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The Four Owls debut album ’Nature’s Greatest Mystery’ returns on 2x12” Black and Yellow Galaxy Repress across 500 copies (never to be repressed in this colourway).

Celebrating FIFTEEN YEARS since the original release (and with rumours of a new album in the works) ’Nature’s Greatest Mystery’ Black and Yellow Galaxy Repress is a critically acclaimed UKHH classic!

The Four Owls are Big Owl (Fliptrix), Rusty Take-Off (BVA), Bird T (Verb T) and Deformed Wing (Leaf Dog) who also handles all of the production.

’Nature’s Greatest Mystery' features guest appearances from Q-Unique (Arsonists), Dirty Dike and Jam Baxter. A critically acclaimed modern day UKHH classic!

Limited edition pressing of 500 copies.

Black and yellow galaxy vinyl, full colour 350gsm reverse board gatefold sleeve. 14-track album. Shrink wrapped.

New album from Pictish Trail, AKA Johnny Lynch, known for his wildly inventive electro-acoustic psych-pop. Life Slime is the sixth full-length album by Pictish Trail (AKA Johnny Lynch) - a strange, tender, psychedelic electro-pop record shaped by transformation, exhaustion, hope, guilt, and renewal. Written at home on the Isle of Eigg and recorded at Mike Lindsay's studio down in Margate (Tunng / LUMP), the album follows 2022's critically acclaimed Island Family, further refining Lynch's world of lo-fi electronics, warped pop melodies, baggy psych rhythms and emotionally direct songwriting. It's a record that balances woozy synth-pop, motorik propulsion and intimate acoustic songwriting, all infused with the emotional messiness that gives the album its title. Across the album's singles - the guilt-stained psych-pop ballad 'Hold It', the life-affirming shimmer of 'Infinity Ooze', the late-night confession of 'Torch Song', the expansive eight-minute centrepiece 'Another Way', and the cinematic closer 'Werewolf Ending' - Life Slime charts a journey from emotional fracture to uneasy release. 'Sorry Eyes' brings a punchy electro-pop strut with a sharp emotional edge, 'Crystal Cave' drifts through crystalline guitars and shoegaze haze into transformation, and the title track 'Life Slime' moves with a slow, weary swagger toward bittersweet acceptance. Together, these tracks form a cohesive album statement about surrender, resistance, change and renewal. "Wonderfully weird pop"- Brooklyn Vegan For fans of Hot Chip, The Flaming Lips, Liars, Mercury Rev, Beck, John Grant, Empire of the Sun, Grandaddy. Colour vinyl and digisleeve CD

Relentless 1999 death metal fury, officially re-pressed as a 12" picture disc. A critical, raw, and dissonant cornerstone of the New York death metal scene, now in a limited format for collectors.

Seamus Fogarty is the brilliant Irish singer/songwriter who previously released two critically acclaimed albums on Domino Records and his debut album via Scottsh cult label Fence records.
DIY pop, electronic noises and heartfelt ballads and stories is mixed on this amazing new album where Seamus once again prove to be a one of a kind songwriter and artist.

Hip Hop’s golden era constituent, Queens’ native, the godfather of Mafioso rap, legendary and influential emcee, Kool G Rap, broke out in the late 80s and early 90s as one half of the duo with DJ Polo. Together, Kool G Rap and DJ Polo released three undisputed classic albums; beginning with their debut album, Road To The Riches (1989), Wanted: Dead or Alive (1990) and Live and Let Die (1992).

Simultaneously, G Rap and DJ Polo gained notoriety as members of the Juice Crew, whose noteworthy membership includes DJ Marley Marl, Big Daddy Kane, Masta Ace and Roxanne Shante At the height of hip-hop’s golden age, The Juice Crew was the definition of innovative and not only influenced the culture as a whole (style, lyricism, creativity), but also impressed the importance of style, substance and technique upon the next wave of street ambassadors.

After a successful run with DJ Polo and the Juice Crew, G Rap embarked on a solo-career, with his solo debut, 4, 5, 6, (1995), which was preceded by Roots of Evil (1998) and The Giancana Story (2002). Since then, we’ve only been intermittingly blessed by bodies of work from the Kool Genius Of Rap; Half a Klip (2008), Riches, Royalty, Respect (2011), Return Of The Don (2017) and Son Of G Rap with 38 Spesh (2018).

Now, the recent National Hip-Hop Museum inductee returns with his first solo-album in

five-years with Last Of A Dying Breed, entirely produced by Domingo, which features collaborations with AZ, NEMS, Vado, 38 Spesh, Royal Flush and Big Daddy Kane; with production supplied by Domingo. Kool G Rap’s "Last Of A Dying Breed" is now available on limited edition vinyl, digipack CD and cassette.

Macclesfield 3-piece Cassia make their extremely welcome return with the announcement of their most ambitious release yet in new studio album everyone, outside - out April 11th.

The album marks a bold new chapter, and recently served up a tropical-tinged first offering in ‘heat’ - with today serving a superb Round Two with the stomping, insatiable, hook-laden new single ‘friends’.

everyone, outside takes Cassia’s sound to new heights. Written fresh off the back of two years of relentless touring, the band channelled every ounce of their renowned live energy into the album, returning to a studio they built themselves in Macclesfield, after creating their previous album in Berlin. The journey provided an added twist, recording the majority of tracks live on TikTok, giving fans a unique, inclusive experience to be part of the process.

The album’s title is a metaphor for embracing your truest self and reflection of a band who are at their happiest outside. It’s a message that speaks to the idea of reconnecting with nature and Britain’s finest summers. As frontman Rob explains, “That title, ‘everyone, outside’ started as a song about how weird it is that we stay inside all the time when being out in nature always makes us feel better. Over time, it came to mean more than that - like a metaphor for being your truest, most natural self, unburdened, like when no one’s watching.”

Drawing influences from a host of genres and cultures, everyone, outside reveals Cassia’s venn diagram of global sounds and intimate storytelling. A trip to Mexico during the writing process injected the record with a new energy, while their time spent in their new space back home gave the band a freedom to try new instruments, new sounds, acquire new tools to hone their production skills - and to simply have fun and explore. “The time we spent in Berlin taught us so much, but coming back home to Macclesfield allowed us to really focus on making something that felt like it came from us. No distractions, just pure creativity,” says drummer Jacob Leff.

Cassia’s rise has been impressive. From their early days busking the streets of Cornwall to playing major festivals, touring the world and receiving critical acclaim from BBC Radio 1, Radio X, The Independent, Rolling Stone UK, Clash & many more, the band has carved out a unique niche. Their sound, influenced by the African music Rob’s father introduced him to, combined with the indie heritage of nearby Manchester, combines the positivity of bands like Foals and Vampire Weekend, with the jazz-tinged afrobeats of Fela Kuti and Ebo Taylor.

After signing to Distiller Records in 2018, the band gave up their full-time jobs and ventured to Bath to record their debut album, Replica. Tracks such as ‘Right There’, ‘Drifting’ & ‘100 Times Over’ have amassed millions of streams, seeing the band sell out multiple headline Tours both in the UK and Europe. Playing to a homecoming capacity crowd at Manchester’s O2 Ritz, as well as sold out headline shows at London’s KOKO & The Garage, the band have accrued a huge, loyal following and their live shows earned them a nomination for Best Live Act at the AIM Awards alongside Idles and DMA’s, as well as making them the winners of Reeperbahn’s Anchor Award in 2022.

Cassia will tour the UK in May 2025, playing songs from the new album and some of their biggest tracks - headlining Leeds, Bristol, a newly added night in Southampton, a special Manchester homecoming, Glasgow, Birmingham, & a huge show at London’s HERE @ Outernet - dates below & Tickets Here. The band will also take things Stateside this year for their first ever run of headline shows in the US & Mexico.

Expanded Edition Double Cassette Box Set including main album and Bonus Cassette with unique download cards


AE Productions in association with Sure Shot Recordings and In Effect Recordings are pleased to announce a 10 Year Anniversary Edition of the critically acclaimed Phill Most Chill and Paul Nice album as the Fabreeze Brothers.

