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Bristol’s Friendly Records mark 10 years with a special compilation in aid of War Child - raising vital funds for children affected by conflict.

The record brings together standout tracks from recent Friendly Records 7” releases supporting War Child, featuring Portishead, PJ Harvey, IDLES, Sleaford Mods, Hot Chip, Beak and more!

Also includes tracks from Friendly Recordings releases by Christian Madden And The Enemy Chorus, Floating World Pictures, Nick Craft, Claude Cooper & Brain Fog and ZEE.

exclusive artwork by David Shrigley.

Every purchase will help War Child UK protect, educate and stand up for the rights of children living through war.

Bristol’s Friendly Records mark 10 years with a special compilation in aid of War Child - raising vital funds for children affected by conflict.

The record brings together standout tracks from recent Friendly Records 7” releases supporting War Child, featuring Portishead, PJ Harvey, IDLES, Sleaford Mods, Hot Chip, Beak and more!

Also includes tracks from Friendly Recordings releases by Christian Madden And The Enemy Chorus, Floating World Pictures, Nick Craft, Claude Cooper & Brain Fog and ZEE.

exclusive artwork by David Shrigley.

Every purchase will help War Child UK protect, educate and stand up for the rights of children living through war.

Morgan Noise erschaffen mit ihrer Musik eigene Welten, in denen sie Jazz-Sensibilität und alternative Experimentierfreude mit Singer-Songwriter-Flair verbinden. Alle vier Mitglieder, darunter Musikerinnen der Bands Fat Dog und Flur, verfügen über einen Jazz-Hintergrund. Ihre Improvisationskunst ist entscheidend für die Entfaltung und Weiterentwicklung der Songs. Inspiriert von den Klanglandschaften von Saya Gray, Nilüfer Yanya und Astrid Sonne, schlagen Morgan Noise eine kunstvolle Brücke zwischen komplexen Emotionen und klanglicher Präzision, lyrischer Nuancierung sowie künstlerischer Klarheit. Zu ihren bisherigen Erfolgen zählen Auftritte beim Green Man Festival sowie eine Live-Session für Riley & Coe. Nach der UK Support-Tour für Porridge Radio steht nun die Veröffentlichung ihres Debütalbums an – ein Werk, das vom Lebensgefühl der frühen 2020er-Jahre und den Erfahrungen während der Tourneen in dieser Zeit inspiriert ist.

Carpark are the kind of band that turn everyday frustration into something loud, sharp, and impossible to ignore. Their debut EP *Born to Be Average* leans into the chaos of modern life with biting lyrics, jagged guitars, and a raw, unfiltered energy that feels both familiar and defiantly unpolished. Across five tracks, they blur the line between self-deprecation and quiet rebellion, capturing the sound of a generation stuck somewhere between apathy and ambition. It’s messy in all the right ways: honest, hooky, and built to be played loud on repeat. Pressed on vinyl, this release isn’t just a record, it’s a statement that being “average” was never really the point.

Ty Segall, precleared for flight in full rock congress with the band (Ben Boye/Evan Burrows/Mikal Cronin/Emmett Kelly), shifts Chrome. Songs of massive riffs, swung, tightly arrayed lines of fuzz & distortion, twin-guitar attack-and-parry, endopic keyboards kicking, precise & thudding power, a rhythmic core on the march in full BAND energy. The songs are lyrically allusive trips, dark passages in the labyrinth, everything in the air bristling collectively, as minds collide.

The Chicago trio of Black Duck is a natural fit for collaboration with acclaimed Basque musician Elena Setién. Black Duck"s bassist/guitarist Douglas McCombs, guitarist Bill MacKay and drummer Charles Rumback have been lauded for their adaptability as live performers and collaborators for decades, performing in countless ensembles from Tortoise to Brokeback to collaborations with Ryley Walker, Bill Callahan, James Singleton and many more. Setién honed her improvisational skills in duo Little Red Suitcase before going on to collaborate with the likes of Steve Gunn, Mary Lattimore, and Glenn Kotche (Wilco) to name a few. Black Duck and Elena Setién"s combined preternatural ability to converse at the boundaries of improvisation and composition makes for fertile ground in which every subtle gesture carries weight. On their debut, self-titled collaborative release, Black Duck and Elena Setién alchemize the ease of their live chemistry and their wealth of experience into a refined menagerie.

Stargazing Brooklyn noise-rock cosmonauts Upper Wilds - the power-trio led by Parts & Labor co-founder Dan Friel - return with another set of lean anthems filtered through a flamethrower. Their speediest, most explosive album yet, Mercury, is a meditation on death, with Friel expounding on his brush with skin cancer, climate change, funerals, Henry Kissinger, and a world seemingly on fire. Buoyed by recent tours with acts like Pelican, Uniform, Psychic Graveyard and Savak, the trio"s increased speed is met with a precision that gives every hairpin turn more wallop. Upper Wilds" space-rock adventures through their recent albums Mars, Venus, & Jupiter came replete with stories of the heavens and humanity alike. On this fourth installment, the closest planet to the sun, things take a darker turn. The small, barren planet Mercury was named after the gods" speedy messenger and guide to the underworld, and the album syphons Upper Wilds" fuzz-pop aesthetics into concise, scorched anthems about the brevity and fragility of life with the ferocity of a band playing on the edge of extinction.

(2LP, limited black vinyl repress) After last year's extroverted and funky album "Be Who You Wanna Be," Stef Kamil Carlens presents a more introspective double album recorded with Nel Ponsaers and Rahmat Emonds.


Featuring 14 songs—some of his own compositions and very surprising covers or reinterpretations—this album emphasizes lyrics, vocals, and a band sound primarily driven by acoustic instruments. Once again, it stands as a key addition to the already very eclectic catalog of one of Belgium’s most versatile and productive artists. Stef Kamil Carlens & The Poem will tour starting in October 2025.

