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Promising label newcomer IGLO returns to Figure with his second EP this year, building on a distinct sonic identity shaped by a background in classical music and live performance. Across five tracks, he further refines his mix of atmospheric depth, precise rhythms, and melodic nuance.
This time, his own voice takes on a more central role, adding a personal and expressive layer to the productions. On opener Computed Love, restrained, longing vocals blend into squelchy synths and minimal grooves - hauntingly beautiful, yet gritty with rumbling machine funk. Determined follows with a more menacing tone, its sharp percussion cutting through a bleak, shadowy atmosphere - perfect for building tension on the floor.
On the flip, IGLO switches up the mood: Enter the State runs on hypnotic loops and chopped-up piano riffs, peppered with cheeky, spoken-word style vocals that nod to ghetto house traditions. It breaks into an irresistible, swinging groove that hits with full force.
Offering a smooth counterpoint, Enlighten drifts into dubby terrain. Soft, ricocheting vocal snippets and warm chords conjure a hopeful, human glow - a bouncy balm for the soul, without losing its forward momentum.
Digital bonus track Find Yourself closes the EP on a spacious, almost sci-fi note - twinkling synths and airy melodies float above crisp textures, like a breath of fresh air at the end of a long night.With X49, IGLO deepens his connection with Figure and sharpens his unique voice - equally grounded in introspection and dancefloor impact, continuing to shape a sound that's thoughtful, bold, and marks him as one to watch.

This is a live album by the legendary soul singer Marvin Gaye, released in 1963 that captures the energy and charisma of Gaye's live performances during a period when he was establishing himself as one of Motown's premier artists

The album includes live renditions of some of his early hits and popular songs of the time and the live performances showcase Gaye's dynamic stage presence and his ability to connect with the audience. "Recorded Live On Stage" features a mix of upbeat tracks and soulful ballads, refecting the versatility of Gaye's vocal and musical style: it was released during a formative period in Marvin Gaye's career helped cement his reputation as a compelling live performer, which would be further solidifed with subsequent recordings. The album is considered an important document of Marvin Gaye's early career, capturing a time when he was evolving into a major star and his ability to bring a different dimension to his studio recordings through live renditions: "Recorded Live On Stage" remains a cherished album for Marvin Gaye art lovers and for those interested in the history of live soul music performances.

For Earth Below 50th Anniversary Edition: 4-Disc 50th Anniversary Edition: Original 1975 Mix (2025 Remaster), 2025 Extended Stereo Mix, Outtakes & Rarities, Live in Los Angeles, 1975. Housed in DVD style media book with extended liner notes by David Sinclair featuring interviews with Robin Trower and Bill Lordan and rare photographs.

For Earth Below, the third studio album by British guitar legend Robin Trower was released in 1975 and is considered one of his most prominent works from his time as a solo artist after leaving Procol Harum. For Earth Below continued to build on the success of his previous album Bridge of Sighs, solidifying him as an arena touring artist in the States, reaching number 5 on the Billboard chart.

Following the exit of Reg Isadore, the exciting Bill Lordan (Sly & The Family Stone) joined the band shortly before the recording of this album, giving a new driving force to the outfit.

To celebrate the 50th Anniversary of this classic, Chrysalis Records are proud to present the most expanded edition of the album to date featuring the original album remastered at AIR mastering, a newly unearthed extended stereo mix of the entire record, a disc of outtakes, rarities and BBC sessions with the majority previously unreleased and a newly mixed concert taped live in Los Angeles from the For Earth Below tour, never available in its entirety before.

At the centre of the package is a booklet featuring newly written liner notes by acclaimed journalist David Sinclair and interviews with Robin Trower and Bill Lordan.

Part of the Jean-Pierre Leloir 180 gram vinyl Collection, Time Out, released in 1959, was an unusual album from the start. While most tunes in occidental popular music are in 4/4, alternating with the 3/4 waltz form here and there, Time Out was devoted to rhythms that had never been previously heard in jazz.
Most of the songs were composed by Brubeck himself. However, one of the most catchy melodies, “Take Five”, was a Paul Desmond composition, and it would become the quartet’s most celebrated tune. “Dave Brubeck’s defining masterpiece,Time Out is one of the most rhythmically innovative albums in jazz history”, wrote Steve Huey in All Music Guide, giving the album five stars.

Format Details: 12” matte jacket, orange & blue side A/B effect colour vinyl, dust sleeve & marketing sticker.

