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Beggars Banquet has opened the archive once again, letting a familiar duststorm roll through the room as Fields of the Nephilim’s Dawnrazor rides again.
The timing feels almost fated: the UK band will soon carry their peculiar strain of Gothic Americana and occultism back into the West for the first time in years, appearing in Houston for Dark Ceremony in April 2026. For a group whose entire aesthetic grew out of Sergio Leone’s Spaghetti Westerns—that widescreen collision of dust, danger, and myth, their return out West lands like a vision completing its long arc. With that rare appearance on the horizon, this remaster sharpens the album’s grain, tension, and frontier grandeur back into present focus.

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The remastered 20th-anniversary edition includes the original 16 songs plus five archival bonus tracks, featuring session tracks, rarities, and B-sides, some receiving their first official release.
No dead baby jokes about Pete Doherty‘s so-called shambles; no talk of coke-habits and skin-and-bones supermodel girlfriends (except as back-up vocalists): Down in Albion is the opposite of Up the Bracket, and not just for prepositional reasons. Departing from the Libertines’ work by slowing-down, shaping-up, Down in Albion doesn’t out-do Up the Bracket‘s gritty unruliness (and the less said about the self-titled follow-up the better), but doesn’t flop as self-indulgently/destructively as it could, either.
Doherty appropriates William Blake’s Albion…

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As one half of Brooklyn-based duo Water from Your Eyes, Nate Amos makes left-field pop that feels hypermodern: wry, memey lyricism; post-ironic genre-hopping; the kind of jilted chaos and tonal jumble that characterises a social media feed. Yet the band had actually been plugging away for seven years before their 2023 breakthrough.
Amos’s solo project This Is Lorelei has been going even longer, only gaining proper traction with last year’s belated debut album Box for Buddy, Box for Star.
Now Amos is capitalising on this recent momentum with another release, this time a compilation of re-recorded songs dredged from his extensive Bandcamp back catalogue. Unlike his WFYE output, these tracks are mainly…

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…remixed and remastered 10th-anniversary re-release of 2015 album, ‘Compromised’.
Having been around now for 38 years, while he’s never attained the superstar level of early predictions (only his first two albums ever registered in the UK Top 75, peaking at #54 and only three of his 15 studio releases have made the Billboard Top 100), Steve Forbert has maintained a substantial and loyal audience to the point where he can now pretty much record what he likes knowing he’ll have a certain level of sales.
And this sounds very much like he’s doing just that. Reuniting with John Simon, who produced his most successful album, 1979’s Jackrabbit Slim (which made #20), it’s unmistakably Forbert (that voice couldn’t be anyone else) while…

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…remastered by Geoff Pesche at Abbey Road.
After breaking through to massive U.K. fame with his 1979 album The Pleasure Principle, and its chart-topping new wave isolationist anthem “Cars,” Gary Numan got darker, more intense, and more solemn on his second proper solo album, 1980’s Telekon. The shifts in his work were happening quickly, with both Replicas (the last of two albums Numan made with his punkier group Tubeway Army) and The Pleasure Principle being released in 1979, and the songs for Telekon being written and recorded by the end of that year, but held back for a release in September of 1980 as not to flood the market. Telekon was, in part, Numan’s response to overnight success, with songs that alluded cryptically to conclusions and…

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At its most accessible, Oneohtrix Point Never‘s music is instantly recognizable, yet often difficult to comprehend, to understand, to accept.
The brainchild of Daniel Lopatin, Oneohtrix Point Never’s albums are a painstakingly assembled potpourri of sounds and cuts, the complexity of the composer’s experimental, sample-and-MIDI-based works often contradicted by the material he embraces (TV commercials and ad jingles, dialogue, library music, esoteric film soundtracks, Top 40 radio). It’s reflexive and responsive, the sounds — repurposed and filtered through VSTs and synths — reframed as collage.
Although he’s gracefully toed the line between the underground and the mainstream, collaborating with some of the most popular…

