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For the last few years Acid Jazz has been the proud custodian of the Albarika Store legacy. Hailing from the small but culturally-significant state of Benin, the label was operational from the late-‘60s until the early ‘80s, and was home to some of the finest, deepest, rawest West African cuts ever. A font of local and regional music, infused with contemporary Western influences, the beating heart of the Albarika sound was the mighty T.P. Orchestre Poly-Rythmo, who in various guises released dozens of recordings for the label, under the leadership of Mêlomé Clément. The intoxicating originality of their sound stems from their combination of folkloric and sacred rhythms of the region, with the modernist sound of soukous, afrobeat, soul and funk. Recorded at EMI Studios in Lagos, these recordings have a unique high fidelity and have been a target for grail-hunting record collectors for decades. For this incredible 2LP collection, Dean Rudland and David Hill compile the Poly-Rythmo 45 releases; 7” single and EP sides lost to the seeds of time. Until now. Brought together for the first time, presented in a beautiful wide spine layout, the 2 LPs present a snapshot of some of the group’s finest work from the ‘70s, their distinctive beat already honed. The printed inner sleeves include images of the rare and collectable original labels and sleeves, along with sleeve notes by Francis Gooding

Fiat Lux return with Desire & Belief, their third album of new material this millennium, following their acclaimed comeback LPs Saved Symmetry and Twisted Culture. The trio—Steve Wright, Will Howard, and David P Crickmore—combine modern production with vintage synths and instruments rooted in their Polydor-era beginnings to craft ten tracks that span cinematic atmospheres, synth-pop anthems, and moody electronica. Tracks like "Clear Sky " and "Turn Me Around" offer hook-laden synth-pop, while "Summer Solstice " and "Am I Dreaming " delve into ambient and darker tones. Desire & Belief is a natural progression for Fiat Lux—retaining the spirit of their 1980s Northern roots in synth, goth, and indie, yet confidently stepping into new sonic territory for long-time fans and new listeners alike. RIYL: Blancmange, OMD, Scary Thieves, Tears For Fears

Nickodemus is a globally respected DJ and producer who has been touring nonstop since the mid-1990s, consistently drawing capacity crowds at clubs and festivals worldwide. As a producer, he has released five acclaimed albums (Soul & Science, A Long Engagement, Endangered Species, Sun People and Moon People) and curated eleven volumes of the influential Turntables on the Hudson compilation series. His work bridges hip-hop, house, jazz, and global sounds, highlighted by collaborations and cultural milestones including the Jungle Brothers' genre-defining legacy and the enduring house-rap classic "I'll House You" with Todd Terry. Nickodemus' hit "Mi Swing Es Tropical" (with Quantic & the Candela All-Stars) has surpassed 50 million streams and featured prominently in the film Chef. He has received extensive international press (Billboard, Rolling Stone, The FADER, Paste) and widespread radio support from tastemakers such as Gilles Peterson, BBC 6 Music, KCRW, and KEXP.


b B1: Monk-One Remix [feat. Monk-One]


[b] B1: Monk-One Remix [feat. Monk-One]

A fiery blend of cinematic soul, psychedelia, and Afrobeat exploring the in-betweens of identity, music, and culture in the 21st century—Owelu Dreamhouse’s debut LP is a deeply orchestrated journey through memory and imagination, led by ex-Saskwatch bandmates Nkechi Anele and Nic Ryan-Glenie, and produced by Henry Jenkins (Surprise Chef).
The band's namesake is a play on Nkechi’s grandmother's village—Owaelu—in Nigeria. Growing up as a woman of color in a predominantly white Australia, Nkechi had fear and hesitation around expressing her Africanness and Nigerianess, and this album is about her journey. Both archival and contemporary, the album’s DNA is laced with musical and historic references as well as a cohesive vision of the present.

