Search:org

Tapper Zukies 'Peace in the Ghetto' album would be the first release as part of his new deal with Virgin Records.This came about through a trip organised by the label to Jamaica in 1978 to sign up the cream of the crop of Reggae artists,for the new Virgin Front Line label.
Personnel on this trip included John Lydon (Rotten) of the Sex Pistols ,whose band had just split up.
The Peace in the Ghetto album deals with the political situation in at the time,the peace initiative between the gangs and Political Parties.
Paying tribute to some of the gang leaders Claudie Massop ,Buckie Thompson and Tony Welsh who helped make this process happen.
But whatever the subject matter Tapper Zukie chose to hang his songs on,you know he always does it in a fine style......Respect

Reggae music in many ways reminds us of America’s Motown records. The music comes out of its stable fast and furious we tend to know the songs, the artists, the
studio but who? are the players. The unsung heroes that in many cases, cut most of our favourite tracks One such band this applies to in the Reggae field is the Soul Syndicate Band.

Each Jamaican record producer would have their favourite set of musicians they would use, availability permitting. Although several musicians crossed over into different named bands. For example, a set of players working with Producer Bunny 'Striker' Lee would go under the guise of The Aggrovators. The same group working with Producer Joe Gibbs would work under the name The Professionals. Soul Syndicate were the band of choice for Producer Niney the Observer, who used them for his own recordings and when you put that aside the other artists Niney produced, Dennis Brown, Max Romeo, Michael Rose, I Roy, The Ethiopians, Barry Brown, Gregory Issacs and Freddie McGregor.  To name a few and not necessary all, you begin to see the amount of material this set of musicians played on.

Built around the rhythm section of Calton 'Santa' Davis and George 'Fully' Fullwood, drums and bass respectfully. They were usually accompanied by Earl 'Chinna' Smith, Tony Chin on guitars, Keith Sterling, Gladstone 'Gladdy' Anderstone, Bernard 'Touter' Harvey, organ/keyboards and Noel 'Skully' Simms, percussion. Niney's tracks tended to be rhythm heavy and thus Sound System favourites.But when brass was needed/called for ,this was provided by the likes of Tommy McCook, Bobby Ellis, Felix ' Deadley Headley' Bennett. Niney not having a studio of his own at the time used most of Kingston's studios, again availability and money providing. But most of these cuts
selected for this release were cut at Channel 1 and a few exceptions at Randy's Studio 17 and at Joe Gibbs studio at Burns Avenue.

Niney also worked closely with King Tubby on his dub plates, so tracks after the recording sessions were taken to King Tubbys for reconstruction and sometimes
re-voicing over an existing rhythm. These were then used as version sides to the vocal cuts, but most importantly used to nice up the dances, being played out on King Tubbys Hometown Hi-Fi Sound System. We have pulled together a selection of such dub plate specials cut by the Soul Syndicate band for this release. Dub sides that emphasise how well the band worked together, and with Niney at the reigns and the added bonus of some Tubby magic sprinkled on top. Please see our Niney the Observer at King Tubbys 1973-1975 (JRO11) for further examples of this work.

We at Jamaican Recordings hope we are not alone in saluting the musicians, that played such a big part in producing many of our favourite Reggae Sounds. Having released titles by The Revolutionaries (JR003), The Aggrovators (JR005), Sly and Robbie (JR006), we are now pleased to release a selection of rare Dub cuts by another one of Jamaica's finest, the Soul Syndicate band to our catalogue...

Respect Jah Floyd.

The funky, atmospheric, evocative and sometimes downright weird output of companies such as DeWolfe, Cavendish, Burton and the ubiquitous KPM have always been a guiding inspiration for ATA Records, as evidenced in the spooky soundtrack works of The Sorcerers, the big band brass of The Yorkshire Film & Television Orchestra and even in the soul-jazz of The Lewis Express ('Theme From The Watcher).

Everything released on ATA is written and guided by the label heads Neil Innes and Pete Williams, who frequently dip their toes in the Library pond while working on other projects. These occasional one-off tracks have accumulated over the past few years and have now found a home on the first volume of an ongoing series : The Library Archive

Recorded using the same techniques and equipment used to create the now legendary catalogues of music sold to the film and television industry of the 60's & 70's, The Library Archive could easily sit alongside the plain minimalist covers of KPM or Telesound.

The fierce Brass of 'Whack, Slap & Blow' and 'Kaye Okay' could both be a Keith Mansfield cut, acting as a theme tune to a glamorous saturday night tv show circa 1972. 'Duck Strut' is a cheeky slice of Bass driven Brit-funk, Muted horns and flute adding an element of Quincy Jones amongst the grooving drums and percussion. 'The Needle Nose', 'Midnight Heist' and 'Wiretap' are amongst the more cinematic tracks on the album. Moody and atmospheric, they conjure up images of dark alleys, shadowy figures and dead letter drops. 'Wigged out' channels the wonky organ weirdness of Italian library legends I Marc 4 while 'Nuclear Wind I & II' use Moog and Mellotron as electronic counterpoint to ethereal voices. 'Siren's sea's' acoustic interlude conjures up images of distant clifftops, gossamer vocals enticing you onto the rocks before album closer 'Planet Nine' traverses the cosmos.

Explicit isolation is the third album by the international collective E/I, led by composer and percussionist Szymon Pimpon Gąsiorek. The group’s seven core members came together while studying at Copenhagen’s Rhythmic Music Conservatory and the Royal Danish Academy of Music. For this latest release, they are joined by Slovenian musicians Samo Kutin (hurdy-gurdy) and Kaja Draksler (organ), alongside Danish tuba player Rasmus Svale.

The three compositions distill sound down to its essential elements, drifting freely through space. The material is minimal, moving in the geological rhythm of endless cycles of tension and release, formation and dissolution, density and lightness. Pimpon acts here more as a guide than a creator with a master plan. He is a navigator, leading us to the most crucial moments where sonic emissions merge into vibrating drones, building to an inevitable leap—an explosion after which the particles rearrange themselves once again. It feels like futuristic temple music infused with intergalactic spiritual jazz, the extensions of drone music, and acoustic ambient textures, all highlighted by the jolly grin of the navigator.

“I wrote the scores and asked each of the musicians to record their parts individually. What’s interesting for me about doing it this way is that it removes the element of immediate interaction and introduces a factor of randomness. I then edited and mixed it myself, also adding my own parts. Previously, it was strictly acoustic music, and the recordings were ‘live,’ meaning they were captured in one room at the same time, with no subsequent edits.” Pimpon has also incorporated electronics, which make the album even more airy and organically complement the sounds of the hurdy-gurdy and organ, recorded in Trboje, the small Slovenian village.

A chance meeting in Mexico City set Points of Inaccessibility into motion. When Ibero-American composer Rafael Anton Irisarri crossed paths with Dutch media artist Jaco Schilp at MUTEK in 2024, a conversation about how technology shapes perception revealed an unexpected common ground. Schilp invited Irisarri to a spring 2025 residency at Uncloud, the Utrecht-based collective he co-founded, where Irisarri's sound began to take form amid an environment shaped by Schilp’s visual research.

The Uncloud studio was located inside the former Pieter Baan Centre, a forensic psychiatric prison where suspects of violent crimes were once confined. Its long history of silence and containment shaped the atmosphere in which the project developed. Within this setting, Irisarri coaxed long bowed-guitar tones through a network of pedals and looping systems. The raw gestures thickened into a vaporous and architectural field of sound. Schilp processed the material through a custom point-cloud software patch that produced images in continuous flux. The visuals flickered, dissolved and reformed like memories that resist coherence, functioning as a digital Rorschach that reflected the observer’s own perception.

Amid these spectral echoes, the project evolved into an examination of how the past persists within present signals. Memory endures as residue and interference, continually shaping perception even when its source has faded.

Schilp’s visual process required a continuous stream of sound in real time. Irisarri improvised throughout the residency, generating material that allowed the visuals to develop in parallel. Once back in his New York studio, he began shaping the recordings by carving pathways through the improvisations and mapping selected passages into MIDI. This process allowed him to build outward from the bowed-guitar material with minimal overdubs, adding Prophet 5 textures, Moog bass and strings that expanded the harmonic field while keeping the original performances at the center. To refine the structure, Abul Mogard provided editorial input, working with Irisarri’s stems to guide transitions and strengthen the overall pacing. The material, originally created under conditions of immediacy and constraint, evolved into a fully realized work through careful revision, patience and sustained reworking.

