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When Leng Records founders Paul ‘Mudd’ Murphy and Simon Purnell marked the imprint’s 10th birthday, they did so via a celebratory compilation that mixed classic catalogue cuts, remixes and exclusives. Five years on, and with the label’s 15th birthday upon us, they’ve decided to look to the future via a compilation made up entirely of fresh productions from Leng’s roster of current and new artists. Presented on limited-edition gatefold double vinyl with a bonus 10” single, the collection offers an updated showcase of Leng’s much-loved trademark sound, a distinctive fusion of mid-tempo sleazy-disco, Balearica and chugging house interspersed with elements of electronic psychedelia and synth-powered space disco. Fittingly for a compilation that wholeheartedly looks to the future, you’ll find first contributions from a handful of label newcomers.

Fast-rising duo Flying Mojito Bros give their spin on ‘Smoke Signals’ by label debutants Joe HarveyWhyte and Bobby Lee, turning in a heady and inspired revision that sits somewhere between dusk-ready cosmic disco and flash-fried desert blues. There’s also an appearance from Swedish producer Bo Wosticz with the dreamy and ultra-deep nu-jazz of ‘Bs As’. Naturally, you’ll also find plenty of heat from those who have already proved their mettle through prior releases on Leng. Danish duo Liminal, who made their debut earlier this year with the much-played ‘Keep Coming Back To Me’, open proceedings with the tactile, slow-disco flex of ‘Tzatziki Bay’ where sweet synth melodies and a heady electric piano riff ride a warming groove.

Roberto Intrallazzi and Dario Piana from Italy’s original Afro-cosmic movement return with ‘Plutos’, a typically deep dubbed-out cosmic chugger. Then there’s Rose Robinson AKA Tigerbalm, whose ‘Mexicana’ featuring singer Joi N’Juno is presented across the package in two different forms. Pete Herbert, who contributed to some of the earliest Leng releases, drops a driving dub disco take on the main compilation, while Robinson’s original mix – a more organic, percussive and horn-heavy affair blessed with plenty of hallucinatory intent – opens the bonus 10”.

There’s a welcome return to Leng for the brilliant Payfone, whose ‘Dime Algo’ is a typically classy, analogue-rich affair in which attractive Rhodes riffs, atmospheric female vocals and pitched-down house pianos rise above shuffling drum machine beats and a slow-motion bassline. Long-serving label contributor Lex (Athens) delivers the loose-limbed nu-disco breeze of ‘Stolen Dance’, while the imprint’s San Francisco connection – the ever-brilliant 40 Thieves collective – drop the dubbed-out Bay Area brilliance of ‘Such A Great Trip’.

Then there are the contributions of the label’s most storied artist, Andrew Meecham AKA Emperor Machine with ‘Eumig’, a deliciously slow, synth-rich chugger full of colourful chords, bubbly electronic melodies and jaunty electronic bass. Then, to round off the bonus 10” single, Meecham joins forces with Paul Murphy (as Mudd) on ‘Road To Nikko’, an extended, Japanese musical culture-influenced slab of pitched-down alien-funk packed to the rafters with squelchy synth sounds, effects-laden percussion, chiming melodies and rubbery bass guitar.

From its modest beginnings as a university project, Anjuna has grown to become one of the most influential forces in electronic music. What began as, and remains, a passion project has evolved into a global electronic music powerhouse. Led by Jono Grant, Paavo Siljamäki, Tony McGuinness (better known as Above & Beyond) and label exec James Grant - Anjuna now spans three distinctive imprints: Anjunabeats, Anjunadeep and Anjunachill. To mark the label’s 25th anniversary, Above & Beyond and James have carefully curated a selection of picks from its rich catalogue that includes countless genre defining releases to present the label’s most expansive vinyl offering to date.

