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Jesse Royal was nominated for a GRAMMY award in 2022 for his second album, ROYAL Since then, he's continued a relentless touring pace, building up audiences around the world; dropped an anthemic elegy for his good friend Jo Mersa Marley ("Blessing"); and taken on an even bigger role within his community in Jamaica as a leader, mentor, and ambassador.

NO PLACE LIKE HOME is the full-length follow-up album which he has been writing and recording for the past few years. Singles released over the past two years, like "Blessing," "Light Of Mine," "Hope" (feat. Romain Virgo), and "Your Soul" are here, along with 6 new powerful tracks. New guest features include Canadian soulstress Melanie Fiona, GRAMMY winner Kabaka Pyramid, and Perfect Giddimani. NO PLACE LIKE HOME finds Jesse focused on his beloved island of Jamaica, trying to bring wisdom and inspiration especially to the youths of his country and beyond.

**ON RANDOM COLOUR VINYL** PRIMITIVE RING consists of Bert Hoover (bass/vocals), Charles Moothart (guitar/vocals), and Jon Modaff (drums). The Los Angeles power trio formed in September 2024 when Hoover and Moothart came together seeking a new creative outlet. In 2025, the band released four 7"s on four different labels (Greenway, In the Red, Reverberation Appreciation Society, and Fuzz Club UK). They hauled amps and drums into bars to hone the sound of the newfound brotherhood that is Primitive Ring. Rock and roll is in its essence a primal experience, and the name reflects that. Three individuals collide and egos rattle, shedding layers and growing new limbs. Archetypes flash to the rhythm of a freight train and the crown is passed hand to hand like a good luck charm, symbolic and communal. Rock and roll is for the people and Primitive Ring is for the taking. At least it will be when the band's debut LP is hurled into the future via In the Red Recordings. Primitive Ring is 11 tracks coming in just under 42 minutes. It was recorded by Mark Rains in December of 2025 at The Station House in Echo Park. The album is the genesis story of a lightning bolt flashing in the eternal drama of creation and destruction. The album showcases the distinct writing styles of each member, but the overall aesthetic is a woven tapestry demarcating the timeless meridian. The record is the spawning of a collective vision. This is something we all share, and we must remind one another how electric humanity can be.

The eagerly awaited return of WORM SHEPHERD, back after a two year hiatus and member shift. With new singer Ian and the addition of members of Ingested (Thomas O'Malley), Immortal Disfigurement (Harry Tadayon) and Psycho Frame (Leo McLain), DAWN OF THE ICONOCLAST is a masterclass in Blackened Deathcore. The band comment: "I’m very excited about the new lineup. I feel like we have the most talented members that we’ve had to date. Harry (Ex Immortal Disfigurement) brings so much to the table for writing and meshes with my style so well. Tom (Ingested) is an absolute workforce on the bass and really adds some flare to the rhythm guitars with his aggressive style and tones. I’m also very excited that Leo (McClain - Original drummer) is back in the band and having him back behind the kit for the Worm Shepherd sound gives some of that original tone from our first albums together. Us having this new sort of style that we’re doing, Ian (Archaic Epidemic) fits in perfectly with his aggressiveness and tonality of our new music and I can’t wait to see what people think. This is the beginning of a new era for Worm Shepherd." - Tre Perdue (Guitars)

Fika Recordings are pleased to present Bring On The Apathy, the third solo record from Scottish songwriter Adam Ross. Adam Ross is an indie-folk songwriter based in north-east Scotland. He is a solo artist and has also led the cult indie band Randolph's Leap for over a decade, releasing music with legendary Fence Records and Lost Map as well as Olive Grove Records and Fika Recordings. He is known for his unique brand of articulate lyricism which blends humour, poignancy, wordplay and offbeat stories.. “Bring On The Apathy” was recorded onto tape, using traditional analogue techniques at Glasgow’s Green Door Studio with Samuel J. Smith. It showcases some of the most emotionally open, lyrically deft and characterful songwriting so far from one of Scotland’s most accomplished writers. The vintage recording approach brings a warmth and intimacy to a record which is in equal parts raw and organic while also beautifully arranged and performed as Adam is joined by a raft of excellent collaborators. The album itself is a reaction. Whether it be in the title, the lyrical content or the method in which the sounds were captured. “I was feeling fairly down and uninspired about the musical landscape” Adam explains. “The risk with digital recording where every instrument is overdubbed separately is that it can end up sounding metronomic, sterile and lacking personality.

