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On "Enduring Sonance," saxophonist and flutist Steve Wilson reflects on a lifetime of lyrical, deeply felt songs drawn from jazz, pop, and film—brought to life by an all-star ensemble featuring Renee Rosnes, Joe Locke, Jay Anderson, and Kendrick Scott. *** Certain songs have a way of lingering in the imagination—resonating long after we’ve last heard them, sometimes for a lifetime. On his breathtaking new album "Enduring Sonance," veteran saxophonist and flutist Steve Wilson celebrates the music that has left the deepest imprint on his musical life. “Some of the tunes on this record have stayed with me for, in some cases, over 50 years from the time that I first heard them,” Wilson says. “I wanted to put some music out there that people can connect with, no matter what kind of music they like.” Originally conceived as a ballads project, Enduring Sonance evolved into something broader and more personal. Rather than focusing on tempo or style, Wilson gravitated toward a sense of lyricism—music whose emotional clarity and melodic resonance endure across genres, decades, and listening habits.

To realize this vision, Wilson assembled a deeply intuitive ensemble featuring pianist and arranger Renee Rosnes, vibraphonist Joe Locke, bassist Jay Anderson, and drummer Kendrick Scott, with special guest Kevin Newton (French horn, Imani Winds) appearing on two tracks. Each musician brings a rare sensitivity to melody, texture, and space, allowing the material to unfold with warmth, restraint, and quiet authority. The repertoire draws from a wide musical landscape, including works by close collaborators and modern jazz masters Billy Childs and George Cables, alongside enduring songs by Michel Legrand, Quincy Jones, Milton Nascimento, Gino Vannelli, Bill Lee, and Eliane Elias. These are not standards in the traditional sense, but deeply personal selections—songs that have accompanied Wilson through different chapters of his life. The album opens with Childs’ “Quiet Girl,” its subtle rhythmic motion enhanced by Newton’s luminous French horn, and travels through cinematic ballads, soulful grooves, and reflective lyricism. The title Enduring Sonance speaks both to the lasting resonance of these songs and to Wilson’s enduring musical relationships—most notably with Rosnes, whom he has known for nearly four decades and whose sensitive arrangements help unify the album’s diverse repertoire. “These songs are the soundtrack of my life,” Wilson says. “I’d love it if listeners came away from this album with the same kind of enduring sound and feeling.”

Metric’s relentless pursuit of timeless songwriting and fiercely independent ethos have cemented their place as one of the most essential and ahead-of-the-curve bands of the last two decades. The trailblazing Toronto outfit was founded by songwriting and production partners Emily Haines and Jimmy Shaw, along with bandmates Joshua Winstead and Joules Scott Key. Though both were also founding members of the influential and sprawling Canadian indie rock outfit Broken Social Scene, Metric was always the top priority, and shortly after they met and cemented their mission, they left Toronto for New York in search of like-minded artists. There, they found themselves at the center of the city’s burgeoning indie sleaze scene alongside bands like LCD Soundsystem, The Strokes, TV On the Radio, Yeah Yeah Yeahs, Interpol.

Their 10th studio album Romanticize The Dive harkens back to the free spirit of that era, kicking off with Haines nostalgically imploring the listener to “let me take you back, it was the start of something...” before pulling back the curtain on a band that has consistently stayed true to each other and their ethics for decades. In a tribute to lifelong friendship, the album also reunites the dream team behind their 2009 breakout album Fantasies at Electric Lady Studios in New York. All at once a heartfelt reflection on their history, a celebratory gift to those who have been along for the ride, and an outstretched hand to new fans, Romanticize The Dive is another testament to the band’s unwavering love for each other and their insatiable desire to push themselves as artists.

On their seventh studio album, Lost Cause Lover Fool (due April 24th on Far Cry/Thirty Tigers), The Milk Carton Kids deliver 9 songs that, more than ever, invite listeners to lean in close and hover in the small moments the album magnifies. Much has changed since The Milk Carton Kids — Los Angeles-based singer-songwriters Kenneth Pattengale and Joey Ryan — burst on the Folk scene in 2011. And The Milk Carton Kids have changed too. But at least one constant remains. Pattengale and Ryan continue to make music that entices us turn down the volume on a chaotic world and dwell as long as possible on what matters most. With rootsy arrangements, Lost Cause Lover Fool expands on the duo’s signature minimalist sound their fans love while also, somehow, making it even smaller. Lost Cause Lover Fool begins with the lonesome pluck and strum of the banjo on “Blue Water.”

