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‘Dua Lipa Live From The Royal Albert Hall’ offers a thrilling new way to experience Dua Lipa’s greatest hits reimagined with The Heritage Orchestra, a fourteen person choir and a seven piece band. The album features a medley of fan favourites, from the infectious pop hits “Levitating” and “Cold Heart” with the incredible Elton John, alongside the bold new sounds of Radical Optimism, from ‘Training Season’ to ‘These Walls’. vinyl on December 13th, this highly anticipated live album captures the magic of Dua's unforgettable performance at one of the world's most iconic venues.

Getting to perform at The Royal Albert Hall was unlike anything I’ve ever done,” Dua shares. “For the longest time, I’ve had this idea to reimagine my music with an orchestra, and when I was making Radical Optimism, I was constantly thinking about the live element and how these songs would transform on stage, so when The Royal Albert Hall show came up, it presented itself as the perfect opportunity to not only reconstruct these songs, but also celebrate them in such a beautiful and intimate way. The experience was entirely thrilling and equally rewarding. It was a dream come true, and something I’ll always take with me.”

Sarang Bang Records proudly presents Eternal Afternoon, the latestfull-length offering from Auckland-based composer, producer, and multi-instrumentalist, Joe Kaptein. Drawing inspiration from the 70s jazz-funk innovations of Donald Byrdand Lonnie Liston Smith
and elements of dub and disco, Eternal Afternoon is an uplifting collection of five original Kaptein compositions - a joyful antidote to these troubled times.

Featuring Kaptein’s intricately layered keys and tight ensemblearrangements, the album is augmented by masterful touches of flute and saxophone by Aotearoa New Zealand jazz icon Nathan Haines and backed by local heavyweights Elijah Whyte (drums) and Wil Goodinson (bass), the backbone of Kaptein’s regular working band.

Seemingly out of nowhere, Kaptein appeared on the Auckland scene a few years ago and quickly made a name for himself owing to his versatility, impeccable taste and musicianship, and has established himself as thego-to keyboardist for the likes of Nathan Haines, The Circling Sun, Princess Chelsea, The Situations, and Muroki.

Before recording Eternal Afternoon, Kaptein somehow managed to channel his unrelenting creative energy into three low-key, but brilliant self-released digital albums in between his hectic international touring schedule and session work. These exploratory recordings touch on drummachine and synth-driven psych-lounge, Krautrock, experimental jazz, and Bacharachian pop, allowing the listener a glimpse into the depth of Kaptein’s vision and his wide-ranging musical interests.

"KILLER KLOWNS FROM OUTER SPACE have landed at Waxwork Records! After much anticipation, we are thrilled to present the official 1988 Original Motion Picture Soundtrack by John Massari! In this '80's cult classic, teens Mike Tobacco (Grant Cramer) and Debbie Stone (Suzanne Snyder) have to fight both the diabolical bozos and the local law enforcement's disbelief to save themselves and their community from becoming victims of intergalactic killer klowns! The original score to Killer Klowns From Outer Space is kicked off by the classic 80’s horror movie theme track, Killer Klowns (From Outer Space) by California punk band, The Dickies. The ‘nightmare merry-go-round’ continues with a smattering of menacing electronic brass sections, electric guitar, bombastic drum machine beats, & harpsichord combined with sci-fi synth elements to capture the ultra-specific origins of the antagonists. Massari's score to Klowns is a retro-synth joyride from start to finish featuring immediately recognizable cues from the beloved 80's cult-classic! Waxwork Records is thrilled to present the official Killer Klowns From Outer Space double LP, released for the first time on vinyl. Complete with “Killer Klown” handpoured colored vinyl, deluxe packaging, new artwork by Ruiz Burgos, heavyweight gatefold jackets with matte coating, a heavyweight 12”x12” art print, and liner notes by composer Massari and Klowns co-creator Stephen Chiodo!

Pressed at Quality Record Pressings. Tip-on old style gatefold double pocket jacket by Stoughton Printing

Donny Hathaway's second album, released in April 1971, can be considered the antithesis of a "sophomore slump." The collection of cover songs found the artist not only spotlighting his talent, but his tastes. Among the songs he chose to cover on the LP was Leon Russell's "A Song for You," taken from Russell's debut album which was barely a year old at the time. Hathaway's impassioned version is so strong that many listeners are still shocked to discover that the song is indeed a cover.

With songs by Billy Preston ("Little Girl"), Mac Davis ("I Believe in Music") and Van McCoy (Gladys Knight and the Pips' 1964 hit, "Giving Up"), the record didn't exactly ignite the charts, peaking at No. 73 for the week of July 24, 1971 (the No. 1 album in America that week: Carole King's Tapestry). Hathaway's second LP is so much more than its chart performance.

Atlantic producer Jerry Wexler took over most of the production duties, with Hathaway producing one track, the self-penned "Take a Love Song." One of just three solo studio albums Hathaway recorded before his tragic death in 1979, Donny Hathaway is a truly timeless classic that will never go out of style.

Pressed on 180-gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.

Pressed at Quality Record Pressings. Tip-on old style gatefold double pocket jacket by Stoughton Printing

Donny Hathaway's second album, released in April 1971, can be considered the antithesis of a "sophomore slump." The collection of cover songs found the artist not only spotlighting his talent, but his tastes. Among the songs he chose to cover on the LP was Leon Russell's "A Song for You," taken from Russell's debut album which was barely a year old at the time. Hathaway's impassioned version is so strong that many listeners are still shocked to discover that the song is indeed a cover.

With songs by Billy Preston ("Little Girl"), Mac Davis ("I Believe in Music") and Van McCoy (Gladys Knight and the Pips' 1964 hit, "Giving Up"), the record didn't exactly ignite the charts, peaking at No. 73 for the week of July 24, 1971 (the No. 1 album in America that week: Carole King's Tapestry). Hathaway's second LP is so much more than its chart performance.

Atlantic producer Jerry Wexler took over most of the production duties, with Hathaway producing one track, the self-penned "Take a Love Song." One of just three solo studio albums Hathaway recorded before his tragic death in 1979, Donny Hathaway is a truly timeless classic that will never go out of style.

Pressed on 180-gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.

In summer of 2015 Seattle's doom fixtures Bell Witch released Four Phantoms' on Profound Lore Records, the highly anticipated doomed follow up to the band's now classic debut full-length Longing' (2012). But Longing' was not the band's first effort. Bell Witch first appeared in 2011 with a well-received demo that was simply titled Demo 2011.' At 37 minutes this recording was a massive statement of purpose which far-eclipsed the "demo" status implied by the name. It was recorded by Brandon Fitzsimons (Wormwood), the same engineer that worked on the band's debut Longing.' Demo 2011 showcased Bell Witch's minimalist depressing sound that has proven to be timeless, relevant, and undeniably sad. The band is heavy. The Flenser is proud to unleash this new pressing of a classic moment in contemporary US doom history. Artwork by the band's own Adrian Guerra (RIP) presented with an updated layout and in a more sustainable package than the initial pressing.

Securing his place in the scene as a mainstay after consecutively acclaimed releases on his own record label and beyond as well as lengthy touring around the globe's best venues, Altinbas returns to Token the only way he knows how. The Fuse resident's ethereal mark on driven techno comes this time with an aquatic touch, diving further into his bubbly architecture and melodic intrigue.

