CHIHEI HATAKEYAMA, captivating the world with his beautiful ambient/drone works, and KEN IKEDA, an original improvisational musician radiating a unique presence. This work, both artists spent approximately ten years recording and meticulously editing down to the finest details, explores the theme of "a mental landscape where distorted dreams and crumbling daily life intersect, where anxiety and darkness seep into the cracks, and faint light flickers within the depths of silence." A total of 16 imaginative soundscapes unfold like shifting scenes in a film. The jacket design features artwork by the cutting-edge visual artist MIKA TAMORI.
The newest sound suite by Night Foundation, the solo project of visual artist and Noir Age label owner Richard Vergez. Inspired by reality and light. Mental objects that traverse our minds in the form of sound. Things familiar, but new to your ears. Interest in the things left behind. Some were just accidents that fell on the tape. Manipulations of time.
A memory archive containing exposed wires, slightly broken machines, and those slow, morose moments in film or the happy accidents in dreams. Live, improvised sequences for liminal synths, one-string guitar, mutated trumpet, metal objects, drum box. That type of thing. Under the spell of Brussels, Leeds, and Berlin.
Night Foundation is a current collaborator with Little Annie and has releases on labels such as Psychic Liberation, Jungle Gym, and Amulet of Tears.
For fans of:
Bourbonese Qualk, Klaus Schulze, x.y.r., Tomaga
Limited edition cassette with Rispgraph cover and newsprint insert.
An emotional transmission wrought with the persistence of existence. Anasisana returns to Noir Age for his third release with the label. For Self Exploration, the Tunisian artist is focused here on existential alchemy; processing grief, encountering the unknown, and (possibly) experiencing growth through his simplistic and downtrodden approach to sound composition.
Anasisana constructs a plaintive sonic trajectory; leading in with harsher passages before settling into the restrained yet powerful ambient approach that we have come to love about Anas’ work. A skeletal, leftfield grunge deconstruction, echoing the corridors of HTRK’s darkest secrets crossed with the perpetual bliss of Isorinne, Canadian Rifles, or the warped dementia of The Caretaker.
A palindrome hypnotic.
Anasisana’s music has been published by labels such as Vaagner, Casement Exchange, Perfect Aesthetics, Trust Collective & Amulet of Tears.
Limited edition cassette with Rispgraph cover and newsprint insert.
The Rascals are a British indie rock trio formed in 2006 by Miles Kane (guitar and vocals), Joe Edwards (bass) and Greg Mighall (drums), hailing from The Wirral on Merseyside. Before becoming The Rascals, all three members spent their formative years playing together in The Little Flames, gaining valuable experience touring with prominent contemporaries such as The Coral, The Zutons and, most significantly, Arctic Monkeys. It was while supporting Arctic Monkeys—drawing inspiration from their fiercely independent, DIY ethos and refusal to compromise—that the trio decided to trust their instincts and strike out on their own.
In September 2006, Kane, Edwards and Mighall began writing and jamming as a three-piece, giving birth to The Rascals. The band quickly developed a sound rooted in strong pop melodies and psychedelic flourishes, but distinguished by a darker, more introspective undercurrent. Influenced by artists such as Scott Walker, their music carries a sweeping, epic quality, while their lyrics often evoke a David Lynch–like atmosphere. As Kane explains, The Rascals were never content with skimming the surface, instead preferring to explore subtler, shadowy themes that reveal themselves over time.
Released on Deltasonic Records, Rascalize showcases clear influences from labelmates and peers such as The Coral, as well as echoes of bands like The Inspiral Carpets. Standout tracks including “The Glorified Collector,” “Does Your Husband Know That You’re On The Run?” and lead single “Freakbeat Phantom” highlight the band’s knack for catchy hooks, layered guitar effects and driving rhythms.
2020 album from Colorado’s freewheelin’ melodist Josephine Foster. Revolving between her adopted Spain and her native American West, Josephine was stationed this spring in Nashville with maverick guitarist and comrade-in-arms Matthew Schneider. The result: ‘No Harm Done’, a spacious and enveloping love letter of an album. Eight new slow-burning songs branch forth from idiosyncratic country folk blues, sung with sibylline wit and a hint of the absurd, awash in sensually anachronic lyricism. “The Wheel of Fortune”, nearly a title track by virtue of its refrain: 'No harm will come/if there's no harm done', are words of a homebound wanderer finding refuge in healing stillness with her beloved, having 'time to kill' in the midst of 'hard times to feel at home'. All delivered with calm sagacity upon the pedestal of Mr. Schneider's pedal steel and underscored by a knowing trebled chorus in Foster's lower register. Going nowhere never felt like so righteous of a destination before. Devotion in all its permutations, spiritual to carnal, are seamlessly explored. In 'Conjugal Bliss', overtones of the 12-string and autoharp gently interplay, sounding like some unearthed Carter family wedding hymn (it bears the subversive subtitle '69' ) while 'How come, Honeycomb?' bounces low in the hips like a sultry old music hall number à la Harry Nilsson. The obliquely sapphic 'Leonine', it's unquiet harp scaling right out of ancient Lesbos, dreams of a kingless land; in 'Sure Am Devilish', a stargazer humbly confesses to a lowercase lord. 'Old Saw', the mesmeric album closer, is a medium's petition to cross the threshold and merge with the holy spirit. Josephine's enigmatic voice captured once more by frequent co-producer Andrija Tokic in his analog Bomb Shelter studio, where layers of her guitar, piano, organ entwine with Schneider's 12-string, pedal steel and electric bass to rouse a spectral yet full blooded band. The ensuing cycle of songs pulse and glow within the ruins and deep fundamental roots of American song. “Remarkable, ghostly music” The Guardian.
