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James Yorkston vereint auf "Songs for Nina and Johanna" starke Stimmen und große Gefühle inklusive Gast-Features von Nina Persson (The Cardigans) und Johanna Söderberg (First Aid Kit)!

"Songs for Nina and Johanna" ist das neue, einfühlsame Album des schottischen Singer-Songwriters James Yorkston. Das in Stockholm mit Mitgliedern des Second Hand Orchestra aufgenommene Album bringt James Yorkston erneut mit der unverwechselbaren Stimme von Nina Persson (The Cardigans) zusammen, während er zum ersten Mal mit Johanna Söderberg (First Aid Kit) zusammenarbeitet. Beide singen jeweils mehrere Songs gemeinsam mit ihm. Das Album kreist um zutiefst persönliche Themen wie Familie, Liebe und Elternschaft - Motive, die für Yorkston nach über zwanzig Jahren musikalischer Laufbahn mehr denn je im Zentrum seines Schaffens stehen. Die warmen, oft melancholischen Songs leben von feinen Melodien, ehrlichen Texten und einer Intimität, die durch die Stimmen Perssons und Söderbergs noch verstärkt wird. Im Gegensatz zu früheren, eher improvisierten Produktionen folgte die Entstehung dieses Albums einer klaren Struktur. Die intensiven Sessions im Studio Rymden wurden von Produzent Daniel Bengtson begleitet, der ein offenes, kreatives Umfeld schuf.










i b4 I Spooked the Neighbours









[i] b4 | I Spooked the Neighbours

Recorded from late 1996 through early 1997, Hold Onto I.D., The Shadow Ring's fourth album, marks the apogee of the trio's experimental rock epoch - their last record clinging to their factitious bandness before they let all song and structure go awash in sonic malaise for their final run of releases on Swill Radio. The surrealist dreams of City Lights and Put the Music in Its Coffin give way to pseudo-expressionistic lyrics mired in the banality and bleakness of the everyday, set against the backdrop of the Coombe House (as pictured on the album's cover). While Hold Onto I.D. is the group's most overtly autobiographical release to date, Lambkin's lyrics obfuscate his expressionist tendencies filtering them through the codes and languages of officialdom, linking the "inner self" with documents of the state_identification cards, National Insurance numbers, and British passport numbers. Having moved out of their parents' homes and into the top floor of the famed Coombe House, Graham Lambkin and Darren Harris set out to rework material drafted over the previous year, aided by Tim Goss, still safely in residence at the "Valebrook Inn." While the familiar sounds of Harris's deadpan recitation and Lambkin's electric guitar, amateurishly strummed, dominate the album, the emotive interludes of Goss's keyboards populate the record along with of home-cooked tape experiments and dime-store concrète. Originally released on CD and supported by a US tour with friends Scott Foust and Karla Borecky's Idea Fire Company, Hold Onto I.D. is perhaps the band's best-known and most accessible album. (The Shadow Ring's sole representative on a streaming platform, it was once acknowledged by the Guardian as one of "the 101 strangest records on Spotify.") Offered here for the first time on vinyl, Hold Onto I.D. is an essential album for both completists and the uninitiated alike. Throughout their legendary, decade-long run, the Shadow Ring were an enigmatic force on the international musical sub-underground. Before their disbandment in 2002, this shambolic rock outfit, formed by a group of rowdy teenagers in southeast England, left behind a mighty run of eight LPs, a handful of 7"s, and a spate of raucous live shows and cryptic zine appearances on both sides of the Atlantic, all which have bolstered their enduring word-of-mouth mystique. Beginning in 2023 with the first-ever vinyl pressing of the self-released pre-Shadow Ring tape The Cat & Bells Club (1992), Blank Forms Editions has been conducting a systematic retrospective of the storied group. Wax-Work Echoes and Hold Onto I.D. are the latest releases in a multiyear reissue effort that includes several LPs, a comprehensive CD box set, and a nearly five-hundred-page book.

LP comes with 24 page 8.5x11 full color booklet. In the blurred and memorial hallways of bygone time, to remember is to wander between the rooms of our own experiences, to appear and disappear, like a play of overlapping shadows. In music set drifting through the architecture of his own memories, Moses Brown weaves a story that oscillates between the past and the present, like a mason turning over stones to reconstruct his childhood home in this beautiful and disquieting soundtrack to growing up. On Stone Upon Stone, Moses' first solo LP attributed to his given name after several releases under the brilliant and despondent "Peace de Resistance" moniker, he moves sidelong into the realm of soundtracks with this score to the construction of his childhood home in a story spanning 1993-2023. Laid out in lush and provocative minimalist instrumentals, the album unfolds a story about the planning, partial construction, and dissolution of a home in constant state of becoming through the lens of its only child, coming of age under flux. Influenced by the approach of friends and collaborators Straw Man Army's OST to Charles Darwin's Voyage of the Beagle, Stone Upon Stone was originally intended as a soundtrack to a novel of the same name by Wieslaw Mysliwski, an epic set in Poland about a family's construction of a mausoleum. Struck by the story's parallels with his own family's project, he got the idea to complete the work as a personal narrative. Created from layers of different mellotron voices then separated, re-amplified, and recorded as if they were a sitting chamber orchestra, the music eerily blurs the line between human and synthetic, giving way to something akin to a memory with it's blurriness of fact and fiction. In the same spirit of association, this record is certainly influenced by other minimalists working within the confines of "soundtrack", like Philip Glass' North Star and the film work of Michael Nyman. But Brown's soundtrack works within its own peculiar depth of field, living in the listener's imagination, thriving in its own sense of loneliness, aspiration, and confusion that only childhood can evoke. Listeners will feel the entropy of aging in Stone Upon Stone, like a memoir in cascading tones, that sets it apart from so much else in DIY music, and rewards with repeated listens. For Fans of Philip Glass, Kali Malone, Julius Eastman, Mica Levi, Roedelius.

"Songs in the Key of Yikes" ist ein typisches Superchunk-Album: viszeral und zeitlos und verdammt eingängig - ein kathartischer Balsam für diese bedrückenden Zeiten. "Bruised Lung" - "No Hope" - "Care Less" - "Climb the Walls" - "Everybody Dies". Wenn man die Trackliste von "Songs in the Key of Yikes" überfliegt, fragt man sich unweigerlich: Sind Superchunk okay? In einer Welt, die wohl düsterer ist als die, die "Wild Loneliness" (2022) oder "What a Time to Be Alive" (2018) begrüßte, geht es uns da überhaupt noch gut? "Es war schon immer so, dass jeder etwas durchmacht, von dem man vielleicht nichts weiß", bemerkt Mac McCaughan. "Das gilt derzeit mehr denn je - aber es ist auch so, dass wir alle gemeinsam etwas durchmachen. Angesichts dessen, was nützt Kunst und wo findet man Glück? (Spoiler-Alarm: Ich weiß es nicht.)" Auf der Suche nach einer Antwort entfesselt "Songs in the Key of Yikes" einen Sound, der triumphierend und hell in der Dunkelheit ist, "Majesty Shredding" im Overdrive. Die Lead-Single ,Is It Making You Feel Something" gibt früh den Ton an, wobei die Band - McCaughan, Laura Ballance, Jim Wilbur und Laura King - aus dem Potenzial für Freude eine Hymne baut und in schlammverschmutzte Gewässer taucht und mit einer Perle wieder hochkommt. "No Hope" ist ähnlich widerstandsfähig, McCaughans Texte zeichnen ein niederschmetterndes Bild, bevor sie in den titelgebenden Refrain übergehen. Er wiederholt den Satz neun Mal, macht eine Pause und verwandelt die Stimmung vollständig, indem er den Gesang mit der Zeile "and here we are singing" unterbricht. Der Text ist scharf, gleichzeitig eine einfache Beobachtung und eine tiefgründige Aussage über das Sein, die erdrückenden Nächte und endlosen Tage, aber McCaughans Stimme findet eine gewisse Süße darin, durchgehalten zu haben und dies auch weiterhin zu tun. Paradoxerweise grenzt die Energie von "Songs in the Key of Yikes" an Euphorie und bricht manchmal sogar in sie aus, wie in "Stuck in a Dream", das wie eine oasenartige Fata Morgana zwischen "Everybody Dies" und "Train on Fire" auftaucht, ein voller Sprint, der die Menge begeistert und sich zum Pogen im Pit eignet. "Care Less" ist ein düsterer, komischer Spiegel dieser Energie, ein Garage-Jam, in dem ein scharfzüngiger McCaughan Zuflucht vor dem Sturm sucht, indem er so tut, als würde er nicht direkt vor seiner Tür toben. Diese Strategie funktioniert nicht. Natürlich funktioniert sie nicht. Es ist ein Song auf einem Superchunk-Album, und Superchunk-Alben sind Argumente gegen Engstirnigkeit und für Partys, die groß genug sind, um alle zu beherbergen. Dieses Album begrüßt nicht nur Laura King nach zwei Jahren als Tour-Schlagzeugerin in der Band, sondern enthält auch Beiträge von Rosali Middleman ("Bruised Lung" und "Everybody Dies"), Bella Quinlan und Holly Thomas von Quivers ("Cue") und der Tour-Bassistin Betsy Wright ("Care Less"). Das Album wurde von Paul Voran (The Menzingers, Hurray for the Riff Raff) und Eli Webb produziert und von Mike Montgomery (The Breeders, Protomartyr) gemischt. Gemeinsam kommen sie zu keinem Ergebnis darüber, was gute Kunst in Krisenzeiten ausmacht und schaffen gleichzeitig großartige Kunst.