Covering the full spectrum of that 25 year journey, the ten vinyl box chronicles 84 of the label’s most iconic releases across all three labels, including a vinyl dedicated to label founders Above & Beyond. Encased in a custom outer slipcase box with a debossed foil Anjuna25 logo. Accompanying the ten vinyl is a 48-page perfect-bound booklet printed on premium art paper and textured cover stock, featuring track-by-track insights from artists and Anjuna HQ staffers delving into the stories behind each record and their reflections on 25 years of music. The Anjuna25 anniversary box set is a beautifully presented tribute to 25 years of innovation, artistry and emotional connection.

Riding a wave of critical praise and positive feedback for his most recent Emperor Machine album, the fabulous Island Boogie, Andrew Meecham returns with a typically wild and dancefloor-focused set of dubs, ‘versions’ and remixes.

According to Meecham, Island Boogie is his most personal set to date – a full-length excursion that not only delivers perfectly formed expressions of his dub-tinged, off-kilter synth-boogie sound, but also tracks that draw deeply on his earliest influences and long-held musical expressions.

It’s fitting, then, that this remix EP begins with his own sparse, stripped-back ‘version’ rework of ‘S-S-S-Single Bed’, a fine cover of the mid-80s Fox single featuring the vocals of Michelle Bee. Meecham’s dub-wise revision is a skeletal and driving affair, with snippets of echoing guitar, colourful synths and Bee’s distinctive vocalisations rising above a weighty dub disco bassline and rock-solid percussion.

It's followed by two revisions of album favourite ‘Wanna Pop With You’ from A Love From Outer Space main man Sean Johnston under his now familiar Hardway Brothers alias. Combining his own love of raw, analogue-sounding electronics and trippy dancefloor psychedelia with select elements of Meecham’s original – percussion, synth sounds, crisp guitar licks and elements of Severine Mouletin’s lead vocals, Johnston’s main ‘remix’ is a weighty, mid-tempo treat. Arguably even better is his accompanying dub, which is more groove-and-effects focused and makes more of Beecham’s superb original bassline. It’s heavy, spaced-out and undeniably intoxicating.

To round off the package, long-time friend of the label (and sometime contributor) Rose Robinson dons her Tigerbalm pseudonym and gets to work on ‘La Cassette’. Brilliantly cutting up Severine Mouletin’s vocals, she delivers a driving slab of spaced-out, synth-heavy dub disco that adds more weight and energy to Meecham’s original. It’s a fittingly on-point way to close out a superb selection of club-ready revisions.

Perhaps known as the frontman of Sunfruits and as the drummer for Jade Imagine, Winter McQuinn’s solo music explores psychedelic country and folk rippling with a free-ness similar to Nick Drake, Syd Barrett, Kevin Ayers and more modern 70s soft rock purveyors like Michael Rault and Drugdealer. His impressive 2021 debut album ‘A Rabble Of Bees’ marked the beginning of Winnie’s solo wanderings, showcasing his songwriting talents and DIY inventiveness. Winter McQuinn’s sophomore solo album 'Move To The Trees' is set for April 5th via Third Eye Stimuli Records and Echodelick Records (USA). McQuinn recorded the new album in April 2022 over one weekend in Anglesea, Victoria with Jesse Williams (Leah Senior, Grace Cummings, Traffik Island) as engineer and producer. 'Move To The Trees' showcases a more refined and sonically sophisticated side to Winter McQuinn’s solo music. Featuring talented musicians Jack Kinder and Lewis Mosley from fellow Third Eye Stimuli family, Hot Apple Band, as well as Elena Jones from Sunfruits and Jaspar Robinson, McQuinn and co create a unique space through their artful intersections of hope and tragedy. A series of anthems for the future, settled in a post psych-folk and 70s soft rock energy, McQuinn takes influence from the new-wave of 70s folk and rock influenced artists from the USA's West Coast such as Sylvie, Cut Worms, John Andrews, Anna St Louis, The Lemon Twigs and more. This album showcases a step up in songwriting and production for Winter McQuinn who’s ever evolving style and commitment to creating is inspiring. The album cover design was hand painted by renowned folk / baroque pop artist Leah Senior and portrays McQuinn in different settings around Anglesea and the studio.

