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Rising heavyweights of the World Wide Web's underground global market join their efforts to present the third entry in the Foreign Mail twelve-inch compilation series.

Two techno stompers filling the grooves of side A composed by two personalities of the American subversive rave scene. Flip the record for a completely different vibe carefully crafted by Mr. Steele, DJ Sacred and Foreign Mail (the brand new collaborative project between Antonio Patillas and DJ Boyfriend).

Lemon Yellow Vinyl. Eine der umfangreichsten Instrumental-Hip-Hop-Reihen aller Zeiten, MF DOOMs gefeierte Special Herbs"-Serie versammelt eine riesige Sammlung seiner Beats, von exklusiven Tracks bis hin zu leicht überarbeiteten Favoriten, die er für sich selbst und andere produziert hat. Unter dem Pseudonym Metal Fingers veröffentlicht, gelingt es Special Herbs", DOOMs äußerst einflussreichen Sound einzufangen, der immer wieder die Regeln des Spiels zugunsten des Super-Bösewichts bricht und neu interpretiert. Super-Villain. Die Welt ist eine Fundgrube für Sounds, und der Metal-Fingered DOOM kennt keine Grenzen: 70er-Jahre- Soul-/Funk-Klassiker, 80er-Jahre-R&B-Hits, Rap-Nostalgie und sogar Soundbites aus Kinderplatten und dem Fernsehen finden ihren Platz in den Zutaten, die er für seine perfekten Rezepte benötigt.

Apple Red Vinyl. Eine der umfangreichsten Instrumental-Hip-Hop-Reihen aller Zeiten, MF DOOMs gefeierte Special Herbs"-Serie versammelt eine riesige Sammlung seiner Beats, von exklusiven Tracks bis hin zu leicht überarbeiteten Favoriten, die er für sich selbst und andere produziert hat. Unter dem Pseudonym Metal Fingers veröffentlicht, gelingt es Special Herbs", DOOMs äußerst einflussreichen Sound einzufangen, der immer wieder die Regeln des Spiels zugunsten des Super-Bösewichts bricht und neu interpretiert. Super-Villain. Die Welt ist eine Fundgrube für Sounds, und der Metal-Fingered DOOM kennt keine Grenzen: 70er-Jahre- Soul-/Funk-Klassiker, 80er-Jahre-R&B-Hits, Rap-Nostalgie und sogar Soundbites aus Kinderplatten und dem Fernsehen finden ihren Platz in den Zutaten, die er für seine perfekten Rezepte benötigt.

Sky Blue Vinyl. Eine der umfangreichsten Instrumental-Hip-Hop-Reihen aller Zeiten, MF DOOMs gefeierte Special Herbs"-Serie versammelt eine riesige Sammlung seiner Beats, von exklusiven Tracks bis hin zu leicht überarbeiteten Favoriten, die er für sich selbst und andere produziert hat. Unter dem Pseudonym Metal Fingers veröffentlicht, gelingt es Special Herbs", DOOMs äußerst einflussreichen Sound einzufangen, der immer wieder die Regeln des Spiels zugunsten des Super-Bösewichts bricht und neu interpretiert. Super-Villain. Die Welt ist eine Fundgrube für Sounds, und der Metal-Fingered DOOM kennt keine Grenzen: 70er-Jahre- Soul-/Funk-Klassiker, 80er-Jahre-R&B-Hits, Rap-Nostalgie und sogar Soundbites aus Kinderplatten und dem Fernsehen finden ihren Platz in den Zutaten, die er für seine perfekten Rezepte benötigt.

Evergreen Vinyl. Eine der umfangreichsten Instrumental-Hip-Hop-Reihen aller Zeiten, MF DOOMs gefeierte Special Herbs"-Serie versammelt eine riesige Sammlung seiner Beats, von exklusiven Tracks bis hin zu leicht überarbeiteten Favoriten, die er für sich selbst und andere produziert hat. Unter dem Pseudonym Metal Fingers veröffentlicht, gelingt es Special Herbs", DOOMs äußerst einflussreichen Sound einzufangen, der immer wieder die Regeln des Spiels zugunsten des Super-Bösewichts bricht und neu interpretiert. Super-Villain. Die Welt ist eine Fundgrube für Sounds, und der Metal-Fingered DOOM kennt keine Grenzen: 70er-Jahre- Soul-/Funk-Klassiker, 80er-Jahre-R&B-Hits, Rap-Nostalgie und sogar Soundbites aus Kinderplatten und dem Fernsehen finden ihren Platz in den Zutaten, die er für seine perfekten Rezepte benötigt.

The North Irish progressive rock band Fruupp released their third album The Prince of Heaven's Eyes in 1974. Fruupp produced the concept album themselves. It is a beautifully presented, well-balanced and stunningly original story. Inspired by the Genesis sound they created an melodic and structured piece of music, combining rock with folk and classical influences. The album centered around the impressive keyboard work by Stephen Houston. Their own unique characteristics are presented by combining all the elements in their complete sound.

Fruupp was assembled by guitarist Vincent McCusker in 1971. During their five year existence they recorded four progressive rock albums.

"ADRIAN YOUNGE PRESENTS SOMETHING ABOUT APRIL II" is the debut album showcasing the soul-stirring voice that has graced some of Younge's most iconic projects. From "Something About April" to "The Midnight Hour", Oden's vocals have captivated audiences worldwide. Oden strives to vibrate frequencies relatable to lovers from all walks of life: a forgotten tenet derivative of `70s soul. Recorded and mixed by Adrian Younge at Linear Labs, the preeminent analog studio of Los Angeles, CA.