The title engages the geographic concept of the Poles of Inaccessibility, locations defined solely by their distance from all surrounding points. Irisarri adapts this idea to the conditions of digital life, where new forms of inaccessibility arise through the informational enclosures that structure perception. What appears to be a fully connected network often produces a deeper kind of separation, one shaped by the filtering logic of the systems that mediate experience. In this sense, the digital sphere mirrors its geographic counterpart. We inhabit spaces saturated with signals, yet the possibility of genuine contact becomes increasingly remote.

At its core, Points of Inaccessibility considers what can be understood as the new rituals of capitalist realism. Irisarri uses the term digital shamanism to describe the forms of simulated connection that organize contemporary life. These systems promise comfort through algorithms, influencers and AI interlocutors, yet they often reproduce the same conditions that generate loneliness in the first place. What appears as connection becomes the echo of connection, a sequence of gestures that imitate solidarity while withholding it. Like the geographic poles, these rituals are defined by distance. They pull us into environments where everything is illuminated, yet meaningful proximity becomes increasingly rare. In this sense, the work approaches a hauntology of the present, a reflection on futures that have stalled and intimacies that have been thinned by the algorithmic infrastructures that surround us.

This thematic tension unfolds across the album’s four movements. Faded Ghosts of Clouds introduces the work with textures that rise and dissipate in slow cycles, creating an atmosphere that resists clear definition. Breaking the Unison occupies a pivotal position in the sequence and focuses on the moment when the individual and the system fall out of alignment. Its shifting patterns trace the scattering of signals that once suggested connection, revealing the instability at the heart of contemporary perception. Signals from a Distant Afterglow forms the center of the album and features vocals by Karen Vogt, whose presence enters the sound field like a fragile transmission shaped by distance and delay. The closing piece, Memory Strands, follows motifs that appear, recede and briefly intersect before returning to quiet. Across these movements, the album outlines a landscape in which emergence and disappearance continually inform one another.

Listening to Points of Inaccessibility is an encounter with a sound field that is constantly in flux. Elements surface briefly, shift position and recede, creating a sense of motion that resists stable interpretation. The music moves between closeness and vastness, carrying traces of memory while withholding a clear point of resolution.

The album’s visual identity completes the project’s conceptual arc. In Mexico City, where Irisarri and Schilp first met, Daniel Castrejón transformed stills from Schilp’s point-cloud visuals into the cover image. The final artwork captures a single suspended frame of the digital material, a moment extracted from a field that is normally in constant motion. Its surface recalls the texture and abstraction found in the work of Catalan artist Antoni Tàpies, where material presence and erasure coexist within the same plane.

What emerges is a work that examines the tension between technological systems and human presence. Points of Inaccessibility asks whether connection is still possible within environments shaped by mediation and delay, or whether we have become isolated points within the very networks that promise proximity. What possibilities for relation persist within environments organized by algorithms and interruption? And how are we meant to understand presence when so much of it is constructed at a distance?

Points of Inaccessibility will be released on BioVinyl on February 6, 2026, with audiovisual performances planned throughout 2026.

Mastered by Stephan Mathieu
Artwork by Jaco Schilp
Design and layout by Daniel Castrejón
Artist photo by Iulia Alexandra Magheru.

To decay is also to transform. Rusting metal is the visible traces of passing time, as the oxidation process accumulates dampness in our atmosphere and imprints it as unpredictable patterns onto hard iron and steel. Working in construction for a year now, Kensho Nakamura sees rust all the time, clambering up ageing chunks of material. Normally discarded as waste, Nakamura began discerning beauty in the phenomenon, organically spiralling around and consuming some of the very hardest of manufacturing stuffs into unique new forms.

‘Electric Rust’ continues the conceptual electronic composition mode of Nakamura’s previous works with a series of fractured musical dioramas. These scurrying notes, sparse hums, and quivering bleeps explore the topics of rust and the accumulation of time. The music ticks like a clock, drips like a tap, and manifests unknowable inorganic shapes. Recognisable musical snippets of bells, pianos, or murmured voices are buried inside counterintuitive synthetic rhythms and tension.

On ‘wet air’ piano notes tinkle and pipes gargle, digital detritus tap dances and arpeggios stumble. On ‘unique faces’, idle marimbas and malfunctioning animalistic squeaks flounder. This is music from the promethean space between being forgotten and being conceived. ‘Electric Rust’ is a topography of a world of rust, where corroding structures evolve into new — and beautiful — patterns of life.

When you listen to birds, they usually talk about food, sex/family, or anxiety. If they knew about the true nature of humanity's cruel and exploitative relationship with birds, they would be discussing rebellion. Humanity's current trajectory about birds is to cause the extinction of one-third of all bird species by the end of this century.

This record crystallises the borders between memory, beauty, and anxiety. At the core is an amalgam of all the birds we have met and heard, their sounds synthesised from a blend of memories. Esthetically it simulates the qualities of bird sounds, hitting similar frequential sweet spots. There is a great variety of birds captured here, from high to low frequencies, from solo voices to groups, from birds standing on their own to complex world-building, where the bird voices are part of an ecosystem, becoming one of the instruments.

You could stop there, enjoying this record on a musical level, but it invites us to do one step further, to consider reconfiguring our relationship with the Earth and its inhabitants. To question our impact, and to ask why we need synthetic bird music. Is it just a visionary endeavour or is it because we are failing at fostering a world in which organic birds and other creatures can thrive?

32 artists from the whole world, including our favourite artists from Eastern Europe, have contributed to this compilation both with new and previously released music. Their music is ordered from dawn to dusk and into the night. For many of the artists it's their first time on mappa, but some have previously released an album with us.

No Strings Attached
Your Boys Are Biters (Dubman Version)
A.I. Double Crossed
The G.O.A.T
Daughters of Star Dust

Mount Zulema is the debut release from Zulema Records. This 7-inch vinyl is limited to 200 copies.

The A side features the original mix of Mount Zulema, driven by the deep melodies of traverse flute performed by Óscar López (a.k.a. Marlo Skär), known for work with Lion Sitte, DJ Shayman, Aaron Nigel Smith, Makka Dubba, and Pelikan Hook. The B side delivers a dub version, where flute fragments echo through a syncopated steppas riddim.

Jackie Mittoo, organ and piano maestro, was also one of the founding members of Jamaica's top session band The Skatalites. Musical arranger for Studio One he provided the backbone to so many of Jamaica's finest tunes. The invention of Ska music and the sounds that rode through the Rocksteady and Reggae period all carry his stamp. Whether it be in his various incarnations, the aforementioned Skatalites, The Soul Brothers, Soul Vendors and the Sound Dimension or under his own name, his distinctive organ and piano sound and musical arrangements have all played a major part in Jamaica's musical history.

Jackie Mittoo (born 1948, Kingston, Jamaica) began playing musical instruments at a very early age. Taught piano by his grandmother he was performing live by the age of 10 and recording by the age of 15. Two Kingston bands that he played with the Rivals and the Sheiks brought him to the attention of Studio One's founder Coxsone Dodd. Who at the time was putting a group of musicians together to be his studio band. Impressed by his skills on both the organ and the piano, Jackie was asked to join in what would become Jamaica's foremost band The Skatalites. The fellow band members were Lloyd Brevett (bass), Lloyd Knibbs (drums), Don Drummond (trombone), Tommy McCook, Roland Alphonso and Lester Sterling (Sax), Johnny Moore (trumpet), Jah Jerry (guitar) and Mr Mittoo (piano). This line up ruled the Jamaican scene between 1964 - 1965 as well as inventing the Ska sound, they also performed the backing duties for the other top labels of the time including Duke Reid's Treasure Isle and Justin Yap's Top Deck label.

