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Little Richard (1932–2020) was one of rock ’n’ roll’s founding fathers, known for his explosive energy, flamboyant style, and electrifying performances. With hits like “Tutti Frutti,” “Long Tall Sally,” “Lucille,” “Keep A Knockin’,” and “Good Golly, Miss Molly,” he brought gospel fire and wild showmanship to popular music. His groundbreaking sound and charisma paved the way for generations of rock, soul, and pop artists.

Danish bassist and composer Jesper Thorn has become one of Scandinavia s most distinctive musical voices, known for blending introspective storytelling with the understated lyricism of Nordic jazz. His award award-winning albums Boy and Dragor earned international praise for their emotional honesty and cinematic depth, establishing a sound world where fragility, melancholy, and quiet beauty intertwine. A deeply personal meditation on the search for calm, connection, and meaning in a world that often feels overwhelming, the album continues his exploration of sound as refuge, a place to pause, reflect, and breathe. Joined by long long-term collaborators Marc Méan (piano), Andreas Bernitt (violin), Cecilie Strange (saxophone), and Maj Berit Guassora (trumpet), Thorn reunites with producer Mette Damm and engineer August Wanngren to craft an atmosphere both intimate and expansive. Where 2023" s Dragor confronted the ghosts of Thorn s past, STILLE (meaning quiet " or silent " in Danish) looks outward - and inward - toward reflection. For me, music has always been a refuge, Thorn writes. It s a place where I can reflect and immerse myself - both as a listener and, maybe even more, as a composer. Each composition functions as a kind of musical still image : fragments of emotion captured in time, responding to both the chaos and fragile beauty of the modern world. From the flickering calm of Fragmentarium , to the urgent, primal fear of Run (written as wildfires swept through California) to the tender domestic peace of Stilleben , these pieces balance melancholy and hope in equal measure. Thorn s writing continues to thrive on collaboration and trust. Such is Fate emerged from a discarded melodic fragment, reimagined through the expressive playing of Bernitt on violin. Recover and Rebuild form a quiet hymn to resilience, with Guassora and Strange lending understated, breath breath-like power to the ensemble. The closing track, Shimmering (for MM) MM), is dedicated to pianist Marc Méan, a constant presence in Thorn s projects since 2014 and, as Thorn puts it, the touch and sound I hear in my head when I compose ". I wanted to create a space that feels like silence, peace and quiet in a noisy world that often moves faster than it feels possible to keep up with. says Thorn.

First time reissue of this mega rare album by Angel Vásquez, versatile Colombian accordion master of Antillean shades, that comprises a muscular, rhythm-packed ride moving from pachanga to paseaito, passing through charanga, porro, son and cumbia. Here, direct lines are drawn between Colombian coastal folklore and Afro-Antillean sound. A must-have release! Angel Vásquez brought Antillean shades into the accordion tradition of a region overflowing with juglares, as the Colombian northern coast has always been. Vásquez built a monumental songbook where pachanga, charanga, son, cumbia, and even the Puerto Rican countryside, Boricua sound, played leading roles. His few recordings carried a remarkable stylistic range, making it difficult to put him into any single category-a quality that led to a style he himself called vasquesón. In the early seventies, he released through Discos Fuentes a single that would become one of the anthems of the Barranquilla Carnival: 'Pica pica en carnaval', a tropical, electrifying gem with a guarachero flow so unmistakable that it's still a staple in verbenas, neighborhood dances, and picó parties today.

What or who is Arawak? It's the library music pseudonym of Italian pianist and composer Benito / Luciano Simoncini. Here, he was asked to produce a series of background cues for the Lupus label in 1974. So he began with a track called London 1965. Then proceeded to do what the hell he wanted, writing musical love letters, playing with strange noises, treated trumpets or keeping it simple with his piano and some heavy but controlled reverb.

The result is a consistently interesting album full of passion, joy and beautiful fun, and not a million musical miles away from a classic Morricone release. The original album was repressed five years later on the small Titian library label, and now, at last, there's this final commercial pressing.

It's great to know these near legendary and rare background recordings are moving slightly more into the important foreground.

Jonny Trunk

The Final album by Music Legend Brian James ( Founder member and songwriter of both The Damned & Lords of the New Church and writer of the first British Punk single New Rose ) who sadly passed away earlier this year.
Brian was awarded The Pioneer award for lifetime achievements by Uk rock magazine Vive Le Rock last year and his song New Rose was voted best punk single of all time this year in the same magazine . Limited pressing on Yellow Vinyl with printed inner sleeves. Cover art by Graham Humphries famous for his horror poster artwork Evil Dead / …as well as designing Lp covers for Brian and Lords of the new church. Guest Vocalists include Dirty Al from the Dirty Strangers and Ramona from the Mo-Dettes
• Reviews in Record Collector , Vive le Rock , R2 & Shindig already confirmed