I also started to get a bit freaked out by the topic of AI-generated music and the insidious, creeping impact it’s already having. I therefore decided that, as a bit of a protest, I wanted to make something that sounded extra-specially human and hand-crafted, where you could hopefully hear the interplay between musicians.” For this reason, Adam decided to record the majority of the album live, as a band, playing together in the same room without a click track. “I’d put a band together to tour my last album, Littoral Zone, and I really enjoyed the way we all worked together. Green Door Studio was chosen as the destination as it specialises in analogue sound production but it had an extra significance for Adam. “Green Door was the first studio I ever recorded in, back in 2009. This time around, the “unforgiving” nature of tape recording became an inspiration. “The musicians on the record are such great players that they rarely make mistakes, so there was a confidence there that we wouldn’t need to rely on copious amounts of editing or post-production, which isn’t always possible with tape anyway. The core band consisted of Owen Curtis-Williams on drums, Cameron Maxwell on bass, Pedro Cameron on violin, Gillian Fleetwood on harp and (long-time collaborator with Randolph’s Leap) Pete MacDonald on piano. Mercury Prize-nominated artist C Duncan was drafted in to write and perform backing vocal arrangements along with Amanda Nizich and Gillian Fleetwood. Adam says “I’d been listening to a lot of Bob Dylan, Karen Dalton and Bill Callahan records and I thought it might be interesting to apply those sorts of influences to my brand of Scottish quirk-pop”.

Remastered and recut in 2026 !

Hardcore Tekcore from Canada !!!

Banger !

Bristol duo Pume Orenge unspool a world of spectral electronica from cassette loops and instrumental improvisation on their debut album Angel By Milo for Odda Recordings.

It is a world that opens draped in ferric hiss. A fog of sound, dense and yet not quite there, catching the light in strange shades and ambient drifts. Looping and receding, looping and receding, as pucks of static burst like faraway fireworks on a cold winter’s night. Sound sources obscured, ambiguous, not quite what they seem.

Angel By Milo takes its lead from the analogue process and textures by which it was made. Percussive and melodic loops were established, manipulated and responded to with instrumental improvisation, in a give-and-take with the materiality of the medium.

Across these seven intricately developed tracks, the sound fluctuates between the cinematic and the introspective, at times melancholy, at others verging on a kind of restrained anger, before the calm sets in once more. It is music for the small hours, awash with the grainy stuff of memory.

Embedded within Bristol’s independent scene, Pume Orenge’s quiet debut also speaks to the duo’s shared roots in the area, and like many of Odda’s previous releases, contains a sensitivity to place and atmosphere, even when these are no more than implied.

Angel By Milo builds on the DIY ethos of Pume Orenge's 2023 self-titled debut EP, whose tracks were recorded live in single takes, now honing a more intentional, purposeful approach to music making. It is one in which layers of meaning are allowed to reveal themselves, a way of composing that makes a virtue of its labour and the chance occurrences that can arise in the process.

This is music in praise of shadows. Of the things we can’t quite see, the feelings we can’t quite grasp. Heard through the haze, or maybe not at all.

Fresh off the back of the successes of Work Money Death, The Flying Hats and The Library Archives: Volume 4, ATA Records is proud to present The Karman Line by Outer Worlds Jazz Ensemble.

When musicians are on tour conversations naturally turn to music. Two years ago, whilst exploring the jazz kissas and record stores of Tokyo, woodwind maestro Chip Whickham and ATA mastermind and bassist Neil Innes discussed their shared influences of Yusef Lateef, David Axelrod and Alice Coltrane. The seeds for a new project were sown and soon seven tracks of deep, spiritual, groove driven jazz were laid down and on tape.

The moods of the album are varied yet share a sense of reverence and exploration. On Karmen Cantala and All Is Chip’s flute floats and soars, propelled by dreamlike harp and waves of impressionistic piano. Low Orbit takes things in a funkier direction, arrangements with Steve Parry’s horn (including the unusual instrumentation of bassoon, French horn and tuba) channelling 1970s Quincy Jones and the loping swagger of Archie Shepp’s Mama Too Tight. The Celestial Matari and Molecules recall the flowing, cosmic sounds of Joe Henderson and Alice Coltrane’s masterpiece The Elements, and Earthly Elements gets earthy indeed. Driven by a heavy, dance-floor bass line and an array of percussion, Chips flute gets huskier, dirtier and more insistent, drawing deep from Yusef Lateef’s Psychicemotus and Roland Kirk’s Blacknuss.

