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Blodsträngen, the third from Gothenburg's inimitable fourpiece Blessings, begins and ends in the same space: the safety and familiarity of their rehearsal room. In between these moments however, the album knows no boundaries; it rampages through your inner sanctum, upending everything it can, razing everything you hold dear and drawing on the walls whilst panting, drooling and muttering to itself in strange tongues_ Blodsträngen is Blessings fine-tuning their deliberately dissonant sound whilst simultaneously casting their net wide for ever more left-field, experimental influences; a disparate collection of idiosyncrasies that the band somehow manage to pull into something cohesive, captivating and empowering. The band leave the messages and meanings behind their music open to interpretation as a means of sharing this attitude of openness with their audience because, when all is said and done, all that matters is all playing disgustingly loud music together in a room. FOR FANS OF Unsane, Breach, Young Widows, Black Flag, Trap Them, Converge, Old Man Gloom, At The Drive In, Swans, The Jesus Lizard

When unknown virtuoso guitarist Tosin Abasi released his debut solo album under the moniker ANIMALS AS LEADERS in 2009, few would have predicted the band's meteoric rise over the next two years. Although Abasi earned acclaim as the lead guitarist in the Washington, D.C.-based metalcore act Reflux, it was still a long-shot that an instrumental album of progressive metal with jazz, electronic and ambient flourishes would develop anything more than a cult following. With "Weightless," the group's sophomore effort, ANIMALS AS LEADERS is revered worldwide as a trailblazing pioneer of modern heavy music. The group's genre-defying compositions have earned extensive praise; Steve Vai called the band "the future of creative, heavy virtuoso guitar playing," and MetalSucks recently ranked Abasi #2 on their list of modern metal's top guitarists. Whereas the group's self-titled debut was a collaboration between Abasi and Periphery's Misha Mansoor, "Weightless" features the recording debut of ANIMALS AS LEADERS, the true band; Abasi (guitars), Javier Reyes (guitars) and Navene Koperweis (drums). After nearly two years of touring together, the trio wrote and recorded "Weightless" together in mid-2011, with Koperweis producing and Reyes mixing. The group debuted a new track, "Isolated Incidents," during their inaugural headlining tour that summer, which included sellout shows from coast-to-coast.

Blue and orange Stardust vinyl, limited to 500 copies. Since 2016, Indiana's Wraith have been emitting their incendiary brand of blackened thrash and speed metal into the world. Summer 2024 will see them release their debut full length under the Prosthetic Records label banner; prepare for Fueled By Fear. What started as a one-man band many moons ago has evolved into a propulsive beast of a band. Channeling a reverence to classic metal from a bygone era, Wraith incorporate their distinctively blistering sonic signature to create something urgent and contemporary. The band have previously described their collective mission as follows: a war of aggression on the dour confines of the modern metal scene and total sonic annihilation. Fueled By Fear captures the raw punk edge of their previous releases; a sound that will already be familiar to converts who have caught the band live in all their full-throttled abrasive glory. The album was self-produced by the band in Griffith, Indiana -, with engineering, mixing and mastering handled by CJ Rayson. Each member brings their own influences and stylistic flourishes to the table, combining to create a tightly wound, cohesive collection of scorching tracks that reflect their individual personalities and tastes.

“Rob wanted the world of The Northman to feel harsh and uncomfortable, and for everything to feel like it was caked in mud and dry blood, so it was crucial for the score to mirror that.” Composers Robin Carolan (Tri-Angle Records) and Sebastian Gainsborough (Vessel) were given a task of epic proportions when director Rob Eggers (The VVitch, The Lighthouse) asked them to create the score for his ambitious and highly anticipated new film The Northman, releasing on April 22nd. They needed to make a score that both honored the immense research that had gone into the authenticity of this Viking era period piece and complimented the cinematic maximalism of the film for a modern audience. The artists stretched themselves to the depths of their creativity and the resulting album is a gorgeous sonic tableaux that places the listener right in the center of the film.

While arranging the score the composers consulted musician and ethnographer Poul Høxbro for inspiration and insight into the history of Viking music. Having backgrounds in left field electronic music, Robin and Sebastian felt liberated by the constraint of using a small selection of musical tools for this piece. “Electronic music has almost limitless potential when it comes to making sounds and that’s obviously an incredible thing, but you can also go down the wormhole and get lost in it sometimes. There’s no risk of that happening when you only have a few primary instruments to draw upon.” Robin remarked.

They utilized traditional instruments such as the tagelharpa, langspil, kravik lyre, and säckpip to build the cinematic world of The Northman but they also took creative freedoms in adding instruments likes drums, which some academics believe wouldn’t have played a big part in Viking musical culture, simply due to the lack of archaeological evidence of actual drums. “One of the pieces we wrote was intended to emulate the sound of a bullroarer; an ancient instrument used in sacred rituals or in battle to intimidate enemies. It makes a really disorienting roaring vibrato sound and low frequencies capable of traveling insane distances.” Robin says when asked about one of the more unique aspects of the score. Everyone involved put so much effort into both their research and their creativity and this richness is evident in every track. The album as a whole is a cinematic masterpiece of sound and ambiance, both gorgeous and disturbing, like the film it so beautifully accompanies.

Re-issued for the first time on vinyl, this obscure dub masterpiece – originally available on the small imprint Silver Camel in 1981 – is still considered one of the best efforts by brilliant singer and producer Al Campbell. More magic at the controls with the key presence of Barnabas and Maxie at Channel One and Scientist tracks mixed at King Tubby’s studio.

We’re back in the groove with the next instalment of our 45s, where killer music always wins over oddball cover art. This time we’re serving up a Balearic, under-the-radar sunset jam from obscure Belgian outfit North South East West. Soulful, warm, and effortlessly cool, it’s the kind of track that makes you want to quit your job and move to somewhere hotter.