Includes demos of every track from the original album, stripped back to (mainly) guitar and voice. Originally a Norman Records exclusive, these are the last few copies available from a limited pressing of just 300. Mark Fry is a France- based, English singer- songwriter/ artist whose debut album, 'Dreaming With Alice,' released in Italy in 1971, became a much-bootlegged "acid-folk" classic three decades later. Fry returned to recording in 2008 and has since released 4 more acclaimed studio albums. These days, far less "acid" than in his youth, Fry still knows his way around a beautiful melody. This album of sketches is resplendent with love songs, the beauty of nature and the passing of time Fry is certainly no stranger to the preparatory sketch. An artist in the truest sense of the word, renowned equally for his decades- long career as a painter of vibrant abstracts and as a cult psychedelic minstrel turned intimate, evocative singersongwriter, his atelier, housed in a converted stable building at his Normandy home, literally doubles as his music studio. It was in this space that Mark's fifth solo album, 'Not On The Radar,' released back in May, was recorded in the summer of 2024, with the singer pushing back his easels to accommodate a four-piece live band and vanloads of miscellaneous accompanying paraphernalia.

Before that, the studio had been a considerably emptier space in which working versions of the album's ten languidly bucolic compositions were first demoed by the solitary songwriter (although some emergent tracks were also captured at Balintore - the home studio of Mark's regular guitarist, Iain Ross, housed on the latter's London-moored canal barge). With those sketches presented here in the same running order as on the mothership longplayer, this new album stands as a document of process - offering the opportunity for track- by- track comparison for those already familiar with Not On The Radar. Crucially, it also makes for a very fine standalone album in its own right, which, if nothing else, bears testament to the inherent robustness of Mark Fry's songwriting.

Out on February 20th 2026. The album release will be preceded by the single " The Praise of Folly part 1". First 13 minutes of a long composition that will take up the entire side A of the album for a total of 21 minutes. Guitarist Alessandro Santori says about the album: " We are very excited to finally release these three songs that we have worked hard to arrange on over the past two years. Once again we invite the listener to join us on a journey beyond the constraints of song form and genre, and to dive into The Praise of Folly like reading a book where you never know what will happen when you turn the page... sometimes exactly what you expect, but very often... absolutely not.

From the production point of view we pushed even more on the live aspect and sounds of the single performance. We decided to not edit and comping between different takes of each song but to choose which one to use on the base of general feeling and then add some post arrangements to emphasize specific passages. We definitely did not want to create a perfect Frankenstein but to take the listener in the room with us during the performance, as in concert".

Out on February 20th 2026. The album release will be preceded by the single " The Praise of Folly part 1". First 13 minutes of a long composition that will take up the entire side A of the album for a total of 21 minutes. Guitarist Alessandro Santori says about the album: " We are very excited to finally release these three songs that we have worked hard to arrange on over the past two years. Once again we invite the listener to join us on a journey beyond the constraints of song form and genre, and to dive into The Praise of Folly like reading a book where you never know what will happen when you turn the page... sometimes exactly what you expect, but very often... absolutely not.

From the production point of view we pushed even more on the live aspect and sounds of the single performance. We decided to not edit and comping between different takes of each song but to choose which one to use on the base of general feeling and then add some post arrangements to emphasize specific passages. We definitely did not want to create a perfect Frankenstein but to take the listener in the room with us during the performance, as in concert".

Based on an unbelievable true story, Roofman follows Jeffrey Manchester (Tatum), an Army veteran and struggling father who turns to robbing McDonald's restaurants by cutting holes in their roofs, earning him the nickname: Roofman. The film's score was composed by Grizzly Bear multi-instrumentalist Christopher Bear, with contributions from The War on Drugs' Jon Natchez. Christopher Bear is a drummer and multi- instrumentalist member of the Brooklynbased indie-rock group Grizzly Bear. He continues developing his independent career, most recently working on arranging soundtracks for the HBO series High Maintenance, and scoring the 2023 film Past Lives alongside his bandmate Daniel Rossen.

