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Havukruunu's KUU ERKYLÄN YLLÄ reissued in April Svart Records continue to reissue the albums of Havukruunu, bringing their highly sought after 2021 EP KUU ERKYLÄN YLLÄ back on the market in April 2026. Statement from the band: "There has been a lot of rumors and mystery surrounding the album cover art for Kuu Erkylän Yllä EP. Why was the album cover art different on the cassette version and the Vinyl/CD version at the time of release? The most well-known theory is probably that the original cover art was destroyed with an axe, which is why "the blue cover" ended up only on the cassette release and the damaged artwork could no longer be transferred to the CD/Vinyl versions. We completely deny this rumor: "the blue cover" was not destroyed with an axe, but was run over by a car, and we also confirm that "the blue cover" was not even the original cover art. The original cover art has now been found from the archives and the reissue published by Svart has now been made for the first time ever with the cover art that the release was originally intended to have." The Quorthonian homemade assault Kuu Erkylän Yllä contains Havukruunu‘s earliest and, at the time on recording, latest compositions combined, reworked and finished finally to do justice for the original vision of the band. Journey to the pitch-black star-night of Erkylä, where the Night Tower stands ever vigilant under the sign….. Presented for the first time with the original, previously unused album art by Heidi Kosenius, Kuu Erkylän Yllä is available now on new limited vinyl colours and housed in a gatefold sleeve. Kuu Erkylän Yllä was performed during first four full moons of MMXXI by Stefa - Voice, Guitars, Synth Bootleg-Henkka – Guitars Sinisalo - Electric Bass Guitar Kostajainen - 125 INTERCITY EXPRESS

Havukruunu's KUU ERKYLÄN YLLÄ reissued in April Svart Records continue to reissue the albums of Havukruunu, bringing their highly sought after 2021 EP KUU ERKYLÄN YLLÄ back on the market in April 2026. Statement from the band: "There has been a lot of rumors and mystery surrounding the album cover art for Kuu Erkylän Yllä EP. Why was the album cover art different on the cassette version and the Vinyl/CD version at the time of release? The most well-known theory is probably that the original cover art was destroyed with an axe, which is why "the blue cover" ended up only on the cassette release and the damaged artwork could no longer be transferred to the CD/Vinyl versions. We completely deny this rumor: "the blue cover" was not destroyed with an axe, but was run over by a car, and we also confirm that "the blue cover" was not even the original cover art. The original cover art has now been found from the archives and the reissue published by Svart has now been made for the first time ever with the cover art that the release was originally intended to have." The Quorthonian homemade assault Kuu Erkylän Yllä contains Havukruunu‘s earliest and, at the time on recording, latest compositions combined, reworked and finished finally to do justice for the original vision of the band. Journey to the pitch-black star-night of Erkylä, where the Night Tower stands ever vigilant under the sign….. Presented for the first time with the original, previously unused album art by Heidi Kosenius, Kuu Erkylän Yllä is available now on new limited vinyl colours and housed in a gatefold sleeve. Kuu Erkylän Yllä was performed during first four full moons of MMXXI by Stefa - Voice, Guitars, Synth Bootleg-Henkka – Guitars Sinisalo - Electric Bass Guitar Kostajainen - 125 INTERCITY EXPRESS

Venturing into “a limbo world between medieval tropes and modern-day decay”, New Orleans musician Urq (half of art punk duo Spllit) returns with a new solo offering. Recorded over a single, intense month, This Dismal Village is a homespun document that sits somewhere between jittery punk, dreary psychedelia, and hooky bedroom pop. Recorded to 4-track, the record embraces limitation as a creative engine, resulting in a sound that is raw, unsettled, and deeply atmospheric.

The album is set not in a fixed point in time or geography, but a liminal environment where dystopic visions and archaic fixtures exist side by side. In the dismal village, kings and witches share space with televisions, skyscrapers, and modern enterprise; organ fanfares echo down streets populated by disgruntled townsfolk and whispered gossip. It is simultaneously the dark ages, 1950s suburbia, and a 21st-century metropolis. Embracing anachronism was central to the project’s identity, an attempt to collapse history into a single, uneasy present.

