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This exclusive vinyl edition of Call Your Friends brings the album back to fans and collectors in a carefully crafted format. Faithful to the original release, this pressing celebrates the record’s distinctive sound and energy while offering a premium physical edition made for vinyl enthusiasts. Part of Be the Change, a project conceived and developed by Rude Cares to raise awareness about climate change and environmental sustainability within the music community, this limited eco-friendly variant connects the power of music with a commitment to a more sustainable future. Created alongside artists who share this vision, each release supports environmental action through a donation to Green Future Project, while 100 new trees are planted to fully offset the residual environmental footprint of the project. A vibrant and memorable album that captures the band’s personality and evolution, Call Your Friends remains a must-have for fans—now available in a special edition that extends its impact beyond the music.

There’s something quietly defiant about Melody Boy. Written and recorded in a tiny beach hut studio on the English coast, and notably know for his previous work with Paul Weller and The Moons, Andy Crofts’ debut solo album arrives without compromise or concession to trend. It’s a record built on melody above all else, songs that feel unearthed rather than manufactured, guided by instinct, memory, and a lifelong obsession with the craft of songwriting.

Crofts, long established as a songwriter and musician, steps forward here with a voice that feels both seasoned and strangely elusive. There’s no rush to explain, no attempt to overstate. Instead, Melody Boy unfolds with a natural confidence, hook laden, harmonically rich, and emotionally direct without ever losing its sense of mystery.
Drawing from a lineage of classic songwriting while remaining firmly his own, the album leans into warmth, analogue textures, and a sense of timelessness that resists the churn of the modern music cycle. It’s not chasing a moment, it’s creating its own space.
Lead single “Blue” introduced that world: melodic, reflective, quietly anthemic. Across the album, that same thread runs deep, songs that reveal themselves slowly, rewarding repeat listens rather than demanding immediate attention.
There’s a deliberate sense of distance in Melody Boy. Not coldness, but clarity. A refusal to overexplain. The result is a body of work that feels personal without being confessional, detailed without being crowded.

In a landscape built on constant output and fleeting attention, Andy Crofts offers something else entirely: a record that trusts the listener to meet it halfway.
"Blue is another song that I can't get enough of at the moment" - Gary Crowley (BBC London)

There’s something quietly defiant about Melody Boy. Written and recorded in a tiny beach hut studio on the English coast, and notably know for his previous work with Paul Weller and The Moons, Andy Crofts’ debut solo album arrives without compromise or concession to trend. It’s a record built on melody above all else, songs that feel unearthed rather than manufactured, guided by instinct, memory, and a lifelong obsession with the craft of songwriting.

Crofts, long established as a songwriter and musician, steps forward here with a voice that feels both seasoned and strangely elusive. There’s no rush to explain, no attempt to overstate. Instead, Melody Boy unfolds with a natural confidence, hook laden, harmonically rich, and emotionally direct without ever losing its sense of mystery.
Drawing from a lineage of classic songwriting while remaining firmly his own, the album leans into warmth, analogue textures, and a sense of timelessness that resists the churn of the modern music cycle. It’s not chasing a moment, it’s creating its own space.
Lead single “Blue” introduced that world: melodic, reflective, quietly anthemic. Across the album, that same thread runs deep, songs that reveal themselves slowly, rewarding repeat listens rather than demanding immediate attention.
There’s a deliberate sense of distance in Melody Boy. Not coldness, but clarity. A refusal to overexplain. The result is a body of work that feels personal without being confessional, detailed without being crowded.

In a landscape built on constant output and fleeting attention, Andy Crofts offers something else entirely: a record that trusts the listener to meet it halfway.
"Blue is another song that I can't get enough of at the moment" - Gary Crowley (BBC London)

Spectral death metal conjurations will grasp you with their doom-tinged tendrils from the onset of this record. The gritty, booming riffs open a chasm of darkness for the punishing drums to cast skulls into. Met by otherworldly vocals, this is certain to grip any fan of sepulchral music with its enchanting and intense abyssal atmosphere. Do not be fooled by the slower lumbering moments into thinking this will be an easy listen. Stampeding ferocity and wild madness soon erupt from the charnel openings to give a burst of frantic psychopathy to the experience. Churning doomed violence and convulsive bestial onslaughts entwine around each other to project forth arcane death metal violence with huge dynamics and an utterly savage feeling to every second. With a natural, organic production to convey the filthy nature of the music perfectly; this is not a record that will hold your hand rather drop you into a void of souls with malicious intentions.

From the devastating drum work and monstrous riffing to the wickedly contorting bass lines; each instrument complements the others in this storm of triumphant vitriol while the commanding vocals spew malice to superb effect. The low end murmurings and rusted blades of the leads are an idyllic balance of inhospitable sounds that will surely satisfy any real underground lunatic seeking dark music. These five pieces clock in at 35 minutes and the sheer intensity is upheld for every second. Crypt-lurking doomed despair and utter ferocity become companions while the groove of the more mid tempo sections tie everything together. There is certainly nothing missing for an impactful and memorable experience. Allowing itself to decay and reform throughout; you will see, hear, feel, smell and maybe even taste the stages of cranial decay and the anguish of the brain matter breaking down into nothingness. This is a record which doesn’t follow predictable patterns nor rules but wildly possesses you with the malignant spirits from death metal’s darkest corners…

Fourteen years after its original release, Dux Content returns with a newly remastered version of Lifestyle, the cult album by A. G. Cook and Danny L Harle.
Around its initial release, very little information existed about Dux Content beyond the description “audience entertainment specialists”. Lifestyle was initially self-released in 2012, before a limited reissue from PC Music in 2013 as a digital download, continuous mix, and video by Daniel Swan.
Lifestyle remains a remarkably singular and forward-thinking record, capturing a slice of Cook and Harle’s formative years. The album contains unmistakable traces of the musical sensibilities and maximalist production that would later define the pair as highly influential figures in contemporary and experimental pop.

A. G. Cook is an artist, producer and songwriter best known as the founder of influential record label PC Music and for his work as executive producer for Charli xcx on the albums BRAT, Charli, Pop 2, Number 1 Angel and the forthcoming Music, Fashion, Film. Other credits include work with Beyoncé, Hikaru Utada, Oklou and Turnstile.
Danny L Harle is a music producer and composer, and founding member of PC Music. His work includes executive producer credits for Caroline Polachek’s albums Pang and Desire, I Want to Turn Into You, as well as collaborations with Dua Lipa, Clairo, Carly Rae Jepsen and PinkPantheress. This year, he released his album Cerulean via XL.

A new chapter unfolds on Cécille Records as Naples-based duo Shokë step forward with their first full solo EP for the label.

Following a string of standout appearances on Cécille, Shokë now deliver the “Chiamami EP” – their most complete statement on the label to date.

Now firmly part of both the Cécille Records and Cécille Events roster, this EP feels long overdue. After consistently delivering every time, Shokë have more than earned their own full release on the label. Leading the EP is “After You”, a warm and uplifting house record with all the ingredients of a true Ibiza summer anthem. Built around an infectious groove and feel-good atmosphere, it’s one of those tracks that instantly creates memories of sunsets, terraces and open-air dancefloors. The rest of the EP follows suit, packed with the timeless house grooves and understated musicality that have become a trademark of the Shokë sound.