Finlay Shakespeare is an electronic musician working from the UK and across Europe. A childhood obsession with his parents’ record collection led him to both create his own music and build his own synthesizer equipment throughout his teenage years. After studying audio engineering, he was invited to become in-house engineer for the Moog Sound Lab UK, leading to collaborations with acts as diverse as Suicide, Charlemagne Palestine, The Grid and Mica Levi & Eliza McCarthy, both in live and studio environments. In 2017, Finlay began recording a series of monthly “Housediet'' releases - all improvised and captured at home utilising drum machines, modular synthesis and processed vocals. After several encounters with Peter Rehberg of Editions Mego, a compilation of the Housediet tracks was drawn up by Rehberg and Shakespeare, culminating in the release of “Domestic Economy” in early 2019. “Solemnities' ', a second album for Editions Mego appeared the following year. In the period since Rehberg’s untimely passing, Finlay has recorded for Superpang, Modulisme and his own GOTO Records imprint. “Illusion + Memory”, meanwhile, continues on from where “Solemnities” left off, with Finlay once again aiming to work at the fringes of electronic pop. Alter is proud to present “Illusion + Memory”, the third full length physical LP of Shakespeare’s utterly unique and sophisticated output. Shakespeare’s obsession and knowledge of late 70’s and early 80’s electronic pop music is once again at the forefront of this intense and dynamic release. Alas, this is not some retro throwback. Shakespeare’s deep understanding of his machines breathes new life into a genre of music once defunct. Supporting the likes of Blancmange bolstered his reputation for sublime synth hooks and dark lyrical content. Building on his previous work in the field “Illusion + Memory” is an unabashed pop record, as joyous as it is intense, moving from the brooding opening ballad “Your Side of the River” through the punchy “Theresa” which could be read as a love song to Throbbing Gristle’s United. Elsewhere “Climb” unleashes the opportunity to the dancefloor as wild electronics snake into all manner of schizophrenic shapes. There is a romantic side to this music. In its homage to electronic pop of the late 70’s and early 80’s but also in the emotional punch Shakespeare injects into every second of every track. Shakespeare’s reboot of these musical forms is technically impressive, one rich in feeling and deep in emotion, atmospherically and vocally. The two come together to create a unique visceral sonic experience… today!

While Toronto producer Demuir regularly features on a wide variety of house labels, it's always worth keeping an eye on his Purveyor Underground label and its' limited-edition offshoot. He's back on the latter label for this outing, where he shares vinyl space with long-serving Parisian producer (and Robsoul founder) Phil Weeks. Demuir handles side A, delivering two passes on 'The Spark': the lightly funk-fuelled original mix, where woozy jazz samples dance atop a rubbery bassline and vintage Masters at Work style beats, and the more bumpin', cut-up and sub-heavy swing of the 'Some Too Suspect remix'. On side B, Weeks delivers 'Party Time', a typically low-slung and analogue-rich deep house number where classic boogie-era vocal samples and occasional chords wrap around loose-limbed machine drums and a killer TB-303 acid bassline.

Minority Records is releasing a unique boxset Politique du silence with three early albums from Sylvain Chauveau, French composer of minimalist neoclassical music.
“When I made my first albums as a composer, I was obsessed with minimalism, and this quote from the film director Robert Bresson summed up my state of mind. I set myself three principles: 1) Use silence as a starting point, 2) Only add sound when it's absolutely essential, 3) Don't imitate the Anglo-Saxon musicians I admired, but draw on the musical culture of my country, France which lead me to listen intensively to Satie, Debussy and Ravel.” Chauveau explains the background to his work.

The collection Politique du silence contains the recordings of Des plumes dans la tête (2004), Un autre Décembre (2003) and Nocturne impalpable (2001) on coloured 180 gram vinyls. The cover features artwork by French photographer Valéry Lorenzo.

“When I discovered the simple and powerful black and white pictures by Valéry Lorenzo, in the 90s, I immediately fell in love with them. We became good friends and since then I ask him to let me use one of his photos for most of my album covers, or to make my portrait for press shots. It has become a real collaboration, music and images, for more than 25 years. It was then logical to ask him again for the cover of this boxset, like a gentle reflection on my piano and strings era. It's a true honour for me to see my early music recollected, repackaged, remastered after all this time. Which gives me hope that this music, in which I've put all my soul and heart during the years 2001 to 2003, is maybe not forgotten yet.” Chauveau himself adds of his collaboration with Valéry Lorenzo.
Nocturne impalpable and Un autre Décembre were re-issued by Minority Records in 2014 and 2015 and both titles completely sold out. This year’s release also includes the album Des plumes dans la tête in its world premiere on vinyl.

Nocturne Impalpable is a world of minimalism, abstraction, and contemporary rendition of classical music with variations for the piano, clarinet, strings, and accordion which are often compared to the compositions of composers Harold Budd and Claude Debussy. Here, Chauveau partially reveals his versatility as a composer by connecting electronic elements, noises, and ambient planes with monumental strings and piano preludes. The
album of piano variations Un autre Décembre is interspersed with field recordings and electronic noises. The inspiration for the recording of the album and for its name was the song Jaurès by the Belgian singer and composer Jacques Brel. This song tells the story of the grandparents’ generation who toiled in the mines. “Comfort and health won’t protect our generation from sadness and discontent. We also live through winter times, even if these are slightly warmer due to the current climate.” An album of 20 short instrumental sketches with several delicate intermezzos for the piano, string quartet, and the clarinet, Des plumes dans la tête, was composed for the eponymous film by director Thomas de Thier.
Sylvain Chauveau was born in 1971 in the French town of Bayonne and currently lives in Barcelona. His extensive discography of mainly meditative neo-classical recordings for the music labels FatCat, Sub Rosa, Sonic Pieces, and Flau is enriched by several collaborations and his participation in the Ensemble 0, Arca, and On projects. Chauveau has also composed many film soundtracks as well as music for the theatre. He has presented his works in Prague several times, most recently in the spring of 2024 at the Spectaculare festival. His compositions get tens of millions of streams on streaming services, and he’s been called the French king of minimalism.