Since their ground-breaking US debut the Amigos have lived a double life. In their hometown of Caracas, Venezuela, they"ve hosted underground club nights for years (the most recent called "Super Sancocho Variety"). Then, insouciant single-entendre songs like "Sexy" and the doggy-style anthem "Ponerte En Cuatro" landed them on MTV and radio, and before long, the six young men found themselves pop idols. It wasn"t hard, but their hearts remain on the dance floor and in the clubs. AREPA 3000 is live instruments, start to finish. "Electronic music tries to simulate human sounds," says the guitarist. "It"s really easy to buy a groove box or an 808 to make us sound like techno. So we try to get those sounds from our instruments, to go the other way. Make the human sounds sound electronic. When we do our club shows, I"ll spin before our set and we"ll add live instrumentation. We can play four, five hours like that.

Antônio Carlos & Jocafi, das legendäre Duo aus Bahia, dessen Musik seit über fünf Jahrzehnten den Soul Brasiliens verkörpert, kehrt mit einer kühnen neuen Zusammenarbeit zurück: Jazz Is Dead 026. Beto Barreto von Baiana System stellte Adrian Younge und Ali Shaheed Muhammad vor, und die Begegnung war sofort von Magie geprägt. ,Als wir uns zum ersten Mal trafen, war es wie bei einer Familie", erinnern sie sich. Diese Verbundenheit veranlasste Younge und Muhammad, das Duo nach Los Angeles einzuladen, wo sie eine Handvoll Ideen mitbrachten und vor Ort neue Songs schufen - ein intuitiver, improvisatorischer Prozess, der die Philosophie von Jazz Is Dead ausmacht. Mit dieser Veröffentlichung bekräftigen Antônio Carlos & Jocafi ihre kreative Vitalität und bringen gleichzeitig einer neuen Generation ihren zeitlosen bahianischen Geist näher. ,Adrians Liebe zu Brasilien ist größer als die vieler Brasilianer", sagen sie und betonen, wie aufmerksam er zuhört, studiert und die Rhythmen, Geschichten und Gefühle ihrer Kultur vermittelt. Das Ergebnis ist ein Album, das eine Brücke zwischen dem Mercado Modelo in Salvador und der globalen Bühne schlägt und die folkloristischen Traditionen Bahias mit der analogen Seele von Jazz Is Dead verwebt.

Straight from an alternative dancefloor, a recollection of stone cold classics from huge & influential post-punk pioneers. They called it white funk once, but here you can even catch echoes of latin, dub and club influences, a mutant disco manifesto from a series of British champions such as Medium Medium, Jah Wobble, Animal Magic, Blue Rondo' A La Turk, Nightmares In Wax, Tappa Zukie and many more.

Tracklist Side A:
Blue Rondo A La Turk - Sarava
Medium Medium - Serbian Village
Jah Wobble - Invaders Of The Heart (Mix One)
Perfect Zebras - What Dance Is This?
Splat! - Yeah... The Dum Du

Tracklist Side B:
Dancing Did - Ballad Of The Dying Sigh
Animal Magic - Get It Right
Nightmares In Wax - Black Leather
Tappa Zukie – Freak

Carrier’s debut album features eight elegantly rude arrangements that dance in negative space between Photek’s frictional syncopations, Rhythm & Sound’s dubwise minimalism, and Torsten Pröfrock’s fractured dynamics, bolstered on two tracks by contributions from Voice Actor and Memotone, summoning a noirish, jazzier frisson to his signature metrics and temporalities.

Since hard-snagging our ears and feet in 2023 with 12”s for FELT and his own eponymous label, Guy Brewer’s Carrier has become the go-to project for anyone who had almost given up on chasing these sorts of ultra-subtle but vitally distinctive new permutations in dance music. For the past two years, his unpredictable variations within a style have kept us all tip-toed and seat-edged with organisations of a finely chiselled percussive palette and smouldering ambient noise that distils the salient aspects and spirits of D&B, dub techno, electro-acoustic music, and trip hop with unique traction. In effect, he’s enacted a clear leap of imagination from previous work issued as part of Commix and solo as Shifted that only continues to reveal hallucinatory psychoacoustics on this first album detail.

