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Japanese artists Yumiko Morioka and Takashi Kokubo unite for Gaiaphilia, a journey through ambient soundscapes that seamlessly blends Morioka’s graceful piano compositions with Kokubo’s immersive field recordings and atmospheric synthesisers.

This collaboration brings together two of Japan’s most influential pioneers in ambient and new age music, each with decades of groundbreaking work. Morioka, celebrated for her 1987 album Resonance—reissued to critical acclaim by Métron Records—infuses her introspective playing with Kokubo’s vivid environmental textures, creating a dialogue between nature and melody.

After releasing Resonance, Morioka stepped away from music, moving to America to raise her family. For years, her work was quietly cherished by fans, only gaining wider recognition with its reissue in 2020. A devastating wildfire destroyed her California home seven years ago, prompting her return to Tokyo where she became a chocolatier before rediscovering her passion for the piano in recent years, playing live shows and making new recordings.

Takashi Kokubo’s legendary discography spans over 30 years, and has found wider acclaim in recent years via YouTube algorithms and bootleg uploads, wracking up tens of millions of plays. Yet he is probably best known for his sound design work, specifically the Japanese earthquake alert sound as well as credit card payment jingles - his creations are pervasive in Japanese society.

“From our love and concern for our planet, we both offer a unique sensibility and spirit of inquiry which we express through our music.”

Rooted in shared philosophical interests, Gaiaphilia reflects a profound reverence for nature’s resilience and harmony. Themes of Gaia, Mother Earth’s renewal, and the interconnectedness of life are central, with inspirations drawn from cosmology, sacred geometry, and Japan’s mystical Katakamuna tradition. The album invites listeners into a meditative space where sound mirrors the delicate balance of the natural world.

A master of sound design, Kokubo enhances this vision with his distinctive field recordings, captured using a self-made binaural microphone shaped like a crash test dummy’s head. From the jungles of Borneo to the gentle rhythm of ocean waves, Kokubo’s globe-spanning recordings transform into immersive soundscapes that perfectly complement Morioka’s introspective piano compositions.

“The title, Gaiaphilia, is a newly created word to encompass our love and respect for nature and life, this feeling is the theme we hoped to express.”

Released on Métron Records on 12/03/25 and with artwork from Ventral Is Golden, Gaiaphilia marks a remarkable new chapter for Morioka and Kokubo. Recorded at Kokubo’s log house studio named Studio Ion in Yamanashi, their collaboration offers listeners a deeply emotional and transcendent experience, rooted in the timeless beauty of Japan’s natural landscapes.

The very first (and long overdue) career-spanning retrospective from Soul music legend P.P. Arnold • A 57 song 3CD set, or 25 song 2LP set featuring singles, album tracks, demos, and previously unreleased songs • A stylishly packaged collection with new sleeve notes by author Jude Rogers • A companion piece to P.P. Arnold's critically acclaimed autobiography Soul Survivor The term "well-established" might be appropriate for some artists but it barely begins to cover the career of the phenomenal P.P. Arnold, whose records and performances are now in their seventh decade.

Her consistently excellent music covers multiple genres, her high-profile admirers and collaborators are plentiful, and yet 'Soul Survivor - A Life In Song' is the first collection dedicated to this extraordinary body of work. Compiled by the artist, 'Soul Survivor - A Life In Song' is being released on a 57 song 3CD set, and 25 song 2LP set, both formats housed in an eye-catching sleeve created by photographer (and close friend) Gered Mankowitz, with extensive new sleeve notes by author Jude Rogers.

Alongside key singles and album tracks it includes previously unreleased recordings, demo versions, live performances, and some rare mixes that are being reissued for the very first time. From her early days at Andrew Loog Oldham's Immediate label (where she "became one of us", according to Andrew) her allies, associates, and working partners have included the Small Faces, Cat Stevens, Mick Jagger, Barry Gibb, Eric Clapton, Andrew Lloyd Webber, The Blockheads' Chaz Jankel, Roger Waters, Ocean Colour Scene, The Blow Monkeys' Dr. Robert, and Paul Weller. In 2022 P.P. Arnold told her extraordinary life story in her critically acclaimed autobiography Soul Survivor (Mojo magazine called it "a jaw-dropping memoir"); now that book has the soundtrack that it deserves.

Italian composer and saxophonist Laura Agnusdei returns with “Flowers Are Blooming In Antarctica” a career defining record that sees the artist diving into uncharted waters, a profound timeless meditation on our relationship with planet Earth, the eco-conflicts arising and the fascination with non human forms of life, backdropped to a vivid soundtrack of coral exotica, spiritual Jazz, fourth-world minimalism, tropical electronics, tribal futurism and contemporary elegance.

Every step of Laura Agnusdei’s path, from electroacoustic experimentation to her constant research based upon the acoustic dimension of wind instruments and their interaction with polymorphic electronic sounds, seems to have pivoted into a new sense of awareness, as if the mind and intellectual practice has finally caught up with the body, the heart and the soul, resulting in her most organic and transcendent work yet. “Flowers Are Blooming In Antarctica” is loosely inspired around a trifecta of pioneering ideas that explore unconventional reality: James Bridle’s ‘Ways Of Being’ with his radical story that mixes ecology, tech and intelligence; Luigi Serafini’s late-70s fantastical ‘Codex Seraphinianus’, an unparalleled collection of flora, fauna, anatomies metamorphosed into new fragile beings; J.G. Ballard’s climate-fiction foreshadowing sci-fi ruminations. These influences shift Agnusdei’s musical trajectory injecting doses of terrestrial malaise, the earthy sub-saharan ‘Ittiolalia’ with its wah-wah filtered sax and trance inducing groove; the rubbery playfulness of ‘Oasi Bar’; the gentle eco-system of ‘P.P.R.N’ reminiscent of Herbie Hancock’s innovative synthesis of funk, space and synthesizers; the kaleidoscopic northern lights of ‘Emperor Penguin Lullaby’, where south-east Asian echoes reach icy shores; the Jon Hassell hyper-ambience of ‘Cuttlefish REM Phase’; the post-apocalyptic march of ‘The Drowned World, a jazz standard for an artificial civilization on the brink of self-destruction. Nothing feels out of place and it’s no coincidence that one of the most powerful messages on the record is delivered on centerpiece ‘Are We Dinos?’ via an interview conducted with two preschoolers. Radical optimism or sonic liberation?

Laura Agnusdei’s tenor sax cuts deep all across “Flowers Are Blooming In Antarctica”, a laser baton raised up to the clouds, a conductor orchestrating devotional soundscapes for a three-eyed dolphin, guiding us through prismatic pastures and acidic oceans. Her tropicalized realm is pin-pointed with Miles-like sheer clarity, a bristling nakedness on the verge of exploding at any time, creating an album where ascension becomes the unifying code.

Back in the day, when he was the drummer for Poni Hoax, Vincent Taeger would sing in French whatever came to his mind backstage after concerts, just for fun, to amuse his friend the late Nicolas Ker. Since then, time has flown by, undoubtedly bringing its share of ups and downs. Nonetheless, today, this artist with a long career is finally releasing his debut album as a singer, OK Crooner. It's indeed an album for a singer, but also one for a musician. For this part, Taeger doesn't come alone; he brings along the Jazz Kamasutra, a sexy sextet that knows how to play everything and will later accompany him on stage. To get to this point, Vincent Taeger had to stop playing around with big names like Air, Damon Albarn, Justice, Lenny Kravitz, Skepta, Tony Allen, Oumou Sangaré, Jeff Mills, Archie Shepp, Sampa the Great, Andrea Laszlo de Simone... More than half of the major artists with whom he once collaborated, contributing to their albums or simply laying down a drum, bass, or any other heavy instrument line. Before OK Crooner, he also transformed into Tiger Tigre. This roaring alias was used for a first solo album, instrumental and so deep that one might have thought the ghost of François de Roubaix had taken shape. But that was before, before this exceptional musician decided to dive into the vast ocean of French variety to give a sequel, a culmination to this project. During COVID, Vincent Taeger started frantically listening to Souchon, Chamfort, Gotainer, and Christophe. Inspired by his elders, while not renouncing his attachment to the meticulous arrangements reminiscent of Alain Goraguer's soundtracks, he picked up a pen to jot down snippets of songs to accompany his increasingly sophisticated compositions. And the worst part is that he enjoyed it! Coming from rap, he has a knack for punchlines. Throughout the album, he delivers just as many harsh or soft words as good ones, alternating between risqué humor, Gaulish wit, and poetry. Partially recorded at Studio Ferber, but mainly at home with his partner, known by the alias La Plongée, who co-produced the album for the occasion, OK Crooner is a key album in Vincent Taeger's discography. Besides being the one where he finally unveils his voice to the public, without pretense as it is prominently featured and minimally, if at all, retouched, Taeger also offers music that suits him perfectly. Sharp yet accessible, jazz, pop, baroque, classical, modern, and resolutely marked by Tony Allen's legacy, which he daringly mixes with Beethoven in the Fifth Symphony. His alter ego, Vincent Taurelle, with whom he has produced many albums, took care of mixing this one.

