Outkast - Stankonia (25th Anniversary)

Celebrate 25 years of Outkast’s iconic Stankonia with this expanded 3LP set, pressed on eye-catching purple marble vinyl. Featuring exclusive bonus tracks, unreleased photos, and cover art by André 3000, this collector’s edition also includes a glow-in-the-dark fold out “flag” poster.

Tracklist:
1. Intro
2. Gasoline Dreams (with Khujo Goodie)
3. I'm Cool (Interlude)
4. So Fresh, So Clean
5. Ms. Jackson
6. Snappin' & Trappin' (feat. Killer Mike & J-Sweet)
7. D.F. (Interlude)
8. Spaghetti Junction
9. Kim & Cookie (Interlude)
10. I'll Call B4 I Cum (feat. Gangsta Boo & Eco)
11. B.O.B. (Bombs Over Baghdad)
12. Xplosion (feat. B-Real)
13. Good Hair (Interlude)
14. We Luv Deez Hoez (feat. Backbone & Big Gipp)
15. Humble Mumble (feat. Erykah Badu)
16. Drinkin' Again (Interlude)
17. ?
18. Red Velvet
19. Cruisin' In The ATL (Interlude)
20. Gangsta Shit (feat. Slimm Calhoun, C-Bone & T-Mo)
21. Toilet Tisha
22. Slum Beautiful (feat. Cee-Lo)
23. Pre-Nump (Interlude)
24. Stankonia (Stanklove) (feat. Big Rube & Sleepy Brown)
25. Speedballin'
26. Sole Sunday (feat. Goodie Mob) (Dirty Mix)
27. So Fresh, So Clean (feat. Snoop Dogg & Sleepy Brown) (Stankonia Remix)
28. B.O.B. (Bombs Over Baghdad) (Zack de la Rocha Remix)
29. B.O.B. (Bombs Over Baghdad) (Cutmaster Swiff Remix)
30. B.O.B. (Bombs Over Baghdad) (Beat Bullies Remix)
31. So Fresh, So Clean (feat. Snoop Dogg & Sleepy Brown) (Stankonia Instrumental Remix)
32. B.O.B. (Bombs Over Baghdad) (Instrumental) 

Oliver Night - Between The Lines

London-based producer, DJ and multi-instrumentalist, Oliver Night, steps forward with his first album on Tru Thoughts, ‘Between The Lines’, a rich, genre-spanning project that traces the evolution of his sound. Blending deep-rooted influences from UK sound system culture with forward-thinking production, the album features legendary British rapper and producer, Roots Manuva, alongside celebrated innovators KAYA FYAH, TREV, Goldbar, Megatronic, David Mrakpor (of Blue Lab Beats) and Jay Phelps, each adding their own unique energy to the record.

Rooted in community, collaboration and experimentation, the album moves fluidly through broken rhythms, lush harmonies and soulful textures. Energetic album opener “Undefeated”, features West London producer and musician Goldbar; the broken beat stepper is about staying grounded and moving with purpose, while still clocking the wonders around us. Goldbar laid down the beat with Phoebe (who co-wrote the topline alongside Oliver), delivering a vocal line that cuts right through.

Other previously released singles include the soulful call to liberation and self-belief, “Run Like The River”, featuring long-time collaborator and CoOp Presents affiliate TREV. Solo effort “Reach Out”, which showcases Oliver’s skills as a producer, and the percussive and heartfelt “Friends” featuring KAYA FYAH, nods to their shared African heritage.

On album focus track “Boss” featuring respected torchbearer, Roots Manuva, Oliver reconnects with one of his heroes. “I’d wanted to make a track for Roots for years,” he shares. Built on a broken beat backbone, the track serves as a reminder to stay true to yourself. “Vibez” featuring KAYA FYAH - originally conceived as an interlude - brings a dreamy, floaty energy to the album. “It’s about keeping that internal light bright” Oliver notes. “We Are Love” featuring Megatronic, is a future-disco inspired call to the dancefloor, while “Wait and See” sees Oliver reflect on building a relationship rooted in love and strong foundations.“The City” features trumpeter Jay Phelps, Timmy boom bap on drums and Sam Leak on keys, bringing a live, jam-session feel to the project. “It’s Alright” also features the vocals of DJ, producer and songwriter Megatronic, as well as a sublime flute line from Tito - blending jazzy bebop with gospel undertones, the track captures the uncontrollable rush of love at first sight.

