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Following the hyperactive “Blood Karaoke” (2022, Reading Group), “Performing Belief” builds rhythmic thickets from gathered sounds interwoven with synths, drum machines and other samples. Having built these rhythmic nests, Krivchenia then called on two contemporary mages of the low end: electric bassist and fellow Angeleno Sam Wilkes (Wilkes/Gendel) and double bassist/multi-instrumentalist from Krivchenia’s native Chicago, Joshua Abrams (Natural Information Society). Wilkes and Abrams bring the presence of a grounding human witness to the rhythmic undergrowth, providing a centering and even at times melodic voice to the gathering. This alchemy carries a profoundly fresh sense of time, blurring the edges of the quantized grid and the generic boundaries of electronic music.

The core of the album is a lush, opulent matrix of percussion ranging from the familiar—hand claps and drum machines—to the mysteriously verdant, sampled largely from Krivchenia’s own performed field recorded collection. For years, he would record any and all of his musical encounters with natural objects: performing on a particularly resonant log on a hike, throwing rocks into a pristine pond, tap dancing in the mud. This archive of “natural” sounds became the fertile soil out of which the tracks on “Performing Belief” grew. What is gained in the process is not just a novel set of sounds, but a new rhythmic language. The particular give, the anticipatory rustle, the extra breath of a hollow log when functioning as a kickdrum provides a greenness that overtakes the rhythmic grid, giving this music a peculiar kind of stickiness. This rhythmic language, set in Krivchenia’s long-fermenting electronic musical palate, feels like a revelation, even while it calls back not only to his wonderfully elastic timekeeping behind the kit with his beloved band Big Thief, but also to his prior work in computer music as well as his deep study and love of the vast human archive of drumming. “Performing Belief” is in good company in the rank and file of the legendary Planet Mu label. From the foundational early releases of the likes of Jega and Venetian Snares, to the contemporary envelope-warping work of Jlin and hundreds of brilliant releases in between, Planet Mu has been a beacon of forward-thinking rhythmic music for decades, informing Krivchenia’s own sense of the weird metaphysics of musical time since he was a kid. Krivchenia’s contribution to this history calls to mind the principle of organic danceability that subtends Mu’s whole catalogue, while bending our sense of rhythm in new and gracious dimensions. Krivchenia brings out the loamy complexity of natural rhythms, a clearing as generous as it is inviting. Let the drummer give you some.

Manolis Pappas writes: "Coming from Thessaloniki, but currently residing in Athens, Savvas Metaxas presents "Feedback Poetics", a study in ambient, minimal electronics and feedback drone, revealing a work of compelling compositional clarity. "Feedback Poetics" was recorded during a long improvisational night, with most of the piece captured in a single take. Later, a few additional sounds were added. Recorded using the Lyra-8 synthesiser by Soma Electronics and the Lemondrop granular synthesiser, the album weaves intricate sonic patterns into a meticulously crafted soundscape. The idea behind this recording was to create a long, meditative piece, captured entirely through headphone monitoring. The title reflects the experience of listening to these sound frequencies dancing around the listener's head. Metaxas, known for his output on esteemed labels in recent years and co-founder of Dasa Tapes and Granny Records, offers a work that resonates with the intimacy of a private live performance, yet possesses a refined and considered structure befitting a carefully curated cassette documentation." – Manolis Pappas/Coherent States.

Sextile, das in Los Angeles beheimatete Duo, das für seinen unbeugsamen, elektronischen Punk-Sound gefeiert wird, hat Details zu ihrem kommenden, starken Album „Yes, please.“ bekannt gegeben, das am 2. Mai 2025 auf Sacred Bones erscheint, sowie Pläne für eine umfangreiche Europatournee in diesem Sommer geteilt. Sextile, die sich derzeit mit ihren Labelkollegen Molchat Doma auf einer großen US-Tournee befinden, kündigen ihr neues Album mit der Single „Freak Eyes“ an, die ihren dunklen, pulsierenden Sound in neue Höhen treibt. Der Song beginnt mit einem fiesen Bass-Growl, das abrupt in einen Techno-Beat übergeht, der mit klirrender Kuhglocke und scharfer Hi-Hat gespickt ist. „I feel the pressure / Man the pressure I feel when we're together“, singt Sänger Brady Keehn kühl, aber bestimmt, in den ersten Zeilen. Inspiriert von der Art und Weise, wie Druck sowohl Herausforderungen als auch Verbesserungen hervorrufen kann, beschwört „Freak Eyes“ elektrisierende Bilder von schäbigen Hinterzimmern auf dem Sunset Strip und von in Leder gekleideten Tanzflächen in Lagerhäusern herauf.

Manche Bands finden ihren Groove und bleiben dabei, andere erfinden sich ständig neu. Sextile gehört zu den letzteren, die den Nervenkitzel einer sich ständig verändernden Landkarte genießen. Das Duo Melissa Scaduto und Brady Keehn aus Los Angeles macht Musik mit Lebenslust und lässt sich dabei von No Wave bis Hardstyle inspirieren. Ihr neuestes Album „yes, please.“ stößt in kühnes Neuland vor, indem es anarchisches Elektro-Feuer mit rohen persönlichen Erinnerungen verbindet - und mit genug aufgemotzten Bässen, um ein oder zwei Boxen zum Platzen zu bringen. „yes, please.“ ist ein Album der Kontraste: eine verletzliche Platte, die ihre Seele ebenso entblößt wie sie im Exzess schwelgt und zeigt, wie weit man seinen Sound treiben kann, wenn man seine Hemmungen abschüttelt. Zusammen verraten die beiden ein Selbstvertrauen, das niemals schwankt, und machen einen kühnen Spritzer auf dem schnellen Intro mit einer Rave-Sirene, die aus einer New Yorker Hausparty der `00er oder einem verschwitzten Brooklyn-Lagerhaus stammt. Auch der Geist des Electroclash pirscht sich an das Gebäude heran, zeigt seine Identität bei den mit Kuhglocken gespickten Donnerschlägen von „Freak Eyes“ und „Rearrange“ und sorgt mit „Women Respond to Bass“ für eine schmutzige Dancefloor-Bombe. „Push Ups“ - mit dem Gesang von Jehnny Beth - ist pure Muskelmusik, gestärkt durch einen wummernden Bass und ergänzt durch Synthies, die so hart hämmern wie Hagelkörner auf einem Glasdach. Aber hinter den Slogans, der Frechheit und der monstermäßigen Tanzenergie verbirgt sich eine Intimität, die man nur finden kann, wenn man sich über schmerzhafte, lebensverändernde Ereignisse öffnet. „Hospital“ und ‚Soggy Newports‘ reflektieren Scadutos erschütternde Erfahrungen in einer staatlichen Einrichtung in New York nach einem beinahe tödlichen Unfall. „Resist“ befasst sich mit Abtreibungsrechten, während ‚Penny Rose‘ das amerikanische Bildungswesen, künstliche Intelligenz und zukünftige Generationen thematisiert. Scadutos elastischer Gesang glänzt überall, von den messerscharfen Synthesizern von „S is For“ bis zu den Trance-Pop-Höhen von „Kids“ mit Izzy Glaudini von Automatic. „yes, please.“ ist eine actiongeladene Dance-Platte, vollgestopft mit wilden, berauschenden Gassenhauern, aber im gleichen Atemzug auch ein Zeugnis dafür, zu leben und niemals zurückzuschauen. Indem sie sich für eine neue, „befreiende“ Art des Musikmachens öffnen, haben Sextile ihr bisher kreativstes Werk geschaffen. Bisher, denn man spürt einfach, dass sie noch so viel mehr zu geben haben.