Often employed either for lightning-speed or rhythm, here the banjo is handled carefully, with reticence, so that it feels more like light cast across a stretch of grass than a whole bluegrass instrument. Lyrically, this album-opener zooms in on a snapshot of a man walking along a riverside, remembering the child that used to lay on his chest who has now grown to share his worried mind. It’s a moment so small it might easily have been dismissed, except that it holds an emotion as universal as it is fleeting. Lost Cause Lover Fool magnifies many such small moments, turns them into mesmerizing worlds, and reminds us — pleads with us — to pay attention to them as they go by.

Made in Hell is Hell Boulevard's new studio album, due for release in 2026. The band remains true to its distinctive style, combining dark gothic rock with cinematic orchestral arrangements and electronic elements to create a powerful, atmospheric sound. For the first time in the band's history, a Hell Boulevard album was mixed by Bengt Jaeschke at Chameleon Studios in Hamburg. The final mastering was done by Stefan Brown at the legendary Abbey Road Studios in London. This high-quality production chain marks an important step in the band's sonic evolution and gives the album a particularly striking and powerful sound aesthetic.

The Amity Affliction return with one of the most personal and devastating records of their career. Following a decade-plus run as one of Australia’s most influential heavy bands, marked by ARIA chart-topping albums, platinum certifications, and global touring off landmark releases like Let The Ocean Take Me and This Could Be Heartbreak, the new album turns inward with unflinching honesty. Largely written about frontman Joel Birch’s relationship with his late mother, the record explores grief, trauma, faith, and self-reckoning through a series of deeply connected songs. “I’ll Break These Chains” confronts the confusion surrounding her death, “Afterlife” questions belief beyond this life, while the closing track “Eternal War” captures the ongoing internal struggle and the hope for change that never came. Musically massive and emotionally raw, this album stands as The Amity Affliction at their most vulnerable, cathartic, and fully realized.

Rock legend John Corabi—renowned for his work with Mötley Crüe, The Scream, Union, ESP, and The Dead Daisies—steps into the spotlight with “New Day” his first full-length solo album of original material. Recorded in Nashville during the summer of 2025 and produced by multi-platinum songwriter and producer Marti Frederiksen (Aerosmith, Ozzy Osbourne, Buckcherry), the album fuses classic ’70s rock, soul, and blues influences into a sound that is both timeless and deeply personal. The record features the previously released singles “Così Bella (So Beautiful)” (2021) and “Your Own Worst Enemy” (2022), now fully integrated into a rich collection of tracks that showcase Corabi’s commanding vocals, heartfelt lyrics, and masterful songwriting.

Throughout the album, Corabi is joined by Marti Frederiksen, who adds backing vocals, guitars, piano, and percussion; Evan Frederiksen, providing drums, bass, B3 organ, electric guitar, mandolin, and programming; Richard Fortus (Guns N’ Roses) on lead guitar; and Paul Taylor (Winger, Steve Perry) contributing piano, organ, and clavinet. Together, they create an organic, instrument-driven sound built on real performances, melodic interplay, and soulful energy. A trip down to memory lane mostly with a nostalgic mood offering intimate everything that is in between acoustic moments to richly layered arrangements rockers: “New Day” is a journey through the heart of rock, infused with soul and blues sensibilities, and inspired by the melodic grandeur of early Boston and Queen. With a European tour planned for February/March 2026 and additional shows through late spring and summer, Corabi is poised to bring this music directly to fans, delivering both powerful live energy and emotional resonance. More than just a solo debut, “New Day” is John Corabi’s personal testament to rock’s enduring spirit—an exploration of melody, soul, and authenticity, played with passion and conviction at every turn.

DYING VICTIMS PRODUCTIONS is proud to present DEMON SPELL’s highly anticipated debut album, Blessed Be the Dark, on CD and vinyl LP formats. After the cursed EP Evil Nights in 2024, the coven of DEMON SPELL returns, unleashing a vision of dark, occult heavy metal born from dust, bone, and shadow. Appropriately titled Blessed Be the Dark, the Italians’ debut album is a descent into ritual fire and ancient doom, where the echoes of the grave sing once more. This is music for disciples of the timeless art of darkness.

