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After making waves in the underground with their first release, psychedelic techno explorations from Winkles, A Sky Full Of Numbers head to the shoreline with a five tracker of misty electronica from Japan’s The Rituals, the new collaboration between Tasoko and DOLTZ. Across acclaimed releases on Explore, Bitta, and Delsin, the duo have separately explored deep techno, ambient, acid house and IDM, showcasing innovative sound design and spacious, understated grooves. For AFSON, the duo apply their unique point of view at a lower tempo, pulling away from the peak time to deliver a shadowy journey through dewy electronics.
Opening transmission 503M feels like tuning into a damaged frequency somewhere beyond the cloud line. Misty lead synths slither through blown circuitry while buzzing sequences and short-circuiting percussion crackle against purring bass pressure below.
There’s an eerie electricity in the atmosphere, as if the track’s been exposed to too much heat and left glowing softly in the dark. From the opening bars, The Rituals instantly establish their ability to make techno feel both mechanical and hallucinatory.
Ugan sees the duo descend deeper into the haze. Reverb-drenched synth motifs hover like distant lights through thick fog while a propulsive dub bassline locks into loose electro-funk rhythms beneath. There are echoes of hauntological electronics and early IDM experiments here, but The Rituals avoid nostalgia entirely, steering the track instead towards something crepuscular and alive.
Stepping out of the shadows, Broken Frog Lamp pushes forward on a rolling rhythmic framework as melodies slowly force their way through layers of sea mist and static interference. Atmospheric without losing momentum, the track balances submerged emotional weight with hypnotic forward motion.
The mood softens but never dissipates on Salty Air, a damp and dewy excursion into dubbed-out psychedelia. Rainfall ambience, skittering stone percussion and swelling pads fold around sliding sub bass and filtered stabs, while jazzy cymbals and syncopated hats gently pull the track forward, as the condensation clings to the hardware.
Closing cut “Night, Castle, Reflection” drifts into darker territories, where redlining drums and pulsing low-end pressure throb beneath thick layers of saturated texture. Woozy synth work smears against tightly controlled rhythms, creating an immersive and slightly uneasy atmosphere that closes the EP at its most introspective point.
Taken as a whole, the EP transports you into the midnight hour, when the comforting embrace of stillness can easily nudge you towards hallucination, dissolving the boundaries between dream state and dancefloor hypnosis.

Appleton announce the release of a brand new EP, 'Side By Side', which will be released Friday September 4th, marking the first new Appleton body of work in over two decades.
Nicole says: "The reaction to 'Falling Into You' and our first Appleton show in over twenty years has been incredible We feel so grateful that people still connect with these songs and are excited about what we're doing now. This EP feels like the natural next chapter." After reissuing their cult- classic 2003 album 'Everything's Eventual' on vinyl, this January Appleton returned with 'Falling Into You' their first new music as a duo in 23 years.
While nostalgia may have sparked the reunion, 'Side By Side' is firmly focused on the present. Across four original tracks, the EP blends the melodic pop songwriting and distinctive harmonies that made Appleton favourites first time around with a fresh, contemporary sound that reflects where Natalie and Nicole are today. For both sisters, the project has been a reminder of the unique creative bond they've always shared. "We've always had a special connection when we sing together" says Nicole. "Making these songs reminded us of that. It never feels forced it just feels natural." More than twenty years after they first burst into the charts, Appleton aren't looking backwards. They're simply enjoying making music together again side by side.

Acid Pauli returns to the curious world of Gwar Is Not The Answer (originally released 2006 on Smaul) with a carefully remastered re-release that includes two new remixes from Jonathan Kaspar and Acid Pauli. The title track unfolds at an unhurried pace, weaving loose acid traces through warm percussion and off-centre melodic fragments that seem to appear and dissolve before settling into place. It drifts forward with a quiet sense of momentum, balancing eccentric textures with a groove that remains firmly grounded throughout. With his new remix Jonathan Kaspar takes the original into leaner territory, sharpening its contours and drawing out its tension while preserving the peculiar character at its core. His remix stretches the track into a more focused club framework where rolling low-end pressure meets finely tuned rhythmic movement, allowing small details to carry unexpected weight. On the flip Acid Pauli revisits the track from a different angle. The remix opens up the source material into a spacious and fluid arrangement where shimmering tones circle around a deep pulse and subtle harmonic shifts gradually reveal themselves over time. Together the three versions explore different dimensions of the same musical language, moving between psychedelic house, understated dancefloor functionality and the kind of idiosyncratic storytelling that has long defined Acid Pauli's work.

Brixton Heights Records proudly presents the brand new single “Sweet Things”, a radiant lovers reggae release that blends classic roots, soulful warmth and contemporary finesse into a timeless feel‑good anthem.

Fronted by the legendary Keith Coley from The Silvertones, this masterfully crafted track features a heavyweight lineup of musicians and producers: Mafia & Fluxy on drums and bass, The Ital Horns on brass, Gavin Tate-Lovery on Saxophone and Gaudi on Piano and backing vocals, co-production and mixing. The track delivers a smooth, romantic groove rooted in classic Jamaican sound while feeling fresh and modern, making it equally at home on sound systems, radio playlists and summer sessions.

The Silvertones’ vocals remain rich, melodic and instantly recognisable, carrying the emotional warmth that has long defined their sound. The arrangement is layered with a bubbling organ, deep bass and tasteful percussions, guitars and keyboard, making The Brixton Heights Orchestra come together to create an irresistible groove.

Mixed and co‑produced by Gaudi at Metatron Studio in London (UK) and mastered at Anchor Studios in Kingston, Jamaica, “Sweet Things” is a celebration of romance, rhythm and authenticity.

In the B‑side the Brixton Heights Orchestra shines through in a full instrumental version of “Sweet Things”. The brass section takes centre stage throughout, weaving into the fabric of the song soaring trumpet lines, expressive saxophone melodies and rich trombone passages.

With the vocal removed, Gaudi shifts the focus on brass work, rhythm section and layered instrumentation, creating a continuum of different phrases, solos and riffs, carefully carved together into a reggae-jazz theme that executes in a cohesive and coherent way.

raum…musik welcomes Jaffa Surfa back for its 121st release with ‘Tribal Diesel EP’, a four-tracker moving through progressive techno, industrial-tinged minimal, house and broken beat. Rather than treating these as fixed genres, Surfa reshapes them into something uncanny and unmistakably tribal, while keeping the groove firmly at the centre.

