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Early Japan TechNoise at its best, recorded in 1984.
For fans of early Esplendor Geometrico and alike.

The clear vinyl version is only available in the limited 99 copies boxset "artefAKTs from the Early Japanese Experimental Noise Music Scene

Chicago was a hotbed for talent in the 1970s (well, it always has been and always will be, to be honest) and one of the groups to emerge at that time was Heaven & Earth, a vital soul vocal collective. They released four high-quality albums and this one, 'I Can't Seem To Forget You', was the first on Clarence Johnson's G.E.C. Label. It is packed with super sweet vocals and Dwight Dukes' lush falsetto and has never before been reissued. This version from the good folks at P-VINE has an extra bonus cut 'Promises,' which has previously only been available as a single from 1975.

Death Is Not The End present the first volume in a survey of a form of Brazilian country music known as música caipira ("hillbilly music") - a stripped-back forerunner to música sertaneja, the Brazilian equivalent to US country & western which in it's contemporary form has come to dominate the domestic music industry in recent decades. This collection covers some of the earliest recordings made by the pioneering folklorist Cornélio Pires at the end of the 1920s, through to records from the 30s, 40s & 50s and the beginning of the 60s.

Somewhat rooted in Portuguese troubadour folk traditions, música caipira is typically performed by a duo singing in parallel thirds and sixths, drawing upon a Portuguese-Brazilian style known as moda de viola - with the viola being the viola caipira, a Brazilian-style ten-string guitar that is the core instrument of the music. Born out of the "outback"-style region in north-eastern Brazil, these songs tell stories of pain, love, loss & betrayal - often backed by homemade guitars using invented tunings. Away from the polished pop country & western-stylings of the sertaneja, these recordings could be viewed as the Brazilian equivalent to the roots music of the American dustbowl or Appalachia.

Live at Café Oto is a journey into Ainu music as ancient vocal chants move into intense mouth-harp acapellas as meditative solo tonkori pieces morph into psychedelic dub-heavy work-outs.

The album follows the critical acclaim for Tonkori in the Moonlight,Mais Um's 2022 compilation of OKI's early work that was chosen as one of the best folk albums of 2022 by The Guardian.

Live at Café Oto features mostly unheard repertoire from OKI and family, recorded in Mais Um's favourite venue in London on a sold out night as part of a captivating European tour - when we heard the recording we knew we had to release it.

Sun Ra is better known to most as a musician than a poet, but he identified equally as both. My Words Are Music provides direct access to the sentiments of a poet who never called Earth home. The spoken word album hosts an inspired array of artists who personally chose their favorite Sun Ra poems to recite. Freed from the page, his poetry acquires an unexpected simplicity and poignance it possessed all along.

This all-star and intergenerational lineup of artists conjure wisdom from his words: spoken word elder Abiodun Oweyole of The Last Poets; rapper, and singer-songwriter Saul Williams; jazz experimentalist Melanie Charles; British-Trinidadian poet, novelist and musician Anthony Joseph; poet Mahogany L. Browne; poet, playwright, and conceptual artist Carl Hancock Rux; musician/digital composer L’Rain; singer, actor, and director Tunde Adibempe of TV on the Radio singer; British DJ and BBC radio host Zakia Sewell; ballistic hip-hop poet Jive Poetic; and longtime members of the Sun Ra Arkestra, Marshall Allen, Knoel Scott, and Tara Middleton.

Punctuated by impish electronic interludes composed and played by Marshall Allen, these voices bless Sun Ra’s poetry with new life My Words Are Music offers the opportunity to follow Sun Ra into a
better future. “Prepare for the journey,” he writes in his poem “The Cosmic Age”, “You have a rendezvous / With the living wisdom.” My Words Are Music is a project developed in conjunction with Living Sky, the all-instrumental Sun Ra Arkestra album released on Omni Sound in 2022

Morikawa Seiichirou, vocals, bass
Yamagiwa Hideki, electric & classical guitar
Takahashi Ikuro, drums & percussion

je prie pour que la goutte ne tombe pas
(I pray that the drop does not fall) is the first international release by Japanese trio Chi To Shizuku. While they have released five albums and a 7” in Japan, their spectral, haunted rock songs haven’t yet reached a much wider audience overseas. With this album, then, a live recording taken at Koenji HIGH, Suginami, Tokyo on 23rd November 2021, the unique, quartz-like character of Chi To Shizuku’s music is writ large, the bleak bliss of their songs carved onto twelve-inch vinyl.
Perhaps the best-known member of Chi To Shizuku, at least for audiences with an ear turned to Japanese psychedelia, is drummer Takahashi Ikuro, known for his membership of almost every group worth a damn from that scene – Fushitsusha, Nagisa Ni Te, Ché-SHIZU, Kousokuya, High Rise, Maher Shalal Hash Baz, LSD March, the list goes on. But the core of Chi To Shizuku’s music is the collaboration between vocalist, bassist and lyricist Morikawa Seiichirou, and guitarist and arranger Yamagiwa Hideki. Morikawa is a member of long-running punk/goth group Z.O.A., and has also played with YBO , Zzzoo, and as collaborator with Takeshi and Atsuo of Boris in A/N; he’s also recently been performing with Mitsuru Tabata. Yamagiwa’s history takes in stints with Katsurei and Cock C’ Nell, and he also recently guested with la scene 裸身.

All this contextual information does relatively little, though, to prepare you for the unique vibration of Chi To Shizuku’s lustrous songs. They shimmer in the same half-light, perhaps, as Shizuka and the quieter moments of LSD March, sharing a similar poise and classicism, and there’s a tenderness and wracked poetry to Morikawa’s voice that reminds of the emotional intensities both of traditional Japanese folk, and of British folk music: on “Musuu No Nemuri No Naka De Kumo Wo Tukamu”, the combination of his singing, backed with gorgeously plangent guitar, reminds of no-one so much as it does The Pentangle or Spriguns Of Tolgus. Chi To Shizuku’s love for the ballad as form gifts their music an archaic, sometimes arcane resonance, and from what you can hear on this album, it’s clear they’re in love with graceful melancholy.

But this is not a folk album, by any means; it just shivers with the same eternal spirit. There are also hints of prog rock, and you can catch some passages of scratchy, distended free rock, on the extended spirit invocation of “Nanhito Hanhito”. je prie pour que la goutte ne tombe pas is an extraordinary album, a melancholy surprise, that reminds dedicated listeners of the seemingly bottomless well of great music to be found via the Japanese underground in its many forms. Perhaps Michel Henritzi says it best, though, in his liner notes, when he writes, “Chi To Shizuku’s music reminds us that our life is a dream that lasts only a season, and that oblivion will follow.”