A strong release from two artists who continue to establish themselves as an important part of the ever-growing Cécille family.

Spirit Tamer’ is the debut album from Mia Joy available on limited edition Bright Pink and Classic Black vinyl and compact disc on Fire Talk. A member of the Chicago Children’s Choir at a young age, the record sees Joy's dual backgrounds in music and poetry evolve into a juxtaposition between soaring emotional synthpop and introspective devotional harmonies. Past press has referred to Mia’s music as “warm, ethereal, endlessly layered, and beautifully expanding”. Filled with heady atmospherics and vulnerability that abounds through the shapeshifting sonic palette, fans of Ana Roxanne or Hand Habits will find much to love in this painstakingly crafted, endearingly intimate universe.

Writing and recording the majority of Nocturnes at their home studio in Los Angeles, Leisha and Camila drew inspiration from '70s vinyl — and each other’s company. After finishing the demos, their friend Wendy Melvoin (of Prince and the Revolution) invited Uh Huh Her to continue the production at her treehouse studio in Henson Recording Studios (now Chaplin Studios). "We would just drink wine and record for hours and hours," Camila says of this time. "It was amazing. It was total freedom."

When it came time to mix Nocturnes, Melvoin suggested her friend and super producer Tchad Blake (The Bangles, Arctic Monkeys, Sheryl Crow, Cibo Matto), who put the finishing touches on the record from his studio in the English countryside. “It meant the world that our fans directly supported the mixing of the album through online eBay auctions of memorabilia, vinyl, art, and even a couple private dinners, because that enabled us to enlist the powers of the incredible Tchad Blake,” Cam says. The entirety of those original mixes have never seen the light of day until now, on this 2026.

As they contemplated rereleasing Nocturnes with Kill Rock Stars, Cam started digging around to find the album’s original mixes. “I chose Tchad’s first and second mix attempts because I wanted to preserve his first instincts before we gave him a million notes,” she says. This is truly how he heard it on one or two tries. The songs are longer, they're more rocked out, they're a little more raucous.”

Cam also surfaced a hypnotic song she’d written in 2020 called “Shook” to include on the rerelease, and they also put their own, electrified spin on Sonic Youth’s timeless and gritty “Kool Thing.”

Members of Raven (NWOBHM). Incredible old school USPM with gorgeous art from Michael Whelan. FFO: Griffin, Liege Lord, (early) Nasty Savage, Satan.

The awaited sophomore! Members of Raven (NWOBHM) and Ice Age. Incredible old school USPM. FFO: Savatage, Satan, Crimson Glory, Raven.

Nat King Cole remains one of the most iconic and cherished voices in popular music, celebrated for his warmth, sophistication, and effortlessly smooth delivery that helped define a generation. Compiled here is a stellar array of his most memorable recordings, spanning romantic ballads such as "Unforgettable," "Mona Lisa," and "When I Fall in Love," as well as lively favourites like "(Get Your Kicks on) Route 66," "Straighten Up and Fly Right," and "Ramblin' Rose.

Skyjack — the borderless five piece band spread across South Africa and Switzerland — announce their fourth studio album, Let The Sky Open Under Your Feet, out 3rd July.

Recorded in December 2025 at a secluded studio outside Stellenbosch, South Africa, the album captures the vibrant live energy of the band at its most expansive — drawing together free improvisation, South African jazz traditions, chamber music, kinetic groove, and ecstatic collective interplay into a singular body of work.

“This record is a very articulate representation of our sound, having grown deep roots into the earth with high branches reaching upward and outward”, says bassist Shane Cooper. “My desire is always to create sonic universes that can envelope the listener.”

The album’s title comes from a line in a poem by the 13th-century Persian poet Rumi, reflecting the music’s balance between groundedness and transcendence. Here, Skyjack move fluidly between meditative improvisation and lush orchestration across twelve tracks of free-spirited, cosmic journeying. Inspired both by the cultural traditions and natural environments of South Africa, Let The Sky Open Under Your Feet is a testament to the band’s intuitive connection and innate musical curiosity.

It arrives just over a year after Light Cycle (2024), a short gap that reflects the momentum built on tour. After exchanging sketches remotely across two continents, the band reunited in Johannesburg in late 2025, workshopped the new material onstage across South Africa, and then headed directly into the studio, where much of the album was recorded live in first takes — preserving the looseness and unpredictability central to Skyjack’s sound.

Comprised of Kyle Shepherd (piano), Shane Cooper (bass), Jonno Sweetman (drums), Andreas Tschopp (trombone), and Marc Stucki (saxophones), Skyjack first formed in Cape Town in 2013 during a fertile moment in South African jazz, as a new generation of musicians pushed against rigid genre definitions and opened the music outward toward broader sonic possibilities. Over the past decade, the band has built a singular sound drawing equally on South African groove traditions and European improvisation.

Individually, the members move between jazz, electronic music, film scoring, rock, hip-hop and experimental composition, with collaborations spanning artists including William Parker, Lionel Loueke, Zim Ngqawana, Ben LaMar Gay, Jorge Rossy, Shabaka Hutchings, William Kentridge, Makaya McCraven and Sylvie Courvoisier.

Since their self-titled debut in 2015, followed by The Hunter (2019) and Light Cycle (2024), the group has developed a reputation for immersive live performances and music that continuously reshapes itself in motion — rooted in what they describe as “warm menacing African grooves,” while refusing fixed stylistic borders.

The legends of the golden era of Italian soundtracks and library music go by many names, but the backbone of that era’s definitive sonic identity is most often identified as I Marc 4 (also known as Marc 4 or I Marc Quattro). While the moniker might be less familiar to the uninitiated, it is a simple acronym derived from its founding members: Maurizio Majorana (bass), Antonello Vannucchi (organ), Roberto Podio (drums and percussion), and Carlo Pes (guitar). The number "4" serves to highlight the core synergy of these four master musicians. Their journey began in Rome’s vibrant jazz scene of the 1950s and early 1960s, where they honed their craft as members of the RAI national orchestra and collaborated with the most prominent jazz and pop icons of the day. However, it was their pivotal role in defining the Italian cinematic sound of the 1960s and 1970s that secured their legacy. Their unmistakable style was an eclectic fusion of beat, jazz, classical, and Latin influences—textured with early synthesizers, experimental sound effects, and a blend of electronic and baroque instrumentation. Consequently, their initials are etched into the credits of countless landmark recordings by legendary composers such as Nino Rota, Armando Trovajoli, Gianni Ferrio, Alessandro Alessandroni, Piero Umiliani, and Ennio Morricone.

