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Across two song cycles separated by nearly four decades – Richard Wagner’s »Fünf Gedichte für eine Frauenstimme« (the »Wesendonck Lieder«) and Johannes Brahms’ late »Vier ernste Gesänge« (»Four Serious Songs«) – Wagner’s songs, written under the spell of his relationship with Mathilde Wesendonck and already pointing towards »Tristan und Isolde«, and Brahms’ final composition, which gives the album its name and was shaped by grief, illness, and meditations on biblical texts, circle the same existential questions.

Desire and mortality, ecstasy and resignation appear less as opposites than as mirrored states. The voices of Wesendonck’s poetry seem to answer the solemn reflections of Ecclesiastes and Corinthians, revealing an unexpected dialogue across time.

Without seeking historical authenticity or revisionist spectacle, »Serious Songs« listens for what still resonates beneath these works: the suspended moment where love, loss, and transcendence become indistinguishable. The harp assumes the role of the piano as the foundation, pulse, and emotional compass. The vocal line, liberated from classical convention, inhabits a contemporary expressive space without severing its bond to the original scores. It is Romantic music viewed through the acoustics of the present. The project emerged from a moment of professional disillusionment familiar to many classically trained musicians. This led to a confrontation with some of classical music’s traditional flaws that became an invitation to reimagine it.

Sissi Rada approaches the spinal properties of the Romantic Lieder, fragile enough to transform and resilient enough to survive. Intimate, lucid, and quietly radical.

Erscheint auf schwarzer Vinyl

I, Scvlptor is an exclusive release from Behemoth featuring 8 previously unreleased songs — 7 new studio recordings and one live track. It is an autonomous body of work that bridges the band's foundational past with their present creative _re. The release features brand-new studio material embodying the full force of Behemoth's live energy and intensity. Two tracks — Rise of the Blackstorm of Evil (from The Return of the Northern Moon, 1992) and In Thy Pandemaeternum (from Pandemonic Incantations, 1998) — are newly re-recorded versions of early Behemoth material, reshaped with modern sonics while preserving their original spirit; a tribute to the bands who had a huge in_uence on Behemoth: "In League With Satan” (originally by Venom, feat. Shagrath of Dimmu Borgir) and "The Return of Darkness and Evil” (originally by Bathory, feat. Sakis Tolis of
Rotting Christ). Available on CD, LP, MC and Limited Edition Box Set through Massacre Records worldwide.

Indie Exclusive
Erscheint auf schwarzer Vinyl

I, Scvlptor is an exclusive release from Behemoth featuring 8 previously unreleased songs — 7 new studio recordings and one live track. It is an autonomous body of work that bridges the band's foundational past with their present creative _re. The release features brand-new studio material embodying the full force of Behemoth's live energy and intensity. Two tracks — Rise of the Blackstorm of Evil (from The Return of the Northern Moon, 1992) and In Thy Pandemaeternum (from Pandemonic Incantations, 1998) — are newly re-recorded versions of early Behemoth material, reshaped with modern sonics while preserving their original spirit; a tribute to the bands who had a huge in_uence on Behemoth: "In League With Satan” (originally by Venom, feat. Shagrath of Dimmu Borgir) and "The Return of Darkness and Evil” (originally by Bathory, feat. Sakis Tolis of
Rotting Christ). Available on CD, LP, MC and Limited Edition Box Set through Massacre Records worldwide.

Zum 50. Bandjubiläum will es John Watts richtig krachen lassen: Ein neues Album – mit 7 brandneuen Tracks, sowie 4 Neu-Interpretationen (u.a. von »Marliese«) und einem DJ-Remix des neuen Songs »Strings« – wird von einer großangelegten Herbst-Tournee begleitet. Die neuen Songs behandeln dieselben Themen, über die er schon immer geschrieben hat – menschliche Geschichten und den aktuellen Zustand der Welt, aus der Perspektive eines Beobachters mit schwarzem Humor.

Ecology Division is a new compilation from Bastard Jazz that brings together a network of producers and musicians working across jazz, soul, electronic, and beat-driven styles. Featuring artists from Brooklyn, Chicago, Montreal, London, Lisbon, Melbourne, and Ludhiana, the release highlights a core group of collaborators and peers connected to the label’s extended orbit. The project is presented with cohesive visual direction inspired by vintage field guides and naturalist illustration, with each track paired to a distinct animal. This framing positions Ecology Division as a curated snapshot of an active, evolving creative community rather than a traditional compilation.

The release features contributions from Simon Mavin (of Hiatus Kaiyote), Sholto & David Bardon, Danny Scott Lane, Rachel Kitchlew & DOUGH, Lapgan, Korovo, Birocratic, Kartik, Nick Marks, and Pimenta Caseira. Collectively, these artists have released music on respected independent labels including Ninja Tune, Brainfeeder, Mr. Bongo, Melting Pot Music, WRWTFWW Records, and Moon Glyph, among others—underscoring the compilation’s reach across established global scenes.

The quintet NOVA FELLOWSHIP was formed at the initiative of producer Antoine Rajon for a performance at the NUITS SONORES 2026 festival to pay tribute to the short but fruitful collaboration between musicians Kieran Hebden (aka Four Tet) and Steve Reid.

A discreet yet essential figure on the American music scene, the African-American drummer Steve Reid (1944-2010) left his mark on the history of free jazz, funk, and rock. His collaborations included the Sun Ra Arkestra, Albert Ayler and Miles Davis (Tutu), James Brown (on the classic Popcorn), and Martha & the Vandellas.
The end of his career was marked by his encounter with the Englishman Kieran Hebden, an emblematic pioneer of electronic music known as Four Tet, with whom he recorded four hybrid, experimental, and spiritual albums between 2006 and 2010. NOVA FELLOWSHIP, a group of friends who have collaborated in several bands, recorded the album CONTINUUM live at Studio Pigalle in Paris, with Kieran Hebden in attendance, who was captivated by the group's first concert at the Nuits Sonores festival.