Title track, “Between The Lines”, nods to Oliver’s indie band roots, pairing a down-tempo feel with broken beat edges. “It’s a reminder not to take things at face value,” he says. “I wanted space to let the message breathe.” Closing track “Trance End” featuring David Mrakpor (of Blue Lab Beats) on vibraphone, pushes into psychedelic, trance-like, jazz territories, with tuba and live drums rounding off the album in hypnotic style. “It’s about snapping out of a trance, but the track itself has that trance-like quality”, Oliver explains.

A former member of Roots Manuva’s Banana Klan, Oliver’s live CV includes appearances at Glastonbury, Tate Modern, Boiler Room and sessions for Rinse FM and Worldwide FM. He’s collaborated with a wide array of artists including Bel Cobain, Marcel Vogel, Quiet Dawn, Jimpster, Jay Phelps and Natasha Diggs. His releases on CoOp Presents and beyond have earned widespread support from Gilles Peterson, Jamz Supernova, Kerri Chandler, Honey Dijon, Tony Humphries, Jazzie B, Seth Troxler, Kid Fonque and Rainer Trüby. Editorial praise has come from outlets like Bolting Bits and Music Is My Sanctuary, cementing his place as a standout in the evolving bruk and soul landscape.

Stylistically, Oliver resists neat definitions. His tracks move fluidly between moods and genres, broken rhythms, hip-hop sensibility, house textures and jazzy chords often coexisting in one piece. But no matter the format, there's a distinct signature that ties it all together. “MATICA (Dance Regular) said recently there’s a definite ‘Ollie groove’ that runs through all my music,” he says. “And I think that’s true.”

With ‘Between The Lines’, Oliver Night stakes his claim as one of the most versatile and forward-thinking voices in the bruk and soul landscape - a record built on community, instinct and the joy of making music that moves. 

Tracklist:
1. Undefeated (feat. Goldbar)
2. It's Alright (feat. Megatronic)
3. Boss (feat. Roots Manuva)
4. Vibez (feat. Kaya Fyah)
5. Run Like The River (feat. TREV)
6. We Are Love (feat. Megatronic)
7. Reach Out
8. Friends (feat. KAYA FYAH)
9. Wait & See
10. The City (feat. Jay Phelps)
11. Between The Lines
12. Trance End (feat. David Mrakpor)

Brian Jackson - EP One

Take Brian Jackson and Gil Scott-Heron’s iconic track “The Bottle”, add a sublime vocal performance from UK soul legend Omar, and put it in the hands of house music pioneers Masters At Work—and you get a version that’s both timeless and urgent, filled with joy, fire, and social consciousness, and built for the dancefloor.

Driven by Masters At Work’s signature attention to detail, and elevated by the calibre of the musicians and vocalists involved, this reimagining of “The Bottle” evolved into something truly epic. In fact, the final mix turned out too long to fit on Brian Jackson’s upcoming 3LP album, Now More Than Ever—but everyone agreed: fans had to hear it in its full glory.

So here it is, released exactly as intended on this twin 12" vinyl and digital EP.

Also included are exclusive versions of:
“Winter in America” featuring sonorous vocals from Rich Medina

“New York City”, reimagined as a deeply soulful, downtempo groove featuring Cindy Mizelle, Dawn Tallman, and Ramona Dunlap

This EP is a love letter to the role of music in Black Liberation, reconnecting the powerful legacy of Brian Jackson and Gil Scott-Heron with the voices and vision of 2025.

A powerful taste of what’s to come on Now More Than Ever—but also a vital standalone statement, delivered by legends at the top of their game.