1965 saw The Skatalites disband and Jackie Mittoo move on to his next musical project The Soul Brothers. Formed with fellow Skatalite Roland Alphonso, this band would back all the hits coming out of Studio One for the next three years with Jackie Mittoo working as band leader and musical arranger. Around this time Jackie also had his own single released, a Ska underground classic called 'Got My Bugaloo'. Rare, as it also features Jackie in the unusual role for him, as lead singer!!!!.

1966 saw the Ska sound evolve into Rocksteady, again with Jackie's band at the helm, and his first hit single the Rocksteady cut 'Ram Jam'. The success of which would lead to a solo career and album releases under his own name such as 'Now', 'Macka Fat', 'Evening Time', 'In London' and 'Keep on Dancing', to name but a few. In1967 the hits at Studio One were still flowing when The Soul Brothers morphed into The Soul Venders and began backing such luminaries as Ken Boothe, Alton Ellis, Delroy Wilson, The Heptones, The Cables, The Wailers and many other of the labels solo artists.

By 1968 Jamaican music was ready for another change and Rocksteady rolled into a slower groove soon to be called Reggae. Jackie Mittoo would be at the forefront with his latest band The Sound Dimension. A line up that included Leroy Sibbles (bass), Roland Alphonso and Cedric Brooks (saxophone), Eric Frater and Ernest Ranglin (guitar) and Bunny Williams (drums). Being the house band at Studio One they backed all the leading names of the time, John Holt, Horace Andy and Alton Ellis, all of Studio One's output carried his sound.

Jackie Mittoo emigrated in the late 60's to Canada, but travelled to Jamaica and London to record with many of the big new names, who were trying to redress Studio One's supremacy and needed his magic touch. Such Producers as Bunny Lee used Jackie Mittoo on many of his sessions, Sugar Minott among others were always glad of his services.

We have captured some fine 1970's cuts that feature Jackies numerous talents, showing his ability to embellish tracks with a feel that few could better, Musical arranger, band leader all round studio ace. We hope you enjoy the set and I'm sure you'll agree with us Jackie Mittoo does indeed Ride On.........

Nachdem Ásgeir jahrelang mit Übersetzern wie John Grant zusammengearbeitet und die Poesie seines Vaters, Einar Georg Einarsson, vertont hat, betritt er nun neues Terrain: Zum ersten Mal in seiner langen und gefeierten Karriere hat er die Texte komplett selbst verfasst.

Ásgeir wird seit Langem für seinen detailreichen Folk-Pop, die opulente Produktion und sein sehnsüchtiges, gefühlvolles Falsett gefeiert. „Julia“ markiert eine Wende – nicht nur hin zu lyrischer Eigenständigkeit, sondern auch zu kathartischer Direktheit, mit Songs, die nicht nur meisterhaft vorgetragen, sondern auch durchlebt wirken. „Das war irgendwie das erste Mal, dass ich die Texte völlig allein geschrieben habe“, erzählt er. „Es war beängstigend. Ich versuche immer noch, mich darin zu finden. Aber ich habe versucht, mich zu öffnen, und habe in diesem Prozess viel gelernt. Es war auf jeden Fall therapeutisch für mich.“

Dieses neue Gefühl der Verletzlichkeit zieht sich durch die zehn Stücke des Albums, die über einen Zeitraum von fast zwei Jahren geschrieben und aufgenommen wurden. Viele der Songs entstanden zunächst auf der Gitarre, wobei Ásgeir auf Schlichtheit setzte und Melodie, Klarheit und Bedeutung in den Vordergrund stellte. Die Produktion, gemeinsam mit seinem langjährigen Weggefährten Guðm. „Kiddi“ Kristinn Jónsson entwickelt, bleibt organisch und zurückhaltend – und gibt so Ásgeirs Stimme, und vor allem seiner Stimme als Songwriter, den nötigen Raum.

Der aus Nashville stammende Cellist Nathaniel Smith, den Ásgeir als „Zauberer“ beschreibt, steuert hier und im gesamten Album atmosphärische Klangteppiche bei. Mit improvisierten Melodien verleiht er den Stücken Leben und Tiefe – auf eine Weise, die Ásgeir sich zuvor nicht vorgestellt hatte.

APORIAMOR noun 1. The death of love’s contradiction.
| “Embody APORIAMOR”

Etymology
aporia-: an irresolvable internal contradiction or logical disjunction in a text, argument, or theory. from Greek aporos ‘impassable’, from a- ‘without’ + poros ‘passage’
-amor: love. Sentimiento intenso del ser humano que, partiendo de su propia insuficiencia, necesita y busca el encuentro y unión con otro ser. Del latín amor.
-mor: latin for death.

APORIAMOR explores the affective ontological and organic processes of love and lust in the turmoil of an urban existence, through the female lens. It expresses the process of strengthening through heartbreak in its various forms.

With her debut EP The Art of the Concrete, elsas knew that by giving that name to a record which was ironically expansive and experimental, she would be calling for a distilled and clearer path further down the line. This is what she’s been incorporating into the sonic world of this new EP, APORIAMOR, signifying the birth of a more matured and distilled version of herself as an artist.

With APORIAMOR (“the death of love’s contradiction”) elsas conveys a personal process of healing in the romantic space. Through different experiences of heartbreak, elsas builds a language - a coping mechanism attached to its subsequent artistic expression – that isn’t founded on hardness or a closing-off, but instead, on a playful but profound reckoning, and learning of self-worth.

APORIAMOR embraces the complexities of being a lover-girl: of moving through life with an open heart. It celebrates the clarity, sweet hindsight, and detachment that come from processing emotion. APORIAMOR is both an affirmation and a release.

elsas makes canonical blends with a forward boundary-bending vision. Her sound in this record is naturally referential of both her Mediterranean heritage and UK alternative music — intrinsic parts of her lived experience. She has had the opportunity to collaborate with artists she deeply admires, each exchange enriching her creative world.

The experience of working hand-in-hand with Sampha for the last 3 years and ongoingly has been a core of her evolution as an artist. She has also collaborated in many forms with artists like Florence + the Machine, Little Simz, Jordan Rakei, Jockstrap, Obongjayar, Black Country New Road, Genevieve Artadi (KNOWER) and Duval Timothy. Additionally, her ongoing work with the Idrîsî Ensemble, of which she is a core member, continues to inform her artistic depth.

The making of this largely self-produced record unfolded over four years — “it’s a well-kneaded dough,” she says. These songs evolved through exposure to multiple environments: from early writing sessions in her childhood home in the Spanish countryside, to stages across the U.S. while on tour supporting Sampha.

Experimentation and modulation are an intrinsic part of elsas’ method, conceiving songs as organisms that respond to their surroundings. Collaborators on this collection of songs include Shrink, Will Lister, Gabriel Gifford, Ethan P. Flynn and more. The record was mixed by David Wrench (a long-time supporter of elsas’) and Nathan Boddy, and mastered by Matt Colton.

With APORIAMOR, elsas creates a visual world from the fabulation of the past, as an act of playful historical revisionism in which she embeds herself as both subject and storyteller. The songs function like an archive of her experiences across various years, each one unearthed and presented as some sort of archaeological artifact. Through this body of work, elsas begins to conceptualize herself as a legacy artist: one who honors the archive of her own becoming while emerging as a distinct and resonant voice in today’s musical landscape.

"What If" ist das neue Album von MAIIJA - eine eindringliche Auseinandersetzung mit Verletzlichkeit, Mut und den Emotionen, die uns verbinden. Marilies Jagschs Stimme bewegt sich zwischen Stärke und Zerbrechlichkeit und steht im Zentrum eines Sounds, der elektronische und organische Elemente fein miteinander verwebt.
Persönliche Erfahrungen, geprägt vom Leben mit Endometriose, treffen auf die Unsicherheiten unserer Zeit. Produziert von Peter Paul Aufreiter mit Gernot Scheithauer, Lukas Lauermann und Gästen wie The Zew, Oskar Mayböck und Paul Szelegowitz, ist ein Album entstanden, das berührt, tröstet und verbindet.
"What If" erinnert daran: Was auch kommt, wir sind nicht allein.

