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Names You Can Trust continues its years-long revival work with one of Panama's most gifted and legendary soul artists, Ralph Weeks, returning the singer to the studio for another brand new recording that highlights the now 80-year old's still silky vocals and masterful songwriting. Up for the challenge with their own studio savoir-faire is a most fitting and genuine purveyor of modern day soul themselves, Ben Pirani and The Means of Production, whose output on Palmetto Street Recording and Colemine Records has already achieved high praise and collectible status in just a few years. The mission, record two unreleased home studio demos that were penned and tracked in the early 1980's and recently excavated from Ralph's extensive archive of personal songs. These original compositions were faithfully given the full treatment and arrangement they never received, but always deserved. The A-Side, "Nobody Loves Me (Like You Do)", a quintessential Ralph testimonial of love, now shines alive and...

John Howard was one of the best and most creative DJs of the west coast house scene back in the 90’s. His mixes and productions were full of house groove, soul, breaks and jazzy rhythms. This new series on Repeat contains of three parts including Howard’s best productions. These tracks are all huge influence for many producers that later discovered these kind of psychedelic house grooves on European based DJ sets… John Howard was on his own journey much ahead of time and his music still sound absolutely incredible 25 years later… Mesmerizing release.

We couldn't be happier to announce the first Mapache Records compilation after all these years. ONE MILE FROM HEAVEN is a dreamy travel through the 70's and beyond private singer songwriters scene.

There have always been privately-pressed records. Such a "private" LP is an album that has been composed, performed, recorded and edited usually very-DIY style by the very artist or by an amateur label. A private press record is, above all, an act of the artistic urge. It's an act that takes place outiside of the industry out of need, out of a lack of knowledge, out of love, out of a drive, out of ambition... you can choose among the many reasons.

Depending on their genre, origins, time, and above all, quality, some of these efforts have become valuable pieces for the music collector. Having been created behind the "canonical history of music" written by the industry, every now and then an archaeologist will bring to the surface an artifact they have found in some basement or flea market, or that was kept covered in dust in the shell of some old recording studio soon to be torn down.

All these records have their own story, and some are still especially relevant, and others are but small footnotes in the encyclopedia of music that made their way into the margins of the mainstream world. These are the most limited of editions (and mostly locally made ones) of largely unsociable and mostly unobtainable records--and when found, they are often exorbitantly priced. Many of these marginalized and onscure artists have stayed alive only through the wonderful work of tireless song rescuers, music lovers, vocational archivists, collectors, and record labels with an idealistic drive. These romantics have been rescuing and indexing a form of music that very few have showed interest in until recent years. This record is a tribute to all of those who managed to make these songs not be lost to time. Above all, this release is a tribute to all those artists who recorded their songs on their own, mostly because they couldn't keep the music inside themselves.

12" + 7" !

Mind Maze is, amazingly, Trees Speak’s fifth album to be released on Soul Jazz Records in the space of little over two years– an output matched only by the intensity of their music created during this short time.

The first pressing only of the album comes with a bonus seven-inch single containing two tracks that are not available on vinyl anywhere else.
As with all their previous releases, ‘Mind Maze’ is a mind-boggling tightrope walk across an array of musical influences that seamlessly create the unique present-day world of Trees Speak.

The band’s sound is characterized by a combination of German krautrock motoric-beat rhythms, angular New York post-punk attitude, 60s spy soundtracks, psych, rock, jazz, and 70s synthesizers and vocoders. There is also a cosmic spatial awareness to their sound; both personal inner space and galactic outer space, as well as a wilful pushing of sonic boundaries.

Trees Speak are a musical duo based in Tucson, Arizona, composed of Daniel Martin Diaz and Damian Diaz. Their music is heavily influenced by the cosmic magic of the natural desert landscapes of Arizona, creating a unique and captivating sound that is both experimental and innovative.

Here you will find the myriad sounds of 1970s German electronic music (everything from Can to Cluster, Popul Vuh to Tangerine Dream); 1980s New York post-punk and synthcore (from No Wave to Suicide); John Barry’s 1960s movies, John Carpenter’s 1970s horror. You will also hear the influences of French and Italian progressive rock (Magma, Goblin) as well as cosmic, new age and experimental space soundscapes …. an almost endless list of diverse influences that ebb and flow like an ocean of sound, in the process creating a truly unique soundscape that Trees Speak have made wholly their own.