Sonically and philosophically, the album sits firmly in the tradition of rough and raw cassette rock. Guided By Voices’ Bee Thousand looms large as an influence, particularly its ability to build an entire world through unpolished, first-take recordings. Robert Pollard’s idea of the “four P’s” (psych, punk, prog, and pop) serves as a neat summary of the artist’s musical instincts and each element can be traced right through the heart of This Dismal Village. Further inspiration comes from post-punk’s so-called “Calgary Sound,” a loose movement blending psych pop, post-punk, and math/prog elements with a home-recorded, unpretentious ethos.

The result is an album that unrolls like a place wandered through, uneasy, occasionally familiar, and impossible to pin down in time. All captured on tape before it could disappear like an apparition, like a dream only half-remembered.

'At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler.
'In 1968, the saxophonist and flutist recorded his first album under his own name: It’s Not Up To Us. The following year he came to Paris in the wake of… Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again. On Palm Records (Gilson’s label), he would release four albums: Us, Mother Africa, Exactement and Funny Funky Rib Crib.

'Us, the first of the four records was recorded on November 24th, 1973 with Sylvin Marc on electric bass (a Fender… Lancaster?) and the evergreen Steve McCall on drums.
'On the album, the trio works from the John Coltrane model; free jazz shook up by the timely contributions of the bassist, followed by a mesmerizing atmospheric music. Then, Lancaster delivers a sinuous solo path, which is a reminder of his unique tone. On the album’s companion single, the trio launches into great black music of a different genre which would lead the clairvoyant François Tusques to claim that Byard Lancaster is an “authentic representative of soul/free jazz”, to sum up this is Great Black Music!'

Roy Porter Sound Machine's 1975 follow-up to their 1971 debut, Inner Feelings, drifted deeper into Blaxploitation-era grooves by layering flanged guitars, jazzy horns, undulating basslines and electric piano licks with plenty of the flair that defined their standout debut album, Jessica. Standout track 'Panama' gets its first 7" outing here via a Muro re-edit alongside the original vocal version. The instrumental has busy keys and punchy drums, while the vocal adds bustling character and playful conversation, bringing a lively narrative to the tight funk framework. A seamless bridge between jazz sophistication and cinematic soul that shows off Porter's adventurous spirit and groove mastery.

2026 Repress!

Doc Scott was on the decks. It was at Tribal Gathering (I think), 1996, standing in front of a wall of speakers to one side of the stage,
enjoying myself, like you do, when this sound started growing inside my brain. My head was then ripped clean off my shoulders!
Words are still hard to find! It was the first time I ever heard Shadow Boxing and its the only thing I still remember from that night. Om
Unit's 2014 Remix is paired with the 1996 original. DJ support from: Fabio, Mark Pritchard, Friction, Surgeon, Toddla T, Laurent
Garnier, Pinch, Zinc, Baliey, Rob Both, Billy Nasty, Krust & John B.

RAPRAVE is an exciting collective born out of New York City, specialising in creating music teetering on the cusp of hip-hop and dance music. Consistently great releases like 'Heaven Plus', which is the ninth on the label, perfectly showcase how successful they are at executing this vision. The two tracker, headed by Dallas export Stonie Blue, is a fine display in a mixture of Chicago House, deep house and hip-hop, akin to a Galcher Lustwerk, or from the other side of the pond, Isaac Carter. On 'HEAVEN', smooth, sexy chords and choppy percussion prop up Blue's lyrics: "I found heaven, Heaven in the club". Then, as if in an attempt to make a club ready two-tracker even more club ready, Blue recruits London-based producer tom huna to inject some 2-step flavour into the B-side with 'FWM (S+H MIX)'. On this track, glitchy drum workouts and slick electric piano stabs meld with sensual vocals to create an intimate, late night banger.

