VUO14 delivers a journey through spacey deep techno moods, guided by Kirill Matveev. Side A features two tracks seamlessly blended into one continuous flow, inviting you to either focus on each part individually or let the narrative unfold as a whole.
On the flipside, Rasmus Hedlund takes the listener further into the night, raising the tension with a hypnotic dub excursion. Closing the record, Tm Shuffle reshapes the atmosphere into a bass-heavy, reverberated and house-tinged version - best experienced in front of a powerful sound system.
A versatile record for deep techno selectors and sonic explorers alike.
The “Kisses at Midnight” remix is an explosion of pure energy, designed for those who experience music directly on their skin. The track stands out for its rich sound design of open, sharp, and percussive sounds, capable of filling the room and creating a magnetic atmosphere from the very first seconds—thanks in no small part to the high-quality original sounds that define its sonic texture.
The real driving force of the track is its driving, arpeggiated rhythm: a continuous, hypnotic flow that doesn’t let you go for a single second, sweeping the listener into a non-stop journey from start to finish.
A physical and overwhelming track that hits you straight in the chest, giving no respite to anyone who wants to feel like an active part of the dancefloor.
– INCOGNITO
There are sounds that transcend time, capable of evoking entire worlds without needing any introduction. “Incognito” is exactly that: a visceral and modern tribute to the golden years of Italian progressive techno—an era that rewrote the rules of global clubbing.
The beating heart of the track lies in its hypnotic power. From the very first beats, you are captured by a perfect interplay of tight percussive rhythms and magnetic arpeggios, elements engineered to lock the listener to the groove and never let go. It is a continuous evolution, a sonic flow that destabilizes and fascinates, carrying us on a unique, mental journey.
Angelo Bass is an Italian DJ and producer known for his seamless blend of sophisticated electronica, house, and techno. After rising as a resident for the Push collective, he has graced the decks of top-tier clubs like Cocoricò, Sankeys Ibiza, and Veniceberg Verona. His production footprint is equally strong, featuring the highly supported “Drawn to the Floor EP” (Trend Records), his latest “Raw Luv EP” (Sengiley Wax), and key releases on Less Is More and Blackboard. Currently based in Ibiza, Angelo balances international club gigs with his role as an instructor at Accademia Italiana DJ.
Tomu DJ’s debut on CST Imprint shares ten atmospheric wistful ruminations on being, living, and the spiritual undercurrents that alchemize these experiences into song. Hazy memories recalled through glitchy lush lullabies, moving through whispered skittery percussive states into warm melodic vocal confessions. Playful yet exacting productions ebb and flow between pensive indietronica pop interspersed with blissful club tracks that swing from ambient, drum and bass, breaks and house for the dancers. A sanguine daydream, to be free.
Her fourth album since 2021 but first on vinyl, Tomu’s deceptively simple compositions bely complex emotions. Minimal, every element just so, nothing unnecessary. Her ability to create ideal environments for collaboration on full display.
AMBASSADE ventures into the world of Manrira - a dark, alluring feminine presence that confronts systems driven by value, profit, and power. Emerging from dystopian structures, Manrira exists in the liminal space where organic and digital forces collide, merge, and mutate. This new audiovisual work is devoted to the enchanting acoustics of the human voice and its relationship to bodies, architectures, and shifting environments. At the heart of Manrira is the human voice - alive, breathing, and full of presence. It flows like a living instrument, shaping space and emotion. Manrira explores the voice as resonance, as body, and as spatial event. Manrira moves from dynamic song compositions into extended structures, blending live bass, neo-classical elements, ethereal vocals, drum machines, breaks, and techno-driven textures. The result is an immersive experience that invites the audience to listen closely and reconsider their connection to sound, space, and their surroundings.
*** Special edition on yellow flame colored vinyl. Comes with a poster and stickers *** AMBASSADE ventures into the world of Manrira - a dark, alluring feminine presence that confronts systems driven by value, profit, and power. Emerging from dystopian structures, Manrira exists in the liminal space where organic and digital forces collide, merge, and mutate. This new audiovisual work is devoted to the enchanting acoustics of the human voice and its relationship to bodies, architectures, and shifting environments. At the heart of Manrira is the human voice - alive, breathing, and full of presence. It flows like a living instrument, shaping space and emotion. Manrira explores the voice as resonance, as body, and as spatial event. Manrira moves from dynamic song compositions into extended structures, blending live bass, neo-classical elements, ethereal vocals, drum machines, breaks, and techno-driven textures. The result is an immersive experience that invites the audience to listen closely and reconsider their connection to sound, space, and their surroundings.
