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A time in passing, a time of note. A release created in a moment of profound fondness, within a studio front of memory. A detour delivered to and released on Entered Records via the Zodiacs way of life. Jesse You is here to create the doorway of sound via his 4 tracks of driving psycho players.

Opening the release with Violet Expander a track driven with keys of suspense and basslines for the feet. Rudolf C’s V.E mechanical overhaul remix then hits with the peak funk head melt.

On the Bs a deeper journey tact is delivered through Sorti. A similar drive and suspense yet with a delicate melodic role. Final track Planet Malfunction is exactly that, a wobbly circular loop double backing on itself for the collision of sound, ultimately that malfunction.

A release that takes you on the detour you didn’t know was coming.

BIT30-2 THE CROWDPLEASERS "I Want You To Know 30th Anniversary E.P." The first B.I.T Productions 12" was released on single sided white label on 11th December 1995 and became a rather big track across the country with its big synths, catchy vocal hook and a massive break in the middle that lead to a dirty, well-known synth melody that created a huge hands in the air moment, as well as the "Make some f**king noise" vocal. Now 30 years later, we have the “I Want You To Know 30th Anniversary E.P.” that features new remixes by The Crowdpleasers and Pianohead, as well as including the Original 1995 Mix. Also included is the NEW TRACK “I Know” which features the Original Mix with uplifting Piano and catchy vocals and the Stu Chapman Remix with dirty synths, banging breakbeat and a top piano riff. To finish off this 6 Track E.P., the previously unreleased Original Mix from 2000 of “Celestial”, a pumping house track with atmospheric melody.

Finnish-born, New York raised, and now Melbourne based Jani Ho has crafted a distinctive sound that can only be described as machine music with undeniable soul! Jani's hardware-driven live performances and studio productions are legendary and has earned him global recognition with multiple quality releases on the highly acclaimed soiree records. His contribution for the dolly TS series draws those direct lines with Detroit's soulful machinery techno and echo's the perfect union of rhythm and emotional depth, touching the deepest territories of techno.

On Chuck Strangers’ latest opus, Glory Of The King’s Hand, he raps, “I still rap from the perspective of my government name…” The stage name “Chuck Strangers” is, of course, an alias but it’s not necessarily an alter ego. For the man born Che Jessamy, his rap moniker isn’t some over-the-top rock star persona contrived for public consumption, it’s just a name. What you hear on his records is really who he is - a heavy-tongued griot from East Flatbush, Brooklyn with a gift for vivid stream-of-consciousness storytelling. His bars are imbued with the wisdom he’s gained in his lifetime - especially in the 14 years since he first made his debut with the Pro Era collective.


The elaborate title of his new album, Glory Of The King’s Hand, speaks to his gratitude for the hand that life’s dealt him, which is a pretty good one. At age 34, he does what he loves professionally and does it on his own terms. That’s something to be thankful for.


Glory Of The King’s Hand, not only represents Chuck’s matured attiGlory attitude but also his matured sound. Key to this refined approach was tude collaboration. Chuck is a proficient beatmaker in his own right as evidenced by his production for himself and artists like Joey Baevidenced Badass, and Boldy James. But this time around Chuck chose to be a dass, producer in the Quincy Jones sense of the word, bringing together vocalists, producers, and musicians instead of handling all of the beats and rhymes himself. d Up Reprise


The list of contributing producers is a who’s who of underground sound scientists including The Alchemist, Animoss, Theravada, Kensound Kenny Segal, Preservation, Child Actor, and Morriarchi.

For ten years Spike Fuck has existed more as a messy myth than an art- ist; sporadic works forever poised on the precipice of triumph, rumours of death or insanity and so on. Spike’s mission is to distill the sacred and profane, balancing the melancholy and humour of life; “to be alive is to be traumatised.” Luckily, the devotion to his music persevered, some- what bolstered by his inconsistency and inaccessibility. This inexplicable goodwill towards his artistry is perhaps partly due to Spike’s timeless, pained and confessional lyricism, though more pointedly, the fragility of a life mired in addiction. His being or works does not question the virtue of life, but simply addresses the numb, pragmatic and far more immediate matter of surviving another day, an almost ineffable senti- ment only justified by his distinct, poetic audaciousness. Free from his arresting thoughts, evidence, the long anticipated debut album, is a bra- zen proof of life statement. Convicted by the outlandish idea of evidenc- ing a ‘you had to be there’ mentality, the record honours the presence in body, a record to be felt, never to be rationalized.

The material on evidence touches on elements of new wave, glam, soul and doo-wop, citing Pere Ubu, New York Dolls, The Temptations and Bettye Swan as key influences. Melodically it emits the energy of a down- and-out CBGBs band who cashes in by recording a lucrative Christmas album.

