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Evergreen In Your Mind, the new and third album from Norwegian singer-songwriter Juni Habel, exists in two worlds at the same time. Songs were recorded in quiet corners of her home, on the piano in the school where she works, and it uses the physical world around her to provide percussion. It also takes place, as she herself attests, within a dream; an imagined place in which her desire for oneness with each other and the world around us is finally realised.

Evergreen In Your Mind was recorded with co-producer Stian Skaaden, it’s Habel’s first album in three-years, following the breakthrough success of 2023’s Carvings LP. Formed of eleven new recordings, the songs here remain delicate, Habel’s voice playing an elegant lead role – but there are fluctuations too.

These small shifts in Habel’s sound result in a notable stride forward. More focus went into the groove of these songs. Playfulness was embraced and, perhaps most importantly, patience played a fundamental role in shaping the album with time and care given to every element of these songs. “We always aim to capture effortlessness - but the way of getting there is anything but effortless,” Habel reveals.

This extra time that was given to the project gave Juni the space to nurture her creativity. She would read and listen to music, hike into the hills, place herself within nature and seek out stillness. Not as a deviation from her work but as a fundamental part of the process. It’s a search for connection, and it’s a recurring theme across Evergreen In Your Mind; the polarity between stillness and passion, also our resistance to these desires, and the things we want to live and experience.

The album’s title-track and fist single feels indicative of this narrative. A gorgeous, delicate folk song, it finds Habel out in the woods, hiding from real life, caught in the space between the natural world and the pull of modernity. “It’s nostalgic. It’s about looking back and realizing things will be different,” Habel says. “Its about visualizing something beautiful in your head that you keep clinging onto.”

The album cover for Evergreen In Your Mind also adds shimmer. A striking photograph of Juni among the mountains, it was taken on a day trip to Rondane, a five-hour drive each way from her home. Habel explains. “It was awe-inspiring to drive all the way up into the high mountains, with its wide plains and intense colours. For an album with music that at times likes to hide itself, I think it fitted nicely with such an epic, grand, and powerful landscape.”

"Fans of Nick Drake, Karen Dalton and Neil Young will find much to enjoy in this musical equivalent of an evening spent alone by the fireside.” The Times

Intimacy is manifested in every moment of Radiator, the debut album from Philadelphia's Sadurn. This feeling of closeness, of being able to lend your every sense to one's confessions of internal conflict, is due in large part to the circumstances under which this album was created. Much of the world fell apart in 2020, but Sadurn tucked themselves away in a Pocono's cabin, creating and recording what would become their first full-length. Within the confines of their close quarters, passing animals as the only auditory witness to a makeshift recording studio created by moving furniture, Sadurn created an album that will break your heart and then slowly piece it back together.Sadurn started as the solo project of Genevieve ??DeGroot. Picking up guitar in 2015, DeGroot started writing songs, eventually playing DIY shows throughout the city of Philadelphia. With time, the direction, sound, and members of Sadurn changed. The beginning of 2020 was meant to serve as their debut as a four member band (Jon Cox on guitar/tenor guitar, Tabita Ahnert on bass, and Amelia Swan on drums), but the world had other plans and the group adapted.Taking influence from artists like Gillian Welch, Alex G, and Jason Molina, Sadurn's emotive indie rock explores the struggles and eventual beauty of grappling with multiple emotional realities, particularly when it comes to relationships. That conflict, the idea of being forced to choose, even when terrified, is present on singles like "Radiator" and "Golden Arm." The latter is an unhurried ballad that shows its truest colors with time, eventually blossoming with unexpected admissions of desire and uncertainty. Indecision, heartbreak, and attempting to live out your days against the actual backdrop of a gradually worsening hellscape is a shared commonality among us all, but on Radiator Sadurn breaks down walls that others so often put up. It's a fleeting, impactful glimpse at one's whole heart, and its sweeping, special nature is evident from the moment the album opens.

To celebrate the 20-year anniversary of our label Jamaican Recordings and to mark the sad one year passing of the musical maestro reggae producer Bunny `Striker’ Lee, we have pulled together a brand new collection of some great Bunny Lee rhythms.

Our label started way back with initial meetings with Bunny Lee and a promise to keep his music available, out on the streets. He will be sorely missed but will live on through his extraordinary musical legacy and we hope to add to this by including this release to the stable of an unbeatable catalogue.