That approach is clearest on the A-side. “Diggers Diesel” has a ritual pull and, as the EP’s title suggests, finds Jaffa Surfa at his most tribal. Processed drums and splintered voices gradually lock into a hook while murky synths shift beneath them. “Lidl Sin” takes a leaner, slightly industrial but definitely understated route. Its reduced arrangement leaves enough room for each detail to register, with drums, synth stabs and sequenced lines appearing to exist in a state of constant mutation. On the b-side, “NGLZ” is the EP’s most direct house cut, driven by heavy low end, syncopated rhythms and flashes of phased samples. Breakbeat accents and old-school vocal fragments nod towards US house, though the track’s restless movement keeps it from settling into anything conventional. “Upstarz Galeri” closes on a wider screen, carrying traces of krautrock and decades-old sci-fi and cyberpunk soundtracks without ever feeling nostalgic. Airy and expansive, it pairs breakbeats and growling basslines with densely layered samples, giving its machine funk an unexpectedly emotional charge.

'Tribal Diesel EP' never overstates the contrast between its parts. Jaffa Surfa holds everything together through texture, rhythm and an almost cybernetic atmosphere. It is clearly built for the club, but carries enough personality and ambiguity to reward closer listening.

Defining the moment in sound and vision, Immersion are a snapshot of ‘the now’. Through constant reinvention, they have honed their sound into a startling present that references their past but refuses to live in it.

This perfect synthesis of their styles boldly creates a brave new world for core couple Colin Newman and Malka Spigel, along with satellite musicians Matt Schulz (Holy F*ck), whose drumming strongly features on many tracks, and Ed Chivers (AK/DK), who makes a guest appearance drumming on ‘Breaking Free, Diversity, Evolution’.

What Is Lost Will Return is the second ‘pure’ Immersion release in as many years and heralds their third UK tour since 2024. It follows 2025’s acclaimed WTF??, with the title reflecting the fact you can only say “What The F*ck??” so many times before looking beyond to see what endures.

With What Is Lost Will Return, the ever-productive ‘life and art partner’ duo present a reflective album of modular moods and stripped-down electronic psychedelia, leavened by a clipped guitar that you can nonetheless dance to, defying these chaotic times. It perfectly captures the yin and yang of the moment – or as Colin and Malka explain, “The emotion we feel the album invokes is a poignant mixture of joy and melancholy.”

“What Is Lost Will Return is an album of grooves, observational snapshots, hypnotic repetition, joyful creation, intoxicating melody and mystery, all threaded together by a fascination with new sounds and textures. It's both an underground gem and an album that bends pop into new shapes.”
John Robb, June 2026, MCR

2026 Repress

The clergy is pleased to introduce you to a new initiate: Birds ov Paradise. This highly anticipated Hypnus debut comes split into three separate EP's which will be released one each full moon starting October.

Some of you may be acquainted with the music of Birds ov Paradise already as he's put out two stellar records on Jens and Aniara Recordings in 2016-2017, as well as making a contribution to our podcast series The Memoir where his sound was put on a grand display. Those of you who are new to the fantastic dream world of this very talented artist will quickly get lost in the flowing rhythms that drives his magical deep techno sound.

Early support from Etapp Kyle, Ness, Slam, Iori, Refracted, Svreca, Cio D'Or and Dorisburg to name a few.

We hope that you enjoy the trip into the Bayou.

A shimmering blend of post-grunge, riff-doom and driving psychedelia from current and ex-members of Torche, Abrams and Royal Thunder OMNI is the latest album from Moon Destroys, bringing together current and former members of Torche, Abrams, and Royal Thunder for an exhilarating blend of post-grunge, riff-driven doom, and expansive psychedelia. Building on the atmospheric foundation established by She Walks by Moonlight, the band condenses its widescreen sound into a collection of immediate, hook-filled songs without sacrificing the depth and weight that define its music. The album balances crushing riffs, soaring melodies, and immersive soundscapes across eleven tightly crafted tracks, demonstrating the group's ability to merge heavy rock, doom, and psychedelic influences into a cohesive and memorable listening experience. The performances showcase both powerful musicianship and an instinct for dynamic songwriting, delivering an album that feels equally massive and accessible. OMNI represents Moon Destroys at its most focused and confident, offering a compelling statement from a band whose collective pedigree continues to push modern heavy music in exciting directions. For Fans of KING BUFFALO, TORCHE, ASG, MONOLORD, GREENLEAF, DOZER, CAVE-IN, THE SWORD, OKAY YOU WIN Limited edition pressed on ice blue vinyl! Featuring current and former members of Torche, Abrams and Royal Thunder

While the sterile “professionalism” of some heavy bands can be like a clinical drone strike, Texas-based Judiciary feels personal. Like close combat with a knife. And it’s all in their chemistry. Judiciary is an amalgamation of four guys raised in the intersection of metal and hardcore—all devoted to pushing their craft further. Across two esteemed LPs, the band has proven their worth as a crucial entity in the crowded heavy music scene by evolving their sound further and further with each release. And now with the band’s latest Stalagmite Angels, due on September 4th via the venerable Closed Casket Activities, Judiciary can further showcase their status as a crucial, one-of-a-kind part of the evolution of hardcore in 2026. Life changes can bring about chaos and seismic shifts, but if Stalagmite Angels is any indication, then it’s all for the better. In the wake of the release of Judiciary’s second LP Flesh + Blood, the band called upon Juan Vazquez to pick up guitar duties, thereby changing the internal framework of the band for good, and unknowingly for the better. It’s this pivot in personnel that resulted in the band’s latest EP. “The goal with this EP was a hard reset, but we also wanted to chill the f— out a bit, have fun, and do something that felt true to the four of us,” recalls drummer Austin Looney. “We wanted time to reconfigure things and let the music come naturally–temper this new mindset that we've adopted post-Flesh + Blood.” Judiciary’s greatest strength lies in their musical singularity. Though Stalagmite Angels represents the collision of influences from across well-worn territories like metallic hardcore, death metal, black metal, d-beat and more, it’s the Lubbock-born band’s approach that makes it distinctly their own. Stalagmite Angels is a wholly new document that resembles a horde of bands ranging from Hatebreed to Carcass to Slayer to Iron Age, yet never aping any single band nor even revealing any single influence. It’s all familiar but none of it is specific. “90s hardcore and hardcore in general is always gonna be our natural inclination, but it manifests with different elements not only from song to song but within each song,” says vocalist Jake Collinson emphatically, who learned guitar specifically to help with writing new material. “Whether that’s Dying Breed or Cannibal Corpse or Crowbar or Machine Head or any number of other influences that any one of us may have, it all manifests in our work, and through our individual and collective lenses. With this EP, we transformed those ideas into the Judiciary approach.” Stalagmite Angels is an EP about anger at the world, belief in yourself, and how harnessing both in the pursuit of growth is necessary to achieve. But furthermore, it’s a concept record that envisions a subterranean world in both a literal and metaphorical sense—where hidden beauty lurks in the shadows (and in the eye of the beholder) and where triumph manifests in the ability to rise from the depths and into the world above.