Acclaimed British artist Leon Vynehall presents is highly anticipated third album, In Daytona Yellow, via Ooze INC. Marking the next stage in the Ivor Novello-nominated producer and DJ’s evolving sound, In Daytona Yellow showcases Vynehall’s experimentations with fringe electronics, pop, and R&B, and his growing confidence through collaboration and live vocals. Across 10 hypnotically off-kilter tracks, we hear Vynehall at his most deft and diaristic.

Over the past 13 years, Vynehall has built a formidable reputation through his genre-defying artistry. From his early days as a leftfield house producer releasing on labels like Aus Music, Running Back, 3024, and Rush Hour, to his critically acclaimed debut album Nothing Is Still (2018) and the boundary-pushing Rare, Forever (2021), he has continually redefined his creative limits. While Rare, Forever was a bold step away from dance music—melding post-punk textures with experimental electronics—In Daytona Yellow pushes these experiments into a more traditional songwriting framework, inspired by both contemporary and 80s avant-pop.

In Daytona Yellow is set to be a career-defining release, cementing Leon Vynehall as one of electronic music’s most innovative and thought-provoking artists, part of a vanguard expanding the ambition of electronic music.

frozen reeds presents Mark Fell’s ‘Psychic Resynthesis’, an instrumental work performed by Explore Ensemble. This double LP is the label’s 8th release, arriving 13 years after its foundation.

Fell is a multidisciplinary artist, composer, and theorist based in Rotherham, UK. Renowned for his rigorous and conceptual approach to electronic music and sound art, his work explores the limits of structure, rhythm, and perception through a blend of computational systems, philosophical inquiry, and cultural critique.

Over the last decade, Fell’s practice has visibly shifted from a world of technical intricacy and myopic microdetail to one of collaboration and community. He has purposefully sought out diverse musical partners from a wide variety of traditions and disciplines and found equally diverse ways to work and create together – not to integrate their playing into a musical fusion, but rather to discover how such combinations of approaches and experience can stimulate unique and heretofore unheard results.

The music here emerges from a commission for contemporary chamber group Explore Ensemble, situating Fell’s work in a new context entirely. Having been a notable critic of classical music’s slavish adherence to traditional musical notation, “the score”, and its associated issues of control and hierarchy, one might expect a provocative or abrasive approach. Instead, a work of deep, tonal introspection unfolds - an elegant structure navigating the artist’s antipathy for linear or timeline-based musical approaches.

In Fell’s selection of timbres and events, the dynamic of composer and performer is interrupted by his twin adoption of system and flexibility. Mathematical determination and sonic fixation vie for dominance. The conflict governing combinations. Upsetting preconceived strategies.

Published in an edition of 777 double LPs, with included digital download, the result, ‘Psychic Resynthesis’, represents both a prismatic object for repeated examination and an abstruse table of musical correspondences.

The Keith Tippett Group's Dedicated to You, But You Weren't Listening is a landmark in cutting edge fusion/avant-jazz. A vital and profoundly adventurous Jazz-Rock record that still swings very hard, it was first released on Vertigo in 1971.

Original copies are now very tricky to score and, as most of you really should know, it’s aged ridiculously well.

A legendary work, this Be With re-issue has been newly remastered from the original Vertigo master tapes, demonstrating just why this deserves to be back in press. The stunning gatefold jacket fully restores Roger and Martyn Dean's original, arresting album artwork to complete this must-have reissue.

Alive and bursting with a joyful energy that has to be heard to be believed, Dedicated to You, But You Weren't Listening flirts with perfection. It's truly magical and forever essential.

A brilliant jazz pianist, composer, arranger and bandleader "who could make the outlands of modern music feel like the most hospitable of places" (The Guardian), Keith Tippett's second album is oft-regarded as his Canterbury album.

Indeed, not only does he draw heavily on Soft Machine members past, present and future but the album title itself archly references a Soft Machine composition. Ray Babbington handles bass alongside Neville Whitehead and the drums are shared between Brian Spring (Nucleus), Robert Wyatt(!) and Phil Howard (who would go on to replace Wyatt in Soft Machine). Gary Boyle (Isotope) is on guitar whilst the great percussionist Tony Uter is enlisted for his conga and cow bell expertise. Elton Dean on Alto Saxello, cornetist Marc Charig and Nick Evans on trombone round out this quite stunning ensemble.

Dedicated to You, But You Weren't Listening presents a collective of superhuman musicians really, *really* enjoying themselves in the studio. The sheer exuberance of the performance is totally infectious. It's wild, energetic, atmospheric and, bluntly, bordering on chaotic at points. In a word, it's beautiful.

Robert Wyatt's drumming opens the record with a bang on the majestic Be With favourite "This Is What Happens". Some have described his work here as "easily the most inspired of his career on record." It's an ultra-funky conga-driven groove that truly sparks via the duelling interplay between the three horn players. In the background, Keith's insistent piano, in conversation with those unignorable drums, is the anchor that keeps this piece rollicking away. Breathtaking.

The epic, energetic "Thoughts to Geoff" is a 10-minute jammer that tends towards the dissonant and improvisational but becomes more fluid, laconic and melodic as it unravels. The interplay between soloists and ensembles is particularly dazzling here - blazing solos by Evans, Charig and Tippett himself in a flourish of angular arpeggios interspersed with chordal elocution. Phew.

Up next, the no less-urgent Mingus-referencing "Green and Orange Night Park" is a soaring example of ambitious jazz mixed with rock aggression, with Dean strutting his stuff by launching into a scorching solo. An absolutely jaw-dropping piece. Arguably the highlight of this album of huge highlights!