Spike frequently uses sonic and lyrical juxtapositions to perform comic twists of sincerity, a reflection of society's obsession with ‘getting a rise’. On “Bored to Death,” a scuzzy, laidback and soulful tune, paired with morbid ragebait lyrics that payoff as a stand up joke “when I look up at the sun it makes me so happy cause I know one day it’s gonna kill me, and it’ll kill you too!” Lead single “All By Myself” carries on in this fashion; with feelgood, family-friendly punk doo-wop production, Spike is misleading on if his joy comes from the pride in solitude, or from lone- liness and a ‘give me everything’ mentality in the act of shooting heroin. The vocal performances oscillate between being blasé, vulnerable and manic; “Sweet Release” meets power-ballad criteria solely due to Spike’s deteriorating cries into the void, the jittery delivery on “Getting Sober” embodies religious fanaticism while sounding like a pop song written by Suicide for a David Lynch film.

evidence is an album that lives outside the limits of discourse; its purpose is eponymous and self-evident. It is what it is, and is subject to interpretation. There is no point in interrogating attachments, virtue or value. The only rightful way to live is to be.

a 01. CAN'T GET IT UP 4:38
b 02. HAD YOUR WAY 4:04
[c] 03. SWEET RELEASE [3:27]
[d] 04. BORED TO DEATH [3:31]
[e] 05. ALL BY MYSELF [2:38]
[f] 06. GETTING SOBER [3:33]
[g] 07. BLUELIGHT[4:35]
[h] 08. HATE ME [7:44]

[a] 01. CAN'T GET IT UP [4:38]
[b] 02. HAD YOUR WAY [4:04]
[c] 03. SWEET RELEASE [3:27]
[d] 04. BORED TO DEATH [3:31]
[e] 05. ALL BY MYSELF [2:38]
[f] 06. GETTING SOBER [3:33]
[g] 07. BLUELIGHT[4:35]
[h] 08. HATE ME [7:44]

[a] 01. CAN'T GET IT UP [4:38]
[b] 02. HAD YOUR WAY [4:04]
[c] 03. SWEET RELEASE [3:27]
[d] 04. BORED TO DEATH [3:31]
[e] 05. ALL BY MYSELF [2:38]
[f] 06. GETTING SOBER [3:33]
[g] 07. BLUELIGHT[4:35]
[h] 08. HATE ME [7:44]

[a] 01. CAN'T GET IT UP [4:38]
[b] 02. HAD YOUR WAY [4:04]
[c] 03. SWEET RELEASE [3:27]
[d] 04. BORED TO DEATH [3:31]
[e] 05. ALL BY MYSELF [2:38]
[f] 06. GETTING SOBER [3:33]
[g] 07. BLUELIGHT[4:35]
[h] 08. HATE ME [7:44]

[a] 01. CAN'T GET IT UP [4:38]
[b] 02. HAD YOUR WAY [4:04]
[c] 03. SWEET RELEASE [3:27]
[d] 04. BORED TO DEATH [3:31]
[e] 05. ALL BY MYSELF [2:38]
[f] 06. GETTING SOBER [3:33]
[g] 07. BLUELIGHT[4:35]
[h] 08. HATE ME [7:44]

For two decades, Pokey LaFarge has walked his own effortlessly cool road as an exceptionally iconoclastic troubadour - forthright, genuine, and markedly keen to put it all out there. Rent Money now sees him pushing forward yet again in what can be safely declared his finest collection to date, both as an heartfelt expression of personal experience and as no-nonsense social commentary.With its twanging guitars, plucky rhythms, and undeniably captivating melodies, the album soars and swings, its joyous refrains belying the inescapable undercurrent of constant worry and angst that permeates these troubled times. As always, the Illinois native deftly traverses the genre boundaries, seamlessly integrating the myriad strains of 20th-century American music with a freewheeling command of earnest songcraft, inspired performance, and subversive creativity. Rent Money stands tall as an indisputable high-water mark for Pokey LaFarge - a defining collection from a one-of-a-kind artist of rare ingenuity and uncommon candor, now as ever, determinedly crafting a sure-footed brand of deeply human music all his own. Tracklisting:SIDE AThe ThingMy Baby Loves MeHamboneRent MoneyStick TogetherSIDE BWorkStrangerCan't Take it With YouTold You NoBig Boss ManOn and On

Surprises are nice. Unexpected, delightful - Vision Fortune last released music in 2015, and so odds were off that we’d hear from them again.

But against all odds, Vision Fortune III is coming out on Gringo Records, following the release of their last album ‘Country Music’ on ATP Records.

The trio first agreed to record a new album as somewhat of a dare over a marathon pasta and wine heavy luncheon in Palermo, Sicily. Waking up with sore heads, they realised in mild panic that flight tickets had been purchased, a cottage in rural Wales was booked, and it was too late to pull out.

And so it was - the Fortunes arrived in Machynlleth Wales in Spring of the following year. The rules were simple - takes were live, songs minimal and the fireplace kept roaring.

Drummer Andres Ayerbe’s strict roast lamb dinner cooking schedule resulted in an album less frenetic and agitated than previous work - instead, III explores a softer, more subdued and subtle side of Vision Fortune. Additional overdubs were recorded in New York City and Birmingham, by AC Williams and Alex Townend. III was completed - a new, leaner Vision Fortune. Like a good lamb dinner - more meat, less fat.