The hugely successful first edition which was pressed on colour vinyl and supplied in double fold out sleeve sold out in only 2 weeks from release date and then the 2nd pressing black vinyl edition sold out a little while later but has for years been out of print but is increasingly requested by shops, via email, social media, AE Productions website back in stock requests, etc…

As it has been 10 years since original release back in 2015 at the time of proceeding with manufacturing, it was the perfect opportunity to do a 3rd pressing to mark the anniversary but we had to pull out all the stops for a 3rd run of this incredible album and also make it subtly different again in packaging design from the 1st and 2nd pressings so that each has it’s own particular feel and quality.

With help from the original designer and all-round vinyl artwork supremo Mr Krum we have found some nice adjustments for the gatefold sleeve where the detail from the insert sheet found in the original issues is incorporated into the inside panels of the sleeve. We have also tweaked the hype sticker to mark the 10th Anniversary Edition and updated the vinyl labels so as to work better with the new Splatter vinyl which follows the original red and yellow vinyl but each splattered with the opposite colour.

For something a little extra we have compiled a Limited Expanded Edition Double Cassette Box Set that includes the original album and also a ‘Bonus Tape’ which features all of the remixes, alternate versions, Original Versions of album cuts and bonus tracks found on B-sides of the array of singles and we included for good measure 2 tracks that only appeared on the promotional only LP sampler that ended up being different on the final release. This is limited to cassette just for the non-vinyl heads as all of these tracks already appear on vinyl. The outer box is A5 card in black with gold foil Fabreeze Brothers logo and comes with discography booklet.

‘The Bonus Tape’ from the box set is also available as a standalone cassette release with alternate j-card art work so that it has it’s own flavour and so that anyone that purchased one of the original run of cassettes that sold out before we could even ship any copies, did not need to purchase the main album again unnecessarily and to make it noticeable from the Expanded Edition Box Set version.

This version also has an alternate shell design in keeping with the clear shell with dark liner that was commonplace back in the 90’s and the cassette geeks may note the red text on the spine as was also a common design back then – giving this a pseudonym of ‘the 90’s tape’ during the design process.

We couldn’t stop there so we also have an extremely low quantity Limited Edition Mini Disc version which is the main album plus 8 of the bonus tracks from The Bonus Tape – only missing the 2 least significant alternate versions but clocking in at just a few seconds under 80 minutes – the absolute maximum for the format! Mini Disc???!!! You’re probably asking – yes!

While looking into the cassette duplication options we realised that the duplicator also offers Mini Disc production so we thought that it may be worth doing a very small run just because not only are professionally manufactured Mini Disc’s rare in Hip Hop, they are rare within the entire music industry as they never really took off as a medium to purchase music but ended up as the choice for home recorded Walkman and car use. Indeed, AE boss Mr Fantastic still has his main machine, portable and old discs. Amazingly also, the sleeve artwork transferred brilliantly to the Mini Disc template. They are manufactured using high quality Sony discs using ATRAC 4.5 codec.

All releases are supplied with unique free download codes on cards that are included inside the packaging but also with the Expanded Edition cassette and Mini Disc having 2 cards – 1 for the main album and a 2nd card for ‘The Bonus Tape’. The free downloads are supplied direct from Phill Most Chill’s Bandcamp page keeping it independent.

Dudley Perkins, aka Declaime, is a visionary wordsmith and sonic architect who has been a pivotal figure in the underground hip-hop scene since the mid-90s. Renowned for his introspective lyricism, intricate rhyme patterns, and innovative production techniques, he has consistently pushed the boundaries of the genre. Declaime's music is a fusion of soulful samples, jazzy undertones, and raw, unfiltered emotion.

His ability to seamlessly blend intricate beats with thought-provoking verses has earned him a dedicated following and critical acclaim. Throughout his career, Declaime has collaborated with a diverse range of artists, including Madlib, Oh No, Georgia Anne Muldrow, Flying Lotus, knxwledge, Aloe Blacc, Kankick, Saul Williams, Latoya Williams, Hudson Mohawk, Casual and many other notable names. His solo projects and collaborative efforts have left an enduring impact on the hip-hop landscape, inspiring countless artists and shaping the sound of future generations.Dudley has unveiled his latest 9-track album titled "Flatulent," set to be released on the esteemed Urbnet label. The album, produced by German beat maker and producer Der Brxwnsxn, highlights Declaime's signature blend of intricate rhythms, haunting samples, and ethereal melodies.

Whiskey is the 1996 debut album by Jay-Jay Johanson. An exciting mix of trip hop, nu jazz and drum 'n' bass; all with the amazing vocals of Jay-Jay himself. Key tracks like ""So Tell the Girls That I Am Back in Town"" and ""It Hurts Me So"" showcase his ability to fuse smooth, lounge-like vocals with electronic beats and lush instrumentation. Whiskey received critical acclaim for its emotive depth and unique style, establishing Johanson as a compelling figure in the late Nineties music scene. This album is a must for anyone who enjoys Moloko, Tricky, Archive and Lamb.

Francis of Delirium is the moniker of 22-year old, Luxembourg-based Jana Bahrich. The young artist’s incredible journey up until this point has seen her release 3 critically acclaimed EPs, ‘All Change’, 'Wading’ and ‘The Funhouse’. With praise so far from the likes of Stereogum, FADER, Pitchfork, Line of Best Fit, 6 Music, Radio 1, KEXP and NPR to name but a few, Francis of Delirium is on the precipice of something extremely exciting with debut album ‘Lighthouse’.

The announcement of ‘Lighthouse’ comes following a busy year of touring with the likes of Soccer Mommy, Briston Maroney, Horsegirl, The Districts and hitting Eurosonic, Iceland Airwaves and Tree Fort Fest, as well as opening for The 1975 & Kings of Leon.

Production duties on ‘Lighthouse’ were shared by Catherine Marks (Boygenius, Wolf Alice) and Jana Bahrich/Chris Hewitt. ‘Lighthouse’ was mixed by Jolyon Thomas (U2, Royal Blood).

A seven inch. Ltd edition.
Superb fly-high Hardcore...

Enjoy !

Mammal Hands are pleased to announce the release of their highly anticipated fourth album 'Captured Spirits', released 11thSeptember via Manchester tastemaker record label, Gondwana Records.

Consisting of saxophonist Jordan Smart, pianist Nick Smart and drummer and tabla player Jesse Barrett, the trio have forged a growing reputation for their hypnotic fusion of jazz and electronica and have recieved glowing recommendations from the likes of The Guardian and Gilles Peterson. Drawing on their love of electronic, contemporary classical, world, folk and jazz music, Mammal Hands take in influences including Pharoah Sanders,Gétachèw Mekurya, Terry Riley, Steve Reich and Sirishkumar Manji.

Forming in Norwich in 2012, brothers Nick and Jordan along with Jesse, developed their distinctive and polished sound with their meteoric live shows and release of three critically acclaimed albums: 'Animalia' (2014), 'Floa' (2016) and 'Shadow Work (2017). Landmark live performances have included shows at The Roundhouse London, the main stage at Field Day Festival, La Cigale Paris, Montreal Jazz Festival, Hamburg Elb Jazz, Athens Technopolis and Unit Tokyo.

New album by SABA ALIZADEH, a groundbreaking voice in contemporary Iranian music who blends classical Persian traditions with avantgarde experimentation.

Born in Tehran in 1983 as son of the world renowned tar and setar virtuoso HOSSEIN ALIZADEH, SABA ALIZADEH established himself not only as a true master on the Iranian spike fiddle kamancheh but one of the groundbreaking voices in contemporary Iranian music, blending classical Persian traditions with avantgarde experimentation. His music, praised by THE WIRE as "a bridge between the ancient and the contemporary", turns sound and image into powerful narratives of memory and resistance. Over the past years, ALIZADEH (who relocated to the Netherlands a few years ago) has appeared at key festivals and venues such as Reeperbahn Festival, CTM, Flow Festival, Philharmonie Berlin, Kölner Philharmonie, solidifying his reputation as a singular live performer.
After the critically acclaimed releases "Scattered Memories" (his international debut, released on Karlrecords in 2019), "I May Never See You Again" (2021) and last year's "Temple of Hope", his new album fascinates again with a unique artistic voice, weaving together centuries-old sonic heritage and the urgency of the present through deeply immersive, meditative landscapes in two epic pieces. "Rituals Of The Last Dawn" may feel like a sad or resigned title (compared to the positively fierce "Temple Of Hope"), but at the same time the highly meditative music provides a good lot of contemplative strength. Appealing to an open-minded "world music" audience as well as fans of current streams of ambient or drone in its most subtle forms, ALIZADEH's latest work is a strongly needed soul food in bitter times. Created on the spot with his musical partners PIETRO CARAMELLI (guitar and electronics on "First Ritual") and LIEW NIYOMKARN (lap steel and electronics on "Last Ritual"), "Rituals Of The Last Dawn" is a pure, unfiltered emotional expression from one of contemporary Iranian music's leading artists.