EN

"What If" is the new album by MAIIJA - a powerful exploration of vulnerability, courage, and the emotions that connect us. At its heart is Marilies Jagsch's voice, moving between strength and fragility, framed by a sound that blends electronic and organic elements.
Personal experiences shaped by living with endometriosis meet the uncertainties of our time. Produced by Peter Paul Aufreiter with Gernot Scheithauer, Lukas Lauermann, and guests including The Zew, Oskar Mayböck, and Paul Szelegowitz, the album is both moving and comforting.
"What If" is a reminder: whatever comes next, we are in this together.

Swedish death metal trio Eye of Purgatory return with Darkborne - a powerful new chapter forged by Rogga Johansson (Paganizer, Ribspreader), Taylor Nordberg (The Absence, Venom Inc.) and Jeramie Kling (Venom Inc., Inhuman Condition). The album captures the spirit of classic Swedish death metal: dark, atmospheric and full of organic weight - yet with a melodic and emotional depth that makes every track feel alive.The cover artwork, once again created by Dan Goldsworthy (Accept, Alestorm, Cradle of Filth), perfectly reflects the album’s mix of melancholy and menace. Darkborne isn’t about nostalgia; it’s a continuation of a sound that values emotion and atmosphere as much as sheer heaviness.

With Spam Vol.2, KVR - Niels Broos, Dries Laheye & Lander Gyselinck - delivers its second statement.



Recorded in a beautiful studio tucked beneath a bridge in Rotterdam, the album distills a week of free improvisation into vivid, shape-shifting pieces. A beautiful chaos of bass guitars, synths stacked on clavs, drums and machines to get lost in, in between coincidence and intention. Jungle rhythms, elastic time, open structures and organic textures come together in a lively sound that feels playful as well as restless and deeply intuitive.



KVR is Niels Broos (Jameszoo, Binkbeats) on keys, Dries Laheye (STUFF., Selah Sue) on bass and Lander Gyselinck (STUFF., Lander & Adriaan, BeraadGeslagen) on drums.



For fans of Thundercat, Hudson Mohawke, The Comet Is Coming, Jameszoo, etc.

Nach ihrem ARIA-nominierten Debütalbum "The Stranger In The Mirror" meldet sich das australische Jake Mason Trio mit seinem zweiten Album zurück. Auf "The Modern Ark" schöpft das Trio aus der goldenen Ära des Orgel-Jazz (Jimmy Smith, McDuff, McGriff) und entwickelt dabei einen unverwechselbaren, modernen Sound. Aufgenommen in Melbourne mit Vintage-Equipment, fängt die LP die Leidenschaft und Finesse einer Band mit über 30 Jahren gemeinsamer Geschichte ein. Zu den Highlights zählen der Grammy-prämierte Sänger Kurt Elling auf dem cineastischen Titeltrack sowie die australische Ikone Kate Ceberano auf der Soul-Jazz-Ballade "Stop Searching For Love". Mit bereits gesicherter internationaler Presseunterstützung und Touren in Australien und Europa ist "The Modern Ark" für 2026 bestens aufgestellt.

Wishbone Ash's self-titled debut album, released in 1970, introduced a distinctive sound that would become highly influential in British rock. This re-issue faithfully replicates the original UK release in it's gatefold sleeve and is pressed on 180gm vinyl. Blending blues-rock, folk melodies, and emerging progressive elements, the album is defined by the bands signature twin-lead guitar approach, with Andy Powell and Ted Turner weaving melodic, harmonized lines rather than relying on a single dominant lead. Tracks like Blind Eye and Queen Of Torture balance hard-edged riffs with spacious, reflective passages, while acoustic moments add a pastoral, almost medieval atmosphere. The rhythm section, understated yet precise, allows the guitars to breathe and develop organically. Rather than chasing commercial immediacy, the album favours mood, texture, and musical interplay, giving it a thoughtful, exploratory character. As a debut, Wishbone Ash feels confident and forward-looking, laying the groundwork for the bands later classics and helping to shape the twin-guitar sound later adopted by countless rock and metal acts.

Tears Before Bedtime is the sparkling new album by the Would-be-goods, Jessica Griffin’s band of pop adventurers. Since The Camera Loves Me, their cult classic 1988 debut for the legendary él Records, they have blazed a musical trail through indie guitar pop, with a garage band edge and forays into other territories - glam rock, tango, French chanson… The result is unique and timeless.
The songs on Tears Before Bedtime balance delicacy and power. Perfect pop melodies are delivered in Jessica’s gorgeous and idiosyncratic voice. Her lyrics are intelligent and wry, wistful and witty. Every song tells a story, taking us on a journey through space and time, from belle époque Paris to a 1960s London biker café, from a riverbank in ancient Greece to a 1970s teenage bedroom.
Listening to a Would-be-goods album is like wandering through a gallery of portraits. Innocence gives way to experience. Danger lurks amid the lights of the funfair in the 1950s carousel whirl of The Gallopers. The sinister Dr Love promises heaven but sends you down to hell, to the sound of a last dance in a smoky soul basement. A nymph meets a god in disguise in a garage-band take on a Greek myth (Tears for Leda). The Rose Tattoo is the tale of a doomed love in a sultry Southern state. Don't Come Crying To Me flames an ex-lover to the sound of Bollywood horns and shivery guitar. In Madame X a portrait painter vents his fury on a spoilt socialite beauty. The album closes with a sweetly jazzy lullaby (The Moon Doesn't Mind).
The Would-be-goods began playing as a full band in the 2000s and have been previewing some of these songs at recent shows in England, Scotland, France, and Spain. The album was recorded in London with Jessica on guitar and vocals, Peter Momtchiloff (Heavenly, Talulah Gosh) on guitar, Debbie Greensmith (Thee Headcoatees and many others) on drums, and Andy Warren (The Monochrome Set, Adam and the Ants) on bass. Guest musicians have contributed organ, piano, vibraphone, cello, trumpet, and flute to make this the richest-sounding Would-be-goods record yet.

Tilaye Gebre is one of Ethiopia’s most soulful saxophone giants, with a musical legacy that’s hard to surpass. A founding member of the Equators, later renamed the Dahlak Band, he was a key figure in Ethiopia’s vibrant hotel music scene and a sought-after musician and arranger for artists like Aster Aweke, Mahmoud Ahmed, Tilahun Gessesse, and Muluken Melesse.

Tilaye — still going strong — was at the epicenter of the Ethiopian music scene during one of the most turbulent periods in the country’s history. Tilaye’s musical trajectory, regardless of the forms it has taken over the decades, is simply ceaseless. The road to a musical career spanning six decades started out winding, and the first steps came almost as a fluke.

With the Dahlak Band, Tilaye had managed to secure a musical residency at the legendary Ghion Hotel, where they honed their skills and developed their musical expression to unparalleled levels. From the late sixties onwards, Dahlak Band lit up Addis Ababa with a mixture of James Brown and Wilson Pickett tunes, rhythm and blues, soul, funk, and the sound of the disco era — mixed with modern Ethiopian styles — serving up majestic concoctions with full-range instrumentation, featuring trumpet, keyboard, saxophone, bass, drums, and guitar. Through their hotel sessions, Tilaye developed further as an arranger, arranging fellow band member Muluken Melesse’s first solo album, Muluken Melesse with the Dahlak Band (Kaifa Records – LPKF 39), recorded during the turbulent years of 1975–1976, following the fall of Haile Selassie. Everything was in flux in this transitional period, but a constant was how Tilaye stood in the spotlight. On that record, there’s a loose vibe to the soundscape that lets Tilaye’s skills shine, while all the other musical contributions coalesce into a slowly cooking atmosphere where the groove at times fluctuates into psychedelic territory, making the music stand out from most contemporaries.

Most of their recorded output came from one-take live cassette recordings at the Ghion, or from music shops at that time — one microphone at the front, hit record: no EQ, no reverb, just some delay. Some of the Dahlak Band’s releases featured Tilaye as frontman, such as Tilaye’s Saxophone with the Dahlak Band from the late 1970s — typical of a rare groove on the Ethiopian scene — with excursions into reggae territory, including the band’s characteristic sound featuring Tilaye Gebre (tenor and alto saxophone), Dawit Yifru (organ), David Kassa (electric guitar), Shimelis Beyene (trumpet), Moges Habte (tenor saxophone), Abera Feyissa (bass guitar), Tesfaye Tessema (drums), and Muluken Melesse (cowbell). The Dahlak Band’s output was so prodigious that they simply couldn’t be pigeonholed.