'Voyage' can mean many things; the past few years have been an incessant trip across the world's greatest sound systems and most dedicated audiences for the Belgian producer, or then perhaps it's a reference to the climactic and emotional nature of his productions. In any case, it's also the title track for his third EP on Token Records. Balancing warmth and anticipation, Altinbas is able pack in all the elements of a timeless record while still providing the space to breathe. Smooth and introspective, 'Voyage' kicks off the EP on a cloud of a club roller. 'Stygious Night' shares the first side with a more minimal but nonetheless effective approach. The tonal synth work on this record begs for a powerfully round system worthy of only the best dancefloors, and the space that washes around in the background gives it true dimension. Maintaining minimalism with structure through drum arrangement, 'Stygious Night' is reminiscent of a not so distant past in Berlin crafted with a clearly modern approach. As the record flips, 'Venus Ballroom' takes us by surprise with an uncommonly resonant sound at the forefront. This stylistic switch blends perfectly with historic tracks on the label that have come to define its sound since 2007. Hypnotic, psychotic, quirky, and mental - 'Venus Ballroom' proves a deep understanding of the music and appreciation of versatility. 'Psychosphere' closes down the EP with a classic sound of dissonant stabs to resonate through a foggy room. Altinbas highlights his sound with frantic clap sequences and short rides to keep his percussion rolling but dry while his synths create the acoustic he's been known to craft for the past few years. To have everyone agree on level of taste and technical capability is tough, which is why this certainly won't be the last time Altinbas will team up with Token to roll out his cutting-edge work.

The enigmatic masked producer DJ Jackum makes his highly anticipated debut on Shall Not Fade's sister label, Time Is Now, delivering four hard-hitting, genre-defying bangers that are set to dominate the bass music scene.

With an incredibly fast rise to the top in 2024, DJ Jackum has quickly proven himself as one of the most exciting and innovative voices in bass music. His bold, fresh approach breaks free from the conventional, making his sound impossible to ignore in a crowded genre. The Jack It EP is a testament to his skill, featuring four meticulously crafted tracks designed to make an explosive impact on the dancefloor.

Already garnering support from bass music titans like DJ EZ, Anz, Ivy Lab, and receiving radio play from Tom Ravenscroft, Jackum's Jack It EP is poised to create waves this winter. This high-energy release is sure to light up clubs worldwide.

Dive Into the Pulsating Beats and Euphoric Melodies of Liverpool's Electronic Sensation, North 90, as They Unleash Their Highly & New Anticipated Ep. Hailing From the Heart of the Uk, This Band Draws Inspiration From the Iconic Sounds of Early '90s Uk House, Paying Homage to Legends Such as 808 State, a Guy Called Gerald, Lfo and Altern 8. Venture Further Into the Ep, and North 90 Reveals Their Profound Connection to the Madchester Era, Evoking the Spirit of Happy Mondays, Remixed by Paul Oakenfold, and the Psychedelic Vibes of Stone Roses, Remixed by Grooverider. the Sonic Exploration Reaches Its Zenith With the Opening Track, the Incredible and Euphoric "I'll Say Yes (Becca Mix)," a Masterpiece Reminiscent of the Cult Project Band N-Joi. as the Ep Unfolds, Each Track, From the Powerful "Baracuda" to the Ethereal "Fantasy" and the Dynamic "The Hack," Showcases North 90's Mastery in Crafting a Sonic Landscape That Transcends Time. the Collective Brilliance of the Ep Leads Us to Proclaim North 90 as a Band to Watch, With Tracks So Exceptional That They Border on the Realm of Genius. in a Musical Journey Where Each Note Reverberates With the Essence of a Bygone Era, North 90 Stands as a Testament to the Greatness of England. the Beats Are Timeless, and the Memories Are Eclipsed in a Symphony of Sound. England Is Vast, England Is Eternal, and North 90 Emerges as a Beacon, Carrying the Legacy of Uk House Into the Future. Their 12 Inch Is Not Just an Ep; It's a Sonic Testament to the Enduring Spirit of Electronic Music....

Ryan Adams’ infamous cult classic album “Blackhole” will be released on classic black vinyl for the very first time.

The album’s contents and final tracklisting have been widely speculated since its conception in the early 00’s. After nearly two decades of anticipation, Adams is now ready to unveil the official release of Blackhole.

Featuring “Catherine”, heard only in live performances, alongside previously unheard material, Blackhole captures the raw, unfiltered emotion that defines Adam’s songwriting. The shelved album, first demoed in 2006, became heavily bootlegged, with fans circulating low-quality recordings and snippets from live performances, fuelling a demand for the album’s official release. This long-awaited, full-length album not only satisfies years of fan speculation, but also reclaims a crucial moment in Ryan Adam’s history.

Established in 2014, These Wicked Rivers are Derby’s entry to the new wave of rock and roll that is sweeping across the United Kingdom. Drawing influence from the well of rock legends and blues greats, the band have made quite an impact since their inception with their unique brand of blues-infused modern rock steadily picking up plaudits for their gutsy live performances across the UK and beyond.

The ensemble received a slew of positive reviews for their debut EP ‘The Enemy’ back in 2015 and followed it up with 2017’s ‘II’, gaining them attention within the emerging UK rock scene as well as airplay on Planet Rock radio. Debut album ‘Eden’ was released in May 2020 and brought new levels of critical acclaim, including a Classic Rock Magazine ‘High Hopes’ feature as well as a coveted ‘Track of the Week’ accolade.

On the live circuit the lads have forged an ever-growing fan base through supports with the likes of Massive Wagons, Those Damn Crows, Kris Barras and Hayseed Dixie, as well playing stand-out performances at festivals such as Planet Rockstock, Steelhouse Festival, Stonedead Festival and Giants of Rock. 2024 has proven to be their busiest year yet, kicking off in January with a hometown show that sold out in just 5 hours. Eden's highly anticipated follow up, 'Force of Nature' dropped 1st March 2024 via Fat Earth Records, reaching no. 3 in the UK Rock Charts which called for an almighty (sold out) celebration at Matlock Bath's Grand Pavilion. The band ventured to Europe for the first time in April, delivering 'Peace, Love & Lampshades' to sell-out crowds across France, Germany and The Netherlands before another successful UK tour in May which saw the 'Rivers "Family" of fans continue to grow

--The fourth outing on Spray’s Punctuality imprint comes in the form of the much anticipated Ode to Beachball EP by Eoin DJ. The release is a fully realised vision of moods and grooves inspired by Nalin & Kane’s 1997 chart topper ‘Beachball’.

Sparse, organic percussion, simple basslines and lush atmospherics form the bedrock of the EP, placing it firmly at the intersection of starry-eyed euphoria and heads-down club-stomp, lending the tracks a timeless but contemporary feel.

Those with their ears to the ground will know that the title number has been somewhat of a sleeper hit for the past two summers. Ode to Beachall’s understated stabs, rolling bass and transcendental vocals have soundtracked many sunsets and have bore the brunt of numerous failed shazam attempts via spins in mixes by trendsetting auteurs like Job Jobse, Sally C and label head Spray.

Bliss Inc’s remix turns up the energy dial with a club-focussed remix of Ode To Beachball, adding extra dynamics to the rhythm and low end, propelling the original into a modern hard-house roller complete with big-room breakdowns and euro-centric stabs, firmly aimed at the dancefloor.

On the flip both Infinite Well and On Lilac Skies stick to the beachball brief- swung bongos and congas, undulating low end and mercurial vocal chops add to the balearic beach techno mood of the entire EP. Both tracks are exemplary practices in dancefloor restraint and are sure to be staples in bags and sticks of discerning DJs for many summers ahead. Another stellar release from Irish atlantean Eoin DJ.

Today, the Toronto-born-and-raised singer, songwriter, producer, and multi-instrumentalist Charlotte Day Wilson announces her highly-anticipated sophomore album Cyan Blue out May 3rd via Stone Woman Music / XL Recordings

Along with the announcement of her new album comes the release of first single, "I Don"t Love You", a stark and devastatingly beautiful confessional, highlighting Wilson"s immaculate production skills and chill inducing vocals laid atop smooth groove piano chords and soft drums. The track also arrives with a visual directed by Dani Aphrodite featuring layered low fi footage of the artist and producer performing at home, living every day life and having moments of solitude in her car, a theme that comes up throughout the album. Cyan Blue finds Wilson crafting a smoothly woven cyan tapestry of her eternal influences; thumping gospel piano, warm soul basslines, atmospheric electronics, and penetrating R&B melodies. Yet, it possesses a sense of vastness that rings in a new era for Wilson, one in which she"s embracing collaboration and newfound creative openness tinged with wistfulness and yearning and a reflection on youthful innocence. "I want to look through the unjaded eyes of my younger self again," Wilson explains of making Cyan Blue. "Before there wasn"t as much baggage, before so much life was lived. But I also wish that my younger self could see where I am now. It would be nice to be able to impart some of the wisdom and clarity that I have now onto her.