This 12" introduces Maajo Soundsystem, the electronic, dancefloor-focused sub-project of Maajo, presenting stripped-down, club-ready versions of their 2022 album 'Water of Life' that go beyond standard remixes through newly recorded balafons, percussion, and vocals from Senegalese artist Ismaila Sané and Mauritian vocalist/drummer Gilbert K. Sané began his career in the 1970s as a percussionist and African ballet dancer before relocating to Finland in 1999, later becoming the first emigrant to receive the country's Citizen of the Year award. While Maajo tours as a six-piece live band, Maajo Soundsystem offers a flexible electronic configuration that retains live vocals and percussion. The group has released multiple LPs and EPs on Queen Nanny and Permanent Vacation, scored the silent film Lost World, received remixes from Luke Vibert and Call Super, and toured internationally, with strong radio and press support from BBC Radio 6, Worldwide FM, KEXP, Resident Advisor, WFMU, and more.

The North Carolina trio Setting brings together their substantial collective skills as musicians and their collaborative mindset to bear in their inventive and rich improvisations. Known for work in Mind Over Mirrors, Califone, Black Twig Pickers, Pelt, Peeesseye, Sylvan Esso, and Jake Xerxes Fussell, multi- instrumentalists Jaime Fennelly, Nathan Bowles and Joe Westerlund subvert expectations while creating a sense of wonderment. Their intricate interplay of synthesizers, cassette loops, banjo, keyboards, electronics, zithers, and a litany of percussive instruments form a tactile amalgam of celestial transcendence and terrestrial rhythm, a loamy pulse fluidly guiding every minute fluctuation in feel. Setting"s self-titled album is a definitive statement of their improvisational acumen meeting compositional rigor, a robust wellspring of hypnagogic grooves and mosaiced textures. The eponymous album from Setting is the product of three intuitive players and deep listeners, artists who use those skills to create transformative music. The trio shirk any broader categorizations, as their unique dynamic pieces are alight with arrangements urgent and smoldering, patient and emotive.

The North Carolina trio Setting brings together their substantial collective skills as musicians and their collaborative mindset to bear in their inventive and rich improvisations. Known for work in Mind Over Mirrors, Califone, Black Twig Pickers, Pelt, Peeesseye, Sylvan Esso, and Jake Xerxes Fussell, multi- instrumentalists Jaime Fennelly, Nathan Bowles and Joe Westerlund subvert expectations while creating a sense of wonderment. Their intricate interplay of synthesizers, cassette loops, banjo, keyboards, electronics, zithers, and a litany of percussive instruments form a tactile amalgam of celestial transcendence and terrestrial rhythm, a loamy pulse fluidly guiding every minute fluctuation in feel. Setting"s self-titled album is a definitive statement of their improvisational acumen meeting compositional rigor, a robust wellspring of hypnagogic grooves and mosaiced textures. The eponymous album from Setting is the product of three intuitive players and deep listeners, artists who use those skills to create transformative music. The trio shirk any broader categorizations, as their unique dynamic pieces are alight with arrangements urgent and smoldering, patient and emotive.

Inexplicably, yet true, Lexx returns to International Feel with a record that lives exactly where his music feels most at home. In Between State is a gentle navigation between memory and motion, between what has passed and what is still quietly unfolding. It is reflective without nostalgia, uplifting without force. A record that trusts the listener to drift.
Another Beach opens as a meditation on time and possibility. It looks back with warmth but keeps its gaze fixed on the horizon. A reminder that nothing is fixed, everything moves, and somewhere ahead there is always another sunset waiting on another shore.
Unison follows as a celebration of togetherness. Open-hearted and weightless, it captures the simple magic of shared moments with friends, music traveling across a room, and the quiet certainty that joy multiplies when experienced collectively.
The title track In Between State settles into that suspended hour where day dissolves into night. Inspired by early 90s electronica yet unmistakably Balearic in spirit, it drifts forward with a subtle psychedelic glow, neither arriving nor
departing, just perfectly hovering in place.
Closing the journey, Durchs Hinterland rolls steadily outward into open space. Born from long rides through backwoods and side roads, it moves with hypnotic momentum and the calm rhythm of forward motion. Endorphins rise, thoughts loosen, and the landscape begins to breathe with you.
Four tracks, quietly luminous. Music for transition, companionship, and the spaces in between. Lexx remains exactly where he should be.

