Search:the reflections

After a long hiatus partly initiated by our re-energizing from an incredibly hectic season, always with love and rhythm; Sacred Rhythm & Cosmic Arts are back; We are so excited about what's coming in the nearest future and onward. All praises go to our associations, partner Labels, our growing connection with our family of music creators and distributors, and of course; our unwavering love and appreciation with and for all of you our supporters, for whom we would not have made it this far without. That said, we are thrilled to announce this first release to kick off our upcoming season. We proudly present The Reflections EP by Artist / DJ Roi Azulay. The Reflection EP is the third release on Sacred Rhythm by Roi Azulay. On this EP Roi chose to illuminate a deeper almost acoustic side of his multi-dimensional production outputs. There are three compositions featured on this 12 Inch- one of which is a remix produced by the one and only Ron Trent, who without fail provides us with the dopeness that we've no doubt come to expect from this dope visionary… We invite you, however to dive further into Roi's world and take a deeper listen to the entirety of the EP, all the while taking in the full essence of this music tale that Roi Azulay tells via voices on his compositions, which by the way are siblings of a forthcoming Full-length Album Coming shortly… speaking of which, Roi's Full-length LP will feature a Kuniyuki Remix on

Reflections of the Sun is a collection of new music that see JOHN ROCCA experiment with a more laid back side to his musical personality. John is best know in Jazz Funk circles for his 1980s self funded, self produced and self released Brit Funk classic 'Southern Freeez', and as the band Freeez's founder.

"The melancholic suburban soul of ‘Southern Freeez’ never gets tired for me....an album that has remained at the top of my Brit Funk pile!" - GILLES PETERSON

Much of the album is also somewhat reflective. A personal and emotional reflection on John's life - the tracks a nod to John's varied musical pasts. Sounds, a pondering upon his collection of global influences and his life experiences over the years; Genre, the pulse of today, societal, musical or otherwise - but not easy to place as is John's character; Lyrics, the present dilemmas we face as humanity, whilst reflecting on our own private and deepest human feelings, of life and, of love in all its wonderous forms.

Musically, the 'Reflections of the Sun' album casts a glimpse back to Rocca's Brit Funk roots growing up amongst 1970s classic Jazz Funk and Soul, while also blending inspiration from his 1980-90s electronic influences topped off with everything else he has seen and heard on his life travels since then.

Giving a nod to John's own past while bringing Reflections of the Sun up to date was completed by adding elements of London's re-surgent and vibrant jazz scene. Not so different from John’s own early days jamming with Freeez, he is accompanied on all the album's tracks by his two young nephews and highly respected jazz musicians, Benjamin Rocca on keyboards and Joel Rocca on Saxophone. The two youngsters are known on the current London Jazz scene as the "Rocca Brothers".

The album's title track, "Reflections of the Sun" refers to how humanity, gorging on the sunshine that brings life to everything, also has a tendency to reflect the hellishness of the sun itself. Comparing our self-destructive nature with our planet's volumes of un-ending beauty.

Initial support for various tracks has come via radio plays on UK stations such as JazzFM, Jazz Funk & Soul Radio (JFSR), Soul Groove Radio and Solar (amongst others).

Zur Feier des 10-jährigen Jubiläums des berühmten zweiten Albums von Imagine Dragons veröffentlichen
Imagine Dragons am 21. Februar 2025 auf ihrem Jubiläumsalbum „Reflections (from the Vault of Smoke
+ Mirrors)“, 14 nie zuvor gehörte Demos aus dieser Zeit. Die physischen Ausgaben von Smoke + Mirrors
werden am 25. April 2025 veröffentlicht.
„Reflections (from the Vault of Smoke + Mirrors)“ wird bei allen DSPs und als physische 1LP Ocean
Blue Vinyl erhältlich sein.
„Smoke + Mirrors Ten“ enthält vierzehn nie zuvor gehörte Demos, darunter das exklusive „I Bet My
Life (Demo)” sowie das neue „Reflections (from the Vault of Smoke + Mirrors)” Vinyl. Ebenfalls enthalten sind 6 exklusive Lithos mit originalem und neu gestaltetem Artwork von Tim Cantor in einem
Deluxe-Box-Set.
Das 2x Platin-Album „Smoke + Mirrors“ debütierte auf Platz 1 der Billboard 200 und hat seit seiner
Veröffentlichung über 7,8 Milliarden Streams und 6 Millionen Verkäufe weltweit erreicht. Die Hit-Single
„I Bet My Life“ wurde von der RIAA mit dreifachem Platin ausgezeichnet und wurde bis heute über 960
Millionen Mal gestreamt.

Having thrived throughout the underground realms for the last ten years, Question built a respectable body of work displaying a sound meeting constant progression, a vision sharpened and perfected with each output. Six years following the debut full-length recording, the Mexican quintet unleashes “Reflections of the Void”, a grand tome of sheer Death Metal might in eight tracks that take Question’s sonic traits and overall concept to a whole new level of magnitude. In perfect unison with the majestic Shoggoth Kinetics artwork that adorns the album’s cover, “Reflections of the Void” stands apart and invites the listener to a pathway beyond the horizon, a detailed journey on life and death and yonder. Such carefully threaded concept meets its aural accomplice as Question carries a cloud of impending doom, a dense and arrestive atmosphere on brilliantly crafted songs that drink from the fountain of the past yet blistering in its very own with a striking sense of dynamics which assuredly puts the group in the major leagues of Death Metal mastery. Obscure, threatening riffs blaze through the first moments of the record, trading somber licks and faster belligerent attacks, yet never failing to enter a redundant path, for a tempo change or a dissonant endeavor spells unexpectedly and takes the listener on an intense rollercoaster. Fiercely crafted, the pulsing bass impulses and organic drumming patterns exhale as the pounding heart of “Reflections of the Void”. Technical, precise, enter a scorching performance in taste and dexterity, never sounding dull or plastic but shining for its soulful presence, side by side with the dazzling production, utterly potent and vibrant, taking the defying arrangements to greater extents. In and above this sonic frenzy, a vociferated voice grunts the illusions of our existence with a resonating dark tone spawned directly from the imposing void. As this opus resumes into the boundless vacuum, we are left with a sense of distress and awe. Question crafted a work for the ages, one which with every listening reveals a further dimension, a hidden mystery, just like the classics in the unholy pantheon to which this opus will surely belong someday.

