K-LONE returns to Wisdom Teeth with 'Have A Few Days Off' - a mini-LP of vivid, 4K club music that seeks out precious moments of release in an increasingly restless world.

The record marks his first outing on the label since 2023’s 'Swells', and in that time - once again - the world has changed. Thousand acre data centres. Multirotor drones. These long hot summers. K-LONE’s music has always played with escapism, but this time the question is: can music and creativity continue to provide escape when the world gets too loud to block out?

Stylistically the record absorbs the full range of K-LONE’s key musical touchstones - from swinging minimal house through to autonomic d’n’b and drifting ambient techno. Many of his established calling cards are on display here: his bright resounding chords, buoyant basslines, and fragmented vocal hooks. The record is full of joy and rapture, yet something feels off. Amongst the glowing melodies is a creeping dissonance. ASMR vocals float in and out of the mix like eerie audio hallucinations, and synths melt and detune as if warped from excessive heat. Amongst the idyll, life creeps in at the edges.

Colourful yet discordant; familiar yet strange. “You’re looking kinda sleepy. Have a few days off.”

TRACK LISTING

1. Holdup
2. Love Me A Little More
3. Self Care (Live Mix)
4. Have A Few Days Off
5. eerhT owT enO
6. Micro Tonne

From the late forties until his death in 1953, Hank Williams redefined country music with songs that became part of America’s musical DNA. The “This Is…” greatest hits collection brings together some of his most beloved recordings, capturing the raw emotion, timeless storytelling, and unmistakable voice that made him a legend. Featuring classics like “Jambalaya (On The Bayou),” “Hey Good Lookin’,” “I’m So Lonesome I Could Cry,” and “Your Cheatin’ Heart,” and “Cold Cold Heart,” the album showcases the incredible run of hits that shaped generations of country, folk, and rock artists. From heartfelt ballads to upbeat honky-tonk anthems, this compilation is a perfect introduction to one of country music’s true pioneers.

TRACK LISTING

Side A
1. Jambalaya (On the Bayou)
2. I’m So Lonesome I Could Cry
3. Move It On Over
4. I Saw The Light
5. Lovesick Blues
6. Honky Tonkin’
7. Lost Highway
8. Long Gone Lonesome Blues

Side B
1. Hey Good Lookin’
2. Why Don’t You Love Me
3. Cold, Cold Heart
4. I Can’t Help It (If I’m Still In Love With You)
5. Honky Tong Blues
6. Settin’ The Woods On Fire
7. I’ll Never Get Out Of This World Alive
8. Kaw-Liga
9. Your Cheatin’ Heart

They did not seem arrogant or entitled. I didn’t see them bossing around their staff or being horrid to studio assistants. But they did worry if this was all there was.

All this fame and fortune, was it really all that great? The world saw them as an overnight success, who had come from nowhere. But they knew from whence they had come. Perhaps that’s what kept them grounded.’ Hunter Davies, the only authorised biographer of The Beatles, revisits his treasured 39 notebooks filled with remarkable interviews to explore the lives of John, Paul, George and Ringo as they were growing up and coming of age.

Drawing on a wealth of never-before-revealed, intimate material, and his own experience as a boy of similar age from a working-class Northern background, Hunter now tells the story of where they came from, what it was like, how it shaped their hopes and aspirations. Hunter spent three years with The Beatles, visiting all their homes, and each of them visiting his. He also spent time with their parents, school friends, teachers, girlfriends, members of the Quarry Men and many others from their inner circle.

Their conversations often harked back to the War, with memories of air-raid shelters and rationing, to the NHS coming in, the eleven plus and grammar schools, and council house life in the 1950s. We all know what they became famous for, but here Hunter takes us into the much more private world of their formative years, for this colourful, richly detailed, personal portrait of the young boys who were destined to come together and revolutionise music and pop culture.

La Dispute is an American post-hardcore band formed in Grand Rapids, Michigan in 2004. The band consists of vocalist Jordan Dreyer, guitarist Chad Sterenberg, drummer Brad Vander Lugt, bassist Adam Vass, and guitarist Corey Stroolino. Known for their intense and emotionally charged sound, La Dispute has released ve studio albums to critical acclaim, including 'Somewhere at the Bottom of the River Between Vega and Altair' (2008), 'Wildlife' (2011), and 'Panorama' (2019). Their music often explores themes of loss, grief, and human relationships through a series of interconnected stories. La Dispute has developed a devoted fanbase and is known for their powerful, unforgettable live performances.

TRACK LISTING

1. A Departure
2. Harder Harmonies
3. St. Paul Missionary Baptist Church Blues
4. Edit Your Hometown
5. A Letter
6. Safer In The Forest/Love Song For Poor Michigan
7. The Most Beautiful Bitter Fruit
8. A Poem
9. King Park
10. Edward Benz, 27 Times
11. I See Everything
12. A Broken Jar
13. All Our Bruised Bodies And The Whole Heart Shrinks
14. You And I In Unison

The Saint Wax label branches out with a new series of edits from founder Eduardo Barbi aka Gledd, who traverses funk, disco and soul across five irresistible cuts. 'Street Preacher' has a spoken word that reminds of early rap days paired with a rousing choral backing, then 'Stevie's Word' turns up the funk with a chunky bassline. 'Do It For Me' is another gospel-fuelled pumper with big stabs ramping up the intensity and then 'Under The Moonlight' is a classy disco stomper lead by florid and chunky funk in the drums. 'Your Love' is an excitable finish with big horns, bigger chords and even bigger vocals. It's big, basically.

TRACK LISTING

Street Preacher
Stevie's Word
Do It For Me
Under The Moonlight
Your Love

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

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

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

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

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

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

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

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

TRACK LISTING

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

Berlin-based edit specialist Voodoocuts knows exactly how to tease out the best bits of any of the source tunes he works with. He's been doing it for years now on labels like Juice on Wax and Uluru, and now heads to Ritmo for his latest 7" bomb. 'Riddim Freak' gets this one going with a reggaeton rework of a Missy Elliott classic. It's an inspired pairing that has elastic bass and trampoline-like kicks with rave horns, fat-assed brass band energy and plenty of that original Missy attitude. 'Work This' takes another of the rap queens' most welcome jams and flips and reverses it into an early electro and hip-hop blend with old school drums and many magnificent samples all bringing it to life in full colour.

TRACK LISTING

Riddim Freak
Work This

Wewantsounds is honoured to announce the first-ever international release of the legendary collaboration between Abdullah Ibrahim (Dollar Brand) and Don Cherry, featuring Carlos Ward. Following Ibrahim’s recent passing, this long-awaited edition now stands as a timely tribute to his profound legacy. Recorded live in 1972 at Jazzhus Montmartre in Copenhagen, this highly sought-after album was originally released exclusively in Japan in 1974 on the cult jazz label Trio Records via its revered Nadja imprint. An essential chapter in the musicians’ discographies, the performance skilfully blends jazz with rich South African rhythms and global influences. This definitive reissue features fully remastered audio, the original artwork, and a booklet with new bilingual liner notes by Jacques Denis.

'The Third World-Underground' captures a rare convergence of three singular musical voices: Don Cherry’s nomadic imagination, Abdullah Ibrahim’s deeply rooted South African lyricism, and Carlos Ward’s muscular alto saxophone. By 1972 when this magical album was recorded, Cherry and Ibrahim had already spent a decade redefining jazz by pushing beyond its foundations and embracing a broader, global musical language.

Cherry—who had helped revolutionise jazz alongside Ornette Coleman—was in constant search of new musical pathways. Drawing inspiration from the traditional sounds of Turkey, India, Africa, and beyond, he cultivated a fluid, borderless approach that expanded far beyond the trumpet, incorporating voice, percussion, and communal improvisation into his work. Ibrahim brought an equally profound sensibility. A spiritual heir to Duke Ellington, shaped by Cape Town gospel, township jive, and the emotional weight of exile, he transformed the piano into an instrument capable of both celebration and lament.

Having first crossed paths in the mid-1960s, the musicians shared a deep mutual affinity that culminated in this performance. Recording under a name that reflected the era’s growing decolonization movements, the trio created a fearless, boundary-defying statement across seven hypnotic pieces, including 'Don’s Song' and 'Bra Joe From Kilimanjaro'. The music unfolds as a continuous conversation: Ibrahim’s cyclical piano figures provide an emotional foundation while Cherry and Ward drift, soar, and chant in ecstatic unison, searching collectively for new ground.

Originally released in Japan in 1974 on Trio Records, the album was never reissued on vinyl, gradually attaining cult status among collectors and fans of Don Cherry and Dollar Brand alike. As Jacques Denis writes in the new liner notes, “More than half a century later, the music in this album, emancipated from all preordained order, still surprises, offering a delight of the present moment that lingers long after the needle leaves the groove.”

Freed from convention, 'The Third World-Underground' remains a restless and deeply human work of collective discovery whose resonance continues to unfold with every listen.

TRACK LISTING

1. Don's Song 
2. Cherry 
3. Bra Joe From Kilimanjaro 
4. Jabulani-Easter Joy 
5. Waya-Wa-Egoli 
6. Swazi 
7. Wayeah-Wayeah-O

One from the Heart is the soundtrack to the Francis Ford Coppola movie from 1982. Coppola asked Tom Waits to compose music to accompany the film, which is set entirely in Las Vegas and the surrounding desert. Waits invited country singer Crystal Gayle to join the album for solo songs and duets with Waits himself. The album was a huge success and ended up being nominated for an Academy Award for Best Musical Score. Today, the album is still considered a cult classic by film and music fans alike.

TRACK LISTING

Side A
1. Opening Montage: Tom's Piano Intro / Once Upon A Town / The Wages Of Love
2. Is There Any Way Out Of This Dream?
3. Picking Up After You
4. Old Boyfriends
5. Broken Bicycle

Side B
1. I Beg Your Pardon
2. Little Boy Blue
3. Instrumental Montage: The Tango / Circus Girl
4. You Can't Unring A Bell
5. This One's From The Heart
6. Take Me Home
7. Presents

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

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

TRACK LISTING

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

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

TRACK LISTING

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

Recorded in 1988, Feel The Wind unites two jazz giants, Art Blakey and Freddie Hubbard, for a powerful and inspired session with The Jazz Messengers. From the opening moments, Hubbard ignites the band with his commanding tone and electrifying trumpet work, delivering some of his most expressive playing of the era. The album features a standout Messengers lineup including Javon Jackson, Benny Green and Leon Dorsey. This edition also includes two bonus tracks “Piano Trio Medley” and “Big Foot” from a 1985 trio session featuring Hubbard and Blakey pairing with Mulgrew Miller and Lonnie Plaxico.

TRACK LISTING

1. Airieties
2. Feel The Wind
3. Embraceable You

Side B
1. Off Minor
2. Up Jumped Spring
3. Piano Trio Medley
4. Big Foot

Rich in raw, gritty, from-the-heart grooves, the influence of James Brown is strong, yet the tracks are distinctly Bobby. Oozing style and substance, the album is full of fiery horn sections, strutting guitars and infectious basslines tracked by plenty of prime breakbeats. Front to back stacked with highlights, cuts from the album have been famously sampled by DJ Shadow, Coldcut, and more.

For years 'Funky Super Fly' has been a funk aficionado favourite. It's a sensational set of recordings from vocalist and bandleader Bobby Williams, with plenty of cherished raw-funk heaters in the mix. 'Funky Superfly', 'Soul Brother Party', and 'Let's Jam', are three standouts that have all the ingredients to ignite even the most subdued of dancefloors. The unprocessed natural energy in these songs speaks to your very soul - Bobby grooving over his captivating funk- fuelled band with dynamism and class. Both 'Funky Superfly' and 'Soul Brother Party' appear on the album as one continuous track, whereas on the 7" versions they were cut into parts 1 & 2.Alongside the uptempo dancers on the album, Bobby goes deep on the soul ballad 'Morning Of Love', which simmers with intensity and heartache. The album's closing instrumental track, 'Fair Trade,' has a wah- wah guitar- driven Blaxploitation film soundtrack sensibility, and is a slept-on gem off the album nestled amongst the big hitters.

The use of Bobby's music has been sampled decades later, immortalising him for a new audience of record collectors and sample hunters. The pulsating title track 'Funky Superfly' was used as a sample source for DJ Shadow's 'The Number Song' off his iconic 'Endtroducing' album in 1996. In addition, 'Soul Brother Party' was used a year later on Coldcut's fantastic 'More Beats & Pieces' album. This turned a whole new audience onto the magnetism of Bobby Williams' music and added to the frenzy of hungry DJs in the '90s looking to unearth obscure funk 45s. 'Funky Super Fly' is for those who like their funk and soul at its purest. It's no-nonsense, electrifying and one of the jewels of '70s funk, perfect for fans of James Brown and Charles Bradley.

TRACK LISTING

1. Funky Superfly (Part 1 & 2)
2. Morning Of Love
3. Let's Jam
4. Teach Me
5. Soul Brother Party (Part 1 & 2)
6. Get Into It
7. Make Yourself Funky
8. Fair Trade

Life On Mars is the 1976 debut album by the American R&B/jazz fusion singer, arranger, musician, composer and conductor Dexter Wansel. The album is considered to be a "space-funk" classic, inspired by David Bowie's "Life on Mars?". Wansel composed his own sci-fi sounds with swirling, ring-like oscillators, cosmic sub tones, and metallic, otherworldly leads using his signature ARP 2600 synthesizer. Wansel's pioneering synth sound was shared on numerous records with artists like MFSB, Billy Paul, Evelyn "Champagne" King, Teddy Pendergrass, and The Jones Girls. The album inspired other artists and Wansel's "Theme From The Planets" drum beat intro is hailed as being one of the first foundation beats of hip-hop. His sampled music has been used by Kanye West, Lil Wayne, Drake, Rick Ross, J. Cole, Wiz Khalifa, and Ice Cube amongst others.

TRACK LISTING

SIDE A
1. A Prophet Named K.G.
2. Life on Mars
3. Together Once Again
4. Stargazer

SIDE B
1. One Million Miles from the Ground
2. You Can Be What You Wanna Be
3. Theme from the Planets
4. Rings of Saturn

Herbie Hancock is one of the most prolific jazz pianists of the 20th century. A child prodigy, he played with the greats such as Donald Byrd and Miles Davis. As he was a bit of a geek, he enjoyed gadgets & buttons and he was one of the first to embrace and master the electric piano, but he always stayed true to the acoustic sound. In fact, he always bounced back and forth between his electronic and acoustic sound, touching upon almost every development in R&B, Funk and Jazz while retaining an original and distinctive voice. Death Wish from 1974 followed closely upon the success of Headhunters, and was the soundtrack to the infamous Charles Bronson-starring vengeance vehicle that preyed upon urban paranoia. The understated orchestrations mirror the quiet, desperate brooding of the Bronson’s character; rarely had a leading role contained fewer words or more violence.

TRACK LISTING

Side A
1. Death Wish (Main Title)
2. Joanna's Theme
3. Do A Thing
4. Paint Her Mouth
5. Rich Country

Side B
1. Medley: Suite Revenge: Striking Back / Riverside Park / The Alley / Last Stop / 8th Avenue Station
2. Ochoa Knose
3. Party People
4. Fill Your Hand

Celebrating 30 years of Miles' first album for Warner Records and the first of many collaborations with bassist & producer Marcus Miller, named in honor of civil rights activist Archbishop Desmond Tutu.