To stretch out the magic, we called on Peckham’s finest, Medlar, who turns in a dubbed-out, spacey flip that sends the original into orbit. It’s deep, trippy, and built for the mix — you’ll want two copies just to keep it going.

File next to: forgotten private press yacht soul, poolside AOR, and those records that get Shazams pinging when they hit the turntable.

A disco-funk venture laced with balearic pop as nostalgic as it is buoyant, Dijon-based outfit FLAUR land their inaugural EP on Cosmocities Records. Comprised of three original songs shifting gears between electrifying grooves and washed-out downtempo, plus three remixes courtesy of Art of Tones, Gaettson and Faze Action, ‘Hold On’ speaks the language of lively waves and sun-streaked coasts. By turns explosive and contemplative, the duo’s vision covers a wide span of influences and styles, fusing Californian P-funk with a touch of Supertramp-esque disco and nuances of alternative pop lined with silky funk in the style of acclaimed Versailles band, Phoenix.

Full with suave Wurlitzer piano chords and ultra-syncopated slap bass, the lead-track ‘Hold On’ is an ode to 70s disco pop with its satiny textures, solar-powered melody and a swing bound to cause ravage on the dance floor. The perfect mix of luxuriant disco, vibrant boogie house and supra-sensual cosmic escapology. Even more elating, the layered funk of ’Now’ takes us into a choppy swirl of unshackled pizzicatos, iridescent envelopes and epic vocal flights. Recorded live at Mastoid Studio in Paris, ‘On My Mind’ trades the hi-velocity disco of the first two cuts for a poignant, introspective movement, revolving around the bewitching voice of Florian, a piano and riffs draped in melancholic reverbs. A sonic journey round the confines of soulful dream pop and further intimate songwriting.

In the hands of another rising Dijon-based artist, Gaettson, ‘On My Mind’ morphs into a dance floor-oriented missile, mixing a highly volatile strain of corrosive IDM, sharp breaks and nervy vocal samples. Remixing ‘Hold On’, South of France producer Art of Tones takes us on a proper cosmic trip, laying further emphasis on the original's funky impact through sun-drenched loops a la Alan Braxe and Fred Falke, and a buildup tailored for extended seaside afters; feet buried deep in the sand, head up in the clouds. UK groove legends Simon and Robin Lee, alias Faze Action, round off the package with a chiselled revamp of ’Now’. Slightly accelerated and built for the club, this remix treats us to a pure moment of dance-ready bliss, packed with sinuous rhythms, dynamic bass and fevered percussions.

Die Bewaffneten sind zurück und präsentieren "The Future Is Here and Everything Needs to Be Destroyed", dem Nachfolgewerk des von der Kritik hochgelobten Albums "Perfect Saviors" von 2023. The Armed sind Post Hardcore Non-Conceptual Alternative Metalpop! Nach der Fertigstellung der Alben-Triologie, die sich auf die Analyse der künstlerischen Authentizität im Informationszeitalter konzentrierte, begannen The Armed mit der Arbeit an neuem Material, ohne vorher festgelegte Regeln oder Konzepte, sondern nur mit neuem Druck und Dringlichkeit, um eine neue Ära für das Post-Hardcore-Kollektiv einzuläuten. Das Ergebnis ist ein wütendes und konfrontierendes Album, ein ungefilterter Ausdruck von Weltschmerz, ein deutscher Begriff, der den Schmerz über die Realität der Welt im Gegensatz zu unseren idealisierten Visionen von dem, was sie sein sollte, beschreibt. "Diese Platte ist eine Absage an sanierte, für den Geschmack der oberen Mittelschicht kuratierte Rebellion", erklärt Sänger Tony Wolski. "Es ist Musik für eine statistisch wohlhabende Bevölkerung, die sich irgendwie kein Essen oder keine Medikamente leisten kann und endlos durch Urlaubsfotos, Fitnessstudio-Selfies und Bilder von amputierten Kindern im selben Feed scrollt. Sie spiegelt die Abgrenzung wider, die man braucht, um in dieser Realität zu existieren." Die Waffen von The Armed sind weiterhin ihr Kanalisierung von Wut über die unfassbaren Umstände in ungewöhnliche Songs mit innovativen Sounddesign und ihr fester Glaube an das Miteinander, was sich im Gedanken des Kollektivs, aber auch an den vielen Kollaborateur*innen festmachen lässt. Mit Beiträgen von Ken Szymanski, Patrick Shiroishi, Urian Hackney, Kurt Ballou, Troy Van Leeuwen, Meghan O'Neil, Cara Drolshagen, Tony Wolski, Brian Wolski, Justin Meldal-Johnsen, Ben Chisholm, Prostitute, Zach Weeks, Mark Guiliana, Kayleigh Goldsworthy, and Derek Coburn. Inklusive der Singles "Well Made Play", "Kingbreaker" und "Sharp Teeth" LP & LP Ltd im Gatefold mit bedruckten Innenhüllen & 44seitigem Booklet, CD als 6-panel-digipak!