Orchid Mantis, by Michelle Helene Mackenzie and Stefan Maier, is a work that draws its inspiration from the history of the Sanzhi Pod City, in northern Taiwan. Sanzhi Pod City was built from 1978 onwards, made up of buildings constructed from assemblages of `pods' inspired by the futuro houses of Finnish architect Matti Suuronen. The project was abandoned in 1980, following a number of accidents during construction and persistent rumours that the site was haunted. However, this wasteland of a city has allowed insects to proliferate, in particular five species of orchid mantis. It is this strange environment, made up of utopian buildings, proliferating insects and vegetation reclaiming the site, that serves as the imaginary space for Michelle Helene Mackenzie and Stefan Maier's music, a music of carefully designed pace and progression, drawing, through resonance and stridulation, subtle sonic materials that guide and accompany us into multiple worlds with admirable ease and grace. Breach, by American composer Olivia Block, engages in a dialogue between field recordings and synthesised sounds, creating a vibrant plea for wild spaces that face an ever-growing threat to their survival from human activities. The work is based on recordings collected in the San Ignacio lagoon in the Mexican part of Southern California. This lagoon is known as a breeding ground for eastern Pacific grey whales. With the help of precise electronics, the music unfolds like a drift, depicting the subjective soundscape of whales caught up in the noise of the Anthropocene. The composer uses otoacoustic emissions in particular, representing the sound saturation caused by humans in the habitat of these large marine mammals. Going beyond a merely descriptive dimension, Olivia Block manages to transcend her subject to offer a fascinating musical form that engages the listener in a constantly renewed way.

"Water Season" is a collaborative EP between the lo-fi duo Hooky and shoegaze artist Winter. They first met online as fans of each other's music and soon started corresponding with ideas, the first of which was writing "horseshoe." After relocating from Los Angeles to New York, Winter took a trip over to Philadelphia in the summer of 2024 where they all became good friends and spent the whole day writing songs together. They coalesced in their love for lo-fi, indie, electronica pairing beautiful melodies with experimentation, sampling, and guitar. In their own way they created a sonic snapshot of that intersection of time and feeling- the bittersweet and fleeting sensation of the end of summer fading into fall. Both bands will be playing shows together this year as well as touring to promote the EP.

Autarkic is back with "Tahor", a bold sonic collage where history, nostalgia, and raw emotion collide. This limited-edition vinyl release weaves together vintage samples, archival snippets, and hypnotic beats, crafting a personal and collective memory trip.

14 tracks of euphoric highs, hazy melancholy, and wry humor.

The artist, DJ, and producer Autarkic (Nadav Spiegel) - one of the most influential underground figures in recent years and a key player in TLV electronic scene-releases a new Hebrew-language album, available as a limited-edition vinyl and on digital platforms. "Tahor" is Autarkic's sixth album and his second in Hebrew. It is entirely composed of a mosaic of samples from his personal music collection, cuts from archival recordings, and historical references that hint at events that shaped him. The result is a personal and collective memory machine - 14 tracks that take the listener on a journey through euphoric joy, subdued melancholy, and playful sarcasm.

"Tahor" is a journey that emerges from Autarkic's private consciousness, offering a sober reflection on his unwavering insistence on being an artist who neither knows nor wishes to "play the game" for popularity ultimately finding peace with himself. Throughout the album, Autarkic ventures beyond his own mind into the outside world, confronting social and political realities and adding his own musical document about life in Israel.

Oilix’s latest album, Dissolved, is a mesmerizing journey through the vibe of ’90s trip hop and downtempo, updated and realized in an exciting new way. Released on Cold Busted, this 13-track odyssey follows up on the Kazakhstan-born producer’s previous EP, Nothing But Summer, and showcases his unique “sunhop” style, blending bright melodies with undeniable grooves.

Drawing inspiration from downtempo music of the ’90s, Oilix’s music strays from stereotypical styles, instead embracing lounge, trip-hop, and electronic influences that lay the foundation for his head-nod-inducing tracks. Dissolved showcases his ability to craft memorable melodies that linger long after the final note has faded.

With appearances on popular playlists like Jazz Vibes and releases on labels such as Vinyl Digital, Hip Dozer, and Bluewerks, Oilix is poised for even greater success. Dissolved is an essential addition to any downtempo lover’s collection, offering a refreshing and captivating take on the trip-hop genre.

NEIL ARDLEY’S HARMONY OF THE SPHERES RETURNS TO VINYL FOR THE FIRST TIME IN OVER 40 YEARS
Analogue October Records proudly presents the long-awaited LICENSED reissue of Harmony of the Spheres, Neil Ardley’s cosmic jazz masterpiece, originally released in 1979 by Decca. This marks the first vinyl reissue of the album since its original release, offering fans a rare opportunity to experience this extraordinary record in its purest form.

A Visionary Fusion of Jazz and Science
Recorded at the legendary Morgan Studios and produced by the esteemed Martin Levan, Harmony of the Spheres is another bold evolution in Ardley’s ever-expanding musical journey. A unique blend of jazz, electronic synthesis, and progressive rock, the album explores the ancient Greek concept that planets create celestial harmonies as they move through space. Using precise astronomical calculations, Ardley transposed planetary orbits into a nine-note chord—one that extends beyond the range of traditional acoustic instruments, making synthesizers the only means of fully realizing this cosmic sound.
The album features an all-star lineup, including the visionary John Martyn on guitar, saxophonist Barbara Thompson, Tony Coe, Ian Carr, and keyboardist Geoff Castle, alongside the formidable rhythm section of Billy Kristian (bass), Richard Burgess (drums), and Trevor Tomkins (percussion).