The live EP arrives on vinyl via a collaboration between boutique label Crafting Room Recordings (Maximilian, Soft Top) and indie festival Left of the Dial. The live record follows a massive 2025 where a limited vinyl run of the Spill EP and debut EP 'Hullo, Reality!' both sold out soon after their releases. With champions already found at BBC Radio 6Music (Steve Lamacq, Emily Pilbeam) and earning a spot on the 2026 artists to watch lists for DIY, DORK, and Far Out, ELLiS.D is rapidly cementing his status as one of Europe's most striking, tireless and "sought after live acts" (Far Out Magazine). "As our first sold- out headline show outside of the UK, it felt like a real milestone for myself and the band. We wanted to capture the amazing connection we've felt playing to European audiences, with nowhere better to do it than the basement of a boat in Rotterdam. Each of the tracks on the EP have been staples of our live set for a long time but switching into the mindset of performing and recording for the EP gave us a fair few jitters pre-show. Once we crashed into 'Chasing The Blue' that all melted away. Elmo on sound did a brilliant job capturing the energy of the performance and the audience gave us the response we were hoping for!"

A beautifully observed baroque masterpiece, part dream pop, part futuristic psych-folk with ambient synths and Josephine Foster’s plaintive guitar. Godmother is a slowly unfolding song cycle that marries a myriad of previous musical escapades with electronic experiments. Exploring new horizons on this record, it sees Foster at her most expressive and hypnotic. Now back home in the mountains of Colorado, Josephine’s 20-year journey to this new nirvana becomes enthralled further with a symphony of synths that sound like they are played in some neighbouring netherworld, through cotton gauze. It’s music that’s devotional, spiritual, a fitting soundtrack for any journey within or without, a means to experience places and vibrations beyond the boundary of time and space. Discussing the record, Josephine explains “You may notice me travelling a bit further sonically from our precious earth, aspiring to rise into broader astral perspective, to contemplate the light and origins of it all, as I do believe there is a grand source that is the sum of it all, us all. Performing all the parts on this recording, you may sense me focussing gestures of my singing into the instrumentation, which is a very great relief indeed, as the voice has such grand dreams to be set free.” “With her haunted, theatrical delivery, Foster cuts an arresting figure.” Pitchfork // “Out of time yet timeless” The Wire

DESCRIPTION
Lone Bison / Nick Bonell lives by the sea in Ramsgate. Mainly a guitar player and pedal freak, Nick bought a used Korg MS20 and fell in love with synths. As one half of Stuntmen, Nick released the sample-heavy single 'You're the Beat Find' on the groovy Tummy Touch label, which led to him scoring three Ford adverts in the U.S and a few pieces of well-used production music - which paid for more synths and pedals!
An album, 'Transistor Memory' and single 'Drugs' came out via Dom Martin's brilliant Polytechnic Youth records in 2021. "Wave Construction" was released by Castles in Space in Autumn 2023. An album for the CiS Subscription Library entitled "Mechanical and Electrical" was released in late 2024.
Nick Explains: "After recording "Transistor Memory", "Wave Construction" and "Mechanical and Electrical" pretty much back-to-back, I wanted to change my sound palette a little. I started programming my Hydrasynth Explorer in obsessive detail and was also drawn to using my voice, in a sampling kind of way at first. Sampling my voice then shifted into recording more straightforward vocals and writing proper songs again. "Rise Up" started as a field recording in my local park and then some wonky piano loops with a cheap mic – somehow a song arrived. I’ve always really liked really concise records, so I got interested in packing lots of synth textures into a three-minute pop song. As the record progressed, I did less leaning on vocoders and harmonisers and developed the courage to just do more up-front vocal mixes. Things like Maths and Minimal / Maximal are more groove-based and came from recording 20 minute drum tracks then jamming bass guitar over it then editing it all down and adding loads of synths. Oh, and there’s a bit of James Williamson era Stooges at the end of Minimal / Maximal – I was a bit nervous about playing garage rock guitar on a Castles in Space record but Colin told me I would be ‘fucking mental’ if I didn’t end the record with it."
Lone Bison's music is influenced by Krautrock, electronica, post-punk, soundtracks, a splosh of modern classical/minimalism and post-rock. He's a hot genius.
The album is preceded with "The Power" which will be available on streaming platforms as well as on our Bandcamp for those who want to listen or pre-order the album. There's a fantastic remix from MAPS included as well.

Eden Samara grew up in the mountains of western Canada, writing folk songs and performing in the theatre. Following a trip to Europe where she had her first formative clubbing experiences, she relocated to London in 2019 where she’s become a consistent presence and voice in the city’s underground, collaborating with artists like Parris, Ciel and Loraine James and earning praise from The Guardian, Pitchfork, Rolling Stone, Crack and DJ Mag.

2022 saw Eden release her debut album Rough Night on Local Action, blending freaky club-pop, introspective R&B and more while collaborating with leading scene figures TSVI, Call Super and Shanti Celeste. Described by Dazed as ‘an embarrassment of riches’ and by Mixmag as one of the best albums of the year, in Eden’s words it was simply ‘a tragicomedy in seven scenes and an interlude’. She’s downplaying things: to us it was a rich tapestry that explored everything from fleeting moments in smoking areas to the Madonna-whore complex. Both, for better or worse, still make the world go round.

On her second album Odyssey, Eden brings more elements into her ensemble (jungle, choral singing, live harp) while honing her song-writing – it’s an expansion and a tightening at the same time. Inspired by epic literary works like Homer’s Odyssey, The Alchemist and The Picture of Dorian Gray, the album reimagines the archetypal quest through a personal lens: a healing journey amid the collapse of close relationships to addiction, mental illness, and the weight of codependency disguised as love. In Eden’s words: 'This work is a narrative and sonic expedition - part myth, part memoir - that traces my path through the emotional aftermath of watching loved ones struggle with drug addiction and mental health crises, and the impact it
had on my own mental wellbeing. The album addresses substance abuse, toxic relationships, and the internalised belief that love must come through sacrifice, even at the cost of one’s selfhood.'