The name Trees Speak reflects their interest in the concept of using future technologies to store information and data in trees and plants, with the idea that trees communicate collectively. This interest in nature and technology, combined with their passion for experimentation, has led Trees Speak to create a truly one-of-a-kind listening experience that is both unique and engaging.

If you ever wanted to hear Can, Neu!, Destroy All Monsters, Pere Ubu, electric eels, John Cage, Liquid Liquid, Tangerine Dream, Suicide, Laurie Spiegel, Art Ensemble of Chicago, John Barry, Mother Mallard’s Portable Masterpiece Company, Sun Ra, Stockhausen, John Carpenter, Electro-Acoustic and Musique Concrete and Mars in one band - then this is it! Trees Speak are a band that defies categorization and offer an eclectic listening experience, both exciting and memorable.

The two bonus tracks (‘Seraphim’ and ‘Orpheus’) included with the album give us a further window into the complex mind maze of the group - two stunning acoustic tracks that explore a distinct early 70s sound of Yes, Argent and other progressive rock accolytes.

100 bpm leftfield Dancehall inspired by early 2000s riddims. Silvestre's reaction to his research and digging on dancehall music resulted in composing a 6 track Ep with heavy influence in this genre adding his own dreamy melodies and razor synths which he has got us used to.

In addition to melodies, you can notice chopped vocal samples which actually are taken from UK Drill tunes proposing the connection between the two genres.

Montreal duo Bas Relief present a collection of rough-cut IDM and pitch-corrected emo on Insulary, a five-song EP out June 2023 on Brooklyn imprint Quiet Time. Written and compiled long distance from threads of bass music-inspired alt pop and guitar recorded in isolation, Insulary is the duo’s first substantial release since 2018. Granulated microglitches fill out the digital drum arrangements, calling on influences Baths and Loraine James, overlaid with warm piano progressions, melancholic guitar loops, and collaged vocal production.

These self-reckoning, forlorn vocals form a patchwork narrative, hazed like a shapeshifted memory, long reconfigured with each conjuring, coherence inconsistent but still there. Recurring dreams find home among recursive passages, self-referencing lyrically and with samples churned through plugins, recorded on loop until you fall upon the most satisfying aha! moment and lock it to the grid. At certain moments all the pieces combine to reminisce in sentimental shards of Porter Robinson or The Postal Service, while never straying from Bas Relief’s own vernacular.

Visiting the past in person simply by walking the routes you took in a life long past, that reenactment of memory, that attempt to capture that which you can’t – it might even be a future – is a central bolt of Insulary’s lyrical content. It’s sentimental, it longs for some past which might not even have existed, and it’s hopeful too, never capitulating to traditional structures in its embrace of unusual stylistic combinations. Insulary – brim-packed with fragments of drum and bass, uptempo electronica, and emo – is but a preview of Bas Relief’s exciting near future

James Adrian Brown is a British-born songwriter and former lead guitarist from the alternative rock band ‘Pulled Apart By Horses’. After studying art for six years in Leeds (UK), Brown set up his own independent record label in the city and would soon begin carving out a career as a professional musician. After achieving chart success, touring the world and releasing four critically acclaimed studio albums with PABH, James has begun paving a pathway into the world of instrumental electronic music and composing.

Brown's solo work is heavily electronica-based utilising analogue synths alongside tape machines, piano, strings and walls of ambient atmospherics. His work focuses on the analogue side of capturing and creating sound in the real world with physical hardware.

He’s received support from the likes of Gideon Coe at BBC 6music and also Chris Hawkins who championed him as creating ‘Massive electronic soundscapes in a Mogwai kind of world’. James was also featured on BBC Radio 3’s ‘Unclassified’ show by the show host Elizabeth Alker.

Taking inspiration from influences such as Boards Of Canada, Rival Consoles, Floating Points & Thom Yorke. Brown is discovering, advancing, and pushing his songwriting into new sonic domains.

“There is Space Under Your Seat” is a beautifully constructed piece of electronica which is inspired by a longing to create mental space and pause emotions when things become overwhelming. The title was penned after James found himself on a sold out air-flight with disgruntled passengers complaining of little to no space for their luggage.

James recorded the tracks at *ICP Studios in Belgium after crafting the demos in his own studio in the Yorkshire Dales where the compositions were tracked to his tape machines. It was decided by (Producer) James Mottershead they’d breathe new life and space into the tracks in a new environment/studio, which saw them head to Brussels to complete the recordings.