This is the second release from London producer/DJ and Apron Regular Shamos. "Games and Dreams" is the the follow on from his debut record "Road Works Part 1", carrying the same rawness, but with a bit more wisdom...
This will be the last Apron release of the year, so it makes sense to end the year the way we started. With a Shamos record...
His music is characterized by a mix of electronic, deep and tropical house, and techno music produced in a minimalist manner with jazz and soul influences. "Vandaag", containing a sample of the "I Have a Dream" speech by Martin Luther King Jr. became a major charting hit in 2014. Six years later, in 2020, Bakermat released his first studio album The Ringmaster - a ten- track project showcasing his lengths and versatility, including the chart- topping release "Baiana\u0301", awarded Gold and Platinum status, surpassing 100 million total streams, and stamped as the official feature track for EA's FIFA 2021. The Ringmaster also includes the singles "Partystarter", "Trouble", "Learn To Lose", "Baiana\u0301", and "Under The Sun (ft. Kidda)". The full album features collabs with Alex Clare, Gossip Girl's Emily Lind, BRAVES, and 7Chariot amongst others. The Ringmaster is available as a limited edition of 500 copies on yellow, black and red marbled vinyl
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Neues Tea Glass Coloured Vinylformat des erstes Albums von Resavoir auf seinem neuen Label L'UNIVERS - nach drei von der Kritik gefeierten Releases bei International Anthem und Touren mit Khruangbin, BADBADNOTGOOD und Kassa Overall. ""Themes For Dreams"" markiert eine Kehrtwende und zeigt den Chicagoer Musiker/Produzenten Will Miller von seiner meditativen Seite. Auf 13 bemerkenswert stimmigen Tracks verzichtet die LP auf Schlagzeug und setzt stattdessen auf eindringliche Melodien, die schweben, verklingen und nachklingen. Mit Arrangements, die sich wie eine warme Decke anfühlen. Als Gastmusiker dabei sind Marta Sofia Honer, Jeremiah Chiu, Macie Stewart, Matt Gold, William Corduroy und Molly Rife. ""Man denke an die Ambient-Werke von Künstlern des elektronischen Jazz der 70er und 80er Jahre wie Beverly Glenn Copeland und Laraaji."" - Tasha Viets-VanLear, Chicago Reader
For close to a decade, B’licious has been best known as the voice ofThe Heliocentrics, the London psych jazz and funk collective whose collaborators include Madlib, Mulatu Astatke, DJ Shadow, Gaslamp Killer and Lloyd Miller, with stages taking her to Glastonbury, Roskilde and Worldwide festivals alongside artists including Marshall Allen and Bilal. Her appearance on Strut Records’‘Nuclear War’, a tribute to Sun Ra also featuring Marshall Allen, Knoel Scott and Bilal, is the latest marker of a body of work built over years on some of the most respected stages in UK jazz and soul. Following her 2022 solo EPSurrender, ‘Apple’ is the lead single from her debut full-length album,Serpent Dreams.
‘Apple’ was co-produced byDan Smith of The Noisettesand engineered bySie Medway-Smith, whose credits include Björk, Depeche Mode, Gang of Four and Massive Attack. On the flip side,SLICKnBOBBY— known for chest-rattling basslines and immersive, dubbed-out rhythms — deliver a live reworking that shows off their skills perfectly, drawing on a background that includes performing alongside Wally Badarou and frequent collaborations with Liam Bailey and Greentea Peng.
Euronymous’ Deathlike Silence Productions in 1993, & with each subsequent release, Sigh grew to become one of the country’s greatest & most revered metal exports. With a journey through the strange & the psychedelic, incorporating a whole eclectic mix of genre styles & experimentation throughout their career, Sigh has remained a vital creative force in the avantgarde field whilst maintaining their old school roots, as witnessed with the stellar 2022 album, ‘Shiki’. 2025 also saw Sigh remaking their ‘Hangman’s Hymn’ album for a release on Peaceville as part of the band’s 35th anniversary celebrations, in the shape of ‘I Saw The World’s End: Hangman’s Hymn MMXXV’.
With the ongoing early line-up of Mirai Kawashima, Shinichi Ishikawa, & Satoshi Fujinami, ‘Scenario IV: Dread Dreams’ was the band’s fourth studio album, originally surfacing in 1999. This was also notably the final title in partnership with Sigh’s then-label, Cacophonous Records. Delving evermore into the experimental side of music to conjure an interlinked gallery of twisted soundscapes; ‘Dread Dreams’ became more of a journey into the realm of psychedelia & rock over black metal, with this Zappa-inspired odyssey acting as somewhat of a direct pre-cursor to what was to follow with the celebrated ‘Imaginary Sonicscape’ opus.