For this special release, Barcelona’s Lapsus and London’s Local Action join forces for the first time in their respective journeys, reflecting the affinity between both platforms and their shared vision of contemporary electronic music.

The acclaimed compilation series returns with volume 4! Fourteen tracks showcasing the most exciting emerging voices in Belgian jazz, ready to claim a permanent spot on your turntable.

The latest instalment in the celebrated compilation series once again shines a spotlight on the most adventurous and forward-thinking artists emerging from Belgium's jazz scene. Curated by Belgian tastemaker, DJ and broadcaster Lefto Early Bird, the collection continues a tradition of uncovering hidden gems and introducing them to a wider audience of dedicated diggers.

Over the years, the Jazz Cats series has become a trusted barometer of Belgium's ever-evolving jazz landscape. Long before many artists gained international recognition, they first appeared on these compilations, making the series both a discovery platform and a snapshot of one of Europe's most exciting musical ecosystems.

Jazz Cats Volume 4 captures a scene bursting with creativity, diversity and ambition. Across fourteen carefully selected tracks, the compilation explores the many directions contemporary Belgian jazz is taking today. Jazz, hip-hop, electronic music, afrobeat, spiritual jazz and experimental sounds coexist effortlessly throughout the collection.

The opening stretch of the compilation, led by Brussels-based Irreversible Entanglements band member Aquiles Navarro, Ola Tunji and HelenaCasella, offers an early glimpse into a scene that rarely stands still. Their music moves freely between traditions and contemporary influences, reflecting less concern with preserving genres than expanding them. Artists such as Lupo Spaccaro and Kunde, joined here by the raw soul voice of Fred Gata, draw inspiration from hip-hop and contemporary beat culture, yet neither approaches these influences in a conventional way. Instead, they reveal how naturally these sounds have become part of the vocabulary of a new generation of jazz musicians.

Experimentation emerges as another defining thread. KVR and BREAD FOR PIGEONS embrace unpredictability through unexpected textures, shifting atmospheres and confident compositional choices, creating music that constantly challenges expectations. Elsewhere, artists like Gaiko and VLIEGWERK favor immersive soundscapes that reward repeated listening. Whether there's a connection between musical adventurousness and a preference for capital letters remains a question for future research.

At the heart of the compilation lies a strong sense of movement and groove. Ragini Trio and Foutloos approach that rhythm from different angles, yet both build their music around powerful, pulsating foundations. Their tracks need close attention, revealing layers of detail and low-end richness that practically demand to be experienced on a proper sound system.

By the time it reaches its closing chapter, Lucid Lucia, SLAGADER and Kuna Maze bring the focus back to forward motion. Jazz and funk-infused grooves provide a fitting finale, reminding us that however far these artists push the jazz genre, they never lose sight of its ability to connect, uplift and move people.

The result is a body of work that feels remarkably cohesive despite its diversity: a portrait of a scene that continues to evolve through curiosity, collaborationand constant reinvention.

Over the course of more than four decades, Andrew Chalk has created one of ambient and experimental music's most distinctive, influential, and enduring bodies of work. Though his recordings have taken many forms—from the raw, post-Industrial sounds of Ferial Confine in the 1980s to the fragile guitar meditations, blurred keyboard studies, and richly textured collages that populate the Faraway Press catalogue—they remain united by a singular sensibility: an uncommon attentiveness to atmosphere, nostalgia, and the power of restraint.

Mystical Obscurant offers a rare opportunity to encounter the expansive character of that oeuvre in miniature. Rather than documenting a single period or methodology, it functions almost like a survey of Chalk's musical language—a collection of new music that illuminates the breadth of his practice while distilling the singular vision that unites it.

“The Sea of Sorrow” and “Peacemaker” feel cut from the same cloth as the sacred guitar minimalism of The River That Flows Into the Sands, while “Against the Tide” would sit naturally alongside the smudged and distant keys of Blue Eyes of the March. Other pieces draw upon environmental sound and loop-based constructions, hallmarks of Chalk's more recent, vignette-like compositions. Though these recordings emerge from different moments in his long creative journey, each inhabits a recognizable world: one where melodies drift in diffuse, unhurried forms and sound gathers with painterly grace.

What is most striking when these pieces are heard together is not their difference but their coherence. Across changing instruments, collaborators, and approaches, Chalk has consistently pursued a subjunctive music of suggestion rather than declaration, creating spaces where memory and imagination are allowed to unfold at their own pace.

The Go’s Free Electricity, the group’s storied, long-lost album, finally gets a proper release! The Go appeared in Detroit in 1996, led by Bobby Harlow and featuring Dave Buick on bass and Jack White on guitar. Following the release of their 1999 debut, Whatcha Doin’, and a few lineup changes, the band hit the studio with Dion Fischer on lead guitar, John Olson (of Wolf Eyes) on saxophone, and Cary Loren (of Destroy All Monsters) to record their sophomore effort. The session found the band and their producer, Matthew Smith (Outrageous Cherry), exploring the outer edges of rock and roll, with blaring lead guitars, copious amounts of reverb, and a heavy jazz influence thanks to a heavy diet of ‘60s free jazz. The results erupt from the speakers with a cavernous sound, like some haunted frequency beamed across the time barrier from the Grande Ballroom circa 1968, often sounding more like records by Pharoah Sanders and Sun Ra than the records being made by The Go’s peers in the ‘00s rock and roll scene.

Free Electricity was written, composed, and arranged by Bobby Harlow (except track one, which was written by Harlow and Dion Fischer; and track five, written by Harlow and Cary Loren). Free Electricity was mixed and produced by Matthew Smith, engineered by Jim Diamond at Ghetto Recorders, and mastered by Jim Kissling at Jim Kissling Mastering in Detroit, Michigan. Guest appearances by folks from Destroy All Monsters and Wolf Eyes only reinforced the album's musical direction. Weird or not, this was an inspired recording made by an inspired group of musicians. There was a feeling of excitement and adventure happening at these sessions, it shines through mightily on this album.

Classic Johnny Clarke album from 1980 restored and re-mastered for best ever sound. Features the hit singles "Every Knee Shall Bow" , "Can't Keep A Good Man Down" along with the Jah Shaka sound system anthem "Bad Days Are Going".
Produced by mixed at Channel One, King Tubby's and NYC by Bunny Lee, Brad Osbourne & Johnny Clarke
'Originally Mr Clarke' delivers in full on every track making it one of THE essential reggae album releases.
Jamaican artist of the year in both '75 & '76 Johnny signed to Virgin Records and released two highly acclaimed albums for Virgin's Front Line label. Still performing and recording today, Johnny also tasted crossover success when his 'Everyday Wondering' hit made number 2 in the UK charts with it's Rupie Edwards 'Irie Feelings' dub deconstruction while Johnathan Richman turned Johnny's Earl Zero penned 'None Shall Escape The Judgement' hit into the international chart topper 'Egyptian Reggae' in 1977.