“Reflections of the Void” is released under the banner of Chaos Records.

It’s abundantly clear from the first bars of their 5th studio album Through Other Reflection, that this is, and could only ever be, The Soundcarriers. From the enchanting vocal duets of folk-bidden Chanteuses Leonore Wheatley and Dorian Conway; to the precise bass lines of Paul Isherwood and the limber, jazz-cool, Hal Blaine-esque drums of his his co-songwriter Adam Cann; from the fairy-like flutes, 60s-garage guitars and organ sounds pilfered from the archives of exotica - listening to the Soundcarriers resembles a rediscovery of all the most prized, esoteric corners of the 1960s, all bundled up, warped and refracted through the quartet’s astutely modern cultural lens. Channelling Tropicalia, Middle Eastern psychedelic Jazz/Funk, The French Library sounds of Nino Nardini, and a whole host of lavish obscurites beside, Through Other Reflection delivers another sonic adventure from one of the most unique and distinctive voices of British Psychedelia. After an 8 year wait for their album 4 - 2022’s Wilds - it thankfully didn’t take so long for the follow-up this time round. In many ways, this feels like a companion to Wilds; recording again at their Nottingham warehouse studio, Through Other Reflection retains that same organic glow, all the passions and imperfections of a tightly clipped unit jamming out these living, breathing pop-art nuggets as if straight onto the acetate.”We wanted to keep an air of spontaneity with this album and not get too bogged with the recording process”, explains Cann, “It was more a case of getting the songs as tightly written and arranged as possible first so we could get them down quickly in the studio. It always takes longer than you think” Less packed with strident pop hooks as its predecessor however, the music of Through… has been given extra licence to breathe, stretch out, and wander more uncharted terrains. While gleaming psych-pop of tracks like ‘The City Was’, or ‘Already Over’ confidently carry on from where they left off, from the album’s 2nd track ‘Always’, the trip becomes a little less predictable. Starting out as a smoky Procol Harum-meets-French-Psych organ ballad, the music drifts, as if of its own accord into an eerie, garage trance that lingers, cycles, and hypnotises, growing ever stranger, reaching ever-further away from its point of conception. And almost every track on Through Other Reflections holds that outer-body moment, where the band fix themselves on a limber, lysergic groove, lose all grip on time and reality, and melt themselves away into a liquid state of blind euphoria. There are sequences on this record that feel more like rituals than songs, built upon a single hypnotic rhythm which, like the centre of a vortex, pulling everything under its beatific command. Take the finale to ‘What We Found’ for instance, sounding like a ghostly march across the psychedelic moors, or ‘Feel The Way’, where a single athletic drum-loop rises and rises, growing ever more urgent and suspenseful underneath its frantic harpsichords and rasping flutes. Full of such rich stylisms as these, The Soundcarriers showcase themselves as abstract storytellers par excellence by virtue of their textures and arrangements alone. Resembling Romantic composer Maurice Ravel, but if he had just a four-piece rock band at his disposal, Through Other Reflects is rich with detail; there’s shakers, rattles, clarinets, booming drums; there’s synthesiser swarms, chiming xylophones, vintage organs and experimental Cluster & Eno-esque ambiences. Within all this nuance the music flows like some undisclosed narrative swathed in a magnetic secrecy. “It almost comes across like a story in some ways”, says Cann of the album, “the music is quite sectional with elements of exotica and cinematic type layers, it's a good balance of grooves, tunes and weirdness”. No more is this “epic cinematic feel” heard more proudly than on short instrumental ‘Sonya’s Lament” - its innate, hauntological atmospheres befitting a Peter Strickland soundtrack, or the classics of Lex Baxter, the so-called ‘Founder of Exotica’ himself. On the other hand, providing a greasier undercurrent to all these bucolic sounds is a leaning towards a more “direct” lyricism referencing more “external concerns. Laying down the first tracks for the album in the wintry gloom of pre-lockdown 2020, and drawing inspiration from time spent in Berlin, Through Other Reflections returns to some of the post-apocalyptic futurism explored in 2014’s Entropicalia - a loose concept album inspired by J.G Ballard’s The Drowned World. “The songs explore a disillusionment with the way things are going particularly after 40 years of neoliberalism”, says Cann, “They follow that folk-song tradition of wanting to escape to an imagined time, but here it’s more urban than pastoral. The first couple of ideas I came up with when doing some music in Berlin and had some time to wander aimlessly. And think the atmosphere seeped in, particularly on The City Was and Already Over. He continues, “One aspect of the title, ‘Through Other Reflections’ is about synthesis and layers of influence. How things can be filtered through other things and change the perspective. This is something you get in cities as well.” Though, as with everything The Soundcarriers make, “It can mean anything. It also just sounds kind of cool.”