Italian percussionist Umberto Vitiello takes us on a journey into a vanished world. Mixed by Italian techno master Donato Dozzy, the album draws on memories spanning decades, including Vitiello's years living on Yarakh Beach on the outskirts of Dakar, Senegal. There, the rhythms of daily life flowed with the tides: fishermen launching their pirogues at dawn, griots and vendors gathering beneath three towering palm trees, and the Atlantic Ocean providing a serene soundtrack.
Named after the Lébou people whose fishing culture has shaped the coastline around Dakar for centuries, the record is both a tribute to a community that welcomed Vitiello as one of their own and a reflection on what has been lost.
Those years left a profound mark on both his life and his music. Yet this is not simply a work of remembrance. It is also a meditation on change.
Today, the beach that inspired these recordings has been transformed by pollution and environmental decline. Where fishing boats and palm trees once stood, a sculpture by Senegalese artist Serigne Gorgui Mbaye now depicts two giant ears facing the sea-a reminder of the need to listen: to one another, to nature, and to our own conscience.
Blending percussion, atmosphere and storytelling, the album revisits formative experiences from the 1980s through the perspective of the present day. Featuring vocal contributions from Olympia Ndiaye, Anna Caragnano and Mariangela Morais, and guided by Dozzy's spacious, immersive mix, it unfolds as a deeply personal journey through memory, place and transformation.
“Slide in the party like three monkeys wearing a trench,” GDP says in the opening seconds of Cross Off Matthew, his first solo album in over a decade. The line is indicative of the New Jersey emcee/ producer’s relationship with music, one that’s ebbed and flowed throughout his career and eclectic discography. Entirely self-produced, Cross Off Matthew feels like a reintroduction as well as an expansion of what makes the cult rapper so beloved. GDP came up in the respective punk, hardcore, and skateboarding scenes of New Jersey, roots that inspired his DIY approach to making hip-hop. He applied a decidedly punk ethos to his brand of neo- boom bap on early releases like 2009’s Realistic Expectations and 2011’s Useless Eaters, albums that celebrated his youthful indiscretions but also signaled an old soul lying beneath the surface.
He opted to release them on punk/indie labels (including Run For Cover and Ride The Fury Records) instead of more traditional hip-hop outlets, and along with an ambitious touring schedule, he carved out a dedicated fanbase throughout the early 2010’s. Cross Off Matthew is a slow-cooked labor of love, born out of taking enough time away from something to understand the journey with greater perspective and appreciation.“I’m older, arguably wiser, but that creative fire stayed with me,” he says. “I wanted to make something that felt nuanced, something that I could feel proud of.” Throughout the album, the production toggles between foreboding and facetious just as deftly as his bars. Tracks like “Island In The Sky” and “Location Therapy” make rap confetti out of caustic guitars and glaring distortion, while “Seroquel” and “Rock For Light,” (the latter a nod to NJ rap royalty, The Outsidaz) embrace GDP’s signature blend of East Coast hip-hop and punk sensibilities, with lyrics that highlight the sharp wit and heady philosophizing that he made his name on. GDP examines vices, interpersonal relationships, the collective dread of late-stage capitalism as well as the pitfalls and rewards of trying to lead a creative life throughout it all. The wiseman that peaked out from beneath the shield of debauchery on his early releases has now come to the forefront, as GDP’s trademark humor and commentary feel refined by years of life lived experience
Diffuse Reality presents Hashashin - BASTION. A 12inch vinyl and digital release built on solid, robust Techno. Four tracks driven by a constant groove that keeps the energy flowing from the very first beat. Dynamic, enveloping drums create a powerful and playful sonic experience. Without a doubt, this is a record that will earn a permanent place in your bag, shaking foundations wherever it lands. Closing the EP is Achtervolging, a powerful breaks cut designed as a moment to catch your breath, recharge, and prepare for what comes next.