Taking place in the Paras district, Cangallo province, in the Ayacucho region of the Central-South Sierra of Peru - this is a recording of a ritual held on February 5th 2020 for the one year anniversary of the death of Mrs. Sofía Miranda de Bellido, recorded by her grandson Hánkel Bellido.

At noon the coffin of "Mamay Sofía" was presented, so that her relatives could say goodbye for the last time. Following tributes from family members, these songs dedicated to her life and her passing were sung.

The townspeople were notified of the events by the sound of bells that produce a peculiar and powerful sound, and that can be heard in the other nearby towns of Paras. It is said that these bells were greased with human fat, and brought from the Cerro de Pasco region during colonial times. The bells must be played all morning until the change of mourning takes place.

At midnight the songs of the Almakunapaq (also known as San Gregorios) mass began. These are unique to the Andean peoples - a fusion of Andean and Christian syncretic traditions - and are said to help the dead to enter the eternal Kingdom.

It was 4am when the change of mourning took place, and in accordance with traditions, the friends & family announce the presence of harp and violin players, to liven up the proceedings with songs of joy and merriment until the next day.

"Mamay Sofia, manan wañukunkichu, kawsakuchkankim sunquykupi; sichus qunqarusqaykiku, chaymi ichaqa wañukunki!"

"I have not died, I will die on the day that you forget me!"

Esteemed soul crooner Sam Cooke achieved much in a short space of time, notching 29 top-40 singles in his seven-year solo career. On Night Beat, released in 1963, Rene Hall’s tasteful arrangements allow Cooke’s voice to shine, most notably on ‘Lost And Lookin’; jump blues standards ‘Shake Rattle And Roll’ and ‘Little Red Rooster’ are playfully rendered, with Billy Preston’s organ on the latter. Originals ‘Mean Old World’ and ‘Laughin’ And Clownin’ remind of his strong song-writing ability and his spirited take of ‘Nobody Knows The Trouble I’ve Seen’ recalled his days with the Soul Stirrers. A prime album for all Cooke fans!

After Maghreb K7 Club – Synth Raï, Chaoui & Staïfi (1985-1997) and Maghreb K7 Club Disco Singles Volume 1, 2, and 3, Sofa Records and Les Disques Bongo Joe team up again for a new project exploring funky, synth-driven tape music from the Maghreb.

This compilation brings together eight songs —delivering a Saharan pop sound melted with reggae, dub, new-wave and funk — by Yassine (Ahl) Nana, the iconic figure of Mauritanian pop music in the 1980s and 1990s. Yassine and his band recorded songs between Nouakchott, Paris, and Rabat, resulting in only a pair of rare cassette tapes. This music was definitively part of the vibrant wave of African sounds sweeping across the continent at the time, from Abidjan to Oran and Kinshasa.

This compilation features previously unreleased recordings, along with liner notes, interviews, and exclusive iconography.

Scissor and Thread presents Tailored Cuts, Vol. 06, a four-track selection that accompanies the digital compilation album. All four tracks appear on vinyl for the first time. Opening the A-side is a brand new and exclusive dub mix of Soela & Module One’s Drowning, reworked by Matthias Reiling (one half of Session Victim). Originally taken from Soela’s Dark Portrait album, the track is reshaped here into a spacious and hypnotic dub that emphasizes texture, atmosphere and patient groove. "I have been a fan of both Soela's and Module One's music for quite a while now," says Reiling, "so getting the chance to remix their collaboration from Soela's beautiful Dark Portrait album is a huge honor. I tried to keep the elegant and somewhat tender synth work close to it's original spirit and combine it with simple drumkit samples, acoustic guitar, electric bass and a dash of space echo. The process put me in a slightly eerie, yet romantic mood, which, so I hope, translates a little when listening to the result."
Also on the A-side, Black Light Smoke’s Love Triangle appears in ZG’s remix, a lush and understated reimagining that balances warmth with rhythmic precision. On the B-side, Hidden Spheres remix of Francis Harris’ Earth Moves feat. Eliana Glass appears alongside DaRand Land’s Passion Motion from his album Wander Being, "a more upbeat ride, with melodic overtones that drive the “passion”. Personally, it’s my interpretation of some of the sounds from mid-90’s Chicago." says DaRand Land.