Recorded spontaneously in a single afternoon, the album captures an unguarded musical conversation between two of the most compelling voices of their generation. Born in Brixton and now based in Harlem, Ruben Fox has emerged as a major presence on the international jazz scene, renowned for the depth of his sound, the emotional clarity of his ballad playing, and a voice rooted in tradition while speaking firmly in the present. His work follows collaborations with artists including Wynton Marsalis, Barry Harris, Roy Hargrove, Jon Batiste, and George Coleman, and builds on the critical acclaim of his 2021 debut Introducing Ruben Fox.

Micah Thomas is one of the most celebrated pianists of his generation, praised for a style that is both restlessly inventive and deeply grounded in the history of the music. A Jerome L. Greene Fellow and Juilliard alumnus, Thomas has worked extensively with Immanuel Wilkins, Joshua Redman, Ambrose Akinmusire, and Billy Drummond, and has been recognised by DownBeat, Jazz Magazine, and The New York City Jazz Record as a defining contemporary voice. Fox and Thomas first developed their musical relationship while studying at Juilliard, where they regularly played duo sets. In Two Minds was recorded on a whim at Chris Pattishall's apartment in Washington Heights, with no rehearsal, no edits, and no agenda beyond mutual respect, listening, and shared musical values. Over three hours, the pair simply showed up and played.

The result is an intimate, conversational record that foregrounds generosity, empathy, and deep musical listening. Sparse, direct, and emotionally rich, In Two Minds offers a rare document of two artists meeting in real time, balancing history, intellect, warmth, and spontaneity.

Critically acclaimed Death Metal force TEMPLE OF VOID return with their new album, The Crawl. The caveman brawn of previous albums, namely Summoning the Slayer (2022), remains, but there’s a wider dynamic on the group’s fifth full-length album at play. Now a quartet—featuring guitarist Alex Awn, drummer Jason Pearce, vocalist/guitarist Mike Erdody, and bassist Justin Malek—the Michiganders aren’t shying away from their non-metal influences, seeking greater integration of grunge and post-punk with their brutish signature. Singles “The Crawl” and “Soulburn” demonstrate the proficiency of TEMPLE OF VOID's death-cloaked, spearheaded attack. From the high intensity of opener “Poison Icon” to the granite wall of “The Twin Stranger,” The Crawl isn’t just TEMPLE OF VOID evolved, it’s a harbinger of death metal to come. “The biggest shift for me on this record was not feeling like we had to fly the ‘death-doom banner’ as part of our identity,” says Alex Awn. “Death-doom, as a genre, gave us something to anchor our sound around when we started. It was always a reference and touchstone. At the same time, we always wanted to make sure we had our own spin on it. We’ve always been adding to the conversation, adding to the genre, giving our point of view. A huge part of what makes a Temple of Void record is the non-death-doom influences that make up our DNA. And on album five we never once asked ourselves, ‘Do we have enough death metal? Do we have enough doom metal?’ We simply wrote a heavy-ass record—let the chips fall where they may.” For lyrics, Erdody built on the psychology and fear themes of Summoning the Slayer. The overarching theme of The Crawl is, put rather simply, an “allegory about life, choices, and consequences.” It’s a qualitative view on the horrors of the human condition and the contemplation of our monstrous capabilities. “The Twin Stranger,” for example, is about being stalked by a person’s doppelganger; “Godless Cynic” draws on a short story by sci-fi author Harlan Ellison; and “Poison Icon” tackles the crushing effects of mankind’s intrinsic nature to deceive and control.

Svarta Havet's sophomore album out in February via Svart Records Hailing from Turku, Finland, SVARTA HAVET are set to release their sophomore album Månen ska lysa din väg for the European market via Svart Records on February 27th, 2026. Originally released by the US based Prosthetic Records in May 2025, Månen ska lysa din väg casts a critical eye over the negative effects of Western colonialism, capital greed and convenience at the cost of sustainability, presenting a rallying cry for change whilst never losing sight of the light that this world has to offer. Formed in 2018, SVARTA HAVET is a self-described dyster (gloomy) post-hardcore group born from the Finnish DIY punk and hardcore scene, with the members bonding over a shared affinity for punk music and community-first ideals with a focus on antifascist, feminist, trans and queer politics.

Where their 2021 debut full-length, JORD/VATTEN, served as an introduction to SVARTA HAVET’s amalgam sound of post-metal, hardcore punk and black metal, Månen ska lysa din väg is a deftly woven together panorama of their respective influences and a captivatingly urgent political and compassionately personal case for humanity’s course correction. With communities residing at the heart of their purpose, on a localised and a broad scale, SVARTA HAVET are not ones to lay idle in their hopes of a better world. 2026 will continue to see the band both touring their home country and beyond, as well as being deeply involved in organizing gigs and events through the collectively-run venue, Kirjakahvila ("Book Cafe") – a queer feminist, anti-capitalist DIY community space in Finland. In addition to hosting local acts, the group’s tireless efforts to support international bands will continue to see SVARTA HAVET helping to foster a vibrant underground scene in the process. SVARTA HAVET is: Lotta (she/her) - vocals Joakim (he/him) - guitar Anders (he/him) - bass Jara (she/her) - drums

Synthpop, minimal wave, post-punk, goth, new romantic - fans and critics alike have dug deeply into their vintage thesauruses to describe the beguiling work of Nation of Language. And if you can't precisely define the band, that's the point. Frontman Ian Richard Devaney has become prodigious in expanding what synthesizer-driven music can evoke, such that his output is as much an extrasensory journey as it is an all-too-human destination. With that experience in mind, he wrote the band's fourth album - the spectral, spacious Dance Called Memory - in the most humble of ways: chipping away at melancholia by sitting around and strumming his guitar. Nation of Language's first two albums, Introduction, Presence (2020), and A Way Forward (2021), came as pandemic godsends: gorgeous, relatable soundtracks to our collective doldrums. But it was their last LP, Strange Disciple (2023), that catapulted the group from cultural standouts to critical darlings, with the album being named Rough Trade's Album of the Year. With that release, Pitchfork wrote that the band "are learning what it means to get bigger and better." This is Devaney's calling: soulfully translating individual despair into a comforting, collective mourning. The single "Now That You're Gone," which radiates and reverberates with a devastating wistfulness, was inspired by witnessing his godfather's tragic death from ALS, and his parents' role as caretakers for this ailing friend. At its heart, the song is a reflection of how friends can be there for each other, and also highlights a theme throughout the record: the pain and lost promise of friendships that fall apart. On Dance Called Memory, the band once again collaborated with friend and Strange Disciple producer Nick Millhiser (LCD Soundsystem, Holy Ghost!). "What's so great about Nick is his ability to make us feel like we don't need to do what might be expected of us," says synth player Aidan Noell, who, along with bassist Alex MacKay, rounds out the Nation of Language lineup. They imbued Dance Called Memory with a shifted palette - sampling chopped-up drum breaks on "I'm Not Ready for the Change" for a touch of Loveless-era My Bloody Valentine or smashing all of the percussion of "In Another Life" through a synthesizer to cast a shade of early-2000s electronic music. Ultimately, the hope was to weave raw vulnerability and humanity into a synth-heavy album. "There is a dichotomy between the Kraftwerk school of thought and the Brian Eno school of thought, each of which I've been drawn to at different points. I've read about how Kraftwerk wanted to remove all the humanity from their music, but Eno often spoke about wanting to make synthesized music that felt distinctly human," Devaney says. "As much as Kraftwerk is a sonically foundational influence, with this record I leaned much more towards the Eno school of thought. In this era quickly being defined by the rise of AI supplanting human creators I'm focusing more on the human condition, and I need the underlying music to support that_ Instead of hopelessness, I want to leave the listener with a feeling of us really seeing one another, that our individual struggles can actually unite us in empathy."