Press Quotes for Country Music:
"An impressively brutal record" NME 8/10

"Immersive and introspective musique concréte rippling rippling with dub rhythms, orchestral strings, tolling bells and discordant drones coming close to the alien beauty of Mica Levi's sonically extreme soundtrack work." Uncut 7/10

"Unsettling, strangely cathartic and hook-free (in a good way)." Dazed ("Twenty albums to look out for in 2015")

"Assembling whole scrapyards of sound and turning them into something better than what went before" The Guardian

"Swaddling the senses in soundwaves, Minimal ambient sketches and harsh electronics abound on this fascinating 12-song affair" The FADER

"Basically just one long, connected droney throb. But it's an awesome long droney throb." Brooklyn Vegan

Created in collaboration with Florida-based production duo The Still Brothers, the album pairs Rollo's songwriting with beautiful analogue production and rich, organic arrangements. The project was further elevated by producer and mixer Mike Hill, before Grammy Award-winning mastering engineer Dan Millice put the finishing touches on the record.

Recorded over the course of several visits to The Still Brothers' studio in Florida, The Jelly Man was shaped by both its surroundings and the creative partnership at its heart.

Together, Rollo and The Still Brothers crafted a beautifully warm, analogue-sounding record, deeply inspired by Florida's natural beauty and the laid-back atmosphere. Recorded with an 8-channel Tascam tape machine, the album radiates warmth, vibrancy and character, while a host of carefully chosen collaborators bring their own distinctive voices to each track.

Rollo Doherty is a multi-instrumentalist, songwriter, producer and composer, as well as an accomplished filmmaker, illustrator and animator. His previous EP earned him support slots on Skinshape's UK tour and Palace's European tour, alongside airplay and support from BBC Radio, KEXP and NPR.

The Jelly Man marks an exciting new chapter for Rollo Doherty—an album that captures a sense of place, collaboration and timeless craftsmanship.

Created in collaboration with Florida-based production duo The Still Brothers, the album pairs Rollo's songwriting with beautiful analogue production and rich, organic arrangements. The project was further elevated by producer and mixer Mike Hill, before Grammy Award-winning mastering engineer Dan Millice put the finishing touches on the record.

Recorded over the course of several visits to The Still Brothers' studio in Florida, The Jelly Man was shaped by both its surroundings and the creative partnership at its heart.

Together, Rollo and The Still Brothers crafted a beautifully warm, analogue-sounding record, deeply inspired by Florida's natural beauty and the laid-back atmosphere. Recorded with an 8-channel Tascam tape machine, the album radiates warmth, vibrancy and character, while a host of carefully chosen collaborators bring their own distinctive voices to each track.

Rollo Doherty is a multi-instrumentalist, songwriter, producer and composer, as well as an accomplished filmmaker, illustrator and animator. His previous EP earned him support slots on Skinshape's UK tour and Palace's European tour, alongside airplay and support from BBC Radio, KEXP and NPR.

The Jelly Man marks an exciting new chapter for Rollo Doherty—an album that captures a sense of place, collaboration and timeless craftsmanship.

Living Weapon returns with Death In The Family, a full-length that confronts mortality, meaninglessness, and the aftermath of existence. The release broken down over 23 minutes toward an unresolved end — life examined at its start and its finish, with the universe indifferent to either. Recorded, produced, and engineered by Jeremy Martin over fall 2025 into spring 2026 — the band's first time tracking a full album internally. Mixing handled by Taylor Young of The Pit Recording Studio and Mastering by Nick Townsend. The album is introduced with "The Leaving Process” laying out the album's core idea: life as connection, not permanence — matter created and destroyed, briefly aware of itself in between.

Belfast’s Deeply Armed return with a monster of a new single, “Black Ice”, which marries the post-Kraut swagger of prime-era Mondays with an XTRMNTR sense of punked-up malevolence.

If their debut release “The Healing” presented the band at their most benevolent and euphorically optimistic, “Black Ice” is very much its flip; a bass-heavy soundtrack to truth, trust and resurgence led by a hypnotic thousand-yard-stare of a vocal.

As per their established operating strategy, the group have offered the track out to fellow travellers, this time around commissioning Andrew Fearn of Sleaford Mods under his solo guise of extnddntwrk and dub legend Mad Professor to reconstitute it across two thrilling remixes that between them plot the poles of their influences.

Fearn delivers a clatter of trance, walking the line between DIY hypnotics and Messthetics-scale crunk, while Mad Professor cuts an intense live mix that marries dub science with psychedelic alchemy, playing to the black heart of the group’s heavy dub leanings.

This new 12” somehow tracks the arc of the band’s vision perfectly. Positioned somewhere between dance, dub and destructo-punk, they remain infected by some of the most irrepressible covert strains of underground music while offering up their jams as raw material for new visions of now. Watch out though: “Black Ice” is treacherous.

