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SOEN - the Swedish progressive metal powerhouse spearheaded by Joel Ekelöf (vocals) and Martin Lopez (drums) - continue to find incredible new pathways into the spatial areas between light and dark, loud and calm, heavy and soothing. And with its seamless march across deeply human emotional terrain, their forthcoming 7th studio album Reliance, SOEN continues to explore the human mind, heart, and soul with a visionary duty of care, plus an extra edge of heavy. With Lars Enok Åhlund (keyboards & guitar), Cody Lee Ford (guitar), and Stefan Stenberg (bass) standing shoulder to shoulder with Ekelöf and Lopez, the lush continual evolution of SOEN’s sound soars. Take “Primal”, a barrel-chested roar detailing the existential fight between the human spirit and our current world, Ekelöf’s incredible vocals leading the heavy charge. “Axis” is a resolute and defiant look into where humanity sits, propelled by Lopez’s relentless yet swinging drums, and then there’s the serene elegance of “Indifferent” a beautifully orchestrated modern lament on the loss of love which rides resolutely on the power of strings, piano, and Ekelöf’s marvellous voice. With Reliance, SOEN continue their extraordinarily raw and earnest lifetime exploration of the mental and physical boundaries which challenge humankind as it writhes and wrestles with itself in these challenging times. Thoughtful, provocative, beautiful and brutal, Reliance is a journey you need to take.

SOEN - the Swedish progressive metal powerhouse spearheaded by Joel Ekelöf (vocals) and Martin Lopez (drums) - continue to find incredible new pathways into the spatial areas between light and dark, loud and calm, heavy and soothing. And with its seamless march across deeply human emotional terrain, their forthcoming 7th studio album Reliance, SOEN continues to explore the human mind, heart, and soul with a visionary duty of care, plus an extra edge of heavy. With Lars Enok Åhlund (keyboards & guitar), Cody Lee Ford (guitar), and Stefan Stenberg (bass) standing shoulder to shoulder with Ekelöf and Lopez, the lush continual evolution of SOEN’s sound soars. Take “Primal”, a barrel-chested roar detailing the existential fight between the human spirit and our current world, Ekelöf’s incredible vocals leading the heavy charge. “Axis” is a resolute and defiant look into where humanity sits, propelled by Lopez’s relentless yet swinging drums, and then there’s the serene elegance of “Indifferent” a beautifully orchestrated modern lament on the loss of love which rides resolutely on the power of strings, piano, and Ekelöf’s marvellous voice. With Reliance, SOEN continue their extraordinarily raw and earnest lifetime exploration of the mental and physical boundaries which challenge humankind as it writhes and wrestles with itself in these challenging times. Thoughtful, provocative, beautiful and brutal, Reliance is a journey you need to take.

Brussels-based accordionist Suzan Peeters releases her debut album Cassotto on the Belgian label blickwinkel. With Cassotto, she opens a door into a hidden chamber of sound. The title refers to the “cassotto” — a small resonating chamber inside the accordion that warms, softens, and deepens its tone. Listening to this record feels as if you’ve stepped into that room yourself, enveloped in a world where intimacy and grandeur collide.

Although this is her first release, Peeters is already recognised as one of the most promising names in Belgium’s experimental music scene. Her distinctive live shows — from leading venues across Belgium to a packed Café Oto in London — have earned her a reputation for combining accordion, electronics and unconventional objects such as a massage board into a compelling whole where contrasts come together in an unexpected way. Cassotto captures this approach in recorded form, giving listeners the same sense of immediacy as her concerts, but framed within the intimate space suggested by the album’s title.

While the cassotto chamber naturally gives the accordion a soft and velvety voice, Peeters harnesses that warmth to explore extremes — from hushed detail to bold, expansive gestures that fill the room. As such, the album moves between the acoustic and the electronic, the tender and the abrasive, the static and the dynamic, the traditional and the experimental.