Legendary record producer Bunny `Striker’ Lee’s vast selection of rhythms were ever present at any Sound Clash or Dance worth talking about in the early to mid-1970’s.
Where the version found on the b-side of a single or special dub cut on acetates, would be played to win over the people and conquer the dance. Bunny Lee was the undisputed rhythm master and on this special release he is also the MC telling the crowd how it is and that any rival sound system should watch out as he has the rhythms that can reign supreme. The band cutting these timeless rhythms were a group of top Jamaican musicians Bunny had put together called The Aggrovators.

The Aggrovators were a group of reggae musicians that usually featured Carlton `Santa’ Davis on drums playing alongside Robbie Shakespeare on bass, with other musicians added like Earl `Chinna’ Smith on guitar and Tommy McCook and Vin Gordon and Lennox Brown added for horn arrangements. Keyboards and organ duties normally fell
to musicians Ansel Collins and Bernard ‘Touter’ Harvey. The band was named after singer Eddie Grant had repeated the phrase to Bunny Lee on one of his many trips to England, that such and such artist was giving him `Aggro’. This was a term used in England in the 1970’s by the Skinhead followers of reggae music. A term shortened
from the word `Aggrovation’, meaning trouble, fighting or making the situation worse. Bunny Lee was so taken with this term that on returning to Jamaica, not only did he name his group of musicians the `Aggrovators’ but he also named his record shop situated at 101 Orange Street `Agro Records’.

We have compiled some great tracks recorded by this fantastic group of musicians. With the added extra magic of Mr Bunny Lee calling it out as only he can on the microphone.
Yes Run Sound Boy Run the version master is here…Respect

Mighty Theodore and The Custodian Of Records have crafted the quintessential soundtrack for the bleakest of snow days with their new collaborative album, "The Colder It Gets". Bookended by the sound of howling winds, the project offers a hypnotic listening experience where the temperature seems to drop with every track. While the production is immersive, the only warmth to be found radiates from the crackle of Custodian’s vinyl samples. Theodore matches this atmosphere with layered lyricism that explores deep isolation and the struggle to trust that things can improve, though a faint sense of hope remains buried beneath the metaphorical drifts.
Releasing via URBNET this winter, the album invites listeners to bundle up and embrace the chill. The project is bolstered by an impressive lineup of guest features, including Lee Scott, Fat Ray, Thirstin' Howl The 3rd, and Farma G. Additionally, the release includes a thematic bonus track titled "Christmas Missed Us" featuring Von Pea. As the winter solstice arrives, prepare to get lost in a hip-hop experience that proves the music only gets better The Colder It Gets.

Neue 2026er-Auflage in neuer Farbe! Das neue Album der doom-meets-stoner-meets-metal Legenden! Solace entstand aus den Columbia-Künstlern Godspeed und ist eine der tragenden Säulen des Stoner Metal! Konstante musikalische Integrität und Live-Auftritte über mehr als zwei Jahrzehnte hinweg sorgen für eine treue Anhängerschaft und relvanten Szene-Status. South Jersey's SOLACE halfen mit ihrem zeitlosen Debüt "Further", die erste Welle des US Stoner Metal zu gründen, indem sie alle paar Jahre musikalisch 50 Tonnen-schwere Alben mit Next-Level-Riffage raushauten, bis hin zu ihrem gefeierten "A.D."-Album im Jahr 2010. Eine epische Rückkehr, "The Brink" ist ein glorreiches Doppelalbum - NWOBHM-zweifach-Gitarrenattacken, gewichtige Doom-Power und rifftrunkene Sea Shanties. Luxuriöses farbiges Vinyl plus wunderschönes Gatefold-Sleeve für Fans von Monolord, Haunt, War Cloud, The Obsessed, The Necromancers, The Atomic Bitchwax, Uncle Acid. Das letztes Album 'A.D.' wurde von iTunes (neben High on Fire, Monster Magnet, Unearthly Trance) zu einem der besten Metal-Alben des Jahres 2010 gekürt, "The Brink" auf Blues Funeral wird vielleicht eines der besten des Jahrzehnts.