TRACK LISTING

1. Tutu
2. Tomaas
3. Portia
4. Splatch
5. Backyard Ritual
6. Perfect Way
7. Don't Lose Your Mind
8. Full Nelson

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

TRACK LISTING

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

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

TRACK LISTING

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

Massive Attack and Tom Waits release a new collaboration 'Boots on the Ground', with an exclusive to vinyl B-side provided by Waits – a droll and sardonic spoken word piece entitled 'The Fly'.

An accompanying film created by Massive Attack (working with US photo artist "thefinaleye") will be available via the band’s digital platforms. This evocative, high-intensity montage portrays a momentous American epoch that is yet to be named, and comes in the aftermath of the largest public protests in American history - focused on opposition to ICE raids, the militarisation of domestic forces, and state authoritarianism.

'Boots on the Ground' is the first Massive Attack music distributed under a Spotify exemption policy. Further releases are scheduled prior and subsequent to the band’s run of live performances, including their forthcoming European tour and summer festival headlines.

In keeping with the band's sector leading efforts to reduce carbon emissions across both live activity and recorded output, Massive Attack have partnered with Good Neighbor to produce an ‘EcoSonic’ pressing. Manufactured using 100% recycled PET (rPET) rather than traditional PVC, the record is fully recyclable and produced via an energy-efficient injection moulding process - a significant shift in record manufacturing. Packaging follows the same approach, with sleeves made from 100% recycled, FSC®-certified paper stock and outer slipcases produced from recycled polyethylene.

TRACK LISTING

1. Massive Attack & Tom Waits - Boots on the Ground
2. Tom Waits - The Fly

There's a dance scene in Tadeusz Konwicki's Kafkaesque 1965 drama film 'Salto' that lodged itself in Przemysław Jankowiak's head while he was conceiving'Everything Always Changes, For We're Truly Here'. The film plays like a dream and the dance works almost like the payoff, a haunting, poignant moment that subtly references the title itself, which loosely translates as 'leap'. "I like listening through images and seeing through sound," explains Jankowiak, who's better known as 2K88. His music has always been cinematic, but this album in particular, made alongside acclaimed British artists Lauren Duffus, Rainy Miller and Bianca Scout, plays like slow cinema, meditating on themes that smolder evocatively without ever fully igniting. It's best described as hypnagogic R&B, a reverie of affecting vignettes pieced together from unexpectedly vivid elements: sensual vocal hooks, free-flowing raps, submerged rhythms and rough, craggy atmospheres. The four contributors pass sounds and memories back-and-forth, imagining melancholy sci-fi hymns, inverted pop songs and neo-trip-hop outlines that melt away at the edges, falling into a captivating rhythm of their own.

The project was originally commissioned by Unsound in an effort to match up Polish and British artists. Jankowiak had already released 'SHAME', an album that reflected on the impact of Polish rap in the late 1990s and early 2000s, juxtaposing these elements with the aesthetics of UK club music, so presented himself as the obvious figurehead. Miller, Duffus and Scout were at the top of his wish list of collaborators and before long, the quartet were on their way to his home city of Gdynia for a residency, where they began to figure out the harmony between their respective approaches. It was planned as a live performance at first, with 2K88 overseeing and corralling the ideas from each of his allies. Miller, who is widely acclaimed for his unique fusion of rap, noise and ambient music on albums such as last year's 'Joseph, What Have You Done?', would add poetic, inclement contemplations; Duffus, whose weightless, genre-blending productions have seen her release on AD93 and tour with indie rap heavyweight MIKE, provided cloudy but self-assured vocal hooks; while Scout, a producer and performer who shivered between gothic pop and medieval ambiance on 2023's 'The Heart of the Anchoress' offered haunted textures and desolate chorals.

"I think in the back of all our minds was a possible release if the collaboration worked out well," laughs Unsound's Mat Schulz. "And of course it did." After the live performance in Kraków, the four artists turned the dream into a reality, projecting the same ideas onto 10 fully developed tracks. And on the opener, 'Everything Always Changes', the concept solidifies, with coarse noise rubbing against Scout and Duffus's airy vocal tones and booming analog bass provoking tension before Miller's familiar voice cuts through the clouds. "There's a war where the sea meets the sky," he sibilates, "where the lines blur into fantastical dissonance." His imagery matches Jankowiak's faded soundscape, bringing to mind a half-remembered, long-promised history lost to time and politics. "It's trapped in this romantic haze," says Miller. "It conjures images of fictional seaside towns, ghosts of past grandeur living through imaginary romances in the present." And his voice returns on 'Creeping Thistle', AutoTuned to curve gracefully around sparsely populated, burned out terrain: ominous synths, wailing police sirens and reverb that seems to swallow everything around it.

On 'The Quiet's Song' familiar R&B hits and stabs are isolated and surrounded by ominous negative space that Scout impedes on with her reserved incantation. Loose, casual piano themes wisp through the frame like smoky exhalations and those sirens still groan away somewhere in the distance. The various threads are knotted into a more legible form on 'Poetic Fallacy', when Jankowiak's decelerated beats overlap with heartbreaking half-speed melodies and Duffus's elegant hooks. Scout takes the mic for a moment and a broken de-tuned guitar picks out the remnants of a riff. But it's the aptly-titled 'Salto' that gives the album its nucleus, fixating on Jankowiak's all-important visual reference and using its imagery to power a genuine pop miniature, a gauzy, abstract modern R&B anthem that's as impressionistic and suggestive as Konwicki's's film.

TRACK LISTING

TBA

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

TRACK LISTING

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

'Psychedelia in White', the third album from former member of Nick Cave and the Bad Seeds, Mick Harvey and longtime collaborator Amanda Acevedo, is a natural evolution from their 2023 duet debut, 'Phantasmagoria in Blue'.

Composed primarily of original tracks, the album explores themes of mysticism, mythology, love, and loss. This project pushed the duo into wilder, more experimental territories, resulting in an album that is intricately layered and lavishly textured. The lyrics draw on dreamlike imagery and mythological tropes, whilst carrying a personal message of hope, seeing them yearn for something better and escape from the chaos of the present.

Standout moments include ‘Perfect Storm’, a richly layered alt-rock reverie born from a transatlantic collaboration with Canadian composer Peter McNestry; ‘Song for Aurora’, a glam-inflected homage to Marc Bolan built on T-Rex references and rescued from the vaults; and ‘The Greatest Delight’, an intimate track conjured from Acevedo’s visions of shadow people and otherworldly lovers.

Honest and adventurous, 'Psychedelia in White' is an album that tests its makers' boundaries, and invites its listeners to do the same.

TRACK LISTING

1. The Elephants
2. Dream of Serpents
3. Perfect Storm
4. Song for Aurora
5. Medusa’s Moan
6. The Greatest Delight
7. Slow-Motion-Movie-Star
8. Bride of the Sea
9. Atlantis
10. Psychedelia in White

In a world increasingly shaped by disposable content, Chat Pile answer with something defiantly real and organic, a mentality that permeates 'Who Loves The Sun', their third full-length record. Since the band’s formation just over six years ago, the Oklahoma City-based quartet Chat Pile has grown from a scrappy passion project into one of the defining heavy acts to emerge from the 2020s underground. Ray B. (vocals), L. Manhole (guitar), Stin (bass), and Cap’n Ron (drums) create a crushing, crass, and cathartic take on noise rock that captures a raw, undeniably human essence in an age marked by technological overreach and the cold state of society. Nothing about 'Who Loves The Sun' feels synthetic.

Whereas their debut album 'God’s Country' depicted a particularly American flavor of dread, and the follow up 'Cool World' showed a cruel planet defined by global systemic violence, 'Who Loves The Sun' peels the skin back on how collective indifference defines this new century. Spanning imagery of coastlines devouring cities, dead-end jobs, and submission to data-driven inauthenticity, the album dissects the apathy-bloated state of 21st-century existence as a slow-motion apocalypse.

As with much of Chat Pile’s work, Oklahoma City itself looms over the album like a character, its sprawling isolation, economic contradictions, and underlying sense of decay embedded in the fabric of the record. The perfect allegory for the thematic essence of 'Who Loves The Sun' is the photo embossed on the record’s cover, where Devon Tower, a glassy, largely vacant monolith, looms high above the Oklahoma City skyline while a burnt-out home or storefront envelops the foreground.

The album remains lyrically and sonically confrontational, but Chat Pile approached the songwriting with hooks in mind, drawing on melodic tones of pre-2000s indie rock, alt-rock, and new wave. From the blood-soaked vocal passages of 'Christabel ’26' to the eerie trip-hop pulse of 'Same Rules', 'Who Loves The Sun' is deeply human despite its allusions to a dying, divided .

TRACK LISTING

1. Creature
2. Deep Blue
3. Same Rules
4. PEN I S MALL
5. Shrine
6. Intruder
7. Christabel ’26
8. Influence
9. Family Funeral
10. October All the Time

“Sometimes life gets so dark, it starts to feel like a bad trip,” Lily Seabird reflects on the seasons that led to the making of her new record, 'Lightspheres on Their Way'. Seabird’s third record in as many years for Lame-O Records deals in mortality and reverence for the innately human, piecing her troubadour-ish folk to a grungy rock sentimentality. Though born from a period of reckoning and renewal, Seabird orients 'Lightspheres on Their Way' around a holistic realism that buoys the spirit, with loose, earthy arrangements that meet intensity and depth with both twangy spaciousness and searing drive.

Across the record’s nine tracks, the Vermont-based singer and songwriter orbits around the concept of “lightspheres,” a catalysing presence or force that visits time and time again and shifts stories, feelings and trajectories. “A lightsphere can be so many things” says Seabird, “ an actual light like a star, the sun, a UFO; headlights, a flashlight in the night; but also life, living things, people, relationships.”

Though 'Lightspheres on Their Way' marks a moment of ascension for Seabird’s songwriting, she asserts that “the most emotional parts of the record are instrumental.” The Crazy Horse stomp of 'Portal to the Past' and others stretch into spacious, jammy interludes and outros where Seabird and Rick Soszynski revel in fuzzy, gritty guitars. They act as moments of emotional decompression, like rolling down the windows and surrendering to the expanse of the open road. 'Lightspheres...' is a testament to the depths one can reach in their art when you stop trying to tell the story of what happened to you, and instead start talking about who you are.

TRACK LISTING

1. The Pulley
2. Bindlestiff
3. Election Day
4. Pennsy
5. Portal to the Past
6. Blackstar
7. Slipswitch
8. The Afterglow
9. Lightspheres on Their Way

Welsh musician Gwenifer Raymond's 2018 debut album, 'You Never Were Much of a Dancer', introduced a new voice on acoustic guitar, receiving 5 stars in The Guardian, big spreads in MOJO and UNCUT, and airplay on multiple BBC programmes. This led to months of touring on the European festival circuit. Her second album, 'Strange Lights Over Garth Mountain', finds Raymond ranging into unexplored experimental territory, drawing from her Welsh roots.

TRACK LISTING

1. Incantation
2. Hell For Certain
3. Worn Out Blues
4. Marseilles Bunkhouse, 3am
5. Gwaed Am Gwaed
6. Ruben's Song
7. Eulogy For Dead French Composer
8. Strange Lights Over Garth Mountain

Reissue of Gwenifer Raymond's debut 'You Were Never Much Of A Dancer' from 2018. Speaking about how her musical journey, Gwenifer says "When I was about eight years old a pretty formative thing happened to me, my mum bought me a cassette tape of Nirvana’s 'Nevermind'. Being so young I'd had no real interest in music prior to that, but I did have a ‘My First Sony’ cassette player that I used to listen to audiobooks. Anyway, I put the tape in, pressed play, and what I heard blew my little 8 year old mind. I don't know what it was about that wall of sound that so captured me, but I spent many hours hyperactively running around the house with headphones on, volume at full blast, and Nevermind on repeat. It was either for Christmas or my birthday that year, that I asked for a guitar.

"I spent all my teenage years playing either guitar or drums in various punk and rock outfits around the Welsh valleys, but around that time I was also getting seriously into older stuff, Dylan, The Velvet Underground and the like. Through those cheap compilation CDs you could get then, I found that a common influence amongst these guys was pre-war delta and country blues, as well as Appalachian music. Eventually I stumbled upon Mississippi John Hurt, Skip James and Roscoe Holcomb, and they became the holy trinity of musicians I so wanted to able to play like. Eventually, I tracked down a blues man in Cardiff who could teach me and it was in studying these guys that I was introduced to John Fahey and the whole American Primitive thing.

"I’ve always loved being in bands and the sonic chemistry it produces, but at the same time it’s always a bit of a compromise that those sounds in my head have to pass through and be translated by someone else’s. Sometimes it can be for the better, but sometimes not so much. American Primitive was the first time it had occurred to me that you didn’t really need anything more than one solo instrument to fully express yourself, especially when those feelings and moods refuse to be articulated in words, sometimes it's a mystery to yourself what it is you’re expressing. I still play in hard rock and punk bands and love to wail and hit my guitar with a complete lack of any subtlety or nuance, but in the end I think that all these things are really part of a circle, feeding back into itself. It’s all just a lineup of strange mutations."

TRACK LISTING

1. Off To See The Hangman, Part I 
2. Sometimes There's Blood 
3. Idumea 
4. Off To See The Hangman, Part II 
5. Face Down Strut 
6. Laika's Song 
7. Oh, Command Me Lord! 
8. Sweep It Up 
9. Requiem For John Fahey 
10. Dance Of The Everlasting Faint 
11. Bleeding Finger Blues 
12. Sack 'Em Up, Parts I And II 
13. It Was All Sackcloth And Ashes

Defining the moment in sound and vision, Immersion are a snapshot of ‘the now’. Through constant reinvention, they have honed their sound into a startling present that references their past but refuses to live in it.

This perfect synthesis of their styles boldly creates a brave new world for core couple Colin Newman and Malka Spigel, along with satellite musicians Matt Schulz (Holy F*ck), whose drumming strongly features on many tracks, and Ed Chivers (AK/DK), who makes a guest appearance drumming on ‘Breaking Free, Diversity, Evolution’.

What Is Lost Will Return is the second ‘pure’ Immersion release in as many years and heralds their third UK tour since 2024. It follows 2025’s acclaimed WTF??, with the title reflecting the fact you can only say “What The F*ck??” so many times before looking beyond to see what endures.

With What Is Lost Will Return, the ever-productive ‘life and art partner’ duo present a reflective album of modular moods and stripped-down electronic psychedelia, leavened by a clipped guitar that you can nonetheless dance to, defying these chaotic times. It perfectly captures the yin and yang of the moment – or as Colin and Malka explain, “The emotion we feel the album invokes is a poignant mixture of joy and melancholy.”

“What Is Lost Will Return is an album of grooves, observational snapshots, hypnotic repetition, joyful creation, intoxicating melody and mystery, all threaded together by a fascination with new sounds and textures. It's both an underground gem and an album that bends pop into new shapes.”
John Robb, [June 2026, MCR]

TRACK LISTING

Vinyl A
1 Nephology
2 Breaking Free, Diversity, Evolution
3 We Don't Need Your Validation
4 Megafauna
Vinyl B
5 What Is Lost Will Return
6 Childsplay
7 Radio signals
8 Frequencies & Echoes

Windy & Carl Meet Optigan Conservatory is a purposefully misleading title for the first collaborative work from four friends who met close to thirty years prior. All active participants in Michigan independent music circles since the early ’90s, Windy & Carl are well-known for their foundational contributions to drift and guitar-born ambient sounds, with songs characterized by deep connections to the natural world and a hard to pin down yet impossible to miss emotional vulnerability.

