Search:l a experience

Best known as a member of the electrifying 'Hagstone rock' four-piece The New Eves, Winder- Lind 's solo work channels the same raw intensity and liberatory spirit while revealing a more intimate, deeply personal side to her songwriting. Expanding on the world introduced through her 2023 EP The Spirit Is Carnal and first poetry collection Rod Ska Jag Leva (2025), Wild Love is an ambitious and emotionally expansive body of work from one of the most enthralling new voices in music today. Though connected to the fierce communal energy of The New Eves , Wild Love inhabits its own distinct emotional landscape. Across eleven songs, Winder- Lind brings together the wealth of her experiences and passions and reflects them back outwards, distilled with shimmering intensity. The album spells out a liberatory vision which she refuses to compromise, one rooted in emotional honesty, ecstatic expression and unfettered selfhood.

Gary Sullivan's Bodega Pop project returns to DINTE with a cassette-only collection of traditional sounds plucked from CDRs found in the night-markets of Savannakhet, Vientiane, and Luang Prabang.

"In Lao PDR, music was seemingly everywhere. Walking through an open field outside Savannakhet to the sound of someone playing a khaen on a distant porch, the bracing rush of electronic molam from of one of Vientiane’s many aging malls, the awkward blending of the blind so u player’s voice with the bustling sounds of Luang Prabang’s night market.

It was in that UNESCO World Heritage Site that I found most of the CDs and CD-Rs from which I’ve ripped the tracks for this compilation. I’m almost certain I picked up a thumb drive at the night market that held many hours of additional music that could have been included, but if so, I’ve misplaced it, lost it for good, or simply misremember purchasing it in the first place. What I do remember is that these discs were literally the last copies in the cafe, museum, bookstore, and night market where I bought them, and not all of them played all the way through without sonic deterioration.

The sounds compiled here play in stark contrast to the more contemporary recordings I found in Laos, most of which featured some form of upbeat digital workstation molam or children’s songs. In addition to the ever-present khaen, this collection includes recordings of the sanai, a single-reed instrument fashioned from a water buffalo horn, the ceremonial khong nyai gong, the pi and similar free-reeds, and at least a dozen more traditional instruments played by Lao and ethnic minority artists. While some of these tracks were laid down in Vientiane or Luang Prabang, most were recorded near where the artists lived, from the legendary Vat Phou in the far south to the former Pathet Lao capital Xam Neua in the northeast.

Unlike Laurent Jeanneau’s more focused Lao collections for Akuphone and Sublime Frequencies, which remain among my favorite albums of all time, the present cassette-only selection is literally all over the PDR map. The sequencing is entirely in response to rhythm and texture and includes recordings from the 1970s, 80s, 90s, and early aughts. This may frustrate those with more of an ethnomusicology bent, but my hope is that the listener experiences something akin to wandering for the first time through this majestic country, encountering the last copies of forgotten recordings one after another, and hearing in these remains fragments of the past and a living musical landscape."

For the 10th Anniversary of the iconic and unique For Honor, Kid Katana Records teamed up with Ubisoft to bring you this high quality album on an exclusive double vinyl. With over 35 million players since its release, For Honor has kept on bringing new content in the game, enriching the players’ experience with new Heroes, Factions and Music to keep the battle for survival and honor alive.


The physical edition is a premium 2LP designed in close relationship with the game's creative team:


● Track selection handpicked by For Honor team, including 2 new tracks (Year 10 exclusive) and a track never released before from Y1 Season 7
● 2 Golden vinyls
● Exclusive cover art with glossy effect on the logo
● Exclusive 16-page booklet with insights on each faction’s music, liner notes
from the game’s creative team and composers Luc St-Pierre, Danny Bensi and
Saunder Jurriaans



The tracklist is a selection of music from the 10 seasons of the game, one side per faction:

Spectral death metal conjurations will grasp you with their doom-tinged tendrils from the onset of this record. The gritty, booming riffs open a chasm of darkness for the punishing drums to cast skulls into. Met by otherworldly vocals, this is certain to grip any fan of sepulchral music with its enchanting and intense abyssal atmosphere. Do not be fooled by the slower lumbering moments into thinking this will be an easy listen. Stampeding ferocity and wild madness soon erupt from the charnel openings to give a burst of frantic psychopathy to the experience. Churning doomed violence and convulsive bestial onslaughts entwine around each other to project forth arcane death metal violence with huge dynamics and an utterly savage feeling to every second. With a natural, organic production to convey the filthy nature of the music perfectly; this is not a record that will hold your hand rather drop you into a void of souls with malicious intentions.

From the devastating drum work and monstrous riffing to the wickedly contorting bass lines; each instrument complements the others in this storm of triumphant vitriol while the commanding vocals spew malice to superb effect. The low end murmurings and rusted blades of the leads are an idyllic balance of inhospitable sounds that will surely satisfy any real underground lunatic seeking dark music. These five pieces clock in at 35 minutes and the sheer intensity is upheld for every second. Crypt-lurking doomed despair and utter ferocity become companions while the groove of the more mid tempo sections tie everything together. There is certainly nothing missing for an impactful and memorable experience. Allowing itself to decay and reform throughout; you will see, hear, feel, smell and maybe even taste the stages of cranial decay and the anguish of the brain matter breaking down into nothingness. This is a record which doesn’t follow predictable patterns nor rules but wildly possesses you with the malignant spirits from death metal’s darkest corners…

Rising from the pumpkin patch to celebrate the 60th Anniversary of It's The Great Pumpkin, Charlie Brown this first zoetrope edition of the album, featuring Vince Guaraldi's timeless score. With classic scenes from the special on each side, this 45RPM album contains Halloween favorites “Graveyard Theme,” “The Great Pumpkin Waltz” and “Linus and Lucy” and more. For the full zoetrope experience, film the spinning record with your phone video camera at 30fps and let the magic begin!

Chin Up, Beautiful, Jutes’ fourth album, invites fans to experience a futuristic, post-apocalyptic world, drawing inspiration from Deftones, The Neighourhood and The Walking Dead. Featuring the singles “Disassociate, “White Butterflies,” and “Chin Up, Beautiful,” the vinyl comes in a Limited Edition Silver Galaxy color, and includes 3 exclusive tracks. This August, Jutes embarks on his biggest North American tour yet, following a sold out UK/EUR tour and multiple Summer Festivals including

Chin Up, Beautiful, Jutes’ fourth album, invites fans to experience a futuristic, post-apocalyptic world, drawing inspiration from Deftones, The Neighourhood and The Walking Dead. Featuring the singles “Disassociate, “White Butterflies,” and “Chin Up, Beautiful,” the vinyl comes in a Limited Edition Silver Galaxy color, and includes 3 exclusive tracks. This August, Jutes embarks on his biggest North American tour yet, following a sold out UK/EUR tour and multiple Summer Festivals including

This limited vinyl edition of Brain Invaders offers another chance to experience the album in
its most iconic format. Faithful to the original release, it features high-quality pressing andpackaging, making it a must-have for collectors and fans alike. Part of Be the Change, a project conceived and developed by Rude Cares to raise awareness about climate change and environmental sustainability within the music
community, this exclusive eco-friendly variant is more than just a vinyl release. Created in collaboration with artists who share this vision, each edition supports a more sustainable future: a donation is made to Green Future Project for every release, and 100 new trees are planted to fully offset the project's residual environmental footprint. A timeless album with the same energy and impact that made it a fan favorite, Brain
Invaders remains an essential addition to any punk rock vinyl collection—now with a positive
impact beyond the music.

