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KALEIDOBOLT’s fifth album is pungent to the ears – KARAKUCHI out in March Karakuchi is one record you can judge by its cover. The first time Kaleidobolt’s faces have adorned an LP, they have been fused into a torpedoing biomechanical vehicle. Echoing The Birthday Party’s Junkyard or Motörhead’s Orgasmatron (…on acid?!), the illustration epitomises perfectly Kaleidobolt’s agenda of “hyperkinetic rock”. Their feverish, psych-prog sound is full of motion. It jerks around at different speeds, threatening to spin out of control and crash into flames at any given moment. What’s more, it isn’t taken too seriously. This is heavy and intricate music, yes. But as bassist and co-singer Marco Menestrina puts it, the Kaleidobolt attitude is “an ugly smirk more than an angry face with a fist.” On their fifth album since forming in 2014, the Helsinki-based outfit lean into their strengths as a formidable power trio. With their previous two records, 2019’s Bitter and 2022’s This One Simple Trick, they had thrown everything at their disposal into the recording with no expense spared on overdubs, effects and kitchen sinks. Produced again by Niko Lehdontie (Oranssi Pazuzu), Karakuchi comes from tightly rehearsed, live-in-the-studio takes. Kaleidobolt realise that greater sparsity can be a strength, and they’ve allowed their instruments extra space to breathe. It makes for their earthiest, purest and perhaps most authentic record to date. Karakuchi’s exuberant style emerges from the individual members’ contrasting listening habits. These span classic prog, Japanese city pop, noise rock, post-hardcore and historical podcasts. One record they can all agree is a masterpiece, the centre of the Venn diagram where all three members meet, is King Crimson’s Red. As for their new album’s title, that’s as suitable as the cover art. “Karakuchi” is the slogan of the Japanese beer brand Asahi Super Dry. Translated literally, this means “pungent to the mouth”. As drinkers of that product, Kaleidobolt acknowledge its parallels to their songs. “It’s very intense, right at the front, like at the first bite,” explains Menestrina. “And then it leaves your mouth feeling refreshed. The flavour doesn’t linger in your mouth, basically. It has a quick, hard finish. With a bit of a stretch, we thought that that could also be said of our music.” Karakuchi is Kaleidobolt at their hardest, fastest, tightest and super-driest. Pungent to the ears. -JR Moores, November 2025

KALEIDOBOLT’s fifth album is pungent to the ears – KARAKUCHI out in March Karakuchi is one record you can judge by its cover. The first time Kaleidobolt’s faces have adorned an LP, they have been fused into a torpedoing biomechanical vehicle. Echoing The Birthday Party’s Junkyard or Motörhead’s Orgasmatron (…on acid?!), the illustration epitomises perfectly Kaleidobolt’s agenda of “hyperkinetic rock”. Their feverish, psych-prog sound is full of motion. It jerks around at different speeds, threatening to spin out of control and crash into flames at any given moment. What’s more, it isn’t taken too seriously. This is heavy and intricate music, yes. But as bassist and co-singer Marco Menestrina puts it, the Kaleidobolt attitude is “an ugly smirk more than an angry face with a fist.” On their fifth album since forming in 2014, the Helsinki-based outfit lean into their strengths as a formidable power trio. With their previous two records, 2019’s Bitter and 2022’s This One Simple Trick, they had thrown everything at their disposal into the recording with no expense spared on overdubs, effects and kitchen sinks. Produced again by Niko Lehdontie (Oranssi Pazuzu), Karakuchi comes from tightly rehearsed, live-in-the-studio takes. Kaleidobolt realise that greater sparsity can be a strength, and they’ve allowed their instruments extra space to breathe. It makes for their earthiest, purest and perhaps most authentic record to date. Karakuchi’s exuberant style emerges from the individual members’ contrasting listening habits. These span classic prog, Japanese city pop, noise rock, post-hardcore and historical podcasts. One record they can all agree is a masterpiece, the centre of the Venn diagram where all three members meet, is King Crimson’s Red. As for their new album’s title, that’s as suitable as the cover art. “Karakuchi” is the slogan of the Japanese beer brand Asahi Super Dry. Translated literally, this means “pungent to the mouth”. As drinkers of that product, Kaleidobolt acknowledge its parallels to their songs. “It’s very intense, right at the front, like at the first bite,” explains Menestrina. “And then it leaves your mouth feeling refreshed. The flavour doesn’t linger in your mouth, basically. It has a quick, hard finish. With a bit of a stretch, we thought that that could also be said of our music.” Karakuchi is Kaleidobolt at their hardest, fastest, tightest and super-driest. Pungent to the ears. -JR Moores, November 2025

