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2LP, 180gm vinyl, “Impex Style” Heavy Duty Outer Sleeve w/Flap, Sealed with Analogue October Records Sticker, Hype Sticker
Abbey Road Half speed master from the original tapes
380 gsm Invercote G Sleeve 300 gsm 12 page insert
4.5/5 RECOMMENDED / Editors Choice in Jazzwise magazine
‘And much as audiophiles will savour the tech achievement of this re-issue, the point is the Kaleidoscope of Rainbows
remains joyous, optimistic music that embraces difference and divergence. It needs celebrating not as a revived fossil but as a timeless artwork. Enjoy. And enjoy again’
RIYL Ian Carr / Nucleus / Weather Report / Clips and Art: https://we.tl/t-PfY9QXSjlt
NEIL ARDLEY – KALEIDOSCOPE OF RAINBOWS The Definitive 2LP Reissue of a Landmark in British Jazz Fusion
Analogue October Records proudly presents the long-awaited reissue of Kaleidoscope of Rainbows, Neil Ardley’s 1976 masterpiece, originally released on Gull Records. Produced by Neil Ardley and recorded at London’s famed Morgan Studios, the sessions were engineered and mixed by Martin Levan, capturing one of the most ambitious and beloved works in British jazz. Following the acclaimed reissues of Courtney Pine’s Journey to the Urge Within (AOR-001-ST) and Neil Ardley’s Harmony of the Spheres (AOR-002-ST)—both praised by the audiophile press including The Tracking Angle—this third release confirms Analogue October as one of today’s most meticulous and exciting reissue labels.
A Suite of Sound and Colour
Commissioned for the 1975 Camden Jazz Festival, Kaleidoscope of Rainbows is structured as a seven-part suite, each movement reflecting a colour of the spectrum. Ardley’s composition weaves together jazz improvisation, progressive rock energy, and orchestral elegance in one of the most imaginative British jazz recordings of the era. Featuring Ian Carr, Barbara Thompson, Tony Coe, Trevor Tomkins, and Geoff Castle, the album is a who’s who of the UK’s vibrant 1970s jazz scene.
Cut at Abbey Road, Pressed at Record Industry
For this definitive edition, Analogue October worked directly from the original Gull master tapes. Mastering was entrusted to Miles Showell at Abbey Road Studios, using his renowned half-speed process to extract every detail and dynamic from Ardley’s score. To give the music the headroom it deserves, the reissue has been expanded to a deluxe 2LP set, pressed on the highest-quality vinyl at Record Industry in Haarlem, Netherlands. The result is a presentation that finally does justice to the scope and brilliance of Ardley’s vision.
Deluxe Package – Restored from the Source
The artwork has been meticulously restored from the original film elements, ensuring a sleeve of unmatched vibrancy and fidelity. Inside, a 12-page booklet printed on heavyweight card features an in-depth essay on Neil Ardley and the making of Kaleidoscope of Rainbows, written by Jazzwise magazine editor Mike Flynn, alongside rare photographs from the period.
Curated and Produced by Craig Crane
As with every Analogue October release, Kaleidoscope of Rainbows has been curated and produced by label founder Craig Crane with a collector’s eye for detail and a deep respect for the music’s legacy. This reissue is not only the definitive vinyl edition of one of the great British jazz fusion albums—it also continues the label’s mission to restore and celebrate the most vital recordings of the era.
Neil Ardley’s Kaleidoscope of Rainbows—vivid, expansive, and timeless—returns as the essential edition for audiophiles and jazz lovers alike.
Retail-ready product description (short form):
Produced by Neil Ardley and recorded in 1976 at London’s Morgan Studios, engineered and mixed by Martin Levan, Kaleidoscope of Rainbows is a cornerstone of British jazz fusion. This definitive 2LP reissue, mastered at Abbey Road by Miles Showell from the original Gull master tapes and pressed at Record Industry (NL), finally gives the music the dynamic headroom it deserves. The deluxe edition includes restored artwork and a 12-page booklet featuring an in-depth essay by Jazzwise editor Mike Flynn.

Celebrating over a decade of hip-hop excellence, Legacy of Hits delivers 15 career-defining tracks from Rich Homie Quan, one of Atlanta’s most influential voices. From the breakout anthem "Type of Way" to the multi-platinum-certified smash Flex "(Ooh, Ooh, Ooh)", this collection captures Quan’s ability to craft both raw street records and timeless radio staples that shaped the sound of Southern rap.
The set includes fan favorites like “Differences”, "Walk Thru (feat. Problem)”, "They Don’t Know”, "Blah Blah Blah”, “Reloaded" and "15 Shots, giving fans a complete retrospective of his impact. With production from heavyweights such as Yung Carter, Metro Boomin, London on Da Track, Trauma Tone, and Yizzle, the project stands as a true testament to Quan’s consistency, resilience, and influence.
Available in both vinyl and CD formats with exclusive collectible packaging, Legacy of Hits is more than just a greatest hits, it’s a landmark release that celebrates Rich Homie Quan’s journey, artistry, and legacy.

"I want nothing more than to be a loner," Emily Kempf sings early on Flower of Devotion, the new album by Chicago trio Dehd. It's a startling admission coming from a songwriter who, just a year ago on Dehd's critically acclaimed Water, wrote eloquently about the joys and pains _ more than anything, the necessity _ of love, compassion, and companionship. But then, "admission" isn't really the right word here, given the stridency of Kempf's tone. "Loner" is a declaration. The record ups the ante on Dehd's sound & filters in just enough polish to bring out the shining and melancholy undertones in Jason Balla and Emily Kempf's songwriting, even as it captures them at their most strident. Balla's guitar lines at times flirt with ticklish cosmic country, while at others they reflect the dark marble sounds of Broadcast. Kempf, meanwhile, establishes herself as a singer of incredible expressive range, pinching into a high lonesome wail, letting loose a chirping "ooh!," pushing her voice below its breaking point and letting it swing down there. When she and Balla bounce descending counter-melodies off one another over McGrady's one-two thumps, or skitter off over a programmed drum pad, they sound like The B-52s shaking off heartache. What makes Flower of Devotion so impressive is how its creation seems to have strengthened its creators, both as individuals and as a unit, even as they've stared down their own limitations. It's also striking just how much fun they seem to be having in the process. "It's okay to be lighthearted in the face of despair," Kempf says. It's a theme that runs through the album, from the opening back-and-forth build of "Desire" to the click-clacking chorus of "Haha," which finds them deflating their own history. Flower of Devotion was recorded in April and August of 2019 in Chicago. It will be released on Fire Talk Records on July 17th 2020.

Rancid is without question one of the most successful and influential punk bands ever, not to mention being among the most prolific. Their nonstop songwriting and marathon studio sessions often result in far too many songs to fit onto their albums. True Rancid fans know that in addition to their classic long players, many of their finest tracks have been released as single B-sides, bonus tracks, on compilations, or in some cases have remained in the band's vault. That is why B sides and C sides is no mere throwaway record, but an essential part of this classic band's catalog. The songs collected here represent a cross section of everything that has made this band so beloved worldwide, including their creative genre hopping from blazing punk rock to danceable ska, to reggae, rockabilly, and more, all executed with some of the most impressive playing in the history of underground music. The songs range from fan-favorites like "I Wanna Riot" to obscure hidden gems from rare or hard-to-find compilations, and a handful of studio recordings that were completely unreleased before this album, several coming from the fertile recording sessions for the band's sprawling 1998 masterpiece Life Won't Wait. Originally released on CD in 2007, most of the tracks range from the band's early days through their sixth album, Indestructible, although the 2012 track "Fuck You," from the Pirates Press Records compilation Oi! This is Streetpunk! Volume 2 was added to place a definitive final word on the collection when it was pressed on vinyl. With the album being out of print and hard to find in its own right for the past ten years, Pirates Press Records is thrilled to partner with our friends in Rancid to remedy that situation and make this essential piece of punk rock history available to their many fans across the globe - this time as an incredible double 12" with super deluxe coloured vinyl and matching sleeve art!

Ranie Ribeiro's artistic journey has taken on new dimensions and disciplines. Formerly known by his DJ moniker D-Ribeiro (4Lux, Meda Fury), Ranie Ribeiro has solidified himself as one of the Netherlands' most unique harpists. Whereas his past releases could be defined by up-tempo, warm, and joyful beats, Ribeiro now presents his first full-length harp record, Contemplation--a delicate collection of unassuming harp compositions and improvisations. A record that has gone through multiple iterations, shapes and life-changes, Contemplation plays out like you're sitting in the room minding your own business as Ribeiro's playing fades in-and-out from the corner, accompanying your thoughts, your chores, your life as it all passes you by. In a musical world where over-processing and manipulation obfuscate intent and feeling; Contemplation is vulnerable. Putting his stake in the ground and claiming his artistic space, Ribeiro refuses to let insecurities stand in his way and his music comforts you so much it'll empower you to feel the same. Words by Gregory Markus

Throughout a professional career defined by early pop successes, every single one of Andy Fairweather Low's performances has been shaped by his blues, gospel and soul influences, and although the many hits he has enjoyed have to some extent overshadowed his undeniable credentials as a great bluesman - his talent for the blues hasn't escaped the notice of some of the world's finest artists who have drawn on his skills as a guitarist and singer Eric Clapton of course leads this impressive list of Andy's discerning employers and collaborators which includes, BB King, Benmont Tench, Bill Wyman, Bob Dylan, Bonnie Raitt, Buddy Guy, Charlie Dore, Charlie Watts, Chris Barber, Chris Rea, Clarence 'Gatemouth' Brown, Dave Edmunds, David Crosby, David Gilmour, David Sanborn, Donald 'Duck' Dunn, Edie Brickell, Elton John, Emmylou Harris, Garth Hudson, George Harrison, Georgie Fame, Gerry Rafferty, Helen Watson, Jackson Browne, Jeff Beck, Jimi Hendrix, Jimmy Page, Joe Cocker, Joe Satriani, John Mayall, Kate Bush, Levon Helm, Linda Ronstadt, Lonnie Donegan, Mary J. Blige, Mick Hucknall, Otis Rush, Paul Weller, Paul Young, Pete Townshend, Phil Collins, Richard and Linda Thompson, Rick Danko, Ringo Starr, Roger Waters, Ronnie Lane, Sheryl Crow, Steve Gadd, Steve Winwood, Stevie Nicks, The Impressions, The Who, Van Morrison, Warren Zevon, and hundreds more. But, despite the blues having become such a hugely popular genre internationally these days, and Andy having been in the thick of it for most of his professional life, he has largely missed the recognition he deserves in that field because up until now, he has never released a blues album. That's why I wanted to make a record that reveals the identity of the Invisible Bluesman to the world beyond his existing loyal fans. Meet Andy Fairweather Lowdown!

Analogue Productions (Atlantic 75 Series) Celebrating the 75th Anniversary of Atlantic Records! Coltrane playing with his former Miles Davis bandmates Featuring originals "Harmonique" and "Like Sonny" 180-gram 45 RPM double LP Pressed at Quality Record Pressings Tip-on old style gatefold double pocket jacket by Stoughton Printing The first album to hit the shelves after Giant Steps, Coltrane Jazz was recorded in November and December 1959, although one of the eight tracks ("Villiage Blues") was recorded in late 1960.

On everything save the aforementioned "Village Blues," Coltrane used the Miles Davis rhythm section of pianist Wynton Kelly, bassist Paul Chambers, and drummer Jimmy Cobb AllMusic describes Coltrane Jazz as the saxophone legend's preparation for his launch into his peak years of the 1960s. There are three standards aboard, but the group reaches their peak on Coltrane's original material, particularly "Harmonique" with its melodic leaps and upper-register saxophone strains and the winding, slightly Eastern-flavored principal riffs of "Like Sonny," dedicated to Sonny Rollins. The moody "Village Blues" features the lineup of McCoy Tyner on piano, Elvin Jones on drums, and Steve Davis on bass; with the substitution of Jimmy Garrison on bass, that personnel would play on Coltrane's most influential and beloved 1960s albums. Sound excellence can be found on this definitive deluxe 180-gram 45 RPM 2LP Analogue Productions (Atlantic 75 Series) reissue of Coltrane Jazz.

The song titles on Van Halen's aptly titled Fair Warning don't lie. The likes of "Unchained," "Mean Street," "Push Comes to Shove," "One Foot Out the Door," and more indicate the mood the band channels on its double-platinum 1981 record — the nastiest, darkest, and fiercest album of the group's storied career. For the fourth time in four years, Van Halen throws down the gauntlet to all challengers and emerges victorious.


Sourced from the original analog tapes, pressed on MoFi SuperVinyl at Fidelity Record Pressing, and strictly limited to 5,000 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP set plays with unfettered clarity, dynamics, and immediacy. Benefitting from superb groove definition, an ultra-low noise floor, and dead-quiet surfaces, this vinyl edition captures what went down in the studio with tremendous realism and involving presence.

Taking a more controlled approach in the studio and still completing everything in less than two weeks, Van Halen and producer Ted Templeman relied on studio amplifiers to direct the sound. Further diverging from the live-on-the-floor approach of its earlier albums, the ensemble also employed overdubs to great effect. The result: Dense, stacked architecture that underlines the hard-hitting tenor of the songs — and which comes alive like never before on this reference edition that looks as good as it sounds.

The premium packaging and gorgeous presentation befit the reissue's select status. Housed in a deluxe slipcase, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. Aurally and visually, it is made for listeners who want to immerse themselves in everything involved with the album, including the iconic cover art adopted from William Kurelek's haunting painting, "The Maze."

Isolated frames from Kurelek's childhood-inspired work — including a man bashing his head into a brick wall, a guy pinning down an adversary as he delivers bare-fist blows to his face and others watch with apparent glee, a boy tied down on a conveyer belt and being sent through the equivalent of a meat saw — adorn the front and back covers. The sunnier visual disposition of Van Halen's prior efforts gives way to something sinister and tortured, traits reflective of the music within. The band members, too, are visually depicted not in glamorous shots but in a serious black-and-white portrait in which the quartet is clad in black leather jackets.

Tough, aggressive, stark: Fair Warning comes on like a series of bare-knuckled punches to the solar plexus and boasts lyrical narratives to match. Though not a concept record, the concise album revolves around themes of roughing it on the streets and struggling to survive amid dim prospects. Singer David Lee Roth reportedly penned many of the initial lyrics after traveling to Haiti and observing extreme poverty. The characters and situations populating Fair Warning reflect hardscrabble existence, last-chance desperation, and underlying danger.

Witness the crazies, poor folks, and hunters of “Mean Street”; the former prom queen turned pornographic actress on “Dirty Movies”; the menace and vice of “Sinners Swing!”; the streetwise hustle of “Unchained”; the isolation and alienation of “Push Comes to Shove”; the desire for escape on “One Foot Out the Door”: A carefree California beach party Fair Warning is not.

Having said he felt angry and frustrated during the sessions, guitarist Eddie Van Halen uses the forceful arrangements as a playground for his seemingly unlimited arsenal. Supported by a crack rhythm section and a hyped-up Roth, he performs with an almost impossible combination of punk-like intensity, technical finesse, lyrical fluidity, and unbridled emotion. The virtuoso was increasingly butting heads with Templeton and seeking a freedom in the studio he believed denied him.

No wonder he plays like a bat out of hell. Listen to the rapid-fire manner in which he slaps the high and low E strings on the 12th fret of his instrument on “Mean Street,” instilling the tune with funk flair and metal-spiked sharpness. For the pouty strut of “Dirty Movies,” Eddie Van Halen contributes slide guitar magic made possible after he sawed off the lower portion of a Gibson SG so he could reach further down the fretboard.

Related intensity, urgency, and daredevil momentum punctuate the surging “Sinner’s Swing!” A heavily flanged, delicately melodic introduction frames the attitudinal “Hear About It Later,” among the most creative arrangements of Van Halen’s career. And do riffs come any bigger or magnetic than those on the high-wire kick of “Unchained”? As for the out-of-left-field “Sunday in the Park,” an instrumental composed on an Electro-Harmonix micro-synthesizer: Who but Eddie Van Halen to supply creep factor in such an ingenious way?