Kerala Dusts großartiges neues Album 'An Echo of Love' ist ein Paradebeispiel dafür, niemals stillzustehen. Im Mittelpunkt seiner musikalischen Hybridität - wo Artrock auf innovative Elektronik trifft und die warme Umarmung der Tanzfläche Raum für weite Ausblicke auf Americana, Wüstenblues und dämmrige Fahrten durch eine neonbeleuchtete Stadt lässt - steht ein Album, das die Möglichkeiten des ständigen Wandels lebt.

Es ist ein wunderbar wandelbares Album; eine rastlose Fusion, deren Bedeutung eher in Fragmenten als in etwas Festem oder Statischem liegt. Kurz gesagt: Es dreht sich alles um Dynamik. Dieses Gefühl der ständigen Bewegung spiegelt sich nicht nur in der wechselnden Besetzung der Band wieder - Keyboarder Tim Gardner und Schlagzeuger Pascal Karier sind Neuzugänge und gesellen sich zu den langjährigen Mitgliedern Edmund Kenny (Gesang und Elektronik) und Lawrence Howarth (Gitarre) -, sondern auch in den Orten, an denen das Album geschrieben und aufgenommen wurde. Die Sessions fanden in der Toskana, Austin, Berlin, Zürich und schließlich Rom statt. Für Sänger Edmund "existiert das Album in gewisser Weise an all diesen Orten". Im Oktober und September ist die Band auf GSA-Tour!

Der schwüle Ton von Eliana Glass ist nicht zu überhören - sie wechselt zwischen einer unkonventionellen, suchenden Qualität und ihrer ergreifenden, ehrfurchtgebietenden Bandbreite. Auch ihr Klavierspiel besitzt dieses mitreißende Hin und Her zwischen dem Jenseitigen und dem schmerzlich Menschlichen - jede Melodie ist ihr eigenes, einzigartiges, schmerzhaftes Reich. Glass' spärliche, meditative Musik fängt oft, wie sie sagt, die ,Verdichtung des Alltags" ein, ein Bild, das zu der bittersüßen, flüchtigen und abstrakten Natur ihrer Arbeit passt. Glass' Debütalbum E erscheint bei Shelter Press und ist nicht nur ein zärtliches Porträt ihrer lebenslangen Beziehung zum Klavier, sondern auch eine Destillation ganzer Lebenszeiten. Vier Jahre lang arbeitete Glass mit dem Mitbegründer und Produzenten von Public Records, Francis Harris (Frank & Tony, Adultnapper), und dem Tontechniker Bill Skibbe (Shellac, Jack White) zusammen, um das Album E in verschiedenen Studios in Nashville, Brooklyn, Memphis und Benton Harbor, Michigan, aufzunehmen. Glass' experimentelle, improvisatorische Werke erinnern an den sinnlichen Minimalismus von Annette Peacock, die freudige Rätselhaftigkeit von Carla Bley und die wehmütige Intimität von Sibylle Baier. Ihre Verehrung für die Größen des Leftfield Jazz und der freien Improvisation ist unüberhörbar, aber immer gefiltert durch ihren unverwechselbaren, naturalistischen Sound. ,Dreams" ist eine majestätische Interpretation von Peacocks gleichnamigem Stück aus dem Jahr 1971, ,Sing Me Softly the Blues` ist eine minimale, fesselnde Neuinterpretation von Baiers Jazzstandard mit einem von der norwegischen Sängerin Karin Krog adaptierten Text, und ,Emahoy` ist eine schmachtende Hommage an die äthiopische Pianistin, Komponistin und Nonne Emahoy Tsegué-Maryam Guèbrou und ihre 2006 erschienene Kompilation Éthiopiques. Glass' Musik basiert auf einem taktilen, sprunghaften Klang und ihrer stimmlichen Kraft und Vielseitigkeit. E's glatte Stöße von Kontrabass und Schlagzeug kitzeln den Gehörgang und betonen die Schlagfertigkeit ihrer unverwechselbaren tiefen Stimme, die sonore, androgyne Gelassenheit mit flatterhafter Zartheit verbindet. E hat auch eine rätselhafte elektronische Note, die die verschwommenen Emotionen von Glass' Songwriting noch verstärkt. Von Hintergrundrauschen und windigem Gesang bis hin zu kaleidoskopischen Synthesizern stammen diese subtilen, geschmackvollen Verzierungen oft von speziellem analogem Equipment: einer unterirdischen Echokammer aus den 1960er Jahren, einem Cooper Time Cube (im Grunde das Hardware-Äquivalent der Audioverarbeitung durch einen Gartenschlauch) und einem AEA-Bandmikrofon aus den 1940er Jahren. Aber das bedeutet nicht, dass E veraltet klingt - Glass' Songs sind von einem zukunftsweisenden Geist durchdrungen und fungieren letztlich als Vehikel für ihre berauschenden Emotionen und fragmentierten Erinnerungen und Träume. Glass' eigentümliche stimmliche Alchemie und ihre lebhaften Klavierausflüge sind meisterhaft und ganz und gar ihre Sache, und ihr Debütalbum ist ein Geschenk von klangvoller Schönheit und lohnender Mehrdeutigkeit. Als Musikerin und Improvisatorin ist Glass von der Suche nach Bedeutung, nach Klängen, nach Neuem, nach Verbindung begeistert und beherrscht diese. Und wie Krog 1975 in ,Sing Me Softly the Blues" sang: ,Life's so thrilling / if you search."

When we did the first ever vinyl reissue of this 1972 masterpiece back in 2012 it sold out so fast and so many lost the chance to grab a copy has translated into continuous messages asking us to do a repressing of this marvel - which we did and, again, it sold like hot bread. So here is a new edition of this UK jazz masterpiece, this time with a twist :

- Silk-screened cover art : we respect the original design, but have upgraded the printing from regular offset to silk screen to give it an artistic touch!

- In adition to the limited black vinyl edition (400 copies), we offer an ultra limited clear vinyl version (100 copies-only!)

One of the big names in UK Jazz, Neil Ardley was offered the leadership of the seminal New Jazz Orchestra in 1964. Under his direction the Orchestra moved though different styles and changes of personnel, bringing in musicians such as Mike Gibbs (trombone), Harry Beckett andHenry Lowther (trumpets) or even Jack Bruce (bass), some of them also contributed with the writing of some original compositions, making the NJO the root from which the UK's 70's jazz scene was to blossom.

By 1972 the NJO was already defunct, but his legacy remained in the works of its members. Ardley's 'A Symphony Of Amaranths' is a perfect example of what was boiling in the UK jazz scene. It was Ardleys tribute to his idols Duke Ellington and Gil Evans, and featured the skills of some great musicians of the scene including Don Rendell,Stan Tracey, Henry Lowther, Harry Beckett, Jeff Clyne & Jon Hiseman. Side B is inspired by the words of Edward Lear, W. B. Yeats, James Joyce and Lewis Carroll that are musicated by Ardley and feature, among other highlights, Ivor Cutler's narration of 'The Dong With A Luminous Nose' and Norma Winstone's vocals on 'Will You Walk A Little Faster'.



Musicians that participated in the recording session :

- Derek Watkins, Nigel Carter, Henry Lowther, Harold Beckett (trumpets)
- Derek Wadsworth, Ray Premru (trombones)
- Dick Hart (tuba)
- Barbara Thompson, Dave Gelly, Don Rendell, Dick Heckstall-Smith (woodwind, saxes)
- John Clementson (oboe)
- Bunny Gould (bassoon)
- Dave Gelly (glockenspiel)
- Neil Ardley (prepared piano)
- David Snell, Sidonie Goossens (harp)
- Stan Tracey (piano, celeste)
- Karl Jenkins (electric piano)
- Alan Branscombe (harpsichord)
- Frank Ricotti (vibraphone, percussion)
- Chris Laurence, Jeff Clyne (bass)
- Jon Hiseman (drums, percussion)
- Eric Gruenberg, Jack Rothstein, Kelly Isaacs (violin)
- Ken Essex (viola)
- Charles Tunnell, Francis Gabarro (cello)
- Ivor Cutler (narrator)
- Norma Winstone (vocal)
- Jack Rothstein, Neil Ardley (conductors)

ULTRA LIMITED EDITION - Cassette/Tape - Consits of 4 DIFFERENT ARTWORKS (BUY, OBEY, WATCH TV, SLEEP) - NO REPRESS!