Following the success of two collaborative releases (EMC “The Show”/2008 and Ace & Edo G “Arts & Entertainment” /2009), Masta Ace joins forces with the metal faced MF Doom for Son of Yvonne, a highly personal concept album that celebrates the life and legacy of Ace’s recently departed Mother. Like his 2004 landmark Disposable Arts, Son of Yvonne is meticulously constructed with stories, settings, and characters that resonate with flesh and bone humanity. Interstitial vignettes provide a thematic backbone to the experience, and each track complements and completes the previous to form a narrative whole: a sometimes visceral, sometimes nostalgic slice of Ace’s young life in Brownsville, Brooklyn. Entirely underscored by MF Doom’s iconic Special Herbs instrumentals, Son of Yvonne features the Juice Crew general Big Daddy Kane, new comers Pav Bundy (The Bundies), Reggie B and even MF Doom on the mic. It’s Masta Ace’s no frills flow, however, that looms largest above the dusty samples and digger loops that define Doom’s production. Ace’s photo-realistic rhymes about stick-up kids, spraycan artists and wack emcees add extra gravity to his already celebrated reputation as “truly an under-appreciated rap veteran and underground luminary” (Allmusic Guide). Like Eminem recalls in his 2008 autobiography The Way I Am, “Masta Ace had amazing storytelling skills. His thoughts were so vivid.” TRACKLIST: A1. DJ Ski's Intro A2. Ninteen Seventy Something A3. Son Of Yvonne B1. Da Pro B2. Store Frontin B3. Me & My Gang B4. Crush Hour feat Pav Bundy C1. Think I Am feat Big Daddy Kane & Mf Doom C2. Fresh Fest Reggie B C3. Hoe-Tel-leftovers C4. Slow Down D1. Home Sweet Home feat Pav Bundy D2. Dedication D3. I Did It D4. In Da Spot feat Milani The Artis D5. Outtakes
Since its original release, Aging has taken on an interesting wider significance. OCA’s music came to the attention of Kelela, who featured the duo in her Aquaphoria mix before later working with Yo van Lenz and Florian T M Zeisig in their Berlin studio. Those sessions would go on to play an important role in shaping the sound of her acclaimed 2023 album Raven, on which both artists are credited.
2019 Press Release:
Berlin based duo OCA present Aging, their sophomore album and first for Métron Records. Following up last year's Preset Music (recently featured in Kelela's Aquaphoria mix) Aging is an album that focuses on memory, experience and the passing of time.
A collaboration between producers Yo van Lenz and Florian T M Zeisig, OCA formed after the pair met and became friends while studying in Berlin. Originally from small towns in Bavaria, the duo now live and work in the German capital.
Through a series of 10 vignettes, Aging transports the listener on a trip across a series of life events that retain a special personal importance to both of the artists. These emotional touchstones range from the profound to the prosaic - the discovery of something new, the relief from annoyance or the familiarity found in an old companion - and have been fully explored with playful sonic introspection.
Whilst the concept retains a certain ambiguity, it is the sound palette, created solely on an Alesis QS6 synthesiser - that brings these experiences to life. OCA blend and weave classic dance music motifs with shimmering synths, Japanese wet ambient, and even anthemic 80s rock to create a soundscape rich with texture and sensation.
The bass notes and tentative lead of ‘Baby’s First Blade of Grass’ reference the memory of first consciously or subconsciously experiencing something new, whilst the decaying ripples of ‘Stretching in Water’ paired with sounds of flowing streams conjure up images of tranquil pools. Their most developed work to date, Aging showcases OCA as rising stars of progressive pop and modern ambient.
This is the sound of dream Texas, the cinematic Texas conjured in film and 20th century literary and art myth… big dark blueing horizons swallowing the infinite distance, a lonely poetry of sound, but also a stock taker of the iconoclastic, psychedelic, art rebel side of Texas… the cracked rock music side of Texas, the avant-garde in concrete cracks, the recklessly used, mind expanding drugs Texas, the dripping eastern swamps, the Houston house parties with the sounds of records blasting down the block and becoming musique concrète in the hot summer night.
Chrome Chasm’s debut album Interpreter is ambient, minimal in feel, maximal in texture, beautifully disorienting, vastly spacious— until it isn’t. It's a naturalistic shapeshifter, taking majestic form in the aforementioned elements and then dissolving back to raw genetic material to form anew. Spiritual jazz overtones, pedal steel moans and buzzing, noisy ambient visions are upended by grey-folded psychedelic unveilings. Interpreter’s three expansive tracks present a most detailed performance by its three deft musicians and the outcome often feels like a gorgeous collage in real-time.