Though much of the album tends to fall on the raucous side ("Gridal Suite" approaches free-jazz at its most chaotic and, dare we say it, "difficult"), there are a few more sedate, at times spacey numbers, such as the deeply impressionistic "Five After Dawn". The rhythmically complex "Black Horse" is the most accessible track here, a sort of swinging Big Band number with tight grooves, soaring horn & reed melodies, a sizzling Boyle guitar solo and tasty electric piano riffs from Tippett. An hypnotic climax to a staggering record.

This Be With edition of Dedicated to You, But You Weren't Listening has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at Abbey Road Studios to weave their usual magic with these wonderful recordings. The stunning gatefold sleeve has been restored in all its brainchild glory so you know you're dealing with the definitive reissue, here. Now, are you listening?

Mutant, in association with Walt Disney Music and LucasFilm, are proud to present a 20th anniversary celebratory pressing of John William's original score to the iconic final chapter of the Star Wars prequel trilogy - Star Wars: Episode III - Revenge of the Sith.



Following a powerful return to cinemas this spring, George Lucas' 2005 science fiction epic has continued to capture the hearts generation after generation. Returning for his sixth Star Wars film, John Williams brings the tragedy of Anakin Skywalker to life with a masterful flair. From the opening fanfare's hard pivot to the action packed dogfight, Williams weaves between kinetic adventure, and haunting heartbreak with grace and precision. In a series full of the absolute pinnacle of music ever committed to film, Revenge of the Sith sits proudly side by side, while feeling wholly unique.



Long out of print on physical media, and only being pressed on Vinyl for the second time ever, this limited edition release features incredible original artwork by Matt Ferguson and is pressed on 2x 140gm black vinyl.

Mutant, in partnership with Back Lot Music, are proud to present the physical media debut of Universal Pictures’ Jurassic World Rebirth Original Motion Picture Soundtrack with music by two-time Grammy® and Academy Award®-winning composer Alexandre Desplat.



To create the score for Jurassic World Rebirth, director Gareth Edwards turned to a distinguished friend, two-time Oscar® winner Alexandre Desplat (The Grand Budapest Hotel, The Shape of Water), who worked with Edwards on Godzilla. “I feel very fortunate to be doing the music for a movie franchise like this, which entertained me so greatly, as a filmgoer, for decades,” Desplat says. “I dreamed of writing music for movies like this since I was a teenager, and now, here I am,” he adds with a laugh, “part of Jurassic World, almost a teenager.”



Rebirth represents the second time that Desplat has stepped into a franchise and inherited and adapted iconic musical motifs written by an artist he considers his “forever idol,” the legendary John Williams: Desplat previously took on that challenge with Harry Potter and the Deathly Hallows Parts 1 and 2. “John Williams wrote a fantastic melody for Jurassic Park that I now get to reinvent, rejigger and resculpt in ways benefit our movie,” Desplat says. “My desire was not to quote John’s score bluntly but subtly echo it or make use of it in the original score I have written for the film in playful and meaningful ways.”



"Continuing in the legacy of composers like John Williams, Don Davis, and Michael Giacchino - Alexandre Desplat brings the action packed Jurassic World: Rebirth to life with equal parts bombast, and tenderness." says Mo Shafeek, co-founder of Mutant. "Beautiful piano melodies give reprieve from thundering percussion, in this beautiful and essential addition to the Jurassic franchise.”

Mutant, in partnership with Searchlight Pictures and Hollywood Records, is proud to present the premiere physical release of Nate Heller's soundtrack to the film NIGHTBITCHfrom Marielle Heller, featuring exclusive artwork by Mira Mariah (GirlKnewYork).

Mutant, in partnership with WaterTower Music, are proud to present the premiere physical release of Hrishikesh Hirway's score to COMPANION. Hrishikesh Hirway's (creator of the award-winning podcast Song Exploder) score begins by earnestly paying tribute to the plucky romance at the center. It invites you, lovingly into its rose-colored world just long enough to lower your guard before deftly switching gears into the twisted genre score buried underneath. Chaotic as that may sound, the score is continually grounded with an incredible melodic hook incorporating lead actor Sophie Thatcher's voice ("Iris' Theme"), that pays homage to another fractured fairy tale, Rosemary's Baby. But don't read too much into that comparison. The twists and turns of COMPANION are uniquely their own, and best avoided for the optimal experience. Featuring artwork by Greg Ruth, and pressed on 140 gram pink marble vinyl.

Mutant, in partnership with Sony Classical, is proud to present Academy Award® Winner Ludwig Göransson's (Oppenheimer, Black Panther, Creed, The Mandalorian) original score to this spring's runaway sensation - Ryan Coogler's SINNERS

Mutant, in partnership with Netflix, are proud to present the premiere physical media release of Alan Silvestri's epic score to the Netflix original film The Electric State. One of the most important and prolific composers of our lifetime, Alan Silvestri (The Back To The Future Trilogy, Forrest Gump, Predator, Who Framed Roger Rabbit and so many more) rejoins the blockbuster fimmaking duo Joe and Anthony Russo (Avengers: Endgame, Captain America: The Winter Soldier), to score their latest sci-fi epic based on the graphic novel by legendary artist Simon Stålenhag.

Mutant, in partnership with Sony Masterworks, is proud to present the soundtrack to this spring's runaway sensation - the Various Artists soundtrack to Ryan Coogler's SINNERS

REPRESS of Mephistofeles third album. Mephistofeles is one of the biggest acts of the new Doom Stoner scene from Argentina which has developed its own cult following all around the world. This album is a slowly bubbling cauldron of eerie atmospheres and drugged-out sonics; amidst the ever-present haze of hashish and sulfur, it's by far one of the band's most authentically DOOM recordings. And at 47 minutes, the simmering slime MEPHISTOFELES here dole out so effortlessly sounds more like 47 hours, so ensnared by addiction you'll be.