With Cassotto, Suzan Peeters presents a debut that places the accordion at the centre of an adventurous and contemporary sound world — one that invites to discover how far an accordion can reach when tradition and imagination intertwine.

Suzan Peeters (*1999) is a Belgian accordionist, composer, and experimentalist. She is constantly looking for new timbres and sound textures within the accordion, pushing its acoustic spectrum to its limits by manipulating the interplay between her body and the body of her instrument.
Suzan studied classical accordion at KASK & Conservatorium in Ghent and at the Royal Danish Academy of Music in Copenhagen. She is currently studying Live Electronics at the Royal Conservatory of Brussels.

love is everyday magic. That's the impression you get listening to Water, the new album by Chicago trio Dehd. Veterans of Chicago's increasingly fruitful DIY scene Jason Balla ( Ne-Hi and Earring) Emily Kempf (Vail and formerly with Lala Lala) and drummer Eric McGrady share a strange and inexplicable chemistry. The music is hazy and reverb-drenched, a scuzzy and hyped-up take on surf rock that could only come from the Third Coast. It's all animated by the red-lining feel-good spirit of the Velvet Underground's Loaded and the breezy melodicism of C86-era indie rock, with a dash of the Cramps' spooky-hop bop courtesy of McGrady's locomotive drumming.It's a clear-eyed look at the wild nature of everyday life that's been spun up in sugary sweet melodies and scratched-crystal sounds. More than anything, it's the embodiment of Dehd's m.o. from the start: As Kempf puts it, "Work with what you have and make it magical."

The Germany-based band Rikas' new album, "Soundtrack For A Movie That Has Not Been Written Yet," promises to be their most cohesive and contemplative project to date

Comprising 11 brisk yet beautiful tracks, the album showcases the band's tight tempos and mellow delivery. "We started this record just to have fun. It's not been that easy, because so much change has happened," guitarist and keyboardist Sascha Scherer reflects. "We've had to learn to adapt... This record is more inward-looking. We were reflecting. " Scherer further explains, "I think a lot of bands have trouble staying still. When you stop touring and moving to a new city each day, you feel lost. I feel like our new album is capturing that feeling of go, go, go." This feeling of inertia contains layers: there's a sense of restlessness, but also brotherhood and camaraderie-- feelings Rikas aim to depict in each of the album's videos. "For our sophomore album, we wanted to create a very homogeneous one," Scherer continues. "Which was not easy to achieve because we have made the experience that throughout all of our records every song differs from each other. We have four songwriters who happen to be also multi-instrumentalists in our band, and that's why we don't have to put much effort into diverse record making. Instead, we had to put pressure on ourselves to make something consistent. But we also didn't want to make every song sound the same. So the concept of the album lays in its topics."The songs for "Soundtrack For A Movie That Has Not Been Written Yet" were written over the past year, adapting and shaping old snippets and ideas, as well as creating songs completely from scratch. "For some reason, when we started writing and listening back to the songs, they all shared a similar feeling of cruising, traveling, being in motion," Scherer says. "This wasn't intentional at first, but felt more and more suiting as we proceeded with the writing. We found we'd enjoy the songs most while driving in our van, looking out the window, seeing the landscapes passing by. This has something very meditating to itself already, amplified even more by a suiting soundtrack. This is the soundtrack we tried to write. The album in its entirety is supposed to feel warm, hugging, like 'being bedded in cotton.'" For the visual content of the album, the band decided to travel to San Remo, northern Italy, to capture some of the late November sun. "In a way, you could say we tried to film the first part of the movie whose soundtrack we had just written," Scherer concludes. "Soundtrack For A Movie That Has Not Been Written Yet" is a testament to Rikas' ability to adapt and reflect on their journey, offering listeners a meditative and immersive experience that captures the essence of being in motion.

