Back in stock: All genres

Notes: Bumper case in extra rugged silicone. For extra protection on the go. Made from 100% recycled silicone.

Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***


Alice in Chains' Jar of Flies from 1994 is a masterful album that showcases the band's versatility and songwriting prowess across an acoustic-driven collection of tracks. They deliver plenty of haunting melodies and introspective lyrics that make for a deeply immersive listen. There is a real melancholic beauty to 'Nutshell' while a gritty intensity pervades 'No Excuses.' Each song offers a glimpse into the band's emotional depth and musical complexity, always with raw emotion and captivating performances that make this one a standout release in Alice in Chains' discography.

Review: ***B-STOCK: Slight split on top of outer sleeve, poster and inner sleeve damaged due to being glued to each other***


Canadian singer, songwriter and visual artists Allie X - real name Alexandra Ashley Hughes - is a great representative for the resurgent live electro-synth scene. Emerging from the Toronto indie circuit in the mid-2000s, it was a relocation to Los Angeles, a heartland for neon sounds, and early work with producers Circuit and Billboard that first saw an identity begin to form, which is as retro as it is futuristic, picking up scores of fans along the way, including Katie Perry no less. Girl With No Face is her latest long form, and sees the artist again stick her flag confidently in the ground. Tunes bounce, track, soar, step, pump and - at times - fall apart, emotionally speaking, with clear references to the likes of Ladyhawke, Madonna, Kraftwerk, Cocteau Twins and a-Ha, among others. Definitely one to watch, if you're not already.

Review: Detroit producer Apollo Brown and maverick Buffalo MC Che' Noir have come together to create a new album that draws on their backgrounds in two of America's mostly famously failed cities. Brown brings his usual soul-drenched and head-nodding beatmaking style - the same vibes that have seen him work with the likes of Ghostface Killah and Danny Brown and become a key part of the scene. Che' Noir on the other hand has worked alongside Benny The Butcher, Kool G Rap, and Fred The Godson and here tells some vital stories that take you behind the curtain and up and down city streets, dodging gunshots, hunting for missing fathers and generally trying to game the system.

Review: Arutani's third album Who We Used To Be is a meditation on times passed and alternate lives lost, filtered through the decorative lenses of deep, minimal, tech and dub. As if to paint a character portrait of the artist himself, this is a measured, calm, light, mindful and modest album, replete with bulging concave chord undulations and synaptic percussive snaps for balance. Everything from electro's usual dotted rhythmic pattern to progressive house's woodblocky felicities are checked off here, plus the glissando'ing lead on 'In Case You Wondered What I've Been Doing' is a special highlight.

Review: Arv & Miljo's new album delves into radical environmental activism and draws from the Swedish Plogbill movement's early 90s actions alongside Earth First! and Earth Liberation Front. Mixing monologues, interviews, protest songs, and site recordings with raw kosmische synth music, the pair crafts a mesmerising audio collage. Chaotic yet harmonious, disorienting yet soothing, the album reflects dedication, passion, and the spirit of change. Originally a limited CDR release in 2021, it quickly became a highlight in Arv & Miljo's discography. Now on, Jorden Forst offers a multi-faceted journey through environmental activism and the human spirit's resilience.

Review: Azymuth's Outubro is just one of the many vibrant and captivating albums in their oeuvre that embodies the essence of Brazilian jazz-funk fusion. Released in 1980, it features the cult collective's signature blend of infectious rhythms, intricate melodies, and soulful improvisation. The album's title track stands out as a shining example of the band's musical prowess with its irresistible groove and lush instrumentation and throughout the record, Azymuth showcase their mastery of blending traditional Brazilian rhythms with elements of jazz, funk and electronic music to create a timeless and immersive that remains a classic in the realm of Brazilian music.

Review: The East Coast hip-hop scene has many giants and many seminal albums but Big Noyd's Episodes of a Hustla is one of the lesser known works to check out if you anen't already familiar. It is a gritty and raw portrayal of street life in Queensbridge, New York, released in 1996 and capturing the essence of the East Coast scene with its hard-hitting beats and vivid storytelling. Noyd's distinctive voice and uncompromising lyrics paint a vivid picture of survival and struggle in the urban jungle. With production from hip-hop luminaries like DJ Premier and Havoc, the album delivers a potent blend of boom-bap beats and menacing melodies as well as offering a glimpse into the harsh realities of inner-city life.