Despite selling fewer quantities than Van Halen’s prior efforts, Fair Warning remains for many diehards the record that epitomizes all of the band’s immense strengths —Roth’s manic energy and tongue-wagging humor, Alex Van Halen’s rhythmic heartbeat-in-your-chest bombast, and Michael Anthony’s lucid bass lines included. Arriving when the New Wave of British Heavy Metal and new-wave movements were taking flight, it signaled a shot across the bow from a band determined to stay a step ahead and provide proof nobody could touch what it delivered.

More than four decades later, Fair Warning still sounds that alarm.

To celebrate the 30th anniversary of Snoop Dogg’s multi- platinum Doggystyle, heralded as one of the most important albums of all time, Death Row Records will be bringing this back to retail with the original 1993 track listing on vinyl.

This new 30th Anniversary edition will include the track “Gz Up, Hoes Down” which has not been on the album since its pressing in 1993. For new and old fans alike, this is the definitive version of the classic album that launched Snoop’s solo career and helped define the sound of Los Angeles in the process.

Alvorada is Montanha’s first long play: an ambient-leaning work, nocturnal in mood yet touched by electricity, tracing a journey from waking activity into dream logic. Recorded mostly in the late hours of the evening with windows open to the city, letting its air and sounds influence the music, it sometimes reached the early moments of sunrise. The title, meaning “dawn,” reflects both the liminal hours of its making and the band’s own renewal. These tracks are closer to drawings than songs: narratives written between instruments, moments of tension and release, fragments of memory and dream. The tracklist follows this nocturnal voyage with the patience of Eno, the disquiet of Uematsu, and the madness of Miles Davis’ Decoy, oscillating between streets and sleep, routine and reverie.

Montanha was formed in 2010 by André Azevedo, Nuno Oliveira, João Sarnadas, and Tito Silva, bonding over architecture school all-nighters on videogame soundtracks (Age of Empires, Super Mario). They began as a psychedelic rock combo and in 2013 released their self-titled EP which introduced a raw, improvised energy. But the album that was meant to follow was abandoned as the band entered hiatus. The four members turned their creative drive towards co-founding Favela Discos, where experimentation with media and form reshaped their ideas of music, and developed their taste, their way of playing, and a more personal sound that was more open and disconnected from a defined genre.

By 2017, Montanha had returned to the studio with new experience, no longer a rock band in the traditional sense but a project devoted to improvisation and electronic soundscapes. An ever gentrifying city forced them to abandon acoustic drums, and they embraced electronic beats instead, and became mobile; one guitar dissolved into full synths, leaving the other to converse with bass. Improvisation remained their compass. In improvisation there are no mistakes, only missed opportunities. Montanha found their opportunity in the routine of the studio to break routines of pop and experimental. The result is a body of nearly fifty hours of recordings, sculpted into an album.

Alvorada is not only Montanha’s first LP but also the dawn of their new phase. Improvised yet carefully sculpted, the record expands the territory of the song into nonlinear narratives, letting the language of night, dream, and city seep into its form.

Brand new album from global superstar duo LANY, 10 new tracks and follow-up to their latest release A Beautiful Blur in 2023. Maroon Color 1LP Vinyl with printed inner sleeve and 12x24 poster. LANY have quietly cracked the mainstream on their own terms as one of the most ubiquitous, unpredictable, and undeniable alternative rock bands of this era. Tallying billions of streams, selling out legendary arenas, and earning widespread critical acclaim, the platinum-certified Los Angeles group consistently deliver rafter-reaching anthems anchored by airtight songcraft and the outsized personality of enigmatic frontman and songwriter Paul Jason Klein. LANY will be releasing their brand new album ''Soft'' in October 2025. Thematically and visually ''Soft'' exists in tension - an intentional contrast of the hard and soft. Tangible, literal, physical hardness juxtaposed with metaphorical, relational (and, at times too, physical) softness. Sonically, the album explores these same tensions - much of the softness and vulnerability of lyric that has defined LANY's acclaimed career, now with a harder, braver edge to the production.

Vinyl gatefold jacket includes a 12x12 insert reproduction of the original LP jacket art.Recorded in 1956 and released in 1957, Supersonic Jazz is arguably the first long-playing album by Sun Ra and His Arkestra on his Saturn label. However, it was not recorded as a debut. Rather, the album was assembled from tapes recorded during a number of sessions at two Chicago studios (RCA Victor and Balkan), and several tracks had been released as singles before their inclusion on this album. (Sunny's first fully realized commercial album was 1957's Jazz by Sun Ra, produced by Tom Wilson on his short lived/soon to be defunct Transition label.) Prior to these sessions, Sunny was still arranging for the Red Saunders Orchestra and singer Joe Williams, in addition to arranging for and coaching doo-wop ensembles. As Sunny's ambitions achieved liftoff, the Arkestra coalesced, began building a repertoire (mostly of Ra's originals), and making forays into studios. Deciding it was time for commercial releases, Sunny and business partner Alton Abraham launched Saturn (sometimes called El Saturn) as a record company in 1956. As a first offering, Supersonic Jazz is a pinnacle Sun Ra release. While reflecting many prevailing bebop, Latin, and R&B conventions of the mid-1950s, it's evident that Sun Ra's musical voice and vision were starting to propel him away from the jazz mainstream. Biographer John Szwed finds on these recordings "characteristics which seemed alien to swing, bebop, or the new, more soulful and hard-edged music which was coming to be called hard bop."

The new Endell Street release is another essential excavation from the deep, rare archives of London’s early 00’s tech house movement.

On the A side, the elusive T.V. Babies project finally sees the light of day, a hidden gem from some of the era’s most respected spinners, delivering that unmistakable after hours groove that defined the generation. Flip it over for the heavyweight Peace Division’s legendary remix of Smart Alex, a track that turned heads on the release and still carries the same raw, driving energy today.

A deep, funky and timeless slice of UK tech house, crafted for the heads and anyone tuned into the true Endell Street vibe.

The ever-prolific Mihai Popoviciu returns with a stunning three-tracker on Sublease Music, delivering another masterclass in groove-oriented deep house. Known for his unmistakable precision and subtle emotional touch, the Romanian producer continues to bridge the space between warm underground energy and refined studio craftsmanship.
Over the past two decades, Popoviciu has become one of Eastern Europe’s most respected exports in electronic music, releasing on labels such as Bondage, Poker Flat, and Hudd Traxx, and earning international acclaim for his deep yet functional approach to house. On Sublease, he strips things back to their essential form: hypnotic basslines, crisp percussion, and fluid arrangements that move the dance floor without ever shouting for attention.
Each track radiates Popoviciu’s signature flow, a careful balance between drive and depth, tension and release. Sublease Music, the sister label of Poker Flat, continues its mission to present pure, modern house music from some of the most consistent artists in the scene. This release fits perfectly into that lineage, deep, timeless, and irresistibly groovy. From intimate after-hours sessions to peak-time sets in discerning clubs, these cuts prove once again that Mihai Popoviciu doesn’t follow trends, he defines the standard.

The ever-prolific Mihai Popoviciu returns with a stunning three-tracker on Sublease Music, delivering another masterclass in groove-oriented deep house. Known for his unmistakable precision and subtle emotional touch, the Romanian producer continues to bridge the space between warm underground energy and refined studio craftsmanship.
Over the past two decades, Popoviciu has become one of Eastern Europe’s most respected exports in electronic music, releasing on labels such as Bondage, Poker Flat, and Hudd Traxx, and earning international acclaim for his deep yet functional approach to house. On Sublease, he strips things back to their essential form: hypnotic basslines, crisp percussion, and fluid arrangements that move the dance floor without ever shouting for attention.
Each track radiates Popoviciu’s signature flow, a careful balance between drive and depth, tension and release. Sublease Music, the sister label of Poker Flat, continues its mission to present pure, modern house music from some of the most consistent artists in the scene. This release fits perfectly into that lineage, deep, timeless, and irresistibly groovy. From intimate after-hours sessions to peak-time sets in discerning clubs, these cuts prove once again that Mihai Popoviciu doesn’t follow trends, he defines the standard.

Shogun Audio is extremely proud to present GLXY's second album, 'Form, Focus'. Unequivocally the most refined body of work to date from the ever-evolving drum & bass duo, this LP showcases GLXY at their irresistible best.
A decade on from the release of their debut single 'Small Talk/Trinity', GLXY have cemented themselves as one of liquid drum and bass’ most respected and prolific acts. With twelve EPs, a debut album in 2020, and collaborations with the likes of Alix Perez, Halogenix, Lenzman, Unglued, and Catching Cairo under their belt, 'Form, Focus' represents the next definitive milestone in an already heavyweight catalogue.
From beginning to end, the record distils everything that makes GLXY so special. Abundant with luscious sound design, soulful vocal features, and an unmistakable sense of groove and musicality. Featuring Charli Brix, DRS, Duskee, Eljé, Jords, Salo, and Verbz, the tracks flow seamlessly between deep, introspective liquid cuts and vibrant, club-ready rollers, painting a full picture of their artistry while pushing their sound into fresh, exciting spaces.
More than just a continuation, 'Form, Focus' feels like a statement: a decade of honing their craft distilled into a singular vision. It’s an album that reaffirms GLXY’s position at the cutting edge of the genre, while at the same time carving out their own unmistakable lane within it.

Following his bold 1983 solo debut 'Walk Into Light', Ian Anderson - the legendary flautist, songwriter & frontman of Jethro Tull - returned in 1995 with 'Divinities: Twelve Dances With God', a richly textured & wholly instrumental work that showcased a different side of his musical imagination. A sweeping, genre- defying suite in twelve parts, 'Divinities' draws deeply on Anderson's lifelong love of classical music, world traditions & pastoral folk. Conceived as a continuous orchestral journey, the album weaves influences from Celtic airs & Middle Eastern motifs to Indian ragas & Baroque counterpoint, all anchored by Anderson's unmistakable flute.

The result is one of his most ambitious & evocative projects - a spiritual, cinematic exploration of faith, nature & the divine. Now 'Divinities: Twelve Dances With God' returns to vinyl in a stunning half- speed remastered edition, expertly mastered by Grammy-winning engineer John Webber at London's AIR Studios using audio sourced from the original tapes. Pressed on black vinyl & housed in a faithful reproduction of the original artwork, this new edition stands as the most detailed & dynamic presentation of the album to date. Originally premiered live in its entirety with orchestral accompaniment before its release, 'Divinities' remains a singular work within Anderson's catalogue - a testament to his restless creativity & compositional range beyond the bounds of progressive rock.

The album of the year – and the beginning of a new era at Gigolo Records.

Ten club tracks packed with pure impact, crafted by one of today’s most talented and innovative producers: Aziz Haddad from Tunisia.

His sonic fingerprint breaks all genre boundaries — impossible to categorize — and fits perfectly into the Gigolo Records family and history.

Aziz’s uniqueness lies in his anarchic definition of sound:
4-to-the-floor house, 80s synth pop, techno, and hypnotic beat programming merge into a cinematic, magnetic whole.

Selected Bangers rewrites the rules for 2025 —
every beat counts.

Yellow vinyl. With "Una Lama D'Argento", TENEBRO take their most extreme and visionary step yet: an entire album conceived as a tribute to Dario Argento, the undisputed master of horror, giallo, and thriller cinema. Eleven tracks that are not just songs, but episodes of a single nightmare, a journey through the dark and obsessive atmospheres of the films that shaped cinema history: Deep Red (1975), Suspiria (1977), Inferno (1980), Tenebre (1982), Phenomena (1985), and Opera (1987). TENEBRO translate Argento's universe into sound: riffs sharp as blades, guttural vocals emerging from the darkness, relentless drumming, and atmospheres shifting between pure violence and suffocating tension. Iconic scenes such as the mirror revealing the killer in Deep Red, the brutal mutilation in Tenebre, or the larva-filled bathtub finale in Phenomena are transformed into brutal, immersive sonic attacks, capturing the full horror and tension of the films. As with every album, TENEBRO continue to evolve, introducing new symphonies, styles, and melodies, while remaining distinctly separate from the wider underground scene. Their music explores new horizons without ever betraying the pulsating heart that has always defined their sound: extreme, theatrical, and viscerally horror-driven.

NECK DEEP's second full lenght proper, originally from 2015, reissued in deluxe packaging for its 10 YR anniversary! The simple truth is "Life's Not Out to Get You" is the best Pop-Punk album ever released. December has become the (un)official Pop-Punk Christmas anthem. If it wasn't for this essential album - Blink 182 wouldn't have reunited. Featuring fan favorite songs "December," "Can't Kick Up the Roots," & "Serpents" - DIY wrote the "full-length feels both quintessential and refreshing, a modern classic_The hooks are glorious, the bounce is addictive and it's a little rough around the edges for good measure." In the the years since Neck Deep formed in the Barlow brothers' spare room in Wrexham, Wales, a lot has changed. From the scrappy, naively hopeful beginnings that define the starting of so many teenage bands, the pop-punks have gone on to be one of British Rock music's most successful global exports in recent memory: top 5 records in both the US and UK, global touring, viral hits and over a billion plays, just some of the fruits of ten years spent mastering their craft. - For fans of Blink-182, Green Day & State Champs - Blue coloured vinyl LP in embossed gatefold sleeve w/ cut out O-Card slipcase!

Sermon On The Rocks is Josh Ritter's eight studio album, released in 2015. Singles from the album include "Getting Ready To Get Down" and "Homecoming." According to Ritter, the album is "messianic oracular honky-tonk." Produced by Trina Shoemaker and Josh, the 12-song album was recorded over two weeks at New Orleans’ The Parlor Recording Studio and features Matt Barrick from The Walkmen on drums, Zachariah Hickman on bass, Josh Kaufman on guitars, and Sam Kassirer on keyboards. Josh Ritter is the definition of an experienced songwriter. After graduating from Oberlin College in 1999 Ritter devoted his life to a songwriting career, releasing albums independently and garnering word-of-mouth popularity. He eventually caught the attention of Irish- songwriter Glen Hansard (writer of the song 'Falling Slowly' from the movie Once) and was invited to be the tour opener for his band The Frames. This then resulted in Josh gaining international success, with his third record 'Hello Starling', becoming a charting hit in Ireland. His songs have been featured on the TV show Parenthood, and in movies like The Other Woman and Typeface. Josh Ritter has so far released 7 studio albums, is an author, husband, father, and is considered one of the best living songwriters by Paste Magazine.

Featuring 10 of his own compositions, Grossi's renowned virtuosity flows with deep sensitivity through various genres, reflecting the solid trajectory of one of the greatest instrumentalists and most creative musicians in Brazilian music. Collaborating with prominent names from both the national and international music scenes, 'Plural' showcases Grossi's music without borders, offering the world a glimpse of his extensive career. For this celebration, outstanding guests were invited to join the musical journey. Several tracks also highlight Grossi's sensitivity as a songwriter and lyricist. In 'Onde Nascem as Ondas', Ed Motta delivers a soulful ballad carried by his distinctive timbre. Zelia Duncan, sings a unique samba in 'Nosso Amor Vadio' with a captivating cadence. 'Chamego no Salao' captures the spirit of north-eastern Brazil and is brought to life by Lenine's vibrant voice and joyful interpretation, adding a playful tone with a jazzy touch. The art of improvisation is beautifully represented by 'Catarina e Teresa', an improvised composition created in collaboration with the legendary Hermeto Pascoal and dedicated to Grossi's twin daughters. Other tracks include 'Banzo', which showcases a rhythmic dialogue featuring Cuban pianist Omar Sosa. 'Motion', with the brilliance of both Jacob Collier and Seamus Blake, merges jazz and pop in a seamless melodic conversation.