FULL soundtrack of John Carpenter's cult sci-fi/action/horror cult film They Live (1988) in never released on vinyl before expanded edition from legendary composer Alan Howarth.

Blues riffs surf on ambient synth, saxophone and harmonica mingle with sparse alien electronics and abstract soundscapes - Alan Howarth's score perfectly matches the eerie paranoid urban Western meets corporate sci fi vibe of John Carpenter's iconic movie.

This version, officially licensed from Alan Howarth, includes all 29 tracks from the soundtrack - the true complete music scores of They Live!

Points of interests

- For fans of soundtracks, horror, cult, sci fi, synth, Western, VHS, John Carpenter, bubble gum, conspiracies, cowboy boots, sunglasses, very rare editions of vinyl records.

- Full EXPANDED version of the They Live soundtrack on vinyl for the first time!

When they performed a handful of concerts as a duo in the summer of 1998, Kristen Noguès and John Surman had already worked a lot on the interweaving of genres: Noguès had confronted traditional Breton music with contemporary music and Surman had changed his jazz into atmospheric numbers that would be amongst the finest recording on the ECM label. As a duo, the harpist and the saxophonist would go on to invent something different: free folk, traditional ambient, modal ‘fest- noz’ … it is difficult to label, because the duo Noguès / Surman is one of a kind.

Diriaou, means “Thursday” in Breton. It is also the title of the first piece that Kristen Noguès and John Surman played together in 1991. Noguès learned the Breton language as a child, at the same time as the Celtic harp, – taking lessons with Denise Mégevand, who would go on to teach others, notably Alan Stivell. At the beginning of the 1970s, Noguès discovered Breton singing (soniou and gwerziou) At the beginning of the 1970s, she discovered the Breton song tradition (soniou and gwerziou) and became involved in Névénoé, a cooperative of traditional expression founded by Gérard Delahaye and Patrick Ewen. She recorded a single with the two musicians in 1974, then her first album, two years later.

Everyone who has listened to Kristen Noguès debut Marc’h Gouez, is now aware of her mysterious plucked strings. Her art, leaving Brittany, would go on to take in all landscapes and folklores, in the same as that of John Surman, conceived a little further north including vernacular jazz, international fusion with Chris McGregor or Miroslav Vitouš, and exploring more personal territory. Remember the Cornish landscapes in one of the best albums on the ECM label : Road To Saint Ives.

Kristen Noguès and John Surman thus shared an ‘extra-Celtic’ inspiration infused with free improvisation. On this recording, made in 1998 by Tanguy Le Doré at the Dre Ar Wenojenn festival, the duo uses original compositions which refer back to traditional songs (Maro Pontkalek, Le Scorff). The musicians then create fantastic impressions: Baz Valan, on which Noguès and Surman have a heavenly exchange; Kernow, on which the shared theme slowing disappears into the mist; Maro Pontkalek and Diriaou which move from the storm to the calm. Elsewhere, there is singing, first with Surman (Kleier) and then moving on to Noguès (Kerzhadenn and her signature song Berceuse). On a canvas of traditional music, the two musicians weave countless memorable landscapes.

More than a decade after his last full album, Kim Hiorthøy returns with Ghost Note, released by the Belgian label Blickwinkel. Though his music has quietly existed in the background—shaping contemporary dance, film, and theatre—this album brings it into focus once more. Ghost Note is an exploration of sound on the edge of presence and absence, a fictional world that is both constructed and organic.

Using mostly digital technology, Hiorthøy created a set of instruments that are real—you can hear them, they have tone, timbre, and resonance—but also not. The percussion, for instance, sounds like cheap scrap metal drums. But are they real? Do they exist? Hiorthøy plays with perception, challenging what feels real and what feels like a memory. In doing so, Ghost Note becomes an invitation to embrace uncertainty and indefinability.

“It's a kind of foggy area between theatre and daily life. Ghost notes. I wanted to try to make music that existed in this in-between space. Electronic music that is acoustic, a kind of emotional music that also hides in abstraction (or the other way around), and to try to make tracks that were sort of falling apart as I was making them.” ­- Kim Hiorthøy

No one can help you build something beautiful quite like those who know you best. Alan Sparhawk knows this well. In his years in Low, he built decades of stirring music with his wife and lifelong creative partner Mimi Parker. In recent years, he has performed around Minnesota with his son Cyrus in DERECHO Rhythm Section, a funk band that also frequently features his daughter Hollis on vocals. There's an irreplaceable naturalism that comes with this kind of dynamic. Those who know you understand you. They love you. They want to help you bring your greatest passions to fruition. So it made sense that Sparhawk would turn to fellow Duluth musicians Trampled by Turtles to realize his latest record. As friends and mentees of Low's, taken under Sparhawk and Parker's wing from their earliest days as a bar band, Trampled by Turtles have performed with Sparhawk countless times over the years. The Duluth ties run deep: "There's a certain vibe that has to do with underdog syndrome, coming from a small town," Sparhawk muses. "Some of it is the weird grind and slackness that being at the mercy of Mother Nature puts in you. It humbles you." The two artists hold the kind of ironclad bond. Following Parker's passing in 2022, Trampled by Turtles invited Sparhawk to join them on tour to give him a space to be surrounded by friends. Occasionally, he would join them onstage. The outpouring of love was palpable every time they played together, a surge of warmth. When playing together is that powerful, why stop there? In winter, 2024, Sparhawk and Trampled by Turtles created With Trampled by Turtles, a record exactly as its name implies: Collective. Communal. Fraternal. Empathetic. A vessel for comfort, a reminder of the harmony that can exist when surrounded by those closest to you. Where White Roses, My God, Sparhawk's last album, plunged headfirst into electronica and radical vocal modulation, With Trampled by Turtles leans into the folk and bluegrass stylings of its backing band, Sparhawk's voice now completely unvarnished. With Trampled by Turtles is far more than just Alan Sparhawk and Trampled by Turtles. It's an affirmation of all the people who have been vital in Sparhawk's life and music, and an opportunity to hold each of their gifts into the light. It's producer Nat Harvie, who has been collaborating and performing with him for years. It's Sparhawk's daughter Hollis, who duets with her father on "Not Broken." And it's Mimi Parker, too: "Too High," "Princess Road Surgery," and "Not Broken" were all tracks she and Sparhawk had been working on in the last few years. These songs finally found a setting that stirringly commemorates them, bolstered by a full ensemble to make every note sing. Their presence is a kind of eternal connection to Parker, a way her musical grace will keep flourishing.

Known for her timeless voice and emotive delivery, Chantay brings soulful elegance to
a modern groove - blending classic R&B sensibilities with contemporary production.
This release marks a powerful moment of refection, resilience, and growth, perfectly
suited for lovers of real soul music and fans of artists like Jill Scott, Angie Stone, and
H.E.R.
Return of legendary 90's R&B talent Chantay Savage.
Still is a certifed modern soul classic gaining huge support from the scene since
it's digital release.
Produced by Chicago house music legend Terry Hunter & James Poyser (The
Roots)

The quietest voices can be the most durable.

American Football’s original triumph, on their 1999 self-titled debut, was to reunite two shy siblings: emo and post-rock. It was a pioneering album where lyrical clarity was obscured and complicated by the stealth musical textures surrounding it.

Like Slint’s Spiderland, or Codeine’s The White Birch, even Talk Talk’s Laughing Stock, American Football asked far more questions than it cared to answer. But there wasn’t a band around anymore to explain it, anyway. The three young men who made the album – Mike Kinsella, Steve Holmes, and Steve Lamos – split up pretty much on its release.

Fifteen years later, American Football reunited (now as a four-piece, with the addition of Nate Kinsella). They played far larger shows than in their original incarnation and recorded their long-anticipated second album, 2016’s American Football (LP2). The release was widely praised, but the band members still felt like their best work was yet to come.

‘I feel like the second album was us figuring it out,’ says Nate. ‘For me, it wasn’t quite done. I knew there was still more.’

Enter American Football (LP3). ‘We put a lot of time and a lot of energy into it,’ says Mike. ‘We were all thoughtful about what we wanted to put out there. Last time, it was figuring out how to use all of our different arms. This time, we were like – Ok we have these arms, let’s use them.’ The band used the same producer, Jason Cupp, and recorded the album at the same studio (Arc Studios in Omaha, Nebraska) as its predecessor – yet they approached it in a markedly different way. There was a determination to let the songs breathe, to trust in ideas finding their own pace. The final result is a definite, and deliberate, stretching of the band.

As a result, LP3 is less obviously tethered to the band’s past than the second album. An immediate contrast between LP3 and its two predecessors is its cover. The two previous albums featured the exterior and interior of a residence in the band’s original hometown of Urbana, Illinois (now attracting fans for pilgrimages and photo opportunities), by the photographer Chris Strong. But American Football knew that LP3 was an outside record. Instead of the familiar house, this time the cover photo (again by Strong) features open, rolling fields on Urbana’s borders. It is a sign of the album’s magnitude in sound, and of the band’s boldness in breaking away from home comforts.