ROSE KEELER-SCHAFFELER

UNIVERSAL LANGUAGE

Magic Hollow (MH002)

Before we learn language, we learn the voice.

Universal Language is the second release on Magic Hollow and an exploration of the voice before song and before speech. Written and recorded during pregnancy and early motherhood, Rose Keeler-Schaffeler's album draws inspiration from the earliest forms of human communication: coos, cries, sighs and instinctive vocalisations that precede language yet already contain the seeds of music.

Best known as Keel Her, the cult DIY songwriter, producer and NTS Radio DJ whose fiercely independent body of work helped define a generation of bedroom pop, Rose reveals a strikingly different side of her musical practice here. Produced by Daniel O'Sullivan, Universal Language places the human voice at its centre, treating it not as a vehicle for lyrics but as the raw material from which music, language and relationships emerge.

With the exception of a handful of bass vocal parts performed by O'Sullivan, every voice heard on the album is Rose's own.

Across twelve meticulously composed pieces, layered vocal arrangements intertwine with subtle electronics, tape manipulation, synthesizers and understated drum machines. At times the music evokes the luminous purity of medieval sacred music; elsewhere voices dissolve into hazy ambient textures or unfold through hypnotic loops that blur the distinction between singer, choir and atmosphere.

The album was recorded during the first year of her son’s life. Many of its melodic contours and vocal gestures were inspired directly by his earliest sounds. His pre-linguistic attempts at communication became compositional material, guiding Rose towards a deeper exploration of the voice at its point of origin.

Deeply personal yet reaching towards something universal, Universal Language is a meditation on the human voice: our first instrument, our first language and our first experience of belonging.

Within the broad church of metal and its many offshoots – rock, doom, stoner and all the rest – it remains a minor thrill to stumble across a group who seem to exist at a slight tangent to everything else. Crumbling Ghost is one such anomaly. Crumbling Ghost are not newcomers. They've been operating for some time, releasing records sporadically, Four' is in fact their fourth release. Along the way they've accumulated a fervent coterie of followers, not to mention the occasional nod of approval from tastemakers such as Stuart Maconie, Stewart Lee and Tom Ravenscroft. And though they've appeared at Roadburn, shared stages with Hawkwind and even Damo Suzuki, they remain (possibly by design) curiously under the radar.
The group's core idea is deceptively simple: traditional folk material refracted through the haze and heft of heavy, fuzzy stoner rock with a chunk of psyche and a smattering of doom. But crucially, this is done without the costumery and theatrical tics that often accompany such collisions. No mock pagan pageantry, no graveyard cosplay, no cartoon Satanism.
What Crumbling Ghost latch onto is not folk as a museum piece, but as a lived experience, the dramas rooted in the culture, stories, and daily lives of ordinary people, the folklore, the tales of love and death, murder and adultery, freedom and oppression. Singer Katie Harnett says. "Doting mothers, possessive, violent partners, vulnerable women, seasonal workers and Royal scandals this album is our representation of the trials and tribulations of human existence and universal experiences that still feel relevant today.

Guitarist John adds. "Themes of murder, betrayal, loss, jealousy, and love are found across the record. In particular, the songs of Martin Carthy have been a particular source of inspiration".
The result is a set of murder ballads, supernatural reckonings and cautionary tales, all wrapped in slabs of heavy, thumping fuzz and atmospheric sonics. Harnett's voice sits at the centre: unmistakably folk rooted, but shorn of prettification, melodic yet capable of real bite.

The album opener 'Bows Of London' is a murder ballad of sisterly hatred and grim sibling rivalry, centred on a haunted fiddle fashioned from a dead sister's bones. The loping relentless, hypnotic backing chillingly and perfectly accompanies the narrative. Of course, the story doesn't end well. 'Bill Norrie' follows, a hooky melody propelled by an insistent bassline and a haunting psych tinged haze punctured with sheets of noise.. The story of young Bill Norrie who sends a token to a married woman, whose jealous husband beheads him, without knowing he was his wife's son from an earlier affair. An instrumental palate cleanser arrives in the shape of 'Valtz Efter Tor Lohne' a Norwegian traditional the band jokingly describe as a "banger".
Then we have 'Lovely Joan' which offers a rare note of sly triumph: a quick witted woman outmanoeuvres a predatory nobleman, escaping with his ring and his horse. Muscular riffs give this tale of empowerment a welcome sense of teeth. 'Gower Wassail' is a traditional Welsh folk tune that captures the raucous spirit of communal ritual, noise making and drink fuelled hope for a good harvest. Captured perfectly here by CG complete with wah wah guitar and a drunken groove catching the song's celebratory chaos. Then we have a little gem in 'Last Of All Sleep' , an original band composition and a genuine highlight: a heavy lidded, shoegaze tinged folk reverie, equal parts distortion and delicacy. It's a drop-dead gorgeous shoegaze-tastic psychedelic grunge mini epic. The album closer 'The Unquiet Grave' is a very apt place to finish. It's about a young man whose constant grief at the death of his true love disturbs her eternal sleep so she cannot rest. Even though the playout on this track, complete with a demonic repeated riff and feedback feels suitably bleak, even this song allows a glimmer of release ... we think.
And there we have it, 7 songs, 7 worlds, all honed to perfection by producer Wayne Adams (Green Lung/Big Lad) that will reward every repeated listen.

Folk and metal/heavy rock do have a connection of course, just look at Green Lung and their 'folk horror' infused musical universe, but Crumbling Ghost are a very different beast.
'Four' amply and beautifully demonstrates that when it comes to 'folk horror' there's nothing quite as horrible as folk ... Here, the horror such as it is, and it must be said, the moments of light, comes not from theatrics, but from the songs themselves – which, after all, is where it's always lived.
Crumbling Ghost are John Mosley – Guitar / Donny Hopkins – Guitar / Ruth O’Loughlin – Bass / Katie Harnett – Vocals / Matthew Atkins- Drums.

In an era of excess and endless distraction, Margaret Glaspy rejects the noise in favor of something far more essential. Before setting to work on her fourth full-length album I Am Both, she stepped away from social media and soon discovered a clarity of mind she hadn't experienced in years, followed by a sustained burst of creative momentum. As she penned her lyrics in longhand and then polished them up on a typewriter, Glaspy assembled a selection of songs that span from fictional vignettes to unguarded self-revelation to empathetic observation of the troubled world around her. Produced by Joe Henry (the three-time Grammy-winning singer/songwriter/producer known for his work with luminaries like Aimee Mann and Joan Baez), I Am Both ultimately stands as a striking new statement from one of the modern music canon's most formidable songwriters.

