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After the success of part one, the second half of this fabed Aspect double pack from 2000 gets a separate reissue by popular demand. M-Core's 'Get Down' starts proceedings, a slow techno burner that starts with spaced out eeriness but builds its momentum rhythm-wise almost literally brick-by-back. 'Evolved' by Soul Capsule Productions has a fresher, cheerier atmosphere to it, before the gloomy clouds gather again for closing track 'The Prayer' by Dark Boys.

To celebrate its 25th anniversary, XL Recordings today announce a special, expanded version of Leila’s acclaimed second album Courtesy Of Choice. Originally released on 11th September 2000, the album followed the success of her Rephlex Records debut Like Weather and felt like a broadcast from a futuristic radio station no one else could tune into. Twenty-five years on, alongside collaborations with the likes of Bjork, Aphex Twin and Terry Hall and iconic performances at the likes of the V&A and Venice Biennale, more and more listeners have found the frequency. While Courtesy of Choice's influence continues to transmit through contemporary culture. the Iranian-born, London-raised producer remains utterly singular:

"I realised very early on that people don't really belong anywhere. That's what gives me the freedom to do any kind of music...I don't feel any commitment or loyalty to anything. My commitment is to noise." – Leila


This new version, Courtesy Of Choice… asides and besides, re-presents the original 14 track album — including the previously vinyl-only “Relax the Pleasuredome” — alongside a wealth of unreleased material. Leila chose to re-edit rather than remake the album (she has all the original data… midi and audio), choosing to set the parameters of only recovering buried details while preserving its spirit. “I wanted this reissue to be honest,” she explains. “Nothing added, just making sure the performances came through as they were meant to.” Among the twenty unheard tracks are Roya Arab’s striking collaboration on Cabaret classic “Mein Herr,” the surrealist collage “A Reasoning” with a sample of Max Ernst, the hypnotic “Acid Frog Fave,” the digi rave blowout “Birdie Rave,” and “techyarr”’s future forever funk from the realm of primetime Neptunes. Together they reveal both the breadth of Leila’s vision and the enduring power of an album that continues to sound ahead of its time.

Franky Wah returns to Crosstown Rebels and reunites with Kuuda on ‘Light Years’.
Dropping on 13th February 2026, the two-tracker sees the acclaimed UK producer continue his collaborative journey alongside the impressive Brighton-based collective for both his and their second appearance on Damian Lazarus’ revered imprint.

Having made a splash with his impactful label debut last summer, Franky Wah returns to Damian Lazarus’ Crosstown Rebels imprint with ‘Light Years’, a two-track EP that explores emotion and movement with measured confidence. The release sees the Yorkshire-born producer further embed himself within the Crosstown universe, delivering a project built on patience, progression, and feeling, where every moment earns its weight.

The EP opens with the title track, a wide-screen, hypnotic solo burner that balances uplifting melodic energy with weighty, driving grooves. Built for long moments on the floor, the track unfolds, allowing atmosphere and tension to do the heavy lifting while maintaining a clear sense of momentum throughout. On the flip, Franky reunites with longtime collaborators, producer-songwriter-vocalist trio Kuuda, for their second outing alongside him on Crosstown Rebels with ‘House In My Veins’. Continuing a partnership rooted in shared musical language and emotional depth, the Brighton-based trio is central to the track, bringing drive, earworm vocals, and a distinctive identity, woven seamlessly throughout Franky’s cinematic production - grounding expansive moments with human connection.

Following heavy support from Pete Tong on his Crosstown Rebels debut, and a recent invitation to host Tong’s flagship BBC R1 show at the start of 2026, Franky continues to assert himself as an artist equally at home in club culture’s most intimate spaces and its widest-reaching platforms. Meanwhile, Kuuda continue their impressive start to 2026, hot on the heels of their recent collaboration with Hot Since 82 on Bedrock. This latest partnership delivers a focused yet expressive statement, music designed to breathe, to move, and to resonate long after the lights come up.