Chrome Chasm was formed in 2024 by three of Houston’s brightest underground stars: Mlee Marie (Hearts Of Animals) on alto saxophone, flute and voice (whose long-form experimental sax performances helped inspire the formation of the band), Will Adams (Lower Dens/ Ka-Nives) on pedal steel, synth, percussion and voice, and Tom Carter on guitar. Carter has been casting a long shadow over Texas psychedelia and American underground music for over 3 decades, most notably with the Houston based Charalambides, a powerful creative force of the pre-new weird America era of experimental and avant psychedelic music, and most notably since with his solo guitar magnum opus Long Time Underground (which was deemed among the best experimental albums of 2015 by Pitchfork).
Interpreter’s opening track “The Star,” recorded almost completely live in one room and one take, is a 16-minute manifesto on ‘Dream Noir.’ An astute scholar of cross-genre connectivity and the through-lines of kosmische and spiritual-leaning sonic realms can hear echoes of Cluster, the skronk and beauty of Rahsaan Roland Kirk, and the architectural ambient flow of Harold Budd and Philip Glass in the tidal lapping of distorted guitar, mantra-like saxophone and pedal steel flow. From its deconstructed, pastoral opening moments to its proto-electronic center that crests into a bombastic polytonal climax, Chrome Chasm never neglect narrative arc for experimentation and avant technique. In fact, as a group, they effortlessly control, open, fill and contract space in abeyance to emotional vibration. “The Star,” and indeed the album as a whole, feels more like a communion or extended poem, in direct communication with the listener, than it does a ‘captured experience.’
Across the three longform tracks of Interpreter, Chrome Chasm conducts a masterclass in fusing real time performance energy with an abstract, cut-up master’s reimagining of the literal. They demand the listener meet their music with dream logic and then, like the best dream peddlers, they present a labyrinth to fall into and experience, a place where explanation and conclusion become obsolete, and engagement and immersion become sublime.
What happens when bassweight electronic beats meet the abstract world of one of the most uncompromising MCs on this planet?
Get ready for a special listening experience as Abu Ama and Sensational take you deep into a world of heavy bass, fractured rhythms, strange frequencies and completely unpredictable flows.
Abu Ama is known for his unique production style, combining Dub, Ambient and Industrial soundscapes with Middle Eastern sound structures. His productions create vast, atmospheric spaces where bass pressure and subtle details constantly collide. Over the years, he has developed his signature sound through releases on forward-thinking labels such as Bokeh Versions and Accidental Meetings. With Ringing In Your Ear, Abu Ama presents some of his most adventurous and forward-thinking productions to date.
On the microphone, we are proud to present a true underground legend straight outta NYC: Sensational.
Born Colin Julius Bobb in Guyana and raised in Brooklyn, Sensational became one of the most distinctive and unpredictable voices to emerge from New York’s experimental hip-hop underground. Originally performing under the name Torture, he was already connected to the Jungle Brothers in the early 1990s before developing the completely unique style that would become synonymous with Sensational.
In 1997, he released his debut album Loaded With Power on the influential Word Sound label. Built from dusty beats, unusual samples and lo-fi textures, the record established Sensational as an artist who seemed to operate completely outside the established rules of Hip Hop.
Over the following decades, he continued to explore the space between underground rap, experimental electronics, noise and abstract music. His long list of collaborators included artists such as Spectre, Kouhei Matsunaga, Kid 606, Cardopusher, Handsome Boy Modeling School and many others. His work with Kouhei Matsunaga was even remixed by Autechre.
Sensational was never interested in fitting into a particular scene. His rhymes were surreal, his flows unpredictable and his approach completely his own. For more than three decades, he remained a true outsider — a cult figure whose music connected underground Hip Hop with some of the strangest and most adventurous corners of experimental music.
After Abu Ama and Sensational’s heavy 2023 single International Rokkaz left us wanting more, the two decided to take things much further. What started as a single collaboration evolved into a full length soundclash.
We were already incredibly hyped about this collaboration from the moment we heard it. But while we were preparing for the release of the single MOZZ, the terrible news reached us: Sensational had passed away.
The news hit hard. It is still difficult to believe that we will never hear a new Sensational verse again.
What makes Ringing In Your Ear even more special is that it captures Sensational doing what he did best — completely free, completely unpredictable and completely himself.
We dedicate this record to Colin Julius Bobb aka Sensational, in loving memory of an extraordinary artist, MC and true underground original.
New York-based Japanese jazz and electronic music polymath Takuya Nakamura presents his debut album Shape The Future - almost 35 years into his storied musical journey.