2026 Repress

Riding the Thin Line" is an EP by DJ Bone, an influential figure in the Detroit techno scene. Released in 1999, the EP showcases DJ Bone's signature style characterized by deep, driving beats and intricate rhythms. The tracks blend elements of classic Detroit techno with contemporary sounds, reflecting his ability to bridge different eras of electronic music. The EP is noted for its experimental approach while maintaining a dancefloor-friendly vibe. Each track offers a unique listening experience, highlighting DJ Bone's skills as a producer and DJ. His work often emphasizes a sense of journey, making "Riding the Thin Line" a compelling addition to any techno enthusiast's collection. Overall, the EP reinforces DJ Bone's reputation as a pioneer and an innovator within the techno genre.

Four explosive tracks, three powerhouse artists, one essential wax. Experience the ultimate Afro-Funk-Disco fusion—strictly vinyl, purely devastating, only via Bud Records.

Children, the one and only instrumental song that breaks all the rules, created by Robert Miles. The netherlands producers Tinlicker signed the new remix of Children.

Bio:
Tinlicker are Utrecht based duo Micha Heyboer and Jordi van Achthoven who have been crafting their computerized soul together since 2013. Before joining forces, they individually honed their skills as part of world renowned drum 'n bass act Black Sun Empire (Heyboer) and as producer, songwriter and music editor for many artists (Van Achthoven). Their previous experience was apparent from day one of their collaborative project, resulting in an impressive
string of highly mature and deeply emotive tracks. Since starting working together they’ve quickly become a household name in the world of electronic dance music previously releasing on Armada,
mau5trap, Anjunafamily and Astralwerks. They have released their first full length album 'This Is Not Our Universe' last fall and released their remix album this past spring from the likes of Dosem, Joris Delacroix and Grum.

Leo Mas is a true icon, who was there at the start of the Ibiza revolution in the 80s, he is the protagonist and witness of the birth of Ibiza as the World Capital of Clubbing alongside Dj Alfredo Fiorito at Amnesia (Ibiza) during the years of 1985, 1986, 1987, 1988 and 1990, thanks to his unique sound and innovative set he is as one of the Pioneers of House and Techno music and one of the Balearic Beat Originators.

Leo Mas - The Dark Side (Irreverent Mix)

Amnesia was the club that changed the European and later the global club scene in 1987, thanks in part to the support of London DJs Paul Oakenfold, Danny Rampling, Nicky Holloway, Johnny Walker, and Nancy Noise, who came to Amnesia for the first time that year. At the time, Amnesia was still an open-air club, and the group was amazed by the unique, eclectic, and irreverent style of Alfredo and Leo, who played the new House Music imported from the United States along with a genre-blending sound that would later become known as Balearic Beat. When he returned to London, Paul Oakenfold bought all the records that were being played at Amnesia, with the help of Nancy Noise, and together with his friend Ian St. Paul opened the one-night event Future, “The Original and Only Balearic Club.” This later became Spectrum on Mondays, and eventually evolved into Land of Oz, where in the VIP chillout room, the White Room, the DJ was Alex Paterson, later known as The Orb. Danny Rampling and his wife Jenny wanted to recreate their Ibiza experience by opening Shoom, while Nicky Holloway would go on to open The Trip. All of these clubs transformed the London club scene and, in turn, had a worldwide influence. During the second half of the 1980s, Amnesia was also the favorite club of Sven Väth, who was a regular customer there.

This one-hour long recording is an essential snapshot of a pivotal point in dance music history. The records’ selection was, deliberately a mix of Indie Rock, Gothic Synth-Pop, Subversive Electro, Industrial, Belgium New Beat, Techno with Poetry, EBM. A magical moment in time that could never truly be repeated, yet lives on through this tape, now finally available to music lovers everywhere, including those who only ever dreamed of experiencing it firsthand.

The release comes with liner notes by Robert Harris (Dr. Rob), DJ, music writer and author of the well-known book, IBIZA DJ 1976 - 1988, released in 2019, during his collaboration with Paul Byrne (Test Pressing)

Ri-tape & ELSI Berlin produced a very limited run of 50 tapes, be quick!

First Word Records proudly bring you the sophomore EP from Ruby Wood - ‘No Rain, No Flowers’.

Ruby is a singer / songwriter hailing from Huddersfield, West Yorkshire in the UK. Her soulful yet distinctive voice has enabled her to front numerous projects over the years; perhaps best known as lead vocalist of the critically acclaimed Submotion Orchestra, since 2009.

Her first solo EP ‘Sincerely’ dropped back in 2023, and received love from the likes of Jamie Cullum, Craig Charles, Jyoty, Huey Morgan, Wordplay & saw Ruby named Mi-Soul Radio's 'One to Watch'.

The follow-up EP ‘No Rain, No Flowers’ is a personal tale of growth through adversity. Reflecting on long-term love, fleeting intimacy, grief, and the relationships that shape us. Rather than offering answers, the 8-track EP sits with life as it is. Imperfect, cyclical and shared. The title speaks to the belief that difficult experiences are not separate from growth, but essential to it.

Musically, the project encompasses contemporary flavours within the realms of r&b, soul and hip hop. It features an impressive collective of vocal collaboraters; Illa J, Devin Tracy, Abnormal Sleepz & PRIDO. Each bring their own distinct perspective, whilst complimenting the EP’s introspective tone; favouring warmth, restraint & lyrical authenticity. All are backed by a smooth sonic backdrop of beautifully rich instrumentation, produced primarily by Rob Mitchell of Abstract Orchestra.

Ruby has performed live shows with Nightmares on Wax & Abstract Orchestra as well as with r&b legend Bryson Tiller at his sell-out UK gigs, including Wembley Arena & Manchester Apollo. This is additionally to touring with Bonobo & Nubiyan Twist, and collaborating with the likes of Krept & Konan, Alfa Mist, GLXY and Roska, to name a few.

The diversity of her career, ranging from the intimate to the large-scale performances, gives Ruby a unique balance of vulnerability and musical depth, prioritising authenticity over spectacle. As a solo artist, her work is rooted in honest lived experiences, leading to a focus on songs that resonate long after first listen.

This EP offers a reflection of where Ruby is at now, informed by where she’s been before. It’s a project that embraces imperfection, recognising that those experiences that challenge us the most, shape us the deepest.

In a world currently defined by unrest, uncertainty, and cultural fracture, acclaimed saxophonist, composer, and bandleader Isaiah Collier returns with Joy, a 5-track EP that reframes one of humanity’s most nuanced emotions both as a devotional grounding and political act.

Collier’s deeply personal compositions present joy as an act that isn’t rooted in escapism or abstraction, but rather, as something hard-won rooted in lived experience, shaped by transformation, and sustained through connection. Throughout the album’s five compositions, Collier positions joy as a guiding light during challenging times, an expression of challenging yourself to utilize your gifts, an affirmation of love and discovery, and as an affirmative source of reassurance.