Julius Hemphill's debut record, 1972's Dogon A.D., was self-produced for his Mbari imprint, and it was issued with a beautiful black-and-white cover. Very DIY. The label's name writ large along the bottom edge, like it was the band's name. It's a quartet record featuring Hemphill on alto and flute, with Baikida Carroll on trumpet, Abdul Wadud on cello, and Phillip Wilson on drums – a classic jazz front line/rhythm section format, but nothing conventional about the way the music sounds.

The long track – from where the LP takes its title – is one of the key epic statements of new jazz in the era. Among its remarkable distinctions, it manages to draw on Wilson's schizoid experience having been a member of the Paul Butterfield Blues Band and the first drummer for the Art Ensemble of Chicago, in making an 11/8 rhythm into a staggeringly funky thing of joy. Over the course of fourteen and a half minutes, Hemphill builds a nearly continuous solo, his spiritual blood brother Wadud sawing the cello with a deep blues soulfulness that is raw and mantra-like in its repetitive incantation. It feels right and wrong in equal measure, the theme carrying its own piquancy with honked barnyard dissonances and some contrary motion between the horns and string. Most of all, it takes its own sweet time, in no hurry to get anywhere in particular, but out for a righteous stroll. – John Corbett (excerpt from the liner notes)

John Lee Hooker is widely recognised as one of the true giants of the blues, along with Muddy Waters, B.B. King, and Howlin' Wolf. Hooker is often called the "King of the Boogie" and his driving, rhythmic approach to guitar playing has become an integral part of the blues' sound and style that perpetuated the UK's rhythm and blues scene of the '60s. Presented here is one of John Lee Hooker' s finest album, The Big Soul of John Lee Hooker, recorded in Chicago in 1962.

In a career that spanned some forty odd years, a pivotal point of success came with his 1989 album The Healer, which featured collaborations with Carlos Sanatana, Bonnie Raitt, Charlie Musselwhite, and Los Lobas. The album expanded his audience beyond the blues idiom, earning him his highest Billboard album chart success (#62) his first Grammy Award; all of this at the grand-old-age of 73. For those not familiar with Hooker's earlier work, the Big Soul of John Lee Hooker is an excellent starting point.

The ultimate deep listening experience from two masters of dark ambient. A slow descent into the blackened watery abyss, where light cannot reach. The first release from Sleep Research Facility since 2012's "Stealth" (Cold Spring) is inspired by the deep sea ocean floor. The Canadian-based composer explores notions of awareness and perception in the sub/unconscious listener. Focusing primarily on sound bereft of rhythm based energies, SRF provides an environments wherein the music adds texture to the silence. Using form without structure and concentrating on space as opposed to narrative, SRF entertains the idea that music can reside in the very fabric of sound itself. The brand new material here was created specifically for this split release.Taking inspiration from the beautiful, but often harsh landscapes and environments of his home on Anglesey, North Wales, Llyn Y Cwn has built on the nautical theme of "Du Y Moroedd" (Cold Spring). These tracks are based on field recordings relating to the ocean, and could be seen as a companion piece to the album. 'Dale Dawn' features a recording of the dawn chorus made from the floating pontoon at Dale, Pembrokeshire. 'Pebble' includes the sound of waves crashing on a Dorset cobble beach, thousands of rocks colliding in chorus. 'Doppler Current Profiler' is based on the sound of an ADCP, an acoustic sonar instrument used to measure water currents - a 600Khz ping slowed to a heartbeat. CD in mini-LP sleeve, replicating the vinyl design. The artwork features a separate front cover design with individual art for each side, making this a true split release.