Texture returns for its second release with debut EP by Detroit-based STS. ‘Swallowed by a Whale’, dips a toe into the deep ocean of a swirling mind, notated with captivating rhythms and intense, otherworldly sounds. Danny Daze and Jonny from Space turn 'Souvlaki Man' on its head, highlighting the Miami-Detroit psychedelic sonic connection. On the Bside, Lyon's Warzou thickens 'Boot Stuck in the Swamp' to a sludgy lowend workout.

All money generated by this project goes to HEAL Palestine

In November 2024, Ocean Moon Group along with friends Ricky Romain and Paul Chivers (Ramjac Corporation) convened at Shearwater Studios in the South West of England to create a collective message of peace. The resulting project is the next instalment of Lo Recordings' ongoing SPACIOUSNESS series of lovingly produced limited cassettes.

'CALL FOR PEACE' is a clarion call to seek a peaceful solution to the conflict in Gaza - and to all conflicts around the globe.
The album was recorded by the group over a single exploratory studio performance, one that was shared with friends and family of the bandmates, who attended the live session to share in this peaceful expression. Jon Tye (Lo Recordings, MLO, Seahawks) had shared with the group a suite of music with differing textures and movements of drones, samples and bell-like tongue drums which served as the foundation of the piece, to which master sitarist Ricky Romain added melodic inflection and counterpoint.

Further percussion was deftly handled by Paul Chivers, who used a wide array of drums from around the world to add his own unique rhythmic inflections. Jack Harman provided harmonic chordal work by incorporating the beautiful Shearwater piano, as well as the differing tonality of both electric and acoustic guitars. Weaving between these mixed motifs was the ambient percussion techniques of Graham Guy Robinson who used rain sticks and chimes to decorate the piece with contrasting punctuations.

'CALL FOR PEACE' was created with the deepest intention that, through music, we can travel beyond borders, beyond words and beyond politics and instead reach out with our humanity and put an end to suffering.

"What we do really affects the world. Most of us think we can’t do anything, but it really isn’t true." - Yoko Ono

Celebrated French, New York-based pianist Romain Collin is thrilled to announce the release of his highly anticipated solo pianoalbum, "Dust." The album, showcases Collin's exceptional talent and unique approach tostorytelling through music."Dust" is a testament to Collin's obsession with the expressive power of a single note. Drawing on his deep love of songwriters such as Bob Dylan, Paul Simon, Joni Mitchell, Björk, and Sting, Collin infuses each piece with the warmth and intimacy of theupright piano. The album features a collection of original compositions and carefully selected covers, distilled into a bare-bonessolo approach that creates a cohesive and comforting mood."I have always been fascinated by how much story can be conveyed through a single note," says Collin. "This album reflects my journey of exploring the purity of expression and the raw, luminous sound that solo piano can offer. It's about balancing beautyand emotion, and I hope listeners can find solace and connection in these pieces."

Subsism releases Hadale, a 6-track EP exploring hybrid and aquatic sounds,
built on delightful shifting atmospheres, spiralling variations and adventurous
rhythmic patterns. A dawn dance album in the making, referring to the deepest
zone of the ocean, Hadale is an invitation to sonic immersion wandering through
a circuit of dub bass lines, evanescent pads and breakneck grooves.

Bluish Green was 15 + years in the making, passively percolating bi-coastly in the background of three family members' lives, waiting for the perfect opportunity to present itself. That moment came in January 2024 when Ball Sisters & N1_Sound settled into the Spiritual World home base of Studio Z in Toronto, Canada. What started as three casually blissful days, resulted in a debut album, combining a unique blend of dub, neo soul, ambient & downtempo. Bluish Green sits halfway between a low-key dance floor and late night back room.

The album was almost entirely created live in the studio with very little discussion, conversation or conscious direction. There were no goals or future plans, just mutual appreciation for the moment. Repeat takes were few and far between, with the group moving fluidly from one track to the next. This preservation of emotion and human touch is deeply embedded into the music, allowing the listener to share in the raw moments that were experienced while Bluish Green was organically taking shape.

Sonic themes of the natural world run throughout the five song, 30 minute album. “R U 4 Real” welcomes the listener into T3AL’s unique ecosystem with intimate cicade-esque shakers. A reverberous güiro frog (acquired on a family trip one year ago) and synthesized ocean waves create an ambient wetland on the album's 8 minute instrument track “Frog Legacy ''. Bluish Green comes to a shimmering close on “Flip That Switch” with dubbed out crystalline slide-flute melodies resembling ocean birds that fade into an iridescent horizon.

Digital drum patterns skip & stride around contemplative circular lyrical themes on four of the five album tracks, while spatial flute melodies simultaneously spin just under the surface. The bass guitar on Bluish Green is a continuous harmonic support system, repeating on a different tectonic rotation, much slower and deeper, offering familiar footing that stops the listener from drifting out in the rippling undertow of analogue delay feedback.

“R U 4 Real”?... A question that T3AL revisits frequently when thinking of the surreal weekend that resulted in the trio’s debut album, Bluish Green

Lost Control 2097 present the long awaited follow up to last years debut Hydro-Trip Vol. 1 EP from Berlin based producer Black Eyes who's fresh off releases on Upstairs Asylum and Rawax.

Hydro-Trip Vol. 2 is a mixture of warm rugged soulful house drawing inspirations from the oceans wildly flowing life. A combination of subterranean chord rawness, crunchy drum workouts, sleazy basement vox and a very dope remix from Detroit myth-like producer 'Walt J' round off an EP constructed for the real deep house katz. As per usual, scuba gear is heavily encouraged.

Let's keep it REAL deep!

***Limited edition with clear vinyl, white inners, printed centre labels and holographic sticker on B-, D- and F-side*** Nous'klaer Audio proudly presents Paerels III (aka Pearls 3), the third and final edition of its beloved 3x12'' compilation series. This release brings together a refreshing splash of sounds, unbound by genre, blending deep-listening pieces with driving techno, rave-tinged house, and a few playful surprises. Contributions come from both familiar faces and new voices on the label, with some tracks pulled from the archives and others fresh out of the studio - curated by label-head Oberman. Featuring artists like Megan Leber, Mattheis with a remix from Pye Corner Audio, Marie K, Mattias El Mansouri, Cooper Saver, Kems Kriol, Martinou, Human Space Machine, Koraal, Eversines, Erik Luebs, Mathilde Nobel with an Oceanic remix, Mary Lake, and lastly Gotu Jim. A1. Megan Leber - Tides A2. Mattheis - Swell (Pye Corner Audio Remix) A3. Marie K - Silver Lining B1. Mattias El Mansouri - Transcendence B2. Cooper Saver - Cloudburst C1. Kems Kriol - Blimund C2. Martinou - Glider D1. Human Space Machine - Second D2. Koraal - This One E1. Eversines - Rhapsodia E2. Erik Luebs - Toward Entropy F1. Mathilde Nobel - May + Be (Oceanic Remix) F2. Mary Lake - Evergloom F3. Gotu Jim - De Last

Tori Amos has long been renowned for never playing the same show twice. As The Guardian noted in 2022, she "is famous for her eclectic setlists peppered with fan favourites, B-sides, and covers." Now, these unique live performances are captured in a new live album entitled Diving Deep recorded across Tori's 2022-2023 Ocean to Ocean tour, which spanned 93 dates around the globe.

