2026 Repress
Oh yes! First ever official reissue of the positively sublime and very rare Butterfly LP, recorded in Tokyo in 1979 by Japanese songstress Kimiko Kasai and jazz legend Herbie Hancock.
Due to it's super-rare status as a Japan-only release, this exquisite collection of covers never got the recognition it deserved at the time, despite incredibly inspired performances from Kimiko, Herbie and the supremely talented musicians assembled for the project. From heavenly drummer Alphonse Mouzon and renowned organist Webster Lewis to bassist Paul Jackson, reedman Bennie Maupin and the master percussionist Bill Summers, the legendary performers crafted amazingly good vocal versions of Herbie / Headhunters jazz-funk. Unsurprisingly, it has been heavily in demand for many years.
The LP opens with Kimiko's highly desirable version of "I Thought It Was You", an elegant take on Herbie's own anthem. Other superb re-workings include the delicately soulful "Butterfly", jazzy groover "Sunlight", the smooth and sexy "Tell Me A Bedtime Story" and the beautiful ballads "Maiden Voyage" and "Harvest Time". A wonderful example of perfectly understated and masterful jazz-funk soul fusion that shouldn't be missed, the set closes with a jaw-dropping version of Stevie Wonder's "As".
This lovingly curated reissue enables a long overdue reappraisal of this hitherto unavailable masterpiece. The stunning artwork which adorned the original jacket - complete with OBI strip and sumptuous
4 page folded insert - has been faithfully restored. Simon Francis' sensitive mastering elevates the sound throughout and, as ever, it has been pressed at a reassuringly weighty 180g. Essential.
A dream come true for A Colourful Storm to be releasing an early gem by Tenniscoats, a duo whose DIY spirit, boundless creativity and lust for life and collaboration has left an indelible mark. From self-releasing albums and tapes on their own Majikick imprint to meeting kindred spirits The Pastels, Bill Wells and Jad Fair in between outings for Morr Music, Chapter and Häpna, to name but a few, Tenniscoats have embodied an understated determination and optimism for over two decades.
"A foghorn melodica, voice, fractions, fragments, nothing and everything all at once. We Are Everyone opens out slowly, a little eerily, magic tumbles into play in well-measured rations. Meanwhile, on the cover, Saya and Ueno's heads seem to merge into the sky as if living amongst the wisdom of the clouds. Or maybe somewhere between sleep and reality, like Ueno's description of Tenniscoats' music. We Are Everyone is one of those records where you almost feel engulfed in its making - you feel like you're in the room with Tenniscoats as they push themselves to the limit, trying to make the very best record they can." - Stephen Pastel
A raw, groove-driven selection of previously overlooked 1990s recordings by legendary Turkish jazz impresario Okay Temiz, compiled here for the first time.
As the story goes, throughout the 1990s, Okay Temiz roamed the nights of İstanbul in search of rhythm — moving through its far corners, from the seedy underbelly to gypsy neighborhoods, from the outskirts of the city to smoke-filled taverns where cigarette haze turns into a living cloud atlas — capturing a largely unknown and maverick period of his work.
Compiled by long-time producers Haluk Damar and Erinç Güzel, the album brings together Turkish folk textures, İstanbul tavern sound, spiritual jazz, raw street groove, and flashes of Turkish psychedelia — with moments shaped by Temiz’s own distinctive vocals. The result is a deep, percussive, and highly playable set.
Positioned between global jazz, rare groove, and dancefloor material, İstanbul Groove is a strong crossover release with appeal across both listening and DJ set contexts.
In a blizzard of crushed breaks and dissonant tones, Shelley Parker lands on Sneaker Social Club with her third album, Screed. Taking a forensic approach to noise sculpture and harmonic interference, the UK-based artist maintains a fringe perspective on the legacy of hardcore-derived dance music, extrapolating the renegade spirit of the earliest innovators into unexplored zones where sound art and sound systems collide.
Parker's path through the underground has been informed by her art school background, equally at home in the parallel world of galleries, installations and institutions as she is in the club. This dualistic dimension to her practice charges her music with an outsider spirit that manifests across 10 striking new productions on Screed. Focusing on the sound over an umbrella concept, it's an album that rejects comfortable, functional formulae in favour of original expression.
There are plenty of forthright structures for DJs and dancers to lock onto, from the militaristic techno thrust and tightly clipped breakbeat loop of 'Relentless' to the splayed boom bap guiding the giddy string sequences of 'Stargazer Lily'. The insistent pulse of 'April' meanwhile offers only the faintest of paths to navigate dense thickets of jerky, swinging static and metallic clamour. 'Georgian Wire' closes the record out on dissembled drum licks with a brittle patina - a scooped out closer with the skeletal remains of a rave dialect that's second nature to someone with as much skin in the game as Parker.
In amongst those tracks lies a wide-ranging tapestry of rhythmic, textural and emotional approaches, from head-knocking beatdowns to billowing clouds of dub techno, angular stabs and industrial smudges. On Screed, Parker proves herself to be peerless and purposeful in her quest to find new forms within the well-worn canon of hardcore and rave.