Review: Sweden has so much to answer for in non-conformist music terms. And Gothenburg is responsible for plenty within that. Take Gustaf Dicksson's renowned Blod project, for example, and its formidable 2023 outing Ondskans Fro. As oppose to the preceding two albums, here we find the man in question flying solo on the mic having previously partnered with fair-voiced female vocalists, lending the record a sense not just of the personal and intimate, but solitary isolation. That may sound slightly sombre, but it shouldn't. In reality, while we often jump to miserable conclusions when we think of words like 'alone', there's no greater strength than our ability to be happy as individuals - self love being a prerequisite to loving anyone else. In many ways, that's a resounding takeaway here. Medieval ambient folk that is warm, inviting, peaceful, and often dreamy.

Review: Archeo Recordings bring us some more Balearic Italian treasure here with some gold initially recorded in Bologna almost two decades ago. It's a collaboration between friends Bottin and Lucio Dalla that has never before been on vinyl. 'Lunedi Cinema' was an ident that played before Monday night movies on of one of the main Italian TV channels for many years. This electronic version includes the Martedi Mix from 2008, a Minibar Bonus Track and also a mix by pioneering Italian dream house dons Leo Mas & Fabrice with a Bottin dub sealing the deal. It's a superb package of real Italo music history.

Review: In March 2023, composer, arranger, and alto saxophonist Cassie Kinoshi debuted her commissioned suite, Gratitude, at London's Southbank Centre. Featuring her flagship ensemble seed. in a unique augmented formation alongside turntablist NikNak and the London Contemporary Orchestra (LCO), the sold-out event marked a milestone. Known for her work with seed. and Kokoroko, Kinoshi's compositional prowess extends across various mediums. Gratitude now showcases her textured and dynamic sound as it traverses from groove-focused modal melancholia to anthemic brass and string themes. Inspired by her mother and her own mental health journey, Kinoshi's creation resonates deeply, reflecting the soul of contemporary Black London with the craftsmanship of legendary jazz arrangers.

Review: Legendary UK outlet Greensleeves Records has joined forces with Roots Defenders of Notting Hill Carnival for this deep dive into the work of Channel One Sound System. Down in The Dub Vaults is promised to be a one time only and limited edition pressing of some serious roots and dubs gems that have been dug out of the vaults by the crucial selector that is Mikey Dread. These have all, at some point over the year's been deployed at maximum volume through the unique and hand built Channel sound system. The likes of Wailing Souls, Michael Prophet, Linval Thompson and Hugh Mundell all more all feature.

Review: ***B-STOCK: Slight surface marks ***


The Charlatans self-titled fourth album gets a lovely yellow make over for this reissue on Beggars Arkive. It's the first time for over 20 years new copies of this landmark album have been pressed, and Frank Arkwright at Abbey Road has taken care of the excellent mastering. The original release date was in 1995, and the album was the most ambitious of the band's career with plenty of number ones included along the way. The most successful of these of course was 'Just When You're Thinkin' Things Over'. It's a real piece of classic 90s indie that will always sound good.

Notes: This specially designed stand for Elektron Digitakt / Digitone is attached from below to the equipment’s chassis, utilizing its universal VESA mounting points, enabling the use of the equipment in a much more ergonomic inclined position.

By swapping the position of the feet, it is possible to use the equipment in two different positions: lying down and upright.

It can be set up in a matter of seconds and weighs just a few grams.

Each stand features a groove to accommodate silicone feet to prevent the equipment from slipping or scratching.

Includes both side stands, screws for installation, and silicone feet.

Notes: Introducing the Stand for Korg KAOSS Pad - the ultimate solution for enhancing your music production experience while keeping your studio organized. Designed with ergonomics and durability in mind, this stand is meticulously crafted to elevate your Korg KAOSS Pad to a new level of functionality and convenience.

Constructed using ecologic PLA material, this stand not only offers exceptional sturdiness but also boasts eco-friendly attributes. PLA is a biodegradable and renewable material derived from plant-based sources. With this conscientious choice, you can take pride in reducing your environmental footprint without compromising on quality.