Big Crown Records is proud to present the debut full length offering from Les Imprimés, Rêverie. The stirring and ethereal sounds of Les Imprimés have been making fans of anyone who hears them since their first 7" single hit the speakers. Morten Martens is the man behind the band. Born, raised, and working in Kristiansand, Norway, he keeps a low prole while making his heart felt, highly infectious, and unique music. This album is a long time coming for Martens and it is sure to make him a name to be reckoned with. The first thing you notice listening to Les Imprimés is the high level of musician-ship. Martens plays nearly every instrument on the recordings and handles the production and arranging. He has been making records for decades, winning a Spellemann Award (aka, the Norwegian Grammy) in 2006 for producing a HipHop album as well as getting nominations across three other genres. While awards and accolades speak to the level of his talent, this new album really shows who he is an artist on his own terms. Moving away from being a hired gun on the touring scene naturally led him to start doing more studio work. Slowly collecting gear and getting more experi-ence behind the boards he built his own studio on the island of Odderoya and was making a living playing with and recording other people's music. As the story goes, after those sessions would end he would work on his own project into the wee hours of the night. From these late night sessions, Les Imprimés was born and Rêverie began to take shape. However, "it wasn't until COVID, when things locked down, that I was really able to nd the time to focus on Les Imprimés" Morten says about creating and leading his own solo project. "It was a scary time. But I knew I had to do something with it." He took the sum of his inuences, combined them with his own vibe and got busy writing the music, playing the instruments, and singing the songs. "It's soul music, but I don't exactly have the soul voice," Morten explains humbly. "But I do it my own way, in a way that's mine. "It is his sound, his fingerprint, his sensibility, that makes his music hard to put in a box. The album showcases both Martens' range and his ability to make a cohesive album. The lead single "Falling Away" starts with a raw drum break and turns into a lushly arranged tune that paints the picture of love when it slips away. On "Still Here" he professes his resilience through life's twists and turns over a thundering track that puts a new spin on the B side ballad genre. Songs like "You" and "Our Love" mix tones from 60s and 70s Soul with arrangement nods to Doo Wop records while Martens' lyrics and delivery leave you singing the melodies long after they finish. "Love & Flowers" finds Martens in a moment of clarity with a song that ts the niche sub genre of happy break up tunes, the four on the floor track will move the dancefloor or while the message will resonate with anyone who put too much effort into the wrong situation in their lives. However, it is songs like "Muse" and "Chess" that really encapsulate the uniqueness of Les Imprimés as they push the boundaries of genre, one a profession of love for music and the other a cover of an electronic record respectively. Martens' lyrics, emotion, and delivery truly make the whole thing come together and stand out from any of his peers. There's an infectiousness and a pop sensibility in the writing that is done with the utmost class and taste giving Les Imprimés the rare quality of immediate attraction that only deepens the more you listen.

Few bands have defined the sound of American melodic rock quite like Night Ranger. From the thunderous riffs of “Don’t Tell Me You Love Me” to the soaring anthem of “Sister Christian,” this new Best Of collection captures the very essence of their decades-long career — now reimagined for 2026. Featuring the classic hits alongside fan favorites and standout tracks from their most recent albums, this compilation spans the full spectrum of Night Ranger’s signature sound: anthemic choruses, blazing guitar solos, and unforgettable melodies. Highlights include the power-pop perfection of “(You Can Still) Rock in America,” the heartfelt balladry of “When You Close Your Eyes,” and the cinematic sweep of “Four in the Morning.” But “Best of the last 20 years… and Some Hits” is not just a look back. It also celebrates the band’s creative output over the last 20 years, spotlighting tracks like “Time of Our Lives,” “High Road,” “No Time to Lose,” “Somehow Someway,” and “Truth,” proving that Night Ranger’s energy, songwriting, and musicianship have only grown stronger with time. These songs show that the band continues to innovate while staying true to the melodic rock roots that made them legendary.

The current lineup — Jack Blades (bass and vocals), Kelly Keagy (drums and vocals), Brad Gillis (guitars), Eric Levy (keyboards), and Keri Kelli (guitars) — delivers every track with the energy and precision that have kept Night Ranger at the forefront of rock for more than four decades. This edition also features two bonus tracks that make this compilation truly special: a fresh studio take on “Wasted Time” recorded at Sweetwater Studios, accompanied by an exclusive music video, and a festive live performance of “Feliz Navidad” that showcases the band’s playful side. Perfectly timed ahead of their summer 2026 tour, this Best Of serves as both a definitive introduction for new fans and a must-have collection for longtime followers. Whether revisiting the classics or discovering the new 2026 renditions and recent masterpieces, Night Ranger – Best of the last 20 years… and Some Hits is a celebration of enduring melodies, electrifying performances, and the unforgettable spirit of one of rock’s most iconic bands.

LIMITED EDITION FIRST PRESS OF 300 COPIES ON TRANSPARENT RED VINYL WITH JAPANESE STYLE OBI. NON-RETURNABLE.
Osaka quartet HIBUSHIBIRE return this August with their fifth studio album ‘Phantom Fuzzy Exotica‘.
Phantom Fuzzy Exotica continues to find the band exploring their own little universe, where psychedelia, 70’s hard rock and folk rock influences collide. You’ve got the short punchy riff heavy songs, the mellow time-out bits, and of course the epic psych jams and more vocals then previously. It’s all here, and as always they deliver the goods.
Phantom Fuzzy Exotica … in the bands own words
The initial image behind this album was “phantoms”- things that seem to exist, yet somehow don’t. Another thing that sets this album apart from our previous releases is that four of the five tracks feature vocals. The only instrumental is “Invocation and Ritual Dance of the Electric Nonsense.” We didn’t consciously plan it that way; it just happened naturally. After finishing last year’s tour, we didn’t have much time, but everyone’s ideas came together, and I think we’ve created an album we’re truly satisfied with.
Mandrake Oracle: The opening track of the album.Built around a single guitar riff by changchang, while the other instruments and electronics keep pushing the music forward. Personally, I imagined Deep Purple playing a Pink Floyd song while writing this one.
Minagoroshi Western: Imagined as the soundtrack to a fictional spaghetti western. In the end … everybody dies.
Daydream Rendezvous: A piece of daydream acid psychedelic folk.
Invocation and Ritual Dance of the Electric Nonsense: Hard psychedelic jazz rock. The title is a little nod to Frank Zappa.
Ai Vist Lo Lop (Cover): I’ve always loved Ai Vist Lo Lop by the wonderful Occitan traditional band Mont-Jòia, and I’d wanted to cover it someday. We especially enjoyed creating the a cappella section and finding the right sound for the main melody.
We sincerely hope you enjoy listening to this album as much as we enjoyed making it. — changchang
The Phantom Fuzzy Exotica European Tour 2026
AUGUST
19th Archive, Liverpool (UK) , 20th Ivory Blacks, Glasgow (UK), 21st The Golden Lion, Todmorden (UK), 22nd The Bunkhouse, Swansea (UK), 23rd Beautiful Days, Devon (UK), 25th The Peer Hat, Manchester (UK), 26th Le Pub, Newport (UK), 27th Strongroom Bar, London (UK) with Black Helium, 28th The Holloway, Norwich (UK), 29th The Sunflower Lounge, Birmingham (UK), 30th The Piper, St Leonards (UK) with Black Helium
SEPTEMBER
1st DND, Dunkirk (FR), 3rd Pilsen Busking Fest, Pilsen (CZ), 4th Pilsen Busking Fest, Pilsen (CZ), 6th Riff, Budapest (HU), 7th Végállomás Klub, Szombathely (HU), 8th A Beton, Győr (HU), 9th Chemiefabrik, Dresden (DE), 10th Bar Neun, Berlin (DE), 11th Subsol, Dusseldorf (DE), 12th Magasin 4, Brussels (BE), 13th De Onderbroek, Nijmegen (NL), 14th La Bulle Café, Lille (FR)
HIBUSHIBIRE are
Changchang (Guitar/Vocal/Bouzouki/Electronics/Melting Eye Spectacle), Tetsuji Toyoda (Bass/Vocal/Mermaid Mountain), AOI HAMA (Drums/Vocal/Cat Tongue Queen), Kohei Katsuma (Conga/Vocal/Theremin/Percussion/God Dog Family)