Beyond their work as session luminaries, they produced a vast body of library music under their own name at the legendary Telecinesound Studios in Rome. These recordings were released through prestigious library labels like Sermi, Ricordi, and Fonit Cetra, as well as through their own imprints: Nelson Records, Silver Men, and Silver Music, spanning a definitive series of sixteen albums. Ten of these volumes were issued on Nelson Records during the 1970s, featuring the now-iconic military stencil design. Each release was color-coded: red (G.L.P. 1001), dark blue (G.L.P. 1002), gold (G.L.P. 1003), light green (G.L.P. 1004), brown (G.L.P. 1005), black (G.L.P.1006), light blue (G.L.P. 1007), yellow (G.L.P. 1008), orange (G.L.P.1009), and cool green (G.L.P. 1010). The series was completed by two elusive companion releases: S.M. 2001 on Silver Music and S.M. 2002 on Silver Men, both presented in the same distinctive brown sleeve. Rediscovered in the 1990s and 2000s, these Nelson releases have since achieved cult status among collectors, producers, and DJs worldwide. The final two installments, S.M. 2001 and S.M. 2002, remain the rarest and most enigmatic of the set.

Often overlooked, they contain some of the most profound "hidden gems" in the group’s catalog. The tracklist traverses a wide stylistic spectrum: from the rare groove and proto-hip hop energy of "Trama Nella Metropoli", "Beat Morbido", and "Candy", to the lush cinematic atmospheres featuring the ethereal vocals of Edda Dell'Orso on "Summer In Love", "On The Rain", and "Arcobaleno". The collection is rounded out by sophisticated jazz pieces like "Flauti Ensemble", "Passeggiata", and "Atmosfere Dolci”. Sonor Music Editions has meticulously curated the finest moments from these two rare albums for this first-ever dedicated reissue. Bringing together the best of Silver Music (S.M. 2001) and Silver Men (S.M. 2002), this release retains the iconic stencil artwork but introduces a striking silver finish. This design choice honors the original ten-album sequence while shedding new light on these outstanding recordings—works that remain, in every sense, golden.

Leading Danish contemporary jazz label April Records is proud to present Well, actually..., the third album from Polish acoustic jazz quartet O.N.E. Grounded in the spirit of democracy andcollective improvisation, the album offers a tightly woven set of original compositions that blur the lines between modal jazz lyricism and the raw energy of free improvisation.The band name O.N.E. is a clever double entendre: in Polish, "one" (pronounced oh-neh) means "they" in the feminine plural - an apt nod to the all-female lineup. In English, of course, it signifies unity. Both meanings reflect the band"s egalitarian, leaderless approach and cohesive group sound.Almost three years after the recording of their previous release Entoloma(Audio Cave), the group reunited in December 2024 at Studio S4 in Warsaw to record a fresh set of ten compositions. Spread over two sides, the album captures the continued evolution of a band that thrives on interaction, trust, and shared purpose - even in a society fractured by post-pandemic socio-economic uncertainty and political ambiguity. Featuring contributions from all four members - pianist Kateryna Ziabliuk, saxophonist Monia Muc, bassist Kamila Drabek, and drummer Patrycja Wybranczyk - the recordreflects their commitment to artistic democracy. Each voice is given space, yet the music always feels greater than the sum of its parts. Even on the miniature solo track solo form, the other three players remain present, supportive, and responsive. From Ziabliuk"s percussive piano textures and dreamlike voicings on tracks like Osloand Berio, to Muc"s expressive, woody tone on alto and baritone sax, each piece explores dynamic interplay and shifting emotional landscapes. Drabek"s resonant, grounded bass - by turns lyrical and propulsive - provides a central thread, while Wybranczyk"s drumming fizzes with precision and imagination, as heard on Cipherand the angular closer Sneaking Around.Together, these four distinctive creative forces have developed a shared language built on mutual respect, long-term collaboration, and deep listening. Their concerts across Europe (including Jazzahead, B-Jazz, Umea, and the Edinburgh Jazz & Blues Festival) haveaffirmed their standing as a boundary-pushing group with something new to say.








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Lonely Man's Dream marks a milestone for Forager Records: our tenth release, and perhaps our most personal. More than a compilation, it is a self-portrait. A reflection of the musical obsessions, late-night discoveries, and restless digging that have defined this label from our first record to this latest one.

Spanning the dreamy psychedelic folk of the 1970s to the cool shimmer of 1980s synth pop, Lonely Man's Dream traces a decade of curatorial wandering. Eleven artists. Eleven songs. Each one rare, obscure, or otherwise lost to the margins of music history. Among them, two tracks surface here for the very first time: “Never Say Goodbye” by Cocktails and Dreams, a synth pop transmission from Norway, luminous and weightless as the skies on the cover. “True Love” by Keith Jones, a drum machine backed demo that pulses with a late night intimacy.

What unites these songs across genre and era is the same quality we have always chased; a transporting ache, the sound of someone searching, or the feeling of a memory you can't quite place. Like every record before it, this one asks nothing of you but your full attention and an open ear.

Ten releases in, we are still looking for the same thing we started with. We hope you feel it too.

* Featuring a selection of songs sourced from rare records of the 70s & 80s reissued for the first time.
* Includes 2 unreleased songs from the 80s
* Original artwork by Eric Thompson
* Very limited initial first pressing

Liam Sinigoi returns for the second edition of nonsono Records. A four-track dance floor geared EP, somewhere between the busy pitter-patter of UK clubland and lengthy studio sessions in solitude.

On the A1 'Orbiting Voices’, Sinigoi sparks the release with a seductive main room rocket. With a bass line and set of synths reaching for devilery, it has spirited its way into the dark rooms of London’s Fabric and beyond. This track speaks the language of well-seasoned techno journeys.

A remix sits on the A2, with Barcelona artist Ildec twisting out a driving jacking tool. A clean interpretation, nodding to its original with grit and punch to match.

In a groove-soaked minimal B1 track titled ‘Stretch’, suspense and atmosphere are toyed with as label boss Liam presents the identity of the label perfectly. A dapper lunge into deeper territories, with crunched percussion and metallic bells.

Written using the aftertaste of memorable mornings underneath trees in forest parties and global festivals, Sinigoi closes off the record with B2 ‘Darling’. The track emits a scent of cross-genre magic, progressing with fluidity throughout.

There's a tendency in metal to mistake aggression for honesty, volume for depth. To confuse the performance of darkness with its actual weight. Hidden Fires Burn Hottest, the new album from San Francisco-based post-black metal band Bosse-de-Nage, sidesteps this entirely. It’s the group’s most fully realized work yet, precisely because it refuses to be pinned down.

Bosse-de-Nage have been working with The Flenser for over fifteen years. They were one of the first bands the label ever partnered with and have the longest active relationship in the label's history. But unlike most bands who build momentum through constant touring and visibility, Bosse-de-Nage has largely existed apart from the music world's usual machinery. They've evolved on their own terms, in relative isolation, allowing the work to develop without outside pressure or influence. What began rooted in black metal anonymity has mutated into something that actively defies categorization. The aggression is still there, but it's no longer the point. Hidden Fires Burn Hottest finds the band treating emotions like physical objects, feelings with spatial properties. “No Such Place"" describes a space that can't exist but does anyway, somewhere between thought and location. ""Immortality Project"" examines infinite possibility not as promise but as problem, endless options collapsing under their own weight. These songs don't use metaphor to describe emotion. They make emotion into something you could theoretically touch.
Tracked by Jack Shirley (Deafheaven, Oathbreaker) at Atomic Garden East and mixed and mastered by Richard Chowenhill of Agriculture, Hidden Fires Burn Hottest was years in development, with some tracks beginning in 2018.