The ergonomics of the Stand for Korg KAOSS Pad are carefully engineered to optimize your workflow and maximize your comfort. Its thoughtfully angled design places your KAOSS Pad at the perfect height and angle, allowing for effortless interaction and intuitive control. Say goodbye to strained wrists and discomfort during long studio sessions, as this stand ensures a natural and relaxed position while you unleash your creativity.

This stand has been built this stand to withstand the test of time, and with the demands of a busy studio environment in mind. Its robust construction ensures stability, keeping your KAOSS Pad secure while you unleash your musical genius. Whether you're a professional producer or an aspiring musician, you can trust this stand to handle the rigors of your creative endeavours.

Beyond its practicality, the Stand for KAOSS Pad adds a touch of style to your studio setup. Its sleek and minimalist design complements any workspace, allowing you to showcase your gear with pride. The stand's black finish and clean lines exude a professional aesthetic that perfectly aligns with the modern musician's taste.

Don't let a cluttered studio hinder your creative flow. With the Stand for KAOSS Pad, you can keep your workspace tidy and organized. Its compact footprint takes up minimal space, leaving you with more room to manoeuvre and create. No more tangled cables or misplaced equipment - simply position your KAOSS Pad on this stand, and you'll have everything within easy reach, ensuring a seamless production process.

Upgrade your music production setup with the Stand for Korg KAOSS Pad today. Experience the perfect blend of ergonomics, durability, and eco-friendliness, all wrapped in a sleek design. Unleash your creativity, enjoy a more comfortable workflow, and make a positive impact on the environment - all with this exceptional stand.

Notes: The latest addition to the Roland family has its exclusive stand.

Specially designed for the Roland MC-707s.

Taking advantage of the shape of its cabinet to securely hold the equipment.

Achieving a very comfortable position during use.

These stands are lightweight, detachable, and take up very little space, perfect for live performers.

In the studio, they save space and improve the working position.

All CoverUp stands feature 3M rubber feet to prevent scratching or slipping.

With its ergonomic design, this stand provides exceptional comfort during use. Its thoughtful construction securely holds the Roland MC-707s, ensuring stability and convenience. Whether you're performing live or working in the studio, this stand offers the advantages of portability and space efficiency. The lightweight and detachable design make it easy to transport and set up wherever you go. Moreover, its compact size allows for convenient storage. Additionally, the high-quality rubber feet provide excellent grip and protect your equipment from scratches. Invest in this ergonomic stand from COVERUP for a comfortable and hassle-free experience while using your Roland MC-707s.

Notes: The latest addition to the Roland TR family has its exclusive stand.

Specially designed for the Roland TR-8s.

Taking advantage of the shape of its cabinet to securely hold the equipment.

Achieving a very comfortable position during use.

These stands are lightweight, detachable, and take up very little space, perfect for live performers.

In the studio, they save space and improve the working position.

All CoverUp stands feature 3M rubber feet to prevent scratching or slipping.

With its ergonomic design, this stand provides exceptional comfort during use. Its thoughtful construction securely holds the Roland TR-8s, ensuring stability and convenience. Whether you're performing live or working in the studio, this stand offers the advantages of portability and space efficiency. The lightweight and detachable design make it easy to transport and set up wherever you go. Moreover, its compact size allows for convenient storage. Additionally, the high-quality rubber feet provide excellent grip and protect your equipment from scratches. Invest in this ergonomic stand from COVERUP for a comfortable and hassle-free experience while using your Roland TR-8s.

Weight: 0,5 kg
Dimensions: 10 × 10 × 10 cm

Models: TR8S, MC707

Review: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***


Alternative rock and Goth legends The Cure were at an all-time high in popularity as they embarked on their 1993 tour across Europe. Enjoying the result of their most successful album Wish, the band was to take on their biggest world tour yet. For the previous two tours, there was no proper full recording of the band live by the group themselves. Robert Smith wanted to change that and a handful of shows were recorded to be edited together for the live albums Paris and Show. Paris shows the power of The Cure's new lineup which featured a new drummer, keyboard player and guitar player. Like most Cure concerts, the setlist is a varied mix of brand-new tracks at the time (Apart and A Letter to Elise) many classics (Figurehead, A Charlotte Sometimes and Shake Dog Shake) but then always a sprinkle of lesser-known ones like 'Dressing Up'. This edition is the 30th Anniversary release of the evergreen original.