Mit dem BIPPP Sampler bringt uns das in Frankreich ansässige Label Born Bad ein Stück französischer 80s Untergrundmusikgeschichte für das manche Leute töten würden wenn sie die Originalaufnahmen in die Hände bekommen würden!

Die Compilation ist vollgestopft mit extrem raren französischen Minimal-, Synth- & Coldwave. Der Großteil der Songs von u.a.: A Trois Dans Le Wc, Act, Les Visiteurs Du soir, Vox Dei, Comix, Tgv, Mary Moor, Ruth, Visible, Casino Music sind dabei wohl auch nur dem engeren Kreis der Minimalsammler bekannt, können hier aber dankenswerter Weise auch endlich einem (etwas) größerem Publikum präsentiert werden. Wer frühe Soft Cell, Silicon Teens, Grauzone, Nouvelle Vague die von Martin Hannett produzierten belgischen Names oder ähnliches mag kommt hier wirklich nicht dran vorbei. Großer Tip für alle die auf schrägen 80s Epop, Postpunk und Minimalelektronik stehen, inkl. tollen beiheft- leider nur auf französisch!

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.

Toronto-based musician and producer David Psutka’s long dormant Egyptrixx alias returns, with How Tidal. A compendium of sorts, which retells the story so far, reworks of highlights from his catalogue sit alongside brand new tracks, serving as a bridge between the past and the future, preceding more fresh music in 2026.
With the originals still sounding remarkably current, a straight best-of wouldn’t have been out of question, but ever the tinkering student of sound, Psutka thought he’d break them apart, just to see how he could put them back together again.

The music on is How Tidal is cutting-edge and futuristic, but never difficult, instead offering accessible gems where multiple strains of bass music are infused with a zingy, techno-pop bounce, whilst ambient moments gift sonic lozenges for maximum contentment. Psutka creates optimistically welcoming environments, where synthetic birds chirrup in cyan skies over babbling rainbow brooks, as 15 inch subwoofers boom by.

Egyptrixx gained renown across the 2010s with his hard hitting yet tranquil experimental dance music dubbed ‘celestial jeep music for a Saturn moon’. Colourful sound design was braided with dancefloor structures, creating an exhilarating tension between melodic and dissonant, euphoric and inward. The debut album Bible Eyes was released in March of 2011 to critical acclaim.

As Egyptrixx, Psutka has released four studio albums, collaborated, remixed, and toured with some of the biggest names in electronic music.
The widely acclaimed moniker is foundational to Psutka’s complex body of work that encompasses multiple solo projects, plus a diverse range of collaborative work. He has performed live at Sonar Festival, Roskilde, Mutek, MOMA PS1 Warm-UP and CTM Festival, and presented sound installations at Galeria Civica Commune di Modena and Art Gallery of Ontario (AGO).

In 2015, Psutka launched Halocline Trance as a home for his various sound projects, events and collaborations. In recent years, the label has quietly established itself as a platform that facilitates many of Canada’s most exciting creative music projects.

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.

Water can retain or wash away memory; flowing or freezing. It gives life and shapes earth, while frozen imprints of an ancient past are waiting to melt – back into sound or fluid motion, or simply to dissipate and disappear. For their split release, Yoichi Kamimura and Olli Aarni offer two distinct reinterpretations of a performance recorded live at the Temppeliaukio Kirkko – a church in Helsinki built directly into solid rock and bathed in natural light – meditating on glacial landscapes and water cycles, using shared field recordings that bifurcate into two sonic visions of “ice journey”.

Yoichi Kamimura’s extensive recordings formed the bedrock of the original performance, notably from time spent on Suomenlinna Island just outside Helsinki in 2021, aiming to capture the remnants of the glacial movements that formed the area’s geology. Elsewhere, the voices of ringed seals, underground waterways of Kyoto, and icy rivers in Lapland from Kamimura’s library float in as well. “The small, charming, and gentle islands floating in the Baltic Sea—some with little cottages and restaurants—reminded me of the drifting ice in the Sea of Okhotsk between Japan and Russia,” describes Kamimura. Fragments of a Christmas choir creep in too, recorded at the church on Suomenlinna Island. Titled Kōri no ryokō , Kaimimura’s reinterpretation of the performance emphasises a shared future across all icy sea regions of the world: thawing ancient memories and the threat of disappearing entirely.