The final installment of the GIANT SKY trilogy, Giant Sky III, will be released on October 2nd, 2026, preceded by the single "Fleeting Glimpse", which offers the first taste of the new album. A companion postlude album, The Further We Go The Deeper It Gets, will follow on October 16th, 2026. Together, the two records complete an ambitious body of work that has seen Viken explore a broader and more introspective musical landscape than ever before. "Fleeting Glimpse" provides an evocative introduction to the final chapter of the GIANT SKY trilogy. While Viken"s band Soup has become renowned for its emotionally charged, crescendo-driven soundscapes, GIANT SKY allows him to embrace an even wider palette of influences. Drawing from alternative art rock, post-rock, electronica, ambient music, indie, folk, and progressive rock, the project balances immersive atmospheres with memorable melodies. In an era increasingly dominated by algorithms, artificial intelligence and digital perfection, Viken has consciously taken the opposite path. GIANT SKY is built around the human element of music-making, embracing imperfections and authenticity as artistic strengths. "This album has been with me for a long time. Some of the ideas on Giant Sky III go back many years, and in a way it feels like a cross section of the last 25 years of my life as a composer. We live in a time where music is increasingly shaped by algorithms, AI and endless digital possibilities. I suppose this record is my way of walking upstream a little bit - taking the slower route, trusting the human imperfections, and letting the music find its own shape. It wasn"t a quick album to make, but I"m proud of what it became: ambitious where it needed to be, modest where it should be, and above all, honest." - Erlend Viken

The third release on the All City imprint Gurriers, with Rustal and Chaz Moloney coming together for their first release as a duo after years of playing live. The four tracks were started during a six-day session in Chaz’s studio in Friedrichshain, Berlin, and completed together in Dublin. Drawing on a shared love of techno, Pressure Kiss moves through dub, Detroit and raw ’90s influences, with a hypnotic and experimental edge. Opening with the heavy, driving pulse of “Inertia Cycle”, the EP sets the tone for four tracks that keep things stripped back, hypnotic and moving. “Pressure Kiss”, “Born From Oak” and “Head Of The Wolf” continue the journey across two tracks per side.

Norway's Aura Noir was formed in 1993 by Aggressor & Apollyon in pursuit of a more thrash- based form of black metal than much of what was coming out at the time - particularly in their homeland - citing bands such as Slayer, Sodom & Kreator as inspirations along with purveyors of the scene such as Venom, for a dirtier, stripped down, violent black/ thrash metal sound. Their first official release was the 'Dreams Like Deserts' EP on Hot Records, & from there-on the band became a truly cult act, releasing a string of albums among ongoing live performances over the subsequent decades. All members of Aura Noir have had illustrious careers to date, with Carl-Michael Eide (Aggressor) notable for his work in Ved Buens Ende, Dodheimsgard, Virus, & Fleurety, as well as being part of other scene icons such as Ulver & Satyricon in their formative years. Apollyon, currently also seen in Coffin Storm with Darkthrone's Fenriz, previously featured in Dodheimsgard, as well as Lamented Souls & Immortal. Completing the trio is Blasphemer, formerly of fellow Norwegian legends Mayhem, as well as being current mainman in his recently established band, Ruim. Originally released in 2012, 'Out To Die' was the band's fifth full length release, & a continuation of the savage raw & ugly feast offered by its predecessors, containing eight relentless tracks in praise of the old thrash masters & early primal black metal forefathers of the 80's. 'Out To Die' features additional guest lyrics by Dirge Rep (Gehenna/Enslaved), & Fenriz, whilst the fittingly underground cover art was created by the prolific artist, Costin Chioreanu.

Initially forming under the moniker of Black Death back in 1986, the star of Darkthrone has ascended with reverence & a degree of infamy over the course of four decades, to become one of the most notable metal bands to have emerged from Norway. Highly inspirational to a whole generation of bands, & also uncompromisingly steadfast throughout their now extensive catalogue, the long-standing duo of Fenriz & Nocturno Culto have remained dedicated to the art of the riff & forging their own path, relentlessly steering the band against the tide of trend. From the death/ doom technicality of 1991's debut masterpiece 'Soulside Journey', through the spearheading of the notorious "second wave of black metal" period of the earlier 1990s, & the integration of punk & heavy doom elements along with way, the Nordic titans have undoubtedly carved an exquisite & eclectic legacy. After a sequence of albums under the Moonfog label throughout the mid-latter 90's & into the new millennium, Darkthrone made the leap back to their original home at Peaceville, for a spectacular return in the shape of 'The Cult Is Alive', released in 2006. With the band's own newly-established Necrohell 2 studio in operation, this allowed the duo to make everything purely on their own terms & in their own time. Creative boundaries were also further removed in order to embrace some of the punk influences which had to date been more subdued, & in the process, created the beginnings of a new era for the band, first revealed in the form of lead track 'Too Old, Too Cold'.

Three years following the critically acclaimed "A Journey told through Fire" (2023), the new album navigates a sprawling conceptual narrative, tracing the cyclical nature of the cosmos from its initial spark in the void to its inevitable dissolution. Lyrically, the album explores the terrifying scale of cosmic darkness and the fragility of existence within a primordial emptiness. Sworn investigates the philosophy of becoming and unmaking, where reality and time emerge from nothingness only to eventually collapse back into the same unfathomable origin. Musically, "Null Crowned the Infinite" pushes the boundaries of the band's established sound, balancing their signature melodic tension with newfound levels of aggression and atmospheric depth. The record features "The Starless Origin", a twelve-minute epic that stands as their longest composition to date, alongside " Fracture of Aeons ", which the band identifies as their most aggressive track ever recorded. Sworn collaborated with renowned producer Jens Bogren at Fascination Street Studios , who handled the mixing and mastering. Bogren's legendary portfolio, featuring giants such as Opeth, Arch Enemy and Behemoth, brings a polished yet devastating edge to the performances of Max Wilson, Christoffer Kjorsvik, Goran Hope and Tom Ian Klungland. The album artwork is equally striking, created by Par Olofsson, known for his iconic work with Aborted and Kreator.