Optigan Conservatory is another duo, made up of Frank Rotondo (leader of Detroit area free music ensemble Laughing Gas) and Fred Thomas (songwriter and producer most often associated with his band Saturday Looks Good To Me), who have been making minimalistic and time-defiant electro-acoustic sounds since 2016. The album came together almost effortlessly in a very short timeframe, but the idea had been building steam for many a year.

In the last days of 2024, Windy & Carl and Optigan Conservatory got together, falling into a mode of sound creation that was almost hyper-natural. Without any discussion outside of the usual stream of jokes and chatter, the quartet set up and started communicating. Added to Windy & Carl’s hovering augmented chord voicings and vaporous guitar drones were electric piano and synth bedding from Frank & Fred. After the initial sessions, all involved parties took time to consider what they’d made, adding new layers and editing the pieces into more definitive articulations.

A beautiful and hermetic energy larger than the sum of its parts is captured in the process. There are echoes of the earliest releases from Windy & Carl as well as refractions of the same opacity that surfaced in the early kranky catalogue.

TRACK LISTING

1. Conductor
2. Coast Starlight
3. Alvin Loving
4. Vellum Paper
5. Apparition on 3rd Street
6. Time Lines

Ben Quad is a tightly-wound emo outfit with just the right balance of delicate vulnerability, careening guitar-driven energy, and melodic ingenuity. Despite tongue-in-cheek proclamations of being “emo butt-rock,” the Oklahoma City-based quartet take their songcraft seriously, and the result is a vibrant chemical blend of winning sensitivity, a charming dash of goofiness, and propulsively hooky, cleverly-written gems. With the release of their debut full length, 'I’m Scared That’s All There Is', the band established themselves as a band to watch. Brooklyn Vegan has raved “mix of sincerity, hooks, and adrenaline is always a winning formula when it’s done well, and Ben Quad do it very, very well.”

TRACK LISTING

1. Blood for the Blood God
2. We're Gonna Be Here for a While
3. Unclench Your Jaw
4. You Gotta Learn to Listen, Lou
5. It's a Kinkade!
6. When All Other Lights Go Out
7. Joan of Hill

“The first three are innocent in a way, because we didn’t have an audience when we were making them,” Oberst says. “But from Lifted on, I was definitely aware of an audience. Lifted was well-received right away, and then everything happened with Wide Awake and Digital Ash.” Those two albums came out simultaneously. And their lead singles – 'Take It Easy (Love Nothing)', from the austere, remote Digital Ash, and “Lua,” from the warm, folky Wide Awake – debuted in the top two slots on the Billboard Hot 100. 'First Day of My Life', also from Wide Awake, would later be voted the Number One love song of all time by NPR Music’s reader’s poll. Bright Eyes had officially broken through. It was a heady, exciting time, but also fraught and tense, both because of the band’s careening new fame, and because of the state of the world. When Bright Eyes made their Tonight Show debut in 2006, they chose to perform none of their shiny new hits, instead delivering a searing, harrowing rendition of their caustic anti-Bush anthem, “When The President Talks To God.” These days, Oberst is still amusing himself by messing with the extremes Bright Eyes baked into this era’s releases, extremes that reflected the polar, with-us-or-against-us, fractious feel of the times. The reworked Digital Ash tracks, originally so clean and elegant, are, on the companion EP, full of “harmonica and mandolins – folky vibes,” Oberst says. While the analogue sweetness of the Wide Awake songs have been put through a detached nihilism filter.

TRACK LISTING

1. At the Bottom of Everything
2. We Are Nowhere and It's Now
3. Old Soul Song (for the New World Order)
4. Lua
5. Train Under Water
6. First Day of My Life
7. Another Travelin' Song
8. Land Locked Blues
9. Poison Oak
10. Road to Joy

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

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

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

TRACK LISTING

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

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

TRACK LISTING

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

Children of Zeus return with their third studio album ‘As The World Burns…’

Five years on from their highly-acclaimed sophomore album ‘Balance’, Manchester’s kings of hip hop soul, Tyler Daley and Konny Kon, bring us a brand new 16-track opus.

Sonically the duo continue their story where they left off; crafting an amalgamation of street soul, alternative r&b and boom bap hip hop, with a sprinkle of flavours taken from their original multi-genre pirate radio influences, and a dash of forward-thinking new sounds, ensuring all tracks are destined to become future classics.

The features are sparing but powerful, enlisting the talents of revered UK rapper Knucks (‘Before We Drown’), Colorado-native Young Old Soul (‘Dopamine’), MCR family [ K S R ] (‘Do You Want To Get High’}, & Australian/Mauritian up & comer Anieszka (‘Water & Vibes’).

As with previous projects, this album is largely produced by the duo themselves, though there are guest productions from previous collaborators too, including Grammy Award-winner Beat Butcha, Grammy-nominated Teo, and broken beat pioneer K15, along with an assortment of new players making moves in the underground neo-soul & beats circuit.

Conceptually, this project continues on with the story to date. An eternal search for sunsets and soulfood, as a respite to the anxieties of the modern world; personally, professionally and globally. Assertive swagger is matched with brutal but sincere candidity. As ever, it encapsulates the rough with the smooth, with reflections on where they’ve been, where they’re at and where they’re headed. There’s no preaching to be found here; just an acceptance of things as they are, an embrace of the environment and people they were nurtured by, and a celebration of some of the finer things in life; slow jams, weed & rum, water & vibes. Raps for listeners, blunt heads, fly ladies and prisoners. All packaged together as another perfect sonic love letter to sound system culture. 50 minutes of big people music.

Since the release of their anthemic debut single ‘Still Standing’ a decade ago, to the subsequent EP ‘The Story So Far’, and their critically-lauded debut album ‘Travel Light’, the duo have received numerous accolades, including nominations for AIM Awards & Worldwide Awards both, along with tons of ‘Album of the Year’ nods care of Clash Magazine, Bandcamp, Complex, Wordplay and many more. This along with huge swathes of support from DJs, radio stations, press outlets, tastemakers, luminaries & fellow artists across the globe.

Children of Zeus have performed sessions for COLORS, Soulection (Apple Music), DJ AG, Boiler Room, BBC 6 Music and at the infamous Maida Vale studios for BBC 1Xtra as well as touring across Europe, Australia and South Africa. This is in addition to collaborating & touring with Mercury Award Winner’s Ezra Collective, including a Wembley Arena show. Other collaborations over the years have included Shy FX, Juls, Goldie, Black Milk, Kofi Stone and the late great Lenzman.

From the Broke ’n’ English / Hoodman-era, to the present day, Children of Zeus have been omnipresent in the fabric of British black music. Proud ambassadors of Manchester music, and of UK soul, it really is “Zeus to the world”.

Children of Zeus have been adorned with plenty of flowers over their career. The unbridled quality and poignance of the music and the message on display throughout this project will see the algorithmic needle move some more. It’s undoubtedly set to be a Zeus Summer. As the world burns…

TRACK LISTING

01: We've Been Here Before
02: As The World Burns
03: How It Used To Feel
04: Good Light
05: Water & Vibes (feat. Anieszka)
06: Weed & Rum
07: Do You Want To Get High? (feat. [ K S R ])
08: No Smoke
09: Slow Jams On Rotation
10: Say Less
11: Before We Drown (feat. Knucks)
12: Pay No Rent
13: Star
14: Dopamine (feat. YoungOldSoul)
15: Time Is Running Down
16: Loves Fades

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

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

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

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

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

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

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

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

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

Hot Mulligan is a ride-or-die testament to staying true to yourself. When the emo band formed in 2014 and cut their teeth playing house shows and naming songs by closing their eyes and typing into auto-correct on their phones, no one expected they’d be selling out thousand-cap venues, one of their scene’s most respected bands a decade later.

TRACK LISTING

1. OG Bule Sky
2. *Equip Sunglasses*
3. Feal Like Crab
4. Green Squirrel In Pretty Bad Shape
5. Dirty Office Bongos
6. Analog Fade (New Bule Sky)
7. We're Gonna Make It To Kilby!
8. Digging In
9. SPS
10. BCKYRD
11. The Song Formerly Known As Intro

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

TRACK LISTING

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

New album by acclaimed Nigerian ambient producer / sound designer Ibukun Sunday, interweaving Africanised rhythm with lush and elegant synthesis.

TRACK LISTING

1. Whisper
2. Echoes
3. Amen
4. Breeze
5. Ages
6. Devotion
7. Hill
8. Edge

Here’s an expanded edition of one of Nurse With Wound’s most intense, unique opuses, so unique that for long-time fans it was a strange, chaotic loundge bizzarie when it first came out. For the first time, all four audio sides are complete (originally, there were only three sides). And to crown it all, a magnificent new cover by the great and talented Babs Santini, who is none other than Steven Stapleton behind his pseudonym of plastic artist, still in the luxurious tradition of the “silver collection” at Rotorelief Records.

Nurse with Wound’s album Huffin’ Rag Blues is unique in NWW’s discography. Stapleton teams up with composer, producer and multi-instrumentalist Andrew Liles, his co-creator of musical terrorism, to tackle the exotica and lounge genres, crushed into a cacophonous mess. Long-time NWW friends Colin Potter and Matt Waldron are also on board. Blues, jazz, crime films, bachelor pads and soap opera music are processed and discarded, then chopped up and recycled in a mix that contains a ton of space, but also overflows with dynamic tension, hilarious asides, sexually suggestive poetry and a certain rock & roll abandon. This is a very surprising opus for long-time fans, is like a soundtrack that could illustrate a David Lynch film It’s brilliant, maddening, hilarious and sinister enough to earn a place in any collection with a little quirkiness and eccentricity. Huffin’ Rag Blues incorporates more familiar musical elements – including instruments (played live, even), rhythm and vocals – than almost any other Nurse With Wound album to date. The album’s main concern is, as always, to create environments for lucid dreaming rather than to create music as such.

TRACK LISTING

Side 1
1. Willy The Weeper
2. Groove Grease (Hot Catz)
3. The Funktion Of The Hairy Egg

Side 2
1. Black Teeth
2. Thrill Of Romance
3. Livin’ With The Night
4. Ketamineaphonia

Side 3
1. Juice Head Crazy Lady
2. Wash The Dust From My Heart
3. Cruisin’ For A Bruisin’
4. All Of Me

Side 4
1. Bei Mir Bist Du Scnon (Maa Maa)
2. The Bottom Feeder (Alternative Mix)
3. Thrill Of Romance (Burgo Partridge Mix)

Never released on vinyl until now, Ben Kweller's sophomore album, 'On My Way', gets the deluxe treatment as it simultaneously answers a two-decades long call from fans yearning for this title in wax format.

'On My Way (Deluxe)' is a 2LP release featuring the OG album remastered by audio legend, Howie Weinberg plus 12 previously unreleased rarities including demos and B-sides, all from the 'On My Way' era. Fans from way back will remember some of the rarities from live shows (the Elvis cover!) and Napster/Limewire ('Tylenol'!). Owners of 'Sha Sha (Deluxe)' will surely want to add this to the collection. 

TRACK LISTING

1. I Need You Back
2. Hospital Bed
3. My Apartment
4. On My Way
5. The Rules
6. Down
7. Living Life
8. Ann Disaster
9. Believer
10. Hear Me Out
11. Different But The Same
12. I Quit
13. Tylenol
14. Hospital Bed (Acoustic Demo)
15. Hear Me Out (Rehearsal)
16. Can't Help Falling In Love With You
17. The Rules (Acoustic Demo)
18. On My Way (Demo)
19. Earth Destroyer
20. Something Sweet
21. Rock of Ages
22. Different But The Same (Radish Demo)
23. Down (Acoustic Demo)

On 'Don’t Be Funny Without Me', Le Ren tells us, “I love the man I wanted to be,” as a matter of tender fact. She is funny while devastating, self-aware and a little self-deceiving. Across the record, she holds those contradictions close: shameless and ashamed, honest but still searching for a version of the truth that hurts a little less.

'Don't Be Funny With Me' is an album about love, jealousy, and the uneasy ways the two often intertwine. After touring the world opening for artists like Jeff Tweedy, Devendra Banhart and Men I Trust, Le Ren decided to return to Canada to make 'Don't Be Funny With Me'. Recorded in Mountain Grove, Ontario, the album is self-produced alongside old friends Fez Gielen and Jonas Bonetta. Le Ren’s lyrics are imbued with that northern endurance, like watching the sunset fade behind the cracked asphalt on avenue du Parc, or from the parking lot of your favourite On Route.

Where 'Leftovers' was unadorned, evocative in its simplicity, 'Don't Be Funny With Me' presents a fuller sound— fiddles, drums, layers of harmony. Powerfully capturing Le Ren’s musical evolution, 'Don't Be Funny With Me' is more expansive, more experienced, and more earnest, representing the artist’s claim to the fuller, wisened life she has earned. Le Ren’s signature angelic vocals are newly complemented by a full band. With driving lead guitar and multiple vocals woven into rich harmony, the record feels like the lovechild of an 80s-era Emmylou Harris and the indignant Gillian Welch of her 'Time (The Revelator)' years. Aching and intoxicating, 'Don’t Be Funny Without Me' is a post-breakup road trip with your best friend: no fixed destination, a trunk full of baggage (literal and figurative) and mottled sunlight warming your face through the car window.

TRACK LISTING

1. A Song Can Love You Back
2. Free Wheeling
3. Going Through the Motions
4. Gold In California
5. Every Age
6. Otherwise, I'm Fine
7. Die Inside
8. Eternally
9. Don't Be Funny Without Me
10. Epilogue

PAPV006 delivers a refined blend of groove-led cuts primed for deep dancefloor moments. Max Kion opens the A-side with 'Revival', a warm, rolling track that builds momentum through subtle progression and soulful energy. On the B-side, the MYOB Rework of Groove P's 'Are They Real' injects a fresh, driving twist into the original, layering hypnotic rhythms with a crisp, modern edge. Closing the release, 'He's Mine' leans into deeper textures and late-night moods, rounding out the record with confidence and style. PAPV006 stands as a versatile addition for selectors seeking depth, movement, and understated power.

TRACK LISTING

Max Kion - Revival
Groove P - Are They Real (MYOB Rework)
Groove P - He’s Mine

In 2026, Horse Feathers’ debut album, 'Words Are Dead', celebrates its 20th anniversary with a deluxe reissue that is completely remastered and pressed on an exclusive vinyl color. It also includes a replica of their original six-song demo CD in the package, along with a deluxe foil-stamped LP jacket.

In the years following 'Words Are Dead', Horse Feathers quietly built a body of work defined by patience and evolution rather than reinvention. Records like 'House With No Home', 'Thistled Spring', and 'Cynic’s New Year' expanded their sonic palette without abandoning the restraint that first set them apart.

By the time of 'Appreciation', the band had begun to open its sound outward, introducing richer arrangements and a subtle warmth that suggested growth without rupture. Through it all, Ringle remained a steady center, writing songs that favored emotional precision over spectacle. The reissue of 'Words Are Dead' does not attempt to rewrite that history. Instead, it brings the origin point back into focus, offering a rare chance to hear where it all began while recognizing how far the project has traveled since. Revisiting the album now, with two decades of distance, reveals not just a beginning but a foundation. The same careful interplay, the same attention to space and tone, still anchors the band’s work today. In that sense, the reissue feels less like a retrospective and more like a continuation. A reminder that some records do not age so much as they wait for the right moment to be heard again.