Jabu return with ‘A Soft and Gatherable Star’, an LP that sees the Bristol-based trio evolve from a uniquely spectral take on trip hop to proffer a singular vision between cloudy, downered dream-pop, off-kilter ambient, and the warm, low-end throb of sound system culture. This development is aligned with contemporaries like HTRK, Dean Blunt, Tarquin Manek, YL Hooi and Rat Heart Ensemble, whilst also harkening back to the likes of AR Kane (with whom they are set to play shows and release a collaborative single), the languorous drift of 'Victorialand' era Cocteau Twins or The Cure circa ‘Disintegration’. Comprising Jasmine Butt (vocals, guitar), Alex Rendall (vocals, keys) and Amos Childs (production, bass guitar), the trio’s method may have shifted but the feel remains consistent - slow, spatial, sensuous and gently melancholic. With a career arc unlike almost any other current guitar outfit, Jabu sit within a strong lineage of off-centre Bristolian music, and a very British strain of home-spun DIY bands. Self-recorded between Jas and Amos’ home in South Bristol and Amos’ mum’s house in rural North Somerset, the album came together via a process of trial and error - learning to play on borrowed instruments, using the equipment “wrong”, staying up late recording and slipping into strange, semi-conscious sleep deprived/inebriated headspaces. Having captured over 50 tracks, they honed in on those they liked most, shaping them further, whilst carving out space to allow input from people they love and admire - Daniela Dyson’s voice and Will Memotone's clarinet on ‘Ashes Over Shute Shelve’, Birthmark's synth on ‘Gently Fade’ and ‘Sea Mills’, Rakhi Singh (Manchester Collective) and Sebastian Gainsborough (Vessel)’s strings and arrangements on ‘All Night’, Josh Horsley’s cello on ‘If I Asked You, You'd Tell Me’, and Lorenzo Prati’s sax, again on ‘Sea Mills’. The album was mastered by Amir Shoat (HTRK, ML Buch, Dean Blunt, Carla Dal Forno). Influence-wise, the guitar-based material recalls the bands Amos listened to when younger, and Jas’ more folk-leaning inspirations. Deep-lying dub, hip hop and soul influences are also evident in both the way the LP was mixed, and the space ingrained in their subconscious. Tinged with melancholy, the songs cohere as a set of soliloquies and ruminations on love and tenderness. The album’s title comes from a poem by Amos’ late father which hangs on his wall and seeped into the record. ‘Ashes Over Shute Shelve’ is formed of lines from another poem of his. Recited by longtime collaborator Daniela Dyson and with Will Yates (Memotone) playing his mother’s clarinet, the track was imagined as a conversation between his parents. Geography and location also play a big part in the record, with several significant places name-checked in songs. Shute Shelve itself is a hill near Amos’ mum’s house, who explains “There’s a tree at the top with a 360° view of the Mendips, where my dad’s ashes were scattered. We used to go up there when we could first buy booze from the petrol station down the road, get drunk, light a fire, listen to music from my little battery powered CD player and sleep out without tents.” Titled after a Bristol suburb near where Amos’ grandparents lived and where Jas would spend time as a teenager, ‘Sea Mills’ references her being abandoned by friends on the Downs while high on mushrooms, stranded and missing the bus back. ‘Kosiše Flower’ references the city in Slovakia where Amos and Jas holidayed shortly after getting together and a flower he gave her, which she pressed in a book after an argument. ‘Oceanside Spider House’ is a location in Nintendo 64 game The Legend of Zelda: Majora’s Mask, where someone seeks shelter from the falling moon. Genre: Electronic / Ambient / Dream-pop

The last couple of years have seen a renaissance for West Coast singer-songwriters. LA-based youngsters such as Drugdealer and Sylvie have attracted considerable attention releasing warm and mellow records tonally reminiscent of the early 70s. Most fans of this new/old sound are unaware of Bart Davenport's early explorations in the same sonic territory. His now 20-year-old "Game Preserve"album should gain an appreciative new audience with its first ever vinyl release.

In the year 2000, Bay Area troubadour Bart Davenport and several other musicians were recruited by a major tech corporation in Seattle to work on an algorithm-based music matching/search engine. It was what looked like the beginning of a promising career. After a year, however, the project was shelved. Bart and his colleagues were laid off with a healthy severance package... on the 12th of September, 2001. Not only had the musician's life changed, so had the world. Rather than blow the money on a holiday or new car, Bart knew he had to make a record. A proper album that meant something.

Back in Oakland, he entered Wally Sound Studios with former Kinetics bandmate Jon Erickson at the controls, and a swathe of talented local musicians. "With Game Preserve," Bart explains, "Jon and I really wanted to knock it out of the park. I wanted to utilize people from my old bands like Loved Ones drummer John Kent. I also invited my newer indie-pop friends from Call & Response, and a young Nedelle Torrisi. Harmony singing by The Moore Brothers was an essential ingredient on Game Preserve as well."

Both Erickson and Davenport fondly recall growing up in households where the music of The Carpenters, Joni Mitchell and The Eagles soundtracked their young lives. By the early 00s they were ready to reconnect with what is often referred to as the "Laurel Canyon" sound. "I'd buy used tapes at garage sales and play them in the car. "Ladies Of The Canyon" by Joni and Jackson Browne's first album were both in heavy rotation. Jon Erickson was getting deeper into the Steely-Mac-Doobie yacht-rock sound in earnest. A certain amount of childhood nostalgia led a lot of us back to that part of the 70s. I'd flirted with classic soft-rock on my first album, but that record was pretty scattered esthetically. I wanted my next one to be more focused. Jon and I made some ground rules: no electric guitars (except on 'Bar-Code Trees'). No synths. Most importantly, all the songs have an air-tight, super dead, close mic'd drum sound. Putting these sorts of limitations on the sessions will give your record a specific quality. In the case of "Game Preserve"it's mostly about tight drums, acoustic instruments and analog production. We used a 24-track, two-inch tape machine for tracking, then ran the mixes through an analog board straight to a 1/4 inch master tape."

While the album's sonic palette may be firmly planted in 1970, Davenport's songwriting covers a sizable landscape of moods and reflections. From the quasi-flamenco intro of 'Sweetest Game' to the somber Wurlitzer of 'Nowhere Left To Go', to the 12-string shimmer of 'Intertwine', "Game Preserve" tells a story of young love, lost innocence and redemption, crossing borders and oceans along the way.

Released in 2003 on family-run Oakland label Antenna Farm, the ultra-analog sounding "Game Preserve" was only made available on digital formats, including CD. Copies were later pressed by labels in Germany and Spain; the latter being one country the album actually did well in, establishing Bart Davenport with a small but loyal fanbase he still enjoys today. Two European tours as support for Kings of Convenience also helped gain a foothold on the continent. Back in the US, however, Davenport and his sophomore album remained quite obscure.

Limited promotion meant it did little, but for the music lovers that heard it, the album undoubtedly remains a classic of the era, deserving far more. Twenty years on, it now finally receives its vinyl debut. "I personally think it holds up well," says Bart of the album two decades later. "The idea was to make something that could be an homage to late 60s/early 70s West Coast pop but hopefully timeless as well. Years on, I hear it as just that. It was a colorful and brief period of my life that felt at times like it could last forever. I discovered the joy of working in a proper studio with a perfect cast of characters. I'm still very close with all these people and still play music with many of them."

Lukas Somers, also known as SOLAK, delves into deep emotions with his new album Atlas, set for release on November 15 via Capitane Records. After his first album Green came out four years ago, Somers embarked on an introspective journey, playing each instrument himself. In 2021, accompanied by Steven Van Gelder and a few musicians, he recorded the album at Ocean Sound Studios in Norway, inspired by the surrounding seascape and perpetual daylight. Somers overcame the challenges of the pandemic by also playing the bass and guitar. After six days of recording and months of post-production, eight tracks were finalized. Atlas stands out with increased vulnerability, while remaining true to the authenticity that defines SOLAK.