" Working with producers like Leon Thomas (SZA, Ariana Grande, Post Malone), and Jack Rochon (HE.R, Daniel Caesar), Cyan Blue demonstrates Wilson´s sonic expertise while also showcasing the next evolution of her time-bending songwriting. Through 13 hypnotizing tracks, she continues to use music as a vessel for unpacking relationships, which in turn allows her to meet and understand herself in life-spanning, panoramic focus.

But, on Cyan Blue, she challenged herself to kick her perfectionist tendencies. "Before, I was extremely intentional about creating music with a strong foundation, a bed of artistic integrity," Wilson reflects. "But that was a bit stifling, like, "Let me just make a great piece of art that will stand the test of time, no pressure." Now, I think I"m getting out of this frozen state of needing everything to be perfect. I"m more interested in capturing feelings in the moment as they happen and leaving them in that moment."

While this is only her second album, Wilson"s influence in music has made a major mainstream impact. Wilson broke out in 2016 with her critically acclaimed EP, CDW, followed by 2018"s Stone Woman and made her debut studio album an official coming out moment in 2021 with the critically acclaimed, self-released Alpha.

Over the past decade, she´s been sampled by Drake, John Mayer, and James Blake, while Patti Smith has recently praised and covered Wilson´s 2016 breakout single "Work." Additionally, she´s collaborated with artists like Kaytranada, BADBADNOTGOOD, and SG Lewis, demonstrating that there´s no sound Wilson can´t adapt to and sprinkle her cyan-colored magic over.

After two years in the making, Wyatt E. seals their long-awaited return in 2025 with the highly anticipated narrative sequel to "al beluti darû": zamaru ultu qereb ziqquratu Part 1 (Music from inside the Ziggurat); is the first chapter of a set of 2 concept albums in which the band deepens its exploration of ancient Babylon with an almost mythical approach through the eyes of the exiled captives from Jerusalem. Featuring contributions from 7 international collaborators, zamaru ultu qereb ziqquratu is poised to become one of the most ambitious projects in the doom scene in terms of production & conception and will be released by the finest label in the genre: Heavy Psych Sounds. The album pushes sonic boundaries by featuring two drummers recorded simultaneously, creating the immersive effect of distant crowds. An eclectic mix of instruments, including the saz, viola, sitar, and bugle, blend with both analog and digital elements to enrich the soundscape. A nod to Turkish composer Faz?l Say is also present, with a quotation from his symphony Mesopotamia. For the first time, two vocal tracks appear alongside the instrumental pieces. Iranian singer Nina Saiedi lends her ethereal voice to "The Diviner's Prayer to the Gods of the Night," sung in Akkadian, while Jerusalem's choir conductor, Tomer Damsky delivers a captivating performance of Im Lelya in Aramaic adding a deep vocal layer to the album. The final mix, crafted by renowned producer Tim De Gieter, known for his work with Amenra, Brutus, and Absent in Body, brings everything together with a masterful touch.

Gold vinyl, limited to 550 copies. After two years in the making, Wyatt E. seals their long-awaited return in 2025 with the highly anticipated narrative sequel to "al beluti darû": zamaru ultu qereb ziqquratu Part 1 (Music from inside the Ziggurat); is the first chapter of a set of 2 concept albums in which the band deepens its exploration of ancient Babylon with an almost mythical approach through the eyes of the exiled captives from Jerusalem. Featuring contributions from 7 international collaborators, zamaru ultu qereb ziqquratu is poised to become one of the most ambitious projects in the doom scene in terms of production & conception and will be released by the finest label in the genre: Heavy Psych Sounds. The album pushes sonic boundaries by featuring two drummers recorded simultaneously, creating the immersive effect of distant crowds. An eclectic mix of instruments, including the saz, viola, sitar, and bugle, blend with both analog and digital elements to enrich the soundscape. A nod to Turkish composer Faz?l Say is also present, with a quotation from his symphony Mesopotamia. For the first time, two vocal tracks appear alongside the instrumental pieces. Iranian singer Nina Saiedi lends her ethereal voice to "The Diviner's Prayer to the Gods of the Night," sung in Akkadian, while Jerusalem's choir conductor, Tomer Damsky delivers a captivating performance of Im Lelya in Aramaic adding a deep vocal layer to the album. The final mix, crafted by renowned producer Tim De Gieter, known for his work with Amenra, Brutus, and Absent in Body, brings everything together with a masterful touch.

Originally release in March 2009, Midle Cyclone is repressed for 2025. 'Middle Cyclone' was produced by Case with Darryl Neudorf and recorded in Tucson, Brooklyn, Toronto, and Vermont. It features Case backed by her core band - guitarist Paul Rigby, bassist Tom V. Ray, backing vocalist Kelly Hogan, multi-instrumentalist Jon Rauhouse, and drummer Barry Mirochnick - along with numerous guests including M. Ward, Garth Hudson, Sarah Harmer, and members of The New Pornographers, Los Lobos, Calexico, The Sadies, Visqueen, The Lilys, and Giant Sand, among others. In addition to twelve new songs written by Case, 'Middle Cyclone' includes covers of "Never Turn Your Back on Mother Earth" by Sparks, and "Don't Forget Me" by Harry Nilsson.

In 2006, SPIN Magazine called Case "one of pop music's best" voices, and Interview Magazine hailed her album 'Fox Confessor Brings The Flood' as "one of the most original, beguiling, honest records of the year." The album also earned Case Female Artist of the Year honors from the PLUG Independent Music Awards, and a Top 10 placement in the Village Voice's annual Pazz and Jop Critics Poll of the year's best releases. 'Fox Confessor' was Case's first album to debut in the Billboard Top 100, and has sold nearly 200,000 copies in the U.S. alone.

"Existences" is the highly anticipated first album by Neurocore, a talented French artist known for his thought-provoking compositions. This album is a culmination of years of introspection and exploration into the complexities of human existence. During the Covid lockdown, Neurocore found himself with the precious gift of time, allowing him to delve deep into his creative process and tackle profound questions through music.

Each of the 13 tracks on the album tells a story, evoking emotions and painting vivid sonic landscapes. The cover art, meticulously crafted by URRU, captures the essence of the album's concept - a mesmerizing blue vortex symbolizing the unknown and the powerful energy that draws us towards it.

Neurocore breaks free from the confines of being labeled solely as a "speedcore producer." Instead, he presents a diverse array of electronic compositions that transcend trends and embrace the full spectrum of human emotions. Rejecting the notion that hardcore music is only dark and brutal, Neurocore sees it as a representation of the inner beauty within every human being.

"Existences" invites listeners to interpret and create their own stories, as music has the power to evoke personal experiences and emotions. With this remarkable album, Neurocore celebrates the diverse facets of existence and invites us to embark on a profound sonic journey.

3x12" album + digital release
Including an A5 insert with a personal note from Neurocore

Special is the highly-anticipated upcoming album from global superstar & 3-time GRAMMY® winner Lizzo, which follows her multi-Platinum selling, top-10 debut album, CUZ I LOVE YOU, released in 2019. It will be released everywhere July 15th via Nice Life/Atlantic Records with the pre-order going live on April 14th. The album will feature her irresistible new single “About Damn Time,” out everywhere alongside the pre-order.