Zum 20-jährigen Jubiläum zurück -zweifarbiges Swirl Dopple-Vinyl und erste schwarze 2LP-Pressung seit der ursprünglichen Warner-Veröffentlichung 2005. Plus exklusives Glanzlack-Sleeve! Mit über 2,5 Millionen verkauften Exemplaren weltweit ist "City of Evil" nach wie vor eines der beliebtesten Alben von Avenged Sevenfold. Inklusive des Fan-Favoriten "Bat Country", der Single "Burn It Doen" und "The Wicked End". Avenged Sevenfold (abgekürzt A7X), die amerikanische Heavy-Metalcore-Band aus Huntington Beach, Kalifornien, wurde 1999 gegründet. Avenged Sevenfold sind bekannt für ihren variantenreichen Alternative Metal-Sound und ihre dramatischen, teils expliziten, Bilder auf Albumcovern und Merchandise-Artikeln. Auf ihrem Debütalbum "Sounding the Seventh Trumpet" entwickelte die Band einen Metalcore-Sound, den sie bis zu ihrem zweiten Album "Waking the Fallen" weitgehend beibehielt. Der Stil der Band hatte sich mit ihrem dritten Album und ihrer ersten Veröffentlichung bei einem Major-Label Warner, "City of Evil", zu einem traditionelleren Heavy-Metal-Stil entwickelt, der u.a. Bezug auf NWOBHW und Metallica nimmt. Nr. 63 auf der Liste der "100 Greatest Guitar Albums of All Time" des Guitar World Magazine. Kerrang! listet "City of Evil" sowohl bei "666 Albums You Need to Hear Before You Die" als auch in "50 Albums You Need to Hear Before You Die" sowie als Nr. 35 in "50 Greatest Metal Albums Ever". Rolling Stone nimmt das Album in seine Liste "The 100 Greatest Metal Albums of All Time" mit auf.



Die Jubiläums-Editionen des Doppelalbums sind als rot-gelbes Swirl-Vinyl (limitiert auf 500 Exemplare weltweit) erhältlich, oder als klassische schwarze 180g-Pressung, welche für Hopeless Records absolut nicht klassisch ist, sondern eine Rarität darstellt, zu haben Beide kommen mit Silberfolie veredeltem Sleeve, welches exklusiv für die 20th Anniversary 2025er Auflagen sein wird. Für Fans von Metallica, Slipknot, & Bullet For My Valentine, Metalcore, Alternative, Post-Metal, Emo, Heavy Metal

Recorded on a packed night at Portland’s beloved haunt The Showdown, this live album captures Jeffrey Martin at his most raw and spellbinding. Although technically a live recording, the album possesses the same fidelity as his studio work, utilising the same stripped-back techniques that allow him to captivate any audience. This performance captures the full power of Jeffrey’s live presence - complete with his remarkable storytelling, both in and between songs - and firmly places him among the most compelling American singer-songwriters of today.

Nach dem 2023 erschienenen „Are You Lost Here?“ betritt der junge belgische Singer-Songwriter mit diesem Album neues Terrain – ein Werk, das gleichermaßen weitläufig wie zutiefst persönlich klingt. „Salt Moon City“ verwebt die bekenntnishafte Songwriting- Intensität von Künstlern wie Sufjan Stevens und Paolo Nutini mit der majestätischen Klangfülle von Coldplay – und deutet zugleich subtil auf die harmonische Raffinesse von Bach und Debussy hin.

Dieses Album wirkt wie eine Verfilmung in Breitbildformat. Nach zwei Jahren gemeinsamen Spielens mit seiner Band hat sich Moon´s Sound geöffnet: Streicher und Bläser durchziehen die
Arrangements, verwandeln stille Selbstbeobachtung in etwas Strahlendes und Gemeinschaftliches.