Originally released in 2002, Daylight EP was the follow-up to Aesop Rock’s critically-acclaimed Labor Days album, a cult classic released only six months prior. The EP was built around its titular opening song, “Daylight,” one of the standout tracks from Labor Days, and continued expanding upon the range and depth of Aesop’s multi-talented gifts for writing and producing. In addition to the title track, Daylight EP also included its counterpoint, “Night Light,” an alternate version in concept whose paraphrased lyrics simultaneously refer back to– and stand in stark opposition to– the original's, over darker, more menacing production. The tracklist for Daylight EP boasted seven songs plus a hidden track for a total of eight, and collectively featured production by Blockhead, El-P, Blueprint and Aesop Rock himself, as well as guest appearances from Vast Aire (Cannibal Ox) and Blueprint.
At the time of its initial release, Daylight EP was only offered in CD and digital formats, while the vinyl was stripped back, available only as a three-song 12” single. Now, Rhymesayers Entertainment is pleased to present the complete EP on vinyl for the first time ever, pressed on two-color side A/B effect orange & blue vinyl to complement the original artwork. Finally, fans and vinyl collectors everywhere can own this integral piece of Aesop Rock’s legacy and enjoy the genius behind this project.

Peaceful electronic ambient and tribal echo environments. Music that explores feelings of calm, spirituality, and ceremony. Long-form voyages to temple meditations, “trips in search of something,” looking in as looking out.

The artist himself says: “This is an attempt to look into the heads and souls of "unnecessary" people, inconspicuous people, but striving to make the world a better place. People who have lost the horizon and the outlines of reality are desperate and stuck in the middle of nothing... people who cannot accept the rules of this world and unpleasant aspects of daily life, boring and unfair into unreality, other existence... it's all about escapism, rethinking their inner world, and discovering new facets of the soul.”

FFO Jon Hassell, O Yuki Conjugate, Bitchin Bajas, Laraaji, The Chi Factory…

"soft brushes of undefinable sounds and tropical field recordings that almost create ASMR-inducing vibrations in the minds of the listener" - Simon Eliasson

Following the cult success of the first 2 EPs, Common Saints presents the debut album "Cinema 3000", the theme continues, blending soul, funk, and psychedelic influences with the organic sound and rich instrumentation that Common Saints has become known for Conceived in 2020 by writer / producer Charlie J Perry the production approach for Commons Saints consists of him playing and recording real instruments in his London home studio. One mike for the drums, his beloved piano and amps up loud! The album encapsulates the old school recording approach and musicianship the discerning ear craves but with a more modern punch - a true sonic bath for all the connoisseurs out there. Think, UK"s equivalent to Tame Impala and Khruangbin.

Black Hole Superette, the latest album from Aesop Rock, delves into the invisible forces that shape our lives and psyches. It's about the small, often overlooked moments_the everyday experiences that blur the lines between the real and the unreal, waking and sleeping. Aesop's signature gift for transforming the mundane into something dreamlike gives the album a surreal quality, leaving listeners questioning what's truly real as they navigate its vivid, half-remembered imagery. Entirely self-produced, Black Hole Superette is one of Aesop Rock's most technically accomplished works to date. The album's intricate beats and complex structures provide the perfect backdrop for his expansive lyricism, balancing cerebral exploration with emotional depth. From the reflective 'Movie Night' and the eccentric 'Send Help' to the wistful 'Black Plums,' Aesop channels the spirit of a mad scientist, experimenting with sound and concept in ways that defy the ordinary. With a stellar lineup of collaborators that includes Lupe Fiasco, Armand Hammer, Hanni El Khatib, Open Mike Eagle and Homeboy Sandman, Black Hole Superette is dense and kinetic, an album that deftly navigates between complexity and instinct. It's clear this project stands as one of Aesop Rock's most multifaceted and ambitious works yet.

Far Out Recordings continues its reissue campaign of the late Argentinian guitarist Agustin Pereyra Lucena's work with the first-ever vinyl reissue of his singular 1988 private press album, Puertos De Alternativa, now his most sought-after LP. The album features some of Agustin’s most uniquely beautiful compositions, including “Luces de Valeria” and “Preparativos Maritimos,” alongside Baden Powell's “Pequeño Vals” and “O Cego Aderaldo (Nordeste...),” and “Tema Barroco” by his longtime collaborator, Guilhermo Reuter.