“Music is my forever cove,” writes Portland, Oregon’s Luke Wyland of the ideas that give shape to Kuma Cove, his latest album under his own name. Though named after a real place on the Oregon coast, Kuma Cove casts its gaze far beyond the sightseer’s line of vision. Recorded live in the studio and blurring obvious lines between computer-based composition and electro-acoustic instrumentation, it is an album about flow, borders, transitory states, and shelter. Composed of discontinuous ripples and repetitions (“I’m forever searching for a better descriptor than looping, which feels too simple and flattened by overuse,” Wyland says), shaped into richly emotive arcs, and informed by his experience as a person who stutters, it is also an album about identity, self-expression, and the energies that sluice through and across what we perceive as linear time—like floodwaters seeking an exit, like streams running into the sea.

Artist’s Statement:
I made this record while spending significant time in the woods by the Sandy River in Corbett, Oregon,
where I've had my studio for the last five years. It is a diary of spontaneous live recordings edited to highlight the moments of clarity that emerge from long-form improvisations. These compositions express a slowing internal rhythm. An unwinding. A somatic recalibration as I enter middle age. A newly empowered vulnerability.

Here are the internalized cadences of my stutter, flowing freely from my fingers. The musicality of my disfluency is revealed in its frictions, elongations, and foreshortenings. Disruptions in linear time, where the bubbling cadences of my stutter find unexpected pathways, reveal the elasticity of the present moment. This is my idiosyncratic language, shaped and inspired by my disability. Subliminally mirroring internal processes, neural firings, cognitive entanglements...

The title, Kuma Cove, refers to a beloved cove on the coast of Oregon my wife and I return to yearly. There has always been something so magnetic about coves. The way they cradle one from the overwhelming enormity of the ocean beyond, muting a primordial fear. I experience these improvisations as ecosystems I'm able to inhabit for stretches of time, embodying the particular rhythms and sensorial textures within each. Music is my forever cove. Everything you hear is created live in Ableton on a setup I've been honing for 15 years. I celebrate MIDI and computer music as an extension of self and strive to make it as expressive as any analog instrument. I was a visual artist for the first half of my life and quickly adapted those skills to composing and producing on a computer. The transition felt natural within the landscape of DAW's interfaces, especially as a synesthete. Ableton and its community of Max creators continue to surprise me with its expansiveness.

I'm forever searching for a better descriptor than looping, which feels too simple and flattened by overuse. I envision sonic loops as tangled masses of time, three-dimensional knots spinning on tilted axes, or overlapping wreaths refracting out a myriad of colors. My practice is continually refocusing my ear to what is revealed in the repetitions, searching for the fingerprint of each. I find it incredible how technology lets us manipulate time like this. Nothing on this record is quantized or locked to a universal bpm. Experiencing numerous tempos at once feels important. Recordings as mirrors. Freedom from expected (conversational) flow as we hold time for each other.
-Luke Wyland, August 2024

Artist Bio:
Luke Wyland is an interdisciplinary artist, composer, and performer based in Portland, OR (USA). Wyland has been releasing critically acclaimed records for the past 20 years in the groups AU and Methods Body, as LWW, and under his own name, working with such labels as New Amsterdam, Beacon Sound, Balmat, The Leaf Label, and Aagoo Records. As a person who stutters, Wyland’s approach to music is informed by his idiosyncratic relationship with language. Wyland believes deeply in the cathartic power of live performance as a means for collective healing. Through an interdisciplinary art practice that focuses on improvisation, somatic embodiment, bespoke tuning systems, the cadences of disfluent speech, and time manipulation technologies, he’s collaborated with choreographers, high-school choirs, filmmakers, sound designers, and renowned musicians such as John Niekrasz, Holland Andrews, Colin Stetson, and Abraham Gomez-Delgado. He’s also the co-creator of the “It’s A Fucking Miracle” dance class with Tahni Holt.
Wyland has toured nationally and internationally and performed at the Whitney Museum, Ecstatic Music Festival, Issue Project Room, PICA’s Time-Based Arts Festival, End of the Road Festival, and Les Nuits Botanique, among others.

Initially coming from the DIY hardcore scene, Coilguns have since then crafted their very own blend of punk and ecstatic noise-rock. The history of the band is deeply bound to the development of guitarist Jona Nido’s own label – Humus Records – that now gathers up to 150 releases from Swiss artists of all sonic horizons.

Though their last two albums were 100% self-produced, engineered and mixed by the band members, Coilguns drove in the summer of 2022 to end-of-the-world’s Oceansound Recordings in Norway with producer Scott Evans to track their 4th studio album which was then mixed by grammy nominated producer Tom Dalgety.

The band is known for its raw, uncompromising and euphoric live performances, proudly serving the dancing freaks and the crowd-surfing weirdos.

Peggy Gou’s Gudu Records is proud to present the label’s first ever album, from someone who’s been part of the family since the start: Brain de Palma.

Born in Ukraine, settling as a child in Turin and spending three years in Egypt before settling in his current home of Berlin, Alexei Versino has one hell of a story.

Musically, he’s been around for a decade now, releasing his previous music (solo as Panama Keys, and also as one half of the duo Stump Valley) on labels like Dekmantel, Soul Clap and Off Minor, before settling on Gudu with his Brain de Palma alias. But personally, his relationship to music goes much deeper: as a young child growing up in the former Soviet Union, a lot of European music was banned, so he relied on his well-travelled uncle to bring him back smuggled cassettes of Italo Disco, Depeche Mode, Kraftwerk, Erasure and early DJ mixes – getting an illicit musical education behind closed doors as a child.

He still carries that underground mindset to this day: the press release for his last Gudu EP, Purple Brain, reads: “dedicated to all the ravers, DJs, aficionados who had to go through the lockdowns … a shout out to people who keep on fighting for the underground culture!”. The perfect candidate for Gudu’s first album, then.

Comprising eleven tracks made across the past year, Versino describes Rhythmption as “my redemption through rhythm”, and a tribute to “seeing people enjoying themselves on the dancefloor, that feeling of unity where people become one thing, regardless of their life path or social status.” Opening with the gorgeous ‘Thandolwami’ (featuring South African vocalist Sfiso Atomza), Rhythmption charts a path through sun-drenched Balearic house, stuttering drum work-outs, Italo-inspired synth romps, trancey house and even a touching tribute to his former home of Egypt, taking in every aspect of Versino’s journey to date. After all, it’s not all about the destination, it’s also the sights you see along the way.

Multi Culti World Records venture deeper into the new new age with the release of 'Ocean of Beauty - Meditations for Synthesizer and Bansuri Flute,' a collaboration between California-based artist/DJ Earthtones and Indian classical musician Sheela Bringi. Earthtones, fresh off his genre-defying debut album on Wonderwheel, here dives into the deep end of the ocean of ambient. With music that traverses cultures,he’s known for bridging influences from Cumbia to hip hop and house music. Here he presents his most consciousness-expanding work yet, no doubt influenced by his involvement in Ojai new age culture,years living in ashrams, practicing Shaktism,+ spending as much time curating sounds suitable foraural healing and meditation as for dance-floors. He’s found a perfect muse in Boulder-based Sheela Bringi, whose virtuosity in Indian classical music sets the tone of the record with her bansuri (Indianbamboo flute) & harp, blending traditional instrumentation with more contemporary influences. Bringi was a direct disciple of bansuri master GSSachdev, and represents a devotional musical lineage. She has released two solo albums, 'Shakti Sutra' and 'Incantations,' and her work has been featured on over 50 world and ambient records, plus publicly on outlets from NPR to NBC News, & more. 'Ocean of Beauty' is the English translation of an ancient Sanskrit text devoted to the divine mother, the Sri Saundarya Lahari, The song titles are taken from verses in that text, and the album is in fact a dedication to the goddess Lalita Devi. It creates a serene, meditative space which seamlessly blends traditions; synth-driven ragas with a spirit of tranquility that nurtures Multi Culti’s philosophical bent towards ‘music without borders.’

