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It is with some degree of surpriseand delight that we were contacted by John Andrew Fredrick, the founder and omnipresent member of Santa Barbara’s the black watch to see if Blue Matter would be interested in putting out their newest album. Of course we were. One listen was more than enough to convince us that it would fit perfectly on to the label. Perhaps a little more indie than other albums we’ve released, but sowhat? ‘Varied Superstitions’ is an intriguing collision of Cure-style indie and trippy psych which had us buzzing right away. the black watch (lower case intentional) wasformed in 1987 by John Andrew Fredrick in Santa Barbara, California, and he has been (and still is) it’s guiding light. They have released 25 albums over the last 38 years and show no sign of ageing. With a fantastic band behind him, John has presented us with a wonderful batch of songs ranging from mesmeric psych to indie/punk. In late 2025 John paid a brief visit to the UK to see friends and also to do a couple of live acoustic performances. The Bevis Frond was lucky enough to share the bill with John at London’s Betsey Trotwood for a wonderful evening of acoustic revelry. Not only is he a hugely talented musician/songsmith, but a thoroughly decent fellow. It’s a true privilege to be able to put out ‘Varied Superstitions’ on our label.

My Favorite Things is one of J ohn Coltrane 's all time bestselling LPs. Recorded in 1960 for Atlantic Records during three marathon sessions that also produced enough music for four subsequent albums: Coltrane Plays the Blues , Coltrane's Sound , and Coltrane Legacy. The LP's title tune belongs to the Rodgers & Hammerstein musical The Sound of Music, which at the time, might have seemed an odd choice by critics and fans. However, in Coltrane's hand the tune is spun out with an Eastern sound, a waltz reminiscent of a dervish dance, hypnotic and totally engaging. An edited version of the track was issued as a single and gained popularity across US radio stations, resulting in the LP becoming a major commercial success. My Favorite Things features John Coltrane 's first recorded performance on soprano saxophone - an instrument gifted to him by Miles Davis.

Featuring iconics like The Beach Boys, Dick Dale, Ritchie Valens, The Wailers , The Champs ... and many more! Whether you're a crate digger, surf rock purist, or just vibin' for summer, this LP is your sonic wave to a vintage beach party. Catch it before it's gone

Amsterdam's Dionisos' (also known for his collaborations with Pete Blaker for LL & Hot Biscuit Recordings) debut 12" on his own Lovers Yacht imprint.

Dionisos, the project’s producer, possesses a solid foundation in live music, which is clearly reflected in the way the grooves evolve, resonate, and gradually heighten in intensity. The tracks “Mother Earth”, “Father Sky,” and “Bon Voyage” form an exciting trilogy—a daring journey into the musical universe. Captured in a single take, they were subsequently methodically overdubbed and layered, preserving the essence of musicians interacting in real time.

Instead of pursuing drops or studio glitz, the music focuses on capturing the spirit, interacting only with the original vibrations of the one take. These songs flow with the precision of musicians in a band. They develop organically, demonstrating their strength gradually; music for dancing that relies on emotion rather than spectacle.

Tapping into the otherworldly frequencies of the UFO series, UK-born, Lisbon-based prodigy Rene Wise arrives on Dekmantel with an assured demonstration of his position at the cutting edge of real techno.

Andrew Shobeiri appeared in the cut and thrust of the scene fully-formed around 2017, instantly bringing his Rene Wise alias to top-tier labels with a razor-sharp combination of functional minimalism and mind-warping flair. There's no grey area fluctuation in his hypnotic, intentional sound — this is deep, captivating techno for the long haul, music to submit yourself to.

True to his sound, Rene Wise makes his presence felt on Dekmantel UFO with a varied spread of sounds, leading with the melancholic charm of the melodic sequences weaving through 'Johnson's Theme' before sinking into the engrossing folds and low-end rumble of 'Granite Skin'. There's a lighter atmosphere at play in the vaporous impulses that mark out 'Flow' before rolling into the rhythmic urgency and strafing bleeps of 'Kanga'.

This is the Dekmantel UFO experience as expressed by one of the leading lights in modern techno — an artist who understands the psychoactive power contained within the subtleties of production and pursuit of the ultimate loop.

For over four decades, Mr. Fingers has been shaping the core of house music. Now he returns with a new album that continues his timeless journey through deep rhythms, soulful melodies, and immersive atmospheres. Crafted with the warmth and musicality that define him, the record blends deep house, jazz-infused harmonies, and subtle R&B textures. Mr. Fingers once again reminds us why his music remains essential: hypnotic grooves and heartfelt compositions. Not just music for the club, but also for the quiet spaces...