On this album, NOVA FELLOWSHIP covers three 1970s classics by Steve Reid & the Master Brotherhood, three tracks by Four Tet, and a composition by the duo Kieran Hebden & Steve Reid, "Morning Prayer," which appears on their first joint album. Missouri drummer Zach Morrow brings to the group the dynamism he has displayed in recent years touring with poet Aja Monet. Heir to the versatility of Steve Reid, his playing is imbued with the full spectrum of Great Black Music. Versatile pianists Tony Tixier, arranger of an explosive version of the Nova/Free Spirits tracks created by Steve Reid, and Rob Clearfield, known for his work with Makaya McCraven, create hypnotic bass lines and captivating synth textures on their shared keyboards and synthesizers. Eritrean/American trumpeter Hermon Mehari and Italian saxophonist Francesco Geminiani, both Parisians and active on the European scene, form a powerful brass section. On ‘Morning Prayer,’ Francesco uses for the first time a flute of his own design, the Nautilus, which resembles an ocarina. This instrument, carved from maple wood and stylized on the album cover, was designed according to the Fibonacci sequence and the golden ratio. Its use celebrates the mystical and exploratory nature of the duo formed by Kieran Hebden & Steve Reid, whose musical alchemy has left its mark on all those who have attended one of their concerts.

Minions & Monsters is the brand new 2026 installment in the popular Minions franchise. The animated adventure follows the Minions as they find themselves caught up in a world of larger-than-life creatures, unexpected challenges, and the kind of chaotic situations that have made the franchise a global success. The film expands the Minions universe while staying true to the humor and charm that audiences have come to love.

The movie’s original score is composed by Oscar-nominated composer John Powell, whose work on How To Train Your Dragon, Shrek, and Kung Fu Panda has earned him a place among the most acclaimed composers working in film today. For Minions & Monsters, Powell delivers a lively orchestral score that complements the Minions on their adventure and brings it to life.

Minions & Monsters is available as a limited edition of 1,000 copies on yellow (LP1) and turquoise (LP2) vinyl, and includes a 4-page booklet with liner notes by John Powell.

Classic Johnny Clarke album from 1980 restored and re-mastered for best ever sound. Features the hit singles "Every Knee Shall Bow" , "Can't Keep A Good Man Down" along with the Jah Shaka sound system anthem "Bad Days Are Going".
Produced by mixed at Channel One, King Tubby's and NYC by Bunny Lee, Brad Osbourne & Johnny Clarke
'Originally Mr Clarke' delivers in full on every track making it one of THE essential reggae album releases.
Jamaican artist of the year in both '75 & '76 Johnny signed to Virgin Records and released two highly acclaimed albums for Virgin's Front Line label. Still performing and recording today, Johnny also tasted crossover success when his 'Everyday Wondering' hit made number 2 in the UK charts with it's Rupie Edwards 'Irie Feelings' dub deconstruction while Johnathan Richman turned Johnny's Earl Zero penned 'None Shall Escape The Judgement' hit into the international chart topper 'Egyptian Reggae' in 1977.

Defining the moment in sound and vision, Immersion are a snapshot of ‘the now’. Through constant reinvention, they have honed their sound into a startling present that references their past but refuses to live in it.

This perfect synthesis of their styles boldly creates a brave new world for core couple Colin Newman and Malka Spigel, along with satellite musicians Matt Schulz (Holy F*ck), whose drumming strongly features on many tracks, and Ed Chivers (AK/DK), who makes a guest appearance drumming on ‘Breaking Free, Diversity, Evolution’.

What Is Lost Will Return is the second ‘pure’ Immersion release in as many years and heralds their third UK tour since 2024. It follows 2025’s acclaimed WTF??, with the title reflecting the fact you can only say “What The F*ck??” so many times before looking beyond to see what endures.

With What Is Lost Will Return, the ever-productive ‘life and art partner’ duo present a reflective album of modular moods and stripped-down electronic psychedelia, leavened by a clipped guitar that you can nonetheless dance to, defying these chaotic times. It perfectly captures the yin and yang of the moment – or as Colin and Malka explain, “The emotion we feel the album invokes is a poignant mixture of joy and melancholy.”

“What Is Lost Will Return is an album of grooves, observational snapshots, hypnotic repetition, joyful creation, intoxicating melody and mystery, all threaded together by a fascination with new sounds and textures. It's both an underground gem and an album that bends pop into new shapes.”
John Robb, June 2026, MCR

Richard Laviolette (1982–2023) released his second record "a little less like a rock, a little more like home" on CD in 2006 on Burnt Oak Records, an artist-run co-operative and independent record label co-founded by Brad MacInerny, Ryan Newell and jiaqing wilson-yang, active between 2005 and 2007. Burnt Oak was based out of a rented house at 127 Grange Street in Guelph, Ontario, where the collective lived, rehearsed, hung out, and hosted all ages shows, also recording each others’ music, packing and mailing CD orders, and silk-screening and sewing the covers for the albums they released.

Combining folk, rock, and country influences, a little less like a rock, a little more like home is a beloved lo-fi classic of brilliant songwriting and powerful vocals, animated by Richard’s deeply held anti-capitalist, anti-colonial, DIY, and community-based ethos. It includes some of Richard’s most timeless songs and performances, including the unclassifiable magic of Qq, the shockingly intimate and utterly cosmic Ants vs. Universe, and the beautifully fingerpicked folk-song Oncoming Trains.

You’ve Changed Records is proud to present this first ever vinyl pressing of "a little less like a rock, a little more like home" . This Limited Edition LP features audio newly mastered for vinyl by Kevin Parks, recreated artwork by artist sophia bartholomew, and includes a full lyric insert

Brixton Heights Records proudly presents the brand new single “Sweet Things”, a radiant lovers reggae release that blends classic roots, soulful warmth and contemporary finesse into a timeless feel‑good anthem.

Fronted by the legendary Keith Coley from The Silvertones, this masterfully crafted track features a heavyweight lineup of musicians and producers: Mafia & Fluxy on drums and bass, The Ital Horns on brass, Gavin Tate-Lovery on Saxophone and Gaudi on Piano and backing vocals, co-production and mixing. The track delivers a smooth, romantic groove rooted in classic Jamaican sound while feeling fresh and modern, making it equally at home on sound systems, radio playlists and summer sessions.

The Silvertones’ vocals remain rich, melodic and instantly recognisable, carrying the emotional warmth that has long defined their sound. The arrangement is layered with a bubbling organ, deep bass and tasteful percussions, guitars and keyboard, making The Brixton Heights Orchestra come together to create an irresistible groove.

Mixed and co‑produced by Gaudi at Metatron Studio in London (UK) and mastered at Anchor Studios in Kingston, Jamaica, “Sweet Things” is a celebration of romance, rhythm and authenticity.

In the B‑side the Brixton Heights Orchestra shines through in a full instrumental version of “Sweet Things”. The brass section takes centre stage throughout, weaving into the fabric of the song soaring trumpet lines, expressive saxophone melodies and rich trombone passages.