On Jäämatkailu, Olli Aarni presents his own expansive reworking of the same source material, heavily processed alongside his own field recordings from Vantaanjoki river and Suontee lake in Finland. “I was thinking about the processes of erosion, water carving rock, the prehistoric glaciers over the landscape in my own environment,” explains Aarni. The soundscape hums with both intimate details and macrocosmic flow, and a submersible bass rumble hinting at an iceberg far below the tip, morphing at time scales beyond human comprehension.

Side A is composed by Yoichi Kamimura using field recordings of drift ice (Shiretoko, Hokkaido, 2019–2022), the Lake Biwa Canal (Kyoto, 2020), the Therme Vals baths (Vals, 2017), spring water (a fountain next to Saint Benedict Chapel, 2017), a Christmas choir (Suomenlinna Church, Helsinki, 2021), ice in the Juutuanjoki River (Inari, 2021), and recordings from Yoichi’s and Olli’s concert (Temppeliaukion kirkko, Helsinki, 2021), KORG iPolysix, and KORG minilogue xd.

Side B is composed by Olli Aarni using the aforementioned sounds + field recordings of the river Vantaanjoki and the lake Suontee, sampled sounds, and a computer.

A year and a half has passed since Slovak-Hungarian artist Adela Mede self-released her debut album ‘Szabadság’. Its liner notes described it as “a navigation”, a search through “the personal, familial, cultural, folkloric and geographic of her past and present.” Her second album, ‘Ne Lépj a Virágra’ no longer searches; here, she puts down roots and delves deeper into the earthy reality of her home, Central Europe. Mede sings in three languages with newfound conviction and grace – this is an album of profound faith and confidence in the potential of this fertile soil.

Composed and recorded during the last 18 months in Bratislava, Slovakia – a city where three countries meet, where the East and the West collide – 'Ne Lépj a Virárga' translates to “don't step on the flower”. Its themes – budding potential, recognizing the beauty in the ordinary, solidarity, turning despair into hope – emerged through Mede's wholehearted involvement with her community, teaching singing to both children and adults, and various grassroots volunteering initiatives. It features collaborations with local artists, Mede's singing students, as well as fellow Eastern European contemporary artists Martyna Basta and Wojciech Rusin.

Adela Mede embellishes carefully crafted songs with minimalist and folklore influences, but also embraces more experimental approaches. The result is a collection of quite varied yet consistent pieces which highlight Mede's proficiency as a singer, arranger, producer and improviser. It is a grounded, confident next step for the Bratislava-based artist. Whether her vocals are naked, heavily processed, warped and reversed, or looped and layered; whether the production is sparse and minimalist or overwhelming and swampy; none of that changes the fact that the gentle tentativeness of her debut is gone. This is “Central European music”, at its most striking and meaningful: patient, determined, embracing both complexity and possibility.

Allowing yourself to find meaning or beauty in the mundane is an act of generosity, Whether it’s seeing a smiling face in an electrical outlet socket, or discerning cosmic design amidst the forest floor detritus, it comes from a place of kindness to yourself and senses – and openness to hidden spirit of the world. These tracks came together during a period of intense personal change for adaa, rooted in a fruitful reflection on the connections between spirit and body, “feeling my flesh so I can feel and understand my spirit,” as adaa puts it. The sense of a crossover and clash of multiple connected realities – on-screens, on-line, on-earth, off-world, after-life – unites adaa’s multifaceted productions.

Ostensibly an assemblage of found sounds. scribbled thoughts and poems from diaries, and musial snippets, the album's scattered production reflects adaa’s own many mirror worlds. Field recording sit behind most tracks, alongside VST synths, guitars, and a variety of voices, from adaa’s own mangled vox to EVP samples taken from YouTube (recorded sounds believed to be spirits or paranormal activity), all processed to varying degrees.

While the music was mostly produced either in adaa’s studio in Providence, Rhode Island, or in bed, the field recordings bring the outside world in. The result of walks in the woods, hum of roads and highways, hiss of beaches, warmth of walks with friends and past lovers “around the East Coast”. It sits behind tracks like ‘sight’ where a lilting piano lin bobs atop a pond of rustling and distant whistles. Is that birdsong? Or ghosts? Saccharine hyperpop arpeggiation crossfades sharply into noise guitar squall. Angelic demon voices yawn into a hefty crescendo. Pure drones duet with gales of undefinable field sounds.

“Sometimes I feel like a seed in frosted soil,” says adaa. “If i choose to be optimistic.”

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.

Inspired by witnessing the broken tension and renewed possibilities of a laptop breaking down at a gig – not to mention the void left behind by the sudden end of a relationship – Pentu’s latest release is a jump-cut menagerie of musical moments. Sewn together into ‘And I Saw My Devil And I Saw My Deep Blue Sea’, these fifteen tracks continue the London-based producer’s active departure from the soundscapes and song structures that dominated their previous writing style. These disparate pieces slice themselves off into sudden silence, or veer into unpredictable sidebars, hopping from hyperactive instrumentals to beautifully deconstructed YouTube samples. Described by Pentu as “emotionally intuitive to write”, this is music by and for the endlessly scrolling modern mind – “navigating the world alongside the splintered, interruptive emotional hyper realities of social media.”