A True AAA Reissue – Cut Direct from the Original Master Tapes
Following the reissue success of Journey to the Urge Within (1986) by Courtney Pine (AOR-001-ST), Analogue October Records’ founder Craig Crane embarked on a mission to restore Harmony of the Spheres to its full sonic glory. Working with Gearbox and using Decca’s original 15ips 2-track stereo master tapes, this reissue is a true AAA release—an all-analogue production with no digital step. The album was meticulously cut directly from the tapes and pressed to the highest standards at Optimal in Germany.
Inside the deluxe package, fans will discover an 8-page booklet featuring an in-depth essay by Jazzwise magazine editor Mike Flynn, along with never-before-seen photos from the original recording sessions.

Continuing the Legacy
This reissue is just the beginning—Analogue October Records is committed to further explorations of Neil Ardley’s work, alongside other deep cuts from the UK’s vibrant 1970s jazz fusion and jazz-rock scene.
Whether you’re rediscovering Harmony of the Spheres or experiencing it for the first time, this release is a testament to the artistry and innovation of Neil Ardley.

With Ylh Bye Bye, Swiss-Moroccan producer Sami Galbi delivers a raw and electrifying debut album after the succes of his first single Dakchi Hani / Rruina. Merging North African folk, chaâbi, and trap with forward-thinking electronic club music, his punk energy and DIY ethos stem from years immersed in Lausanne’s underground squat scene, shaping a sound that’s both deeply personal and politically charged.

Driven by infectious North African melodic loops, heavy basslines, and percussive textures—blending bendir drums, karkabas, and analog synths—Ylh Bye Bye pulses with urgency. From high-energy dancefloor anthems to dreamy acid pop ballads, the album explores themes of migration, identity, and belonging. Galbi’s Arabic vocals oscillate between auto-tuned harmonies and spoken word, capturing the tensions of diaspora life.

With Short Circuit Control, Berlin electronic duo Diagram (made up of Brian Jonestown Massacre guitarist Hákon Aðalsteinsson and Fred Sunesen) re-emerges ith a refined yet unpredictable sound, a testament to resilience, collaboration, and the endless possibilities of analogue synthesis. What began as a bedroom project by Aðalsteinsson culminated in the debut album Transmission Response (2019, Fuzz Club), a raw and exploratory work that set the foundation for what was to come. When Sunesen joined, Diagram evolved into a live act, carving out a space for itself in Berlin’s underground music scene. Built on mechanical rhythms and eerie textures, their second album Short Circuit Control plays with tension and release, its analogue pulse imbued with a restless, human energy. There's a hypnotic, almost ritualistic quality to the music, where modular synths hum and crackle, beats loop and fracture, and melodies emerge like ghostly transmissions from some distant, flickering signal. The result is an album that feels both controlled and unpredictable—moody, immersive, and always teetering on the edge of something unknown. It is released on P.U.G Records, the new label from the Psychedelic Underground Generation music blog.

Sediment is an assemblage of field recordings made in the Swiss canton of Jura on a single day in August 2022. Jura's rock and limestone formations create a complex topology which hosts a diversity of sound spaces; human, more-than-human, geophonic, subterranean and extra-terrestrial. By walking and driving through this landscape curious pockets of activity are revealed to the listener. The layers of strata that make up Jura; earth, rock, forest, cables, pipes, factories, planes and radio towers inform the sound strata. These recordings incorporate and embrace these many layerings; the acoustic, radio, magnetic, vibrational, tectonic, resonant.

Over the course of a day Tim Shaw and Laurent Güdel followed their ears, they visited forests, mountains, rivers, hydroelectric plants, caves, radio broadcast towers, wind turbines, train tracks, sacred wells, man made tunnels and abandoned factories, harvesting sounds from this tangled and ever-changing soundscape. Using various listening devices they attempted to listen into the full spectrum of activity, hydrophonic, geophonic, air-pressure, electromagnetic and radio.

Sounds harvested include pieces of limestone being submerged into water, electromagnetic fall out from cell towers, the resonance of a limestone processing factory, VLF radio, the mechanisms of infrastructure, radio controlled airplanes and acoustic signals. These files are mixed and blended together to create a new stratification.

The final compositions were separately pieced together in each of the artist's studios using the collective corpus of recordings. The result is two different sonic interpretations of this layered, ancient and complex landscape.

Tim Shaw works with sound, light, and communication media to create performances, installations, and site-responsive interventions. His practice spans environmental sound art, digital media, media archaeology and walking. He frequently presents his work at festivals, in forests, caves, warehouses, up mountains, and in museums and art galleries all over the world.

Laurent Güdel explores analogue synthesis, phonography, and sound archives through multi-channel electroacoustic compositions, live performances, installations, and audio publications. His work explores the politics of sound, the means of production of early electronic music, and the archaeology of audio technologies, their infrastructures and institutions. He is also co-curator of Kopfhörer, a series dedicated to live experimental music.

Ziúr lines up with The Tapeworm for an exclusive cassette-only release featuring Kenichi Iwasa, exploring the electroacoustic realms.

Invited to perform solo at Tarek Atoui's performance series at Kunsthaus Bregenz in October 2024, Ziúr decided to write a new piece for the occasion. This composition, 'Turn Liquid Into Dust', was then performed within the framework of Tarek Atoui's 'Waters' Witness' exhibition as an 8-channel spacial audio piece, transmitting sounds through the installation's structure – metal bars, stones, compost piles… Composed in London in autumn 2024, its principal source of sonic material is recordings of Atoui's instruments which Ziúr had recorded in his studio in Paris during the summer of 2024. In addition, she invited the Japanese woodwind player and virtuoso Kenichi Iwasa to join on all pieces, his contribution providing a binding element, tying the pieces together.

Opener 'A Cold Drip' consists solely of Iwasa's spectral squalls. The tense noir drone of 'Long Call' features a string instrument built by Atoui. For the airy yet dense title track, Ziúr recorded an organ named The Reed Box, with Iwasa floating atop its smoggy soundbed. Closer 'Chips 'n' Crumbles' echos and reverberates with the rattles of household items Ziúr found around her home.