With the vocal removed, Gaudi shifts the focus on brass work, rhythm section and layered instrumentation, creating a continuum of different phrases, solos and riffs, carefully carved together into a reggae-jazz theme that executes in a cohesive and coherent way.

Appleton announce the release of a brand new EP, 'Side By Side', which will be released Friday September 4th, marking the first new Appleton body of work in over two decades.
Nicole says: "The reaction to 'Falling Into You' and our first Appleton show in over twenty years has been incredible We feel so grateful that people still connect with these songs and are excited about what we're doing now. This EP feels like the natural next chapter." After reissuing their cult- classic 2003 album 'Everything's Eventual' on vinyl, this January Appleton returned with 'Falling Into You' their first new music as a duo in 23 years.
While nostalgia may have sparked the reunion, 'Side By Side' is firmly focused on the present. Across four original tracks, the EP blends the melodic pop songwriting and distinctive harmonies that made Appleton favourites first time around with a fresh, contemporary sound that reflects where Natalie and Nicole are today. For both sisters, the project has been a reminder of the unique creative bond they've always shared. "We've always had a special connection when we sing together" says Nicole. "Making these songs reminded us of that. It never feels forced it just feels natural." More than twenty years after they first burst into the charts, Appleton aren't looking backwards. They're simply enjoying making music together again side by side.

Starkes Albumdebut des Surf-Psych-Groove-Instrumental-Trios Goblyns. »Hunki Bobo« brauch sich hinter Größen wie The Meters, W.I.T.C.H, Khruangbin und Can nicht verstecken. The Meters, W.I.T.C.H, Khruangbin und Can: das sind nur einige der Bands, die die Psychrock-Newcomer Goblyns als Einflüsse auf ihren Sound nennen. In Südafrika gegründet leben die drei Bandmitglieder mittlerweile in Berlin und Amsterdam. In Europa schrieben die Drei auch die Songs für ihr Debutalbum. Die acht Tracks auf »Hunki Bobo« wurde in einem fünftägigen Studiorausch im schwülen Juli 2023 unter der erfahrenen Leitung von Andre Leo aufgenommen. Leo ist vor allem für seine Arbeit mit Medicine Boy und Wombed bekannt und hat zusammen mit den Musikern etwas ganz besonderes erschaffen. Das Album hat eine einzigartige Dynamik und steckt voller Energie. Jeder Song strahlt einen Groove aus, dem man sich schwer entziehen kann. Ob düstere Krautrock-Hypnose, grooviger Surf, Psychedelica. Goblyns fesseln den Hörer an das gesamte Album.

LOVE, das neue – und möglicherweise letzte – Album von Dexys Midnight Runners, ist eine leuchtende Sammlung zutiefst persönlicher Geschichten aus Kevin Rowlands Leben: über Familie, Liebe und die Schicksalsschläge des Daseins. Songs aus drei Jahrzehnten treffen auf brandneues Material – von der irischen Einwanderer-Kindheit über einen Brief an seine Enkelkinder bis zur Zeit mit einem sterbenden Elternteil. Liebeslieder im weitesten Sinne, jenseits gängiger Pop-Romantik: keine Wird-sie-wird-sie-nicht-Romanze, sondern etwas Tieferes, das die volle Bandbreite menschlicher Beziehungen und Emotionen abbildet.
„Ich dachte plötzlich: Das sind alles Liebeslieder – nur eben verschiedener Art", sagt Kevin Rowland über die Entstehung des Konzepts. „Da wusste ich: Es muss LOVE heißen." Ein Liebesleben in Songform, erzählt von jemandem, der mit seiner wunderbaren Autobiografie Bless Me Father bereits gezeigt hat, wie offen er über sein Leben sprechen kann.
LOVE ist zugleich das erste Album unter dem vollen Namen Dexys Midnight Runners seit Don't Stand Me Down (1985). Produziert von David Holmes – langjähriger Fan und Wegbegleiter der Band –, mit Songwriting-Unterstützung der langjährigen Weggefährten Sean Read, Mike Timothy und Jim Paterson sowie Streichern von Brian Irving.

STEELOVER is a Belgian Melodic Rock / Metal band. The band was formed in the early 80's by three friends living in Liege, Belgium, the guitarists Pat Freson & Mel Presti and the bassist Nick Gardi. In search of a drummer, they threw their sights on Rudy Lenners (Scorpions) upon his return from Germany, having left the famous German band Scorpions. Rudy proposed to contact Vince Cardillo, a singer who had already on the one hand good experience and on the other hand he already recorded an album in London, “It will fit perfectly” explained Rudy. They all felt the magic during the first rehearsal. In no time, Steelover recorded their first album "Glove Me” which was released under the Mausoleum label. This album sold over more than 400.000 copies of which more than 76,000 in Poland. They followed with a tour across different countries like The Netherlands, Germany, France and Belgium including Forest National opening for Bon Jovi and KISS. Vince decided to leave the band. Replaced by Dani Klein, the second album was recorded but never released. Dani left the band after a short time with Mel Presti to start a new band under the name Vaya Con Dios.
The band came back in 2017 with a new E.P. (including single "Wild and Free") mixed by the legendary producer and and mixing engineer Tommy Hansen.
In 2019, Rudy Lenners greeted the audience one last time before retiring from his musical career. Vince had returned to the band at this point…after the show Vince, Pat & Nick decided to continue the Steelover adventure and in 2022 released the album “Stainless” on the Escape music label (ESM368). This was a great metal album and fans old and new longed to hear more. It’s now 2026 and Steelover are back with a brand-new recording featuring 11 tracks of hard rock / heavy metal. The band are very much in the style of that 80’s metal sound, a sort of mixture of Scorpions and Saxon if you like. These new songs all hit the mark making “Devil’s Highway” an album that needs to be checked out…

LP includes double-sided print insert. Thorn Wych makes instruments from tree branches; bowed strings, flutes and percussion that she runs through a chain of loopers, pitch bending glitches and delay pedals. Strange songs sung in tongues, mashed up chewed and spat out. As the adder weaves her way through the dirt and mycelium hum, we play in the mud and converse with insects. 'Aesthesis' is Thorn Wych's debut LP that she recorded and mixed herself at home, often performing long improvised pieces, then later editing them down, cutting and pasting and overlaying other instruments. This album takes inspiration from such works as 'The Secret Book of John', the 1940 film 'The Thief of Bagdad', and Lata Mangeshkar's 'Meera Bhajans'. She dedicates her work to the Divine Mother Asherah, Holy Spirit, Guardian of the Tree of Life.

Feelin’ Love returns to Soulfuric Deep with a fresh remix package built around one of house music’s most recognisable vocal anthems, bringing new energy to a timeless dancefloor favourite.