With an open mind and without boundaries, he invites us to explore a vast musical universe, embracing art with profound emotion and passion. This is what you will hear and experience in 'Plural': a deep love for the art of sound and a profound respect for musical diversity - qualities that have defined his career.

Oh No helped shape the texture of modern independent hip-hop, introducing the world to his turbulent lyricism with the 2004 Stones Throw classic The Disrupt before establishing himself as one of the world’s most dynamic beat architects. Ranging from soulful to sinister, hypnotic to chaotic, Dr. No’s psychedelic production has become a vital force in hip-hop, bringing the best out of artists like Mos Def, Action Bronson, Prodigy, Murs, Dilated Peoples, Danny Brown, Elzhi, Your Old Droog, and more. The California native has also released several acclaimed sample-themed instrumental collections, mining Mediterranean psyche funk, the work of jazz icon Roy Ayers, Italian library music, rare Ethiopian grooves, and more. Now, Oh No is back with Nodega, his first vocal album in more than a decade. Conceptualized as a corner store where microphone assassins stop through to lay down their street tales, the project finds Oh No cooking up a fresh batch of wild creations as the drama unfolds. While contributing a handful of memorable verses himself, Oh No mostly focuses on crafting soundscapes for a staggering array of guests, including Logic, Ghostface Killah, Talib Kweli, Tha God Fahim, Alchemist, Guilty Simpson, Blu, Crimeapple, Rah Digga, Esoteric, Vic Spencer, Wildchild, Big Twins, and more. “I work with some of the most dangerous emcees in the game,” he explains. “I wanted the album to be like a hip-hop play, with all these different geniuses showing how they steal the scenes.” This concept is brought to life by music Oh No describes as a “cinematic landscape ranging from dark stabbing pianos to melodic jazz interludes, raw gutter loops to funk grit, dirty synths to nighttime thrills.” A visceral experience elevated by immense collective talent, Nodega is a compelling one-stop shop for Oh No’s expansive artistry.

Celebrating 25 years since its original release, The High & Mighty's seminal debut album, "Home Field Advantage", returns in a special anniversary edition vinyl reissue. Originally launched under the iconic Rawkus Records banner, this album became a defining moment in underground hip-hop, showcasing the sharp wit and raw talent of Mr. Eon and DJ Mighty Mi. Now, in collaboration with Eastern Conference Records, RRC Music Co. revives this classic with the care and respect it deserves.

"Home Field Advantage” stands as a testament to the golden era of hip-hop, featuring an all-star lineup of guests who helped cement its legendary status. The album includes unforgettable appearances by Mos Def, Pharoahe Monch, Evidence, Eminem, Defari, Cage, Kool Keith, among others, each bringing their unique flavor to the project and amplifying its impact.

This 25th-anniversary edition is more than just a reissue; it's a revitalization. As a special treat for collectors and die-hard fans, this edition includes six bonus tracks, adding further depth to an already rich collection of tracks. Remastered for vinyl by the renowned Davide "Bassi Maestro" Bassi and packaged in a gatefold jacket with restored original artwork curated by Mr. Krum, this release pays homage to the album's legacy while celebrating its enduring influence.

This 25th anniversary reissue is not just a trip down memory lane — it's a reminder of why this album continues to resonate in the hip-hop community today. Don't miss the chance to own this piece of music history, reborn for a new generation.

Claude VonStroke makes long-awaited Crosstown Rebels debut with ‘Noche Clara’, featuring Honeycomb. A full-circle moment between two house music icons finally comes to fruition, with the two-tracker out on 5th December 2025.

Two decades after label founder Damian Lazarus first booked him to play in the UK, American electronic icon Claude VonStroke finally lands on Crosstown Rebels with ‘Noche Clara’ - a release that bridges friendship, history, and the enduring spirit of the global underground. Built around hazy tones, captivating synth melodies, and sweeping atmospherics, ‘Noche Clara’ captures the playful minimalism and late-night atmosphere that defi ned his early work. On the flip, ‘Bam Bam’ layers warped vocals over a trippy off kilter sonics and a tunnelling, hypnotic groove, providing a haunting and commanding deep dive into the late-night hours. A collaboration with beatboxer, producer, DJ, and instrumentalist Honeycomb, who recently toured with The Floozies and Dirtwire, the link-up came naturally following a joint appearance between the pair at California’s infamous Zenyara, plus multiple Dirtybird festival appearances and more.

A true maverick of modern dance music, Claude VonStroke has spent over two decades shaping the sound and culture of house. From founding the iconic Dirtybird label, home to artists like Fisher, Eats Everything, and Catz ‘n Dogz, to headlining the world’s most respected clubs and festivals, his legacy is built on connection, humour, and an unfiltered love of the dancefloor. Now exploring more underground and experimental sounds, VonStroke is entering a new creative chapter ahead of his forthcoming artist album in early 2026 - a shift perfectly exemplified by this impressive debut on Crosstown.

DJ Subaru returns to Palms Trax’s CWPT with ‘Dog’, showcasing three tracks of offbeat dancefloor material that encompasses throbbing italo, sticky indie dancefloors and snarling, timeless punk.

Following on from their 2024 EP ‘Lots of Love’, the short time since has seen the DJ and producer rising on their own terms, scoring Tune of The Week from BBC 6Music’s ‘Introducing’, playing multiple gigs at Berghain/Panorama Bar and elsewhere around Europe, always returning to hone their cultishly adored Pleasuremaxxx party in their home city of Leeds.

Title track ‘Dog’ reunites DJ Subaru with regular vocal collaborator Chopper Johnson, delivering a gratifying sermon of canine defiance to suit Subaru’s razor-sharp motorik disco, whose pumping bassline and angular guitar licks prove irresistible to dancers seeking independent energy in the lineage of CBGBs or Trash.

Meanwhile, 'Rush' channels the same philosophy into a pogoing pleasure palace, raising the tempo and masterfully dividing its impulses between the cosmic elegance of Norwegian nu-disco and Pete Waterman’s poppers-fuelled strobe light fantasies. The result is an international anthem in memory of all local discotheques.

Finally, ‘Swoon’ steps back from the fizzier attitude of its tougher siblings for Subaru’s most disciplined attempt yet at a “proper club track”; the result succeeds entirely on its own terms, destined to transfix revelers with blissful analogue chords and slinky drums, while never skipping a beat on Subaru’s unique sonic character. From Leeds, with love.

BBE Music is proud to present the latest J Jazz Masterclass Series reissue, 1978 soul/jazz tour de force album ’Push’ by Noriko Miyamoto. For the first time, this critically acclaimed series that delves deep into the history of Japanese Jazz will be releasing an album by a Japanese female singer, Noriko Miyamoto produced by one of the legendary figures in Japanese Jazz, Isao Suzuki. The release of her incredible debut album, ‘Push’, coincided with a surge in popularity for local female jazz singers such Kimiko Kasai, Yasuko Agawa, etc. that crossed over into the pop market. It was originally released by the now-defunct label, Yupiteru Records in 1978. Since then, it has been reissued a few times in Japan but recently, along with a surge of worldwide interest in old Japanese music, ‘Push’ has been gaining a cult status among foreign music heads, with the price for an original pressing skyrocketing in the second hand record market. This reissue of ‘Push’ will be the first time ever that this album will be officially released worldwide. Long before R&B music went onto enjoy mainstream success in Japan, a soul music and disco loving lady, Noriko Miyamoto who started her music career working as a dancer at the legendary Tokyo disco, ‘Mugen’, was inspired by Tina Turner’s performance there and decided to became a soul singer. It was at a time in the early 1970s when there were only a handful of female songstresses who sang soulfully in Japan. In 1977, Miyamoto was scouted by Isao Suzuki to join his band, Soul Family and subsequently, with their backing, he produced Push, an album that kickstarted her career. It is an album that exquisitely combines her jazzy and soulful vocals with Suzuki’s acoustic bass and precocious playing from his youthful and vibrant group at the time. Along with Sadao Watanabe, Terumasa Hino, Masabumi Kikuchi and George Otsuka, bassist, cellist, multi-instrumentalist, composer, arranger, producer and band leader, Isao Suzuki was considered to be one of the most influential figures in Japanese jazz history. Beloved by many in the Japanese jazz scene as “Oma-san”- Suzuki was renowned for developing young talent.

Vinyl Only 300 Copies Limited.

Sascha Dive returns to the Tenampa podium with another outstanding release. True to form, he stays faithful to his signature style: a well-defined, punchy, groovy, and solid tech-house sound that has become his trademark... sophisticated and refined!
On remix duties, the excellent Tuccillo delivers his touch of class, fresh off a string of acclaimed releases on some of the most respected electronic labels around, and delivers a standout remix. This is a must-have addition to your collection: a vinyl-only release, limited to just 300 copies worldwide, featuring a stunning full-cover illustration by renowned Mexican artist El Stitch.
Straight from Tenampa, and blazing, get yours!

2025-2026 marks the 40th anniversary of the Happy Mondays, a milestone celebration of one of Britain's most iconic and era-defining bands.

To celebrate, London Records will launch a series of special anniversary releases, beginning with a fully remastered brand-new compilation: The Factory Singles. This definitive collection captures the band's ground-breaking output from 1985-1992, celebrating their pivotal role in shaping UK music culture. Classic remixes from Paul Oakenfold, Andrew Weatherall, Terry Farley and Jon Carter make up bonus tracks on the 2CD and 2LP.

The release will be available across multiple formats, appealing to collectors and fans alike.

Complementing the physical editions, a series of brand-new digital remixes will be unveiled from world-renowned artists Daniel Avery, Paul Oakenfold, Mella Dee, and Shadow Child and more, bridging the Mondays' legacy with today's electronic innovators, and a revisit from Paul Oakenfold.

This campaign marks the beginning of an extensive celebration of the Happy Mondays' 40-year legacy, bringing their iconic sound to both devoted fans and new generations

Kylie Christmas (Fully Wrapped), is the definitive Kylie Christmas album – a sparkling collection of timeless, glittering holiday tracks that capture the warmth, fun and glamour of the festive season in true Kylie style. A selection of her very best Christmas tracks plus three new songs, Hot in December, Office Party and This Time of Year on limited edition pink & white marble vinyl.

"An immersive & fantastic experience that exists, fittingly, deep within its own musical bubble" - CLASSIC ROCK From its inception, TesseracT's 2024 Radar performance was about pushing boundaries - expanding the dimensions of what a TesseracT show could be. In their own words "The 90 minutes, or so, on stage, were proceeded by 2 full years of talks. Wild creative chats about ideas & an ever increasingly ridiculous level of ambition from both Joe at Radar & Mos in TesseracT. Venue changes, schedule changes, album touring, none of these impeded the momentum once the ball was rolling". The performance soars even higher with the addition of Choir Noir, led by the indomitable Kat Marsh, whose imprint was vital in shaping the vocals on 2023's landmark 'War Of Being'. The setlist of 'RADAR O.S.T.' is a ferocious journey through career- defining anthems including 'War Of Being', 'Legion', 'Nocturne' & 'Natural Disaster'. This 2LP edition of 'RADAR O.S.T.' is presented on Special Edition Transparent Orange vinyl in a gatefold sleeve with audio remastered at half-speed at Abbey Road Studios.

US Black Friday 2025 Release. There are very few albums in the psych/punk/hard rock/private presses strata that garner the sort of universal awe and accolades that Fraction’s almighty Moonblood LP does, and even fewer records in the world that could be dubbed ‘Christian Rock’ incur such fierce devotion. Indeed some records just meteorically lift themselves out any genre tag with brilliance and sheer defiance--and Moonblood is surely one of them. Based in LA, Fraction was a ragged collection of working-class musicians--the line-up was ringleader Jim Beach--vocals; Don Swanson--lead guitar, Curt Swanson--drums, Victor Hemme--bass, and Robert Meinel--rhythm guitar. Beach himself describes those early days: “The guys met through various acquaintances that we had in LA. All of us had been in bands before, but were seeking something with more teeth. We had a small studio in an industrial complex in North Hollywood and started practicing sometimes as early as 4:30 AM. We all had day jobs, so we did what we could.”

Amazingly the recording sessions for the album were recorded similarly on the fly, as Beach further states: “The Moonblood recording took place at Whitney’s Studio in Glendale, CA, early in 1971. On a strict budget, these songs were recorded in less than three hours—all of them “one takes.” We played, all 5 of us, simultaneously-- there were no studio effects, no overdubbing or any additional sound effects added. Basically what you hear is considered ‘old school’ recording.”

This workmanlike description in no way prepares one for the pure tortured genius the session wrought. Particularly noteworthy is Beach’s vocals—as commonly stated, the spirit of Jim Morrison is conjured in his deep baritone, which gives way to unparalleled pained howls, at times bathed in delay which trails into the abyss. Fascinatingly enough, Beach cites the much punker Love as his fave LA band over the Doors, and also gives influence-nods to proto-everything rockers The Yardbirds and to Dylan, whose dark word tapestries surely inspired Beach’s lyrics (though lines from The Doors’ “L’America” pop up on the LP) Whatever the case, the man clearly has a vision, as even the stark sleeve concept is Beach’s own. Equally as integral to the Fraction sound is lead guitarist Don Swanson—his blown-out fuzz riffs set a template for what is now commonly known as “stoner rock” or “acid punk,” and his solos consist of jagged, wah-wah-ed shards of notes, with his amplifier clearly pushed to the limit.

Beach says: “Don’s guitar was always my driving force and he did everything he could to keep it over the top. You’d never know that (his sound) was coming from an old, broken down Esquire. Don kept it alive!” The other members contributions shouldn’t be underappreciated though-- drummer Curt Swanson keeps things at a constant simmer, and then boils over when the whole band launches into snarling glory. The band and LP as a whole equals something indescribably intense from start to finish—comparisons to the Detroit late 60s high-energy bands like The Stooges and MC5 abound, as well as the sort of late 60s damaged spirit lurking in biker clubs and disgruntled Vietnam vets. The song cycle on side 1 of the LP in particular cuts to the emotional core, with severely charged dark lyrics like “Extend your thumbs and burn the darkness out of her.” Which brings us to the Christian aspect--it often can confuse listeners. The Fraction/Beach world of religion is complex and perhaps a bit pagan/sinister than most---fire and brimstone, temptation, and the truth-seeker being burned by this hell on earth—or perhaps as Beach himself best put it: “Speaking for myself, as a believer, it’s been a progressive experience since my childhood.

I think we’re all basically driven to live more than religion.” The album was pressed in a run of but a few hundred to little attention in the day, but now inferior bootlegs flood the marketplace, and originals of Moonblood command thousands of dollars. So enjoy this all-inclusive reissue, which also features for the first time on vinyl, 3 lost tracks-- like the more acoustic-minded “prisms” and “dawning light,” as well as the proto-metal choogle of “Intercessor’s Blues.”

Back again with another release for the Meeting Of The Minds series, this time with lucky number 13!

First track on this is by me & Fez The Kid, who has been regularly sending me music for years, most of which I admit to sleeping on due to the sheer volume of demos submitted to the label. But when I was able to actually check some music that he sent me, there was one tune (at the time called All Round Juggling) of his that I gave me a few ideas on how it could sound. He was thankfully up for me working on it with him & the end result is "Skin Out Crew (Magnificent Mix)", which I've been playing a lot in sets this year.

"BDC" is a track done by me & The Last Ronin (aka Stretch & Enjoy) which they had started and I was really into it because it reminded me of some of the "ruff with the smooth" ragga jungle style tracks I'd hear on labels like Slam!, Tom & Jerry, Kemet & so on. It was really fun to work on this with them & we were also able to do a 2nd collaboration, which will be coming out on the next Defender compilation on Stretch's label AKO Beatz.

Settle Down is someone that was on my list of potential collaborators for a long long time but I just kept neglecting to reach out to him about actually doing something together. I eventually got round to getting in touch with him last year for collaborating on a track for Meeting Of The Minds, so he sent me something he had started, which I added some more to & sent back to him, so that he could add the finishing touches. The end result is "Shell Of A Man", which I like because it's quite sparse & ominous, dark but not in the typical "darkside hardcore" way.