Recorded at Koenji High Suginami, Tokyo, 23 November 2021
Mix & Mastering: Taku Unami, photography : Noriko Akiyama
Liner notes by Jon Dale Printed by Alan Sherry

In the ever-evolving landscape of the underground music scene, few bands have made an impact quite like Selofan, an immensely talented duo of Joanna Pavlidou and Dimitris Pavlidis, has carved a niche for themselves within the international pantheon of darkwave, post-punk, and '80s synthpop, blending these influences to create a sound uniquely their own. Their journey, marked by a commitment to artistic integrity and evolution, has taken them from the cozy confines of local venues to the grand stages of international festivals, earning them a dedicated following and critical acclaim along the way. Their sixth album, Partners in Hell, released in October 2020, navigated the band through unprecedented times, testing their adaptability and resilience. Despite the hurdles to performing live and the global pandemic's challenges, Selofan emerged stronger, embarking on international tours with a newfound appreciation and connection with their global audience, during this period of introspection and isolation, Joanna Pavlidou embarked on a new venture, GIOVANNA, released under Selofan’s house label, Fabrika Records. GIOVANNA, which places Pavlidou at the helm of vocal and lyrical composition, represents a full on foray into synth-pop. showcasing a different facet of her artistic identity, with lyrics entirely in Greek. In 2023, Selofan hit the circuit hard, lighting up revered festivals with their presence. They stood shoulder to shoulder with heavy hitters like Molchat Doma and Lebanon Hanover at Grey Scale and performed with with the likes of The Sisters of Mercy, VNV Nation, and She Past Away at the Death Disco fest in their hometown of Athens. With each album they have released Selofan made significant strides in their evolution, deepening their engagement with their art. And their forthcoming seventh full length studio release, Animal Mentality, is poised to be their most compelling work yet. Animal Mentality unfolds as a labyrinthine journey through the elemental aspects of human emotion and experience, set against the backdrop of Selofan's signature darkwave sound. Each track on the album delves into different facets of the human condition, from the depths of desire to the pangs of isolation, encapsulating the duo's profound understanding of the intricate spectrum of human emotion and subjective experiences. The album kicks off with "Sticky Fingers," a track that melds cinematic scope with a haunting storyline, reminiscent of Jean-Michel Jarre's icy synths and a lyrical nod to Joy Division. This opening salvo revisits the tragic allure of classic car accident songs, weaving a tale of joy turned to sorrow amidst the snowy Alps. "Love's Secret Game" delves into the depths of forbidden desire, with vocals that echo the melancholy timbre of Xmal Deutschland, Lebanon Hanover, and Nico. It's a tale of passion and ephemeral connection, promising an enduring presence despite the inevitable fracture of time and distance. In "Lucille," sung by Dimitris Pavlidis, the plot is ensnared in the machinations of a tempestuous affair, with gothic undertones evoking the dramatic soundscapes of Ultravox and Clan of Xymox. The lyrics are steeped in danger and desire - a dance with the shadows. "Sacrifice Me" plunges into the abyss of despair, driven by a Bauhaus-esque bassline. It's a plea for release from the chains of alienation, a yearning for a final gesture of solace in the face of overwhelming darkness. "Bluebirds" offers a poignant reflection on solitude, with the fleeting imagery of bluebirds symbolizing the elusive quest for happiness. The song serves as a meditation on the internal struggle to maintain hope in a world shaded by sorrow. The narrative shifts with "Glassplitter," where German lyrics paint a portrait of deceptive allure and toxic entanglement. We are confronted with irresistible danger, masked by a veneer of beauty. "Ignoranz" continues the exploration in German, pondering the universality of misunderstanding. It's a reflection on the subjective nature of truth and the shared human experience of ignorance. "Behind My Eyelids" closes the odyssey, a contemplation on melancholy and metamorphosis. The phoenix rises from the ashes of betrayal to the brighter realm of renewal - a beautiful homage to the resilience of the human spirit amidst the often harrowing cycles of life. More than just an album, Animal Mentality is a milestone in Selofan's career, marking a decade of musical innovation and growth. It's a testament to their enduring spirit and a bold step into new realms of artistic expression. As Selofan continues to evolve, they remain at the forefront of their genre, pushing boundaries and exploring the depths of the human psyche through their haunting melodies and poignant lyrics.

Brilliant Experimental album by the Merzbow co-founder, recorded in 1989 - with sticker and insert

The clear vinyl version is only available in the limited 99 copies boxset "artefAKTs from the Early Japanese Experimental Noise Music Scene

One of the most rare and classic Experimental Japanoise albums, recorded in 1981

The clear vinyl version is only available in the limited 99 copies boxset “artefAKTs from the Early Japanese Experimental Noise Music Scene”

Forest Swords' debut album 'Engravings' is back in print on vinyl and CD for the first time in years, newly remastered by Rashad Becker with previously unheard bonus tracks exclusive to this edition.

Created by electronic producer and composer Matthew Barnes, and originally released via Tri Angle Records, 'Engravings' received instant acclaim from the likes of Resident Advisor, Pitchfork, The Guardian and saw Barnes take his hypnotic live show across festivals like Sonar, Glastonbury, Unsound and Le Guess Who.

While much of British electronica is defined by its inner cities, 'Engravings' was recorded in Barnes' hometown on the banks of an ancient river in Merseyside, the album's earthy, organic soundscape reflected the landscape and climate: all silt and sandstone, woodlands and wind, with the ghosts of Liverpool's pop music and clubbing history echoing in the near distance.

The album was a prototype for a sonic vocabulary Barnes has expanded on over the next few years: in critically acclaimed studio albums ('Compassion' and 'Bolted' via Ninja Tune), collaborations with Massive Attack and Neneh Cherry, remixes for the likes of Bjork, as well as commissions for video games, ballet and film scores - of which he has carved a career as an in-demand composer and sound designer.

'Engravings' is a snapshot of an artist confidently defining their own language: a piece of work that distills influences like dub, ambient, rave, post-rock and psychedelia into an ancient-futurist musical vision that feels timeless and vital.