HolyBrune begeistert mit ihrer sanften Stimme und eingängigen Toplines. Als Singer-Songwriterin und Komponistin erlangte sie erstmals Aufmerksamkeit an der Seite von Dabeull mit dem goldzertifizierten Hit „You & I“. Mit „Visions“ liefert sie eine intergalaktische Ode an die Liebe, die kosmische Romantik und Retro-Futurismus miteinander verbindet. Verspielt und luftig vereint der Track Vocoder, Talkbox, groovigen Bass und kitschige Synthesizer – eine lebendige Hommage an die 80er-Jahre und The Rah Band.

"exquisitely produced and expertly rendered"." Pitchfork "startlingly accomplished and nuanced performance" The Quietus "the delicious irony of her lyrics remains intact, as does the freshness of the music" The North Devon Gazette "She's often described as a storyteller, and in interviews, she's spoken about wanting to win a Grammy or an Oscar," Resident Advisor VINYL COLOUR IS TRANSPARENT. For the first time ever, Frozen, by the Clovelly spawned artist Klein, will be available on real vinyl. 'Frozen' was previously released in two different versions: a two-cassette edition entitled Frozen: The Motion Picture Music Soundtrack that featured all the tracks from the film, and Frozen: Music from the Motion Picture, a bandcamp edition contained a selection of highlights from the soundtrack. The album was an international top 10 success, reaching #2 in the US and #1 in the UK, and contains three hit singles; "U got this" (#18 in the US and #10 in the UK), "grit" (#8 in the US, #3 in the UK, and #1 in France) and "tribute" (#7 in the UK). "mark", specially composed for the film Frozen, won both the Oscar and the Golden Globe for Best Original Song. Klein, herself, took home the Golden Globe for Best Actress in a Comedy or Musical, and the film won the award for Best Motion Picture - Comedy or Musical in 2022.

A dynamic DJ and producer, the Galway-born, Berlin-based artist is driven by mood not genre, gleefully scribbling outside the lines to craft rhythmic, high-vibration dancefloor cuts that make them a delicious match for the Chunkers. Just reference their pin-sharp releases on Radiant, Punctuality, Planet Euphorique and their own World of Worlds imprint. While anyone who’s caught their throwdowns at Draaimolen’s legendary forest stage, Horst Festival or London’s infamous queer party Club Are already knows what’s up.

Their contribution to the BSC catalogue is bang on. Lead cut ‘Track Like’ is a straight-up Chunker. Beginning life as an instrumental, it’s a pumping house cut marked by a grooving bassline, tight drums and a contained ravey energy, before Eoin DJ added that vocal that took the production into peak-time party territory.

A producer who requires no introduction – Jennifer Loveless join the Chunkers fold with a full-bodied remix of ‘Track Like’. Lock in for a funky maximal re-rub with the attitude turned up to 11. Back in Eoin DJ’s corner, the crisp ‘n’ punchy ‘Pure U’ is driven by fat kick drums, euphoric chords and a chunky rolling bassline. Exquisite stuff. A tight Dub version is included in the pack. The EP rounds out with the perky ‘Feel Deeper’, which channels ‘90s New York house and circuit sounds and is built around a hooky vocal line and rhythmic drums.

Eoin DJ follows BELLA, Eliza Rose, Papa Nugs, Paperkraft and remixes Peach and CARISTA in joining the Big Saldo’s Chunkers family as Sally C delights in growing the label via a carefully curated roster of artists.

“I loved the label already, so I was super stoked when Sally asked me to do a release. Chunkers is always

so on-point and consistent with its output. All of the releases are certified party starters – fat basslines, catchy vocals, full of energy and tuned to perfection to hit on the soundsystem. I used that as a jumping off point when making the EP. You could say it’s Chunkers – Eoin DJ style.” – Eoin DJ

“I was hooked on Eoin’s sound since they released ‘Ode to Beachball’ in 2024 on Punctuality Records. I love their ability to weave emotion and groove so seamlessly. It’s been a pleasure working on this EP – I’ve been endlessly rinsing all of the tracks. Such a great producer!” – Sally C

Kēpa is built whole, even if life has broken a few bones along the way.