Italy’s own L.D.F. makes his debut on Shadow Pressings with a fresh slab of raw, analog funk—pressed strictly to wax and destined for selectors who still worship the turntable altar. With contributions from Detroit icons, Javonntte, Gary Romalis, & European groove architects Tilman & Böhm, the EP threads classic motifs through a modern underground sensibility—never nostalgic, always alive.

Shrunken Elvis ist ein Trio aus Nashville, bestehend aus Spencer Cullum, Sean Thompson und Rich Ruth - drei erfahrenen Musikern, die ihre Liebe zu genreübergreifender Instrumentalmusik verbindet. Die Gruppe entstand aus langen Autofahrten durch Europa, Winter-Jam-Sessions und dem gemeinsamen Bestreben, Musik eher aus dem Bauch heraus als aus Ambitionen heraus zu machen. Cullum, ein in East London geborener Pedal-Steel-Gitarrist, spielte bereits mit Angel Olsen, Lambchop, Miranda Lambert und Billy Strings gespielt und zwei Solo-Folk-Psych-LPs bei Full Time Hobby veröffentlicht. Thompson kam mit Gnarwhal und Promised Land Sound in der DIY-Szene von Nashville groß heraus und tourte später mit Margo Price und Skyway Man. Ruth schafft unter dem Namen Rich Ruth (Third Man Records) immersive Soloarbeiten, die spirituellen Jazz, Ambient und Post-Rock miteinander verbinden. Ihre Anfänge gehen auf eine Europatournee im Jahr 2022 zurück, die sie im Rahmen von Cullums Soloalbum unternahmen. Mit einem kompakten Setup aus Gitarren, Pedal Steel und Synthesizern in einem VW Passat zusammengepfercht, begannen sie unterwegs zu komponieren - und entwickelten eine gemeinsame musikalische Sprache, die sie in ihre Wintersessions in Nashville mitnahmen. Sie nahmen in einem Studio in einem Schuppen um einen Heizstrahler herum auf und fingen den Geist dieser Reisen mit Spontaneität und Vertrauen ein. Ihr Debütalbum zielt nicht darauf ab, individuelle Fähigkeiten in den Vordergrund zu stellen, sondern die Instrumente zu etwas völlig Neuem verschmelzen zu lassen. Mit der Einstellung ,keine Ziele, nur Ideen" schufen sie Musik, die sich ungezwungen, explorativ und lebendig anfühlt. Verwurzelt in den Traditionen von Kosmischer Musik, Jazz-Fusion, Elektronik und Ambient, lässt sich Shrunken Elvis von Alice Coltrane, Michael Rother, Pat Metheny, Ashra und KLF inspirieren lassen - zusammen mit visuellen Einflüssen wie ECM-Albumcovern und den Filmen von Kurosawa und Bergman. Gemischt von Jake Davis (William Tyler) und mit Artwork von Max Kinghorn-Mills (Hollow Hand) ist ihr Debüt ein leise drängendes, zutiefst kollaboratives Album - Musik, die ohne Erwartungen entstanden ist, aber voller Absicht.

Very Limited 7” EP with printed lyric inner sleeve

Purely Physical Teeny Tapes continue to sink their teeth into the fleshy nethers of the contemporary oz
underground, plucking the self-titled ep of vivisected bedroom folk by naarm/melbourne trio Who Cares?
from the recesses of net anonymity for the greatest of good.

Upon appearing out of nowhere back in ‘24, the quartet’s debut registered (feverishly) somewhere
between immediacy & beguilement, the intervening year & change doing little to dull its aura, the
mystique only heightened by their suitably gorgeous appearance in wonderful company on a colourful
storm’s recent ‘going back to sleep…’ compilation-extravaganza. The conceit of these four tracks here is
disarmingly minimal - repetitious loner guitar strummage, oblique vox poetics as lullaby, intermittent
sunken percussion, bass the subtle melodic lugger - all recurring/revolving in delicious pirouette freefall,
un-rinseable within the mind, wayward melodies stuck like heat-warped treacle.