Die "Simple Game" LP von Sendecki & Spiegel erscheint auf Skip und führt das Duo mit einem reduzierten, zugleich präzisen Programm zusammen, das Klavier und Schlagzeug in den Mittelpunkt rückt.

Im musikalischen Zentrum stehen kompositorische Kürze und ein feines Gespür für Raum: filigrane Motive und pointierte Rhythmen wechseln mit offenen Passagen, in denen die beiden Musiker gegenseitig Impulse geben und Formeln aufbrechen. Die Stücke bewegen sich zwischen modernem Jazz, lyrischer Improvisation und Momenten, die an die introspektiven Tendenzen zeitgenössischer Klaviermusik erinnern. Dadurch entsteht ein ausgewogenes Gleichgewicht aus Struktur und Spielfreude, das dem Duo eine eigene Klangsprache verleiht.

Vladyslav Sendecki bringt seine Erfahrung als international gefragter Pianist ein; Jürgen Spiegel ist als Schlagzeuger des Tingvall Trio bekannt und in verschiedenen Rollen als Live‑ und Studiomusiker aktiv. Die Zusammenarbeit baut auf beiderseitiger Vertrautheit und langjähriger Praxis im Jazzbereich auf, wodurch Arrangement und Interaktion klar konturiert wirken. Frühere Veröffentlichungen des Duos zeigen denselben Fokus a

Swiss hard rock veterans Shakra return with renewed fire and unstoppable energy on *Just Live Loud*, their explosive new studio album and the band’s very first release through Frontiers Music Srl. Fueled by massive riffs, soaring melodies, and the unmistakable chemistry that has defined Shakra for decades, the album captures the spirit of classic European hard rock while pushing the band into a heavier, more modern sonic territory. Produced with a raw yet polished approach, *Just Live Loud* delivers a powerful mix of thunderous anthems, emotionally charged ballads, and adrenaline-fueled rockers designed for both festival stages and late-night highway drives. From razor-sharp guitar work and pounding rhythms to towering vocal hooks, every track reflects the band’s commitment to authenticity, passion, and pure rock’n’roll attitude. Lyrically, the album celebrates resilience, freedom, brotherhood, and the determination to live life at full volume — themes that resonate deeply with the band’s own journey through the international hard rock scene. *Just Live Loud* also marks an exciting new chapter for Shakra, combining the experience and songwriting strength of their legacy years with a fresh creative momentum that feels more vital than ever. With this landmark release, Shakra reaffirm their status as one of Switzerland’s premier hard rock exports and prove that true melodic heavy rock is alive, loud, and ready to conquer a new generation of fans.

Buckshot returns with The Package, his latest solo album and his first to be entirely self-produced. The Brooklyn legend handles every beat himself this time, with features from General Steele of Smif-N-Wessun bringing the Boot Camp Clik brotherhood full circle.
Co-founder of Duck Down Music with Drew "Dru-Ha" Friedman, Buckshot has spent over three decades building one of hip-hop's most respected independent labels while staying prolific on the mic: a solo studio album, three with producer 9th Wonder, one with KRS-One, four with Black Moon, and four with the Boot Camp Clik. He's the voice behind "Straight from Crooklyn, better known as Brooklyn," a line that still echoes through the culture, prominently featured on two Crooklyn Dodgers tracks.

For more than a decade, Mama's Broke, the Canadian duo of Amy Lou Keeler and Lisa Maria, have forged a style carried across landscapes rather than tied to one Their forthcoming 12- song LP Reunion follows years in near- constant motion, bringing their folk- without- borders approach to small clubs, DIY spaces, and everywhere in between. Reunion reflects a world coming apart in plain sight, tracing fractured communities, the erosion of shared ground, and the growing awareness that the systems we were taught to trust no longer hold or deliver the promises they were meant to keep. The songs don't preach or prescribe; they reflect, holding up a mirror and leaving space for something else to take shape.

This Summer has never looked so bleak. Along with news of the album, Kulk have also released their new video single 'An Endless Kife': "An Endless Knife is about growing up. When we're younger, sometimes it feels like we're invincible. Like everyone we know and love are constant parts of the universe. When that reality is shattered, it changes how we see the world. You come to realise we are all just a couple of bad days from the worst. At the same time, it feels devastating. It reminds us to look after each other" - Kulk The band have toured across the UK extensively the past few years, playing amongst bands such as Part Chimp, Hey Colossus, Crowbar, Melt Banana, Iress, Big Brave, Gnoomes, Conan and Portrayal of Guilt... to name a few! They have toured twice with PigsX7, including shows at Electric Ballroom (London) and Rock City (Nottingham) and have appeared at the renowned UK festivals Arctangent and Desertfest

John Tchicai (1936 – 2012) was one of the most important free improvising saxophonists of the 20th Century: an artist of rare vision and aptitude whose lines soared and stood out even in the most hallowed company, and whose body of work as a leader / composer is among the most singular and distinct within the entire canon of that music. But Tchicai’s importance doesn’t end there. Born in Copenhagen, Denmark, to a Danish mother and a Congolese father, his life and career represent a crucial bridge between the European and American traditions of free jazz. Initially trained on violin as a child, Tchicai shifted his focus to the clarinet and alto saxophone during his mid-teens, and began touring Europe as a professional musician by his early 20s, which landed him at a socialist youth festival in Helsinki, Finland, where he met the trumpeter Bill Dixon and saxophonist Archie Shepp. Impressed by what they heard, Dixon and Shepp encouraged the young saxophonist to move to New York, and in so doing changed the history of jazz forever.