By 1988, Agustín had established himself as one of Argentina’s foremost interpreters of Brazilian music. The seventies saw success with his group Candeias, and he gained recognition in Brazil, forming friendships and collaborations with luminaries such as Vinicius de Moraes, Baden Powell, Dorival Caymmi, Toquinho, and Maria Bethania. Following the era of dictatorship in South America, Agustín spent the late seventies and early eighties, living and touring in Norway as part of his European travels with his group Agustín Pereyra Lucena quartet.

Recorded after returning to his native Buenos Aires, Agustin Peyera Lucena’s Puertos de Alternativa emerged from this confluence of diverse experiences and influences, revealing an artist deeply connected to his environment. The album's title, meaning "Alternative Harbours," reflects Agustín's particular affinity for water. He observed that much of his favourite music originated from places with rivers and seas nearby, noting, "There is a flow near water that influences guitar playing for sure."

With a profound connection to both instrument and environment, Agustín’s music is often difficult to place. The album begins rooted deeply in South American soil, drawing clear inspiration from Brazilian guitar masters like Heitor Villa Lobos, Garoto and Baden Powell. But, as it progresses, a sense of journey unfolds, evoking new landscapes and horizons – from the crystalline beauty of glacial Norway to the gentle currents of the Rio de la Plata.

The ensemble on Puertos de Alternativa features notable Argentinian musicians, including drummer Osvaldo Avena, flautist Rubén Izarrualde, and saxophonist Bernardo Baraj.

Mastered by Stuart Hawkes at Metropolis Studios from the original master tapes which had been lovingly kept by Agustin’s nephew José Lucena Perreyra


Tracklist & Credits:

A1. Luces De Valeria (Agustin Pereyra Lucena)
Guitar, Vocals – Agustin Pereyra Lucena
Piano, Bass, Drums, Vocals – Guillermo Reuter
Tamboril – Julio Said

A2. Pequeña Valsa (Baden Powell)
Arranged By Flute – Lucho González
Drums – Osvaldo Avena
Flute – Alejandro Santos
Guitar – Agustin Pereyra Lucena
Tambora – Eduardo Avena

A3. Planicie (El Llano) (Agustin Pereyra Lucena)
Arranged By Flute – Lucho González
Flute – Rubén Izarrualde
Keyboards, Acoustic Bass, Percussion, Arranged By Keyboards – Guillermo Reuter
Guitar – Agustin Pereyra Lucena

A4. Tema Barroco (Guillermo Reuter)
Guitar – Agustin Pereyra Lucena
Percussion – Guillermo Reuter

A5. O Cego Aderaldo (Nordeste...) (Baden Powell)
Guitar – Agustin Pereyra Lucena

B1. Tres Que Quedaron (Agustin Pereyra Lucena, Andrés Laprida)
Drums – Osvaldo López
Flute – Rubén Izarrualde
Piano, Keyboards, Bass, Directed By – Guillermo Reuter
Soprano Saxophone – Bernardo Baraj
Electric Piano, Arranged By – Andrés Laprida
Guitar, Electric Guitar, Vocals – Agustin Pereyra Lucena

B2. Preparativos Maritimos (Andrés Laprida, Agustin Pereyra Lucena, Guillermo Reuter)
Guitar, Vocals – Agustin Pereyra Lucena
Keyboards, Acoustic Bass, Percussion, Arranged By – Guillermo Reuter

B3. Puertos De Alternativa (Agustin Pereyra Lucena)
Guitar, Effects – Agustin Pereyra Lucena

B4. Casi-Numbe (Luis González Cárpena, Agustin Pereyra Lucena)
Bass – Lucho González
Bass Flute – Rubén Izarrrualde
Berimbau – Horacio Veros
Keyboards, Piano, Vocals, Drums, Arranged By – Guillermo Reuter
Guitar, Vocals, Arranged By – Agustin Pereyra Lucena

How would you like to hear it? This project is the brainchild of Andy Baxter, a multi-talented musician and multi-instrumentalist from London. His recording career began in 2018 when he released his first album, Green, on Village Live.

Buoyed by this initial recognition by his peers, he quickly released a second self-produced opus the following year, entitled Dusk. But it was his third LP, Shapes, released by KingUnderground, that took him to the next level.

Conceived during the first period of confinement, Andy played almost every instrument on the album (a few musicians joined in here and there): drums first and foremost, his instrument of choice, but also bass, guitar, keyboards and even the flute, which he had just learnt at the time of the album's creation. Largely inspired by the library music of the 70s, including some of his mentors such as Piero Umilani, David Axelrod and Brian Bennett, the album is nonetheless resolutely modern. But there's no denying the cinematic atmosphere that emanates from his compositions.