Tracklist:
1. The Bottle
2. The Bottle (Dub with Omar)
3. The Bottle (12" Version)
4. The Bottle (MAW Bass Hit Dub)
5. New York City
6. Winter in America (12" Version)
7. The Bottle (MAW Harlem Dub)
8. The Bottle (Masters At Work Dub)

SML - How You Been

SML is the quintet of bassist Anna Butterss, synthesist Jeremiah Chiu, saxophonist Josh Johnson, percussionist Booker Stardrum, and guitarist Gregory Uhlmann. Their second album, How You Been, finds the supergroup of prolific composer/producers pushing ever further into the hyperrealist, collectivist approach to music creation nascently explored on their debut Small Medium Large, which was lauded as “awe-inspiring” by Glide, “exuberant” by the Los Angeles Times, and “an exciting milestone” by Pitchfork.

How You Been represents a breakthrough in the musical language of the group. This new work was crafted via extensive post-production of recordings from a handful of shows in a similar fashion to their debut, but whereas Small Medium Large was constructed from analog tapes of the band’s very first (and very modest) shows at bygone Highland Park LA venue ETA, How You Been was built with a higher level of self-awareness and a far deeper pool of source material.

Behind the thrust of the first album’s success, the band approached every performance in late 2024 and early 2025 as a generative opportunity to hone their sound and document their expansion across a new landscape of audiences, venues, and cities. Despite the premeditation driving their commitment to record every moment, the band started every show without musical direction, improvising intuitively, completely. Within every performance is an impressive display of the band’s total trust in one another and confidence in their own instincts.

As SML has evolved and spread out in space-time, their fluencies, both as an improvising unit in performance and as a production team in the studio, have sharpened. At inception the band inspired disparate but distinctive artist comparisons like Essential Logic, Oval, Herbie Hancock’s Sextant, and electric Miles Davis, as well as assorted genre touchpoints like Afrobeat, kosmiche, proto-techno and new-jazz. With How You Been their work manages to both collapse and explode such derivatives, displaying a new, high resolution version of SML, fully-flowered into a new strain of sound, bound to incite its own copycats in due time.

“SML might signal a new iteration of jazz, or it might not be jazz at all, or it might not matter.” - Pitchfork

It’s important to note that SML’s sound wasn’t created in a vacuum. The band is part of an extensive community of creative musicians who collaborate in a multitude of ways, and that community has proven to be essential to a growing family tree of innovative, genre-expanding music. Los Angeles in the 2020s is a musical Petri dish in the same way that Cologne & Dusseldorf were for the birth of Krautrock; Canterbury for progressive rock in the late 60s; NYC for No Wave & the Downtown sound in the late 70s and 80s; Chicago for genreless, Tortoise-adjacent sounds in the 90s. The musicians of SML represent the core of a new school within the Los Angeles jazz and improvised music scene that seems to breed infinitely overlapping combinations, including Jeff Parker’s ETA IVtet and Expansion Trio, the Uhlmann Johnson Wilkes trio, Anna Butterss’s own band (as heard on 2024’s Mighty Vertebrate), and various other solo and ensemble projects encompassing every single member of the SML, respectively.

On How You Been the curatorial challenge of the capture-cut production employed by SML is met by the delightful happenstance of each member being a seasoned producer on their own merit. Accordingly, SML’s perspective on what is a moment to expand upon with the post-producer’s knife and glue is five-strong. Each member’s proclivities, penchants, and predelections get their chance to filter the always-evolving elements of the group concept.

“Chicago Four” uses a live recording from treasured Chicago haunt The Empty Bottle as its foundation. It begins with interlocking synth and percussion loops before the entry of Uhlmann’s wobble-effected electric guitar melody and Butterss’s picked bass counterpoint. Stardrum’s swinging traps slide in, catching up to a couple of added percussion layers, before Johnson adds distorted chordal hits that sound like hard horn samples from a golden era Bomb Squad or Rakim beat. It all intertwines perfectly and makes an otherworldly vehicle for Johnson and Chiu’s cascading keyed melody, which soars above and between, complimenting either side of a hypnotically shifting, infectiously repeating modulation.