TRACK LISTING

1. Hardwood Pews
2. Finch On Saturday
3. Dustbowl
4. Blood On The Snow
5. Honest Doubters
6. In Our Blood
7. Untitled
8. Falling Through The Roof
9. Like Lavender
10. Walking & Running
11. Eyes Full Of Rose
12. Mother's Sick

Bonus CD:
1. Hardwood Pews (demo)
2. Dustbowl (demo)
3. Walking & Running (demo)
4. Finch On Saturday (demo)
5. Like Lavender (demo)
6. Eyes Full Of Rose (demo)

'This Mirror Weighs a Ton' finds Interpol turning inward while continuing to move forward. Across the record, reflection, distortion and perception become a lens through which familiar shapes are refracted into something slightly alien, as if seen through a different kind of light. Synthesizers, strings, acoustic guitars and percussion are integrated into the fabric of the songs, expanding the palette while revealing colors already latent within it. Nothing feels imposed. Instead, the additions deepen the band’s language of restraint, atmosphere and tension. The result is an album that feels expansive, uncanny and alive with forward motion, not a reinvention but an evolution that allows Interpol to continue transforming without losing their identity.

TRACK LISTING

1. This Mirror Weighs a Ton
2. See Out Loud
3. Iron City
4. Wounded Soldier
5. Wings On Fire
6. Ever the Actor
7. So Rides the Reindeer
8. Darling Thoughts
9. Wake Up
10. Enemy
11. Bird and The Serpent
12. Sudden

'The Will of Tongues' is the new studio album by Sarah Davachi, and it is certainly her most ambitious to date, spanning over two hours, available as a triple vinyl set, or double compact disc in hardback book style packaging. The album features five new works for historical pipe organs, three choral pieces, a suite of "interludes" for various microtonal ensembles, and a longform chamber piece for strings, organ, and tape. In addition to Davachi performing on organ, the album also features an incredible group of musicians from across the US and Europe, including Whitney Johnson (viola), Eyvind Kang (viola), Lucy Railton (cello), Diapason (an experimental brass ensemble from Los Angeles), Phaedrus (a Renaissance flute consort from Switzerland), and Chamber Choir Ireland.

The album engages several different compositional methods and concepts, all rooted in the minimalist tradition from which Davachi primarily operates, but underscoring 'The Will of Tongues' as a combined body of work is a deep reverence for the act of listening. This collection of music is not easy listening, and it's not meant to be – when long durations and a reduction of materials are at play, the ear and mind are forced to confront sound itself and the significant mental spaces that it continually gives rise to. 'The Will of Tongues' is thus a celebration of iterative listening and of extreme confrontation, of intimate aural experience and its vast psychic horizons. 

TRACK LISTING

1. Interlude I: Polyphonic, for Strings
2. Canto Duo
3. Songs of the Smile's Fig: I. Hours
4. Interlude V: Harmonic, for Woodwinds
5. The Second Tuning
6. The Rose Dialogues, Part I
7. The Rose Dialogues, Part II
8. Songs of the Smile's Fig: II. Salts
9. Four Narrow Forms
10. Interlude II: Unison, for Brass
11. The First Tuning
12. 6 Songs of the Smile's Fig: III. Follies
13. Canto Solo

'Piano Works 2016-2026' collects fourteen impromptu pieces by composer and producer John Carroll Kirby, written whenever he had the opportunity to sit at a piano while on the road.

These mostly solo works for piano were recorded in Los Angeles, Rome, Tokyo, Wollongong (Australia), rural New Zealand and London.

'Piano Works 2016-2026' marks a departure from the full-band sound of recent albums Blowout and Septet, which Kirby has spent the past years performing live around the world. The album is a study in piano repertoire: Baroque, Romantic, Impressionist, jazz, minimalist, atonal, and more. Most of the pieces have an impromptu feel – improvised, or meant to sound improvised, or at least written in one sitting.

The collected pieces on 'Piano Works 2016-2026' are a document of Kirby’s life as a piano player and touring musician, and “serve as the melodic / harmonic lexicon for what would inform all my other compositions of the past ten years.”

TRACK LISTING

1. MS4
2. First Position 1
3. First Position 2
4. Bendable Pine
5. Melody
6. Cecilia 14
7. Piano #4
8. Little Mouse
9. Impromptu
10. Empty Room
11. Suntory
12. Valentino
13. Rain Walking

The Chicago trio of Black Duck is a natural fit for collaboration with acclaimed Basque musician Elena Setién. Black Duck’s bassist/guitarist Douglas McCombs, guitarist Bill MacKay and drummer Charles Rumback have been lauded for their adaptability as live performers and collaborators for decades, performing in countless ensembles from Tortoise to Brokeback to collaborations with Ryley Walker, Bill Callahan, James Singleton and many more. Setién honed her improvisational skills in duo Little Red Suitcase before going on to collaborate with the likes of Steve Gunn, Mary Lattimore, and Glenn Kotche (Wilco) to name a few. Black Duck and Elena Setién’s combined preternatural ability to converse at the boundaries of improvisation and composition makes for fertile ground in which every subtle gesture carries weight.

On their debut, self-titled collaborative release, Black Duck and Elena Setién alchemize the ease of their live chemistry and their wealth of experience into a refined menagerie. The quartet first played together in early 2025 having only just met, trading off sitting in on each other’s sets on a run of shows throughout Spain. Recorded just a few months later in Chicago at Palisade with Nick Broste after only a few hours of rehearsal, the record embraces the spontaneity of those performances. The freewheeling compositions take on added layers of depth with skillfully layered overdubs. The album perfectly balances the openness and core electric energy shared between each musician in the room and sumptuous, detailed arrangements.

Together, Black Duck and Elena Setién sounds like a singular unit and four powerhouses all at once. Their collective compositional acumen makes for an exquisite diversity of sounds and movements that all cohere into a singular album only they could make. A gem of collective work, the record is the sound of a quartet of masters of their craft moving in tandem.

TRACK LISTING

1. Explain
2. Land Of The Many Eyes
3. Sunshine Unlimited
4. I Am On The Other Side
5. Connects By Water
6. Funeral In My Brain
7. Behind The Door
8. War Zone
9. Cactus Mirror
10. Duck Walk

Fleetwood Mac’s iconic multi-platinum Greatest Hits now available as a deluxe edition, including some key tracks that were not on the original 1988 release.

This is a go-to compilation for the classic lineup of Fleetwood Mac ahead of their upcoming documentary.

TRACK LISTING

1. Rhiannon
2. Don’t Stop
3. Go Your Own Way
4. Hold Me
5. Everywhere
6. Gypsy
7. As Long As You Follow
8. Say You Love Me
9. Dreams
10. Little Lies
11. Sara
12. Tusk
13. No Questions Asked
14. Landslide
15. Big Love
16. Over My Head
17. Oh Diane
18. You Make Loving Fun
19. The Chain
20. Think About Me
21. Seven Wonders
22. Never Going Back Again
23. Silver Springs (Live)

Some of the stories featured in this stunning 176-page, matt-laminated, hard-back book have previously only been available to readers of the Tales From The Wedding Present comic book series. This new collected edition comes with over 137 pages of never-before-seen additional material and an introduction by Will Potter from the band CUD.

David writes the Tales From The Wedding Present narrative together with long-time musical associate Terry de Castro, and then the stories are illustrated by virtuoso artist Lee Thacker.

What Have I Said Now? is presented in chronological order; it charts the inexorable rise of The Wedding Present as they sign to RCA Records, release the hit albums Bizarro and Seamonsters, tour North America, appear on Top Of The Pops and meet people as diverse as Steve Albini and Status Quo. On the way, we also learn about some of the romantic experiences that may have informed David’s writing.

What Have I Said Now? will be launched at the At The Edge Of The Sea festival in Brighton on 7 August. This will be followed by a Tales From The Wedding Present concert tour of seated venues in Great Britain which will also feature Darren Hayman (Hefner).

WRWTFWW Records is very excited to announce the first ever release for the Cyberpunk 2077: Future Sound of Night City soundtrack - atmospheric music from one of the most celebrated video games of the decade! The compilation, showcasing a who’s who of Polish electronic underground, is available as a limited edition 45rpm-cut yellow vinyl 3LP in heavyweight 3-panel gatefold with a sticker sheet. The album is also available on CD with super jewel case, and in digital formats.

Dive deep into the pulsating world of Cyberpunk 2077 with an immersive soundscape perfectly capturing the gritty and neon-soaked streets of Night City. Curated by Rafał Grobel and Wojtek Sokół of Most Records, the epic 15-track compilation features a diverse offering of electrifying Polish beats, cohesively flowing between techno, ambient, synthwave, bass music, industrial, and IDM. Ominous, powerful, evocative, and filled with futuristic nostalgia, the music of Night City is a thrill ride in a dystopian urban landscape, heavy hearts riding through the night, menacing streets surrounded by infinite skyscrapers. The music transports you, soul-stirring, cinematic, and timeless, the most beautiful kind of escapism.

The award-winning Cyberpunk 2077 action role-playing game was developed by CD Projekt Red and published in 2020 and has since become one of the most recognized and best selling video games of all time. With a cast including Keanu Reeves and Idris Elba, unmistakable visuals, music, and atmosphere, CP77 has earned a spot in the pantheon of 2020s pop culture.

TRACK LISTING

A1. Lutto Lento - CANNIBALISMUS
A2. Chino - Miami Suicide
A3. Hatti Vatti - Ashes and Diamonds
B1. Private Press - La canopée
B2. Earth Trax - The Other Room
B3. SLG - Lithium
C1. Poly Face - Me Machine
C2. FOQL - Ice Maddox
D1. Private Press - Retrogenesis
D2. Earth Trax - Blurred
E1. Mchy i Porosty – Chodze
E2. Eltron - La Stessa Causa
E3. Poly Face - Move Dat
F1. Private Press - Across the Floor
F2. Earth Trax - Midnight Eye

Ceremony made their Relapse Records debut with their highly ambitious album, 'In the Spirit World Now'! The album saw Ceremony at the height of their creative output, as the always-evolving Rohnert Park quintet take various influences from post punk and rock to create one of their most compelling and infectious records.

'In the Spirit World Now' is full of layered sonic fury and anxiety, each song building up to a point and then descending down through a militant, catchy hook. 'Turn Away the Bad Thing' sets the tone, guitars climbing around the driving bass line, as Ross Farrar sings, “It’s getting harder for me to be alright/Eyes adjusting to the dark/The momentum of all these last resorts built inside of me.”

Songs like 'Presaging the End' and 'Calming Water' feel romantic and distressed, while 'Further I Was' and 'Years of Love' are driven by Farrar’s rebellious energy as he repeats the hook with a deadpan realness. “Years of love can be forgotten/In the hatred of a day.” But the true stand-out is the title track, 'In the Spirit World Now', a haunting pop gem with a sticky chorus and lead synth riff that plants itself in your head as Farrar chants the track’s name over and over like a mantra.

'In the Spirit World Now' is a sort of nebulous and ectoplasmic place where things may not be quite what they seem,” he says. “It means sh*t is about to get weird.” The album marked a milestone for this Northern California punk outfit who have always stayed true to themselves as songwriters throughout massive sonic growth throughout their storied career.

TRACK LISTING

1. Turn Away The Bad Thing
2. In The Spirit World Now
3. Further I Was
4. /
5. Presaging The End
6. Say Goodbye To Them
7. We Can Be Free
8. //
9. Years Of Love
10. Never Gonna Die Now
11. I Want More
12. From Another Age
13. ///
14. Calming Water

'Leap Life' is Saul Williams’ first solo album in over 10 years and marks a major return for one of the most influential voices in spoken word and experimental music. Named after Saul’s leap year birthday, the project has been carefully sequenced by composer and producer Carlos Niño as a fully immersive, front-to-back listening experience.

The album expands Saul’s sound into electronic and ambient territories while remaining rooted in spoken word, with rich sound design built from nature recordings, environmental textures, and expansive instrumentation. It also sees Saul step further into the role of producer, drawing influence from Fela Kuti, Black church traditions, and South African electronic music.

The record features a standout cast of collaborators including Kamasi Washington, Georgia Anne Muldrow, Moor Mother, Gonjasufi, and Surya Botofasina, alongside material developed with Robert Del Naja (Massive Attack). Released via Big Dada, the album marks a full-circle moment with the label where Saul originally launched his solo career.

TRACK LISTING

1. Baobab Constellation
2. Mazahua
3. I Think I Get It Now
4. Great, Great-Grandmother
5. The Dagger
6. Controlled Is Not Controllable
7. 13 Moons
8. Une Photographie (feat. Anisia Uzeyman)
9. Not Everything For Sale
10. Robot Slave
11. Conspiracy
12. Vengeful Spirit
13. Friends I Ain't Met Yet
14. Coming Forth
15. Leap Life

Player’s 'Baby Come Back' remains one of the defining yacht rock classics of the late 1970s and a fan favorite among collectors and vinyl enthusiasts. This 7" reissue celebrates the Billboard Hot 100 No. 1 hit in its original format and features an all-analogue cut, delivering the warmth and fidelity that audiophiles and dedicated fans value. Showcasing the smooth harmonies, polished West Coast production, and timeless songwriting that made the track an enduring staple of classic rock and yacht rock playlists, this release is a natural fit for collectors while appealing to a new generation discovering the genre. With continued cultural relevance through streaming, radio, and sync usage, 'Baby Come Back' remains one of the most beloved entries in the yacht rock canon.

This will be branded as a Thousand Club 7” Record. The audio is being cut from the album master tapes.

Every 7” vinyl is housed in premium packaging and individual foil numbered from 1-1000.

TRACK LISTING

1. Baby Come Back
2. Love Is Where You Find It

For any other artist, an album like Asher White’s Love Aggregates might come out of a conscious push to treat no idea as off-limits, to make something bold and new. Jubilant art-funk about cocaine addiction—absolutely. Swooning orchestral pop about Jerry Garcia—why not? Rippling electronic noise, jazzy brushed drums, an elderly motorcyclist with dementia, a profoundly emotional bass solo—put them all in one song. There are threadbare folk tunes, glammed-up power-pop bangers, “Sir Duke” horn charts, Morton Feldman string arrangements, layers of guitar feedback like violins made of liquid chrome. Yes, for another artist, Love Aggregates might be the most adventurous album in their catalog. For Asher White, it’s what passes for settling down.

White is 25 years old and has been making records—writing, recording, producing, and playing almost everything herself—for over a decade. She’d released two dozen of them on Bandcamp before catching the indie-rock industry’s attention with 2024’s Home Constellation Study and last year’s 8 Tips for Full Catastrophe Living. The latter album’s dizzy eclecticism and formidable craft landed her on Rolling Stone’s Future 25 list with the likes of xaviersobased and Oklou, along with a slew of other accolades. That came as something of a surprise to White, who didn’t craft the chaotic 8 Tips with a breakthrough in mind. Love Aggregates feels like a chance, for one of the most thrilling musical talents of her generation, at a more deliberate introduction.

She wrote and recorded her new album while her previous one was gathering
momentum, tinkering in the DIY recording studio where she always works, acutely conscious now that people would be listening to whatever she came up with. At around the same time, her years-long romantic relationship ended in a flurry of betrayal and addiction, her first experience of devastating heartbreak. Even so, Love Aggregates is not a bitter album about wallowing or seething, but instead making use of those impulses as raw materials in work that transcends the specificity of its origins, fashioning them into something surprising and new.