It’s abundantly clear from the first bars of their 5th studio album Through Other Reflection, that this is, and could only ever be, The Soundcarriers. From the enchanting vocal duets of folk-bidden Chanteuses Leonore Wheatley and Dorian Conway; to the precise bass lines of Paul Isherwood and the limber, jazz-cool, Hal Blaine-esque drums of his his co-songwriter Adam Cann; from the fairy-like flutes, 60s-garage guitars and organ sounds pilfered from the archives of exotica - listening to the Soundcarriers resembles a rediscovery of all the most prized, esoteric corners of the 1960s, all bundled up, warped and refracted through the quartet’s astutely modern cultural lens. Channelling Tropicalia, Middle Eastern psychedelic Jazz/Funk, The French Library sounds of Nino Nardini, and a whole host of lavish obscurites beside, Through Other Reflection delivers another sonic adventure from one of the most unique and distinctive voices of British Psychedelia. After an 8 year wait for their album 4 - 2022’s Wilds - it thankfully didn’t take so long for the follow-up this time round. In many ways, this feels like a companion to Wilds; recording again at their Nottingham warehouse studio, Through Other Reflection retains that same organic glow, all the passions and imperfections of a tightly clipped unit jamming out these living, breathing pop-art nuggets as if straight onto the acetate.”We wanted to keep an air of spontaneity with this album and not get too bogged with the recording process”, explains Cann, “It was more a case of getting the songs as tightly written and arranged as possible first so we could get them down quickly in the studio. It always takes longer than you think” Less packed with strident pop hooks as its predecessor however, the music of Through… has been given extra licence to breathe, stretch out, and wander more uncharted terrains. While gleaming psych-pop of tracks like ‘The City Was’, or ‘Already Over’ confidently carry on from where they left off, from the album’s 2nd track ‘Always’, the trip becomes a little less predictable. Starting out as a smoky Procol Harum-meets-French-Psych organ ballad, the music drifts, as if of its own accord into an eerie, garage trance that lingers, cycles, and hypnotises, growing ever stranger, reaching ever-further away from its point of conception. And almost every track on Through Other Reflections holds that outer-body moment, where the band fix themselves on a limber, lysergic groove, lose all grip on time and reality, and melt themselves away into a liquid state of blind euphoria. There are sequences on this record that feel more like rituals than songs, built upon a single hypnotic rhythm which, like the centre of a vortex, pulling everything under its beatific command. Take the finale to ‘What We Found’ for instance, sounding like a ghostly march across the psychedelic moors, or ‘Feel The Way’, where a single athletic drum-loop rises and rises, growing ever more urgent and suspenseful underneath its frantic harpsichords and rasping flutes. Full of such rich stylisms as these, The Soundcarriers showcase themselves as abstract storytellers par excellence by virtue of their textures and arrangements alone. Resembling Romantic composer Maurice Ravel, but if he had just a four-piece rock band at his disposal, Through Other Reflects is rich with detail; there’s shakers, rattles, clarinets, booming drums; there’s synthesiser swarms, chiming xylophones, vintage organs and experimental Cluster & Eno-esque ambiences. Within all this nuance the music flows like some undisclosed narrative swathed in a magnetic secrecy. “It almost comes across like a story in some ways”, says Cann of the album, “the music is quite sectional with elements of exotica and cinematic type layers, it's a good balance of grooves, tunes and weirdness”. No more is this “epic cinematic feel” heard more proudly than on short instrumental ‘Sonya’s Lament” - its innate, hauntological atmospheres befitting a Peter Strickland soundtrack, or the classics of Lex Baxter, the so-called ‘Founder of Exotica’ himself. On the other hand, providing a greasier undercurrent to all these bucolic sounds is a leaning towards a more “direct” lyricism referencing more “external concerns. Laying down the first tracks for the album in the wintry gloom of pre-lockdown 2020, and drawing inspiration from time spent in Berlin, Through Other Reflections returns to some of the post-apocalyptic futurism explored in 2014’s Entropicalia - a loose concept album inspired by J.G Ballard’s The Drowned World. “The songs explore a disillusionment with the way things are going particularly after 40 years of neoliberalism”, says Cann, “They follow that folk-song tradition of wanting to escape to an imagined time, but here it’s more urban than pastoral. The first couple of ideas I came up with when doing some music in Berlin and had some time to wander aimlessly. And think the atmosphere seeped in, particularly on The City Was and Already Over. He continues, “One aspect of the title, ‘Through Other Reflections’ is about synthesis and layers of influence. How things can be filtered through other things and change the perspective. This is something you get in cities as well.” Though, as with everything The Soundcarriers make, “It can mean anything. It also just sounds kind of cool.”

It’s abundantly clear from the first bars of their 5th studio album Through Other Reflection, that this is, and could only ever be, The Soundcarriers. From the enchanting vocal duets of folk-bidden Chanteuses Leonore Wheatley and Dorian Conway; to the precise bass lines of Paul Isherwood and the limber, jazz-cool, Hal Blaine-esque drums of his his co-songwriter Adam Cann; from the fairy-like flutes, 60s-garage guitars and organ sounds pilfered from the archives of exotica - listening to the Soundcarriers resembles a rediscovery of all the most prized, esoteric corners of the 1960s, all bundled up, warped and refracted through the quartet’s astutely modern cultural lens. Channelling Tropicalia, Middle Eastern psychedelic Jazz/Funk, The French Library sounds of Nino Nardini, and a whole host of lavish obscurites beside, Through Other Reflection delivers another sonic adventure from one of the most unique and distinctive voices of British Psychedelia. After an 8 year wait for their album 4 - 2022’s Wilds - it thankfully didn’t take so long for the follow-up this time round. In many ways, this feels like a companion to Wilds; recording again at their Nottingham warehouse studio, Through Other Reflection retains that same organic glow, all the passions and imperfections of a tightly clipped unit jamming out these living, breathing pop-art nuggets as if straight onto the acetate.”We wanted to keep an air of spontaneity with this album and not get too bogged with the recording process”, explains Cann, “It was more a case of getting the songs as tightly written and arranged as possible first so we could get them down quickly in the studio. It always takes longer than you think” Less packed with strident pop hooks as its predecessor however, the music of Through… has been given extra licence to breathe, stretch out, and wander more uncharted terrains. While gleaming psych-pop of tracks like ‘The City Was’, or ‘Already Over’ confidently carry on from where they left off, from the album’s 2nd track ‘Always’, the trip becomes a little less predictable. Starting out as a smoky Procol Harum-meets-French-Psych organ ballad, the music drifts, as if of its own accord into an eerie, garage trance that lingers, cycles, and hypnotises, growing ever stranger, reaching ever-further away from its point of conception. And almost every track on Through Other Reflections holds that outer-body moment, where the band fix themselves on a limber, lysergic groove, lose all grip on time and reality, and melt themselves away into a liquid state of blind euphoria. There are sequences on this record that feel more like rituals than songs, built upon a single hypnotic rhythm which, like the centre of a vortex, pulling everything under its beatific command. Take the finale to ‘What We Found’ for instance, sounding like a ghostly march across the psychedelic moors, or ‘Feel The Way’, where a single athletic drum-loop rises and rises, growing ever more urgent and suspenseful underneath its frantic harpsichords and rasping flutes. Full of such rich stylisms as these, The Soundcarriers showcase themselves as abstract storytellers par excellence by virtue of their textures and arrangements alone. Resembling Romantic composer Maurice Ravel, but if he had just a four-piece rock band at his disposal, Through Other Reflects is rich with detail; there’s shakers, rattles, clarinets, booming drums; there’s synthesiser swarms, chiming xylophones, vintage organs and experimental Cluster & Eno-esque ambiences. Within all this nuance the music flows like some undisclosed narrative swathed in a magnetic secrecy. “It almost comes across like a story in some ways”, says Cann of the album, “the music is quite sectional with elements of exotica and cinematic type layers, it's a good balance of grooves, tunes and weirdness”. No more is this “epic cinematic feel” heard more proudly than on short instrumental ‘Sonya’s Lament” - its innate, hauntological atmospheres befitting a Peter Strickland soundtrack, or the classics of Lex Baxter, the so-called ‘Founder of Exotica’ himself. On the other hand, providing a greasier undercurrent to all these bucolic sounds is a leaning towards a more “direct” lyricism referencing more “external concerns. Laying down the first tracks for the album in the wintry gloom of pre-lockdown 2020, and drawing inspiration from time spent in Berlin, Through Other Reflections returns to some of the post-apocalyptic futurism explored in 2014’s Entropicalia - a loose concept album inspired by J.G Ballard’s The Drowned World. “The songs explore a disillusionment with the way things are going particularly after 40 years of neoliberalism”, says Cann, “They follow that folk-song tradition of wanting to escape to an imagined time, but here it’s more urban than pastoral. The first couple of ideas I came up with when doing some music in Berlin and had some time to wander aimlessly. And think the atmosphere seeped in, particularly on The City Was and Already Over. He continues, “One aspect of the title, ‘Through Other Reflections’ is about synthesis and layers of influence. How things can be filtered through other things and change the perspective. This is something you get in cities as well.” Though, as with everything The Soundcarriers make, “It can mean anything. It also just sounds kind of cool.”