No saxophonist in Ethiopia influenced the sound of popular music more than Tilaye in the 1970s, yet his recordings have been hard to come by for ages, which has meant that newcomers to the scene have gems to uncover in retrospect. Arguably, Tilaye shifted gears when he relocated to the U.S. to such an extent that his musicianship became even more renowned, accompanying the greatest of his contemporaries internationally. Tilaye is one of Ethiopia’s all-time greats, with a musical legacy — both as musician and arranger — that’s hard to surpass. It’s a wonder to be able to enjoy a recording like this half a century later.

FUSE11 - Rosati - Divina Nostalgia

For Fuse Imprint's eleventh release and the first of 2026, Rosati unveils 'Divina Nostalgia', an ode to vibrancy in dance music through four truly euphoric tracks. The Italian artist focuses on the enduring power of vintage production with a much-needed spotlight on techno's optimistic underbelly, resulting in a sound that is both charismatic and electrifying.

'Division' sets the tone of the EP with playful percussion and bright synth work that unravels as the track progresses. Rosati utilizes the full character of the 909 for the flair that drives the record: rides, claps, and open hi-hats thunder through the arrangement in celebration of each transition. The artist then zeros in on 'Echoes', tightening the energy with an unflinchingly analog bassline and lush pads that round out the harsher edges of the percussion. This serves as a more linear approach for immediate effect; where the track favors minimalism, it provides maximum impact.

Gradually turning up the energy, 'Orbital' jumps through toms and filtered chord stabs to emphasize the record's extroverted nature. The synths dazzle along the rolling drums for a track that possesses house's temperament but techno's insistence. Finally, the title track 'Divina Nostalgia' concludes the EP in a moment of pure release. If you wondered where jazz comes into the picture, just ask Rosati. Organs, Rhodes, swing, and sustained tension slice through to a victorious finish line that highlights dance music's command of the present moment.

A rising and genre-defying figure in the French electronic scene, Goldie B continues her ascent with Who Says Night’s For Sleeping?, a five-track EP that asserts her distinctive signature: an instinctive blend of club energy, cinematic storytelling and UK rave influences. Conceived as the soundtrack to a night lived in full intensity, the record moves through the fire of the dancefloor, the collective trance, and those suspended moments where one floats between dream and wakefulness.

“I imagined this EP as the soundtrack to a night experienced in its entirety. From the first rush of adrenaline on the dancefloor to that floating walk home, still carried by the music. My influences range from Moby and Air to Floating Points and Joy Orbison, artists who know how to combine power and emotion. I love connecting the raw energy of the club with more dreamlike textures, because you can absolutely dream while dancing. Each track is an instinctive snapshot of my inner world.” Goldie B The EP’s opening act, “The Space Between” blends ethereal pads, organic strings and a steady crescendo, recalling the elegance of Air or Moby. It opens a suspended space, equally suited to inner drift or physical release. “I wanted it to feel like a threshold, a gentle hand pulling you into a trance state.”

On “U Make Me Feel So Good”, a sensual and narrative breakbeat track, a flowing bassline gradually tightens into trancier energy. Seductive female vocals weave through broken rhythms, creating a piece that is as tactile as it is hypnotic. “It’s about contrast, the softness and caress at the start, then a tension that rises and electrifies.”
Instagram | Youtube | TikTok | SoundCloudAt the heart of the project, “Rêve de Rave” channels 90’s breakbeat spirit with old-school samples, an euphoric central break and voices urging to move your feet. Urgent and liberating, it embodies the dreamlike essence of the rave. “It’s how I imagine the rave: a lucid dream where joy and collective energy feel almost unreal.”

Next comes the most incisive cut of the EP, “Purple FX”, driven by a grating central bassline that evolves relentlessly until its explosive drop. Minimalist yet implacable, it captures the sheer force of a peak-time track. “I wanted a track purely designed for the club, where the tension just keeps rising until it explodes.”

Closing in chiaroscuro, “Snake Waves” shifts from breakbeat into a half-house, half-techno 4/4 groove, carried by a sinuous, hypnotic bassline. The track plays on tension and release, with a rich harmonic break before fading like a suspended farewell, where the party recedes but the energy lingers. “It’s a farewell piece that keeps the intoxication alive, like a final vertigo before slipping back into the night.”

Goldie B is a multifaceted force on the French electronic scene. A producer, multi-instrumentalist, singer, MC, DJ, and co-founder of the label Omakase Recordings, her sets blend bass, jungle, UKG, and breakbeat, captivating audiences with their contagious energy. Based in Marseille, she has released music on renowned labels such as D.KO, Banoffee Pies, and YUKU, and has performed on some of the biggest French stages and festivals: Peacock Society, Astropolis, NDK, Marsatac, Delta, Le Bon Air, and even the Festival d’Avignon. In 2024, she was selected by Apple Music for its Women In Electronic series. Her new Who Says Night’s For Sleeping? EP confirms her status as an instinctive and distinctive artist to watch on the French electronic scene.

Efficient Space continues to bind its mind with Altered States Tapes, offering another service to How So?, Th Blisks' 2022 debut in home-cooked experimentation. A blurring of three vastly different heads into a single disjointed, but fluid organism, How So? finds Yuta Matsumura (The Lewers, Keanu Nelson), Amelia Besseny (Troth, Impatiens) and Cooper Bowman (Troth, CD3) working with vocals, melodica, deeply pulled samples, guitar, drum machine, synths and resourceful percussion. An Elixa-blueprint of sideways ambient rituals, fog-thick melodica dub and paranoid trip hop by way of Sydney's pioneering industrial collagists, the LP recirculates beyond its original 150-copy confines for those who missed its first apparition.

Mate is one of Spain's finest when it comes to quality deep house and this 22nd outing is further evidence. Shaka is behind the beats and kicks off with 'Love & Pain' which turns the joys and anguish of romance into a jazzy number with a feel-good groove and happy chords full of musicality. 'Sonic Of Joy' (feat Eve) is another one rich in jazzy synth work and swaying, vibey grooves that show off some serious piano chops. 'Inner Balance' shuts down with streaming organ chords lighting up the soft and cuddly kicks. It's an unmistakably uplifting end to a cultured EP.

Thanks All is an EP that fuses nostalgia and futurism through hypnotic textures and dancefloor-ready grooves, highlighting Braga Circuits' knack for blending the ethereal with the grounded. "Break It Down" opens with classic house-inspired piano and organ layered over a modern groove. "Too Much to Ask" drifts into dreamy, hypnotic territory, while "Walk With Me Gentle" builds a shamanic vocal into a mesmerizing peak. Closing track "With the Bats" grounds the journey in rhythm, maintaining Braga Circuits' melodic and surreal sound design.

Robohands, das Projekt des Londoner Schlagzeugers/Komponisten Andy Baxter, gilt mit seiner experimentellen Erkundung des Jazz, Krautrock, Ambient und cineastischer Soundscapes als aufstrebender Name der internationalen Jazz/Ambient-Szene - mit über 10.000 verkauften LPs seiner fünf Alben und Auftritten bei den London Jazz, Montreal Jazz und Waking Life-Festivals. Die neue LP "Oranj" ist eine Hommage an die Pioniere der analogen Aufnahmetechnik mit Röhrenverstärkern, einem 1960er Fender Jazz-Bass, Fender Twin Reverb-Verstärkern und einer Vintage-Hammond-Orgel. Die Tracks vereinen die Wärme der 1960er/70er Jazz-Fusion und Soundtracks der Spät-1970er/80er mit modernen Einflüssen von Boards Of Canada bis Robert Glasper. Frenetische Uptempo-Nummern balancieren mit besinnlichen und experimentellen Momenten. Teils auf Tonband für zusätzliche Klangsättigung aufgenommen, ist es das bisher rohste und spontanste Album von Robohands.