Celebrating 5 years of The Vernon Springs "A Plane Over Woods". Remastered and repackaged for 2026 with new artwork. The Vernon Spring will be touring the album from October 2026 into Easter 2027 when he will release his new album "CRACKED"
Das selbstbetitelte Debüt von South 1998 (ehemals South) ist vielleicht das, was dem alten Label Jagjaguwar jemals am nächsten kam, Musik zu veröffentlichen, die sich auch bei, sagen wir mal, ECM Records wie zu Hause anhören würde. Spitzt die Ohren, und ihr werdet es hören - Pat-Metheny-artige, klare, ausgefallene Gitarrenklänge, die geduldig zu trägen, hypnotischen, an Steve Reich erinnernden mathematischen Sackgassen geschichtet werden; ineinandergreifende Hackbretter und Vibraphone, die fallen und wogen wie an einem seltenen Tag mit starkem Schneefall in einer Stadt im Süden; die leisen und selbstbewussten Gesänge von Patrick Phelan und Nathan Lambdin, untermalt von den gleichmäßigen Rhythmen des Schlagzeugers Tod Parkhill. Bei der Erstveröffentlichung bezeichneten wir das Projekt aus Richmond, Virginia, als ,Exegese der großen Ambient-Rock-Momente des 20. Jahrhunderts". Daran halten wir fest. Doch bei näherer Betrachtung und mit dem Rückblick auf fast 30 Jahre seit der Veröffentlichung der LP sind ihre kleinen, kniffligen Schätze erst richtig zur Entfaltung gekommen. Es fällt schwer, keinen Vergleich zu einer zeitgenössischeren Künstlergeneration anzustellen, wenn man ,South 1998" wiederentdeckt, das nun aus SEO-Gründen umbenannt wurde (wer hätte das damals gedacht!?!?). Der experimentelle Slowcore-Experimentalismus von Escho Records aus Kopenhagen und ML Buch; ein bisschen von den Vorreitern der Cloudrock-Szene (und Jag-Labelkollegen) Chanel Beads; eine ganze Reihe von Veröffentlichungen des angesehenen (und unterschätzten) norwegischen Labels Hubro. Aber es verdient auch einen Platz im Regal neben seinen zeitgenössischen ,Post-irgendwas"- und ,Pre-irgendwas"-Kollegen von damals - Tortoise, Bark Psychosis, The Sea & Cake. ,South" von 1998, ein unbestrittener Jagjaguwar-Klassiker, war an sich nie verloren gegangen, aber wir haben es für euch wiederentdeckt - zum ersten Mal überhaupt auf Vinyl, als Teil unserer Feierlichkeiten zum 30-jährigen Jubiläum.
Devotional music most often gets distilled into earthy chants and ancient folklore, it doesn't always ascend to the sky like Julinko’s ‘Naebula’ an album that from the first organ note clearly trades in terrestrial dreams for ethereal visions. A feverish quality permeates the whole record, as if a ritualistic performance was being captured from start to finish, a collection of hallucinatory doom, synthetic neo-folk hymns and ghostly art-rock.
Julinko, stage name for Giulia Parin Zecchin, has long been one of the best kept secrets of the experimental community in North-East Italy, with three records that helped define her unique blend of heavy psychedelia, slowcore and dark ambient. On ‘Naebula’ what really stands out is how powerful and soaring her voice is, a weapon of undeniable force that can transform into a vessel of raw fervour or glide effortlessly as a delicate lament. Her unconventional approach shines through on tracks like ‘Jeanne De Rien’, where a marching pulse acts as a pillar for an extended mantra, almost verging into powwow territory. ‘Peace Of The Unsaid’ uses its arrhythmical structure to create space, a crepuscular night ode that reaches the heights of Sinead O’Connor’s most intimate force-fulness while retaining a sweet composure. Whether it’s glacial murderous shrieks or gospel-esque vitality, songs like ‘Cloudmachine’ or ‘Kiss The Lion’s Tongue’ seem to draw as much from a tradition of European minimalism, the use of drones and repetition, to the tradition of folksongs as hymns, where modal harmonies make way for an apparent stasis. Another key element in Julinko’s songwriting is the seamless blend of her minimalistic approach with these dense textures borrowed from a distant outsider metal heritage, Lynchean noir on steroids or wordless exorcisms with deep undercurrents.
NOAHFINNCE’s ‘STUFF FROM MY BRAIN / MY BRAIN AFTER THERAPY’ is a collection of songs written before and after therapy.
The debut double EP collection features guest vocals from Chris Freeman of Hot Mulligan and builds the world of NOAHFINNCE’s unique, hyperactive brain.
The project tackles issues like depression, anxiety, ADHD, past trauma and the path toward prioritizing mental health.
Deeply personal, but always expressed with a cheeky, quirky, not-so-serious sense of humour, NOAHFINNCE showcases the big personality that has amassed a huge YouTube following and led
him toward being a leading voice in Trans/LGBTQ+ youth issues.
With songs like ‘AFTER THERAPY’ and ‘LIFE'S A
BIT’, NOAHFINNCE is poised to break out as this
year’s new star of the new wave of pop punk.
In Gianfranco Rosi’s portrait of Naples, Sotto le Nuvole, the ground shakes periodically. Between Mount Vesuvius and the Tyrrhenian Sea, the fumaroles of the Phlegraean Fields hiss volcanic gas and steam. Below the sleeping volcano, modern day Naples emerges in black and white and fills with voices, with lives. From the traces of history and the concerns of the present, Rosi documents a city immersed in its continuous past, with Daniel Blumberg’s minimal soundscape hovering in a sonic space between liquid and air.
Tasked with creating a soundscape that would suspend space within Rosi’s film, Blumberg called upon the extended technique of saxophonists Seymour Wright and John Butcher to create a gossamer fabric of traces and sounds abstracted from their instruments. Having transitioned from theoretical physics to the saxophone, John Butcher has always deeply considered space in the context of his playing. His concerns are with flow, density and how the saxophone is situated in the living world. Zeroing in on the core sonic properties of the mechanical and acoustic components of the saxophone, Seymour Wright has integrated its every breath, reed vibration, keypad clatter and hissed microtone of his alto into his own, unique improvisational language. In his work with these two seminal players, Blumberg makes his most concentrated soundtrack to date - reinforcing the film's sense of overlapping time and space, and pushing at the limits of experimentation.