Mysticisms continues its global search for amazing music, hitting gold again with an EP of four previously unreleased house meets IDM with a dreamy edges by Romania's HAN aka Dan Handrabur, culled from early studio recordings between 1991-95.

After getting into record store culture he began building a studio and eventually gave up studying in favour of production, relocated to Vancouver, Canada, where his debut release (as X Drone with Adham Shaikh in 1993) began to establish Handrabur's role as an integral part its electronic scene. Appearances with Harthouse, Exist Dance, Eye Q Records and many more followed, plus collaborations with the legendary Phil Western. The four tracks here haven't aged at all, with nimble beats, action-packed arrangements and dreamy atmospheres, 'Give In & Resist' coming on like Rising High-era Mixmaster Morris crossed with the playfulness of Air Liquide, and 'Phantasme' revelling in the same cross-rhythmic fun that informed The Black Dog's classics.

Loosely inspired by the book "The Road" by Cormac McCarthy, ILUITEQ's fourth album, "Reflections From The Road," expands the novel's theme, where human beings are overwhelmed by an ordeal that completely changes the course of their lives.

Events that suddenly interrupt the "ordinary movements" of life in a new, unpredictable, and often dangerous way. A strong sense of motion permeates Reflections From The Road's ten tracks in a new and unexpected way compared to previous works by the Italian ambient duo.

With "Reflections From The Road," ILUITEQ explores new music territories, strongly contrasting pristine textures and glitchy sounds.

Steve Gunn and David Moore's Let the Moon be a Planet is a volume of improvisatory exchanges between classical guitar and piano, and a meeting place where two artists become acquainted through instrumental dialogue without a single expectation distracting them from the joy and open field possibility of collaboration. A project enveloped by an aura of reciprocity, Let the Moon Be a Planet unfolded from an invitation to connect between two New York-based musicians who admired each other's work but had never intersected: guitarist and songwriter Steve Gunn, whose solo, duo, and ensemble recordings represent milestones of contemporary guitar-guided material, and pianist and composer David Moore, acclaimed for his minimalist ensemble music as the leader of Bing & Ruth. The exchange began remotely as Gunn and Moore responded to one another's solo improvisations, embarking on a synergistic progression of deep listening and connection through musical conversation. "We were both fans of each other's music and this was a chance to try a different process which was much more open," says Moore. "It felt like something I needed personally as an artist, to not be so controlling over the final output, and to truly collaborate with somebody else." Similarly for Gunn, who was exploring new pastures and passages in classical guitar when the dialogue began, the project was an invitation for pure conversation and exchange, creating space for him to revisit foundational forms with his playing: "I was trying to break out of what I was doing, to have something that just pulled away all the elements of usual structured things." Let the Moon Be a Planet intertwines the trajectories of two musicians acclaimed for pushing the boundaries of their instruments, unified by a shift away from what they recall as more "detail-oriented" approaches to composition. Fueled by the magnetism of their call and response exercise, Gunn and Moore set out on a nomadic songwriting venture without an intended destination. "We didn't know it was going to be an album," Gunn explains. "There was never pressure on us to complete or make something. It was interesting to start realizing that this could be an album and to take a step back_ to arrive at a project after the fact." Calibrating their focus to connect with a spectrum of inner and external emotional realities, the duo found their way into a world where the most subtle of gestures can eternally flow. Let the Moon be a Planet is an ode to experimentation over outcome; it holds a candle light to the corners of introspection and captures the patterns that flicker within. Cast across the compositions of the album is a gritty, filmic grain _ a quality that emerged partially from recording "without the greatest microphones" or their usual studio environments. For both artists, this lo-fi sensitivity felt integral to the record and its production, and they worked closely with engineer Nick Principe to preserve its otherworldly haze in the final mixes. Across the record's eight compositions, the rippling impulses of Gunn and Moore's inner worlds converge in the spirit of two strangers wandering the same path, engaged in a daydream state of natural back and forth. Melodic tableaux arise, drift and disperse across serene open spaces, painted in earthy hues of nylon string and balmy, undulating keys _ side by side, the duo converse in tessellating motifs and gestures of lucid introspection, cultivated by a shared desire for intuitive play. "This project was such a simple idea," says Gunn. "It got down to the very core of where I am or where I was, and where I'm trying to be as a musician. Making this record became a very beneficial ritual for me, almost a meditative process." As Moore recalls, "Our only motivation for making these tracks was that it felt good to make them and there was nothing else behind it_ I don't know that I've ever made a record that came about so naturally." While Let the Moon Be a Planet was envisioned through a deeply collaborative process, it uncovered a path for Gunn and Moore to respectively return home as musicians. Imbued with the forces of interconnection and balance, the record is an exploration of creative synergy while following the currents of inner experience _ of looking outwards to arrive at one's natural self. Steve Gunn and David Moore's Let the Moon Be a Planet will be released March 31, 2023 in LP, CD, and digital editions. The album represents the first volume of Reflections, a new series of contemporary collaborations orchestrated by RVNG Intl. A portion of the proceeds from this release will benefit St. John's Bread and Life, whose mission is to respect the dignity and rights of all persons by ensuring access to healthy, nutritious food and comprehensive human services resulting in self-sufficiency and stability.