»Rhythm Immortal« sees Brewer tilt the project into slower, resoundingly more atmospheric realms, better to luxuriate in the instinctive guile and integer-stepping style ’n’ pattern of his incredible sound. At the album’s poles, a vocal cameo by cult gynoid Voice Actor follows from Gavsborg’s on a preceding 7” single to ideally model his sound’s mutability and compatibility with trip hop forms, and Memotone helps seal the deal with a hovering glow lent to »Offshore«, whilst Carrier jostles the reins throughout with masterful control of his thing, crisply purposed to the album canvas. In that context, it’s perfectly adaptable to bodies both supine or in motion, ushering a hypnagogic sway with »A Point Most Crucial«, and hingeing around the slightest interplay of 16th-note hi-hat ruffles and recoiling reverbs on »Outer Shell«, or blissfully stepping on knife-edge 2-step on »Wave After Wave«.

The album conveys a deeply personal pulse and spiritual devotion to that kind of all-tension-no-release mode typical of so much music we love – from Kode9’s earliest re-factoring of Prince to Photek’s »Ni-Ten-Ichi-Ryu«, from T++/Dynamo and Traktor’s asymmetric dynamics to Burial’s shockout debut – refactored with a rare conviction in its unspoken powers to activate the eyes-shut imagination.

Just as you were getting your head straight coming off the 21st Trip … Brown Acid dose # 22 drops, continuing to fry your mind in a revolving trap-door Twilight Zone alternate world of early hard rock… populated by real life characters so far out they can look like a cheesy wedding band but sound like Blue Cheer! Uncanny! This music comes at you from many angles. Teens in a garage colliding with booze, drugs and girls for the first time, lounge lizard hustlers with snazzy stage clothes and fuzz boxes… gnarly backwoods troublemakers meet blow dried glam rock wannabes here, seamlessly clobbering your head with sound rather than each other! An electric post-psychedelic bar brawl for your mind awaits, unfasten your seat belt, crank it up and fly! Sounds Synonymous "Babylon" out of Flint, Michigan 1969 rip the devastating Blue Cheer classic a new one, immediately swarming you with organ swells and distortion before collapsing into a tuff funk groove, a psychedelic James Brown vibe shot through with dirty howling fuzz guitar, vocals nailing the messed up but confident relaxed sneering attitude of the original Cheer eruption. The Bumps "Shining" from Seattle 1969 resides right at the transition of ‘60s psych into early prog, well constructed, no diluting things artsy fartsy style, a compelling heavy riff, spacious vocal harmony hook floating above a turbulent take on getting your shit together and shining like a star. Fat chance, but you can dream, the band did and their dreams kick ass across time to right now or you wouldn’t be here.

Coulda been a hit back then, definitely a hit now. Riverside "Farmer" explodes out of Austin, Texas 1974, economical but brilliantly structured riffs and power chords, intense dynamic tension/release, fantastic screaming leads over shifting angles of attack during the middle break… it’s all here with a detached confidence in the vocal that swaggers back in time to the late ‘60s in its proto-heavy psych adjacent assault. Cincinnati Joe & Mad Lydia "Get It Together" for real in Cincinnati, Ohio 1970. The song says everything you need to know: “You may think that you’re the very best, miles and miles ahead of the rest, but be sure when you’re put to the test you get it together!” These words are deployed in a manner similar to Peter Green’s “Oh Well”, intermittently stated between killer gnarly guitar and gushy organ attacks. Bar band heaven and hell rolled up into one big ball, the vocals get all the way out there! Straight Up "Fire" takes the monster 1968 Crazy World Of Arthur Brown hit into faithfully executed but surreally minimalist territory, Minneapolis, Minnesota 1974. Genius version of a key song that presciently cuts to the chase regarding Brown Acid’s incinerations of psychedelic idealism, you’re gonna burn, burn, burn… as that moment climaxes you can gawk at their preposterous flashy lounge band stage outfits and realize side one must end because everything is totally scorched into eternity. Scrap Iron "Poopsie" is a primitive two chord stomper with spiraling fuzz and organ riffs, singer marking his territory caveman style. “Poopsie, you’re my woman” he commands, but gets weirdly insecure she’ll blow him off at the altar by the end of each verse. Snarly wah-wah ices this toxic cake out of Carteret, New Jersey 1973. Focused delivery so single-mindedly crude it creates an inescapable instant brain-worm. Lady "Live Show Tigers" is amongst the most potently life affirming trash rockers you’ll ever hear, one outrageously triumphant but fiercely sloppy anthem about living it up like a star, strutting the stage glammed up New York Dolls drag style but with a Dictators sense of humor. Tasty slightly off kilter guitar leads all through, going serendipitously berserk on the fade. Picture disc single out of L.A. 1980. Fantastic fun rock star rock at a very raw local street level where any time is party time.