The much acclaimed Environments series returns with an exclusive to Record Store Day vinyl edition of “RITUALS” the first in the Environment 7 trilogy - a 13 track album of new recordings by The Future Sound of London, engineered by Yage.
Delicate melodies collide with deeply fragmented electronics - surfing atop muted rhythms and beats. Unique and unplaced the FSOL are unrivalled in art-electronic.

JS is an alias of James Zeiter and is also the name of his own label. This seventh transmission once again showcases his signature take on minimal, dub and techno. 'JS-07' rolls out with deep, pillow drums and well buried sub bass that slowly sweeps you up and locks you into a state of hypnosis. 'JS-07R' on the flip side is run through with slightly more warmth and light, like beams of sun piercing the surface of an ocean and catching microscopic organisms floating on the sea bed. It's a heady sound full of soul.

Steve Leach's Balearic beach-funk beast Ocean Potion, recorded with the Crystal Grass Orchestra is an absolutely ace, Ned Doheny-adjacent funky AOR / blue-eyed soul BBQ classic from 1976.

Who is Steve Leach, you ask? None other than Seasick Steve in a previous life! A French-only release on Philips, it's a hugely immediate, pop-funk firecracker. It features a wonderfully lush, full orchestral sound throughout, underpinning Steve's gorgeous voice and an army of brilliant backing vocalists.

The supporting cast is phenomenal and is arguably the salient reason this is such a fantastic record. We're talking legendary players from the French scene (think Arpadys, Voyage, Kongas, CCPP, Giant, Swing Family) such as Don Ray with his arranger-conductor hat on as well as synths, Marc Chantereau on percussion, Slim Pezin on guitar, André Ceccarelli on drums, Christian Padovan on bass and Pierre Halation on flute.

With these snakes behind the scenes, it remains a mystery how Ocean Potion is so relatively unknown. Hopefully, this long overdue reissue rectifies this and puts a stop to people dropping $200 on it.

Triumphant, horn-forward opener "The Light Of The Mind" has that uniquely Ned Doheny fidgety funk feel with a fantastically irresistible chorus and great harmonies. Just magic. The insouciant, swaggering "Hey! Hey! What You Doin To Me" is straight up white-hot feel-good funk with by turns sweeping and stabbing strings and a neck-snapping break. Crucial. Coming off like something off The Beach Boy's Surf's Up or Holland (including a sneaky "reason to live" reference that surely nods to "The Trader") is the brilliantly ominous, driving wall of sound of "Take Strength". Cavernous drums, urgent strings and a staggeringly good vocal performance make this a real highlight amongst an album of highlights. The blissful folk-funk of "The Lady Of The Sea" is a real naked heartbreaker, melancholic vibes and a beautiful flute line complementing each other perfectly. Side A closes out with "All My Life", a groovy island-funk white-reggae-tinged lilter which just about lands the right side of acceptable.

Side B opens with the gorgeous "You're The Only One Girl" before the propulsive Philly soul of "At Least We Got Love" elegantly glides into focus. Pulsing beats and piano working with that irresistible orchestra of grass. Glacial ballad "All Love's Children" has a deep New Orleans soul feel that truly soars whilst the breezy "Get Out In The Sun" owes a debt to "Crocodile Rock". It's pure pop for now people and wouldn't have been out of place on a late 70s Nick Lowe effort. Deep late-period Beach Boys gem "Golden Hues" is another heavy melancholic down lifter that really beguiles before the real reason you're all here. Pastoral closer "I Meditate Each Day" is just beautiful, and likely the reason this reissue is giving you that special feeling. Another gorgeous flute-led, folk-funk groover, it featured in a memorable mix from the Creme2laCreme crew (Raphael Top-Secret, Jerome Qpchan and Antoine Kogut) live on Red Light Radio over a decade ago and has been top of many heads' wants list never since. Just mellow out.

As ever, the audio for Ocean Potion has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve featuring a topless Steve reclining next to his piano on a flatbed truck on the beach (of course?!) has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

The sea has long been central to Japanese culture, symbolizing both sustenance and spiritual depth. Charles A.D.'s Deep Diver draws inspiration from this, channeling the ancient traditions of diving and fishing into his music. Historically, the sea has influenced everything from Shinto rituals to the livelihoods of coastal communities. In Deep Diver, this reverence flows through aquatic soundscapes, where rhythmic waves of 90s house and Detroit techno meet Japanese minimal production techniques, New Age and Pacific Jazz. Like the tides, the album ebbs and flows, creating a serene yet dynamic homage to the timeless connection between Japan and the sea.
The opening track 'Deep Diver' plunges into the depths, its abstract sound design capturing the sensation of deep-sea propulsion. Rhythmic bubbles pulse gently alongside slow-moving chords, creating an otherworldly atmosphere. The textures are lush yet restrained, setting a tranquil stage that pulls the listener into a submerged world. 'Underwater Ruins' builds on this aquatic theme, introducing rhythmic layers and bass-heavy notes reminiscent of mid-90s Japanese ambient techno. The smooth, melodic flow nods to pioneers like Mr.YT and Susumu Yokota, while subtly incorporating the Detroit techno influence through soulful, deep basslines.
The track feels like a fusion of ambient and techno, balancing serene tones with a rolling groove, emblematic of Japanese techno soul. As the album progresses into 'Bubble Ring', it becomes clear that Charles A.D. is a master of minimalism. The production is timeless, leaning
on analog techniques where echo-drenched chords and carefully layered soundscapes take on an addictive, hypnotic quality. The simplicity of the composition is deceptive, as each element carries weight, drawing the listener deeper into the rhythm and space between the notes.
'Merperson' is where organic rhythms truly come into play. Charles A.D. gently evolves the patterns, allowing each percussive hit to flow naturally into the next. Soothing melodies emerge from within the track’s structure, eventually reaching an emotional peak without ever feeling forced. The organic nature of the arrangement creates an effortless progression that feels deeply connected to the natural movement of water.Starting the second half with 'Deep Exploration', the theme of underwater excursions becomes even more pronounced. Light, steady drumming anchors the track, allowing the melodic layers
to develop gradually. It unfolds with a calm, measured pace, before ending softly, almost as if the sounds are drifting off into the oceanic depths. 'Diffuse Reflection' stands out as the most dub house-influenced on the album, with rolling rhythms and hypnotic elements reminiscent of Maurizio's deep, pulsing sound. Yet here, the production feels submerged, with aquatic effects swirling around the rhythmic core, blending dub house with a fluid, oceanic touch. 'Traitors' delves even deeper into dub-inspired territory. Deep, resonant bass hits combine with wooden drums, while static-like sounds evoke the image of a radio tuning through static to find clarity.
Chords shimmer briefly before fading back into the liquid depths, evoking the ebb and flow of the tide. The final track on Deep Diver 'Levitation', is a fitting conclusion, as the rhythms merge and overlap like waves gently lapping the shore. The minimalistic arrangement allows each element to blend effortlessly into the next, creating a sense of unity and closure. The sounds move with the gentle grace of water, ending the album in a way that feels both complete and
open-ended, like the infinite motion of the sea.

Die Musikzeitschriften "Audio" und "Stereo Play" betitelten Lenny Mac Dowell als "Rockflötist Nummer eins in Deutschland".
Lenny Mac Dowell hatte unzählige Tourneen mit Musikern wie Manni von Bohr, Horst Stachelhaus (Birth Control), Peter Oehler, Mike Herting, Bodo Schopf (Michael Schenker Group) oder Zeus B. Held (Guru Guru), Clemens Winterhalter, Alex Grünwald und immer wieder Großproduktionen mit Musikern wie Pete York (Spencer Davis Group) und Wolfgang Schmid (Passport).
Eine Ära des musikalischen Experimentierens setzte sich unter eigener Produktion fort. Nach "Flying Torso" folgt "Balance Of Power", das mehr in die esoterischen Gefilde geht - feinste Meditationsmusik mit Ambient-Elementen. Auch das Album "The Farthest Shore" spiegelt die meditativen und esoterischen Klänge wider. 1987 veröffentlichte Lenny Mac Dowell in einem Gemeinschaftsprojekt mit Christoph Spendel "Autumn Breath" oder "Landscapes" (2015) und in den 90er Jahren bis heute "The Lost Paradise", "Echnatons Return", "Launch Control", "Get Ready", "Retrospective", "Lenny Goes India", "Look Of Love" und "Raja Yoga" Produktionen unter eigener Flagge.
"Vinyl Experience" eignet sich auch hervorragend als Referenz oder zum Testen Ihres Soundsystems, von der Plattenspieleranlage bis zu den Lautsprechern.