"Altitude" by me & Flex Luthor has been through quite a lot haha. He initially reached out about working on a tune together in 2021 & at the time, I was keen but already quite occupied with other artists I was collaborating with for the series, as well as contemplating ending the series on Vol. 10, due to the amount of work it takes to compile each one (which also explains why Vol. 14 is not currently ready for release yet). But around the end of 2022, he sent me a track he had done where he said that he was struggling to get any kind of bassline that he was happy with. I liked what he sent so I asked him to send the track over for me to work on, but I then sat on the track for a whole year due to other commitments before finally working on it in 2024, during a long plane ride where I had time to actually focus on it. I was able to get the track to a place we were both happy with, until it became one of the tracks of mine that got lost when my backpack was stolen a few weeks later, with my computer inside. I didn't have the backup of the project, so unfortunately, we had to master this track for release from the mp3 file of the first & only version we had of it. I think it still sounds fine though, especially as this is not the first (or only) time I've had to send mp3 files off for mastering, but yeah, what a journey this tune has had!

DJ Vibe, widely regarded as one of Portugal’s most influential and sought-after DJs, has played a pivotal role in shaping the country’s electronic music scene. Not only has he been instrumental in launching some of Portugal's most iconic clubs, but he is also behind some of the biggest anthems in the scene, such as “So Get Up” and “Dance With Me,” both released in 1994 on Kaos Records and Tribal America. Since the early 90s, he has released music on seminal labels such as Nervous, Twisted, and Innervisions, among many others.

From the underground rave scene to iconic club parties, from radio airwaves to packed dance floors, from DJing to production - DJ Vibe has traversed many paths in his decades-long career, contributing to the foundation of the modern "dance culture" that emerged in the mid/late 80s.

After over four decades of dominating clubs and festivals worldwide, what’s left to accomplish? For DJ Vibe, the answer is simple: a new adventure fueled by the same passion and excitement that defined his career. In 2024, he took a bold step forward with his debut album, Frequências—his first full-length work under his own name.

Frequências is an album defined by freedom and passion—two words that might sound cliché but perfectly capture its essence. A balanced body of work that seamlessly moves between high-energy moments for the dance floor and introspective chapters ideal for late-night reflection and relaxation.

• 180 GRAM AUDIOPHILE VINYL
• GATEFOLD SLEEVE
• INCLUDING INSERT WITH LINER NOTES
• FEATURING JILL SCOTT, WYCLEF JEAN, GARY BARTZ, JAMILA WOODS, KASSA OVERALL, TEEDRA MOSES A.O.
• BRAND NEW 2022 ALBUM BY GRAMMY NOMINATED
JAZZ MUSICIAN THEO CROKER


Love Quantum is the seventh studio album by Grammy Award nominee Theo Croker since his 2007 debut. The album finds Croker making his first-ever foray into the concept of love, once again inviting listeners on a genre-defying journey across time and space in discovery of the self and our shared human experience. Of the album, Croker says, “It's a love story. It's a tribute to all the different levels of love that can exist - love of a friend, love of a partner, love of a parent, love of yourself and a love of life. It's really about the journey of love, the experience of it, and how powerful that energy is for us as human beings.”

Joining Croker across the album's 11 tracks are Jill Scott, Jamila Woods, Wyclef Jean, Ego Ella May, Teedra Moses, Chris Dave, Gary Bartz, James Tillman and Kassa Overall.

Love Quantum is available as a limited edition of 1000 individually numbered copies on solid gold coloured vinyl. The album is housed in a gatefold sleeve and includes an insert with liner notes.

Juga-Naut, cultural Renaissance man, master of crafts, has done it again. Out of the deepest recesses of Nottingham’s underground caves, in brain-melting stereo and mesmerising technicolor, comes… Bem II.

Following on from 2020’s Bem, while defying the outdated belief that a sequel never outshines its predecessor, this is a lyrically ascendant, sonically euphoric, genre-defying, fever-inducing, hellcat of an album. Built upon the backbone of Juga-Naut’s inimitable production, wry, streetwise and knowing poetics, with hooks so catchy they cause problems when swallowed, Bem II gives listeners more funk, more soul, more grooves, more breaks, and more grit than ever before. The album’s co-stars include incredible artists and collaborators from both sides of the Atlantic, such as Crimeapple, Vandal Savage & Yumah.

Inspired by legendary cinema, each track is filmic in and of itself, a collection of twelve potent and timeless songs that together mean more than a million vapid viral videos. If played in the presence of the planet’s most infamous haters in a darkened theatre on a moonless night, Bem II has the power to unite even the most acrimonious of enemies.

This album is best listened to just before your decide to ask Jugz in 2024 after a decade plus of releases if he is 'still doing his little music thing?'.

Previously we’ve mentioned influences from the 1970s self-reflective work of Nick Drake & John Martyn to the lovelorn tragedy of troubadours such as Elliott Smith and Jeff Buckley creating a fusion of 1960s/70s folk and blues.

Now Cardiff-based indie folk singer-songwriter Ivan Moult returns with his most personal work to date, Stood Out In The Storm, due to be released on November 7th through Bubblewrap (home to The Gentle Good). The album follows the acclaimed Songs From Severn Grove (2023), which drew praise for its warmth, intricacy and timeless songwriting, cementing Ivan’s reputation as one of Wales’ most compelling contemporary voices.

While Songs From Severn Grove captured moments of renewal and joy - written in lockdown and
during the early days of fatherhood - its follow-up takes a braver, more vulnerable step. Stood Out
In The Storm was written in the aftermath of a personal crisis and charts Ivan’s gradual process of
healing and recovery. The record traverses darkness and light, despair and resilience, offering a
deeply honest exploration of fragility, survival and hope.

Ivan’s signature sound remains at the core: a seamless blend of 1960s/70s folk and blues infused
with modern textures, drawing influence from John Martyn, the late great Terry Reid and Ry
Cooder. On Stood Out In The Storm, that familiar intimacy is expanded with a greater presence
of guitars and organs, adding new depth and urgency to the sound. As with his previous records,
Ivan wrote, played, recorded and mixed the album at his Cardiff home studio, and the record sits
as a companion piece to Songs From Severn Grove.

Over the years, Ivan has gained support from BBC Radio 6 Music, BBC Radio Wales and KLOF
(Formerly Folk Radio UK), earned festival slots at Cornbury Festival, Festival of Voice and Sŵn,
and shared stages with the likes of This Is The Kit, Becca Mancari and Willy Mason. Now, with
Stood Out In The Storm (out November 7th), he offers his most powerful and affecting work yet –
an album born of struggle, but defined by resilience.

“Exquisite”- Folk Radio UK 

“Beautiful” - Huw Stephens, BBC Radio

“Utterly wonderful” - Adam Walton, BBC Radio Wales

”There is a wonderful delicateness that resonates through Ivan’s heartfelt lyrics, deamy music and vocals. Ivan is able to take listeners on their own journey of growth through his soft melodies and blissful atmosphere”
- Amplify The Noise

Progressive rock may rarely grace the mainstream spotlight, but its devoted global community continues to thrive, and few bands embody that spirit better than Airbag. Since their debut EP, Safetree (2007), and first full-length album, Identity (2009), the Norwegian quintet has steadily built a worldwide following with their cinematic soundscapes, soaring melodies, and timeless songwriting. From All Rights Removed to The Century of the Self, each release has cemented Airbag's reputation as one of the most vital acts in modern progressive rock, earning critical acclaim and packing venues across Europe and beyond. Now, 16 years and five studio albums later, Airbag returns with their first official live album, captured during a powerful performance at Poppodium Boerderij in Zoetermeer, The Netherlands in 2024. This double CD / double vinyl release showcases the band at their best, raw, immersive, and sonically stunning. The recordings have been meticulously mixed to preserve the atmosphere and authenticity of the live shows. For collectors, the vinyl edition is a must-have: A deluxe gatefold cover with an exclusive booklet and a limited first pressing on coloured splatter vinyl, a beautiful piece for fans and audiophiles alike. Whether you've followed Airbag from the beginning or discovered them along the way, this live album is a celebration of a band that continues to defy trends, connect deeply with fans, and delivers music that stands the test of time.

Manchester’s own The Slow Readers Club are set to embark on a special anniversary tour celebrating ten years since
their seminal breakthrough album, Cavalcade. Titled ‘A Decade of Cavalcade’, the tour will see the band revisiting the
album that set them on their path to becoming one of the UK’s most revered indie acts, while also marking an exciting
new chapter in their journey.
The tour announcement follows a milestone year for the band with their latest album Out Of A Dream landing at
UK Number 11 in the Official Charts in the first week. With growing momentum on streaming platforms and an everexpanding fanbase, The Slow Readers Club continue their upward trajectory, making A Decade of Cavalcade both a
reflection on the past and a celebration of what’s still to come.
A Celebration of a Pivotal Moment
Originally released in 2015, Cavalcade was a turning point for The Slow Readers Club, capturing hearts and minds with
its brooding, atmospheric sound and emotive lyricism. Featuring fan-favorite tracks such as Plant The Seed, I Saw A
Ghost and Forever In Your Debt, the album resonated with a generation of music lovers and laid the foundation for the
band’s future success. One of those supporters were the band James who personally invited The Slow Readers Club to
support them on a huge headline tour which brought them to a whole new audience.
Now, a decade later, the band will bring Cavalcade back to life on stage, performing it in full alongside other cherished
songs from their extensive catalog. The tour promises to be an electrifying experience, blending nostalgia with the raw
energy of and ambition that continue to define The Slow Readers Club today.

Manchester’s own The Slow Readers Club are set to embark on a special anniversary tour celebrating ten years since
their seminal breakthrough album, Cavalcade. Titled ‘A Decade of Cavalcade’, the tour will see the band revisiting the
album that set them on their path to becoming one of the UK’s most revered indie acts, while also marking an exciting
new chapter in their journey.
The tour announcement follows a milestone year for the band with their latest album Out Of A Dream landing at
UK Number 11 in the Official Charts in the first week. With growing momentum on streaming platforms and an everexpanding fanbase, The Slow Readers Club continue their upward trajectory, making A Decade of Cavalcade both a
reflection on the past and a celebration of what’s still to come.
A Celebration of a Pivotal Moment
Originally released in 2015, Cavalcade was a turning point for The Slow Readers Club, capturing hearts and minds with
its brooding, atmospheric sound and emotive lyricism. Featuring fan-favorite tracks such as Plant The Seed, I Saw A
Ghost and Forever In Your Debt, the album resonated with a generation of music lovers and laid the foundation for the
band’s future success. One of those supporters were the band James who personally invited The Slow Readers Club to
support them on a huge headline tour which brought them to a whole new audience.
Now, a decade later, the band will bring Cavalcade back to life on stage, performing it in full alongside other cherished
songs from their extensive catalog. The tour promises to be an electrifying experience, blending nostalgia with the raw
energy of and ambition that continue to define The Slow Readers Club today.

Deftones' iconic album 'Around The Fur' is a perfect blend of heavy, aggressive riffs and hauntingly beautiful melodies. Released in 1997, this album solidified the band's unique sound and established them as one of the most influential bands in the alternative metal scene. With songs like "My Own Summer (Shove It)" and "Be Quiet and Drive (Far Away)", Deftones showcase their ability to seamlessly combine intense energy with poignant lyrics. The album's raw, emotional vocals and powerful instrumentals create an intense listening experience that has stood the test of time. 'Around The Fur' is an essential addition to any rock music collection.

Footwork pioneer Traxman presents "Tekvision Volume 4," the highly anticipated new album set to drop this November on Teklife. A defining force in Chicago’s House, Ghetto House, Juke, and Footwork scenes for over 30 years, Traxman continues to innovate with a cutting-edge release that builds on decades of influence and expertise, featuring tracks that pay homage to Chicago’s West Side roots.

With "Tekvision Volume 4," Traxman reaffirms his legendary status as one of electronic music’s most influential figures, delivering an album designed for both footwork veterans and a new generation of listeners ready to experience the genre’s next evolution.

GATEFOLD DOUBLE VINYL WITH SPOT UV FRONT COVER

Following the skewed-unself-help-brilliance of ‘Sus Dog’ (which marked his first full foray into songs, abetted by Thom Yorke), and its companion piece ‘Cave Dog’, Chris Clark returns to the dancefloor’s simple, but no less affecting pleasures, with ‘Steep Stims’.
“I found it hard to pull away from listening to this record, hard to stop making it, I had to remove myself from the Stims and stop enjoying it at some point. The album feels like nature to me. I love it when electronic music feels more naturalistic than acoustic music, more potent, that’s the devil’s trick, the promise of electronic music.” comments Chris.
“I used an old synth - the Virus on all of the tracks. I used it at Mess in Melbourne - run by my friend Robin Fox - I loved it so much I had to buy one when I got back to the UK, it took a while to find. They’re a bit clunky to program but make some of my most favourite sounds.”
‘Steep Stims’ marks a back-to-basics approach, invoking the early years of gung-ho creativity enforced by limitations in technology at the time. “Most of the tracks on this album capture the spirit of making music on old samplers, which don’t have much memory time”, explains Clark. “It reminds me of making ‘Clarence Park’, my first album, where I would have to finish tunes in the session, as they would be saved on floppy disks and I couldn’t easily go between tracks. This new record is just a few synths and a few choice sounds; the writing is the important thing.”
Made quickly, ‘Steep Stims’ reflects the immediate rave energy of his live show, but that’s not to say it’s basic floor fodder, as it’s rife with personality, synth magic, and knack for melody. Although swift and impressionistically captured rather than laboured over, it’s still formidably deft, with plenty of oddball weirdness lurking beneath the dancefloor.
Soft, orange, scorched, brutal, the opening track ‘Gift and Wound’ captures the classic dance music dread / awe / euphoria combo perfectly, before ‘Infinite Roller’ merges sparkly-minimalism with snarling bass and soft sines, which turn more dense and metallic as it progresses.
The melancholic smoke belch of ‘No Pills U’ gives strong classic vibrations, which is belied by its creation, made in just 20 minutes. “I love working quickly sometimes”, comments Clark. “Inspiration hits, rough and ready. It’s off the cuff but also screams ‘don’t gild the lily with nonsense, keep it simple keep it clean’”. Segueing into its elder brother, the piece becomes bigger and beatier on ‘Janus Modal’, where it permutates for over 7 minutes of fluttering, beatific club majesty.
At ‘18EDO Bailiff’ you inexplicably find yourself at a clearing, things have suddenly got much quieter. You enter a decrepit and eerie old house, and as you move through its unsettling interior, you arrive at ‘Globecore Flats’. A real piano tuned to 18 notes per octave gives the pair of tracks a haunted, olde worlde feel, which promptly gets eaten by a huge tech step tearout monster, birthing a strange but exotic beast.
The white hot ‘Blowtorch Thimble’ is all hooktasm-rave-hyper-amen-energy, whilst acidic flute leaps around like Ian Anderson on pingers throughout the catchily simple jump-up lurch of ‘Civilians’.
“‘In Patient’s Day Out’ is like some sort of Morricone-does-kraut-rock-with-drum-machines, but that’s probably just in my head” says Clark. “I made several versions of this then went with the early mix but cranked through some choice outboard because it just had something.”
Drumless, yet still full of exhilarating-big-trance-drama, ‘Who Booed The Goose’ flashes by in stroboscopic fast forward, then ‘5 Millionth Cave Painting’ gives a palate cleanser, letting “the virus with its delicious broken, luxurious reverb have a moment”, before ‘Negation Loop’ swoops down in all its glory, with Clark’s tweaked vocals leading deconstructed trance breakdowns, tape edits and brutal noisebursts.
An antidote to the bombast of its predecessor is ‘Micro Lyf’, which closes the set on a poignant note, of sorts. Muted staccato gives way to field recordings “that gradually put it in this outside space; alien in a meadow somewhere nameless. It feels like a sinkhole. The record kinda swallows itself up and then is gone”, ends Chris.