Daniel Land's new album, "Out of Season", is his most ambitious record to date, a series of reflections on history, memory, and post-Brexit Britain, which was inspired by his return to the landscapes of his youth – the rugged, underpopulated west coast of Somerset. The album was written and partly recorded in Daniel’s studio in a static caravan, overlooking the coast, during the period when the UK was tearing itself apart over its relationship to Europe. "I didn't set out to write about Brexit", Daniel says, "I have a kind of horror of political music. But I couldn’t escape the atmosphere of the time – this strange, distorted version of ‘Englishness’ in the national psyche. I’ve always been interested in memory and nostalgia; Brexit illustrates the dangers of taking seductive, possibly false memories at face value”. Songs like “White Chalk”, “Island of Ghosts”, and the album’s title track, represent a series of attempts to reclaim an older, more peculiar idea of England which, Daniel says has been “Lost in the nationalist mythmaking of the past decades” – the island of misfits and outsiders exemplified by the works of Derek Jarman, for example, whom Daniel was rediscovering while working on the album. “I must have read 'Modern Nature' ten times over the years”, Daniel says. “What I love about Jarman is that he had a deep, abiding love for England, but it was a very complicated, critical and a very queer kind of love. That was very much my mood, going into the making of this album”. Like Jarman’s work, "Out of Season" probes national identity whilst also displaying resolutely queer themes throughout. Daniel’s voice – once described by The Guardian as "The spawn of Elizabeth Fraser and Anthony Hegarty” – is less heavily reverbed than before, bringing to the fore his often-confessional lyrics, inspired by the frankness of modern queer poets like Andrew McMillan, Seán Hewitt, and Ocean Vuong. A lyrical highlight is the gorgeous “Southern Soul”, a deceptively straightforward recounting of a decades-old hookup with a closeted guy from his hometown which, Daniel says, “Serves as a metaphor for everything I’m talking about in the album”. And in keeping with the album’s nods to the heroes of gay literature, Daniel’s self-styling of the album as a “Dream Pop Album on National Themes” deliberately references the full title of Tony Kushner’s era-defining play "Angels in America", whose central character is namechecked in the hook-laden “Lemon Boy” – a song which must surely stand as Daniel’s most deliciously pop moment yet. Lauded by Mark Radcliffe, Guy Garvey, Tom Robinson, and many others, Daniel Land makes music that, in the words of BBC Radio 1, "You can't help but think the late John Peel would have loved".

Lost soul phenomenon Lewis Taylor's Numb finally arrives on double vinyl! One of UK soul’s most fascinating artists, most enigmatic figures and most under-appreciated talents, Andrew Lewis Taylor is a prodigious multi-instrumentalist and eclectic polymath. He enjoys a fiercely loyal following which, over the years, has included celebrity champions like Bowie, Elton and D'Angelo. Numb is Taylor's sixth album, initially released on his own label Slow Reality (an anagram of his name) and licensed to Be With for this long-awaited physical edition. It captures Taylor's wholly unique, intoxicating take on lush, late-night psychedelic soul music.

Lewis wrote and recorded these 10 brand new tracks after a 17 year break from making music, although the album came together over a two-year period. The years away have done nothing to dull Taylor's unique musical vision. He still astounds. The lyrical themes, however, have shifted. Understandably, more than a decade and a half of soul searching and unflinching self-examination cannot fail to influence this most honest of songwriters, and boy does it show. Numb marks a return to the darker, more mysterious side of his output: "Brian Wilson-channels-Smokey Robinson atmospheres", as Mojo put it recently.

After playing a rapturously received gig at the Bowery Ballroom in NYC in 2006, Lewis unceremoniously walked away from music and disappeared completely. An interview in 2016 shed light on some of the reasons for Taylor’s withdrawal from the business, but there was no hint of a return anytime soon. Then in June 2021, news emerged out of the blue that he was readying new music alongside Sabina Smyth with whom he had worked first time around.