The long writing process offered time that most records don't get. Time to live with ideas, revise endlessly, to let structures settle. For the first time, lyricist Bryan Manning wrote everything in advance, creating a surplus to pull from rather than working under deadline pressure. The difference shows.
Coming off Further Still, an album built on constraint and economy, Bosse-de-Nage sought the opposite: sprawl, strangeness, fewer rules. Space for ideas to develop without rushing them. Dynamics that move through quiet as much as noise. Presence earned through atmosphere instead of volume. The record even includes ""Mementos,"" which might be considered the first love song the band has ever written.

Nothing here coheres into a theme. These are pieces pulled from low moments and private feelings made public through sound. The band has never been interested in positivity, in music that resolves cleanly or offers comfort. But bleakness doesn't mean humorlessness. There's something darkly funny running through much of it, even when it shouldn't be.
Hidden Fires Burn Hottest doesn't explain itself. It just insists: what you feel is as real as what you can see."

In a world currently defined by unrest, uncertainty, and cultural fracture, acclaimed saxophonist, composer, and bandleader Isaiah Collier returns with Joy, a 5-track EP that reframes one of humanity’s most nuanced emotions both as a devotional grounding and political act.

Collier’s deeply personal compositions present joy as an act that isn’t rooted in escapism or abstraction, but rather, as something hard-won rooted in lived experience, shaped by transformation, and sustained through connection. Throughout the album’s five compositions, Collier positions joy as a guiding light during challenging times, an expression of challenging yourself to utilize your gifts, an affirmation of love and discovery, and as an affirmative source of reassurance.

“We are in a paradoxical time, where so much is being revealed to us,” Collier shares. “Everything feels political from every scope… our collective hearts feel the heaviness in the air. Yet I say to you all—don’t despair. For right now, the most political thing we can do is share joy.”

That ethos is made clear in the opening title track and lead single “Joy.” A pulsing rhythmic motif anchors the melody with a sense of both searching and certainty. Collier conceived the piece around 3 years ago reflecting on a time where many people in his life were experiencing loss of family and friends and experiencing profound life transitions. “Everything just felt like it was falling apart with no aim in sight,” he reflects. “Yet, there is a light at the end of it all.”

As he played the chords with a sense of urgency, he could feel the vibration of yellow in the piece. That initial triplet motif serves as the guiding light on the piano and the only word Collier could hear was Joy. In addition to Collier at the helm singing and playing piano and tenor sax on the track, it features an expansive 11-piece ensemble with a full horn and string section allowing Collier’s propensity for composition and arrangement to shine with an eclectic sonic palette.

“Landscape of Dreams” finds Collier serendipitously leaning into utilizing his gifts as a multi-instrumentalist. While he had a sketch of the piece going into the studio, a traffic delay caused musicians to be late arriving at the studio. Never one to waste time in the studio environment, Collier stepped into new creative territory and took up the challenge of executing playing all instruments himself as an act of trust and experimentation. “I’ve never done this before, and so it was a leap of faith for me,” he asserts. “I always dream of doing stuff like this, and being part of the small percentage of people who can do it like Prince, Steve Lacy, Frank Zappa, and Stevie Wonder. The end result finds Collier immersed in a hypnotic soundscape playing layered flutes, drums, Metatron, Wurlitzer, and auxiliary percussion.

Another layer of joy is revealed in “Where I’m Loved” that serves as a love letter and leaning into the process of stepping into the willingness to explore life and love with a partner. On the intimate meditation of vulnerability and connection, Collier's vocal prowess is on full display, exerting effortless falsetto reminiscent of D’Angelo over soulful Wurlitzer and guitar as he crosses over into more R&B-inspired realms. “I believe everyone deserves this feeling or to honor the memories of it. Furthermore, I believe you should also go where you’re celebrated and not tolerated.”

“When the Dust Settles” captures the electricity of live collaboration and Collier further steps out of being confined to any specific genre. He had just gotten a microKORG keyboard from co-producer Sonny Daze and was exploring the vast array of sounds on the instrument. Collier plays synth bass on the microKORG joined by the electrifying improvisation of Cole Runge on guitar and the combustible rhythm of his brother Jeremiah Collier on drums with additional post-production work from Sonny Daze.

The album’s final track “God’s By Your Side” reflects on perseverance and artistic legacy, directly inspired from the passing of D’Angelo, whose life’s work was a huge part of Collier’s childhood growing up in the late 90s and early 00s. With gospel flavor and direct influence both from D’Angelo’s vocal and instrumental arrangements, the track speaks to resilience and persistence in the face of obstacles—an affirmation of source and reassurance. “And what’s better than having God by your side, right?” asserts Collier.

Joy is a through-and-through expression of the arc of joy in its truest form. Joy transcends fleeting happiness and is conscious gratitude shaped by taking chances, leaning into your gifts, fostering community, and lived experiences.

“Joy is partially happiness,” Collier explains. “But to me it means happily being grateful for family, friends, lovers, teachers, and good times. These are the things that anchor us.”

The release of Joy comes off the heels of significant momentum for Collier, whose work continues to garner accolades and resonate across cultural spheres. He was featured on the cover of DownBeat’s April 2025 issue, where he was named “The Next Sax Giant,” and profiled on NPR’s Jazz Night in America for his ambitious 13-movement interdisciplinary suite The Story of 400 Years, that traces 400 years of Black American History. He released two full-length albums in 2024 with The World Is on Fire highlighted in The New York Times’ Fall Arts Preview and The Almighty named among the publication’s Best Jazz Albums of the year.

Beyond performance and recoding, Collier’s influence is recognized in broader cultural and intellectual spaces as he was the recipient of the Jazz Journalists Association’s 2025 Up and Coming Artist of the Year Award, the 2024 Chicagoan of the Year in Jazz, and was named a Steve Jobs Archive Fellow joining an elite cohort of the next generation of artistic visionaries through a yearlong program.

In addition to the release of Joy, Collier is touring his “Collier Plays Coltrane” program throughout 2026 in honor of John Coltrane’s centennial. Rather than presenting Coltrane’s expansive catalog as repertory, Collier approaches this music as something living, reshaping it in real-time with a sense of space and improvisational dialog reflecting both reverence to the past and present times.

Terence Fixmer Reimagines Chris Liebing & Luke Slater's 'Double Split' for CLR. Fixmer's remixes of Liebing/Slater's collaboration from the former's 'Evolver' LP release on 31st July.

Terence Fixmer has delivered two remixes of Chris Liebing and Luke Slater's 'Double Split' track, one of a handful of collaborations on Liebing's first-ever solo LP, 'Evolver', which was released in March this year. Having contributed to the LP as a member of The Alte Stuben Modular Ensemble, a super-group featuring Liebing, Daniel Miller, and Pascal Gabriel, Fixmer is a fitting choice to remix 'Double Split'.