Killer Frog "Hard Times" on Masochist Records from Chicago, Illinois 1972 takes less than two minutes, an action packed James Gang style bar band rocker with a bit of punky sneer in the face of misfortune. These guys never even heard of flower power. They are killer frogs. Good Humore "Killer" does kill in stripped down hard rock trio style, Warren, Michigan 1976. No frills guitar, bass and drums groove tight, snaky primordial riff, snarly licks. “She’s a killer of a woman, knows just what she’s doing…” The singer knows she’s a femme-fatale roadhouse predator but she’s so hot the inevitable wreckage seems a bargain. Ride it out like the extended jam on the fade knowing she’ll be back for more! Sarawest "Space Rider" winds up the 22nd Trip lost in a twisted two chord space adventure from the point of view of an alien visiting our planet seeking knowledge but finding out we are stupidly destroying ourselves, so he gotta split sneering back at us like we wasted his time “I got no time for loving… I wanna be a space rider, space rider”. Toronto, Canada 1974, a vibe lurking in some strange but funny void between late ‘60s outsider garage psychedelic rock complete with reverb-y acid guitar leads and late ‘70s retro-futuristic D.I.Y wisecracking from inner space… taking the piss out of outer space!

Just as you were getting your head straight coming off the 21st Trip … Brown Acid dose # 22 drops, continuing to fry your mind in a revolving trap-door Twilight Zone alternate world of early hard rock… populated by real life characters so far out they can look like a cheesy wedding band but sound like Blue Cheer! Uncanny! This music comes at you from many angles. Teens in a garage colliding with booze, drugs and girls for the first time, lounge lizard hustlers with snazzy stage clothes and fuzz boxes… gnarly backwoods troublemakers meet blow dried glam rock wannabes here, seamlessly clobbering your head with sound rather than each other! An electric post-psychedelic bar brawl for your mind awaits, unfasten your seat belt, crank it up and fly! Sounds Synonymous "Babylon" out of Flint, Michigan 1969 rip the devastating Blue Cheer classic a new one, immediately swarming you with organ swells and distortion before collapsing into a tuff funk groove, a psychedelic James Brown vibe shot through with dirty howling fuzz guitar, vocals nailing the messed up but confident relaxed sneering attitude of the original Cheer eruption. The Bumps "Shining" from Seattle 1969 resides right at the transition of ‘60s psych into early prog, well constructed, no diluting things artsy fartsy style, a compelling heavy riff, spacious vocal harmony hook floating above a turbulent take on getting your shit together and shining like a star. Fat chance, but you can dream, the band did and their dreams kick ass across time to right now or you wouldn’t be here.