As one of the Netherlands' most famous saxophonists and the daughter of Hans Dulfer, Candy Dulfer needs no introduction. The self-taught musician started playing at age six and already made her first recordings in 1981, at 11 years old. In 1990 she released her hit album Saxuality (selling more than a million copies worldwide) for which she received a Grammy nomination, and followed this record up with Sax-a-Go-Go, Big Girl and, in 1997, she released For The Love Of You.

For The Love Of You is a continuation of the funk, R&B, and dance path she started following. But make no mistake: Candy's blowing is as fierce, gritty, direct as ever, providing a striking juxtaposition. Like on Big Girl, Dutch vocal mainstays Trijntje Oosterhuis and Berget Lewis are featured again. The album features the songs "Saxy Mood" and "Smooth" and reached #8 on Billboard's Top Contemporary Jazz albums for the year 1998.

For the Love of You is available as a limited edition on purple vinyl and includes an insert.

After being out of print for a good number of years, we are making 15 titles out of our Elvis Presley back catalogue available again between August 2025 and February 2026. Each title will see two different editions: one on regular-coloured vinyl and one very limited on mix-coloured, marbled vinyl, both housed in deluxe sleeves with a linen look and feel.

Elvis 56 is a compilation originally released in 1996 containing 22 of Elvis' best tracks from his first year at RCA: five singles with five B-sides, five songs from his debut and six from his second LP plus a previously unreleased alternate take of "Heartbreak Hotel". That means we see "Hound Dog", "Don't Be Cruel", "Blue Suede Shoes"; quintessential tunes that cemented Presley's status as a true rock and roll icon.

Elvis 56 is available as a limited edition of 2500 individually numbered copies on clear & black marble vinyl and includes a 4-page booklet.

After being out of print for a good number of years, we are making 15 titles out of our Elvis Presley back catalogue available again between August 2025 and February 2026. Each title will see two different editions: one on regular-coloured vinyl and one very limited on mix-coloured, marbled vinyl, both housed in deluxe sleeves with a linen look and feel.

That’s The Way It Is is Elvis’ 12th studio album, consisting of eight studio tracks recorded at the RCA studios in Nashville and four songs performed live at The International Hotel in Las Vegas. It accompanied the theatrical release of the eponymous documentary film, although it is not generally considered a soundtrack album.

Added to this definitive 4LP legacy edition are four single sides from the period and a selection of fly-on-the-wall outtakes from the June Nashville sessions that produced the majority of tracks for the LP. Disc 3 and 4 feature the first complete release of a concert from Elvis’ 1970 "Summer Season” recorded on August 12. The 20-page booklet features an insightful essay, photos and memorabilia.

That’s The Way It Is (Legacy Edition) is available as a limited edition of 500 individually numbered copies on yellow and black marble vinyl.

Daniela Casa (1944–1986) was a singer and composer, and the wife of fellow library music artist Remigio Ducros, author of America Giovane ("Young America"), an LP that ideally precedes this second chapter. Originally released in 1975, America Giovane N. 2 is today — like much of the Edizioni Leonardi catalog — extremely rare and highly sought-after by collectors.

Musically, it shares with the aforementioned America Giovane a remarkable stylistic diversity: from folk to psychedelia, from funk to rhythm and blues. Unlike the first volume, however, this record reveals a more pronounced jazz aura — "Fix" and "Soft Bird" are virtually two brief free-jazz excursions — which makes the album even more compelling and distinctive.

America Giovane N. 2 is part of a reissue series produced in collaboration with Edizioni Leonardi (Milan, Italy), dedicated to extremely rare library music LPs originally released between the late 1960s and early 1970s — most of which had never been reissued until now. These recordings are finally made available again for collectors and library music enthusiasts.