Fixmer has been evolving his sound for more than 25 years. From deep and mind-bending to experimental and soulful, he is a visionary who has been hugely prolific, with many standout LPs and EPs on labels such as Mute Records, Novamute, Ostgut Ton, and Planete Rouge Records.

Fixmer's first 'Double Split' remix is inspired by the energy of the original, but focused on dubbier, hypnotic vibes. Strident drums and clattering percussion are stark by design, but smoky vocals and eerie synths hang in the air, bringing a bleak human futurism over all-consuming bass. Then comes the Melting Mind rework, which is boiled down to a handful of key elements, not least the original's penetrating acid line. It's an immersive, late-night dive that locks you in a state of constant motion and unrelenting pressure. The original from Chris Liebing and Luke Slater, a dark and futuristic roller with automated drums and layers of rusty synths encircled by acidic gurgles, completes the package.

The second album from Chicago based Brigette Calls Me Baby firmly establishes them as a band to watch. It's fair to say that they are a band that takes a lot of influence from 1980s UK indie in general and The Smiths in particular. Opening track 'There's Always' finds vocalist Wes Leavins channelling Morrissey's finer moments; and in particular those moments when Morrissey was in thrall to the crooners of the 1950s. This is particularly poignant in relation to the themes that run through the album, most notably the idea that certain moments in your history shape your very being for the rest of your life. Clearly hearing certain records has shaped Brigette Calls Me Baby as much as those all important life-change moments. That's not to say this a band that isn't ploughing its own furrow, songs like "Slumber Party" with its relentless bassline and dance influenced drums show a band that can mix its influences are create something unique. "I Can Take The Sun Out Of The Sky' might have those darkened crooning tones from Leavins, but they can't keep a lid on the sheer positivity that his band is generating, it has the feel of a real summer anthem.

Music From Memory presents 'Mood Programs – Extended Play', a two-track release by LA MARR, a new project conceived by Ron Trent. Representing the first in an ongoing series of releases on Music From Memory, ‘Mood Programs - Extended Play’ opens a new chapter within Trent’s deep and continually evolving body of work, rooted in mood-driven composition, spatial depth and the emotional resonance of sound within physical space.

Influenced by ambient and environmental music, New Age, dub traditions, New Wave, Krautrock and HiFi sound system culture, LA MARR reflects many of the formative ideas that informed Trent’s evolving approach to sound and sonic architecture from the early 1980s onward. Rather than revisiting these influences nostalgically, the project recontextualises them through a contemporary production language, balancing analog warmth with precision and spatial depth.

Developed through years of sonic experimentation and research into the physical and psychological qualities of sound, LA MARR extends Ron Trent’s long-standing interest in the relationship between rhythm, acoustics and human connection. Built through a combination of analog processes and contemporary computer-assisted production, the project explores warmth, resonance, depth and sonic clarity through carefully sculpted environments of tone and texture.

Gently unfolding within a spacious, ambient-leaning framework, 'Mood Programs – Extended Play' moves beyond passive background listening toward something more intentional and immersive. Across both tracks, ‘Good Magic’ and ‘Clear’, layers of hypnotic synthesizer arpeggios and gently floating pads gradually unfold alongside organic percussion and subtle low-end movement, creating compositions that feel simultaneously meditative, physical and emotionally responsive. Sound is treated not simply as musical information, but as an environmental force capable of shaping perception, mood and awareness within a room.

'Mood Programs – Extended Play' will be released digitally and on vinyl through Music From Memory on July 15th. Sleeve art and design by Michael Willis.

Brighton's MOODY GOODS are the lates addition to Boss Tuneage family, but all members of course are not new to us, having all been members previously of ROUGH GUTTS who we put out the "Parts I & II" 12"EP back in 2022! Now streamlined to a 4 piece, MOODY GOODS is an evolution and with their debut "SOUTHERN LIGHTS" have delivered an amazing debut album! Full of power, energy but also light and shade, this is not just a collection of 10 brilliant songs, its a proper crafted ALBUM in the true sense of the word! Recorded under the watchful eye of Dave Draper at The Old Cider Press studio, the production on this album is epic and makes the songs come alive! This is taking the raw energy of ROUGH GUTTS and just taking things up a few notches more, you don't want to miss this!

Magyar Posse’s third album Random Avenger out on vinyl for the first time ever in July via Svart Records Looking back, it was the golden age of Magyar Posse. The album Kings of Time had received a tremendous response from both critics and music lovers. The band was touring intensely in Finland and abroad. By now, the band was a well-oiled machine, ready to capture the successor to their celebrated second album. The band decided to follow a different path compared to the creation of Kings of Time: they would record their third album alongside the well-known, slightly eccentric engineer and producer Jani Viitanen. The recognizable Magyar Posse style was present in the pieces of Random Avenger, but something was slightly different. The new music was more rhythm-based, more riff-based and in places more joyous than the dynamic minor key avalanche of Kings of Time. Consciously or unconsciously, the band members saw that they had travelled the Slavic melancholy road as far as possible with the previous album. The success of Kings of Time felt like a positive push, not an extra pressure on their shoulders. It was only natural to strike again while the iron was hot. Many of the pieces had been already developed by the time Kings of Time was released, which eased the production of Random Avenger. After the meticulous but relatively swift mixing and mastering process, the band members were satisfied with the result. The only component that made some of them blush was the cover art – graphic designer Tom Backström had glaringly used photos of empty stages in forgotten community centres and the like. The beauty or the ugliness is once again in the eye of the beholder. Right after its release, Random Avenger got a very positive response, but not as overwhelming as Kings of Time – which was to be expected, as the previous Magyar Posse album had probably been the most universally praised Finnish album of the whole decade. Mikko Elo, musician / journalist, Pori, Finland, March 1st 2026

Magyar Posse’s third album Random Avenger out on vinyl for the first time ever in July via Svart Records Looking back, it was the golden age of Magyar Posse. The album Kings of Time had received a tremendous response from both critics and music lovers. The band was touring intensely in Finland and abroad. By now, the band was a well-oiled machine, ready to capture the successor to their celebrated second album. The band decided to follow a different path compared to the creation of Kings of Time: they would record their third album alongside the well-known, slightly eccentric engineer and producer Jani Viitanen. The recognizable Magyar Posse style was present in the pieces of Random Avenger, but something was slightly different. The new music was more rhythm-based, more riff-based and in places more joyous than the dynamic minor key avalanche of Kings of Time. Consciously or unconsciously, the band members saw that they had travelled the Slavic melancholy road as far as possible with the previous album. The success of Kings of Time felt like a positive push, not an extra pressure on their shoulders. It was only natural to strike again while the iron was hot. Many of the pieces had been already developed by the time Kings of Time was released, which eased the production of Random Avenger. After the meticulous but relatively swift mixing and mastering process, the band members were satisfied with the result. The only component that made some of them blush was the cover art – graphic designer Tom Backström had glaringly used photos of empty stages in forgotten community centres and the like. The beauty or the ugliness is once again in the eye of the beholder. Right after its release, Random Avenger got a very positive response, but not as overwhelming as Kings of Time – which was to be expected, as the previous Magyar Posse album had probably been the most universally praised Finnish album of the whole decade. Mikko Elo, musician / journalist, Pori, Finland, March 1st 2026