London based Multi National noiseniks ‘Michael’ return with their second album ‘Nite Salad’, released on Crackedankles Records on October 18th.Nite Salad, the second offering...One studio fire, several collapsed spinal discs, two swapped out axemen and a couple o’ kids, all dragged through a taste-battering pandemic. A seriously good bedrock recipe primed for the unwanted A-road that is Nite Salad, Michael’s second full lengther. Another helping of thuggy dirt, funky hurt, baggy spunk and general malaise confronting the state of shitlife in the 2020s.Look elsewhere for optimism but sneak onto the good ship Mike for a destinationless, ill-prepared voyage into the deep,dark ocean of H E A V Y F U T U R E S.

Courtesy Of Balance is the tasteful house label run by Brawther and it was back in 2019 in Lviv during an underground warehouse party that he first made contact with Laconica label founders Ocean and Sasha Pervukhin. They all hit it off and so were invited to showcase the deeper side of the house sounds of Western Ukraine, and the results make up this new EP with the artists taking one side each. Ocean T's opener is a psychedelic, trance-infused cosmic trip while 'What If' rides on crisp beats with some lush dubbed-out synths. On the flip, Pervukhin's 'I Hate This DJ' is balmy, heady deep house from up amongst the stars and 'TR 18 Blues' is a nice kinetic, lithe minimal house cut.

The thirteenth drop from Curtis Electronix comes courtesy of veteran of the electronic music scene. Edward Upton has been producing music since 1994 and much has changed since he unveiled his debut release under the DMX Krew alias. Warp Zone LP showcases the great mastery of his studio, his technical expertise and his exceptional ability to create monolithic soundscapes using very few elements. Each layer contributes to a rich, immersive experience, each element resonates with depth, highlighting his deep understanding of club music, sonic texture and space.

Carla Boregas is a Brazilian musician, composer and sound artist. By merging synthetic and acoustic instrumentation and techniques, Boregas builds up sonic scenarios driven by an invisible force, where the sensation of presence and discovery lies between density and delicacy. Her work spans composition, improvisation, performance, sound installation and radio art, and aims to transport the listener to different subjective perspectives of time and space, to invoke memories and to reflect about the nature-human relationship.

Carla Boregas writes: "Using a Tascam Portastudio 4-track cassette recorder, I invited three musicians to improvise alone with the sound recording of the sea that I did in Massaguaçu, the place where I used to live in Brasil. The recorder that I used had a defect in one of its tracks, therefore I could only invite two musicians – Vinicius Cajado (double bass) and Réka Csiszér (cello), plus the sea in another track. While listening to the tracks together, I felt a deep sense of absence ("ausência" in Portuguese). Perhaps due to their sonorous answers surrounded by the tape hiss? Because that's one of the symbolic meanings of the ocean? Maybe "saudades do mar, de estar ao seu outro lado"? Who knows – listening can be something very mysterious. Afterwards I played with and interweaved them all: the sonorous sea, Vinicius Cajado, Réka Csiszér and the absence - "Absência Tape" is the final result." – Carla Boregas, Berlin, 8 August 2024.

Sonor Music Editions is honored to announce the reissue of the very rare LP Aquarium Sounds by Italian composer Filippo Trecca. Originally released in 1979 as a promo-only item, “Aquarium Sounds” is a hybrid collection of tracks; some were used as the soundtrack to the thriller TV series “Così Per Gioco” (1979), directed by Leonardo Cortese; others from the talk show “Acquario” (1978-1979) hosted by Italian journalist and writer Maurizio Costanzo. The album also includes “Elena Tip” which features playful vocals by a young Ilona Staller (aka Cicciolina).

Aquarium Sounds were composed by Trecca himself, Achille Oliva (bass), Alessandro Alessandroni Jr. (keys), Giancarlo de Matteis (guitars), and Marco Parisi (drums), playing together for the creation of this progressive pop gem sought after by many collectors from around the world.

The album, recorded using simple acoustic elements and early synths, is a treasure buried deep into the ocean of time that Sonor Music Editions is bringing back to the surface; a journey into the depths of our music memory as well into the universe of Italian music heritage.

Underwater Sounds To Lure The Fishes is the second release from Free Tala, a project by Finnish sound artist Juho Toivonen. This LP features deep-sea droning sounds designed to attract fish. It’s perfect for all fishermen and women out there, as well as anyone who wants to dive into the deep blue, feel the weighty oceanic ambiance, and catch a glimpse into the mental landscape of these aquatic creatures. It also works very well in freshwater lakes, especially when enjoyed on the dock of your favourite summer cabin.

Lutalo's highly visceral folk goes electric on The Academy, the Vermont multi-instrumentalist, songwriter and producer's debut LP. Recorded in January 2024 at the storied Sonic Ranch and self-produced along with Jake Aron (Snail Mail, Protomartyr, L'Rain), The Academy feels like watching the best underground film you've seen in years; establishing Lutalo as a singular voice of this generation of indie rock. Lutalo describes The Academy as their "first chapter" - a time capsule of the lessons they've learned in their 20-something years of life. "This record is exactly that: a `record' of my early life," they say of their debut album, out via Winspear. "The experiences, thoughts and feelings I was holding at those times and am currently processing. To me, this is the first big stamp of my existence I'm sharing." While Lutalo's 2022 EP Once Now, Then Again introduced them as a lo-fi acoustic guitar wunderkind, The Academy is bigger and bolder without compromising Lutalo's inviting sense of emotional intimacy, inspired by alt-rock veterans like Thom Yorke and Rob Crow as well as electronic greats like Aphex Twin and Bowery Electric. The Academy's grander arrangements are heard in the biting adrenaline rush of "Ocean Swallows Him Whole," or the anti-war jangle of album closer "The Bed." Their lyrics are often deeply intuitive, flowing as a stream of consciousness, albeit with weighty meanings. With their unique baritone and finesse for lyrical world building, Lutalo cuts to the bone-while only just beginning to reveal the depth of their artistry and vision.

Lutalo's highly visceral folk goes electric on The Academy, the Vermont multi-instrumentalist, songwriter and producer's debut LP. Recorded in January 2024 at the storied Sonic Ranch and self-produced along with Jake Aron (Snail Mail, Protomartyr, L'Rain), The Academy feels like watching the best underground film you've seen in years; establishing Lutalo as a singular voice of this generation of indie rock. Lutalo describes The Academy as their "first chapter" - a time capsule of the lessons they've learned in their 20-something years of life. "This record is exactly that: a `record' of my early life," they say of their debut album, out via Winspear. "The experiences, thoughts and feelings I was holding at those times and am currently processing. To me, this is the first big stamp of my existence I'm sharing." While Lutalo's 2022 EP Once Now, Then Again introduced them as a lo-fi acoustic guitar wunderkind, The Academy is bigger and bolder without compromising Lutalo's inviting sense of emotional intimacy, inspired by alt-rock veterans like Thom Yorke and Rob Crow as well as electronic greats like Aphex Twin and Bowery Electric. The Academy's grander arrangements are heard in the biting adrenaline rush of "Ocean Swallows Him Whole," or the anti-war jangle of album closer "The Bed." Their lyrics are often deeply intuitive, flowing as a stream of consciousness, albeit with weighty meanings. With their unique baritone and finesse for lyrical world building, Lutalo cuts to the bone-while only just beginning to reveal the depth of their artistry and vision.