From the maniacal opening notes and carnival barker howl that launch the album, The Ugly Organ wasted no time searing itself into a listener's ears and quickly established Cursive as a musical force with which to be reckoned. A self aware examination of artistic constraints (or lack thereof), relationships, sex, and the intersection of all three, The Ugly Organ wowed critics and audiences alike with its cerebral, cathartic blend of songs. Fiercely intelligent and cohesive - the liner notes laid the songs out like a play, complete with stage directions - across its diverse sonic landscape, the album landed Cursive on the Sunday Arts & Leisure section cover of The New York Times (which also called it "a marvelous collection of riddles and left turns, conceived as a single piece of musical theater") and earned accolades from Rolling Stone ("a brilliant leap forward"), Entertainment Weekly, Billboard, Alternative Press, MAGNET ("The best punk record you'll hear all year"), Esquire, and SPIN, among many others, as well as a place on numerous year-end best lists.The Ugly Organ feels as vibrant and vital today as it did upon release more than 20 years ago. A landmark album, it not only catapulted Cursive from the simmering indie underground to the forefront of a genre, but also served to inspire a host of young bands in its wake.

OOIOO and Lightning Bolt are both bands whose music is wholly unique and whose creators" influence would be impossible to overstate. YoshimiO, OOIOO"s founder and bandleader, has been a guiding force in uncompromising art across the continuum of rock and improvised music for four decades, from her work in UFO or Die to The Boredoms to SAICOBAB and beyond. OOIOO serves as a core outlet for melding freeform experimentalism with hypnotic rock pulses, defying boundaries with her acrobatic voice, electronics, trumpet and gamelan. Lightning Bolt"s Brian Chippendale and Brian Gibson have remained unparalleled in their ability to transmute frenetic whirls of percussion, gargantuan fuzz and dizzying melody into monolithic vistas. THE HORIZON SPIRALS / THE HORIZON VIRAL is a split that captures the parallels in ethos between these two ensembles, their sense of gleeful abandon and freight train momentum, in inspiring detail.

OOIOO and Lightning Bolt are both bands whose music is wholly unique and whose creators" influence would be impossible to overstate. YoshimiO, OOIOO"s founder and bandleader, has been a guiding force in uncompromising art across the continuum of rock and improvised music for four decades, from her work in UFO or Die to The Boredoms to SAICOBAB and beyond. OOIOO serves as a core outlet for melding freeform experimentalism with hypnotic rock pulses, defying boundaries with her acrobatic voice, electronics, trumpet and gamelan. Lightning Bolt"s Brian Chippendale and Brian Gibson have remained unparalleled in their ability to transmute frenetic whirls of percussion, gargantuan fuzz and dizzying melody into monolithic vistas. THE HORIZON SPIRALS / THE HORIZON VIRAL is a split that captures the parallels in ethos between these two ensembles, their sense of gleeful abandon and freight train momentum, in inspiring detail.

Venus er i håret is the third solo record from Norwegian multi-instrumentalist, composer and singer Espen Reinertsen and it arrives about ten years after his second solo record was released via Susanna Wallumrød’s SusannaSonata label. Simultaneously tender and powerful, Venus gives the impression of being, in itself, a complete system –– full of beautiful digressions and compositional trustfalls. Melancholic in the truest sense of the word, Reinertsen’s songs are ruminative, enveloping and uncanny. Venus er i håret seems to glow, gently. Espen Reinertsen is deeply embedded in the creative music scene in Norway, performing as a member of Christian Wallumrød Ensemble and Streifenjunko. As a saxophonist and collaborator, he a mainstay in Oslo’s experimental scene, performing with artists like Jennifer Walshe, Jenny Hval, Toshimaru Nakamura, Christian Wallumrød, and many more, in addition to offering his own exploratory pop compositions both solo and in collaboration.