The sudden silences, drones, and interruptions are perhaps less surprising than the guitar-based textures of metal & shoegaze woven into several vital passages by Pentu. The result is a collage that encapsulates the erratic feeling, not only of a relationship’s end, but simply of navigating online mediascapes.”I found myself realising that my phone, the constant interrupter of nothingness and silence, was both a cause of depression (reliving memories, dating apps) and a relief from it (creating new friendships, distractions, also dating apps)”, says Pentu.

Pentu’s attempt to overcome content overload by actively curbing his setup of laptop-guitar--synth does little to reduce the scope of this album’s sonic palette. YouTube vlog samples (from videos with next-to-no views) are an attempt to recontextualise and dramatise material that “would have otherwise been throwaway moments lost in the internet”, adding staccato moments of reality to Pentu’s beautiful and jarring album-length paean to overstimulation.

After the success of Soda Stereo’s three albums and their impressive Signos tour, the band released their first live album,
Ruido Blanco - En Vivo. This live album was recorded in Argentina, Chile, Peru, Venezuela and Mexico.

This shows how the band's already has a substantial fanbase across Latin America after just three studio albums.

The album features some of their biggest early hits, such as "Prófugos", "Persiana Americana", and "Signos",
and these live recordings give the songs really an extra kick.

Ruido Blanco - En Vivo is one of the most iconic live albums in Latin rock history, celebrating Soda Stereo’s status as pioneers of the Rock en Español movement and their enduring legacy.

Smoove pulls out two classic Hip Hop joints from 1987 & 1990 and gives them a fresh reworking utilising original multitrack parts while adding new samples and blunted head snapping beats.

Paid In Pounds - lovingly recreated with additional parts , slapping bass, 80,s synth pads and vocal cut and paste snippets aplenty

Ghetto - Using multitrack elements from the original 1973 score, Smoove flips the beat and strips back the track to its groove while showing off production techniques

RAWAX proudly presents BANDULU 's outstanding longplayer called Repercussions.
Originally released on Foundation Sound Works in 1996!

RAWAX presents Dope Dog (Orlando Voorn) - Keep House Unda'Ground formerly released on legenday Touché in 1996!
We have the honor to re-release this great release 30 years later on vinyl early 2026 with re-mastered tracks!

Jaco Pastorius was widely acknowledged for his skills as an electric bass player. This self-titled album was Pastorius' solo debut and was originally released in 1976. Featuring H. Hancock, W. Shorter, Sam & Dave, D. Sanborn & M. Brecker a.o.

Kolosso, a sacrilegious mix of 808, Tap, Drill, and Bastard Jazz.
Founded in 2023 under the guidance of multi-instrumentalist and producer Davide "Kidd" Angelica (who has previously worked with Inoki,
Deda, Voodoo Sound Club, and others), the group brings together some of the most visionary musicians in Bologna's underground scene.
Their music explores the chaos of contemporary life, intertwining urban sounds and jazz languages in a continuous exploration of new sonic
perspectives and narrative horizons. The result is powerful and powerful live performances, complemented by rich, layered, and meticulously
crafted album productions.
OVER is the conclusion of Phase 1 of the Kolosso project: extensive underground work, in the studio and on stage, seeking a point of collision
between jazz and urban sounds, trap, drill, and grime. Worlds seemingly distant but united by a common drive: to transform the chaos of the
present into language.
OVER is an attempt to go beyond: beyond the patterns of composition, beyond the rules of production. A huge sonic puzzle constructed with
patience, instinct, and perseverance.
OVER is the raw power of a musical collective condensed into an album. A tamed energy, yes, but still radioactive, like uranium: unstable,
dense, alive.
Featuring: DJ Craim, Awon, Lauryyn, Pasquale Mirra
CREDITS
Davide Angelica: compositions, guitar, samples
Salvatore Lauriola: bass
Giuseppe Allotta: drums
Gioacchino Allotta: keyboards, synth
Gabriele Polimeni: trumpet
Federico Califano: alto sax
Matteo Diego Scarcella: tenor sax, flute
Jacopo Trapani: compositions, recordings, mixing
Francesco Brini: mastering

Threewave is the complete synth trilogy from 36 and it unites three releases into a single, evolving statement shaped over five years. Spanning the Wave Variations, Symmetry Systems and Reality Engine releases, the project is rooted in self-imposed limitations and a carefully refined melodic palette that gave rise to a suite of interconnected transmissions. Minimalist sketches give way to warm, AI-era-inspired nostalgia, but always grounded by a distinctly human sensibility. Melancholic keys and glowing atmospheres balance precision with emotion before expanding into themes of perception, artificial intelligence and imagined realities. Together, these works make for a defining chapter in 36's partnership with the legendary Past Inside the Present.