American Football also joked that LP3’s genre was ‘post-house’, because of this very conscious visual break. But, in a strange way, there are links in LP3 with an actual post-house genre: shoegaze. The more exploratory members of the original British shoegaze scene were inspired by the dreamtime and circularity of house music (ambient house in particular), cherishing its sonic possibilities. That spirit drips into LP3, most obviously on ‘I Can’t Feel You’, a collaboration with Rachel Goswell of Slowdive.

The album also features Hayley Williams from Paramore on the album’s catchiest moment, ‘Uncomfortably Numb’, and Elizabeth Powell, of the Québécoise act Land Of Talk. Mike wrote lyrics in French especially for her.

LP3 is contemplative, rich, expressive, yet with a queasy undercurrent. It is heavy with expectancy, revealing its ideas slowly, eliciting the hidden stories people carry around with them. ‘I feel like my lyric writing has changed a lot over the years,’ says Mike. ‘The goal is to be conversational, maybe to state something giant and heavy, but in a very plain way. But, definitely in this record, I keep things a little more vague.’ As on the first album, the lyrics on LP3 may seem confessional and concentrated, but the more you scrutinize them, the further their meaning slinks away. Or, as Mike tellingly sings on ‘I Can’t Feel You”: I’m fluent in subtlety.

‘Somewhere along the way we moved from being a reunion band to just being a band,’ says Steve Holmes. American Football is now a bona fide ongoing focus, and they are making some of the best music of their lives. American Football (LP3) stands with two other rare reunion successes – Slowdive and My Bloody Valentine’s mbv – as a fine example of how a band refinding one another can augment, rather than taint, their legacy.

‘I think that there are those albums, or the music that you heard when you were younger, and they imprint on you,’ says Nate. ‘And no matter where you go, or what you do they’re always there.’ He is talking of Steve Reich – an early and ongoing influence on American Football – but he might as well be reflecting what is said of his own band, and the ardent following they inspire. American Football stands as an enduring symbol of elusive emotional landscapes, where introspection can be as dramatic as confrontation

Old-time and traditional music stay exciting for their contrasts. Exacting instrumentation honed through mentorships and late-night jams at fiddler's conventions tangles with a community-sourced inventiveness that influences variants and new sounds. Joseph Decosimo is a master of this genre for this very reason, blending deep technique with an openness and curiosity that keep his music crackling with life. A "marvelous fiddler" (No Depression) and banjo player who braids "exultation and veneration" (INDY Week) into his music, on his third solo album Fiery Gizzard Decosimo gathers a close-knit ensemble of friends from his musical career to infuse his interpretations of fiddle and banjo pieces with a contagious communal joy. As an artist working with traditional music from the South and Appalachia, Decosimo chooses songs based not only on historical significance and lineage but also his own sensory approach. For Fiery Gizzard, his ear was tuned to otherworldly tones and mystery, sourcing from field recordings such as Virginia fiddler Luther Davis' hypnotic version of "Shady Grove" while amping up the music's psychedelic potential. On the middle Tennessee banjo composition "Flowery Girls," a VHS of bluesman Abner Jay inspired Decosimo to rig up a pickup inside a fretless banjo and play it thr ough a tube amp to capture some of Jay's edge and funkiness. But to round out the sound and keep it kinetic meant galvanizing a genre-eschewing crew to jam out - and not in a "spaced-out drooly" kind of way, he laughs, but as a sort of "responsive conversation." Decosimo has always been a community-minded artist. He began playing as a seventh graderin Tennessee, fostering relationships with older players at jams and in homes, a learning mode natural to his inquisitive nature and desire for musical connection. A folklorist by intuition, he later became one by profession, studying with old-time legend Clyde Davenport, teaching in East Tennessee State University's renowned bluegrass program, and receiving his PhD at the University of North Carolina with a dissertation titled "Catching the `Wild Note': Listening, Learning, and Connoisseurship in Old-Time Music." In North Carolina, Decosimo kicked about in the verdant environment of Durham and Chapel Hill's folk and indie scenes, collaborating with artists including Alice Gerrard, Hiss Golden Messenger, and Jake Xerxes Fussell. This community has influenced his own music, including his "sublime and strangely heartening" (Bandcamp Daily) 2022 release While You Were Slumbering and Beehive Cathedral, Decosimo's 2024 "Appalachian mountain music treasury" (New Commute) trio album with Luke Richardson and Cleek Schrey for Dear Life Records. Continuing on this path, Fiery Gizzard is home base for a loose outfit of mostly Tarheel-based musicians from within and beyond traditional music. Inspired by a tour with fiddler Stephanie Coleman (Nora Brown), guitarist Jay Hammond, and synth builder and multi-instrumentalist Matthew O'Connell, Decosimo assembled studiomates based on close friendships and comfort. Coleman, O'Connell, and Hammond contribute to Fiery Gizzard, along with bassist and producer Andy Stack (Helado Negro, Wye Oak), horn player Kelly Pratt (Beirut, David Byrne), Mipso and Fust's Libby Rodenbough, Joseph O'Connell (Elephant Micah), andtrad/experimental artist Cleek Schrey. Decosimo's fiddle and banjo work is virtuosic, intricate and simple simultaneously, a testament to his many years of study. On some tracks, his playing or lovely, plain-hearted singing is the centerpiece, such as on his interpretations of Texan street preacher Washington Phillips' 1929 recording "I Had a Good Father and Mother" or the Eastern Kentucky fiddle barn-burner "Glory in the Meetinghouse," famously played by Luther Strong for Alan Lomax. But there's also a trusting open-door policy, like where Southern Appalachian tune "Ida Red" relaxes into Coleman's sweet, confident fiddling and Hammond's loping guitar. As a bandleader, Decosimo's confidence and enthusiasm for the music reveal the heart of traditional music and how it can come to life through community. Fiery Gizzard is Joseph Decosimo as a powerful champion of traditional music - a sponge who soaks up as much as he squeezes out, a responsive artist who makes his genre accessible, and a magnet who can bring musicians of all sorts into his orbit with his same passion.

Zur Feier des 40-jährigen Jubiläums des Debütalbums "First And Last And Always" von The Sisters Of Mercy wird ein 4LP-Vinylset veröffentlicht.

Es enthält das Originalalbum sowie die drei EPs auf Black & Red Marbled Vinyl, die vor der Veröffentlichung erschienen sind - »Body & Soul«, »Walk Away« und »No Time To Cry«. Jede EP enthält Bonustracks, die nicht auf dem Album enthalten sind.

Die 1980 in Leeds von Gitarrist Gary Marx und Sänger Andrew Eldritch gegründete Band veröffentlichte im März 1985 »First And Last And Always«, den Höhepunkt von fünf Jahren unabhängiger Veröffentlichungen, mit denen sie sich eine große Fangemeinde erspielte.

Ihre erste Veröffentlichung bei Warner (die sie 1984 unter Vertrag nahmen) erreichte Platz 14 der UK Album Charts. Zu dieser Zeit spielte die Band mit Wayne Hussey an der Gitarre und Craig Adams am Bass - beide verließen später die Band und gründeten The Mission.

MEMOTONE, aka Will Yates, has announced details of a new 12-track album, smallest things, set for release on World of Echo on 1 August 2025 on vinyl and digitally.

The album launches today with first track, ‘Time Is Away Theme’, a live favourite that is finally available on album. Watch the video HERE Talking about the release, Will has said, “Staring at a square inch of neglected concrete, I recognise the beauty of existence. Quietly hysterical. While humanitarian catastrophes bubble across the planet, the tides remain in constant and disinterested motion. Your money is worth less than the dusty moss that powders this pavement.

It's certainly not worth a life. We are the smallest things, along with everything else." Will Yates has made music as Memotone since 2007. He operates in the tradition of what Robert Fripp has called 'a small, independent, mobile, and intelligent unit.' If you book him, he will come. When he arrives, he will have everything he needs to make his complex, engaging music: a clarinet, a guitar, synths, samplers and pedals, quickly unpacked in the corner of a club, gallery or village hall. Starting small, he will build layer upon layer of melody, accompanying himself and cutting across himself, creating a music that avoids cliche and moves beyond easy description. His recordings have followed the same trajectory. Moving quickly, he has released fifteen or so albums across various labels (including Trilogy Tapes, Discrepant, Soda Gong). Taken together, these recordings are the sound of a skilled, inventive composer pushing at the edges of what he wants to listen to himself. It is possible to hear a variety ofinfluences in his music: folk and jazz forms, the textural inventiveness of British DI electronica and Chicago post-rock and the blurred sci-fi brass of Jon Hassell are all discernible. But mostly, Will's work seems to stem from a constant drift between long hours in his home studio, and time spent outside in the woods and hills around his home in Wales.