Limitiertes Cloudy clear with yellow, green and pink splatter Vinyl mit 44-Seiten-Booklet! Die Bewaffneten sind zurück und präsentieren "The Future Is Here and Everything Needs to Be Destroyed", dem Nachfolgewerk des von der Kritik hochgelobten Albums "Perfect Saviors" von 2023. The Armed sind Post Hardcore Non-Conceptual Alternative Metalpop! Nach der Fertigstellung der Alben-Triologie, die sich auf die Analyse der künstlerischen Authentizität im Informationszeitalter konzentrierte, begannen The Armed mit der Arbeit an neuem Material, ohne vorher festgelegte Regeln oder Konzepte, sondern nur mit neuem Druck und Dringlichkeit, um eine neue Ära für das Post-Hardcore-Kollektiv einzuläuten. Das Ergebnis ist ein wütendes und konfrontierendes Album, ein ungefilterter Ausdruck von Weltschmerz, ein deutscher Begriff, der den Schmerz über die Realität der Welt im Gegensatz zu unseren idealisierten Visionen von dem, was sie sein sollte, beschreibt. "Diese Platte ist eine Absage an sanierte, für den Geschmack der oberen Mittelschicht kuratierte Rebellion", erklärt Sänger Tony Wolski. "Es ist Musik für eine statistisch wohlhabende Bevölkerung, die sich irgendwie kein Essen oder keine Medikamente leisten kann und endlos durch Urlaubsfotos, Fitnessstudio-Selfies und Bilder von amputierten Kindern im selben Feed scrollt. Sie spiegelt die Abgrenzung wider, die man braucht, um in dieser Realität zu existieren." Die Waffen von The Armed sind weiterhin ihr Kanalisierung von Wut über die unfassbaren Umstände in ungewöhnliche Songs mit innovativen Sounddesign und ihr fester Glaube an das Miteinander, was sich im Gedanken des Kollektivs, aber auch an den vielen Kollaborateur*innen festmachen lässt. Mit Beiträgen von Ken Szymanski, Patrick Shiroishi, Urian Hackney, Kurt Ballou, Troy Van Leeuwen, Meghan O'Neil, Cara Drolshagen, Tony Wolski, Brian Wolski, Justin Meldal-Johnsen, Ben Chisholm, Prostitute, Zach Weeks, Mark Guiliana, Kayleigh Goldsworthy, and Derek Coburn. Inklusive der Singles "Well Made Play", "Kingbreaker" und "Sharp Teeth" LP & LP Ltd im Gatefold mit bedruckten Innenhüllen & 44seitigem Booklet, CD als 6-panel-digipak!

LTD BRIGHT GREEN VINYL W/ 4 PAGE INSERT** **JEWEL CASE CD W/ 12 PAGE BOOKLET** A gloriously off-kilter yet deeply personal record that mixes absurdist punk theatre with an unexpectedly tender dive into mental health, Catholic guilt, and the surreal poetry of everyday life. “It’s more personal than the previous ones,” frontman Pete explains, “but not in a heavy way – more like Mortimer & Whitehouse than The Bell Jar”, succinctly summing up the Dinner Ladies’ approach: taking the kitchen sink, giving it a saxophone solo, and letting it spill over with charm, wit, and a fair helping of existential unease. Parody and poignancy runs through every song. Tracks like ‘Is There Life in Rhyl?’ and ‘Holy Pictures’ explore personal trauma and social conditioning through an unmistakably British filter; Catholicism, childhood fear, seaside holidays, and haunted toilet trips included. For fans of: The Fall, The Kinks, John Cooper Clarke, X-Ray Spex, Madness, cabaret, collage, chaos, and joyfully honest punk.

Es ist fast ein wenig gespenstisch, was sich auf "It"s Always Rock"n"Roll" abspielt. Zwar hat Richard Pinhas nichts von seiner charakteristischen Angriffslust eingebüßt, und auch die aus den ersten beiden Heldon-Alben bekannte sägende Gitarre ist neben den vertrauten Sphärenklängen seiner Synthesizer nach wie vor vorhanden. Doch dazu pulsiert durch dieses Doppelalbum eine düstere Energie, eine fröstelige Aura, die selbst den ruhigsten Stücken eine Art bebende Anspannung verleiht. "Zu diesem Zeitpunkt wollte ich aus Heldon eine düstere Band machen", gesteht Pinhas. "Wobei düster für mich nichts Negatives bedeutet." Es geht ihm auch gar nicht um die Düsternis an sich, sondern darum, das Verborgene zu erforschen und Althergebrachtes zu hinterfragen, unter die glitzernde Oberfläche zu tauchen, um dort Geheimnisvolleres zu entdecken. Was "It"s Always Rock"n"Roll" vielleicht aus dem Repertoire von Heldon heraushebt, ist seine Ausdehnung, sowohl was die Größe der Ideen als auch die Länge der Stücke angeht. Die meisten Tracks sind jedenfalls über sieben Minuten lang, zwei Werke nehmen sogar eine ganze Plattenseite in Beschlag.

In 1979, Record Player privately pressed and issued a solitary 45 on their Gem City Records imprint in Dayton, Ohio. Though they had recorded a host of other songs, and were on the verge of signing to a major label, their trajectory stalled and the band splintered by the early 1980s. In the early 2000s, Record Player principle Charles Jackson surfaced with their unreleased songs. Todate, only two Record Player songs have been reissued, as part of Now-Again's long-running Soul Cal series. Now, the entirety of their oeuvre is presented here as Free Your Mind, and their story detailed in words by Bret Sjerven. This is a special release for us at Now-Again, and will be perfect for any fan of the deep disco scene that birthed the likes of Luther Davis, Edge of Daybreak, Tomorrow's People, Split Decision Band, and so many others issued by us, Numero Group, and other like minded labels.

Car Button Cloth' is an extraordinary affair of musical and emotional extremes, a soundscape spanning “the most beautiful piano-led mourning in the history of the broken heart” that switches into perky jangle-pop for fleeting moments and contains the ultimate self-deprecating classic ‘The Outdoor Type’, penned by Smudge cohort Tom Morgan, as well as a cover of the bluegrass standard ‘Knoxville Girl’ and ‘If I Could Talk I’d Tell You’ co-written with The Vaselines’ Eugene Kelly. All bases are covered. “One of the most distinctive voices of the ‘90s” The New York Times. To further unravel where Evan’s head was at during the period of its creation, this deluxe double album comes with a record of exquisite and typically eclectic scene setting covers that occupied B-sides and alternative format versions, plus other super rare offcuts, live takes and remixes. A diet of Volcano Suns, Glen Campbell, The Jacobites, The Sir Douglas Quintet and Whitney Houston influenced Evan’s thinking and added further colour to an album that remains something of a Dorian Gray-style masterpiece. The first side of extras is rounded off with the never before released ‘Arise’, originally set for the remake of Great Expectations and later realised as Rancho Santa Fe on solo album ‘Baby I’m Bored’.