Kitsune No Yomeiri, which translates to the fox’s wedding, is an endearing expression used to describe sunshowers. Dawson returned home from a recent tour of Japan with a collection of field recordings documenting the spring rain he encountered throughout his travels. These curious sounds, stretching from peaceful shrines to clattering city streets, underpin the material.

Dawson also credits the wonderful folks he met on that tour with profoundly shaping the direction of the album. After each show he found himself immersed in inspiring conversations about the guitar. Through navigating the language barrier, he discovered he was communicating with an immense sincerity that he would ordinarily avoid at all costs. “I’ve always just made records at home in a vortex, but this time it felt like those conversations were there with me in the studio.”

Musically the album has a slight western slant. It’s not country, but it does see Dawson lean softly into his prairie past. Constellations of stray notes and rusted tones form nostalgic melodies, like chance encounters between old friends. Dawson allows phrases and gestures to repeat across the record, resulting in a collection that’s more akin to turning the pages of a novel than a series of vignettes vying for attention.

ELEPHANT is an album that doesn’t ask for space, it takes it.
Built on weight, grit, and undeniable presence, ELEPHANT moves like its namesake: loud, heavy, and impossible to ignore. There’s a swagger to it, a confidence that leans into chaos, desire, and the pull of living all the way, even when it leaves a mark.
But like an elephant, it’s not all brute force. Beneath the heavy stomp is something more human. There are moments of vulnerability, cracks where emotion slips through, where longing, doubt, and reflection take over. The album balances power with sensitivity, and strength with softness. A notion that even the biggest presence can feel deeply.

Like the massive creature pushing through brush and unbroken paths, ELEPHANT is about confronting what’s right in front of you; the noise, the weight, the truth, and choosing to move through it anyway.

Confessions of a Sinner builds on the foundation of Rebirth and pushes further into the chaos: heavier, sharper, and more confrontational.

Native James continues to carve out his own lane: grime-rooted vocal delivery over full-throttle alt-metal production. Still breaking the mould on his own terms, but now with serious industry attention and a rapidly growing live audience off the back of extensive touring.

Gordi presents Nylon: an exclusive vinyl-only mixtape of unreleased new songs recorded direct to tape. This rare collection offers an unobstructed window into Gordi’s emotional well, adorned by her trade mark beguiling voice. She recorded the body of work live-to-tape in a single afternoon — with no overdubs and no edits — and played the new songs to fans on her Australian tour, selling every single advance copy before the internet knew anything about it. Now on clear vinyl.

Sex Magick Wizards is a Norwegian-Sámi quartet blending psychedelic rock, free improvisation and joik into hypnotic, ritualistic soundscapes. For years they have stormed Europe's underground and experimental music scenes, earning acclaim for intense and unpredictable live performances. The double album Suola ja Noaidi (The Thief and the Shaman) draws on themes of colonisation, weaponised religion and Sámi resilience. Working from this cultural material, Sex Magick Wizards have created a double album combining traditional joik elements with their signature experimental rock sound and freeform avant-garde improvisation. By combining fragments of Northern Sámi from the original poem with new lyrics in both English and Northern Sámi and focusing more heavily on vocals, the band creates a highly distinctive sonic language rarely heard within experimental rock. The album also contains a new interpretation of an old traditional joik from guitarist/singer/joiker Viktor Bomstad's childhood home, Ivgorássa.

The late Matt Watts was an American songwriter/storyteller and performer from Montana residing in Antwerp and Brussels, Belgium. He ws the son of a catholic priest and mother with Cherokee roots in the Carolinas.

He first began using the electric organ to write songs and also recording them on cassettes when he was 11 years old. When he was 13 his mother bought him an electric guitar from a pawn shop in South Carolina. Using a karaoke machine as an amplifier, he began writing and performing and recorded his first album at age 15 in a small studio in Great Falls, Montana.In addition to writing and performing his own music, he began performing and touring with various local Punk & Noise bands.

In 2007 when he was 19, he moved to Antwerp, Belgium. Since his arrival he has worked and performed with Zita Swoon Group, become a member of Rudy Trouvé's I H8 Camera, translated Simon Allemeersch and Rudy Trouvé’s critically acclaimed piece SCREEN into English, formed The Calicos (now Humo’s Rock Rally winners under Quinten Vermaelen) as a one time backing band, worked with many artists and songwriters (including Emillina Torini & The Colorist, The Love Substitutes, ..) and toured and released various widely acclaimed solo albums and a duo album with Nicolas Rombouts on Starman Records.

Highlights for sure were “How Different It Was When You Were There” (2017 - **** De Standaard), produced by Nicolas Rombouts (ex-Dez Mona) and featured guest performances by Nathalie Delcroix and Bjorn Eriksson (Eriksson Delcroix) and Stef Kamil Carlens. Its excellent successor “Queens” (produced by Stef Kamil Carlens and Nicolas Rombouts) featured a.o. the late Sandy Dillon and Jim White.

Sadly Matt Watts passed away too soon in June 2024. “Restless Kind” is the final album readied shortly before his death in a production by Bai Kamara Jr. Another astonishing collection of intimate Americana songs with lyrics as fascinating miniature novels.

PRESIDENT delivers the highly anticipated debut album Blood Of Your Empire - 10 tracks that delve into a world in crisis challenging mortality, faith and more.

Doomcrusher fuse stomping industrial riffs, uncompromising gutturals and uplifting hooks - modern core with electronic depth and metal roots.