Listening to the album, lushness creeps in at the edges, tiny green shoots appear on what might at first appear to be bare soil. smallest things sheds the skin of Will's previous recordings, removing the electronics and the looping and layering of previous work, to create something almost entirely acoustic. But don't be fooled into imagining music that's folksy, pastoral or twee. Opening track 'I Could See the Smallest Things' is a statement of intent. Widely spaced guitar is underpinned by earthy cello and sleepwalking clarinet, making a gorgeous threadbare pattern, which recalls a Morton Feldman miniature or a Morandi still life.

Beyond the skill involved and the years of self-taught music making that have gone into putting this record together, it is Will's close, careful attention and his talent for existing, observing and creating in the moment that make his work special. Memotone will perform at World of Echo’s annual birthday celebration on 8 Nov Expected Music, when they take over Walthamstow Trades Hall for an inter-genre, day-long investigation into some of the more outré manifestations of the contemporary worldwide underground.

With Vermilion Hours, Melaine Dalibert offers a condensed rereading of his Musique pour le lever du jour, still exploring minimal variations and subtle piano resonances. This new version, enriched by David Sylvian's discreet electronic textures, retains the atmospheric magic of the original while offering a new density. Sylvian, best known as the singer of Japan, is also an important figure in ambient music, collaborating with Czukay, Hassell and Sakamoto. Their collaboration, born of a sincere artistic affinity, acts here as a transmission between generations. The two tracks on the album - Musique pour le lever du jour and Arabesque - evoke a soundscape where each note is reflected and diffracted infinitely. The electronic work acts like a halo, a vibrant aura. Dalibert speaks of a desire to humanize his theoretical processes, to touch through the organic. Like a Klee painting, each stratum of sound builds depth. This is, indeed, "landscape music," where, if you listen closely, you might hear birds singing in the background. And that is the true essence of these suspended harmonies, these vermilion hours-which transport us, as only the contemplation of nature can, into another space-time, a sonic bath that is also a renewal of the senses. Since his career with Japan began in 1974, David Sylvian has explored a wide range of musical territories, collaborating with the likes of Robert Fripp, Jon Hassell, Readymade FC and Ryuichi Sakamoto - venturing as far as ambient music, which he further develops here in tandem with Melaine Dalibert. While continuing to teach at the Rennes Conservatoire, Melaine Dalibert regularly releases albums on various labels and performs both his own works and those of other composers - most recently, a reworking of Keith Jarrett's Köln Concert. He also co-curates the Autres Mesures festival. The two pieces forming Vermilion Hours feel like transcending the generations. Between Melaine Dalibert (born in 1979) and David Sylvian (1958) lies the same generational gap as between Sylvian and Czukay (1938-2017) or Hassell (1937-2021). The CD versions adds two edit versions of both long tracks.

Still Forms in Air is the debut album by Italian composer Francesca Marongiu under her own name. It draws inspiration from mid-1980s Japanese ambient music — Hiroshi Yoshimura, Satoshi Ashikawa, Takashi Kokubo — and, more subtly, from Italian experimental echoes rooted in both personal and cultural memory.

The album unfolds like suspended time, like architecture that quietly bears witness to the shifts that have shaped our cities and the ways we live in them. These tracks reflect an emotional and urban landscape, shaped by a gaze cast upon the mid-1980s and early ’90s — a time of subtle yet lasting changes in the form and meaning of shared space. That period marked a delicate turning point, later described as les années d’hiver: the slow onset of fragmentation beneath a surface of creative openness.

Still Forms in Air doesn’t dwell in nostalgia (though it draws from it), but reimagines that duality through a contemporary lens. Its sound blends memory and presence, layering ambient textures with a refined spatial sensitivity. It is a dialogue across decades — clear-eyed, affectionate, and quietly luminous.

Written, arranged and recorded by Francesca Marongiu in Rome and Pistoia between May 2024 and March 2025.
Francesca Marongiu: electronics, synthesizers, vocals, sound objects.
Antonio Gallucci: wind arrangements on track 1 and 4, bass and sound objects on track 3, drums on track 3 and 4.
Mixed by Francesca Marongiu and Antonio Gallucci. Mastered by Antonio Gallucci at Mercurial Mastering in Pistoia. Artist photo by Elisabetta Scarpini. Artwork by Daniel Castrejón.

Delving into the Great American Songbook of Howe Gelb, Sandworms is a new collection that rephrases and rephases the legacy of Giant Sand acrossgenerations. This release offers bold reinterpretations from Water From Your Eyes, Deradoorian, Jesca Hoop & John Parish, Lily Konigsberg, Holiday Ghosts, Ella Raphael, Monde UFO, The Golden Dregs, and Gently Tender. The ever-present Giant Sand and their one-man cerebral traveller, Howe Gelb, are anchored by a reputation for idiosyncratic storytelling. A "natural storyteller," Gelb's multifarious musical delivery adds an enduring sense of wonder as he extols the virtues of happenstance. This collection celebrates the esoteric and singular journey Giant Sand have taken, through alt-country, jazz, lo-fi experiments, and beyond, while their legacy is reimagined here by a new generation of artists paying tribute to their lasting influence. Brooklyn duo Water From Your Eyes, known for their stoner humour, fatalistic undercurrents, and art-pop flair, bring a delicate balance of punk riffing and dream-pop escapism to Warm Storm, first heard on Giant Sand's Ramp (1991). Whitney K takes on Happenstance (from 1994's Glum), unravelling its existential puzzles with a whispering baritone that recalls the hushed intensity of Leonard Cohen. Drifting further into orbit, Angel Deradoorian reinterprets Center Of The Universe, the title track from the band's 1992 album, transforming its desert-fried rock into a spaced-out Sun Ra-paced drama. Elsewhere, Yer Ropes, a jaw-dropping highlight from Glum, is taken on by The Golden Dregs, blurring sentimentality and relationship mismanagement into something truly strange and moving. A special collection for both long-time fans and the newly curious, Sandworms: The Songs of Howe Gelb and Giant Sand is released via Fire Records and includes liner notes from Dave Henderson (Mojo).

CATCHY, MESMERIZINGLY BEAUTIFUL, DREAMY CHAMBER POP WITH A FOLKY TWIST

Music can have a multitude of emotional impacts and can create inner worlds out of voices, sounds, and moods.
If you open heart and ear to the mesmerizing, hauntingly beautiful soundscapes of AURI, you might find a beacon of light inside a sonic realm untouched by today’s often scary, grim realities; a dreamscape that can be profoundly uplifting.
On their third studio album, III - Candles & Beginnings’ the stars have aligned yet again. Propelled by the unique and celestial voice of Johanna Kurkela, the magical textures of Nightwish mastermind Tuomas Holopainen and the almost unlimited musical palette of Nigtwish multi-instrumentalist Troy Donockley, Auri have presented a world to be unlocked with the senses, blending folk, progressive and symphonic elements, world music, pop and avantgarde.
Right after completing Nightwish’s 2024 monument Yesterwynde, the songwriting for the third chapter in Auri’s musical adventures started in 2023, with Troy writing in Yorkshire and Tuomas and Johanna working their creative magic in Kitee, Finland. By Autumn 2024, a 10-song demo was complete, setting the stage for what would become another breathtaking Auri journey. The band and their trusted engineer Tero “Teecee” Kinnunen took the mixing process to sunny Spain, letting the Andalucian vibes infuse the music whereas in March 2025 mastering was wrapped up by Tim Oliver at the legendary Real World Studios - a ground-breaking recording complex started by Peter Gabriel in 1989.
The album is a tapestry of emotions - each song a world of its own, touching on childhood memories, vivid life experiences, and even a nod to one of the group’s most beloved places on Earth - The Lion Inn at Blakey Ridge, a historic spot nestled in the North York Moors and one of the most remote pubs you will ever find.
Visually, the cover artwork by Pete Voutilainen, layout and watercolors by Mikko Pankasalo plus calligraphy by Johanna Kurkela provide wonderful illustrations perfectly capturing Auri’s unique musical visions.
With guest musicians like Frank Van Essen (strings), Jonas Pap (cello), Juho Kanervo (basses), and the incredible drumming and percussion courtesy of Nightwish’s Kai Hahto, Auri III - Candles & Beginnings is as lush as it is atmospheric and provides astonishing dynamics.
Having been a studio endeavor in the past, Auri is finally going on tour with their first-ever live European trek kicking off in August 2025, followed by summer festivals in 2026, allowing you to hear, see and feel songs from their previous two albums, as well as brand new pieces from III - Candles & Beginnings.

More Rice returns with its ninth release and second vinyl drop of the year, delivering a heavy-hitting EP from label cofounder Sarayu. The Don. Mueang. marks his first full solo release on the label since 2021, reaffirming his distinct voice in Asia’s underground dance scene. The A side features two peak-time weapons: no nonsense, bass-driven influenced techno rollers built with the dancefloor firmly in mind and straight to the point. On the flip, trusted More Rice regulars step in on remix duties. O-Wells reimagines Don Vito Bingus with a warm, rolling take that leans into house and tech
house territory, giving the track a smoother, hypnotic swing.

