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Clairvoyant Dimensions is the first album by Mei Honeycomb, a new duo of Jordan Czamanski, renowned as a member of the acclaimed Juju & Jordash and the Magic Mountain High project, with solo work released as Jordan GCZ, and legendary saxophonist Jeff Hollie, known mostly for his work with Frank Zappa and Ike Willis. An explorative ambient album, Clairvoyant Dimensions is an exercise in distance and contemplation, and the exhilarating feeling of insight, however fleeting, like staring at the midnight flicker of an old VCR. Czamanski's music has a trademark tenderness and soft-spokenness, an ability to maximize minimalist musical elements and bring them to an open-ended conclusion. Jeff Hollie provides interpretative sax lines on all tracks, slipping into the scene like a shadow, silent and unexpected, touching upon emotional registers almost explicit, yet confounding.

As musical signifiers keep turning around themselves, they set up a mood of euphoria, one that suggests understanding. Never explicitly spaced-out, there is continuous reference to cosmoses both inward and far away. Ambient music in modern form. Jordan Czamanski uses his experience in producing off-the-charts club music to come up with five tracks that at times are standstills, and at times dwell in forward momentum. Jeff Hollie provides both comprehension and beautiful confusion. As grainy images switch into focus, Clairvoyant Dimensions is a beautiful and contemplative trip that suggests its own reality in delicate ways. One of the five tracks, the gorgeous live-recorded Painted Desert Pastel, features composer, performer, and researcher Ilya Ziblat Shay on double bass and electronics.

Screen-printed cover designed by Johan Kauth.
Mastering by Rashad Becker

"I think I have never met anybody, with the exception of Brazilian guitarists Baden Powell and Toquinho, as connected to his instrument as Agustín Pereyra Lucena" – Vinicius de Moraes

Far Out continues its exploration into the singular catalogue of Argentine guitarist and songwriter Agustin Pereyra Lucena with a special Record Store Day edition of his most celebrated album Ese Dia Va A Llegar.

Agustín Pereyra Lucena was one of South America’s outstanding guitarists. Hailing from Buenos Aires but obsessed with the music of neighbouring Brazil, Agustin abandoned his architecture studies to pursue music full-time, earning friendship and collaborations with Brazilian music's greatest figures including Vinicius de Moraes, Baden Powell, Toquinho, Dorival Caymmi, Maria Bethania and Chico Buarque.

Originally released in 1975, the album has been better known in some parts of the world as Brasiliana – a title repurposed by Agustín's European record label in the 70s to exoticize the sounds of South America for the continental market. It finds Agustin and band—which includes key collaborators Guillermo Reuter on contrabass, and Carlos Carli on drums and percussion— at their most blissfully laid back. The album features idiosyncratic renditions of classics by Antonio Carlos Jobim, Vinicius de Moraes, João Donato and Agustin’s personal hero and friend Baden Powell, alongside Agustín's own works which ooze with captivating mystical wonder.

The analog warmth of the recording is such that it feels like you’re there in mid-seventies Buenos Aires, on a balmy late night session at Estudios Audión, with a group of phenomenally impressive musicians. The heat generated is offset only by the cool temperament of everyone involved. On the handful of vocal tracks on the album, Agustin’s gentle voice is responded to by the liquid smooth vocals of Laura Hatton, Luis Maria Cosenza and Patricia Scheuer.

Agustin’s unique position in the annals of his continent’s musical history has been lovingly maintained by Agustin’s nephew Jose Luis Pereyra Lucena, who has entrusted Far Out Recordings to preserve and re-release Agustin’s works. The music has been professionally remastered at London’s Metropolis Studios, using multiple copies of well kept original vinyl.

Reissued worldwide for the first time under its original title and cover as Agustin originally intended, Ese Dia Va A Llegar will be presented in a limited edition obi-stripped gatefold replica sleeve.

Hiriketiya is a small, enclosed bay on Sri Lanka's southern coast, where jungle leans toward the water and the days unfold without urgency.
Passing through in early 2025 on the way to Europe, Alex Albrecht spent a week here at MOND's artist residency, allowing the rhythms of the place to quietly shape the work that followed.
During the residency, Albrecht recorded and exchanged ideas with Sri Lankan musicians Dhyan Basho on sitar, Dinelka Liyanage on electronics, Uvindu Perera on double bass and Pasindu Herath on saxophone.
Their performances appear throughout the album, sampled and re-contextualised, influencing its melodic language, pacing and emotional tone.