Nanook of the North is back with their second album, following the enthusiastically received 2018 debut "Nanook of the North," (Denovali) The duo of a composer and violinist Stefan Wesołowski and electronic producer Piotr Kaliński were acclaimed by Boiler Room, The Wire or NPR. Bob Boilen of Tiny Desk Concerts called Nanook of the North's performance "one of the wow moments of SXSW". Their new material is a raw and minimalist sonic landscape, practically devoid of percussive elements but featuring vocals by an acclaimed mezzo-soprano Margarita Slepakova. As with the debut, the music on "Heide" is rooted in nature and its primordiality. The title of the album alludes to wildness and untamedness, and the material was recorded last winter in a village located in the middle of forests in the northern Poland, which is clearly felt in the atmosphere of the 9 new tracks on "Heide".

Stefan Wesołowski is a Polish composer and violinist, author of critically acclaimed original albums and film music scores. Associated with publisher Mute Song and record labels like Important Records, Lakeshore Records, Ici D'ailleurs and Back Lot Music. He is an author of original soundtrack to „Listen to me Marlon” (Universal) - Oscar-shortlisted and BAFTA-nominated documentary on Marlon Brando directed by Stevan Riley and original soundtrack to Irish feature film by Nathalie Biancheri entitled „Wolf” (Focus Features), starring Lily-Rose Deep and George MacKay, premiered 2021 at Toronto Interational Film Festival.

Piotr Kaliński is na electronic music producer and guitarist. Based in Gdańsk, Poland. Associated with record labels like R&S Records and Instant Classic. Member of Hinode Tapes, Hatti Vatti and JANKA bands. One of the most active figures in Polish alternative scene - in last few years he performed live in many countries across Europe, Japan, Korea and United States. Kaliński is an author of original music for short films, fashion brands campaigns like Calvin Klein or Paul Smith and games (i.e. „Cyberpunk 2077”).

Margarita Slepakova is a coloratura mezzo-soprano specialized in the field of historical practices of early music. Based in Switzerland, she is a renowned opera, concert, and recital singer, collaborating with ensembles and orchestras all over Europe. Slepakova is a founder of Le Sommeil project, specializing in French music of the 17th century. She sang in many concert halls and opera houses including Carnegie Hall and Royal Albert Hall during BBC Proms. Margarita also performs contemporary music and has premiered pieces written especially for her voic

Macclesfield 3-piece Cassia make their extremely welcome return with the announcement of their most ambitious release yet in new studio album everyone, outside - out April 11th.

The album marks a bold new chapter, and recently served up a tropical-tinged first offering in ‘heat’ - with today serving a superb Round Two with the stomping, insatiable, hook-laden new single ‘friends’.

everyone, outside takes Cassia’s sound to new heights. Written fresh off the back of two years of relentless touring, the band channelled every ounce of their renowned live energy into the album, returning to a studio they built themselves in Macclesfield, after creating their previous album in Berlin. The journey provided an added twist, recording the majority of tracks live on TikTok, giving fans a unique, inclusive experience to be part of the process.

The album’s title is a metaphor for embracing your truest self and reflection of a band who are at their happiest outside. It’s a message that speaks to the idea of reconnecting with nature and Britain’s finest summers. As frontman Rob explains, “That title, ‘everyone, outside’ started as a song about how weird it is that we stay inside all the time when being out in nature always makes us feel better. Over time, it came to mean more than that - like a metaphor for being your truest, most natural self, unburdened, like when no one’s watching.”

Drawing influences from a host of genres and cultures, everyone, outside reveals Cassia’s venn diagram of global sounds and intimate storytelling. A trip to Mexico during the writing process injected the record with a new energy, while their time spent in their new space back home gave the band a freedom to try new instruments, new sounds, acquire new tools to hone their production skills - and to simply have fun and explore. “The time we spent in Berlin taught us so much, but coming back home to Macclesfield allowed us to really focus on making something that felt like it came from us. No distractions, just pure creativity,” says drummer Jacob Leff.

Cassia’s rise has been impressive. From their early days busking the streets of Cornwall to playing major festivals, touring the world and receiving critical acclaim from BBC Radio 1, Radio X, The Independent, Rolling Stone UK, Clash & many more, the band has carved out a unique niche. Their sound, influenced by the African music Rob’s father introduced him to, combined with the indie heritage of nearby Manchester, combines the positivity of bands like Foals and Vampire Weekend, with the jazz-tinged afrobeats of Fela Kuti and Ebo Taylor.

After signing to Distiller Records in 2018, the band gave up their full-time jobs and ventured to Bath to record their debut album, Replica. Tracks such as ‘Right There’, ‘Drifting’ & ‘100 Times Over’ have amassed millions of streams, seeing the band sell out multiple headline Tours both in the UK and Europe. Playing to a homecoming capacity crowd at Manchester’s O2 Ritz, as well as sold out headline shows at London’s KOKO & The Garage, the band have accrued a huge, loyal following and their live shows earned them a nomination for Best Live Act at the AIM Awards alongside Idles and DMA’s, as well as making them the winners of Reeperbahn’s Anchor Award in 2022.

Cassia will tour the UK in May 2025, playing songs from the new album and some of their biggest tracks - headlining Leeds, Bristol, a newly added night in Southampton, a special Manchester homecoming, Glasgow, Birmingham, & a huge show at London’s HERE @ Outernet - dates below & Tickets Here. The band will also take things Stateside this year for their first ever run of headline shows in the US & Mexico.

Malena Zavala is an Argentinian-born, London-based artist, producer, and filmmaker, known for crafting ethereal, genre-blending music that navigates the space between her Latin heritage and her British upbringing. With the forthcoming album If This Life Could Start Again set for release on 30 January 2026 on Paraná Records, Zavala presents her most intimate, cohesive, and accomplished work to date, marking a significant evolution in her artistic journey.
With her new album, Malena creates an atmospheric dream pop world, weaving singer-songwriter intimacy with synth pop, Argentine folk, indiepop, rock and experimental music, threaded together by her blissful vocals and dreamy guitar work. Gorgeously warm and vivid, If This Life Could Start Again charts the journey from pain to acceptance, mapping out the non-linear nature of healing through a sonic landscape. Each song embodies a distinct emotion within that journey, from grief and chaos to feeling lost, seeking refuge, finding confidence, and finally acceptance and letting go. Drawing on her Argentinian roots, Malena uses the Andes mountains as both a visual and thematic anchor – the difficult climb towards higher ground becomes a metaphor for healing, whilst being lost at rock bottom reflects the darkest moments of the journey. 
Completely composed and performed by Malena herself, the album was recorded in Girona’s L’Empordà countryside in Spain with producer Luke Smith. As a professional producer and audio engineer, this was Malena’s first time relinquishing production control – an intimate creative shift that allowed their shared vision to shape the album’s rich, enveloping sound. 
However, Zavala’s career to date has been a testament to self-sufficient artistry. Her critically acclaimed debut, Aliso (2018), was written, recorded, and produced alone in her parents’ garage, which honed her dreamy bedroom pop sound. The album, praised by The Guardian for its “gently warped and beguilingly melancholy guitar pop,” ****, immediately catapulted her from DIY beginnings to prestigious stages, supporting acts like Lord Huron at London’s Roundhouse and Men I Trust at Village Underground and subsequently continuing on their UK/EU tours. Later with standout performances at Latitude, Green Man, and All Points East. Her consistent radio support from key influencers including BBC Radio 6 Music, BBC Radio 1's Huw Stephens, and Steve Lamacq has solidified her presence on the airwaves.
Her second album, La Yarará (2020), saw Zavala delve deeper into her roots, exploring Latin traditions like Cumbia and Bolero. This exploration of identity continues powerfully on the new album, but with a newfound lyrical depth and sonic confidence. The new album, If This Life Could Start Again, is a raw and transformative eight-track journey that maps the emotional landscape of healing. Written after a period of personal upheaval, the album traverses themes of grief, hereditary trauma, and self-discovery. The record’s narrative is structured like a mountain ascent. A challenging climb through varied emotional terrain, posing the central question: “Will you join the journey?” Sonically, this journey mirrors the non-linear path to acceptance, evolving from acoustic folk and synth-pop to funk-infused rhythms and rock anthems.
As a formidable live performer, Zavala has built a robust touring profile across the UK and Europe. She will embark on an extensive tour in February and March 2026 to support the album, with dates spanning major cities from London and Glasgow to Berlin, Paris, and Barcelona.
With If This Life Could Start Again, Malena Zavala fully realizes her artistic vision as a self-taught producer to an autonomous artist commanding her career through Paraná Records whilst reflecting the vast landscapes of her heritage and affirming her place as a compelling and evolving voice in contemporary music.