Initially recorded in Daniel’s flat in London, Butcher and Wright centre themselves around long, consistent tones, so soft that it seems breath is being gently pulled from the saxophone's bell by an invisible hand. Blumberg himself adds haunting bass harmonica, and recordings of Wright’s launeddas - a traditional and ancient triple pipe polyphonic reed instrument from Sardinia, Italy. Blumberg then travelled to the volcanic region of Baia, next to Pompeii. Once a flourishing classical Roman city loved by Nero, Baia slowly sank under hydrothermal pressure, leaving the city in a kind of geological purgatory. Using specialised geophones and hydrophones, Blumberg took those initial recordings and amplified them underwater, sending them calling out across the ruins of Baia’s mosaics, Nymphaeum statues and villas.
“It was important to me that the music was whispered in the same landscape that Gianfranco has worked for the past three years, so that you can hear the volcanic air gulping, the lapping of the waves, the steam and bubbles popping against John and Seymour’s saxophone breaths – an echo from a suspended time.”
What emerges is deeply melancholic, tender, subtle and right at the edges of audio technology. Submerged in an aquarian mausoleum, the mysterious vibrations of the saxophone and its bell become an echo of an echo, wading from the future into the past. ‘Sotto le Nuvole’ is less a soundtrack than a process of aeration - a sonic puncture in the material of the film which allows its central message to breathe, and a remarkable experiment at the limits of the saxophone’s possibility.
A highlight from Sleaford Mods' acclaimed The Demise Of Planet X album, Elitest G.O.A.T. had already brought together the duo's minimalist electronics and Aldous Harding's light-as-a-cloud guest vocals, but why not throw another visionary artist into the mix? Bolstered with vicious beats and squelchy synths, The Prodigy have upped the elite levels with their Acid Thunder Mix, seamlessly fusing their pioneering spirit with Sleaford Mods' innovative energy. The G.O.A.T. just got greater..
If you don't know 'Clouds' then, quite naturally, you'd have to be living underground. The work of Venetian composer Gigi Masin went mostly ignored until Music From Memory's early-2010s reissue campaign pulled him and his ingenious ambient works out of the murk, among which many salvages include his now calling-card, 'Clouds'. Re-pressed astonishingly through P-Vine of all labels, this soul-quelling masterwork - first recorded in 1989 for a split release with Charles Hayward and mostly forgotten until said reissue - appears here at two various RPM speeds. The tune really does invite speeding up and slowing down at your leisure, especially if you're a dance music DJ's DJ who wants to prelude a set with a moment's iconic lushness.
Repress 2026
Two years after releasing the acclaimed Crash Recoil, Anthony Child aka Surgeon returns to Tresor with new LP, Shell~Wave. Retaining the minimal equipment list and studio-version-of-live-show-sets approach of the previous album in order to focus on the work itself, Shell~Wave is a deeply personal document of both where Surgeon is and has been, converging three decades of experience with a continued curiosity in the untested.
“To make this project, I had to dig really deep in terms of what my relationship was to techno; I’ve been involved with it for a really long time and there’s a lot about it I feel dislocated from, so I had to really think hard about what techno is to me. I often get asked “what is techno to you?” but I can’t answer that with words; this album is the answer.” From the complex, twisting track Infinite Eye to the caustic Soul Fire, the eight tracks that make up the body of the album are single-take explorations of the vast, hard yet minimal techno Child is synonymous with.
Neatly dividing the record in two, the emotional centre of the record comes in the form of Dying, a vibrating, beatless piece that with a mantra-like vocal loop steeped in reverberating effects. Further echoes of dub production appear throughout the record as tracks like Divine Shadow, and Empty Cloud have an almost ever-present mist of reverberation, driven by the appearance of a new delay unit in the equipment list; while much of the philosophy of Crash Recoil’s creation is present, the process and the instruments have changed as Child again switches up his approach to studio work.
This insistence on trying novel techniques doesn’t preclude returning to old ones, as this use of modern digital machines with live, hands-on takes that are as inspired by 60s producer Joe Meek and 70s reggae as they are by this year’s synthesiser expos.
“For me, it’s an interesting experience returning to old techniques again after 30 years. I’m always exploring and finding myself back at the beginning. Connecting the present with the past.”
This philosophy of ‘time travel’ is inherent to the music itself as the synchronised loops repeat while the delay and effects branch out, forming unique eddies; distinct quantum moments within the circular whole; the future leaking through the spaces between the sounds. All of the concepts on the album are perfectly communicated through the painting by Taiwanese artist Jazz Szu-Ying Chen which suggests the movement of water, sound waves, and the chitinous shells of sea creatures.
MEMORIALS jump off the waterslides and head above the clouds with their stunning second album, ‘All Clouds Bring Not Rain’. The duo of Verity Susman and Matthew Simms (formerly of Electrelane and WIRE) locked themselves away in a studio in a barn secluded deep in the woods in southwestern France and re-emerged with a beautiful, unusual record that is both melodic and unconventional. For such an ambitious album it’s striking that it was written, performed, recorded and mixed solely by the two of them. Sounding like an unearthed classic, MEMORIALS twist their influences into their own unmistakable sound. Imagine Nico singing with Can produced by David Axelrod and you’re somewhere in the right ballpark.
The record draws inspiration from a wide range of music including folk, dub, post punk, experimental tape music, 60s soul, garage rock, 70s spiritual jazz and Canterbury prog. This attention to detail in their sound meant finding several other studios to get what they needed to record with, including a harpsichord at 4AD’s studio in London and a vibraphone and vintage Leslie speaker in Stereolab drummer Andy Ramsay’s studio Press Play. Verity’s distinctive, unadorned singing is a focal point of the record, moving from tender to wild. Her vocal melodies quickly become earworms, providing the tuneful heart around which the songs’ more unorthodox elements are arranged, which is where Matthew’s unconventional approach to recording and production comes to the fore. With their adventurous arrangements, classic songwriting skills and innovative production techniques, MEMORIALS have created another mesmerising listen that’s accomplished and compelling in its unique approach yet remains dizzyingly immersive - just like their acclaimed live shows.