Coulda been a hit back then, definitely a hit now. Riverside "Farmer" explodes out of Austin, Texas 1974, economical but brilliantly structured riffs and power chords, intense dynamic tension/release, fantastic screaming leads over shifting angles of attack during the middle break… it’s all here with a detached confidence in the vocal that swaggers back in time to the late ‘60s in its proto-heavy psych adjacent assault. Cincinnati Joe & Mad Lydia "Get It Together" for real in Cincinnati, Ohio 1970. The song says everything you need to know: “You may think that you’re the very best, miles and miles ahead of the rest, but be sure when you’re put to the test you get it together!” These words are deployed in a manner similar to Peter Green’s “Oh Well”, intermittently stated between killer gnarly guitar and gushy organ attacks. Bar band heaven and hell rolled up into one big ball, the vocals get all the way out there! Straight Up "Fire" takes the monster 1968 Crazy World Of Arthur Brown hit into faithfully executed but surreally minimalist territory, Minneapolis, Minnesota 1974. Genius version of a key song that presciently cuts to the chase regarding Brown Acid’s incinerations of psychedelic idealism, you’re gonna burn, burn, burn… as that moment climaxes you can gawk at their preposterous flashy lounge band stage outfits and realize side one must end because everything is totally scorched into eternity. Scrap Iron "Poopsie" is a primitive two chord stomper with spiraling fuzz and organ riffs, singer marking his territory caveman style. “Poopsie, you’re my woman” he commands, but gets weirdly insecure she’ll blow him off at the altar by the end of each verse. Snarly wah-wah ices this toxic cake out of Carteret, New Jersey 1973. Focused delivery so single-mindedly crude it creates an inescapable instant brain-worm. Lady "Live Show Tigers" is amongst the most potently life affirming trash rockers you’ll ever hear, one outrageously triumphant but fiercely sloppy anthem about living it up like a star, strutting the stage glammed up New York Dolls drag style but with a Dictators sense of humor. Tasty slightly off kilter guitar leads all through, going serendipitously berserk on the fade. Picture disc single out of L.A. 1980. Fantastic fun rock star rock at a very raw local street level where any time is party time.

Killer Frog "Hard Times" on Masochist Records from Chicago, Illinois 1972 takes less than two minutes, an action packed James Gang style bar band rocker with a bit of punky sneer in the face of misfortune. These guys never even heard of flower power. They are killer frogs. Good Humore "Killer" does kill in stripped down hard rock trio style, Warren, Michigan 1976. No frills guitar, bass and drums groove tight, snaky primordial riff, snarly licks. “She’s a killer of a woman, knows just what she’s doing…” The singer knows she’s a femme-fatale roadhouse predator but she’s so hot the inevitable wreckage seems a bargain. Ride it out like the extended jam on the fade knowing she’ll be back for more! Sarawest "Space Rider" winds up the 22nd Trip lost in a twisted two chord space adventure from the point of view of an alien visiting our planet seeking knowledge but finding out we are stupidly destroying ourselves, so he gotta split sneering back at us like we wasted his time “I got no time for loving… I wanna be a space rider, space rider”. Toronto, Canada 1974, a vibe lurking in some strange but funny void between late ‘60s outsider garage psychedelic rock complete with reverb-y acid guitar leads and late ‘70s retro-futuristic D.I.Y wisecracking from inner space… taking the piss out of outer space!

A1. Cirkel Square - Can’t Stand You
666 Recordings brings back Cirkel square to the A side.
A deep dive into hypnotic dub, where layered electronic sounds pulse and shimmer.
Each echoing hook line and delayed rhythm draws you deeper, creating a mesmerizing, immersive experience that lingers long after the last beat.

A2. Cirkel Square – Zeus Overture
This track captures the essence of lazy, sun-drenched days along the Greek coastline. Soft percussion mimics the rhythm of waves lapping against the shore. Every note evokes the golden light and quiet serenity of a Mediterranean afternoon.

B1. Tony Waller – We Control
Representing Brighton on the South coast of England Tony Waller delivers a track that evokes the raw energy of the old-school warehouse. Deep basslines resonate beneath sharp synths that cut through the air, transporting you to an underground world of midnight exploration.

B2. Pat Waller – Mupa
Also representing Brighton delivers the final track that envelops you in a dreamlike state.
With intricate soundscapes, subtle melodies and a shadowy beat that guides you deeper inward, like a nocturnal journey through mystery and stillness.