The ‘Split EP’ is a collaborative release with James Hayford and BiggaBush, as well as labels Filtered Deluxe and Tru Thoughts Recordings.

The collaboration commenced several years back, when Glyn ‘Bigga’ Bush reached out to James (known for his Shoes Edits series), one conversation led to the next, and a remix exchange was initiated.

In 2022, James contributed a remix to BiggaBush’s ‘A Different Style’ remix collection, released on Tru Thoughts Recordings - followed by Bigga’s version of James Hayford’s ‘Flower Of Thy Womb’, released via Filtered Deluxe Recordings in the spring of 2025.

The ‘Split EP’ is presented as a vinyl-only release, including the previously unreleased ‘Come To Crunch’ by
BiggaBush.

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James Hayford is a sample-based producer best known for his unparalleled series of Shoes edits (feat. Al Green, Miles Davis, Roy Ayer, and more), plus remixes released under his own Shoes and Plimsoll labels - as well as for the Numero Group.
James continues to release original downtempo and leftfield dance music on labels Filtered Deluxe Recordings, and Growroom Productions.

Glyn ‘Bigga’ Bush launched his career as half of Rockers Hi-Fi, and co-founded the Magic Drum Orchestra. He’s
released as BiggaBush and Lightning Head through the ever-evolving Tru Thoughts Recordings, and many more.
His influences range from afrobeat, dub and funk, to library music and soundtracks - as well as electronic, Latin, and jazz music.

The A Side serves up a California tribute, vo-coded slapper that would make MORODER catch a stank face. The B-Side "YOU CAN'T STOP ME" delivers supreme disco boogie ala their idol NILE RODGERS with Grade A songwriting and excellently delivered vocals from studio collaborator DANKE.

RED's most refined work to date, "THANKFUL" is an instant classic. COLONEL has seen fervent support from GILES PETERSON and has recorded & performed with artists ranging from TEDDY PENDERGRASS to MOODYMANN. "THANKFUL" is the culmination of lifetime spent honing one's craft.

Heavily influenced by Motown and Stax soul sounds, Version is the second studio album by British DJ
and producer Mark Ronson, a triple platinum success in the UK that is by far his most successful and
helped to win him the BRIT Award for Best British Male Solo Artist.
Released in April 2007, it is entirely comprised of carefully selected cover versions produced with an
impressive cast of collaborators (from Ol’ Dirty Bastard to Robbie Williams) that produced three top
ten hit singles: ‘Stop Me’ with Daniel Merriweather, ‘Oh My God’ with Lily Allen and the timeless
Valerie featuring Amy Winehouse.

sued in January 2015, dedicated to the late Amy Winehouse and featuring the smash hit ‘Uptown
Funk’, Uptown Special was Ronson’s first UK number one album, also going top five on the US
Billboard 200.
Talented collaborators abound, with Stevie Wonder, Kevin Parker, Jeff Bhasker, Mystikal and of course
Bruno Mars making significant contributions to an accomplished blend of pop, R&B and funk.
As Q Magazine put it: "It's quite a feat to produce music that works for the mind and the hips, but
Ronson has pulled it off magnificently, with virtually every track sounding like a single“

Enjoy The Ride Records in conjunction with Universal Music Group proudly presents Afroman - The Good Times.

The Good Times was released in the summer of 2001; the album climbed the Billboard charts and was certified gold within a month of its release.

The Good Times includes the Certified Platinum singles "Because I Got High" and "Crazy Rap (Colt 45 & 2 Zig Zags)," along with 9 other tracks that will take you back to that early aughts summer, blasting the radio with the windows down (or with the windows rolled up while you baked out your car - we don't judge).

The Good Times is a limited edition 2xLP pressed on colorful vinyl. The packaging features new center label art on the B(lunt) Side, as well as a screen-printed D(ank) Side. Housed in a wide-spine jacket with a 12" x 24" single-sided full-color insert.

The Mercury LP builds on the Washington, D.C. punk band's debut EP, adding assorted odds and ends recorded between 1996 and 1997. Former Hoover guitarist Alex Dunham's unconventional tunings defined the power trio's unique sonic footprint with a plangent, reverb-drenched tone by turns menacing, mercurial and haunting. Regulator Watts' dynamic range and rhythmic dexterity is well represented on this multi-faceted look back at their brief but prolific career. This 2nd pressing is limited to 300 copies on Coke Bottle Clear vinyl.

If anyone knows how to roll with the punches, it’s Travis Roberts. At 24, the Texas songwriter has already battled addiction, buried friends, and been so broke he couldn’t put a roof over his head. Hell, he even joined an underground fight club just to pay for studio time.

“Whoever won the fights took home the lion’s share of the money,” he explains, “but even if you lost, you made something. I lost a lot, but I got what I needed out of it.”

It should be no surprise, then, that Roberts comes out swinging on his blistering debut, Rebel Rose. Recorded with Roberts’ longtime live band, The Willing Few, the album fuses earnest country storytelling with rowdy rock and roll energy as it blurs the lines between roots, punk, folk, and power pop. The writing is raw and visceral here, built on gritty portraits of working-class underdogs just trying to get by, and the performances are nothing short of explosive, propelled by a relentless rhythm section, searing guitars, and infectious melodic hooks. The result is an exhilarating album that defies easy categorization, an alternately bruising and triumphant reflection on growing up, getting clean, and giving it your all from an artist who’s taken more than his fair share of hits.