Review: Dylan Brownsword strips things right down to the elements for this exceptional exploration into dub techno influenced drum & bass. Stark futurism that smoulders at its coldest and will have you shivering at its hottest, vibes range from the shimmering Basic Channel style reflections of 'B1' to the more autonomically minded swagger of 'B3'. Trembling with echoes of his powerful techno work in the past, across this whole collection DB1 keeps one foot in the dance, one foot in the stars throughout.

Review: Much loved doom monger emo kids Depeche Mode have always been ripe for remixing by new generations of electronic music artists and so it is that there 'My Favourite Stranger' gets a series of re-rubs here on Columbia. Tech house mainstay Boris Brejcha remixes first and elongates the grooves with mournful pads up top. The Ela Minus remix of the same tune brings some extra textured and darker moods and the best is saved till the last if you ask us. The Lond Island Sound remix is high speed and tinged with electro synth work as the moody vocals echo about the mix to trippy effect.

Review: Clash, first released in 1977, was one of a series of definitive reggae albums to highlight the eminence of the soundclash, in which two reggae or dancehall crews rig up opposing soundsystems in a face-to-face musical standoff. Fashioning this album after the competitive form, Dillinger's sparring partner in this case is 'Trinity' aka Wade Brammer, who was active during the 1970s and 80s. Trinity as Dillinger is best known for deejaying over reggae and dancehall numbers; Clash albums became very popular at the tail-end of the 1970s and into the next decade, with singers and deejays alike competing for status, track by track.

Review: When Dinosaur Jr. were recorded live in Paris the iconic garage punk outfit were undoubtedly at the very top of their game. Three years after adding Jr. to their name, the creative output at this point was incredible, carving out a position for themselves as purveyors of powerful noises that were as raw and gnarly as they were complex and intelligent. A band that could turn rough and ready chords into walls of sound capable of tearing the roof off and lifting us all into the stratosphere. Never before released, this companion piece to 2022's best-selling live-on-MTV EP, Seventytwohundredseconds, is exemplary of the stuff they built that reputation on. From the gnashing riffs of 'Just Live Heaven', to the wasp-in-jar-energy and cacophonous peaks of 'Drawerings', and 'Keep The Glove' erupting into mind-blowing guitar work, and 'Budge' arguably taking that to greater heights, this is Dinosaur Jr. at maximum roar, and it will never not be impressive.

Review: Dark Entries welcome back the inimitable Doc Sleep aka Melissa Maristuen for a superb new album of ghostly and ethereal house and techno. This is a welcome follow-up to last year's ambient and IDM exploration, Birds, and shows another side that draws on Maristuen's years of queer clubbing. It fuses aspects of New York house, Berlin techno and West-coast breakbeats and is "a love letter to the West Coast's magnificent natural landscape, the light of the Pacific sunrise." That is reflected in the sublime synths and silky rhythms which manage to both move your body but also captivate your mind. It's another cracking album from the Doc.

Review: After his hugely well received lovers' rock compilations for this label, Sam Don digs deep into the rich world of UK sweet soul on this - typically - excellent new compilation from the wondrous ashes of the North. He comes up with plenty of mega hard to find and expensive musical treasures that have all been painstakingly researched and tracked down. It was a short lived but fertile scene in the underground back in the 90s and if you didn't; know that already you will after one listen through of this - the sounds are highly danceable with silky, low-lit melodies and steamy and seductive vocals for loved up late night dancing.

Review: Drahla, a Leeds-based post-punk band, returns with their sophomore album, 'Angeltape', four years after their debut. This highly expected release showcases the band's signature blend of raw energy and experimental flair. Highlights include 'Default Parody', a track that immediately establishes Drahla's unique sound. The song's jagged guitars and funky bass grooves evoke the spirit of Gang of Four and Psychedelic Furs. The vocals, delivered by Luciel Brown, are a raw and emotive force, capturing the album's themes of alienation and despair. 'Second Rhythm' showcases the band's versatility with its hypnotic vocal approach and gritty guitar work. The heavy bass provides a solid foundation, driving the song forward with a relentless intensity. Throughout the album, Drahla's lineup of Riggs, Ainsley, Barr, Brown, and Duffin showcases their exceptional musicianship. The interplay between the guitarists, bass, drums, and saxophone results in a rich and dynamic soundscape that captivates the listener. With this release, Drahla has cemented their status as one of the most exciting and innovative bands in the post-punk scene.