‘Dread Dreams’ was once more recorded at Shinjuku On Air Studio with J. Yamada, with a selection of guests including Damian Montgomery of Ritual Carnage lending lyrics plus guest vocals, along with King Fowley (Deceased), & Killjoy (Necrophagia) supplying additional song lyrics. Cover art came courtesy of renowned artist Joe Petagno (Motörhead, Autopsy).
Continuing with Peaceville’s re-issues of Sigh’s classic works, this edition of ‘Dread Dreams’ contains a new master created by Patrick Engel at Temple of Disharmony.
The release also includes a new interview with main-man Mirai Kawashima conducted by Dayal Patterson of Cult Never Dies, with his thoughts, influences & reflections on the album & its challenges.
Bristol’s Friendly Records mark 10 years with a special compilation in aid of War Child - raising vital funds for children affected by conflict.
The record brings together standout tracks from recent Friendly Records 7” releases supporting War Child, featuring Portishead, PJ Harvey, IDLES, Sleaford Mods, Hot Chip, Beak and more!
Also includes tracks from Friendly Recordings releases by Christian Madden And The Enemy Chorus, Floating World Pictures, Nick Craft, Claude Cooper & Brain Fog and ZEE.
exclusive artwork by David Shrigley.
Every purchase will help War Child UK protect, educate and stand up for the rights of children living through war.
Bristol’s Friendly Records mark 10 years with a special compilation in aid of War Child - raising vital funds for children affected by conflict.
The record brings together standout tracks from recent Friendly Records 7” releases supporting War Child, featuring Portishead, PJ Harvey, IDLES, Sleaford Mods, Hot Chip, Beak and more!
Also includes tracks from Friendly Recordings releases by Christian Madden And The Enemy Chorus, Floating World Pictures, Nick Craft, Claude Cooper & Brain Fog and ZEE.
exclusive artwork by David Shrigley.
Every purchase will help War Child UK protect, educate and stand up for the rights of children living through war.
That sound reaches a new height with her fourth solo record, Fireflies. Recorded with producer Tony Braunagel in Nicole's hometown of Kansas City, it's not just a record about roots -- it's about the growth that occurs when reflection, resilience, and real artistry all combine. From nostalgic tracks like "Take Me Back" (featuring North Mississippi Allstars' Luther Dickinson) to empowered anthems like "Gaslight" and "Tug of War," Fireflies burns bright, deepening Danielle Nicole's exploration into soul, R&B, and the rich tapestry of American roots music.
Built through an MPC- centered workflow with hand- programmed drums, chopped melodies, and layered instrumentation, the 13-track project balances classic hip-hop rhythms with cinematic atmosphere. From "Homeroom" to "Snowbirds," the album is a collection of memories, experiences, and sounds that helped shape who Aloefi is today
Japanese black metal legends Sigh formed in 1989/1990. The genre-classic debut ‘Scorn Defeat’ followed on Euronymous’ Deathlike Silence Productions in 1993, & with each subsequent release, Sigh grew to become one of the country’s greatest & most revered metal exports. With a journey through the strange & the psychedelic, incorporating a whole eclectic mix of genre styles & experimentation throughout their career, Sigh has remained a vital creative force in the avantgarde field whilst maintaining their old school roots, as witnessed with the stellar 2022 album, ‘Shiki’. 2025 also saw Sigh remaking their ‘Hangman’s Hymn’ album for a release on Peaceville as part of the band’s 35th anniversary celebrations, in the shape of ‘I Saw The World’s End: Hangman’s Hymn MMXXV’.
With the ongoing early line-up of Mirai Kawashima, Shinichi Ishikawa, & Satoshi Fujinami, ‘Scenario IV: Dread Dreams’ was the band’s fourth studio album, originally surfacing in 1999. This was also notably the final title in partnership with Sigh’s then-label, Cacophonous Records. Delving evermore into the experimental side of music to conjure an interlinked gallery of twisted soundscapes; ‘Dread Dreams’ became more of a journey into the realm of psychedelia & rock over black metal, with this Zappa-inspired odyssey acting as somewhat of a direct pre-cursor to what was to follow with the celebrated ‘Imaginary Sonicscape’ opus.
‘Dread Dreams’ was once more recorded at Shinjuku On Air Studio with J. Yamada, with a selection of guests including Damian Montgomery of Ritual Carnage lending lyrics plus guest vocals, along with King Fowley (Deceased), & Killjoy (Necrophagia) supplying additional song lyrics. Cover art came courtesy of renowned artist Joe Petagno (Motörhead, Autopsy).
Continuing with Peaceville’s re-issues of Sigh’s classic works, this edition of ‘Dread Dreams’ contains a new master created by Patrick Engel at Temple of Disharmony.
The release also includes a new interview with main-man Mirai Kawashima conducted by Dayal Patterson of Cult Never Dies, with his thoughts, influences & reflections on the album & its challenges.