In the summer of 2021, Brighton-based, Scottish-Thai songwriter Helen Ganya's grandmother passed away

The grief hit the artist hard, not only because it marked the loss of her last remaining grandparent, but also because it felt like her links to being half- Thai were disintegrating, roots quaking and shifting in uncharted territories. Ganya grew up in Singapore, but spent her summers in the northeast of Thailand where her mum's side of the family is from, visiting her grandmother. Where would all those memories go now that the person at the centre of them was gone? What was her relationship to this place without that glue? And so, in an attempt to process it all, Ganya began to write. "I got my diary and wrote every single memory of my time as a child in Thailand, spending time with her, my grandad, my aunts and cousins and everything," she explains, "I had these snapshots of memories that I just wrote down because I just suddenly panicked: it was like, who am I, then?" It was for this reason that, while Helen Ganya was waiting for her acclaimed 2022 album, polish the machine, to come out, she was already working on what would become her arresting new record, Share Your Care. Ganya has been releasing music since 2015 (formerly under the moniker Dog in the Snow). In the records she's put out over the years, she's shown a proclivity towards dark and artful rock and off- kilter sounds, garnering praise from the likes of the Sunday Times, Uncut, Clash, Loud & Quiet and more. But Share Your Caremarks a new era, building on Ganya's past sonic worlds and interspersing them with traditional Thai instrumentation, resulting in a plush, luminous, psych-tinged affair that is full of feeling. The result is a triumphant, abundant record, teeming with heart and cinematic warmth.

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.

Stank In Here
Have no fear, the stank is here! Temu & Mofak are bringing it with their new single “Stank In Here”. Serving as a long-awaited follow-up to their first collaboration back in 2015, “On the Come Up”, the duo returns with an even smoother, soulful yet futuristic dance smash meticulously composed by Mofak for people of all ages to enjoy. Meanwhile, Temu addresses the listeners directly with a message of love and togetherness while echoing back to the era of EWF, Kool & The Gang, Zapp & Roger, and The Gap Band.

Heralds of the Stank
Temu is back on the scene with his new solo single “Heralds Of The Stank”. Temu recalls the first moments when the stank hit him personally and credits the ones who introduced him as its heralds — his parents — in an infectious funky tribute song. (Ever heard something so good it made you frown and pucker your lips while nodding your head? That’s the stank face!) Standing ten toes firm on his Funk roots, Temu both lyrically and musically draws inspiration from George Clinton, Sly & the Family Stone, Jackson 5, Prince, and James Brown. Be on the lookout for his upcoming album titled “HERALDS”.

James Brown wants to know one thing before he and his band begin Sex Machine. “Can I get into the thing, really?,” he asks. His cohorts enthusiastically respond in the affirmative. And for the next hour and change, Mr. Dynamite gets into it and more, turning in a sweat-soaked, feet-moving, hip-swiveling, emotion-purging, in-the-red, drop-everything-you’re-doing-and-dance performance for the ages. Ranked by Rolling Stone among the 500 Greatest Albums of All Time, the sweeping 1970 effort towers as a testament to Brown’s inimitable legacy as well as the peak powers of his voice, vibrancy, and bands.

Sourced from the original master tapes, pressed at Fidelity Record Pressing, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s numbered-edition 180g 33RPM 2LP set presents Sex Machine in audiophile sound for the first time. It explodes with the energy the lightning-strike music demands. Dynamic, immediate, present, airy: Everything from the brassiness and fluidity of the horns to the snap and decay of the snare to the swell and carry of the organ comes across in full-range perspective.

Then there’s Brown’s superhuman singing, which here emerges with a purity, naturalism, and transparency that ensure you feel everything. Screeching, shouting, pleading, moaning, preaching, stinging, commanding, testifying, crooning, humming: The Godfather of Soul contributes one of the finest vocal performances known to man. This definitive 55th anniversary reissue of Brown’s monster funk statement further exhibits a combination of clarity, solidity, separation, and imaging that helps bring to light what he and his crack ensembles committed to tape. Both in the studio and on the stage.