REPRESS of Mephistofeles debut album. Mephistofeles is one of the biggest acts of the new Doom Stoner scene from Argentina which has developed its own cult following all around the world. This debut release offers catchy grooves and melodies, complemented by a gritty, lo-fi production. The tracks delve into themes of self-destruction and drug addiction, presenting a raw and unfiltered stoner doom experience. A must have!

REPRESS of Mephistofeles debut album. Magenta-coloured vinyl, limited to 350 copies. Mephistofeles is one of the biggest acts of the new Doom Stoner scene from Argentina which has developed its own cult following all around the world. This debut release offers catchy grooves and melodies, complemented by a gritty, lo-fi production. The tracks delve into themes of self-destruction and drug addiction, presenting a raw and unfiltered stoner doom experience. A must have!

REPRESS of Mephistofeles third album. Yellow vinyl, limited to 350 copies. Mephistofeles is one of the biggest acts of the new Doom Stoner scene from Argentina which has developed its own cult following all around the world. This album is a slowly bubbling cauldron of eerie atmospheres and drugged-out sonics; amidst the ever-present haze of hashish and sulfur, it's by far one of the band's most authentically DOOM recordings. And at 47 minutes, the simmering slime MEPHISTOFELES here dole out so effortlessly sounds more like 47 hours, so ensnared by addiction you'll be.

RedIsh Vinyl Edition of Skratch Practice 2 by Dj T-Kut! Dj T-Kut presents Volume 2 of SKRATCH PRACTICE, a very complete vinyl for scratch practices, two vinyl will come out one of 12 "and another of 7", in the 12" you can find several Skip Proofs at 133 BPM to be able to play with the ultrapich of the plate, very used right now in scratch practices, 2 beats perfect for practicing scratch, drum kits and bass line and on the B side you will find several skip proof at 100 BPM, 1 beat for practice scratch and 2 powerful basses perfect for playing with them. Also from this version will be a 7" vinyl for portables in which you can find 6 skip proof of 133 BPM for Side A and 6 skip proof of 100 BPM for Face B. These vinyls are designed so that you can flow as soon as you put them on the plate! Tracklisting Side A: 1. 133 BPM. Skip Proof. Skratch Samples. Beats Groove. Drums. Bass Tone. Side B: 1. 100 BPM. Skip Proof. Skratch Samples. Beats Groove. Drums. Bass Tone.

Living in the present is an album built around the work of American minimalist poet, Robert Lax (1915-2000) who is widely praised for his artistic concept of reduction, in which a pause becomes as important as the things said.

The album brings together the sound of Robert Lax reading his poetry, narrative field recordings by Nicolas Humbert and subtle yet imaginative timbres by Carina Khorkhordina (trumpet) and Miki Yui (electronics) who is also behind the final mixing of the album.

Living in the present is drawing from an archive of audio recordings originally made by film maker Nicolas Humbert while shooting a film on Robert Lax entitled Why Should I Buy A Bed When All That I Want Is Sleep?, ( Nicolas Humbert and Werner Penzel, Germany, 1999) The film was made on the Greek island of Patmos where Lax has lived withdrawn for 3 decades.

More than 25 years after the premiere of Why Should I Buy A Bed When All That I Want Is Sleep?, Humbert, Khorkhordina and Yui are revisiting the original audio material and patiently open worlds within worlds, pointing to new harmonic textures and isolating timbres, synchronizing different layers of time and traces of various locations into a new composition in its own right.

In some ways this album feels like an expansion of the work Humbert and Penzel did with Lax across six years, between 1993 and 1999, where they developed a unique intimacy in their textual-visual collaboration. On two long pieces, for each side of the album, “Where do i begin” and “One moment passes, another comes on” respectively – Yui’s electronics and Khorkhordina’s trumpet interweave beautifully with Humbert’s field recordings, in a manner that shadows the reflective reduction of Lax’s poetry. Indeed, it's no surprise that Lax’s poetry draws musicians into its orbit; it offers the curious a welcoming reduction in which only individual words and syllables represent the essence of language.

Lax’s poetry is notable for its qualities of near-stillness and its capacity to pause the reader’s thought, asking them to hold the sensuality of language for an extended, quietly revelatory moment. His readings on this album share a similar cadence, interested in settling with syllables, with single or several words, for an extended time.

Ultimately, Living in the present unfolds with unforced grace and poetics – one moment passes, then another comes on. (Jon Dale)

Metroplex is proud to welcome Italian producers CEM3340 & 2030 to the label with the release of their new project "A Future Tribe"and their Machines Awake EP. This five-track release delivers a bold and immersive journey into electro, blending razor-sharp production with deep atmospheres and driving rhythms. Produced at their headquarters in Bari, the EP reflects both artists' precise craftsmanship and forward-looking approach to electronic music. With Machines Awake EP, CEM3340 & 2030 pay homage to the classic foundations of the genre while pushing it into new and exciting territory. Their sound aligns seamlessly with Metroplex's legacy of innovation, and we're thrilled to present this release as part of our ongoing commitment to groundbreaking electronic music. Machines Awake EP is available now across all major platforms.

