Bolted (Deconstructed)' is a new collection of reworkings from Forest Swords' (aka producer and composer Matthew Barnes) most recent album, released as a fundraiser for winter food banks in his home city of Liverpool. The ambient, improvised reinterpretations arrive during the first anniversary of the critically acclaimed album 'Bolted', an exploration of post-industrial electronica and foggy ambient recorded in a factory space in the city, with guests including Neneh Cherry. "I'm always interested in ways I can dismantle my work once it's done – Bolted was a heavy record both creatively and sonically, so as I finished up the live shows I wanted to revisit it, cracking it open to let some light in" says Barnes of the release. "The whole idea was to be loose with the source material, and these tracks are pieced together using a couple of pieces of hardware with random stems from the sessions". The hypnotic, beatless versions of the album pushes the sonic world from bleak, alien electronics to into fresh winter air: snippets of vocals and melodies placed into dubbed out organ and synths, musique concrète, brightly hissing tape loops and chamber reverb.

Japanese pressing features the high-fidelity SHM-SACD format (single layer). Cardboard sleeve packaging. Produced by Impulse! A&R director Bob Thiele in 1963, this recording is a major showcase of the talented Charles Mingus as a bassist, pianist and writer. In his 1963 original liner notes, critic-at-large Nat Hentoff said that of all the musicians, it is impossible to remain indifferent to Mingus. This recording more than any other testifies to Hentoff's claim. More so today than in 60's, there is truly only one Mingus, Mingus, Mingus, Mingus, Mingus.

Suede have announced details of their 10th studio album ‘Antidepressants’. Due for release on 5th September via BMG, the album is a milestone achievement that sees the band at the top of their game. It follows the success of their critically-acclaimed ninth top 10 album ‘Autofiction’ released in September 2022, which charted at No.2 on the UK Albums Chart and was their highest-charting release in over 20 years. Suede will celebrate the release of ‘Antidepressants’ with a takeover of London’s Southbank Centre, through a series of exciting live performances kicking off in September, Suede’s four-night residency will commence with two consecutive nights at the Royal Festival Hall on September 13th and 14th, followed on September 17th by an intimate stripped-back performance at the Purcell Room, culminating in a collaboration with the Paraorchestra on September 19th at the Queen Elizabeth Hall.

Am I the Drama? is the second studio album by American rapper Cardi B. It was released on September 19, 2025, by Atlantic Records. It serves as the follow-up to her debut album, Invasion of Privacy (2018). The album, a hip-hop record, includes features from Summer Walker, Selena Gomez, Kehlani, Dougie F, Lizzo, Cash Cobain, Lourdiz, Janet Jackson, Tyla, and Megan Thee Stallion; Latto and Jeezy feature on bonus editions of the album. The album's production was handled by Ayo the Producer, Keyz, Charlie Heat, FnZ, London on da Track, TM88, and Vinylz, alongside others.

Released in 1970 during the stopgap between Stand! and There's a Riot Goin' On, Greatest Hits inadvertently arrived at precisely the right moment, summarizing Sly & the Family Stone's joyous hit-making run on the pop and R&B charts. Technically, only four songs here reached the Top Ten, with only two others hitting the Top 40, but judging this solely on charts is misleading, since this is simply a peerless singles collection. This summarizes their first four albums perfectly (almost all of Stand! outside of the two jams and "Somebody's Watching You" is here), adding the non-LP singles "Hot Fun in the Summertime," "Thank You (Falettinme Be Mice Elf Agin)," and "Everybody Is a Star," possibly the loveliest thing they ever recorded…

Keith Moon's (The Who) 1975 solo album Two Sides of the Moon has been described as "the most expensive karaoke album in history," and even as that, it was a colossal failure, the perfect expression of drunken self-indulgence, and it was so fascinatingly bad that it has assumed a certain cult status. But make no mistake, it was a horrible album on all counts made by a brilliant drummer who chose barely to play drums on it (he appears behind the kit on only three tracks) but instead chose to sing, even though he was tone deaf by his own admission. The presence of seemingly every musician then in L.A. at the sessions, an impressive list that included Dick Dale, Spencer Davis, Bobby Keys, Rick Nelson, Harry Nilsson, John Sebastian, Ringo Starr, Joe Walsh, and countless rumored others, failed to redeem Two Sides of the Moon. Even taken as kitsch, it sucked.

Guitar-slinging progeny of the great Chicago bluesman Luther Allison, Bernard Allison has proved that great music runs in the blood with a series of high power urban blues albums. Beginning with the viciously funky title track, Chills & Thrills immediately kicks the party into overdrive, briefly letting up only to get a bit jammy (“So Devine”) or momentarily reflective (“Compromising for Your Needs”).