"Raise your swords up high: BLOODBOUND march into a powerful future with Field Of Swords, out November 21st via Napalm Records. Twenty years after the release of their debut album, the Swedish warriors stand taller than ever on the front line of epic power metal, delivering their most modern work yet. Most recently drawn to the Viking era, the latest concept album Field Of Swords turns the page to another chapter in history, moving past the year 1066 and into the Middle Ages. As warfare evolves and the significance of forging iron with carbon leads to superior swordsmen, the bloodstained battlefields show new, grim faces, leaving room for more of BLOODBOUND’s vivid storytelling that continues to thrill audiences at countless live shows around the globe. BLOODBOUND’s first release with Napalm Records adds another 11 captivating battle hymns to their repertoire. A diverse record with aggressive songs and epic tracks alike, their eleventh album also contains some of the band’s fastest material ever written. The opening title track, “Field Of Swords”, immediately storms into BLOODBOUND’s signature sound, braiding stories of glory with a sweeping blend of melodic and heavy power metal. The dominant “As Empires Fall” follows the crusaders east and powerfully depicts said glory in epic battle in contrast with sacrifices made on the way. “Defenders Of Jerusalem” cleverly expands on the topic of loss, leaving listeners to wonder which side is holding their heads up high in the face of imminent defeat. Catchy flutes have the heroes take heart in “The Code Of Warriors” to guide them into the “Land Of The Brave” and Field Of Swords to new heights at the same time. “Light In The Sky” further illustrates BLOODBOUND’s battle scars turned electrifying sound, while the mature “Teutonic Knights” opens up the bleak reality of the tragedy that undoubtedly accompanies this battle-torn era of history. Yet, “Forged In Iron”, “Pain and Glory”, and “Born to be King” hold their ground as equally unforgettable tunes, all leading up to the brilliant finale: Brittney Slayes of powerhouse Canadian band UNLEASH THE ARCHERS joins “The Nine Crusades” as another valuable fighter to lead Field Of Swords to greatness. BLOODBOUND’s latest triumphant march impressively illustrates the importance of purpose and perseverance with heroic tales in shining heavy metal armor.

Originally released in 2005, Supernature was Goldfrapp’s era-defining masterpiece, a multi-layered sonic-pop thriller that shattered the electronic rulebook, replacing it with a radical, high-gloss vision of pop music at its most seductive and strange.

Supernature catapulted Goldfrapp into the pop stratosphere, spawning now-classic singles like “Ooh La La”, “Number 1”, and “Ride A White Horse”. The album topped charts worldwide, earned multi-platinum sales, garnered multiple BRIT and GRAMMY nominations.

Now reissued for its 20th anniversary, the deluxe edition offers fans the classic original album alongside B-sides, classic & brand new remixes, unreleased live radio session recordings and an Audio Blu-ray 5.1 surround mix. The release is presented across 3 CDs (2CD + Audio Blu-Ray) in deluxe packaging, alongside a stunning peacock-coloured double vinyl edition (the second disc being a remix 12” single EP), with everything cut at half speed for enhanced sound quality.

The new edition includes two brand new Goldfrapp remixes by Alison Goldfrapp & Will Gregory, with exclusive reinterpretations from Richard X, Sun’s Signature (Elizabeth Fraser (Cocteau Twins) & Damon Reece (Massive Attack, Spiritualized).

With the release of this deluxe edition, Goldfrapp don’t just revisit Supernature, they reaffirm its enduring influence in 2025’s musical landscape and beyond.

Skepticism's celebrated debut album's 30th anniversary edition with bonus material out in November Stormcrowfleet, Skepticism's monumental 1995 debut, remains a landmark of funeral doom — an album that defined both a sound and a legacy. This 30th anniversary edition of the classic was newly mixed from the original tape reels by Anssi Kippo in 2018 at Astia Studio under supervision of the band and is now freshly cut for vinyl. "Stormcrowfleet was originally released on CD. Instead of taking the easiest route we wanted to make the vinyl version the best it can be. We bought the multi-track tapes at the end of the recording sessions back in the day and have stored them for possible later use. This use became the Stromcrowfleet reissue - not just a vinyl edition but a complete remix of the album from the original recordings." "In the remix sessions nothing was added or changed in the original recordings. The mix was done at Astia-studio with high quality analog equipment. In fact most of the equipment used did exist in 1995. What did not exist back in then was more than two decades of audio engineering tradition dedicated to processing extreme metal. In this process that tradition manifested in the form of Anssi Kippo - multiple award winning producer who handled the mixing in co-operation with the band members. In short the target was not to do a different mix but one with the original vision for the album with better equipment and engineering." comments the band. The 30th anniversary edition of Stormcrowfleet features two bonus tracks from the 1994 demo cassette AEOTHE KAEAR cut directly from the original studio master tape, released on vinyl now for the first time ever. Also including a special anniversary edition booklet illustrating the making of the album. A milestone of doom metal history, expanded and reintroduced for a new generation.

Skepticism's celebrated debut album's 30th anniversary edition with bonus material out in November Stormcrowfleet, Skepticism's monumental 1995 debut, remains a landmark of funeral doom — an album that defined both a sound and a legacy. This 30th anniversary edition of the classic was newly mixed from the original tape reels by Anssi Kippo in 2018 at Astia Studio under supervision of the band and is now freshly cut for vinyl. "Stormcrowfleet was originally released on CD. Instead of taking the easiest route we wanted to make the vinyl version the best it can be. We bought the multi-track tapes at the end of the recording sessions back in the day and have stored them for possible later use. This use became the Stromcrowfleet reissue - not just a vinyl edition but a complete remix of the album from the original recordings." "In the remix sessions nothing was added or changed in the original recordings. The mix was done at Astia-studio with high quality analog equipment. In fact most of the equipment used did exist in 1995. What did not exist back in then was more than two decades of audio engineering tradition dedicated to processing extreme metal. In this process that tradition manifested in the form of Anssi Kippo - multiple award winning producer who handled the mixing in co-operation with the band members. In short the target was not to do a different mix but one with the original vision for the album with better equipment and engineering." comments the band. The 30th anniversary edition of Stormcrowfleet features two bonus tracks from the 1994 demo cassette AEOTHE KAEAR cut directly from the original studio master tape, released on vinyl now for the first time ever. Also including a special anniversary edition booklet illustrating the making of the album. A milestone of doom metal history, expanded and reintroduced for a new generation.

Los Angeles-based producer and composer Hayes Bradley returns with his most ambitious work yet, Audience, out now via StrataSonic Records. A departure from his years composing for film and fashion, the 14-track album marks a return to his dancefloor roots by melding breakbeats, trip-hop, and ambient textures into something both nostalgic and forward-thinking.

After two beatless, melodic LPs on Secular Sabbath, Bradley arrives at Los Angeles’ StrataSonic—an independent label celebrated for prioritizing artistic freedom—with Audience, a record defined by moody, churning breaks and rich soundscapes. Across the album, he merges the emotional depth of his scoring work with the kinetic energy of underground dance music, crafting a deeply-layed and adventurous project that exists beyond trends while highlighting his versatility as both producer and performer.

The album features collaborations with Luna on the ethereal “Dear Treasure” (accompanied by a music video with collaborator and partner Luna Blaise) Amtrac on “Be Right With You,” and Oxis on “Wishes,” alongside a range of instrumental cuts that highlight Bradley’s approach to rhythm and sound design.

At its core, Audience is an exploration of embracing personal and musical chaos. Bradley channels moments of anxiety, uncertainty, and raw emotion into tracks that are unpredictable and immersive. The album reflects his philosophy of leaning into disorder—turning moments of anxiety, unpredictability, and chaos into kinetic music that moves both body and mind.

First Word Records are very proud to bring you 'Ghouls', the 6th studio album from Bastien Keb.

Through the reflective and introspective multi-mood journey of its 19-tracks, this album spans psychedelic-chamber-funk, warped anti-ballads, cinematic instrumentals, Ethio-jazz & ethereal ambience.

Part soundtrack, part beat-tape, part memoir, this is a dreamlike soundscape sewn together from half-forgotten memories & late night breakdowns.

Entirely sample-free, this album is full to the brim with musical experimentation, with Keb's compulsion to make all the individual pieces of music independently; combining strings, harps, saxophones, theremins, clarinets, flutes and trumpets.

He signals to the fuzzy, nostalgic nebulous of mid '90s skate videos, as well as harking back to the scores & moods of movies like The French Connection, Taxi Driver, The Warriors and La Haine. There are whispers of sounds in the air from jazz clubs, street preachers & Turkish restaurants.

Keb describes the sonic experience of this album simply as this… "You're half awake, and half asleep, but you're warm…"

For this 19-track opus, Keb is joined extensively by Malik Ameer Crumpler; a poet, composer, editor and professor based in Paris, who's been involved in numerous albums while writing for various forms of experimental media.

A multi-instrumentalist originally from the Midlands, Bastien Keb (aka Sebastian Jones) previously released his highly-acclaimed album '22.02.85' on First Word back in 2017; this new album being a very welcome return to the Worldwide Award-winning UK independent label.

His music has been widely supported across BBC Radio in the past by DJs including Gilles Peterson, Huey Morgan, Huw Stephens, Jamie Cullum, Lauren Laverne, Mary Anne Hobbs, Nemone and Tom Ravenscroft. This is in addition to glowing press reviews from the likes of Pitchfork, The Guardian and The Line Of Best Fit.

He's built up a steady fanbase through his extensive catalogue over the years, with material for labels like Def Pressé, Gearbox, One-Handed Music and most recently for Shabaka Hutchings' Native Rebel Recordings imprint, on a collaborative project with South London's Confucius MC (Speakers Corner Quartet).

Keb concludes "this record is for anyone feeling lost in a world that seems to have lost itself without knowing it. It's for the people who know that the world is missing the beauty of the lights in the distance, whilst being distracted by new shoes and flashy phones..."

'Ghouls' is due to be released on vinyl & digital worldwide, November 14th 2025.

Ne$$ and Baby J’s 3rd album comes after a long collaborative working relationship from previous group A-Alikes. Ne$$ has recently done a series of UK shows in London, Leicester and Birmingham as well as an upcoming feature on 05.21 YouTube channel and interviews on Itch FM. The tracks have also been supported on Soho radio and by Shotry Blitz. The album represents an original voice in hip-hop, addressing working-class proletariat stories of street life, and the effects of capitalism on black and poor people. Ne$$ has been a successful part of the US hip-hop seen over the past two decades, working with the likes of Mos Def, Dead Prez and Bilal. Baby J is an established UK, hip-hop producer whose production credits include Amy Winehouse, Skinnyman, Dead Prez, Plan B and Mark Ronson. The album is sonically broken and dark with a raw purist Hip Hop sound.

Founded in early 1995, Grow! quickly established itself as a key player in the underground house music scene. The label was created by Christian Mahringer (aka Jeremiah) along with Michael Peter (Duke) and Martin Retschitzegger (Tin). Together, they released a steady stream of 12" records, often under various pseudonyms, focusing entirely on the music rather than individual profiles.

While Grow! remained their main creative outlet, the founders were also active beyond the label: Mahringer released music on Chez Damier’s Balance Alliance and the renowned Chicago label Guidance, while Peter and Retschitzegger collaborated on records for Daniel Bell’s 7th City and Robert Hood’s influential M-Plant label, and also launched their own imprint, Central.

This new compilation presents a first carefully curated selection of the most notable tracks from the label’s catalog, alongside previously unreleased versions. All tracks were edited and remastered from the original tape recordings. It offers a deep dive into the raw, analog-driven sound that defined Grow!’s identity.

With its consistent focus on quality, anonymity, and artistic integrity, Grow! Records has left a lasting impression far beyond Austria’s borders. This release is both a celebration and a rediscovery of one of the country’s most respected underground imprints.

A decade after its original release, Flako"s seminal debut album Natureboy returns for its first-ever reissue on vinyl in a special 10th anniversary edition. In 2015, Natureboy emerged as a rare bloom in the electronic underground - a record that defied genre and expectation. Hailed by Bleep as "one of the most startlingly unique and original releases" and crowned their Album of the Year, it still stands as one of the most singular, emotive, and genre-defying releases of its era.

DOUBLE VINYL
The full album on vinyl for the first time, packaged with the classic original Designers Republic artwork


ABOUT
To celebrate the 20th anniversary, Collabs 3000: Metalism, the original classic pure techno album and first full-length collaboration between techno innovators Chris Liebing and Speedy J, is remastered and reissued via NovaMute.

Originally launched by Speedy J (aka Jochem Paap) as a platform for 12" collaborations with other artists, the Collabs series laid the groundwork for what would become one of techno's most compelling partnerships. The first release with Chris Liebing, Collabs 300 (featuring 'Trick_' / 'Treflon_'), landed in 2004 to a rapturous response; its machine-funk intensity and unmistakable breakdowns helped define the sound of early 2000s techno whilst revealing a writing and production chemistry that demanded a larger playground for their work.

That creative spark ultimately manifested in Collabs 3000: Metalism, a landmark record for techno. Combining the pair's mastery of subversive electronics and peak-time techno, the album remains a career highlight for both artists: a smouldering collision of taut techno rhythms, sonic abstraction, and, as the title suggests, robust metallic beats.

The 20th anniversary edition of this timeless techno masterpiece has been fully remastered by Liebing himself and is available on CD and for the first time on vinyl across 2 discs.

His eighth studio LP, Action Adventure, finds DJ Shadow continuing to evolve as a producer and songwriter over 14 mostly instrumental tracks. It is a thrilling new addition to an influential body of work defined by a restless ear, always searching to rescue some forgotten gem from the dustbin of music history or a fresh blast of sound from the cutting edge.

Body Language Vol. 27 marks the return of Get Physical's landmark series, curated this time by Dutch producer Helsloot. Since its launch in the early 2000s with curators like Dixon, Modeselektor, and DJ Hell, Body Language has become one of the most respected compilation formats in electronic music - a series that captures moments in club culture while pointing to the future.

For this new chapter, Helsloot brings his melodic and emotional touch to the project, weaving together exclusive originals, collaborations, and carefully chosen reinterpretations. A special highlight is his remix of the legendary "Body Language" by M.A.N.D.Y. vs. Booka Shade, which bridges the series' heritage with its modern vision.

Across four sides, Helsloot balances intimate songwriting with dancefloor energy, joined by guests including Richard Judge, Pete Josef, Sailor & I, and Beacon. The result is both a personal artistic statement and a continuation of the Body Language legacy - a timeless journey designed for deep listening as well as club play.

Infotext ENG

After establishing himself as one of Europe's most distinctive voices in instrumental hip-hop, Mr. Käfer is ready to tell a different story. His third solo album, A Past Sense, arriving via Melting Pot Music on 11th November, shows a bold creative evolution from his signature lo-fi aesthetic into lush, collaborative territory that spans continents and genres.