DJ Steaw returns to the forefront with a sharp new Deep House EP, forthcoming onHouse Puff label.This project, available in vinyl for collectors and in digital format for everyone, showcases DJ Steaw's mastery of groove and atmosphere. The four tracks presented hereare true gems for lovers of authentic Deep House: deep, driving basslines intertwinewith soaring melodic pads and subtly percussive rhythms.Expect an immersive sonic journey, perfect for underground clubs as well as sophisticated chill-out moments. The release on House Puff is a guarantee of quality and a refined sonic aesthetic. An EP not to be missed for anyone who appreciates Deep House inits purest and most effective form.

Ostinato as resistance: Rafael Anton Irisarri’s landmark work reimagined. Marking the tenth anniversary of the American composer’s critically acclaimed album 'A Fragile Geography', this new edition arrives renewed, both sonically and visually.

First released in 2015 (Room40) during a period of personal upheaval and creative reinvention, it endures as a testament to resilience, transformation, and the connection we hold with the places that shape us.

Written in the aftermath of a devastating theft, A Fragile Geography was born out of loss. Just days before a cross-country move to New York, Irisarri’s entire Seattle-based studio was wiped out. Instruments. Recordings. Archives. Gone without a trace. He arrived on the East Coast to an empty room and the daunting task of starting over.

“This album wasn’t just a record; it was a lifeline,” Irisarri reflects. “It became a way to process the emotional chaos that followed: uprooting, instability, and ultimately, the slow, intuitive rebuilding of a life.”

Composed and recorded in the rural woods of the Hudson Valley, the album took shape in seclusion, surrounded by nature, and through a process guided by improvisation. Embracing limitations, Irisarri wove textural layers of field recordings with half-remembered melodies from his Seattle years, piecing them together like fragments of memory. Tracks like “Displacement,” “Hiatus,” and “Persistence” juxtaposed haunting stillness with restless momentum, mapping an inner terrain of grief, catharsis, and rebirth.

Among its defining sounds is “Empire Systems,” a monumental centerpiece built around a simple four-chord progression, organ textures, and guitar drones. Gradually, the track expands into layers of immersive loops and thick, enveloping distortion that wash over the listener like a rolling wave. Often cited as the album’s most majestic passage, it captures Irisarri at his most sonically ambitious. With a harmonically saturated structure crafted from restraint and repetition, it remains one of his most recognizable compositions: an exercise in the art of maximal minimalism.

From the outset, “Reprisal” received praise from BBC’s Mary Anne Hobbs, who championed the track on her radio show. Her support played a key role in introducing Irisarri’s work to wider audiences and solidifying his place within the lineage of electronic, drone, and experimental sound artists. A slow-burning elegy, the piece emerges from a haze of distortion and sub-bass, with dense, unrelenting drones carrying a sense of mounting tension. Just as it seems to collapse under its own weight, flickers of guitar emerge like distant light through fog. It’s a meditation on dissonance, resolve, and the elusive possibility of release.

The closing track, “Secretly Wishing for Rain,” is steeped in saudade: a longing for Seattle’s dour grey skies, lush green landscapes, and desaturated sunsets. Through it, Irisarri mourns a vanished chapter of life bound to the city, a time documented in scattered mementos and cherished collections, now permanently gone. A reflection on what could never be recovered: an era lost to time. Julia Kent’s looped cello motifs added a melancholic warmth to the track, marking the first collaboration between the two artists and sparking a musical dialogue that would keep growing in the years that followed.

More than a career highlight, A Fragile Geography has laid the foundation for Black Knoll studio, which Irisarri rebuilt from the ground up. The studio has since grown into a creative hub for countless projects, with Irisarri engineering records for iconic music figures like Terry Riley, Ryuichi Sakamoto, William Basinski, MONO, Devendra Banhart, Grouper, Emeralds, Steve Hauschildt, Julianna Barwick, and many others. Carried by its lasting influence, the album has quietly captured the ear of a younger generation, its sound and emotional arc finding new listeners in unexpected corners.

The album’s new visual language was reimagined in collaboration with Mexico City–based designer Daniel Castrejón. Irisarri captured ghostly images at Gaztelugatxeko Doniene, a historic coastal site in Bermeo, Euskal Herria. Castrejón then treated the photographs with distressed textures and spectral overlays. The final artwork channels the rugged, elemental forces that shaped both the music and Irisarri’s aesthetic, renewing his ties to ancestral ground inspired by the Basque homeland of his bloodline.

Mastered by Stephan Mathieu with exceptional attention to detail, this anniversary edition uncovers every nuance in the sound design, enhancing clarity and presence. With each listen, new elements emerge, inviting discovery and reconnection.

“I don’t experience this album as a document of grief anymore,” says Irisarri. “I hear adaptation and I'm reminded that when everything falls apart, something meaningful, maybe even beautiful, can emerge.”

Ostinato as resistance: Rafael Anton Irisarri’s landmark work reimagined. Marking the tenth anniversary of the American composer’s critically acclaimed album 'A Fragile Geography', this new edition arrives renewed, both sonically and visually.

First released in 2015 (Room40) during a period of personal upheaval and creative reinvention, it endures as a testament to resilience, transformation, and the connection we hold with the places that shape us.

Written in the aftermath of a devastating theft, A Fragile Geography was born out of loss. Just days before a cross-country move to New York, Irisarri’s entire Seattle-based studio was wiped out. Instruments. Recordings. Archives. Gone without a trace. He arrived on the East Coast to an empty room and the daunting task of starting over.

“This album wasn’t just a record; it was a lifeline,” Irisarri reflects. “It became a way to process the emotional chaos that followed: uprooting, instability, and ultimately, the slow, intuitive rebuilding of a life.”