Força Maior combines the vital saxophone explorations of Pedro Alves Sousa with the infinitely subtle electronic processing of Pedro Tavares. Sousa (aka Má Estrela) is known for manipulating his woodwind through guitar pedalboards & amplifiers, creating far-from-ordinary sonics rooted in unceasing curiosity. For his part, Tavares (aka funcionário) conjoins video & sound work to create space for the pensive wanderings where memory and imagination interlace.

The album Morte Lilás was recorded over a week in June 2023 in Pedro Alves Sousa's family farm, located in the village of Ferreirim, near Lamego, in Portugal. The partly abandoned farm served as the residency, studio, and inspiration for the album: it is a 400-year-old granite farm that belonged to a member of the "40 conspirators"—a group that led the revolution for Portugal's independence from Spain in the 17th century.

Morte Lilás is a remarkable album of committed meditation. Each day on the farm was a recording day for the two Pedros: Sousa on sax & electronics, Tavares on sampler & processing. Apart from slight sonic incursions from the surrounds—the birds on 'Quinta à tarde'—and the sporadic use of sine tones, the source sounds all start from the saxophone. It is then processed both by Sousa & Tavares. The album unfolds as a saxophonic tapestry that breathes with quiet intensity. Each piece invites close listening, revealing fine gestures and tonal shifts that shape a contemplative, ambient space. Força Maior move with calm precision.

The album opens with the unhurried overture 'Quinta à Tarde' a Portuguese pun on Eno's Thursday Afternoon that announces the textures at play. Sousa's breathy entrance is paired with a soft, delicately shifting, backdrop. As the track progresses, time seems to stretch. The arrangement resists urgency, favouring subtle evolution over dramatic turns. Pensive layers shift & drift, creating a sense of suspended motion that brings the listener into the environs of Morte Lilás. 'Quinta à Tarde' is a long-form fade, shifting emphasis from Sousa to Tavares.

'Cubos' continues the gauzy feel, but with a more up-tempo tilt. Rhythmic clicks & pings setup a swung time for the sax to interpose melodic lines that are fed back & bent with cascading delays. Força Maior in distilled form.

Força Maior is in top form on the title track 'Morte Lilás', a sprawling centrepiece that showcases their command of atmosphere & emotional pacing. By turning up the reverberation & leaning into a continuous format, they dissolve the gap between hypnotic trance & articulate reverie. Then, a moment of stillness. The track pauses, not abruptly but like a tide pulling back, revealing the contours beneath. What follows is a return to the album's more relaxed architecture: understated rhythms, softened textures, and a sense of spaciousness that opens space for reflection. It is a transition that feels organic, as if the song itself needed to exhale before settling back into its contemplative groove.

'Menta' is another short-form miniature of the band's signature contours: beautiful loops of air pressure gradients that carry an emotive weight & light.

The album closes with 'Cascata do Inferno'. The title suggests violence, but the music whispers instead—an atmospheric cascade of breath & tone that emerges in slow, deliberate waves. Short melodic cycles are matched by shimmering electronic chords. It's a piece that rewards patience, draws the listener in to drift downstream, eyes closed, into the serene turbulence of its current.

The wild lunar landscape of Lanzarote is the dreamy frame in which Populous paints his new album, “Isla diferente”.

An instrumental trip between cumbia and latin ambient music through the mysterious and magical landscape of Lanzarote, with some gloomy vocal interventions from Fuera (Italy), Javier Arce (Costa Rica), Eva de Marce (Mexico) and Esotérica Tropical (Puerto Rico).

An organic mixture of sweet ethereal melodies and experimental electronic sounds which the artist himself labeled as “latin ambient”.

Blues, country and folk or funk, rock and soul – Broussard always gives his songs a very special touch; here he reaches his peak performance!

Acclaimed soul singer and songwriter Marc Broussard returns with his new studio album, "S.O.S. V: Songs Of The 50's," paying homage to the timeless classics of the 1950s. With his unmistakable, warm soul voice, Broussard interprets timeless songs by legends such as Ray Charles, Sam Cooke, Nat King Cole, and Fats Domino—complemented by his own original composition that fits seamlessly into the era. The album is the fifth installment in his successful S.O.S. (Save Our Soul) benefit series, with proceeds once again benefiting the non-profit organization Love Of People in his hometown of Lafayette, Louisiana. His latest charity album, "S.O.S. 4: Blues For Your Soul" (2023), a collaboration with blues icon Joe Bonamassa, benefited the Keeping The Blues Alive Foundation and the organization Guitars Over Guns – and debuted at number 1 on the Billboard Blues Albums chart.

We Jazz Records kicks off their new series of archival 7" releases with Esa Pethman "In Belgium 1967" released 23 September 2022. The two-tracker is licensed from the Belgian VRT radio archives and both of the pieces are previously unreleased. Finnish jazz legend Pethman, heard here on alto flute and tenor sax, joins forces with European jazz greats such as Heinz Bigler, Uffe Karskov and Jean Fanis. This is a small but valuable piece of unheard European jazz history from the early heyday of modern jazz. The physical release is a quality "inside-out"-styled EP with 3mm spine and small center hole on the 45rpm vinyl.

An excerpt from the liner notes by Mikko Mattlar:

"Esa Pethman (b. 1938) was one of the key figures of modern Finnish jazz in the 1960s. His album The Modern Sound Of Finland was the first Finnish modern jazz album and his composition "The Flame" a true modern Fenno-jazz evergreen.

Pethman was born in Kuusankoski, 135 kilometres from Helsinki in the Kymenlaakso area. The jazz scene was active even though it was an area of rural landscapes and paper mills. Pethman discovered jazz when he heard a Charlie Parker record being played at a local music shop in the late 1940s. Following Parker, bebop became his favourite style of jazz.

Young Pethman played flute and saxophone in local bands who accompanied schlager singers. They played tangos and waltzes for dancers, but usually started a typical dance event with an hour of jazz. In 1959 Pethman moved to Helsinki to study music at the Sibelius Academy. Back then it was a strictly classical music academy, but Pethman later described the studies as crucial for his development and career. He quickly made his way to studio sessions and into the best orchestras in Helsinki.

As a student of composition, Pethman also began writing his own music. "The Flame" was a melody he just got on his mind one night, and he decided to write it down. The catchy composition was released as a 7" single in 1964, a year before Pethman's debut album. Both records stand as benchmarks for modern Finnish jazz. The album consisted entirely of Pethman's compositions, not versions of jazz standards like a lot of the Finnish jazz released until then.

In the mid 1960s, Finnish jazz was also taking its first international steps. Pethman's quintet took part in the first Montreux Jazz Festival in Switzerland in June 1967. At the Montreux jazz band competition, the quintet came in fourth of the twelve contestants. Despite not winning the competition, the band got an honourable mention, and Pethman was now recognized outside Finland.

In December 1967 Pethman travelled to Brussels. His visit was organised by the national Finnish broadcasting company Yleisradio and their jazz program producer Matti Konttinen. Konttinen was supposed to go to Brussels with Pethman, but the musician ended up traveling alone.

In the Decca recording studios Pethman played two songs. He recorded a version of his most famous composition "The Flame", where he played the alto flute and was accompanied by Belgian musicians. On Swiss saxophonist Heinz Bigler's composition "Like Steel", Pethman played the tenor saxophone. The band was now more international, consisting of Bigler, the Italian Francesco Santucci, the Dane Uffe Karskov, a Belgian rhythm section and Pethman. After 55 years, Pethman still remembers Bigler's remarkable skills as a saxophonist.

The two-day visit included the recording session, a dinner and a concert. Pethman and the other non-Belgian musicians came to Brussels mainly to play at a jazz concert organised by the European Broadcasting Union EBU. They played at the studio first, and the concert was held the following day. Pethman and all the other soloists played as members of an international big band. The studio and live session were produced by the Belgian Radio and Television jazz section leader Elias Gistelinck."