Originally released by Soulsearcher, the track has remained a staple across house and disco sets for decades, celebrated for its uplifting vocal, infectious groove and enduring crossover appeal.

This new edition pairs the original Soulsearcher Club Mix with a selection of contemporary reinterpretations, including brand-new remixes from RUZE & Chesster and Dr Packer, alongside the Ian Carey Main Mix, offering a versatile package for both modern and classic house DJs.

Blending soulful vocals, groove-led rhythms and contemporary production touches, the release bridges generations of house music while retaining the feel-good energy that made the original such a lasting success.

Back on fresh 12" vinyl, Feelin’ Love continues to resonate with both long-time collectors and a new wave of DJs, making it a strong addition to any house-focused record selection.

A highly recognisable and DJ-friendly release for stores supporting house, deep house and soulful dancefloor sounds.

To celebrate the launch of the 4th and last DLC of Atomic Heart, Kid Katana Records teamed up with Mundfish to bring you this high quality album for the first time on an exclusive double vinyl.

With over 10 million players since its release, and a nomination at the 14th Hollywood Music in Media Awards, Atomic Heart has kept on bringing new content in the game, enriching the players’ experience with new Stories, Threats and Music to pursue the fight for freedom and progress.

The physical edition is a premium 2LP designed in close relationship with the game's creative team: Track selection handpicked by Atomic Heart team, including tracks from Mick Gordon, GeoffPlaysGuitar and Boogrov, and 1 new track (DLC #4 trailer exclusive) 2-colored vinyls with unique red and black “corona” effect: handmade vinyl effect melting red and black colors to shape a unique vinyl color on each product, mirroring the cover art.

Exclusive cover art with mat finishing and glossy effect on the Twin and motorcycle

Golden Ape Records unleashes another foray from the outer reaches of bass, Luke’s Anger’s - One Machine to Rule Them All EP with a Radioactive Man remix! Available in super limited edition of 100.

His mastery of this one Analogue machine has brought forth a new EP of singular intent, to give the horns, tweeters and woofers of club sound systems a proper workout! Electro rules again - bass to crush bones, drums to jerk your body and synths to rewire your brain. The overall effect is an intense, exhilarating and liberating experience that breathes fresh life into a storied music genre.

He is ably assisted by Keith Tenniswood aka Radioactive Man on remix duties of the track No Undo. He brings to fore his sweet and nasty sides to create a growling bass ridden beast that begins with a blissful promise and then puts the boot into your pleasure zones.

Handle with caution!

Tape

When Leon Michels and El Michels Affair released their rst record, Sounding Out The City, in 2005, it was hard to guess what was next for Michels and his then-introduced, now-patented "cinematic soul" sound. Now, four EMA studio albums and scores of tribute and remix projects later - all while producing for some of the biggest names in the industry - Michels has trademarked his sound, with each project taking audiences somewhere new and pushing the boundaries of what he is known for. The man is a river, not a lake and this time he takes his golden touch into the realm of hip-hop laying down a musical bed for one of the greatest to ever rhyme into a microphone: Black Thought of The Roots crew. Releasing on Big Crown Records, the LP is called Glorious Game and it is a remarkable debut partnership in more ways than one. Michels provides his bottom-heavy, soul-tinged production for Black Thought who gives us some of the more personal and transparent verses we've ever heard from him. Michels and Black Thought have been in each other's orbit for a while now. The two first met in the 2000s when Thought was first getting familiar with the contemporary soul scene. "Out of that whole world, Menahan Street Band was probably my favorite," recalling the funk and soul group Michels was a founding member of back in 2007. Fast forward a few years and musicians from that collective - Dave Guy on trumpet and Ian Hendrickson-Smith on sax - are now full time players with The Roots. This connection eventually led Leon and Thought to doing a few fundraising events around NYC and Philly together. "Before long, Black Thought was coming around the studio and would jam with us from time to time," Michels explains. "Then, fast forward to 2020 and COVID lockdowns, he just hit me up out of the blue, wanting me to send him stuff to write to. We both were looking to stay busy" Being that Black Thought is the co-founder and emcee for, hands down, the best live-band group in hip-hop. Michels took a decidedly different approach to this project and instead of sending recorded tracks of live compositions, he pulled out the sampler and sampled himself and some records from his collection. "I'm a big fan of soul music," as if Michels has to remind us. "And part of hip-hop's appeal to me has always been the sample-based production" For Glorious Game, Michels would make wholly composed and recorded soul songs in his studio, sample himself, then chop and/or loop up his sounds and create instrumentals for Black Thought. On some tracks he took a more traditional hip-hop approach, starting from samples of other people's music but then adding live instrumentation on top. But for the most part, it's him reinterpreting his own compositions into something new. The result is an organic feel of loop-based tracks that breathe and uctuate enough for Black Thought to ex on. "What I write about is determined by the equation of the producer's energy and my energy," Black Thought says. "It's about where we meet." So armed with Michels sampled and re-sampled soul cinematics, Black Thought rhymes through personal memories.

Colorize presents Higher Note, the highly anticipated new album from Sound Quelle, a defining sound in modern melodic electronic music.
Across the album, Sound Quelle showcases his signature blend of beautiful harmonies, atmospheric melodies and driving basslines, crafting a richly detailed body of work that balances emotional depth with dancefloor energy. Building on a campaign already supported strongly by SiriusXM Chill, Vintage Culture, Diplo and Nora En Pure, Valery Lebedev continues to affirm his place as a leading voice in melodic electronic music. With over 50 million streams across DSPs, releases on Armada Music, Black Hole Recordings and Enhanced Music, and long-standing support from Above & Beyond, Ferry Corsten, Markus Schulz and Paul van Dyk, Higher Note stands as a refined and deeply musical statement from an artist at the height of his creative powers.

Amelie Lens' debut album 'AURA' is the first full-length studio album to come from the Belgian artist despite being one of the most respected and sought-after acts in electronic music today.

Of the album, Amelie says:

"'AURA' is my story. Aura is about the connection between the crowd and me. Music has always been my escape, my way of turning my emotions and energy into something new. When I was younger, I would disappear into nightclubs and create myown world in my head. Being in the nightclubs gave me this feeling of belonging somewhere, I felt connection and freedom I had never experienced before. That feeling changed my life completely. So this album really reflects that whole journey. From playing tiny local clubs and driving myself through the night for gigs, to standing on huge festival stages, becoming a mother, building EXHALE and learning how to balance it all in life.