Als Gitarrist Grant Green im September 1964 zum ersten Mal mit dem Hammond-Organisten Larry Young
und dem Schlagzeuger Elvin Jones ins Studio ging, um das mitreißende Trio-Album “Talkin’ About!”
einzuspielen, lag Hochspannung in der Luft. Zwischen den drei Musikern entwickelte sich auf Anhieb eine
besondere Chemie, die nach einer Fortsetzung der Zusammenarbeit verlangte. Bereits zwei Monate später
kehrten sie mit dem Vibrafonisten Bobby Hutcherson ins Studio zurück, um das Album “Street of Dreams”
aufzunehmen, auf dem sie sich von ihrer subtileren Seite zeigten. Bei der Zusammenstellung des Repertoires, das von atmosphärischer Eleganz geprägt ist, setzten die Musiker auf seltener gespielte Standards
und Songs, die normalerweise nicht von Jazzinstrumentalisten aufgenommen werden.
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.
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Last delivered 15 months ago available to reorder, subject to availability
WRWTFWW Records is extremely excited to announce the first ever vinyl release for Pizza Hotline’s brilliant 2022 full-length Level Select, originally only released on cassette and digital. The liquid drum & bass meets Y2K era video gaming aesthetics monster is now available in a limited edition transparent vinyl double LP with a glorious 45rpm cut, packaged in a heavyweight 350gsm sleeve.
Entirely written and composed by UK producer Pizza Hotline (apart from "GLACIER ZONE", a collaboration between Pizza Hotline and DJ Total 90), the stellar 8-song album was initially released as a limited cassette in January 2022 and quickly gained cult status - making a full-on vinyl release quite the necessity. It’s here now with the the previously unreleased track "POLYGON DREAMSCAPE" (which sounds as magical as its title) and 45rpm cut for louder, bigger, deeper bass rumbling.
Spellbinding, atmospheric, and beautifully melodic, Level Select is a large scope dreamy adventure of liquid DnB filled with ambient escapades, ethereal jungle, high vibe breaks, and a heavy loving dose of late 90s / early 2000s video game influences. Hypnotic late night hype and pensive chill moods mesh with ease in a cinematic soundscape that re-contextualizes and gives a new life to a beloved music genre - LTJ Bukem, Peshay, the Wipeout OST or Soichi Terada's Ape Escape come to mind, and sounds and soundtracks from the Sony Playstation, the Nintendo 64, and the Sega Saturn resonate from the speakers. It’s all fresh with a subtle nostalgia and so much heart. An instant classic.
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Last delivered 61 days ago available to reorder, subject to availability
Die Essenz des modernen Gothic Rock auf einer LP! „Gothic Spirits – Best Of Vol. 1“ vereint eine handverlesene Auswahl der besten Songs des Genres und bietet atmosphärische Klangwelten, kraftvolle Gitarren, epische Melodien und unverwechselbare Stimmen.
Freuen Sie sich auf musikalische Highlights von Szenegrößen wie Beyond The Black, Xandria, Therion, Sirenia und Exit Eden sowie weiteren namhaften Künstlern der Gothic- und Symphonic-Metal-Szene. Diese Compilation ist der perfekte Begleiter für langjährige Fans und alle, die die faszinierende Welt des Gothic Rock und Metal neu entdecken möchten.
There is with Tour-Maubourg an eternal desire to translate the feeling of love into music. Sometimes cheerful, sometimes melancholy, always exhilarating, the producer, native of Brussels and expatriate in Paris, has continued for 3 years to attract the praise of his peers and the support of a growing audience. The man who was described by Trax Magazine upon the release of his 1st EP as ‘‘one of the most promising producers of the French house scene’’ has revealed himself in this hyperactive new scene to become one of its best standards.
After several EPs released in France on Pont Neuf, FHUO (ie. Folamour’s label), as well as Happiness Therapy or in England and Germany on FINA and Salin, Tour-Maubourg unveils his first album, Paradis Artificiels. The Parisian producer refers to Charles Baudelaire’s poem, to which he links his melancholy music, who wrote:
‘‘common sense tells us that the things of the earth exist very little, and that the true reality is only in the dreams’’.
If the producer’s first EPs were mainly focused on club music, Paradis Artificiels oscillates between the atmospheres that made the success of these previous releases and those of a studio album. Composed of both house songs and downtempo sound researches, always flirting with the jazz sounds that have made the fame of the producer, this first album invites us on a journey in the lineage of St Germain, Massive Attack or Nicolas Jaar.
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The return of Jonne Lydén aka 53X is an exhilarating welcome for Emotional Especial with 4 more seismic analogue psychedelic jams that are becoming recognisably a unique and hypnotic statement.
Lydén’s studio time is distillation for personal contemplation and perfection just 3 releases in 5 years that are worth the wait. The heady demand for his debut ‘Synapse’ and the following ‘Zen ‘23’ on Especial (limited repress incoming!) show constant development a sound of widescreen technoscope where dub beats trance pyrotechnics and 303 mind-melt swirling in a cosmic matter.
His return takes this further his music heritage in Finland’s hardcore punk scene to finding the techno of Detroit and Berlin before submerging in synths and drum programming jamming recording and mixing these trip-out electronic journeys live.
This heavy 4/4 jack is apparent on opening Sanctuary. Like his recent outings ‘Radar’ found on the Especial 50th “sampler” release ‘Gracias Especial’ (EES050) and also ‘Simulaato’ hidden away on blink and you miss it cult label Avidya (AVI003) this is a pure undiluted bang. Straight forward heavy bass kicking charged with acid 303 and monotonic vocal insights the track is a flourishing temple a call of embrace.