Billie Holiday's first recordings for Norman Granz' Clef Records present a vocalist truly at the top of her craft, although she would begin a rapid decline soon thereafter. This 1952 recording (originally issued as a 10" LP, Billie Holiday Sings) places Holiday in front of small piano and tenor saxophone-led groups including jazz luminaries such as Oscar Peterson and Charlie Shavers, where her gentle phrasing sets the tone for the sessions, evoking lazy evenings and dreamy afternoons. The alcoholism and heroin use that would be her downfall by the end of this decade seems to be almost unfathomable during these recordings since Holiday is in as fine a voice as her work in the '30s, and the musical environment seems ideal for these slow torch songs. Solitude runs as the common theme throughout these 16 tracks; the idle breathiness of "These Foolish Things (Remind Me of You)" finds the vocalist casually reminiscing…

By all accounts, the somewhat unexpected 2014 King Crimson tour was a resounding success and Live at the Orpheum is the first offering for those who were unable to attend. The band had been reinvented with a combination of new and returning players and the set list consisted largely of tunes that hadn't been performed live since the '70s, if at all. The main wild card was the three-drummer front line, which easily could have turned into a mess, even without music as challenging as Crimson's. Well, the time the three drummers (Pat Mastelotto, Bill Rieflin, and Gavin Harrison) spent rehearsing before convening the entire group was well worth it, because they play with a single mind throughout. The returning Mel Collins sounds fantastic on all manner of saxophones and flute, and hearing Tony Levin's amazing bass playing on all these old King Crimson tunes is a real treat…

The debut album by one of the most promising double acts of the mid-'80s, complicated somewhat by an overwhelming need to sound like contemporary artists. Neither Graham Gouldman nor Andrew Gold could be said to have built their careers on danceable pop music; nor could their respective audiences have really been dying to hear them try. But they went for it anyway and, aided by a studio stuffed with the latest in techno gadgetry, turned in an album that could certainly hold its own against the majority of what was on the streets at that time. Indeed, "Right Between the Eyes" deserved to be as big a hit as any contemporary smash you can name, and digging deeper into the album, it was clear that even if the duo weren't exactly busting a gut in the songwriting stakes, they did have their finger on the modern pulse.

Combining heavy symphonic sounds, a certain taste for big melodic hooks, and the seducing raspy vocals of mistress Steva, Deathless Legacy carved out their own peculiar niche - no one sounds like them, no one is currently doing the horror metal thing better than them! “Damnatio Aeterna” tells the thrilling story of the lesser demon Malchrum, who is challenged by Lucifer to ensnare a priest in an unspeakable sin, thereby ensuring his eternal damnation. A dark and provocative journey faithful to the band's signature style and filled with an atmosphere of mystery that grows progressively tense as the story unfolds, the seventh Deathless Legacy studio album will finally delve into sophisticated themes and explore the true nature of evil.

Highly regarded for his distinctive vocal style and extensive catalogue, featuring a slew of hit records, George Jones qualifies as arguably country music s finest performer of all time. Famed country music historian Bill C. Malone has stated that 'for the two or three minutes consumed by a song, Jones immerses himself so completely in its lyrics, and in the mood it conveys, that the listener can scarcely avoid becoming similarly involved.' Waylon Jennings remarked that, 'if we all could sound like we wanted to, we'd all sound like George Jones.' With more than 150 hits to his name and a career spanning six decades, Jones is equally as revered in country music circles as Hank Williams, Willie Nelson and Johnny Cash. This collection, split over four discs, contains the great man s entire recorded output for the period 1960 - 1962, an era when he was enjoying overwhelming chart success. Remastered to the highest quality, this set will serve as a fitting introduction to newcomers of this legendary performer, and a fine reminder for the rest of us as to what a giant of country music George Jones remains.

Kirk and Rob Doodle - "Includes snippets of two cover songs: INXS' ""Need You Tonight"" written by Andrew Farriss & Michael Hutchence and published by published by Universal Music Publishing Group & Warner Chappell Music and The Angels' ""Am I Ever Gonna See Your Face Again?"" written by Doc Neeson, John Brewster & Rick Brewster and published by Albert Productions."

Wimple Winch were four young musicians emerging from the Beat scene and searching for a new direction. They pushed the barriers of what was accepted as a normal pop 45, and ‘Save My Soul’ can now be seen as the first example of that UK musical hybrid: Freak Beat. Wimple Winch didn’t stop there, they followed it up with the first mini Pop Opera in ‘Rumble On Mersey Square South’, and dabbled in early psychedelia with ‘Atmospheres’. Once ignited they flared with an incandescent glow, but faded all too fast and quickly fizzled out. Too much too soon… a great shame, as they were more than great - they were awesome! It’s all here, complete story with previously unseen pics, extremely rare recordings, as told and presented by Phil Smee on another fantastic and unique Bam Caruso* release. * and for those collectors this is officially KIRI 123…

36 (pronounced three-six) has been releasing music for over fifteen years on leading labels such as A Strangely Isolated Place and Past Inside the Present, and also on his own 3six Recordings. He’s grown a huge fanbase and is responsible for some of the most essential albums of recent times. A master of wide-eyed cinematic soundscapes; beautifully crafted worlds that are as harmonically rich as they are polychromatically abstract. A Warm Static Sphere is 36 in ultra-deep mode - vast and immersive synths mesh with opaque noise, creating waves of emotion that are all-encompassing. These give way to more delicate moments and open up to reveal fragments and minutiae buried in the depths.