TRACK LISTING

A
1. Reverie for work
2. My day at the casino
3. Memory patient (Motor Cycle Angel)
4. White Castle sad
5. Nightingale Version (Sailor's Moon)
B
6. Jerryboy
7. The eagle is no omen
8. Health techniques
9. Atoll
10. Stage Diva
11. Come 2

Bristol’s Friendly Records mark 10 years with a special compilation in aid of War Child - raising vital funds for children affected by conflict.

The record brings together standout tracks from recent Friendly Records 7” releases supporting War Child, featuring Portishead, PJ Harvey, IDLES, Sleaford Mods, Hot Chip, Beak and more!

Also includes tracks from Friendly Recordings releases by Christian Madden And The Enemy Chorus, Floating World Pictures, Nick Craft, Claude Cooper & Brain Fog and ZEE.

Exclusive artwork by David Shrigley.

Every purchase will help War Child UK protect, educate and stand up for the rights of children living through war. 

TRACK LISTING

1. Claude Cooper - Tangerine Dreams
2. Nick Craft - Dance In The Fire
3. IDLES - Grace (Terry Remix)
4. PJ Harvey - The Glorious Land (Live)
5. Floating World Pictures - Salt-wind Rises At The Waterfront Promenade
6. Beak> - Stuck In The Way
7. Christian Madden & The Enemy Chrous - Our Living Breath
8. The Jimi Entley Sound - Charlie's Theme
9. Sleadford Mods x Hot Chip - Nom Nom Nom
10. ZEE - Endlessly
11. Portishead - SOS
12. Claude Cooper & Brain Fog - On The Loose 

On 28th of August art-rock and soul inspired singer & songwriter WARBY is to finally release his much anticipated debut album ‘Mystic Powers’. That same day he will also play his first solo show.

Having spent a lifetime encouraging others to tour and record, WARBY is steeped in music and live touring, has run indie labels, recorded with the group R.O.C, occasionally performing live; but has never released or performed any of his own songs before now.

"I was always going to sing, be a musician” says WARBY “like my Dad, but in my early twenties I was pulled further and further into the business of live music by a succession of phenomenal artists. I continued writing on and off for years, but as the thrills and spills of working with other musicians and my concert booking role expanded I could never truly find enough time to develop my ideas fully.”

In 2020 as the world shut down and touring ground to a halt, a seemingly permanently busy WARBY suddenly found that he had the luxury of time on his hands. He began to work on writing songs, recording home demos of himself singing, playing guitar, bass and keyboards over programmed drums, and it soon became clear that a substantial amount of ideas and music now existed.

"When it came to the writing and recording of these songs…well, what started as a relatively gentle sensation, become more insistent until it was hammering at my very being. I had no choice other than to get them down."

Going into and coming out of covid proved to be very challenging times; the loss of close family and friends coupled with great stress over returning to ’normal’ life. It during this time WARBY experienced a personal revelation and the themes of ‘Mystic Powers’ explore that. "One strong theme was how life may propel you down one path rather than another, I then questioned what would happen if you had taken or took a different decision. I had this idea of a soft-determinism, where your life is mostly mapped out for you, but you have some small degree of choice. I’ve also looked hard into fear and loss and what might be available to help those in pain."

One piece of unexpected salvation was offered by an unplanned visit to Birmingham Cathedral. An anxious WARBY briefly took refuge here one afternoon during a period of great turmoil. "I was gazing at the Byrne-Jones stained glass windows and was especially drawn to one called the ‘Ascension’ window. On my way out I bought a postcard of a detail of the window, a hand of benediction. I couldn’t believe how contemporary it looked, in fact it turned out that the postcard came from a painting of sections of the windows made by a local artist when the windows had been restored.”

WARBY instantly knew that this image was the front cover of his as yet unrecorded album and a seemingly divine metaphor for the record; even parallel lines meet in the end. “It perfectly expressed powers that were being offered to me, that substance of which might be passed on in song. The best way to resolve my problems wasn’t to hold onto them, keep them in, or to try and think my way through them. I needed to let them go."

‘Mystic Powers’ was produced by James Knight, who gave WARBY space to work up the arrangements in his studio located in a roomy basement in Stoke Newington.
WARBY called upon his friends Mal Troon (Jim Jones, Sea Power) on lead guitar and Patrick Nicholson (R.O.C, Mark Eitzel) on piano and and the tight rhythm section of Adam Betts (Pulp, Dave Gilmour) on drums and Dan Drury (Jarvis Cocker, James Taylor Quartet) on bass.

Prior to recording, WARBY played James and the band a selection of songs to inspire them including Harry Nilsson, The Isley Brothers, Gene Clark and The Stylistics and together they recorded the 13 songs that make up the album.

TRACK LISTING

1. For All To See
2. Struggles & Resolutions
3. Forsaken
4. Venetian Columns
5. Your Arms Wrapped Around Me
6. Quincy
7. Goldfinch
8. Gold Crown

Heavily influenced by the Ramones - the band opened their first live show with 'Blitzkrieg Bop' and from then on opened with a new Ramones song every time they played, working through the band's complete catalogue in chronological order - as all manner of hyper-melodic and high energy rock. The Eastern Dark were a classic trio powered by former Celibate Rifles bassplayer James Darroch's blazing guitar and anchored by former Lime Spiders backing vocalist Bill Gibson's hard driving and melodic bass playing (and supreme backing vocals) and Geoff Milne's untouchable beat keeping. They set Sydney's Radio Birdman influenced scene alight in 1984 and quickly built an international following on the back of their classic single. Sadly, just hours after completing what would become their next release - the mini-LP "Long Live the New Flesh" - the band's life, and that of 26-year old James Darroch, was brutally ended in a road accident whilst the band was on its way to Melbourne.

On the back of the tragedy, the band's music lived on and it's global impact was reflected in the influence it bore on numerous bands, from Boston's the Lemoneads to Tokyo's Teengenenete, and obviously a succession of Australian bands from the Hard-Ons through to God and the Meanies and beyond.

After years of searching, surviving members Bill Gibson and Geoff Milne recently found the single's original multi-track tapes, and for the new release, the original recordings have been both remixed and remastered for maximum impact under their supervision.

TRACK LISTING

1. Johnny And Dee Dee
2. Julie Is A Junkie

The Linda Lindas are a Los Angeles based, punk band whose songs channel classic punk and power pop through a Gen-Z lens. Since forming in 2018 when sisters Mila, Eloise, and Lucia joined their cousin Bela for a one-off Girlschool LA set, they’ve evolved from local favorites into a globally recognized act. They’ve collaborated and performed with Paramore and have been featured in outlets including Pitchfork, The New York Times, and Rolling Stone. With each member writing and singing, The Linda Lindas bring together politics, youth, vulnerability, and energy, solidifying their status as one of the most exciting new voices in contemporary punk music.

The Linda Lindas’ third album, 'Gotta Get Out', captures the urgent, restless energy of breaking free to discover a bold, new identity. The record evolves their signature Gen-Z punk grit with adventurous synth textures and anthemic, sing-along grooves. 'Gotta Get Out' is the definitive statement from a band fully coming into their own, showcasing the most ambitious and wide-ranging sound of their career.

TRACK LISTING

1. Gotta Get Out
2. Burning Out
3. Helado de Limón
4. Blood On Our Hands
5. Closer
6. Nothing Left
7. High Horse
8. Break
9. I Could Be Wrong
10. Everybody Told Me
11. Okay
12. See You Next Time

A reclamation of rock'n'roll for the Black artists who tore up and re-wrote its rules, by musician, arts and culture journalist and die-hard alternative music superfan, Stephanie Phillips. We Were Here promises to rip up our received history of rock 'n' roll and alternative music and repopulate it with the extraordinary Black artists and influential figures who truly steered its course from the 1930s to the present day, including vital figures Sister Rosetta Tharpe, Little Richard, Jimi Hendrix, Tina Turner, Betty Davis, Poly Styrene, Bad Brains and beyond. As well as reflecting on why Black people have continued to be drawn to alternative music despite their ongoing ostracization from it by the white mainstream industry, Phillips argues that there would be no alternative music without Black artists, and that its future lies in the hands of Gen Z Black musicians experimenting with the boundaries of what punk, metal, hardcore and indie could be.

Wooden Shjips' rise to prominence from the psychedelic underground to the rock and roll overground was a steady sojourn. With each consecutive release, the band has found new ways of transforming heady psychedelic rock into minimalist masterpieces, bridging the gap between the woozy freeness of Les Rallizes Denudes and Crazy Horse and the tightly wound simplicity of Suicide and the Velvet Underground.

TRACK LISTING

1. Back To Land
2. Ruins
3. Ghouls
4. These Shadows
5. In the Roses
6. Other Stars
7. Servents
8. Everybody Knows

In an age of algorithms, Westside Cowboy are pure-spirited proof of the magic that can only come from human connection. Just three years on from forming in Manchester, starting a band for the fun of it without so much as a plan to even play a gig, the quartet - Jimmy Bradbury (vocals, guitar), Reuben Haycocks (vocals, guitar), Aoife Anson O'Connell (vocals, bass) and Paddy Murphy (drums) - have crafted perhaps the year’s most exciting debut by simply figuring out what feels good, and following it into the horizon.

There’s no computer that could make 'It Goes On'. No formula to creating the joyous whack of emotion that comes from these four mates pooling their ideas and watching them fly. “If you go in with a preconceived notion of what you're doing, it’s sort of destined to fail because you’re not truly being yourself,” suggests Aoife. “So because we didn’t think we were gonna [do any of this] at the beginning, all we were thinking was: ‘What’s going to be the most enjoyable thing to play right now?’"

Aoife, Reuben and Paddy all knew each other from the Royal Northern College of Music; Jimmy and Paddy had played in a band together a few years previously. When they decided to sit in a practice room as a quartet for the first time, there was only one rule for what would follow. “We just wanted to make simple music. I think the reason there was such chemistry - and when we look back, even after two weeks we were really working well together - is because it was such a simple statement of intent,” recalls Reuben. “Any time we’d disagree on something - which was very rare - we’d just consult the original mission statement: if you’ve got too many chords in it, you’re wrong.”

A purposeful reaction against the “more abstract” styles they’d individually been dallying with before, Westside Cowboy swiftly became a place for concise, straight-hitting ideas influenced by “early rock’n’roll: Lonnie Donegan, The Beatles and The Velvet Underground,” says Paddy. Jimmy remembers spending the bulk of 2023 playing the first five songs of an Elvis Presley album on repeat. “When we started the band, people would ask who was in it and we’d be like, ‘We got this guy who works in a guitar shop, only listens to Elvis and dresses like Marty McFly - you know, that guy!’” Aoife laughs.

If these were the solid early seeds of Westside Cowboy, then the biggest thing that’s shaped them into the exploratory, melodically robust band they are now, has been their own journey. When they did start playing gigs (their first two shows were at a coffee shop, and for an animal rights charity), they found that their songs were being stretched and pushed forward in real time. Paddy notes that the true crux of It Goes On’s propulsive, heady opening track ‘Kick Stones (The Boys)’ is “as much about how we made it as the lyrics”.

“We loved the way it felt to play, but we thought we couldn’t record it like that or people would think we wanted to be a stadium rock band,” Aoife jokes. Instead, they translated it through their own lens, using a live recording of The Velvet Underground’s ‘What Goes On’ as their primary reference point. “We always thought, if we can pull this off it could be really fun,” Paddy grins. “Taking this mad, ‘70s rock thing but then having it played by a bunch of scrawny kids.” Since those first shows, Westside Cowboy have found themselves notching up an increasingly wild list of live milestones. Last year, they won Glastonbury’s prestigious Emerging Talent Competition, leading them to an opening slot on the televised Woodsies Stage. Since then, they’ve toured with Black Country, New Road and Geese while, later this year, they’ll play their biggest headline gigs to date, including stop offs at London’s O2 Kentish Town Forum and Manchester’s Albert Hall. Winning the Glastonbury slot, says Reuben, felt like “the first moment that we realised we really were a band”. Now, with the making of 'It Goes On', Westside Cowboy have underlined exactly what kind of band they want to be.

Recorded with producer Loren Humphrey (Geese, Cameron Winter, Wunderhorse) at Greenmount Studios in Leeds over a period that saw them thinking on their feet and remodelling their production into an even more directly energetic new form, there’s an urgency of feeling to 'It Goes On' that could only ever really happen with a young group’s debut record. “First albums are often my favourites because you can tell there’s a point to prove. You’re firing on all cylinders because you know that this may never happen again,” says Paddy. “You’re trying to create these big feelings, but all you have with you to string it together is a pencil and a Pritt Stick.”

Big feelings are at the heart of the matter: these are songs that aim to distill the confusion, desperation and blind hope of youth into eleven tracks that hit you in the chest. Westside Cowboy describe it as ‘the yank’. “There’s a major key, triumphant sound to some music - like the first Arcade Fire album, or ‘Someone Great’ by LCD Soundsystem - where there’s a persistence that’s contemporary and energetic, but also a simplicity,” Paddy continues. “It’s as though someone is shoving emotion into it in a way that feels like it’s reverberating,” Aoife nods. The lyrics across Westside Cowboy’s debut might often be up for interpretation, but the emotion that pours out of them is clear. On ‘Well Done Kid, You Did It’ they address the confusion of trying to make your way in a broken and terrifying world with the same cathartic forward motion of its central idea: that sometimes, all you can do is try your best. The rousing ‘Pin Up Boys’, explains Reuben, became “heavier and more aggro” every time they played it live; a mirror to its preoccupations with the struggles of self control. Meanwhile, though ‘Worried Age’ might wear its fears in its title, there’s a sense of defiance and resistance to its steadily escalating sonic scale that feels like strength. By the track’s raucous, screaming crescendo, the only answer is to come together and dance it out.

In a time of terrifying division and conflict, Westside Cowboy always try to focus on what unites us. Early on in the group’s life, they co-created No Band Is An Island: a Manchester-based collective putting on fundraising nights to spotlight both local artists and important issues via speakers from charities and direct action groups.I think we wanted to engage with politics in a way that felt more impactful beyond the music,” notes Aoife. In their current video for ‘Kick Stones (The Boys)’, they called upon the skills of FC United: a splinter team that started when Man United were sold to an American corporation. “They’re very community minded and they have a similar atmosphere to what we want to be,” says Reuben. “Their ethos is ‘making friends not millionaires’.”

'It Goes On' ends with ‘You Could Have Died There On The Dancefloor’: a track that the quartet purposefully wanted to leave as the record’s parting note. It’s a wide-eyed, open-hearted ellipsis that cuts to the core of everything that’s come before; the final air punch in the name of hope. “The final lyric is ‘I am everything but perfect / But I’m trying, so please keep me around,” smiles Reuben. “And that’s the spirit of Westside Cowboy.”

TRACK LISTING

1. Kick Stones (The Boys)
2. Paper Chains
3. Dobro
4. Well Done Kid, You Did It
5. Worried Age
6. Big Wheels
7. Pin Up Boys
8. Coyote
9. Patchwork
10. Take My Leaving As I Love You
11. You Could Have Died There On The Dancefloor

Brand new studio album from iconic Ohio rock band The Afghan Whigs. Featuring 10 new songs that feature the band iconic of soulful gritty rock, with frontman Greg Dulli’s vocals sounded as emotive and unique as ever.