CUZ I LOVE YOU spent 24 consecutive weeks in the chart’s Top 10 whilst “Truth Hurts” also became the longest running #1 by a solo female rap artist in history after spending seven weeks atop the charts. In addition to gracing the cover of Rolling Stone, PEOPLE, Variety, Billboard’s GRAMMY® Preview Issue, British Vogue & Elle’s Women In Music Issue amongst others, her high-profile TV appearances include the opening performance at the 62nd Annual GRAMMY® Awards, 2019 American Music Awards, MTV Video Music Awards & BET Awards and she is set to return to Saturday Night Live, pulling double duty as host and musical guest. Most recently she has partnered with Logitech as the face of their 2022 “Defy Logic” campaign. Lizzo has also cemented herself as one of music’s most in-demand live performers with standout performances throughout her sold-out ‘CUZ I LOVE YOU’ & ‘CUZ I LOVE YOU TOO’ tours and a headline appearance at Lollapalooza.

Dance and drama began for Paulo Alvarado in 1992 when Sabrina Castillo, Bettina Barckhausen, Joam Solo, Xavier Pacheco, and Alfredo Porras invited him to create the music for their choreographic and theatrical productions as an ethereal actor who is not seen but heard; a sound that is not merely an occasion to "musicalize" the stage production; music that does not merely adorn or incidentally accompany the movement and text, but that acts.

This is how he soon had the opportunity to work on the stage production of Sophocles’ OEDIPUS REX (Edipo Rey), the first of several plays for which Alvarado composed music at the request of Luis Tuchán one of the revered theatrical directors from Guatemala. With him, they also worked on Shakespeare’s Macbeth, which carried the subtitle "Asesino del Sueño" (Sleep Murderer). Later, as an example of another area of action, and at the request of Dennis Leder one of Guatemala's leading artists from the past three decades and Ana Asturias who had worked with the Guatemalan Dance Company, he created the music for a dance-installation called, fittingly, "Lederana" mixing both words from their name. Around that time, he also began composing and presenting music for productions by Guatemalan authors, such as the drama by Rubén Nájera, "Sacra Conversación", directed by Joam Solo.

These pieces, contained on Side A of the album, represent only a very brief sample of an era immersed in theatre and other performative projects where more than forty theatrical and choreographic pieces where created in a span of three decades, and consist of his valuable contribution to the soundtrack of dramatic theater and contemporary dance in Guatemala.

Separately, the title piece of this album, ANTIGUA, found on Side B, was designed for the exhibition of
engravings, lithographs, and digital prints by Roberto Godoy, Antigua Estampa de la Vida Mía. It gathers musical extemporizations for the dance we invented at the moment of inaugurating the photographic exhibition by Rocío Villanueva, Los Mutantes de los Apegos; the fifth movement of my String Quartet No. 5 (version for six cellos); Exiliados en Tierra Propia(introduction to my song Púrpura de Vida y Sentimiento); and Las 56 (from the film Después del Fuego), dedicated to the young women wounded and killed on March 8, 2018, in a so-called "safe home" in Guatemala City. This LP unites many of Paulo's most experimental works and serve as a small tribute to his life, trajectory and to all those who, without reservation, dedicated and invested resources in his music catalogued by himself as one of the main ways to celebrate human life: art.

For the first time on vinyl, a great Australian High Energy classic from Brother Brick, led by Stew Cunningham, one of the best guitarists to emerge from the antipodes. On the same level as other classics such as Bored!, Asteroid B612, New Christs... A gem of OZ rock. Attention all rock enthusiasts and vinyl collectors! The wait is finally over. For the first time ever, Brother Brick's legendary 1997 album A Portable Altamont is being released on vinyl, fully remastered to capture the raw power and energy that defined their high-octane sound. This release showcases the band's gritty fusion of blistering guitar riffs, pounding rhythms, and unforgettable melodies--reminiscent of Detroit's finest like The Stooges and MC5, but with that unmistakable Aussie edge. Led by the iconic Stewart Cunningham, known for his work with other influential projects like Proton Energy Pills, Leadfinger, Asteroid B612, and The Yes-Men, Brother Brick carved out their own space in the '90s Australian rock scene. A Portable Altamont is a testament to their uncompromising spirit, packed with all the attitude and authenticity that made them a standout in the Sydney underground. Originally only available on CD, A Portable Altamont is a high-energy masterpiece of Australian rock, packed with blistering guitars and melodies that have been screaming to be heard on the rich, warm tones of vinyl. This remastered edition brings new life to tracks that defined a generation of raw, unapologetic rock. If you're a fan of loud guitars, powerful melodies, and pure rock 'n' roll attitude, this is the vinyl you've been waiting for. Don't miss your chance to own a piece of rock history--A Portable Altamont is now available in a limited edition vinyl pressing! TRACKLIST SIDE A A1 The Same A2 Chip On My Shoulder A3 Beyond My Hands A4 Chokito Bar A5 Derelict Eyes A6 No Turning Back SIDE B B1 Rock'n'Roll Marie B2 Feel Strung Out B3 Drives Me wild B4 Help Yourself B5 We're Not Like You B6 Rock Action

Twisted Records is delighted to announce a different kind of collaborative mini album by two musicians highly esteemed for decades in the electronic music scene, Simon Posford and Raja Ram. 

‘Improvisations for Piano & Flute’ is, as the title suggests, a series of fully improvised compositions by the two legendary musicians. The 44-minute flow of this album is more contemplative and analog in nature than anything in the pair’s previous output in their three decades of collaborative work, yet equally mesmerising and consciousness-expanding.
 
In the early 1990s, Simon Posford was working as an engineer at Butterfly Studios when he first met Raja Ram, an Australian conservatory-trained jazz flautist who had been in the 60s/70s band Quintessence and who was at the time of their meeting part of the electronic music group known as The Infinity Project. After collaborating on many of the latter band’s productions, Posford and Raj (as he is affectionately known) in 1996 created the first track under the project name Shpongle, Rumours of Vapours. 
 
Less dance-focused and more atmospheric than their previous electronica tracks, this was the first of many creations under the Shpongle moniker, included on their now iconic first album Are You Shpongled? in 1998. Since then, they have produced six albums and performed elaborate live sets with an 17-member band around the world, including three sold-out shows at the iconic Red Rocks theatre in Colorado and three sold-out appearances at The Roundhouse in London.

This album is a significant departure from their usual output in its focus on the interplay of Raj’s lyrical flute playing and Simon’s noodling at the piano, with almost imperceptible synthesized atmospheric support that seamlessly unites analog and digital realities. 

These improvisations were recorded in Posford’s living room instead of the usual studio because the musicians found that it provided more of the desired ambience. With a synthesizer placed atop an antique Bluthner piano, either Raj or Simon would begin playing and the other would join in - nothing prepared, decided, or arranged: just live, in-the-moment inspiration. This spontaneity infuses each track with such magnetic energy that the listener is inevitably drawn into each note, phrase, and piece. 
 
The whole album is supremely chill and introspective, with a grand arc to the storyline of 8 tracks that Shpongle fans will recognize from the dynamic duo’s internationally prized discography.  

‘Improvisations for Piano & Flute’ is a salve for the soul, providing an atmospheric antidote to the relentless stress and fast pace of our increasingly complex world - a great way to kick back, tune in, and refresh.