Just how lifelike does this reissue sound? Senior Mobile Fidelity Sound Lab engineer Krieg Wunderlich, who handled the remaster, notes: “There were some artifacts that sounded a bit like mistracking. But they turned out to be breath blasts on the vocal microphone. That is part of history. JB was workin' hard, and breathin' hard. And there was an edit the timing of that was truly strange. Again, a part of history.”

Originally marketed as a live album, Sex Machine contains six songs recorded in the studio and later overdubbed with canned crowd noise and reverberation. Save for “Low Down Popcorn,” the tracks on the latter half stem from a phenomenal performance captured in October 1969 at Bell Auditorium in Brown’s adopted hometown of Augusta, GA. The special relationship between the singer, the audience, and the location is palpable.

As the 1960s gave way to a new decade, Brown experienced immense success and dealt with unexpected change. Soul Brother Number One soon expanded his idea for an official live album captured in Augusta when the ensemble that backed him on that date morphed into the original version of the world-famous J.B.’s just months after the show. The virtuosic abilities, sticky chemistry, and rhythm-forward nature of the J.B.’s prompted him to book a one-off session in Cincinnati, OH, on a late July night.

Anchored by brothers William “Bootsy” Collins and Phelps “Catfish” Collins, the group — as well as two different drummers — laid down a nearly 11-minute rendition of “Get Up I Feel Like Being Like a Sex Machine” and a thrilling medley of “Bewildered,” “I Got the Feeling,” and “Give It Up or Turnit a Loose.” A pair of then-recent studio singles cut in separate locations in 1969, “Brother Rapp” and “Low Down Popcorn,” each featuring his prior group, took care of the second LP worth of material that complements the originally planned live set.

Complicated? Somewhat. Unusual? Definitely. But just as he elevated the expectations for all present and future R&B artists, Brown not only makes it all work. He makes it positively electrifying.

“Get Up I Feel Like Being Like a Sex Machine” is alone deserving of a dissertation on the art of funk music, seeing it moves up and down akin to an oil derrick, witnesses Brown unleashing a trademark series of grunts, squeaks, and “good god” asides, and glides to a hypnotic groove that won’t quit. Or look to the syncopated rhythms of “Brother Rapp (Part I and Part II),” one of multiple pieces here that signify the point where Brown began viewing every instrument as a percussive tool. Brown closes the three-song medley with his new band with a skedaddling “Give It Up or Turnit a Loose,” which provides jolts on the order of sticking your finger into a socket.

Not that the actual live material falls short in any way. Setting an insistent tempo for the vitality that follows, “I Don’t Want Nobody to Give Me Nothing” positions Brown as a role model, leader, and self-sufficient entrepreneur. All simmer and boil, the short and sweet “Licking Stick” dares you to keep pace. The floating, almost comforting “Spinning Wheel” spotlights the instrumental prowess of Maceo Parker and company, and functions as a seamless segue into the tender, horn-saluted “If I Ruled the World.”

And Brown and his mates still aren’t done. Just try to resist the one-two closing punch of “I Can’t Stand Myself (When You Touch Me)” and “Mother Popcorn.” Mercy.

Ain’t it funky? Sure ‘nuff.

Chaos is fundamental for creating something powerful. It teaches us to be at ease with how things are, to listen to ourselves, and find our own order’. (Enrico Sangiuliano)

Pioneering, avant garde yet chart-storming sound designer/producer/live performer Enrico Sangiuliano drops EP ‘Order In Chaos’ as release #1 in his self-destructing countdown imprint ‘NINETOZERO’, out 20th November. The EP’s three tracks respectively represent a triptych of sound exploring tension, release, and dissolution, with violinist and composer Vito Gatto joining Italian techno/melodic maestro Sangiuliano for tracks 1 and 3. The EP blends electronic, classical and electro-acoustic genres, resulting in a fresh, unique product that defies typical techno expectation, as Sangiuliano and Gatto explore the concept of disorder as a creative playground.

