Kanye West, the Chi-town producer/rapper who's crafted hits for Alicia Keys, Ludacris, Jay-Z, and Twista, centers his disc on a familiar rags-to-riches motif, but like Will Smith before him, he adds his own black middle-class sensibility to it. "School Spirit" pokes fun at all the college-educated flunkies who didn't follow their dreams. The College Dropoutis a must-hear lesson in turning personal triumph into banging hip-hop with universal appeal.

Track Listings
1 : Amber
2 : Free Radicals
3 : Casino On the Dunes
4 : Wraith
5 : Two Chords
6 : Kolmar
7 : Prelude
8 : Vanitas
9 : Kolmar (Reprise)
10 : Merricat
11 : Palindrome
12 : Falter

'Kolmar' is a fantastical journey through time and space, with De Wardener working idiosyncratically with a range of rare instruments and arcane sythesizers. The album features collaborations with Thomas Bloch and London jazz sensation Moses Boyd, as De Wardener dramatically explores his ambient, kosmische and rhythmic leanings.

Track Listings
1 : Digital Rain
2 : Black Pyramid
3 : The City of Roses
4 : Double Exposure
5 : The Runner
6 : Air Museum
7 : Monsoon
8 : Magma
9 : What If?
10 : The Windscreen
11 : Mirror Image
12 : Liquid Lucite
13 : Aerosol
14 : Ship of Theseus
15 : La Ville de Neige
16 : Seven Corners
17 : Cellophane
18 : Pulsations
19 : Houston

Track Listings

Disc 1

1. Femininomenon
2. Red Wine Supernova
3. After Midnight
4. Coffee
5. Casual - IG Track
6. Super Graphic Ultra Modern Girl
7. HOT to GO!
8. My Kink Is Karma
9. Picture You
10. Kaleidoscope
11. Pink Pony Club
12. Naked in Manhattan
13. California
14. Guilty Pleasure

Track Listings
1 : "1. The Dancers
2 : Like Butter
3 : Her Spell
4 : Cold Light
5 : Ruins
6 : Grand Master
7 : The History Of Cubes
8 : Lights At Indian Cove
9 : Powder Games
10 : Hourglass"

From storied composer Jim Copperthwaite comes the debut album Ballroom Ghosts. As a soundtrack artist in his own right, Jim's tracks recall the work of Danny Elfman in their haunting, choral refrains. However, Jim has also always had an affinity for the avant-garde, and his music-box orchestrations are driven through with the repetitive, percussive iterations of a Steve Reich - calling to mind Jamie xx's most recent collaborations with Wayne McGregor and the Royal Ballet. This debut album from Jim Copperthwaite stands out as his most intimate and personal work to date: a fantastical demonstration of a composer at the peak of his abilities. It is an invitation to a world that exists beneath the one we see. Close your eyes and come walk these halls, and experience the atmospheric beauty of Ballroom Ghosts.

Track Listings
Side: 1
1 : Burning Witches
2 : Unravel
3 : Chiral
4 : Norsjoen
5 : Dendrites
Side: 2
6 : Lost at Sea
7 : Coruscate
8 : Bone
9 : Tail

Following Julys Staccato Signals, the much-acclaimed third album under his own name, this autumn composer and producer Ben Chatwin will release its companion piece Drone Signals, available via Village Green Recordings on 14th September. Unlike Staccato Signals where Ben started with a blank slate and built the music up layer by layer, finishing with the string quartet, this time the process began with everything on hand. The task became dismantling the tracks stripping them apart to see what was left, letting certain sounds or instruments become the focus, and then rebuilding the arrangements around them. This allowed elements to breathe, yet also to become more static. The less chaotic and more ambient nature of these pieces suggested a related album of versions, a conceptual sibling Drone Signals. Feeding string parts through an array of modular synthesisers, utilising modern sampling and granular synthesis, Ben remoulded what was once players performing in a room into new microscopic electronic textures. By using the final element of the previous album, recording the strings, as a starting point to feed into his machines, Ben developed a central conceptual tool of his previous album giving up control even further. The result is a fractured and dissembled interpretation of Staccato Signals as performed by modular synthesisers. In this way, Drone Signals might best be understood as the aftermath of Staccato Signals, a post-apocalyptic sonic landscape. It retains much that made Staccato Signals such a rewarding album its mournful beauty, the tense, ambiguous relationship between electronic and acoustic elements, and a delicate if not volatile balance between elegance and intensity. This time, however, the palette is broader, more static concerned more with monolithic structures than with sharp edges.