Chicago producer and composer Will Miller’s Resavoir has established a strong following at the intersection of jazz, electronic music, and beat-driven production, with more than 9,000 vinyl records sold and 82M+ streams across the project’s first three albums. Resavoir’s 2019 self-titled debut received an 8.2 from Pitchfork alongside broad international critical acclaim, with ongoing support from Gilles Peterson, Lefto, Anthony Valadez, Somewhere Soul, Andrew Jervis and Lovie, plus airplay on BBC 6 Music, KEXP and NPR. Recent recognition includes placements on NPR, KMHD and New Commute’s Best Albums/Songs of 2025, while Resavoir has toured extensively in the UK and Europe and opened for Khruangbin, BADBADNOTGOOD and Kassa Overall.
Above The Clouds finds Resavoir moving further into electronic territory, combining jazz improvisation with dreamy synthesizers, booming drums, smeared samples and electronic instrumentation. Recorded through loose studio sessions with longtime collaborators Lane Beckstrom and Jeremy Cunningham, with contributions from Kenneth Leftridge Jr. and Gregory Uhlmann, the album incorporates wind synthesizers, samplers, guitars, electronic drums and woodwinds into a fluid, groove-oriented sound. The album follows Resavoir’s growing presence across editorial and playlist platforms including Apple Music, Spotify, TIDAL and Delicieuse Musique, with US and EU/UK touring planned for Fall 2026.
Chicago producer and composer Will Miller’s Resavoir has established a strong following at the intersection of jazz, electronic music, and beat-driven production, with more than 9,000 vinyl records sold and 82M+ streams across the project’s first three albums. Resavoir’s 2019 self-titled debut received an 8.2 from Pitchfork alongside broad international critical acclaim, with ongoing support from Gilles Peterson, Lefto, Anthony Valadez, Somewhere Soul, Andrew Jervis and Lovie, plus airplay on BBC 6 Music, KEXP and NPR. Recent recognition includes placements on NPR, KMHD and New Commute’s Best Albums/Songs of 2025, while Resavoir has toured extensively in the UK and Europe and opened for Khruangbin, BADBADNOTGOOD and Kassa Overall.
Above The Clouds finds Resavoir moving further into electronic territory, combining jazz improvisation with dreamy synthesizers, booming drums, smeared samples and electronic instrumentation. Recorded through loose studio sessions with longtime collaborators Lane Beckstrom and Jeremy Cunningham, with contributions from Kenneth Leftridge Jr. and Gregory Uhlmann, the album incorporates wind synthesizers, samplers, guitars, electronic drums and woodwinds into a fluid, groove-oriented sound. The album follows Resavoir’s growing presence across editorial and playlist platforms including Apple Music, Spotify, TIDAL and Delicieuse Musique, with US and EU/UK touring planned for Fall 2026.
Ibiza-based Jazz N Palms is back with more musical dispatches from the calmer side of the island that follow on from his Ses Rodes album in 2022. That record was focused on a double album assembled, as if over a Cartesian grid of space-time. While one record was about space/the environment, the other was following the times of the day. This 7" expands that with more music inspired by magical island spaces.
These tracks were recorded in Magrana Studio in Ibiza with three new musicians and, after the post-production, the mixing was made with the help of Ben Westbeech and his beautiful Unfairchild II, an amazing Californian reproduction of the holy grail of tube compressor that has been present in Abbey Road studios since the 60s.
Opener 'El Valle' ('the valley') captures the different shades of light that pass over Ibiza, from early spring light to the arrival of looming clouds and the first thunders of a summer storm. It is the organ which serves as the main character to convey those sensations and the passing from light to dark as a live, loose and dusty groove bounces below. On the flip side, 'La Costa' simulates cruising on the open sea, riding choppy swells as waves lap at the boat and you gaze at the passing landscapes. Only drums and bass have been used to convey the feeling, and the result is a wonderfully uneven, ever-evolving and funky groove full of life.
Tauchen Sie ein in eine faszinierende Welt voller mystischer Klänge, sphärischer Melodien und geheimnisvoller Atmosphären. „Mystic Spirits“ entführt den Hörer auf eine musikalische Reise zwischen Meditation, Mystik und entrückten Klanglandschaften.
Sanfte elektronische Sounds, eindrucksvolle Arrangements und geheimnisvolle Stimmen verbinden sich zu einer außergewöhnlichen Klangwelt, die zum Träumen, Entspannen und Abschalten einlädt. Die Compilation vereint
stimmungsvolle Titel, die eine ganz besondere Atmosphäre zwischen Spiritualität, Fantasy und New Age schaffen.
Mit dabei sind hochkarätige Künstler wie Mike Oldfield, Lesiem und Angelzoom, deren charakteristische Sounds perfekt in das mystische Konzept dieser Zusammenstellung passen. „Mystic Spirits“ – eine musikalische Reise in geheimnisvolle Klangwelten für alle, die außergewöhnliche Musik mit Tiefe und Atmosphäre lieben.
Part celebration, part reflection, THE TIME OF OUR LIVES arrives as both the final release of Lancey’s twenties and the closing chapter of a creative world he has spent the last decade constructing. The most expansive statement of his career to date, moving freely between trap, alternative R&B, dance music, Afro-influenced rhythms and more, Lancey explores triumphant highs and lows of stark vulnerability across the album, interrogating ideas of success, freedom, loneliness and what it truly means to have the time of your life. Lancey Foux stands at the forefront of UK rap’s evolution, blending elements of hip-hop, cloud rap, trap, Jersey club, drill, and more into a sound that’s uniquely his own. Since emerging from Newham, East London in 2015 with a clutch of freestyles and SoundCloud singles, Lancey has occupied a lane entirely of his own making. As he closes out his twenties, Lancey looks ahead to the next decade full of more unpredictable artistry as he continues to break the rules and change the game.