Every fighter knows, it doesn’t matter how many times you get knocked down. All that matters is how many times you get back up

Celebrated Blues artist Patrick Sweany returns with his much-anticipated new record Baby, It’s Late.

Utilizing ace players from two of his Nashville side-projects (the 50s/60s era Blues combo Tiger Beats, and the Soul/Funk quartet Super Felon), Baby, It's Late is a pastiche of Sweany's wide-ranging influences and history, incorporating Classic Rock, Soul, Country and, of course, a massive dose of vintage Blues.

Sweany produced the record himself - a first in his storied career.

Originally released in 1996, Kerosene 454’s sophomore album 'Came By To Kill Me’, is back in print after 28 years. These were the first recordings written exclusively with drummer Darren Zentek (formerly of the band, Glendale) and came at a time when the band felt like they were moving at 100 miles per hour. The album was recorded in the summer of 1996 with J. Robbins (Jawbox, Magpie Cage Studio) and Don Zientara at Inner Ear Studios with help from Juan Carrera (Warmers, Slowdime Records).

Five Dollar Bill was originally released in 2003, and is now going to be widely available on vinyl for the first time. This record includes songs that are staples in Corb Lund’s live set, such as “(Gonna) Shine Up My Boots” and “Time to Switch to Whiskey.” In addition to these lively jams, Five Dollar Bill features everything from romantic imagery of Corb’s homeland, “Short Native Grasses (Prairies of Alberta),” to songs that give the listener a glimpse into the life of working class folks, such as “Roughest Neck Around” which is an ode to oil riggers and the grit that is required with that lifestyle. “‘Five Dollar Bill’ was a big milestone for me for lots of reasons. It was my first record after my metal band, The Smalls, broke up and it’s when I got really serious about western music. I really dove into my family’s cowboy ancestry and my very rural upbringing in this batch of songs. It was also our first record of many produced by Harry Stinson who is now a very close friend, and our first brush with Nashville, Tennessee, as we recorded half the record down there. It was our last record with Ryan Vikedal on the drums before he flew off into fame and fortune with Nickelback. It was also our last record as a trio. It was my first gold album,” says Lund, “And we are still playing lots of these songs at our shows. It really defined my path forward as a western songwriter and helped lay the foundation for my whole career."

This limited edition release is part of the Corb Lund - Dark Horses Club. New West Records will be releasing unreleased records and material from Corb Lund throughout 2025 and 2026.

Originally released in 1998, ‘Electro-Shock Blues’is the emotional centrepiece of EELS’ catalogue -a stark, beautiful exploration of grief, survival andultimately, hope.
Written in the wake of tragic personal losses, itblends fragile melodies with raw, often darklyhumorous lyrics.
From the haunting opener ‘Elizabeth On TheBathroom Floor’ to the defiant closer ‘P.S. YouRock My World’, it’s a deeply human record thatdoesn’t flinch from life’s hardest moments.
This special two-disc edition is pressed on solidblue 140gram double vinyl at 45 RPM, offeringupgraded sound from the original 10” 33 RPMedition and bringing new depth to its layeredproduction.
A landmark album of the late 1990s, ‘ElectroShock Blues’ remains a poignant, cathartic listen -as vital today as it was upon release.

John Carroll Kirby brings his signature sound tofilm scoring with the official soundtrack album forfeature film ‘The Luckiest Man in America’, whichpremiered at the Toronto Film Festival andreceived a wide theatrical release.
John Carroll Kirby’s background is steeped in jazz,but his signature sound blends genres and styles.He has collaborated with artists ranging fromsuperstars Solange, Frank Ocean, Harry Stylesand Steve Lacy (earning him a GRAMMY nod forthe smash hit ‘Bad Habit’) to beloved indiemusicians like Connan Mockasin, Yves Tumor,Eddie Chacon and Liv.e.
John Carroll Kirby has released several recordswith Stones Throw, most recently ‘Blowout’ in2023, which Pitchfork called “endlessly vibey… hismost energetic and immediately enjoyable releaseyet.”
His records have received previous support fromPitchfork, The FADER, LA Times, The Guardian,BBC Radio 1, BBC 6 Music, MOJO, Clash andVICE, among many others.
Kirby has toured extensively across NorthAmerica, Europe, Australia / NZ and Asia, and ison tour throughout Summer 2025 with Khruangbinin the US.
For fans of Duval Timothy, Sam Gendel, AlabasterdePlume

‘Tomorrow Held’ is the visionary new album bytwenty-something mould-breakers andconservatoire-trained virtuosos, fiddle player OwenSpafford and guitarist Louis Campbell.
Eight largely instrumental tracks that hold space,resolve into mystery, that fold in elements of jazz,post-rock and chamber classical music whileraiding the folk music toolbox.
Call it what you want: post-folk; trad-noir; folknihilism. Then know that Spafford Campbell areblazing a trail that erases genre and finds gold inthe embers. Forget about tomorrow, they say.Welcome to the now.
LP includes printed inner sleeve.