An expansive double album, the album’s first LP documents a spellbinding live performance by Nakamura recorded at fabric. A hybrid set combining DJing, live electronics, vocals, and trumpet, the set also features studio versions of special collaborations with Shigeto, Currency Audio and Tim Reaper. The second LP complements the first by assembling studio recordings of select album tracks. Altogether the two volumes make for a definitive display of Nakamura’s exceptional musicianship across jazz, DnB, jungle, broken beat, deep techno and more.
Across his career, Nakamura has played Brazilian music, merengue, salsa and straight-ahead jazz. He’s opened for Sun Ra Arkestra, performed with David Byrne, Laurie Anderson, Lee “Scratch” Perry, Wu-Tang Clan, and Arto Lindsay, appeared on sessions with Terry Riley, ASAP Rocky, Goldie, and TV On The Radio, and remixed the likes of Quincy Jones, Sun Ra, Billie Holiday, and The Streets. He’s also played under director and playwright Robert Wilson.
Although the musical past and present of the Tokyo-born, New York-based DJ and trumpet player is undoubtedly eclectic, Nakamura is abidingly steeped in the sounds of jazz and jungle. This’ll be obvious to casual observers who may have seen any viral videos of him. But there’s more to this. The depth of Nakamura’s engagement with these kinds of music, the way they’ve made him into the person he is, the decades-long path they’ve taken him on; to now arrive at the summit of a solo album is all truly remarkable. Shape The Future resonates with every chapter in this story.
In high school, Nakamura’s friends started listening to jazz and jazz fusion, which piqued his interest, especially when they started going to clubs to see it live, where they managed to see US legends like Sonny Rollins play. Eventually he began to play jazz every day and his musical skill emerged early. He soon became obsessed with getting closer to the source of this music, which led to his studies at the New England Conservatory of Music in Boston with George Russell, an influential figure who had taught Miles Davis and John Coltrane. Nakamura drank it in: not only the technical aspects but the sense of a direct connection to “a music culture where Russell and his friends changed harmony forever. I wanted to know how that was possible!”.
This was a radical experience in itself, but then another revolution happened for Nakamura. He was playing in a venue called The Western Front, near Boston and discovered that the elderly owner had his own soundsystem and was playing what was then - in 1992 - only just becoming known as jungle. This was as freeing a musical revelation as his proximity to the giants of jazz was, and in that instant the two things fused. He understood that using technology to fill a dancehall with sound and a jazz musician’s reflexes are all working to the same ends: “You’re always making decisions,” he says, “but it doesn’t have to be really difficult. It’s the truth of the frequencies, and how they’re affecting people’s minds.”
From that moment on, his life path was set. Moving to New York City, he sought out jungle and its offshoot sounds wherever he could find them, gigging and collaborating relentlessly, and gradually developing his own live and hybrid live/DJ shows. Through regular appearances at New York fixtures Zebulon and CBGBs, and continual shows elsewhere in the city, Nakamura developed his live performance and DJing and it was in these environments that he gradually weaved together his twin loves without compromising either, building an international reputation in the process.
It’s only fitting then that his first album, almost 35 years after he first found his musical direction, should be a live one: a window into this never-ending process. Even here, he had to be persuaded that he should make a record. A member of the fabric team got turned on to his music after their daughter saw him play. Of course, as a jungle lover, Nakamura knew fabric – which has a special place in the history of jungle and drum’n’bass – and “had wanted to play there since I was very young.” You can hear the club in the record: this isn’t just a live show, in keeping with his jungle roots, it’s Nakamura duetting with the soundsystem, and you can feel how the emotions in the room would have ebbed and flowed.
This dynamic translates to a transfixing record. Setting the tone with lushly textured ambient and reverberant jazz, Nakamura segues into cinematic breakbeat and stellar fusion, infusing it all with intoxicating low end and hypnotic rhythms. The LP’s midway point locks into mesmeric percussion heightened by resonant echoes of piano and trumpet. There’s an endless pull to this music. Nakamura adjusts the levels for maximum impact throughout, and the overall effect begins to evoke some harmonious hybrid between a jazz ensemble, a classic Metalheadz 12” and a Theo Parrish DJ set. His electric form continues through surreal jazz, intricate electronics and rolling sub-bass velocity, right up to the subtly devastating final cover of Peter Gabriel and Kate Bush’s ‘Don’t Give Up’, with Nakamura’s fragile vocal sitting in the heart of a huge sound.