‘With this chapter, we dive into chaos – something that can be uncomfortable, but is the place in which you can find unexpected or new ideas. Chaos is fundamental for creating something powerful. It teaches us to be at ease with how things are, to listen to ourselves, and find our own order’. (Sangiuliano)

The ‘Order In Chaos’ EP continues a momentous year for Enrico Sangiuliano, and heralds his upcoming all-night-long SOLO show at Nitsa in Barcelona (Nov 28th, tickets here). His highly acclaimed NINETOZERO label has also previously featured Charlotte de Witte, Antonio d’Africa, Mattia Saviolo, GMS, Alex Lentini, STOMP BOXX, Zimmz, Secret Cinema and About Sofiya.

Vito Gatto is a Milan-based violinist, composer and sound explorer. He is the founder of label/collective NeMu (‘Neutral Mutation’) producing Italian projects at the interface of electronic and organic sound. His self-description as ‘Making sounds, looking for silence’ makes him the perfect collab partner for ‘Order In Chaos’, which ‘embraces the paradox: chaos births order, and order dissolves back into chaos.’

‘Whilst classically trained, I have always been fascinated by the world of electronic music, in all its expressive forms’ Gatto says. ‘I use real instruments and natural sound sources processing them through electronics to enhance their unpredictability, always remembering that the core of music - whether classical or electronic - is communication and storytelling. This philosophy guided our creative synthesis on this release.’

The collaborative workflow combined remote and in-person studio work over roughly a year, culminating in these three key tracks reflecting different musical and conceptual layers.

‘Order In Chaos’ EP tracks:
Enrico Sangiuliano & Vito Gatto ‘Adaptation for Strings and 909’: A cinematic overture built from the raw intimacy of Vito Gatto’s violin, processed and layered with unquantized 909 drums. Out of grid, out of rules. Drama and turbulence surge until thunderous kicks strike like sudden storms. ‘This track symbolises both of us. Vito sent the strings, I added the iconic Roland 909. It has no structure and no grid, the arrangement is not precise, it’s a very pure track and a great example of disorder and freedom.’
Enrico Sangiuliano ‘Order in Chaos’: The title track is a pure techno weapon and dancefloor igniter: rolling, stripped, euphoric. A shape-shifting lead synth constantly mutates, flirting with disorder until the kick restores gravity. Chaos becomes dancefloor order.
Enrico Sangiuliano & Vito Gatto ‘Dissolution’: The closing moment. Strings and drums dissolve into a weightless drone. Beatless and infinite, it invites surrender into space. ‘This cinematic track slowly melts ‘Order in Chaos’, adding processed organic sounds and field recordings from the mountains.. coming back to nature, and silence.’ (Gatto).

Still #0 to go in the NINETOZERO countdown… And then what? With Sangiuliano, it’ll be something unexpected and brilliantly innovative.

Long regarded as singular architects within European post-rock, EF have built a catalogue defined by dynamic patience, melodic clarity, and widescreen emotional reach. Across two decades of touring, the Gothenburg ensemble have carried that language to clubs and theatres at home and abroad, earning a reputation for meticulous, high-impact live shows and a body of work that has steadily gathered critical regard and a devoted international following. Reimagined and with expanded production including strings and brass, this edition is a considered re-engagement with the material that first crystallised EF's voice. The band returns to thesesongs with the benefit of twenty years' craft, presenting new arrangements that stretch time and deepen narrative, while retaining the quiet-to-catharsis arc that has always set their music apart. "Since it's our precious first born we wanted to give it the love it surely deserves. We felt we didn't want to celebrate its big 20th birthday by just remastering it and we surely didn't want to make the songs too modern and unrecognisable for the old fans. We wanted to give it a tighter, more dramatic and bombastic make over_ a gentle touch of today's EF." (Niklas Åström) Originally released in 2006, `Give Me Beauty_ or Give Me Death!' introduced EF's signature blend of cinematic guitars, patient dynamics and aching melody. For this new edition, along with an incredible cover illustration by Phillip Janta and brand-new bonus track `Noll', the band returned to the material with fresh ears and clear intentions: to open more space in the arrangements and to enrich the melodic lines with orchestral colour. `Give Me Beauty_ or Give Me Death!' (20th-Anniversary Edition) is a document of growth rendered with care: more instrumentation, more time, more consequence. The album is an act of stewardship_ both a homage and a forward-looking manifesto for EF and for discerning listeners everywhere. FOR FANS OF Explosions in the Sky, Mogwai, Caspian, Gospeed You! Black Emperor, Yndi Halda, Mono Black or White Double Vinyl, Digisleeve Single CD. Includes bonustrack Noll.