In the crucible of the apocalypticatmosphere that envelops our world, Doomerusher was forged. Born out of the deepest desire to be the harbinger of change, the band emerged with a resolute mission: to defy the impending doom that looms on the horizon. Founded by Andy Posdziech (Any Given Day), Jean Bormann (Rage), Marv Kinkel & Rob Lee, Doomcrusher's sound is a powerful fusion of stomping and heavy mid-tempo industrial riffs, seamlessly intertwined with uncompromising gutturals that resolve into unfolding and uplifting hooks. The band's sound is further enriched by sophisticated electronic elements, adding depth and complexity to their musical tapestry. The ambition is clear - to redefine modern core music while staying true to the roots of the metal genre. Their music is not merely an auditory experience; it's a journey through the realms of sound, a deliberate exploration of the boundaries of heavy music. Doomcrusher stands as a defiant force against the inevitable, a rebellion that crushes the darkness of doom with an unwavering belief in the transformative power of music. DOOMCRUSHER BIO SHORT: Forged in the apocalyptic atmosphere, Doomcrusher blends stomping industrial riffs with guttural vocals and uplifting hooks. Their music, a deliberate exploration of heavy soundscapes enriched by electronic elements, redefines modern core while honoring metal roots- a defiant force against impending doom

Back for its 29th (!) birthday, No Use's fifth full lenght! "Bay area punk wonder-boys No Use For A Name have begun pleading for your friendship. Show your love for the boys, who were each reared with the ideals of Boy Scout Troup #221, by giving 'em wet sloppy ones when they come to your town." No Use for a Name was a melodic punk band from San Jose, California blending blistering skate-punk speeds with deeply melancholic, unforgettable pop melodies. What began as a scrappy late-80s hardcore act grew into a defining pillar of the 90s punk rock explosion, earning fans through relentless international touring and releases that perfectly balance grit and heart. Drawing comparisons to Lagwagon, Millencolin, and Strung Out, No Use for a Name pairs introspective, emotionally raw lyrics with fast-paced, harmony-driven arrangements built for sweaty club shows and massive circle pits. Their songs tackle alienation, broken relationships, and the struggles of everyday life, creating a connectionthat feels both intensely personal and universally cathartic. Their first two albums were released through the New Red Archives label, after which they signed to Fat Wreck Chords where they would remain, releasing seven studio albums and shifting to a melodic punk rock sound. With their fifth album `Making Friends,' the band continued to build on their momentum, delivering their tightest, most emotionally resonant, and career-defining collection of songs in 1997. 2026 it comes in brown vinyl color.

The darkest, filthiest alleys of old Philadelphia, DEVIL MASTER arise once more to corrupt the children of light. Between tours and festival appearances, the masters of devilry wrote their third full-length, Bloody Dreams. Punkier, with a psychedelic lean, yet festooned with a feral black metal aura, the album gleams from the abyss. Engineered by Davis M. Shubs and Grammy-nominated engineer Eric Bogacz, Bloody Dreams dances darkly. Tracks “You Worms' Vain Delusions” to “Death Anthem,” “Sex with Succubus,” and the decaying bonnet of “Farewell Waltz to Unfortune's Palace” lead the charge, while guests include Mirai Kawashima (Sigh), former drummer Chris Ulsh (Power Trip), and Ur Èmdr Œrvn (Arkha Sva) enhance DEVIL MASTER's supernatural power. There is no shadow without light...Bloody Dreams invites you into and out of the abyss. Short: The darkest, filthiest alleys of old Philadelphia, DEVIL MASTER arise once more to corrupt the children of light with their new album, Bloody Dreams. FFO: Venom, GISM, Celtic Frost, Midnight, Discharge, Christian Death

Ohio’s 156/Silence return with From a Distance, their crushing new full-length and first release for Pure Noise Records, arriving September 4. Produced by Josh Schroeder (King 810, Lorna Shore, The Plot In You), the album expands on the breakout success of People Watching with a darker, more cinematic approach that balances punishing heaviness, eerie atmosphere, and emotional depth. Featuring guest appearances from Mike Hranica (The Devil Wears Prada) and Alex Reade (Make Them Suffer), From a Distance pulls influence from horror, prestige television, and retro game soundtracks while moving seamlessly between hard rock, experimental textures, and the band’s chaotic mathcore roots. Atmospheric, unpredictable, and unbound by genre, From a Distance pushes 156/Silence further into their own lane while cementing them as one of heavy music’s most fearless rising acts.

For fans of Signs of The Swarm, Thy Art is Murder and Lorna Shore The devastating new full length from one of Australia’s household names in the Deathcore genre. ‘The Darkest Side Of Humanity’ is a sprawling, hellish journey into the psyche of mankind, drawing influences from every colour of the heavy spectrum. ANIT have always been a razor sharp prospect, but with this album they seem to have found a powerful amalgamation of everything that made them so fun to listen to. The fat is trimmed, the concept is focused…the songs are HEAVY.

EXTRACELLULAR:

the space between cells where signals are exchanged & life is communicated

12" vinyl compilation of pulsing electro, jazz fragments, industrial dub & spoken abstraction featuring label friends & associates from the UK & EU.

Poem by Alea Coble (February 2026) - Written for Andrew Weathers, Chattonooga Recording Project

Listen to my story and everything will come out true. - Bessie Smith

35° 02' 44.27" N -85° 18' 34.85" W:

Howl. Hammer strikes firing pin. Its echo ricochets over river bend. The woodpecker’s syncopated pop-pop-pop clink and thwap in time with cops practicing prayer at the firing range.

Quick. Sketch a few constellations onto a postcard: empty shotgun shells, these pre-forgotten fossils snaking rusted railroad spikes, like snagged rosary, fallen poplar petals draped over cerulean glass ashtray scattered along glittering fractures, ignored like a treaty. Train tracks reverberate necrophilic boomerang-hunger for mountain air without that coal dust. Eat. Eat. Everything is real estate. Even the air is for sale. Buy it cheap while I.C.E. carves through the valley along the Trail of Tears in unmarked SUVs, traffic stops.

Howl. Callback to estranged entanglements oscillating over holler and highway. Meet on the porch. Haint-blue ceiling. Some ghosts can’t get through anyway. They got tied up on the Walnut Street Bridge by a mob of white spit. Howl. The South should scare you.

But the woodpecker is still nesting, hungry, typing uncannied punctuation marks into black oak: a deed. Home? Takes a side-eyed knowing to call by name. The moon sickles in a sweating glass of iced tea.

Speculation cycle: symmetry as ancient as sour-dank betrayal of the tongue, bitter bones binding blood and lead, alchemical forgetting like I found a hairbrush in the yard while planting wild irises, like someone is charging $10 for an old glass Coke bottle, like semicolons itching restless under new sod from no-one-knows-where. Howl. Sing back. History is soil-in-stereo.

How will this line end? Like riverbank? Like atlatl arching hope smash-through a stained glass window? Words fall out of the sky, and 30 American flags snap at attention on the bridge. Howl. A shift in the wind gallops through the streets tossing her head back, laughing.

Tennessee River, who once kissed Pangea, how she softens at the knuckle-suck of it all, that secret-sweet stowed in the feathers of sandhill cranes lifting up on warm summer breeze: slow-shooting stars bending toward unbothered brevitas.

Howl. The red wolf knows her truest kin is always her shadow’s shadow.