His sixth project for Melting Pot Music marks a creative leap from the mood-driven, jazz-tinged instrumentals that built his reputation on releases like Lost Reflections (2019), Orientation (2020), and Now/Again I and II (2021, 2023). Now he's orchestrating a 14-track journey that weaves together hip-hop, soul, jazz, and North African rhythms through collaborations with carefully selected artists including Novine (GER), J-Tek (US), Kenji (US) and Cloudhead (AT).
Thematically, the album explores how memory reshapes identity, questioning the gap between who we were and who we've become. The visual side comes courtesy of acclaimed photographer and art director Robert Winter, capturing this nostalgic-yet-progressive spirit. A Past Sense will also be released on LP.
With A Past Sense, Mr. Käfer steps out from behind the boards and into the spotlight—trading lo-fi playlist comfort and algorithm-driven streams for something deeper. A past sense, maybe. But definitely a future sound.
Infotext DE
Europas instrumentaler Hip-Hop bekommt einen neuen Sound. Mit seinem dritten Soloalbum „A Past Sense“ verabschiedet sich Mr. Käfer von seiner lo-fi-geprägten Vergangenheit und erschafft ein Werk, das über Genres und Kontinente hinausgeht.
Wo frühere Veröffentlichungen wie „Orientation“ (2020) und die „Now/Again“-Serie (2021/2023) durch intime, jazzgetränkte Instrumentals bestachen, öffnet sich „A Past Sense" neuen Horizonten. Auf 14 Tracks verschmelzen Hip-Hop-Fundamentals mit Soul-Harmonien, Jazz-Improvisationen und nordafrikanischen Rhythmus-Patterns.
Die Kollaborationen mit Novine (Deutschland), J-Tek und Kenji (beide USA) sowie Cloudhead (Österreich) sind dabei keine Gastauftritte, sondern organische Begegnungen, die Mr. Käfers Musik in unerwartete Richtungen lenken. Er bricht bewusst aus der Blase algorithmusgetriebener Lo-Fi-Playlists aus und setzt auf echte musikalische wie menschliche Verbindungen.
Thematisch kreist „A Past Sense" um die Macht der Erinnerung und die Frage, wie Vergangenheit unsere Gegenwart formt. Diese konzeptionelle Tiefe spiegelt sich auch in der visuellen Umsetzung wider: Fotograf und Art Director Robert Winter entwickelte eine Bildsprache, die Nostalgie und Zukunftsvision in perfekter Balance hält.
Mit „A Past Sense" positioniert sich Mr. Käfer neu im internationalen Beat-Kosmos. Das Album erscheint am 11. November über Melting Pot Music – digital und auf Vinyl.

In the two years since Parallel Minds’ Juno-Award-winning 5th release Homesick by label co-founder Ciel, we have taken our time reassessing our next moves as the larger dance music scene experienced a paradigm shift. What does it mean to release music made by underground artists from lesser-known scenes like Toronto at a time when bookers and A&Rs are taking fewer risks than ever before? How do we truly celebrate the musical diversity of electronic music when the bottom line threatens to reduce any and all forms of risk-taking?

You just do it, of course.

In truth, few artists have come to represent the music scene in the Big Smoke more than Phèdre, and having seen the duo’s progression from indie weirdo-pop to live hardware act to breakbeat wunderkind in the last decade has been nothing short of amazing. It’s really artists like these that inspired us to start the label in 2018, and we are super elated to usher in PM006 with their long-awaited album, Liquid Constancy.

On its face, Liquid Constancy is a breakbeat record. There are housier joints, to more bassy Baltimore club bangers, to breakneck footwork and jungle steeped in sunshine. All of them share a distinctly syncopated, dubwise rhythm that grounds the album’s tracks. With some having been developed as early as seven years ago, these tracks had their genesis in Phèdre’s mostly improvised live hardware sets from some of Toronto’s most notorious warehouse raves. Primarily powered by two Korg Electribe ESX-1s and the semi-modular Moog Mother-32, the jams found new life in the studio when the duo began recording them as tracks, which demanded a mindfulness of their permanence that Daniel Lee and apè Aliermo at first found intimidating.

Over time, the pair developed a synergistic workflow that pulls from Daniel’s background in drums and apè’s keen ear for texture and movement. They sourced samples featuring voices of BIPOC and feminist icons, drew from their shared love of sci-fi and kung fu movies, and from their Filipino, Chinese, German, and Surinamese backgrounds. Samples were manipulated via techniques like lowering bit rates and adjusting speed to maximize usage due to the Electribe’s limited sample time, which was a subtle way of injecting their interests into their music without being too on the nose. Growing up in the melting pot of the GTA, going to raves as teens, bumping post-punk, industrial, electro, hip-hop and 90s R&B — these experiences all had an undeniable influence on Liquid Constancy. As kids of immigrant parents, equally informed by both their adopted and native cultures, Phèdre makes music informed by sampling and defined by cultural hybridity. In times like these, what is more feel-good than believing in music as a universal language that brings our different backgrounds together?

Recorded during that unique period in the late ‘60s when jazz, blues and rock musicians found common ground in London’s vibrant subterranean clubs, 1968s Definitely What! was the second of the run of the four ground-breaking Trinity albums. Showcasing Auger's open-minded approach and his masterful organ & piano skills, the album whips up a rich blend of jazz, R&B, psychedelic touches and soulful grooves, complemented by the tight, dynamic rhythm section of Dave Ambrose (bass) and Clive Thacker (drums).

After the previous year’s Open (1967) with its 'Summer of Love' feel and its melting pot of Mod R&B, cover versions of US soul hits led by Julie Driscoll’s inimitable vocals, Auger considered Definitely What! as his first solo album, and so he travelled deeper into jazz territory, balancing original pieces with audacious covers. Tracks include versions of Mose Allison's 'If You Live' and of Wes Montgomery’s ‘Bumpin’ On Sunset’. “I got a letter from Wes's wife,” recalls Auger, “saying that it was Wes' favourite version. Can you believe that, Wes's wife wrote to me!”

Elsewhere, we find a dramatic re-arrangement of The Beatles’ ‘A Day In The Life’ complete with orchestral strings and a punchy horn section, alongside a supercharged version of Booker T & The MGs’ ‘Red Beans & Rice’ . 'George Bruno Money' was dedicated to Auger's drinking pal of the era, Zoot Money, and 'John Browns Body' both combine prime Hammond jazz with the very British surrealist humour that was in vogue at the time. The title track goes further “out” in a sprawling instrumental piece rooted in experimentation. Brian himself specifically states in his sleeve notes that his concept “lies along a straight line drawn between pop and jazz and aims at the 'fusion' of both elements” - ‘fusion’ at that time was not even a recognised musical term, further reinforcing Auger’s credentials as an innovator.

That forward-thinking approach was developed in Open and Definitely What! would come to fruition a year later with the release of Streetnoise (1969) featuring the Trinity and Julie Driscoll. At the time, the move to bring together jazz, rhythm & blues, folk, gospel and pop into a progressive new sound may have annoyed the purists and confused the less open- minded, but these albums stand today as a testament to Auger’s unique position within British music, foreshadowing his future 1970s explorations with the Oblivion Express and beyond. Definitely What! remains a fascinating snapshot of 1960s musical experimentation - raw, eclectic, and unapologetically Auger!

This new Strut reissue is curated by Impressive Collective’s Greg Boraman in partnership with Brian and Karma Auger. The album is remastered by Cosmic Audio from the original tapes, and is packaged in Brian's favourite version of the 3 different sleeves the album was originally issued in.

From its modest beginnings as a university project, Anjuna has grown to become one of the most influential forces in electronic music. What began as, and remains, a passion project has evolved into a global electronic music powerhouse. Led by Jono Grant, Paavo Siljamäki, Tony McGuinness (better known as Above & Beyond) and label exec James Grant - Anjuna now spans three distinctive imprints: Anjunabeats, Anjunadeep and Anjunachill. To mark the label’s 25th anniversary, Above & Beyond and James have carefully curated a selection of picks from its rich catalogue that includes countless genre defining releases to present the label’s most expansive vinyl offering to date.

Covering the full spectrum of that 25 year journey, the ten vinyl box chronicles 84 of the label’s most iconic releases across all three labels, including a vinyl dedicated to label founders Above & Beyond. Encased in a custom outer slipcase box with a debossed foil Anjuna25 logo. Accompanying the ten vinyl is a 48-page perfect-bound booklet printed on premium art paper and textured cover stock, featuring track-by-track insights from artists and Anjuna HQ staffers delving into the stories behind each record and their reflections on 25 years of music. The Anjuna25 anniversary box set is a beautifully presented tribute to 25 years of innovation, artistry and emotional connection.

Embrace The Abandon is the new project by THE MON, the solo vision of Urlo, vocalist, bassist, and founding member of the Italian heavy-psych veterans Ufomammut.

Structured in two complementary chapters — Songs of Abandon (November 7th, 2025) and Songs of Embrace (March 6th, 2026) — the project tells a journey of duality: loss and surrender on one side, acceptance and rebirth on the other.
The first chapter, Songs of Abandon, is perhaps the most intimate and vulnerable work Urlo has ever created.
Born in a moment of solitude and personal darkness, the album originated from a radical exercise: writing one song a day, for nine consecutive days, using only acoustic guitar and voice.
A collection of stripped-down, emotionally raw ballads. Rooted in acoustic textures and intimate songwriting, these songs explore loss, vulnerability, and the quiet spaces left behind — a personal exorcism of what could have been but never was.
Later, these sketches were shaped into fully realized tracks, with lyrics and subtle layers of sound — not to overwhelm, but to underline the fragile, raw atmosphere that pervades them. The result is a stripped-down, emotionally charged collection that embodies an inner search: the power of music as a tool to face abandonment, to dig into oneself, and ultimately to glimpse the possibility of an embrace.
With Embrace The Abandon, THE MON reaffirms itself as one of the most personal and uncompromising projects.
It is a body of work that fuses vulnerability and strength, speaking directly to the listener with sincerity, leading them through shadow towards light.
An intimate yet powerful sound experience, intertwining the minimalism of acoustic folk with the dark, visionary tension that has always defined Urlo’s artistic path.

The Dears have made some of the most beautiful music of the past quarter century, but also some of the most defiant, with an attitude and emphasis that seems to blend the operatic with a punk sensibility. On their new album, "Life Is Beautiful! Life Is Beautiful! Life Is Beautiful!", The Dears are again at the top of their form, coming back with passionate, compassionate, urgent music that uplifts, explores dark corners, and ultimately shines out in a way that's absolutely gorgeous, with an edge.

""Life Is Beautiful! Life Is Beautiful! Life is Beautiful!" feels like a new masterpiece and provides further evidence that The Dears are a vital part of the musical landscape, and also just completely doing their own thing, as ever." "If I love The Dears, if you love The Dears, it's because that orchestral, symphonic feel, those gorgeous melodies, are grounded in a gritty, gonna-die-on-this hill mentality and a heady intellectualism." "... my heart skipped a beat from the opening chords of "Gotta Get My Head Right"—a masterpiece of rising tension and killer melodies, layered and precise and yet roving and wild, with changes in the music and the progressions that alter your brain while listening. What follows is an album that's as various and yet as unified as that first track. Few bands can achieve this kind of complexity while also making it seem timeless and so very perfect." "There's no one like The Dears and there never will be, and I really appreciate that so very much." - excerpts from the album bio, written by New York Times bestselling author Jeff VanderMeer

The Dears' 9th studio album, "Life Is Beautiful! Life Is Beautiful! Life Is Beautiful", pressed on gold vinyl in a limited edition of 1000, will release worldwide 11/7 via Next Door Records.

Fin" is the fourth album by Spanish band Exnovios, a group that has been described as a blend of Spacemen 3 influences and the best of Spanish '60s pop. The new dozen songs that make up their fourth LP happily shifts away a bit from to the usual unbeatable formula of this Pamplona-based quartet (garage reverbcore as if sung by Spanish legends Juan y Junior) and add new and fascinating layers-at once fresh yet entirely logical in the evolution of such a unique band within the local scene. Exnovios' new collection of songs wasn't created in a rehearsal space or recorded in a single week in the studio. Rather, it was composed and rehearsed slowly in bedrooms and living rooms-songs that were later brought into the studio with the idea of finishing building them there. Over the course of nearly a year, the band approached each song one by one, in a handcrafted manner, alongside their trusted ally, producer Guillermo Mutiloa. The result is a treasure trove of songs, perhaps more psych-folk than ever, as acoustic pieces abound-full of exquisite melodies without abandoning the consciousness-expanding journeys that have made Exnovios a cult favorite: from the instant classic 'Nubes' (with its very Byrds-like harmonies and gorgeous twelve-string acoustic guitar), to the delightful Big Star-style fiction of 'El cine se queda en silencio', or even the fabulous cover of Stephin Merritt's 'Tú tú tú tú.' These are often drumless tracks, perhaps with some light percussion, always featuring detailed and exquisite arrangements of guitar, electronics, percussion, and even touches of strings. And despite the reduced presence of drums (which, along with the laid-back recording approach, makes this almost Exnovios' "White Album"), fans of the band's legendary fuzz-guitar reverbcore sound won't be disappointed: there's the psychedelic 'Viaje Alucinante', full of their classic riffs; their brutal cover of Psychic TV's 'Godstar' (drenched in echo and eccentric vocal effects); and the perfectly crafted 'Naves Misteriosas', which pulls off the impossible feat of sounding like 'Cerca de las Estrellas'-era Los Pekenikes in the verses, Phil Spector in the chorus, and the Ramones in the post-chorus. And there's much more: percussion reminiscent of the most 'baggy' Primal Scream on the brilliant 'Aún no es tarde'; love lyrics wrapped in an exquisite drum machine soaked in reverb and Suicide-style Farfisa on 'Ha venido a quedarse'; the beautiful two-chord electronic Christmas carol 'Ya es Navidad'; and that lysergic waltz that sings of the peace brought by karmic revenge, carried along by waves of fuzz and delay, titled 'El día del juicio final.' "Fin" reveals more sides and nuances of Exnovios than ever before-a festival of eclectic styles that all remain true to the musical vision that has defined them over the past decade, with their melodic powers at the peak of their talent.

Anathema has spent the vast majority of their career making music that defies
description. As part of the Peaceville 3, along with Paradise Lost & My Dying Bride,
Anathema have carved a strong legacy since their inception at the turn of the 1990s,
to become a widely revered & respected band within both the metal world & beyond,
as their sound & compositions progressed from doom/death metal into more rock &
progressive territory with each subsequent release, becoming one of the UK's most
cherished & critically acclaimed rock bands.
'The Silent Enigma', Anathema's second studio album, was originally released in the
summer of '95 & was the first release on which guitarist Vincent Cavanagh took over
the vocal duties of the departed Darren White. Where Darren's vocals were guttural,
Vincent's style pushed the possibilities for Anathema onwards & upwards, with a
scope & breadth beyond his years, complimenting an ethereal roller- coaster of
thoughtful atmospherics & crushing Celtic Frost style riffs - the Swiss legends being a
notable inspiration. What emerged was a fine example of highly-atmospheric & often
emotional gothic doom, spawning classic Anathema songs such as "Restless
Oblivion", "Sunset Of Age", "The Silent Enigma" & "A Dying Wish". Lauded by the metal
press & fans alike as a doom metal classic, the album's popularity has remained a
favourite within the metal scene.
This special 30th anniversary edition of 'The Silent Enigma' is presented on limited
marble vinyl, with the vinyl mastering work carried out by Abbey Road Studios,
London.