Driven by a relentless appetite for boundless experimentation, Ziúr has been subverting expectations since she was a teenager, corkscrewing through hardcore, metal and punk before veering towards electronic music's turbulent fringes. She produces just like she DJs, gathering a wide variety of ingredients and figuring out the most intriguing, unexpected ways to simmer them into a coherent narrative that helps listeners synchronize the conflicting messages that surround them. Genre isn't a fixed point for Ziúr, but a colour in a vast palette that stretches across history and borders, helping illustrate music that's powerfully subversive. Her The Tapeworm edition follows acclaimed recordings for Planet Mu, PAN, Objects Limited and Hakuna Kulala.

Kenichi Iwasa is a London-based improviser and multidisciplinary artist from Japan, also known for his legendary Krautrock Karaoke night as well as collaborations with visual artists and musicians such as Beatrice Dillon, Maxwell Sterling and Linder Sterling. He currently performs with Naima Karlsson under the name Exotic Sin.

EYA Records continues to deliver top-tier techno, house, and electro, and their latest record is no exception. This time, they’re shining a spotlight on Italian producer Mennie. The Plan EP is a sonic experience that flawlessly merges hypnotic beats, cutting-edge melodies, and an infectious dancefloor vibe.

Originally released in the late '80s, this album stands as a defining statement of the Japanese noise and industrial scene—an unrelenting fusion of power electronics, mechanized chaos, and avant-garde intensity.
The brainchild of Ichiro Tsuji, Dissecting Table’s sonic assault exists in the same lineage as the dystopian brutality of Whitehouse, the mechanical terror of SPK, and the raw sonic deconstruction of early Einstürzende Neubauten. At the crossroads of noise, industrial, and extreme experimental music, Ultra Point Of Intersection Exist embodies the radical spirit of the era, pushing boundaries alongside contemporaries like Controlled Bleeding and Ramleh.
This long-awaited reissue restores a crucial chapter in noise history—available now for the first time as an official release on limited edition vinyl and digital formats.

Phantasmagoria is a landmark release from Japan’s legendary noise collective C.C.C.C. Originally unleashed in the early '90s, this album represents the group’s masterful balance between overwhelming sonic force and hypnotic, psychedelic intensity.
Led by Hiroshi Hasegawa and fortified by the presence of Mayuko Hino, C.C.C.C. blended the raw power of Japanese harsh noise with elements of cosmic electronic music, creating a sound that resonates with the crushing density of Merzbow, the ecstatic distortion of Hijokaidan, and the hypnotic feedback worship of The New Blockaders. Phantasmagoria stands as a crucial document of noise music’s golden era, where extreme frequencies met transcendent states of mind.
This long-awaited reissue finally brings this essential work back to life—available now for the first time as an official release on limited edition vinyl and digital formats.

Red edition - double LP - printed sleeve.

Electro Maskkk Freetekno/Techno sound.
Superb ^rinted sleeve

The annual Bonkers Music compilation returns, delivering another round of high-energy bangers. This year, the release explores a slightly evolved musical style while staying true to its signature sound. Celebrating its sixth edition, “Year VI” will be available on 12” vinyl, accompanied by a few exciting surprises.

A1. Neskeh’s “106 Cabrel” revolves around a melodic yet hypnotically repetitive lead sequence, crafted to evoke a trance-like state on the dance floor and radiate positive energy. The foundation of big, punchy kicks and a robust bassline gives it a quintessential club vibe.

A percussive break in the middle shifts the mood entirely, paying homage to Goa rhythms and shamanic rituals, immersing listeners in a more primal atmosphere. The drop reignites the momentum, enhanced by the warm tones of the beloved Minilogue, adding an almost epic dimension to the journey.

A2. Berlin’s Mike Sacchetti and Madrid’s David Meyer unite on “Agria Pachanga,” a dance energy piece that pulses with percussive drive and a subtle touch of Latin identity.

Acid-inspired arrangements swirl around classic drum machine sounds. The syncopated rhythms and pumping basslines push the track towards an agitated club atmosphere, building this song into a bold declaration of fiesta.

A3. Two friends from Guadalajara, Mexico, Leonor & Ludviq, now living in different European cities, (Barcelona & Lyon) join forces to bring you Capybara Trance, This electrifying track combines dark, driving energy with intricately sequenced melodies, a hard-hitting chugging bassline, and the unique touch of capybara-inspired sounds. Anchored by a commanding kick drum that sets an unrelenting tempo.

B1. “Nebula” is a deep, atmospheric journey through cosmic sounds and pulsating rhythms. The track blends hypnotic melodies with dark synthetic textures, evoking a sense of drifting through endless galaxies. With a strong groove and intricate arrangements, it delivers energy that fits perfectly in both morning sets and more conceptual playlists. The collaboration between Radial Gaze, Ducati Flux, and Persona RS captures the spirit of exploration, creating a versatile track that can be the highlight of any set

B2. Intruso hailing from Bogota, now based in Barcelona brings “Somos Acido” this track draws inspiration from the early 2000’s House and Trance, capturing the nostalgia and emotional resonance of his first experiences with electronic music as a child. A driving Acid bassline injects dynamic energy, making it perfectly suited for the dance floor.

B3. Argentinian born, Australia based producer Poulper teams up with Mexican maestro Hugo Vallejo to kick off this intergalactic adventure. This track weaves together acid-laced elements and an infectious rhythm, layered with haunting post-dark vocals that narrate the fiery, cosmic tale of love burning in the vast expanse of space. A bold and immersive journey into the unknown, perfect for this stellar compilation.

“Growing up has always been a solitary journey, marked by forward-looking anticipation, anxiety, unripe potential, aspirations, and closures.”

London based Chinese composer and multi-instrumentalist Li Yilei returns to Métron Records with NONAGE, their second full length release following 2021’s OF. An introspective reflection on the journey through childhood, this new work brings together samples from old Chinese TV shows, mechanical children’s toys and an array of acoustic and electronic instruments - some of which were designed and built by Li themselves.

The Chinese title for "NONAGE" is "垂髫", which translates to “childhood” or “disheveled hair”, and refers to the carefree phase of life when children let their hair down, both figuratively and literally. For Li, nonage is a place that they always revisit - to learn about fear and fearlessness, love and despair, grief and glee, curiosity and mistakes.

“I remember pressing piano keys like touching flowers, reading scores like looking at paintings, writing like how I would talk to myself, greeting death like how I would greet life.”

Initially conceived as an archiving project, the record retraces and reimagines fractions of Li’s childhood memories through smell, location and colour, and brings to life the lingering feelings that remain into adulthood.

Compositions are built around a variety of unusual sources: damaged instruments such as a toy piano, a hand cranked music box, bird whistles, a broken accordion and anything else Li could find that evoked nascent recollections. Interspersed throughout are samples from Li’s childhood piano jams, moments of contemplative transmigration where previous incarnations of self and memory meet the present.