Victor Axelrod aka Ticklah's landmark fusion of reggae and salsa, "10th Anniversary" double 7-inch special edition. Originally released on NYCT in 2014, this previously sought-after press featured his long-anticipated reinterpretation of Willie Colón & Hector Lavoe's Nuyorican classic El Dia De Suerte. With countless musical endeavors under his belt, plus founding duties in the Dap-Kings, Antibalas and the Easy Star All-Stars, Ticklah remains a serious force in the studio as exhibited in his methodical deconstruction of these seminal New York City Latin anthems. Reworked entirely from the ground up with a precise and soulful approach to foundation reggae roots and dub, Ticklah's extended take on El Dia De Suerte stretches out into new territory, yet remains faithful to the original's timeless message via Mayra Vega's stunning vocals. Rounding out the package are Ticklah's renditions of Eddie Palmieri's Mi Sonsito and Si Hecho Palante from his 2007 album on Easy Star, already deemed dancefloor essentials by soulful DJs worldwide, remastered and now presented on 7-inch vinyl for the first time. It's arrived, again!



a 01: El Dia De Suerte (Vocal) feat. Mayra Vega

c 03: El Dia De Suerte (Dub) feat. Mayra Vega

*2LP ON WARP IN GATEFOLD SLEEVE WITH PRINTED INNERSLEEVES
*INCLUDES DOWNLOAD CODE

Iconic Warp mainstay Nightmares on Wax can now announce his long-anticipated return with new album Shape The Future. The marriage of soul, hip-hop, dub and timeless club sounds that N.O.W. has been mutating and perfecting for years finds perhaps its most fluid form yet on Shape The Future. Energized by globetrotting runs of studio sessions and DJ sets, this latest salvo is a masterpiece of contemporary and classic genre-blending that solidifies Nightmares On Wax's place as an inspirational electronic music figurehead.

Features guest vocals from Jordan Rakei (Ninja Tune), Mozez, Kanye West and Flume collaborator Allan Kingdom, Andrew Ashong, Kuauhtli Vasquez & Wixarika Tribe and Sadie Walker.

The Holiday Album That Turned Mariah Carey into the Queen of Christmas: Featuring the Standard “All I Want for Christmas Is You,” the Singer’s Blockbuster Merry Christmas Exudes Joy, Spirituality, and Conviction
Sourced from the Original Master Tapes, Presented in Audiophile Sound for the First Time, and Strictly Limited to 3,000 Numbered Copies:

Mobile Fidelity’s UltraDisc One-Step 180g 33RPM LP Set Plays with Superb Detail, Openness, and Definition
1/2" / 30 IPS / Dolby SR analogue master to DSD 256 to analogue console to lathe

Mariah Carey didn’t become the Queen of Christmas just because of her fervent love of the holiday. Or as the result of a brilliant marketing plan. The iconic singer earned her title by way of her blockbuster Merry Christmas, a 1994 album that quickly joined the likes of Bing Crosby’s White Christmas, A Jolly Christmas from Frank Sinatra, and Nat King Cole’s The Christmas Song as an all-time holiday vocal classic. Featuring a balanced mix of inspired originals and well-chosen covers, Carey’s fourth studio record has only grown in stature as new generations discover its magic. Mobile Fidelity’s 30th anniversary edition reissue of Merry Christmas makes her spellbinding performances and upper-tier register come alive like never before.

Sourced from the original master tapes, pressed at Fidelity Record Pressing, and strictly limited to 3,000 numbered copies, the pioneering label’s UltraDisc One-Step 180g 33RPM LP set of Merry Christmas plays with superb detail, depth, and dimensionality. Available in audiophile quality for the first time since its original release three decades ago, and featuring the bonus track “God Rest Ye Merry, Gentlemen,” the nine-times-platinum set breathes with a newfound openness and transparency that enhance the spirituality, passion, and festive tenor of Carey’s singing.

Benefitting from superb groove definition, a nearly inaudible noise floor, and dead-quiet vinyl surfaces, the music takes on a heightened energy and anticipatory emotion synonymous with the holiday season. Carey’s signature vocals explode with liveliness and dynamics, the full scope of her acrobatic range presented in clear, transparent sound that practically places her on a small stage in your listening room. This collectible version also breathes with the kind of warmth, intimacy, and coziness you want from a landmark vocal album.

Recorded when Carey helped put “diva” back into everyone’s vocabulary, Merry Christmas gave the New York native another smash right out of the box. What nobody knew at the time was the degree of the album’s staying power — and how, many years removed from its initial promotion cycle, its legend would still grow and even spark a 2010 sequel. Having re-entered the Top 200 charts every year since 2019, Merry Christmas ranks as one of the three most commercially successful holiday LPs ever made and, in due time, will likely earn the top distinction in that class. A global blockbuster, it seamlessly ties together Christian, gospel, and secular threads and speaks to a boundless audience, independent of denomination.

Most obviously, the record remains inescapably connected to “All I Want for Christmas Is You,” an uptempo anthem that towers as a holiday standard and one of the biggest-selling singles in history. Punctuated with celesta chimes, sleigh bells, springy keyboards, and joyous beats, the song echoes the simple albeit engaging melodies and doo-wop style of beloved holiday classics of yore — and blends such elements with contagious dance-pop rhythms to create an atmosphere rich in joy, wonder, and excitement. Radiant with golden soulfulness and sincere conviction, Carey’s exuberant singing and on-point phrasing put it all over the top. And how.

The song stands as the only effort in Billboard history to top the Hot 100 chart during at least three separate runs. Carey’s blockbuster has already hit No. 1 during five runs, spanning every year between 2019 and 2024. That’s just one of the many records the singer holds — and only one of the multiple highlights from Merry Christmas, which includes two other Carey-penned originals, “Miss You Most (At Christmas Time)” and “Jesus Born on This Day.”

Though slightly lesser known, Carey’s remarkable rendition of Darlene Love’s “Christmas (Baby Please Come Home)” further links her album with the big, lush, Wall of Sound heritage that helped inspire its production. Carey’s heartfelt take and transformation of the traditional “Santa Claus Is Coming to Town” into an animated tune that even adults can believe, as well as her clairon reading of “Joy to the World” — cleverly augmented with bits of Three Dog Night’s 1971 hit of the same name — further reinforce her status as Queen of Christmas.

At the peak of her powers, Carey finds equivalent success when tapping more spiritual veins. Witness the reverence she brings to the timeless carol “Silent Night,” the piousness she invests in “Jesus Oh What a Wonderful Child,” and the sacred feeling she conveys throughout “O Holy Night.” You’ll also never think of “Hark! The Herald Angels Sing” and “Gloria (In Excelsis Deo)” the same way again after hearing Mimi pour her heart and soul into them, and pair the songs together.

Indeed, it’s Carey’s pliable voice, melismatic technique, and five-octave range — on display here in definitive fashion — coupled with her undeniable love for Christmas and understanding of the religious significance of the season that make Merry Christmas a must-have holiday staple. And on Mobile Fidelity’s LP, something you better add to your wish list.

PRESSED ON BLUE INK-IN-CLEAR COLORED VINYL IN A GATEFOLD JACKET WITH OBI, A FOLD-OUT LYRIC INSERT AND TWO BONUS REMIXES

Among hip-hop fans, Boogie Down Productions first two albums – Criminal Minded (1987) and By All Means Necessary (1988) – loom very large. And for good reason: they both captured one of the late 1980s most important and influential crews at their highest powers of lyricism and musical invention. That said, too many people sleep on BDPs third LP, Ghetto Music. Released in 1989, when the hip-hop world was truly beginning to explode and reach new heights of sales and exposure around the world, the album is arguably as powerful as the group's first two. As on By All Means Necessary, in the wake of the tragic death of the founder, producer, and DJ Scott LaRock, KRS-One pushed along mightily on the production side, with help from his extended crew. Musically the sound created on albums 2 & 3 was funky, catchy, and continually innovative, giving him the perfect backdrop to build his Edutainment syllabus. Lyrically there was never a question about KRS-One's power, and on Ghetto Music he continues to impress, teach, and ask important questions. Clear cases in point are two of the album's singles, "You Must Learn" and "Why Is That?" but he gets even deeper on tracks like the anti-police thought-piece "Who Protects Us From You" (still sadly relevant in 2024), "Ghetto Music" and "World Peace." Out of print on vinyl since 2017, Get On Down in partnership with Sony's CERTIFIED is proud to present this '89 classic fresh for 2024 you suckas! Pressed for the first time on double-colored vinyl and packaged in a gatefold jacket with a fold-out lyric sheet and two bonus remixes.