'Soft Control' features singles 'House Of I' and 'Duvateen' and comes as the band celebrate their 40th year.

TRACK LISTING

1. Jungle Roux
2. House Of I
3. Duvateen
4. My Lover
5. The Deepest of the Darkest Shadow
6. Mariah Luster
7. Memphis, Texas
8.77
9. Loose Talk
10. A Simulation

The highly acclaimed U.K. post-punk band Joy Division was originally called Warsaw. Formed in Manchester, England in the late 1970s, the group consisted of Ian Curtis on vocals, Bernard Albrecht (aka Sumner, aka Dicken) on guitar, Peter Hook on bass and Stephen Morris on drums. Hook, Albrecht and Curtis hooked up at a local concert and later formed the group Warsaw. The band’s name was taken from a David Bowie-Brian Eno composition, “Warszawa”. The 5 bonus tracks on this album are demos cut by the group at Pennine Studios in Manchester on July 18, 1977 with Steve Brotherdale on drums. The first eleven tracks presented here were the result of a recording session for that album that took place in early May of 1978. Rehearsals leading up to the session resulted in two new songs being added to the group’s existing repertoire: “Interzone” and “Transmission.” “Interzone” was based on the backing track of the song “Keep On Keepin’ On,” to which the band added their own lyrics.

STAFF COMMENTS

Martin says: Joy Division were born The Stiff Kittens before changing their name to Warsaw, only finally becoming Joy Division to avoid a name clash with long forgotten London punk outfit Warsaw Pakt. Inspired by the legendary Sex Pistols gig that pretty much single handedly launched the Manchester music scene, they had always wanted a punkier sound and "Warsaw" was the 1978 debut intended to showcase that; a raw, aggressive salvo that really should have seen the light of day. It was Martin Hannett - somewhat against the band's wishes - who introduced the bleak beauty we associate with Joy Division, but there are still some pretty broad hints here of what was to come.

TRACK LISTING

Side A:
The Drawback
Leaders of Men
They Walked in Line
Failures
Novelty
No Love Lost
Transmission
Living in the Ice Age

Side B
Interzone
Warsaw
Shadowplay
As You Said
Inside the Line (Bonus Track)
Gutz (Bonus Track)
At A Later Date (Bonus Track)
The Kill (Bonus Track)
You’re No Good For Me (Bonus Track)

First legitimate re-issue of DJ Shadow's 'Mo’Wax' singles in decades. Eight piece vinyl set containing several hours of music and Half-Speed Remastered at Abbey Road by Miles Showell. Numerous previously unreleased mixes & edits and contains extra bonus disc containing original demos of 4 songs. Featuring all-new photography by long-time Shadow collaborator Brian Cross (B+).

"This box wasn’t made for the casual listener, it was made with the hardcore fan in mind. I’ve always felt, if something is worth doing, it’s worth doing right, and every step of the process was made with this philosophy firmly in mind. I had fun locating and resurrecting these songs, some of which still feel close to my consciousness as though they were made yesterday.”
- DJ Shadow

TRACK LISTING

In/Flux:
1.  In/Flux
2. Hindsight

Lost And Found (S.F.L.):
1. Lost And Found (S.F.L.)
2. Hardcore (Instrumental) Hip-Hop
3. Last Stop

What Does Your Soul Look Like:
1. What Does Your Soul Look Like (Part 2- Original Standalone Version)
2. What Does Your Soul Look Like (Part 3- Original Standalone Version)
3. What Does Your Soul Look Like (Part 4- Original Standalone Version)
4. What Does Your Soul Look Like (Part 1-Original Standalone Version)

Midnight In A Perfect World (U.K. Version):
1. Midnight In A Perfect World (Radio Vision)
2. Midnight In A Perfect World (Gab Mix)
3.  Midnight In A Perfect World (Extended Vision)
4.  Mutual Slump (Album Version)

Stem:
1. Stem (Cops 'N' Robbers)
2. Red Bus Needs To Leave!
3. Stem/Long Stem (Earlier Version)
4. Soup

High Noon:
1. Hypnotist Intro
2. High Noon (Alternative Mix)
3. Devil's Advocate (Alternative Version)
4. Organ Donor (Extended Overhaul- Original Version)

Camel Bobsled Race:
1. Camel Bobsled Race (Original Unedited Version) (Part 1)
2. Camel Bobsled Race (Original Unedited Version) (Part 2)

Bonus Disc For This Box Set:
1. In/Flux (First Ever MPC Version)
2. Lost And Found (S.F.L.) (First Ever MPC Version)
3. What Does Your Soul Look Like (Part 2- First Ever MPC Version)
4. What Does Your Soul Look Like (Part 4- First Ever MPC Version)

Finn Wolfhard's 'Fire From The Hip' represents a definitive "hi-fi" evolution, moving from the raw, 16mm-aesthetic of his debut record, 'Happy Birthday', to a broader, 35mm-fidelity sound. Inspired by pivotal rock albums like 'Exile on Main Street' and 'Beggars Banquet', Finn leans into a more expansive, collaborative sound on this record. The music is upbeat, guitar-driven, and captures the lightning-in-a-bottle energy of his live band, positioning Finn not just as a familiar face in the zeitgeist, but as a definitive and respected leader in the modern music landscape.

TRACK LISTING

1. I'll Let You Finish
2. Common Side Effects
3. Lights Go Down
4. Follow
5. Tunnels
6. Trail
7. Crater
8. Oscilloscope
9. Maggie
10. Nice To Meet You Again
11. Good Morning
12. The Climb (Not That One)

Truck Violence’s second full length record, 'The Weathervane Is My Body', is an attempt to answer, an attempt at conciliation through refusal. Karsyn Henderson and Paul Lecours grew up in a French Canadian town of six hundred people, graduating in a class of nine. By fifteen they were running a local studio and radio station. There was no industry support, no infrastructure, no template for what they were trying to do, only the work itself and the conviction that it was worth doing. At seventeen they relocated to Montreal, joined by Chris Clegg and Thomas Hart, assembled from different corners of the country, and began building Truck Violence from the ground up.

'The Weathervane Is My Body', the band’s second full-length record and first with San Francisco’s The Flenser, is the product of that process. Every element reflects this. The group composition, the recording, the mixing and the visual media were all produced in house without outside intervention. DIY here is not an aesthetic choice or a marketing angle, it is the only honest option available. The album cover was shot on film by the band on Avenue du Parc in Montreal. A figure perches atop a small Quebecois-style house, handbuilt from reclaimed materials, spine curved, legs pulled in, bare-backed against a skyline that dwarfs everything beneath it. A rural thing dropped into the grit of the city, small and out of place and refusing to disappear. The body is naked and defenseless, open to every stimulus the world cares to deliver. This is the album in a single image. The weathervane is my body is a continuation, an expansion, a further scribbling together of that angry statement of purpose that is their debut album, aptly titled 'Violence'. Rooted in the noise rock and post-hardcore traditions, and steeped in a DIY ethic that runs deep in Canadian underground culture, the record is uncompromising in its refusal to be anything other than what it is: immediate, self-determined, and built entirely by the hands that imagined it.

TRACK LISTING

1. My Dog Would Fuck The Air
2. Jaundiced and Reaching For A Mother
3. Compelled by Christy
4. House Caught Fire
5. New Jesus
6. Your Name, It's Walking
7. Stomach As A Tower and The Globules Descending
8. Gerard, Be Quiet
9. Kindly, Wash Yourself

Even at first blush, 'Splayed Werks', Tyondai Braxton’s new album, his first full-length release since the recording of his 2022 symphonic work, 'Telekinesis', reveals itself as unlike what came before and marks the beginning of a new chapter with UK label Erased Tapes. First off, there’s a lot more music here, 70+ minutes of pure electronics and sound design. Plus, it’s divided in a way that’s out-of-step with the longer forms the 47 year-old composer/producer has previously imagined into being. Of the album’s 15 tracks, more than two-thirds are sub-five minutes.

It may be a perfect album for 2026, a time when the sonic landscape continues to fervently embrace increasingly radical hybrids, at once club soundsystem-ready, art-installation-leaning, and music-school-mediated. But also, importantly, intuitive and hand-crafted. It’s no stretch to say that Tyondai had a hand in building this world. His two decades-plus-long career has seen him co-found electronic prog-punk heroes Battles (which he’s described as “a laboratory that masqueraded as a band”); performing as a duo with Philip Glass; write numerous electro-acoustic and chamber commissions for celebrated American new-music ensembles such as Bang on a Can All-Stars, Alarm Will Sound, Third Coast Percussion, Brooklyn Rider, and Yarn/Wire; having his “part installation, part band” HIVE project appear at The Guggenheim Museum, Sydney Opera House, and a 3-night residency at Big Ears Festival; and deliver a series of technologically ambitious, at times orchestral works for lauded labels of electronic, experimental and future-music, Warp and Nonesuch Records.

As a portfolio, 'Splayed Werks' hews to the menu of a dance music meets minimalist electronic composition, a throughline that stretches from IDM absurdists like Aphex Twin and Autechre, to contemporary immersives like Mica Levi and Laurel Halo. (And, to a lesser degree, to Braxton’s comrades and occasional collaborators, Kieran “Four Tet” Hebden, Jeffrey Cantu-Ledesma and Ben Vida.) It’s a world in which the multitude of dirty rhythms strays far outside club-land’s big rooms—though one can imagine expert mixing hands and a world-class soundsystem transforming the dubwise lo-fi linearity of 'Oslo' into a psychedelic wonder, while the interplay between the bass-synth and the constantly deviating shuffle on 'UnFS' may qualify as a leftfield banger. And its composed beatless spaces have little to do with current ambient proclivities—the at-once aggressive and ecstatic, panning miniature, 'Realistic Water' sounds like power Laraaji.

TRACK LISTING

1. Bell Smear
2. Multiplay
3. Dia
4. Vali
5. UnFS
6. Salt Point
7. Oslo
8. Realistic Water
9. Multiplay II
10. Phonolydian
11. Piiano
12. 4 Zones
13. Nimble FX
14. Clouds Of
15. K Space

Sorry We Play Vinyl is an apology that no minimal and tech heads need to make. The crew return to wax here with a new drop of edits that cover plenty of ground and make themselves hugely useful to DJs looking for an edge. 'EDIT13' is an early evening warm-up - the stomping grooves roll at mid tempo with a soulful vocal to keep things cooking without boiling over. 'EDIT14' is a more free-form percussive and breakbeat number with a touch of the old school to it, not least in the bassline that will make everybody want to dance now, wink wink. 'EDIT15' then dials into the hazy morning after with swirling pads that drift in and out like your own tired thoughts as a dubby undercarriage carries you wherever you want to go. Your fave pirate its back!

TRACK LISTING

EDIT13
EDIT14
EDIT15

‘Baby You’re A Winner’ is a perfect illustration of the elevated musicality of the album that bears its name. Linking up across the record’s twelve tracks with producer Ali Chant (PJ Harvey, Perfume Genius, Yard Act), Baby You’re A Winner showcases a real levelling up for Grandmas House: more layered and involved than their trio of previous EPs - Grandmas House (2021), Who Am I (2023), Anything For You (2025) - with a greater focus on the use of vocals and harmonies to embolden the meticulously crafted arrangements.

It’s the sound of the quartet - Yasmin Berndt (guitar, vocals), Poppy Dodgson (vocal, drums), Zoë Zinsmeister (bass, vocals) and Polly Jessett (guitar) - bringing a greater sense of nuance and space to their music, while deploying myriad genres to maximum effect. From the righteous, elasticated rock of recent single ‘DOG’ to the syncopated post-punk and brass blasts of ‘Dance’ and on to the chamber folk ambiance of closer ‘Spring’, Baby You’re A Winner is the most authentic, realised portrait of Grandmas House to date.

The songs here navigate a precarious balancing act between sadness and catharsis, ultimately landing in a place of salvation - the product of the band’s tight-knit friendship, this album is their gift to the world, born from a period of grief and hardship but emerging from the other side with profound love and strength. It’s a testament that even when the odds are against you, anyone can be a winner.

“We wrote this album about the existential crisis of going through life,” explain the band. “It’s about love and infatuation but also about grief and loneliness. It’s emotional, powerful, sad and a good time all at once.” 

TRACK LISTING

Side A:
Baby You’re A Winner
DOG
Blue Oblivion
The Table
Hurricane
Dance

Side B:
Next Big Hit (Choo Choo)
Taxidermy
Soaked
I Miss That House
How It Is
Spring

Liam Hayes is an acclaimed American musical artist known for his songwriting and uncompromising approach to making records. He started cassette multitracking while a preteen and made his first real studio recording at twenty one. This started an obsession that ultimately led to his releasing a 7” single ('Found A Little Baby/Three Quarters Blind Eyes') on a small US indie label. Those tracks garnered the attention of the UK music press, and on the strength of those songs a career was launched. The follow up was highly anticipated by critics and listeners alike, but rather than playing to expectations he delivered a highly personal album of solo piano/vocal songs ('More You Becomes You'). Not one to repeat himself, Hayes started off the millennium by serving up the extravagant pop/soul opus (Fed). Both records are now considered to be masterpieces.

Hayes’ songs are recognised for their exquisite melodies, poetic lyrics and distinctive vocals. He’s released seven albums, two singles and a soundtrack, and applies his craftsmanship to a variety of genres from orchestrated pop to stripped down rock. Comparisons to Brian Wilson, Laura Nyro, Carole King, Harry Nilsson, Badfinger (and even Prince) are numerous. His music takes the best of radio and stellar classic pop records of the 60’s and 70’s and brings it into the present.

Along with making records Hayes has appeared on screen performing his music in High Fidelity (directed by Stephen Frears) and A Glimpse Inside the Mind of Charles Swan III(directed by Roman Coppola) which he also wrote the soundtrack for.

In this, their first production for Hayes, are (executive producer) Terrence Washington and (multi-instrumentalist/producer/arranger) Vincent Carlo with additional contributions from Terrence’s father, legendary arranger TOM TOM 2084 (Chi-Lites, Phil Collins, Plush).

His latest album, 'Dancing Backwards', sees Liam stepping through the shadows in his life and into a new musical day.

TRACK LISTING

1. We Need You
2. 8 Degrees
3. C-Thru
4. Dancing Backwards
5. What Is A Man
6. All In The Shadows
7. Interlude
8. Good Year
9. Bright Penny
10. Alone All Day
11. Furnace Bird
12. Final Night
13. White Bike

After sharing Blue, Green, Red, White, Teal, and Black albums, Weezer returns with a new colour in their arsenal for Weezer – their 20th album over their monumental, decades-long run

The project’s lead single, 'We Might As Well Be Strangers' ft. Wednesday weaves vocals from Rivers Cuomo and Wednesday’s Karly Hartzman and lays the groundwork for an album that is hands down the band’s most collaborative to date. They all took turns contributing songs; they all took turns writing ON songs together. Produced by Kenneth Blume and Klas Ahlund, 'Weezer' is already shaping up to be another standout in the band’s incredible, timeless catalogue.