Originally planned for issue on Strata-East, Hammond took his collaboration with Durrah to Detroit and issued his masterpiece. Lacquered by Bernie Grundman. Now-Again presents the de­nitive Tribe Records reissues. Deep, Spiritual Jazz of the highest order. The Tribe label, one of the brightest lights of America’s 1970s jazz underground, receives the Now-Again reissue treatment. This is your chance to indulge in the music and story of one of the most meaningful, local movements of the 20th Century Black American experience, one that expanded outwards towards the cosmos. In the words of the collective themselves, “Music is the healing force of the universe.” Included in an extensive, oversized booklet, Larry Gabriel and Jeff “Chairman” Mao take us through the history of the Tribe, in a compelling story that delves not just into the history of the label and its principals, but into the story of Black American empowerment in the latter half of the 20th Century. The booklet features never-before-seen archival photos and rare ephemera from Tribe’s mid-1970s heyday.

Purple Vinyl

Even if you're well-acquainted with composer and multi-instrumentalist Colin Fisher's richly varied output, his gentle fifth solo album, Refections of the Invisible World may come as a surprise. Psychedelic lyricism has always been a fundamental aspect of his sonic signature, but his second collaboration with producer Jeremy Greenspan (Junior Boys, Jessy Lanza, Morgan Geist) finds the Toronto native luxuriating in expansive atmospherics for its full duration.
That's not to downplay the eclecticism he finds within this ethereal landscape. Each track tills its own discrete sonic acreage, and while every one emanates from a clear focal point, the spontaneous impulse that drives Fisher's more audibly improvisational music always remains close at hand. Some pieces unfold rippling aquatic vistas or delight in prismatic guitar arpeggiation, elsewhere his plaintive, blues- infected tenor saxophone wafts like some strange jazz apparition, or becomes a chorus of cosmic murmurs. The presence of electronics is undeniable, but equally irrefutable is the organic instrumental sources of these disparate hues. In fact he's discovered a rare balance: no matter how effects-saturated, every gesture on the record feels palpably sculpted by Fisher's hands and breath. As such, Refections of the Invisible World carries a sense of intimacy at the heart of its diffuse, dream-like sonics.
Fisher has a been a major presence in Canada's music community for more than twenty years—particularly in more experimental and improvisational circles. Nothing short of a guitar virtuoso, he also wields saxophone, drums, and various other instruments with similarly refined musicality, vivid textural imagination, and sometimes feral abandon. His one-man-band tape Garden of Unknowning for Manchester's Tombed Visions, showcase all of this as he spars with different iterations of himself. The Quietus' cassette critic Tristan Bath extolled it as "miraculous," adding that "it’s a visceral experience soaking up this record, and it’s all down to Fisher’s utterly innate sense of musicality." He subsequently cited it in his 2018 contributor's year-end chart for the Wire.
In 2014 his partnership with Nick Millevoi's trio Many Arms on Suspended Defnition (Tzadik) prompted Spin's Brad Cohan to remark "Many Arms have dug even deeper into math-metal wizardry, bolstering their already imposing lineup with gale-force blowing guest saxophonist Colin Fisher, thus blasting their outré sonic blitz into a fire-breathing free jazz otherworld." Fisher later engaged the band's bassist, Johnny DeBlase, to team up with him and Kid Millions (Oneida, Man Forever) as Monas. As an ongoing collaborator to introspective dance music auteur Caribou, Fisher frst appeared in offshoot project Caribou Vibration Ensemble, and subsequently on acclaimed albums Swim and Suddenly. He's also made two duo albums with celebrated Nova Scotian jaw harp innovator chik white for Dylan and Lisa Nyoukis' Chocolate Monk label. In addition to performing alongside the likes of Jaime Branch, Joe McPhee, William Parker, Laraaji, Gerry Hemmingway, and Fred Frith, he has contributed to recordings by the Constantines (Sub Pop), Bernice (Arts & Crafts), Rhys Chatham (Table of the Elements), Born Ruffans (Warp), Anthony Braxton and AIMToronto Orchestra (Spool), and many more.

An outstanding artist since his earliest productions, Pablo Mateo now fully joins the ranks of Figure for his first album. On this versatile LP finally expands his complete creative vision of what techno music truly means to him.

Weird Reflections Beyond The Sky is an album that is accessible to all audiences. When engaged with actively, it holds narratives deeply connected to personal experience, going beyond what words or even images can describe. Confronting the listener with their own complexity and emotions is both its feat and feature. A beautiful use of technology and synthetic sounds as a means to journey far within.

An open invitation to drop all expectations and simply let the mind wander, creating an immersive soundtrack for each individual to explore.