Fang Island's second and last record, long out of print and back in stock as gray splatter coloured vinyl in gatefold jacket LP via Joyful Noise, defined the sound of danc-y/math-y indie rock of the early 2010s alongside contemporaries Lightning Bolt, Titus Andronicus, and Japandroids. Fang Island described their music as the sound of "everyone high fiving everyone." No matter where they went, Fang Island's up-with-people approach made them a subversive art project by default. At a time when the belligerent noise-rock of Lightning Bolt and The Body defined Providence, Fang Island played major-key guitar harmonies and flashy tapping riffs. When people tried to call them "math-rock," they thought of themselves as "recess rock." Two years after Fang Island released what they expected to be their first and only album, Major became the "highly anticipated sophomore LP." The songs were bigger, shinier and hookier, forged under the pressure that comes with being a band rather than a couple of weekend warriors - label pressures, grueling tours and the frequent personnel changes that ultimately brought the band to their amicable end. Fang Island began with the crackle fireworks and, as the band heard fireworks going off in the distance as they played in Barcelona, they took it as a supernatural sign that this show would be the perfect bookend to their career. "We were getting older, we were in serious relationships, we were getting tired, and that just felt like the right way to end it."

On December 6, 2024, Randomer will return with a new EP titled MTY-012: Everything Happens for No Reason, released via Anetha’s label, Mama Told Ya.

After a reflective hiatus, the UK prodigy is highly anticipated and ready to deliver meaningful music. The EP features five emotionally charged tracks—four produced by Randomer and one co-produced by Randomer and Anetha. Presented on a single vinyl, the release conveys a deeper message: life’s unpredictability can be embraced, reminding us that we can find our way even in chaos and randomness.

Torn between the meaningful and the meaningless, Randomer channeled his time into crafting music shaped by his extensive study of melodies, subconsciously

seeking to bring harmony to the world. The result is a cathartic journey across five tracks, each evoking a broad spectrum of emotions and inviting listeners to explore the depth of their feelings. Drawing from the music that deeply influenced him, Randomer traverses various genres and moods, seamlessly blending techno, trance, techstep, and sacred choral music in a perpetual act of personal reinvention.

Let the choir sing I Saw the World Melt (A1) right before my eyes, and let the people chant my melancholic melody. Nervous Breakdown. Lost in the riffs with dis ting from London, DHM Jam (A2) fuels me with adrenaline, I’m flying through memories, urged to move on. Yet, I’m still trapped : the clock shows Home Invasion (A3)—better start running. We will survive. But where’s my harmony? I Can’t Believe (B1) it. Why me? Why us? In this trance state of mind, I have so many questions, but those voices on the other side won’t answer. We’re doomed anyway, so why not plug in like the Two Perfect Machines (B2) we are, until the end.

For this new EP, Australian visual artist Nic Hamilton has been commissioned to create a poignant artwork alongside two melting teasers for MTY-012. As always, the design is expertly crafted by Diplomatie Studio, while the mastering is entrusted to Six Bit Deep, ensuring a polished and immersive listening experience.

Repress of DVS1's highly anticipated album that came out on Axis digital during the pandemic. From the perceiving body to the liminal space of the dream-state, audible frequencies send a neurofeedback message. A paradigm-shift is activated in the mind. A movement from the present hour toward the realm beyond measure. The pulse of a synthesized kick. The distance between evolving rhythms of time & place left behind. Sensations created in forgotten corners of the consciousness are distant, yet familiar. A low-penetrating drum beat pulsates. Hypnotic hallucinations reveal detailed layers, oscillating from the back to the forefront of the dream. Synth programming yields abstract ideas into concrete images. Lucid percussion arranged to paint a deeper shade of architecture in this future-memory-system. Be aware that sensations resonate into imagination without warning. The observer extends from rational thought to a deeper state of understanding. The mind-body experience gives way to a transient response from a shock wave to the steady state. The senses reach entrainment.

M_Sessions - Reworks is offering a contemporary version of Mania D., Malaria and Matador’s music for the 40th anniversary. Bringing the past into the now and into the future.
Monika Werkstatt seemed the perfect choice for new interpretations. Founded in 2015, comprising female electronic musicians and producers from the entourage of Monika Enterprise and Moabit Musik. The loose collective played dozens of improvised concerts around Europe and released a studio album and live recordings in everchanging artist constellations. The M_Sessions involved Pilocka Krach, Beate Bartel, Midori Hirano, Mommo G, Lucrecia Dalt, Antye Greie-Ripatti, Natalie Beridze, Annika Henderson and myself. Here the form of interpretation is focussing on keeping the freedom of their improvised work and adapting it to the collective appropriation of songs. I cannot imagine a better reinterpretation of the material with its real life ups and downs and with its enthusiasm. (G.Gut)

"The three, reunited: Malaria, Matador and Mania D, unter einem Dach, but gutted, replaced with electronic hearts, new beats, new beasts, the time has changed, yet the politics, the problems, the heartache remains the same. 2021 sees the anniversary of the 3 M’s and therewith the production of an album of songs, covering a selection of the bands’ finest output, this time assembled by a new set of feminist misfits; producers, fangirls, instrumentalists, under the strict guidance of original members Gudrun Gut and Beate Bartel. M-Sessions features: AGF, Lucrecia Dalt, Sonae, Midori Hirano, Islaja, Natalie Beridze, Pilocka Krach, Annika Henderson (Anika), Lupe, Gudrun Gut and Beate Bartel. Beginning in West Berlin, in 1979, with the inception of Mania D, spawning Malaria! and later Matador; in a time when music was essential to movement, to escape, to space, to the scene and to the rebellion of the people; three bands stood for trial and error, trial and terror, anti- conformity, and anti-consumerism, for girl power and sticking it to the man, and for just doing whatever the hell they wanted. The three, their existence slightly staggered, with different members, different grudges, different heartbreaks, different instrumental expressions, were joined by a string of barbed wire, piecing pigeon hearts, within the playground that was the desolate ex-capital, now again capital, Berlin; a place where artists and freaks could run free amongst the wrinklies and army dodgers; no microscopes, no rules, no property developers." (ANNIKA HENDERSON)

(Platipus 30 Years vinyl part 5/12, remastered audio) Platipus Records proudly announces the highly anticipated release of the 4th vinyl installment in the Platipus 30 Years series, featuring four iconic tracks that epitomize the label's storied sound.



Tracks by L.S.G. (Oliver Lieb), Moogwai, Terra Ferma and Adam Dived.



Iconic electronic UK music label Platipus proudly marks its 30th anniversary with the highly anticipated fifth installment of its exclusive vinyl series. Showcasing the timeless artistry that has defined the label for three decades, this special release features a stellar lineup of tracks: the ethereal Hidden Sun of Venus by German legend Oliver Lieb under his L.S.G. alias, the masterpiece The Labyrinth by Moogwai, the classic Lunar Sunrise by Terra Ferma, and the rediscovered gem Headfirst by Adam Dived. This meticulously curated collection encapsulates the essence of Platipus’ groundbreaking journey through electronic music, making it a must-have for fans and collectors alike. Celebrate the legacy with this stunning release, a true testament to 30 years of innovative sound.

We are thrilled to present the historical rescue of the only existing recording of Antihéroes, yet another mystery of the Argentine musical underground scene of the 80s, now available on vinyl for the first time. This obscure post punk band show their harshness and darkness in these only two songs they recorded, back in 1985, and which were distributed on a cassette that has today achieved cult status. This release is the result of the collaborative work between Twistin' Bones (Costa Rica) and Munster Records

Obscure & outstanding free jazz album reissued for the first time since it’s original release in 1969. Old-style gatefold sleeve LP, with liner notes by Ed Hazell.

In the late 1960s, young jazz musician Bobby Naughton, a keyboardist and vibraphonist, faced significant challenges as he sought to record his first album. With major record labels and jazz clubs catering only to big names, Naughton and other creative musicians of his generation found themselves sidelined by the mainstream music industry. They turned to self-reliance and self-production, becoming part of a movement of independent musicians. Naughton’s debut album, Nature’s Consort, was a DIY effort in every sense—recorded on home equipment and featuring a hand-printed woodblock cover. The album was distributed independently at concerts and by mail, receiving little attention initially, but over the years it gained a reputation as a rare, sought-after artifact of the period.