Lutalo's highly visceral folk goes electric on The Academy, the Vermont multi-instrumentalist, songwriter and producer's debut LP. Recorded in January 2024 at the storied Sonic Ranch and self-produced along with Jake Aron (Snail Mail, Protomartyr, L'Rain), The Academy feels like watching the best underground film you've seen in years; establishing Lutalo as a singular voice of this generation of indie rock. Lutalo describes The Academy as their "first chapter" - a time capsule of the lessons they've learned in their 20-something years of life. "This record is exactly that: a `record' of my early life," they say of their debut album, out via Winspear. "The experiences, thoughts and feelings I was holding at those times and am currently processing. To me, this is the first big stamp of my existence I'm sharing." While Lutalo's 2022 EP Once Now, Then Again introduced them as a lo-fi acoustic guitar wunderkind, The Academy is bigger and bolder without compromising Lutalo's inviting sense of emotional intimacy, inspired by alt-rock veterans like Thom Yorke and Rob Crow as well as electronic greats like Aphex Twin and Bowery Electric. The Academy's grander arrangements are heard in the biting adrenaline rush of "Ocean Swallows Him Whole," or the anti-war jangle of album closer "The Bed." Their lyrics are often deeply intuitive, flowing as a stream of consciousness, albeit with weighty meanings. With their unique baritone and finesse for lyrical world building, Lutalo cuts to the bone-while only just beginning to reveal the depth of their artistry and vision.

Île Flottante is Mr. Beatnick´s 5th album, following 2023’s Joy In Variation (including the notorious cover of Love on a Real Train) and his well-received off-beat collaboration with London-based avant-garde agitator Richard Greenan – Coasty – this is his first contribution to the International Feel trademark. Probably best known for some big deep house revivalist tunes circa 2013 on the now dormant Don’t Be Afraid record label, Beatnick now converts that aural quality and dimensionality into the Balearic system.
Île Flottante takes its name from the tastiest French pudding of Mr. Beatnick’s childhood holidays. The name, also a jeux de mots - floating island - hinting at the album’s inspirations and sense of identity, as a danceable soundtrack to a fictional island. Explored with high intensity and over a yearlong process, the sounds of the well-worn, but never failing Balearic universes were a mind expanding influence. Think of genre staples like Software, Manuel Goettsching, Mark Barrott, Len Leise, Don Carlos, Gaussian Curve, Joan Bibiloni or Yasuaki Shimuzu.
„I spent a year listening to a lot of synthesized island music, and marveling at the many twinkling wonders of the Balearic musical universe. Struck by a sense of belonging that had often eluded me on my musical journey thus far, as the weirdo at the back of the club who had orbited many scenes for 20 years, but never felt like I fitted in, I found music that made me feel like I had come home. The songs that came out of this process are presented in the order that they were written - an open book of ocean hymns, honest and spoken from the heart.“
Île Flottante tries its very hardest to avoid being any one thing in particular. At one point, it is a gentle beach walk accompanied by polyrhythmic drum plod and flourishes of Guzheng. At another, the infamous James Yancey septuplet swing is repurposed against a marimba melody that wouldn’t be out of place in one of Link’s forest adventures.
Elsewhere, there are the bellows of distant whales, touches of Italian dream house and a splash of vintage madchester, all working to create a space that feels both familiar and loaded with well worn tropes, but with its own quirky sense of personality, facets which are often attributed to Mr. Beatnick’s holistic b-boy approach. This is his understanding of a Balearic (b-boy) stance. Just with a float instead of a freeze.

Geschrieben wurden die Hauptteile der Songs auf 'Fever Dreams' im Laufe von zwei Jahren, aufgenommen wurden sie in einer Reihe von Full-Band-Studio-Sessions Ende 2019 und Anfang 2020. Während der langen, entschleunigten Pandemie-Tage verfeinerte O'Brien sie in seinem winzigen Heimstudio in Dublin. Gemischt wurde das Album von David Wrench (Frank Ocean, The XX, FKA Twigs). Ursprünglich erschien das Album im August 2021.

Format: Orangene Vinyl inkl. Downloadkarte

Carving an unlikely and elaborate niche in the stoney academic landscape
which she once shared with the likes of Phill Niblock, John Cage and Sorel
Hayes, the excitable proto-punk poèmes sonores of the linguistic loose
cannon known as Beth Anderson first rolled through New York in the mid-
1970s (from Kentucky via San Francisco) like a jumbled tumbleweed of lost
Letterism, face paint and threadbare drummy funk to astonish gallery floors,
lecture theatres and loft apartment stages.
One thousand leagues under the radar of the commercial music industry,
with a sense of humour that elevated way above her highbrow peer group,
the music of Beth Anderson has successfully evaded the pressing plant for
most of her creative career, and not unlike fellow New York gallery actionist
Suzanne Ciani, it has taken decades to successfully collect and contextualise
these early recordings - expanding her elusive discography beyond the rare
and mysterious solo single entry in the process.
When uttered amongst the type of vinyl vampires that haplessly gravitate
between both art school vintage vanity pressings and family funded plunder
funk, there’s an outside chance that the name Beth Anderson might muster
some vague recognition on account of her one and only solo wax sojourn
into the expansive DIY market. In 1980 the 45rpm single, ‘I Can’t Stand It’,
combusted into the consciousness of adventurous participants with its deep
rhythmic backbeat (courtesy of future Sonic Youth / Dinosaur Jr producer
Wharton Tiers, member of the new wave band Theoretical Girls), climaxing
with two colourful and commanding linguistic tantrums before disappearing in
a puff of smoke leaving would-be fans dumbstruck without so much as a
label name or distribution contact to explain what they had just heard.
For those who have spent the subsequent years on the edge of that same
seat, it might come as some comfort knowing that somewhere out there,
there is also a contrasting world of gallery patrons and experimental sound
poetry enthusiasts that similarly didn’t know that their regular performance
poet Beth Anderson even made the ambitious pop record. For the uninitiated,
the enigmatic Beth Anderson has straddled both sides of the art / rock fence
placed between two equally niche pastures.
Hopefully this first ever vinyl compendium will succeed in joining the dots,
loops, yelps, squeaks, beats and repeats. Let us follow Beth’s lineage, along
her magnetic tape highways crossing multiple boundaries in a hope to bridge
unlikely anti-genres like ‘yoga punk’, ‘ramble rap’, ‘combustion pop’ and
‘formroom funk’… all of which were officially neatly bracketed under the
curious Text-Sound movement where Beth garnered utmost respect as a key
practitioner.

The records is released in two options. Both hvae 180g vinyl records. The first version has two black vinyls and the second limited edition (numbered 100 pieces) has one turquoise vinyl and the other red.

Over the last three decades, Auckland, New Zealand, has given birth to several generations of musicians, DJs, and producers who operated within the interzone between jazz, blues, soul, funk, Latin music, hip-hop, house, boogie, and broken beat. Across two slow-cooked albums that sit at the intersection of machine funk and vivid live instrumentation, Odyssey (2016) and their forthcoming sophomore release Long Road (2024), After 'Ours - the group project of pianist and composer Michal Martyniuk and drummer, guitarist and producer Nick Williams - have comfortably located themselves within this antipodean tradition.

Born and raised in Auckland, Nick Williams grew up surrounded by music from a young age. At home, his mother, Mary Anne, a record collector and DJ with deep, diverse vinyl crates, kept his ear sharp. By the time he was eight years old, he was regularly joining his musician father on stages across Australia in his blues rock band Slippery Sam. In his early twenties, Nick began leading the eleven-piece Auckland Latin-dub-funk fusion big band Tangent, who performed regularly until the late 2000s.

Michal Martyniuk, on the other hand, grew up on the opposite side of the world in Szczecin, Poland. After playing classical music for twelve years and attending jazz school, he relocated to New Zealand with his family in his teens. While studying at Auckland University Jazz school, Michal came into the orbit of the legendary New Zealand saxophonist, composer, producer, and band leader Nathan Haines, who brought him into the same world as future collaborators like Tama Waipara, Batacada Sound Machine, Sola Rosa and Nick.