Tchicai’s arrival in New York marks the rare occurrence of a European player joining the intimate circle that was first wave of American free jazz. Following his landing in the city in November of 1962, in addition to regularly sitting in with Don Cherry’s group, Tchicai began playing with Bill Dixon's band alongside Archie Shepp and Roswell Rudd, forming the nucleus of the foundation of the New York Contemporary Five - one of the most important groups of the era - which counted Tchicai, Shepp, Cherry, Don Moore, and J. C. Moses as its members. From the ashes of this group, Tchicai would go on to found the legendary ensemble, New York Art Quartet, with Roswell Rudd, Milford Graves, and Lewis Worrell, as well as working within Albert Ayler's band, recording “New York Eye and Ear Control”, Shepp’s band, recording “Four for Trane”, the ensemble that recorded John Coltrane's “Ascension”, and the Jazz Composer's “Orchestra”.

By the time he decided to return to Denmark in 1966, had Tchicai chosen to record little else, his legacy within the history of music would have been ensured. Incredibly ambitious, his arrival home marked the beginning of an incredible period of activity which saw him radically expanding his creative explorations, which by the end of the decade would include becoming a founding member of Amsterdam's Instant Composers Pool and helping to record John Lennon and Yoko Ono's “Unfinished Music No.2: Life with the Lions”. This, however, was proceeded the formation of a new orchestra, Cadentia Nova Danica, led by Tchicai, dedicated to radical cross-disciplinary exploration. Remaining together between 1966 and 1971, the group and its shifting membership regularly fell into collaboration with artists and composers, notably Musica Elettronica Viva, who existed beyond the realms of jazz, as well as participating within multi-media events that incorporated the visual realms.

Cadentia Nova Danica’s only two LPs - “Cadentia Nova Danica” (Polydor, 1968), and “Afrodisiaca” (MPS, 1969) - are effectively Tchicai recorded efforts as a leader, and are legendary. There’s little mystery, once heard, why the later landed on Thurston Moore’s iconic “Top Ten from the Free Jazz Underground”, published by Grand Royal in 1996. Sadly, despite playing extensively during their five year run, with exception of a CD documenting a performance at Jazzhus Montmartre, in 1966, until now there has been no other publicly available recordings that allow us to capture a glimpse of this astounding band at work. Alga Marghen / Formalibera’s vinyl pressing of a never before released body of recordings, made in Copenhagen between 1969 and 1970, changes that in the most exciting of ways.

Comprising three pieces - “Mc Gub Gub, (I–VIII)”; “Ode to Skt. John”; and “Pladepip” - the material on this stunning LP comes from two specific events. The first, which encompasses the first side, “Mc Gub Gub, (I–VIII)” was recorded by Cadentia Nova Danica - in this instance, Tchicai, Sune Weimar, Theo Rahbek, Christian Kyhl, Niels Holt, Jørgen Thorup, Michael Schou, Morgens Bollerup, Allan Gregersen, Ole Matthiessen, Pierre Dørge, Willy Jaegert, Anthony Barnett, and Jon Finsen - on May 29th, 1969, at the ABC-Theatre in Copenhagen. Penned by Tchicai, the piece is a sprawling, evolutionary composition at the outer reaches of free jazz, rooted in large blocks of colliding tonality and rhythm - a sound only accessible to larger ensembles - that push territories explored by Charles Mingus to previously unimagined heights, threaded by moments of hard blown fire. Writhing like a stormy sea - skronking and devilish - “Mc Gub Gub, (I–VIII)” is a work of profound complexity that singlehandedly illuminates not only Tchicai’s singular vision as a composer, but also the power and uniqueness of Cadentia Nova Danica during the band’s most vital period.

The two pieces - “Ode to Skt. John” and “Pladepip” - taking up the flip side, were recorded on February 21st, 1970, at the Danish Broadcasting Corporation’s Radio House, and are the outcome of Cadentia Nova Danica’s extended residency there between 1969 and 1970. In many ways, these two recordings offer some of the best insights into the broad collaborative approaches that defined the band, in this case encountering them working with Danish experimental composer, Svend Erik Werner, who was among the earliest in his country to embrace stylistic pluralism and the use historical forms within a modern context. “Ode to Skt. John” - based on aspects of Gregorian music - was penned by Werner, incorporating heady improvisation by the members of Cadentia Nova Danica, this time made up by Tchicai, Sune Weimar, Hugh Steinmetz, Theo Rahbek, Christian Kyhl, Michael Schou, Morgens Bollerup, Ole Kühl, Torben Enghoff, Mauritz Tchikai, Kjeld Ipsen, Willy Jaegert, Ole Matthiessen, Ole Thilo, Pierre Dørge, Steffen Andersen, Jon Finse, and Clause Bøje. The piece is a fascinating binary of the composed and improvised, utilising the band’s large scale to introduce a remarkable sound within its slow progressions and furious, driving free moments, in this incredible meeting of worlds.

The album’s final piece, “Pladepip”, is arguably its most historically significant: an entirely singular piece, unlike anything in Tchicai’s recorded canon as his foray into musique concréte. Drawing upon two recordings of full-band improvisations by Cadentia Nova Danica, for its creation Tchicai also gouged the surfaces of 78rpm records in his collection to skip and create repeated phrases and patterns, creating a stunning sound collage of hard angles and abrupt phrase, that creates a striking counterpoint to the band’s flowing improvisations that bookend those passages. The result is an engrossing listen and easily one of the most unique and culturally important gestures in the entire history of musique concréte.

Truly incredible, Alga Marghen / Formalibera’s vinyl pressing of this never before released body of recordings, made by John Tchicai’s Cadentia Nova Danica, in Copenhagen between 1969 and 1970, offers an unprecedented window into one of the most important groups working in Europe during that period, significantly expanding their rare and slim discography to date. Accompanied by extensive exploratory liner notes by veteran jazz writer, Ed Hazell, this is easily one of the most historically important archival releases of the year and is impossible to recommend enough. Absolutely essential on every count.