Though recorded during an outdoor concert in Connecticut, Nature's Consort reflected the "loft jazz" scene in New York City. This avant-garde jazz movement centered around musicians who lived and played in loft spaces in lower Manhattan. Naughton commuted from his home in Southbury, Connecticut, to play with his bandmates Mark Whitecage, Mario Pavone, and Laurence Cook in New York's lofts. These musicians regularly performed at venues like Studio We, a key gathering spot for free-form jazz, where musicians could experiment and develop their sound, often with no audience present.

Naughton’s journey into jazz was a winding one. Originally from Boston, he played rockabilly and blues-rock before transitioning into free jazz. Inspired by avant-garde artists like Carla Bley and Paul Bley, Naughton sought to explore new forms of music that went beyond traditional jazz structures. His bandmates, Mark Whitecage and Mario Pavone, were both deeply affected by the death of John Coltrane in 1967, which prompted them to quit their day jobs, attend Coltrane’s funeral, and move to New York to pursue jazz full-time.

Nature’s Consort was a collective project, with band members sharing equally in any profits. However, Naughton was the driving force behind the group’s creative direction. He composed much of the original material and selected pieces by Ornette Coleman and Carla Bley for the band’s repertoire. Jazz critic Nat Hentoff praised the album for its “high-risk improvisation” and the musicians' ability to anticipate each other’s moves. Though Nature’s Consort received little press at the time, it has since been recognized as a significant early document of the loft jazz era, representing Naughton’s disciplined, improvisational approach to music.

"_Syd Barrett fronting Queens Of The Stone Age- surefooted, inventive and buzzing with surprises." - The Guardian "A refreshingly bold alt-rock sound." Alfitude NJ White - aka WHITEY - explodes out of the shadows with the announcement of his highly anticipated double LP MENTAL RADIO, out on 3rd October 2024. Pulling in influences from across decades of sound and putting it through the Whitey blender to create something musically fresh, MENTAL RADIO is an album that in turn is furious, raw, amused, politically razor sharp and poignant... a satirical take on 21st Century life, a musical pop art collage. As an individual, Whitey prefers to speak via his work, and has eluded all interviews for well over a decade - leading one journalist to describe him as 'the musical equivalent of Bigfoot'. Despite this elusive stance, his music continues to rack up many millions of plays and draw fans from all ages across the globe. Across a string of acclaimed albums, Whitey's music has made its mark, from rock'n'roll clubs to electronic dance floors, fashion catwalks to movie soundtracks, television to computer games, from Breaking Bad and the Sopranos to Grand Theft Auto. Whitey has built a strange home in the shadows between mainstream entertainment and the vanishing underground, an outsider who celebrates his outsider ethos in his work- and yet whose music is embraced by both popular and alternative culture. Whitey is a prominent spokesperson for independent music - his viral letter about 'fair fees for artists' was shared 500,000+ times; and made Newsweek, The Times, BBC Worldwide and the front editorial of Music Week. Whitey's back catalogue has previously received praise from the likes of The Independent, The Guardian, Record Collector, Uncut and Rock Sound to name a few. Available as a Double Vinyl LP, CD and cassette through NO! LABEL, published globally by Mute Song and repped for live by William Morris Entertainment- this is set to be a benchmark album of 2024. Housed in a Gatefold Sleeve (Gloss Finish plus Silver Foil Trim) Including two Printed Inner Sleeves (Gloss Finish).

‘Leon’ is the highly anticipated fourth album from Grammy Award-winning recording artist, songwriter, and producer Leon Bridges. With 13 tracks featuring Leon’s signature storytelling and a unique blend of organic genre alchemy, ‘Leon’ is his most poignant, powerful, and personal work to date. He takes fans on a trip through the heart of Ft. Worth he knows best, the things he holds dear, and the people and places that shaped him. Featuring production by Ian Fitchuk (Beyonce, Noah Kahan), Daniel Tashian (Kacey Musgraves), and Tyler Johnson (Harry Styles, Miley Cyrus), Leon describes the album as “somewhat of a self-portrait… I’m excited to share these stories about my home, about nostalgia, about my upbringing, about where I’m from, with all of you. I hope this music brings you back to your roots and your journey.”



Quote from Leon:
“‘Leon’ has been a long-time coming. I started writing pieces of it as far back as ‘Gold-Diggers Sound.’ They didn’t fit what I was trying to do with that album and I tried moving on. But I couldn’t shake them because they’re part of me. And, if I’m honest, also because I think this is some of my most excellent work yet.In many ways, Leon has been in the works since my childhood. This record is about simpler days. It’s about time spent in my beloved Fort Worth and the experiences that made me the man I am today. It’s soulful music in the truest sense - it’s imbued with my soul.I’m excited to share these stories about my home, about nostalgia, about my upbringing, about where I’m from, with all of you. I hope this music brings you back to your roots and your journey.”

Who is Isabelle Lewis, anyway?

What kind of music does she make? Is she an opera singer? Does she write pop songs? Does she compose ethereal ambient soundscapes? Does she play chamber music on the violin? Is she producing dark, electronic beats?

Well… yes. But Isabelle Lewis is not so much a person as a project. Isabelle’s debut album, Greetings, credits a trio of composer–performers at its heart: producer Valgeir Sigurðsson, vocalist Benjamin Abel Meirhaeghe, and violinist Elisabeth Klinck. The sound of the elusive Isabelle Lewis is heard most clearly in the push and pull between them, the three-way tension that gives the album its musical and emotional drive.

Each of the three brings more to the collaboration than those epithets might imply. Elisabeth’s solo performance practice incorporates composition, improvisation, live electronics, and a close command of bowing and fingering techniques that make her fiddle sing, whisper or whistle as required. Benjamin is a self-taught countertenor - keening, crooning, and swelling to a voluptuous sensuality—but also an interdisciplinary stage director and performer. Well known for his work as a producer and studio collaborator, and as a composer of scores for film and stage, Valgeir’s solo discography interweaves meticulously crafted electronics, drones, noise, and other digital elements with acoustic instruments and vocals recorded with naked, unflinching clarity.

But the extravagant theatricality Benjamin brings to the aptly titled “Drama”—also featuring a heroic violin solo from Elisabeth—grapples against the thudding bass of the implacable digital backdrop. On “Mother, Shelter Me” Valgeir’s austere and detailed production throws the hushed violin and vocals into stark relief. The result is an exquisitely uncanny juxtaposition of past and present, human and mechanical, like a Rococo treasure viewed under cold fluorescent lights, or an 18th-century automaton slowly opening its clockwork eyes.

Even the lyrics seem somehow out of time. On “O Solitude,” Benjamin goes so far as to quote an entire song by the first great English opera composer, Henry Purcell, verbatim. No stranger to Purcell’s music, which has made its way into Benjamin’s theatrical productions as well, here Isabelle Lewis removes Purcell’s melodies and harmonies and sets the text, Katherine Phillips’s 17th century translation of a poem by Antoine Girard de Saint-Amant, to new music whose heightened, archaic character nevertheless seems haunted by Baroque ghosts.

Throughout the album, the outsized emotions and timeless archetypes of Benjamin’s lyrics feel like relics from some half-forgotten past—from the neatly rhymed couplets of “Fisherman,” a seemingly straightforward (but still somewhat askew) character study, to the abstraction of “Moonshell,” whose words seem like the fragments of some ancient, lost lament. It is just another of many ways in which Isabelle Lewis carefully distorts the listener’s notions of time. On a more micro level, time can stop for a moment of weightless, drifting ambience, and then plunge forward as the cloud of harmonies suddenly lock into tempo with the drop of the bass or the change of a chord. Or else that weightless moment is allowed to be, as in the aptly named prologue and epilogue to these Greetings (“Voicemail”/“…and farewell”), or in the interstitial tracks that bind the album together, connecting its dramatic peaks with expanses of meditative stasis.