Track Listings
1 : Intro (Phor Phaedra)
2 : Strange World
3 : Grape St
4 : Lanolin
5 : Flying Fox
6 : Ta Fardah
7 : Why Not, Tick Tock?
8 : Meet Me (In St. Lucia)
9 : Land Man
10 : Tongue Tied
11 : Ballad of Adelaide
12 : Well of Memory/Odaat
13 : Impressions
14 : Outro (The Lines I Drew)

Having first made his mark as a songwriter and guitarist for Los Angeles’ Allah-Las, Pedrum Siadatian has etched out a place of his own with his solo work as PAINT. What started as modest 4-track experiments quickly took on a life of their own as Pedrum began distilling his musical and lyrical inspirations into something both timeless and new. His miniature menagerie of light-psych and proto-punk gems had outgrown their cassette cage and were now ready to be heard. PAINT’s eponymous debut (Mexican Summer, 2018) appeared out of the ether, fully formed. It was praised for its originality and drew favorable comparisons to the likes of Kevin Ayers, Lou Reed and Julian Cope. The mess was the message and the decidedly mid-fi production found Siadatian both honoring and eschewing tradition. The album was accompanied by videos for the singles “Daily Gazette” and “Moldy Man,” both directed by Sam Kristofski (Connan Mockasin, Pond), with select performances in North America, UK, and Europe. This year sees PAINT returning with the release of the ambitious Spiritual Vegas. While Ray Davies-smirks and Kevin Ayers-wit abound, Siadatian’s singular touch is unmistakable. Joined once again by producer / engineer Frank Maston at the helm, Spiritual Vegas features a rogue’s gallery of players with performances by Jackson Macintosh (TOPS, Sheer Agony) on bass and guitar, Nick Murray (White Fence, Oh Sees) on drums, and brothers-in-Las Spencer Dunham and Matt Correia on bass and percussion respectively. The production is a clear departure from PAINT’s debut- with an increased clarity and tonal variety, drawing inspiration from 80’s/90’s art-rock like The Meat Puppets and The Magnetic Fields. “Ta Fardah” (Til Tomorrow) is an early standout. Sung in Farsi, a nod to Siadatian’s Iranian heritage, it’s a crate digger's dream -- channeling 70’s Persian funk melodrama that might have been a nightclub dancefloor hit in pre-revolution Tehran. On “Landman” we hear Siadatian protest all things aquatic, despite social pressures to the contrary. He sings “I’m no Toucan Sam-man, in some guitar jam band” on this Kinks-y ode to land-locked life, complete with “bah bah bah” harmonies and a tropical marimba line. The record closes with the minimalist jazz of “Impressions.” It centers on a moody keyboard figure as lazy jazz guitar, sax, and flute solos weave in and out. Both melancholy and triumphant, “Impressions” is a fitting end to an album that explores both feelings and posits they might actually be the same. The title Spiritual Vegas was inspired by a visit to Bali, Indonesia, where Siadatian was struck by the juxtaposition of tourists seeking either Instagram enlightenment or Vegas-like debauchery. Is there really a difference? Awakening comes in many forms and as Siadatian intones on opener “Strange World,” “the moment you find laughter’s the key/ the sooner you’ll be free” -- a fortune cookie philosophy for both the record and the world at large.

Track Listings:
1 : Justify
2 : Good Ole Dayz

Track Listings
1 : Touchy
2 : I Used To Be Cool
3 : Sensation
4 : Good At Goodbyes
5 : You Make It So Easy, Don't You
6 : It's Alright, It's Ok
7 : This Was My House
8 : Never Be Lonely
9 : These Dreams
10 : Love Song
11 : Next To You
12 : Saying Goodbye Is Exhausting

Bright Light Bright Light's Fun City (Pink Vinyl) is a pop-prolific musical map nodding to disco, electronica, boogie, balladry and even musical theatre. Opener Touchy, a duet with Australian queer auteur Brandon MacLean, Rod Thomas imagines is 'like being in the Moulin Rouge when a troupe of drag kings come out wearing feather boas and top hats.' The record shimmies further into the twilight, tagging a compendium guestlist of artists spelling out the past and future of the LGBTQ+ experience. It is a record about honouring our responsibility to one another in sketchy, antagonistic times.