Long regarded as singular architects within European post-rock, EF have built a catalogue defined by dynamic patience, melodic clarity, and widescreen emotional reach. Across two decades of touring, the Gothenburg ensemble have carried that language to clubs and theatres at home and abroad, earning a reputation for meticulous, high-impact live shows and a body of work that has steadily gathered critical regard and a devoted international following. Reimagined and with expanded production including strings and brass, this edition is a considered re-engagement with the material that first crystallised EF's voice. The band returns to these songs with the benefit of twenty years' craft, presenting new arrangements that stretch time and deepen narrative, while retaining the quiet-to-catharsis arc that has always set their music apart. "Since it's our precious first born we wanted to give it the love it surely deserves. We felt we didn't want to celebrate its big 20th birthday by just remastering it and we surely didn't want to make the songs too modern and unrecognisable for the old fans. We wanted to give it a tighter, more dramatic and bombastic make over_ a gentle touch of today's EF." (Niklas Åström) Originally released in 2006, `Give Me Beauty_ or Give Me Death!' introduced EF's signature blend of cinematic guitars, patient dynamics and aching melody. For this new edition, along with an incredible cover illustration by Phillip Janta and brand-new bonus track `Noll', the band returned to the material with fresh ears and clear intentions: to open more space in the arrangements and to enrich the melodic lines with orchestral colour. `Give Me Beauty_ or Give Me Death!' (20th-Anniversary Edition) is a document of growth rendered with care: more instrumentation, more time, more consequence. The album is an act of stewardship_ both a homage and a forward-looking manifesto for EF and for discerning listeners everywhere. FOR FANS OF Explosions in the Sky, Mogwai, Caspian, Gospeed You! Black Emperor, Yndi Halda, Mono Black or White Double Vinyl, Digisleeve Single CD. Includes bonustrack Noll.

Will Dorey (aka Skinshape) and Ben Bell founded Horus Records in 2013, driven by a shared passion for vintage Jamaican music. Originally launched as a reissue label focusing on rare and hard-to-find reggae gems, Horus has since evolved into a space for original studio productions rooted in the rich traditions of 60s and 70s Jamaican reggae and dub.

Lifelong collaborators and friends, Will and Ben have been making music together for over two decades. Their deep connection to the genre has led to long-standing relationships with many of reggae’s most respected musicians, several of whom contribute to their latest studio album. This new release is a fully analogue reggae/dub studio album, showcasing the duo’s production craft and featuring guest vocalists Andy Platts, Modou Touré, and Winston Reedy. Blending classic influences with fresh interpretations, the album includes original compositions alongside inspired covers, such as a distinctive reggae reworking of the Interstellar theme tune.

Outside of the studio, Ben Bell is co-owner of Lion Vibes Record Shop, one of London's leading reggae specialists, while Skinshape continues to push sonic boundaries from the same studio, known for his unique cross-genre productions spanning funk, psych, soul, and more.

Sierra Levesque is a 20-year-old, award-winning singer, songwriter, and multi-instrumentalist who is rapidly establishing herself as one of rock’s most
exciting rising stars. Gen Z’s Most Ambitious New Guitarist” and named among “10 Young Shredders Shaping Rock and Metal Today,” Sierra Levesque has also been prominently and in Guitar World Magazine, which declares she “stakes a claim as the future of rock ’n’ roll.” Her sound is a fusion of pop, rock, and metal,
drawing inspiration from legendary artists such as Avril Lavigne, Heart, Joan Jett, and Scorpions.