Im Mittelpunkt steht Moon´s Stimme – leise, rau und ungeschützt – und sein Gespür für Songs, die Zerbrechlichkeit und Selbstbewusstsein gleichermaßen in sich tragen. Auf „Salt Moon City“ zeigt sich Moon als Produzent, Arrangeur und Multiinstrumentalist, der seinen Sound vollständig im Griff hat. Er spielt Schlagzeug, Bass, Gitarre und alle Klavierparts selbst und erschafft eine Atmosphäre, die zeitlos und lebendig zugleich wirkt – eine Stadt aus Salz und Erinnerung, irgendwo zwischen Traum und Tageslicht leuchtend.

In February 2025, more than 1,000 musicians came together to release a silent album protesting the UK government’s planned changes to copyright law, which would make it easier to train AI models on copyrighted work without a licence. The album, titled Is This What We Want?, featured recordings of empty studios and performance spaces, representing the impact on artists’ and music professionals’ livelihoods that is expected if the government does not change course.

The digital release in February 2025 reached no. 38 in the UK album charts. Now, it is being released on vinyl, with a bonus track - a recording of an empty studio - from Paul McCartney. The vinyl is being released by state51.

Under the heavily criticised proposals, UK copyright law would be upended to benefit global tech giants. AI companies would be free to use an artist’s work to train their AI models without permission or remuneration. The government’s proposed changes would require artists to proactively ‘opt-out’ from the theft of their work – reversing the very principle of copyright law. ‘Opt-out’ models are near impossible to enforce, have yet to be proven effective anywhere else in the world, and place enormous burdens on artists, particularly emerging talent.

Facing major backlash from the creative sector and beyond, the government has said its previous proposal is no longer its preferred option. However, it has not proposed an alternative, simply recommitting to its plan to “modernise the copyright legislation”. In the meantime, it has sent creatives a worrying signal, five times rejecting House of Lords amendments to the data bill that would have given rights holders visibility over when their work was being used against their wishes by AI companies.

The album’s track listing spells out a simple message: “The British government must not legalise music theft to benefit AI companies.”

Ed Newton-Rex, the organiser of the album, said:
“The government must commit to not handing the life’s work of the country’s musicians to AI companies for free. Doing so would be hugely damaging to our world-leading creative industries, and is totally unnecessary, only benefiting overseas."

Paul Sanders, founder of The state51 Conspiracy, said:
"When tech companies lobby governments to give them songs for free, it’s not so they can cure diseases, feed the hungry, or provide clean water where it is needed. It’s simply so they can make millions of fake songs and keep all the profits for themselves. As a company with a lifelong commitment to musicians The state51 Conspiracy was honoured to be asked to help get this message out on vinyl. All profits go to Help Musicians, which is what our politicians should be doing instead of sucking up to tech bros."

The skies crack, the world coughs, and the smoke clears only to reveal the end. From the depths of the riff-choked void, Belzebong return with a new sermon for the final days - The End Is High. Recorded and mixed by Satanic Audio @ Sound of Records, this new chapter drags you deeper into your doom - where the incense burns green, and time moves slower than death itself. This is the soundtrack for the final procession. No salvation. No redemption. Bong. Fire. Death

Neon green vinyl, limited to 350 copies. The skies crack, the world coughs, and the smoke clears only to reveal the end. From the depths of the riff-choked void, Belzebong return with a new sermon for the final days - The End Is High. Recorded and mixed by Satanic Audio @ Sound of Records, this new chapter drags you deeper into your doom - where the incense burns green, and time moves slower than death itself. This is the soundtrack for the final procession. No salvation. No redemption. Bong. Fire. Death