Since the release of DAMAGED in 2024, Michael Fiedler aka GHOST DUBS has been surfing intensifying waves of adulation, earning praise from such diverse underground legends as Justin Broadrick (Godflesh/Jesu), Regis, Stefan Betke (Pole) and Steve Von Till (Neurosis). With second album Oblique, his mastery of sculpting sound waves results in a spellbinding set of alien soundscapes: larger in scale, richer in tone and considerably more cinematic than its predecessor. Lower, deeper and moodier, its cloudy abstractions, shadowy pulsations and submerged rhythms find Fiedler reaching further into his own sonic void, crafting blurred melodies and addictive narco loops into something simultaneously heavyweight and hypnotic.
Lead single and album opener “Low Times” sets the atmospheric pressure to maximum, resembling a dream date between prime dirt-house era Andy Stott and Berlin dub-tech pioneers Basic Channel. From there, Oblique descends into a series of enchanting mood scenes: the furtive, balletic gyrations of “After All”, the haunting ambience and buried heartbeat throb of “Soft Collapse”, and the noirish atmospherics of “Blackout Dust”, which worms its way into the mind like some forgotten David Lynch scene. The spirit of reggae is more distanced here than on DAMAGED, but the ghost of Jamaican dub still permeates these foggy soundscapes, particularly on “Bombed Suburbs”, where Augustus Pablo-style melodicism is chopped, screwed and slowed into a magnetic lock groove.
Superficially minimal but maximal in its minute detail, Oblique is a record of contorted reflections, mesmeric echoes and tantalising audio mirages. By the vaporous mist of closing track “Almost a Structure”, obvious rhythm has been craftily filtered away, leaving a blurred and blunted residue full of mystery and implied narrative. Dense in the best possible sense and crushing when played loud yet equally potent played quiet, Oblique imagines dub techno burning its own rigid rulebook: sensual, funky and concussive rather than dry or alienating. Following Fiedler’s recent work scoring Sound of Falling, recognised at Cannes in 2025, Oblique finds Ghost Dubs shedding his influences and making it clear he has arrived at a sound entirely his own — essential deep listening and a bewitching dose of future shock.
RAWAX welcomes Clouds of Kouros aka Garry Todd to the artist family!
We are very happy to present you this great artist on our label. The firrst felease is simply a Killer!
Highly recommended!
Nearly 15 years have passed since the original version of this LP was released (the first iteration as a 4X12" LMTD set back in 2012), and it has truly aged like fine wine! This release features five timeless cuts from the mind and soul of cv313 and a truly mesmerizing otherwordly dub of the illusive radius project, mixed and recorded near the heart of Detroit! (with nearly all of the tracks making their debut on wax) This entire project has been beautifully remastered by dub innovator and pioneer, Stefan Betke POLE @ scape mastering in Berlin, DE. You can just drop the needle and close your eyes for a near 20 minutes of fathomless sonic depth, massaging your brain and mind, a deep dive into an immersive analogue world. A new addition to this newly minted vinyl iteration of the "Altering Illusions" series now includes cv313's blistering analogue assault on the darkest radius bit in the interpolation tapes series. Expect sub-harmonic deep space exploration in some seriously out-there electronic quadrants, some of the deepest techno reductions ever captured to tape!
Thoughts:
"Altering Illusions Chapter One cv313 is every bit as strong and essential as the debut cv313 album it supplements and acts as a nexus between cv313 material old and new.It is quite unlike anything cv313 has released before or since, a beautiful hybrid of cv313 textures, dense, whirring drones from Alva Noto’s Xerrox series of ambient albums and Thomas Koner’s panoramic soundscapes." -IGLOO MAGAZINE
a A1. cv313 “isis” original mix 10:47
c B1. radius “interpolation tapes” cv313 rewire 20:06
e C2. cv313 “irradiate dub” 5:58
reduced 20:24
a A1. cv313 “isis” original mix 10:47
c B1. radius “interpolation tapes” cv313 rewire 20:06
Fall Collection pulls from the vaults. Four tracks, some long out of print, one never
before pressed, all of them worth the dig.
The A-side opens with Ty Tek’s Dirty Fusion, originally released on Gourmet Recordings
in 2005 alongside the Audio Soul Project remix two years later. Both have been
fetching serious money on the secondary market for a reason. This is tech house from
when that phrase still meant something, the walloping cadence, the sci-fi pads, the
seismic synths rolling underneath. You hear it once and it stays with you.
Departed by Wasted Chicago Youth follows. Justin Aulis Long and Mazi Namvar
started from a remix brief and promptly ignored it, building something new from scratch
in a single session. Organs, wailing lead, disco break, 808 subs, a plastic bass line
threading through all of it. Somewhere between an angry Metro Area and a more
psychedelic Jitwam, but really it’s just WCY doing what they do.
Love Thy Enemy by Wasted Chicago Youth appeared on the Chase The Devil EP back
in 2009. The bubbles, shuffles, and wobbling chords hold up, and the vocal samples hit
differently now than they did then.
ASP’s Cloud Dub closes the record. It appeared on Dubs Vol. 2 as a digital release in
2022 and has never been on vinyl, and that’s where the subsonic acid bass line and
the layered string, piano, pad, and organ groove finally get room to breathe. Deep
house the way Chicago made it in the early nineties. Bare, musical, and raw.
Track A1 written by Ty Tek. Remixed by Audio Soul Project
Track A2 written by Justin Aulis Long and Maziar Namvar
Track B1 written by Justin Aulis Long and Mazi Namvar
Track B2 written by Audio Soul Project.