Overtoun is a Death/Thrash band based between Santiago, Chile, and Boston, MA, fusing the rich musical heritage of Latin America with the complexity and aggression of technical death metal. Founded by Agustín Lobo and Matías Bahamondes, the band solidified its lineup with Yoav Ruiz-Feingold (Atheist, Graviton) on vocals and Matías Salas on bass. Fused with Chilean rhythms, folk-inspired guitars, and memorable riffs, it features guest appearances by MAX PHELPS (CYNIC, DEATH TO ALL), ENRICO H. DI LORENZO (HIDEOUS DIVINITY), and SHANTANU VYAS (HAZING OVER). With virtuosic musicianship and a raw, organic sound that recalls the primal spirit of classic metal, Overtoun channels both precision and rage. Produced by renowned Argentinian producer MARTIN FURIA (DESTRUCTION, BARK) and released via Time To Kill Records, Overtoun asserts itself as one of the most exciting and promising Latin American Metal acts today.

includes unearthed fragments of Bladder Flask by Richard Rupenus, circa ’80s, The paths of Nurse With Wound and Bladder Flask first crossed in 1980 and the following year Bladder Flask’s debut album One Day I Was So Sad That The Corners Of My Mouth Met & Everybody Thought I Was Whistling (Orgel Fesper Music) was distributed by United Dairies. Following the aborted project for a second Bladder Flask album, scheduled for 1981, some forty years later, Richard Rupenus approached Steven Stapleton to use fragments of old recordings he’d unearthed from “Bladder Flask”, an invitation that Stapleton accepted, and rather than simply remixing or reworking existing Bladder Flask tracks, Steve Stapleton and Andrew Liles have succeeded in reinforcing Nurse With Wound and Bladder Flask’s sense of the absurd in this new opus “Backside”.

Koma Saxo, the explosive quintet led by Berlin-based Swedish bassist/producer Petter Eldh, returns on We Jazz Records with their new album, cut live at We Jazz Festival in Helsinki, December 2019. Whereas their lauded debut was a triumph of remapping the goal posts for an acoustic jazz combo for the 2020's, "LIVE" takes you right to the heart of the actual ensemble sound, with 5 musicians tearing the place down, no post production. From the fiery opening sequence kicking off with "Euro Koma", on to the much calmer beauty of "Waltz Me, Waltz Me Baby, All Night Long" and the first single "Fiskeskärsmelodin", the 8-song set is pure fire, never failing to convey the extraordinary intensity of the group: Eldh on bass, Otis Sandsjö (Y-OTIS), Jonas Kullhammar and Mikko Innanen on saxes, and Christian Lillinger on drums.

An excerpt of liner notes by Peter Margasak:

"When I first saw Petter Eldh's quintet Koma Saxo in Berlin in September of 2019 I was floored. The raw, sprinting energy of the band was both infectious and astonishing, but what I most remember was a sense of cognitive dissonance. Was this the same combo that recorded a fantastic eponymous 2019 studio album that represented one of the most convincing, pleasurable, and driving hybrid's of searing post-bop and the production ethos of hip-hop? There have been endless stabs by producers trying to remap the machinations of an organic, all-acoustic jazz band with electronic post-production, but Eldh, channeling a sonic language heavily informed by J Dilla, nailed it in a way I'd never experienced before. Having the trust of his three imaginative, high-octane saxophonists—Jonas Kullhammar, Otis Sandsjö, and Mikko Innanen—he used their grainy sound as raw material, smudging and smearing it like a painter creating new hues on a palette, and then extending, editing, and powering it up within the imperturbable grooves meted out by he and drummer Christian Lillinger. He didn't really alter the essential core of the band's performances. There's no question that a seriously burning quintet had laid the tracks down, even if the performances reflected the kind of concision many jazz groups adapt for a studio endeavor. But the way his jacked-up bass lines and Lillinger's impossibly peripatetic, stuttering rhythms buffeted the massed saxophones elevated Koma Saxo to plane all its own, and I repeatedly returned to that place—half the time trying to figure out what the hell Eldh had done, and the other half lost in giddy ecstasy.

The live show, on the other hand, featured the band without any production tricks. Its soaring, pithy repertoire came alive in a different way, and this excellent live recording from the 2019 We Jazz Festival, has reminded me of how fun and visceral that experience was."

Koma Saxo "LIVE" is released by We Jazz Records on 30 April 2021 on two vinyl editions (silver + black), as a bundle with an unreleased 7" (+ silver vinyl edition), on CD and digitally. The vinyl versions plus the CD come complete with silver embossed lettering. The vinyl is delivered on heavy-duty tip-on sleeve, complete with an insert featuring liner notes by Peter Margasak, Andreas Müller, Matti Nives and Petter Eldh.

a 01: Euro Koma (Live) feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger
b 02: Puls Koma (Live) feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger
c 03: Fanfarum for Komarum III (Live) feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger
[d] 04: Waltz Me Baby, Waltz Me All Night Long (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[e] 05: Otis and Christian (Live) [feat. Otis Sandsjö & Christian Lillinger]
[f] 06: Blumer (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[g] 07: Fiskeskärsmelodin (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]

Silver Vinyl

Koma Saxo, the explosive quintet led by Berlin-based Swedish bassist/producer Petter Eldh, returns on We Jazz Records with their new album, cut live at We Jazz Festival in Helsinki, December 2019. Whereas their lauded debut was a triumph of remapping the goal posts for an acoustic jazz combo for the 2020's, "LIVE" takes you right to the heart of the actual ensemble sound, with 5 musicians tearing the place down, no post production. From the fiery opening sequence kicking off with "Euro Koma", on to the much calmer beauty of "Waltz Me, Waltz Me Baby, All Night Long" and the first single "Fiskeskärsmelodin", the 8-song set is pure fire, never failing to convey the extraordinary intensity of the group: Eldh on bass, Otis Sandsjö (Y-OTIS), Jonas Kullhammar and Mikko Innanen on saxes, and Christian Lillinger on drums.

An excerpt of liner notes by Peter Margasak:

"When I first saw Petter Eldh's quintet Koma Saxo in Berlin in September of 2019 I was floored. The raw, sprinting energy of the band was both infectious and astonishing, but what I most remember was a sense of cognitive dissonance. Was this the same combo that recorded a fantastic eponymous 2019 studio album that represented one of the most convincing, pleasurable, and driving hybrid's of searing post-bop and the production ethos of hip-hop? There have been endless stabs by producers trying to remap the machinations of an organic, all-acoustic jazz band with electronic post-production, but Eldh, channeling a sonic language heavily informed by J Dilla, nailed it in a way I'd never experienced before. Having the trust of his three imaginative, high-octane saxophonists—Jonas Kullhammar, Otis Sandsjö, and Mikko Innanen—he used their grainy sound as raw material, smudging and smearing it like a painter creating new hues on a palette, and then extending, editing, and powering it up within the imperturbable grooves meted out by he and drummer Christian Lillinger. He didn't really alter the essential core of the band's performances. There's no question that a seriously burning quintet had laid the tracks down, even if the performances reflected the kind of concision many jazz groups adapt for a studio endeavor. But the way his jacked-up bass lines and Lillinger's impossibly peripatetic, stuttering rhythms buffeted the massed saxophones elevated Koma Saxo to plane all its own, and I repeatedly returned to that place—half the time trying to figure out what the hell Eldh had done, and the other half lost in giddy ecstasy.

The live show, on the other hand, featured the band without any production tricks. Its soaring, pithy repertoire came alive in a different way, and this excellent live recording from the 2019 We Jazz Festival, has reminded me of how fun and visceral that experience was."