“We are in a paradoxical time, where so much is being revealed to us,” Collier shares. “Everything feels political from every scope… our collective hearts feel the heaviness in the air. Yet I say to you all—don’t despair. For right now, the most political thing we can do is share joy.”

That ethos is made clear in the opening title track and lead single “Joy.” A pulsing rhythmic motif anchors the melody with a sense of both searching and certainty. Collier conceived the piece around 3 years ago reflecting on a time where many people in his life were experiencing loss of family and friends and experiencing profound life transitions. “Everything just felt like it was falling apart with no aim in sight,” he reflects. “Yet, there is a light at the end of it all.”

As he played the chords with a sense of urgency, he could feel the vibration of yellow in the piece. That initial triplet motif serves as the guiding light on the piano and the only word Collier could hear was Joy. In addition to Collier at the helm singing and playing piano and tenor sax on the track, it features an expansive 11-piece ensemble with a full horn and string section allowing Collier’s propensity for composition and arrangement to shine with an eclectic sonic palette.

“Landscape of Dreams” finds Collier serendipitously leaning into utilizing his gifts as a multi-instrumentalist. While he had a sketch of the piece going into the studio, a traffic delay caused musicians to be late arriving at the studio. Never one to waste time in the studio environment, Collier stepped into new creative territory and took up the challenge of executing playing all instruments himself as an act of trust and experimentation. “I’ve never done this before, and so it was a leap of faith for me,” he asserts. “I always dream of doing stuff like this, and being part of the small percentage of people who can do it like Prince, Steve Lacy, Frank Zappa, and Stevie Wonder. The end result finds Collier immersed in a hypnotic soundscape playing layered flutes, drums, Metatron, Wurlitzer, and auxiliary percussion.

Another layer of joy is revealed in “Where I’m Loved” that serves as a love letter and leaning into the process of stepping into the willingness to explore life and love with a partner. On the intimate meditation of vulnerability and connection, Collier's vocal prowess is on full display, exerting effortless falsetto reminiscent of D’Angelo over soulful Wurlitzer and guitar as he crosses over into more R&B-inspired realms. “I believe everyone deserves this feeling or to honor the memories of it. Furthermore, I believe you should also go where you’re celebrated and not tolerated.”

“When the Dust Settles” captures the electricity of live collaboration and Collier further steps out of being confined to any specific genre. He had just gotten a microKORG keyboard from co-producer Sonny Daze and was exploring the vast array of sounds on the instrument. Collier plays synth bass on the microKORG joined by the electrifying improvisation of Cole Runge on guitar and the combustible rhythm of his brother Jeremiah Collier on drums with additional post-production work from Sonny Daze.

The album’s final track “God’s By Your Side” reflects on perseverance and artistic legacy, directly inspired from the passing of D’Angelo, whose life’s work was a huge part of Collier’s childhood growing up in the late 90s and early 00s. With gospel flavor and direct influence both from D’Angelo’s vocal and instrumental arrangements, the track speaks to resilience and persistence in the face of obstacles—an affirmation of source and reassurance. “And what’s better than having God by your side, right?” asserts Collier.

Joy is a through-and-through expression of the arc of joy in its truest form. Joy transcends fleeting happiness and is conscious gratitude shaped by taking chances, leaning into your gifts, fostering community, and lived experiences.

“Joy is partially happiness,” Collier explains. “But to me it means happily being grateful for family, friends, lovers, teachers, and good times. These are the things that anchor us.”

The release of Joy comes off the heels of significant momentum for Collier, whose work continues to garner accolades and resonate across cultural spheres. He was featured on the cover of DownBeat’s April 2025 issue, where he was named “The Next Sax Giant,” and profiled on NPR’s Jazz Night in America for his ambitious 13-movement interdisciplinary suite The Story of 400 Years, that traces 400 years of Black American History. He released two full-length albums in 2024 with The World Is on Fire highlighted in The New York Times’ Fall Arts Preview and The Almighty named among the publication’s Best Jazz Albums of the year.

Beyond performance and recoding, Collier’s influence is recognized in broader cultural and intellectual spaces as he was the recipient of the Jazz Journalists Association’s 2025 Up and Coming Artist of the Year Award, the 2024 Chicagoan of the Year in Jazz, and was named a Steve Jobs Archive Fellow joining an elite cohort of the next generation of artistic visionaries through a yearlong program.

In addition to the release of Joy, Collier is touring his “Collier Plays Coltrane” program throughout 2026 in honor of John Coltrane’s centennial. Rather than presenting Coltrane’s expansive catalog as repertory, Collier approaches this music as something living, reshaping it in real-time with a sense of space and improvisational dialog reflecting both reverence to the past and present times.

Soul Music legend Candi Staton returns to her down-home Alabama roots on her 32nd album, Back to My Roots. The twelve-track Americana set features an array of Staton-penned originals and some well-chosen covers.

"These songs represent my roots," Staton adds as she reflects on her many trials and triumphs. "Even the new songs on some level represent something I've experienced and that's what real soul music is about." Back to My Roots was produced by Staton with her second eldest son, Marcus Williams, a professional drummer who has toured with the likes of Peabo Bryson, Isaac Hayes, and Tyler Perry. They brought in Mark Nevers of Lambchop fame, who produced three of Staton’s prior Americana albums for Honest Jon’s and Thirty Tigers, to sweeten certain tracks. “Some of the first songs I ever heard were songs like `Peace in the Valley’ and `It’s Gonna Rain,’” says Staton. “The new songs or cover songs are tracks that remind me of that era when I was growing up as a child and evolving as a young woman. That’s why I named the album Back to My Roots because I’m going back to the roots that made me who I am.”

Staton received the Americana Music Association UK’s highest honour, the International Lifetime Achievement Award, at the UK Americana Music Awards ceremony at Hackney Church in London last year for her southern soul work that stretches from her 1969 Muscle Shoals hits to her more recent collaborations with the likes of Americana kings Jason Isbell and John Paul White.
The album opens with a mid-tempo Bonnie Raitt-styled contemporary blues “I Missed the Target Again” that finds Harry Connick Jr.’s longtime guitarist Jonathan DuBose Jr. (aka the Prophesying Guitarist) showing off his skills that set the tone for the song and the album.

Staton’s older sister, Maggie Staton Peebles (who alongside Staton was a member of the Jewel Gospel Trio in the 1950s), joins her for two duets. The first, “It’s Gonna Rain,” features just a drum, steel guitar and vocals. “My mother used to sing that song to us all the time when I was a child,” Staton recalls. “It’s a really soulful kind of song I wanted to revisit.” They then take turns leading Thomas Dorsey 1939 gem “There Will Be Peace in the Valley” that Elvis Presley popularized in the 1950s.