With Blessed Be the Dark, DEMON SPELL deepen their devotion to a shadowed form of heavy metal rooted in the classic tradition yet veiled in occult and arcane tones, all performance with a provocative theatrical presence. Wholly untouched by modernity, their sound draws from the primordial essence of early heavy metal; one can imagine the cutoff year at 1985, or perhaps earlier. The record presents a more mature and refined vision of the band’s sound as first displayed on the quick-hitting Evil Nights, here exploring darker, more occult atmospheres while also offering raw, energetic passages that bring moments of levity and drive. Listening to DEMON SPELL in full-length form feels like entering an endless Sabbath, where past and present dissolve and the flame never dies. Blessed Be the Dark stands as a testament to heavy metal as ceremony—timeless, solemn, and possessed by the Spirit of the Night.

DYING VICTIMS PRODUCTIONS is proud to present WHIRLWIND’s highly anticipated second album, 1640, on CD and vinyl LP formats. WHIRLWIND was originally conceived as a studio-project by Mark Wild, from Körgull The Exterminator among other extreme metal bands, to satisfy his will to make a classic heavy metal album, a style that changed his life during his childhood – influenced mostly by ‘80s German metal bands like early Running Wild, early Helloween, Accept, Heaven’s Gate, Gravestone, Tyrant, Grave Digger, Steeler, and Stormwitch among others, but also all kinds of classic heavy metal like Mercyful Fate, Manowar, Iron Maiden, and Judas Priest. In 2022, WHIRLWIND released their debut album, 1714, marking the band’s beginning. WHIRLWIND also established a live lineup to bring their songs to life onstage, with musicians from other known bands, like Redshark, joining as permanent members of the band. The album immediately generated a big buzz in the underground scene and led them to perform at some of the best-known festivals in Spain like Pounding Metal Fest and Skulls of Metal, alongside such bands as Visigoth, Attic, Omen, Tentation, Mindless Sinner, Witchtower, IRON CURTAIN, and Phantom Spell. Now arrives WHIRLWIND’s second album, 1640. Like its predecessor, the album is focused on historical and epic episodes of their homeland; specifically, this album revolves around the Thirty Years War that took place around Europe and the inner conflicts within Spain.

Musically, WHIRLWIND deliver a masterclass in cruising, classy Teutonic metal, running from more traditional-minded mid-tempo stompers to surging, up-tempo gallops of glory. Riff and lead form a lethal tandem, balancing both energy and color, while the rhythm section stays locked in no matter the dynamic. The production, too, of 1640 honors the mid ‘80s with authenticity – underground in spirit, Big League in execution. All told, the album is true heavy metal for true heavy metal people: no more, but definitely no less. By the blood in their veins, WHIRLWIND are marching to victory, ready to explode!

In Sheep’s Clothing announces the long-awaited vinyl pressing of Marc Leclair’s beloved 2005 album Musique pour 3 femmes enceintes. The album will also be available on streaming for the first time via Community Music Group.

For years after Marc Leclair released Musique pour 3 femmes enceintes, he heard from listeners who had lived with the record in an unusually intimate way. Many described how the music became part of the emotional landscape of the months leading to birth. “I never expected that,” Leclair says. “Many women told me they listened to the record throughout their pregnancies. They said it made a real difference, that it helped them. It became more than just a record.”

First issued on CD in the early 2000s, Musique pour 3 femmes enceintes (Music for Three Pregnant Women) now returns in a new edition from In Sheep’s Clothing Hi-Fi, appearing on vinyl for the first time as a double LP. The record is being pressed in Detroit at Archer Record Pressing, the historic plant behind deep-groove classics by Juan Atkins, Kevin Saunderson, Underground Resistance, UR’s Jeff Mills, and J Dilla.

Listeners who know the Montreal-based Leclair through his better-known work as Akufen might be surprised by the tone here. During the same years he was shaping the intricate micro-sampling tracks that made Akufen a cult figure on labels including Perlon, Force Inc. and Trapez, Leclair was quietly developing this far more personal project. The meticulous craftsmanship remained the same, though the focus shifted from the hyper-detailed cut-up rhythms of his dance records toward something slower and more atmospheric. “I always compare my work to a jeweler,” Leclair says. “It’s really very precise. I’m a bit of a detail freak. I can spend hours or days on just one phrase in one song. Everything has to be perfectly put together.”