Koma Saxo "LIVE" is released by We Jazz Records on 30 April 2021 on two vinyl editions (silver + black), as a bundle with an unreleased 7" (+ silver vinyl edition), on CD and digitally. The vinyl versions plus the CD come complete with silver embossed lettering. The vinyl is delivered on heavy-duty tip-on sleeve, complete with an insert featuring liner notes by Peter Margasak, Andreas Müller, Matti Nives and Petter Eldh.

a 01: Euro Koma (Live) feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger
b 02: Puls Koma (Live) feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger
c 03: Fanfarum for Komarum III (Live) feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger
d 04: Waltz Me Baby, Waltz Me All Night Long (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[e] 05: Otis and Christian (Live) [feat. Otis Sandsjö & Christian Lillinger]
[f] 06: Blumer (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[g] 07: Fiskeskärsmelodin (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]

[a] 01: Euro Koma (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[b] 02: Puls Koma (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[c] 03: Fanfarum for Komarum III (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[d] 04: Waltz Me Baby, Waltz Me All Night Long (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[e] 05: Otis and Christian (Live) [feat. Otis Sandsjö & Christian Lillinger]
[f] 06: Blumer (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[g] 07: Fiskeskärsmelodin (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]

Swiss artist Lukas Traxel releases his powerful debut album One-Eyed Daruma on We Jazz Records, March 10. The trio features Traxel on double bass, Otis Sandsjö on sax and Moritz Baumgärtner on drums. Compact, deep, and organic to the bone, Traxel & co's sound echoes the innovations of rhythmically driven avantgarde jazz while keeping things moving at all times. There's both drive and freedom to this sound.
ONe-Eyed Daruma features eight new compositions by Traxel, who crafted the outline for the album while dealing with the loss of his father. The group came together after an open invitation from the Zurich jazz club Moods to present a new group. The trio of Traxel, Sandsjö and Baumgärtner creates a full, symphonic, and powerful body of sound despite the instrumentation without a harmony instrument. The trio functions as a collective where the boundaries between composition, melody, and accompaniment are in flux, while keeping the common goal of creating new music together in sight at all times. Traxel reports that after playing bass in various groups with guitar and/or piano, he wanted to create a counterpoint of sorts with his new group and specifically go about it with a more sparse setup. As One-Eyed Drama proves, the idea behind the trio dynamic is a strong one and the unit makes use of their extra space in creating evocative, moody, swinging creative jazz with a distinguishable fingerprint of its own.
Lukas Traxel says:

"The process of composing this music while dealing with the loss of a loved one resulted in a writer's block at first. The notes would just not flow out of my pen until I noticed a mysterious-looking figure in the right upper corner of my piano. It was a daruma, an eyeless figure that in the Japanese tradition brings luck and prosperity. According to the myth, the first eye must be drawn onto the figure while expressing a wish. The second eye can be added only if the wish comes true. My daruma is meant to stay one-eyed as my wish, strongly connected and intertwined with my now gone father, is not meant to be fulfilled. The feeling of unfulfillment and imperfection of life serves as a common thread throughout this album, right down to its title. In a similar fashion, a composition remains incomplete until it is interpreted by musicians, and given form as music. That being said, for me playing together with this trio symbolises the upside: the sense of fulfillment in music and life.

Our musical influences include the American composer and singer Caroline Shaw, Swiss pianist Colin Vallon's trio, and composer/singer-songwriter Gabriel Kahane. In addition, I have listened a lot to the trio albums of Jimmy Guiffre and Sonny Rollins. Besides that, my musical heroes like Charlie Haden, John Coltrane, and Keith Jarrett always flow into the music. Another very important influence in the music is the work of American visual artist Agnes Martin, in whose works the imperfection of a multiplicity of repetitions results in a lively big whole in the end. (See "Wild Flower")

Live, the trio takes a lot of freedom in interpreting this music, yet we have a deeper, almost pop-like attitude towards the live performance as an experience. For me it's always important to build a strong narrative with the band while on stage."

One-Eyed Daruma by Lukas Traxel is released on 10 March 2023 by We Jazz Records on LP/CD/digitally. The LP edition is shelved in an inside-out sleeve and pressed on white vinyl. The CD is housed in a cardboard digisleeve with UV lacquer finish.

Jaime Fennelly, as Mind Over Mirrors, makes music that pushes the known to the lip of the unknown, where it rocks precariously and in exhilaration. He scrambles the familiar and tweaks the comfortable, not through aggression, but a throbbing estrangement. When placed at a distance, these require longer reaches to grasp. The reward for this effort is an enlarged field of perspective, experience, and also of feeling. This is deeply feeling music to feel deeply.

In all of Jaime’s records—and, arguably, especially in Particles, Peds, & Pores—there’s a seed of the pastoral, some ancient shepherd’s song ringing through nearby hills and groves, but one also yearning to plumb the uncanny and the creative possibilities of disintegration. “Farewell to woods,” the grieving Damon sings in Virgil’s eighth Eclogue. “Let all be ocean now.” Fennelly sounds vast, enveloping wildernesses and the thrilling disquiet of their echoless grandeur. (Maybe Burroughs speaks to the borders of these zones: “Pulsing mineral silence as word dust falls from demagnetized patterns.”) There’s something of the heroic at work here, too, although the hero’s instinct has been suitably tempered—or awed—to know not to fly too close to the sun.

Gatzara Records presents its second vinyl single.

This record is a tribute to Jackie Mittoo, a key figure in the development of reggae, ska, and rocksteady. Known for his work at Studio One and his role as keyboardist for The Skatalites, Mittoo left a profound mark on Jamaican music with his melodic style and rhythmic approach to the keyboards.

The track is built on a classic reggae foundation produced by Sergio Caño, with a restrained rhythm and simple structure. The focus is on the organ, played by Joan Sobrevals, who carries the main line with a sober, respectful sound clearly influenced by Mittoo's school. Without seeking to imitate, the performance takes characteristic elements of his style — melodic phrasing, spaced chords, marked beats — to shape a coherent piece that remains faithful to the style.

The production maintains a minimalist aesthetic, without overloading, leaving space for each instrument to breathe and fulfil its function. The result is a serene, mid-tempo piece that invites you to listen carefully, without virtuosity, but with a clear intention: to pay tribute to a great musician who defined a sound, an era, a style.

Thank you, Jackie!

Following his acclaimed releases on Violent Cases 006 VC006 and “Arriving In Nebula” VC10.2, as well as the magnificent launch of the sublabel Mysteries with his track “Ether” on Mysteries #1 [MSTR1], Austrian producer Van Der Wiese returns to Violent Cases with a new chapter in his sonic explorations. “Vestiges” unfolds as a deeply atmospheric EP with four tracks that balance melancholic introspection with subtle euphoria.
Each track feels like a fragment of a memory - traces of rhythm and emotion woven together in a delicate balance. Layered sound textures, immersive basslines, and shimmering harmonies create a mood that is both physical and reflective, inviting the listener to float between pulse and perception.
The release is designed - once again very impressively - by Darkam, who was inspired by the track “Haniwa.”
Her illustration captures the mysterious and organic spirit of the EP and offers a visual counterpart to its haunting emotional depth.
With “Vestiges,” Van Der Wiese defines his unique position within the contemporary Tekno scene - precise yet emotional, restrained yet resonant.
A release that lingers long after the last note has faded away.
And above all, this is because Pozek, as mastering engineer, has succeeded in delivering a very balanced EP.
A must-have for all good collections.
Each EP comes with 2 posters, a digital download code, and 2 artwork stickers.

Neue Grafik has steadily built a strong reputation in recent years with releases on esteemed labels such as Rhythm Section, 22a, CoOp Presents, and Wolf Music. His sound is a distinctive fusion of jazz, house, and hip hop, infused with his African heritage, Parisian background, and a deep appreciation for London genres like broken beat and grime.

Neue Grafik first made a lasting impression on the community at Total Refreshment Centre (TRC)—the heart of London’s thriving jazz scene—during a spontaneous after-hours jam. Since then, there has been collaborations with notable artists including Nubya Garcia, Emma-Jean Thackray, Brother Portrait, Lord Apex and Allysha Joy.

The new album, ”Rachael”, is set for release on January 30th 2026. It stands as Neue Grafik's most ambitious project to date. Developed over the past year, the album explores themes inspired by the character of Rachael from the movie Blade Runner, representing the journey of love in all means, intimate, raw, tough, organic and honest offering a rich, emotional journey that balances lightness with depth—an introspective dive into the artist's evolving musical identity.

Changes In Air ist ein wunderschönes, langsam fließendes Stück in fünf Teilen für elektronische Orgel, Klavier und modulare Synthese. Es ist das dritte und letzte Album der kanadischen Komponistin Kara-Lis Coverdale aus dem Jahr 2025, nach From Where You Came (Frühling) und A Series of Actions in a Sphere of Forever (Sommer), und vervollständigt eine exquisite Trilogie von Werken, die ihre lang erwartete Rückkehr zur Musikaufzeichnung feiern.