Formed in 2011, Beyond The Styx has established itself as a formidible presence within the European heavy music scene blending elements of hardcore and metal into a direct and aggressive sound The band has performed more than 300 shows across Europe including playing Hellfest as well as supporting Sepulture, Terror, Malevolence, and the Acacia Strain. Their consistent touring history and strong live reputation have positioned Beyond The Styx as a reliable and proven act within the extreme metal market. 2026 sees the release of their new album "DIVID" which follows their previous releases "Sentence" in 2022, StIIgma in 2018, and "Leviathanima" in 2015.

In recent years, Midge Ure has spent his time playing live and not has time to fully immerse himself in the studios creating music To that end A Man of Two Worlds is his first album of new material in 12 years. Well worth the wait, the album is a formidable collection of outstanding music, divided into two clear parts.

The first half, World One: Music, consists of eight instrumental pieces, while the second half, World Two: Songs, features eight vocal songs. This concept was partly inspired by the time Midge spent during lockdown listening to instrumental music whilst presenting THE SPACE on Scala Radio. Hearing music that rarely finds a home on mainstream radio, he set about making something without lyrics, where the melodies had to speak for themselves. The eight vocal songs which form the second part of the album, came to Midge as the world reopened. A more divided world, in many ways a much harder and less empathetic one. Sharing an atmosphere with the preceding instrumentals, these songs are incredibly sparse and meditative, and whilst they are subtle, with some songs dealing with the frailty of the human condition, underlying many songs reflect Midge's concerns for the discord infecting world today.

Belgian electronic body-music pioneers A Split-Second deliver an expanded reissue of their influential 1987 debut Ballistic Statues, a landmark of the New Beat and EBM movement. Blending dark electronics, cold-wave tension and precision-driven sequencing, the album helped define a pivotal moment in the late-80s European underground.

This new edition brings together all tracks from the original album and enhances them with essential recordings from the same era, including the band’s complete 1986 debut EP (A Split-Second), the cult Smell of Buddha, and additional period material.

Pressed in a limited run of 300 copies on black vinyl, the release comes in a gatefold sleeve and includes a reproduction of the original lyrics insert along an exclusive poster and one postcard.

Ballistic Statues remains a defining statement—raw, innovative and far ahead of its time. This reissue brings together the core foundations of A Split-Second in one essential collection making it ideal for both long-time followers and new listeners discovering the band.

The debut EP Danza Nel Vulcano by Rotterdam duo Vesuvio Vortex is the first release of the label Radio Tornado Records. Rooted in italo disco, the music rolls into nearby genres with restless grooves and rough edges. In short: energetic, slightly melancholic, and always moving.

Audio Vesuvio opens with a bright, welcoming energy, setting the scene. Robot Cop brings a lively rush, the rhythms bouncing and colliding. Overexposed Polaroid slows things down, drifting through hazy reflections of what just happened. Vortex closes the EP in a softer, darker glow, the afterparty fading but the melodies lingering, like a dream that refuses to end.

After the success of her fiery 2024 LP, Baptized By The Blaze, Nashville outlaw siren India Ramey is back with Villain Era, set for release on May 8, 2026, via Copoco Records/Blue Èlan. Baptized By The Blaze was the story of Ramey’s journey through the fire, a harrowing passage toward healing and empowerment. Villain Era is firmly rooted in her own reckoning; it doesn’t ask for permission, it kicks the door wide open. “This album is the ‘healed’ me,” Ramey says. “I didn’t know how to have boundaries because I was such a people pleaser. If my boundaries offend you, I’ll happily play the villain in that story.” Ramey left the South for the first time to record in Los Angeles with two-time Grammy-nominated producer Eric Corne. Together, they built a soundscape as cinematic as it is cathartic, with a powerhouse band including Ted Russell Kamp, Eugene Edwards, Chris Masterson, Eleanor Whitmore, Kevin Brown, Boo Bernstein, and Haley Spence Brown. The result is Villain Era: ten spaghetti western–meets–honky tonk vignettes penned solely by Ramey, laced with grit, gallows humor, and emotional precision. With five studio albums under her belt, Ramey continues to be one of country music’s fiercest truth-tellers. Now, with Villain Era, she stands unapologetically in her power, delivering songs that cut deep and laugh loud, songs that balance the weight of lived experience with the freedom of release.