“Brood Board SHROOM” is a temporary touchdown on an alien planet where rhythm moves in timeless, breath-like undulations, with repetitions cut from a very different cloth than the lock-step polyrhythmic grooves of “Chicago Four.” The track’s opening lines evoke the soft throbs of the beloved ambient works of Aphex Twin (or perhaps a Robitussen-drenched take on Steve Reich’s Different Trains), before frothy curtains of textured sound drape into the mix, overlaying like distant, minimalist symphonies in a gentle, synthetic recreation of free time — slackening and accelerating as each layer of tonal pulses hovers to front-and-center or retreats into the distance. It’s a gut feeling rather than an academic exercise, and it’s all in the service of forward motion. “Plankton” occupies a similar space albeit in bite-sized form, centering Buterss’s low end melodicism and high-string visitations surrounded by skittering tonal chatter from their bandmates.

Of course, SML’s experiments with this kind of pulsating freedom are heavily balanced by muscular turns and body mechanics fit for the dancefloor. “Taking Out the Trash” is a perfect pace-setter for How You Been, a punchy nugget encapsulating the essence of SML. Chiu’s percussion synth establishes the groove before Stardrum and Butterss drop in on a heavy breakbeat. Uhlmann comes in with a searing, plucked staccato funk line on his guitar that would give Glenn Branca and Larry Coryell something to high five about. Things eventually trip into a total breakdown, with only the perc synth still looping. When the band explodes back in, the key has changed, and Johnson is letting loose on a wailing, distorted saxophone solo.

“Is there a way to dim the lights a little more?” Chiu asks at the start of the album’s closer “Mouth Words.” Moments later SML takes us out with a mid-tempo 4/4 groover dressed in swelling glissandos and punctuated by insistent, rapid-fire phrases from Johnson’s alto. As the final tune dissolves into a layer of arpeggiated chirps and sampled crowd sounds, Chiu’s voice is back again to say what we’re all thinking: “Very good. Thank you.”  

Tracklist:
1. Gutteral Utterance
2. Chicago Four
3. Taking out the Trash
4. Plankton
5. Chicago Three
6. Daves
7. Old Mytth
8. Stepping In / The Loop
9. Brood Board SHROOM
10. Odd Evens
11. How You Been
12. Moving Walkway
13. Mouth Words

Wagon Christ - Planet Roll

It’s been over thirty years since Luke Vibert dropped the first solo record of his career, Wagon Christ’s Phat Lab Nightmare, kicking off a prolific and pioneering electronic legacy, and he’s keen to keep the Wagon Christ name alive. After a string of records for Ninja Tune, things lay dormant for almost a decade until he revived the project in 2020, and how he’s back yet again with Wagon Christ’s 8th album.

Planet Roll shows off both Vibert’s humour and expert craftsmanship with psychedelic orchestral flips threaded into fluttering, hypnotic boom bap rhythms. Eager to welcome us aboard, the title track is crisp with vintage vocal samples and choppy rhythms driven by soulful Hammond organ vibrations, a woozy curtain open before stitching samples into a tongue in cheek mythology on Wagon Christ’s disappearance over the jaunty piano chords of ‘Boy Zero’, and taking a funky, playful tour through one of pop culture’s favourite words on ‘Bitch [Original Ruler]’ as melodies switch between light, tropical and spiky zigzags.

Acid has been Vibert’s weapon of late as he joined De:tuned in 2023, and when Vibert does say ‘Acid’, he means acid, (Well, what were you expecting?) amplifying the anticipation the track title bodes with eerie choirs and throaty low brass before snapping beats tie everything together. ‘Sidney Groovey’ continues on that dancefloor tip with a steely, leery, imposing electro beat, splashed with the colour of prismatic synth shredding and a frantic buzz slipping around.

Through kaleidoscopic passages of sampledelic hip hop rhythms and breakbeat grooves, Luke Vibert brings Wagon Christ back into view.