Trees Speak is an experimental rock band that transcend mainstream influences by incorporating elements of Avant-garde, Neo-psychedelic, Minimalism, art and electronic - along with violin-bowed guitar, Theremin and a glut of effects pedals, and it's an ear-bending rush of lush soundscapes.

Trees Speak - as much a sound laboratory as a rock and roll band - is the musical venture of acclaimed visual artist and musician Daniel Martin Diaz (formerly of Blind Divine and Crystal Radio). For the debut double-LP Trees Speak is joined by Michael Glidewell (Black Sun Ensemble), Gabriel Sullivan (XIXA, Giant Sand), Connor Gallaher (Myrrors & Cobra Family Picnic), Damian Diaz (Human Error), and Julius Schlosburg (Jeron White Acoustic Trio). The studio itself should also take top billing, because in the tradition of krautrockers Can and Bitches Brew-era Miles Davis, the band takes its winding, incandescent motoric rock and roll improvisations and edits them into coherent compositions using the mixing desk after recording. And that's where the sound lab half of the equation appears. The end result is flowing and droning ambient proto-punk reminiscent of fellow travelers NEU!, Stereolab, - Joshua Levine

Our intention is to create music with an unrehearsed minimalist approach performing simple beats, riffs, and sequences that take one inward. We attempt to create a sonic environment to set one's mind free and to become aware of the nuances of tone, melody, and structure. We organize our recording equipment with the same approach, in a transparent manner. Our recorded performances are never rehearsed. Our belief is that a brilliant rehearsal is a lost opportunity to capture a magical moment. We are chasing the mystery of music and tone. We let the musical performance sculpt its own destiny and create imperfect perfection. Our tool of creation is the anxiety one feels when they are unrehearsed or prepared for a performance. We believe this approach brings us closer to the authentic self. The result is genuine music without an agenda that captures the unfiltered spirit.
- Trees Speak


The music was recorded live in one room with no overdubs or repairs, only using edits to create arrangements. All tracks were written over a 5 day period at Sacred Machine Studio and Dust & Stone Studio.

"Funky Reflections' is the second release of Leipzig based sound maker, DJ and vinyl collector Duktus on ThinkLoud. The Mini-LP reflects Duktus' daily vibe in his own way. It tries to move you to dance, to have respect for one another, to embrace life, and if you follow the records' instructions, the funk will be with you!

In a career spanning 45 years, Leo Sayer has sold more than 80 MILLION records worldwide.
To coincide with Leo's forthcoming return to the UK for his 22-date 'Just A Boy At 70' tour, 'The Hollywood Years
1976-1978' is the second of a series of three Vinyl LP box sets.
'The Hollywood Years 1976-1978' comprises Leo's three studio albums. 'Endless Flight' (released 1976/UK
#4) 'Thunder In My Heart' (released 1977/UK #8) and 'Another Year' (released 1978/UK #15) and marked a
clear departure from his early albums.
Leo recorded these three albums with legendary producer Richard Perry, who brought in a variety of songwriters
and collaborators to work on the projects with Leo; it was a venerable Who's Who of the record industry.
Each vinyl LP Box set in this Limited Edition release, will be pressed on heavyweight 180g clear vinyl and contain
a signed 12'x12' print.
This project has been overseen by Leo Sayer, who remains one of the UK's great singer/songwriters of all time.

Following a greatest hits compilation in the late 90s the Human League signed to the Papillon label. The line-up
of Philip Oakey, Susan Sulley and Joanne Catherall recorded the 'Secrets' album, with keyboard player Neil
Sutton, who co-wrote most of the songs with Oakey, and programmer David Beevers providing the trademark
Human League sound.
The album's release in 2001 was preceded by the single 'All I Ever Wanted', but both the single and album lost
promotion and sales when Papillon ran into financial difficulties and was closed shortly after the album's release.
This 2LP edition features the original album over the first three sides, while the newly-added fourth side
features a non-album B-side, along with one rare remix each of 'All I Ever Wanted', 'You'll Be Sorry' and
'Love Me Madly'.
Housed in a gatefold sleeve, the inner sleeves features all the lyrics.

After bursting onto the scene in late 2017, Hyperloop makes his Drumcode debut with Green Velvet in toe.His 'Mentalizm' EP is a classy example of his versatility, a trio of original works, accompanied by two DJ tools. Beginning on a menacing tip, 'In Your Mind (Reflections)' is a low-end brew of industrial stabs, eerie melodies and subterranean vocals.
'S-Sound' is his collaboration with Chicago legend Green Velvet and is a percussive masterstroke of loops and drum riffs which drive the eight-minute track with all the puffing ferocity of a steam train. 'Spring on the Battlefield' is the perfect contrasting accompaniment, as a warm rush of strings covers a bed of intricate analogue effects and stomping kicks.

A very expected release is finally unveiled, cold colors new ep 'leave this world behind'. this one-man project is without any kind of doubt one of the leading synthwave acts of france, frédérick barbe proved himself as a truly master into create hypnotic soundscapes on his fully analog recordings. 'leave this world behind' represents his fourth ep and again shows us what 'minimal melodic synth' music should be; perfect bass sequences, clear drum stems and that catchy cold colors pads. all tracks mastered and remastered specially for vinyl by eric van wonterghem at prodam studio (berlin).

Hannah Diamond’s debut album Reflections expanded to include Reflections Remixes and selected Reflections Instrumentals across two LPs. This upscaled edition is pressed on Milky Way Clear Glitter vinyl, in a gatefold sleeve featuring the Remixes Star artwork, and premium board inner sleeves, enhanced with metallic lavender HD monograms. It also includes a high-gloss poster insert of the original Moon artwork and lyric sheet. No secret track.