Memento Records proudly presents a new single by MAP, a.k.a. Massimino Lippoli, Angelino Albanese and Peonia. We’re talking history of Italo House here: Lippoli and Albanese are part of the Sueño Latino collective that released the eponymous track in 1989 to worldwide acclaim. The track, which samples sounds from Manuel Göttsching’s E2-E4 record, went on to become one of Ibiza’s balearic anthems, thanks to the support of legendary DJ Alfredo Fiorito, and a classic staple on the House circuit in clubs all over the planet, with epic remixes by Derrick May, Carl Craig and Bushwacka cementing its legacy as one of the genre- defining pieces. 2026 sees the duo joined by Peonia do what they do best: melodic ambient House Music infused with catchy grooves and beautiful melodies. Opening with a sexy rhythm and dreamy pads, the crescendo leads the way to voluptuous vocals and a swinging arpeggio, making this a total dancefloor darling, perfect to be enjoyed at sunset, on the beach, at your favourite stylish disco, or at that private villa party where everyone is having their best time. B-side rounds off the EP with a stripped down Dub rendition that again is proof of the immense talent of these artists.

Soul Music legend Candi Staton returns to her down-home Alabama roots on her 32nd album, Back to My Roots. The twelve-track Americana set features an array of Staton-penned originals and some well-chosen covers.

"These songs represent my roots," Staton adds as she reflects on her many trials and triumphs. "Even the new songs on some level represent something I've experienced and that's what real soul music is about." Back to My Roots was produced by Staton with her second eldest son, Marcus Williams, a professional drummer who has toured with the likes of Peabo Bryson, Isaac Hayes, and Tyler Perry. They brought in Mark Nevers of Lambchop fame, who produced three of Staton’s prior Americana albums for Honest Jon’s and Thirty Tigers, to sweeten certain tracks. “Some of the first songs I ever heard were songs like `Peace in the Valley’ and `It’s Gonna Rain,’” says Staton. “The new songs or cover songs are tracks that remind me of that era when I was growing up as a child and evolving as a young woman. That’s why I named the album Back to My Roots because I’m going back to the roots that made me who I am.”

Staton received the Americana Music Association UK’s highest honour, the International Lifetime Achievement Award, at the UK Americana Music Awards ceremony at Hackney Church in London last year for her southern soul work that stretches from her 1969 Muscle Shoals hits to her more recent collaborations with the likes of Americana kings Jason Isbell and John Paul White.
The album opens with a mid-tempo Bonnie Raitt-styled contemporary blues “I Missed the Target Again” that finds Harry Connick Jr.’s longtime guitarist Jonathan DuBose Jr. (aka the Prophesying Guitarist) showing off his skills that set the tone for the song and the album.

Staton’s older sister, Maggie Staton Peebles (who alongside Staton was a member of the Jewel Gospel Trio in the 1950s), joins her for two duets. The first, “It’s Gonna Rain,” features just a drum, steel guitar and vocals. “My mother used to sing that song to us all the time when I was a child,” Staton recalls. “It’s a really soulful kind of song I wanted to revisit.” They then take turns leading Thomas Dorsey 1939 gem “There Will Be Peace in the Valley” that Elvis Presley popularized in the 1950s.

“Hang on in There” is a new, mid-tempo song that has an old school gospel flavour and features vocals from veteran bluesman, Larry McCray.
While in Europe in 2023 for her farewell concert tour that took her to the Glastonbury Festival and Love Supreme, Staton and her British band, PUSH, went into a London studio to record a new version of The Rolling Stones’ 1972 gem, “Shine A Light.” “I love the way that came out,” Staton says. “We put a big choir on it and put our own twist on it.”
From there, Staton revives another Thomas Dorsey classic, “The Lord Will Make a Way Somehow,” with a bluesy vibe. When Al Green started recording gospel in the early 1980s, he re-introduced this song into the culture.

“God’s Gonna Use Me Anyway” is a new mid-tempo blues with subtle Caribbean influences.

The mood takes a turn on “1963.” It’s a poignant, spoken-word reflection on September 15, 1963, when four black girls were killed in the Birmingham Church bombing. “I was in the city that day and I remember the chaos and horror after the bombing,” Staton recalls. “Just thinking of how racism and hatred caused those men to kill those girls was so emotional for me that I could only do it in one take.”

It's a perfect segue into "Reach Down and Touch Heaven," a haunting, plea for divine intervention into the affairs of mankind. "That's straight Baptist," she says. "I used to be a church pianist back in the 1960s. I've never played piano on one of my records before so that's a unique song for me because I’m finally playing on one of my records. The message of that song is about the homeless. It came to me when a homeless person on the street asked me for $5. When God touches your heart to help somebody else that’s heaven to God’s hears. So, when we reach into our purse or wallet to help someone, we’re touching heaven."

Staton offers love as an antidote to hate on the bouncy, Motown-styled, “Love Breakthrough.”

Her publicist brought Aaron Frazer & the Flying Stars of Brooklyn NY’s 2017 cut “My God Has a Telephone” to Staton’s attention. She shifts the track from a retro 1960s groove to more of a 1980s Malaco Records arrangement, a subtle but distinct variation. Staton brought in her longtime friend and STAX Records legend, William Bell (“I Forgot to Be Your Lover” and “Trying to Love Two”), to add raspy seasoning to the track.

The album closes with the wistful, “In God’s Hands We Rest Untroubled,” that was originally written and recorded by the late country star, Lari White, who died in 2017 at the age of 52. “Lari sent me that song to consider at least ten years ago and I always loved it,” Staton says. “The record label didn’t want it on the album or something, so I just held it.”
Staton says, “I grew up hearing a lot of these old songs when they were new songs. I toured with the Jewel Gospel Trio in the 1950s and we got to know people like Mahalia Jackson, Sam Cooke and others who sang these types of songs. So, I’m sort of paying tribute to them and the influence they had on me by refreshing these songs and making new songs in the old style.”’

The Body"s landmark record Master, We Perish, originally released in 2013, found the acclaimed duo at a crossroads in their career. Recorded just before the duo of drummer Lee Buford and guitarist/vocalist Chip King were leaving their longtime home of Providence for Portland and released in between their breakthrough albums All the Waters of the Earth Turn to Blood and Christs, Redeemers, Master expanded on the duo"s love of layered worldbuilding with more precision and a stronger emphasis on percussive samples than ever before. The seeds of the duo"s celebrated collaborative inclination are evident as the album features Assembly of Light Choir leader Chrissy Wolpert, choir member Reba Mitchell, Otesanek vocalist Leslie Weitz, and guitarist David Lifrieri. With the expanded edition, the album"s striking cover painting by Providence mainstay Manifester aka Matt Brinkman (Mindflayer, Forcefield) is finally rendered in its original form. Master, We Perish is expanded with rare bonus tracks from The Body"s early days, taken from a pair of rare 7" singles Cop Killer/Dead Cops as well as a split with Get Killed. These storied singles mark the first time the band truly pushed the boundaries of sound in the studio and on record. It also marks the beginning of The Body"s practice of wielding the studio as a veritable weapon to translate their gargantuan sound with deeper impact on LP. The results are not only pushing the capacity of the album format but are sonically riveting. The bonus material was recorded at Machines with Magnets. The band described them economically: "NASTY."