The word "amateur" originates from the Latin word "amator," meaning "lover" or "admirer". This Latin term is derived from "amare," which means "to love". The French adopted "amateur" from Latin, and the English then borrowed it from French, initially retaining the sense of someone who loves or is devoted to something. Over time, the English usage of "amateur" also developed a meaning related to a lack of professional skill or experience. How did a word derived from love become a slur? Is love really so defenseless? They say love conquers all, but in reality isn’t love quite ridiculous? It has no intention, no motive, no agenda. How could it possibly prevail? It can’t be bought or sold, or so they say.Its mere existence can't be proven or even measured. What an impossible thing. Trying and failing, time and time again, no wonder cynicism always seems to win. I see “amateurism” as a delighted, even foolish, protest. Protest against everything. Of what’s expected of someone, or expected of someone to desire or strive for. To be elite, to be expert, to be professional, to be a master, to excel and succeed. Where’s the joy in that? I just want to have fun. I want to want. I want to love. And keep doing it, forever. I want to have fun, even when it’s tiring and sometimes even heaven is boring as hell. I want to be bad. I want to do my own thing. “I vant to be alone”. I want to be someone so dedicated to their passion that it starts to seem like there’s something wrong with them. All the way. We can take it all the way, and never get it back. ” - Molly Nilsson Amateur is the 12th studio album by Molly Nilsson. Deep in the teeth of a career that threatens to tip into something resembling a “legacy,” Molly Nilsson celebrates with an album recorded instinctively, quickly and bursting with so many moments of emotional brilliance and clarity it may be her greatest yet. Hers has been a career spent reaching out, perennially powerful in her earnestness, a warrior ridiculously defenceless and armed with a glittering sincerity. Shearing herself of the machinations of the music industry, recording at home, writing direct to the heart. Amateur is a jubilee for losers. A treatise in 13 songs, Amateur states clearly that we should live our life with eternal curiosity, offers us an open hand of comradeship out of the rat race. The songs on the album are both some of the most personal of Nilsson’s career and the most anthemic. First single How Much Is The World asks us to re-evaluate value in the face of a Neo-liberal system squeezing the life out of our loves. Pulsing opener Die Cry Lie satirises the commercialisation of emotion in the form of a shout-along diss-track. With a pounding rhythm track held down by gorgeous chord changes, heartbreaker Valhalla carries the torch for the main themes of the album: never growing up, making mistakes with kindness, moving on. When the drums crash in on the line “It’s going to get better now, you’ll see, going to be much better off without me” there is a world of feeling swirling about in the vocal delivery. One reading of the track might be that it’s a break up song but the subtext is classic Molly Nilsson: by living truthfully, making mistakes, we’re active agents against the myriad oppressions of the world. All The Way takes the theme for a run into the eternal sunset. It’s a manifesto for living fully. “Take it all the way, and never get it back” - it’s the process that’s the important point. The journey not the destination. Big Life, follows on like a part 2: An ode not only to Molly Nilsson’s career of endless gigs, endless connections with people, it’s a massive ode for following your dreams, doing it yourself. Closer The Bitter End is a powerful anthem for friendship, another definition of love infused in Nilsson’s work, A beautifully poignant ode to comradeship til the end, it seems to be the songwriter approaching aging, approaching life’s inevitability with the same vigour and earnestness, the same love of life she enjoyed at the onset of her career. There are moments on Amateur shrouded in reverb, slightly out of focus, forcing the listener to step deeper into the Mollyverse.. Nilsson’s open-armed beseeching to the world permeates every beat, every chord. These are songs exploding with life: the chunky, aggressive bassline on the punker Get A Life can’t hide its massive, catchy chorus. The sweeping Swedish Nightmare might be a tongue-in-cheek self-reference, but at its heart it’s a song about the duality of living life large, what is a dream, what is a nightmare? Molly Nilsson says you can’t have one without the other, and why would you want to? Here’s to making mistakes.

In May, fans were treated to the first new music from Trentemøller since 2022. A new single, "A Different Light," showcased a stunning blend of prismatic space rock and folk. For anyone wondering if it foreshadowed the release of a full-length, Dreamweaver will drop in September, on Friday the 13th.
Featuring 10 tracks that traverse Trentemøller's many musical strengths, Dreamweaver also represents an obvious artistic leap, treading new ground while retaining the overall plot. Tracks featuring vocals come courtesy of of Iceland's Disa, who has been in Trentemøller's fold since the Memoria tour.
Dreamweaver's nylon string-led opening track, and first single from the album, "A Different Light," contains many of Trentemøller's trademarks: exploring dichotomies, musical shadowplay, Nordic frigidity, and warm waves. It opens the door for the steady, hypnotic "Nightfall," with its tetherless vocal, wistful guitars, and early morning desert chill. The third track in the opening trifecta, "Dreamweavers" finds its footing with a percussive soft trot, which starts after what feels like a shortwave radio scan in search of the right chords, eventually dialing in a weightless voice. Ostensibly keeping a ruminative pace with the previous two tracks, the song and, by extension, album soon opens up as the rest of the elements drop into place with a grand, luxurious burst.
Dreamweaver is about to enter its next phase. With the hatch blown off of the portal, the noisy "I Give My Tears," driven by its glissed and fuzzy bass line, pours into the void. It's followed by its sibling, the most chaotic track on Dreamweaver, "Behind My Eyes." Arriving as a piece of noise rock pandemonium, "Behind My Eyes," can't be contained in its plush vault. A whip-crack snare and convulsing guitars smash against each other in the song's verse chamber. The tension builds, as the particles collide, pushing past the point of critical mass, kicking off the chain reaction which is the chorus. At times it harkens back to the proto-gaze tracks that gave birth to dream pop, at others it newly defines what that is. There's no time to contemplate it, though, as the song disintegrates in a microphonic feedback instant.
A respite follows with the somnambulistic pair of "Hollow" and "Empty Beaches." Then, a moment of intensity returns as the soaring textures and tribal drum bursts of "In A Storm" take control, before being taken out with the ambient slo-core of "Winter's Ghost" and "Closure." This diptych wraps up an album which certainly feels on-script for Trentemøller, but is also much more psychedelic than previous offerings.
Dreamweaver will be released on Trentemøller's own In My Room label. It is an exceedingly immersive experience, bound to release any dormant hallucinations you may be harboring.

‘Icon’ is an overused word when it comes to describing singers and musicians, but when it comes to Nina Simone there are few artists that the word describes more accurately. The ‘High Priestess Of Soul’ is surely one of the most iconic singers of the 20th century, and one whose fame and acclaim stretches far beyond conventional black American music circles. 

Nina Simone has featured on Ace and Kent CDs before but this is the first time she’s had one all to herself. “Let It All Out” is the first and only Nina Simone collection to draw repertoire from every label she recorded for between the late 1950s to the late 1970s. 

Not a traditional ‘Best Of’ or ‘Greatest Hits’ package (although the performances included here ARE among her very best, and do include most of her Greatest Hits!) it is a singles collection that presents Nina Simone’s soul and R&B-slanted 45s in chronological order. Invariably they are the definitive versions of the songs, whether she recorded the original versions or not. 

As well as almost all of her American pop and R&B chart hits from 1960 onwards, “Let It All Out” also contains all of Simone’s UK chart hits from the same period – several of which were more successful here than they were back home, including both versions of her biggest British hit ‘Ain’t Got No; I Got Life’, a UK #2 that did not chart at all in the US as was the case with the belated UK Top 5 hit ‘My Baby Just Cares For Me’ which also made no chart impression on its home turf…

Carefully curated and concisely annotated, “Let It All Out” lets the listener in to two dozen of Nina Simone’s most celebrated singles. There have been many compilations of her works since she passed away 20+ years ago, but none that gets to the heart – and soul – of her catalogue in quite so direct a manner as this one does. 

Long-time NuNorthern Soul contributor, B.J. Smith is a man in demand, dividing his time between solo work, playing guitar in Crazy P man James Baron’s popular JIM outfit, collaborating in a variety of well-regarded projects (Smith & Mudd, Bison and White Elephant amongst them) and composing for TV. Due to this impressive list of musical commitments, solo releases have been few and far between of late, with Smith’s most recent NuNorthern Soul release, a stripped back version of his Big Sur single, dropping late 2023.

It's been ever longer since he delivered a volume in his popular and ongoing Dedications To The Greats series, where the singer-songwriter and composer successfully turns his hand to other people’s songs. Since debuting the series on NuNorthern Soul in 2013 via revelatory and inspired covers of tracks by Mos Def and the Pharcyde, Smith has covered cuts by Outkast, Prefab Sprout and Soul II Soul.

On volume four, Smith’s first volume in the series for five years, he delivers a “cover of a cover” – a revolutionary and imaginative interpretation of Billy Swan’s ‘Don’t Be Cruel’, itself a version of a song first made famous by Elvis Presley. It was their mutual love of Swan’s version that brought Smith together with the release’s most prominent guest artist, Joe Harvey-Whyte, whose lilting, bittersweet and deeply emotive pedal steel performances can be heard across the EP.

Smith provides three contrasting takes. The EP is led by the ‘Mother Earth’ version, a slowly unfurling epic in which waves of effects-laden pedal steel and sun-splashed picking acoustic guitars usher in Smith’s eyes-closed vocalisations, settling into a groove reminiscent of his collaborative work with long-time friend and collaborator Paul ‘Mudd’ Murphy that showcases Harvey-Whyte centre stage to joyful effect. As the 14-minute epic progresses, we’re treated to long, languid electric guitar solos, percussion-laden slow-motion builds and hazy, stretched-out organ solos. It’s a breathlessly brilliant concoction that’s a million miles away from either Swan or Presley’s versions.

In contrast, the similarly epic ‘Earth Heart’ version – available in full vocal and instrumental takes – pushes the song front and centre. Following an extended build up, where Tamar Osborn’s gorgeous and fluid flute motifs rub shoulders with languid guitar solos and Harvey-Whyte’s pedal steel, Smith takes to the mic, delivering an emotive performance of the song’s heartfelt lyrics over a hushed, slow-motion groove. The track builds in waves as it progresses, with Smith layering up instrumentation as it rolls towards a fine conclusion.

Completing a superb package is the ‘Root Heart Version’, a Balearic-meets-Americana take built around shuffling drums, toasty bass guitar, extended pedal steel instrumentation, flashes of flute and Smith’s sun-bright acoustic guitar. Loved-up and more than a little saucer-eyed, it’s a bona-fide sunset delight.

Knucks’ upcoming album 'A Fine African Man' marks his first full-length project since the breakthrough 'Alpha Place', which soared to #3 on the OCC charts. Across 13 tracks, 'A Fine African Man' delves into themes of duality, reflecting his experience as a British‑Nigerian navigating both cultures and identities. The album’s title underscores that bicultural journey. Expect a compelling evolution from the sound that defined 'Alpha Place. Knucks’ acclaimed album Alpha Place marked a major milestone in UK rap, debuting at No. 3 on the Official UK Albums Chart and topping both the UK Hip-Hop & R&B and Independent Albums Charts. The album was certified Silver by the BPI and has amassed over 480 million streams to date, with the deluxe version adding another 490 million. Praised for its sharp lyricism and rich production, Alpha Place received strong editorial backing from outlets like Complex UK and GRM Daily, while fan response on platforms like Reddit cemented its status as one of the year’s standout releases. Tracks like “Three Musketeers” and “Alpha House” became immediate fan favourites. Knucks’ MOBO win for Best Grime Act in 2022 further reflected his cultural impact, and his live shows—bolstered by previous EP runs—have built him a reputation as one of the most compelling voices in the UK scene.

Originally released in 2007, Worlds Collide captures Apocalyptica at their most adventurous, blending their signature cello-driven metal with an array of powerful voices. From the anthemic “I’m Not Jesus” featuring Corey Taylor (Slipknot, Stone Sour) to the chart-topping hit “I Don’t Care” with Adam Gontier (Three Days Grace), the album bridges classical virtuosity and rock intensity like never before. This special 2LP edition on deep purple opaque vinyl lets you experience the full dynamic range of fan favorites including “Grace,” “SOS (Anything But Love),” feat. Cristina Scabbia and the crushing title track — a definitive statement in Apocalyptica’s genre-defying journey.

Chris Menist pares his sound right back for A book of imaginary beings, his fourth Awkward Corners outing with a project of electronic and abstracted global grooves. Experimenting with simple melodies and uncluttered arrangements, as well as taking inspiration from the Borges' short stories alluded to in the title, the project took shape in the early part of 2025, in the shorter days and dark evenings of January.

The initial challenge was to knock a basic track into shape each evening after work, then refine it later. There's a melancholy in the air in late winter, compounded by the creeping threat of national and geopolitical instability. Ulla, Natural Information Society, Jabu, Torso and Dawuna formed some of the background soundtrack as each tune took shape.

The track titles came after sitting with the sounds for a while, giving shape to images of people, creatures and their stories for a book that is yet to be written.

Two former friends sets the tone for the album perfectly as a minimal electronic piece with a slowly simmering synth bassline underpinning the groove whilst the trademark Awkward sound of the Shahi Baaja enters drenched in effects. It's the first demonstration of Chris' unique ability to create a world from apparently very little.

Dance of the silver beetles is completely unique in that we can hear chopped up Illimba samples seemingly playing backwards and forewords sometimes alone, sometimes together in duet with Chris' conga rhythms. Add to that a more conventional Illimba melody and added shaker percussion and you have one of A book of imaginary beings most curious chapters.

Anxious shadow puppets is closer to the Awkward Corners sound from previous albums as electronic pulses move around the arrangement with the urgency that the track title suggests. Chris' percussive roots move to the fore with the congas that tie down the Paradise Bangkok Molam International Band's sound. Here, the bassline is more playful and works together with one of Chris' many African Illimbas.

Fans of Chris' adventures on his Roland 808 will dig A leopard with no spots, although the minimal mood continues to flow through on this track. The lolloping, but hard-hitting rhythm track provides the grounding for strange and twisting feedback-sounding tones to work the soundscape.

Abandoned boy (left in charge of the family business) is Awkward Corners at his atmospheric best. Drift off to the sublime sounds of Chris exploring the Shahi Baaja, whilst a soft, repetitive synth line and abstracted pads give the listener that feeling of meditation and peace.

Flamingo with bandaged neck is A book of imaginary beings' perfect coda and is exclusively Shahi Baaja draped in reverbs and delays. It feels like the resolution and the closing of a book that – as of yet – remains unwritten.

Awkward Corners is Chris Menist, a musician, DJ and writer. It started life as a small project in Islamabad, where Chris was living at the time. Initial recordings were made with local musicians in Pakistan and then subsequently in Thailand. This culminated in the Sweet Decay LP that came out on Finders Keepers' Disposable Music in 2014, and in turn led to a limited tape release on Boomkat/Reel Torque of original compositions and re-edits of Thai 45s the same year. Chris released – Dislocation Songs – his second LP proper with Shapes of Rhythm in May 2020, collaborating on many of the tracks with award-winning performer Sarathy Korwar. The LP was picked up by many radio stations including NTS, Resonance FM, BBC 6 Music, Balamii and many more. It made Tom Ravenscroft's LPs of 2020. Amateur Dramatics, Chris' second LP arrived just a year later in 2021 and was a more ambitious project featuring more jazz-focussed compositions and featuring Tamar Osborn and Kitty Whitelaw. Shortly after that came another pivot with the heavier, dancefloor-friendly EP Somebody Somewhere. Somebody Somewhere is Dancing in a Field brought the House (yes House!) vibes, whilst Hector Plimmer turned in a remix of No Words in the same club mood.

As one of NTS Radio's longest-standing presenters, Chris continues to hold down the Paradise Bangkok show. Playing drums and percussion since he was a kid, Chris is the percussionist for The Paradise Bangkok Molam International Band as well as co-founding the record label of the same name. Chris has curated compilations for labels such as Finders Keepers, Soundway and Dust-To-Digital. He has been featured on the Boiler Room, Vinyl Factory Collections, played at the Four Tet curated Nuits Sonores festival, and has put together an edition of Volumes which featured unreleased Awkward Corners compositions.






[d] 04: All the Goodbyes (You Tried to Defer) [Original]





[j] 10: Abandoned Boy (Left in Charge of the Family Business) [Original]

Earl Sweatshirt, acclaimed rapper, producer and one of hip-hop’s most uncompromising voices, has been a defining creative force for over a decade. His lyricism and singular vision have earned him critical acclaim, a devoted global following and a Grammy nomination for his contribution to Frank Ocean’s Channel Orange. Known for pushing boundaries and reshaping underground rap, Earl continues to evolve with each release.

He now returns with Live Laugh Love, his most expansive and conceptually ambitious project to date. Rooted in themes of wellness, growth and the philosophy behind its title, the album reflects Earl’s current way of life, choosing joy while staying grounded in truth. Across 11 tracks, he folds in irony, nostalgia and sharp observation, creating a body of work that embraces life’s contradictions: joy alongside darkness, levity alongside gravity.