The Bronx rapper Tim Dog released his 1991 debut Penicillin on Wax to a hostile audience. Ever a king of controversy, he made a million enemies with his provocative single "Fuck Compton," a shameless attention ploy dissing N.W.A., DJ Quik, and America's entire Pacific Coast. Penicillin on Wax contains more of the same, as Tim trashes everybody from Kwame to Michel'le to Eddie Murphy. The lyrical insults were arguably the opening salvo in what would later become the East Coast versus West Coast hip hop conflict.

There's no doubt that Penicillin On Wax remains one of the true hardcore hip hop classics and one of many landmarks in sounds from the Bronx. Produced by probably the best hip hop producers of the early 90s, the Ultramagnetic MC's, this album contains some of the most energetic tracks you'll ever hear. Guest appearances on the mic from Kool Keith and Ced-Gee also enhance the LP.

Penicillin On Wax is available on black vinyl and includes an insert.

Do Da Doo' Returns with New Life on Definitive Recordings
SPECIAL VINYL ONLY RELEASE

Definitive Recordings revisits one of its most iconic releases with a fresh reissue of Robotman feat. Marshall Jefferson - 'Do Da Doo', originally released in 1992. A cornerstone of the label's early catalogue, the track returns with newly re-recorded vocals by house legend Marshall Jefferson, bringing renewed energy to a timeless classic.

Robotman, a moniker of Richie Hawtin (aka Plastikman), represents an essential chapter in the evolution of house and techno. As one of the most influential figures in electronic music, Hawtin helped shape the sound of acid and minimal techno while co-founding the legendary Plus 8 label alongside John Acquaviva. His forward-thinking productions and groundbreaking DJ sets have defined generations of dance music culture.

On this release, the original Plastikman Acid House Mix stands as a true highlight. Spanning 12 minutes, it delivers a deep and hypnotic acid journey driven by classic TR-909 drums and a signature TB-303 bassline. The instantly recognizable vocal 'Got the Do Da Doo' sits prominently within the groove, creating a powerful and timeless club moment that defined an era.

On the flipside, Detroit's DJ Minx brings a fresh perspective with a groove-heavy house interpretation. Known as the 'First Lady of Wax' and a key figure in Detroit's scene, Minx reshapes the vocal into a rhythmic element, layering it into a shuffling and classic house framework. Her version adds warmth and swing while staying rooted in the track's original spirit.

With this reissue, Definitive Recordings celebrates a landmark release that continues to resonate across generations, combining legendary artists, timeless production, and the enduring energy of house music.

Following earlier appearances on Time Horizon IV and a remix for Pushlock's "Journey at the end of the Brain", Low End Activist returns to further cement his link with XCPT — this time with a full-length that extends into a shared message.
It’s a record that deals in pressure and placement where the rhythms carry weight without dominating, allowing tones to dissolve at the edges. Space isn’t decorative here, it’s structural — carrying as much intent as the low-end itself.
A respectful and meticulous approach emerges in the spectral handling of samples — spooked, finely cut, and quietly rooted in a jazz-derived sphere.
The album stays locked into its own logic of reduction, control, and tension. What emerges is a fluid listening experience less about peaks, more about persistence, 8 Tracks spanning the various palette of bass music through the art of good sampling; both for the floor but also for intimate momentum of introspection. A Journey into the sound merging the new with the old school.

Two of the most prolific remixers in the world of Disco,Dave 'Love' Lee and John Moraleshave teamed up for one of their biggest projects to date - 'Mixed To The Maxxx'. After gaining access from the legendary original artists, the pair take the multi-track tapes of many classic Disco, Funk & Soul tracks and re-work them...to the Maxxx!

Where Remixed With Love stands as Dave Lee's own gold-standard body of work, Mixed To The Maxxx sets that legacy alongside Morales' own decades-deep M+M body of work: Lee brings his musically dense, groove-first touch to the likes of Harold Melvin, Syreeta, Lenny Williams and The Brand New Heavies, while Morales applies his extended, dancefloor-built M+M treatment and crushes the likes of Barry White, The Temptations and Loleatta Holloway, plus Dennis Coffey's breakbeat classic "Scorpio" for the DJs and collectors alike. Both work from original tapes, surfacing parts barely audible or entirely unheard in the source mixes, and both know when to let a classic breathe rather than bury it under modern production. It's a pairing a long time in the making. Lee and Morales first talked about working together around a decade ago, and getting Mixed To The Maxxx off the ground took five years of patient work: tracking down usable stems, securing approvals, and navigating a licensing landscape where much of the best material is now tied up with major labels increasingly cautious about clearing remixes. What's landed here is the product of that graft as much as the pair's shared ear for a great record, the sound of two people who know exactly what they're looking for and are willing to put in the time to find it.

A double 12" sampler in summer 2025 previewed the record's range. A bass-driven overhaul ofThe Brothers Johnson's "The Real Thing" and an extended mix of Philly legends Bell & James' "Livin' It Up (Friday Night)" showcased Lee's side, while an anthemic take on Inner Life's "Ain't No Mountain High Enough" and a tempo-lifted Light Of The World"London Town" flew the flag for Morales. Both drew strong early support ahead of the full LP.

Houston’s premier street griot is stepping into his most profound chapter yet with his highly anticipated upcoming album, O.Y.N. Throughout a decorated career that spans over 1.2 billion global streams and a fiercely loyal fanbase, Maxo Kream—born Emekwane Ogugua Biosah, Jr.—has established himself as one of rap’s most authentic, uncompromising storytellers. From the raw trenches of Alief to the critically acclaimed triumphs of Punken, Brandon Banks, Weight of the World, and his triumphant 2024 independent pivot Personification, Maxo has long been celebrated by Pitchfork, NPR, and Complex for his cinematic, hyper-detailed world-building. Now, O.Y.N. finds the Houston icon turning his gaze inward, pairing his signature Texas grit with an expansive, global perspective that redefines his artistic boundaries.

If his previous work was about Maxo taking full creative control as an independent force, O.Y.N. is about him uncovering who he is at his core. Following the passing of his father, Maxo found himself searching deeper for his family origins, leading to a pivotal moment of artistic and personal rebirth. For the first time in his life, Maxo traveled to Lagos, Nigeria, anchoring his new music in a profound celebration of his Nigerian heritage. The emotional centerpiece of this journey is the JPEGMAFIA-produced single “Time Out,” an introspective track that moves away from the frantic energy of his past releases to offer a stripped-back look at love, loss, and legacy. Featuring a heavy, resonant drum presence on the outro, the song’s accompanying music video was filmed on location in Lagos, capturing Maxo navigating his ancestral roots in real-time.