“Hang on in There” is a new, mid-tempo song that has an old school gospel flavour and features vocals from veteran bluesman, Larry McCray.
While in Europe in 2023 for her farewell concert tour that took her to the Glastonbury Festival and Love Supreme, Staton and her British band, PUSH, went into a London studio to record a new version of The Rolling Stones’ 1972 gem, “Shine A Light.” “I love the way that came out,” Staton says. “We put a big choir on it and put our own twist on it.”
From there, Staton revives another Thomas Dorsey classic, “The Lord Will Make a Way Somehow,” with a bluesy vibe. When Al Green started recording gospel in the early 1980s, he re-introduced this song into the culture.

“God’s Gonna Use Me Anyway” is a new mid-tempo blues with subtle Caribbean influences.

The mood takes a turn on “1963.” It’s a poignant, spoken-word reflection on September 15, 1963, when four black girls were killed in the Birmingham Church bombing. “I was in the city that day and I remember the chaos and horror after the bombing,” Staton recalls. “Just thinking of how racism and hatred caused those men to kill those girls was so emotional for me that I could only do it in one take.”

It's a perfect segue into "Reach Down and Touch Heaven," a haunting, plea for divine intervention into the affairs of mankind. "That's straight Baptist," she says. "I used to be a church pianist back in the 1960s. I've never played piano on one of my records before so that's a unique song for me because I’m finally playing on one of my records. The message of that song is about the homeless. It came to me when a homeless person on the street asked me for $5. When God touches your heart to help somebody else that’s heaven to God’s hears. So, when we reach into our purse or wallet to help someone, we’re touching heaven."

Staton offers love as an antidote to hate on the bouncy, Motown-styled, “Love Breakthrough.”

Her publicist brought Aaron Frazer & the Flying Stars of Brooklyn NY’s 2017 cut “My God Has a Telephone” to Staton’s attention. She shifts the track from a retro 1960s groove to more of a 1980s Malaco Records arrangement, a subtle but distinct variation. Staton brought in her longtime friend and STAX Records legend, William Bell (“I Forgot to Be Your Lover” and “Trying to Love Two”), to add raspy seasoning to the track.

The album closes with the wistful, “In God’s Hands We Rest Untroubled,” that was originally written and recorded by the late country star, Lari White, who died in 2017 at the age of 52. “Lari sent me that song to consider at least ten years ago and I always loved it,” Staton says. “The record label didn’t want it on the album or something, so I just held it.”
Staton says, “I grew up hearing a lot of these old songs when they were new songs. I toured with the Jewel Gospel Trio in the 1950s and we got to know people like Mahalia Jackson, Sam Cooke and others who sang these types of songs. So, I’m sort of paying tribute to them and the influence they had on me by refreshing these songs and making new songs in the old style.”’

Mr Bongo presents a reissue of the 1619 Bad Ass Band’s self-titled album, originally released in 1976 on the ultra-rare tax-scam imprint TSG Records. Formed by Khalid Abdul Shalid, the record was the only album released by the group, and has since become a mythical, highly sought-after prize for collectors and DJs, ranking among the most coveted albums on the 1970s rare soul scene.

This New Jersey soul-funk gem captures the raw energy of mid-‘70s underground funk and soul. Its journey began in relative obscurity having been released on TSG, one of several US “tax-scam” labels operating at the time. These labels exploited loopholes in the tax system by inflating production costs to create write-offs against their tax bills, meaning commercial success was never the objective. Records were often pressed in extremely limited quantities, with little to no promotion or distribution and in many cases, artists were unaware their music had even been released. While this led to the 1619 Bad Ass Band’s album slipping into obscurity upon release, it later cemented its status as a holy grail for diggers and DJs. Unfortunately, like many releases of its kind, it also meant the band never received the recognition they deserved at the time.

Musically, the album is a unique listen with a varied palette that will appeal to fans of a broad range of tastes. From the luscious, dreamy ballad ‘Rain’, which will melt even the stoniest of hearts, to the raw, drum-heavy funk of ‘Love To Love’, it showcases the group’s depth and versatility. Highlights include the string-laden, floaty stepper ‘Just From You’, and ‘Nothing Can Stop My Loving You’, with its spacey synth lines, which will be a joy for modern soul fans. Elsewhere, ‘Step Out’ opens with a heavy drum break (later sampled on Latyrx’s ‘Interlude’ from their 1997 debut) before unfolding into a brilliant male-female vocal exchange.

Every track on here is a winner and it’s criminal that the band never received the publicity or credit they deserved when it was first released. Alongside the TSG Records release in 1976, the album was later released again in 1978 with alternate cover art on another tax-scam label, Graham International. Both versions have since become highly collectable and over time, the album has steadily gained the recognition it always deserved. This reissue by Mr Bongo offers a wider audience the chance to experience a truly special record, one that stands as a testament to the overlooked brilliance of the era’s underground soul and funk scene.

For nearly a decade, Lucia has been carving out her place as an artist in the UK indie scene. Her latest record, Picking Petals, is the culmination of that hard graft and bold vision — an album rooted in her Scottish upbringing and shaped by the creative community she has built around her in Glasgow and beyond, featuring collaborations with Lauren Mayberry of CHVRCHES and Abigail Morris of The Last Dinner Party. Lucia’s debut, Burning Castles, was streamlined and statuesque, built on metronomic beats and synth-led pop. The intention behind Picking Petals sharpened into focus in the face of this. This time, it was crucial to capture the essence of Lucia & The Best Boys’ live shows— loud and electric. In recent years, Fairfull has shared bills with a new wave of women in alternative music: joining Wolf Alice on their Blue Weekend tour in 2022 and, more recently, opening for the aforementioned The Last Dinner Party. In summer 2024, she toured alongside fellow Scottish icon Shirley Manson on the UK and European leg of Garbage’s live shows. The Scottish synchronicity feels poignant. This rich and historical landscape is where Picking Petals came to be, Lucia heading north to write in weather-beaten bothies alongside the band or in solitude. Likewise, the songwriter was insistent that acclaimed alt-pop producer Yves Rothman experience her stomping ground rather than sun-drenched LA, hunkering down in Mogwai’s Castle of Doom studios, a Glasgow townhouse transformed into a citadel of sound. For some people, Picking Petals will be a coming-of-age album. For Lucia & The Best Boys, it’s just coming home.

The Way I See It puts Raphael Saadiq's love of 60s soul on full display, with Saadiq stating it was "the culmination of a lifetime of experiences informed by the music I grew up on." Recorded on vintage equipment, the set features Motown session musicians, guest appearances from neo-soul singer Joss Stone, R&B vocalist CJ Hilton, New Orleans collective The Rebirth Brass Band, a remixed bonus track from Jay-Z, and even a guest appearance by Stevie Wonder. Throughout the recording process Saadiq immersed himself in the aesthetics and styles of the decade, watching footage of Al Green, The Four Tops, Gladys Knight & The Pops, and others for further inspiration. The end result is an upbeat collection of songs, ranging from the romantic to the mournful, but frequently beaming with hope and positivity. The Way I See It racked up Grammy nominations for Best R&B Album, Best Traditional R&B Vocal Performance, and Best R&B Performance by a Duo or Group with Vocals. To this day it is considered one of the essential records of the classic soul revival, and one of Saadiq's finest career achievements.