Cititrax proudly presents the debut LP from Another Body Found here, which is the latest moniker of A// who is well known for his pioneering work as Le Syndicat Electronique. Emerging from the French underground with a dark electro, industrial, minimal synth and wave style, he has a stark and visceral take on raw energy and haunting atmospheres. There are plenty of mechanical, hypnotic beats here with heft bass and hints of dystopian fears. The title track reimagines Bronski Beat's 'Smalltown Boy' and strips it to its emotional core, 'Lost In The Northern Lights' has a cold, urgent sound and 'Murderous Earth' is brilliantly unsettling and melancholic.

The Rising Wave marks the debut collaboration between singer-songwriter Marlene Ribeiro (of psychedelic band GNOD) and electronic producer Shackleton under the name Light Space Modulator. The album will be released via AD 93.

The iconic Hôtel Costes music collection, a veritable benchmark of Parisian luxury and refinement, continues to captivate lovers of sophisticated sounds. Famous for its unique blends of warm vocals, funk, jazzy and pop grooves, fusing electronic sounds and acoustic instruments, this series is a must for connoisseurs of refined music.



This seventh volume, orchestrated by the talented Stéphane Pompougnac, offers light electro soul and racy house, perfect for livening up the most elegant evenings and keeping the most reluctant dancing until the wee hours. The Hôtel Costes series has revealed exceptional talents such as Pink Martini, Flight Facilities, General Elektriks, Angus & Julia Stone and Brigitte, while mixing hidden nuggets with masters such as Gotan Project, Femi Kuti, Trentemøller, Thievery Corporation, Shirley Bassey and Grace Jones.



With over 5 million copies sold worldwide, following the resounding success of the reissue of the first six volumes, this seventh opus is finally available for the first time on vinyl. A true gem that will delight long-time fans and appeal to a new generation of listeners worldwide.

The iconic Hôtel Costes music collection, a veritable benchmark of Parisian luxury and refinement, continues to captivate lovers of sophisticated sounds. Famous for its unique blends of warm vocals, funk, jazzy and pop grooves, fusing electronic sounds and acoustic instruments, this series is a must for connoisseurs of refined music.



This eighth volume, orchestrated by the talented Stéphane Pompougnac, offers light electro soul and racy house, perfect for livening up the most elegant evenings and keeping the most reluctant dancing until the wee hours. The Hôtel Costes series has revealed exceptional talents such as Pink Martini, Flight Facilities, General Elektriks, Angus & Julia Stone and Brigitte, while mixing hidden nuggets with masters such as Gotan Project, Femi Kuti, Trentemøller, Thievery Corporation, Shirley Bassey and Grace Jones.



With over 5 million copies sold worldwide, following the resounding success of the reissue of the first six volumes, this eighth opus is finally available for the first time on vinyl. A true gem that will delight long-time fans and appeal to a new generation of listeners worldwide.

Electro music heroes DJ Di'jital, Microthol, Alex Cortex and Luxus Varta step up to the plate for the TRUST XY recombination series, recreating classic tracks from the Austrian label's history in their unique styles. Volume 4 of the series has Detroit veteran DJ Di'jital cut up DJ Glow's 'Whoami' from 2002 in ghetto bass MPC fashion. Vienna electro scientists Microthol remake J/V/N Machine's 'Somewhere Tonight' in one of their rare transmissions. Alex Cortex bares his soul as a pioneering minimalist in stripping down 'Honokida' by /DL/MS/ to its harmonic core, and electro virtuoso Luxus Varta brings out the melancholy funk in Populist's 'Psychometric Profiling'.

Luke's Anger (real name Luke Sanger) delivers his first outing on Love Love, Ceiling Walker. Sanger is a relentlessly interesting hero of the underground, probably best known as a techno and electro producer and an active player in the live experimental techno scene across Europe, notably including multiple appearances at Berghain/PanoramaBar. Based out of Norwich, UK, Luke has put out a plethora of banging records for two decades in styles from across the rave spectrum on some of our favourite record labels like Tigerbeat6, Don't and Sneaker Social Club, as well as an increasing amount of more ambient-leaning releases under his real name in recent years. Recognised as a true techno stalwart, Luke has received support from the likes of Surgeon, Dave Clarke, The Advent and Jerome Hill.

This EP fits firmly into the 'banging' camp - more than a nod to classic stateside sci-fi electro stylings as well as UK dance music's bleep techno bass foundations, this is popping, caustic, mechanical phunk expertly engineered to make you shake and wiggle. Particle Swarm kicks the EP off with strung-out synth chirps and plenty of latex squelch before moving onto the bounciest number, Threshold Rider, with buoyant bassline droplets poking through a solid 808 framework. On the flipside, title track Ceiling Walker utilises rushing crescendos and fluttering analogue rhythms to keep the dancefloor in rapture while closer, Silicon Boogie, achieves maximum levels of funk by aptly juxtaposing digi vocal snippets against square wave bass.

Sasha links up with Joseph Ashworth for epic new single 'HiFiHi' comes on Sasha's Last Night on Earth as two different versions

Sasha has been on an exceptional run of form of late, not least in collaboration with a wide range of innovative producers. His work continues to explore the most moving end of the electronic spectrum, both in terms of well-crafted grooves but also inescapable synth emotions. This time he links with Joseph Ashworth, Sound Of Outside label head and a regular on the likes of Anjunadeep, Needwant and Pets Recordings. His painstakingly crafted sound draws from a wide spectrum of influence, is rich in texture and melody and has seen him serve up indelible DJ sets all over the world.Together these studio wizards cook up 'HiFiHi' which is a sublime seven-minute trip built on bass, full of drama and tension. The silky synth lines weave in and out with rising chords and vocal motifs all enriching it with warmth and soul. After an epic build-up, fresh synth energy breaks out with trance-inducing magic and euphoric chords that bring great emotional release. The LoFiLo Mix is more mellow and with extra vulnerability in the elegant blend of synths and melodies that wash over you in a beautifully serene and escapist fashion.

"HARD POP Vol.2” Vinyl limited edion is the album that contains 6 essential tracks to discover the essence of Hard Pop vol.2 and Deborah, connecng the electronic world with the pop and urban dimension, maintaining the unforge&able energec and sophiscated style of the DJ and producer Deborah De Luca. The album features surprising and unreleased featuring, exclusive remixes – from Geolier to Emma Marrone – and the smashing hit “Messege For My Ex” in the “edit” version. Limited and numbered edion of only 200 units and soon 300 units of the deluxe edion on
vinyl.