Wanda Felicia ist wieder bei Timmion Records mit ,Reflections Of Love" b/w ,All In The Game", einer gefühlvollen und echt menschlichen Doppel-A-Seite, die zwei sich ergänzende Facetten ihrer Kunst zeigt. Diese Veröffentlichung, die aus ihrem Debütalbum "Now Is The Time" stammt, rückt Wandas ausdrucksstarke Stimme und emotionale Klarheit in den Mittelpunkt, unterstützt von der unverkennbaren analogen Wärme von Cold Diamond & Mink. Auf der A-Seite sorgt ,Reflections Of Love" mit einem entspannten Funk-Unterton für mehr Tempo. Wandas Stimme schwebt selbstbewusst über dem Beat und vermittelt eine Reflexion über die Liebe, die ebenso tanzbar wie herzlich ist. Wenn sie ,you really got me now" singt, ist der Zuhörer bereits ganz bei ihr. Die B-Seite, ,All In The Game", verlangsamt das Tempo zu einer kraftvollen Beat-Ballade, in der Geduld und Ausdauer im Mittelpunkt stehen. Unterstützt von einem langsam brennenden Groove liefert Wanda eine Performance voller Entschlossenheit und stiller Stärke und erinnert uns daran, dass Liebe - wie das Leben - sich nach ihren eigenen Regeln entfaltet. Zusammen bilden diese beiden Songs eine wunderschön ausgewogene Platte, die Wanda Felicia von ihrer überzeugendsten Seite zeigt und ihren Platz als eine der faszinierendsten Stimmen von Timmion bestätigt.

Wanda Felicia ist wieder bei Timmion Records mit ,Reflections Of Love" b/w ,All In The Game", einer gefühlvollen und echt menschlichen Doppel-A-Seite, die zwei sich ergänzende Facetten ihrer Kunst zeigt. Diese Veröffentlichung, die aus ihrem Debütalbum "Now Is The Time" stammt, rückt Wandas ausdrucksstarke Stimme und emotionale Klarheit in den Mittelpunkt, unterstützt von der unverkennbaren analogen Wärme von Cold Diamond & Mink. Auf der A-Seite sorgt ,Reflections Of Love" mit einem entspannten Funk-Unterton für mehr Tempo. Wandas Stimme schwebt selbstbewusst über dem Beat und vermittelt eine Reflexion über die Liebe, die ebenso tanzbar wie herzlich ist. Wenn sie ,you really got me now" singt, ist der Zuhörer bereits ganz bei ihr. Die B-Seite, ,All In The Game", verlangsamt das Tempo zu einer kraftvollen Beat-Ballade, in der Geduld und Ausdauer im Mittelpunkt stehen. Unterstützt von einem langsam brennenden Groove liefert Wanda eine Performance voller Entschlossenheit und stiller Stärke und erinnert uns daran, dass Liebe - wie das Leben - sich nach ihren eigenen Regeln entfaltet. Zusammen bilden diese beiden Songs eine wunderschön ausgewogene Platte, die Wanda Felicia von ihrer überzeugendsten Seite zeigt und ihren Platz als eine der faszinierendsten Stimmen von Timmion bestätigt.

After making their mark as a hugely successful band with a #1-charting album - 2023’s Blackout, From Ashes To New are set to release their highly anticipated follow-up, Reflections. The band returns with their high-energy fusion of rap, nu metal, electronic, and alternative rock. Reflections has 12 tracks and will be available Digital, CD and different colored vinyl variants.

Freerange have commissioned a limited repress of Reflections Vol. 1 on splendid pink vinyl. The four track VA contains the much-prized Better by Cody Currie plus complementary tracks from James Kumo, Jimpster & Bishy, and Radic The Myth.

The debut EP Danza Nel Vulcano by Rotterdam duo Vesuvio Vortex is the first release of the label Radio Tornado Records. Rooted in italo disco, the music rolls into nearby genres with restless grooves and rough edges. In short: energetic, slightly melancholic, and always moving.

Audio Vesuvio opens with a bright, welcoming energy, setting the scene. Robot Cop brings a lively rush, the rhythms bouncing and colliding. Overexposed Polaroid slows things down, drifting through hazy reflections of what just happened. Vortex closes the EP in a softer, darker glow, the afterparty fading but the melodies lingering, like a dream that refuses to end.

“Música Para Caminar” is the new album by 80%Baul, and the record that confirms his definitive leap from revelation to legend. Following the critically acclaimed debut Ayer y Ahora, this release positions 80%Baul alongside the great names of Spanish post-punk, standing shoulder to shoulder with seminal acts such as Décima Víctima and Parálisis Permanente. Rooted in a dark, introspective sensibility, Música Para Caminar also connects seamlessly with the vitality of today’s Spanish underground, aligning with the current wave of forward-thinking artists, including labelmates like Yvgoslavia. But this album is not defined by sound alone. Once again, 80%Baul surprises with songs that function as poems—bleak, incisive reflections on a decaying, dystopian present. More than music, Música Para Caminar is a statement: music with intention, depth, and meaning—an artistic vision that transcends genre and cements 80%Baul as one of the essential voices of contemporary Spanish post-punk. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

There’s no direct English translation for the word “hiraeth”. In the Welsh language, it describes a form of longing for an intangible something, somewhere or someone that no longer exists. Sofie Birch and Antonina Nowacka draw on the concept to guide their second collaborative album, a suite of vulnerable, open-hearted improvisations and reflections that attempt to grasp an image of the past that’s chimeric, dissolving almost as soon as it materializes. The duo’s process follows the same distant beacon; unlike Languoria, their critically acclaimed debut, Hiraeth is, at heart, an acoustic record, informed by in-person improvisations with voices and string instruments that gesture to an era before computers, AI and DAWs. It’s just as lush, but Hiraeth is warmer and more muted than its predecessor.
Nowacka and Birch conceived the album in the wake of a slew of collaborative live concerts, spurred on by serendipitous improvisations and an interest in paring down their setup. Unsound arranged a retreat in Sokołowsko, an idyllic village nestled in the verdant hills of Southern Poland, close to the Czech border. Sokołowsko surrounds a large ruined sanatorium that’s rumored to have inspired Thomas Mann’s 1924 novel The Magic Mountain, and has long been a magnet for artists. The two took the opportunity to rethink their approach completely, arriving with just a guitar, a zither and a portable Nagra reel-to-reel machine. Recording directly to tape, they sketched out ideas with just their voices and instruments, reflecting their surroundings without being distracted or mediated by modern technology.
“We wanted to get away from screens as much as possible,” says Birch, “to bring to the world something vulnerable and honest. Without advance preparation, every day we went out into the open air, finding places to sit, during sunset or the midday sun. We discovered new tunings on our instruments, picked up a melody, and started the machine, playing over
and over till we got a take.” In the autumn, they met again in a Copenhagen studio, sparingly and carefully layering old synths and organs to add more depth without muddying the mix.
Both Nowacka and Birch sing throughout, their voices threading the acoustic instruments and tangling with each other, almost becoming one. But it’s the environment of Sokołowsko, “the birds and the light, even the wind playing against the harps,” that’s woven into the music’s lining. Affected by time spent meditating and in nature, as well as the fact that Birch was pregnant whilst recording, the album feels alive and remarkably present. Even the sound quality of the tape machine gives Hiraeth a tactile, organic quality, as Nowacka puts it, “like being in a warm bath.”