The eponymous Cyan Haze showcases 53X’s cinematic finest panoramic audio and sound design creating expansive phonics. BPMs drop samples flourish around break drops and rolling bass – breathing looping shouting lifting.
Owls enlightens. Hardware rumbles cerebral a temporal universe awakening. The collage of found sound successive sequential all encased by hypnotic broken chords rolling bass and melancholic piano refrain. Meta worming braindance ecstatic tribal industrial gliding by Shiva into the night.
Dust closes apt its basement collage pounds Lydén to techno genesis. Proto-zeitgeist steppa dark room incantation pulling and expanding the fantasy to strange dreamscapes. Reincarnation and hope in 2026.
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Lonely Man's Dream marks a milestone for Forager Records: our tenth release, and perhaps our most personal. More than a compilation, it is a self-portrait. A reflection of the musical obsessions, late-night discoveries, and restless digging that have defined this label from our first record to this latest one.
Spanning the dreamy psychedelic folk of the 1970s to the cool shimmer of 1980s synth pop, Lonely Man's Dream traces a decade of curatorial wandering. Eleven artists. Eleven songs. Each one rare, obscure, or otherwise lost to the margins of music history. Among them, two tracks surface here for the very first time: “Never Say Goodbye” by Cocktails and Dreams, a synth pop transmission from Norway, luminous and weightless as the skies on the cover. “True Love” by Keith Jones, a drum machine backed demo that pulses with a late night intimacy.
What unites these songs across genre and era is the same quality we have always chased; a transporting ache, the sound of someone searching, or the feeling of a memory you can't quite place. Like every record before it, this one asks nothing of you but your full attention and an open ear.
Ten releases in, we are still looking for the same thing we started with. We hope you feel it too.
* Featuring a selection of songs sourced from rare records of the 70s & 80s reissued for the first time.
* Includes 2 unreleased songs from the 80s
* Original artwork by Eric Thompson
* Very limited initial first pressing
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Last delivered 74 days ago available to reorder, subject to availability
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.
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Last delivered 69 days ago available to reorder, subject to availability
For the first time ever, Los Campesinos! are proud to offer new pressings of their first three studio albums on their very own record label; Heart Swells.
2026 marks the 20th anniversary of LC!’s formation, and coincides with the band being more popular and relevant than ever before. The 3 albums are available for the first time since 2020, on brand new colour ways, on 12” vinyl and CD, with updated artwork and packaging.
What the press said:
"This debut is unusually taut and polished, with hooks, crescendos, and clever turns of phrase nearly always in the right place. ” 8.4/10 - Pitchfork
“captures more believable, crackling punk energy than most hardcore bands.” 10/10 - AV Club
“Recommending this album seems too light a course of action; requiring it may be more apt. Consider Hold on Now, Youngster...highly required, then.” - 9/10 - All Music
“They write ridiculously knotted, satisfying hooks… they have great lyrics, great videos, their live show is phenomenal, and most importantly and intangibly (like all great bands) they somehow summon up a world through their music, until it feels as if everything in life is here.”
9/10 - Popmatters
For the first time ever, Los Campesinos! are proud to offer new pressings of their first three studio albums on their very own record label; Heart Swells.
2026 marks the 20th anniversary of LC!’s formation, and coincides with the band being more popular and relevant than ever before. The 3 albums are available for the first time since 2020, on brand new colour ways, on 12” vinyl and CD, with updated artwork and packaging.
What the press said:
"This debut is unusually taut and polished, with hooks, crescendos, and clever turns of phrase nearly always in the right place. ” 8.4/10 - Pitchfork
“captures more believable, crackling punk energy than most hardcore bands.” 10/10 - AV Club
“Recommending this album seems too light a course of action; requiring it may be more apt. Consider Hold on Now, Youngster...highly required, then.” - 9/10 - All Music
“They write ridiculously knotted, satisfying hooks… they have great lyrics, great videos, their live show is phenomenal, and most importantly and intangibly (like all great bands) they somehow summon up a world through their music, until it feels as if everything in life is here.”
9/10 - Popmatters
Suicide Squeeze is thrilled to announce a reissue of Holy Wave's Freaks of Nurture! Freaks is a hauntingly hypnotic journey through auditory lands of melodic bliss and passively happy psych rock hallucinatory dreams. Holy Wave is a band of multi-instrumentalists from El Paso, TX. Since moving to Austin in 2008, they have cemented themselves as a unique national and international touring circuit force. After perennial performances at Levitation (Austin Psych Fest) and countless tours and festival appearances in the USA, Europe, Latin America, and Africa, Holy Wave is poised to continue expanding into new spaces and places worldwide. With the recent release of their latest album, Five of Cups, this is the perfect time to revisit this crucial LP.
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Truth Manifest Records is honored and delighted to release Beyond Jazz Volume 3, the third volume in this superb, innovative four-part series! This exceptional vinyl release on Truth Manifest Records is from executive producer Malik Alston, with distribution from Mother Tongue.
Dive into the delightful beauty of Beyond Jazz Volume 3, in a sonic world of love, intuition, discovery and adventure. Let it take you to a place where you can’t get enough in a universe of electrified transformation and elevation, on a galactic ride to the space where good people, lovely people live forever.
This vibrant collection has special new remixes and edits based on Malik’s current radio show, Beyond Jazz, on motionfm.