CSL presents Future Contact, a vinyl EP with 4 original tracks and remixes from ADJ & Fleck E.S.C. Advanced electro with Detroit overtones, powerful drums and spacey sounds for the originals. ADJ with his raw remix that overwhelms you with his bass, and to close the vinyl Fleck E.S.C. raises the adrenaline and gives more impact with atmospheric sounds!

Norman Westberg (guitar), Giridhar Udupa (ghatam, konnakol, khanjira, percussion) and Jacek Mazurkiewicz (double bass, electronics)An extraordinary meeting of three artists from three different musical worlds and three different continents. Norman Westberg (ex-Swans) and Jacek Mazurkiewicz have already released one album together "First Man In The Moon" in 2021 (published by the Swiss label Hallow Ground).In the new project, they are accompanied by Giridhar Udupa, an Indian master of ghatam (a clay percussion instrument that looks like a jug). The album will feature 3 long trance compositions, referring to ambient, krautrock, free jazz and Indian music.Jacek Mazurkiewicz describes the creation of this album as follows:"I met Norman Westberg while supporting the Swans tour in Poland as 3FoNIA. A few years later, during Norman's tour with Gira, we recorded a duet.The trio session took place similarly to the previous duet session during Norman's solo concert in Warsaw on the Swans tour.Recorded with Adam Toczko, a quick meeting on a day off from work.I invited Giridhar Udupa to the trio, whom I had met earlier during the period when I co-founded the band Limboski. I once invited Wacek Zimpel to play a few concerts with Giridhar. Wacek later created Saagara and I was wondering about some unusual musical context in which I would find myself with Giridhar. I was looking for an interesting sound configuration, but also a cultural one, with a different approach to creating music. I got the impression that for both Norman and Giridhar it was a fairly fresh meeting, not obvious. And on the other hand, ordinary - everyone did their own thing."Detroit guitarist Norman Westberg moved to New York in 1980 and became a part of the experimental music scene that was experiencing its golden age. Westberg himself became a permanent fixture when he joined the iconic avant-rock band Swans in 1983, and was the only member other than frontman Michael Gira to play with them for most of the band's run, both until their 1997 disbandment and his return in 2010. Westberg has also been involved with other legendary New York noise-rock acts, including Jim Thirlwell's Foetus and the post-Swans Heroine Sheiks, in which he played with Cows frontman Shannon Selberg; and in 2014, he joined the noise-rock supergroup Hidden Rifles, whose members included Mike Watt of Minutemen and Mark Shippy of U.S. Maple. Westberg's solo compositions, most often for solo guitar and a set of effects, draw on drone and post-minimalism, bringing to mind dark ambient passages from Swans albums.Giridhar Udupa is an extremely valued teacher and world-renowned artist, an Indian master of ghatam (a clay percussion instrument that looks like a jug). He was born into a family with long musical traditions. He began learning to play at the age of four, guided by his father. At the age of twelve, he already had his first performances behind him. He currently gives concerts alongside the greatest masters. He has received many prestigious awards. He performs in the USA, Spain, Canada, France, Switzerland, Germany, Oman and Kuwait. Giridhar Udupa is a member of the band of the Indian vocalist Bombay Jayashri, nominated for an Oscar for the best song for the film Life of Pi. He is one of the founders of the Layatharanga band. He also plays virtuoso other traditional instruments of South India, such as mridangam and kanjira, and is excellent at using the konnakol technique (a type of rhythmic vocalization).For three decades, the artist has been a global ambassador and icon of Carnatic music. He is the founder of The Udupa Foundation, a charity organization established in 2015 to promote Indian music, performing arts and culture. He has participated in recording dozens of albums. He is also well-known in our country thanks to his cooperation with Polish performers, which resulted in excellent artistic effects, such as the famous Indialucia - Michał Czachowski's group / project or the Saagara formation, led by Wacław Zimpel. Udupa also played on the album Lechoechoplexita, released by Leszek Hefi Wiśniewski, and on the album of the band Layatharanga, released in our country.Jacek Mazurkiewicz is interested in music in the broad sense. He puts his sounds together based on emotional impressions and pulse. Combining acoustics with electronics, he is constantly looking for a new sound. Solo as 3FoNIA, in a duet with Mikołaj Trzaska or Tomek Dąbrowski, the JMB trio with Wojtek Jachna and Jacek Buhl, in the Modular String Trio quartet, the Afrobeat quintet Faso Tamala are just some of his musical incarnations. With Patryk Zakrocki, as part of an audio mission, he massaged hundreds of pairs of ears in the Inner Ear Massage Office. He also deals with sound design, composing and producing music for films and theatre performances. He collaborated with many Polish and foreign artists.

Trumpeter, santur player, vocalist, and composer Amir ElSaffar joins electronics performer and composer Lorenzo Bianchi-Hoesch in a new project exploring electro-acoustic spaces, maqam, microtonal harmonies, and improvised and composed structures in a modular musical composition that accommodates a variety of musical styles across genres. Together, they create an immersive sound that transcends notions of form, musical language, electronic, and acoustic categories in music. This new work will be a modular composition combining pre-determined structural elements with freely improvised sections, played live by ElSaffar and Bianchi-Hoesch. The work will explore electro-acoustic spaces in a microtonal environment that embraces the sonic spectra of multiple musical languages. Bianchi-Hoesch and ElSaffar are interested in creating a transcultural collaboration combining jazz, contemporary classical music, maqam, raga, and other musical backgrounds, inclusive of all the richness, complexity, and idiomatic expression, without compromising or oversimplifying in order to be compatible with others. They are in search of boundary-less spaces in music.

Moor Mother is an American musician, poet, and interdisciplinary artist known for her avant-garde and experimental work. The Great Bailout is an expansive meditation that acts as a non-linear word map about colonialism, slavery, and commerce in Great Britain. Featuring guest contributions from Lonnie Holley, Angel Bat Dawid & Sistas of the Nitty Gritty, Vijay Iyer, Mary Lattimore, and more, it"s Moor Mother"s most uncompromising vision to date. Moor Mother has gained recognition for her unique blend of spoken word, noise, and electronic music, addressing themes of race, gender, and socio-political issues. She hails from Philadelphia and has been an influential figure in the city"s vibrant arts and music scene. She has received critical acclaim for her albums, with reviewers praising her fearless approach to sound and her thought-provoking lyrical content on albums like "Jazz Codes" and "Analog Fluids of Sonic Black Holes", showcasing her boundary-pushing sonic experiments.