Whispers of Granite is the exciting new collaboration between Norwegian vocalist and vocal composer Trude Eidtang and German keyboardist and composer Andreas Hack. Their debut album, Liquid Stone, offers a unique fusion of melancholic folk, indie and progressive rock, enriched by Trude's expressive vocals and Andreas' atmospheric instrumentation. Trude Eidtang is renowned for her evocative, haunting voice and deep emotional resonance within the progressive rock genre. She first gained recognition as the lead vocalist of White Willow, later founding her own project When Mary, where she crafts vocal-driven organic-electronic music that blends art-pop, indie, and conceptual storytelling. Andreas Hack is a celebrated German composer and keyboardist known for his innovative work in progressive rock. As a founding member of Frequency Drift, Andreas helped shape the band's distinctive, atmospheric sound. He has also expanded his creative range through projects like Feeling of Presence, which delves into ambient and post rock, and most recently, Haven of Echoes, known for its progressive and evocative sound. The collaboration between Trude and Andreas in Whispers of Granite brings together their individual strengths to create a compelling and immersive musical experience, drawing influences from folk, indie, and cinematic music, combining melancholic progressive rock with lush, atmospheric textures. Trude's vocals are at the heart of the music, intertwining seamlessly with Andreas' atmospheric keyboard work and intricate guitar arrangements. Together, they craft a sound that balances melancholy and hope, fragility and strength. The album's title, Liquid Stone, reflects the thematic duality that runs throughout the project. It symbolizes the tension between fluidity and permanence, capturing the transformational shifts Trude explores in her lyrics. The fusion of organic and industrial elements in the music mirrors the interplay between raw human emotion and the rigid structures of the world. Liquid Stone marks a bold step into new musical terrain.

Friends since the age of six, most of the album was written and recorded by the pair when they were nineteen. The songs possess all the singular magic of a duo writing and playing together while sounding like a full, sonically charged band. Their debut E.P. track 'Two Monkeys', included here, has a level of shoegazey dirt that will leave many distortion freaks reeling. `Every Word Said' is prog-pop perfection. The title track is as moody as anything by Flying Saucer Attack. 'Another One Making Clouds' evolves over 35 minutes and doesn't stop elevating and surprising. A founding notion of our label was to release recordings made as the musicians' first intended. No `notes' and no re-recording with a `proper' producer in a `real' studio. A noble preference we saw labels like Rough Trade pursuing with The Strokes, The Smiths, The Fall et al.This album is a proud example. And captures something you can't fake. A young band finding an epic, emotional, cinematic sound in their bedroom. Using it in that peculiarly British way to express the wonder, confusion and heartache of being nineteen. Of wanting to be seen and not seen. It's a kind of British `soul' music with ancestors like The Cure, Echo & The Bunnymen, The Jesus & Mary Chain and the original shoegaze bands. Progressive guitar music, channeling deep emotion, a desire to hear something that sounds like how you feel inside. The stuff nobody talks about. Everything Else.

Friends since the age of six, most of the album was written and recorded by the pair when they were nineteen. The songs possess all the singular magic of a duo writing and playing together while sounding like a full, sonically charged band. Their debut E.P. track 'Two Monkeys', included here, has a level of shoegazey dirt that will leave many distortion freaks reeling. `Every Word Said' is prog-pop perfection. The title track is as moody as anything by Flying Saucer Attack. 'Another One Making Clouds' evolves over 35 minutes and doesn't stop elevating and surprising. A founding notion of our label was to release recordings made as the musicians' first intended. No `notes' and no re-recording with a `proper' producer in a `real' studio. A noble preference we saw labels like Rough Trade pursuing with The Strokes, The Smiths, The Fall et al.This album is a proud example. And captures something you can't fake. A young band finding an epic, emotional, cinematic sound in their bedroom. Using it in that peculiarly British way to express the wonder, confusion and heartache of being nineteen. Of wanting to be seen and not seen. It's a kind of British `soul' music with ancestors like The Cure, Echo & The Bunnymen, The Jesus & Mary Chain and the original shoegaze bands. Progressive guitar music, channeling deep emotion, a desire to hear something that sounds like how you feel inside. The stuff nobody talks about. Everything Else.

Resolution Alley is the musical vision of Jason Wilson, a musician and composer hailing from Maryland. The music combines 80's pop and rock melodies with progressive rock concepts, creating a unique but strangely nostalgic sound. Jason performs extensively throughout the Baltimore / Washington, DC area. From the smallest clubs to the Kennedy Center, Jason has shared the stage with some of the biggest names of stage, screen and music. Resolution Alley combines the influence of a career in rock and theater into a distinctive creation. Resolution Alley is getting ready to release their brand-new album Pieces of Never which contains the catchy first single "The B-Side" and follow up "You Are". Jason Wilson has crafted a wonderful release with just the right amount of balance between Rock and Prog which is sure to capture the ears of folks who like something familiar yet new. So if you like your music with big hooks and interesting arrangements and instrumentation then Resolution Alley has cooked up just what you ordered with Pieces of Never.

Second album from North East indie rockers Fortitude Valley! "We're still very much the same band," says Fortitude Valley's Laura Kovic, describing the band's triumphant return with second album Part Of The Problem, Baby. "But the dials have all just been turned up a bit." That much is immediately apparent from the off - whereas 2021's self-titled debut was a breezily charming coalescence of effortless pop hooks and indie-punk energy, this new effort announces itself with guts and a road-earned sense of self-confidence. It's the sound of a band growing into itself; with a smartly effervescent approach to songwriting and a seemingly inexhaustible supply of swoon-inducing indiepop hooks. Over the course of Part Of The Problem, Baby's ten glorious offerings, we get treated to a miscellany of pop cultural sources of inspiration as a means of tackling themes like distance, personal growth and self-determination. For Kovic, an Australian-born musician living in the UK for almost two decades, the first of those is clearly a big one. "When I was a teenager I couldn't wait to get away," she explains, referencing her upbringing in Brisbane, "and now I can't wait to go back each time. My life is now just repeatedly visiting and then feeling sad when I leave, but knowing in my heart that I am where I'm supposed to be." Louder, wiser, in tune with each other and their identity as a collective_ Fortitude Valley may well remain the same band, but Part Of The Problem, Baby is a step forward on every level.