Travel to the edge of your senses, further than your dreams can take you….Beyond Jazz.
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John Hassall (The Libertines) & The April Rainers release their long overdue second, self- titled album. It's is the followup to 2017's Wheels to Idyll, which picked up critical applause on its release. The new album was largely recorded at John's home studio in Aarhus, Denmark where he has been living since 2009. And was produced by the band, with string player Clementine Brown having a big influence on the sound. John Hassall "These 10 songs are the ones that survived, grew and took on a life of their own. There's no way of telling if a song will make it until the end. That Pale Lantern in my opinion, started off as a rank outsider and then turned into one of the strongest songs on the album. Lessons were learnt from Wheels to Idyll and a new musical development runs through it. Whereas the last album was recorded pretty much live. The new album maintains similar classic songwriting and pop sensibilities, though with more complex arrangements and production." Most of the songs were cowritten by John and longtime poet collaborator Steev Burgess exploring memories of school days, journeys and adventures, fading dreams, ancient empires and even somebody's trinket collection. Burgess who has known Hassall for many years, wrote the lyrics to lead single Miracles, a sort of Ballad of John and Line. Libertines band mate Peter Doherty is also involved with a co-writing credit on Doing Time. John Hassall and The April Rainers will be announcing UK shows shortly, in the meantime John will be appearing with his other band The Libertines at summer festivals across Europe and the UK.
Through an intimate, conversational approach, free from any trace of mannerism, pianist Enrico Pieranunzi and guitarist Bebo Ferra probe the innermost mystery of a genius whose expressive language combined charm and intellect are in equal measure. Drawing on languorous ballads at unhurried tempos, the program alternates reinterpretations of emblematic Evans themes - 'Song for Helen', 'Very Early', 'Once Upon a 'Summertime' - with a series of inspired original pieces. Occasionally joined by the deep, reassuring double bass of Diego Imbert ('Song for Helen', 'Calling Enrico'), they move from post- romantic atmospheres to more introverted lyrical passages, steering clear of both sentimental excess and detached formalism.
First release from the brand new label Modular Dreams run by Sound Synthesis & UTR head honcho JDSK. This label will focus more on the deeper dreamy electro side of Sound Synthesis. MD 101 features 4 high quality cutz that will surely stand the test of time.. Limited hand stamped copies, no repress!
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Futurismo are thrilled to present Give Thanks, the long out of press 1984 hardcore classic by Articles Of Faith. Produced by Bob Mould, and newly remastered directly from the original tapes, this powerhouse of a record is now coming on both LP and CD after being unavailable for decades. Originally released in 1984, the debut LP Give Thanks by Chicago hardcore legends Articles Of Faith, is proof a hardcore record can be both political and poetic. Fuelled by rage, introspection and a musical progression that could be seen as a blueprint for what would later become known as post-hardcore, this album ticks every box you want from a record of the era: intense, emotive, scathing, unpredictable, all topped off by the masterful production of Bob Mould (Hüsker Dü/Sugar). Give Thanks is perhaps overlooked in many top ten’s of the genre, but leaving the bands debut LP off that list would be a mistake. A demonstration in raw emotion and political angst, Give Thanks harnesses a sound that could have only happened during the Reagan era. Hardcore was of course a musical explosion built upon aggression and discontent, yet Give Thanks forcefully fuses this concept of raw power with a multitude of musical influences at a time when some of their contemporaries perhaps seemed to tread water. Whilst the principles and sonics harnessed on AOF’s debut album may have had more in common with the sounds coming out of Washington D.C., this record has an authentic Chicago savvy running through it, effortlessly projecting a street level tone whilst simultaneously aiming to show the possibilities of what a hardcore record could be. In retrospect, AOF’s debut was a hardcore album ahead of it’s time, perhaps the reason it’s fervent themes and artistry still feel so fresh and relevant. Whether that’s due to Vic Bondi’s gravelly tones geared to critique the societal regime at play, or the considered guitar work aimed to both blast and texturize, or the intense drums rhythms inspired by jazz and dub, there is a depth to the final album that feels like a band testing their parameters, one listen to ‘Every Man For Himself’ and you know you are listening to something special. Familiarity and originality rarely crossover, but in this case they coexist to leave us with a forward thinking punk record that is more interested in shouting it’s emotions from the street, than it is screaming into a vacuum.
A true American hardcore record, and a must for fans of Minor Threat, Dead Kennedy’s, Bad Brains and Fugazi.
Gloss laminated digipak CD & Limited edition pink & white colour vinyl.
UK electronic duo Prospa unveil their long-awaited debut album Free Your Mind, a bold, emotionally charged, and club-focused statement from one of dance music’s most exciting acts out now via CircoLoco Records.
Years in the making, Free Your Mind captures the full scope of Prospa’s evolution: from breakout underground producers to globally recognized festival headliners and chart-topping innovators. Across the album, the Leeds duo seamlessly blend euphoric house, rave nostalgia, breakbeat experimentation, progressive emotion, and peak-time club energy into a body of work that feels both deeply personal and built for massive communal release.
The album’s final moment is the focus track “Dreams,” a euphoric anthem that drives home Prospa’s songwriting and production sensibilities. Balancing cinematic atmosphere with the duo’s unmistakable dancefloor instincts, “Dreams” channels the reflective, ecstatic energy that defines the album as a whole, equally suited to sunrise festival moments as late-night club systems.