Three years following the critically acclaimed "A Journey told through Fire" (2023), the new album navigates a sprawling conceptual narrative, tracing the cyclical nature of the cosmos from its initial spark in the void to its inevitable dissolution. Lyrically, the album explores the terrifying scale of cosmic darkness and the fragility of existence within a primordial emptiness. Sworn investigates the philosophy of becoming and unmaking, where reality and time emerge from nothingness only to eventually collapse back into the same unfathomable origin. Musically, "Null Crowned the Infinite" pushes the boundaries of the band's established sound, balancing their signature melodic tension with newfound levels of aggression and atmospheric depth. The record features "The Starless Origin", a twelve-minute epic that stands as their longest composition to date, alongside " Fracture of Aeons ", which the band identifies as their most aggressive track ever recorded. Sworn collaborated with renowned producer Jens Bogren at Fascination Street Studios , who handled the mixing and mastering. Bogren's legendary portfolio, featuring giants such as Opeth, Arch Enemy and Behemoth, brings a polished yet devastating edge to the performances of Max Wilson, Christoffer Kjorsvik, Goran Hope and Tom Ian Klungland. The album artwork is equally striking, created by Par Olofsson, known for his iconic work with Aborted and Kreator.

The year 1956 when Tenor Conclave was recorded represented a transitional period in the musical career of John Coltrane . He had first joined the Miles Davis Quintet in 1955 and would form his own celebrated quartet with McCoy Tyner, Jimmy Garrison and Elvin Jones in 1960. What we have here with Tenor Conclave is Coltrane in equal collaboration with four other giants of the tenor saxophone, Hank Mobly, Al Cohn, and Zoot Sims. Presenting the four players together under the group name of Tenor Conclave was an imaginative A&R idea by Prestige, but because of Coltrane's growing fame and the obvious marketing opportunities it presented, later pressing had Coltrane as the headline name on the cover, and Tenor Conclave as the album title. Includes the bonus track 'Polka Dots & Moonbeams'.

Hara Discs is proud to present the first EP from Sheffield-based DJ Harry Shackleton, co-owner of Grub Records and one half of DJ duo Wow & Flutter. This release draws influence from their longstanding residency at underground electro party Control., melding together sounds which have made this one of the North of England’s best kept secrets for the past 7 years. In an extremely long-winded and uncertain move, he has finally donned his rather fetching production hat and completely self generated the alias Hypno Disc with which he aims to unleash some music that is 100% OK.

The EP and alias are a homage to the late 90s and early 00s TV show Robot Wars. The title track combines the carnage of Craig Charles with something a bit UK and tribal. The remaining tracks bear the names of robots which took part in the wars. These are written from the perspective of the robots and as such are internal monologues of what each robot was thinking. The concept comes from an early fascination with this show and how it made the artist feel as someone growing up in the UK around 2000.

We hope you enjoy this release. Complaints will be tolerated.

CEASE!!!

Bobbie Dazzle, the catsuit-sporting queen of UK Glam Rock, releases her second album, 'Star Power', via Rise Above Records. The flamboyant singer, songwriter, flautist and producer arrived without warning in late 2024 with 'Fandabidozi', one of that year's most irresistible introductory statements. Reviewers drooled and fans reacted with disbelieving joy when Bobbie and her band proceeded to take the songs from 'Fandabidozi' out on the road. 'Star Power' is an unashamed, glorious slab of new millennial glam rock, and given the perilous state of the world right now, doesn't everyone need a bit of escapism in their lives? An album of super-hummable tunes presented with infinite amounts of swagger and proficiency, 'Star Power' is set to take Bobbie Dazzle to the next level.

This is both a blueprint and a definitive masterpiece. Effortlessly transcending eras and genres, Terumasa Hino continues to captivate audiences around the world.



His sound and presence are truly top of the tops. Long before Japanese jazz was labeled as “Wa-Jazz”, and even before the rare groove movement emerged, Hip Seagull has been shaking dance floors, stimulating listeners, and fascinating collectors alike. Since his debut album Alone, Alone and Alone, Terumasa Hino has remained at the forefront of the scene, consistently delivering works that can be called masterpieces in every era. Among them, this 1978 recording stands out as one of his signature achievements.



From the epic title track “Hip Seagull”, which unfolds from a mystical intro into a jazz-funk journey, to the mellow and cosmic “This Planet Is Ours,” the album is filled with tracks imbued with a truly unique atmosphere.



This is both a blueprint and a completed form. Hip Seagull continues to enchant the past, present, and future alike.