Discrepant presents the LP edition of Tales from the Source, the original film soundtrack by Bear Bones, Lay Low and Laszlo Umbreit.

Originally composed for Belgian-Congolese artist Léonard Pongo’s 2024 film of the same name, this release reworks the film's audio into a continuous, fluid listening experience.

The album is built on a direct contrast between heavy electronic manipulation and raw environmental audio. Laszlo Umbreit captured the foundation of the record through field recordings and additional electronics, focusing on the quiet, tactile sounds of water, riverbeds, and natural spaces. These recordings were then processed and expanded by Bear Bones, Lay Low, who layered the tracks using synthesizers, samplers and various effects processors.

Rather than acting as a standard background score, the music functions as a detailed piece of environmental sound art. The tracks are edited to blend into one another without distinct gaps, mirroring the slow pace and visual flow of the film. Through the use of tape loops, filtering, and electronic processing, the natural landscapes are systematically distorted and rearranged. The result is a dark, slow-moving suite of electroacoustic music that strips away traditional melody to focus entirely on texture,

Yup, he’s finally done it. Afters years of releasing some of your favorite DJ’s dance floor ammo, Sweater has started his own label. The inaugural release on Sauna Records is produced by the new label boss himself and features 4 tracks he’s held close to the chest for a bit of time now while testing dance floors, tweaking arrangements, and getting these baselines just right to ensure a hot & steamy dance floor experience.

The A1 “Chemical Reactions” races out of the starting line with a swampy bassline peak time heater full of classic rave sounds contrasted by Sweater’s signature lush pad and lead work creating a mad chemist’s auditory dream. A2’s “Yaoguai” bubbles with a thoughtful and playful bounce over an ear-worm bassline. B1’s “On & On & On” is the proggy tech piece of kit you didn’t know you needed to ensure “that” moment in a set. B2’s “One Chord” lands the EP in a calmer manner, acting as a production experiment to see if Sweater could keep you interested with one chord playing in the background the entire track. The result is an introspective, eyes closed, thoughtful bop.

We hope you enjoy Sauna Records first offering and use this record for the physical and mental detoxification through sweat therapy on a dance floor near you.

"Some of my earliest musical memories were listening to my local pirate stations in the early 90's. The signal was quite weak in my area, and the sound was doused in FM static, creating this interesting amalgam of rhythm and noise. I found a strange sort of comfort in this, often falling asleep while listening to the radio, in bed, with my headphones on. The stations were run by young people, no older than kids really, relayed from non-descript flats, scattered around Bradford, Leeds, and the surrounding towns of West Yorkshire. The setups were primitive, and the production quality (and often the mixing) were dubious at best. But there was an endless supply of passion, and listeners tuned in because they were thirsty for something the legal stations could never supply. These voices on the other side of the transmission were, for many of us, a bridge into the future. One, which sadly, never really came to be. Hardcore, Static: Pirate Transmissions From The North of England 1990-1994 is a celebration of this unique period in UK history. The North of England feels overlooked during this time, with history's focus firmly gazed on London. But the signal was everywhere. These pirate stations were crucial for many young people, who were trying to find their place and identity in the UK. Many of these transmissions, even the ones which were recorded onto tape, have since become lost media, effectively erased from history. Radio, at least in the analogue domain, isn't something most young people have any experience with. Pirate radio was this unique flashpoint in time, and for me at least, it was important enough for me to want pay my respects to it" Dennis/36

The Tribal express experience brings Pumpin and Tribe old school.

FAT !

Bidule 2.0 is an unique reinterpretation of Pierre Henry’s little-known sound heritage combined with ErikM’s original composition. The album explores previously unused raw materials, transformed through ErikM’s highly digital approach, balancing fixed composition and unexpected sonic events, a singular sonic experience where where historical archives and contemporary creation converge.

"Bidule 2.0 is a composition by ErikM that revisits a selection of the unused sonic heritage of composer Pierre Henry, covering the period from 1950 to 1974, sourced from the Son/Ré studio and digitized by the BnF (Bibliothèque nationale de France). Over the decades, Pierre Henry and his team accumulated a vast collection of sonic materials from their studio research.This sound library, recorded on analog tape, is a testimony to the recording techniques of that era — including the quality of microphones and recording media, as well as the acoustics of the recording spaces — all of which define the sound of a time. Not wanting to create a remix from the composer’s iconic sounds, I chose instead to work with selections of raw material from unused recording sessions, 168 sequences ranging from one to twenty-two minutes each. Isabelle Warnier and Bernadette Mangin provided me with sessions of prepared piano, series of electronic sounds, feedbacks, and voice recordings. Pierre Henry’s analog sounds were, for the most part, processed through successive stages (up to five generations of transformation), using a custom electronic device: Idiosyncrasie 9.3, built on Max/MSP and Lemur." - ErikM

2026 Repress

This EP represents not just my personal experiences, but the collective emotions, love, and energy we all shared on the dance floor. Inspired by these moments, the tracks reflect a profound essence. Just as ice freezes a moment in time, music captures the fleeting yet profound experiences. It has the power to connect us in deep and meaningful ways creating memories that last forever. I am grateful for all the incredible moments we've shared and look forward to what the future holds.

Carve is the second full-length by Bay Area artist Kathryn Mohr. Written over the course of five years and recorded over several weeks in a rural singlewide in the Mojave Desert, the album centers on love experienced as a form of grief, not as an aftermath of loss, but as a condition of intimacy itself.

Mohr describes Carve as an album about how memory exists outside the body, embedded in places and landscapes. It is shaped by her first return to the American Southwest since a childhood road trip at age five, and by the experience of moving through terrain that holds emotional weight long after its origins fade. The record considers how intimacy feels after years of isolation, and what it takes to carve out a life that allows for trust, presence, and feeling rather than mere survival. The project took form after a difficult tour that ended in Joshua Tree. Mohr pointed her car into the desert and drove alone, crisscrossing the Mojave on dirt roads. Months later, she returned to record the album, working alone with an acoustic guitar, a field recorder, and limited supplies. Following that period, Mohr began to allow for intimacy and connection. The time she spent recording Carve in the desert did not create isolation so much as mirror it. Working alone out of an old, western-themed jail Airbnb, the physical enclosure reflected the emotional conditions under which much of the record had been written: distance, restraint, and long stretches of stillness. In that context, love was not experienced as escape, but as something inseparable from impermanence and the awareness of loss.

This tension between connection and inevitability sits at the center of Carve. Some of the album’s songs were written earlier, during a prolonged period marked by emotional distance and apathy. Over those four years, Mohr was working through unprocessed childhood memories and their long-term effects on her ability to connect with others. The work was slow and difficult, involving a fundamental reshaping of how she related to herself and to the world. Carve was mixed by Richard Chowenhill of Flenser labelmates Agriculture. Rather than offering resolution, the album documents the act of remaining present within tension. Carve is not about escaping grief, but about accepting it as inseparable from love itself. Kathryn Mohr’s previous effort “Waiting Room” received the coveted ‘Best New Music' designation and a score of 8.4 from Pitchfork.