Tracklist:
1. Planet Roll
2. Snatch

3. Get It?
4. Boy Zero
5. Bitch (Original Ruler)
6. I'm Sorry
7. Can't Stop (Don't Stop)
8. Supagroovy
9. THIS
10. Boom Bip 
11. Acid
12. Housin'
13. Sidney Groovey
14. Unsure
15. Style

Norah Jane & MOR.LOV - A Minute

Amsterdam-based singer, songwriter and multi-instrumentalist Norah Jane joins forces with producer MOR.LOV for 'A Minute', a five-track EP that drifts between hazy romance, dub-tinged grooves and soulful, melancholic reflection. Rooted in friendship and creative spontaneity, the record feels as much like a document of moments shared as it does a carefully crafted release.

The title track, 'A Minute', sets the tone with its reflective mood, brought to life visually by director Kate Hummel, whose video concept beautifully mirrors the song’s understated intensity. From there, the project moves into 'Godspeed', a collaboration with SB ARRA of Amsterdam collective Benkel, written in an off-the-cuff session that captures the ease of making music with friends.

'Come Around' introduces vocalist Razeen, who Norah first met while working at a vintage shop. What began as a friendship rooted in a shared love of fashion grew naturally into a creative partnership, with Razeen becoming a regular presence in the studio alongside Norah, MOR.LOV, and other collaborators. While Norah and Razeen’s connection came about organically, Razeen’s collaboration with MOR.LOV formed on a more professional level - a balance that brought both ease and focus to the track’s creative process.

Elsewhere, 'N1 Dub' emerged from a playful exchange at Groove God Jaïr Darnoud’s home studio. Norah had promised to fetch food if Jaïr and MOR.LOV would make a dub beat, and the track that followed stuck with its working title, “N1” - a fitting name for a song that captures the spontaneous, free-flowing energy that runs through the EP. At the time, MOR.LOV had been jamming regularly with Jaïr in his now-legendary home setup - part studio, part kitchen, part bedroom. “It was bound to happen that we’d throw a collab together,” MOR.LOV says. “Norah and I were super excited to have him on the project. The drums, the arrangement, the sound design, Norah’s impeccable vocal dynamics - and the solo was a one-take while we had the track looping in the background. Jaïr’s is low-key and in my experience, notorious for secretly recording your jams, and blessed he did so, I am pretty sure that was one of those ‘I am sure I won't play that again exactly like that, haha’”

Closing track 'Is It' unfolds in a cloud of smoke and soft reflection - an intimate snapshot of emotion laid bare over MOR.LOV’s spacious production. It’s one of the duo’s most instinctive moments, a song born entirely in flow. “It’s probably my favourite track I’ve produced,” MOR.LOV recalls. “I was at Norah’s place, completely in the zone - each drumline just came out naturally. She’d gone to make food, and I was jamming on the keys until the chords came through. When she came back and got excited, I knew we had something.” That spark of connection carried through to the finished song - Norah’s vocal gliding effortlessly over layered drums and warm, fluid keys. “She’s got such a good ear,” he adds. “Not easily impressed, which makes her excitement in that moment really special. It gave me a confidence boost that helped me keep the track exactly where it needed to be.”  

Tracklist:
1. A Minute
2. Godspeed (feat. SB ARRA)
3. Come Around (feat. Razeen)
4. N1 Dub (feat. Groove God Jaïr Darnoud)
5. Is It

Tara Lily - Quiet Nights (Early Takes)

South London’s restless pulse runs through British-Bengali musician Tara Lily’s latest collaboration with the enigmatic King Krule. On ‘Quiet Nights (Early Takes)’ (Friday 7th November), the pair craft shadowy soundscapes where hazy jazz chords and warped synths blur into something raw and hypnotic.

“Tropical Storm,” described as a “lucid dream playing in our minds again and again” captures flashes of early King Krule chaos, refracted through Tara’s sleek and sleepy vocals, over a bed of guitar pedals, synths and DIY beats. Talking about the project Tara says:

“‘Quiet Nights’ are some of the early sketches from a deadly quiet and beautiful period of time. For myself it was a time of stripping back, dropping down into the ground and channelling something raw and real.”

This release aligns with Tara Lily’s first UK & EU tour, promoting her critically acclaimed debut album ‘Speak In The Dark’, with a flagship performance at the Royal Albert Hall, Elgar Rooms, as part of London’s EFG Jazz Festival.