TRACK LISTING

1. Say Yes
2. Shine Again
3. Don't Make It Weird
4. We Might As Well Be Strangers ft. Wednesday
5. C.E.O.
6. Hoops
7. Nowhere
8. The Show Must Go On
9. Up In The Clouds
10. The LA Sound

Ronen Sabo aka Nenor has dropped his rough and ready blends of soul and house on labels such as Moodymann's Mahogani and UK powerhouse Defected. Having already found his way into top-level record bags with the first volume of this series on Fossils, he is now back on new label Mumtak with more fully re-imagined interpretations. 'Klock It' is a humid and steamy house sound with a throbbing low end and exotic vocals, while 'Clayers' rides on lovely claps with breezy vocal sounds, ensuring a smooth cruising vibe. 'To Be Free' is a jazzy laced and late night sound with dusty drums and scruffy samples adding up to something loveably rough around the edges and 'El Gato' then brings a more freewheeling sound with big percussive hints and darker bass.

TRACK LISTING

Klock It
Clayers
To Be Free
El Gato

'Still Coming Down' is Wild Pink’s sixth studio album, and their most refined offering to-date. Continuing along the shredded and steely path forged by 2024’s 'Dulling The Horns', 'Still Coming Down' doubles down on Wild Pink’s “proper Rock” (Stereogum, Best Albums of 2024) and sticks every landing.

'Dulling The Horns' saw Wild Pink reach new levels of critical acclaim and live success, performing alongside the likes of indie torchbearers Dr. Dog, Crumb, and MJ Lenderman (who lends his guitar skills on Still Coming Down). 'Still Coming Down' finishes out the ride of those highs, settling into a life on the road and reflecting these experiences across a warped and encyclopedic vision of America. Led by John Ross, “one of the best lyricists in indie music” (The Guardian), Wild Pink hunkered down in Asheville’s storied Drop of Sun Studios to record 'Still Coming Down' with virtuosic producer Alex Farrar (Bnny, Wednesday, Samia). At once strange and familiar, Wild Pink’s 'Still Coming Down' is a product of modern times that only John Ross could pen.

TRACK LISTING

1. Box Store
2. Round of Applause at the End of the World
3. Still Coming Down
4. Plates Keep Spinning
5. Simple
6. Dead for a Sec
7. Like Water
8. 500 is the New 250
9. Relaxing, Special Interests

Brennan Wedl's self-titled album is a testament to collaboration, with old selves, the selves yet-to-be and the friends helping you along the way.

It's an anthology of spiritual awakening that sizes up the road ahead, encapsulating the messes and triumphs when leaving a traditional path for something less steady.

Wedl is already a prolific artist, releasing solo music since 2012, and co-founding the queercore outfit Dazey & The Scouts in 2015. On her debut album for ANTI-, she shakes off the prying eyes of expectation, leaving behind the anxiety of forming yourself for others and welcoming in the delight of finally being exactly who you are.

Wedl enlisted Katie Crutchfield (Waxahatchee) and Brad Cook (Bon Iver, Hurray for the Riff Raff) to co- produce and play on the album, with instrumentalists Colin Croom, Lindsey Jordan and Matt McCaughan also sprinkled throughout. Together, they formed a middle ground between punk, grunge and Americana -- 'grungetry' as they affectionately call it -- capturing all tracks within a 10 day stay at Cook's studio in Durham, NC.

TRACK LISTING

1. Scorpio 
2. I Know How This Goes 
3. Pretty Little Fantasy 
4. High Priestess 
5. Tasmanian Devil 
6. Just Another Daddy Who Did Me Wrong 
7. Let's Be Models 
8. Airplane Movies 
9. I Wanna Be Your TV 
10. Fake Cowboy 
11. Two Dollar Pistol 
12. June Gloom 
13. When The Crazy Comes Out

A globe-spanning reimagining of bossa nova from legendary Brazilian composer Roberto Menescal and vocalist Muca.

Rooted in rhythmic subtlety and melodic intimacy, Beleza draws on MPB, soul, and folk to create what Muca describes as "a global choir built on a bossa nova foundation", honouring the tradition while reaching toward something genuinely new.

Highlights include a track featuring vocalist Sofia Grant, whose folk-jazz sensibility moves lightly across the keys before giving way to stirring strings. The lyrics were written by acclaimed British poet and songwriter L.A. Salami, bringing his signature literary depth to one of the album's most poignant moments.

In keeping with bossa nova's literal meaning, "new wave", Menescal set out to find fresh voices and ideas. The result is an album that bridges Brazilian culture past and present, as alive with discovery as the movement that inspired it.

TRACK LISTING

1. A Beleza De Ser
2. Versos Singelos 
3. Ladeira
4. Jureia 
5. Todo Samba 
6. Mulher Assim 
7. Midnight Lullaby 
8. Every Little Thing
9. Playing On The Loose Fields 
10. Blue Rain 
11. Dance With You 
12. Feeling When It Comes

Giraffe is the new collaboration from Dave Harrington (Darkside), Robert Walter (The Greyboy Allstars), Spencer Zahn, and Kosta Galanopoulos (Rio Kosta). Their debut album, 'The Towering Inferno With Bongo Drums', channels spacey psychedelia, jazz-informed interplay, and open-ended improvisation into a fluid, exploratory listen. Recorded in a single day at 64 Sound in Los Angeles, the album captures four accomplished musicians locking into an instinctive groove.

TRACK LISTING

1. Dancer With No Bones Under The Sun
2. Catastrophe Music
3. Hey! Cool It, Everybody
4. BONGO ZOO
5. Room of Forgotten Names
6. Boogie in The House of Secrets (Part I)
7. Offscreen Voices
8. Gate of Crimson Silence
9. Jumpcut Colors
10. Boogie in The House of Secrets (Part II)
11. Thunder Rolls

Sorry We Play Vinyl makes no bones about their love of wax, and when they serve up music as worthy as this, then who can fault them? It's another anonymous offering with three cuts that traverse a wide world of sound. 'EDIT16' starts with an elephantine swagger and cow bells adorning a deep minimal sound next to woozy, aloof vocal musings. 'EDIT17' has a more ethnic groove that's clean and fresh, and this time the foreign-tongued vocal brings an exotic and eventually hypnotic charge that is sure to make this one a summer anthem with the heads. 'EDIT18' closes down with a psychotic melange of trippy vocals that are layered up in ghostly, spectral waves over a paddy rhythm. Brilliantly unusual.

TRACK LISTING

EDIT16
EDIT17
EDIT18

In a digital timespace stalked by the shifting and pixelating apex predator of Desire Optimization, Fling II has decided that a humble american neokrautrock n-gon of various part time participants lacks the resourcing and relevant domain knowledge to meaningfully compete with the Leviathan of Hypertargeted Urge Satisfaction. The market for pursuing what people actually want is supersaturated, leaving a marketable capability gap for those creating things nobody wants or asked for. '3' is an album entirely diegetic to the experience of making itself, a meta expression of the process of it’s own creation, a purely inward facing auto-response. An album for nobody in particular, or perhaps, particularly for nobody. Drawing on the vastness of parking lots, the prismatic strangeness of online ads for walking tai chi, and the passive performance of the basket of fruit in a gas station, '3' offers a bespoke cut of unoptimized, nonperfected krautrock, cosmic country, new age, and classic synthesis. Growing on the vine over two days in the studio, followed by an extensive process of roasting, grinding, and percolating in the lab, the aptly titled '3' brings a reclining, spacious volume to the solid of fling ii’s triptych catalog. Made especially for us and not for you, with all the gear we could get our paws on.

TRACK LISTING

1. Lau
2. Inke
3. Bante
4. Beem
5. Ilia
6. Mago

Navajo White is a color. It’s the color of an off white, interior, house paint. Throughout his teens into adulthood, John Reis was as a house painter by trade. The soiled walls of evacuated apartments was his canvas. Here he would cover up the residue of life’s stains with a fresh coat of the beige, human white-out that is Navajo White. Amongst the vacated, drywall chambers littered with the scant detritus of a fleeing existence is where this record began. It started as road noise, a repetitious hum of a fictional dialogue. A languageless, argument of noise that took shape as a disconnect between two people. They are both barricaded by an impenetrable surface tension that harbors the distortion of their prolonged isolation from the world beyond their self imposed exile. For all that can’t be solved or thrown away here’s a thick coat of Navajo White to cover our tracks as if to say “we were never here and this never happened.”

This is the fifth Swami John Reis album and features Jason Kourkounis (Hot Snakes, Delta 72, Night Marchers) on drums as well as contributions from Rick Froberg (Hot Snakes, Drive Like Jehu, Obits) on guitar, Gar Wood (Hot Snakes, Tanner, Night Marchers) on bass, Joe Guevara (Jejune, Swami and the Bed Of Nails) on piano and keyboards and Rob Crow (Pinback, PLOSIVS) and Jacob Turnbloom (Mrs. Magician) on backing vocals. Taking musical cues from later period Wipers, the more low key Saints songs, early recordings of The Church as well as The Damned on their Black Album, 'Navajo White' pits sentiment vs the unsentimental. Recorded by John Reis at City of Refuge, San Diego with additional recording and mixing by Ben Moore at Singing Serpent and mastered by Dave Gardner at DSG Mastering. This record is dedicated to house painters everywhere.

TRACK LISTING

1. It’s Not Fair
2. On Our Way
3. Future Moods
4. From Here On Out
5. Directions
6. It’s All For Sale
7. Lies Don’t Lie
8. You Made It Gross

I Will Die In This Jean Jacket is a testimony of how the lines between commitment and attachments are often blurred. It is the new gloom-punk project from Jim Blaha (The Blind Shake, Green/Blue). Blaha has collaborated with luminaries including Michael Yonkers, John Reis, Shannon Selberg, Dale Flattum and Zak Sally and has released records on Goner, Castle Face, Dirtnap, Hozac, Feel It, Slovenly and Swami. On 'Hang From A Cloud' he concludes over three years of artistic solitude by heading back into the basement to create in an even deeper state of isolation. Formed in Minneapolis this past December, the late-night sessions gradually revealed a concept: capturing the feeling he had from the mixtapes a friend used to make during their teenage skateboarding years—where late ’70s post punk sat comfortably alongside the more exposed underground sounds of the ’80s and ’90s and every song seemed to come from the same hazy, imaginary city somewhere far, far away.

Recording onto a 1/4” tape machine and mixing everything down to the all important cassette, Blaha emerged with an indiffussable sound. 'Hang From A Cloud' is a long-lost pirate radio transmission from an alternate 1980s universe. The album is entirely analog by design. Guitars, vocals, drums, drum machines and bass all captured on cobbled together equipment in a cinder block bunker on a frigid midwest, winter night. There is a one dimensional resonance with a sheen of distortion and rust that is betrayed by the direct and simplistic beauty of the songwriting. 'Hang From A Cloud' is a no-fi, DIY treasure that transports the listener to a parallel dimension where The Go Betweens, The Clean, Jesus And The Mary Chain, New Order, Guided By Voices and Flip Your Wig-era Hüsker Dü are cherished and celebrated the same.

TRACK LISTING

1. Some New Day
2. D.O.A.
3. The Nothing Way
4. So Nice
5. Above Me
6. Always Home
7. Too Bright
8. Miracles
9. We Were Wild
10. Careless

Multi-award-winning singer and songwriter Jorja Smith returns with her new album, 'What Are The Odds' featuring sole production from P2J and collaborations with Afrobeat star Wizkid and Grime icon Devlin.

With her third album 'What Are The Odds', Jorja continues to build on her legacy with a euphoric offering rooted firmly in dance music. Confidently channelling UKG, Grime, 2Step, Funky House, Soulful House and Afro House, this thrilling, pulsating record rarely dips below 140 BPM.

“This is music to make you move” says Jorja. “I want people to hear it on the dancefloor, where the sun is shining, in the car and in their headphones on the night bus home. This is a record for driving and vibing.”

TRACK LISTING

TBC

"If Day at the Races was a sleek, streamlined album, its 1977 successor, 'News of the World', was its polar opposite, an explosion of styles that didn't seem to hold to any particular center. It's front-loaded with two of Queen's biggest anthems -- the stomping, stadium-filling chant 'We Will Rock You' and its triumphant companion, 'We Are the Champions' -- which are quickly followed by the ferocious 'Sheer Heart Attack', a frenzied rocker that hits harder than anything on the album that shares its name (a remarkable achievement in itself). Three songs, three quick shifts in mood, but that's hardly the end of it. As the News rolls on, you're treated to the arch, campy crooning of 'My Melancholy Blues', a shticky blues shuffle in 'Sleeping on the Sidewalk', and breezy Latin rhythms on 'Who Needs You'. Then there's the neo-disco of 'Fight from the Inside', which is eclipsed by the mechanical funk of 'Get Down, Make Love', a dirty grind that's stripped of sensuality. That cold streak on 'Get Down, Make Love' runs through the album as a whole. Despite the explosion of sounds and rhythms, this album doesn't add up to party thanks to that slightly distancing chilly vibe that hangs over the album. Nevertheless, many of these songs work well on their own as entities, so there is plenty to savor here, especially from Brian May. Whether he's doing the strangely subdued eccentric English pop 'All Dead, All Dead' or especially the majestic yet nimble rocker 'It's Late', he turns in work that gives this album some lightness, which it needs. And that's the reason 'News of the World' was a monster hit despite its coldness -- when it works, it's massive, earth-shaking rock & roll, the sound of a band beginning to revel in its superstardom." - Allmusic.

TRACK LISTING

1. We Will Rock You
2. We Are The Champions
3. Sheer Heart Attack
4. All Dead, All Dead
5. Spread Your Wings
6. Fight From The Inside
7. Get Down, Make Love
8. Sleeping On The Sidewalk
9. Who Needs You
10. It's Late
11. My Melancholy Blues

Captured at Wembley Stadium on 12 July 1986 during Queen’s triumphant Magic Tour, 'Live At Wembley ’86' documents the band at full stadium-rock power. From Freddie Mercury’s electrifying command of the crowd to towering versions of 'Radio Ga Ga', 'We Are the Champions', 'Bohemian Rhapsody' and 'A Kind of Magic', this essential live set is both a celebration of Queen’s greatest hits and a snapshot of one of their most iconic final-era performances.

TRACK LISTING

1. One Vision
2. Tie Your Mother Down
3. In the Lap of the Gods...Revisited
4. Seven Seas Of Rhye
5. Tear It Up
6. A Kind Of Magic
7. Under Pressure
8. Another One Bites The Dust
9. Who Wants to Live Forever
10. I Want To Break Free
11. Impromptu
12. Brighton Rock Solo
13. Now I'm Here
14. Love of My Life
15. Is This the World We Created?
16. (You're So Square) Baby I Don't Care
17. Hello Mary Lou (Goodbye Heart)
18. Tutti Frutti
19. Gimme Some Lovin'
20. Bohemian Rhapsody
21. Hammer to Fall
22. Crazy Little Thing Called Love
23. Big Spender
24. Radio Ga Ga
25. We Will Rock You
26. Friends Will Be Friends
27. We Are The Champions
28. God Save the Queen

“Windborne” originally released in 2018 was the debut album from young Norwegian power-trio Kanaan. With components from jazz, fusion and post-rock they have created six extended pieces of blazing freeform psychedelia. While the band is rooted in the same spirit that gave birth to Mahavishnu Orchestra and The Eleventh House in the 1970s, there's a distinctive modern flavour to Kanaan's sonic endeavors. Their Scandinavian genealogy is apparent as well - their intricate song structures seems to be branching off the same stem as Motorpsycho, Papir and Jaga Jazzist. And no doubt the young band has the chops to carry on the pedigree! Opening track ”A. Hausenbecken” feels like a sudden blast of refreshing nordic air, with it's rolling guitar leads and growling Fender Rhodes. But Kanaan aren't afraid to get deep and heavy – the B-side dives into straight-up Sabbath territory, with ”Act Upon The Mundane World” and ”The Groke”, before ending the album with the abstract, free-flowing title track ”Windborne”. From the first note to the last the band keeps high levels of energy and creativity, and although freeform, they never sacrifice focus or direction. Ask Vatn Strøm - guitars Ingvald André Vassbø – drums Eskild Myrvoll – bass Rhodes on "A. Hausenbecken" by Vegard Lien Bjerkan.