The album arrives following a string of major singles that have propelled Prospa to new heights over the past year. Most recently, “Baby” with Murda Beatz became one of Miami Music Week’s most talked-about track IDs after being teased during a back-to-back set with Josh Baker, quickly spreading across social media thanks to its infectious vocal hook and stripped-back club precision.
Before that came the album’s title track “Free Your Mind” with Cloonee — a vocal house anthem that climbed into the Official Singles Chart top 20, alongside Beatport chart-topper “Love Songs” featuring Kosmo Kint. Together, the tracks established the foundation for an album that represents Prospa at their most expansive and fully realized.
Hailing from Leeds, childhood friends Harvey Blumler and Gosha Smith connected over their shared passion for electronic music – drawing inspiration from the likes of Daft Punk, Disclosure, The Chemical Brothers, and The Prodigy as they first started producing under the Prospa moniker in 2013. The duo broke out in late 2018 with the anthem “Prayer” earning support from high-profile tastemakers including The Fader and NME, while helping relaunch heritage house label Stress Records after a 13-year hiatus. Since then, Prospa have embarked on a rapid ascent to consolidate their status as one of the UK’s most exciting electronic acts.
Experts at crafting high-octane dancefloor-focused anthems as much as they are at composing more heartfelt, meditative moments, Prospa’s work continues to evolve, blurring and pushing the edges of these boundaries into their biggest statement yet
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o Standard Edition black heavyweight vinyl
o 44 tracks from the 2025 sci-fi RPG
o Each disc covers one of the game's major factions
o Art Nouveau-inspired artwork
o Widespined outer sleeve
o Printed inner sleeves
Obsidian Entertainment, Xbox, and Laced Records present the official vinyl release of The Outer Worlds 2 Original Soundtrack, a sanctioned audio record of Arcadia's most influential systems, ideologies, and approved listening experiences.
The specially mastered tracks span three LPs presented in deluxe Art Nouveau-inspired packaging. The collection captures daily life in the colony-where progress is monitored accordingly, optimism is responsibly distributed, and deviation is resolved through established channels.
Volume 001: Truth, Justice, & Dispute Resolution introduces the sound of arrival of the Earth Directorate. Sweeping orchestral themes and restrained electronic textures underscore exploration, investigation, and the reassuring sense that Arcadia's instability is both anticipated and accounted for.
Volume 002: Wireless Free Arcadia represents Auntie's Choice at peak efficiency. Bright melodies, big band swing, and relentlessly cheerful compositions promote comfort, productivity, and sustained consumer confidence. Freedom is included. Continued satisfaction indicates proper use.
Volume 003: Mental Enlightenment & Refreshment pairs the Protectorate and the Order of the Ascendant. The Protectorate asserts control through ceremonial authority, rigid rhythms, and formal arrangements devoted to discipline, doctrine, and public order. The Order of the Ascendant follows with colder, more abstract compositions focused on empirical certainty, controlled experimentation, and outcomes unburdened by sentiment.
Composed by Oleksa Lozowchuk, Antonio Gradanti, and Jim Bonney, the soundtrack of The Outer Worlds 2 blends cinematic scoring, period-inspired styles, and sanctioned cultural messaging to reflect a colony guided by ambition-and the systems entrusted to manage it.
Kassel Jaeger (alias François J. Bonnet) kehrt nach ,Swamps / Things" (SP119), ,Shifted in Dreams" (SP144) und der jüngsten Neuauflage des Klassikers ,Zauberberg" (SP068) - einem gemeinsam mit Akira Rabelais und Stephan Mathieu komponierten Werk - zu Shelter Press zurück. Mit diesem bedeutenden neuen Album mit dem Titel ,Sub Re" setzt Bonnet seine langjährige Erforschung der musikalischen Möglichkeiten von Klang fort. Dabei erweitert er den konkreten Ansatz, den er bei der Groupe de Recherches Musicales (dem historischen und bedeutenden Pariser Studio, das Bonnet seit 2018 leitet) entwickelt hat, und belebt ihn neu durch eine Herangehensweise, die sich weniger auf die klare Manifestation von Klangmaterial als vielmehr auf dessen mehrdeutige Evokation konzentriert. ,Sub re" kann im Lateinischen ,unter dem Ding, unter der Substanz, unter der Materie" bedeuten. Genau dieser direkte Zugang zur Musik, der sich auf die Gewinnung von rohem Klangmaterial stützt, bildet die Grundlage dieses Albums. ,Under the matter" verweist somit auf den konkreten Aspekt der Musik, jedoch nicht auf das Konkrete, das verklärt wird und zu Dampf und Form wird, zum Substrat einer Idee. Vielmehr verweist es auf das Konkrete unter dem Konkreten, in der Immanenz der Klänge, in ihrem Werden, als treibende Kraft, wie eine Flut, wie ein Gewölbe aus gebieterischer und mächtiger Materie. Um dies zu erreichen, greift Bonnet auf eine Vielzahl von Klangquellen (akustisch, elektronisch, natürlich oder künstlich, absichtlich geschaffen oder zufällig gefunden) und eine Vielzahl von Kontexten und Anlässen zurück, um ihnen Gestalt zu verleihen. Der Satz ,a shell, a