EP focus track and project opener “Flying To Kolkata” is a sensory journey that captures the essence of a 5am flight through the night sky into the jazz capital of India. “It’s Never the End” sees a flood of white noise set the scene for Tara’s idiosyncratic, melancholic and brooding vocals, while “Corcovado” closes the tape with a silent nod to the classic bossa nova and jazz standard.

‘Quiet Nights (Early Takes)’ follows the release of Tara Lily’s debut ‘Speak In The Dark’ , a record about “speaking your truth - things that go unsaid—secrets and desires”. Transgressing jazz, electronica, trip-hop, and alternative R&B with Indian soundscape ‘Speak In The Dark’ is an artistic representation of Tara’s emotional highs and lows with ADHD. The album was praised to critical acclaim by Dazed, Crack Magazine and The Face, along with key support from tastemakers like Jamz Supernova, Jamie Cullum and Jack Saunders.

Archy Marshall, AKA King Krule, is an artist who needs little introduction. A singer, songwriter and producer from Peckham, South London who is considered an indie music veteran, beloved by a cult following all over the world. Boasting releases on XL Recordings, True Panther, and Beggars, the Mercury Prize-nominated artist has remained one of his generation’s most enduringly treasured songwriters.  

Tracklist:
1. Flying to Kolkata
2. Tropical Storm (feat. King Krule)
3. It's Never the End
4. Corcovado

Joe Nora - Shapeshift

Shapeshift is a swirling tapestry of color, texture, and emotion - a constantly evolving sonic form that drifts between the familiar and the abstract. The album showcases some of Joe Nora’s most refined and expressive instrumental work to date, capturing the dynamic range of his production over the past year.

Much of the project was shaped by a pivotal trip to Japan, where Joe performed a series of shows. The experience left a deep imprint on the music, with several tracks composed in anticipation of the tour and others created afterward, still echoing with its inspiration. The opening track, “Osaka,” originated from a sample Joe recorded while in the city. He later shared it with fellow tourmate el., who reinterpreted it in his own way — a version that appears later in the project. Upon returning home, Joe crafted his own beat from the same sample, setting the tone for the album’s journey.

The title Shapeshift reflects Joe Nora’s fluid production style, but also his personal evolution - who he was before the Japan tour, and who he became after. It’s a document of change, both internal and artistic.

From the detailed, high-energy cuts like “Osaka” and “Backflip” to the meditative calm of “Fakie,” a collaboration with longtime friend and collaborator Chief, Shapeshift is a wide-ranging statement. It’s an immersive world built from Joe Nora’s distinct sonic language - a project that reaches beyond words to express an ever-shifting spectrum of emotion and form.

Tracklist:
1. Osaka
2. Backflip (feat. Sara Kawai)
3. Blue Jeans
4. River Loop
5. Balcony Day
6. (Dream) Interrupt
7. Shapeless
8. Osaka (El.'s version) (feat. El.)
9. Rain Or.. 
10. Fakie (feat. Chief.)
11. Watercolor

Medline feat. Roni Alkekengi - Wind Parade

Second single of a series of five 7" vinyl by Jet Set records / Kyoto.
Each limited to 300 copies manufactured in Japan.

Twins killer covers made by Medline and Roni Alkekengi, reissue picked by Jet Set from his debut album released in 2012 "People Make The World Go Round".

Like Leon Michels of El Michels Affair, Medline plays every instruments himself, delivering a fine and exquisite reinterpretation of two jazz funk classics.

Side A features a new version of Wind Parade, adding fresh vocals, violins section, bass and guitar as huge musical update. 

The song sounds at his best in respect to the legacy of the Mizell Brothers and Dr Donald Byrd. The classic jazz funk anthem will make your dj set shine.

On the B-side, Medline's cover of "People Make The World Go Round" make an impressive and soulful fusion between, soul, jazz, funk, hip hop and classical arrangements. 

The song is a universe in itself, with many layers of emotions and a core of swetness while it keeps you pulsing all along. Unique and ultimate cover.

Tracklist:
1. Wind Parade (45 Edit)
2. People Make The World Go Round