Mogwaa closes out the EP with his Fiesta Mix — an electrified, rhythm-forward version that does exactly what it says on the tin: it bangs. As always, all tracks made for the dancefloor

Clear Vinyl. While Jamie Saft has been a significant presence on previous RareNoise recordings by Slobber Pup, Plymouth and Metallic Taste of Blood, the renegade keyboardist and essential Downtown improviser steps into a dramatically different role on The New Standard. A collaborative trio outing featuring the dream rhythm tandem of drummer Bobby Previte and bassist Steve Swallow, both prolific composers and venerable bandleaders in their own right, it showcases Saft alternating between piano and organ and making thoughtful, melodic contributions throughout. The album is the result of a magical recording and direct mixing session in Saft's own Pottervilles Studios, masterfully setup and captured by 5 - Time Grammy winning engineer Joe Ferla, who is regarded as the fourth member of the band for this remarkably empathetic endeavour. Ferla recorded everything analog direct to two-track 1/2" tape through a Neve console. On ten original tracks, seven of which the keyboardist composed, Saft blends brilliantly with his esteemed elders on this remarkable RareNoise release.

French electronic producer heylucas (formerly Luca) steps into a new era with his highly anticipated debut album, "hey".



Following a series of acclaimed singles throughout 2024 and 2025, "hey" marks a turning point in his artistic journey. After his first live performance in late 2024 met with enthusiasm, it became clear, Luca was no longer just a bedroom producer but a true performer. A shift that inspired the name change from Luca to heylucas, embracing a broader vision for his music. This career change is all the more significant now that he has just announced his very first solo live show at POPUP! in Paris on 24 May.


"hey" is a deeply personal recollection of emotions: the highs and the lows, the joy of loved ones, the grief of loss, and the thrill of firsts. From euphoric moments to introspective instants, the album showcase the diverse experience of the artist during this transformative year. Singles like "do the things that bring joy" "either it goes well, or it passes" and "keep dancing" are the perfect example, shaping his signature sound: heartfelt, uplifting tracks that make you want to move and reflect at the same time.


“Do It All Again” in collaboration with Swedish duo HNE, features spoken vocal snippets collected from real-life encounters in the final months of the album’s creation, blend with an energetic/euphoric production.


The album release will be doubled by the release of an exclusive live session by heylucas in which he will reinterpret classics from his repertoire as well as new tracks from his “hey” album.



More than an album, hey is a statement. It’s heylucas’s way of waving hello to listeners, to concertgoers, and to everyone who connects with the emotions he pours into his music.

The third volume of the AfroColombia Remix series merges African and Colombian sounds with contemporary electronica. It's a collaboration between Colombian labels Galletas Calientes and Palenque Records that celebrates Palenque's 20+ years of activism and Galletas Calientes' two-decade legacy while honouring the late Abelardo Carbono with a remix of his track 'La PiNa Madura' by Voilaaa - it's a standout here with hints of funk, soul and disco all bringing the sunshine. The compilation also reinterprets Nigerian Igbo Highlife and Ekobe music thanks to producers Captain Planet, Uproot Andy and Caribombo. They bring new, funky energy to timeless classics while preserving the original cultural essence.

Zurich-born, New York-based DJ Tony y Not is best known for her free-spirited sets, seamlessly weaving together techy acid, progressive, dark disco, and heart-opening indie. She brings that signature energy to her Kompakt debut with striking precision. Have You Lost Your Mind channels a touch of Swan Lake-era Todd Terry – one of NYC house’s legendary figures – delivering a razor-sharp acid line, a rock-solid groove, and one of the most flawlessly executed breakdown/drop combos in recent memory. Deep Don’t Stop follows suit, skillfully reviving the essence of ’90s New York club culture in a way that would have set Junior Vasquez’s Sound Factory ablaze. True to her mission, Tony y Not continues to spread joy and uplift others, both on and off the dance floor.

TEE MANGO’s first release on Kompakt has been a long time coming. Ever since Michael Mayer heard his sunkissed remix of The Invisible’s ‘K Town Sunset’ back in 2017, he’s been obsessed with his music. The two tracks here, ‘Moonshots’ and ‘My Mind Is Making Up Monsters’, are prime examples of TEE’s ability to create heartfelt, uplifting modern house music. There’s a sense of bacchanal liberation, a potent transcendental element that opens the mind to joyful bliss.

‘Maybe I’m Dreaming’ is the latest collection selected by Mikey Young (Total Control, EddyCurrent Suppression Ring) and Keith Abrahamsson (Founder and Head of A&R at AnthologyRecordings), the mangled minds behind the beloved ‘Follow the Sun’, ‘Sad About the Times’,and ‘…Still Sad’ compilations. The twenty tracks of ‘Maybe I’m Dreaming’ make a conscious(and unconscious) detour from its predecessors, sourced entirely from private press releases,spanning new decades and production modes within homespun folk, soft rock and otherwise70s and 80s FM radio adjacent music.  The magic of ‘Maybe I’m Dreaming’ is the untold story of the artists behind these songs; thosewho missed the big time, but whose song craft and unrequited care hit the right notes, bothhigh and low.
Where ‘Follow the Sun’ and ‘Sad About the Times’ introduced us to the fame chasing, ambitioncrashing crooners who missed their shot in the mainstream, ‘Maybe I’m Dreaming’ delvesdeeper into the isolated wilds - a private world where production quirks, late-night tape hiss andone-man studio dreams were not necessarily a choice but the hand that was dealt.
With the parameters set to ‘private press only’, Young and Abrahamsson follow a circuitous trailof invention and emotion, documenting a spirit that’s more homespun, sometimes lonelier andoften a little weirder. The guitars still strum, but the keyboards’ hum is more prevalent andprecious; wistful harmonies brush up against lo-fi drum machines; a bittersweet fog lingeringover even the brightest melodies.
As with their previous collaborations, Young and Abrahamsson weren’t interested inconstructing a museum or drafting a historical survey. ‘Maybe I’m Dreaming’ is a sentimentalmixtape, assembled late at night when the mind wanders and old memories blur with imaginedfutures, those within reach and those far too mysterious to ever encounter. Songs wereunearthed in personal collections, deep YouTube burrows, dilapidated web archives and thedim corners of Discogs, with many selections tied not only to intuition but to personalconnection.  Some tracks arrived via friends - Kelley Stoltz, a frequent guide for Young, tipped him off toboth Peter Kraemer’s lost gem ‘Let the Light Slip’ and Awakening’s revelatory closer - addingan unseen but deeply felt thread of camaraderie to the compilation.
The journey takes in a wide, strange sweep: The Watson Brothers Band’s ‘Just Whistle’ opensthe collection with a sigh and a shrug, a song that feels like it’s been waiting for decades to beheard again. Jim Huxley’s ‘Tessa on a Magazine’, rediscovered after a long and winding searchby Young, shimmers with a distinctly Australian melancholia. The heartbreak of Rick Penta’s‘My Story Changes’ and Twice As Nice’s delicate ‘Thoughts of You’ float easily alongside themore buoyant, radio-dream sheen of Barracuda’s ‘Baby I Love You’ and MAK’s sunshinedappled ‘That’s Life’.
Widening the aperture to the late 1970s and early 1980s allows for a deeper exploration intoevolving production techniques and musical technologies. The Squad’s ‘D.L.M.H.I.M.A.’ andChristoph Spendel Group’s ‘Forever’ crackle with the kind of bedroom synth warmth that couldonly come from the analogue age, while the soulful, yearning undercurrent of Awakening’s‘Gotta Do Somethin / Might As Well Cultivate’ caps the collection with a call for action - ormaybe just acceptance - in an accidental Brian Eno ‘Here Come the Warm Jets’ parroting.
While ‘Maybe I’m Dreaming’ moves away from the ‘sad man with guitar’ archetype that hoveredover its predecessors, it remains tethered to a familiar emotional gravity - a balance of longingand lightness that defines this corner of the musical universe. Each track shuffles gentlybetween resignation and hope, sadness and serenity, as if the artists themselves were chasinga dream just beyond reach, recording not for fame but for the simple act of getting it, thatprimal, creative itch, out into the world.
Available on CD and 2LP, featuring the third eye-opening artwork of Dang Wayne Olsen. Thedouble LP set arrives in an outrageous double-wide spine jacket with printed inners and adream journal entry by Pacific Northwest artifactual authority Josh Lewellen.

Repress!