With a rapidly expanding global fanbase, Sierra has
amassed over 2 million Spotify streams, 450,000+ music video views, and 250,000+ social media followers. Sierra’s growing list of accolades includes winning four MyFM Spirit Awards for “Best Local Musician,” being a finalist for 'Artist of the Year' at the 2024 Ottawa Awards, earning a nomination for 'Song of the Year' at the 2025 Ottawa Awards, and receiving the prestigious King Charles III Coronation Medal for her outstanding contributions to the arts. Sierra Levesque’s debut album NEW GENERATION delivers 13 original, self-recorded tracks that blend powerful guitar riffs, evocative storytelling, and rebellious energy—establishing her as one of the most exciting young artists shaping the future of rock.

Following the release of the 7-inch "La Tua Amica Più Cara / Corteggiamento Lento" last September, Marengo is thrilled to announce Lumiero's debut LP, Il Primo Grande Disco Di Lumiero. Distributed by Four Flies Records, the album will be available starting Friday 5 December.

Featuring a timeless voice and a sophisticated touch, Lumiero sends poetic postcards from Milan and its Barona district that expertly blend auteur pop, chanson, and 60s exotica. Born in '97, Lumiero is the city's new chansonnier. Drawing inspiration from both the core and fringes of Milanese life, he offers a romantic, nuanced, yet playfully irreverent look at contemporary Italy and its profound longing for new horizons.

Marquis's compositions and arrangements provide the perfect backdrop for Lumiero's captivating melodies, acting as both canvas and frame. Meanwhile, the lyrics explore passionate romances, fleeting summer escapades, and a nation striving to reconnect with its core identity.

Moving between exotic waltzes and theatrical atmospheres, Lumiero's full-length debut is imbued with lightheartedness, underpinned by elegant songwriting and vocals that combine irony and melancholy. Living fully in the present but rooted in tradition, the album's tracks are little musical gems that bridge eras and generations, infusing the classic style of Italian songs with a modern, elegant, and cinematic quality.

And so, as time comes full circle, we find ourselves at a new beginning.

(What’s The Story) Morning Glory? Deluxe 30th Anniversary Edition featuring newly unplugged versions of five classic tracks ‘Cast No Shadow’, ‘Morning Glory’, ‘Wonderwall’, ‘Acquiesce’ and ‘Champagne Supernova’, all newly mixed by Noel Gallagher. Available on limited edition 2CD and 3LP formats plus exclusive coloured vinyl including Amazon Exclusive ‘Wonderwall’ inspired sepia marble 3LP, Indie Exclusive 'Cast No Shadow' Inspired Crystal Clear 3LP, and HMV Exclusive 'Morning Glory' Inspired Blue Marble 3LP. All formats will include the 2014 remastered version of the album alongside the new bonus versions.

“Stornoway’s best work yet: big music, which deserves the largest stage.”★★★★★ – The Guardian


Lauded on release as Stornoway’s most expansive and confident work, Bonxie remains a hymn to connection, ecology, and the beauty of life. This expanded edition includes previously unreleased B-side tracks from the original recording sessions, new liner notes from each member of the band, and some of their well-known unplucked versions of tracks on the album.


Bonxie is Stornoway’s boldest and most outward-looking record, an album infused with a sense of wonder for the natural world and humanity’s place within it. Produced by Gil Norton (Pixies, Foo Fighters, Twin Atlantic), and a contribution from Craig Potter (Elbow), the songs carry field recordings of birds (20 species appear across the album), weaving them into melodies that soar like the great skua (or “bonxie”) that gives the record its name.


Stornoway will be playing a very special show at the Royal Albert Hall on 30th March 2026.