Sara Parkman's fourth album – the first since 2022's Eros Agape Philia – explores the mystical tradition and the work involved in living – and dealing with life.

The album marks several new steps in Sara Parkman's musical development – from the passionate and majestic flow of words to the introspective tone. A recurring theme is the idea of prayer and work, or ora et labora in Latin.

‘I want the idea of prayer and work to be a source of comfort, hope and encouragement in the challenging times we live in. We must continue to work and believe in the common good,’ says Sara Parkman.

Since her album debut in 2016, Sara Parkman has pushed the boundaries of what folk music can be. Her albums have been repeatedly praised for weaving together tradition and the future. Along the way, she has been awarded a number of prestigious awards in Sweden – from Grammis wins to Dagens Nyheter's Culture Prize – and she has sold out tour after tour.

As the figurehead of a movement larger than herself, she has also carved out a place of her own for Scandinavian folk music, not least through her involvement in her own record label, Supertraditional.

The Family Men return with their second full-length effort “Co/de/termination”. Since the release of their debut “No Sound Forever”, they have played countless shows, both in their native Sweden and abroad, garnering a reputation as one of the most intense and uncompromising live bands around. A natural progression of their sound, “Co/de/termination” is a crystallized evolution of The Family Men’s sonic identity, pushing their intensity and precision to new extremes. “Co/de/termination” stands as a concise and deliberate statement, shaped by both urgency and restraint.

Kicking off the collection, we have POISON IDEA performing their first ever gig as a high-velocity punk band on New Years Eve 1980 – truly an incredible find. “We put our gear in shopping carts and pushed it to the venue” Jerry recalls as well as the reaction from Portland’s first wave of hardcore kids, “They only had 30 seconds in a song to throw each other around and pogo, so they’d go for it. It came naturally, like the music possessed them”. The embryonic versions presented here of future POISON IDEA classics like “Give It Up” and “Castration” are played in a more quirky and herky-jerky manner than how they would appear three years later on their debut seven-inch EP, Pick Your King. This recording also holds the most unfiltered display of Germs vocalist Darby Crash’s influence on Jerry. “His voice gave me the license to go” states Jerry. “You didn’t have to be a trained singer. Just open up your soul and scream”.

The remainder of this release is culled from a recording done in June of 1981 at a birthday party for Kim Kincaid, vocalist for local punk group, Neo Boys. The event was held at the short-lived but groundbreaking punk venue for Portland, Clockwork Joe’s. “Clockwork Joe’s was like Peter Pan’s island of lost boys” Lang recollects, “There was a lot of booze, a lot of drugs and a lot of young kids”. Hearing this ferocious, tightly-wound set, one can only imagine the sweaty debauchery that occurred that night, especially during the pounding rendition of “Underage” presented here, yet another future Pick Your King track.

First Word Records proudly present the second single from Above The Clouds (aka kidkanevil & Magic Manfred), taking on another underground hip hop classic, 'Change'.

'Change' was originally performed by Shadez of Brooklyn, produced by Da Beatminerz and most notably appeared on DJ Premier's legendary 'New York Reality Check 101' mix compilation back in 1997.

This 7" vinyl release follows on from last Summer's MF DOOM cover 'Arrow Root', which received strong support from the likes of Japan's DJ Koco and Philadelphia's DJ Jazzy Jeff.

This new instrumental reinterpretation also features cuts by Leicester-based turntablist, Jon1st - a DMC World Online Champion, as well as being a producer & musician in his own right, collaborating on music with a number of hip hop, D&B and electronic artists.

One of the original First Word roster, UK Producer/DJ and all-round laptop music geek kidkanevil has developed a distinctive and progressive sound over the years, gleefully exploring the beats and bleeps of the electronic music universe to international recognition. Leeds born, sound system bred and raised on a (un)healthy diet of video games and anime, his solo work inhabits the curious space between bass frequencies and otaku culture. But as a devoted teenage backpack rap nerd, somewhere in the back of kid's mind was a lingering desire to reconnect with his first love, hip hop.

Not long after moving to Berlin he joined a studio space in graffiti plastered Kreuzberg, where he met multi instrumentalist wizard Magic Manfred; a disciple of all things boogie, disco, funk and soul. Born and raised in Berlin, and currently a touring musician for many an act, Manfred's musical map joins the dots from piano lessons at four, to starting a band with his teenage friends, leading him to his true calling - the bass - via the club vibrations of his hometown, which introduced him to the world of DJing and production, and a stint studying in the explosive London jazz scene to finalise his Jedi training.