From Tokyo jazz nights to formative studies and encounters in Boston to his artistic development in New York, Nakamura reaches another milestone with his monumental debut album. It’s a release that happened just the way a Takuya Nakamura record should. In the same way his instincts led him to musical revelations, taking his own sweet time has led him to make one of the most extraordinary debut albums imaginable, all executed in his own singular style. In Nakamura’s world, the universe finds a way.
SELN Recordings is proud to present Sillons, the debut release from French musician Pierre François.
Straight from Nantes with love and sadness; Sillons is the soundtrack to being shut inside and sheltered from all the dread beyond your bedroom door. What may at first appear as a collection of abstract loops unravels into something much greater throughout its entirety.
Underneath a thick atmosphere of tape hiss and crackle, minimal synth explorations emerge and float away while the occasional guitar-esq riff ebbs in and out of the foreground like waves at the shore. Percussive refrains come through with perfect timing, their occasional rudimentary timbre all in the spirit of ‘do it yourself magique’.
Picture the following: it’s been decades and you’ve forgotten how to communicate with the world outside, all you have left are message-songs which leave behind a story of what it was like to be separated from everything you’d ever known during an existential sabbatical. This is very near to the audio experience that Sillons gives and thus makes it so real. On this merit alone François deserves his flowers.
Even the shortest of songs manage to conjure up visceral imagery. For example ‘Abouile’, with an impressive runtime of 51 seconds, dives straight into the eeriest corners of a Cold-War era ‘Numbers Broadcast’ being sent out from malfunctioning military personnel venturing off into the depths of their consciousness.
All in all there is something distinctly ambitious and positive within Francois’ work. It takes you to a place where little else matters except the mood and feeling the music provides, a hopeful and emotive landscape.
'AMEN is a word that moves between the sacred and the ordinary, across languages and cultures. An ancient, universal expression, born in prayer yet living beyond it - in daily life, especially in the Italian language, where it has become part of ordinary speech, used to accept, conclude, affirm, and let things be.
'The sixth release on e s p e r p e n t o opens a gateway into a timeless, transcultural dimension through a continuous, immersive sonic flow. While conceived as an intimate listening journey, this record emerged from a shared experience within the walls of Frequenze Studio (Monza). ESPER006 is the result of a three-hour improvised live session that brought together experimental music trio MYS and London-based producer Big Hands.'
A meeting point between Argentina and Peru, this new 7” connects two artists deeply rooted in the evolving language of cumbia. Pinchado, one of the early explorers of digital cumbia, and Tribilin Sound, known for his rhythmic collages shaped between tropical tradition and electronic sound, come together to shape a record where past and future move in sync.
Cumbia Ritual unfolds through a steady, hypnotic pulse, guided by repetition and subtle transformation. Its rhythm creates a circular motion that invites dancers into a shared flow, where time softens and movement becomes instinctive. Echoes of traditional forms merge with electronic textures, giving the track a sense of ceremony, a space where rhythm becomes connection and dance becomes collective experience.
Their reinterpretation of Chinito Rulo, originally by legendary Peruvian psychedelic cumbia band Los Mirlos, carries the spirit of the Amazon into a new sonic dimension. Warm melodies and flowing grooves expand into a deeper, more spacious atmosphere, blending psychedelic heritage with a contemporary dancefloor sensibility while preserving its organic essence.
Pressed on 7” via Little Beat More, this release reflects a shared vision shaped by travel, experimentation, and devotion to rhythm, where cumbia continues to evolve as a living, breathing force.
A meeting point between Argentina and Peru, this new 7” connects two artists deeply rooted in the evolving language of cumbia. Pinchado, one of the early explorers of digital cumbia, and Tribilin Sound, known for his rhythmic collages shaped between tropical tradition and electronic sound, come together to shape a record where past and future move in sync.
Cumbia Ritual unfolds through a steady, hypnotic pulse, guided by repetition and subtle transformation. Its rhythm creates a circular motion that invites dancers into a shared flow, where time softens and movement becomes instinctive. Echoes of traditional forms merge with electronic textures, giving the track a sense of ceremony, a space where rhythm becomes connection and dance becomes collective experience.
Their reinterpretation of Chinito Rulo, originally by legendary Peruvian psychedelic cumbia band Los Mirlos, carries the spirit of the Amazon into a new sonic dimension. Warm melodies and flowing grooves expand into a deeper, more spacious atmosphere, blending psychedelic heritage with a contemporary dancefloor sensibility while preserving its organic essence.