From the opening track "We're From Nowhere", with its heavy, funky bass, you get the impression of being plunged into the Harlem blaxploitation of the heyday, and you can't help but see a musical nod to Roy Ayers' "We live in Brooklyn, baby". But you soon realise that far from being a nostalgic musician, Baxter also listens to his contemporaries like Khruangbin and BadBadNotGood, as can be heard on tracks like 'Leaves', 'Odysea' and 'Ikigai', with their atmospheric guitars and Fransesca Uberti's haunting backing vocals, which instantly invite you to travel and escape! But there are times when the mood gets a little tense, like on the more angst-ridden 'Villains', with its almost free jazz flights of fancy. Finally, his drumming also comes to the fore on the last track, 'Stay Free', with its Afrobeat rhythm reminiscent of a certain Tony Allen and evoking creative freedom as a common thread running through his values.

In nine tracks, Shapes takes us on a neo jazz journey that once again demonstrates the vitality of the English scene in this field for several years now! At the start of 2022, Robohands released their latest album, Violet, on the same label, confirming all the good things we thought about them! By allowing a number of musicians to join him on this new opus, Andy Baxter has shown a willingness to work with more accomplished collaborators.

Debut album from French producer Sweetzak, half of the duo Rue des Garderies (whose album was acclaimed by some of the specialist media in 2024: Album of the Year by Inverted Audio ; Juno ; World of Echo ; Soundohm ...). An ambient epic of complex textures, sculpted with emotion and intuition.



Zach writes his dreams, his grand inner music emanating directly from his soul and offering it to the world, guided by his intuition.

Nine abstract, ambient, and celestial tracks, evolving with his sensitivity, conducted like an intimate orchestra, revealing his landscapes and skies.

Sweetzak takes us on a journey within himself and questions our emotions in this first album with complex textures, like a glimpse into what moves him.

Repress!

In the mid-1970s, a force of nature swept across the continental United States, cutting across all strata of race and class, rooting in our minds, our homes, our culture. It wasn’t The Exorcist, Goodbye Yellow Brick Road, or even bell-bottoms, but instead a book called The Secret Life of Plants. The work of occultist/former OSS agent Peter Tompkins and former CIA agent/dowsing enthusiast Christopher Bird, the books shot up the bestseller charts and spread like kudzu across the landscape, becoming a phenomenon. Seemingly overnight, the indoor plant business was in full bloom and photosynthetic eukaryotes of every genus were hanging off walls, lording over bookshelves, and basking on sunny window ledges. The science behind Secret Life was specious: plants can hear our prayers, they’re lie detectors, they’re telepathic, able to predict natural disasters and receive signals from distant galaxies. But that didn’t stop millions from buying and nurturing their new plants.



Perhaps the craziest claim of the book was that plants also dug music. And whether you purchased a snake plant, asparagus fern, peace lily, or what have you from Mother Earth on Melrose Avenue in Los Angeles (or bought a Simmons mattress from Sears), you also took home Plantasia, an album recorded especially for them. Subtitled “warm earth music for plants…and the people that love them,” it was full of bucolic, charming, stoner-friendly, decidedly unscientific tunes enacted on the new-fangled device called the Moog. Plants date back from the dawn of time, but apparently they loved the Moog, never mind that the synthesizer had been on the market for just a few years. Most of all, the plants loved the ditties made by composer Mort Garson.



Few characters in early electronic music can be both fearless pioneers and cheesy trend-chasers, but Garson embraced both extremes, and has been unheralded as a result. When one writer rhetorically asked: “How was Garson’s music so ubiquitous while the man remained so under the radar?” the answer was simple. Well before Brian Eno did it, Garson was making discreet music, both the man and his music as inconspicuous as a Chlorophytumcomosum. Julliard-educated and active as a session player in the post-war era, Garson wrote lounge hits, scored plush arrangements for Doris Day, and garlanded weeping countrypolitan strings around Glen Campbell’s “By the Time I Get to Phoenix.” He could render the Beatles and Simon & Garfunkel alike into easy listening and also dreamed up his own ditties. “An idear” as Garson himself would drawl it out. “I live with it, I walk it, I sing it.”



But as his daughter Day Darmet recalls: “When my dad found the synthesizer, he realized he didn’t want to do pop music anymore.” Garson encountered Robert Moog and his new device at the Audio Engineering Society’s West Coast convention in 1967 and immediately began tinkering with the device. With the Moog, those idears could be transformed. “He constantly had a song he was humming,” Darmet says. “At the table he was constantly tapping.” Which is to say that Mort pulled his melodies out of thin air, just like any household plant would.