After lot of Skep Waxing Amelie and Rob and Cathy, Ian and Peter are back for indie good! It's been a long time coming but influential jangle guitarpop band Heavenly are releasing a brand new 7" single, with a full album to follow in February 2026. Portland Town is as effervescent a pop song as any of Heavenly's past recordings, with duelling vocals from Amelia and Cathy; looping, twanging, `how-did-he-do-that' guitar escapades from Peter, and a super-catchy melody. As so often with Heavenly, though, the lyrics have real bite. The song embraces those who find themselves on the margins of a hostile world where maleness, straightness and conformity are in the ascendant. So why Portland? It has always been a sanctuary - one of those places where difference is celebrated, a place where, as the song puts it, anyone can fit in. The flip is a cover version of a much-loved Only Ones song, `Someone Who Cares'. Heavenly are: Amelia Fletcher (guitar, vocals), Cathy Rogers (guitar, vocals), Rob Pursey (bass), Peter Momtchiloff (guitar), Ian Button (drums)

Over the course of The Slackers' nearly 35-year career, the NYC legends have paid respect to numerous interconnected genres of Jamaican music, including ska, reggae, and rocksteady. Dub mixing - a process of creating new "versions" of songs that emphasize the rhythm section and heavy utilization of atmospheric effects such as delay and reverb - looms so large as a driving force in that world, it is no wonder that the band would approach it with the same mix of reverence and creativity. "Dub is the other side of The Slackers," says the band's guitarist, Agent Jay. "A contrast to the uptempo danceable wit of our ska." The Dub Classics LP - originally released (and sold out) in 2021 and now available from Pirates Press Records - represents a collection of some of the greatest fruits of that labour. More than just a "re-mix" album, it is an essential part of the band's catalog that reinvents their sound and reveals all new perspectives on their many talents.

After coming up in different bands in the Long Island and Brooklyn DIY scene in the late '00s and early 2010s, the indie rock outfit Freezing Cold came together in 2017 and settled into its current lineup in 2019. Featuring lead vocalist/guitarist Jeff Cunningham, formerly of Bridge And Tunnel, bassist/vocalist Leanne Butkovic, formerly of Never, and Angie Boylan, formerly of Aye Nako and drummer for Sleater-Kinney — Freezing Cold is coming into their own now more than ever as a dynamic trio.

After playing shows in support of Algernon Cadewalder, Radiator Hospital, and Screaming Females over the past year, the band is sharing their strongest, most fully formed work yet with the album Treasure Pool, due out August 1 on Don Giovanni Records. The 10-track record builds upon the group's extensive DIY experience, while finding an equilibrium where each member shines and moves beyond the early punk resonant in their past projects and toward something more mature.

The new release was recorded in 2023 at Asbury Park's Lakehouse Recording Studios, with production from Marissa Paternoster of Screaming Females and Eric Bennett. It follows the band's 2019 debut Glimmer, produced by J. Robbins (Against Me!, Jawbreaker) and released before Butkovic filled out the group, and 2021's Stuck on Hold/Drawn to Scale EP.

Pete Rock’s Return Of The SP-1200 Volume 2 in an opaque red pressing. Pete Rock is widely recognized as one of the greatest hip hop producers of all time. His name is oft included in the pantheon of the greatest, alongside DJ Premier, RZA and J Dilla. In addition, Pete has one of the world’s most extensive vinyl collections, the sort of collection whose size can only be estimated, and that estimate stands in excess of 100,000 LPs.

Ghetto Cycle is the soundtrack of Charlie P’s life, set to music by O.B.F.

Meeting up with Charlie P and Rico from O.B.F in a studio is like diving into a particle accelerator operating at full speed. Lively, hyperactive, hardworking, Southend’s MC and the greatest warrior of French sound systems just can’t stay put.

Their creativity works continuously: riddims, melodies, lyrics, clip concepts and other fantasies spurt out at top speed. These common traits allow them to produce explosive collaborations, both on stage and in the studio.

After the success of the singles “Dub Controler” and “Sixteen Tons of Pressure”, the launch of an album became self-evident. Coming from a modest background in a remote London suburb, Charlie P has been through a lot before understanding that his passion for music could be a vehicle for emancipation. It is this life trajectory, punctuated by difficulties, pitfalls, hard work, encounters and challenges that he tells through the tracks of “Ghetto Cycle”.

Conceived as a concentrate of joint influences, this album gathers tracks in the purest digital dub vein, but also reggae, dance or downright grime. A new stage in the development of their collaboration.

After roughly 15 years out of the game, Marc Kushin makes a highly anticipated return with his Ely Muff project - a label favourite since its inception - debuting proper on Love Love with 4 tracker 'Human Nature'. Kushin's proto-tekno take on the early breakcore sound was a stand-out of a particularly noisy strain of hardcore which emerged in the UK in the late 90s and early 00s, releasing on the likes of Headfuk, One Inch Punch, Deathchant, as well as Kushin's own labels Kinky Stump and Dead Pig, run alongside longtime collaborator Tantrum.



Unpretentious, unserious and completely unapologetic, 'Human Nature' features four tracks of brutal hardcore spiral tekno, distorted and mangled but retaining groove and swagger. The EP features two re-released classics from Kushin's back catalogue: the pumped-up pirate radio pastiche of 'Hold Tite The P, No Need For London' and the feedback-laden blunt lobotomy of 'Automatic Predator', two decades on from their original releases in 2005 on Capsule Core and One Inch Punch. Complementing them are tracks 'Human Nature' and 'Cycle Dirty', previously unreleased spasmoid gems from the same era, unearthed and seeing the light of day for the first time.



All four tracks have been lovingly (re)mastered by Love Love's own Ben Pest for a maximal sonic experience, shining a light on this criminally overlooked corner of UK rave heritage.