Much of the music was shaped directly by its surroundings. Field recordings were gathered across Hiriketiya, and instruments were played wherever it felt necessary. This included rocks beside the ocean where waves set irregular rhythms, tall grasslands where wind and insects blend into the recordings, and open decks overlooking the sea. 'Round Table' captures this approach most clearly. Recorded while sitting together overlooking the ocean, a large steel table in front of the group gradually became part of the composition, used instinctively as an unplanned percussive element.

Not everything could be captured. Some of the most meaningful moments occurred before recording was possible. Those sounds exist only in memory, and the album is shaped in part by an attempt to hold onto their feelings.

Rather than documenting the residency in a linear way, the album gathers fragments, recordings, electronic sketches and field sounds, assembling them into a continuous listening experience shaped by place and recollection. MOND owners Jess and Renato foster an environment that supports artists without directing them, creating space for focus, trust and connection.

The result is a record shaped by Hiriketiya's enclosed bay, dense vegetation, heat and night air. Music formed through listening, restraint, missed recordings and the sensation of being temporarily held by a place.

Presenting the 2nd in the series of Persian remix EPs, following the bumping Dub House remakes from Picasso, the label is joined by Yorkshire’s own young electronic folklore master, a fast-rising name, Miles J Paralysis.

Whereas Picasso took the first Dubplate ‘Space Within Art’, here Miles J delves in to the follow up ‘Smoke Dub’, turning out a selection of dubwise cuts that build on the dark electronics of his excellent debut releases for his Crying Outcast label.

Yorkshire born and based, with a love for the Moors, as well as the teachings of lore, magick and mysticism, this young producer has been emersed in music since a young age, with a penchant of Dub, Hip Hop and Reggae.

Starting with Survival Dub, the anthemic Ragga Dub original morphs into 2 parts, first heading down Paralysis’s alley of dark and brooding production marrying perfect touches of the vocal samples, before the amen break builds the track to the light.

Smoke Mari follows, the languid Digibreaks chugger, utilizing Linval Thompson’s iconic vocals, now comes as a deep meditative Dub excursion. Stripped back to a raw essence, the vocals whirl, while hypnotic keys and dub bass complete the psychedelic mosaic.

There Is No Love is modern dub style, off beat syncopation, reverb, tape delays and heavy vocal sampling all in the mix. The breakbeats of the original are jettisoned for a Dub (Drug) Chug, the atmospherics seeking the dark corners. “These are the last days; can’t you see the sunshine…”

Zatoichi’s Troubles ends the pack, the trip hop, Depth Charge dub bass cut transforms at the mixing desk of Miles J in to Dub Techno territory, haunting, melodic. Miles J’s love of the deeper side of electronic music expanded. Club music but not produced for clubs. Made for the discerning.

Paralysis the Mystery.

An album of improvised music was recorded in Belgrade, in the courtyard of one of the musicians’ homes. There were no prior agreements, prepared compositions, or preplanned ideas. The album came into being in real time, right there on the spot.



Ulya Volkova (pleurereme) - cellist/multi-instrumentalist, composer/sound designer, producer and music enthusiast with over a two decade of experience in cultural community. After studying for 15 years at the Gnessin School (Academy) of Music she began writing music for big films, documentaries, TV series, audio books, plays and exhibitions, soundtracks for games and sound design for interfaces, and music production for artists all over the world.

Evgenii Piankov - Keyboardist, producer, composer, sound designer, arranger, and multi-instrumentalist. Throughout his career, he has worked in various roles with different popular artists.

Aleksei Siubaev (Mark Borzer) - Musician, ( from True Flavas Band, and Great Rvivers ) producer and DJ operating at the intersection of funk, soul, avant-jazz, post-rock and experimental music. Alongside the collaborative projects, he develops a solo practice focused on hybrid forms and textural experimentation.

The fifth release on Objekt’s Kapsela imprint is (re)weave, an EP of crystalline club tracks from Detroit-born, London-based producer Tristan Arp.

(re)weave was written during a prolonged period of flux for the artist. “When I started making this record, my life and the world felt like a maze,” he recounts. As he routed and re-routed through past and future homes – Mexico to New York to Detroit to Mexico and finally to London – his output bore the marks of this repeated uprooting. “I was thinking about making music that reflected these twists and turns, and the knotty pathways through them. I was also re-reading Borges around this time, which must have influenced my interest in labyrinths.”