The Plantae kingdom grew to its height by 1976, from DC Comics’ mossy superhero Swamp Thing to Stevie Wonder’s own herbal meditation, Journey Through the Secret Life of Plants. Nefarious manifestations of human-plant interaction also abounded, be it the grotesque pods in Invasion of the Body Snatchers or the pothead paranoia of the US Government spraying Mexican marijuana fields with the herbicide paraquat (which led to the rise in homegrown pot by the 1980s). And then there’s the warm, leafy embrace of Plantasia itself.



“My mom had a lot of plants,” Darmet says. “She didn’t believe in organized religion, she believed the earth was the best thing in the whole world. Whatever created us was incredible.” And she also knew when her husband had a good song, shouting from another room when she heard him humming a good idear. Novel as it might seem, Plantasia is simply full of good tunes.



Garson may have given the album away to new plant and bed owners, but a decade later a new generation could hear his music in another surreptitious way. Millions of kids bought The Legend of Zelda for their Nintendo Entertainment System back in 1986 and one distinct 8-bit tune bears more than a passing resemblance to album highlight “Concerto for Philodendron and Pothos.” Garson was never properly credited for it, but he nevertheless subliminally slipped into a new generations’ head, helping kids and plants alike grow.



Hearing Plantasia in the 21st century, it seems less an ode to our photosynthesizing friends by Garson and more an homage to his wife, the one with the green thumb that made everything flower around him. “My dad would be totally pleased to know that people are really interested in this music that had no popularity at the time,” Darmet says of Plantasia’snew renaissance. “He would be fascinated by the fact that people are finally understanding and appreciating this part of his musical career that he got no admiration for back then.” Garson seems to be everywhere again, even if he’s not really noticed, just like a houseplant.

Black Josh continues to carve out his own lane with YSL Bootleg, a project that encapsulates his unique presence in underground rap while setting its sights far beyond any imposed labels. This is a release built on the foundations of collaboration and a genuine community of music makers—his years spent with Levelz, the legendary Manchester-based collective that blurred the lines between rap, grime, and rave culture, shaping a generation of artists, and Cult of The Damned, a crew of rappers who raised him, cultivating an audience that has seen him regularly pack venues and tour the UK, AUS and NZ.

The project captures Josh’s signature blend of sharp wit, undeniable Mancunian cadence, and layered references that land harder for those from the North West. It’s the next step for an independent artist who has never signed a record deal yet has amassed millions of streams across tracks like Paul Scholes, Own Ting (featuring Eliza and Jesse James Solomon), and the Skepta-produced, Cigaweed.

This is the first full-length project Josh has released since supporting Danny Brown on tour, an opportunity that saw him sharpen his already unruly stage presence under the mentorship of one of rap’s most unpredictable voices. Their pairing made perfect sense—two outspoken, off-kilter artists with a mutual disregard for convention. That energy is embedded in YSL Bootleg.

The project includes Council Pop featuring Sly Moon, a track that has been doing the rounds since its release last year. A lead single, Aw, Here it Goes, drops Friday February 28th ahead of the full release.

Garfield (track 8), incorporates a genuine jazz breakdown—an unexpected but fitting evolution from the days of sweaty, beer-stained basement shows that were a rite of passage for a young Black Josh. The production across the tape reflects Josh’s versatility, with tracks produced by Blah mastermind Lee Scott and longtime collaborator Sumgii.

With YSL Bootleg, Black Josh once again proves that his music is on his own terms—crafted with his peers, rooted in Manchester but designed to travel far beyond.

Bobby Lyle is a keyboard legend from the fusion period of jazz in the mid to late 1970s. He was the pianist with Young Holt Unlimited and played with Jimi Hendricks, booked to go on the road with him just ahead of the untimely death. In 1974 he moved to Los Angeles and went on the road with Sly & The Family Stone, and then through dates with Ronnie Laws he met ex-Crusader Wayne Henderson who took him to Capitol Records where this, the first of three iconic albums was released in 1977. Bobby also became Wayne’s keyboard player of choice on his solo albums and productions through the remainder of the 70s and early 80s, contributing to the ‘At Home Production’ sound which defines these albums. “The Genie” was rediscovered in the ‘rare groove’ period of the 80s and is from which Bobby gets his nickname for the lightning pace and magic of his playing. This album is ultimate jazz funk from a period that gave us artists like Lonnie Liston Smith, Joe Sample and Bob James. Bobby still tours to this day with artists like George Benson and Anita Baker.