I wanted 'AURA' to feel emotional but still powerful, uplifting but raw. From big festival tracks to the trippy tracks I'd play at 4am at RSO. Although making this album is one of the biggest things I have ever done in my life, I wanted to keep it light and somehow playful. Because that is also how I am as a person. This is the most honest version of myself I've ever shared. I hope it brings some light, happiness and connection to others as it does to me. Because Aura is and always will be about my connection to you."

The album will consist of 11 brand new tracks, all produced by Lens - with one stellar collab, who will be announced in due course.

Bypass EP brings label friend Connor Wall to Stelus, his deepest body of work yet, pushing further into the core of his signature palette than anything before. The A-side sets a tone and holds it. 'Bypass' opens with melancholic ambience, patient and unhurried, establishing the mood that carries the release. 'Listen to Me Talk' follows with something stranger, crafted for late hours and darker moments. 'Maple Lok' closes the A-side as a slow burner, a long gurgling lead hook winding through textural restraint. The B-side opens at the release's peak. 'Infotrut' brings warm, powerful low end paired with swampy overtones, earning the spotlight without asking for it. 'Ocean Brain' closes in full turbine hypnosis, completing the picture and confirming the depth of Connor's sound. Depth has no shortcut.

BUCHLA MEETS ORCHESTRA IN QUADRAPHONIC SPACE ON CIANI/ORKEST

Suzanne Ciani, Metropole Orkest and Simon Dobson release historic immersive performance in multiple immersive formats including quad vinyl.

Silverlake, CA \\ June 4, 2026 – Electronic music pioneer and five-time Grammy nominee Suzanne Ciani joins the internationally acclaimed Metropole Orkest, conducted by Simon Dobson, for the release of CIANI/ORKEST, a landmark live album composed entirely of new work, created specifically for this unprecedented collaboration.

Recorded at Amsterdam Dance Event (ADE) before a rapt audience, CIANI/ORKEST is not a retrospective. It is a bold, immersive meeting of the Buchla electronic instrument and 50-piece orchestral sound. The result is a sweeping sonic landscape, at once intimate and monumental.

Under the direction of the Metropole Orkest, renowned for its genre-defying collaborations with artists from jazz to contemporary classical - strings shimmer, brass swells and woodwinds echo the organic, fluid qualities that have always defined Ciani’s sound. “This project feels like a homecoming,” says Ciani. “The Buchla was always orchestral to me, an instrument capable of infinite color. Hearing those colors unfold through the Metropole Orkest has been profoundly moving.”

At the heart of CIANI/ORKEST lies Ciani’s lifelong commitment to quadraphonic sound. From her early Buchla performances in the late 1960s to her 2018 release LIVE Quadraphonic, Ciani has treated space as a primary compositional parameter. Working alongside immersive producer KamranV, Ciani continues to explore immersive sound as both artistic and human gesture. Kamran’s decades of work in spatial formats, converge here in service of a singular goal: to let sound behave as it does in the physical world. “For both of us, quad is musical,” Kamran notes. “The way Suzanne works, quadraphonic is nested in — not the technology per se — but the intent you bring to the work.”

The recording stands as a meditation on legacy, evolution, and the enduring dialogue between technology and human expression. The live album captures the electricity of performance, the immediacy of touch plates under Ciani’s hands, the collective of musicians responding in real time, and the audience’s shared immersion in quadraphonic-inspired space.

CIANI/ORKEST is released by Atmospheric/AKP Recordings/CyKiK in multiple double-disc quadraphonic 12” Record packages designed by grammy-nominated designer Rebeka Arce. Each pressing is made regionally to minimize carbon emissions and also contributes to nature via Brian Eno's EarthPercent, the music industry's climate and nature foundation.

The release is encoded using the dublab Quadraphonic Universally Accessible Resource Kit (QUARK). QUARK enables binaural listening via standard 2-channel playback or 4-speaker playback via Involve Audio hardware decoders, vintage Regular Matrix quadraphonic receivers, Dolby Pro-Logic II/Dolby Surround Upmixer (DSU) receivers, or any multi-channel audio interface equipped computer. This album is immersive via all formats: digital download, streaming (Qobuz, Spotify, SoundCloud, Bandcamp), radio broadcast, vinyl and high-resolution Dolby Atmos (Apple Music, Tidal, Amazon HD, IIA), Sony 360RA (Nugs, Amazon HD) and Eclipsa Audio (YouTube).

About Suzanne Ciani
Suzanne Ciani is a composer, pianist, sound designer, and electronic music pioneer whose work spans experimental, new age, classical, and cinematic sound. A five-time Grammy nominee and recipient of the Moog Innovation Award, she continues to perform internationally, captivating audiences with immersive modular synthesis performances.

About Metropole Orkest
Based in the Netherlands, the Metropole Orkest is one of the world’s leading genre-crossing orchestras, known for collaborations with artists including Brian Eno, Herbie Hancock, Snarky Puppy, Jacob Collier, and within contemporary classical and electronic spheres.

Felt Sense Recs presents X’d In Stone by Rita Revell. Focused attention given to the junction of Flinders and Elizabeth street.
Industrial, Ambient Electronics.
Made in the Native Grassland Circle while manifesting The Spin of the Melbourne Star.

150 Copies Worldwide.

All Songs Written & Recorded by Rita Revell
’50 Tuned Depressions’ Featuring Pete Gower on violin
Design By Bradley Pinkerton
Mastered by Dubplate & Mastering DE

Manonmars’ 3rd album sees him at his most amorphous and psychedelic, at points sharper and laser focused, and at others more blurred and impressionistic than his previous records. Many of the core players remain the same, all of the production is once again handled by O$VMV$M (the duo of Neek and Amos Childs of Jabu) while Paulina Korobkiewicz (also of Young Echo) makes a return handling both the album’s cover artwork and contributing a series of diaristic field recordings and voice notes.

‘The project references movies, cartoons, fictional characters and video games, among other things. The album title is open to interpretation but all of these elements are forms of visual entertainment which have their own unique ability to transcend things like language barriers and cultural divides. The visual element is key because those details bridge the gap on a communicative level.’ - Manonmars

The album blends abstract, blurred braggadocio with more immediate personal details such as on ‘Volcanic Shield’ a posse cut of sorts featuring Bristol improv luminary Dali de Saint Paul and Franco Franco (½ of cyborg rap duo Kinlaw & Franco Franco) - where Mars recalls;

‘Memories of brighter days, happy meal hit the spot
Mum was spinning vinyl playing Super Ape or Pressure Drop
I would spend the weekend with the Turkish mandem on the block
single parent household, mum was studying or on the job
money came and went always was an on and off
made it back from school time to see what’s on the box’


The beat fades away to leave one of Korobkiewicz’s recordings of Mars’ mum talking about her life in London in the 80s, spending her money on reggae records as an ambient chord fades in like an echo of a jungle intro – stretching out as a link between generations of UK music.