The Body"s landmark record Master, We Perish, originally released in 2013, found the acclaimed duo at a crossroads in their career. Recorded just before the duo of drummer Lee Buford and guitarist/vocalist Chip King were leaving their longtime home of Providence for Portland and released in between their breakthrough albums All the Waters of the Earth Turn to Blood and Christs, Redeemers, Master expanded on the duo"s love of layered worldbuilding with more precision and a stronger emphasis on percussive samples than ever before. The seeds of the duo"s celebrated collaborative inclination are evident as the album features Assembly of Light Choir leader Chrissy Wolpert, choir member Reba Mitchell, Otesanek vocalist Leslie Weitz, and guitarist David Lifrieri. With the expanded edition, the album"s striking cover painting by Providence mainstay Manifester aka Matt Brinkman (Mindflayer, Forcefield) is finally rendered in its original form. Master, We Perish is expanded with rare bonus tracks from The Body"s early days, taken from a pair of rare 7" singles Cop Killer/Dead Cops as well as a split with Get Killed. These storied singles mark the first time the band truly pushed the boundaries of sound in the studio and on record. It also marks the beginning of The Body"s practice of wielding the studio as a veritable weapon to translate their gargantuan sound with deeper impact on LP. The results are not only pushing the capacity of the album format but are sonically riveting. The bonus material was recorded at Machines with Magnets. The band described them economically: "NASTY."

New album of the US psychedelic rock Legends DEAD MEADOW! "Foundlings" - a 7-track collection that digs deep into the band's archives, spanning over two decades of sessions, tributes and unreleased gems. Known for their hypnotic blend of heavy riffage, dreamy atmospherics, and mesmerising grooves, Dead Meadow have been delivering their organic, masterful and utterly transportive sonic recipe for nearly thirty years now. The Foundlings rarities collection promises to illuminate the band's evolution, featuring previously unheard material that showcases their unique ability to channel classic influences - from Sabbath-inspired heaviness to shimmering Cure-like textures - through their own hazy lens, while also serving as a tribute to bassist and founding member Steve Kille, who passed away two years ago after a long battle against cancer.

Aqua Blue Vinyl. Limited to 250 copies. New album of the US psychedelic rock Legends DEAD MEADOW! "Foundlings" - a 7-track collection that digs deep into the band's archives, spanning over two decades of sessions, tributes and unreleased gems. Known for their hypnotic blend of heavy riffage, dreamy atmospherics, and mesmerising grooves, Dead Meadow have been delivering their organic, masterful and utterly transportive sonic recipe for nearly thirty years now. The Foundlings rarities collection promises to illuminate the band's evolution, featuring previously unheard material that showcases their unique ability to channel classic influences - from Sabbath-inspired heaviness to shimmering Cure-like textures - through their own hazy lens, while also serving as a tribute to bassist and founding member Steve Kille, who passed away two years ago after a long battle against cancer.

ABOUT WORLD WITHOUT GOD: Alongside the band's early '90's counterparts 'World Without God', Convulse's first proper full-length, helped pave the way for a new generation of death-metal extremity. ABOUT CONVULSE REISSUES 2026: Finland's CONVULSE present the official 2026 Remastered, Reissues of their classic titles "World Without God", "Reflections" & the new demo compilation "From Resuscitation to Reincarnation - The Early Years" All three remastered titles are streaming now & pre-orders are out July 31, 2026 on LP/CD/CS formats. Convulse original member Rami Jämsä comments on the reissues: "I am very grateful for the Relapse Records from all these three classy Convulse reissues. "World without God" (1991) is our best known debut album with full of rotten old school death metal notes. But don't miss our hidden gem "Reflections" (1994), which is our second album and will be released first time ever on vinyl format. Death 'n roll album "Reflections" comes to home on Relapse Records after 30 years with a brand new layout and a brilliant remastered sound. Third release will be "From Resuscitation to Reincarnation" which presents Convulse's transformation from the straightforward death metal band to more diverse death&rock band. It includes our first demotape "Resuscitation of Evilness" (1990) and "Lost Equilibrium" EP (1992)." All 3 Convulse titles were Remastered by Jaakko Viitalähde/Virtalähde Mastering (Oranssi Pazuzu, Havukruunu).

About From Resuscitation to Reincarnation - The Early Years: "From Resuscitation to Reincarnation - The Early Years" presents Convulse's transformation from the straightforward death metal band to the more diverse death & rock band. It includes CONVULSE's first demotape "Resuscitation of Evilness" (1990) and the "Lost Equilibrium" EP (1992). ABOUT CONVULSE REISSUES 2026: Finland's CONVULSE present the official 2026 Remastered, Reissues of their classic titles "World Without God", "Reflections" & the new demo compilation "From Resuscitation to Reincarnation - The Early Years" All three remastered titles are streaming now & pre-orders are out July 31, 2026 on LP/CD/CS formats. Convulse original member Rami Jämsä comments on the reissues: "I am very grateful for the Relapse Records from all these three classy Convulse reissues. "World without God" (1991) is our best known debut album with full of rotten old school death metal notes. But don't miss our hidden gem "Reflections" (1994), which is our second album and will be released first time ever on vinyl format. Death 'n roll album "Reflections" comes to home on Relapse Records after 30 years with a brand new layout and a brilliant remastered sound. Third release will be "From Resuscitation to Reincarnation" which presents Convulse's transformation from the straightforward death metal band to more diverse death&rock band. It includes our first demotape "Resuscitation of Evilness" (1990) and "Lost Equilibrium" EP (1992)." All 3 Convulse titles were Remastered by Jaakko Viitalähde/Virtalähde Mastering (Oranssi Pazuzu, Havukruunu).

Not all tropical escapes are meant to soothe. Some are meant to seduce… and unsettle.

On Haunted Bossa Nova, Creepxotica reimagines the language of classic exotica through a darker, more cinematic lens—where swaying rhythms and lush melodies drift through shadows instead of sunlight. This isn’t background music for a carefree afternoon. It’s a late-night transmission from a hidden lounge at the edge of a dream.

Built on the bones of traditional bossa nova and mid-century exotica, the album pulses with nylon-string guitars, vibraphone shimmer, and hypnotic percussion—but everything feels just slightly off-center, like a memory slipping out of reach. There’s a tension beneath the beauty, a sense that something unseen is moving just beyond the music. Each track unfolds like a scene, contributing to a larger atmosphere that’s immersive, cohesive, and quietly haunting.

What sets Haunted Bossa Nova apart is its intention. This is not nostalgia for nostalgia’s sake—it’s a deliberate evolution. Creepxotica honors the lineage of the genre while pushing it into more mysterious territory, blending tropical warmth with ambient unease and cinematic depth. The result feels less like a throwback and more like a lost soundtrack—discovered, not created.