The project began almost accidentally. A few members of Leclair’s circle became pregnant nearly simultaneously, including one who had long believed she couldn’t conceive. The first track he recorded for the project wasn’t meant to advance a larger concept, he says. “It was meant to highlight the fact that three of my closest friends became pregnant at exactly the same time.”

Leclair was already a father with a three-year-old daughter, so the emotional terrain of early parenthood was familiar. Gradually the idea expanded. “I began thinking, why not make a whole album that celebrates this and also follows the entire pregnancy, the nine months,” he says. The music developed piece by piece, including a track originally commissioned by the Berlin experimental duo Rechenzentrum that would later become the album’s opening movement.

Nearly seven years passed between the first composition and the finished album, and the music mirrors the strange arithmetic of pregnancy itself. What begins as a single idea multiplies outward, sounds layering and branching until the album feels less like a sequence of compositions than a living process unfolding in time. “I work very slowly,” Leclair says. “Everything has to be something I’m completely behind. I never want to rush anything. I want things to come naturally.” Across its 72 minutes, the album blossoms with the patience of a long meditation on time, growth and emergence.

When Musique pour 3 femmes enceintes first appeared via Mutek, it circulated quietly but steadily. Critics who discovered it later recognized its unusual scope. In a 2006 Pitchfork review, Mark Richardson gave the record an 8.1, calling “150e Jour” “an unfailingly gorgeous and tightly sequenced quilt of guitar and piano samples reminiscent of Tangerine Dream,” and describing “85e Jour” as infused with “viscous pop ambient drift, the gauzy synth pads ebbing and flowing with rhythm.” Boomkat described the album as “a majestic opus from a producer that's always promised so much — here delving into a panoramic construction of almost visibly radiant music that works so beautifully through each and every second of its 72 minute lifespan.”

The new In Sheep’s Clothing Hi-Fi edition finally presents the record in the format Leclair long imagined. “I always thought that record deserved a vinyl edition,” he says. Spread across two LPs, the music now has room to unfold at its natural pace. More than twenty years after it first appeared, Musique pour 3 femmes enceintes remains what it was from the start: a carefully shaped meditation on transformation and the quiet miracle of life beginning.

Long Long Road, das brandneue Album von Ringo Starr, wurde gemeinsam mit T Bone Burnett, Daniel
Tashian und Bruce Sugar geschrieben und von Burnett produziert.
Das Album umfasst 10 Songs und enthält Kollaborationen mit Billy Strings, Sheryl Crow und St. Vincent.
Es ist der mit Spannung erwartete Nachfolger des letztjährigen Chart-Erfolgs Look Up.
Mit starken Wurzeln im Country verbindet Long Long Road eine entspannte Americana-Atmosphäre mit
Ringos klassischen Rock-Einflüssen. Die Songs erzählen von den vielen Wegen des Lebens und davon,
unterwegs die Liebe zu finden.

Als Global Kryner 2004 die erste CD präsentierte, stand die Musikwelt Kopf. Es war Liebe auf den ersten
Blick. Die Idee war genauso einfach wie genial: man nehme den legendären Oberkrainer-Sound eines Slavko
Avsenik, verschmelze ihn mit Welthits, nehme eine Prise Jazz und jede Menge Spielwitz dazu und fertig
ist die Rezeptur. Die Süddeutsche Zeitung machte Luftsprünge und fabulierte gar von einer „eierlegenden
Wollmilchsau“ in Sachen Musik. Und mit „verkrynern“ war obendrein ein neues Zeitwort geschaffen. Was
folgte war ein Ritt durch alle Radio- und TV-Formate, wie er selten gesehen wurde. Hunderte Konzerte in
Deutschland, Österreich, Schweiz, Benelux, Frankreich, Italien, Slowenien, Kroatien, Serbien, Ukraine bis
nach Mexiko. Nach heißen und durchaus fordernden Jahren des Tourlebens verabschiedete sich die Band
2013 von der Bühne.
Doch die Liebe ist nie erloschen. Im Gegenteil. Jetzt kommt: Global Kryner „2nd Love“! Bereits
im Sommer 2024 beschlossen die Global Kryner rund um Musikkabarettisten und Klarinettisten Christof
Spörk und Oberkrainer-Akkordeon-Urgestein Anton Sauprügl, neu durchzustarten. Posaunist und NeoFischzüchter Martin Temmel musste nicht zweimal gefragt werden. Markus Pechmann, mittlerweile einer
der gefragtesten Jazztrompeter des Landes, engagierte mit Sängerin Miriam Kulmer ein veritables Stimmwunder. Neu zur Band gesellte sich außerdem „Mister Groove“, Jazzgitarrist und Liedermacher Andreas
Haidecker. Aber Obacht: es wird kein Abnudeln alter Hits geben. Die Band bereitet sich in akribischer Kleinarbeit auf ihr Comeback vor. Neue typische „Verkrynerungen“ müssen dabei sein, ja, natürlich!
Aber diesmal gibt es eben auch eigens komponierte Songs zu hören. Man darf gespannt sein. Alles mit
viel Liebe zubereitet, nur eben nicht zum ersten Mal, sondern quasi „2nd Love“!