The production by and large is brighter and more kinetic than earlier Manonmars records – with O$VMV$M drawing on everything from modern underground rap and drill through to jazz and acid ambient passages.

London is also a central character here, bustling and constantly shifting, either when bleeding in through field recordings, or as an ever-present backdrop in the lyrics;

‘I’m a fusion of Tippa Irie and Topper Harley
Hit the target like the black Atari
I dropped a tab now shit’s A Scanner Darkly
Got the munchies, Imma yam a sarnie
Pour the Wray and Ting like man at Carni
Exit Peckham Rye and turn left, walk past Hannah Barry
Get your (w)raps up like its January’

‘I've always considered London my home, despite spending some time in the South West of England too. My mum had been living in London for 25 years (...) That was a pretty big deal in some ways because it removed us from multicultural society during the period which overlapped with my teenage years. (...) I never got used to how quiet it was in the countryside (...) Bristol was the closest city to where we lived and it was through travelling there and making connections that I became involved in making music and playing gigs.’ - Manonmars

Mars’ practice as a painter (under his given name Jack Martyn Richardson) and photographer also loom heavy over the album, he cites Paul Verhoeven, Abdul Mati Klariwein and H.R Giger as influences – as well as Miles Davis, Drakeo the Ruler and DJ Rashad.

As with much of Richardson’s work the raps at times feel blurred to a point of almost inscrutability, creating a distance between the audience and himself. A process that ties into his visual work and the way he experiences the world as mainly abstract colour without his glasses. He explores this further in an ongoing visual collaboration with Korobkiewicz, ‘Fun and Games’ which serves as a visual archive of one of London's largest and oldest travelling fairgrounds.

‘I was diagnosed with very severe short-sightedness at the age of seven. I remember my early formative years as visually blurred. Some of my photography reflects this experience of partial vision and uncertainty, referencing memory and perception rather than fixed representation.’

Manonmars’ first public outing as a rapper was at a Young Echo radio event, broadcast shambolically from a practice room just off Jamaica street, Bristol in 2011, as much as things have moved on both stylistically and in terms of focus - strong links back to the city remain a key foundation throughout the collaborations and guest appearances.

‘I have no problem with being an outsider looking in. One of the things I enjoy about London is the anonymity (...) it's easy to be a stranger here when so much is happening. I feel like thats more valuable than people may realise.’

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:

“an absolutely astounding album” 4.5/5 - DIY

“Romance Is Boring is a triumph.” - 8.3/10 - Pitchfork

“The fact that the seven-piece manage to make music that is as orchestrated and coherent as it is invigorating is only one of the few astonishing things about them.” - 9/10 Popmatters

“What primarily sets ‘Romance Is Boring’ up as a significant step forward is that it’s incredibly structurally cohesive, and yet blows anything they’ve previously released out of the water in terms of textural intricacy, technical prowess and general experimentation.” - 4/5 NME

'Channel Zero is a new release produced by the London-based Brazilian artist Protocol. It is made up of 4 unprocessed live jam recordings of heavy, stripped-down techno. Composed over a period of 2 years, the artist focuses on experimenting on the far edges of techno, inspired by early avant-garde music, drone, and Musique Concrete. It comes in a hand-numbered limited edition of 180g black labels, in a 3mm inside-out cover with a black inner-sleeve.
'The work is a confirmation that techno still thinks forwardly, but pays homage to its mostly overlooked origins. The titles come from one of the early Cybernetic Culture Research Unit essays, also named Channel Zero.
'Lost Signal (Noise) opens up the EP with reverberated static noise, followed up by a deep bass with more layers of percussion and atmospheric noise patterns, slowly evolving into unexpected rhythms. The second track, Blind Belief, is composed of a deconstructed kick sequence, with machinic-like sound structures in the background and a hi-hat that morphs with various envelopes, together with a nostalgic 909 rim-shot. Turning to the B side, Electromagnetic Shadow is an atmospheric four-to-the-floor techno track, where deep kick drums and polyrhythmic noise soundscapes move into industrial noise pattern. Closing Protocol's debut EP, Black Snow Cult brings together the EP's sound palette into aggressive patterns of Birmingham-esque industrial percussions, where synthetic sounds are put together in primitive sounding sequences together with high pitched frequencies.'

What is Buck? Buck is a state of mind, a way of life, a demeanor that gets you through the good times and the bad. If you ask Brainstory, It is also the energy that permeates their debut album. Kevin, Tony, and Eric are a trio of brothers bounded by blood, fate, and a small town with nothing to do. Their story begins in the long lost lands of the San Bernardino Valley, in the twilight zone known as Rialto, California: An arid wasteland of boredom and empty lots. Through punk rock and skateboarding they found temporary liberation from the local monotony. However, it wouldn't be long before a hunger for more led them to explore musical realms beyond that of the hardcore punk they admired. After stints at music school and steady disappointment trying to navigate their local jazz scene they moved to Los Angeles and Brainstory was born. Through a introduction from Chicano Batman's bassist, Brainstory caught the ears of Big Crown head honchos Danny Akalepse and Leon Michels. Shortly thereafter they were on their way to Queens, to record at The Legendary Diamond Mine with Michels at the helm. An instant chemistry yielded 10 songs in 10 days and now Brainstory has gifted the world with one hell of an introduction to all things Buck. Highlights include the sublime slow burner, "Dead End" which was the A-side to their first 45 on Big Crown that sold out in a matter of days. With Kevin's sublime falsetto floating atop Tony and Eric's unflappable and unmistakable backbeat, this tune has become a favorite with the ballad heads, the low-riders, and the slowie collectors. "Breathe" showcases another side of their sound taking a page out of the Shuggie Otis playbook and flipping the script with some stoned out west coast swag. Kev and Tony's father, Big Tone, an accomplished performer himself, steps in on "Peter Pan" to sing lead vocals over a chorus of friends and family. Bassist extraordinaire, Tony, takes over lead vocal duties on "Sorry", a smoked out, G Funk groove that is just waiting to be sampled. These guys have come a long way from their self released EPs and opening tours with Chicano Batman. Their musical growth is undeniable, and taking their California sunshine vibes and mixing them with Michels' NYC aesthetic has proven to be an amazing combination. It's a debut record that pulls influences from so many genres seamlessly it's hard to nail down. Call it Funk, call it Rock, call it Soul, but over here at Big Crown HQ, we've decided to call it BUCK.