Accordingly, the EP is a mycelial puzzle, a tangle of spidery, undulating ostinatos and earthy percussion, stitched through with syncopated kicks. Employing the sounds of multitudinous critters and kin – whales, insects, thunder, water, forests – the arrangements sum to a sentient mesh of organic matter, the compositions living and breathing like earthly beings. Kaleidoscopic tendrils explore in every direction but are always underpinned by a driving, percussive backbone. It’s not easily classifiable: it’s bass-driven, but to simply call it “bass music” would sell it short.

In keeping with the winding geographical paths traced over the EP’s creation, (re)weave saw Tristan Arp revisiting and reinterpreting unfinished sessions and incorporating them into newer ideas. Rhythms and sounds have been transplanted and self-recycled from previous projects and woven into the fabric of the record. In this way, (re)weave also describes a looping back over time, a recalibration of the self from past to present through interlocking rhythms, channeling and communing with versions of oneself from times gone by.

The closing track, Wish Server, slows the EP to walking pace and hints at tentatively emerging from the deepest jungle into a delicate, innocent light. Tristan Arp imagines it as a dialog with a baby-self. “Some of my earliest memories are of sitting at my mother’s loom,” he offers. “The sequence of these tracks traces these feelings and follows the thread back to the primordial soup… through mazes… to a feeling of levitation.”

Renowned Italian jazz master Nicola Conte presents an incandescent limited edition 7" single for Record Store Day 2026. "Terra Em Transe" and "Naquela Base" are brand new tracks from sessions for Conte's forthcoming Far Out Recordings album, drawing deep from early 70s Brazilian jazz and modal hard bossa while underlining the vital role of the arts in social and political struggle.

In Nicola's own words: "Terra Em Transe' is a dedication to visionary director Glauber Rocha and to all free thinkers willing to portray the conflicts, contradictions and lies of those in power around the world." The original composition takes inspiration from Milton Nascimento's vocal harmonies and Tamba 4's sophisticated samba-jazz.

'Naquela Base' is a stunning reinvention of João Donato's classic: pure modal hard bossa recorded entirely live in the studio. Inspired by samba-jazz classics like Tenório Jr.'s "Embalo" and Paulo Moura's "Fibra", the track is carried beautifully by Teppo Mäkynen's masterful drumming, with solos from Gaetano Partipilo on alto saxophone and Pietro Lussu on piano, supported by Ameen Saleem on double bass and Abdissa Assefa on percussion.

Having released music with Blue Note, Impulse! and Schema records, Nicola Conte's relationship with Far Out Recordings has produced his acclaimed Umoja project, his five-part Viagem compilation series, and most recently Viaggio, a compilation exploring Italy's library music renaissance from 1970-79.

'Terra Em Transe / Naquela Base' will be released as a limited edition 7" single for Record Store Day 2026 via Far Out Recordings.

“When forty, I was still wearing miniskirts, extravagant patterns, pink, fluorescent colours, star shaped earrings. I walked around with my leopardskin hat, my fluffy bag, my floral outfit, until the gaze of others made me feel like it was not age appropriate anymore. Although I am still the same person I was at 16. It's the others I see changing."
There's no better way to describe ageing than through the gap that arises and continues to grow between physical reality and the specular image of the self : one deteriorates over time, exposed to the cruel laws of gravity and oxydation, while the other never ages, remaining intact and unaltered… frozen in a moment of blissfulness. The more time goes by the more the gap becomes a separate entity (ou “world” pour etre plus prosaïque). It can become so painful that many try to escape it, using and abusing every trickery.
“Youth looks so good on you” is a sonic ballad which bizarrely explores the world that lies between reality and self-fantasy, a world where the aesthetic cult of youth becomes sovereign to the people.
This piece was produced in 2022 as part of the Festival « Les Heures Sauvages - Nef des Marges dans l'ombre des certitudes », at the Centre Wallonie-Bruxelles in Paris.
After "A Story of a Global Disease" in 2022, "Youth looks so good on you" is the second piece of music by Naomie Klaus released on moli del tro records.

J-Walk return to BiD with a one off single 'Never Go Home' ahead of an album of new works to be released next year...

Recorded in his Stockport studio & channeling the DIY ethos of his previous BiD release Broken Beauty, 'Never Go Home' is a paeon to the mind-altering oeuvre of late 80's indie psychedelia, influenced by artists such as Spacemen 3, Nick Nicely & The Field Mice.
On the flip 'Dub Never Go' expands the vision with a version that wades deeper into dub territory, spacing out the stems & positioning the song in an abstract format.