Composed and recorded in the rural woods of the Hudson Valley, the album took shape in seclusion, surrounded by nature, and through a process guided by improvisation. Embracing limitations, Irisarri wove textural layers of field recordings with half-remembered melodies from his Seattle years, piecing them together like fragments of memory. Tracks like “Displacement,” “Hiatus,” and “Persistence” juxtaposed haunting stillness with restless momentum, mapping an inner terrain of grief, catharsis, and rebirth.

Among its defining sounds is “Empire Systems,” a monumental centerpiece built around a simple four-chord progression, organ textures, and guitar drones. Gradually, the track expands into layers of immersive loops and thick, enveloping distortion that wash over the listener like a rolling wave. Often cited as the album’s most majestic passage, it captures Irisarri at his most sonically ambitious. With a harmonically saturated structure crafted from restraint and repetition, it remains one of his most recognizable compositions: an exercise in the art of maximal minimalism.

From the outset, “Reprisal” received praise from BBC’s Mary Anne Hobbs, who championed the track on her radio show. Her support played a key role in introducing Irisarri’s work to wider audiences and solidifying his place within the lineage of electronic, drone, and experimental sound artists. A slow-burning elegy, the piece emerges from a haze of distortion and sub-bass, with dense, unrelenting drones carrying a sense of mounting tension. Just as it seems to collapse under its own weight, flickers of guitar emerge like distant light through fog. It’s a meditation on dissonance, resolve, and the elusive possibility of release.

The closing track, “Secretly Wishing for Rain,” is steeped in saudade: a longing for Seattle’s dour grey skies, lush green landscapes, and desaturated sunsets. Through it, Irisarri mourns a vanished chapter of life bound to the city, a time documented in scattered mementos and cherished collections, now permanently gone. A reflection on what could never be recovered: an era lost to time. Julia Kent’s looped cello motifs added a melancholic warmth to the track, marking the first collaboration between the two artists and sparking a musical dialogue that would keep growing in the years that followed.

More than a career highlight, A Fragile Geography has laid the foundation for Black Knoll studio, which Irisarri rebuilt from the ground up. The studio has since grown into a creative hub for countless projects, with Irisarri engineering records for iconic music figures like Terry Riley, Ryuichi Sakamoto, William Basinski, MONO, Devendra Banhart, Grouper, Emeralds, Steve Hauschildt, Julianna Barwick, and many others. Carried by its lasting influence, the album has quietly captured the ear of a younger generation, its sound and emotional arc finding new listeners in unexpected corners.

The album’s new visual language was reimagined in collaboration with Mexico City–based designer Daniel Castrejón. Irisarri captured ghostly images at Gaztelugatxeko Doniene, a historic coastal site in Bermeo, Euskal Herria. Castrejón then treated the photographs with distressed textures and spectral overlays. The final artwork channels the rugged, elemental forces that shaped both the music and Irisarri’s aesthetic, renewing his ties to ancestral ground inspired by the Basque homeland of his bloodline.

Mastered by Stephan Mathieu with exceptional attention to detail, this anniversary edition uncovers every nuance in the sound design, enhancing clarity and presence. With each listen, new elements emerge, inviting discovery and reconnection.

“I don’t experience this album as a document of grief anymore,” says Irisarri. “I hear adaptation and I'm reminded that when everything falls apart, something meaningful, maybe even beautiful, can emerge.”

Berlin musician and DJ Nastia Reigel presents her debut solo album, Identity, on Function's legendary Infrastructure New York imprint. Following a constant output of EPs on heavy-hitting techno labels like fabric, Rodhad's WSNWG and Token, and playing regularly at the likes of Berghain, Reigel now returns with new music that pushes deep into the core of her craft. She has honed and sharpened her sound into something sleeker and more uninhibited. Identity embodies the core of Nastia's production DNA, showcasing her as a powerful and precise engineer. These eight new tracks, mixed by herself, all offer something distinct and carry her unmistakable signature. Much like human identity itself, the album explores contrasting layers of tension, groove and mood, oscillating from hypnotic rollers to peak time intensity with ease. It is both a personal artistic statement and a DJ-ready techno toolkit for fans of Function and Sandwell District.

With the Scratch EP, Scottish techno powerhouse Gary Beck delivers four razor-sharp cuts that bring raw energy and dancefloor pressure to FJAAK's label CROWD. Known for his unmistakable grooves and stripped-down power, Beck presents a no-frills EP that bridges classic techno aesthetics with forward momentum. Opening with the single 'French System', the EP kicks off in full throttle. It's a propulsive roller built around tough drums, catchy synths, a female vocal leading the way and Beck's signature percussive tension. Title track 'Scratch' follows with a twitchy, angular rhythm that spirals around a fragmented vocal motif and bold machine-funk energy with tense breaks leading to ecstatic drops. On the record's flip side, 'How Do You Feel' keeps the level high, fusing jacking rhythms with a funky vocal and a Beck's heavy signature kicks. Finally, 'Eclipse' closes the EP pushing the energy into darker territories with relentless drive, its distorted pulse and industrial edge. This release marks a fierce debut on CROWD for Gary Beck - four no-nonsense weapons crafted for peak-time moments and the rawer corners of the club. A heavy-hitting addition to the label's catalog and a must-have for techno selectors with a taste for precision and punch.

Animistic Resonance marks a new stage for artist and electronic musician Leslie García, as it is her first album under her own name, following several releases as Microhm and her parallel work as founder of the contemporary art studio Interspecifics, where she has developed an extensive body of sonic projects presented in major museums and programs around the world. The album is the culmination of a profound and extended exploration of sound as language. It is also a statement against the classicism of long-form ambient pieces. Narratively, each track is conceived as a finely detailed work that functions as a condensed temporal fragment, each with its own individuality while simultaneously forming part of a broader universe.

