade In)
2. Nothing To Me
3. Love In A Car
4. Plastic
5. The Hedonist
6. Shine On
7. Christine
8. Destroy The Heart
9. The Road
10. Man To Child
11. Salome
12. I Wanna Be Your Dog
Live At La Cigale, Paris, 30th October 1988
13. Fisherman's Tale
14. Happy
15. Nothing To Me
16. Love In A Car
17. Plastic
18. The Hedonist
19. Shine On
20. Christine
21. The Road
22. Destroy The Heart
23. Man To Child
24. I Wanna Be Your Dog
All tracks previously unreleased except for Disc 1 tracks 5, 6 and 7 and Disc 3 tracks 1-14, 16, 22 and 24.

'The Drums' is the debut studio album by American indie pop band The Drums. It was released June 7, 2010. The album contains the singles 'Let's Go Surfing', 'Best Friend', 'Me and the Moon' and 'Forever and Ever, Amen' as well as 'Down By The Water', which had previously been released as part of the band's 'Summertime!' EP. The album was recorded in Jacob Graham's apartment in Florida, the band's apartment in New York City, and in a shack in Woodstock, New York. 

TRACK LISTING

1. Best Friend
2. Me And The Moon
3. Lets Go Surfing
4. Book Of Stories
5. Skippin' Town
6. Forever And Ever Amen
7. Down By The Water
8. It Will All End In Tears
9. We Tried
10. I Need Fun In My Life
11. I'll Never Drop My Sword
12. The Future