While composing the music for The Juniper Tree, Hirano drew on her own memories of touring Iceland, which included a stop at a waterfall featured in the film and rendered in sound on “Mother’s Path.” Folktales, like the origins of The Juniper Tree, are often attempts to contend with humans’ place in the natural world, with all its mysteries and intricacies, and both the film and Hirano’s soundtrack draw their sense of breathless wonder in part from the sensation of being engulfed by one’s environment. Margit, played by Björk, possesses a sublime sensitivity to her environment that allows her to receive messages from her mother, who was murdered for their shared inheritance of witchcraft. Hirano captures the relationship between the transcendental awe that is felt as supernatural and the private feelings of being immersed in that experience, creating a musical dialogue between the self and what lies beyond.

In the final sentences of her liner notes describing the film’s philosophical and feminist throughlines, Anna Bogutskaya says, “what we call Margit’s witchcraft is maybe just her willingness to listen.” This is the magic of music, and Hirano composes with an alchemist’s pen. Just as Keene seems to break down barriers between binary poles, Hirano uses both electronic and acoustic means to communicate the film’s emotive cues, uniting approaches she has explored under her own name and the alias MimiCof. There is an understanding that stillness can be understood as peaceful or foreboding, that dissonance and consonance are contextual, that efforts to protect one’s own kin can lead to tragic ends. At the film’s end we see Margit enthralled with birdsong, understanding it as something deeper, a connection to those she has lost. Through sound, we understand what lies beyond sight, beyond convention, and with this new soundtrack we hear the story anew.

Experience the emotion of The Last of Us like never before with this stunning Blue & Grey Marble double LP.

Performed by London Music Works, Music From The Last of Us brings together the most iconic themes from the acclaimed video games and TV series, featuring the unforgettable music of Gustavo Santaolalla, along with a piece composed by Max Richter. A must-have release for fans of the franchise and soundtrack collectors alike, presented on a beautifully crafted vinyl edition that is as striking as it is immersive.




[d] a4 The Last of Us (Goodnight) [from "The Last of Us Part I"]
[e] a5 All Gone (No Escape) [from "The Last of Us Part I"]
[f] a6 The Path (A New Beginning) [from "The Last of Us Part I"]







[n] c3 It Can't Last (Sunset) [from "The Last of Us: Season 1"]

[p] c5 All Gone (Flashbacks) [from "The Last of Us: Season 1"]
[q] c6 The Last of Us (Vengeance) [from "The Last of Us: Season 1"]
[r] c7 All Gone (Ephemeral) [from "The Last of Us: Season 1"]

[t] d2 Left Behind (The Journey) [from "The Last of Us: Season 2"]

IVM Trio is made up of percussionist & composer Sébastien Forrester, producer & visual artist Mika Oki, and artist & producer Apulati Bien. All three sit within the French-Brussels axis, united by a shared love of free improvisation, sparse atmospherics and rapturous club mutations. Inner Voice Movement is a genuinely exploratory record — abstraction and contemplation sit side by side, as the trio dives into the micro-precision of computer music while mirroring organic, environmental schemes. These have long been persistent points of study for all three artists.

Arriving on Accidental Meetings, their debut album has been a long time coming, and it features three outstanding vocalists. South Korean artist bela brings the depth and range of their guttural vocals; Bristol-based Grove, a leading voice in punk-dancehall crossover, pulls things back with a spoken-word feature; and Naples sound artist Sara Persico rounds things off with a stunning excerpt of storytelling.

Mothers of All is Mark Gomes' second album as Blue Chemise for Students of Decay, following 2018’s acclaimed Daughters of Time. Though built from very different materials, it shares its predecessor's economy, sense of proportion, and fascination with the ways domestic life can open onto larger and less easily defined realms. Where Daughters of Time evoked tender, if alien, nursery songs, Mothers of All takes the form of spectral salon music heard at a temporal and geographic remove.

These pieces feel fundamentally receptive, with Gomes allowing his chosen fragments to retain their own histories - both personal and aesthetic - while revealing unexpected tonal relationships through their idiosyncratic arrangement. The resulting music is at once deeply personal and strangely unmoored, a space where the intimate and the distant occupy the same plane.

What lingers about this project as a whole is the paradox that the most private experiences can also be the least singular: that family, memory, and devotion become most legible at the point where they cease belonging to any one life.

LA native The Koreatown Oddity returns for his fourth album on Stones Throw. Purdy is the proving ground for an avant-garde rapper tackling being a father and partner with the boundless confidence of a child’s imagination.
Purdy sees Koreatown soundtrack a knight’s first battle, document the cultivation of a beautiful lawn and contemplate if anyone really means it when they say "have a great weekend" – all while realising that he's now part of something bigger.
Purdy paints the complete portrait of the man Dominique Purdy and artist The Koreatown Oddity together: musician, father, and peddler of the absurd.

Coming off his first two years as a solo artist, Nick Schilder paused for a moment of contemplation. How do you keep growing as an artist, and continue making music without falling into routine? Returning to his artistic foundation—guitar on his lap, hours behind the piano—the Dutch singer-songwriter let intuition guide him, leading to his brand-new EP, Reflections.

After a summer jam-packed with festivals, Reflections provides contrast—the tracks harness a more organic sound, hitting closer to the heart, drawing from folk and pop while leaving space for the echoes of his foray into electronic music to resonate. From ‘Made For You’ to focus track ‘Die For You’ and ‘A Little More Like Me’ marking the turning point, this EP offers a sonic snapshot that bridges two seasons, a creative reset born of reflection.