Review: Einsturzende Neubauten's description by label Potomoak - as a band that constantly evolves - is accurate enough. Over forty years on from their debut album Kollaps in 1981, Rampen appears as the latest and most unruly incarnation of their sound yet. Here, Blixa Bargeld, N. U. Unruh, Alexander Hacke, Jochen Arbeit, Rudolph Moser and Felix Gebhard present their least predictable and conventional sides: APM is described as alien pop music; the songs therein have been specially crafted not only for our universe but for every adjacent parallel universe to ours, with every slight multiversal variation in humanity's collective tastes held firmly in mind. The album fully lives up to its billing as anti-pop as alien pop, its challenging twists and turns fully sating the difficult whims of society's outcasts and cosmic punks.

Review: Industrial music formed amidst the concrete decay of post-war Berlin, Einsturzende Neubauten emerged as pioneers of genre. Their sonic alchemy fuses unconventional instruments crafted from scrap metal and construction tools with traditional ones, creating a raw and unsettling symphony. Their new double album "Rampen (APM: Alien Pop Music)" showcases their sonic prowess. Despite the abrasiveness of their sound, the group's music is imbued with a sense of theatricality. Blixa Bargeld's stoic vocals narrate surreal tales of urban decay and existential unease, while the band's live performances evoke industrial rituals. Over the years, the band's music has evolved, incorporating elements of ambient and even pop into their sound. Yet, their core ethos remains intact: to challenge musical boundaries and create a sonic tapestry that reflects the harsh realities of the modern world. This album still helps cement the band moving forward but still respecting their past.

Review: Two artists split a double-A single, exploring both sounds and their structure in their own unique ways. 'Manifolds' sees Jessica Ekomane dive so far into polyphonic writing processes she reaches 'multiphonic', with different sonic voices, sources and timbres no longer on parallel trajectories, but eventually splicing into something closer to a human chant than most ritualistic tunes we're heard in a while. The effect is staggering. Laurel Halo then presents 'Octavia', which is best described as a kind of collage of beautiful harmonisation, a series of melodic motifs and textures that form small wholes, dissipate, reappear, merge, are all aurally connected but never combined. Highly technical stuff on the part of both producers, the coherency between the two is impossible to miss, making for a unique but coherent ambient-drone gem.

Review: John Fahey's complex legacy reaches from his groundbreaking work in the fields of acoustic guitar and folk music through to the wild abstraction of his later years. His contraction of a debilitating virus in the 80s threw his music in unexpected directions and as a result his final years of music found him heading into increasingly challenging territory. This collection of recordings from 1995-1996 were captured at a boarding house in Oregon where he lived for a time, and veer from a capella mantras to meandering guitar studies and other extremities in between. Compelling, illuminating sounds from an artist still being comprehended more than 20 years on from his passing.

Review: Returning seven years on from their critically acclaimed sophomore opus Take Me Home, Dutch prog-rock auteurs For All We Know deliver their most grandiose sonic spectacle to date with the third full-length By Design Or By Disaster. The brainchild of Ruud Jolie; guitarist of symphonic metal legends Within Temptation, the LP sees the returning line-up of Leo Margarit (Pain Of Salvation), Kristoffer Gildenlow (ex-Pain Of Salvation) and Marco Kuypers (ex-Cloud Machine), whilst tapping the modern Dutch soulful r&b crooner Wudstik to handle lyrical/vocal duties. Soaring, swelling, cascading crescendos and dexterous noodling riffage weave and meander around saccharine melodies, leading to a vintage style of prog rock fearlessness delivered with modernised vision and a deft touch.

Review: Fred Frith is simultaneously a singular musical figure and a collection of musical lifetimes. He's the composer who wrote fragile avant-garde music in the tradition of John Cage and Earle Brown, the innovator who created new concepts of underground rock with his colleagues in the band Henry Cow, and the improviser who developed his very own language on the guitar. The many facets of Frith's musical oeuvre shimmer in vibrant and unique colors, but stand as one rainbow monolith of musical creation, never disintegrating into esoteric eclecticism. Always musically curious and unbiased, he develops his ideas in the moment, demonstrating in real time how his creative process, while free of old hat conventions and tricks, creates an immediate yet unrandom and committed music. At the core is his unique guitar playing, which is on full display across these two records. His debut, Guitar Solos (1974), opened up a space beyond rock and improvised music and now, 50 years later comes Fift (2024), a new solo guitar album that sounds completely different and yet familiar, adding to his monolith of musical creation with another new vibrant color.