LIMITED THIRD PRESS. 300 ONLY CLEAR VINYL WITH RED BLOOD SPLATTER, HOUSED IN A RED AND METALLIC SILVER SLEEVE.

The Swedish underground legends return with a brand new album. Let this reddit user take over …
“Listening to Brainbombs has been one of my weirdest experiences with music. Brainbombs are most definitely a band. I guess at the core they’re a hardcore punk/noise rock hybrid I guess? But… It's so unlike anything I’ve ever heard and I still don’t know if it's good or bad. I saw the edgelord Ed Gein album cover, and it intrigued me, so I listened to their biggest song and it was easily THE WORST thing I had EVER FUCKING HEARD. I shut it off as soon as it got to the vocals. I was shocked by the fact that it had almost a half million streams. But, a few hours later, I clicked on it again and didn’t know why.
Over the past few days, I’ve listened to all of their discography and looped a lot of it. And I don’t even think I like them. The music is abysmal, it's the same single riff and verse repeating for 5 minutes. To make it worse, the vocals are just a guy with a swedish accent awkwardly talking about murder and rape. That sounds awful right? It is awful. But at the same time I want to keep listening? It’s so childishly edgy and obnoxiously repetitive but so.. intriguing? Catchy? I’m not even sure. It's one of if not the weirdest experience I’ve ever had with music and I don’t know how to feel about it.”

Led by the lightning-fast guitar work of Alvin Lee, the band had quickly evolved from a traditional blues outfit into one of the most exciting and commercially viable acts of the late '60s British rock scene. This album reflects that transition, combining their Chicago blues roots with heavier rock, boogie rhythms, and early progressive influences. Recorded at a time when studio experimentation was becoming central to rock music, Cricklewood Green shows the band expanding beyond their live reputation into more layered and exploratory territory. The hit single "Love Like a Man" became a defining track of the era, earning chart success and cementing the group's reputation on both sides of the Atlantic. Newly remastered at Air Mastering, this reissue restores the album's original power and nuance. In addition to the album is a newly mixed performance by Charlie Russell of their second set at the Fillmore East on Friday 27th February 1970 on disc two, the sheer power of the band is on full display. On the CD are a selection of rarities with the standout being a newly discovered "Cricklewood Jam" demo, recorded during the album's sessions and never heard until now..

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.

Es gibt eine unbestreitbare Verbindung zwischen dem Süden und Ereignissen außerirdischen Ursprungs. Vom eklektischen Jazz-Guru Sun Ra bis zum deutschen Raketenwissenschaftler Wernher von Braun - Alabama hatte schon immer mehr als nur einen reißenden Anteil an Verbindungen zum Weltraum und zu Dingen außerirdischen Ursprungs. So war es auch bei ,Man or Astro-Man?", die vor einigen Jahren in einer kleinen Universitätsstadt in Alabama ankamen bzw. dort eine Bruchlandung hinlegten. Als sie ihre Plattensammlungen wiederentdeckten, die lange Zeit auf vergessenen Dachböden verstaut oder hinter Regalen mit alten Zeitschriftenausgaben in zahlreichen heruntergekommenen Secondhand-Läden in Alabama versteckt waren, verliebten sich die Mitglieder von ,Man or Astro-Man?" in die verkratzten Klänge von Link Wray, The Ventures, Dick Dale, The Shadows und Duane Eddy - also in Instrumental-Gitarren- und Surf-Musik der späten Fünfziger und frühen Sechziger. Gleichzeitig hatten bizarre Bühnenbilder und Auftritte von Kraftwerk, Sun Ra, Devo, Frank Zappa, The Sputniks und natürlich den Residents großen Einfluss auf die sich rasch entwickelnde Truppe. Dennoch war es das erzwungene Leben in einer hoffnungslos konservativen Kleinstadtumgebung, das Man or Astro-Man? dazu brachte, das Offensichtliche hinter sich zu lassen und sich viel stärker von dem beeinflussen zu lassen, was sie hassten, als von dem, was ihnen eigentlich gefiel. Im Grunde könnte man sagen, dass Man or Astro-Man? weitaus stärker von College-Football und muskelbepackten Verbindungs-Spinnern beeinflusst waren als von Science-Fiction. Die Band trieb es, besonders bei Live-Auftritten, auf die Spitze, so lächerlich wie möglich zu sein, und verspottete dabei ernsthafte ,alternative" Acts und mit ihnen die Musikindustrie selbst. ,Experiment Zero" (1996) war ihr Debütalbum bei Touch and Go. Es wurde in drei Tagen im eigenen Studio von Man or Astro-Man?, dem ,Zero Return" in Alabama, zusammen mit Steve Albini aufgenommen und gilt als eines der großartigen modernen, vom Surf-Stil beeinflussten Gitarren-Instrumentalalben. Da Man or Astro-Man? ,Experiment Zero" als ihr Meisterwerk der langen Entwicklung der Surf-Musik etablieren wollten, begannen sie, sich schneller als je zuvor weiterzuentwickeln. Sie veränderten ihren Sound weiter und erweiterten den Einsatz von Samples, Computerprogrammierung, Keyboards, elektronischen Spielereien sowie experimentellem analogem Schneiden und Einfügen von Tonband. Obwohl das Album von der Kritik weithin gelobt wurde, mussten sich langjährige Fans erst einmal daran gewöhnen. Wo die meisten Bands müde geworden wären oder einfach immer wieder dasselbe Album im Kreis gedreht hätten, erfanden sich Man or Astro-man? und ihre Live-Auftritte immer wieder neu.

The Seeds stand tall amongst the handful of mid-60s American garage bands whose influence is palpable in rock to this day. Led by charismatic frontman Sky Saxon, the original Hollywood-based quartet’s unique and exciting brand of minimalist rock’n’roll still sounds contemporary and is perfectly encapsulated on this first album. If second album “A Web Of Sound” was pop-art flash, and 1967’s “Future” a florid take on psychedelia, then the July 1966 debut remains The Seeds’ grand statement; an all-original programme of rock and R&B-inflected garage punk that buzzed with a peculiar-yet-riveting energy that was the ensemble’s very own.