This is the second release that DJ Diplomat made all the way back in the early 90’s. His first release was repressed by Vinyl Fanatiks in 2019. This second repress we are doing for him was originally recorded in 1993 and engineered by Secret Squirrel AKA Hellfish who went on to create the Deathchant label in 1997, a label which Diplomat also recorded for. He was also responsible for the mega mixes on the Street Sounds electro series when it was relaunched in the noughties.

Enthused by the support his first repress received Will Diplomat decided to get back into the studio and start making fresh hardcore that sounded like it was made back in the day for the Vinyl Fanatiks sister label Amen Brother. His first release sold out many moons ago but his collab with former partner in the old 1993 hardcore group NARC (DJ Beagle) under the name Diplomat & Beagle is still in stock via Sequence.

Now check his examples of many samples!

Planet Rhythm & Derailed Records proudly present the next vinyl release in a series of fou, this time featuring the highly respected artist Re:Axis.

We're excited to have him on wax and are truly pleased with how the release turned out.





e B3 All That Is Ending

It’s been a mere two months since Gaz released his first EP after coming back from a debilitating addiction to Greggs sausage rolls. Despite this long road of recovery, he has kept himself out of trouble and returned to furnish us with four more slabs of Steak Baked Garage Bakes!
Gary Loves Garage is a track of such pure Garage that if you knew how to take a m7/9 chord and pitch it about a bit you would be in the same ballpark. A lot of the Deep Garage Dads from his area Whatsapp Gary and on occasion, sit outside his house desperate for the library of m7/9 pad samples which Gaz has lovingly built up over many years on multiple Zip Disks. Of course, Gary would never share these m7/9’s as they form the backbone of his productions and if they got into the wrong hands there would be implications.

Gary gets a rare trip to NYC on Gary Visits NYC (BA Premium Economy). As the name suggests, Gaz splashed out on a British Airways Premium Economy ticket from Heathrow Terminal 5C but unfortunately Gaz got hammered in the Wetherspoons and didn’t realise that a 5C departure meant you had to get on the underground rail connection. He missed his flight.

Gary’s SP1200 - still a bone of contention for Gary with the lack of funds in his current life meaning an SP1200 is way out of reach. He has multiple ex-wives and various children which prove a drain on the monthly finances.

Finally -Gary’s Pad Patterns could be a paean to the aforementioned Zip disc, one of Gaz’s favourites! Zip disc 4 of 8. This has his best m7/9 chord samples on it and actually has not left the Zip reader since 1999 - apart from that one time when Gaz had to change the SCSI cable.

It happens everytime. As soon as we get the news that Lewis Fautzi, label owner, will release with us, his own imprint, the excitement is hard to describe. First of all, his vision makes him one of the most exciting artists in the scene and last but not least, he's always able to surprise us. Leading us through his own landscapes and rythms, Lewis creates a world which is very much of his, with a motion and a pace that are remarkable and hard not to notice. This release he's been preparing for a while is another masterpiece that will echo in our minds for a long time. Through beatless pads or fierceful kicks, the precise cutting edge of his creations are a delight to our ears and makes us all embark in a journey with no limits or boundaries.

OVERVIEW: Daniel Johnston’s legacy is legendary. The quintessential DIY artist started his career in Austin, TX whilst hawking cassettes from his day job at McDonald’s. The rest, as they say, is history and fans of US alternative music from the 1980s onwards know about his work and the people he went on to inspire. This, however, is not a biography; it’s a simple piece of communication to let people know that from Friday 4th July the second pressing of Daniel’s radio sessions recorded for the BBC will released on translucent A project inspired by BBC Radio 6 Music’s Marc Riley, the tracks have been licensed from the BBC and approved by Daniel’s family, management and charity. The sessions were spread across an eight-year period with two sessions for Rob Da Bank and three with Marc Riley (both of whom are executive producers of this album). A few bootleg recordings of these sessions have been available across the years but now they have been lovingly mastered and cut by Frank Arkwright at Abbey Road Studios in London. Daniel was a lifelong fan of The Beatles and the overwhelming consensus from those who knew him was that he would be so proud and excited to have his music mastered above the legendary Studio 2 at Abbey Road. This project’s objective is to celebrate Daniel’s musical legacy, rather than explore further his well-documented mental health problems.