For 10 years, the Austin, Texas- based experimental avant- pop/ electronic musician, born Roger Sellers, has been creating atmospheric soundscapes brimming with layers, texture, and deep emotional resonance. On his fourth and most immersive album to date, 'Filters', Sellers picks up where he left us on 2023's mournful yet popminded 'Temporary Time'. With its elegantly constructed melodies, silken synth-work, a sprinkle of field recordings, and an upbeat yet blissful blend of piano and percussion, Filters finds Sellers entering a new phase of existence as he works through the grief around losing his father and into a place of acceptance.

For the past decade, Personal Trainer has served as the ever-evolving creative outlet for frontman and songwriter Willem Smit, growing from Amsterdam's underground scene into an internationally successful touring band An electrifying force in modern indie rock, Personal Trainer blend sharp wit, chaotic energy, and irresistible hooks. Their upcoming third album Human Assholes balances playful absurdity with a quiet undercurrent of doubt, Smit has been ever reluctant as the quote unquote frontman of a band.

“The first three are innocent in a way, because we didn’t have an audience when we were making them,” Oberst says. “But from Lifted on, I was definitely aware of an audience. Lifted was well-received right away, and then everything happened with Wide Awake and Digital Ash.” Those two albums came out simultaneously. And their lead singles – “Take It Easy (Love Nothing),” from the austere, remote Digital Ash, and “Lua,” from the warm, folky Wide Awake – debuted in the top two slots on the Billboard Hot 100. “First Day of My Life,” also from Wide Awake, would later be voted the Number One love song of all time by NPR Music’s reader’s poll. Bright Eyes had officially broken through. It was a heady, exciting time, but also fraught and tense, both because of the band’s careening new fame, and because of the state of the world. When Bright Eyes made their Tonight Show debut in 2006, they chose to perform none of their shiny new hits, instead delivering a searing, harrowing rendition of their caustic anti-Bush anthem, “When The President Talks To God.” These days, Oberst is still amusing himself by messing with the extremes Bright Eyes baked into this era’s releases, extremes that reflected the polar, with-us-or-against-us, fractious feel of the times. The reworked Digital Ash tracks, originally so clean and elegant, are, on the companion EP, full of “harmonica and mandolins – folky vibes,” Oberst says. While the analogue sweetness of the Wide Awake songs have been put through a detached nihilism filter.

In a world increasingly shaped by disposable content, Chat Pile answer with something defiantly real and organic, a mentality that permeates Who Loves The Sun, their third full-length record. Since the band’s formation just over six years ago, the Oklahoma City-based quartet Chat Pile has grown from a scrappy passion project into one of the defining heavy acts to emerge from the 2020s underground. Ray B. (vocals), L. Manhole (guitar), Stin (bass), and Cap’n Ron (drums) create a crushing, crass, and cathartic take on noise rock that captures a raw, undeniably human essence in an age marked by technological overreach and the cold state of society. Nothing about Who Loves The Sun feels synthetic.

Whereas their debut album God’s Country depicted a particularly American flavor of dread, and the follow up Cool World showed a cruel planet defined by global systemic violence, Who Loves The Sun peels the skin back on how collective indifference defines this new century. Spanning imagery of coastlines devouring cities, dead-end jobs, and submission to data-driven inauthenticity, the album dissects the apathy-bloated state of 21st-century existence as a slow-motion apocalypse. As with much of Chat Pile’s work, Oklahoma City itself looms over the album like a character, its sprawling isolation, economic contradictions, and underlying sense of decay embedded in the fabric of the record. The perfect allegory for the thematic essence of Who Loves The Sun is the photo embossed on the record’s cover, where Devon Tower, a glassy, largely vacant monolith, looms high above the Oklahoma City skyline while a burnt-out home or storefront envelops the foreground. The album remains lyrically and sonically confrontational, but Chat Pile approached the songwriting with hooks in mind, drawing on melodic tones of pre-2000s indie rock, alt-rock, and new wave. From the blood-soaked vocal passages of “Christabel ’26” to the eerie trip-hop pulse of “Same Rules,” Who Loves The Sun is deeply human despite its allusions to a dying, divided .

In a world increasingly shaped by disposable content, Chat Pile answer with something defiantly real and organic, a mentality that permeates Who Loves The Sun, their third full-length record. Since the band’s formation just over six years ago, the Oklahoma City-based quartet Chat Pile has grown from a scrappy passion project into one of the defining heavy acts to emerge from the 2020s underground. Ray B. (vocals), L. Manhole (guitar), Stin (bass), and Cap’n Ron (drums) create a crushing, crass, and cathartic take on noise rock that captures a raw, undeniably human essence in an age marked by technological overreach and the cold state of society. Nothing about Who Loves The Sun feels synthetic.

Whereas their debut album God’s Country depicted a particularly American flavor of dread, and the follow up Cool World showed a cruel planet defined by global systemic violence, Who Loves The Sun peels the skin back on how collective indifference defines this new century. Spanning imagery of coastlines devouring cities, dead-end jobs, and submission to data-driven inauthenticity, the album dissects the apathy-bloated state of 21st-century existence as a slow-motion apocalypse. As with much of Chat Pile’s work, Oklahoma City itself looms over the album like a character, its sprawling isolation, economic contradictions, and underlying sense of decay embedded in the fabric of the record. The perfect allegory for the thematic essence of Who Loves The Sun is the photo embossed on the record’s cover, where Devon Tower, a glassy, largely vacant monolith, looms high above the Oklahoma City skyline while a burnt-out home or storefront envelops the foreground. The album remains lyrically and sonically confrontational, but Chat Pile approached the songwriting with hooks in mind, drawing on melodic tones of pre-2000s indie rock, alt-rock, and new wave. From the blood-soaked vocal passages of “Christabel ’26” to the eerie trip-hop pulse of “Same Rules,” Who Loves The Sun is deeply human despite its allusions to a dying, divided .

In a world increasingly shaped by disposable content, Chat Pile answer with something defiantly real and organic, a mentality that permeates Who Loves The Sun, their third full-length record. Since the band’s formation just over six years ago, the Oklahoma City-based quartet Chat Pile has grown from a scrappy passion project into one of the defining heavy acts to emerge from the 2020s underground. Ray B. (vocals), L. Manhole (guitar), Stin (bass), and Cap’n Ron (drums) create a crushing, crass, and cathartic take on noise rock that captures a raw, undeniably human essence in an age marked by technological overreach and the cold state of society. Nothing about Who Loves The Sun feels synthetic.