With great albums you can enjoy them many times and still hear new things. So how about when a great album is re-imagined and you can hear even more new twists? Chris Pope has taken the classic 1980 album by The Chords and taken a new slant on the amazing songs he wrote on it which will see the album in a new light. When re- working older songs in your back catalogue you musn't miss any of the energy and swagger that made the songs so exciting to hear the first time around and Chris, along with the other members of the band: Sandy Michie on guitar, Mic Stoner on bass and Ken Cooper on drums, have brought a new power to the songs that energised a Fred Perry wearing movement in '79 and '80. Enjoy this album and the clever way it looks at each moment on that record and a few other choice cuts

When Leng Records founders Paul ‘Mudd’ Murphy and Simon Purnell marked the imprint’s 10th birthday, they did so via a celebratory compilation that mixed classic catalogue cuts, remixes and exclusives. Five years on, and with the label’s 15th birthday upon us, they’ve decided to look to the future via a compilation made up entirely of fresh productions from Leng’s roster of current and new artists. Presented on limited-edition gatefold double vinyl with a bonus 10” single, the collection offers an updated showcase of Leng’s much-loved trademark sound, a distinctive fusion of mid-tempo sleazy-disco, Balearica and chugging house interspersed with elements of electronic psychedelia and synth-powered space disco. Fittingly for a compilation that wholeheartedly looks to the future, you’ll find first contributions from a handful of label newcomers.

Fast-rising duo Flying Mojito Bros give their spin on ‘Smoke Signals’ by label debutants Joe HarveyWhyte and Bobby Lee, turning in a heady and inspired revision that sits somewhere between dusk-ready cosmic disco and flash-fried desert blues. There’s also an appearance from Swedish producer Bo Wosticz with the dreamy and ultra-deep nu-jazz of ‘Bs As’. Naturally, you’ll also find plenty of heat from those who have already proved their mettle through prior releases on Leng. Danish duo Liminal, who made their debut earlier this year with the much-played ‘Keep Coming Back To Me’, open proceedings with the tactile, slow-disco flex of ‘Tzatziki Bay’ where sweet synth melodies and a heady electric piano riff ride a warming groove.

Roberto Intrallazzi and Dario Piana from Italy’s original Afro-cosmic movement return with ‘Plutos’, a typically deep dubbed-out cosmic chugger. Then there’s Rose Robinson AKA Tigerbalm, whose ‘Mexicana’ featuring singer Joi N’Juno is presented across the package in two different forms. Pete Herbert, who contributed to some of the earliest Leng releases, drops a driving dub disco take on the main compilation, while Robinson’s original mix – a more organic, percussive and horn-heavy affair blessed with plenty of hallucinatory intent – opens the bonus 10”.

There’s a welcome return to Leng for the brilliant Payfone, whose ‘Dime Algo’ is a typically classy, analogue-rich affair in which attractive Rhodes riffs, atmospheric female vocals and pitched-down house pianos rise above shuffling drum machine beats and a slow-motion bassline. Long-serving label contributor Lex (Athens) delivers the loose-limbed nu-disco breeze of ‘Stolen Dance’, while the imprint’s San Francisco connection – the ever-brilliant 40 Thieves collective – drop the dubbed-out Bay Area brilliance of ‘Such A Great Trip’.

Then there are the contributions of the label’s most storied artist, Andrew Meecham AKA Emperor Machine with ‘Eumig’, a deliciously slow, synth-rich chugger full of colourful chords, bubbly electronic melodies and jaunty electronic bass. Then, to round off the bonus 10” single, Meecham joins forces with Paul Murphy (as Mudd) on ‘Road To Nikko’, an extended, Japanese musical culture-influenced slab of pitched-down alien-funk packed to the rafters with squelchy synth sounds, effects-laden percussion, chiming melodies and rubbery bass guitar.

On his new cassette album Neuer Almanach, Felix-Florian Tödtloff creates a reflective narrative of electronic ambience, flowing guitar renderings and field recording observations. All created in Spain, Germany, Georgia and France, these pieces are filled with pondering musical intent without the need for borders.