As with the firmest of its diy domestica ilk, there’s something ever so slightly off here, the carnivalesque
nature of this thing being the ‘what?’ that keeps pulling you in. parched ennui drip, fully zonked bacchanal
(anti-)energetics, listlessness rendered bedsit anthem, cooees in the hallway. depending on how your
head is screwed, ‘correct’ or otherwise, one might hear a charmed take on a vein of folk song fallen well
by the wayside/behind the mantle, others a seance for the spirits in the kettle, others more attuned to the
myriad wraiths swirling within the outer reaches of these songs, flights of whimsy foiled by a sticky, gluey
something or other. choose, or rather submit to your own adventure. Miaow miaow miaow.

A new duo and record label based in Madrid lands on the underground techno scene, led by Mike Gómez and José Castillo, the latter known for his aliases Milford and UHF, and also the owner of the electro label Gladio Operations.

Diorama is born with the intention of recovering the soul and essence lost in electronic music, which for some time has become practically homogeneous and predictable. With a timeless, fresh, and warm sound, Diorama produce rhythms close to dub and Detroit techno, mainly influenced by Juan Atkins, UR, and Basic Channel, among others.

This EP, titled Pacific Trak, begins with a nod to the old Scottish school, where they revive a forgotten track by British producer Anthony Scott, adding its imposing main chord to a true sea of melodic textures, bathed in exquisite acid. Spanish techno master Tadeo gives us his vision of Pacific Trak, exploring dub territories that remind us of past pieces released under the incomparable Maurizio label.

The B-side opens with Soul Memories, a manifesto of resistance that vibrates with detuned harmonies and raw bass lines, recalling the origins of Detroit’s primitive sound. The package closes with Polymorphic, a progression of relentless aquatic chords, set among careful and precise minimalist rhythms that oscillate between high-dynamics tech and dub.

Kashpitzky returns with an era marking new EP on Be As One Imprint, channeling the classic Detroit techno into a modern sonic journey.

Blending driving rhythms with lush orchestration, the release is rich in sweeping strings and cinematic textures, Each track unfolds with emotional depth, balancing raw machine energy and elegant musicality.

The EP pays homage to the golden era of Detroit while pushing its sound into new territory, A timeless yet forward-thinking release, it captures both nostalgia and innovation in equal measure.

Until We Are Free is the debut album from fabric, a collective of musicians from diverse backgrounds united by a shared goal: to fuse irresistible rhythms and grooves with a direct, socially conscious message that draws vital attention to the contradictions of modern life. The project's name itself evokes the idea of a living, dynamic ensemble—a creative intertwining of different threads, from musical genres to founding musicians and guest collaborators, all actively woven into the social fabric.

The record blends funk, soul, and Afrobeat with a sharp, contemporary urban attitude, resulting in a sound that functions simultaneously as sonic resistance and an invitation to the dancefloor.

It finds its place in a lineage that runs from Fela Kuti and ESG to The Comet Is Coming, Sault and Jungle.

At its core is the conviction that music and civic engagement can coexist seamlessly without being didactic. While the lyrics—entirely in English—tackle themes of rights, equality, and freedom, the groove remains the heartbeat: constant, pulsing, and relentless.

Mixed by Tom Campbell (whose credits include Sault, Little Simz, Adele, Michael Kiwanuka, and Jungle) and featuring art direction by Raissa Pardini, Until We Are Free is a soundtrack for complex times. It is an invitation to refuse neutrality and isolation, and to imagine—together—new possibilities for movement, resistance, and the future.

fabric's singles "Taste This Sound" and "Fight!" have been featured in FIP's Spotify Playlists "FIP Radio (en live)" and KEXP's "New This Week" and "KEXP Rotation".

Recorded in 1960, The Genius Hits the Road was a conceptual album by the great Ray Charles with all its songs referring to a geographical location. Arranged and conducted by Ralph Burns and featuring key members of Ray's band - including saxophonist David "Fathead" Newman and trumpeter Marcus Belgrave - plus strings, the album includes the perennial hit "Georgia On My Mind" - the Hoagy Carmichael song that Ray Charles made his own.

»Music for Shared Rooms« is B. Fleischmann’s eleventh solo album and his first since 2018. It is also not an album, or at least not in the conventional sense of the word. These 16 instrumental pieces provide a kaleidoscopic glimpse of a forward-thinking musician at home in many different musical worlds, including experimental and abstract music, pop and more classically-minded compositional forms. These pieces were culled from an archive of roughly 600 compositions for theatre pieces and films written throughout the past twelve years. The Österreichischer Filmpreis-awarded composer, however, aimed for more than simply documenting his extensive work in and with different media. To do so, he edited and re-mixed the individual recordings for this release, taking them out of their contexts and reworking them for an audience who can experience them in a different setting. »Music for Shared Rooms« makes it possible for its listeners to engage with the sounds and to fill the spaces they open up with their own imagination.