Copyright Control
Fresh Meat Records 2026
Mit Clouds of Glory - The Story of Martin Rev widmet der renommierte Musikjournalist Kris Needs erstmals einem der großen visionären Außenseiter der Popgeschichte eine umfassende Biografie. Als Mitgründer des legendären Duos Suicide prägte Martin Rev die Entwicklung von Punk, Synth-Pop, New Wave, Techno und Industrial entscheidend mit - lange bevor diese Genres den Mainstream erreichten. Basierend auf jahrzehntelangen Gesprächen und persönlichen Einblicken zeichnet Needs nicht nur den außergewöhnlichen Lebensweg von Martin Rev nach, sondern erzählt zugleich die Geschichte des revolutionären Duos Suicide und des kreativen New Yorks der 1950er bis 1970er Jahre. Das Ergebnis ist ein fesselndes Porträt eines kompromisslosen Künstlers und einer Ära, deren Einfluss bis heute in der modernen Popmusik nachhallt.
Repress of since last 2025 sold out box set. Ltd edition Gold vinyl, 4 X 140g LP Box set, 24pp booklet, DL card. or Ltd edition 4xCD Bookback. Trees classic albums, beautifully packaged as a four-disc anniversary edition includes 12" book with liner notes from founder member David Costa and comedian Stewart Lee - Features two new discs of alternate mixes, early demos, BBC session tracks and 2018 live recordings in London - Includes lost demos of 'Polly On The Shore' and 'Streets Of Derry' It's now over fifty years since Trees' formation and, although 'Acid Folk' has now become a sub-category in the lexicon of record dealers and music critics, and although founder member David Costa feels the original noughties reissue helped consolidate a gathering wave of curiosity, they themselves remain in the shadows. Earth's new Trees collection brings together both albums adding shiny alternate mixes of key tracks along with a selection of radio sessions and demos, all sounding brighter and cleaner than ever before. Trees first album, 'The Garden of Jane Delawney' (1970) snuggles nicely into contemporary nu-folkies' idea of the genre, and shares some of the pastoral-whimsy that characterised The Incredible String Band or Donovan, offset by some stunning interpretations of traditional material and Bias' own songs, which were somehow part of the tradition Trees had adopted. Readings of 'Lady Margaret', 'Glasgerion' and the old standard 'She Moved Thro' The Fair', and the extended fade of the group's own 'Road', presage the explosive instrumental duelling that would come to characterise the follow up album, 'On The Shore'. There's a definite shift between the records, the second being darker and more ambivalent. Here Trees don't tell you what to think. You're left to formulate your own response to this odd, opaque music. The 'Streets of Derry' session version leans into the brain vibrating drone-groove they somehow found at the traditional tune's centre. 'Polly On The Shore', another traditional tune, is one of the definitive moments of English folk rock. This special expansive collector's edition celebrates the bands 50th anniversary. "A beautiful hybrid, Trees found a unique space between intimate folk and freewheeling psychedelia. Musically ambitious yet brilliantly balanced, they have left an enduring legacy for those lucky enough to be in on the secret" - Edd Gibson, Friendly Fires
Pastel Ghost’s debut album Abyss, containing her biggest song “Dark Beach”. Both haunting and hypnotic, the album captures a sense of weightless melancholy, pulling listeners in to a world that feels at once intimate and otherworldly.
Amazing Album! Following his remix on Massiel's Echoform, Nicolas Barnes returns to Devilish Affair for his first full EP on the label, joining Genning for the label's first double LP. Each producer contributes three original tracks before remixing one another, bringing together eight tracks that showcase two different but complementary approaches to deep electronic music. While Barnes leans into darker, dubby grooves, Genning brings a brighter, more driving energy, giving the record a natural balance from beginning to end. The artwork features a photograph taken by Devilish Affair founder Eric Louis while hiking through The Narrows in Zion National Park. A winding stream cuts between shadow and sunlight beneath towering canyon walls, creating a scene that feels right at home alongside the music. Whether you're listening at home or deep into a late-night set, Through the Narrows is meant to be experienced as a complete journey across four sides of vinyl
Mukatsuku's endless thirst for archival gold and knack for killer reissues burns strong with this latest third in the series hand-numbered 12" , which digs deep into classic ambient techno from Japan. The man behind the music is Virgo, a solo project by Yasutaka Sato that was active from 1996 to 2004 and then reappeared in 2024. This EP revisit some of his best moments from more than two decades ago, starting with the soothing, pulse-slowing beauty of 'Mellow In My Mind' before cosmic charm defines 'Genetic Force' and 'Ruined Tower' has a more melancholic, sombre feel. 'Cloud Sea' lifts the mood with a gently hopeful closer with soft new age chords and oh-so gentle rhythms that break like waves on a distant island paradise.