Deutschland, deine Städte. Der Schauplatz aller Songs und Erzählungen des Berliner Duos Die Anteile ist klar umrissen: Sie interessieren sich für die dunklen Ränder, für Ecken, in denen lange niemand mehr gekehrt hat. Holzvertäfelte Eckkneipen, asphaltierte Garagenhöfe, aber auch mitten in die Scheinwerfer blicken sie, die ihr Licht werfen auf alles, was einmal subversiv und anders war. "Pelzwerk", das nun bei Tapete Records erscheinende Debütalbum der Anteile, wurde geschrieben in einem feuchten Berliner Kellerraum. Einige Meter unter der Erde erblickte eine Vielzahl an Figuren das Licht, die auch einem düsteren Varietétheater entstammen könnten: Nazi-Erben, die dem Sheriff hinterher reiten, Sammler, die Vergangenheiten in Vitrinen ausstellen und Zirkusdirektoren im Gewand von Bürgermeistern sind im "Pelzwerk" beschäftigt. Dabei sind Die Anteile keine Kinder von Traurigkeit: Das Debütalbum ist umspült von quirligen Synthielines, überschwänglichen Gitarrenriffs und liebevoll garniert mit allerlei Sounds aus dem Krautrock-Zauberkasten. "Ich beherrsche wenig / aber du würdest mir auch schon reichen", singen sie auf dem Titeltrack. Bass und Drum Machine zielen auf die Beine, die Stimme - mal als Sprechgesang, mal oddly elegant - auf den Kopf. Hinterher ist man immer schlauer - "Und ich wurde aufgeklärt / vernünftig ist was sich rentiert" - oder zumindest nass geschwitzt. "Pelzwerk" vereint viele Genres in sich. Ist es EBM, ist es IDM oder - Gott bewahre! - NNDW? Ein begeisterter Konzertbesucher beschrieb Die Anteile einmal als "freundliche DAF". Doch eigentlich sind Die Anteile auch dafür zu verspielt. Statt mit Diktatoren tanzen sie eher im 4-eck, packen den Vocoder aus und halten die tanzende Menge mit knarzigen Basslines in Schach. Die Anteile sind im Nebenberuf Gärtner:innen. Ungeachtet der heimischen Witterungsbedingungen pflanzen sie munter verschiedenste musikalische Gewächse an. Prominent im Rundbeet wurzeln die japanischen Elektropioniere von Yellow Magic Orchestra in der selben Erde wie Proto-Industrialisten der Marke Crash Course in Science und Pyrolator. Am Gartenzaun treiben Post Punk-Bands wie Talking Heads und Magazine Blüten, während im Nachbarbeet gerade neu mit Electroclash gedüngt wird. Reichlich Grünzeug also, sodass jeden Tag ein frischer Wildblumensalat den Weg aufs Die-Anteile-Buffet findet.

" Pickled Eggs and Sherbet is the sole album by English electronic group All Seeing I - the production trio of Dean Honer, Jason Buckle and Richard Barrett (aka DJ Parrot).

" Part of the late nineties big beat / trip hop scene, it brought together many disparate threads of the Sheffield's music scene past (and then) present including contributions from the likes of cabaret crooner Tony Christie, Human League frontman Phil Oakey and Pulp's Jarvis Cocker.

" Lead single "The Beat Goes On" which had a huge viral moment on TikTok and social media in 2022, becoming one of the most widely used 'Sounds' in recent years accruing 2.4 billion views and 162k creations.

" The follow up 'Walk Like A Panther' peaked at #10 in the UK Singles Chart. Featuring vocals from Tony Christie, it became his first hit single in 25 years.

" London Records have remastered & re-issued the cult-classic album :
1. for the very first time on vinyl ! As collector Red & Yellow Double LP.
2. with an expanded and remastered 2CD edition to boot, including rare b-sides from lost CD singles, new mixes from DJ Parrot and more.

"The album was created in this back and forth of snapshots - we made most of the decisions impulsively without much questioning. That takes a lot of trust." — Violeta García & Hora Lunga

"I'll Wait For You In The Car Park", the first full length collaboration between Argentinian cellist, improviser and composer Violeta García and Swiss musician and composer Hora Lunga, is a work of extremes. Drawing from the realities of life on two continents, and embodying moods ranging from stoic desire to violent bursts, the album enciphers so-called ordinary moments from everyday life into an alluring collection of musical scenes. Seemingly inconspicuous moments are condensed into a tale of synchronicity: colliding time zones and seasons, metropolitan rhythms raining down onto a glacier's ice field, exploring places through street view, the serendipity of loitering at a kiosk. As such, "I'll Wait For You In The Car Park" brings documentary film essays to mind that carefully observe the private and everyday occurrences.
Violeta García and Hora Lunga crossed paths by chance in 2023 and began discussing and sharing music shortly afterwards. What started as a loose exchange of ideas, sending back and forth sketches and demos between South America and Europe, grew into several studio sessions in 2024. Being sucked into a "quite extraordinary flow", the two musicians recorded, arranged and intervened on a level playing field, using the studio as a playground to record musical layers and interweave them with field recordings and audio notes gathered over the course of a year. Speaking a kindred musical language, they quickly realized how their ideas clung to each other like two familiar souls, complementing, intertwining and merging. From gauzy and eerie textures, musical miniatures floating through time, howling and screaming strings, to tumbling and thundering basses – the sound of the ordinary shapes a body that vibrates, writhes and breathes.

Violeta García is a cellist, improviser and composer from Buenos Aires, Argentina. Based in Spain, she tours a lot with her band Blanco Teta. She is a performer in many art forms, including free improvisation, contemporary and trans-media experimental repertoire in violoncello and electronics and collaborations with dancers, film makers and visual artists. After years of studying classical and popular music on violoncello and, later, contemporary composition and improvisation, Violeta has developed her own musical voice needed to emerge beyond outside specific genres.

Throughout Swiss composer and musician Hora Lunga's work, the focus lies is on exploring boundaries, both musically and in terms of performance and content. Above all, genre designations lose all meaning, as the music always takes place within a dramaturgically conceived overall framework. In recent years, his projects have ranged from pop music productions to experimental works and sound performances, as well astheatre and film productions. His ensemble WIRREN consists of up to fifteen performers.

We are honoured to present Domingo Dark Vinyl's first solo vinyl as Kaxtelian.

An EP with 6 tracks plus 2 bonus tracks in digital, that oscillates between the powerful breaks of Electro, UK Hardcore and Techno, to the influences of Belgian origin and the genuine sound of Valencia.