Back when he was a pro skater, he gave everything to the board. Today, he gives that same intensity to the stage, delivering hypnotic cine-concerts where motion, sound, and image blur into one. The only falls left now are the ringing final chords of his guitar — not just an instrument, but an extension of his body.

Fingerpicking is his native tongue. So much so that Kēpa no longer sings — he lets the strings speak. Percussive, alive, essential. This music isn’t about performance, it’s about living: a personal quest, a way to reach others by first going inward. Moving against the current without fighting the wind. Finding breath, essence, and remembering we’re all drifting on a spinning planet, surrounded by forces bigger than us.

It’s easier to look away. Easier to follow noise, fear, or false prophets. Harder — and braver — to truly connect.

Released in late 2025, Hotline Service opened the door, offering a wide-open, spiritual escape. With SOUL WASH SERVICES— produced by Timber Timbre — Kēpa goes further. Warmer, deeper, more focused. The album feels like sunlight on asphalt, a long drive with the windows down, time slowing just enough to let something real surface.

A kindred spirit to Hermanos Gutiérrez, Kēpa plays the role of a modern, pagan preacher — guiding us through a dusty, golden road movie that unfolds entirely inside the listener. His music doesn’t shout; it cleans.

Kēpa does it all: writes, plays, films, edits, mixes. Music becomes image, image becomes music. Nothing is separate, on record or on stage. There’s no excess, no showboating — just an open invitation to slow down, go deeper, aim higher.

Tracks like Solarium and Paradisiac reach the peaks with minimal gear: five strings, a few picks, and total control of touch and space. Listening to Kēpa feels like checking in with yourself — a quiet inner trip shaped by sounds from every corner of the world. Blues, not to feel them, but to leave them behind.

After years devoted to picking, his playing has become something sacred.

And if you let it, it carries you with it.

Joe Fujinoki centered the compositions of his latest album Glass Torso round the idea of the fragility of the human body. Fujinoki described the narrative thread of the album as that of “holding the shape of a human body as if it might shatter like glass”. The precariousness of the body, the essence of the body as defined by Fujinoki as the torso, and the object relations between the boundaries of dialectical exercises pack themselves into his creative process.

Fujinoki recorded Glass Torso exclusively with analog synthesizers, stumbling in and out of structural loops to find space for accidental discoveries. The ten pieces of recorded material feel somewhere on the edge of typified form, feeling like a vascular system pumping in and out its undulating liquidities. Maybe this is the hollowed space held together by Fujinoki’s notion of the torso where you hear a microscopic world, dubby and generative. Fujinoki is adept at organizing this realm of subtle sound sources, giving proper considerations of shared tonal space. Seemingly, this handling of the precarity of sonic material elucidates Fujinoki’s mature attention to detail.

Ambient music genre tropes often affirm the listeners vessel for escape and dissociation. It provides an intoxicating allure by respite from an overwhelming exterior reality far outside the listeners controls. Here this space becomes apolitical, or its protest vocabulary softer and subtle. Fujinoki does not aim to tackle hyperobject topics on how to course correct the world, but he does something increasingly rarer to come across. On Glass Torso an alternative space is created not as shelter, but as a meditation on negotiation and compromise. This twenty eight minutes of audio lays down a foundation for imagination, for imagining how to negotiate the fragility of the self. Zoomed out, the implications of his negotiative sonics can be a playground for broader reflections on distributive care and attention.

Fujinoki says he feels “alert” to his physicality and placement in the world amidst vast digital cultures creating impositions on him and his surroundings. On Glass Torso he creates a concretized space on a vinyl record, where the virtual and the tangible antagonize one another that create the spectacle of the listening experience. This spectacle is a soft one, a considered one, and an utmost enjoyable one. Fujinoki juggles opposing forces brilliantly, and formulates an exquisite palette of soft passing music so he can also help the listener with the exquisite burden of their own Glass Torso.”