Whereas their debut album God’s Country depicted a particularly American flavor of dread, and the follow up Cool World showed a cruel planet defined by global systemic violence, Who Loves The Sun peels the skin back on how collective indifference defines this new century. Spanning imagery of coastlines devouring cities, dead-end jobs, and submission to data-driven inauthenticity, the album dissects the apathy-bloated state of 21st-century existence as a slow-motion apocalypse. As with much of Chat Pile’s work, Oklahoma City itself looms over the album like a character, its sprawling isolation, economic contradictions, and underlying sense of decay embedded in the fabric of the record. The perfect allegory for the thematic essence of Who Loves The Sun is the photo embossed on the record’s cover, where Devon Tower, a glassy, largely vacant monolith, looms high above the Oklahoma City skyline while a burnt-out home or storefront envelops the foreground. The album remains lyrically and sonically confrontational, but Chat Pile approached the songwriting with hooks in mind, drawing on melodic tones of pre-2000s indie rock, alt-rock, and new wave. From the blood-soaked vocal passages of “Christabel ’26” to the eerie trip-hop pulse of “Same Rules,” Who Loves The Sun is deeply human despite its allusions to a dying, divided .

In a world increasingly shaped by disposable content, Chat Pile answer with something defiantly real and organic, a mentality that permeates Who Loves The Sun, their third full-length record. Since the band’s formation just over six years ago, the Oklahoma City-based quartet Chat Pile has grown from a scrappy passion project into one of the defining heavy acts to emerge from the 2020s underground. Ray B. (vocals), L. Manhole (guitar), Stin (bass), and Cap’n Ron (drums) create a crushing, crass, and cathartic take on noise rock that captures a raw, undeniably human essence in an age marked by technological overreach and the cold state of society. Nothing about Who Loves The Sun feels synthetic.

Whereas their debut album God’s Country depicted a particularly American flavor of dread, and the follow up Cool World showed a cruel planet defined by global systemic violence, Who Loves The Sun peels the skin back on how collective indifference defines this new century. Spanning imagery of coastlines devouring cities, dead-end jobs, and submission to data-driven inauthenticity, the album dissects the apathy-bloated state of 21st-century existence as a slow-motion apocalypse. As with much of Chat Pile’s work, Oklahoma City itself looms over the album like a character, its sprawling isolation, economic contradictions, and underlying sense of decay embedded in the fabric of the record. The perfect allegory for the thematic essence of Who Loves The Sun is the photo embossed on the record’s cover, where Devon Tower, a glassy, largely vacant monolith, looms high above the Oklahoma City skyline while a burnt-out home or storefront envelops the foreground. The album remains lyrically and sonically confrontational, but Chat Pile approached the songwriting with hooks in mind, drawing on melodic tones of pre-2000s indie rock, alt-rock, and new wave. From the blood-soaked vocal passages of “Christabel ’26” to the eerie trip-hop pulse of “Same Rules,” Who Loves The Sun is deeply human despite its allusions to a dying, divided .

This is a concept record that reflects on events that have had a calculable effect on a generation:
‘’By 83 and 84, it felt that nuclear war was going to happen. Not could happen but was going to.’’
Stephen Brotherstone
"What would you do in the event of a Nuclear war?"
I remember having discussions about what we would do when we heard the four minute warning siren. We would raid the sweet shop. I was 8 or 9 years old. The absurdity of this vivid memory encapsulates the concept of the record. It would take at least four minutes to get to the shop!
The record starts with an early memory of circling a church on a Raleigh Budgie (the smaller lesser known iconic Chopper bicycle) in 1981 and ends with staring up at a clear sky on Oldham Lows in 1990.
The record identifies and plays with the effects of an underlying fear of oblivion on a generation of children, but also society as a whole: The pieces take in media and government propaganda. Machinery (nuclear submarines) and buildings (nuclear bunkers) but also everyday activities of the civilian population, activities such as shopping, clubbing and staring at the sky. Thematically, the record is made up of personal memories mixed with historical events.
Instruments are mainly from 1980s. DX7 and 808 feature predominantly. The pieces feature numerous melodic motifs that develop and intertwine underlying ideas of espionage and layers of secret messaging. It also mirrors the ways in which governments and civilians interact. Decisions being made in the name of defence whilst people go about their daily lives. I am exploring the everyday experiences of the masses whilst major political decisions are taking place. For example, shopping on a Saturday afternoon versus heated Cold War tensions in 1983.
Although taking place conceptually in the years 1979-1991, this record mirrors current events. History repeating. It also mirrors the helplessness or maybe some oblivious everyday normality state that we adopt as a community whilst major political decisions are being made.
The idea that life goes on oblivious to larger scale politics, or on the other hand, the idea that we are all very aware but in a state of unreal normality. Adam Curtis goes into great detail about such things in his film 'Hyper Normalisation'.

When one thinks of the terms “mass” and “massive” in music, especially contemporary music, perhaps certain aural images come to mind: generic metal heaviness; dynamics-bereft noise; ear-battering dance floor madness; the multitudinous forms of drone darkness. All of these are massive in their own fashion. However, this newstudio album from 7FO (pronounced “nana f o”), a composer-performer based in northern Osaka, investigates and inhabits a different aspect of the massive. A glorious combination: dense low frequencies; sculpturally condensed blocks of sound, subtly swinging gravitational fields ― and a surprising sense of rolling and rollicking joyfulness and play. “Massive” doesn’t have to mean “dark” ― consider the sun. This is the third 7FO release on EM Records, following the well-received Ryu no Nukegara (Dragon's Husk) (2018). On these 2024-25 recordings, 7FO focuses his drum machines, synths and musical vision into eight compact structures which were partially inspired by the intense essence of American pre-war blues and the shining soul of traditional Ethiopian music, especially the works related to King Solomon and the Queen of Sheba. While not obviously evident, the glowing core of these musics has been captured and condensed here; another inspiration is the massive sculptural 1980s works of Yoshi Wada ― although there are obvious differences, there is a similar material tangibility to the vibration of the air. The final piece, “Shirohebi”, is an update of the b-side of 7FO's 7-inch single "Healing Sword" (2023), featured on Henry Rollins’ radio program. We invite you to experience and enjoy these eight massive blocks of sound, imbued with 7FO’s heartfelt warmth and humour, dense but not dark; shifting, rolling, appearing and disappearing: 7FO once picked up a roadside stone, which split as it sat in his palm. This experience, referenced in the release’s title, hints at the metaphysical magic of music, a realm beyond mere coincidence: even the massive density of stone can split, and reveal the magic within. Available on CD, LP and digital download.