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Listening to an Asher White record, you get the sense that she approaches songwriting like an interior designer. She treats her songs like rooms she can move throughout, rearranging their furniture — pushing the couch from one corner to another, angling a chair ever so slightly in a different direction.
“The sink thank you,” which opens her latest album, 8 Tips for Full Catastrophe Living, comes together like move-in day, starting as an empty room with nothing but some muffled, tentative strings before other additions begin to fill the space: slot machine sound effects, snare drums, faraway chimes, a thumping bassline, keys that sound straight out of Fiona Apple’s “Valentine,” a smattering of handclaps; until finally, White’s…

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It’s 55 years since Barclay James Harvest’s debut album, and 12 years since their last outing, North, which sailed under the flag of John Lees’ Barclay James Harvest, in use since a dispute between founding members in 1998.
Lees retired from touring two years ago – but now his quartet prove they’ve plenty left in the tank as Relativity goes big on concepts, scale and length. Its self-produced, sophisticated 78 minutes glide confidently through the gentle, unhurried brand of progressive rock which made the Barclay James Harvest name.
There’s zero attempt to update their sound: the priority is delivering carefully-crafted songs of piquant melody with soothing, sonorous guitar manoeuvres. While very much a band…

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The new Gillan 7-CD box set offers a comprehensive collection of the band’s work during the years from 1978 to 1982, when they rose to prominence in the New Wave of British Heavy Metal (NWOBHM) scene.
The set includes seven albums from this era, featuring studio recordings, a live album, and a wealth of B-sides and bonus material. The albums featured in this set are as follows: Gillan (The Japanese Album) – Originally released in September 1978, this was the debut of the band formed by Ian Gillan after leaving the Ian Gillan Band. It marked a shift away from jazz fusion to a heavier rock sound. Mr. Universe – Released in 1979, this was a key album that solidified their success, featuring a mix of hard rock and NWOBHM influences.

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M83 release new original soundtrack for the science-fiction film Resurrection, the visionary new drama from acclaimed Chinese director Bi Gan. Resurrection premiered in competition at the 2025 Cannes Film Festival on 22 May, where it received the Prix Spécial from the jury. The soundtrack is released on Other Suns.
Written and directed by Bi Gan, Resurrection continues the filmmaker’s reputation for audacious, reality-bending cinema. The film is set in a distant future where humanity has exchanged the ability to dream for the promise of immortality. The film follows Miss Shu (Shu Qi) as she discovers a mysterious, inhuman creature (Jackson Yee) still capable of dreaming. Venturing into its visions-hallucinated, nightmarish, and achingly…

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Instrumental album from 1983! Having endured no less than three long-players and a brace of singles featuring the caterwauling of Messrs Hampshire and Childish, the Milkshakes’ audience figured it might be time for an instrumental outing. In response the group gave them just that.
But this was to be no run-of-the-mill effort – no Dick Dale-esque surf marathons or Shadowsy twangers are apparent here. These tunes are more rhythm and mood based compositions; occasionally leaning more towards the Link Wray end of the spectrum – as you would probably expect. This IVth album (hence the name) was recorded in 1983 at Oakwood Studios – as were all previous releases – but this was the first in their new facilities in a converted church near Canterbury…

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Live at the Bayou showcases some of the earliest live performances from Bad Brains, and pre-dates the band’s 1982 self-titled debut. A snapshot of the band’s burgeoning beginnings, these previously unreleased recordings from 1980 and 1981 recorded at The Bayou in Washington DC, were captured between the band being unofficially “banned in DC” and relocating to NYC – a historically significant time in the band’s career. This is the first non-jazz release by the newly formed Time Traveler Recordings.
Record Store Day habitues have known and loved producer-archivist Zev Feldman for the almost exclusively jazz projects he has drawn out of secret archives for Resonance and other labels focused on that genre. But he’s always sworn he was…