Ahead of a full-length album coming on Glitterbox Recordings, the king of disco re-edits Dr Packer presents the second instalment of this 12' series. 'Different Strokes Part 2' features four Dr Packer versions of soulful house favourites, giving a flavour of what's to come from the LP. Kicking off with a bonafide classic, Dr Packer's take on Soulsearcher's 'Can't Get Enough!' maintains all its most iconic elements, the euphoric vocals and timeless groove given a fresh-sounding elasticity. Next up is Dr Packer's remix of The Shapeshifter's evergreen 'Lola's Theme Recut' appearing for the first time on vinyl. An exclusive to this vinyl release, a remix of Johnny Corporate's 'Sunday Shoutin'' picks up the pace with a funking bassline to suit any dynamic disco set. Rounding off this foursome of impeccable remixes is Cleptomaniacs featuring Bryan Chambers 'All I Do', a vocal house classic from the early noughties, reinterpreted masterfully for today's Glitterbox dancefloor,r which was originally featured on the label's A Disco Hï compilation. Dr Packer has done it again, breathing new life into your most beloved dance records so you can fall in love with them all over again.

With creative verses rooted in technical brilliance, Detroit emcee Elzhi has attained the highest level of lyrical mastery. Now 15 years into an inspired solo career, the former Slum Village member has ramped up his output lately, joining forces with producers Georgia Anne Muldrow, Oh No, and JR Swiftz for three acclaimed albums in the 2020s. Now, Elzhi is reuniting with famed North Carolina producer Khrysis as the duo Jericho Jackson, revisiting the chemistry that resulted in a celebrated 2018 joint album. After emerging in the Justus League collective during the rise iconic group Little Brother, Khrysis has gone on to work with hip-hop royalty like Sean Price, Black Thought, Mac Miller, JID, Conway, Rapsody, Talib Kweli, Redman, and many more. With a highly anticipated album on the way, Elzhi and Khrysis are launching the new era of Jericho Jackson with the flawless EP I Am Him, channelling the spirit of vintage maxi-singles. “For me, the maxi-single represents a time when

hip-hop was unapologetically raw and underground,” Elzhi explains. “Some of my favourite artists used the format to showcase remixes, freestyles, and loose tracks that might not have fit the sound of an album. This is our way of restoring that feeling.” An exciting burst of new music from two undeniable talents, the project features appearances by Domo Genesis and Oh No.

Motown’s L.A.-based Mowest label lasted less than two years, but managed in that short time to release some of the most adventurous music the company ever put out. And probably the most intrepid—and nowadays, adored—Mowest release of them all was the 1992 self-titled release from Odyssey. This one-off brought elite West Coast sessionmen like Wrecking Crew mainstay Don Peake, one-time Chicago member Donnie Dacus, and arranger/orchestrator extraordinaire Gene Page together with a bunch of West Coast hippie rockers (as Peake says, “We were invited to lunch, introduced to some nice people and told we were going to form a band”).

The happy result was a record that has appeared on more deejay turntables than you can count, a one-of-a-kind blend of funky Motown bottom with a spacy sensibility and sound that fits right in next to, say, the latest Khruangbin album on your psychedelic chill playlist even as it activates your 5th Dimension sunshine pop endorphins. The single “Our Lives Are Shaped by What We Love” is probably the pick to click, but the whole album is a total vibe. We’re reissuing Odyssey for the first time ever in the U.S. (the Japanese have long been all over this album) in blue-green “ocean spray” vinyl, complete with original album art including the lyric insert. Remastered for the format by Mike Milchner at Sonic Vision, and pressed at Gotta Groove Records for superior sound. A must!

New pressing for this album, in translucent highlighter yellow. Inspired by minimal pop and the pioneers of electronic music, LES MANIÈRES DE TABLE, Annie-Claude Deschênes’ first solo album, is as danceable and melodic as it is disquieting and dystopian, proposing to set the table differently by deconstructing the social codes of politeness imposed on us. Conceived during the lockdown to overcome the surrounding inactivity, the songs that make up LES MANIÈRES DE TABLE were not intended to be released. It was by familiarizing herself with new technologies (drum machines, sequencers) that the conceptual and aesthetic ideas that define the album began to develop organically. Through producing beats composed from samples of utensils, table etiquette became a source of inspiration, a form of conformity that she enjoyed deconstructing. At the same time, a fascination for surveillance cameras and other futuristic-looking, but already obsolete technologies became part of her visual universe. Her experiments gradually evolved into a full-fledged project reminiscent of the works of the pioneers of electronic music. The album is inspired by Steve Reich’s minimalism, Kraftwerk’s synthetic textures, Herbie Hancock’s stylistic diversity and experimental cinema’s non-traditional approach to narration.

late night drive home have never known a world without Wifi - without access to the endless stream of joy, sorrow, heartbreak, and hope that we all tune in and tune out to on the daily. In many ways, the guys can"t really extricate themselves from that reality - even their band name comes from a random Wikipedia page - but they"re trying to at least grapple with it. "Most of us grew up on the internet with unsupervised access at a very young age," says singer Andre Portillo. "As we started foreseeing all the outcomes - both good and bad - of this kind of access and advancement, we started writing... forming a sound and message that would become our next record." The culmination of that, then, is the buoyant yet ominous as I watch my life online, the band"s debut album. late night drive home was born in El Paso, Texas, and Chaparral, New Mexico, hardworking communities where folks built their houses by hand and collars were mostly blue. Comprising guitarist Juan "Ockz" Vargas, singer Andre Portillo, drummer Brian Dolan, and bassist Freddy Baca, the entirely self-taught quartet released their first digital EP as a full band, 2021"s Am I sinking or Am I swimming?, and blew up with the single "Stress Relief," a blast of early-Aughts indie that racked in tens of millions of streams. After they signed with Epitaph Records in 2023 - and releasing 2024"s grunge-inspired 3 song EP i"ll remember you for the same feeling you gave me as i slept - they found themselves playing stages their indie idols previously shredded: Coachella, Shaky Knees, Austin City Limits, and Kilby Block Party. Since the end of the pandemic, though, the band had been dreaming up as i watch my life online. "I started thinking about the time after the pandemic and how much things were changing," says Vargas. "So the whole album is a critique of social media and the way we use the internet to distance ourselves from each other." The resulting suite of tracks is a series of online vignettes that hammers home the band"s message: the photos on your phone shouldn"t be your identity; your posts aren"t your inner monologue. A bigger life is lived where there"s no service - in your hometown on a late night road with your friends, and on stage, where the band finally found their destination after that long drive.

I had known of Ontology for a few years now, for her releases on Meditator Music & some of the sublabels of Amenology, but I got to know her a bit better last year, when she helped me & Dwarde get a booking in Nashville, Tennessee, where she is based & we got to meet her, work on some music with her and also see her DJ.

Since then, she's been sending me some wicked tunes of hers that she's been making and "This Music Belongs To All Of Us" was a track she sent me, which I absolutely could not refuse. I had to have it for release on Future Retro London and that led to FR038, which also has remixes from DJ Sofa, me & a VIP mix that Ontology had made shortly after finishing the original.

Big up to Ontology for the wicked beats, for DJ Sofa for her quality work on the remix & a special shout to all the people me & Dwarde hung out with in Nashville (Nicholas Latiff, Sterbo, Digimon, Lapilli & everyone else I've forgotten to mention!)

2025 Repress

Inexplicably, yet true, Lexx has never appeared in any way, shape, or form on International Feel recordings – until now. And it’s been worth the wait. Into the Stream is one of the finest endeavors of the Zurich record hound, DJ, musical mastermind, and Balearic baron to date. Bespoke for International Feel, it feels like a comforting blanket for hard times. Inspired by early 90s electronica and serene landscapes, the title track embodies those magical moments just before sunset on warm summer days — a light breeze carrying the sweet scent of earth as you cycle past a peaceful herd of white, black, and brown sheep moving in unison.
Revisiting stages of faith and devotion of one of the favorite bands of nearly every 1980s teenager, and using their formal vocabulary after a deep dive into their rich discography, Lexx delivers a respectful nod and a heartfelt bow, one that is not only a question of lust, but simply irresistible.
Last, but not least, Abun-dance is a celebration of life and love. It manages to tap into the stream and discover the true abundance of the (Balearic) bliss that surrounds us. A match made in heaven.
Lexx, we salute you. credits

Riding high on a prolific wave of output, Kloke returns to Mindgames with Lucidity — an album that confirms his position at the forefront of modern jungle.

Andy Donnelly has been actively releasing a broad swathe of electronic music since the late 00s, but it's his sharpened focus on jungle and drum & bass over the past 10 years that has cemented his reputation. As well as working closely with fellow scene leaders like Tim Reaper, the Australian artist has hit a flow state with his productions where the quality and quantity seems limitless. Since Mindgames started as a Samurai Music sub-label, Kloke has been a core part of the imprint's identity. Having already dropped the Mindgame 8 EP earlier this year, Donnelly is back with a full-length salvo of advanced jungle heavy on the technicalities and even heavier on the vibes.