Pressed on 7” via Little Beat More, this release reflects a shared vision shaped by travel, experimentation, and devotion to rhythm, where cumbia continues to evolve as a living, breathing force.
Limen brings together two artists whose musical paths converge around a shared sensitivity to listening, resonance, and the evocative power of sound.
Recorded at Ritmo e Blu Studio during a five-day residency between spring and summer 2025, the album emerged from a series of spontaneous encounters free from predetermined structures. The pieces preserve their original form, retaining the immediacy and temporal flow of the dialogues as they first unfolded.
Subsequent interventions were conceived not as revisions, but as an exploration of the open spaces already present within the recordings—deepening what remained unspoken and extending resonances without altering the music's natural evolution.
The title, derived from the Latin word for “threshold,” reflects the nature of the project itself: a place of passage between improvisation and composition, silence and vibration, memory and imagination. Limen inhabits a suspended territory where listening becomes an experience of openness, presence, and transformation.
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Lino Capra Vaccina
Lino Capra Vaccina is one of the most distinctive voices in Italian experimental music. A percussionist, composer, and pioneer of minimalist and meditative sound practices, he first emerged in the early 1970s as a founding member of the influential group Aktuala, whose visionary fusion of ancient traditions, improvisation, and contemporary research anticipated what would later become known as world music.
Over a career spanning more than five decades, Vaccina has cultivated a unique artistic language centred on vibration, resonance, and the transformative power of sound. His landmark 1978 album Antico Adagio remains a touchstone of European minimalism, while his collaborations have included figures such as Franco Battiato, Juri Camisasca, Markus Stockhausen, Keith Tippett, Paolo Tofani, and many others.
Whether working with percussion, piano, electronics, or voice, Vaccina's music seeks a state of suspension and contemplation. His compositions unfold as immersive sonic environments whereancient echoes and contemporary sensibilities meet, inviting listeners into an experience that is at once intimate, spiritual, and timeless.
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Luca Formentini
Luca Formentini is an Italian composer, sound artist, and improviser whose work unfolds at the intersection of experimentation, atmosphere, and deep listening. Active since the late 1990s, he has developed a highly personal language in which guitar, voice, field recordings, and electroacoustic processes become tools for exploring memory, perception, and the expressive potential of sound itself.
His music resists easy categorization, moving freely between ambient, contemporary composition, improvisation, and sound art. Throughout his career he has released numerous solo works and collaborated with a wide range of internationally acclaimed musicians, including Holger Czukay, Robert Rich, Markus Stockhausen, Steve Jansen, Theo Travis and Steve Lawson.His recordings have appeared on labels across Europe, Asia, Australia, and the United States.
Rooted in a practice of attentive listening and sonic exploration, Formentini creates evocative musical landscapes that invite reflection rather than certainty, opening spaces where silence, texture, and resonance become as meaningful as melody itself.
This November, Brownswood Recordings will release Mek Do & Mend, the debut album from self-taught producer, multi-instrumentalist, composer and artist Wonky Logic. Although his name may not yet be familiar to everyone, Wonky Logic (AKA Dwayne Kilvington) has spent the past two decades quietly becoming one of the UK's most respected musical collaborators. His career has moved comfortably between London's jazz, electronic and contemporary music scenes, performing and recording with artists including Nala Sinephro, Yussef Dayes, Nightmares On Wax, Shabaka Hutchings and Emma-Jean Thackray. Alongside his work as a producer and composer, he's been musical director for projects with Eddie Chacon, John Carroll Kirby and I.G Culture's LCSM, scored the feature documentary Zandra With A Zed, contributed music to A24's The Smashing Machine, and continues to lead music workshops with young people, refugees and people experiencing incarceration.
Far more than a collection of compositions, Mek Do & Mend is a deeply personal reflection on the people, places and experiences that have shaped Kilvington throughout his life. It's the story of growing up on a Leeds council estate, where music became both a creative outlet and a way of understanding the world. Making music often meant working with whatever was available: a second-hand keyboard, a makeshift studio desk or ageing equipment that simply had to last a little longer. The title itself came from a conversation with his mother, capturing the resourcefulness that defined his upbringing and continued into the making of the album itself, which was written and produced to a tight deadline around touring, family life and Kilvington's work as a musician and educator.