For years, L.A.’s David Jasso and the UK’s Mike Vest walked separate but parallel routes through psychedelic noise rock—two genre outsiders pulling the music toward raw instinct, intensity, and sonic extremity. Their paths kept echoing each other, from their own projects and collaborations—most notably through their work with key artists in the Japanese psych underground—both speaking the same volatile language of improvisation and avant-garde abrasion. A collision wasn’t just likely—it was inevitable.
This ethos and commitment to raw, volume-overdosed psych rock led to this new collaboration. Rather than deliver the expected heavy psych freakout, they opted for something more direct and confrontational.
The result is Non Violence and the album “Lifted Curse,” a six-track blast of noise rock focused not on mysticism and psych tropes, but on psychological depth. The album rips through raw male emotion: fraternity, loss, carnal impulses, mental states. Jasso’s lyrics read like an unfiltered journal mid-burnout; Vest’s swirling, savant-garde guitars create tension with Jasso’s own guitars; and Sned’s rocksteady grooves form a fistfight of harmony and dissonance.
Together, this new power trio carves out a new sonic language—heaviness rooted not in posturing, but in realness and weight: fragility, weakness, and the human efforts forged to break out from it. Non Violence is noise rock with an unironic violent aim in the physical dimension—a new conversation in a familiar space, where vulnerability hits harder than distortion and conviction outweighs myth.
David Jasso — Guitars, Bass & Vocals
Mike Vest — Guitars, Bass & Mix
Dave Sneddon — Drums

With four albums already behind them, Sababa 5 have earned global support, from Songlines magazine and BBC Radio 6 Music tastemakers including Gilles Peterson, Jamz Supernova and Iggy Pop to France’s FIP Radio and Radio Nova, for their unique blend of traditional Middle Eastern celebration music with psychedelic grooves, funk, jazz, rock, and international vocal collaborations spanning Japan to India. The Paris-based group have taken this sound to stages across Europe, including Reeperbahn Festival and Dresden’s Super Fest.

Ça Va Ça Va is the band’s hafla album – a return to the wedding and event celebration music that first shaped Sababa 5. Recorded in Paris, it draws directly from the sounds of hafla – the joyful, communal music heard at Middle Eastern weddings, parties and festive gatherings – with a sprinkling of influences from the wider Mediterranean. The group utilise their classic combination of electric guitar, bass, drums, organ, and synths to transform these ideas into vibrant melodies, dance-ready rhythms, and a spirit of abundance and
togetherness.
Opening track “Bienvenue” sets the tone with a mysterious, longing guitar solo before bursting into an irresistible rhythm and jubilant guitar motif. It flows seamlessly into “Allô”, straight into wedding-riot territory – a fast-rising instrumental that showers the dancefloor with energy as it builds around a hypnotic, arpeggio-driven riff. The album is almost entirely original material, with two key exceptions: “Ypárcho” (I Exist), a beautiful instrumental journey inspired by a classic Greek song traditionally performed by Stelios Kazantzidis, and “Asunsan”, an instrumental flip of the much-loved Sababa 5 collaboration “Nasnusa” with Yurika Hanashima. Another impressive step in the Sababa 5 story, Ça Va Ça Va captures both joy and longing – the unmistakable warmth of Eastern Mediterranean celebration and the band’s surf-rock edge – sounding more confident, spirited and deeply rooted than ever.

Soul of Anubis is a power duo formed in 2010 from the North of Portugal. Their music is a blast on stage with a ferocity of sound that goes from thrash to sludge, capturing doom and post-metal at same time, performing energetic and contagious live acts. "Ritual" represents the passage from life to death and rebirth into a new cycle. During these last years, we have lost beloved ones, we have lost the freedom to breathe, we have lost some companionship and we had to fight to lift our souls back on trial. In Egyptian mythology, Ra, God of the Sun, goes down to the underworld every night to help the dead cross to the other world and ensure that a new dawn would happen. So, "Ritual" is a memorial to our beloved ones who passed away, speaks for the mental struggle that everyone has to face to overcome their demons and glorifies the victory of rebirth. As we have our demons, this is our ritual to cross our pathway.

Red Vinyl. Soul of Anubis is a power duo formed in 2010 from the North of Portugal. Their music is a blast on stage with a ferocity of sound that goes from thrash to sludge, capturing doom and post-metal at same time, performing energetic and contagious live acts. "Ritual" represents the passage from life to death and rebirth into a new cycle. During these last years, we have lost beloved ones, we have lost the freedom to breathe, we have lost some companionship and we had to fight to lift our souls back on trial. In Egyptian mythology, Ra, God of the Sun, goes down to the underworld every night to help the dead cross to the other world and ensure that a new dawn would happen. So, "Ritual" is a memorial to our beloved ones who passed away, speaks for the mental struggle that everyone has to face to overcome their demons and glorifies the victory of rebirth. As we have our demons, this is our ritual to cross our pathway.n. So, "Ritual" is a memorial to our beloved ones who passed away, speaks for the mental struggle that everyone has to face to overcome their demons and glorifies the victory of rebirth. As we have our demons, this is our ritual to cross our pathway.