Sonically rich and meticulously arranged, the album invites deep listening. Every tone, every pause, every echo has purpose. It’s exotica for those who crave mood over kitsch, atmosphere over imitation.

For listeners drawn to the edges of jazz, lounge, and ambient soundscapes, Haunted Bossa Nova offers something rare: a fully realized world that lingers long after the final note fades.

Feel the poison in your veins… “The Venom In The Mouth Of God” is Combichrist at their most expansive and most honest, a record that tears open the gap between who we are and who we perform ourselves to be, and leaves it bleeding. Andy LaPlegua has been one of industrial metal's defining forces since the early 2000s, fusing EBM brutality with hard rock muscle in a way few acts have managed to replicate. This new album plays like a descent and a reckoning in one. The opening run from "ODR" through "Born Deströyer" lands like a controlled demolition: dense, mechanized, merciless. Mid-album the mood shifts and stretches, with "Each Scar A Vision" and "The Way We Want To Be Seen" pulling at something more psychological - the masks we wear, the versions of ourselves we construct for others. "Demons Wanna Be Summoned" features King 810, the Michigan-bred rap-metal outfit known for their confrontational intensity - a collaboration that fits the album's relentless atmosphere like a blade in a wound.

Feel the poison in your veins… “The Venom In The Mouth Of God” is Combichrist at their most expansive and most honest, a record that tears open the gap between who we are and who we perform ourselves to be, and leaves it bleeding. Andy LaPlegua has been one of industrial metal's defining forces since the early 2000s, fusing EBM brutality with hard rock muscle in a way few acts have managed to replicate. This new album plays like a descent and a reckoning in one. The opening run from "ODR" through "Born Deströyer" lands like a controlled demolition: dense, mechanized, merciless. Mid-album the mood shifts and stretches, with "Each Scar A Vision" and "The Way We Want To Be Seen" pulling at something more psychological - the masks we wear, the versions of ourselves we construct for others. "Demons Wanna Be Summoned" features King 810, the Michigan-bred rap-metal outfit known for their confrontational intensity - a collaboration that fits the album's relentless atmosphere like a blade in a wound.

Renascent' marks the long-awaited return of legendary Manchester outfit The Durutti Column, their first new studio album in over fifteen years, produced by Keir Stewart.
Around the guitar work of Vini Reilly, the album plays between sonic atmospherics and structure: warm ambient washes, piano, beats and guest vocal turns by a new generation (Caoilfhionn Rose on " Agonistes" and Lucas Elliot on CD bonus track "All they See is Fire ).
Both contemporary and otherworldly, and with a swathe of new champions citing the band as an influence (Blood Orange, Harry Styles, The Avalanches, Mark William Lewis), 'Renascent' is a timely and vital rebirth for The Durutti Column.
Artwork by long-time collaborators 8vo (who have worked with the band on many of their releases) and have joined forces again for this project

Originally released on Art Yard in 2017 finally back in print!

Solo album displaying a collection of foggy electronic dub meditations recorded between 2000 and 2005 by Berliner Ring member Alexander Christou under his Al Chem guise.

In 2009, the label Art Yard sent a probe into the outer regions of contemporary electronic music, releasing Berliner Ring's "Orbital" album, a dub techno hymnal for Berlin’s orbital ring road. Drawing together the disparate elements of invented instruments, modified keyboards, customized rhythm and string machines, it was built around moods and themes drawn from the Berlin landscape.

One member of the Ring, Alexander Christou, also a part of the Berlin electro rock group Elecdrones, recording for Katzensonne. The band were “not interested in the crafting of chunks of music ready to be consumed”. Christou has since been recording under the moniker Al Chem, crossing analogue and digital realms, synthesizing a kind of philosopher’s stone. As Al Chem, he released on Tummy Touch Records, and now follows with a collection of foggy electronic dub meditations recorded between 2000 and 2005 in a full album.

In the battle to harness the elements, ancient mists permeated Chem’s music. A murky, mercurial humidity saturates the project. A distinctly north European descendant of dub, a kind of Seventh Seal that Bergman could have made, if provided enough hydroponic infusions.

No Hopper is a rework of the Ras Michael song No Hoppers, from his legendary album, Rastafari Dub, Chem's version shuffles the pack of electronic percussion with organic, Moondog-like rhythms and hazy atmospheric chords; The Prophet pinpoints Chem's GPS firmly in Berlin, just as The Red Tower blurs that kick-drum parallel between reggae and house music; Baudelaire sputters digital delay, piling on the pressure, a clatter of surgical implements performing an operation out of Dead Ringers, the patient storming out of the theatre with loosely fitted mechanical body parts; the instrumental No Hopper only serves to highlight the distant gathering storm. Ladder of Perfection rounds off the set with a drone, creaking with bubbling digital mud pools

A melting of Tribal Indus and Noisy pop. Very nostagic sounds with a clear progression. NICE ONE !

born (literally) in fire, soma flared briefly as the alchemical pairing of two unique and dynamic musicians. david thrussell and pieter bourke met through mutual friends in the artistic melting-pot of early 1990s elwood, melbourne, australia. bourke was an integral member of the gothically ambient eden, thrussell frontman of anarchic industrial combo snog. both admired each others work, and though some considered them an unlikely combination, something rather potent was brewing which drew them inexorably together.

initially bourke joined snog live and then in the studio, contributing mightily to their epic second album ‘dear valued customer’. as a natural result of their friendship and muse, thrussell and bourke instituted their own project, soma, to explore the intersections of arcane and mysterious technologies. the first soma album “hollow earth” was released to acclaim.

soon after, thrussell was awoken by a 3am knock on his door. bourke was now homeless - the result of a devastating fire that had just torn through his apartment and studio - and he needed somewhere to sleep. this is when work on ‘the inner cinema’ began, with bourke and thrussell ensconced in the same dwelling, able to write and record around the clock (often only leaving to plan the next session while dining at local vegan eateries).

at the time thrussell was obsessed by the testosterone bravado and haunting alienation of ‘spaghetti-western’ theme songs, while bourke brought his love of all things percussive and the other-worldly atmospherics of arvo pärt (with the outer-space dub of king tubby) to the mix. together, on a diet of blood-plum sago, fortean times and lingering smoke fumes, they concocted their dadaist brew.

magical and unforgettable, ‘the inner cinema’ stands apart and outside of the musical mainstream. since its 1996 release the album has developed a mythical reputation and is spoken of in hushed and adulating tones among acolytes of atmospheric and electronic music. you hold in your hands a lovingly remastered deluxe reissue of this sonorous gem.

time marches on, and after a few more sporadic soma recordings bourke and thrussell moved on to other pastures. bourke would work with dead can dance, lisa gerrard and hollywood auteur michael mann, as thrussell toured regularly with snog and black lung, cut some interesting soundtracks and birthed the idiosyncratic omni recording corporation.

expelled from its fiery crucible, this dark jewel of sound, this soundtrack of the mind, has lain in the soft earth awaiting rediscovery. fluid metabolic rhythms and breathy washes of timeless melancholy pulsing, inviting, in the warm soil. now is your chance.