bell, a spell" (etwa: eine Muschel, eine Glocke, ein Zauber) war beispielsweise erstmals während eines Konzerts in Venedig zu hören, das im Zusammenhang mit Latifa Echakhchs Beitrag zum Schweizer Pavillon auf der Kunstbiennale 2022 organisiert wurde, während der letzte Satz auf der Platte, ,signalmirror", ein Stück abschloss, das 2023 auf der ersten Sound-Biennale in Sion (Schweiz) präsentiert wurde. Diese Elemente, geformt und losgelöst von ihrem ursprünglichen Kontext des Erscheinens, von den Orten und Menschen, die sie ermöglichten und ihnen lauschten, tragen zu einer komplexen Schichtung von Stimmungen und Klangwelten bei und helfen, ein kontrastreiches Album zu schaffen, in dem Dichte und Zartheit in einer Abfolge bewegter Wellen koexistieren, mal voller Erinnerungen, mal voller Bedauern, stets in Bewegung gesetzt durch ihre eigene Morphologie. Sub Re bezieht sich auch auf ein Kapitel in Victor Hugos ,Die Arbeiter des Meeres", eine Schlüsselstelle, in der sich die Hauptfigur angesichts einer kolossalen Aufgabe allein mitten auf dem Meer wiederfindet, unter einem gigantischen Schiffswrack, das in den Klauen eines isolierten Riffs gefangen ist, umgeben von Wasser, Strömungen und Winden, allein, um sich dem Unmöglichen zu stellen. Denn tatsächlich ist es unter der Oberfläche, wo Handlungen entstehen, Entscheidungen getroffen werden und die Intuition uns leitet.
Between her elaborately conceptual Drag City singer-songwriter albums and celebrated soundtracks for Ryusuke Hamaguchi, in recent years Eiko Ishibashi has quietly self-released a significant body of solo and collaborative work on her Bandcamp page. At times resembling her solo live performances in their organic interweaving of instrumental, electronic, and concrete sounds, each of these less feted online releases offers a snapshot of the experiments always underway at Atelier Eiko. Some Fine Legacy is pleased to announce a vinyl edition of one of the most intriguing of these works, Gasping_Sighing_Sobbing, made in collaboration with Hiroshi Minami and first released in 2021.
Active since the 1980s, Hiroshi Minami is a key figure in the Tokyo jazz scene, as well as a respected memoirist. Devoted to the great standards, which he explores with an Evans-ish delicacy of touch and Impressionist harmonic extensions, he is equally at home working up variations on tunes by Ryuichi Sakomoto and The Beatles or experimenting with ambient electronics. A single note from his piano is the first thing we hear on Gasping_Sighing_Sobbing, the space left by its decay unexpectedly filled by a synth arpeggio that quickly fades away as the piano returns with a balladic chord sequence.
Like her frequent collaborator Jim O’Rourke, Ishibashi possesses the virtue of patience, recognising the beauty of lingering at length in a single musical environment. Throughout its 40-minute duration, Gasping_Sighing_Sobbing remains lost in this maze of obstructed and fragmented piano balladry. The musical surface is in one respect placid, but close listening reveals dynamics and processes that are deeply strange: the resonance of a chord dying away is frozen, expanding to become a cloud that suddenly makes way for the piano’s return; or the piano is looped into a ticking glitch or a time-stretched shudder, momentarily sinking under lapping waves, distant bells, and snatches of conversation. Ishibashi’s subtle vocals and synths colour the piano passages like views through distorted glass. The metaphor of cinéma pour l’oreille is perhaps overused in discussions of the musique concrète tradition, but here the visual associations are almost unavoidable: especially when Daisuke Ijichi joins on upright bass, it’s hard to shake the cinematic image of a smoky jazz bar—shown in a sequence, perhaps, that cuts repeatedly to the musicians’ and audience’s thoughts and dreams. Like much of Ishibashi’s work, this collaboration with Hiroshi Minami is inconspicuously radical, shaped at the deepest level by electro-acoustic procedures even as it luxuriates in melancholic beauty.
"It began somewhere between sleep and memory.
After first meeting in dreams, in Brussels and Berlin, on landscapes that felt strangely close to Vilnius, Marija Rasa aka emer and Ugnė Uma leisurely rewrote those visions into songs.
What followed became a collection of moments suspended in idle summers, familiar faces, gentle motions, skin touched by golden sun. These songs wander through closeness and distance, tracing the delicate emotional shifts between us, who almost understand each other completely.
‘you and me’ lives in the space where magical realism meets everyday intimacy: honey-colored evenings, recurring thoughts, and the slow surrender to things unfolding on their own."
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Paranoid, polyrhythmic ‘crowdrock’ from the not-too-distant future. Synthesised under the supervisory signal of an all-knowing, unofficially named, classified dialup modem that Wah Wah Wino have nicknamed "Sworx”, tasked with sifting through coded waveforms and neatly sorting into a secret filing cabinet. Post-fibre-optic technology idm wav. tablé. Your dreams are being monitored. Tip.
TRACKLISTING AS ON ARTWORK:
d a4. statecellar 641Amix
g b1. Western_intel frontier 2056
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