Lucidity makes its mark from the very first blast of breakbeat science that opens up the title track. From that point on Donnelly works at full tilt, edging gritty textures into his sampling and capturing classic jungle's melancholic mystery through an expansive palette of re-pitched hooks. This is carefully crafted soundsystem music in thrall to the tradition of jungle, but at no point does it sound tired or throwback. One key element is the dynamic intensity of Donnelly's arrangements, shifting gears with devastating poise whether darting through the starry-eyed arps and deft breaks of 'Mobius Strip' or chopping around the jagged angles and noirish licks of 'Goose Cuts'.

Donnelly folds many moods into his jungle tapestries. 'Paradiso' conjures a smoky, haunting atmosphere while 'Nightfall' leads on techy darkside stabs before unfurling shadowy jazz licks that flicker like ghosts through the dense forest of drums. At all times, the commitment to mind-bending configurations of compound breaks drives the album forwards. No two beats roll the same as Donnelly indulges his precise and profound instinct for next-level edits and heavyweight production.

Gritty, raw and true to the roots of the culture, Kloke stands tall on Lucidity. It's the kind of detailed, deep and deadly album that shows jungle at its absolute best — a sound that still feels like the future in the right hands.

"Impala", das sagenumwobene zweite, ursprünglich 1998 erschienene und längst vergriffene Songs:Ohia Album wird im August von Secret Canadian auf Vinyl neu aufgelegt. Diese Veröffentlichung enthält ein neu gemastertes Demo von "Tess", ursprünglich während der Aufnahmesessions für "Impala" aufgenommen. ,Lorain, Ohio; es ist ein schwieriger Ort zum Aufwachsen. Entweder man entkommt oder nicht. Angesichts der Industrie, die es dort gibt (oder gab) - das Stahlwerk, das Ford-Werk und die Werft - ist die Mischung der Menschen wie keine andere. Eines ist jedoch sicher, es ist eine Arbeiterstadt durch und durch. Was hat das mit einer neuen Veröffentlichung von Songs: Ohia zu tun? Nun, Jason - der Hauptverantwortliche für Songs, wuchs wie ich in diesem gottverlassenen Loch einer Stadt auf und so sehr man die Stadt auch verlassen kann, sie verlässt dich nie. "Impala" ist ein weiterer Beweis für das Songwriting-Talent von Jason Molina. Die hier enthaltenen Tracks bieten einen Einblick in die die Seele eines Mannes, der versucht die Dämonen des Lebens und des Verlusts auszutreiben. Das ist nichts, was man vortäuschen kann. Das kommt davon, wenn man mit dem Wissen aufwächst, dass die Fabriken, in denen deine Eltern gearbeitet haben, keine Option für dich sind und dass deine einzige wirkliche Option ist, zu versuchen, auszusteigen (leichter gesagt als getan). Die auf Jason und Geof Comings reduzierten Tracks auf "Impala" sind die spärlichsten und strukturiertesten Stücke, die die Band bisher veröffentlicht hat. Eine der ehrlichsten und stärksten Veröffentlichungen von Songs:Ohia.

For a decade now, BAD SUNS have thrived in the sweet spot between indie rock polish and modern alt-pop energy, crafting a sound that feels both urgent and timeless. Accelerator, their fifth studio album, doesn"t just refine that identity-it pushes it into new territory. Stratocasters shimmer through overdriven Vox amps, synths surge like late-night city lights, and the rhythm section pulses with a restless, undeniable energy. It"s a record that doesn"t just move; it commands attention. The band"s evolution has been constant. Since their early days cutting their teeth on tours with Halsey and The 1975, Bad Suns have spent the past two years stretching their reach across genre lines, proving their versatility at major festivals and iconic venues. Whether electrifying Red Rocks alongside All Time Low, opening for Angels & Airwaves, or winning over Finneas" pop-leaning crowd on their 2025 U.S. run, they"ve made a case for themselves as a band without borders. Helmed once again by longtime collaborator Eric Palmquist (MUTEMATH, Thrice) at Palmquist Studios, Accelerator feels like the band"s most conceptually realized work to date. Its 12 tracks unfold with cinematic ambition, balancing airtight hooks with an emotional resonance that shifts depending on how you approach them. It"s an album that doesn"t just sit in the background-it begs to be experienced.

Seattle punk rock 'n rollers The Drowns are proud to present their brand new live album Live At Rebellion, on Pirates Press Records. This is the band's first foray into recording a live performance, but it has been an idea on the table from very early on. While the band are rightfully acclaimed for their studio albums, the first thing anyone in the know talks about is their electrifying live shows. "Within the first year of starting the band, we saw the reactions we were getting from people live, and we had the idea to record a live album," says guitarist and singer Rev. "Almost a decade later now, we felt like the time was right." While a live album recorded during the first year may have captured the raw power of a hungry band kicking off their momentum, Live at Rebellion is the sound of a seasoned band playing in front of a veritable army of international fans on their largest festival stage at Rebellion Festival in Blackpool, UK - fans that they have earned one by one, sweating it out with relentless transcontinental touring. "Rebellion has always been a highlight of our year, and we love the performances there because the energy from the crowd is raw and visceral," explains Rev. "That's why we made the choice to do it there in Blackpool." While far from a "Greatest Hits Live" preserved in amber, the setlist features selections from every era of the band's career and was determined by the band's knowledge of what songs get their audiences fired up - all killer, no filler, as the saying goes! The gritty attack of "Them Rats" exemplifies the band's streetpunk influences and lyrical calls to unite against abusive authoritarian power. Meanwhile, the vital ass-shaking boogie of "Live Like Yer Dyin'" was a direct result of the band fully embracing their collective appreciation of the energetic joys of both 70s glam and original 50s rock 'n roll! Their choice of cover song - "Ballroom Blitz," - truly hits the Sweet spot, if you'll pardon the pun, as one of the foremost glam-proto-punk-bovver rock masterpieces. It is executed here in masterful hands by The Drowns. The band acknowledges Daz Russell & Daryl Smith, the organizers at Rebellion, for backing the making of the record. David Casey (Success, One Step Beyond) helmed the boards to capture the recording, mixing and engineering was done by Evan Douglas Foster (The Sonics, Boss Martians), and the final master was produced by Seattle legend Jack Endino (Nirvana, Mudhoney, Soundgarden), who also recently oversaw the re-master of The Drowns' debut album View From the Bottom. "This album was a cumulative effort between people who still believe in rock 'n' roll," sums up Rev. "We couldn't be more proud."

The line between art and entertainment has always been fuzzy. Certainly, there’s plenty of overlap between the two, but lately it feels like there’s a growing divide, an ever-widening chasm separating our fundamental need for creative expression and our insatiable appetite for disposable content. That’s where T. Hardy Morris comes in.

“I’ve spent a lot of time parsing the difference between the two,” he explains, “not just for myself, but for society at large. What does it mean to be an artist? How do we measure creative success? Where are the boundaries between audience and performer when everyone’s broadcasting their lives 24/7?”

Morris dives into those questions headfirst on his riveting new album, Artificial Tears, and while the answers don’t come easily, the search yields plenty of reward. Recorded in Nashville with My Morning Jacket’s Carl Broemel at the helm, the collection is an electrifying work of existential exploration, a raw, rock and roll reflection on meaning and identity in a modern world that’s simultaneously more connected and isolated than ever before. Despite the weighty ruminations at its core, the result is a remarkably grounded, down to earth album that’s at once honest and abstract, a poignant, clear-eyed look in the mirror from a master craftsman committed to his work for nothing more—and nothing less—than its own intrinsic value.

Soporus was founded as a side-project by Saxon Shore's Matthew Stone and William Stichter and focuses on their shoegaze-inspired, ambient drone instrumentals. Their catalog is informed by ideas of memory, family, and humanity's attempts to harness nuclear power, as evidenced through many of their song and album titles, including their newest, Windscale Pile No. 1, referencing the UK's worst nuclear accident. the titular tracks show Soporus at their most elegantly composed (Pt. I) and generative (Pt.II), with remaining tracks serving as a noisy and melodic. Now available on vinyl for the first time with spot gloss covers and a letterpress overwrap printed by William Stichter.

"Enter The Dragon" is a tune I've been playing for a few years that people have been messaging me about non-stop, asking for track IDs, release information & up until now, there was no real likelihood of it coming out since it had been forthcoming on a release scheduled for Lucky Muffin Records (a Green Bay Wax sublabel), which had been on the cards for a long time, but there was no sign of any imminent plan for release.

That was until Percussive P sent me a new tune he'd done recently called "Vibrating Harmony", which I really liked & wanted to put out on the label. This reminded me of "Enter The Dragon" which was still not out by that point, so I approached Kid Lib to ask if he'd be up for letting me release "Enter The Dragon" with "Vibrating Harmony" on Future Retro London. Reluctantly, he did & here we are...

Big thanks to Percussive P on his excellent work on both tunes, to Kid Lib for allowing me to put out "Enter The Dragon" on Future Retro London and to all the people over the years who were curious what this tune was when they heard it on my Mixmag live set, my Resident Advisor podcast & wherever else me or other DJs that had the tune were playing it at.