While O.Y.N. reaches new emotional depths, it doesn't sacrifice the hard-hitting, volatile street persona that made Maxo a star. The album expertly balances soul-baring vulnerability with cutting-edge hip-hop experimentation, showcasing elite chemistry with some of the genre's most forward-thinking visionaries. Look no further than “Fake Jeezy,” a collaborative explosion featuring Denzel Curry and masterminded by JPEGMAFIA. The track is a masterclass in industrial chaos, combining sharp lyricism and early-2000s trap imagery with cold, surreal visual aesthetics. This duality highlights Maxo's unique positioning in the culture as a trusted street general who can effortlessly trade bars with rap's avant-garde elite.

From his early days flipping Kendrick Lamar's “Rigamortis” to sharing marquee tracks with the likes of A$AP Rocky, Travis Scott, and Tyler, The Creator on hits like “Big Persona,” “Cracc Era,” and “Cracc At 15,” Maxo Kream has always been a rapper's rapper. O.Y.N. represents the ultimate synthesis of this incredible journey. It is an album born from the soil of Alief but elevated by the spirit of Lagos—a raw, beautiful, and heavy-hitting testament to an artist who has survived his past, honored his losses, and fully embraced his destiny.

There was an immediate buzz surrounding This Is What I Know About Being Gigantic, the 2001 debut EP by Seattle indie phenomenon Minus the Bear. It wasn’t the kind of viral interest that translated into a string of sold-out tour dates, but it meant that the tuned-in crowd eagerly anticipated their next move. To help stir up the excitement for their first proper full-length, the band followed up Gigantic with a promo CD featuring two tracks from their upcoming album, a short instrumental interlude, an exclusive new song, and a demo version of another album track. Packaged in a cardboard slipcase, it was the kind of cheaply manufactured promotional item that could be handed out for free at shows or thrown in as a bonus in online orders—a relic of the final years of the CD age before the advent of the iPod and mp3. The sampler CD was christened Bands Like It When You Yell “YAR!” At Them in a nod to the upcoming album Highly Refined Pirates.

While these kinds of promotional items typically had an ephemeral existence, filed away in some neglected binder of CDs or tossed out during one of the many apartment-to-apartment moves of the band’s principal demographic of urban twentysomethings, Bands Like It When You Yell “YAR!” At Them had a curiously persistent presence. Perhaps it was because it was packaged more like a proper EP than a sampler. It certainly helped that it was a free release, meaning anyone who came to a show likely walked away from the evening with the cardboard slipcase tucked in their jacket pocket. It’s also noteworthy that the EP showcased three songs from the back half of Highly Refined Pirates rather than the album’s live staples and fan favorites from side A. Whatever the combination of factors at play, “YAR!” took on a life of its own and was ultimately re-packaged in a jewel case and sold as a proper EP in 2004 in the wake of Highly Refined Pirates’ success. And now in 2026, it’s getting its first proper release on vinyl.

Opening with the driving beat, chirping guitars, and funky low-end of “Spritz!!! Spritz!!!,” Bands Like It When You Yell “YAR!” At Them quickly cements Minus the Bear’s foundation of sophisticated revelry, a spirit further emphasized in the Highly Refined Pirates title choice. Part of the Bear’s lore involves them playing their first show three days after 9/11, and just as New York City’s indie rock scene took a sharp turn towards nightclub debauchery and a rejection of ‘90s rock’s dour fatalism in the wake of the World Trade Center tragedy, so did the Bear turn away from the Seattle’s scene’s penchant for gloom and angst towards a cerebral after-hours pop sound. The inclusion of “Women We Haven’t Met Yet” helped elevate what could have otherwise been seen as an album deep cut into a lead track. The fact that these first two songs essentially served as preview singles over future Pirates hits like “Monkey!!!Knife!!!Fight!!!” and “Absinthe Party At The Fly Honey Warehouse” speaks to the high quality of every song the band cranked out in their early years. The EP’s exclusive track “Drop It Like It’s Hot” presaged Snoop Dogg’s mega-hit single of the same name by two years, but whereas Snoop leaned into restrained minimalism, the Bear unleashes some of their fiercest work here, building off of interwoven riffs and electronic layers to a climax of stabbing guitars and hollered vocals. Much like Nirvana’s Hormoaning EP, Minus the Bear’s Bands Like It When You Yell “YAR!” At Them was initially more of a marketing gimmick than a proper release, but given the popularity of the pivotal studio albums that stemmed from the same recording sessions, these extended plays serve as compelling companion pieces that have earned a special spot in their respective fanbases’ hearts. Suicide Squeeze is proud to offer Bands Like It When You Yell “YAR!” At Them on vinyl on September 18, 2026, nearly 25 years after the band’s first show.

Remastered for vinyl by Bernie Grundman with lacquers cut at 45rpm, this limited edition pressing of 1000 copies on Puget Sound-colored vinyl helps document and preserve the exciting early years of one of American indie rock’s most beloved acts.

Jake Xerxes Fussell has established himself as a devoted listener and contemplative interpreter of folk songs, drawing from a deep personal reservoir of favorites. The Old Beloved Path, Fussell's sixth album, is raw and intimate, stripping away outside noise and settling into a hypnotic rhythm. Tradition and memory intertwine throughout. Fussell will support the album with headline dates across the United States, the UK, and Europe, plus festival appearances throughout the year.

Originally released in 1971, "Satori" is Flower Travellin' Band's groundbreaking masterpiece and one of the most visionary albums of the early heavy rock era. It fused hard rock, psychedelia, progressive music and Traditional Eastern influences into a sound unlike anything heard before. Originally released in 1971, "Satori" is Flower Travellin' Band's groundbreaking masterpiece and one of the most visionary albums of the early heavy rock era. It fused hard rock, psychedelia, progressive music and traditional Eastern influences into a sound unlike anything heard before. Unlike many rock albums of the era, "Satori" is structured as a continuous musical journey, with its five tracks presented as interconnected movements rather than conventional songs. The band's powerful rhythm section, extended guitar passages, and the commanding vocals of Joe Yamanaka create an atmosphere that feels both intense and hypnotic. Recorded during a period when Japanese rock was developing its own identity, "Satori" drew inspiration from Western hard rock and psychedelia while incorporating a unique sense of space, improvisation, and spiritual exploration. Over the decades, the album has gained international recognition among collectors, musicians, and fans of vintage heavy rock, often cited as an overlooked classic that anticipated elements of later hard rock, stoner rock, and heavy metal. Created for an international audience and revered by generations of musicians and collectors, more than fifty years after its release, "Satori" remains as one of the most influential and forward-thinking records in Japanese rock history. LP includes insert.