- Nick Klein, January 2026

Backwoodz Studioz is excited to announce the release of Crayola Circles, a collaboration between rapper Fatboi Sharif and producer Child Actor. While both artists have long standing connections to Backwoodz, this album marks their first collaboration of any kind and breaks new artistic ground for all parties.


Sharif’s previous album, Decay, released on Backwoodz in 2023, was a haunting experimental rap masterpiece, an acid trip in a mental hospital. On Crayola Circles Sharif trades menacing psychedelia for a simmering stew of blacklight expressionism, his verses slipping effortlessly through the swells and tides of Child Actor’s masterful production. No matter how uneasy the waves grow, Sharif is at ease, a truth teller whispering anti-riddles in your ear. This album feels like a new chamber for Child Actor, as well. The producer has been on an impressive run since dropping CINE- a collaboration with rapper Cavalier- on Backwoodz in late 2024. Child Actor has shown up in the liner notes of everyone from Navy Blue (The Sword & The Soaring) to Earl Sweatshirt (Live, Laugh, Love) to ELUCID (Revelator) to Open Mike Eagle (Neighborhood Gods Unlimited), to Ghais Guevara (A Quest to Self-Mythologize), amongst others. On Crayola Circles Child Actor’s production is dynamic, shifting and sliding into new phases and movements in an instant. The beats are full and knotty, leaning into jazz and folk, while remaining tethered to the tender minimalism that is his signature. It’s a difficult balance for any producer, and here it is executed perfectly, placing us in a world of wood and brass, cowhide and undersea piano. On any other record, this soundscape would steal the show — and it very nearly does — but Sharif’s command never wavers, ever in control; a lucid dreamer in an induced coma.
There are no guests, no skits, and no interludes. There might not even be songs, instead Crayola Circles seems akin to a great river; singular, traversing forest and jungle, mountain and valley, running from mouth to endless sea.

2026 Repress

Cut from the mega-mix these are five, long play, full length versions of tracks from the og megamix LP. Featuring two new and unreleased versions of the Robert Owens cut from the record. The Robert Owens accapella was discovered by R+L Productions and licensed officially from Mr. Owens. The other three tracks follow suit and are retouched new extended full length versions from the megamix. Sound samples soon. Housed in a full picture cover.

Latency presents Nexus, the new solo album by virtuoso Iranian percussionist Mohammad Reza Mortazavi, out October 4 on vinyl and digital. Covert art by Jordan Belson.

Mohammad Reza Mortazavi (b. 1979, Iran) is known for his groundbreaking work with the tombak and daf, traditional Persian drums that he has radically redefined through new playing techniques and extended vocabulary. Mortazavi began playing the tombak at the age of six. By nine, he had already outpaced his teacher and won Iran’s national tombak competition - a distinction he would earn six more times. By his early twenties, he was widely regarded as one of the foremost players of the instrument. Since then, his music has continued to evolve, embracing new forms and vocabularies beyond tradition.

Following his acclaimed 2019 release Ritme Jaavdanegi, Nexus marks Mortazavi’s return to Latency with a full-length album recorded entirely in Berlin. The record introduces new elements into his sound: voice, effects, and treatments never before used in his discography. These experiments serve not as departures but as further extensions of his ongoing exploration of rhythm, resonance, and transformation. The album opens with Zendegi (“Life”), a piece inspired by the chant “Woman, Life, Freedom.” Mortazavi broke down its underlying rhythm and used it to build a new compositional structure, offered as a gesture to his homeland and beyond. Nexus refers to a point of connection or intersection, a meeting place where different energies, times, and spaces converge and transform.