DEVANDO is back again with a boogied-out banger 45, featuring pulsing beats, ascending bass synth lines and vocoders that will make even the most rhythm deficient folks bob along. "All Closed Eyes Ain"t Sleep" is a steady stream of danceable energy, while "Party With Me" is a falsetto-rich disco collaboration with the One, DeRobert Adams. Get blissed with this sophisticatedly bumpin" 45.

Very limited numbers, orders will need to be confirmed.

For his new album, Irreparable Parables, Andrew Wasylyk felt a strong desire to write a set of songs featuring an element hitherto rare in his work: the human voice. Equally strong was the conviction that he did not want to sing them himself.

The Scottish multi-instrumentalist and composer set about assembling a group of guest singers, sending out the songs to wherever they were in the world. The vocals were recorded remotely and then, like migrating birds, winged their way back to Scotland. The result is an album of great beauty which, perhaps preeminently in Wasylyk’s work, expresses the vulnerability and resilience of the human spirit.

Six singers appear on the record, represented by six songbirds illustrated on the sleeve by Clay Pipe Music’s Frances Castle. The cuckoo is a nod to Belle and Sebastian’s 2004 single ‘I’m A Cuckoo’, that band’s Stuart Murdoch being the first voice you hear on the new album. When the vocal for ‘Private Symphony #2’ arrived, says Wasylyk, “it was everything that I was looking for and more. But this is Stuart Murdoch. Of course he’s going to make something incredibly beautiful and thoughtful.”

The song lyrics were, for the most part, written by the singers. The music is Wasylyk’s creation. He navigates a sound world that lies somewhere beyond the borders of classical and jazz, ambient and abstract. It is difficult to describe, but easy to understand, which is to say to feel. That is the way Wasylyk’s work is experienced: as a feeling. It takes you back to childhood, perhaps, to feelings of comfort and safety, or to memories of walks at sunrise and sunset, or to the way a shadow falls on a particular field in a particular place at a particular time in your life. This is consoling music. That is why, though pretty, it is not merely pretty. These are songs to shore up the soul.

Wasylyk writes in a room, in his native Dundee, full of “half broken” instruments. He picks these up, plays a little, seeking an idea, a feeling, a door that lies ajar. The musical palette of Irreparable Parables includes brass and woodwind, a six-piece string section, guitar, bass, drums, vibraphone, Mellotron, Fender Rhodes, tape loops, synthesisers and percussion. The strings were arranged by the cellist Pete Harvey, a long-term collaborator.

Among the other guest vocalists are Gruff Rhys of the Super Furry Animals, Saya Ueno from Japan’s Tenniscoats and Peter Brewis from Field Music. Wasylyk himself takes the lead vocal on the title track, though a throat infection and touch of pitch-shifting have altered his singing in a way that even he, having fallen out of love with his own voice, finds acceptable.

The heart of the record can, arguably, be found in two tracks, ‘Love Is A Life That Lasts Forever’ and ‘Spectators In The Absence of God’, sung respectively by Molly Linen and Kathryn Joseph. The former, bright with trumpets, was inspired by the writing of Derek Jarman. “I was feeling deeply upset about the world and wanted to try and write some- thing that was obviously hopeful,” Wasylyk says.

‘Spectators …’ offers an emotional counterpoint. It is an “apocalyptic hymn” that seems to grapple with watching human suffering from afar, too distant to be at physical risk, but experiencing the psychological wounding, and feelings of helplessness, even complicity, that come with constant awareness of other people’s pain. “Kathryn’s a pal, I love her dearly, and she’s a brilliant artist who really feels what she writes,” Wasylyk says. “The cracked tenderness of her voice is spellbinding.”

The album closes with an instrumental piece, ‘Soul Enters The Ocean Sun Climbs Out Of The Sea’, all piano and strings, that offers a sense of resolution and ascension. A good moment, too, for Wasylyk to reflect upon the artistic companionship that he enjoyed while making this record – the songbirds that answered his call: “These humans are incredible at what they do. I’m deeply grateful and feel so lucky. It blows my mind.”