Whilst ”The Seeds” contains a pair of familiar classics in ‘Can’t Seem To Make You Mine’ and ‘Pushin’ Too Hard’,’ it is instructive to remember that it was recorded and released some time before either tune became a hit. Unlike so many albums of that era, the Seeds’ debut was not a quickie thrown to together to take advantage of singles chart success. Instead, the record constitutes a sharp definition of their unique and aberrant style, featuring several key items within their canon, be they the rough-hewn rockers ‘Girl I Want You’ and ‘No Escape’, the pot-boiling blues ‘Nobody Spoil My Fun’,’ or the lengthy and downright sinister ‘Evil Hoodoo’.’

Ein authentischer Geschichtenerzähler der heutigen Indie-Rock-Szene ist der in Tampa geborene und in New Orleans lebende Singer/Songwriter Thomas Dollbaum, und ,Birds of Paradise" ist sein bisher kraftvollstes und dynamischstes Werk. Nach seinen von Kritikern hochgelobten Alben "Wellswood" (Big Legal Mess, 2022) und "Drive All Night EP" (Dear Life Records, 2025) ist "Birds of Paradise" ein Abschiedsbrief an verlorene Liebste und sein früheres Ich. In diesen Songs sucht Dollbaum nach Akzeptanz an vergänglichen Zwischenorten: in den Kiefernwäldern Floridas, auf Nebenstraßen, die zur 1-95 führen, wo Vögel über das Wasser fliegen. Und obwohl die Geister seiner Alt-Country-Vorgänger Townes und Molina definitiv präsent sind, tritt Dollbaum auf Birds of Paradise aus ihrem Schatten heraus - er winkt der Vergangenheit zu und klingt dabei umso mehr wie er selbst. Dieser Moment - dieses Album - ist längst überfällig. Die Aufnahmen zu Dollbaums beiden vorherigen Veröffentlichungen hatten aufgrund von Umständen, die außerhalb seiner Kontrolle lagen, viel zu lange gedauert, was ihn frustriert zurückließ. Nachdem er acht Jahre lang von zu Hause weg war, war der Ort, den er verlassen hatte, nicht mehr der Ort, an den er sich erinnerte, und die Unveränderlichkeit der Natur fühlte sich wie eine Konstante an, über die er schreiben wollte. Mit einem Gefühl der Unmittelbarkeit schrieb er ,Birds of Paradise" in drei Monaten. Er rief die Musiker an, denen er am meisten vertraute und die er am meisten bewunderte - Nick Corson, Josh Halper und Jake Lenderman - und bat sie, sich mit ihm bei Dial Back Sound in Water Valley, Mississippi, mit dem Produzenten/Toningenieur Clay Jones zu treffen. Sie lernten das Album in vier Tagen ein und nahmen es auf, wobei sie einen Blitz in einer Flasche einfingen, eine klangliche Offenbarung, auf die Dollbaums Songwriting schon immer gewartet hatte. Mit der Hilfe von Lenderman, Halper, Corson und Jones ist ,Birds of Paradise" Dollbaums hart erkämpfter Durchbruch. Lebendig und nachhallend wie Gedichte und Kurzgeschichten, die man nicht vergessen kann: Kojoten heulen, Vögel fliegen nach Süden, Kinder jagen Kaninchen durch das Zuckerrohr und Zigaretten kosten vier Dollar pro Packung. Birds of Paradise erinnert uns daran, woher wir kommen - an die Dinge in uns, die wir vergessen haben - wir brauchten nur Dollbaum, um uns das zu zeigen. So blickt man ohne Angst oder Scham zurück. So sieht Authentizität aus.

God Bless The Band is released on 28th August 2026. God Bless The Band celebrates an incredible two decades of Courteeners, featuring tracks from their seven studio albums - St. Jude (2008), Falcon (2010), Anna (2013), Concrete Love (2014), Mapping the Rendezvous (2016), More. Again. Forever. (2020) and Pink Cactus Cafe (2024) - along with two brand new tracks ‘The Luckiest Man Alive’ and ‘Plus One Forever’ produced by Liam Fray and James Skelly. Formats include heavyweight black 2LP and CD plus retail exclusive Crystal Clear 2LP.

Salt N Pepper Vinyl. New pressing of Mom Jeans. 2018 album, Puppy Love. The Berkeley, CA quartet is lauded for stream-of-consciousness lyrics and energetic performances that prompt audiences to shred their worries and simply bounce along. By trading the sappy for heartfelt and the melodramic for truthful, Mom Jeans have created a brand of emo that's self-aware but not self-indulgent. 2018's Puppy Love follows up 2016's Best Buds and oers up more of that sweet noise that fans of bands like Modern Baseball and The Front Bottoms, will love. Recorded by Ryan Ellery. Mastered by James Trevascus.

Brennan Wedl"s self-titled album is a testament to collaboration, with old selves, the selves yet-to-be and the friends helping you along the way. It"s an anthology of spiritual awakening that sizes up the road ahead, encapsulating the messes and triumphs when leaving a traditional path for something less steady. Wedl is already a prolific artist, releasing solo music since 2012, and co-founding the queercore outfit Dazey & The Scouts in 2015. On her debut album for ANTI-, she shakes off the prying eyes of expectation, leaving behind the anxiety of forming yourself for others and welcoming in the delight of finally being exactly who you are. Wedl enlisted Katie Crutchfield (Waxahatchee) and Brad Cook (Bon Iver, Hurray for the Riff Raff) to co-produce and play on the album, with instrumentalists Colin Croom, Lindsey Jordan and Matt McCaughan also sprinkled throughout. Together, they formed a middle ground between punk, grunge and Americana - "grungetry" as they affectionately call it - capturing all tracks within a 10 day stay at Cook"s studio in Durham, NC.

Heights Of Fire” by Capleton is being released as an LP via Diggers Factory and presents a brand-new album produced by Evidence Music. The release once again puts Capleton’s distinctive voice front and centre, while also speaking to collectors who value a high-quality pressing.

Musically, “Heights Of Fire” blends classic reggae foundations with modern production elements; weighty bass foundations, precise drums, and organic arrangements carry the messages. Guest appearances by Damian Marley and Stephen Marley, along with collaborations with Derrick Sound, Little Lion Sound, Eesah, Mista Savona, Mixing Finga, and L’Entourloop, provide sonic variety and international influences. Lyrically, the tracks revolve around spirituality, resistance, and personal reflection, which Capleton delivers with emphatic rhetoric.

Key characteristics of the LP include its distinct production signature and the collaboration with established reggae heavyweights, which give the album both depth and a contemporary freshness. The arrangements move between dense roots passages and airy choruses, making the record resonate with both traditional listeners and a younger audience. The release on Diggers Factory also underscores the clear collector focus of the physical rollout.