They still have the raw recordings from Sokołowsko on old reels, physical souvenirs of their time spent making music in a “habitat for intuitive songs, a little ecosystem, alive and spirited.” The outmoded gear and remote setting helped the duo disengage from the modern world for a few moments and imagine an existence that’s been lost to time and nominal progress. With digital technology receding into the background, Nowacka and Birch had space to make “intuitive connections with frequencies and people,” as Birch explains. Hiraeth is a testament not to nostalgia, but to the power of kinship.

Introspection is a 1972 cult-favorite solo guitar album by Brazilian composer and guitarist Luiz Bonfà. Unlike his more famous bossa nova recordings, this album presents Bonfá in a deeply personal, almost meditative setting. Recorded primarily as a set of intimate solo guitar pieces, Introspection showcases Bonfà’s signature combination of classical technique, Brazilian rhythm and emotive melodic phrasing. Initially overlooked, Introspection later gained recognition as one of Bonfà’s most admired and distinctive works outside the mainstream bossa nova canon. This reissue is the first ever on vinyl after 1972.

Joe Fujinoki centered the compositions of his latest album Glass Torso round the idea of the fragility of the human body. Fujinoki described the narrative thread of the album as that of “holding the shape of a human body as if it might shatter like glass”. The precariousness of the body, the essence of the body as defined by Fujinoki as the torso, and the object relations between the boundaries of dialectical exercises pack themselves into his creative process.

Fujinoki recorded Glass Torso exclusively with analog synthesizers, stumbling in and out of structural loops to find space for accidental discoveries. The ten pieces of recorded material feel somewhere on the edge of typified form, feeling like a vascular system pumping in and out its undulating liquidities. Maybe this is the hollowed space held together by Fujinoki’s notion of the torso where you hear a microscopic world, dubby and generative. Fujinoki is adept at organizing this realm of subtle sound sources, giving proper considerations of shared tonal space. Seemingly, this handling of the precarity of sonic material elucidates Fujinoki’s mature attention to detail.

Ambient music genre tropes often affirm the listeners vessel for escape and dissociation. It provides an intoxicating allure by respite from an overwhelming exterior reality far outside the listeners controls. Here this space becomes apolitical, or its protest vocabulary softer and subtle. Fujinoki does not aim to tackle hyperobject topics on how to course correct the world, but he does something increasingly rarer to come across. On Glass Torso an alternative space is created not as shelter, but as a meditation on negotiation and compromise. This twenty eight minutes of audio lays down a foundation for imagination, for imagining how to negotiate the fragility of the self. Zoomed out, the implications of his negotiative sonics can be a playground for broader reflections on distributive care and attention.

Fujinoki says he feels “alert” to his physicality and placement in the world amidst vast digital cultures creating impositions on him and his surroundings. On Glass Torso he creates a concretized space on a vinyl record, where the virtual and the tangible antagonize one another that create the spectacle of the listening experience. This spectacle is a soft one, a considered one, and an utmost enjoyable one. Fujinoki juggles opposing forces brilliantly, and formulates an exquisite palette of soft passing music so he can also help the listener with the exquisite burden of their own Glass Torso.”

- Nick Klein, January 2026

THY WILL BE DONE is the newest album from $uicideboy$, delivered as a raw, unfiltered gift to the G59 fanbase. The 10-track album blends the duo’s signature hard-hitting, gritty sound with deeply personal reflections on life before and after sobriety, before and after finding God, and the ongoing tension between fame, money, and family. The focus track “BLOODSWEAT” anchors the project with brutal honesty and intensity, and will be accompanied by an official music video following the album’s release.

BOO WILLIAMS dons his MOONMAN moniker to explore the outer limits of his sound. Title track "GET LOOSE" pushes the BPM way past BOOs typical speeds well into 130s techno territory. "LOS SERVICE" features a vocal sample that pushes it into spaced-out psychedelic afro house.

For Oath's latest release presents Vault with Holes, the first record from French duo C.ling. Formed by lifelong friends Paul Brunet and Alexandre Maillet, now based between Paris and Brussels, the pair draw from a wide European electronic music network and a classical background.

Combining hyper-kinetic sound design, delicate instrumentation and fluid, polyrhythmic layering, C.ling's sound is immersive and genre-less at times, rooted in remembrance and shifting emotional spaces. Vault with Holes unfolds like chapters, where thresholds between tracks feel like breaks in a narrative, reflective, tactile and quietly expansive.

A record that feels introspective and timeless, balancing dancefloor functionality. With Early Reflections Pt. 2, Insect O. continues the journey with the same quiet confidence and emotional depth that made the first chapter so compelling. Once again rooted in Dub Techno and Dub House, this second installment feels like a natural continuation, deeper in mood, even more immersive in detail, and beautifully refined in its execution. The result is a record that feels introspective and timeless, balancing dancefloor functionality with a deeply emotive listening experience. Insect O. proves once again that true depth does not come from excess, but from restraint, sensitivity and a strong understanding of space and motion.