Reflections is available as a limited edition on transparent vinyl. The package contains an insert with lyrics.

Lone Ark and The 18th Parallel join forces again! Five years after the critically acclaimed debut ‘Showcase Vol. 1’ (2021), the two spearheads of the European roots reggae scene return with the second volume of this showcase series. Recorded on 2” tape between Geneva, Switzerland and Cueto, Spain, this new project is another masterpiece of production. It dives deep into the roots sound and playing of the 70s and 80s Jamaican reggae with heavyweight drums and bass, razor-sharp rhythm section, and sophisticated horns, flute, synth and vocals arrangements. Roberto Sánchez, the voice behind Lone Ark, sings about themes more relevant than ever such as activism through music (Ammunition), the absurdity of ongoing wars in the world justified by religious beliefs (Man Kill Man), anti-capitalism (Money) and the appreciation of life’s blessings (Morning Blessing). The six songs of this ‘Showcase Vol. 2’ are followed by their dub counterparts expertly mixed by Roberto Sánchez himself. In the age of AI, this album takes the opposite direction. It is all about the human touch and the analogue warmth. No trick here, this is 100% real organic roots music!

The album was produced by J.C. Botezelli (Pelão), with arrangements by Horondino José da Silva (Dino), who also plays the seven-string guitar. The album features 12 tracks, all written by Cartola, some in collaboration with partners such as Carlos Cachaça, Dalmo Castelli, Elton Medeiros, and Nuno Veloso. Among them are “Acontece,” “Alvorada,” “Tive Sim,” and “O Sol Nascerá.”

Lily Juniper's debut album, 'Bloom Gloom' is set for release via Friends of Friends. Co-written and produced by long term collaborator and partner yours.truly, the record holds a mirror up to ourselves and the world around us. Inspired by sounds of the early 2010's post dubstep and indie scenes and written with feelings at the forefront, the album explores themes of self discovery, nostalgia and the endless battle between light and dark, with each track telling a story of what it means to be human:

From the First note of "Roam the Room", Youth's massive, towering rock songs bleed emotion through until the tape runs out on album closer "Drawn Out". Ohio natives CITIZEN have captured the ghost of BRAND NEW's "The Devil and God Are Raging Inside of Me" and reinvented brooding, chrosu-driven alternative rock for a new generation. Beautifully harmonized half-shouted vocals along with fuzzy, reverbed-out leads lend weight to the album's mood while also making it impossibly catchy. Following their recent stint as support on MAN OVERBOARD's tour, CITIZEN will play all of the 2013 Van's Warped Tour, poising them to become one of the biggest alternative bands on the road today. For fans of BRAND NEW, TITLE FIGHT, BALANCE & COMPOSURE.

I Against I is the third studio album from Bad Brains, originally released in 1986 on SST Records. It remains the best-selling album in the band's catalog, showcasing Bad Brains' unique fusion of punk rock, hardcore punk, reggae, and heavy metal influences. It remains influential to this day, inspiring countless punk, ska, reggae, and hardcore bands with it's innovative sound and uncompromising attitude. This reissue marks the eighth release in the remaster campaign, re-launching the Bad Brains Records label imprint. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner and pressed at Furnace Record Pressing.

Originally released by Umor Rex on cassette in 2015, NK012 documents the first-ever musical meeting of Berlin-based musicians Aidan Baker (Nadja, Canada), Andrea Belfi (Italy), and Erik Skodvin (Svarte Greiner / Deaf Center, Norway). Now, more than a decade later, the album is available on vinyl for the first time, newly remastered for the format by Rafael Anton Irisarri. This marks the third release in a series of four special, limited reissues to be released in 2026 to mark the 20th anniversary of Umor Rex.

Recorded with nothing more than a stereo microphone placed in the middle of the room, NK012 captures the trio in their first session together, with the simple intention of improvising. Instrumentation builds in gradual crescendos, shifting textures between passages as looped incarnations of earlier motifs accumulate into all-consuming drones. The five pieces that make up NK012 already set the foundations for the trio’s subsequent work. Across the album, guitars, an array of effects pedals, percussion, and synthesizers merge into a raw and highly intuitive sound world. Vibrant and intense, the pieces move freely between forms and genres, driven by the immediacy of live performance and spontaneous composition.

Nearly ten years after Nocturne, Girls in Hawaii make a major comeback with Eldorado, a fifth album marking a new chapter in the history of one of Belgian indie rock"s most iconic bands. Driven by radiant, deeply human songs, Eldorado recaptures the very essence of Girls in Hawaii: instantly memorable melodies, raw emotion, and that unique balance between fragility and power. Inspired by the spirit of great 1990s indie records - from Pavement and Grandaddy to Radiohead - the album blends pop clarity, collective energy, and elegant melancholy. Written and recorded with a deliberately artisanal approach, Eldorado celebrates the rediscovered joy of creating together. It is a soulful, sincere, and timeless record that reaffirms Girls in Hawaii"s unique place in the European music landscape.