Track Listings
1 : Talk Ur Talk
2 : Ex E Ex
3 : Take the L
4 : Bad Habits
5 : LOL, You Wild!
6 : La Unica

Track Listings
1 : 2020
2 : A Warning in the Dark
3 : Killing Time
4 : Der Honig
5 : Welcome to the Other Side
6 : Empty
7 : Wallwalker

Marking their 20th year as a band, Maserati returns with their first new album in five years. Produced by the band and mixed by Grammy-winning producer, John Congleton (Explosions In The Sky, Swans, Angel Olsen), Enter The Mirror is Maserati's most compelling mélange of triumphant guitar hooks, abstract synth-pop, and Wax Trax-inspired noise anthems. The gated drums of Phil Collins and chorus-drenched guitars of INXS were prominent influences on Enter The Mirror, paired to magnificent effect with the increasingly dystopian lyrical themes (which, ironically, were also massive influences on popular music in the 1980s, and feel ever more relevant now). In addition to longtime members Coley Dennis, Matt Cherry, Chris McNeal, and Mike Albanese, Maserati are joined by friends and collaborators, Bill Berry (R.E.M.), Owen Lange, and Alfredo Lapuz Jr. Self-reflection and loss of control as both a positive and negative aspect of modern existence is at the heart of Enter The Mirror. It is Maserati's most efficient and cohesive album, and a monumental accomplishment for a band who have weathered many storms throughout their first two decades - and found the will to not just keep moving, but to move with style and chase.

I See You marks a new era for the London trio of Romy Madley Croft, Oliver Sim and Jamie Smith (Jamie xx), both sonically and in terms of process. I See You is the follow up to The xx s two previous albums xx and Coexist which have sold over 3 million copies between them, winning a host of accolades along the way.

Produced by Jamie Smith and Rodaidh McDonald, I See You is The xx at their boldest yet, performing with more clarity and ambition than ever before. On Hold , the first piece of music to be revealed from the album has been praised across multiple platforms and has been blowing up airwaves all across the globe. Say Something Loving is the follow up single being globally on the 6 th Jan 2017.

The xx have already sold out multiple 2017 shows in the UK and Europe. They have platinum and gold discs amassed from across Europe, the Americas and Australia. They re one of only three British bands the others being One Direction and Mumford & Sons to have a gold certified debut album in the USA in the last decade. Their multimillion streaming and social media stats are dizzying.

Track Listings
Side: 1
1 : Black Castle (Sevendeaths Remix)
2 : Fossils (Visionist Remix)
3 : Helix (Steve Hauschildt Remix)
4 : Silver Pit (Ital Tek Remix)
Side: 2
5 : Claws (Konx-om-Pax Remix)
6 : Hound Point (Vessels Remix)
7 : Divers in the Water (From the Mouth of the Sun Remix)
8 : Knots (Pye Corner Audio Remix)

As the title suggests, Ben enlists the talents and imaginations of a host of electronic producers to reconfigure his original compositions, injecting new life into a project already seething with texture, dynamism and emotion.

Track Listings
1 : Mouvements Organiques, Pt. 1
2 : Mouvements Organiques, Pt. 2
3 : En Mouvement
4 : Respiro
5 : Mouvements Organiques, Pt. 3

Composer and musician Angele David-Guillou has reworked for organ a selection of tracks from her mesmerising sophomore album, En Mouvement. Titled Mouvements Organiques, these five pieces echo the ideas and motifs of its counterpart. Yet, where En Mouvement is often busy with the interlocking melodies and shifting rhythms that define its character, Mouvements Organiques pares the music down to its essential qualities. Vraisemblance has been transformed into three sprawling ambient pieces, Mouvements Organiques, parts I, II and III, drawing out its harmonic movement and expanding it almost beyond recognition. En Mouvement and Respiro, meanwhile, retain much of their identity, yet take on new, restored forms in the hands of Angele.