TRACK LISTING

1. A. Hausenbecken
2. Roll Beyond
3. Harmonia
4. Act Upon The Mundane World
5. The Groke
6. Windborne

Celebrate a decade of a modern masterpiece. Originally released to critical acclaim, DJ Shadow’s 'The Mountain Will Fall' gets a definitive reissue for its 10th Anniversary. Featuring the explosive, Gold-certified hit 'Nobody Speak' featuring Run The Jewels, this album remains a towering achievement in instrumental hip-hop and experimental electronic production.

This special anniversary edition is pressed on 2 x 140g classic black vinyl, delivering the rich, warm analog sound the album deserves. The release is housed in a stunning gatefold jacket showcasing brand-new artwork by the renowned artist Paul Insect, complete with premium spot gloss hits that make the visual design pop.

TRACK LISTING

1. The Mountain Will Fall
2. Nobody Speak (Featuring Run The Jewels)
3. Three Ralphs
4. Bergschrund (Featuring Nils Frahm)
5. The Sideshow (Featuring Ernie Fresh)
6. Depth Charge
7. Mambo
8. Ashes To Oceans (Featuring Matthew Halsall)
9. Pitter Patter (Featuring G Jones & Bleep Bloop)
10. California
11. Ghost Town
12. Suicide Pact

On 'Chauffeur', The Womack Sisters reflect on the trials and tribulations they each faced while trying to make rent as car service drivers. A HARD-HITTING groove, and impassioned background vocals drive the song as the sisters plea "How many miles do I have to burn... Just to keep my place?"

There are no flowery metaphors here. This song is about the real struggles people face to survive everyday, in this case grappling with the futility of trying to stack meager fares into rent money.

TRACK LISTING

1. Chauffeur
2. Chauffeur (Instrumental)

Lonnie Liston Smith never made a bad album and with “Expansions” he laid down an all-time classic.

Recorded with his band the Cosmic Echoes, over time, it has been acknowledged as one of his finest sets. Mediative, soulful and addictive, every track is a gem, especially ‘A Change For Peace’ and ‘Colors Of The Rainbow’, graced with the vocals of Liston Smith’s brother, Donald.

TRACK LISTING

SIDE ONE
1. A CHANCE FOR PEACE
2. LOVE BEAMS
3. COLORS OF THE RAINBOW
4. DEVIKA (GODDESS)

SIDE TWO
1. SUNSET
2. VISIONS OF A NEW WORLD (PHASE I)
3. VISIONS OF A NEW WORLD (PHASE II)
4. SUMMER NIGHTS

Pleased As Punch hits release number five and again serves up disco that does feel, rightly, very pleased with itself. The vibes are high here with Ross Whisper's 'Think' riding strident drums and funky bass licks all the way to the stars. On the flip, MYOB serves up the driving disco-house of 'Mind Your Own Business' with swirling pads and a Stardust adjacent filter house touch. Capri closes this most useful of 12"s with 'Black Gold,' which lays up drums and percussion, blasts of white noise, fun melodies and Neo-disco textures into something designed to amp up the floor.

TRACK LISTING

Ross Whisper - Think
MYOB - Mind Your Own Business
Capri - Black Gold

Beloved in equal measure for her deceptively subtle voice and her meticulous, incisive lyrics, Phoebe Bridgers’s solo records Stranger in the Alps (2017) and Punisher (2020) have been accompanied by a number of collaborations, including the supergroup boygenius, with whom Bridgers won three Grammys for 2023’s the record. Her songs are hallmarked by a kind of intimacy that’s hard-found in contemporary music, and scale between the macro and the micro with an ease that’s matched only by her towering, prodigious way with words.

Original Jazz Classics celebrates Miles Davis’ centennial with the release of 'Cookin' with the Miles Davis Quintet'. Originally released on Prestige in 1957 and one of four albums recorded during sessions at Van Gelder studios, 'Cookin’...' features Davis alongside John Coltrane, Paul Chambers, Red Garland and Philly Joe Jones. This new edition of the album is released on 180-gram vinyl pressed at RTI with all-analog mastering from the original tapes at Cohearent Audio and a Stoughton Tip-On Jacket.

TRACK LISTING

1. My Funny Valentine
2. Blues by Five
3. Airegin
4. Tune Up/When Lights Are Low

Lost In Another World is James Ellis Ford’s singular, emotionally resonant second solo album. Made from start to finish in just over two weeks in early 2025, while James was on a hospital ward between punishing rounds of chemotherapy, following a diagnosis of acute myeloid leukaemia (AML), it shares the experiences from the frontline of illness; fear, love, reassurance, boredom, pain, calm, disbelief, and ultimately hope. These transmissions from the eye of the storm have informed an album which is truly something special.

From the basement of a now-condemned motorcycle gang hideout in Dayton, Ohio comes STONE COAL WHITE! Ultra-primitive and ultra raw funk with classic Ohio funky soul elements. The A-side - “Hell Below,” a cover of the Curtis Mayfield classic more closely resembles the East Of Underground version, with a furious tempo and driving wah guitar. File under Unhinged Funk. The B-side, “Free,” previously available as a 45 on the private press label Ewing from 1971 is quite literally inconceivably rare. Now, thanks to our friends at Numero Group, this two-sided heater is available for a low price...while supplies last.

TRACK LISTING

A. Hell Below
B. Free

Mabe Fratti is a Guatemalan cellist, vocalist, and composer based in Mexico City, celebrated for her experimental yet deeply melodic work. Blending cello, voice, synthesizers, and electroacoustic textures, she builds songs that move between improvisation, ambient soundscapes, and off-kilter pop forms. Emerging from Mexico City’s improvisational and experimental scene, she has become a key voice in contemporary avant-pop

Bill Orcutt is an American guitarist and composer known for his raw, highly individual approach to improvisation. A co-founder of the 1990s noise-rock duo Harry Pussy, he helped shape a fiercely abrasive aesthetic that drew from no wave, hardcore punk, and free jazz. Often playing a four-string guitar in unconventional tunings, he combines shards of melody, sudden silences, and surging rhythmic bursts, creating music that feels both primitive and structurally intricate. In parallel with his work as a guitarist, he runs the Palilalia and Fake Estates imprints and develops his own audio software, continuing to blur lines between avant-garde experimentation, song form, and DIY practice.

Almost Waking
I had known about Bill’s music for a while: since his 2017 release under his own name. I connected a lot with his music and I had no idea that years later we would be collaborating! It was a total surprise that we started chatting on the internet of collaborating! — we bounced ideas back and forth, all starting with a series of guitar solo stuff that Bill sent me. I had a great time with the pieces and in some of them had the honor to collaborate with I. La Catolica in the studio here in Mexico as well where we were trying to decipher the harmonic possibilities of Bill’s ideas and very carefully develop some good melodies that followed correctly the guitar. The vocal melodies followed also the same principle of trying to get tight with Bill’s iniciatives. The idea was to leave a lot of space but in only one of the tracks I just went on with the idea of harmonizing shamelessly the vocals. The album ended up having this nostalgic vibe to it. I am so happy on how it turned out and grateful with the crazy coincidence that made it happen!

STAFF COMMENTS

Barry says: Breathy, avant chamber classical with free-wheeling psychedelic guitar and constantly evolving key changes, resulting in something that's as organic as it is surprising. Wonderfully deep, emotionally wrought experimental sounds, RIYL Constellation Records, John Zorn etc.

TRACK LISTING

Side A
Almost Waking
El Inicio Es Cuestión De Suerte
Forced & Forced & Forced
Arise From Graves And Aspire

Side B
The Heaven Of Our Misery
Steps Of The Sun
Todo Puede Ser Error
A Rural Pen

The Womack Sisters – Kucha, Zeimani, and BG Womack – were singing before they could walk. Their 2026 self-titled debut album, 'The Womack Sisters', is the musical culmination of the Sisters’ long and winding journey to find themselves. Over an intensely soulful collection of tunes that harkens back to when pop music had substance, vibe and purpose, each of their distinct voices have their moments in the spotlight.

The Sisters grew up on the road. Their schools were stages and studios all over the world, where they sang behind their parents, Zekkariyas & Zeriiya (fka Womack & Womack), alongside their four siblings. Nowhere was home for long. No matter where they lived—London, Thailand, Amsterdam, Kenya, Paris, Sydney, Zurich, Vienna, Tanzania, New York, Miami, West Virginia, the Bahamas—they were always surrounded by music and family.

TRACK LISTING

1. Chauffeur
2. If You Want Me
3. Monster
4. If I Let You
5. I Just Don't Want You
6. Laughter & Tears
7. Didn't Mean Much to Me
8. You Went Away Too Long
9. I am Your Season
10. All Around
11. My Sisters and Me

'Big World' lives up to its name. Arriving on the heels of Hovvdy’s 2024 self-titled album with a palpable sense of expansion – songs that stretch outwards and fill every room that they’re played in – while still being rooted in the close, unguarded intimacy characteristic of the Texas duo. It’s a progression that underscores how Charlie Martin and Will Taylor, now over a decade into their collaboration, continue to refine a shared language without losing the sincerity that has come to define it.

TRACK LISTING

1. Life So Wide
2. Way Down
3. JJ
4. What I Had
5. Blast
6. Starry
7. Try Try Try
8. Junk
9. You Will Go Far
10. Give It Away
11. Untitled
12. Wannabe (Radio Queen)

15 pop songs about animals by 15 of the best indie-pop bands in the world: 'Pets Sounds' is as simple as that. Ranging from the playful (Sassyhiya, Gay Skeleton Club) to the heartbreaking (Caleb Nichols, Jetstream Pony) to the enigmatic (Railcard, Oh Hippo) to the satiric (The Magnetic Fields, Brian Bilston and The Catenary Wires), there’s more diversity on this album than you can shake a stick at. Or throw a bone at.

Musicians spend a lot of time working at home, with their pets for company. The pets sit around, happy in their own worlds, sublimely indifferent to their humans’ endeavours. As familiar as family members, but as unknowable as aliens, pets are the perfect muse. They can be treated as objects of adoration – ‘Rufus’ by Tugboat Captain is an expression of pure joy – or they can be treated as metaphors. More reliable than lovers but less dangerous than heroin, pets are a great vehicle for singing obliquely about something else. Swansea Sound’s ‘I Don’t Like Men In Uniform’ is about an ageing, irascible terrier, but it’s also about men striving to maintain their potency as territorial aggressors. The Magnetic Fields’ ‘Fido, Your Leash Is too Long’ is a libidinous and unreliable partner, as well as a dog that likes sniffing other dogs’ private parts.

For the most part, animals come off better than humans on this album. In ‘Kings Of The Animal Kingdom’, The Burning Hell dramatise our indulgent love of pets in order to expose our cruelty to other human beings. In ‘Bo’s New Haircut’, The Cords express the injustice and unfairness of an innocent animal having to submit to human demands. In ‘Crayon Potato’ by Sassyhiya, the magnificent Crayon contemptuously rejects the gifts offered by her besotted human owners.

In ‘Lola’, the opening track, Lande Hekt tries to put this enigmatic human-animal relationship into words. And concludes that however much we love our animals, and no matter how much we manage to communicate with them, we can never really know them. A melancholy conclusion maybe, but the music – as with all the songs on this album – is expressive of the wonderment and the joy that comes from sharing your life with a member of another species. The tracks by Brian Bilston and The Catenary Wires, Jetstream Pony and Railcard are previously unreleased. 

TRACK LISTING

1. Lande Hekt - Lola
2. Brian Bilston And The Catenary Wires - Under A Cat
3. The Cords - Bo’s New Haircut
4. Railcard - Foxy
5. Tugboat Captain - Rufus
6. Special Friend - Breakfast
7. Caleb Nichols - Dark Age
8. Gay Skeleton Club - 2 Cats
9. Jetstream Pony - Grimalkin Tom
10. Swansea Sound - I Don’t Like Men In Uniform
11. The Burning Hell - Kings Of The Animal Kingdom
12. Sasshiya - Crayon Potato
13. Oh Hippo - Orlando
14. U.S. Highball - Marjorie Says
15. The Magnetic Fields - Fido, Your Leash Is Too Long

Minneapolis' Real Numbers return with a new full length album, the gorgeously pop-tastic 'Was It Always This Way'. Ten expectant, exuberant songs mixing hope and despair, the future and the past, all set to the sounds of late-80s/early-90s UK indie-pop. While definitely picking up where their 2021 EP 'Brighter Then' left off, the emphasis this time is on multi-layered guitars intended to complement the wistful and melancholy tracks with glittering awe.

'Was It Always This Way' refines Real Numbers' already-stunning songs, polishing the tunes into a swooningly perfect album that recalls 90s antecedents like Field Mice and St Christopher, as well as fellow pop practitioners like Ducks Ltd, Chime School and The Umbrellas. Album highlights like 'Darling' and 'Never Never Again' show that Real Numbers stand tall with their influences, paying close attention to the past while taking their art straight into the future with assurance and flair.

TRACK LISTING

1. This Empty Frame
2. I Can Tell
3. Darling
4. Star
5. Twist The Blade
6. Don't Look Away
7. Everlasting Happiness
8. Was It Always This Way
9. Never Never Again
10. Remembrance

With Sunrise and the Life We Live, John Beltran returns to his ambient techno roots, the sound that garnered him global appeal in the 1990s. Through ten tracks, the album journeys through lush, aerated textures and beatless expanse. Hypnotic grooves deepen and bloom in a flow of shapes and colors, creating a sound that is both meditative and full of life.

Thirty years after the release of his seminal Ten Days of Blue, Beltran's musicianship, vision and desire to produce remain at a fever pitch. With Sunrise and the Life We Live his gift of extracting emotion from the universe and turning it into a unique musical experience puts him in a class of his own.

TRACK LISTING

A1. Blue Green Eyes
A2. Sunrise and the Life We Live
A3. Austin
B1. The Echo Bridge
B2. Soft Rain
B3. Éire
C1. Lila
C2. The Watering
C3. Meant For Her
D1. Ikibana
D2. Ambala, Anders Ponsaing & Troels Hammer - Quiet Yellow Purple (Beltrans LET IT GO Remix)
D3. Kenneth Bager & Findlay Brown - Stones and Steel (Beltran Remix)

Hot Digits main guy Fingerman - a veritable of the UK nu-disco and disco re-edit scenes - is the man at the controls on the latest missive from the imprint's vinyl-focused Wax Digits offshoot. He's in prime form from the off, offering a deliciously chunky, effects-laden, dub disco style rework of a New York no-wave era 'downtown' disco classic. He doffs a cap to pal Chewy Rubs and their joint love of heavy, looped bass guitar lines on the stretched-out funk-goes-deep disco wonder that is 'Bestest Beat', before cunningly rearranging a more string-laden slab of disco-funk grandiosity on closing cut 'We Love It'. We certainly do, and there's a fair chance you will too.

TRACK LISTING

Bang!
Bestest Beat
We Love It