On Numb, Lewis deftly balances stark, soul-bearing lyrics with moody mid-tempo pop-soul sheen. He deals candidly with depression, mental turmoil, even thoughts of suicide - clearly more personal than Taylor's earlier songs. The music is rich, warm and layered, with infectious melodies and hooks that stick with you. A true grower of an LP, it really does reward repeated listens. As Jim Irvin in Mojo reflected, "despite the depths these plumb, it's a curiously uplifting experience, unfurling like a concept album about life's challenges with an optimistic beauty at its heart."

Triumphant dubwise horns ring out yet, almost instantly, “Final Hour” takes on a dark, downbeat vibe. With lyrics that confront (and, seemingly, confound) death head-on, Lewis ensures the groove is still there, the beats still swing and your head still nods, strings glissade. Woven around delicate yet insistent piano and subtle strings over a killer bassline, the title track “Numb” is a good example of the lyrical themes throughout the album. As Taylor reflects, "So removed I feel no pain / And for all I know I could be having the time of my life" with a coda that feels very much in conversation with Brian Wilson's finest harmonies. "Feels So Good" is sophisticated 90s-sounding soul of the highest order. The music and vocals feel simultaneously optimistic and despondent. Downlifting. A neat trick, and one Lewis has been so adept at over the years. "Apathy" is a mini-epic, a symphonic-soul gem which builds and glides and, eventually, soars. “Worried Mind" is another slow-builder, creeping out the gate in a sketchy, discordant fashion before climbing to half-crescendo but never quite breaking free of its disorientating restraint.

The brighter "Please" presents a more hopeful mood, with the refrain "I still believe" ringing out as Lewis harmonises with himself. "Brave Heart" quietly struts from step one, as Lewis's falsetto swaggers over a downtempo backdrop with ace echoey drums, beautiful strings and serene electric guitar. Closing out Side C, "Is It Cool" answers its own (non-) question with a spellbinding five and a half minutes of swoonsome deep soul that oscillates between a restrained, barely-there backdrop and a lushly full musical accompaniment of acoustic and electric guitar and organ over bass and slick drums. The penultimate track "Nearer" is a magical, soul-stirring ballad in which Lewis sings of reaching a sweet salvation and achieving a peace of mind. If the hairs on the back of your neck aren't standing up by the midway point, you might need to check your pulse. Album closer and true tear-jerker "Being Broken" places Lewis's gorgeous voice high in the mix and the wordless falsetto and melodies invite you to ponder what Pet Sounds might sound like if it were refashioned as a dubby 21st Century electronic soul album. Astonishing.

Simon Francis’s vinyl mastering spreads out the ten tracks over a double LP so, as ever, nothing is compromised. And as usual, the records have been cut by Cicely Balston at Air Studios and pressed at Record Industry. Turn it up and let the Lewis Taylor sound envelop you.

As co-founder of Fuck Buttons; the highly-influential noise-electronic duo, Andrew Hung has toured extensively with headline shows at the Kentish Town Forum, Glastonbury and Greenman Festivals, been featured on the

2012 Olympics opening ceremony and all three albums have featured as Best New Music on Pitchfork Media. His production work has included Zun Zun Egui's 'Shackles Gift' and cowriting/

co-producing the critically acclaimed 'Kidsticks' by Beth Orton. In 2016 he soundtracked the multiple-award winning film 'The Greasy Strangler ', and was nominated for Best Soundtrack at the Empire Awards. His debut solo

album, Realisationship was released via Lex records in October 2017. An Evening With Beverly Luff Linn is the soundtrack to Jim Hosking's directorial follow up to The Greasy Strangler and stars Aubrey Plaza, Jemaine Clement,

Emile Hirsch, Craig Robinson and Matt Berry.