Sabine McCalla creates her own version of multi-cultural American roots music. It's a sound that crosses borderlines, pulling everything from Brazilian samba to southern soul to British rock & roll into its orbit. On Don't Call Me Baby, Sabine filters those influences through the lens of her Haitian heritage and her music community of New Orleans, creating a debut album that's every bit as multi-faceted as the woman who wrote its songs.

The daughter of first-generation Haitian immigrants, Sabine was raised in the suburbs of New York City, where she grew up alongside her sister Leyla McCalla (Sons of Our Native Daughters, Carolina Chocolate Drops). Introduced to chamber music at an early age, Sabine began playing classical violin in orchestras, music camps, and conservatory classes as an 8 year old. Back at home, she filled her head with Motown classics, girl group hits, Bob Marley albums, Beatles standards, and Haitian folk music. It was a wide constellation of sound that spanned more than a half century, and Sabine made it all her own, drawn to the connections binding everything together.

Don't Call Me Baby shines a light on those connections. The follow-up to her critically-acclaimed Folk EP, whose pre-war sound earned her a slot at the Newport Folk Festival in 2019, the album transcends genre and generation, creating a raw, rich mix of country, R&B, folk, and soul that exists on its own timeline. Co-produced by Sam Doores of the Deslondes and featuring a cast of New Orleans’ most spirited and gifted (including guest vocals from Riley Downing, Leyla McCalla, and The Lostines), Sabine McCalla reaches beyond her beloved New Orleans Americana scene with Don't Call Me Baby, building a bridge between the world-spanning sounds that have captured her attention.

As the fifth chapter in the band's discography, " The Neonai" arrived at a critical juncture in Lake of Tears' career, marking both an end and a reluctant new beginning. Released in 2002, three years after the melancholic masterpiece Forever Autumn, the album came to life under less-than-ideal circumstances.

Despite the commercial and critical success of its predecessor (the band's best- selling album to date) Lake of Tears found themselves adrift, unsupported by their label at a time when the world expected them to rise higher than ever. Instead of world tours and deserved recognition, the band withdrew, disillusioned, and made the difficult decision to put all activities on hold. But one last obligation remained: to deliver a final album to Black Mark Productions. What could have been a soulless, contract- bound release turned out to be anything but. "The Neonai" pulses with haunting melodies, infectious refrains, and a deeper embrace of keyboards and electronic textures, without ever losing the emotional gravity and sorrowful beauty that define Lake of Tears.

If this album was truly written "in haste," then let us hope Daniel Brennare continues to compose under pressure, for rarely has urgency sounded so inspired. As with the previous vinyl releases, we do not single out any specific tracks. Each song, like every Lake of Tears album, carries its own unique charm, its own shade of shadow and light. "The Neonai" is not simply a continuation, it is a transformation, an echo from a band caught between endings and new beginnings. Another gem in the band's catalogue, a masterpiece where the doom/ gothic equation tilts gracefully in favor of the latter. A deeply cherished album, long adored by Lake of Tears' devoted followers, who have waited patiently for 23 years to finally see it released on vinyl. After all, every ending is but the beginning of something new. And as we've said before: The end for Lake of Tears has not yet come, and we truly hope it won't come for a long, long time.

As the fifth chapter in the band's discography, " The Neonai" arrived at a critical juncture in Lake of Tears' career, marking both an end and a reluctant new beginning. Released in 2002, three years after the melancholic masterpiece Forever Autumn, the album came to life under less-than-ideal circumstances.

Despite the commercial and critical success of its predecessor (the band's best- selling album to date) Lake of Tears found themselves adrift, unsupported by their label at a time when the world expected them to rise higher than ever. Instead of world tours and deserved recognition, the band withdrew, disillusioned, and made the difficult decision to put all activities on hold. But one last obligation remained: to deliver a final album to Black Mark Productions. What could have been a soulless, contract- bound release turned out to be anything but. "The Neonai" pulses with haunting melodies, infectious refrains, and a deeper embrace of keyboards and electronic textures, without ever losing the emotional gravity and sorrowful beauty that define Lake of Tears.

If this album was truly written "in haste," then let us hope Daniel Brennare continues to compose under pressure, for rarely has urgency sounded so inspired. As with the previous vinyl releases, we do not single out any specific tracks. Each song, like every Lake of Tears album, carries its own unique charm, its own shade of shadow and light. "The Neonai" is not simply a continuation, it is a transformation, an echo from a band caught between endings and new beginnings. Another gem in the band's catalogue, a masterpiece where the doom/ gothic equation tilts gracefully in favor of the latter. A deeply cherished album, long adored by Lake of Tears' devoted followers, who have waited patiently for 23 years to finally see it released on vinyl. After all, every ending is but the beginning of something new. And as we've said before: The end for Lake of Tears has not yet come, and we truly hope it won't come for a long, long time.

As the fifth chapter in the band's discography, " The Neonai" arrived at a critical juncture in Lake of Tears' career, marking both an end and a reluctant new beginning. Released in 2002, three years after the melancholic masterpiece Forever Autumn, the album came to life under less-than-ideal circumstances.

Despite the commercial and critical success of its predecessor (the band's best- selling album to date) Lake of Tears found themselves adrift, unsupported by their label at a time when the world expected them to rise higher than ever. Instead of world tours and deserved recognition, the band withdrew, disillusioned, and made the difficult decision to put all activities on hold. But one last obligation remained: to deliver a final album to Black Mark Productions. What could have been a soulless, contract- bound release turned out to be anything but. "The Neonai" pulses with haunting melodies, infectious refrains, and a deeper embrace of keyboards and electronic textures, without ever losing the emotional gravity and sorrowful beauty that define Lake of Tears.

If this album was truly written "in haste," then let us hope Daniel Brennare continues to compose under pressure, for rarely has urgency sounded so inspired. As with the previous vinyl releases, we do not single out any specific tracks. Each song, like every Lake of Tears album, carries its own unique charm, its own shade of shadow and light. "The Neonai" is not simply a continuation, it is a transformation, an echo from a band caught between endings and new beginnings. Another gem in the band's catalogue, a masterpiece where the doom/ gothic equation tilts gracefully in favor of the latter. A deeply cherished album, long adored by Lake of Tears' devoted followers, who have waited patiently for 23 years to finally see it released on vinyl. After all, every ending is but the beginning of something new. And as we've said before: The end for Lake of Tears has not yet come, and we truly hope it won't come for a long, long time.

As the fifth chapter in the band's discography, " The Neonai" arrived at a critical juncture in Lake of Tears' career, marking both an end and a reluctant new beginning. Released in 2002, three years after the melancholic masterpiece Forever Autumn, the album came to life under less-than-ideal circumstances.

Despite the commercial and critical success of its predecessor (the band's best- selling album to date) Lake of Tears found themselves adrift, unsupported by their label at a time when the world expected them to rise higher than ever. Instead of world tours and deserved recognition, the band withdrew, disillusioned, and made the difficult decision to put all activities on hold. But one last obligation remained: to deliver a final album to Black Mark Productions. What could have been a soulless, contract- bound release turned out to be anything but. "The Neonai" pulses with haunting melodies, infectious refrains, and a deeper embrace of keyboards and electronic textures, without ever losing the emotional gravity and sorrowful beauty that define Lake of Tears.