JAMIIE & Ape Drums reunite for captivating collaboration ‘4ME’ on Crosstown Rebels.

Out on 27th February 2026, the Berlin-based DJ/producer and Miami-based Major Lazer member make their first appearance on Damian Lazarus’ label, featuring a bold reinterpretation from Whitesquare.
Following their widely championed 2025 collaboration ‘111’, a standout of the summer season, JAMIIE and Ape Drums reconnect for ‘4ME’, a track born from long-distance sessions and a unique creative flow. Crafted via a partnership that thrives on spontaneity, with ideas bouncing seamlessly between Berlin and Miami, the result is a production that feels alive, organic, and meticulously detailed as they both make their debut appearance on Damian Lazarus’ renowned Crosstown Rebels imprint.

The original ‘4ME’ moves at its own pace, layering resonant synth textures, alluring vocal phrases, and subtle melodic chords to create a hypnotic pull. Moments of intimacy give way to rolling, percussive grooves, pulling the listener into a slow-burning, immersive journey.

On the flip, Italian DJ/producer and returning Crosstown Rebels talent Whitesquare sharpens the track, injecting jittering percussion, bubbling organ stabs, and a taut, club-ready pulse that transform the hypnotic original into a late-hours weapon without losing its emotional core. A continuation of their creative dialogue, ‘4ME’ showcases JAMIIE and Ape Drums’ ability to fuse emotive depth with kinetic energy, offering a release that captivates from the first listen to the final drop.

The Mountain is Gorillaz’ ninth studio album, a collection of 15 new tracks featuring a stellar list of artists and collaborators. Jamie Hewlett’s album artwork captures the four much-loved animated band members - Murdoc, Noodle, Russel and 2D – in a series of beautifully intricate, hand-drawn illustrations.

The Mountain is Gorillaz 9th studio album. The album is a collection of 15 new tracks featuring artists and collaborators including: Ajay Prasanna, Anoushka Shankar, Asha Bhosle, Asha Puthli, Bizarrap, Black Thought, Gruff Rhys, Idles, Jalen Ngonda, Johnny Marr, Kara Jackson, Omar Souleyman, Paul Simonon, Sparks, Trueno and Yasiin Bey; as well as the voices of Bobby Womack, Dave Jolicoeur, Dennis Hopper, Mark E. Smith, Proof and Tony Allen. Produced by Gorillaz, James Ford, Samuel Egglenton, Remi Kabaka Jr. and Bizarrap (Orange County), The Mountain was recorded in London, Devon, Miami, Jaipur, Mumbai, New Delhi and Rishikesh; and features artists performing in five languages: Arabic, English, Hindi, Spanish and Yoruba. The artwork for The Mountain sees Jamie Hewlett’s distinct, yet ever-evolving, style illustrate the world of Gorillaz with an ever more detailed and beautiful intricacy across a series of hand-drawn illustrations. Circumstances find Murdoc Niccals, Russel Hobbs, 2D and Noodle in India, where our heroes are immersed in the rhythms of mystical music-making as they navigate the mountainous terrain of this thing called life.

We proudly present Sidequests Trilogy, a special triple vinyl release from Session Victim that brings together the previously released Sidequests Chapters 1, 2 and 3 in one beautifully curated edition. It’s a journey through the duo’s deeper impulses and dancefloor instincts alike—rich, soulful, and unmistakably Session Victim. Sidequests Trilogy is available now on Delusions Of Grandeur as a limited triple vinyl LP on Olive Green Vinyl.

Marking his return to Mind Against’s HABITAT imprint, German DJ/producer Sam Shure steps forward with ‘Best Of Me’ - a sophisticated four-tracker that reflects his continued evolution as a producer and performer. Known for fusing adventurous electronic design with melody-driven storytelling, Shure’s latest EP captures both the energy of the dancefloor and the introspective moods that define his sound.