Antibalas established themselves in the late 1990s as a burning, tough, horn, bass and drum driven Afrobeat ensemble cut from the Fela Kuti mold, who were politically savvy and socially conscious. Their live shows have been incendiary events where rhythm and perspiration from completely crazy, booty-shaking audience members shared something deeper and wider than the music itself. Security is Antibalas' fourth album. It was co-produced by the band with John McEntire from Tortoise.

The group, whose name means "bulletproof" in Spanish, has indeed proved they possess the mettle to not only survive but also thrive by employing a musical arsenal that has become known worldwide. Initially using the revolutionary blueprint of afrobeat as a launching pad, the dozen-strong members of Antibalas weave a rich tapestry of latin, jazz, classical, funk and soul into their horn-driven mix. Words fail in trying to describe the result: simultaneously polyrhythmic and political, independent and contagious, and the reason why many have credited the band for introducing afrobeat's framework to a new generation.

Security is available as a numbered limited edition of 500 copies on white vinyl and is packaged in a gatefold sleeve.

Three musicians, three worlds: raga, jazz, and their own imagination. East, West, and the fusion in between. Rhythm, melody, and harmony. Past, present, and future.With 3, Ragini Trio experiences a rebirth - after years of deep exploration into long-form ragas, South Indian Carnatic traditions, konnakkol, and Western jazz.Thirteen years after their debut, this album stands as an homage to both worlds. By refusing to play things "as they should be played," Ragini Trio finds the in-between space - that magnetic tension where jazz and Indian classical music meet and transform each other.



Inspired by the traditional Indian trio of tabla, flute, and tanpura, Ragini offers its mirrored jazz response: drums, saxophone, and double bass. The result unites jazz, which seeks freedom within structure, with raga, which seeks structure within freedom. Far from purism or imitation, Ragini Trio crafts a living dialogue between rhythm, melody, and tone colour.



And it's a statement. Bursting with energy, depth, and self-irony, 3 is a vibrant antidote to the algorithmic recycle-music of today and tomorrow - born from the chemistry of three exceptional artists: saxophonist Nathan Daems, drummer Lander Gyselinck, and double bassist Marco Bardoscia.

"EYE OF MELIAN open the gates to a different world with their new album Forest Of Forgetting, out February 20th, 2026 via Napalm Records. Named after a powerful primordial singing spirit from the world of J. R. R. Tolkien, EYE OF MELIAN draws inspiration from the master of fantasy and expands on his ethereal concept. Created by Delain’s Martijn Westerholt and featuring Auri’s Johanna Kurkela as a lead vocalist, EYE OF MELIAN’s Forest Of Forgetting is a masterclass in symphonic songwriting so whimsical the real world fades away. Completing the all-star lineup on their debut with Napalm Records are orchestral arranger Mikko P. Mustonen and backing vocalist and lyricist Robin La Joy, blessing twelve lush compositions with immortal life. Mesmerizing from the first gentle notes of opening track “Of Willows And Shadows”, Forest Of Forgetting weaves otherworldly piano melodies and epic strings around angelic vocals worthy of the powerful Valar themselves. “Child Of Twilight” deepens EYE OF MELIAN’s dreamy and bombastic Hollywood movie score approach, carefully building up an exceptionally enchanting atmosphere that carries on into the equally cinematic “Blackthorn Winter”, ever so elegantly broadening the view into the alluring realms the band is melodizing. “Dawn Of Avatars” features Nightwish multi-instrumentalist Troy Donockley on flute and uilleann pipes, as well as hurdy-gurdy fairy Patty Gurdy, before EYE OF MELIAN turns in the direction of heavy metal with a charming rendition of Bruce Dickinson’s anthem “Tears Of The Dragon” (originally released on Balls To Picasso in 1994 after the singer had left Iron Maiden). Forest Of Forgetting also comes with all its tracks as instrumental versions to dwell in the impressive orchestrals alone. With this opulent album, EYE OF MELIAN extends an invitation to faraway lands full of wonder. Forest Of Forgetting unfolds as quite the opposite of its title: utterly unforgettable."