„Introducing Lee Morgan“ ist eine Hardbop-Platte aus dem Jahr 1956 des gefeierten Jazztrompeters, die
ursprünglich auf dem Label Savoy veröffentlicht wurde. Auf dem Album, das Morgan im Alter von nur 17
Jahren aufgenommen hat, sind auch Hank Mobley, Hank Jones, Doug Watkins und Art Taylor zu hören.
Es enthält sieben Titel, darunter den von Mobley komponierten Song „Hank’s Shout“. Diese Neuauflage
des Albums erscheint als Teil der Original Jazz Classics Series auf 180-Gramm-Vinyl, gepresst bei RTI,
mit vollständig analogem Mastering von den Originalbändern bei Cohearent Audio und einer Stoughton
Tip-On-Hülle.
Über Original Jazz Classics:
Original Jazz Classics wurde 1982 unter Fantasy Records ins Leben gerufen und 2023 mit einem Schwerpunkt auf audiophilen Wiederveröffentlichungen wegweisender Jazzaufnahmen wiederbelebt. Mit bisher
über 850 neu aufgelegten Titeln aus den bahnbrechenden Katalogen von Prestige, Riverside, Galaxy, Contemporary, Jazzland, Milestone und anderen bleibt OJC eine zuverlässige Quelle für die Entdeckung und
Wiederentdeckung des Jazz.

Global icon and five-time GRAMMY® winner Angelique Kidjo returns with HOPE!!, a revelatory 16-track collection that serves as a vibrant antidote to the times. Following her 2021 success Mother Nature, this album bridges continents and genres, featuring a star-studded lineup including Pharrell Williams, Quavo, Ayra Starr, Nile Rodgers, and Davido among other A-listers

Produced by Pharrell and Shizzi, and featuring songwriting by the legendary Diane Warren, HOPE!! is more than an album—it’s a global musical movement dedicated to the resilience of the human spirit.

Lo Recordings is proud to present a brand new compilation by Russian electronic producer/composer OID, spanning 25 years of music that blends in and out of focus, inhabiting styles from dub techno to ambient, vaporwave, space gamelan, electronica and beyond. The album is both a retrospective and a celebration, a journey into a singular world that exists only in OID’s imagination, available digitally and on Ltd cassette from 24th April 2026.

“I first met OID in an illicit ‘Sky High’ bar in Moscow. It was a club for people who liked to jump from high buildings. OID played the piano whilst a tea ceremony took place. It was all like some kind of strange dream. The music he creates sounds like that kind of dream. Some of the tracks are reminiscent of the music released by ALEXANDROID on the ‘False Starts’ album way back in 2003 - a legendary album, in our minds at least. Alex tragically passed away in 2009, leaving only OID.

The music on this album is a testament to the beauty of friendship, the everlasting meaning of music and the light that shines forever.” -
Jon Tye, Lo Recordings

Two deep, meditative house tracks built on warmth and repetition. Comes with insert in a silver sleeve.

On “Ritual of Dance,” Nhojj’s voice guides the listener onto a (makeshift) dance floor, as the track builds in intensity, mirroring the rising energy of a dance session. On the flip, “Groove Extracts” leans further into a stripped, hypnotic space. Driven by percussion, bass, and a wandering key solo. It draws you inward towards the more meditative side of losing yourself in the groove. Inviting the body to take over where the mind dissolves.

Ritual of Dance EP is about the journey of dancing alone or together.

Repress 2026

We’re very happy to announce the vinyl release of kuniyuki’s masterpiece “all these things”.

Originally it’s released on only cd in 2007. it was his 2nd album but it’s substantially his first album because the first album was a col-lection of kuniyuki’s early productions.