Deluxe LP features 140g virgin vinyl; heavy-duty board jacket, artwork by Art Rosenbaum + DL. RIYL: Bob Dylan, John Prine, Townes Van Zandt, Ry Cooder, Michael Chapman, Michael Hurley, The Youngbloods & Bonnie “Prince” Billy. Jake Xerxes Fussell’s 4th album finds the acclaimed folksong interpreter, guitarist, and singer navigating fresh sonic and compositional landscapes on the most conceptually focused, breathtakingly rendered, and enigmatically poignant record of his wondrous catalog. Produced by James Elkington and featuring formidable players both familiar (Casey Toll, Libby Rodenbough) and new (Joe Westerlund, Bonnie “Prince” Billy), it includes Jake’s first original compositions; atmospheric arrangements with pedal steel, horns, and strings. One of the most striking and strangely moving moments on Jake Xerxes Fussell’s gorgeous Good and Green Again an album, his fourth and most recent, replete with such dazzling moments arrives at its very end, with the brief words to the final song “Washington.” “General Washington/Noblest of men/His house, his horse, his cherry tree, and him,” Fussell sings, after a hushed introductory passage in which his trademark percussively fingerpicked Telecaster converses lacily with James Elkington’s parlor piano. That’s the entire lyrical content of the song, which proceeds to float away on orchestral clouds of French horn, trumpet, and strings, until it simply stops, suddenly evaporating, vanishing with no fade or trace, no resolution to its sorrowful minor-key chord progression, just silence and stillness and stark presidential absence. It feels like the end of a film, or the cold departure of a ghost, and is unlike anything else Jake has recorded. In all his work Jake humanizes his material with his own profound curatorial and interpretive gifts, unmooring stories and melodies from their specific eras and origins and setting them adrift in our own waterways. The robust burr of his voice, which periodically melts and catches at a particularly tender turn of phrase, and the swung rhythmic undertow of exquisite, seemingly effortless guitar-playing here he plays more acoustic than ever before pull new valences of meaning from ostensibly antique songs and subjects. On Good and Green Again, Jake not only ventures beyond his established mastery of songcatching and songmaking into songwriting, but likewise navigates fresh sonic and compositional landscapes, going green with lusher, more atmospheric and ambitious arrangements. The result is the most conceptually focused, breathtakingly rendered, and enigmatically poignant record of his wondrous catalog. It’s also his most deliberately premeditated album, representing his fruitful return to a producer partnership after two self-produced projects, What in the Natural World (2017) and Out of Sight (2019) (William Tyler produced his friend’s self-titled 2015 debut.) This time James Elkington produced and played a panoply of instruments, bringing to Jake’s arcane song choices his own peerless sense of harmony and orchestration, balance and dramatic tension. The pair enlisted a group of formidable players including regular bandmembers Casey Toll (Mt. Moriah, Nathan Bowles) on upright bass, Libby Rodenbough (Mipso) on strings, and Nathan Golub on pedal steel. They were joined by welcome newcomers Joe Westerlund (Megafaun, Califone) on drums, Joseph Decosimo on fiddle, Anna Jacobson on brass, and veteran collaborator and avowed Fussell fan Bonnie “Prince” Billy, who contributes additional vocals. Album opener “Love Farewell” (featuring some beautiful singing by Bonnie “Prince” Billy), an elliptical tale of the folly of war, set to the world’s most heartbreaking goodbye march for a lover left behind. “Carriebelle” and “Breast of Glass” each similarly concerns, in its own way, romantic love and leavings. All three songs highlight Jacobson’s diaphanous, understated brass parts, tying them together in a true lover’s knot. “Rolling Mills Are Burning Down,” with its distant keening strings and capacious sense of space, observes and mourns the loss of work and community in the wake of elemental disaster. Nine-minute tour de force “The Golden Willow Tree,” the sole explicitly narrative song herein, is a hypnotic, minimalist rendering of a tragic maritime ballad about scuttling an enemy ship in exchange for wealth and glory and a captain’s inevitable betrayal. “Fussell is creating his own legacy within the long lineage of traditional folk musicians and storytellers that have come before him.” The New York Times // “So elegant … It’s relaxing in the way that pondering a Zen koan is relaxing, and sweet in the way that the wounded, honey-voiced blues of Mississippi John Hurt are sweet.” Pitchfork // “Music that resides at the seams of Appalachia and the cosmos.”
Dan had called Sad Piano House a cousin to his previous Daphni track 'Cloudy', the Kelbin remix of which had become a much beloved fan favourite. So it was only a matter of time before Kelbin, real name Favaretto, got to work on his version of Sad Piano House - a beautiful reworking marrying the heart tugging melody of the original with Kelbin's trademark razor sharp production.
With the stunning Planes In Reverse, Sascha Funke, the Berlin-born producer and DJ, and long-time member of the Kompakt family, releases his first album in almost a decade, since 2017’s Lotos Land. It’s a welcome return for one of the most eloquent and elegant producers in electronic and dance music, someone who’s always been able to say more with less, and the ten tracks here, moving effortlessly between techno, house, minimalism, disco house, and home listening tunes, are all gorgeously sculpted miniatures. With guest appearances from partner Julienne Dessagne (Fantastic Twins), with whom Funke has also worked in Saschienne, there’s something homely and family about it, too; a family of sounds, a home of tone. There’s also something consummate about Planes In Reverse, as though Sascha Funke has perfected the album format. There’s no flab here, no excess – it plays out like a perfectly designed experience, ten tracks, coming in under fifty minutes, an album where every moment matters.
It’s full of variety, but everything has the unmistakable Funke thumbprint, one that was developed during the late ‘90s / early ‘00s minimal techno and microhouse moment, but which was always open to other ideas and other sounds, too. Planes In Reverse came together quickly for Funke: “Last winter, I had two or three new tracks, which gave me a core feeling: ‘Ah, this could be the direction of something like an album.’ Sometimes it can be very easy that you wrap it up and then it becomes something coherent and solid. This happened within two or three months; it was very fast and direct.” Everything fell into place – the ten tracks revealed themselves, the album sat together as a whole, and the final piece of the puzzle was returning home again to Kompakt, who have supported Sascha Funke from the very start, releasing his first single, “Campus”, back in 1999.
Planes In Reverse opens stealthily with “What You See”, where rhythms percolate and bass prowls while gaseous textures fill the sonic spectrum. It’s also the first appearance of Fantastic Twins on the album; here, she speaks a hypnotic mantra, a prelude to the title track, where Dessagne has a pure pop moment, her voice ecstatic and vibrant. Indeed, Planes In Reverse plays out like thesis and antithesis ending in synthesis, the tracks nestling next to each other even as they shuttle between sounds, genres, perspectives. There are some beautiful moments dropped throughout Planes In Reverse – the heavenly textures that make the title track feel so cloud-bound; the glassy and orbital tones that drop from the skies through the disco house inspired “Karat”; the clamour and clatter of hyper-edited voices shuffling through “Splitter”; or the field recordings of Sascha’s son football training session that drop “Zockers” into a different place and space, slowly giving way to a beautifully paced electro-pop mantra. “In Germany,when the kids play a computer game, or when they play football, we describe it as zocken. They’re the players, they’re the Zockers.“ Funke explains.