Title track ‘Best Of Me’ opens with warmth and precision, balancing vivid melodies with propulsive rhythm and infectious vocals to form an emotionally charged journey. ‘CV Winds’ dives deeper into hypnotic territory, layering fluid percussion and enveloping synths in a piece built for late-night connection. On the B-side, ‘The Vibe’ sees Shure link with Turkish pairing Drumstone for a magnetic collaboration, a heady, trippy, and earworming dive into both artists’ sonic worlds. Closing with ‘Together’, the EP’s finale brings a sense of unity and release, blending tension and release with intricate grooves to round out the journey.

Having begun his musical journey under the guidance of his father, the Egyptian jazz musician Basem Darwisch, Sam Shure has evolved into an artist renowned for his expressive and forward-thinking sonic approach. Following releases on TAU, Cercle Records, and Magnifik, ‘Best Of Me’ reaffirms Shure’s reputation as a unique voice within the modern electronic landscape, making him a perfect fit for HABITAT’s expanding vision.

Following a triumphant first release, Archivio Records returns with another slab of golden era UK Techno House from a true master of the sound: Mark Ambrose

This versatile three track EP made up of 2 previously unheard and unreleased lost DAT productions, paired with a monstrous modern creation, from a man known for his uniquely trippy and boundary pushing take on the genre, presents the listener with a smorgasbord of peak time Tech House, hypnotic Techno and emotive Acid House.

The A side Mountain Storm is nothing short of an epic, instantly recognizable future classic! Punchy, percussion laden drums set the tone upfront, before a titanic, rumbling bassline blows the doors clean off! Disorienting vocals drift in and out before an eerily familiar string arrives by special delivery directly from the State of 808, building the tension required to set the stage for the main event: a haunting, poignant and highly relevant monologue for the times we find ourselves in today, delivered by a renowned, yet uncredited Jamaican poet.

B1 Get On Down takes the listener to the middle of the dancefloor, mid-set at a Techno-leaning after hours. Think Christian AB in a mischievous mood…

Obscure, industrial, fizzing drums start the show, followed by a stomping yet playful bass line, hip hop vocals urging you to get busy on the floor swirl around you, before a piercing arpeggio sends the listener to the cosmos, as the track peaks.

B2 Deep Sea couldn’t have a more appropriate name if it tried. A chugging, melancholy, submarine journey to the bottom of the Atlantic, presented at a lower BPM, making it equally perfect for the very beginning or very end of a set.

The Brooklyn-based record store proves their record label is no one hit wonder with this outstanding release from the Crayon Records head honcho. Unmissable.

This is the debut release on Superflux — a label out of New York run by DJ Brisket and Tamahori. It’s a dubby, pad-driven, deep house EP from four artists who all lived in the Midwest before landing in Brooklyn.

A1 – “Slow String (original mix)” is a straight-ahead deep house groover from Daniel Chavez, who has releases on Deep Club, Muted Noise, and Sole Aspect. Floaty pads, intricate drums and smart bass programming make for a warm and chunky tune. For fans of Brawther, Alton Miller, Ron Trent

A2 – “Slow String (Adam Raphael Dub)” is a remix from Chavez’s longtime friend and collaborator, Adam Raphael. He injects a heavy dose of West Coast tech-house into the original, like a combination of Bluem, Grayhound, and Tweekin’ for a 2025 audience

B1 – “The Blue Line (fleet.dreams remix)” is from the Mansions resident who also helms his own vinyl label, Vinezza. He takes a really driving and lush focus on this remix which evokes styles of Dana Kelley, Eddie Richards and Terry Francis Jr. He secured the coveted Hardwax “tip” on his solo EP last year, and delivers that level of discerning taste and skill here.

B2 – “The Blue Line (original mix)” is the track from IT-XPO that has anchored the release since day one. A thoughtful way to start the night, or for a soft landing in the morning sun. Heavy Shinichi Atobe and DJ Sprinkles influence here.

We’re chuffed to present this record from Dutch producers Fouk, who make their debut on Freerange Records with a brilliant 4 tracker entitled the Get It Done EP.

Showcasing their signature blend of groove, melody, and dancefloor dynamism.