Mess Esque are a duo featuring music and instruments by Mick Turner
and words and voice by Helen Franzmann. Their self-titled album is a
beguiling travelogue of restless, somnambulant wanderings.
Perhaps best known as one of the Dirty Three, Mick’s been playing
guitar and making music with many collaborators for forty years. He’s
loved his paintings too but revered especially for his solo music - since
1997, Drag City have released four of his albums, plus an EP and an
album of the Tren Brothers (Mick with percussionist and fellow Dirty
Three-ite, Jim White) and two EPs featuring Mick as the Marquis de Tren
with Bonnie ‘Prince’ Billy.
Mick’s last record was 2013’s ‘Don’t Tell the Driver’, a work that found
him departing from his traditional hermetic instrumental template by
employing a rhythm section and brass charts and even collaborating with
a vocalist. After all the purely instrumental music he’s made with Dirty
Three and solo, a singer is now part of the sound he’s hearing in his
head these days; while demoing new material, he realized that he was
again writing music that needed lyrics - and for that matter, someone
other than himself to sing them. But who? In 2019, he was introduced to
Helen through a mutual friend who’d produced her last album. Under the
name Mckisko, Helen has released three albums over the past 12 years,
working and touring with a range of Australian musicians along the way.
Her music has been described as numinous and transformative. Her
most recent album, ‘Southerly’, saw her moving into a more expansive
sound which led to an openness and excitement around further
collaboration.
Helen’s words are carefully observed, her phrasing responding intuitively
to Mick’s looping guitar figures with vocal repetitions of her own. Starting
with a feeling or a voicing, there are often no words - both players are
searching on their own paths. Then suddenly they have arrived and are
passing the emerging meaning back and forth, the rising intensity
forming a kind of undertow that pulls the listener deeper into their world.
Often, Helen would record her vocals in the middle of the night, seeking
that 2am flow, a moment of greatest isolation through which to trace her
melodie with fragility and strength. This crystallizes Mess Esque’s
intention: riding the sleepy drift through the blurred edges of the day…
time-traveling to that moment beyond stasis where sense and no sense
coincide and share space and time and energy. Viewing from afar the
immense peace of this planet when its ghost world of spirits below - the
madness of crowds, people sliding past each other faraway in the night -
are quieted at last.

"Chuck Roth’s music wanders. The New York-based guitarist’s inquisitive style builds from rippling patterns that center the physicality of his instrument, roaming wherever they take him. watergh0st songs, his Palilalia debut, collects songs from the past half-decade, presenting an intimate snapshot of his music that draws from an eclectic background in classical guitar, electronic music, and improvisation." "The mark of watergh0st songs is its exploratory nature. Roth began his musical journey as a classical guitarist studying the canon works for the instrument, but he was never interested in playing fast or flashy. Instead, he wanted to roam down musical paths and see where they led him. He eventually became more interested in electronic music, where he found inspiration in subtractive properties and patterning. The music of watergh0st songs translates that electronic music to the guitar: many of the songs began as synth tones and later branched out through the physicality of his instrument." "When writing music, Roth wants melodies to feel comfortable in the body, focused less on setting a structure and more on letting music unfold how it happens in any given moment. His songs are fluid and his melodies are clear, plucked with careful attention but never too deterministically. His is the music of a traveler, floating around the strings of the guitar. It is about embracing the banal, or the everyday moments that shape a life." "Though Roth’s music often feels quite direct, there is a dreaminess that lives inside of it. His lyrics don’t feel too hot or cold, instead they have a wistfulness and melancholy of what it feels like to live through every passing day. His exploratory style bolsters these lyrics, giving the music its sense of ennui, as does his focus on texture. Each track takes on a different structure: 'Bunny Hop' unfolds like a squirrel jumping from branch to branch of a tree, while 'Private Boy' has a slower approach, growing from delayed harmonics that almost sound like bowed strings. His textures range from metallic and bristling to soft and feathery, evolving with gentleness. It is about ending up somewhere different than where it started, and watching the notes that fall in-between." The embrace of the routine colors Roth’s music. In it, there is a sense of presence, of admiring the smallest details and moments. Roth loves to take walks and look around, observing the beauty of his surroundings. Similarly, watergh0st songs feels like moving through the world at the pace of a comfortable trot and soaking in every sound as it emerges. It is a quiet evolution—but one that stays."—Vanessa Ague

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.

The Sugarhill Gang is an American hip hop trio, worldwide known for their massive 1979 hit "Rapper's Delight", which was the first rap single to become a Top 40 hit on the Billboard Hot 100. The track was the first exposure to Hip-Hop for millions of people.
The Sugarhill Gang were also among the very first rap acts to record a full-length LP.
Sugarhill Gang includes the original 7-inch version of "Rapper's Delight" as a bonus track. The album is available as a limited edition of 1000 individually numbered copies on clear & blue marbled coloured vinyl, housed in a gatefold sleeve.