Could it be that the world is finally ready for the tempestuous folk-rock opera that is "All the Leaves are Gone?" In 2004, only the truly informed and forward-thinking heads "got" this mini masterpiece. Critics scratched their heads and usually resorted to comparisons of past artists, like ol Grace Slick and her Great Jefferson Society, Fairport Convention (but which era? SURELY Judy Dyble's early reign?), and at best, Shirley Collins. A few fans attempted to connect the record to even more obscure "freak folk/rock" like Mellow Candle, Fear Itself, or Trees. "All the Leaves are Gone" was made by unique personalities not concerned with influences or copying any bygone era. Surely, some things are in our DNA or even early childhood, as Josephine Foster's roots in opera manifest themselves as much as any other influence in this organic song cycle. Sure, guitarist Brian Goodman may have heard Richard Thompson before, but his alchemical and molten guitar spray is purely his own, in tunings and intervals still not meant for normal humans to understand, mostly because his 2004 guts were poured into every sublime note (I think even Brian himself never even understood how good he was). That fiery emotion is also in every nuance of Foster's songs--like life, there's disquieting, jagged moments of unease, and there's calm both before and after the storm. There are moments of utter gentleness along the journey---because yes, every concept album should be a voyage, and this is one everyone should take. - Steve Krakow.

After nearly two years, Okonski returns with Entrance Music — an album that finds the trio at the height of their improvisational prowess and celebrating the spontaneous and meditative. On the heels of 2023’s debut Magnolia, pianist and leader Steve Okonski has reconvened long-time musical collaborators (Durand Jones and the Indications bandmate Aaron Frazer on drums and bassist Michael Isvara “Ish” Montgomery) for another session in the spirit of artists like the Bad Plus, Gerald Clayton, and The Breathing Effect. Ultimately Entrance Music serves as an invitation to early hours, where songs linger in the doorway, announcing their presence before returning to the air, in a meticulous drift into the next.
Recorded over a five day session, Entrance Music was one of the first albums committed to tape at Portage Lounge, Terry Cole’s studio in Loveland, OH. “It was a new setup, but with Terry behind the dials it was very familiar,” says Okonski. “I can’t emphasize enough how much Terry feels like a fourth member of the band because of the space he’s curating, the energy he is bringing, and the production ideas.” The energy and sound created with the Colemine labelhead at the helm makes for a listening experience equally at home with ECM or Stones Throw catalogs.
From the rippling notes of the pastoral opener, “October,” Entrance Music is lush with anticipation, both band and listener feeling the tension in the tranquility — where the interplay of jazz improvisation and boom bap beats never shortchanges the musicianship but the talent is ever in service of the song.
While the band does not play together as often as they would like, not much time is needed for the three to lock in. Montgomery’s bass opening to “Passing Through” bends and moves with a singular meditative grace before piano and percussion joins the daylight filling a room with breath and light. If Magnolia resonated with last calls and late nights, Entrance Music counters with early mornings and first cups of coffee.
Whereas much of the debut resonates with his time in New York, Entrance Music “feels a little less ‘on the streets at 2 A.M.’ and a little more nature-based…a little more ethereal,” says Okonski. “It’s definitely age, environment, and family — all of that does come through in the music.”

One of the biggest underground rave anthems of the early 90's produced by Gordon Matthewman (Dj Edge) and Doug Osbourne (Sourmash).

The track perfectly bridged the gap between early 90s UK rave, European hard trance, and sinister warehouse techno. It is instantly recognizable by its slow-building, intense tension, heavy pounding kick, and the stark, ominous, distorted synth stabs that cut through the eerie acid lines.

With its massive dancefloor appeal, it was quickly snapped up for major compilations, notably appearing on the highly influential Reactivate 8 compilation put out by React Records. Original vinyl pressings on the iconic XVX label remain highly sought after by old-school electronic music collectors worldwide. This is your chance to own this Rave Classic on an official Repress from the XVX Label.

The record is largely sung in Scots language, one of Scotland’s three official languages along with Gaelic and English. “Scots gives me a way of expressing myself which is connected directly with the landscapes I love. It brings the songs alive and it is a fascinating language. The name of the record is in Scots - Forefowk means the people who came before, or ancestors. When we say ‘mind me,’ we can mean a few things- remind, remember, watch over or care for me. The record explores how tradition needs to be constantly reconnected with, built upon, looked after, and shared.”
Quinie sings with a style inspired by Scottish Traveller singers. “I began singing unaccompanied Scots Song in 2015 after hearing Scots Traveller singer Sheila Stewart on the radio. Initially I felt like I shouldn't sing these songs because I'm not a Traveller, and I saw people around me doing that in a way that made me uncomfortable. But on the other hand this music made sense to me and I felt driven to learn. Over the years I have met Traveller friends who taught me that settled people sharing these songs could contribute to raising awareness. Scottish Travellers are marginalised and discriminated against in modern Scotland, despite being custodians of so many of our important traditions. So I started to perform them and tell this story. From there I built on my repertoire and started writing my own songs”.
To develop this record, Quinie travelled across Argyll with her horse. They went on a pilgrimage of sorts through the ancient landscapes of the West of Scotland to explore the interconnected relationships between people, ancestors, animals, and place. The album’s vinyl release is accompanied by a book and film, documenting this unusual research process.
Forefowk, Mind Me was recorded in August 2024 at The Big Shed in Highland Perthshire with support from Creative Scotland. Quinie is accompanied by an ensemble of musicians: Ailbhe Nic Oireachtaigh (viola), Oliver Pitt (duduk, bouzouki, percussion), Harry Górski-Brown (small pipes, violin), and Stevie Jones (double bass, recording, and mixing). Each of these artists brings their own distinctive voice, bridging contemporary experimental practice with worlds of traditional and early music.

You have to wonder why Railcard took so long to be born: their debut album feels like it should have been in your collection for years.


But it wasn’t until 2025 that Rachel Love (Dolly Mixture), Ian Button and Peter Momtchiloff (both Heavenly) met at a gig, realised that they were exactly the same age, and decided that this was an excellent reason to form a new band. The shared history, the same pop references, the parallel lives… Railcard had to happen, and there was no time to lose. Two Steps At A Time - the album title and theme song - express exactly how quickly Railcard have worked since then - jumping over pavement cracks and whistling past graveyards to get these songs written, recorded and released while they are still sweet and fresh.