Nia Archives returns with Emotional Junglist, an album about love – but not just the shimmering romantic parts. Written throughout 2025 – a year that saw Nia fall in, and horrifically back out of, love – each track will encompass something of the experience.

Marking her biggest sonic leap to date, her alt-jungle sound honed alongside James Ford (Arctic Monkey’s, Blur), Ethan P. Flynn (FKA Twigs, David Byrne) and Julia Michaels (Lady Gaga, Sabrina Carpenter), will see her flirt with everything from dewy-eyed indie pop and nineties electronica, underscored by the syncopated beats and thudding basslines of her jungle roots with a tracklist that features Jorja Smith and Sampha.

The motif for the album is a shell – tough on the outside, but through pressure, maturation and resilience, something precious is built within. Nodding to the female form, the spiral chamber also symbolizes growth and self-development.

A real cult favorite of the American psychedelic underground, Three blends hypnotic guitars, immersive atmospheres, and deeply melodic songwriting into a rich, transportive listening experience. Drawing from neo-psychedelia, space rock, and dream pop traditions, the album has become a sought-after modern psych classic with enduring appeal among collectors and fans of expansive, guitar-driven music. Originally released in 2012, Three by Flavor Crystals has steadily become a cult favorite within the modern psychedelic underground. Blending hypnotic guitars, immersive atmospheres, motorik rhythms, and deeply melodic songwriting, the album moves seamlessly between neopsychedelia, dream pop, and space rock. With its warm production, shimmering textures, and expansive mood, Three creates a rich and transportive listening experience that continues to resonate far beyond its original release. Over the years, the album has developed a devoted following among collectors and fans of atmospheric, guitar-driven music, earning recognition as an essential modern psych title. This vinyl reissue reintroduces a sought-after underground classic with strong crossover appeal across psychedelic, indie, and dream pop audiences, offering excellent long-term catalogue value for retailers and distributors alike. Recommended For Fans Of The Brian Jonestown Massacre, Spiritualized, Spacemen 3, Mazzy Star, The Black Angels.

2026 Repress

For the better part of two decades, the acclaimed band Calexico has crossed musical barriers, embracing a multitude of styles, variety in instrumentation, and well-cultivated signature sounds. With their forthcoming record Edge of the Sun, out April 13th via City Slang, they take inspiration from a trip to a place surprisingly unexplored by the band before in Mexico City, and with the benefit of many friends and comrades to help guide the way.

Encouraged by the experience, the guest list grew to include Ben Bridwell (Band of Horses), Nick Urata (Devotchka), Carla Morrison, Gaby Moreno, Amparo Sanchez, multi-instrumentalists from the Greek band Takim, and Neko Case. Burns' brother John Burns lent a hand to some lyrics and songwriting, and the band's keyboardist, Sergio Mendoza, stepped up to co-write and arrange certain songs, ultimately co-producing the album along with Burns, John Convertino, and longtime associate Craig Schumacher.

Warrant was formed in 1984 in Hollywood, Los Angeles, California, and experienced success from 1989 to 1996 with five albums reaching international sales of over 10 million. The band first came into the national spotlight with their double platinum debut album Dirty Rotten Filthy Stinking Rich (1989) and one of its singles, "Heaven", which reached No. 2 on the Billboard Hot 100. The band's success continued in the early 1990s with the double platinum album Cherry Pie (1990), which provided the hit song of the same name. In 1992, Warrant released their third album the critically acclaimed Dog Eat Dog. The record achieved only moderate commercial success compared with the first two albums, but still sold over 500,000 copies reaching Gold status and charting at No. 25 on the US Billboard charts. The band's fourth album Ultraphobic (produced by a returning Beau Hill) was released in March 1995 and, featured the singles "Family Picnic", " Followed" and the ballad "Stronger Now". Now to celebrate the 30th Anniversary of their fifth album which was released in October of 1996 and the last with Jani Lane. Belly To Belly Vol. 1 has been remastered and repackaged and is available for the first time on strictly limited vinyl LP.

Auckland-based indie-pop outfit Borderline officially plant their flag in the New Zealand music scene with their self-titled project, Borderline. Seamlessly blending the nostalgic warmth of classic indie-rock with the polished, infectious hooks of modern pop, the band delivers a sonic snapshot of youth, ambition, and navigating the fine line between late-night euphoria and introspective vulnerability. Driven by shimmering guitar lines, driving bass rhythms, and anthemic vocals, the project feels both intimately local and ready for a global stage.

Borderline serves as a definitive introduction to the band’s signature sound, trading in sun-drenched, feel-good anthems built for summer road trips alongside high-energy tracks that tackle the fast-paced nature of modern relationships. By balancing cinematic storytelling with irresistible hooks, the up-and-coming band crafts a listening experience that is both fresh and deeply relatable, securing their place as a compelling new voice to watch out of New Zealand.

"Throughout 2025, New West Records has been releasing limited edition vinyl reissues of Corb Lund’s back catalog as part of the Corb Lund Dark Horses Club. Each installment featured bonus tracks, previously unreleased material, and an exclusive acoustic track available only digitally. Now, as the series reaches its culmination, New West Records and Corb Lund are releasing Dark Horses on both vinyl and CD.

Dark Horses is a collection of songs hand-picked by Corb from across his catalog, presented in chronological order and rerecorded as solo acoustic performances. Stripped down and intimate, these new versions offer a fresh perspective on familiar material — and the result is an illuminating listening experience that showcases the depth and craft of Corb’s songwriting."

DYING VICTIMS PRODUCTIONS is proud to present JORDSJØ’s highly anticipated new album, Pestkrønikene, on CD and vinyl LP formats. JORDSJØ released their first tape in 2015. With the fourth tape, 2017’s Jord, the band got a wider audience outside their native Norway and subsequently released full-lengths on such labels as Karisma, Pancromatic, and Apollon. The band works as a duo in the studio, but for the last eight years, they have played live as a quintet. JORDSJØ are led by multi-instrumentalist Håkon Oftung, who has been a part of Oslo’s psychedelic, progressive, and heavy rock undergrounds for many years, and has played in Black Magic, Tusmørke, The Chronicles of Father Robin, Wobbler, Zenon, and labelmates FLIGHT to mention but a few. He’s joined by longtime companion and childhood friend Kristian Frøland, who plays drums and percussion, and also produced and mixed Pestkrønikene. Pestkrønikene is a part of JORDSJØ’s 10-year anniversary, and their ninth release overall. The record started out as a compilation of studio outtakes from 2020-2025, but then took on a form of its own, with the songs linked together thematically. Lyrically, those themes reflect war, upheaval, the fall of kings and the rise of a new dawn, and cults and sects. Sonically, Pestkrønikene encapsulates the JORDSJØ experience as well as extends beyond it. Mythical and magickal, the album honors the band’s background in hard rock and heavy metal, and combines this with their own analog and organic blend of progressive / psychedelic folk rock.