Since its founding back in 2014, Blume has carved a unique place in cultural landscape, issuing free-standing works, spanning the historical and contemporary, that represent singular gestures of creativity within the field of experimental sound. Joining their broad efforts in building networks of context and understanding that already includes the works by Werner Durand, Sarah Hennies, Bruce Nauman, John Butcher, Jocy de Oliveira, Mary Jane Leach, Valentina Magaletti, Alvin Curran, Julius Eastman, Alvin Lucier, and following the first ever vinyl release to attend to James Tenney's legendary Postal Pieces, the label now presents the first LP published by the visionary Swiss composer Jürg Frey. Drawing from the transformative power of breath and resonance, this release represents one of the most profound explorations of musical metamorphosis to emerge from the contemporary experimental landscape.

The completed work represents a "conjunction of these two artists" that has "activated a transformative form of experimentalism." These renderings "dance with an airy lightness, humour, and play, imbuing them with a beauty and emotiveness that can be rare within experimental music." They exist as "breaths, carrying the curiosities of life, belonging to no time and all time, to no one and everyone: a human music to be inhaled and pondered, for which the outcome remains unknown." In this liminal space between composition and interpretation, between breath and resonance, Zurria and Frey have created something that transcends the boundaries of experimental music itself, offering what might be called a metaphysical cartography of sound in its most essential form. As Bradford Bailey observes in his penetrating liner notes, "music is rarely a fixed entity," existing instead in a state of perpetual flux, "taking on the influences of its interpreters and performers." This fundamental truth finds its most eloquent expression in the transformative collaboration between Italian flutist Manuel Zurria and Frey, longtime member of the Wandelweiser Group. Where conventional recordings might preserve a definitive version, this release activates what Bailey calls "states of unknowing and continued experimentation," allowing Frey's compositions to evolve into entirely new dimensional territories. The original string quartet and piano works dissolve into breath-carried architectures of sound, where "the original remains in a constant dialogue with its transformation." This is not mere arrangement but ontological metamorphosis - an alchemical process through which crystalline harmonies are reborn as atmospheric phenomena.

The metaphysical dimensions of this transformation become clear through detailed analysis of the musical result. Where Frey's original compositions operate through what he calls "basic confidence in the clear and restricted material," Zurria's interpretation activates entirely new perceptual territories. Space holds almost atomic sense of weight against the airy punctuations of timbres, textures, and tones, creating "suspensions of time within which questions and identities posed by instrumentation fade." The Extended Circular Music pieces - each comprising "a small number of bars to be repeated an undetermined number of times" - become organizations of sound that defy being definitive or fixed. Originally scored for different combinations of violin, viola, cello, and piano, these works now exist as pure phenomena of breath and resonance, where "hanging, breath-length utterances dance and intertwine amongst complex harmonic clusters and conjunctions."

The philosophical implications of this transformation illuminate a lineage of composers who have moved "away from abstraction and responding to the need to create" something beyond mere technique. Drawing parallels to Morton Feldman's understanding of non-functional harmony, Zurria's approach represents "a transformative form of experimentalism" that activates what Frey calls the "thaumaturgic power" of music - its capacity to heal and transform consciousness itself. The result is "a radical reimagining of ambience: sprawling sonorities and resonances adrift in space, carrying the liberated traces of the work's former incarnations and their truths." In Zurria's interpretation, Frey's String Quartet n.3 becomes something approaching "an organ played in slow motion, its seals leaking," while the Extended Circular Music pieces transform into "glacial chords from a diverse palette of voicings, harmonies, timbres, and tones."

Performed by Manuel Zurria. Recorded and mixed by Zurria at BigCardo, Catania between 2022-2024, with mastering by Bruno Germano at Vacuumstudio, Bologna, this Blume release represents a profound exploration of musical transformation.

This new "Experimental Chapter" by DJ Narciso comes as no surprise, really. Autonomous in the motorization of his music, pushing for progress within the framework of an undeniable (inescapable?) heritage. Twisting and bending sound every step of the way, Narciso definitely keeps in touch with the dancefloor, offering the always much needed transcendence through distinctive, non-linear melodies and patterns. The artist pursues a direct link with bodies in motion but seldom in the expected, institutionalized way club culture is being largely promoted.

This is challenging dance music, proud statements of difference. Narciso's previous record was named "Diferenciado". Now we get "Dificuldades", a track that simultaneously carries the weight of being somewhat odd and the difficulties of life. Check how the piano is venting, freestyle, communicating a feeling, and then lets itself get stuck in a loop, but that's exactly when the groove really starts flowing. And then another layer. It's like direct speech.

A common assertion of pride is found in the origin of the artists. The ghetto as a place where any transformation projects more power precisely because of... inherent difficulties. As others (including himself) did in more or less obvious ways, Narciso clearly states "I come from the ghetto" ( "Não Sabes" ). Twice the value. At least. Almost every segment of music in this album ends up sounding heavily emotional, reaffirming what may be - perversely - a well-known characteristic of Portuguese music: melancholy.

"Não Quero" begins side B as a march maybe more significant than a thousand words, such is the ominous tone of its texture. Next track is another lunar tarraxo, pulling down the shades. Then, "Dor de Barriga" lets things loose again, steering clearly off road, shouting this way and that until a peaceful resolution comes. In "Livra-me Desta", vocal snippets blend into synth snippets, disembodied voices abandon all traces of humanity and finally mutate into different entities that, towards the end, again sound vaguely human but now we find ourselves doubting. Closer "Bob" is a rather classic percussion track with plenty of echo, reverb and an unconscious nod to dodecaphonic music. Unlikely? No, the structural ADN of this music is made up of elements western and eastern, southern and northern. To say all-over-the-place is usually not flattering but in this case the expression translates as wonder, surprise, The Unexpected, and reveals Narciso perfectly at ease inside the nucleus of creation.