The first track “the guitar song” is one of our most favorite song of kuniyuki,it’s like a real good mixture of jazz, fusion, world music and electronic music.

The second track featuring african vocalist and percussionist “omar guaindefall”,we still love amazing henrik schwarz remix.

The third track “you get me” featuring our favorite singer “josee hurlock”,we’ve knew about her from the fantastic album “residue” by hefner in 2000. she is featured to the fourth track “all these things” too. we’re hoping to repress an amazing joe claussell remix.

The fifth track “flying music” featuring our good friend “alex from tokyo” as poetry reading and shuichiro sakaguchi( a popular trumpeter in tokyo) as a trumpeter. this long version was put to single cut release on 12inch.

The sixth track “the session” is a collaboration of song with henrik schwarz. they have met at mule musiq’s party in tokyo and clicked immediately.

The seventh track “touch” sounds very nostalgic african jazz or spanish fusion which is popular these days as balearic music.

The last track “rain of ocean” is a primitive african minimal deep house.this song is put to the single cut from this album(not put to the album) and we almost forgot this song but when we’re compiling the vinyl edition of album, we noticed how this song is beautiful.

Here are the collection of eight timeless and genreless music.

Notoriously spirited, hard parrtyin' West Coast rap trio Tha Alkaholiks have returned with their first new studio album in over 10 years!

Combining fresh takes on some of the band's best known singles including "Daaam!" and "Make Room" PLUS several new songs, this album hits that '90s rap nostalgia spot!

Features special guests Planet Asia and spookybands!

Fog On Mirror Glass introduces a new aesthetic amongst Donald Beaman albums. After four albums of varied full-band arrangements, this album emerged as an idea to present solo performances in conversation with full-band work. The bulk of the songs were recorded in the same place they were written: Beaman’s living room. Long time bandmate and producer Kirt Lind set up a makeshift studio at Beaman’s house to record the guitar parts in the same room where they were written, using the same guitars on which they were first played.

Unfurling with a measured pace, the resulting album combines elegiac lyrics with elemental arrangements played with an almost jazz-like reverential expressiveness, calling to mind the works of Cass McCombs, Will Oldham, and Jake Xerxes Fussell. Album opener “Glass Bottom Boat” sets the tone for the album with just Beaman and his guitar – written during the final months of a decade-long stay in New York City, the song was finished upon his arrival back in California. Meanwhile the title track, long a staple in live sets, lands near the middle of the album to recalibrate the mood, featuring the ghostly guitar work of longtime collaborator Ken Lovgren. “Old Universe” lifts things up a bit, propelled by the brushwork of drummer Michael Nalin and the jaunty bass playing of Kirt Lind. Finally, the album ends much the way it began, with Beaman and his guitar on album closer “Bamboo”.

“The dictionary definition of less is more.” - ---- Mojo
“His ability to carve universal empathy from mundane domesticity is remarkable.” - ---- RNR Magazine
“...a collection of evocative scenes and vivid emotions sung to sparse musical arrangements in Beaman’s distinctive sonorous tones” - Americana UK
“...pure and simmering, like a tattoo dedicated to a long lost friend, slightly fading from years in the sun, a memory that will always bring a tear in those quiet reflective moments.” - Psychedelic Baby Magazine

Psychedelic MasterpieceOriginally released on Capitol Records in 1969, Euphoria’s debut album A Gift From Euphoria is an unsung album; one with incredible sonic radiance, masterful songwriting, and everlasting harmonies—with their fantastical combination of psychedelic, folk, country, and hard rock. The 15 songs set up a journey through the best of what had been happening within modern music by 1969. Comparisons to The White Album are apt as it leaps from genre to genre with shocking confidence, as if they knew this was their only chance to say it all on a record. But it was too good to last as this was the only album Euphoria made, one that is critically championed in hindsight and highly sought after nowadays, and it is Jackpot Records honor to be able to bring it to you. Now reissued from the original analog master tapes with the original cover artwork exclusively for RSD 2026.