Review: Without a doubt, one of the most anticipated reissue compilations of the year is this collection of Future Sound of London side projects. In 2007 this was a CD-only compilation of early 90s tracks as well as unreleased ones from the same age. As the lore of FSOL continues to grow over the past 30+ years, their side projects have gotten more and more attention from the people who love those early rave sounds. Now for the first time, a vinyl version of it with no less than a 3x12 to harness all this early 90s techno goodness. All the tracks are by Dougans and Cobain and the aliases are the same. This 2007 album however has a wealth of new material from the same time period as Earthbeat. It is amazing that one release like this by two producers can be such a prime example of the UK sound that changed dance music forever. If you want the 90s UK rave reissue of the year, here it is!

Review: "As a long-time fan of soundtracks and library music, I was thrilled by the opportunity to see just how much emotion I could compress into the brief connecting links that would augment a furtive kiss, a painful psychic vision, or a breeze across the bones of a scorched landscape," says Timmi Meskers, the North Country, New York-based artist behind Garden Gate. "The first glimmer of Magic Lantern flickered over the kitchen sink, if memory serves. I was cleaning up with a dear friend, author Roan Parrish, and we were discussing how we could collaborate creatively. "Our first idea was that she would share prose to inspire my themes, and inversely, I would share a few original themes to inspire her writing. Before we knew it, what started as a handful of stories and songs, damp with soap suds, ended up becoming a fully scored audiobook anthology." In practice, that sounds like achingly beautiful compositions packed with a sense of wonder and mystery, adventures and experiences waiting for a narrative, blissed out stargazing scores and spectacular ambient movements.

Review: Light In The Attic do the preservative god's work of reissuing the rare Going To My Baby's Place by West Coast funk and soul singer Vernon Garrett. His debut album, released in 1975, this is a dynamic, un-fluffed funk breakthrough, following an extended panhandle of 45s that characterised his rarefied career for almost a decade before he moved onto full-lengths. Expanding the bittersweet mood that had characterised his career until this point in time, we hear the likes of 'Something Went Wrong', 'Don't Do What I Do', 'One Man's Loss' and 'Going To My Baby's Place', across which we hear a consciously stoic Garrett duly acknowledge the natural peaks and troughs of life, through which he recognises that it's all necessary for one well lived. Vernon's wild and powerful songs come backed by incandescent performances by members such as Jimmy Gough and Leon Kittrell, who would later form L.T.D. and David T Walker.

Review: Contemporary spiritual jazz maestro Muriel Grossmann is a sax player, singer and composer who has already released plenty of well regarded albums, but is nowhere near done yet. Universal Code is her latest and is a bumper double that again finds her offering her own unique take on the spiritual jazz template. She once again recalls her recent band mates Radomir Milojkovic on guitar, Llorenc Barcelo on keyboards and Uros Stamenkovic on drums and Gina Schwarz on double bass and they slide into soul jazz sound with straight ahead sounds that soon soothe with breezy soprano motifs and bluesy walking basslines.

Review: Alternative, goth and pop rock band HIM are one of the most creative and strongest bands to come out of Finland. Tears On Tape was their eighth and final album from the band whose career covered nearly 25 years. Originally released in 2013, this is the first reissue and fans of the band are celebrating that this will also be its' very first time on vinyl. Green vinyl that matches the artwork as well is a nice touch. Experience some of the last key tracks from this ground breaking band like 'All Lips Go Blue', 'Into the Night' and the title song 'Tears On Tape. Come experience a celebration of the band's final full length.

Review: Milwaukee outfit Impulse are one of those soul bands that melt the heart. Their buttery smooth vocals and the funky grooves down low are a perfect accompaniment to late night smoochy sessions or dance parties alike. Made up of Wisconsin musicians incising Michael Reese, Cedrick Rupert, Jeffrey Williamson and Robin Gregory, they wrote and recorded their self-titled album at Wally Heider's Studio in San Francisco but it never ended up getting a proper release, until now. There are some raw and guttural sounds like 'What's That Sound' in among the more loved-up moments, which helps make it a real doozy.