2 Of Clubs may have enjoyed only a brief recording career, but Linda Parrish and Patti Valentine left behind a remarkable body of work. This 10-inch vinyl mini-album gathers their complete recordings for the first time, including every Fraternity Records release and two previously unissued tracks discovered in the label’s tape archive.
The duo became local favourites in Cincinnati during the mid-1960s after meeting while performing at the popular Guys & Dolls nightclub, accompanied by the Driving Winds, led by Linda’s husband Carl Edmondson. Discovering how well their voices blended, they joined forces as 2 Of Clubs and soon caught the attention of Fraternity Records founder Harry Carlson, who signed them to the label with Edmondson acting as producer and manager.

Anderson .Paak returns with K-POPS! (Music from and Inspired by K-POPS! Motion Picture), a bold cross-cultural soundtrack accompanying his Netflix directorial debut. Featuring an all-star lineup including G-DRAGON, aespa, JID, DEAN, NMIXX, and members of SEVENTEEN, ATEEZ, and i-dle, the 17-track project blends K-pop, R&B, hip-hop, and soul into a vibrant celebration of music and storytelling. More than a soundtrack, K-POPS! captures the spirit of collaboration, connection, and global creativity at the heart of the film.

Lange vergriffen, jetzt in einer neuen Auflage mit Obi erhältlich, Transparentes Doppelvinyl in Orange und Blaugrün. ,A Certain Distance" (2009) gilt als das vielleicht beliebteste Album von Lusine, auf dem unter anderem die bahnbrechende Single ,Two Dots" zu finden ist. Seit seinen frühen Veröffentlichungen als Lusine bilden Jeff McIlwains elektronische Experimente eine der vielfältigsten Diskografien der letzten anderthalb Jahrzehnte. Mühelos verwischt er die Grenzen zwischen Techno, Electro-Pop und experimenteller Komposition - die Arrangements des in Seattle ansässigen Produzenten sind akribisch konstruiert, aber auch voller Emotionen und Seele. ,Aber noch nie war das Seltsame so unterhaltsam wie auf A Certain Distance. Die Mischung aus Ambient, experimenteller Electronica, üppigen Melodien und durchdachten Beats sorgt für fesselnden Hörgenuss _ das Album hat zudem eine filmische Qualität. Bilder strömen in deinen Kopf, während du zuhörst - ein Soundtrack zu tausend imaginären Szenen." - Clash Magazine

Die Deluxe-Vinyl-Edition des letzten Albums von TBF. Enthält die zwei LPs (Horrorful Heights) plus eine weitere LP (Horrorful Offal) in einem schönen Schuber mit Stanzung sowie eine Download-Karte. Diese besondere Deluxe-Ausgabe vereint "Horrorful Heights" mit dem begleitenden Bonus-Album "Horrorful Offal" (11-Song-Extra-Album mit Outtakes und Sessiontracks). Horrorful Heights markiert ein beeindruckendes neues Kapitel im umfangreichen Werk von The Bevis Frond und zeigt die anhaltende Kreativität des Songwriters, Gitarristen und Frontmanns Nick Saloman, der nun in ein weiteres Jahrzehnt als Musiker startet. Seit langem als eine der markantesten Stimmen des britischen Underground-Rock etabliert, verfeinert Saloman weiterhin die Qualitäten der Band aus melodischer Psychedelia, drahtigen Gitarrenepen und Songwriter-Kunst. Einer der zugänglichsten Einstiege in die Bevis Frond Welt, welcher alle Stärken zu einem zusammenhängenden, lebendigen Ganzen vereint. Das Album bewegt sich fließend zwischen klirrendem Psych-Pop, schweren Gitarrenriffs und pastoralen Träumereien. Die Bandbreite des Albums ist groß, aber klar definiert. "Draining The Bad Blood" erinnert an den klassischen Bevis-Frond-Stil melodisch inspirierten Gitarrenpops der 60er Jahre, "Space Age Eyes", eine prägnante neunminütige Odyssee, verweist auf die transzendentalen Erkundungen des elektrischen Miles Davis der 70er Jahre. Der mit Sitar untermalte Titeltrack driftet durch rauchige Psychedelia mit mehrstimmigem Gesang und geschichteten Tablas - ein liebevolles Echo der Headshop-Mystik, mit der Saloman während der gesamten Bandgeschichte gespielt hat. An anderer Stelle verbindet "Mossback's Dream" lysergische Leads mit der treibenden Energie des amerikanischen Hardcore der 80er Jahre und schafft so einen Hybrid, der sowohl zeitlos als auch völlig eigenständig wirkt. Weitere Höhepunkte sind das von den Byrds beeinflusste "Buffaloed", das wirbelnde "Silver Insects" und "That's Your Lot", ein rasantes Feuerwerk melancholischer Euphorie und einer der unmittelbarsten Songs des Albums. Obwohl eklektisch anmutend, ist es ein fokussiertes Porträt von The Bevis Frond im Jahr 2025 - vital, melodisch und frei von Nostalgie. Saloman beschreibt die Sammlung ganz einfach: die besten Songs, die er in den letzten Jahren geschrieben hat, entstanden ohne Zwang und ganz instinktiv. Das Ergebnis ist ein Höhepunkt aus der Spätphase einer der stillsten einflussreichen Underground-Bands Großbritanniens.

It’s no disrespect to the man to not believe, in part or in whole, every word that Ray Wylie Hubbard writes, sings, or speaks — and frankly, he’d probably respect you a little less if you did. As celebrated songwriters of the outlaw poet/down-home-country-blues persuasion go, Hubbard’s credibility is unimpeachable. And to be fair, even as a somewhat notorious raconteur, his overall truthiness is a lot more bankable than your average politician or fundamentalist grifter.

But fold your cards every time he goes all in across a table from you, or swallow as fact every nugget of wisdom he sharpens into verse or stretches into a yarn without catching the gleam in his eye or wry tell between the lines, and odds are you’ve been played. But honestly, that’s all just part of what makes Hubbard so damn fun. “You know, a lot of artists when they put out a record, they go, ‘This is the best record I’ve done up to this point,’” the Americana legend considers sagely after a pause when asked how to best sum up Reel 2 Reel 4 Real, his 20th album in a recording career stretching back to the mid-70s. “But I’m not going to say this is the best record I’ve done. I’ll say it’s the best record I’ve ever heard.” No matter how many awards and Hall of Fame inductions others might honor him with (he’s a member of both the Austin Music HOF and the Texas Heritage Songwriters HOF), Hubbard never swaggers or sings his own praises without keeping his tongue planted firmly in cheek.