DIESECT fearlessly navigates the turbulent realms of both internal struggles and external chaos, refusing to sugarcoat the complexities of life. From humble beginnings as Brisbane locals to their current status as national contenders, DIESECT has garnered over 2 million streams across various platforms all by themselves, showcasing their undeniable appeal to a growing audience. They've toured across the nation selling out their own shows and supporting the likes of Fit For A King (US), ERRA (US), Silent Planet (US), Currents (US), August Burns Red (US), While She Sleeps (UK), Spite (US), To The Grave and more.

Denmark s forward forward-thinking trio Human Being Human return with a luminous new collaboration featuring acclaimed American saxophonist Chris Cheek. Rooted in lyricism, groove, and connection, Being captures the essence of what it means to create music as a shared act of humanity. Formed by bassist Torben Bjornskov, pianist Esben Tjalve, and drummer Frederik Bülow, Human Being Human have quickly earned a reputation as one of Europe s most distinctive piano trios. Their blend of Nordic lyricism and modern rhythmic vitality has drawn international acclaim for its compositional voice and cohesive ensemble sound. On Being , the trio expand their world through the unmistakable voice of Chris Cheek - a player known for his warm tone and intuitive lyricism, whose credits include work with Paul Motian, Brad Mehldau, and Charlie Haden. A long long-time admirer of Cheek s work and humility, Bjornskov reached out and invited him to Denmark to collaborate with the trio. In the studio, the chemistry was undeniable, as most of the album s tracks were captured in just one or two takes, preserving a sense of immediacy and spontaneity. Reflecting on what it means to be human, our capacity to make decisions and shape the world around us, as well as the damage our species has done to our planet, the quartet channels a spirit of contemplation and rediscovery through elegant, organic compositions. Tracks like Human Rights showcase the group s deft interplay and melodic clarity, while the tender ballad Being highlights Cheek s burnished tone and Tjalve s spacious harmonic sense. On Filia , a duo between bass and saxophone, the music unfolds in weightless dialogue and pure musical empathy. True to the group s name, Being reflects on what it means to live, connect, and create as humans in a complex world. The essence of music is working together, being open, being positive, and wanting to experience new things, things," says Bjornskov. That s essentially what jazz is - it s influenced by any and every culture in the world, every kind of music and race, and every person is part of it.

Based on an unbelievable true story, Roofman follows Jeffrey Manchester (Tatum), an Army veteran and struggling father who turns to robbing McDonald's restaurants by cutting holes in their roofs, earning him the nickname: Roofman. The film's score was composed by Grizzly Bear multi-instrumentalist Christopher Bear, with contributions from The War on Drugs' Jon Natchez. Christopher Bear is a drummer and multi- instrumentalist member of the Brooklynbased indie-rock group Grizzly Bear. He continues developing his independent career, most recently working on arranging soundtracks for the HBO series High Maintenance, and scoring the 2023 film Past Lives alongside his bandmate Daniel Rossen.

Leigh-Anne Pinnock is ready to reintroduce herself. After conquering the pop world with one of the biggest groups on the planet and stepping out as a solo artist, she has reached a new clarity: no more compromises, no more limits.

With the introduction of her debut album ‘My Ego Told Me To’, Leigh-Anne isn’t reinventing herself, she’s restoring the woman she always was. Bold, unapologetic and free, this album is the purest expression of her artistry to date and musically reflects every facet of Leigh-Anne Pinnock - unfiltered, independent and finally on her own terms. “Everything that has been in my heart, everything I’ve wanted to do, I’m doing now. It feels like freedom. It feels right.”