The band released three digital EPs in early 2026, which were then gathered onto a CD and released by Skep Wax and Slumberland. They sold out very quickly. The critical response to a mail-order-only CD was far greater than anyone expected.


Railcard made their live debut in December 2025 and had by then recruited their fourth member: Allison Thomson (Trash Can Sinatras, The Love Band), whose flawless trumpet and swirly keyboard-playing complete the Railcard sound, allowing the band to fulfil the significant ambition and range of the songs, which are mostly co-written and often co-sung by Love and Button. “Flannelette” and “Sunday Sun”, delicate and swoony, could almost be Slapp Happy at their most Bacharach. “Foxy”, mysterious and charming, has more than a hint of Kate Bush December magic. The raucous duet “I’m A Disaster” is The Kinks meets deadpan Shangri-Las. The title track could have been an alternative theme tune for Whatever Happened To The Likely Lads. “Runaround” is like a school choir doing The Raincoats. “Unstable Neighbour” is mesmerising and insistent: it might make you think of Stereolab; we might imagine an indiepop Hawkwind. Peter Momtchiloff also contributes two wonderful songs on the album: the fragile and hallucinatory “Paper Thin” and the Love-meets-Undertones rush of “Hillman Minx”.


As with the first EPs, Railcard enlisted the sonic services of Medway psych expert Allan Crockford (of The Prisoners, James Taylor Quartet and many more) who has delivered mixes that pump with vintage valve energy and reverby depth.


Railcard have a string of UK dates through the summer and Autumn.

Shaped in the shadows and sounds of the legendary Topanga Canyon, California. The debut album from Biita Houdei is buoyed by a magic that feels wildly and beautifully untamed; wild-hearted sentiments that are shaped by the world around it, fascinated by the enchantment of it all, and delivered via a collective (harmony layered) voice that understands the complex nature of what it means to be alive in the here and now.

Produced by Haley Heynderickx, 'This Bed Was Made For Me' is a striking collection of stirring, signature folk songs animated by subtle instrumentation and orchestral flourishes. It feels lived in: vocals weave together in a beautiful harmonic dance, seasons shift, sunshine appears and bold psychedelic colours warm the horizon.

In the early stages of making her debut album, Biita Houdei knew two things: that she wanted the recordings to feel distinctly and palpably warm, and that she would sew a unique patch for every song on the album. The first of those things is subjective, though brightness pours in from all corners of This Bed Was Made For Me. The second became a laborious task she undertook throughout the process, the completion of which is testament to the slow process of it all, to the physical commitment and patience required to make a full work of art.

The patches she crafted during the making of This Bed Was Made For Me became a full quilt, one that now adorns the album’s front cover. Beneath it sits a striking collection of Houdei’s stirring, signature folk songs, brought into fruition with the help of fellow songwriter Haley Heynderickx, in her first lead production role, and the album’s producer/engineer Sahil Ansari. It’s also the first release Biita (pronounced “bee-tah”) is releasing under her newly-taken name, one that was gifted to her by her auntie and means "unique" in the Farsi language. “I proudly take this name,” Biita says of the change. “It makes me feel that much closer to my Persian heritage.”

Recorded across ten back-to-back and full days, the album touches on themes of love and heritage, of taking chances, the preciousness of time and the impact we all have on the world around us. A number of the songs were written in Topanga, California, while Biita settled into a new home as wild fires raged, and as she adjusted to a life which no longer held distinct seasonal changes, far from the Ozark Mountain home she felt so attached to. Such themes reveal themselves in a variety of ways across the album’s fourteen songs, that key sense of warmth retained in the bones of the album whether they are stepping into darkness or seeking out light.

The album feels lived in and alive; dust swirls, seasons shift, sunshine appears and is held. Biita calls it ‘psychedelic’ and there is indeed a sense of that in the world building, in the way the bold colours are always shifting. Formed of fourteen songs, and filling nearly forty-five minutes, This Bed Was Made For Me not only builds a whole world for listeners to inhabit but also implores you to stay a while. This was deliberate, indeed it’s Biita’s wish that listeners give the album dedicated time; to learn its shape, to explore it fully, away from the instant grab of playlists and skewed algorithms.

“Many of my favourite albums didn’t reveal themselves instantly to me,” Biita, now based in the Catskill Mountains of New York, explains. “Some did, of course, but I had to work to understand the full scope of the piece as a whole. I encourage people to dive deeper into everything that they choose to consume. It is not my intention to sound pretentious, but instead, I am trying harder to explain the gratitude I have for being able to craft every part of this album— using my hands, my brain, my voice, my visions. To me, it is an all encompassing work of art,” she continues. “Making the quilt was laborious. Taking the cover photo was laborious. No shortcuts, but rather a manual and tangible approach. I am thankful for the time it took.”

Tiffany Day has quickly emerged as one of the most compelling voices in hyper-digital pop, blending emotional chaos, internet-born edge, and forward-thinking production into a sound entirely her own. Born in Toronto and raised in Kansas, Tiffany first broke through with a viral cover of “Hallelujah,” building a YouTube audience of over 500,000 subscribers before graduating high school. She began releasing original music in college, quickly developing a devoted fanbase drawn to her wit, vulnerability, and genre-fluid instincts.

A self-directed creative force, Tiffany has made her live show a defining pillar of her artistry, fusing choreography, visuals, and electronic-driven transitions that push her beyond traditional pop performance. In 2024, she independently funded and sold out several headline shows across a North American tour. She later expanded into the DJ scene, launching BASSFLUFF, a series of standalone events that generated viral moments DJing everywhere from gyms to nail salons.

Her 2025 releases marked a sharp sonic evolution, leaning into electroclash and hyperpop textures. Singles like “BREAKUP,” “TELL ME WHAT I DID,” and “START OVER” generated millions of views across platforms and earned coverage from NME, Ones to Watch, On The Radar, and beyond, positioning her at the forefront of a new wave of digital-native pop artists.

That momentum culminates in her album HALO, released April 3, 2026 via Broke Records. The project debuted at #1 on the Apple Music Electronic chart and #25 on the Billboard Electronic/Dance Albums Chart, drawing early co-signs from artists like Laufey and Yunjin (LE SSERAFIM) alongside coverage from Pitchfork, The FADER, NYLON, LA Times, and more. To mark the release, Tiffany staged three headline shows—each of which sold out in under five minutes. With her production across nearly every track, HALO marks Tiffany's most cohesive and ambitious work to date, solidifying her not just as an artist to watch, but as a defining voice in the next era of hyperpop.