Inspired by the rich stories of jazz, neo-soul, electronica, and dance music from both sides of the Atlantic Ocean and the open-eared Auckland scene they emerged from, After 'Ours formed in 2011. Born out of a friendship cultivated through playing together at bars and nightclubs around town and home studio sessions. "Nick had family and work, so I had to wait all day," Michal says. "We'd come to the studio at 10 PM and go till 3 AM. That's how we came up with the name.

Session by session, After 'Ours revealed itself to be a creatively fertile meeting of minds. "We both have our angles, but it works well in the end," Nick reflects. "It takes the music to a place we can't get to by ourselves."

Between 2011 and 2016, they wrote and recorded Odyssey with a cast of musical collaborators that included KP, Sharlene Hector & Kevin Mark Trail (UK), Matt Nanai, Nathan Haines, Jakub Skowronski, Nick's partner Ange Williams (nee Saunders) and British producer Mike Patto from the lauded UK future jazz group Reel People. Influenced by the smooth yacht rock of Steely Dan and Donald Fagan, the warm midtempo bounce of A Tribe Called Quest and J Dilla, and the complex jazz/RnB bop of Robert Glasper, Odyssey was a labour of love that emphasised community, warm-hearted hospitality, and care.

Seven years on, they're finally ready to return with Long Road, an album that contains some of their best work yet. As well as reconnecting with past collaborators Kevin Mark Trail and Ange Williams, Long Road sees After 'Ours calling on assistance from Louis Baker, Jakarta-based saxophone player Kuba Skowroński, bassist Dan Antunovich, Los Angeles-based drummer Chris Bailey and the journeyman British soul artist Omar Lyefook.

Across ten songs that plot a stargazed course through their antipodean spin on UK broken beat, jazz, modern soul, and blues rock, Nick and Michal build on everything they learned while writing and recording Odyssey. In the process, they take their joyful musical visions to sublime new heights.

The records is released in two options. Both hvae 180g vinyl records. The first version has two black vinyls and the second limited edition (numbered 100 pieces) has one turquoise vinyl and the other red.

Over the last three decades, Auckland, New Zealand, has given birth to several generations of musicians, DJs, and producers who operated within the interzone between jazz, blues, soul, funk, Latin music, hip-hop, house, boogie, and broken beat. Across two slow-cooked albums that sit at the intersection of machine funk and vivid live instrumentation, Odyssey (2016) and their forthcoming sophomore release Long Road (2024), After 'Ours - the group project of pianist and composer Michal Martyniuk and drummer, guitarist and producer Nick Williams - have comfortably located themselves within this antipodean tradition.

Born and raised in Auckland, Nick Williams grew up surrounded by music from a young age. At home, his mother, Mary Anne, a record collector and DJ with deep, diverse vinyl crates, kept his ear sharp. By the time he was eight years old, he was regularly joining his musician father on stages across Australia in his blues rock band Slippery Sam. In his early twenties, Nick began leading the eleven-piece Auckland Latin-dub-funk fusion big band Tangent, who performed regularly until the late 2000s.

Michal Martyniuk, on the other hand, grew up on the opposite side of the world in Szczecin, Poland. After playing classical music for twelve years and attending jazz school, he relocated to New Zealand with his family in his teens. While studying at Auckland University Jazz school, Michal came into the orbit of the legendary New Zealand saxophonist, composer, producer, and band leader Nathan Haines, who brought him into the same world as future collaborators like Tama Waipara, Batacada Sound Machine, Sola Rosa and Nick.

Inspired by the rich stories of jazz, neo-soul, electronica, and dance music from both sides of the Atlantic Ocean and the open-eared Auckland scene they emerged from, After 'Ours formed in 2011. Born out of a friendship cultivated through playing together at bars and nightclubs around town and home studio sessions. "Nick had family and work, so I had to wait all day," Michal says. "We'd come to the studio at 10 PM and go till 3 AM. That's how we came up with the name.

Session by session, After 'Ours revealed itself to be a creatively fertile meeting of minds. "We both have our angles, but it works well in the end," Nick reflects. "It takes the music to a place we can't get to by ourselves."

Between 2011 and 2016, they wrote and recorded Odyssey with a cast of musical collaborators that included KP, Sharlene Hector & Kevin Mark Trail (UK), Matt Nanai, Nathan Haines, Jakub Skowronski, Nick's partner Ange Williams (nee Saunders) and British producer Mike Patto from the lauded UK future jazz group Reel People. Influenced by the smooth yacht rock of Steely Dan and Donald Fagan, the warm midtempo bounce of A Tribe Called Quest and J Dilla, and the complex jazz/RnB bop of Robert Glasper, Odyssey was a labour of love that emphasised community, warm-hearted hospitality, and care.

Seven years on, they're finally ready to return with Long Road, an album that contains some of their best work yet. As well as reconnecting with past collaborators Kevin Mark Trail and Ange Williams, Long Road sees After 'Ours calling on assistance from Louis Baker, Jakarta-based saxophone player Kuba Skowroński, bassist Dan Antunovich, Los Angeles-based drummer Chris Bailey and the journeyman British soul artist Omar Lyefook.

Across ten songs that plot a stargazed course through their antipodean spin on UK broken beat, jazz, modern soul, and blues rock, Nick and Michal build on everything they learned while writing and recording Odyssey. In the process, they take their joyful musical visions to sublime new heights.

American trumpeter Chet Baker was a major innovator in cool jazz, leading him to be nicknamed “the prince of cool”. He earned much attention and praise through the Fifties, particularly for albums featuring his vocals. This included his 1954 album Chet Baker Sings and its follow-up Chet Baker Sings Again in 1985. The latter he released on the Dutch jazz label Timeless Records. He recorded the album with bassist Ricardo Del Fra, drummer John Engels and pianist Michel Graillier. Chet Baker's Sings Again is available as a limited edition of 500 copies on yellow coloured vinyl.

Cardinal Fuzz / Feeding Tube Records in collaboration with Deep Water Acres and in tribute to Sunrise Ocean Bender Records bring to you: Elkhorn – ‘Other Worlds.’ Drew Gardner and Jesse Sheppard, the two-guitar duo of Elkhorn, share a musical brotherhood that spans several decades. From their nascent high school socialist-realist post-punk band Mayfirst, to teenage scavenger trips to the Princeton Record Exchange and City Gardens, the two came of age goofing along to the Dead Kennedys, the Butthole Surfers, and Sonic Youth in the dank Jersey/Philly-scene music holes. Elkhorn has long traversed the valleys between fried cosmic psychedelia and American Primitive, particularly the latter style’s reverence for a wide range of folk and blues idioms ranging from County Records compilations to the Mississippi Sheiks. While the pair is best known for their acoustic guitar explorations, ‘Other Worlds’ continues their recent experiments with other instrumental possibilities. For instance, on the previous Elkhorn release ‘On the Whole Universe in All Directions,’ Drew switched to vibraphone and drums, with Jesse playing 12-string guitar. ‘Other Worlds,’ on the other hand, finds them in a recognizable ‘rock trio’ format (in improvisational mode)—Drew is on electric guitar, with Jesse playing bass, and they are again joined by Ian McColm on drums, with the free-flowing groove he brings. On the opening track ‘Watching the Skies’ you can feel the forward propulsion this—dare I say—power trio sets up, a cosmic widescreen which Elkhorn proceed to rock and groove across the whole of ‘Other Worlds.’ Three flawless musicians in their own right, together they form a telepathic psychic link that taps into the otherworldly flow that is ‘Other Worlds,’ as the synergy created by Jesse and Ian leaves Drew plenty of space to take off on exhilarating and soaring flights of fuzzy haze fire that results in a musical journey toward transcendence. Elkhorn demonstrate again and again that there is no height they won't scale, no direction they won't travel. Have Elkhorn ever sounded as heavy or as on fire as the recordings laid down here? You be the judge. The trio is multitudes. The trio is one. Mastering - Chris Hardman Artwork - Brett Savage