If this album was truly written "in haste," then let us hope Daniel Brennare continues to compose under pressure, for rarely has urgency sounded so inspired. As with the previous vinyl releases, we do not single out any specific tracks. Each song, like every Lake of Tears album, carries its own unique charm, its own shade of shadow and light. "The Neonai" is not simply a continuation, it is a transformation, an echo from a band caught between endings and new beginnings. Another gem in the band's catalogue, a masterpiece where the doom/ gothic equation tilts gracefully in favor of the latter. A deeply cherished album, long adored by Lake of Tears' devoted followers, who have waited patiently for 23 years to finally see it released on vinyl. After all, every ending is but the beginning of something new. And as we've said before: The end for Lake of Tears has not yet come, and we truly hope it won't come for a long, long time.

Bless the Maker: the Great Houses of Laced Records and Funcom have forged a temporary trade agreement to bring you the expansive soundtrack for ‘Dune: Awakening’ on vinyl.  The hit survival game has garnered critical praise for its incredibly faithful and detailed realisation of the Dune universe - from its sprawling vistas to deep lore and political intrigue. The music is integral in recreating the atmosphere of Arrakis, conjuring not only its striking landscapes but the human experience of life on the planet.  Recorded live at Air Studios in London with The Chamber Orchestra of London, Knut Avenstroup Haugen’s soundtrack conjures a planetary sense of scale.

Arcing strings shimmer and twist weightless in the air like heat rising from the desert floor, while resonant brass evokes dawn stretching out across the sands.  The luscious acoustic instrumentation is enhanced and elevated by rippling electronics, capturing Dune's singular blend of science fiction and spiritual tradition.  Soaring vocal performances from Clara Sorace, Eurielle and Emília Rovira Alegre centre this sense of the sacred, pushing the soundtrack to ecstatic emotional peaks.  Black heavyweight double vinyl.  24 tracks from the acclaimed 2025 survival game.  Widespined outer sleeve  Printed, spined inner sleeves.  Bespoke sleeve artwork by Funcom.

Junun is the debut collaborative album by composer Shye Ben Tzur, Radiohead guitarist Jonny Greenwood, and the Indian ensemble the Rajasthan Express. Originally released in November 2015, the album was recorded in a makeshift studio within the 15th-century Mehrangarh Fort in Jodhpur, India. Radiohead's longtime producer Nigel Godrich worked on the album, creating a 2LP/CD release. World Circuit is set to reissue Junun on 16th January 2026, marking the album's 10th anniversary. This special edition will be available as a 2LP Gatefold Yellow & Orange Marble vinyl and a CD digisleeve. The album features Ben Tzur's compositions, which incorporate devotional Sufi qawwal musicians singing in Urdu and Hebrew. Greenwood contributed guitar, bass, keyboards, ondes Martenot, and programming, aiming to use chords sparingly and instead focusing on North Indian ragas. The recording process sought to capture the ""roughness"" of Indian music, avoiding the high fidelity often found in world music recordings. The making of Junun was also documented by acclaimed filmmaker Paul Thomas Anderson, offering an intimate look at the creative process and vibrant daily life during the album’s production. His film, also titled Junun, debuted at the New York Film Festival in October 2015. Junun (an alternate spelling of ""junoon,"" meaning ""mania"" or ""the madness of love"") received widespread critical acclaim—including Album of the Year honors from The Sunday Times, who called it “one of the most inspired releases of the year” and “intriguing, sinuous, and essential listening”. The group also supported Radiohead's 2018 Moon Shaped Pool tour, performing under the name Junun.

Audio taken from a live performance by Anar Band (Jorge Lima Barreto and Rui Reininho) with E.M. de Melo e Castro in November of 1978 at Cooperativa Árvore, Porto. The performance was filmed. A segment was included in »Obrigatório Não Ver«, a weekly programme presented by Ana Hatherly on Public Television’s Second Channel. It was not possible to determine the exact date of the event, and no documentation seems to be available in the relevant archives.

»Encontro que Tenho« and »Profissões«: these titles are specific to this release. Having failed to locate the respective poems after a thorough search in E.M. de Melo e Castro’s body of work, it was deduced both texts were created for the occasion.

Even without a full contextualisation, the sound transmits the spirit of cultural agitation proper to these sessions. When this show happened, Anar Band were Jorge Lima Barreto (ARP Odyssey synthesizer) and Rui Reininho (Ibanez double-neck guitar), with the addition of E.M. de Melo e Castro, whom we shall call a poet but whose creative intervention was far reaching. Besides poetry, also continued his efforts in linking up diverse artistic areas (painting, drawing, collage, performance, video) and his official training in textile engineering. He was one of the artists featured in Henri Chopin's »OU Revue« in 1966, establishing his natural connection to the European concrete/visual/sound-poetry avant-garde. Melo e Castro was also proficient in the agitation of minds and political awareness. A good example in »Profissões«, where initially separate professionals (an intellectual, a fisherman, a soldier, a factory worker) are gradually mixed in a show of interdependency. Symbolically, through his words one listens to a transformation of society, although the same conclusion arises twice: surplus always finds its way to the hands of the capitalists.

That was the state of affairs many were looking to change, an economic and social malaise that the 1974 Revolution in Portugal fully uncovered, when dissident voices could finally be heard in public. Each in his own way, all three participants in this recording were non-believers in the structure of society such as it was presented. Through his books and press writings, mainly concerned with Jazz, Jorge Lima Barreto pushed his way into Portuguese artistic and critical circles since the late 1960s. Consciously and unwittingly, he collected enemies and pointed them by name, people he labelled as reactionary, people who delayed progress, social and cultural mixes, the avant-garde; they even delayed the chaos from which new forms and attitudes arise.

Rui Reininho, a non-conformist by heart, experienced incomprehension from an early age. His anarchic ways, a tendency to baffle others, were revealed through the choice of clothes and accessories, public behaviour, and »real life« performances. Just as Lima Barreto, and even together with him, he enjoyed provoking the extremes: Maoists on one side, right-wing conservatives on the other. He translated leftist books and joined Anar Band precisely on the day a duck or swan or goose (one of them) was thrown on stage in Porto, 1976.

This record documents a concrete action, a snapshot of the agitation, something we have no problem calling punk activism, something which allowed two people with little to no musical training to play and record music. By then, Anar Band had managed to release their only LP in 1977. It’s this performance, however, that reveals the naked rawness of the music: improvisation, mutual listening, and choice of intervention between both musicians and Melo e Castro, clearly sensing when the synth has to change tone, the voice has to make pauses, the guitar punctuates both and finds the space to… scream. The sound was captured by the film crew, adding to the rawness: the instruments are palpable, the voice often too close to the mic. Everything was preserved. First time on disc.

Childish Gambino is (and isn't) Donald Glover, a recording artist, writer, actor, director, producer and comic who was gifted his alias by an online Wu Tang-Clan name-generator. Originally hailing from Stone Mountain, Georgia - his Mum was a daycare provider and his Dad a postal worker, where TV was banned in the house - Glover first entered the spotlight as a member of sketch-troupe Derrick Comedy, via a stint working on The Daily Show and the invitation to join the '30 Rock' writing staff by Tina Fey before he'd even graduated from NYU. A succession of mini-albums and mixtapes surrounded all of this, parallel to acting roles ranging from The Muppets to NBC's cult hit comedy 'Community'. It was 2011's debut album 'Camp' - his first since signing to Glassnote Records - which marked a breakthrough for Childish Gambino, whose music explores everything from identity, race, and technology to hip-hop culture, class, and family. Follow-up 'because the internet' went top 10 on the Billboard chart, was nominated for 2 Grammy Awards and further assimilated Gambino's multiple disciplines (it was accompanied, for instance, by two films and a standalone 72-page screenplay). Around this time - and between roles in HBO's 'Girls' and movies like 'The Martian' - Glover also announced that he was working on his own TV show: a comedy-drama which he would star in, write and direct, 'Atlanta' premiered on FX this autumn to significant critical acclaim (it's already been described as "Twin Peaks with rappers"). The show was launched alongside the third Childish Gambino, 'Awaken, My Love!', this summer at 'Pharos', a series of secretive, audio-visual live performances which took place in a custom-designed dome in the middle of the desert in Joshua Tree. A second series of 'Atlanta' has already been commissioned, whilst Glover has recently been cast in the forthcoming Spider Man movie and has also been confirmed to play the iconic role of Lando Calrissian in the next Star Wars film (a Han Solo spin-off). His most vital artistic statement to date, Childish Gambino is expected to unveil further music from 'Awaken, My Love!' in the coming weeks. 