Tiffany Day has quickly emerged as one of the most compelling voices in hyper-digital pop, blending emotional chaos, internet-born edge, and forward-thinking production into a sound entirely her own. Born in Toronto and raised in Kansas, Tiffany first broke through with a viral cover of “Hallelujah,” building a YouTube audience of over 500,000 subscribers before graduating high school. She began releasing original music in college, quickly developing a devoted fanbase drawn to her wit, vulnerability, and genre-fluid instincts.

A self-directed creative force, Tiffany has made her live show a defining pillar of her artistry, fusing choreography, visuals, and electronic-driven transitions that push her beyond traditional pop performance. In 2024, she independently funded and sold out several headline shows across a North American tour. She later expanded into the DJ scene, launching BASSFLUFF, a series of standalone events that generated viral moments DJing everywhere from gyms to nail salons.

Her 2025 releases marked a sharp sonic evolution, leaning into electroclash and hyperpop textures. Singles like “BREAKUP,” “TELL ME WHAT I DID,” and “START OVER” generated millions of views across platforms and earned coverage from NME, Ones to Watch, On The Radar, and beyond, positioning her at the forefront of a new wave of digital-native pop artists.

That momentum culminates in her album HALO, released April 3, 2026 via Broke Records. The project debuted at #1 on the Apple Music Electronic chart and #25 on the Billboard Electronic/Dance Albums Chart, drawing early co-signs from artists like Laufey and Yunjin (LE SSERAFIM) alongside coverage from Pitchfork, The FADER, NYLON, LA Times, and more. To mark the release, Tiffany staged three headline shows—each of which sold out in under five minutes. With her production across nearly every track, HALO marks Tiffany's most cohesive and ambitious work to date, solidifying her not just as an artist to watch, but as a defining voice in the next era of hyperpop.

Coloured Vinyl. Harsh Reality - the fourth studio album by Seattle's The Drowns - is an unapologetically political punk record, coming this September from Pirates Press Records. Recorded at The Blasting Room in Fort Collins, CO by punk rock legend Bill Stevenson (Descendents, Black Flag) and mixed by Jason Livermore (Teenage Bottlerocket), this collection of 13 new songs fuses everything fans have loved about the band's previous sonic experimentation and focuses it into laser-tight melodic songwriting firmly rooted in punk rock, but with the potential to reach listeners from all walks of life. Singer-guitarist Rev Peters, singer-bassist Andy Wylie, and drummer Jake Margolis largely bashed out the tracks themselves, with the exception of additional guitar work on "Vengeance" by Zach Blair (Rise Against, Only Crime, GWAR), and a touch of accordion on "3rd & Pike" courtesy of Matt Hensley (A-100s, Flogging Molly). While the title of lead single "Relentless" could easily refer to The Drowns' infamously non-stop touring regimen, it refers instead to something far more humanitarian: the crushing weight of capitalism on the working poor. The song acknowledges the toll it takes on one's mental health, struggling day in & day out with no breaks only to be left farther & farther behind. "I wish life would just give it a rest", laments Rev. The album contains its fair share of venom, however, like all great political punk in the tradition of The Clash or Stiff Little Fingers, the lyrics prioritize people over polemic, reaching out with compassion in an age where it is in distressingly short supply. "I'm sure that we could change it all if we only had a heart", implores Andy on "Have a Heart". This is life-affirming music for hard times, made for everyone that could sorely use it right now, and a record poised to give the band's hard-earned position as a fan-favorite in the global punk scene an even greater trajectory. For a band that has won over fans around the globe, record by record and show by show, it is a big statement, but simply put: Harsh Reality is The Drowns at the top of their game.

Lummer is the Swedish name for the now protected family of vascular plants (Clubmoss/Lycopodiaceae). Lummer grows slowly and the spores with which it reproduces can take 12—20 years to develop. These spores, known as Nikt in Swedish, were once ground into an extremely flammable light yellow “old woman’s gunpowder” that was used for early theatrical pyrotechnics. Volatile and explosive, Lummernikt requires careful handling.

There is something of the small scale dangerous in Finn Loxbo’s Lummernikt, too. A not-at-all-risk-free traversal at the limits of technique: building, blowing up and working through a band’s worth of harmonic scaffolding. Eight songs on a stage. Dramatic, breath-taking. At the same time the wild, flickering rush of tones spins up a centrifugal force that suspends a certain calm or sitting still at the music’s core.

On Lummernikt, Loxbo’s guitar often sounds more like a concert harp or the West African kora as he shifts a set of melodic fragments and extended lines through rapid-fire arpeggiated permutations with a spontaneous energy that is countered only by his extraordinary touch on the instrument and an undeniable sensitivity to his material’s dynamic potential.

It’s a glorious extension of the chiming chords and experimental preparations heard in his contributions to Magnus Granberg's Skogen (Another Timbre) or via his own ensemble Kommun (Fönstret, Thanatosis) and in striking contrast to the distorted wail he contributes to Anna Högberg Attack’s Ensamseglaren (Fönstret) or his all-in-the-red trio Kyosaku (Corbett vs Dempsey).

It’s now several years ago that Finn sent me the first recording of his new band Kommun and asked if I had suggestions for a label that might want to release it. I played that recording on repeat until I couldn’t shake the idea that I needed to start a label to put it out myself. Lummernikt is the spark that keeps that fire alive.

Whispering Ln. Vol. II was recorded between 2018 and 2019 in America, alongside the pieces that formed the first album. These recordings belong to the same time and space, shaped by the same quiet focus and slow attention to sound.

While remaining rooted in minimalism, this album introduces several more rhythmic pieces, drawing inspiration from early electronic music – echoes of composers such as Tom Dissevelt and Raymond Scott.

Movement and stillness coexist throughout this record. Rhythms and patterns shift and occasionally dissolve. The music asks for little and offers even less explanation, inviting listening without urgency – to slow down and remain present. May it offer a moment of calm, where time loosens, and attention gently settles.