Following the success of his project DFRA Experience Jazz Band – Jazz In, Argentinian deep house maestro DFRA returns to Groovin Recordings for his highly anticipated second 12" vinyl release, "All About You EP".
While his first Groovin record heavily merged live modal jazz and bebop structures with electronic music, All About You sees DFRA shifting focus directly back to the late-night dancefloor. Dropping just in time for the July summer heat, this four-track EP delivers a masterclass in clean, sophisticated deep house.
Across both sides, the Buenos Aires producer effortlessly pairs crisp percussion with warm, hypnotic basslines and soulful chord progressions. From the smooth, vocal-tinted groove of the title track to the late-night atmosphere of the B-side cuts, this record perfectly balances a timeless, classic edge with modern production weight.

Downtown Boys have pushed relentlessly forward as an artistic and political project since their founding. Singer Victoria Marie and guitarist/singer Joey La Neve DeFrancesco first met at union meetings while working together at a hotel in Providence, RI, writing many of the band's early songs about labor organizing and exploitative workplaces. The quintet is completed by Joe DeGeorge (sax/synth), Mary Jane Regalado (bass), and Joey Doubek (drums). Over years of touring, and three acclaimed albums, Downtown Boys have continued to grow as artists, musicians, and organizers. Now, the band has arrived with Public Luxury, an enthralling album that keeps politics front and center while summoning the band's most urgent and powerful sound to date. The definition of Public Luxury falls very much in line with that of the title of the second Downtown Boys LP, Full Communism. Straight up, Public Luxury means, "everything for everyone." It's the stubborn insistence that a better world is possible, while fully recognizing the horrors we witness daily, and the individual and collective responsibility to resist the nihilism and hopelessness we all feel. Sentiments like "everything for everyone," and "we will have it all" perfectly represent the cathartic, communal live experience this cadre of multi-instrumentalists create. These sentiments also encapsulate the inclusive, joyful sonic fusion that defines the album: anthemic punk and indie rock mix with Latin traditions, drum machines blend with acoustic drums, saxophones punctuate riffs, and layers of synths add flourishes from new-wave to industrial. The amount of ground covered on Public Luxury can't be overstated, and yet the album feels totally vital and cohesive. Public Luxury is a revisitation of the band's past for the sake of their future. It was co-produced by DeFrancesco with recording engineer and longtime Downtown Boys supporter Seth Manchester (Lambrini Girls, Lightning Bolt, Model/Actriz) at the Pawtucket, RI studio and arts space Machines With Magnets, not far from the band's first home of Providence, RI. Victoria Marie's grandmother-a monumental figure for the band throughout their existence-passed away in May of 2025, and her influence looms large over the album; the songs "No Me Jodas" and "Sirena" are crystallized representations of the love between a woman and her ancestor. Beyond the loss, rage and frustration of the present, Public Luxury points boldly towards a vibrant, open-hearted vision of both music and the world: "Our music is simply for anyone and everyone who believes in the new future we can make together," Victoria Marie declares. "A world that will be awkward, inconsistent, yet truly free when it comes to all that matters."

Simsara Records is proud to announce Syrr, the new album by Egyptian artist Maryam Saleh, arriving 27 March 2026. A mythic and introspective work, Syrr transforms memory, loss, and lived experience into a shifting world of sound, voice, and embodied emotion. Written and composed by Saleh, the album traces a three-part journey—Origin & Image, Vessel, and Intuition & Echo—in which the self is fractured, questioned, reassembled, and ultimately expanded. Blending raw expression with subtle dramatics, Saleh crafts an immersive sonic autobiography rooted in intuition, embodiment, and human becoming.
Co-produced by Maryam Saleh, Maurice Louca, and Kamilya Jubran—who also perform keys, oud and backing vocals throughout—the album’s songs are set to or inspired by existing Egyptian and Arabic song forms (including mawwal, lullaby, madih, muwashshah, taqtuqa and more). The project underwent a rigorous three-year journey of songwriting and composition by Saleh with Kamilya Jubran as mentor before recording.
“Syrr” is mixed by Mokhtar El Sayeh and mastered by Heba Kadry, with artwork by Pauline Gouablin (photography), Omar Mostafa (image editing, treatment and inserts design), and Maged El Sokkary (typography and illustration). Lyrics translation by Nariman Youssef. Produced by Simsara Music with support from the Arab Fund for Arts and Culture (AFAC).

MAR 004 continues the evolving catalogue of Moozikeh Analog Room, a label imprint emerging from the broader Analog Room ecosystem. Over time, Analog Room has developed into distributed creative structure spanning, bridging club culture, archival releases, and experimental instrument design. MAR 004 extends this trajectory, reinforcing the label’s position as a long-form documentation platform for contemporary electronic music practices rooted in both regional and international dialogue.

From The Label:
"The relationship with Roman Flugel started with us listening to his music and be fascinated by the simplicity but bold sound. The sound design and the story telling was inline with how we enjoyed music. After inviting Roman for a few times to perform at Analog Room, the relationship led to the point that when it was time for us to think of the MAR releases, we could not miss on asking Roman to join the label and the rest is what you are going to experience with this thick, deep and rhythmic EP that represents what the world need at the moment, some SOLUTIONS. Analog Room has always tried to bypass the issues in the South West Asia region through music and art and show how we are all the same and connected."

From Roman:
"My record for Analog Room is essentially a long-term project that was sparked by multiple invitations to the Analog Room club in Dubai over the course of several years. The club held a special place for me—a sanctuary for the underground music scene in a city otherwise defined by a very different ethos. I am delighted to now be part of the Analog Room label family. The record blends various moods and directions within my personal musical landscape, and "Solutions," in particular, has created euphoric moments during my DJ sets over the past few months."

After spending the last few years relentlessly touring across Europe and the UK, building a fiercely loyal fanbase through sold-out shows and unforgettable live performances, LEAP have built unstoppable momentum with their recent album, ENTROPY. First released digitally in late 2025, the album didn"t just connect-it exploded, racking up 21 million global streams and catching the ear of Epitaph Records, who quickly brought the band into the fold. There"s a magnetic push-and-pull at the heart of ENTROPY: big, anthemic alt-rock hooks wrapped around lyrics that don"t shy away from life"s messier moments. Frontman Jacky Scott leads the charge with a voice that can pivot from raw confession to fist-in-the-air release, turning heavy themes into something unexpectedly uplifting. It"s that balance-dark edges with a bright, communal core-that"s earned early praise from Rolling Stone and Kerrang! alike. And the fans are already all in. Following a sold-out European run, tickets for LEAP"s first U.S. shows in New York, Chicago, and Los Angeles vanished months in advance-proof that their emotionally charged, high-energy sound translates far beyond the studio. At its core, ENTROPY feels like a shared experience: songs built for singalongs, for release, for connection. LEAP aren"t just channeling chaos-they"re turning it into something unifying, loud, and impossible to ignore.