Soul Visions is an instrumental journey into the world of Deheb, who, after several years of continuous sound research, continues to draw inspiration from jazz, soul, funk, and progressive rock records, first discovered through his father and then through his fellow collectors and DJs, including his partner DJ Marrrtin from Funky Bijou.
The Breton artist is renowned in the beatmaking world for his collaborations in New York in the mid-2000s (Moka Only, Sean Price, Torae, Tye Phoenix, Apani B, etc.) and for his album “LEAF”, released in 2015 with Swiss producer Chief. He is best known for producing classic Funky Breaks in the global breakdance scene with Marrrtin under the name Funky Bijou, whose tracks have been played at the world's biggest breakdance events since 2011 (Battle Of The Year, Red Bull BC One, etc.). All their tracks have been listened to more than 30 million times on various platforms and social networks.
A prolific artist who draws much of his inspiration from funk and jazz, he is based in Nantes and has collaborated with groups from the French Neo Soul scene, such as J-Silk from Bordeaux, Jo Wedin from Sweden, and Keysuna from Nantes. Close to the dance scene, he has also collaborated with dancer and choreographer Mackenzy Bergile, which led him to join the CCNRB's choreographic project “Earthbound” by choreographers Saïdo Lehlouh and Johanna Faye in 2023.
Deheb has also been composing for documentary projects since his first collaboration with director Shyaka Kagamé in 2015 for “Bounty”. In 2024 and 2025, he worked on two critically acclaimed projects: “Boulevard du village noir”, produced by Radio Television Suisse, and “IMIHIGO, le pacte rwandais”.
This year, 2025, he brings us “Soul Visions”, a journey through the cinematic sound of the early 1970s to the soul funk and jazz funk of the late 1970s, a pivotal period in his own musical identity that contributed to the funk sound of his guitars and the texture of his synthesizers and electric pianos.
Soul Visions is first and foremost a tribute to the artists and composers, the geniuses of that era, such as the Mizell brothers in “Larry and Fonce”, the Bell brothers in “Ron and Don”, and giants of the genre such as Isaac Hayes, Yuji Ohno, Roy Ayers, and Clarence Reid. All these masters of the genre had their own distinctive sound and arrangements, which were easily recognizable and which are among Deheb's major inspirations.

Stormzone were formed in Northern Ireland in 2004 as a heavy metal band. In 2007 They released “Caught in the Act” on the Escape Music label, and it was met with critical acclaim. They have since released another 3 albums on different labels, all of which have firmly put them on the map. In more recent years the band have taken a heavier direction and attracting fans of the NWOBHM genre. Stormzone have played at many festivals including Sweden rock, Firefest and Wacken open air to name but a few, as well as playing many shows. They have also played as support to many big names, such as Saxon, Y & T, Stryper, Tesla and White Lion. They have always had a loyal following which continues to grow. Their debut “Caught in the Act” featured artwork by the Rodney Matthews art studio, who have worked with album covers by YES, Bob Catley, Magnum and many others. The distinctive style of art is a firm favourite with many, and it is with great pleasure that we announce that “Immortal Beloved” shall also enjoy such outstanding artwork. This latest Stormzone chapter boasts 13 tracks of classic heavy metal, and it will be a much anticipated release to start the new year..

Known for their exhilarating live-to-record albums such as last year's critically acclaimed Wood Blues and Giant Beauty, سماع Sama'a (Audition) is the first of two releases that will surface after أحمدAhmed’s first studio recording sessions at North London’s The Fish Factory in early 2025.

Since 2014, Ahmed أحمد have excavated and re-imagined the music of Ahmed Abdul-Malik, in an ever ongoing search for future music. Over a decade on, the group were given the opportunity to set up in the studio for the first time and, with the aid of meticulous engineer Benedic Lamdin, سماع Sama'a (Audition) is the quartet's most detailed work to date.

Fastidious fans may recognise the album's tracklisting as that of Ahmed Abdul-Malik’s Jazz Sahara. After his success collaborating with the pianists Thelonious Monk and Randy Weston, Jazz Sahara was the first record Abdul-Malik made as a leader and was released in 1958. It used the flame of late Fifties jazz to light the wick of North African folk music and acted as a reminder of the Arabic origins of jazz, creating a distinct, unique sound that was far beyond its time. In Malik’s Jazz Sahara, there is no piano. The ongoing work of each member of [Ahmed] then is to think differently, to wonder how the music will work and to take a risk on trying it out - an extraordinarily compelling feat of imagination. Using group improvisation strategies and recording in single takes, سماع [Sama'a] (Audition) tackled the full suite of Jazz Sahara in just one session, with ‘Ya Annas [Oh, People’] and ‘Isma'a [Listen’] being previously unrecorded. 'Farah 'Alaiyna’, also released on 2019’s Super Majnoon, sounds unrecognisable - the slow, heady stomp and repeated phrasing of 2019’s embryonic [Ahmed] having been blast furnaced and sped up four-fold. The result is four kaleidoscopic, relative miniatures that move, unfold and re-imagine at a very different scale and proportion than [Ahmed]’s previous records. It’s a dizzying, euphoric music and an extraordinary record of a group moving through space-time like no other.




[b] Isma'a [Listen]
[c] El Haris [Anxious]
[d] Farah 'Alaiyna [Joy Upon Us]


[b] b1 Isma'a [Listen]
[c] c1 El Haris [Anxious]
[d] d1 Farah 'Alaiyna [Joy Upon Us]


[b] b1 | Isma'a [Listen]
[c] c1 | El Haris [Anxious]
[d] d1 | Farah 'Alaiyna [Joy Upon Us]

London based experimental producer and composer "Leifur James" announces his return with news of a six date EU tour and the release ‘Wise Old Man’. The first single taken from his highly anticipated second album ‘Angel in Disguise’, which is due for release on the
24th April 2020 via "Night Time Stories" - Sister label to the coveted ‘LateNightTales’.

Driving, melancholic electronica, ‘Wise Old Man’ is a nod to what can be expected of James’ second album, Angel In Disguise, showcasing a more experimental side to his production. Traversing through musicality, progressive synths and introspection, this first single unveils the producer’s distinct sound with disorientated vocals; speaking of the interplay between reason and emotion, the lyrics repeat “Wise old man in my brain, soul bursting through my veins”, opening the gates to this captivating electronically steered opus.

This news comes after an incredible few years for the artist. In 2018 saw James release his esteemed debut album A Louder Silence on Night Time Stories and follow up remix EP that championed upcoming electronic talent including Bruce, FaltyDL and Whities producer, Coby Sey, on rework duties; projects which captured the attention of key tastemakers including Resident Advisor, Pitchfork, Mixmag, Electronic Sound and Future Music UK.

An aesthetically driven artist dedicated to marrying powerful visual backdrops with sonic explorations, James teamed up with Hungarian director, Balázs Simon; producing the critically acclaimed, ‘Wurlitzer’ project which saw widespread support from the likes of Boiler Room, CLASH, Directors’ Notes, Motionographer, the UK and Berlin Music Video Awards, the London Short Film Festival, Dublin International Film Festival and more.

Angel In Disguise promises to explore the themes of love and loss through a masterful blend of harmonic vocals from James himself, nuanced electronic soundscapes and vibrant percussion -
punctuated by bespoke visuals, directed by Balázs Simon.

This exciting project is expected to make waves and see James
step up, exhibiting his discerning ear and painstakingly honed production craft on aseminal label.