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Described as the “original unedited version” of The Freewheelin’ Bob Dylan, this RSD exclusive release contains 13 tracks, including four that were removed prior to its original release: “Rocks and Gravel,” “Let Me Die in My Footsteps,” “Rambling, Gambling Willie” and “Talkin’ John Birch Paranoid Blues.” Yes, those four tracks eventually found their way out to the public, but it’s still fun to hold a somewhat different version of one of his signature albums that almost snuck out into the multiverse. A few copies of this particular “canceled” edition from the early ’60s have been among the most valuable Dylan collectibles there are.
The release this is most comparable to is an RSD version of “Blood on the Tracks (Test Pressing)” that came out in 2019…

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What to make of the band that HEALTH have become? To keep up with them these past few years has been an often-dizzying endeavour; they’ve collaborated with everybody from Poppy to Nine Inch Nails, and undulated between refining their punishingly loud brand of industrial noise rock and attempting to tear apart its very esence at the seams by pushing it into uncharted territory – melodic one minute, avowedly experimental the next. Add to this that they’ve carved out what they describe as a “coalition of subcultures” in a fanbase, incorporating everybody from terminally online meme-botherers, to gamers, to enlightened true believers in the Los Angeles trio’s self-described brand of “cum metal”, and you wonder whether there’s another band quite like them.

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It’s right there in the name: Thee Reps are passionate about repetition. They hammered the point home on their debut cassette, Minimal Surface. A half-decade later, substantial compositional growth has enabled the NYC-based five-piece to deepen and broaden their approach to music-making.
With Cryptocartography, repetition is now in service to the structure of Thee Reps’ songcraft. They’ve plunged deeper into the sea of iteration and have searched out new waters to explore. Improvisation and chamber music are even more prevalent than before, and the minimalist nests of repetition are even more elaborate. The album’s title alludes to mapping locations that are only rumored to exist; on Cryptocartography Thee Reps’…

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…features exclusive remixes from artists such as Midnight Magic, Prins Thomas, and Lindstrøm.
Nora Schjelderup is one of Norway’s leading DJs, and is also the creative force behind Ora the Molecule, who have just released Dance Therapy, which might be the most accessible avant-garde disco pop concept album you’ll hear this year.
Ora the Molecule has existed since around 2015, releasing a series of singles that were compiled on Human Safari in 2021. Human Safari is filled with modern Euro-synthwave, with just enough throwback sounds to conjure up the feel of a lost Thompson Twins album for fans of 1980s technopop.
While Human Safari is technically Ora the Molecule’s debut record, Schjelderup has…

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Singer-songwriter Afton Wolfe is arguably the most conceptually artful troubadour that we have heard since Tom Waits. The reference to Waits is rather obvious in Wolfe’s deep, gravelly voice and in his off-the-beaten-track concepts. Yet, Wolfe also possesses the fearlessness of Bruce Cockburn, the intellectualism of Leonard Cohen, the deep woods poetry of the late Malcolm Holcolm, and the dark mysticism and southern Gothic of his native Mississippi.
Ophiuchus is named for a little-known large constellation known as  “Serpent-bearer” (most appropriate in the Year of the Snake and in our current society, where deception, deceit, and lying have become commonplace). Wolfe has issued every track as a single, culminating…

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On Back to Hermetics and Martial Arts Vol. 1, Belgrade-based collective The Cyclist Conspiracy take the listener on an extraordinary world tour of sound, blending the music of three continents and countless cultures into an engrossing cinematic dreamworld. Previous albums have showcased the troupe’s inspiration from Greek rebetiko, Balkan music and North African beats. Those influences are still very much present on Back to Hermetics, but the Conspiracy’s palette has broadened, and they show mastery of every style they tackle.
The Cyclist Conspiracy is named for a book by fellow Serb Svetislav Basara, in which a clandestine Brotherhood meets in dreams and meditates on the bicycle in order to gain secret knowledge. Members of the band refer to…

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