The album as a whole is elegantly shaped, swelling from an intimate, interpersonal statement into something deeper and more spacious. The first half of the album leans slightly towards self-contained pop songcraft and ticking beats, while side B jumps off from “O Solitude” into the almost symphonic grandeur of songs like “Moonshell” or the instrumental “Not the water, air, or the dirt.”

But as it progresses, the contrasts only grow more sublime: antique and postmodern, human and machinelike. The ominous weight of the droning sub-bass and trombone (guest player Helgi Hrafn Jónsson) only makes the interplay between vocals and violins (guest player Daniel Pioro joining Elisabeth) seem more delicate and vulnerable. The ethereal string tremolos of “Moonshell” seem to pull against the heavy, shuddering electronics and layers of crooning vocals.

And that, in short, is where you will find Isabelle Lewis. Like an ancient stone archway, or a delicate house of cards, the architecture of Greetings is held together by the tension between opposing forces. Not just in Elisabeth’s playing, Benjamin’s singing, or Valgeir’s arrangements and production but in the conflict and contrast that generates the synergy between them.

Oh—Isabelle says hi, by the way. She’s looking forward to meeting you.

An extremely prolific artist, whose work encompasses composition, opera, theatre, radio plays, film or performance, Ergo Phizmiz returns in due time to the Discrepant fold long after his 'Two Quartets' and 'Disco Carousel' - under his given DW Robertson name - albums. A purveyor of the Creative Commons rights, Phizmiz has been deploying much of his work on the ever expanding Free Music Archive directed by WFMU since the early 2000's, creating a sprawling and defiant body of work that defies given and stale notions of sound hierarchies, history and copyright through a process that comprises collage, sampling, reappropriation, songwriting, covers and pretty much any available media with a playful and thoughtful approach.
For this new Discrepant entry, Phizmiz goes back in time to push into the future a number of pieces recorded more than two decades ago creating this perpetual motion outside a linear chronologic progression. Anticipating by almost 20 years the memefication of ASMR videos, 'Selected Ambient & ASMR Works 2001-2003' - itself a pun on the AFX classics - embraces the ambient tag not at its functional face value, but instead as a means to the "evocation of imaginary spaces, and correspondingly the invention of their sonic environments". Collecting recordings from a myriad of instruments - violin, xylophone, banjo, kora, found percussion and so on...-, shortwave radio and field recordings to create loops with different lengths that play with and/or against themselves continuously in a process "(dis)conjunction" not far removed from Feldman's 'Why Patterns?' or hip-hop's sampledelia. A free-floating temporal space that collapses the flashing images of Angelfire pages unto Web 2.0 sense of displacement.

Cascading through kaleidoscopic stardust and forming in the outer reaches of the music universe, transcending time and distance, cosmonaut musicians Mo Morris & Zeben Jameson reconnect to write & record songs from opposite sides of their planet (Bali and London) written over the internet during the pandemic. Landing the much anticipated and eagerly awaited new A Mountain of One album "Stars planets dust me".

Welcome to the formative British psych electronic heroes A Mountain Of Ones 3rd studio album.

Mastered and reimagined and a full forthcoming album rework by electronic wizard, master selector & global superstar Ricardo Villalobos, featuring additional collaborations from 80s/90s Balearic legends "The Woodentops`s" front man "Rolo McGinty,”, Japan’s cult heroes ``Dip in the Pool" and "Unkle" and "Toy Drum`s" Pablo Clements.

UK Dub master "Dennis Bovell MBE" also makes an incredible appearance on the "Custards Last Stands" dub versions. Now available on a ltd Japanese 10". A beautiful artwork series generously loaded in by photography legend Dick Sweeney, and co-mixed by Dea Barandana in Indonesia. With its cosmic pop sound, soulful soaring, balearic sensibilities and feel good choruses it carries all the weight of a much needed revo- lution in psychedelic, conceptual ever popular music and sounds & feels like the infamous crossover album that promised to come from the heady days of the bands ascend last time round.

So here’s some back story, garnered from the hearsay, folk law, the myths and the legends, of 10 years ago, in case, like Mo & Zeb, if they'd remembered any of it, they probably weren’t there, after 2 much acclaimed albums and sellout shows vanishing in a cosmic cloud of dust the yin and yang brothers Mo Morris (ZSOU/Electric Stew) & Zeb Jameson (Oasis/Tricky/Pretenders) uncoupled and each em- barked on a pathfinder mission to equip themselves for their inevitable return... they just didn’t know it at the time... and as the global community ground to a halt 2 years ago they sought refuge from opposite sides of the planet in each other's company again.

The solace and rejuvenation it gave had them re-emerging as invigorated, inspired and wiser music creators, this has given rise to the evolution of their 3rd all important album‘s sound.

Zeb "our capacity as human beings is more phenomenal and limitless and way beyond the conventional thinking of society constructs but also in complete harmony with the intelligence and brilliance of advancing technologies".
Experiencing this energy together, as dedicated and devoted music pioneers, these great collaborative universal truths were revealed, imbed and steeped in their writing and recording experience as the music touched and resonated with all involved to create the fresh and fully formed A Mountain Of One 2.0.

'Mei Semones' sweetly evocative blend of jazz, bossa nova and math-y indie rock is notonly a way for her to find solace in her favorite genres, but is an intuitive means ofcatharsis. "Blending everything that I like together and trying to make something new -that's what feels most natural to me," says the 23-year-old Brooklyn-based singer-songwriter and guitarist. "It's what feels most true to who I am as an artist." Plinking guitar tones and asymmetrical time signatures exemplify her forays intoangular indie rock more now than ever before, especially on her debut Bayonet Recordssingle "Wakare no Kotoba"_its wide-interval arpeggios in odd meters being some ofthe most technically difficult guitar work Mei has ever implemented in her songwriting.Translated to "parting words'' in English, the self-described "anti-love song" serves as afarewell to a toxic friendship, complete with orchestral swells and crashing guitars. Originally from Ann Arbor, Michigan, Semones began playing music at a young age,starting out on piano at age four before moving to electric guitar at age eleven. Afterplaying jazz guitar in high school, she went on to study guitar performance with a jazzfocus at Berklee College of Music. College is where she met her current bandmates,including string players Noah Leong and Claudius Agrippa, whose respective viola andviolin add softness and multidimensionality to Mei's intricate guitar work. After releasinga slew of singles and an EP in 2022, coinciding with her move to New York City, Mei andher band have since gone on to collaborate with post-bossa balladeer John Roseboroand embark on their first-ever tour with the melodic rock outfit Raavi. Semones chronicles infatuation, devotion, and vulnerability in her songs, complete withsweeping strings, virtuosic guitar-playing and heartfelt lyrics sung in both English andJapanese, that have all become part of her sonic trademark: ornately catchy, genre-fusing compositions serving as the backdrop to tender lyrics touching on theuniversalities of human emotion.

The Dutch groove-driven heavy rock band Hell Valley High releases their highly anticipated debut-lp “Welcome To Hell Valley”. The album was recorded at Big Dog Recordings, just outside of Antwerp, Belgium. All music was recorded live to capture Hell Valley High’s true energy. The title is a nod to the legendary 1994 Kyuss album. At the same time - like the band’s name - the title is an ode to the band's favourite movie Back To The Future. “Welcome To Hell Valley” includes groovy & grungy songs and catchy fiery stoner rock tunes. The album also contains a cover of the song “Send Me A Postcard”, that was originally released in 1970 by Shocking Blue. Hell Valley High is composed of seasoned musicians who have played a lot of shows in The Netherlands and toured Europe extensively. The group features ex-members of Wildebeast, Filthy Felons, Note To Amy, Apehanger and Junkyard Safari. Black and orange coloured vinyl edition.