The final installment of the GIANT SKY trilogy, Giant Sky III, will be released on October 2nd, 2026, preceded by the single "Fleeting Glimpse", which offers the first taste of the new album. A companion postlude album, The Further We Go The Deeper It Gets, will follow on October 16th, 2026. Together, the two records complete an ambitious body of work that has seen Viken explore a broader and more introspective musical landscape than ever before. "Fleeting Glimpse" provides an evocative introduction to the final chapter of the GIANT SKY trilogy. While Viken"s band Soup has become renowned for its emotionally charged, crescendo-driven soundscapes, GIANT SKY allows him to embrace an even wider palette of influences. Drawing from alternative art rock, post-rock, electronica, ambient music, indie, folk, and progressive rock, the project balances immersive atmospheres with memorable melodies. In an era increasingly dominated by algorithms, artificial intelligence and digital perfection, Viken has consciously taken the opposite path. GIANT SKY is built around the human element of music-making, embracing imperfections and authenticity as artistic strengths. "This album has been with me for a long time. Some of the ideas on Giant Sky III go back many years, and in a way it feels like a cross section of the last 25 years of my life as a composer. We live in a time where music is increasingly shaped by algorithms, AI and endless digital possibilities. I suppose this record is my way of walking upstream a little bit - taking the slower route, trusting the human imperfections, and letting the music find its own shape. It wasn"t a quick album to make, but I"m proud of what it became: ambitious where it needed to be, modest where it should be, and above all, honest." - Erlend Viken

Possibilities Vol. 1 is a transatlantic collaboration between legendary Brooklyn MC Finsta (of the iconic 90s duo Finsta Bundy) and Finnish boom bap production collective Recluse Crew. This powerful joint effort blends gritty New York lyricism with soulful, sample-heavy beats rooted in classic hip hop tradition. Finsta, known for his sharp delivery and timeless voice, brings raw energy and wisdom earned through decades in the game. Recluse Crew complements his bars with expertly crafted instrumentals that honor the golden era while keeping things fresh for today’s underground heads. Released by the new Finnish record label Mood Monarch, Possibilities Vol. 1 is a must-listen for fans of true school hip hop, offering head-nodding beats, reflective rhymes and a rare synergy between two scenes, New York and Finland, connected through a deep love for the culture.

The eponymous debut EP by London-based dreampop duo deary. The six-track release is available on 12" vinyl, CD with five additional bonus tracks/remixes and digitally. Their debut single 'Fairground', which came out at the end of January, was an instant classic. A mix of shoegaze beauty and trip-hop beats, it was amazing to see people falling in love with it in real time as it gained airplay around the world, a remix by Saint Etienne and hit number one on the Official Charts' vinyl singles chart. The EP includes the follow-up, the deliciously dark 'Beauty In All Blue Satin', and third single 'Sleepsong', plus three more tracks. The CD format adds a cover of Pretenders' "2000 Miles", the Saint Etienne "Fairground" remix and three more versions of that track (a.o. Live and Extended).

Their music was never confined by genre limitations. It drew equally from Doom Metal's oppressive weight, Gothic Rock's romantic desolation, and the emotional grandeur of Dark Wave, creating a soundscape that was uniquely their own. "Seasons " marked the beginning of this remarkable journey. A debut album rich in atmosphere and emotional depth, it introduced a band already possessing a mature artistic identity. Its songs unfold like chapters from a forgotten gothic novel, where every melody is wrapped in shadows and every lyric resonates with profound emotional sincerity. EverEve expanded their vision with "Stormbirds", an album that many regard as one of the defining moments of European Gothic Metal. Majestic, dramatic, and emotionally overwhelming, it elevated the band's songwriting to extraordinary heights. The interplay between crushing guitars, haunting keyboards, and deeply evocative vocal arrangements created a listening experience that remains as captivating today as it was upon its release.

Their music was never confined by genre limitations. It drew equally from Doom Metal's oppressive weight, Gothic Rock's romantic desolation, and the emotional grandeur of Dark Wave, creating a soundscape that was uniquely their own. "Seasons " marked the beginning of this remarkable journey. A debut album rich in atmosphere and emotional depth, it introduced a band already possessing a mature artistic identity. Its songs unfold like chapters from a forgotten gothic novel, where every melody is wrapped in shadows and every lyric resonates with profound emotional sincerity. EverEve expanded their vision with "Stormbirds", an album that many regard as one of the defining moments of European Gothic Metal. Majestic, dramatic, and emotionally overwhelming, it elevated the band's songwriting to extraordinary heights. The interplay between crushing guitars, haunting keyboards, and deeply evocative vocal arrangements created a listening experience that remains as captivating today as it was upon its release.

Co-founder of Pond and touring member of Tame Impala, Jay Watson, also makes music as GUM. “GUM is my brain, unfiltered,” Watson says. A labour of love and an exercise in joy, written and recorded with Ambrose Kenny-Smith, best known as the mesmeric harmonica-player, keyboardist and vocalist with King Gizzard & The Lizard Wizard and The Murlocs. The debut collaborative album between the two is a 10 track exploration into groove, blues and soul, deeply hypnotic from start to finish.