The compositional language of the album draws on minimalist structures, deep listening strategies, and experimental approaches to electronic sound. Each track offers a meditation on repetition, density, and micro-variation, unfolding like a sonic landscape shaped by temporal tension and perceptual ambiguity. Animistic Resonance resists categorization, situating itself between ambient, noise, and abstract rhythm, while grounding its aesthetic in a Latin American sensibility that embraces technological poetics, affective depth, and critical imagination.

The album invites listeners to move beyond the surface and inhabit a world of vibrational and animistic temporalities. It offers a refuge in sound, a suspended space where calm can emerge. In the midst of contemporary turbulence, Animistic Resonance opens the door to imagining new ways of listening and feeling, demanding an embodied and visceral form of engagement.

Composition sound synthesis and programming by Leslie García. Composed between 2022—2024 in Mexico City.
Mastered by Rafael Anton Irisarri at Black Knoll Studio, NY. Artwork by Daniel Castrejón.

Already deemed one of the best releases of 2025 (Vulture), Mark William Lewis' timeless self-titled album moves between nostalgic, deep-rooted poems and upbeat, indie rock grooves. Presented as A24 Music's first independent artist release.

From Japan, Tokio Ono presents a stunning collection of fourth world & ambient dub explorations!

Yokohama multi-instrumentalist Tokio Ono eases into the Accidental Meetings' family with an array of Japanese folk tinged avant-dubs, drenched in beautiful texture.

The elusive artist has spent much of his life in his hometown with a view of the Yokohama waters, before settling into a new environment in Tokyo where Peel gradually took shape. The essence of a given situation emerges as you peel it away, these tracks were inspired by the accumulation of days and flashbacks of memories: layers to peel joyfully from our lives, while offering a slightly shifted and refreshing perspective on one’s surroundings. It's a dreamy journey from open to close, Ono's world engulfs you in a blissful dubbed out wormhole. Featuring a flip from the sound system royalty of Seekers International to top it off, Peel is a unique and exquisite piece of work.

Sleeve artwork created by artist Kana Ueda.

Fabio Nobile is a drummer and multi-instrumentalist who has been active on the music scene for over 25 years. Today, his musical
exploration draws from the deep roots of Afro traditions and the expressive freedom of jazz—two musical cultures that are an integral
part of his identity.
Sankofa Soul is a musical project born from the encounter between jazz, African traditions, and the search for a profound connection
between past and present. The term “Sankofa” comes from the Akan language (spoken in Ghana) and means “to go back and fetch what
is good” —an invitation to look to the past to better understand the future.
In an era where music is evolving at a rapid pace, Sankofa Soul looks to a rich and multifaceted cultural heritage, while also embracing a
modern voice—a universal call to reconnect with our European origins through the lens of African legacy.
Each track on Sankofa Soul reflects Fabio Nobile’s experiences, studies, and roots, forming a dialogue between past and present, the
sacred and the profane, individuality and community.
Sankofa Soul is a heartfelt tribute to West Africa, with a special focus on Nigeria.
Zuma Rock leads us into the rich and ever-changing soundscape of West Africa—a space where tradition meets innovation, and rhythm
tells stories older than words. Here, the legacy of Fela Kuti’s Afrobeat pulses through every beat, anchoring the music in political fire and
deep ancestral roots. At the same time, the unmistakable horn section weaves a vibrant fusion of Afro-Funk and Jazz. In Zuma Rock, we
enter a dialogue between past and present—a musical return to the source.
And then appears Kalakuta Republic, a heartfelt homage to the self-declared commune that was home to the legendary Fela Kuti—a
reminder not to forget the rebellious spirit of the Kalakuta Republic. This track gives voice to the very essence of Afro-jazz, wrapped in a
hypnotic 12/8 rhythm that echoes ancient African traditions. Its immersive pulse blends seamlessly with jazz’s boundless expressive
freedom, creating a vibrant, compelling dialogue suspended between ancestral roots and modernity.
Landed in Lagos and I Read the Stars naturally embrace the distinctive sound of Manu Dibango, while Say Your Prayer Now reminds us
how the evolution of Jamaican reggae—and its cultural and musical foundations—remains deeply linked to Mother Africa.
This is Sankofa: the soul’s journey back to the past to move forward.

Oliver Dollar presents part four of his Contemporary series on Rekids. The EP precedes his upcoming album on the label, enlisting Seven ‘Sev’ Davis Jr. and Nils Ohrmann, alongside dub reinterpretations by La Boix and Sev.

Germany’s Oliver Dollar returns to Radio Slave’s Rekids with Contemporary Part Four, Parts one through three featured collaborations with Austin Ato, Brillstein, Harvard Bass, Hazmat Live, Boogs, and many more, winning support from the likes of Nightmares on Wax, Anja Schneider, Laurent Garnier, Carista, Jennifer Cardini, Dam Swindle, and others.

