"Released in 1971, Maggot Brain stands as the towering masterpiece in Funkadelic’s groundbreaking catalog. Initially misunderstood upon release, the album is now widely regarded as one of the most influential records of all time. Anchored by Eddie Hazel’s otherworldly guitar performance on the legendary title track and featuring enduring favorites like 'Can You Get To That,' Maggot Brain redefined the possibilities of funk, rock, and psychedelic music. For this definitive 2026 reissue, the album was mastered directly from analog tape, preserving the raw power, depth, and atmosphere of the original recordings with extraordinary detail. A longtime holy grail for collectors, Maggot Brain receives the fully analog treatment it has long deserved."

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"'I want to reinforce this idea that you can be more than one thing,' Green explains. It’s that duality – of live artist and DJ, introspective composer and club-focussed selector – that sits at the heart of latest album Distance in Static, a record that is full of depth, detail and emotion; both beautiful and banging; quintessentially Bonobo, yet pushing beyond the contours of what a Bonobo album has traditionally been. A large portion of the record was created at Neil Young’s legendary Broken Arrow Ranch studio in Woodside, California – an environment Green describes as deeply immersive and creatively transformative. A pivotal track to emerge from these Ranch sessions was the enchanting 'Fire on the Water', featuring Arooj Aftab, who travelled down from her NYC base to record what became a breakthrough moment during the album’s creation. Evolving, almost accidentally, from a rough acoustic guitar loop recorded while Green was testing studio inputs one morning. Elsewhere, tracks like 'Drift' and 'Me and You' perfectly encapsulate the album’s club-focussed leanings, with both quickly emerging as firm fan favorites in Green’s recent DJ sets. Buried within the Distance in Static universe, there is also a sense that this record – and particularly the accompanying live tour – marks something quite monumental, too. It’s a moment of transition, a celebration of Bonobo’s 25 years, but also, perhaps his last record in the traditional sense: complete with expansive guest features and a multi-year full live-band world tour."

"Chopping Mountain is the clearest rendering yet of the London collective's longstanding mission to promote love, unity, and resistance through music. It is the band's sixth full-length record, and the first to feature the band's Max Grunhard as producer since 2019's Doko Mien. Following their Hot Chip-produced breakthrough Electricity (2022) and the darker, clubbier inflection of the Ross Orton-produced Pull the Rope (2024), Chopping Mountain feels like it was pulled directly from the hearts and experiences of the Eno Williams and Grunhard-led band."

"On their new album, Sylvan Esso metabolizes a life of making music with people into making art that you just love, a tactile and enveloping freefall. Written across four years in the woods in Chapel Hill, the longest the band has ever spent writing a record, Ow ∞ (pronounced 'Ow Infinity') arrives with an intense immediacy. Most of the tracks here are Meath’s first vocal takes, and the clarity and humanness of her singular voice anchors the album in something real. It was born from a time of experimentation and collaboration, resulting in a sinewy, punchy, explosive work where the songs want to claw their way out. A technicolor totem of personal destruction, the feeling of being pummeled to silly putty and built back into something that feels almost human, almost familiar but freakish and new – a cartoonish, slapstick grin printed across a ruin. A large chunk of the record was born from improvisation, hours spent at their North Carolina studio finding grooves with guest collaborators including Glenn Kotche (Wilco), Matt Douglas (the Mountain Goats), Jenn Wasner (Wye Oak, Flock of Dimes), Joe Westerlund (Megafaun), Jake Luppen (Hippo Campus, Samia), Daniel Aged (Frank Ocean, Dijon) and drummer TJ Maiani (Weyes Blood, Neneh Cherry). Ow ∞ marks the first time Sylvan Esso has gotten comfortable with the fact that they are doing this – where they’ve figured out all the avenues in which they can take control, and put things out the way they want to, with the people they choose, in their own studio and through their own label. For an album that wrestles so much with the out-of-control nature of being alive, it meets the duo at a time where, finally, they actually have complete control over what Sylvan Esso can be."