2025 European press. Originally pressed in limited copies on a Thai LP (2023) - Comes with download code.

‘Araya Lam’ marks the third album from The Paradise Bangkok Molam International Band. Following their releases ‘21st Century Molam’ and ‘Planet Lam’, the band delves even deeper into the roots of Isan music, collaborating with traditional musicians on vocals as well as instruments like the Pong-Lang, Pi, and Sor. Each element adds a fresh dimension to the band’s distinctive reinterpretation of Molam.

The album also sees the band expanding their sonic horizons — nodding to New York post-punk on ‘Zud Rang Ma’, and drawing inspiration from the musical traditions across the Indian Ocean on ‘Psych Lam Kor’.

By looking back to their roots while continuing to push boundaries, ‘Araya Lam’ represents the next chapter in the ever-evolving journey of The Paradise Bangkok Molam International Band.

Evighet proudly unveils its fifth release, EVIGHET005, featuring the Sky City EP by Dave N.A., the prolific producer from Yerevan known for his refined sound design and emotionally resonant compositions. With a catalog that spans labels such as Typeless Records and Uppers & Downers, his work continues to bridge precision and sensitivity, exploring the borders between rhythmic architecture and ambient introspection. On Sky City EP, Dave N.A. constructs an intricate sonic landscape where lush atmospheres coexist with fractured breaks and IDM-inspired rhythms. Rooted in the traditions of Jungle and Breakbeat yet unbound by genre, each piece reveals a narrative built from texture, movement and space. His music invites reflection while maintaining a dynamic forward energy, evoking the sense of motion through memory and dreamlike transitions. A central moment in the release is “Bloom”, which features a collaboration with Hayk Karoyi on flute. His performance adds an organic depth and melodic fluidity, weaving through electronic layers with warmth and clarity. The result is a delicate interplay between human breath and machine pulse, blurring the boundary between the natural and the synthetic. Sky City EP marks a new chapter for Evighet, reaffirming the label’s dedication to sound as a medium of exploration and storytelling. Through this release, Dave N.A. captures both emotional immediacy and compositional detail, expanding the label’s evolving narrative with a vision that feels deeply personal yet universally resonant.

Naya Beat is excited to announce 'PAWA!', a soaring disco-funk anthem celebrating feminism and the power (pawa) of togetherness. It is a mouthwatering collaboration between legendary jazz vocalist and disco pioneer Asha Puthli and NYC’s punk-chic, discodelic stars Say She She.

A fortuitous and fleeting window between touring schedules allowed Puthli and Say She She’s Nya Gazelle Brown, Sabrina Cunningham, and Piya Malik to write and record Pawa! with members of the cult funk band Orgone in the English countryside at Mike Oldfield’s (Tubular Bells) studio. Pawa! is a tribute to female fortitude and an anthemic call to action for unity and collective action. PAWA TO THE PEOPLE! Asha’s spoken word bursts into a soaring falsetto while Say She She’s celestial three-part harmonies make for a sublime call and response between the fabled mentor and her gifted disciples. Throw in a stellar bassline and one of tightest rhythm sections around, and you have an instant classic. And if that wasn’t enough, four remixes bring Pawa to the dancefloor! The UK’s legendary Crazy P deliver not one, but three future classics – an epic house take with a stomping bassline, a stripped-down vocal dub, and a sunshine-ready disco dub. Not to be outdone, Greece’s favourite dance duo Boys’ Shorts add magical disco touches and reimagine the original as an eight-minute balearic opus.

Featuring beautiful artwork and a premium poly-lined inner sleeve, the 12" has been cut to vinyl for the discerning DJ and listener by Grammy-nominated Frank Merritt from The Carvery, London.

2026 Repress

Baby Ford is back being reissued again and we couldn't be happier about it. Few have ever matched the matter levels he achieved when it comes to deep minimal and tech house fusions. This latest on his own Trelik takes the form of three classic cuts from two much sought-after EPs - Built In and All That Nothing. The title cut is a shimmering and sublime fusion of rubbing low ends and icy hi-hats. 'All That Nothing' then picks up the pace with more dub influences and swaying drums and 'Plaza' has a tech house edge that makes for more driving grooves.