Built from material spanning more than fifteen years, Mek Do & Mend brings together some of Wonky Logic's earliest compositions alongside brand new pieces written during the making of the record itself. Childhood ideas sit alongside music conceived only months before recording, creating an album that draws together a lifetime of writing rather than documenting a single moment. Running throughout are voice notes from family members, teachers, friends, mentors and collaborators—not simply as interludes, but as a reminder that no creative life is ever self-made. Rather than telling his own story outright, Kilvington invites listeners to discover him through the people who've shaped him: an aunt remembering him playing in church as a child, lifelong friends recalling early experiments making beats together, fellow musicians from different stages of his career and his mother describing him in her own words. Together they reveal the invisible network of relationships, philosophies, communities and experiences behind the music. "The album exists somewhere between being a biography and an autobiography," says Dwayne. "The biography is in the voice notes and how other people see me. The autobiography is in the music."
That same philosophy extends to the musicians who appear on the record. Every contributor has played a meaningful role in Wonky Logic's life beyond the studio. Long-time collaborator Luke Wynter, Steam Down drummer Benji Appiah, partner Vanessa Rani, Jonathan Enser, Joe Bristow, Brother Portrait and Nubiya Imani all feature not simply because of their musicianship, but because they form part of the album's story.
Across its fourteen tracks, Mek Do & Mend moves effortlessly between dynamic jazz arrangements, pulsating broken rhythms, delicate, twinkling piano passages, interstellar synth textures and elegant brass lines. Album opener and first single 'Strange Attractor' begins with a shimmering introduction before unfolding into an exhilarating surge of rhythm and momentum. Named after the mathematical concept of the same name, it serves as the conceptual point of origin for the album. Written when Kilvington was just seventeen, the composition reflects the idea that even the most unpredictable lives are guided by hidden patterns that often only become visible with time. Second single 'A Thousand Hands' features the unmistakable vocal tones of Brother Portrait, whose cerebral lyricism drifts over a low-slung, constantly shifting groove as woozy synth lines ebb and flow overhead. At its heart, the track celebrates the family, friends, mentors and collaborators whose often unseen influence shapes who we become, echoing the album's belief that every achievement is, in some way, a collective one. LP focus track 'BAME (Beyond All Marginalised Expectations)' is a lush, spiralling composition, brimming with both emotion and resolve. Reclaiming an acronym long imposed on racialised communities in the UK, the piece transforms it into a statement of possibility rather than limitation: a defiant rejection of stereotypes and a refusal to let identity be defined by other people's expectations.
The album itself only exists because other people believed in it. Isabel Gracefield made the RAK sessions possible, Rick David brought the record together with his characteristically thoughtful mix, and Gilles Peterson committed to releasing it on Brownswood before hearing any of the music. Away from the stage, Kilvington works with the charity Finding Rhythms, writing and producing original records with people experiencing incarceration, while also leading workshops with Arts Train and Dovetail Orchestra.
Recorded live in a single day in Studio One at RAK, Mek Do & Mend was mixed by Rick David through an analogue Cadac console before being mastered by Stuart Hawkes at Metropolis. The aim wasn't nostalgia or audiophile perfection, but to create a record people could return to throughout their lives, discovering something new with each listen.
As Dwayne puts it: "I don't want this body of work to be reduced to a jazz record. It's more like a novel about life told through music."
Second Storey launches new record label High Canopy - with Ladakh EP, 20 years since the artist's first vinyl release. Storey's working template has always been to take on the observations of his inner and outer world experiences, folding them into his expertise as a highly skilled drummer, knack for dream-scape sound design and love of rave and soundsystem culture. High Canopy promises to be an environment that platforms full artistic freedom and homes the mechanised, cerebral dancefloor workouts of Second Storey's studio life alongside his deeper, more experimental terrain. The EP's first stop is 'Blue Eye' named after the spring source of the Bistrice river in Albania. Crystal-clear sound design that echoes the flow of this natural water and sits alongside softly distorted low end. Contrasting 'Urban Hermit' was written in Berlin, during a bout of cabin fever and is a heavy case of gnarled up, spat out, paranoid machine funk. 'Post Columbia' - recorded after an eye opening trip to Bogota- then shifts the tone for the B side into more heady melodic territory with luminous, floating synths evolving throughout the track. ' ABC Conjecture' builds an intense atmosphere as it crawls and morphs across growling, distorted bass with a creeping shuffle of layered elements building overhead. Title track 'Ladakh' completes the EP, inspired by the remote town in the Indian Himalayas on the border of Tibet, AKA snow leopard country. It takes on a special and expansive ambient quality of this deeply precious and spiritual mountain land.