This limited-edition vinyl release comes in a homemade sleeve which is stamped, numbered & implanted with J-Walks DIY DNA.

Welcoming prolific and essential Mexican artist Andy Martin to Animalia, with his mesmerising, mind-bending musical interpretation of the Nahual, a common & integral figure of the belief systems of ancient Indigenous peoples of the Americas, which embodies the spiritual connection between humans & animals. In some traditional stories, this connection is so strong that they are said to transform into one of them. Tierra de Nahuales refers to a region of ancient America inhabited by these mythological beings, which in this EP become part of the Animalia universe, shaped by psychedelic broken rhythms, tribal sounds, and dub influences. A release that feels both deeply personal to Andy's musical & cultural identity as well as the label's own - a telling ode to the abilities of the depth & outer worldly sense to his music - a world-building, shapeshifting & one of a kind artist who feels truly at home in the Animalia family.

The Sound of Love International 008 curated by Ivan Smagghe.

The next chapter of Love International's compilation series with Test Pressing arrives through the lens of Ivan Smagghe. Guided by his long-standing mantra, “the style of no style,” the 12-track selection drifts effortlessly between shadow and light - a reflection of the festival as he knows it.

This is Smagghe’s version of Love International: unpolished in the right places, intuitive, and deeply attuned to the stranger corners of the Adriatic experience. The compilation captures the balance at the heart of the festival: connection, curiosity, and a shared rhythm that holds it all together. Slightly out of reach yet exactly where it should be.

The Rhythm Of Nature’ is the stunning new masterpiece from Andy Compton (The Rurals) and Shamrock!

Written between Andy’s tours in South Africa and Shamrock’s extended UK trip in the summer of 2025, this album embodies their shared mission: to spread positive, joyful vibrations with LOVE.

Here, Soul, Jazz, and African music blend seamlessly through the talents of these two cosmic brothers, connected deeply by their love of making music.

When Andy and Shamrock jam and record, music flows so freely, creating a powerful, spiritual energy.

This follow-up to their 2023 debut album, Soul & Spirit — which still touches hearts worldwide — includes magical songs like ‘Bunny Chow’ and ‘Rosa Mziki’, originally created in Johannesburg and previously released on the Bunny Chow EP, Along with super fresh, unheard gems.

The album also features incredible musicians such as Nekoye Ommeh (Vocals), Pete Morris (Keys), Bongani Sessionist (Percussion), Kafele Bandele (Trumpet), and Charlie Hearnshaw (Sax), adding their magical energies to the soundscape.

Allow yourself to experience the full journey, feel and enjoy every note!

We’ve all experienced that feeling when a song instantly transports us back to the moment we first heard it and became completely hooked. For Linda & Norm, “Moments to Want You” by the Jerry Lillard Band carried the warm vibes of a Parisian summer in 2019. Fast-forward to 2025, they revisited the track with a complete twist, nudging it toward an AOR resurgence for the label’s Soft Rock for Hard Times series.

The original version by the Jerry Lillard Band was released in 1981 on a German rock sampler, created in protest against the closure of their rehearsal space in an old school building. “Moments to Want You” stands out for its haunting melody, heartfelt lyrics, and compelling arrangements. Inspired by these elements, Linda & Norm cast the song in a new light, leaning into ’80s-tinged guitar pop à la Trevor Horn, with hints of psych bedroom pop in a distinctly Californian fashion.

Joining the release are two favorite artists of theirs, further expanding the song’s potential into dancefloor territory. Sydney’s own DD Mirage delivers the smoky, dubby disco blend we’ve admired since their debut album, while seasoned producer Justin Van Der Volgen brings the B-side magic, echoing the authentic stripped-back dub approach in the vein of Pettibone and Baker. To round it out, an instrumental version, along with an extended mix courtesy of Justin, complements the release, making it a 12” worth pulling out whenever the moment calls.

Peach Discs continues into 2026 with a deeply jacking record from the king of the live house jam Demuja. If you've seen him on the 'gram you'll know just how incredibly prolific he is – the tracks that make up this EP were whittled down, tweaked and finessed from close to 100 demos, and we're thrilled with what we've put together, together. In his own words, the EP is "a little love letter to the dancefloor that lives within the idea of a long, sweaty night out. All the tracks were made at very different stages – some produced a while ago, others more recently – and I hope that’s part of what makes the EP interesting as well."

The "title.txt" EP embodies a pure distillation of Demuja's sound– rooted in classic house techniques with a dubbed-out sensibility and, the record's five tracks all stem from live-jams bashed out with focused intention in his Austrian studio on a plethora of drum machines, synths and effects units.