The fifteenth album by Stevie Wonder, originally released in October 1972. As the second of five consecutive albums which made up Stevie's classic period, Talking Book found Wonder at the top of his game, combining tight song writing with warm electronic arrangements and effervescent vocal performances. Released in 1972 and sandwiched between the release of Music of My Mind and Innervisions, Talking Book saw the then 22 year-old Wonder enjoying more artistic freedom from Motown, taking over the production reins and playing most of the instruments himself. As a result, the sound of the album is sharply defined by Wonder's exquisite keyboard work, and his use of the Hohner clavinet model C on Superstition became widely regarded as one of the definitive tracks featuring the instrument. Despite making the majority of Talking Book himself, the album also benefits from the talents of guest guitarists Jeff Beck, Buzzy Feton and Ray Parker, Jr who featured on Maybe Your Baby and Lookin' For Another Pure Love.

After a savage summer of performing over 35 festival shows, COLLIGNON continue their journey with the release of Bicicleta.

Bicicleta was written and recorded right in the midst of the band's summer tour. Gino, Yves and Jori seized the moment, the album captures exactly where they currently stand as a band: thriving on the energy of their live performances, with the desire to dive deeper into their music.

The result is Bicicleta—a diverse and authentic album that stays true to COLLIGNON’s distinctive blend of wildly grooving beats, psychedelic guitars, and sharp keyboard riffs. The music transports listeners across many borders, all while maintaining their signature COLLIGNON sound.

This album was made with vinyl in mind, designed to be experienced as a complete journey. From the first Maloya rhythms of "Fonkér la Mér" (Kreol for 'fond du cœur de la mer', meaning ‘from the bottom of the heart of the sea’) to the Brazilian groove and cosmic crescendo of "Vai Vai Vai (Into the Stars)", Bicicleta is a trip that flows from track to track.

The album, recorded while Jori left his Portuguese studio for a year-long stay in the Netherlands, pays homage to what -without engine, exhaust or pollution- might be considered the finest emblem of Dutch culture: the bicycle.

The words of adventurer Nellie Bly, written in 1896, still ring true today: ‘In a frenetic era of expanding possibilities, cycling offers a journey into a landscape of dreams. The bicycle has always signified independence and freedom in steering one’s daily course and the byways of its occasional adventures.’

To truly experience this album, nothing compares to holding the vinyl sleeve in your hands and spinning the record on your turntable.

Isella doesn’t flinch from the horror stitched into the fabric of the feminine experience. Citing writers like Plath Margaret Atwood, and Mona Awad as germinal influences on her lyricism, Isella plunges into the underbelly of expectations of good-girlhood, of valiant womanhood. In her songs she splays out the stakes of it all, plumbing the viscera, unearthing the blood, guts, dirt, and decay lurking beneath. By the time she hit fifteen, Isella’s taste had expanded and grown darker and more mature. Artists like Nine Inch Nails and Tom Waits became a conduit for the kind of raw intensity she’d always been drawn to, and gave her permission to push herself to new depths of expression. This is evidenced on her latest EP; That freedom that Reznor et al. endowed to the songwriter are evidenced on her latest EP; Something is a shell . Isella’s vocals swing from coolly detached to emotional detonation, often in the span of the same song. She brings listeners into a world colored by feminist hyper-realism, challenging listeners to re-define ideas of femininity, and safety; to see that things are not okay.

Paul Weller releases Weller At The BBC (Vol.2) on Friday 24th April.

This second BBC outing gathers live session and live in concert performances, including intimate stripped back acoustic versions and re-workings of tracks across The Jam, The Style Council and Paul’s extensive solo career.

From timeless classics such as Start!, Shout To The Top and Wild Wood, to deep cuts and covers, like The Zombies’ Time Of The Season and Billie Eilish’s What Was I Made For?

The album also features some beautifully orchestrated tracks with the London Metropolitan Orchestra, arranged and conducted by Hannah Peel, including Aspects, Boy About Town and Have You Ever Had It Blue.