Crystal Tides’ long-awaited debut album Toothpaste is the sound of a band truly coming into their own. Written and recorded completely independently, the record embodies the spirit of resilience, creativity, and raw honesty that has carried the Portsmouth outfit through their journey so far. “We wanted the focus of this album to showcase our independence as a band. We felt it important, given our journey thus far, that it come from us in as raw form as possible.” The seeds of Toothpaste were planted back in 2022 with rough voice notes on lead singer Billy’s phone, evolving into a collection of songs that capture both the band’s infectious energy and their most personal reflections to date. From collaborative writing sessions in the practice room to late-night home demos, every track carries the DNA of Crystal Tides’ unity and determination. Working with long-time collaborator and producer David Evans, the result is a bold, heartfelt body of work that celebrates their independence while delivering polished, stadium-ready anthems. The album takes its name from one of its most intimate tracks. Toothpaste was born out of Billy’s battle with Ulcerative Colitis, which led to life-changing surgery. A passing joke about naming the album after the song became a moment of clarity. It's unusual, striking title felt like the only choice, a symbol of the band’s authenticity and ability to find meaning even in the unexpected.

'Flowers', the new EP from Elizabeth Davis, finds itself at the cross-section of many factors. In part, it’s the result of Davis’ obsession with a seminal folk song. But it also coincides with her rediscovery of the voice and language as an instrument. It was recorded during an autumn residency at Sternhagen Gut, the cultural refuge run by Gudrun Gut and Thomas Fehlmann, located deep in the Uckermark countryside halfway between Berlin and the Baltic coast.

The six tracks on 'Flowers' all take Pete Seeger’s ‘60s protest-folk song 'Where Have All The Flowers Gone' as their starting point. However, they veer off in different directions, from vocal loops and deconstructed lyrics, to instrumental drones and glitchy, manipulated rhythm tracks. Like many musicians, Davis has learnt composition by a process of disassembly, analyzing musical works piece by piece, and 'Flowers' began as one such forensic exercise. “But sometimes,” says Davis, “a source is so loaded up on meaning that the studies and experiments can become worthwhile and meaningful works in their own right.” 'Flowers' began to take on a life of its own, raising renewed questions about age-old themes such as war, authorship, translation and historical structures.

Davis is no stranger to cover versions. From studying violin to playing in free jazz and punk bands, interpreting other artists’ works has long been a key part of her musical approach. And since her radio show 'Deep Puddle' recently drew to a close after seven years, her experiments with narration and sound collage have found their way into her musical work once again. For 'Flowers', she cut up the source material (with a nod to Gysin and Burroughs), and reassembled the lyrics, the musical notes, and recordings by different performers, to create uncanny new forms.

But perhaps the biggest influence on 'Flowers' was conversations about music, art and pop subcultures with Gut. These dialogues helped Davis find a balance between far-out sound design experiments and catchy melodies, combining a certain avant-garde element and modern day songcraft. And it’s this sense of conversation, this revisiting of topics and renewal of ideas, that will keep us coming back to 'Flowers' long into the future.

Conjuring a faithful following, quite rare in these days of ADHD, by sheer force of their celebratory and fiery live shows, Montijo's most celebrated outfit reflects these past couple years of camaraderie and life on the road on their debut album, after a self-released EP and a 4 way split on Zegema Beach Records. Sublimating all the inherent potential of post-hardcore at its most sweeping into a forceful and focused delivery, 'Acetate' captures all their urgency through 13 memorable and sharpened tracks. Recorded patiently and mastered by the gifted know how of Jack Shirley - Deafheaven, Joyce Manor or Gouge Away -, the songs on 'Acetate' open sprawling vistas upon the band's recognizable sound between chaos and order, cutting back on everything that might be redundant or overly technical. Alex Domingos' vocals reach new means of expressiveness through harrowing screams and hints of melody, João Pires' sinewy guitar pulling out riffs and skewed lines that echo for posterity and the rhythmic section of Simão Simões - bass - and João Portalegre - drums - driving all this turmoil with kinetic precision and flexibility. Never before did Hetta sound as relentless, chill and melodic, tracking down life at its own pulse.

David Zé - Mutudi Ua Ufolo / Viúva da Liberdade is a major milestone in Angolan music, intensely blendingsemba, rumba, and bolero, recordedat the height of the country"s liberation struggle. Both soulful and political, the album resonates far beyond Luanda, carrying a universal spirit akin to that of Bob Marley. Originally released on CDA with Conjunto Merengue, it captures David Zé at his creative peak. Sung in Portuguese and local dialects, it combines rhythmic elegance with deep commitment, weaving links between Afro-Brazilian and Latin American traditions. After his assassination in 1977, the album was banned for several years, before being reborn as an essential work of resistance and beauty. In 2008, his legacy found a new echo when Damian Marley and Nas sampled "Undenge Uami" on Distant Relatives.