Bonding over their mutual love of '90s hip hop, a friendship and musical kinship developed, coupled with a desire to honour past eras but push things forward, Above The Clouds was born; named after their joint favourite DJ Premier beat, with a touch of irony regarding their basement based studio of a windowless variety.

kidkanevil explains further "We started the project with a few covers, just as a way to get warmed up and in a certain creative headspace, of which 'Change' by Shadez Of Brooklyn was one. We both loved DJ Premier's 'New York Reality Check 101' mix when we were teenagers and this track was a favourite. The elements really lent themselves to live interpretation, and as an instrumental there was space to bring some nice movement with the bass and stuff. Hopefully we found the balance between paying tribute and finding our own pocket. For the final seasoning we hit up the homie and turntable wizard Jon1st to recreate the cuts, of which he did an immaculate job of course.

The b-side 'Urgh' is one of our favourite beats we've made so far; the title is just how it makes us feel! We actually recorded the piano with two iphones as left and right and it sounded kinda cool so we went with it..."

'Change / Urgh' is released on limited 7" vinyl & digital platforms, April 24th 2026.

Resonant Duality is an album built around Kyouzon, the Japanese idea of coexistence, where duality and togetherness are always present. The tracks move between light and dark, soft and loud, tension and release, but always come back to a feeling of sharing the same space. So Takahashi, originally from Yokohama, Japan, is a multidisciplinary artist who studied visual communication in New York. Since the late 1990s, he has been active as a composer and performer within electronic music, noted for his minimalistic melodies, sample manipulation, and unique sense of composition. Having released nine releases since 1999, he has lived and worked in Oslo, Norway in recent years, where "Resonant Reality" marks his tenth release. Charles Lynch, born in Tours, France, began his musical journey with classical piano at an early age before expanding his studies to art, visual communication, and design in Paris. Under the artist name A Saner Lynch, he has released two classical music albums, blending his background in classical performance with a contemporary artistic sensibility. The two musicians met in Oslo, Norway, a decade ago. Their shared interests in both classical and electronic music led them to collaborate, merging their distinct backgrounds and creative visions. Together, they compose music that reflects their combined influences, bridging the worlds of classical tradition and electronic innovation.

Towards an Expanse Follows the acclaimed 2020 collaborative album “Buffering Juju” with Kechou, a fellow South African musician and artist, lauded as Global album of the month and “a wonderfully inventive debut” in The Guardian.

Sometimes gospel, sometimes electro-psychedelic space travel, the project starts with a languid lament that whispers a close-to-the-ear invitation up and between the folds of what unfurls into an ever-expanding sonic universe.

Towards an Expanse began in 2019 at Figure 8 Studios (Brooklyn, NYC) under the generous guidance of Shahzad Ismaily. It was written in Port Alfred and Cape Town and matured in Berlin and has evolved into a companion, a pulsating vessel of grief, vitality, and reclamation. The album meditates on learning to live with damage while regaining autonomy over how Black life is archived: a dialogue between the artist, her ancestors,
voices like Miriam Makeba, Busi Mhlongo, Princess Magogo, Madosini, and the psychoacoustics of South Africa’s lore as a timeless technology. It brings these elders into a conversation with Dumama’s global orientation
and experimental sensibilities.

The Yawpers planted their flag at the intersection of the delta, the dive bar, and the mosh pit. We’re proud to drag their most feral albums back to the turntable.

Four years after American Man, the band moved to Chicago’s Electrical Audio to record Human Question live to tape with producer Alex Hall. The result was a record Americana UK called a “shambolic rock and roll” masterpiece, earning a 10/10 for its refusal to polish its own edges. While American Man was a “frantic folk stomp,” Human Question shifted into what Punk Rock Theory dubbed “pedal-punk,” a noisy cocktail of psychobilly and gospel, presented here on sunburst splash vinyl

These records aren’t just artifacts of a specific scene; they are honed to a shiv point, designed to cut through the noise of an oversaturated market. Restored and remastered with original posters dropped in for good measure, these are loud, lean, and necessary.