But after brushing aside his bluff with a chuckle, Hubbard gets real. “I am very proud of it,” he answers sincerely. “Everybody that played on it put a lot of work into it, and it just felt right doing it. I’m very grateful.” Set for release August 21, 2026 (with the first taste, “Cassette Mix Tape,” dropping May 29, followed later this summer by a second single, “Dog or Wolf”), Reel 2 Reel 4 Real marks Hubbard’s return after a two-album major-label joyride on Nashville’s Big Machine Records. “They treated me great, and did everything they could,” he says, “but it was kind of limited because I’m an old guy. I’m no longer a country hunk, you know?”

"Nido de Espinas" is the fourteenth studio album by Buitres. Uruguayan Punk Rock band formed in 1989, heirs to the legacy of the iconic Post Punk band "Los Estómagos" It began to be composed in 2022 and was recorded in early 2024. The texts are inspired by the Diary of a Desperate Heart, an arbitrary overflow of feelings written disorderedly with an improvised rein, which demanded exhaustive work from the band to reach maximum expression in each track. Artistic production was handled by Ale Vázquez (Spinetta, Intoxicados and more) and Sebastián Teysera (La Vela Puerca), who landed the runaway chariot set on fire. buitres formed in late 1989, following the dissolution of the group Los Estómagos, a band that sparked a new era of Uruguayan rock in 1983. José "Pepe" Rambao, a close friend since childhood, joined the Parodi-Peluffo duo. Buitres has toured extensively throughout the entire Uruguayan territory and has participated in massive international shows both in Uruguay and abroad. Additionally, they have completed six tours across Spain, where the album En la Vuelta (CD and DVD) was released. Their discography features 14 studio albums. They have released three live albums, two documentary DVDs, and three live DVDs. Three books have been published about the band. The band has received numerous acolytes and awards, but most importantly, after more than thirty years, they continue to maintain a close and emotional relationship with their audience - one that has endured throughout their history and grows over time. For this reason, the band dedicates their absolute best effort to every new work and every performance. "Nido de Espinas" is their new Studio album. These are wild and excessive times. Perhaps this statement applies to our life history just as it did to ordinary people in bygone eras. However, we assimilate the changes, adapt, and move forward. Nothing new under the sun. We grew up assuming static realities without trying to understand that they were newborn and would not last forever. The "forever" was declining into premature obsolescence. Every accessory is fleeting in the dizzying change of language.

Everything Beautiful Died Early is a raw and cinematic collaboration between Washington D.C. rapper Ankhlejohn and Bronx producer V Don — a meeting of two uncompromising underground voices. Blending Ankhlejohn’s vivid street poetry and unfiltered introspection with V Don’s dark, soulful production, the album captures the tension between survival, ambition, and loss. DC meets the Bronx across a body of work that feels both grimy and reflective, rooted in East Coast tradition while pushing its own unmistakable atmosphere.

The project also features standout guest appearances from CRIMEAPPLE, Babymaine, and Sha Hef, adding even more depth to the album’s cold, streetwise aesthetic.

Re- Release in Transparent Blue Curacao Vinyl

With governments finally admitting that UFOs do in fact exist, and humanity attempting to heal from a state of recent crisis, the timing couldn’t be more appropriate for the newest addition to the HYPOCRISY catalog: WORSHIP, due to be released Fall 2021 via Nuclear Blast Records. Aptly titled, the album cover shows a mass of humans reaching up mindlessly to the sky as glowing spaceships shaped like the HYPOCRISY crosses sigil beam down to descend upon earthen civilizations and Mayan temples. Designed by artist Blake Armstrong (Kataklysm, In Flames, Carnifex, etc.), WORSHIP’s artwork speaks to the history of the relationship between humanity and extraterrestrials. “They’re coming back to collect,” explains founder and HYPOCRISY mastermind Peter Tägtgren.
A track entitled CHEMICAL WHORE breaches the subject of pharmaceutical addiction, and those who engineer it. “We are all chemical whores. We regularly consume prescriptions and drugs because we think we need it; we use one pill to heal the damage done by another medicine... it’s a vicious cycle.” Musically, it’s the only song that was written by all 3 core members of the band and translates into a recognizable, mid-tempo HYPOCRISY sound much like ERASER or FRACTURED MILLENIUM. Traveling from Sweden to Russia, the band also shot an official music video for CHEMICAL WHORE.
The DEAD WORLD music was written by Peter Tägtgren’s son, Sebastian. “We actually started to write an album together, something like 11 or 12 songs, but we never put any vocals in there and we just sort of set it aside. Then when I started writing HYPOCRISY I realized I really liked the song… it feels fresh. I think my kid got some new blood in there.” While the song comes equipped with a modern feel, the writing is still old fashioned at its core. Going into detail about the illuminati and black ops government, the lyrics examine how miserable these figureheads and theories can make us. “Call it fantasy, call it sci-fi, there are plenty of conspiracies in the world but I find these ones interesting,” explains Tägtgren.
GREEDY BASTARDS is another track outlined by simplicity and catchiness. Chugging riffs encapsulate a sound that almost verges on the realms of thrash while still keeping its feet firmly planted in the world of death metal. The lyrics touch on the greed and methods of control that we see various governments around the world today; how they manipulate people against one another and abuse the masses.
For Tägtgren, the inspiration to write new HYPOCRISY comes in waves. “I believe we were out on tour for another project and I began to get hungry again. I started spitting out some new riffs and when I had 7-8 songs done, I invited the rest of the guys to join me and contribute, and from there we started putting everything together. We had a break for a few months, continued recording, went back on tour… it never stops. There was a lot of jumping back and forth, and then COVID came and things got really weird.”
Tägtgren was one of the many musically inclined who was forced into sudden isolation upon the onset of COVID 19, only for Tägtgren, this is common practice when creating new songs. “A lot of things in the world stopped, and it was time to finish everything I hadn’t finished.” As usual, all recording and mixing took place at Tägtgren’s home studio in Sweden.
It has been 8 long years since the last record, and HYPOCRISY fans can feel the itch. WORSHIP is 11 tracks of precise, ferocious musicianship. Commonly inspired by the fusion of the modern and the ancient, HYPOCRISY has once more found a way to combine innovative ideas with classic sound in order to deliver something metalheads can enjoyably consume with awe and brutal vigor. HYPOCRISY is Peter Tägtgren (Lead Guitar & Vocals), Mikael Hedlund (Bass Guitar), and Reidar “Horgh” Horghagen (Drums).