For this next chapter of Oliver Dollar’s ‘Contemporary’, elements of Dub serve as the unifying thread, opening part four with ‘Speakers Bleed’, a jazz-inflected House cut from Oliver and Classic Music Company and Ninja Tune artist Seven ‘Sev’ Davis Jr. Hypnotic vocals swirl through deep, groove-laden rhythms, setting the tone for the EP’s fluid, atmospheric feel before Oliver reunites with Golden Gate club resident and long-time collaborator Nils Ohrmann for the Hallelujah Dub of ‘The New Is Here’. The track features the soulful voice of Detroit songwriter and Contemporary series regular APROPOS while gospel-tinged background vocals and rich textures sit over an infectious percussive rhythm. On the flip, Oliver Dollar & Brillstein’s ‘Pill Popper’ from Contemporary Part Two is reworked by La Boix, the duo of LA”s Thee Mike B (aka Brillstein) and producer Salva, whose credits include work with RL Grime, Kurupt, E-40, and the Grammy-nominated album of ScHoolboy Q, as well as remixes for Rihanna, Boys Noize and Nelly Furtado. Their version is a late-night, low-slung trip, with echoing keys and vocals drifting through deep basslines. Closing the EP, Seven Davis Jr. returns for a dub of ‘Before You’, Oliver’s collaboration with ADMN from Contemporary Part One. Retaining APROPOS’ heartfelt vocal from the original, Sev layers bright, soul-drenched synths over rolling drums, delivering an irresistible, feel-good finale.

New Source presents a new release from Juan Barraco under his alias Bunda. On this four-track EP, Bunda builds a personal and physical journey through his distinctive take on contemporary club music. Rather than following trends, Bunda draws from deeper sources: Latin American rhythmic traditions, post-industrial energy, and a classical music-rooted instinct for improvisation. The result is a release that feels expressive, tactile, and refreshingly off-grid.

From the heavy percussion and orchestral flashes of “Dvořák’s New World” to the stripped-back, jazzy minimalism of “New Source,” each track offers a distinct mood and approach. “Frente en Alto” brings a sense of urgency with its forward-driving rhythm and subtle tension, while “Game Over” closes the release with a raw, broken groove and distorted textures aimed straight at the sweatier corners of the club.

It began with a cassette tape entitled 'Pleased To Meet You' gifted to us at Sessa's Fasching, Stockholm show by Yann Dardenne, the multi-tasking tour manager/sound engineer/producer/merch stall worker and co-owner of Seloki Records. On first listen, the selection of underground Brazilian artists from the Seloki's roster was superb, however, one song stopped us in our tracks. The hauntingly captivating ' GOSTO MEIO DOCE' by Nina Maia and Francisca Barreto, gave us a taste of Nina's ethereal, addictive voice and we knew we needed to hear more. Born in Minas Gerais but now based in Sao Paulo, the 22-year-old has already packed a lot into a relatively short space of time. The singer, songwriter, instrumentalist, and producer, has already collaborated on the soundtracks for six Brazilian feature films, including a track with the vocalists Maria Gadu, Iza, and Liniker. But things enter a new exciting era with this, her remarkable debut album entitled 'INTEIRA', which translates to English as 'whole'.

As much inspired by Billie Eilish and Rosalia, as Milton Nascimento and Toninho Horta and not sounding like other records coming out of Brazil, 'INTEIRA' is unique. Though rich in its Brazilian heritage, inspired by samba cancao, MPB, and the Clube da Esquina movement, it also channels influence from bands such as Portishead and Massive Attack, mixed with jazz, contemporary leftfield and electronic pop artists. Musically, it is not easily pigeonholed, with beautiful, well-crafted songs, sophisticated arrangements, eloquent vocals and intimate lyrics. Each track reflects different moments and stories from Nina's youth but with dialogues, feelings, and questions that span generations and resonate with all. This ambitious debut album is Nina's vision and sound, expressing herself without constraints and making music with her friends. Featuring a lineup of Thalin (drums), Valentim Frateschi (bass), Francisca Barreto (cello and vocals), Thales Hashiguti (viola and violin), Yann Dardenne (acoustic guitar and co-producer) and Nina on piano, Rhodes, guitar and production. The album led to a nomination in Paulista Association of Art Critics (APCA) award's 'Breakthrough Artist' category, who also listed 'INTEIRA' as one of the 50 best albums of 2024.

It also received support from Bandcamp Weekly and Jamz Supernova on BBC 6 Music. Released digitally by Seloki Records in Brazil in 2024, Mr Bongo in partnership with Seloki Records now present this new, deluxe worldwide edition that includes four additional songs. These comprise the brand-new exquisite 'MANHA', as well as an original twist on Vinicius de Moraes' classic 'Serenata Do Adeus'. Elsewhere you'll find a live recording showcasing Nina's remarkable energy on stage courtesy of 'DE DENTRO' and 'GOSTO MEIO DOCE' with the amazing musician/vocalist Francisca Barreto, where our whole story began. Here at Mr Bongo, we are honoured to release music by such a remarkable new talent - one whose musical trajectory is most certainly about to soar.

After their epic run with Channel One beginning in the mid 1970's, the Mighty Diamonds moved to producer Gussie Clarke for a string of albums starting in 1979 and running thru the 1980s. Among the many many great tunes from this run, the title track of their 1982 album "The Roots Is There" is simply one of the Diamond's best ever, and probably the most lyrically militant tune they ever made. This tune was never released as a single at the time, though new mixes were released as a single in 2017. But prior to the release of the album back in the day, this song was played on dubplate in a raw mix without the horns and added percussion that made it onto the final album mix. This raw vocal cut, followed by a raw instrumental version, changes the whole tone of the tune and brings it into another level of militancy right up there with the hardest stuff you can name, even in an era filled with so many extra tough stepping classics. Rather than remaster from an old dubplate, for this 45 we had producer Gussie Clarke and Music Works' close associate engineer Curtis Lynch go back to the original tapes, and with an original dubplate as reference, perfectly recreate the original raw cut, now released in pristine tape quality. Again we present this release on Music Works' original early 1980s dubplate label design, just like the original slate would have been adorned with. If you only know the sweet harmony side of the Diamonds, give this one a try to see their other tuff side, and listen to the lyrics, as relevant to the struggles of right now as they were in 1982.