"I want nothing more than to be a loner," Emily Kempf sings early on Flower of Devotion, the new album by Chicago trio Dehd. It's a startling admission coming from a songwriter who, just a year ago on Dehd's critically acclaimed Water, wrote eloquently about the joys and pains _ more than anything, the necessity _ of love, compassion, and companionship. But then, "admission" isn't really the right word here, given the stridency of Kempf's tone. "Loner" is a declaration. The record ups the ante on Dehd's sound & filters in just enough polish to bring out the shining and melancholy undertones in Jason Balla and Emily Kempf's songwriting, even as it captures them at their most strident. Balla's guitar lines at times flirt with ticklish cosmic country, while at others they reflect the dark marble sounds of Broadcast. Kempf, meanwhile, establishes herself as a singer of incredible expressive range, pinching into a high lonesome wail, letting loose a chirping "ooh!," pushing her voice below its breaking point and letting it swing down there. When she and Balla bounce descending counter-melodies off one another over McGrady's one-two thumps, or skitter off over a programmed drum pad, they sound like The B-52s shaking off heartache. What makes Flower of Devotion so impressive is how its creation seems to have strengthened its creators, both as individuals and as a unit, even as they've stared down their own limitations. It's also striking just how much fun they seem to be having in the process. "It's okay to be lighthearted in the face of despair," Kempf says. It's a theme that runs through the album, from the opening back-and-forth build of "Desire" to the click-clacking chorus of "Haha," which finds them deflating their own history. Flower of Devotion was recorded in April and August of 2019 in Chicago. It will be released on Fire Talk Records on July 17th 2020.

Holiday resort entertainer Tooper Keps takes a break from entertaining the professional leisure class, and reflects their own world back at them with an EP of otherworldly synths and eerie carnivalesque chansons.

Tooper Keps has fired up his trusty Yamaha PSR-11 and PSS-360 to write his first (and probably last) EP, condensing his favourite chord changes from years of distracting the retired and affluent. The result is a collection of floating song structures that revolve like fairground waltzes, punctuated by modulated effects, cowbells and Tooper’s own bitter tenor. Tapping into his inner goblin, he tackles themes such as property (as theft), Drexler’s gray goo problem, and the ‘merits’ of complaining about a system while also benefiting from it - a typical parasite’s paradox.

“1000 Guest Rooms” finds itself on location in luxury homes, cruise ships and holiday resorts, soaked in Tooper’s own self-loathing while casting a critical eye over the state of the world. While we hurtle towards a future that no one wants, “1000 Guest Rooms” is perhaps the best soundtrack we could hope for.

The complete album - limited edition pressing on 180g crystal clear vinyl

Although both Ella Fitzgerald and Louis Armstrong had met and performed and recorded a number of singles together during 1940s for Decca, they wouldn't be heard on LP together until 1956 when producer Norman Granz paired the two for this first album session, Ella & Louis, which became an immediate hit. Two further sessions under Granz, followed, Ella & Louis Again, and Porgy & Bess. All three albumswere both critically acclaimed and commercial successes - appealing to audiences in and beyond the confines of jazz per se. Ella & Louis features the incredible Oscar Peterson Trio plus legendary drummer Buddy Rich. As one of the most iconic and fascinating jazz albums ever produced, its appeal and commercial sales haven't waned during the sixty-nine years since its first release. "Ella & Louis is one of the very, very few albums to have been issued in this era of the LP flood that is sure to endure for decades." - ***** Nat Hentoff, DownBeat

A Larum, the debut album by singer and actor Johnny Flynn, was recorded in Seattle and is one of those rare albums that immediately creates its own world - Originally released on Vertigo Records in May 2008, this re-issue faithfully replicates the original 2LP release's pop up gatefold sleeve and is pressed on 180g vinyl Backed by his band The Sussex Wit, the album's songs were likened to the work of Fairport Convention and Bert Jansch by Rolling Stone.

Flynn has been described as "a musical prodigy turned Shakespearean actor, with the soul of a poet," and his songs offer a sweet gentility in an increasingly loud time. Close mic'ed and intimate, Flynn cast his eye over romance, religion and celebrity. A Larum became something of a beacon for the burgeoning folk scene at the time, with fellow travellers such as Mumford & Sons, Laura Marling and Noah and the Whale. Since A Larum, Flynn has carved out a singular path as both a critically acclaimed musician and award- winning actor. He has released a string of celebrated albums including Been Listening, Country Mile, and Sillion, continually evolving his sound while maintaining his signature storytelling. As an actor, he's earned accolades for roles on stage and screen, notably portraying David Bowie in Stardust and starring in films like Emma (2020) and Netflix's The Dig. He also composed and performed the beloved theme song for the BAFTA-winning series Detectorists, where his evocative music became inseparable from the show's gentle, melancholic charm. ...

Long regarded as singular architects within European post-rock, EF have built a catalogue defined by dynamic patience, melodic clarity, and widescreen emotional reach. Across two decades of touring, the Gothenburg ensemble have carried that language to clubs and theatres at home and abroad, earning a reputation for meticulous, high-impact live shows and a body of work that has steadily gathered critical regard and a devoted international following. Reimagined and with expanded production including strings and brass, this edition is a considered re-engagement with the material that first crystallised EF's voice. The band returns to thesesongs with the benefit of twenty years' craft, presenting new arrangements that stretch time and deepen narrative, while retaining the quiet-to-catharsis arc that has always set their music apart. "Since it's our precious first born we wanted to give it the love it surely deserves. We felt we didn't want to celebrate its big 20th birthday by just remastering it and we surely didn't want to make the songs too modern and unrecognisable for the old fans. We wanted to give it a tighter, more dramatic and bombastic make over_ a gentle touch of today's EF." (Niklas Åström) Originally released in 2006, `Give Me Beauty_ or Give Me Death!' introduced EF's signature blend of cinematic guitars, patient dynamics and aching melody. For this new edition, along with an incredible cover illustration by Phillip Janta and brand-new bonus track `Noll', the band returned to the material with fresh ears and clear intentions: to open more space in the arrangements and to enrich the melodic lines with orchestral colour. `Give Me Beauty_ or Give Me Death!' (20th-Anniversary Edition) is a document of growth rendered with care: more instrumentation, more time, more consequence. The album is an act of stewardship_ both a homage and a forward-looking manifesto for EF and for discerning listeners everywhere. FOR FANS OF Explosions in the Sky, Mogwai, Caspian, Gospeed You! Black Emperor, Yndi Halda, Mono Black or White Double Vinyl, Digisleeve Single CD. Includes bonustrack Noll.

Long regarded as singular architects within European post-rock, EF have built a catalogue defined by dynamic patience, melodic clarity, and widescreen emotional reach. Across two decades of touring, the Gothenburg ensemble have carried that language to clubs and theatres at home and abroad, earning a reputation for meticulous, high-impact live shows and a body of work that has steadily gathered critical regard and a devoted international following. Reimagined and with expanded production including strings and brass, this edition is a considered re-engagement with the material that first crystallised EF's voice. The band returns to these songs with the benefit of twenty years' craft, presenting new arrangements that stretch time and deepen narrative, while retaining the quiet-to-catharsis arc that has always set their music apart. "Since it's our precious first born we wanted to give it the love it surely deserves. We felt we didn't want to celebrate its big 20th birthday by just remastering it and we surely didn't want to make the songs too modern and unrecognisable for the old fans. We wanted to give it a tighter, more dramatic and bombastic make over_ a gentle touch of today's EF." (Niklas Åström) Originally released in 2006, `Give Me Beauty_ or Give Me Death!' introduced EF's signature blend of cinematic guitars, patient dynamics and aching melody. For this new edition, along with an incredible cover illustration by Phillip Janta and brand-new bonus track `Noll', the band returned to the material with fresh ears and clear intentions: to open more space in the arrangements and to enrich the melodic lines with orchestral colour. `Give Me Beauty_ or Give Me Death!' (20th-Anniversary Edition) is a document of growth rendered with care: more instrumentation, more time, more consequence. The album is an act of stewardship_ both a homage and a forward-looking manifesto for EF and for discerning listeners everywhere. FOR FANS OF Explosions in the Sky, Mogwai, Caspian, Gospeed You! Black Emperor, Yndi Halda, Mono Black or White Double Vinyl, Digisleeve Single CD. Includes bonustrack Noll.