Keith Freund’s music occupies a space where careful musicianship and homebrewed experimentation meet and shake hands. On “Window Left Open,” spacious melodies drift through dense fields of electronic activity: saxophone lines rise above buzzing circuitry, percussion flickers at the edges of the frame, and clustered glitch textures dart through the music like insects in tall summer grass. Every sound feels vividly animated, a charged part of the same mercurial ecosystem.

Freund’s talent lies in balancing warmth and unpredictability with remarkable ease. Patient motifs recall the exploratory spirit of early folktronica, while bit-reduced textures, degraded loops, and idiosyncratic synthesis techniques continually reshape the terrain beneath them. Rather than treating acoustic and electronic elements as opposing forces, Freund allows them to intermingle until distinctions dissolve, creating compositions that reward close listening while retaining immediate warmth. This record finds Freund working with a fully formed vocabulary that is truly his own, transforming glitch, melody, improvisation, and atmosphere into songs that are both fundamentally curious and disarmingly engaging.

,Giraffe" ist das neue Gemeinschaftsprojekt von Dave Harrington (Darkside), Robert Walter (The Greyboy Allstars), Spencer Zahn und Kosta Galanopoulos (Rio Kosta). Ihr Debütalbum ,The Towering Inferno With Bongo Drums" vereint spacige Psychedelia, jazzinspiriertes Zusammenspiel und freie Improvisation zu einem fließenden, experimentellen Hörerlebnis. Das Album wurde an einem einzigen Tag bei 64 Sound in Los Angeles aufgenommen und fängt vier versierte Musiker ein, die sich in einem instinktiven Groove vereinen.

From São Paulo, Brazil comes CSS, the first South American band Sub Pop has foisted upon the global marketplace. Cansei de Ser Sexy, Portuguese for “Tired of Being Sexy,” is improbably, unbelievably and nearly eponymously their debut. It is a thick, pulsating thing full of haphazard synths (“Alala”) and a come-on of call and response that tears down any attempt at posturing (“Art Bitch,” “Patins”). It is equal parts rock mantra and throwback into something new, transcending boundaries of genre and geography.

It careers full speed into dance territory, into the unknown and untouched, to emerge all hot and bothered with wild electro-rock. Pretension? Absent. Friction? Probable. They are the un-pretension: unfinished, exposed, and throwing all they have right at you. It is quick, tightly-wound, unfastened and supreme. Not a sneer but a giggle. To paraphrase from the Portuguese: “Not only music, but a new way to live with it. An unfinished group that, unlike preserving itself until getting ‘to the point,’ was bravely showing off, turning everything into style.” Fashion. Art. Design. Cinema. Panties thrown and received. Micro shorts and dirty legs. How does it happen? It happens like this…

Hand Me My Flowers brings together one of underground hip-hop’s most relentless voices with one of the genre’s most revered producers. The result is a hard-hitting collaboration that bridges generations, uniting Flee Lord’s raw street narratives with Buckwild’s unmistakable golden-era production pedigree.

A cornerstone of the legendary Diggin’ In The Crates (D.I.T.C.) collective, Buckwild has spent decades shaping the sound of East Coast hip-hop, crafting classics for artists such as The Notorious B.I.G., O.C., Big L, Fat Joe, Nas, and countless others. On this project, he delivers a masterclass in gritty, soulful production—dusty samples, hard drums, and cinematic arrangements that provide the perfect backdrop for Flee Lord’s uncompromising lyricism.

Throughout the album, Flee Lord sounds right at home over Buckwild’s expertly crafted soundscapes, weaving vivid tales of survival, loyalty, sacrifice, and perseverance. His commanding delivery and relentless work ethic are matched by production that honors hip-hop’s foundations while remaining timeless and relevant.

More than a producer-and-emcee collaboration, this album represents a meeting of eras. Buckwild’s decades of experience and crate-digging mastery merge seamlessly with Flee Lord’s modern underground sensibilities, creating a project that feels both classic and contemporary. Every track reflects a shared commitment to authenticity, lyricism, and the enduring spirit of New York hip-hop.

For longtime fans of boom-bap and newcomers drawn to today’s thriving underground scene, this collaboration stands as a powerful reminder that real hip-hop never goes out of style.

There's a confidence in calling something 'cheesy' before anyone else gets the chance to. The Lazy Eyes lean into it, they have an understanding that sincerity, when left out in the open long enough, will always risks ridicule. But what's remarkable on Cheesy Love Songs is how little they flinch for a young band dropping a sophomore album.
This is a record that understands its inheritance. You can hear the ghosts of bedroom psych, of records made by young people who discovered that distortion could double as a shield, that reverb could make even the most fragile confession feel infinite. But Cheesy Love Songs doesn't hide inside those textures, it lets them bloom until they almost overwhelm the room, like a feeling you tried to downplay that instead insists on becoming the only thing you can hear.

The kaleidoscopic guitars, the melodies that feel like they've been unearthed rather than written, the way it treats love as both spectacle and small disaster. These are songs that circle the same emotional drain: wanting too much, too quickly, and then sitting in the quiet aftermath of having said it out loud. The band doesn't pretend that intensity is sustainable; instead, they document the crash with the same care as the ascent.

In that way, Cheesy Love Songs feels like a document of early belief — the kind that arrives before irony calcifies, before restraint feels like wisdom. It's a record made by a band still willing to risk the embarrassment of being 'cheesy' in pursuit of something louder, brighter, and more honest than cool. And maybe that's what makes it an iconic modern Australian sophomore album: not just that it captures a moment in time for the band, but that it refuses to outgrow it.

The West Coast's contribution to hardcore punk is undeniable. That tradition of aggression, passion, and scrappy melodicism continues with The Barbarians Of California, an engaging new manifestation of iconoclastic spirit and true bombast. Born from the shared passion of Aaron Bruno (AWOLNATION) and his longtime engineer Eric Stenman - who cut his teeth in the same Sacramento community that eventually launched diverse and disparate acts like Deftones, Far, Will Haven, Team Sleep, Hella, Dance Gavin Dance, Death Grips, and Trash Talk - the spirit of the underground and the personal catharsis delivered through metallic hardcore never left either of them. So, when Aaron learned that Eric crafted a batch of throwback bangers combining impassioned angst with modern sensibilities, he wanted in immediately. The Barbarians of California was born.