System Olympia presents a bold, cinematic compilation that redefines the sound of sensuality. Love Language is an
18-track double-vinyl release pressed on deluxe heavyweight black vinyl.
It’s accompanied by a provocative, limited-edition 24-page fanzine, exclusive to 18+ audiences.
This is not just a compilation, Love Language is a manifesto. A carefully curated sonic journey through eroticism, artistic rebellion,
and liberation, it spans nearly five decades of music and features exclusive edits and rare gems that illuminate System Olympia’s
radical aesthetic vision.

****
Since her emergence on the electronic underground, System Olympia has carved out a distinct, sensual sonic universe, equal parts
vulnerable and defiant. With Love Language, she presents her most audacious project to date: a compilation rooted in what she
calls The Aesthetics of Sexual Desire in Sound.

It’s a daring declaration that desire is more than a feeling - it’s a language. Across 20 tracks, including her own sultry opener “The
Heat Of The Night (feat. REINEN)” and a rare System Olympia edit of Working Men’s Club’s “Ploys”, this compilation speaks in
rhythms and textures that evoke longing, intimacy, and ecstatic release.
This is not a traditional compilation. System Olympia’s sequencing is cinematic and deliberate. Every track a scene in a film that exists
only in the listener’s imagination. From the retro-futurist seduction of Flavia Fortunato’s Italo gem “Se Tu Vuoi” to the deep, extended
tension of Musclecars’ “Running Out of Time,” each piece plays its part in an arc of anticipation, climax, and reflection.Uniting artists as diverse as Daniele Baldelli, Piero Umiliani, and DJ Rocca, Love Language refuses boundaries of genre, era, or
expectation. It dances between vintage Italo-disco, dreamy electronica, sweaty club tracks, and avant-garde jazz, forming a rich
tapestry of sound and sensation.

System Olympia explains, “This is music for lovers, outsiders, and dreamers. It's a rebellion made of velvet and
basslines.

The accompanying 24-page fanzine insert, restricted to adults, further deepens the narrative, with erotic visual fragments and
poetic texts that amplify the compilation’s raw, sensual energy. A tangible extension of the music’s spirit, the zine invites listeners to
step into Olympia’s world and engage their senses fully.

As much a provocation as it is a celebration, Love Language is a deeply personal curation and a radical act of creative freedom. It
champions eroticism as art, desire as dialogue, and music as a liberatory force.

a A1. System Olympia - The Heat Of The Night (feat. REINEN) 3:44
b A2. Flavia Fortunato - Se Tu Vuoi 3:38
c A3. See Thru Hands - Hot City 3:57
[d] A4. Daniele Baldelli, Francesca Amati - Inner Light [4:43]
[e] A5. Ruins - Sexual Desire [3:14]
[f] B1. Midnight Magic - Beam Me Up (Eli's Mix) [5:13]
[g] B2. musclecars - Running Out Of Time [5:10]
[h] B3. Working Men's Club - Ploys (System Olympia Edit) [4:56]
[i] B4. Royalty - Heart Strings [5:05]
[j] C1. Dirty Art Club - Daysleeper [3:45]
[k] C2. Admiral - Soho Girl [4:14]
[l] C3. Tom Sharkett & Raf Rundell - Where's It All Go? [3:41]
[m] C4. Gina Calabrese - Nobody Lives Forever [4:40]
[n] D1. Romolo Grano, Gianni Oddi & Edda Dell'Orso - Kilimangiaro [3:55]
[o] D2. LNDFK - Hana-bi [1:55]
[p] D3. Fitness Forever - Vederti Distante [2:47]

[a] A1. System Olympia - The Heat Of The Night (feat. REINEN) [3:44]
[b] A2. Flavia Fortunato - Se Tu Vuoi [3:38]
[c] A3. See Thru Hands - Hot City [3:57]
[d] A4. Daniele Baldelli, Francesca Amati - Inner Light [4:43]
[e] A5. Ruins - Sexual Desire [3:14]
[f] B1. Midnight Magic - Beam Me Up (Eli's Mix) [5:13]
[g] B2. musclecars - Running Out Of Time [5:10]
[h] B3. Working Men's Club - Ploys (System Olympia Edit) [4:56]
[i] B4. Royalty - Heart Strings [5:05]
[j] C1. Dirty Art Club - Daysleeper [3:45]
[k] C2. Admiral - Soho Girl [4:14]
[l] C3. Tom Sharkett & Raf Rundell - Where's It All Go? [3:41]
[m] C4. Gina Calabrese - Nobody Lives Forever [4:40]
[n] D1. Romolo Grano, Gianni Oddi & Edda Dell'Orso - Kilimangiaro [3:55]
[o] D2. LNDFK - Hana-bi [1:55]
[p] D3. Fitness Forever - Vederti Distante [2:47]

[a] A1. System Olympia - The Heat Of The Night (feat. REINEN) [3:44]
[b] A2. Flavia Fortunato - Se Tu Vuoi [3:38]
[c] A3. See Thru Hands - Hot City [3:57]
[d] A4. Daniele Baldelli, Francesca Amati - Inner Light [4:43]
[e] A5. Ruins - Sexual Desire [3:14]
[f] B1. Midnight Magic - Beam Me Up (Eli's Mix) [5:13]
[g] B2. musclecars - Running Out Of Time [5:10]
[h] B3. Working Men's Club - Ploys (System Olympia Edit) [4:56]
[i] B4. Royalty - Heart Strings [5:05]
[j] C1. Dirty Art Club - Daysleeper [3:45]
[k] C2. Admiral - Soho Girl [4:14]
[l] C3. Tom Sharkett & Raf Rundell - Where's It All Go? [3:41]
[m] C4. Gina Calabrese - Nobody Lives Forever [4:40]
[n] D1. Romolo Grano, Gianni Oddi & Edda Dell'Orso - Kilimangiaro [3:55]
[o] D2. LNDFK - Hana-bi [1:55]
[p] D3. Fitness Forever - Vederti Distante [2:47]

[a] A1. System Olympia - The Heat Of The Night (feat. REINEN) [3:44]
[b] A2. Flavia Fortunato - Se Tu Vuoi [3:38]
[c] A3. See Thru Hands - Hot City [3:57]
[d] A4. Daniele Baldelli, Francesca Amati - Inner Light [4:43]
[e] A5. Ruins - Sexual Desire [3:14]
[f] B1. Midnight Magic - Beam Me Up (Eli's Mix) [5:13]
[g] B2. musclecars - Running Out Of Time [5:10]
[h] B3. Working Men's Club - Ploys (System Olympia Edit) [4:56]
[i] B4. Royalty - Heart Strings [5:05]
[j] C1. Dirty Art Club - Daysleeper [3:45]
[k] C2. Admiral - Soho Girl [4:14]
[l] C3. Tom Sharkett & Raf Rundell - Where's It All Go? [3:41]
[m] C4. Gina Calabrese - Nobody Lives Forever [4:40]
[n] D1. Romolo Grano, Gianni Oddi & Edda Dell'Orso - Kilimangiaro [3:55]
[o] D2. LNDFK - Hana-bi [1:55]
[p] D3. Fitness Forever - Vederti Distante [2:47]

System Olympia presents a bold, cinematic compilation that redefines the sound of sensuality. Love Language is an
18-track double-vinyl release pressed on deluxe heavyweight black vinyl.
It’s accompanied by a provocative, limited-edition 24-page fanzine, exclusive to 18+ audiences.
This is not just a compilation, Love Language is a manifesto. A carefully curated sonic journey through eroticism, artistic rebellion,
and liberation, it spans nearly five decades of music and features exclusive edits and rare gems that illuminate System Olympia’s
radical aesthetic vision.

****
Since her emergence on the electronic underground, System Olympia has carved out a distinct, sensual sonic universe, equal parts
vulnerable and defiant. With Love Language, she presents her most audacious project to date: a compilation rooted in what she
calls The Aesthetics of Sexual Desire in Sound.

It’s a daring declaration that desire is more than a feeling - it’s a language. Across 20 tracks, including her own sultry opener “The
Heat Of The Night (feat. REINEN)” and a rare System Olympia edit of Working Men’s Club’s “Ploys”, this compilation speaks in
rhythms and textures that evoke longing, intimacy, and ecstatic release.
This is not a traditional compilation. System Olympia’s sequencing is cinematic and deliberate. Every track a scene in a film that exists
only in the listener’s imagination. From the retro-futurist seduction of Flavia Fortunato’s Italo gem “Se Tu Vuoi” to the deep, extended
tension of Musclecars’ “Running Out of Time,” each piece plays its part in an arc of anticipation, climax, and reflection.Uniting artists as diverse as Daniele Baldelli, Piero Umiliani, and DJ Rocca, Love Language refuses boundaries of genre, era, or
expectation. It dances between vintage Italo-disco, dreamy electronica, sweaty club tracks, and avant-garde jazz, forming a rich
tapestry of sound and sensation.

System Olympia explains, “This is music for lovers, outsiders, and dreamers. It's a rebellion made of velvet and
basslines.

The accompanying 24-page fanzine insert, restricted to adults, further deepens the narrative, with erotic visual fragments and
poetic texts that amplify the compilation’s raw, sensual energy. A tangible extension of the music’s spirit, the zine invites listeners to
step into Olympia’s world and engage their senses fully.

As much a provocation as it is a celebration, Love Language is a deeply personal curation and a radical act of creative freedom. It
champions eroticism as art, desire as dialogue, and music as a liberatory force.

a A1. System Olympia - The Heat Of The Night (feat. REINEN) 3:44
b A2. Flavia Fortunato - Se Tu Vuoi 3:38
[c] A3. See Thru Hands - Hot City [3:57]
[d] A4. Daniele Baldelli, Francesca Amati - Inner Light [4:43]
[e] A5. Ruins - Sexual Desire [3:14]
[f] B1. Midnight Magic - Beam Me Up (Eli's Mix) [5:13]
[g] B2. musclecars - Running Out Of Time [5:10]
[h] B3. Working Men's Club - Ploys (System Olympia Edit) [4:56]
[i] B4. Royalty - Heart Strings [5:05]
[j] C1. Dirty Art Club - Daysleeper [3:45]
[k] C2. Admiral - Soho Girl [4:14]
[l] C3. Tom Sharkett & Raf Rundell - Where's It All Go? [3:41]
[m] C4. Gina Calabrese - Nobody Lives Forever [4:40]
[n] D1. Romolo Grano, Gianni Oddi & Edda Dell'Orso - Kilimangiaro [3:55]
[o] D2. LNDFK - Hana-bi [1:55]
[2:47]

[a] A1. System Olympia - The Heat Of The Night (feat. REINEN) [3:44]
[b] A2. Flavia Fortunato - Se Tu Vuoi [3:38]
[c] A3. See Thru Hands - Hot City [3:57]
[d] A4. Daniele Baldelli, Francesca Amati - Inner Light [4:43]
[e] A5. Ruins - Sexual Desire [3:14]
[f] B1. Midnight Magic - Beam Me Up (Eli's Mix) [5:13]
[g] B2. musclecars - Running Out Of Time [5:10]
[h] B3. Working Men's Club - Ploys (System Olympia Edit) [4:56]
[i] B4. Royalty - Heart Strings [5:05]
[j] C1. Dirty Art Club - Daysleeper [3:45]
[k] C2. Admiral - Soho Girl [4:14]
[l] C3. Tom Sharkett & Raf Rundell - Where's It All Go? [3:41]
[m] C4. Gina Calabrese - Nobody Lives Forever [4:40]
[n] D1. Romolo Grano, Gianni Oddi & Edda Dell'Orso - Kilimangiaro [3:55]
[o] D2. LNDFK - Hana-bi [1:55]
[2:47]

A record born of insurmountable joy and simultaneous profound loss; World Maker marks a time of great change for Psychonaut, both personally and musically, as the band burn away the philosophical narrative complexities of previous offerings with a searing, panoramic clarity that implores us to savour the beauty of the now as a means of leaving a legacy for the future. The traditional, three-piece line up of Belgian, psychedelic post-metal collective Psychonaut has long belied the compositional prowess, captivating narrative depth and crushing live presence of a band now operating at the forefront of forward-thinking, contemporary heavy music. Having sent a shockwave through the post-metal and prog scenes with their three times repressed Pelagic Records debut Unfold The God Man in 2020 before following it up with the transformative metaphysical complexities of 2022's Violate Consensus Reality, Psychonaut have played prestigious Belgian open-air festivals like Alcatraz, Rock Herk and Boomtown Festival as well as boutique events such as Soulcrusher, Roadburn Redux and A Colossal Weekend whilst sharing stages across Europe with the likes of Amenra, Brutus and Pelagic labelmates The Ocean and PG.Lost. The seed of World Maker took shape just as the campaign for Violate Consensus Reality came to a close, with the news that guitarist/vocalist Stefan De Graef was to become a father. This tilting of life's axis led De Graef, like most fathers-to-be, to re-assess what was really important. As such, the music he was inspired to write felt free of the band's previous philosophical and spiritual foundations and instead took the form of life lessons for his unborn son, a legacy of love in case something were ever to happen. This hopeful euphoria shines keenly throughout World Maker as an uncharacteristically optimistic warmth; from the reverberating Rhodes organ on the titular opening track and the meandering, free-jazz inspired guitar solo that introduces `Everything Else is Just The Weather' to elements of world music, electronica and the otherworldly voice of Dutch multi-instrumentalist and old friend Anthe Huybrechts (Anthe/Helion Creek) most notably on tracks like `Origins' which also features tabla, a pair of indian hand drums, as its propulsive heartbeat. Whilst Psychonaut's giant riffs, punishing polyrhythms and guttural vocal rage are more resplendent than ever, there is a wider dynamic spectrum to World Maker that sees the band proudly exploring their more delicate, intimate extremes as well as their most aggressive and abrasive. Not long after the birth of De Graef's son came the devastating news that both his own father and Psychonaut bassist/vocalist Thomas Michiels' father had been diagnosed with advanced cancers. Living day-to-day and torn between joy and grief, the band found themselves shedding the grand scope and world-shattering agenda of Violate Consensus Reality to focus on the here and now. Lead single `Endless Currents', the first full track on the album, explodes in a barrage of staccato guitar tapping but mellows to let the powerful, newly pared back lyrics ring out as a call to embrace the flow and follow joy. The song's final few words `Lead the way. / Soar. / Everlong.' double as both a greeting and a goodbye as the trio build their formidable post-metal might to a thunderous breaking point. Similarly, the pulsing, propellant `Stargazer', named so for De Graef's son being born in stargazer position, pairs delicate guitar motifs and folk-inflected optimism with huge and sprawling breakdowns as some of the band's most genre-pushing work to date; asking difficult but important questions of what happens next. It is `And You Came With Searing Light' though that most immediately exemplifies Psychonaut's redirected ambition on World Maker, as euphoria collides with blinding fury. The first track written for the album, `_Searing Light' is easily the most complex and initially wouldn't sound out of place on Violate Consensus Reality. Originally meant to be the new album's opening track; the decision to defer its impact, not to mention its compositional and dynamic gravity, speaks of a fundamental change to the band's very core. The words "Discover the world with wide eyes" recurring throughout speak as much to those having lost a part of their world as they do to those seeing it for the first time. Amidst such turbulent times, the band found strength and support within their Post-Metal community. The album was recorded and produced by the band alongside their longtime collaborator and close friend Chiaran Verheyden (Hippotraktor) with help and advice from Psychonaut's live engineer Victor, who will no doubt make this album sound just as awesome on stage. Even the artwork for World Maker was a family affair, being designed by close friend Sam Coussens of Belgian cosmic sludge metallers Pothamus. In the face of life's soaring highs and desolate lows, World Maker is direct and brave without sacrificing any of Psychonaut's raw power, creative innovation or inimitable musical depth. Where their previous full-length offerings have charted grand introspective courses through time and space, World Maker is breathtaking in its uncompromising clarity: a father singing to his newborn son as a son bids his own father farewell. FOR FANS OF Mastodon, Russian Circles, Tool, Gojira, The Ocean, Pelican, Hypno5e, Cult Of Luna, Amenra