Things kick off with probably the wiggliest of the lot, as "Stop Asking Me" worms a long-range bassline around snappy, stripped-back drums before leaning towards techno (can you hear a snare on the 2 and the 4 cos i can't) on "Oldhead," as its dusty samples drag it back towards house, with a sprinkling of dubstep flavour tucked away in the breakdown. The A-side wraps up in a dubbed-out mode with "Say No More's" deep, modulating textures wrapping themselves around skippy, insistent percussion.

Those dub sounds carry over onto the B-side's "Tool 6," as classically filtered chords peek through the mix (though that bassline is definitely talking tech-house), and Pulse brings it home with strutting drums, disembodied vox and arcing synthlines.

We've also thrown in two bonus tracks you won't find on the 12" but will be available to those that pick up a copy of the record through the Peach Discs Bandcamp. Tasked with picking one fave each, Gramrcy went for "Almost Cherry," a barreling ride across an insistent Reese bassline reminiscent of Samuel L Sessions' best bombs, while Shanti chose the wiggling, diva-wailing "Art of Failing."

Born 2 Be Free celebrates the naughtier end of the house and garage spectrum with a first volume in this new Low End Guerrillas series. Mista Men's 'Corner' has muggy blasts of bass that cocoon you in warmth as lively garage drums and nimble synth motifs keep things fresh. Mella Dee brings his usual sonic filth to the rugged analogue grind of 'A Way Of Life'. No Brainers then layer up a bubbly mix of top and hits over driving bass notes on 'Not Again', then Lvpica's 'Funky:Mission' keeps it deep and moody with a shadowy bassline and slick drums for cool cats. Live From The Moon shuts down with the more eerie and suspenseful 'Parrot In The Studio.' Characterful tools from font to back.

Odyssey was originally a CD-only release by Japanese duo Master Mind (Hiroshi Ogawa & Hisaki Kurosawa) and was their 3rd full-length album. 30+ years later it is now available as a double LP on the California-based Forest Jams label. Its one of many albums of this particular genre that came out in the decade but one that is wholly unique with the depth in its sculpted sounds and the transportation it provides to an audio realm of equally fantastical and soothing proportions. For fans of ambient, lush gardens, auditory massages, RPG OST/BGM, and Kankyō Ongaku. Licensed by NHK Publishing and limited to 300 copies.

Indian Summer marks the second collaborative release from Satoshi Tomiie and Tomoki Tamura. Co-released via Satoshi’s Abstract Architecture and Tomoki’s Holic Trax, the EP reflects a shared musical language shaped by years behind the decks and in the studio.

Designed with the DJ in mind, the three cuts were jammed and recorded between New York and Berlin, capturing a direct, hands-on process rooted in groove and restraint.

Cooperation, democracy, dignity, diversity, equality, freedom, harmony, inclusion, innovation, integrity, justice, liberty, peace, pluralism, prosperity, respect, responsibility, security, solidarity, stability, sustainability, tolerance, transparency, trust, unity.

The first SOULMEEX label compilation arrives shaped by the core values that unite us all in Europe, featuring music from the very talented Alberto Melloni, Llewellyn, Prom Night, and Storken. DCSIS delivers the artwork, Lopazz adds his magic in the mastering, and the vinyl pressing comes from Mad Vinyl Music. A group of music enthusiasts Made in Europe. Fabricado en Europa.

Another massive offering from the one and only Mick Harris, continuing on in his Culvert Dubs Sessions experimentations with a new 2xlp. Once again Mick delves deep into the shadow realm of slow beat, psychedelic heavily textured, grinding dub techno. Eight tracks of absolute industrialized, delay swept, full pressure, sound system shaking murk ridden, dark water dubs. Top form work when Mick lets loose in this wild style, just the right balance of beauty, restraint and brutality. Total heavy weight music!

Sorry We Play Vinyl are once again not at all sorry to play vinyl and good, frankly, because what they serve up on wax is always going to be well received. 'EDIT7' kicks off this latest with a tightly worked 90s sample woven into a loopy groove that is going to get crowds into a funky lather. 'EDIT8' follows with retro-slanted raver era breakbeats and opulent synth oozing, the odd bleep and a bubbling bass thrown in for good measure. 'EDIT9' completes a varied EP with some smooth and succulent deep house with a US warmth to it. The soulful vocals are smeared through soft drums and it's a perfect late-night tool.