IMPRESS!VE Collective & BBE Music present: Terry Callier – Live Peace. There was no one quite like Terry Callier, and Live Peace captures the rare magic of his live performances in their most intimate and spiritual form. Recorded live in Leeds in the late 1990s and early 2000s at shows run by Lubi Jovanovich & Gip Dammone of The DIG! Family, this release documents an artist whose music transcended genre, era, and expectation, offering truth, compassion, and deep emotional connection rather than spectacle. Recorded live by renowned sound engineer Martin Dixon at The Yardbird Suite / The Underground in Leeds in 1998 and 2001), these performances feature Terry alongside his hand-picked ‘Family Band’; which included legendary guitarist Jim Mullen, Chris Kibble on keys and famed percussionist Bosco D’Oliveira. Painstakingly restored from the only surviving source using modern AI-assisted audio tools, the aim was never to polish away the grain, but to let Terry’s voice, message, and band shine once more. Sparse, soulful, and profoundly human, the recordings preserve the immediacy of nights where packed rooms fell into pin-drop silence, hanging on every word and note. From the aching beauty of “What Colour Is Love” to the cinematic power of “Lazarus Man,” this album reminds us what a master storyteller and spiritual presence Terry Callier was. Live Peace stands as a powerful reminder of why Terry Callier remains one of music’s most revered and influential voices, whose songs of love, justice, and humanity resonate as strongly now as ever. This project is fully endorsed by Terry's daughter Sunny Callier - and the cover photo and sleeve images are all suitably also previously unseen visual treasures.

Sibling duo Wasia Project chart a new sonic hinterland with their debut album Nocturne. Across 12 tracks, Olivia Hardy and Will Gao alchemise their classical training with kinetic club-adjacent dance music, soulful electronica, and cinematic piano-pop. Nocturne arrives as a bold evolution, scaling the success of their early EPs and a string of dewy-eyed singles that has built them a global following of 1.2M+ and 200M+ streams to date. A definitive Gen-Z narrative, it captures the friction and frisson of youth today, turning coming-of-age angst into a cathartic journey represented within the hours of dusk until dawn, from heady twilight introspection to the euphoric commune of the dancefloor.

Released in 1983, "En la guía, en el listín" remains a permanent anomaly in the history of Spanish pop music, with few clear predecessors and even fewer descendants. It is an imperfect yet fascinating catalog of the many faces Derribos Arias could reveal. Its sound combines odd electric rock, leftfield proto-hip-hop, and dark, immersive songs that simply defy categorization. An essential album. Includes liner notes and the artwork of the original insert. By late 1981, the San Sebastián-based group La Banda sin Futuro had already transformed into Derribos Arias. Their first two singles dazzled critics eager for new ideas capable of placing Spanish pop alongside the contemporary music increasingly arriving from abroad in real time. 'Branquias bajo el agua', the standout track from the band's debut single, topped the list of Best Songs of 1982 as voted by listeners of Diario Pop on Radio 3 (Spanish National Radio). With an expanded four-piece lineup and a larger budget than they had enjoyed for their earlier singles, the band entered the prestigious Kirios Studios to record their album, with Paco Trinidad serving as producer. The electric intensity of 'Intima decoración' and 'Crematorio' -angular, off-kilter reinterpretations of a strain of rock descended from The Velvet Underground and The Stooges, a style with virtually no precedent in Spain-are excellent examples of the band's sound. To aberrate was the key term Poch used to describe his ineffable working method: a fearless creative freedom without which songs such as 'Lo que hay' could never have existed. The track stands as a leftfield proto-hip-hop number, later reworked as 'Disco pocho,' demonstrating both his admirable lack of prejudice and his complete disregard for any commercial ambitions the album might have had.Unfortunately, this album would never have a follow-up.

Following Camille’s international success with the soundtrack of the film Emilia Pérez, which earned her an Oscar, a César Award and a Golden Globe, Camille returns with a new original album titled “The Sound of Milk”. It will be her first album in nine years and is conceived as a triptych :

Following Camille’s international success with the soundtrack of the film Emilia Pérez, which earned her an Oscar, a César Award and a Golden Globe, Camille returns with a new original album titled “The Sound of Milk”. It will be her first album in nine years and is conceived as a triptych :

Quaid + Shepherd’s “The Preset” 12” is a multi-mix single/release pushing and evolving the confines of the present funk sound. This London duo, which is composed of producer Quaid and vocalist Shepherd (who have been long-time collaborators), dives especially deep with these four banging club mixes of “The Preset”, channeled through the lens of 80s boogie-funk. Quaid explains that “early 80's boogie funk has always been a massive inspiration and a huge part of my day-to-day listening experience”, and these 4 mixes of “The Preset” serve to honor a “drum machine soul” tradition, while keeping the production and feel fresh for the dance-floor and the context of today. This release is stacked full of epic alternate mixes for listeners and DJs to experience: Most notably, there is a “Sysex” Mix from Atlanta’s elusive abstract boogie-funk producer Moon B (his first new production to release after a multi-year hiatus), which delves into his intangibly unique slanky-funk sound. Also included on the B side are the hypnotic and more uptempo “Wet Dreems” Mix and a “Dirty Dub” Mix from Quaid that truly leans into the quirky synth leads, crispy drum programming and heavy rolling bass.

Born and raised in Oklahoma City, Jason Scott & The High Heat return with their boldest statement yet on Play Boy, a gritty, swagger-filled collection that pushes the band's signature blend of heartland rock, Americana soul, and country grit into new territory Following the breakout success of American Grin and viral momentum surrounding "Too Good Too Bad," Play Boy captures the chaos, charm, and late-night recklessness that have made the band one of the most exciting rising acts in roots-driven country music. Fueled by razor-sharp songwriting, lived-in storytelling, and the electrifying chemistry that's earned them stages alongside acts like Morgan Wallen, Wyatt Flores, and 49 Winchester, Play Boy leans into the band's wild side without losing the honesty and substance at the core of their music. Equal parts dive-bar confession, desert highway soundtrack, and modern outlaw anthem, the album reflects a band fully embracing who they are: loud, fearless, and impossible to box in.

Released in 1976 on ABC Records, Seed Of Memory is Terry Reid's fourth studio album and marks a significant shift in his musical direction - This 180g vinyl re-issue faithfully replicates the original UK pressing including 4- page lyric insert Produced by Graham Nash, the album was recorded in California after Reid had relocated from Britain, and reflects the influence of the West Coast singer-songwriter scene while retaining elements of rock, blues, folk and soul. All eight songs were written by Reid, whose expressive vocals and guitar work remain central throughout. The recordings are enhanced by contributions from respected musicians including David Lindley on guitar and violin, Ben Keith and Al Perkins on pedal steel, and Graham Nash on harmony vocals. Lyrically, the album explores themes of reflection, spirituality, personal growth and social awareness, with songs such as "Brave Awakening" drawing on Reid's family connections to the mining industry. The relaxed arrangements contrast with the heavier sound of some of his earlier recordings, creating a more atmospheric and melodic style.