Review: Did you, like us, have a rebellious nu-metal phase in your teenage years? If so then you will likely have been a big fan of US rockers Incubus, who had a wide range across several great albums - from star gazing and introspective works like Wish You Were Here to the more punk-funk rawness of Fungus Amongus. This was the band's debut album in 1995 and fuses alt-rock, rap metal, funk rock and rapcore with plenty of thrashing guitars and hard-ass drums as well as Brandon Body's snarling and growling vocals. It is one of funk mental's most celebrated albums and remains a firm favourite to this day.

Review: For the very first time on vinyl comes Presents The Light Programme, Jah Wobble's extraordinary 1997 descent into downtempo and beat science. Released on his now-defunct 30 Hertz label, The Light Programme showcased an excellent cast of musicians, including Can drummer Jaki Liebezeit, Wire's Clive Bell, conga player Neville Murray, guitarist and synthesist Mark Ferda and the harpist Zi-lan Liao. The Light Programme is an intensely effulgent but at times vitreous record, with Wobble seemingly embracing the worldbeat vogue of the time with a keen, albeit naive fervour. When the tracks aren't so clear cut or obviously mixed, things get more interesting; 'One In 7' is the oddball of choice here.

Review: Jay Z's cult fav At Studio One is now available for the first time as a very limited vinyl pressing following its huge success as a download since first release more than a decade ago. This unique album combines Jay Z's famous Black Album acapellas with classic Studio One reggae riddims from the very heart of 1970s Kingston. The result is a seamless fusion where killer backing tracks complement Jay Z's vocals perfectly and create an all new and superb listening experience. If you're a fan of reggae-hip hop blends, this LP is a must-have addition to your collection.

Review: When Jesus & Mary Chain reunited in 2007 there were tons of questions about what this would mean for their music, music in general, and the planet. Well, OK, maybe more their music. The notorious 1998 on-stage implosion between brothers William and Jim Reid was a culmination of tension between the siblings that afforded the band their inimitable conflict of sound, but also seemed to call definite time. It would be another decade before they attempted to work together again, with a show at Coachella, then another ten years passed while they figured out where from there. In the end, Damage & Joy was the answer, 2017's album, co-produced by Youth in a bid to bring in a potential mediator should things go sour. They didn't, and the record was well received - somewhere between old JAMC and a new era. Now we have Glasgow Eyes, an extension of that. Rather than born of conflict, tracks feel united in a common goal, synths rising to the fore above guitars, combative tones receding in favour of comfortable juxtapositions and contrasts.

Review: Pete Jolly's Seasons, first released in 1970, is an early example of, one could say,'"environmental' cool jazz and ambient music. Seasons never saw a significant commercial release, though they say that if one successfully articulates the spirit of the time, one is rewarded with fame regardless: the ensuing cult following in the years after felt almost inevitable, and now that its flames are being fanned again, we can say with surety that the West Coast jazz pianist and accordionist's efforts will continue to be rewarded once more. Cycling through each season in a jumbled order, yet revelling in every possible sensory twist and turn characteristic of each season, we're met with an album that not only straddles the jazz and pop worlds in unprecedented ways, but also serves a premonitory rendition of hip-hop; the album is a favourite sample source of such greats as Cypress Hill, Jay Dee and Busta Rhymes.

Review: After 16 years as a DJ and label owner, Kasra only released his debut EP in 2018. Now he's dropping albums dripping in high grade collabs. Gardna, Riko Dan, Yaano, Slay, VISLA, Killa P, T Man and Enei all play a role in this gully-fest as the Critical bossman rolls out a session of timeless styles. Highlights include the A.W.O.L style dark stepper 'Platinum', the Digital Soundboy flavoured 'Shatter' and the mesmerising smash of 2023 - 'BB.OO'. Dreamy. .