Cathartic avant-rock, literate DIY folk & experimental composition exploring displacement, love, climate change, belonging & the places we call home - RIYL Jim O’Rourke, Richard Youngs, This Heat, Richard Dawson, Flying Nun. ‘Real Home’ is the new album by the Manchester-born, London-based artist Kiran Leonard. His sixth album proper (not including innumerable tour-only CD-Rs and short-run cassettes), since his precocious debut in 2013, ‘Real Home’ finds Leonard invigorated by inspiration and experience, making passionate, literate, and mercurial music that explores displacement, love, memory, climate change, connections to home and more. Encompassing songs recorded after moving to South London, ‘Real Home’ reflects on ideas of belonging and domesticity through folkloric, stream-of-consciousness songwriting. Across nine tracks, Leonard traces lived impressions of the household and the city, expressing sentiments of dislocation, alienation and stasis, but contentment too. Infusing the avant-rock effervescence, terraced dynamics and visionary lyricism of his music with what he defines as a greater sense of openness, Leonard is as versatile, fervent and imaginative as ever on ‘Real Home’, yet his music is somehow more intimate, affecting, and acutely expressive. Shaped by dual considerations of simplicity and formalism, ‘Real Home’ is by turns beautiful, allusive, and ruminative, an album on which Leonard considers what his songs have resembled in the past and what they mean now. In recent years, Leonard has crafted eloquent chamber music inspired by the likes of James Joyce and Clarice Lispector (‘Derevaun Seraun’), responded to contemporary politics and communication breakdown in the digital age (‘Western Culture’), and compiled solo works and ensemble recordings for a longform ode to Jonas Mekas and to one of Leonard’s enduring themes; home (‘Trespass On Foot’). On ‘Real Home’, Leonard reiterates this abiding thematic focus yet ascends to new, different heights, in music of cathartic delicacy and dissonance where all the myriad dimensions of his work to date seem to crystallize. There are sinuous songs about struggle and defying the pace of city life through drift and diversion (‘Pass Between Houses’), stirring songs of intense feeling and crescendo, described as a form of speculative detective fiction (‘Theatre for Change’). There are touching solo piano ballads (the title track), symbolic contentions with carbon capture and climate change (‘Utopia of Bog’), modes of experimental minimalism (‘Void Attentive’), and other profuse feats of compositional range, embroidered with wild tendrils of narrative and lyrical depth. A record to pore over, and get lost in. Exemplifying the vast aesthetic scope of Leonard’s music, lead single ‘My Love, Let’s Take The Stage Tonight’ is inspired by country lodestar Hank Williams, Russian poetry and a late period love poem by William Carlos Williams. Yet for Leonard, the song signals a sense of accessible materiality, and is the product of a more linear approach to writing songs: “My imitation of the great Hank Williams, in spirit if not in substance…This is one of the best efforts on Real Home at a song-as-object. Looking at it now I realise I was trying to write a song that made itself known as a song to the listener, and I wonder whether that’s crucial if you want a song to transcend its context. And that this is either accomplished through a total openness – by being inviting, by laying the tricks of the song out plain to see, as Williams and his many ghostwriters did so well – or by adopting a knowing aloofness, positioning oneself against the listener but letting it be known that that’s what it’s doing. In this song I try both, but mostly the former: as in, I wanted to write a song where every line follows on from the next.” Imbuing the endlessly elaborate and inventive qualities of his music with a newfound streak of candid, clear-cut melodicism, Leonard has reached a special place in his artistry, on a record that feels familial, and expresses closeness. Assembled with affiliates including Lauren Auder, Otto Willberg, Jasper Llewellyn (caroline), Tom Hardwick-Allan (Shovel Dance Collective), Magda McLean (caroline, The Umlauts), Alex Mckenzie (caroline, Shovel Dance Collective), Isabelle Thorn (Dear Laika) & more, the recording process had a significant influence on the subject matter of ‘Real Home’, in sessions defined by close-knit camaraderie and artistic eccentricity: “The theme of the home obviously recurs throughout the record; the album was mostly recorded in domestic spaces with friends, and the name of the album is Real Home. I like the qualifier ‘real’, like you’re getting past the cloak of the word and towards the thing-itself…also nearly all the percussion in this record was recorded on items from my dad’s shed (jam jars, sandpaper, blocks of wood, etc). Real home record!” ‘Real Home’, like anything by Kiran Leonard, is a record of dazzling multiplicity. Yet it’s a companionable prospect with a central premise; a collection of songs where listeners old and new can find a home. An album led by a scene; of Leonard standing at the threshold, ready to welcome you inside. “Exceptional songs that linger” - The Guardian // “An autodidact of amazing talent & energy” – Pitchfork // “A ridiculous amount of talent…confrontational, celebratory, provocative or perverse – he manages all of these emotions & more” - The Quietus /