In 2024, the band released their debut album, And Now I'm Just Gnashing My Teeth, and celebrated with a high-energy show at the iconic Troubadour in Los Angeles, cementing their place in the hardcore scene's next chapter. Since then, they've continued to build momentum with headline shows across LA, a summer 2025 arena tour with Deftones and other festival appearances that brought their explosive live presence to a wider audience. Dropping two new singles in 2025 including a collaboration with Keith Buckley (Every Time I Die/Many Eyes), The Barbarians Of California are gearing up in 2026 for the release of their sophomore album, MEGATONS. With their second full length, The Barbarians of California are unleashing fresh chaos straight from the sun-soaked, teeth-gnashing heart of the Golden State. Blending raw hardcore energy, razor-sharp riffs, and that signature mix of ferocity and tongue-in-cheek humor, these new songs hit like a caffeine-fueled fever dream.

For nearly three decades, MARTYRIUM have carried the banner of blackened thrash metal through the Dutch underground. Unconcerned with trends and passing fashions, the band have remained committed to a sound built on aggression, speed and atmosphere. "Malevolent" continues that path with confidence. Rooted firmly in black/thrash metal and sharpened by occasional death metal influences, the album delivers eleven tracks where controlled chaos meets total destruction. Every song serves the greater whole, resulting in a cohesive album that remains furious from beginning to end. There are no compromises and no detours on Malevolent - just a band doing exactly what it has believed in since 1996.

"Music to be heard with ears. Through and through. Over and over. No coherence or meaning. A slow rotating dial of information. In and out of focus between benches, beams, buffs, busses, butter, bars, bees, bumps, beens and boons. Luminous eyes around a small fire. Waiting for something to happen. These two movements. With 10 eyes divided onto 6 faces. Making small sounds as they roll clockwise. Then over the table... stumbling into everyday ghosts"

Atlantic was the brainchild of guitarist and songwriter Simon Harrison. Following a successful ghost-writing career and his bands Stranger, Simon wanted to make an album in his favoured AOR/Melodic Rock genre. Heavily influenced by bands like Whitesnake, Journey, Bad English, FM, Heartland and Dare he set about writing the songs that became the first album entitled ‘Power’.
"Power" was first released as a CD back in 1994 on the Music For Nations label and subsequently re-released in 2008 on Escape Music (ESM176). Atlantic raised many eyebrows with this release which can be ranked alongside bands such as “Heartland” "Dare" and "Shy" (Tony Mills also guests on the album!).
Band members include Simon Harrison on guitar and keyboards and the great Phil Bates (Trickster/Quill) on lead vocals, guitars and keyboards. The album had so much potential at the time it is a shame that it did not receive the recognition it richly deserved. The band came back with a killer brand new album in 2024 title “Another World” also on Escape Music ESM388
A true British Classic!

This album remains a fan favorite for its intimate atmosphere, featuring Susan's trademark soulful and breathy vocals set against tasteful, uncluttered arrangements. The tracklist is a masterclass in light jazz and soft pop, featuring definitive covers of eleven classics such as "Close to You," "Stay Awhile," "Killing Me Softly With His Song," and "Love Will Keep Us Alive." Every performance is delivered with a natural, immersive presence that showcases her impeccable phrasing and emotional depth. An important release in Susan Wong's career, Close to You has been remastered and will be released on 180g One- step Pressing vinyl LP, MQA-CD and Stereo Hybrid SACD, with new liner notes.

Robag Wruhme is the solo alias of Gabor Schablitzki, a quietly singular voice in minimal and house music since the early 2000s. His sound is built on precision without ever feeling rigid. Instead of chasing big moments, he lets tracks unfold through subtle movement and carefully balanced tension, always evolving but never rushing.

That same approach runs through this EP. It's about letting momentum emerge naturally, allowing each element to settle into place while the energy continues to build.

Across four tracks, Robag creates a world where rhythm and atmosphere constantly shape one another. The arrangements are rich with detail, yet nothing competes for attention. Even in the densest passages, every sound feels deliberate.

OLAHNI opens patiently, with ghostly textures and hypnotic vocal fragments setting the tone before the bassline slowly comes into focus. The arrangement keeps evolving, with subtle details drifting in and out as the groove steadily deepens.
IFTHAH takes things into darker territory, driven by a heavy rolling bassline and a looping motif that never quite loosens its grip, adding weight without disrupting the flow.

On FUMAXOHN, the groove remains tight while the mood shifts. A warm harmonic layer gradually emerges as the vocals dissolve into texture, drawing the track towards something more melancholic.
PENTHO closes the EP in its most direct form. Stripped back and driving, it lands with quiet confidence, bringing the journey to a close while holding onto the hypnotic tension that defines the record.

It's been a pleasure bringing this EP together, and we're excited to finally share it with you. We hope these four tracks draw you into Robag's world as much as they have us.

djfix joins Craigie Knowes for his label debut. The moodiest of club records packed with 4 deep, dark and bouncing jams. Every track has its own identity and stands out on the dancefloor. Title track ‘The Dial’ featuring long-time collaborator Gbar rolls along on top of a thick and voluminous bassline, haunting leads echoing through the night. Signal & Shadow progresses into a broken beat somewhere between electro and garage, wobbling bassline echo-locating the silhouettes on the dancefloor – the perfect track for DJs looking for that special something to let their crowd breathe during the madness. Twin is a euphoric, hedonistic trip that builds and builds – endless percussion pulling the rhythm effortlessly into your mind. Animals as Teachers rounds the record off with a rocking 4×4 club-ready stomper, peak time business indeed

- After the collector 2024 Record Store Day 35th Anniversary edition & Special CD boxset of the seminal 1989 album, the album will be available again to everyone from July 31st , 2026 as 1CD & 1 LP Black new permanent editions.
- Produced by Stephen Street (The Smiths, Blur, The Cranberries, New Order).
- Vinyl mastered by Peter Beckmann at Technology Works

- July 31st also marks the long-awaited return of legendary Manchester outfit The Durutti Column, with "Renascent" their first new studio album in over fifteen years which already get a very strong response & support from key traditional media - with major features confirmed for Pitchfork, The Guardian, MOJO, Monocle and Record Collector to name a few.

- Many new champions citing the band as an influence (Blood Orange, Harry Styles, The Avalanches, Mark William Lewis).