The 7” is released as a deluxe red vinyl single with numbered photo/inserts selected and created by James. The single is issued in a limited edition of 200 copies.

"We entered the shadowy mouth of a new space, descending into a realm that precedes the underworld, the arcane, far from our time. We met beasts that gave us lessons about their language which we started learning without grammar."


'The animal world is a constant in the work of Milan improvisational duo Rosso Polare. If Cani Lenti was guided by the diaphanous birdsong integrated into their sparkling mix of folklore, ambiences and occasional humming, on Bocca D’ombra the themes go darker, textures are harder to pin down and the animal presence takes on new connotations.

Instead of an anonymous, patchworked outdoors we enter a cavernous space that invokes the collective unconscious with bestial and funereal undertones, as the animals take on the role of the psychopomps, ancient guides through the shadow realm.

The album is influenced by Timothy Morton’s Dark Ecology, a thinker who sees the constant exchange between the human and natural world as an ongoing dialogue, the two influencing each other, in a series of reverberating loops. This looping is also reflected in their compositions, where improvisations with traditional instruments like electric and acoustic guitars, monophonic synths, horns or flutes meet natural noise-making tools like branches, rocks or nuts that amount to lugubrious, often dissonant textures. Bocca D’ombra is built on a series of whispers, breaths, panting and rustling, creating a feeling of closeness sometimes verging on the claustrophobic, ingeniously set against sounds evoking space – fireworks crackling, crows echoing, church bells reverberating, indistinct cries from a children’s playground.

Distance and repetition are deeply ingrained in their own understanding of sound and their surroundings, becoming the building blocks of their practice. Just like Gregory Bateson in the ‘70s, the duo believes in a more romantic approach to ecology, seeking a porous border between self and environment, human and animal, internal monologue and external ambient hum.

If earlier releases were noisier and denser, Bocca D’ombra is tight and focused - every sound and melody is given room to breathe and develop on its own, enhancing the haunting, otherworldly aspect of the music. The result is heady, intoxicating mix which sublimates chaos into sparkling compositions of contemporary animism.'

Richard Lamb’s second and (presumably) final release under this moniker is a bit of a special one. Lamb starts off with ‘Salt Lick’. A track with beautiful, lush, sunny sounds that lure you into an unexpected world of electro, heavy bass and more dance orientated tracks like ‘A Life In Harmony’.

Following up his first EP ‘Automatic Tango’ on his own Montreal based Temple imprint, there’s still hints of early Moog greasiness but overall it’s a more decisive production compared to the previous one. Intricately layered percussion mixed together with dreamy pads take you on a journey to a hidden Utopia where tight arrangements and tribal-esque rhythms dictate the pace. Once more we are shown how versatile Lamb’s productions are and how he juggles genres freely, ranging from dub to electronica, experimental, idm and techno.

The second side of this EP features two remixes by non other than Norwegian DJ and producer DJ Sotofett. A heavyweight in the electronic music scene who needs little introduction takes on the EP’s title track ‘A Life In Harmony’ and turns it into two electro-acid pieces ready to tear up any dance floor, or anything else for that matter. Surrender to the acid and indulge in these masterful tracks.

Debut album by Akane, a new bedroom solo project by Tenerife's Carolina Machado - best known for her role as drummer and singer in space rock psychedelic outfit Gaf y La Estrella de la Muerte.

Cooked and slowly matured over the last couple of years, Carolina opens up her heart to present an intimate collec-tion of dreamy avant pop songs under the banner title Night-Time Birds.

With various nods to David Lynch’s dreamlike imagery and weird americana landscapes, Carolina gracefully merges her own local sensibilities to re-imagine a panoramic, fictional soundtrack to an unmade road movie, creating a per-sonal musical language made up of vintage pop songs, lush ambient soundscapes and West Coast lo-fi electronica. Her pursue of sonic exploration through modular synthesis techniques pushes her sound further out into a wider realm as she blends exotic alien-like melodies with her trademark soothing, shoe-gaze style voice. An album that seems to be floating gracefully and frozen in time…

The album’s seven tracks were recorded live during her performance in a disused gas tank at the Keroxen festival in 2022 and counts with the special collaboration of her bandmate in Gaf César Chinarro on guitar. No doubt, Night-Time Birds is not the last we’ll hear from Carol demonstrating once again the varied and eclectic creative energy currently flowing from the Canary archipelago shows no sign of slowing down.