Sounds created directly between the ghettos of Albacete and Badalona that perfectly define his eclectic vision of the dancefloors.

Vilhelm Hasselgren is a Gothenburg-based producer and DJ with a focus on Jungle and productions that move between 160-170 bpm. Vilhelm focuses a lot on complex rhythms and ambient soundscapes and takes inspiration from both older and modern Jungle, as well as other electronic acts such as Basic Channel, Mala, Skee Mask and Arkajo. Vilhelm tries to create soundscapes that move between different musical starting points.
He has previously released on Rezonant Body, Canape Records, Bukva Sound and Of Paradise Records. Also has an upcoming EP releasing on Bukva as well as a V.A on Western Lore. In 2025, Vilhelm also has a residency at London-based Subtle Radio.

Vilhelms words:
Central Line EP is an EP that I'd myself consider to be my debut EP. The tracks were created within a two-and a half year span, with some tracks being re-worked and replaced. Later ending up with the final track-list, which I am very happy in how it ended up in the end. One of the tracks that were later added onto the EP being 1000 a co-production with my brother Einar (Local Arms), which we spontaneously recorded at our parents house over a weekend.

I mostly start from percussion, onto bass and later melody in my productions. The title track "Central Line" was started when I lived in Brighton for half a year, together with Theo Soderlund (Theomega). The Eski sample is a bit tricky one, but wanted to experiment with it, further I chopped an Amen and a Think break with an idea to create a pretty simple rhythm that could leave the riff to speak for itself. Even though the tracks were created within a pretty long span of time, I feel like they portray a sound that I want to further explore and produce at this point. Also Arcne adding a monster remix of Central Line that has been getting lot of love. Could not be happier to release it on Bukva Sound which prior releases I think really captivate a sound that has been really inspiring throughout the process.

"Acid Floresta" is the result of a process of sonic recognition and translation. A term that has taken shape over the past few years to name a search that, in reality, began more than a decade ago: the intersection between foreign rhythms and the music that inhabits the streets, with its social dynamics and its irreducible vitality.



This album is born from the observation and listening of the everyday sounds that shape the sonic identity of the neighborhood: the corner store, the metro, the billiard hall, the street corner. Spaces where music is not a choice but a constant pulse of life. The percussion of the street, the echo of a distant radio, the spontaneous phrasing of a conversation—these become raw material. From there, the process moves to the studio, where bass, synthesizers, drum machines, and samplers serve as tools of translation: what begins as a documentation of reality transforms into a musical interpretation.



At this point, a tension emerges between what is learned and what is felt. For years, tropical music and vallenato were part of a sonic landscape that coexisted with external influences, generating both distance and affinity. But within that push and pull—between the familiar and the unknown—a common thread was revealed: sabor. Not as a genre, but as an essence, a vital and irreplace able force.



"Acid Floresta" is structured in three and the performative stage, where music returns to the streets, closing the cycle. It is in this final moment that its true nature emerges: in the shared vibration, in danceability, in what connects beyond geography and context.

The album proposes a dialogue between intimacy and collective experimentation, between latineo and electronic music, between the raw and the processed. A space where the music of the streets and the music of the floresta converge to create a new sonic memory.

Few albums evoke a sense of place as vividly as Desire!, the third offering from Friend of a Friend. The duo—Claire Molek and Jason Savsani—craft music that feels cinematic and immersive, threading themes of yearning, transformation, and resilience through a palette of lush synths, tactile rhythms, and haunting vocals. Recorded in a sprawling Victorian mansion in rural Illinois, with a history steeped in spiritualism and the paranormal, Desire! not only embodies the environment where it was created but also reflects the duo’s evolution as musicians and sonic architects.

Producer Jordan Lawler (M83), who also worked with the duo on FACILITIES, played a pivotal role in shaping the album’s sound. His approach seamlessly integrates analog and electronic elements, from shimmering synth pads to deep, tactile rhythms. The result is a record that feels both vast and grounded, inviting careful listening to its intricate details.

With Desire!, Friend of a Friend captures their evolution as musicians and storytellers, offering a record that lingers in the spaces between tension and beauty. The result is an immersive and deliberate work, one that showcases their musical innovation and their ability to create a vivid, otherworldly sense of place—haunting and cinematic, like stepping into a film where every sound carries a story.

The band has been named an artist to watch by Rolling Stone, an “American visionary” group by Mesmerized, an “indie rock band taking the scene by storm" by Wonderland Magazine, a "cultural phenomenon" by Extravafrench, "sonic visionaries" by Plastic Magazine, "the next huge thing in indie rock" by Each Measure, and "seamlessly intriguing" by Obscure Sound.

With "Beau Discours", Orphia dives deeper into the shadows, crafting a sound where cold wave and electronic music collide in a saturated whirlwind. Darker, more organic, this six-track EP marks a major shift in her approach, designed as much for introspection as for the club.

Hailed by Pitchfork for his “ambient, intimate…songs that blossom gently with intricate musical details and enigmatic lyrics,” Conner Youngblood gained early acclaim with a series of self-released singles and EPs before breaking out internationally with his 2018 full-length debut, Cheyenne, which fused electronic and analog elements into a lush mix of bedroom pop and chamber folk. Youngblood toured the record heavily until 2020, when the pandemic forced him off the road and, hungry for fresh inspiration, he began enrolling in Russian, Danish, Spanish, and Japanese language lessons. He didn’t realize it at the time, but those classes weren’t just expanding his vocabulary, they were laying the groundwork for his most ambitious, experimental album yet: Cascades, Cascading, Cascadingly.
 
Written and recorded at home in Nashville, the collection is a dreamy series of meditations steeped in desire and yearning, loneliness and loss, exhilaration and escape. The lyrics blur the lines between fact and fiction, toying with magical realism and outright abstraction in various languages, and the arrangements are surreal and cinematic to match, hinting at everything from Cocteau Twins to Atoms For Peace. In addition to producing and engineering, Youngblood played every instrument on the album himself, and the result is a pure, unfiltered journey deep into the subconscious of a relentlessly curious artist, one with a boundless imagination and an insatiable appetite for sonic exploration. 

20 years after its release, Jarring Effects reissues Opus Incertum! The debut album from High Tone, an instrumental dub band (guitar, bass, drums, keyboards and turntables) that transcends the boundaries of the genre. Able to incorporate all kinds of influences, from 70s Jamaican dub to electronic music, with a touch of ethnic sounds and world music, to produce their own music and sonic atmospheres. Jungle intros, oriental samples, discreet scratches, all contribute to creating a warm sound that is deeply organic and emotionally vibrant.