Planes In Reverse winds down with the beautiful “Kruso”, where ticklish, loving arpeggios careen around the room, and drift-work chords shimmer and shuttle between your ears. It’s a perfect comedown to an album that feels breathes in and out at an organic pace, nothing above 130 BPM, everything sitting together just so. Indeed, that’s the feeling you take away from Planes In Reverse; it sums up the spirit of Sascha Funke productions perfectly, while also existing beautifully as its own world dreamt unto itself. It’s Sascha Funke down to the very essence. Nothing unnecessary, nothing extraneous: Pure Funke.
A soaring new chapter unfolds from the forthcoming Elements Of Life album with the release of “Soar,” an uplifting and deeply moving collaboration featuring the incomparable Lisa Fischer. Written by Josh Milan and Louie Vega and produced by 2SoulFusion—Louie Vega and Josh Milan—the song is a powerful testament to resilience, transformation, and the limitless possibilities that emerge when spirit, soul, and music unite.
Built upon a rich tapestry of live musicianship, “Soar” embodies the signature sound that has made Elements Of Life a beloved musical movement around the world. At its core is Lisa Fischer’s breathtaking vocal performance, delivering a message of hope, elevation, and self-discovery with the emotional depth and conviction that have made her one of the most revered voices of her generation.
At the heart of “Soar” is a message of encouragement, resilience, and unconditional support. Through its uplifting lyrics and soaring melody, the song speaks to anyone navigating life's uncertainties while striving to become their fullest self. Lines such as “Clouds hang low, but the sky's still wide” acknowledge the challenges we all face, while the recurring refrain, “I just want you to soar,” serves as a powerful affirmation of faith in another person's journey. Equally moving is the song's central sentiment, “The more you do for you, the better I feel,” expressing a selfless form of love that celebrates growth, healing, and personal fulfillment. Universal in its message yet deeply personal in its spirit, “Soar” reminds us that one of the greatest gifts we can offer is the encouragement to rise, evolve, and embrace our own potential.
The production blends organic instrumentation with sophisticated arrangements, creating a timeless soundscape that feels both expansive and intimate. Multi Grammy Award-winning bassist Christian McBride anchors the composition with his masterful upright bass work, while Josh Milan's lush keyboards, piano, organ, clavinet, and atmospheric textures provide the song's harmonic foundation. Live drums from Tony Cintron and vibrant percussion from Luisito Quintero infuse the track with an irresistible pulse, while Ivan Renta's expressive soprano saxophone solo adds another layer of emotional richness, and a tasteful guitar groove by Sherrod Barnes.
The song's message is elevated further through a powerful vocal ensemble featuring background vocals from Lisa Fischer, Dawn Tallman, Ramona Dunlap, and Lea Lorien, creating moments of communion and uplift that echo the song's central theme of hope, growth, and believing in the possibilities that lie ahead. For Louie Vega and Josh Milan, “Soar” represents another defining moment in their longstanding creative partnership. Through Elements Of Life, they have continually blurred the boundaries between house music, soul, jazz, Latin rhythms, gospel, and global influences, creating music that resonates as deeply on the dance floor as it does in the heart. “Soar” continues that tradition, offering listeners a song that inspires movement, reflection, and renewal.
Recorded at Honeycomb Studios in Pennsylvania and Manhattan Center Studios in New York City, and mixed at Daddy's Workshop in New Jersey, the production benefits from the expertise of recording engineers Yas Inoue & Josh Milan, with final mastering by the Maestro of mastering Herb “Pump” Powers for PM Mastering.
As anticipation builds for the forthcoming Elements Of Life album slated for February 2027, “Soar” offers a powerful glimpse into the project's next evolution— a celebration of musical excellence, spiritual connection, and the enduring power of song to lift us higher.
Joe Davies back on Smallville, providing his skills to double the magic on the fly!
Soundscapes that will tickle your sweetspots. straight-but-quirky, far-out but still to the point – Joe is a master of his craft. His highly-acclaimed 2023 longplayer „Shields In Full Sunlight“ is still on the plates of oh-so-many heads out there, same for us. We are truly happy to present his latest vision of a cloudy night- all with Wonderful Tempo.
Comes with a stunning full cover artwork from Stefan Marx.
built on the stripped-down, sinister production and uncompromising lyricism that have become signatures of both artists.
A longtime collaborator within the Real Bad Man universe, Mooch previously appeared alongside Rigz on Real Bad Boldy and the On High Alert series, steadily establishing himself as one of the sharpest voices to emerge from Rochester’s underground scene. Across Terminator Shit, Real Bad Man provides a dark, cinematic backdrop for Mooch’s precise, hard-edged writing, with “Mercy” setting the tone for the project’s grim and focused sound.
The album features guest appearances from Boldy James, Your Old Droog, Estee Nack and Deener, bringing together a tightly curated cast of some of contemporary underground hip-hop’s most distinctive voices.
The comic book-inspired artwork was created by underground comics legend Lawrence “Rawdog” Hubbard of REAL DEAL COMIX, extending the album’s dystopian aesthetic beyond the music itself.
Out soon via Heads In The Clouds - H004 - Josh Wink & DJ ESP - Stairway To Headphones (12") Re-issue from 1995
Communique Records re-issues an classic by Josh Wink & ESP aka Woody McBride on the sublabel "Head In The Clouds"
from 1995. All tracks are re-mastered and re-recorded from original DAT.
Highly recommended!
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