**RED VINYL**Bookending “This Is My Blood “ are two cinematic hypnotist slide lute pieces that evoke contemporary deserted landscapes. They were improvised and made for “ Maquina”, a film shot in the Colorado desert during a psychedelic trip by film maker Joaquim Pujol. The works on here, like the ecstatic second piece invite a return to long form listening. They explore contemporary darkness and contemplate personal loss. There is solely one vocal piece, “ Remission”. A worldwide concert tour of this material is slated for 2026/2027. Since studying the lute in New York with Patrick O'Brien in the 1990s, Van Wissem has gone on to create works equally as rooted in classical Renaissance and Baroque forms of lute music, as contemporary sounds spanning drones, electronics and field recordings. Throw in some of his formative influences from the no wave and industrial scenes, alongside a dedicated approach to minimalism and this has resulted in Van Wissem producing distinct and singular work whose sound is often a marriage of opposites; meditative and intense, forward thinking but with a sense of the arcane. The Quietus has called him "probably the most famous lutenist in the world”. Jozef Van Wissem is an avant-garde composer and lutenist who plays a unique all-black baroque lute. His timeless music is often described as hypnotic, minimal, and hauntingly atmospheric, merging beauty with a dark, meditative edge. His lyrics have a mythical Christian appeal, incorporating themes of love, faith, and the afterlife, often with a repetitive, mantra-like quality. Bridging classical traditions with modern sounds like drones, electronics, field recordings and voice. He collaborates with filmmaker and musician Jim Jarmusch, including the award-winning soundtrack for Only Lovers Left Alive, for which Van Wissem won the Cannes Soundtrack Award in 2013. He also scored the Sims Medieval Video game ( 2011), Uncle Howard ( 2016) Land (2018), Irma Vep (2022), Queens (2023) and Un Prince (2024). He did a world tour in duo with Jarmusch in 2025 and their 5th record “ The Day The Angels Cried” was released. Van Wissem tours extensively, performing in diverse venues from rock festivals to churches, and has worked with artists like Tilda Swinton and Zola Jesus. In 2019 he was commissioned by Cinematheque Francaise to score the silent horror film Nosferatu (1922). He released the soundtrack in 2022 on his own Incunabulum label. The New York Times wrote: Beginning with a solo played on the lute, his performance will incorporate electric guitar and distorted recordings of extinct birds, graduating from subtlety to gothic horror. “My soundtrack goes from silence to noise over the course of 90 minutes,” he said, culminating in “dense, slow death metal.” In 2024 Van Wissem did a sold out nationwide American tour with the film. A worldwide tour is slated for 2026/2027

Krystian Shek & Milly James return with Never Ending on Cinta Gara, and it feels like a natural next step after the beautiful impact they made with their standout Greyscale release, a record that firmly positioned them in the deeper, more immersive corner of dub-driven electronic music. With Never Ending, the duo continue to refine that signature feeling: warm, hypnotic, deeply musical, and full of emotion. This is music that moves with patience and confidence, rooted in dub house, but carried by a timeless house sensibility that makes it equally powerful at home, in the club, or in those early-morning moments when everything locks in.

A truly obscure gem recorded just weeks before Hurricane Gilbert struck Jamaica in 1988. Fittingly, it resurfaces now as the island has just endured its most devastating storm since then. Captured at Dynamic Sounds Studio in Kingston, with the riddim laid by the mighty Firehouse Crew and originally released on the Apple Tree label, this is the long-awaited reissue of Tony Candy’s Rich and Switch, pure heavy digi business.

“Lonesome for a Storm” is the result of a felt sense in the summer of 2024.

A fleeting feeling in the body meditated on and played through a restrained pallette of instruments and found sound . LFAS is Gustav Kemps’s first solo album under his own name, but he’s been a frequent behind the scenes coll- aborator in various other bands (if you can connect the dots, there’s a lot to find). Mystery can be fun, but this album of his feels tender and generous in what it conveys.

RIYL: Empress, Loren Connors, Penguin Cafe Orchestra, The Humble Bee, Yo La Tengo, Taku Sugimoto...

Portal Replica welcomes cult Australian duo, B(if)tek, onto the label with a first-time-on-vinyl release of their debut album ‘Sub-vocal Theme Park’ released in 1996 exclusively onto CD. The 2x12” release includes the original album, plus additional never-heard-before 'lost' tracks from the pair. The album has been mastered by Rashad Becker at Clunk Studios (DE) and pressed to 180g heavyweight vinyl.

Kate Crawford and Nicole Skelty’s pioneering electro-femme outfit ‘B(if)tek’ can be traced back to 1994 in Canberra, where lack of blueprint blossomed their playful and bizarre experimentations in techno — ‘feminism with a wink and a bleep’. Thirty years on, the uniqueness and ingenuity of B(if)tek’s deep analogue exploration endures.

“Monstrous clowns dressed as princes whose role is to laugh at themselves and entertain outlandish beings, suffocated by etiquette, conspiracy and lies, bound by confession and remorse … and beyond that, the auto-da-fe and silence.” – Ferdinand (Pierrot), from the film “Pierrot Le Fou” .

Photography by Kate Crawford.
Design by Jesse Sappell.
Mastered by Rashad Becker at Clunk Studios, DE.