Review: This is a new record of unearthed delights by Leon Keita, a longtime singer and multi-instrumentalist from Mali. On the eponymous 'Leon Keita', we hear Malian music fused with sensibilities from Sudan-Guinea and Burkina Faso, with modern pop and electronic influences, impeccably played in a smattering of crisp guitars, love-sung lyrics and laboured rhythms. All laid to a fresh pressing, the A-side hears three rather relaxed beauties, while the B moves into more idealistic and hedonic directions, not least the conclusive 'Dakan Sate, Korotoumi'. Brought back to our attention by Analog Africa, 'Leon Keita' serves yet another top serving and reminder of Mandingue culture, the influence of which stretches across the world; 'Dalaka' was a recent hit, making it as far as the Colombian coast.

Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***


If you love modern updates of the Afrobeat sound, you need to check out Konkolo Orchestra. Hailing from Zurich and brought together by Alexis Malefakis, this project has been bubbling up for a hot minute since their debut single 'Blue G' snuck out on Rocafort back in 2022. Now their debut album is ready, and it's an effervescent celebration of all things Afrobeat with some incredible singers and players feeding into the mix. Nongoma Ndlovu makes frequent appearances on vocal duties, as well as the unmistakable lilt of Sir Frank Karikari on 'Yese Yese'. This edition of the album comes on yellow vinyl, so if you're swayed by wax as sunny as the music contained within, this is the pressing for you.

Review: The solo project of Swedish musician Sofie Herner, Leda is an experimental project mainly dedicated to roomy, claustrophobic freakouts, fashioned out of a distinctive form of guitar playing, among other tinkerings. Now a well-known name in the Gothenburg scene, Herner's proximity to her local DIY underground is abundantly clear. It feels just as reflective in the sound of her latest project here, Neuter, which sounds like a gargantuan woodwork project subsuming a collective consciousness. Building off the natural footprints trailed by not only her former output, but also her involvement in bands like Neutral and Enhet For Fri Musik, this LP comprises nine tracks of minimal guitar loops, layered oppressively with doomy vocals, all-encompassing percussion, and other oddball instruments. Movements one through nine guide us through uniquely dour worlds, all with the utmost creep factor.

Review: ***B-STOCK: Slight sleeve creasing and surface marks***


Last year, Piers Harrison's Mysticisms label shone a light on the late 90s work of overlooked German house producer DJ Leinad via a reissue of 1996 gem 'Souvenirs'. Here his sole album, 1997's sought-after Electric City is finally re-released on wax. Indicative of the time period Leinad was operative, the album contains a fine mix of jaunty, Chic and P-funk influenced disco-house ('Freak Tonight', 'Return To The '80s', the brilliant 'Pretty Young Thing'), chunky after-hours house hedonism ('In Trouble'), disco-rock sampling throb-jobs ('Let's Ship'), classy, solo-laden deep house ('Loving People'), early Playhouse style cut-up house ('Out of Phase') and squelchy, US-style house bounce (the inspired title track).

Review: The original Bridgit Mendler soundtrack to the citrine teen drama movie of the same name sees a full version on vinyl LP this spring. Notable not only for its inclusion in the contemporary musical film, but also for its chart-topping success, the ten songs that make up the many acts of this high-school drama were destined to charm the pubescent masses, coinciding with the film's overarching theme of the school's students transcending use of after-school detention to musical effect, in order to overcome their personal struggles. Imagine Glee meets The Breakfast Club; a cabal of songwriters including Ali Dee, Maria Christensen, Bryan Todd and Jeannie Lurie lay down an array of sure-to-be hits for Mendler to perform on behalf of the cast here.

Review: Late American rapper Lil Peep dropped his fourth mixtape on June 10, 2016, independently, but it was later added to streaming platforms in 2020 posthumously. Now it arrives on white vinyl for the first time thanks to Death Note Music and reminds us what a talent he was. Peep's raw lyricism and distinctive emo-rap style set him apart with haunting melodies and melancholic production. The record delves into themes of loneliness and despair, resonating deeply with listeners navigating the complexities of modern relationships and Peep's poignant delivery and introspective verses capture the essence of youthful anguish with bars that reverberate long after the music fades.

Review: How do you capture the vibrant chaos and excitement of a carnival parade in the austere setting of the white box gallery space? That's the challenge Arto Lindsay took on with a sound installation he placed in the University of Arts and Design in Lausanne, Switzerland in 2022. With a team of researchers and a rigorous methodology, Lindsay created an immersive, three-dimensional piece spread across 27 channels, which has been remixed into a stereo version for you to experience in the comfort of your own home.