Roughly speaking, music for theatre or film can serve two functions: it either takes the lead, or underscores what is happening on stage or screen. The marvelous thing about these pieces is that they manage to do both. Fleischmann’s work as a prolific producer has always drawn on contrasts, at times combining pop sentiment with rigid experimentation, the seemingly naive with the intricate and complex. This approach also marks the tracks collected here: bringing together acoustic elements and electronic sounds, at times working with conventional structures but always de- and re-contextualising them, Fleischmann constructs a vivid dramaturgy out of discrete singular compositions, letting them interact across the record.

Take, for example, the opener »Träumerei« and the following »Brenne«: after the soothing acoustic sounds of the former, the latter quickly picks up speed with hard-hitting drum machine rhythms. It’s a stark contrast sonically and stylistically, however both tracks are tied together by a certain harmonic sensibility. This sort of dramaturgical interconnectedness of varied musical materials is the thread that runs through »Music for Shared Rooms«. A droney piece for string instruments like »Sehnsucht« is followed by a trip-hop beat, before »Schock« lives up to its title with skittering beats and piercing high frequencies. The differences between the pieces may be striking, but the progression from one to the other is subtle. It goes on like this through different moods and tempos. There’s soothing-yet-eerie piano pieces like the »Für Elise«-inspired »Der Lärmkrieg«, gentle house grooves, joyful synthesizer excursions and, finally, »Die Erde ist mir fremd geworden«, a collage of abstract textures and concrete sounds.

All these pieces create distinct situations through the juxtaposition of diverse musical elements, but are also bound together by a single vision. Writing music for theatre pieces or film requires a composer and his pieces to engage with people and their movements in space, which is exactly what Fleischmann offers on this record. He breaks down the fourth wall and invites his listeners into his world, a wide-ranging musical panorama. »Music for Shared Rooms« is indeed not an album in the conventional sense of the word, but more like a photo album in which each page opens up a new space to get lost in; recreates different scenes in which you can immerse yourself. These are shared rooms indeed.

Composed by Christina Vantzou between 2023 and 2025 after being commissioned by INA GRM, »The Reintegration of the Ear« defines listening as a radical, embodied act of attention: a slower kind of presence rooted in care, intimacy, and reflection. Performed with John Also Bennett, Oliver Coates, Roman Hiele, and Irene Kurka, the work moves through intuition, breath, and resonance, forming an acoustic ecology between perception and expression.

Paired with »Observations, Edits, a Cure for Restlessness«, a companion suite of domestic fragments and temporal drift featuring harp by Sissi Rada, Ben Bertrand's bass clarinet, and others, time here is embodied, a porous medium where sound floats, reforms, and reveals itself as both instrument and witness.

Generic Flipper, the debut album by Flipper, remains the most absorbing full-length LP to emerge from the early San Francisco punk scene. A constant source of imitation for so-called "noise rock" bands, it has yet to be surpassed in its nihilistic glee.

Recorded between October 1980 and August 1981 and released in 1982 on the indispensable Subterranean Records, this album functions as a chaotic, sticky mass of individual personalities: the magma-like bass eruptions and dual vocals of Will Shatter and Bruce Loose, Ted Falconi's icy guitar scraping and the relentless beat of drummer Steve DePace. At times playful and taciturn, paranoid and absurd, Generic charts a deliberate path that willfully chances destruction.

In early '80s punk, when the hardening default was "faster-shorter-louder," Generic subverts the nascent hardcore scene with a strictly applied regimen of turgid-slower-heavier. The lyrics are bleak, yet unnervingly beautiful. "Ever" sets the tone with trademark restraint – "Ever wish the human race didn't exist? And then realize you're one too?" – while closer "Sex Bomb" is a churning, 8-minute epic with looping bass, saxophone accompaniment and electronic effects of dropping bombs.

Tons of indie bands have attempted to recreate Flipper's mix of acidic guitar, metallic bass sludge and sardonically brilliant lyricism, using the seemingly effortless template they pioneered; however, the effect usually drives listeners right back to Generic. While most of their contemporaries wilt under direct comparison, No Trend, the Butthole Surfers, feedtime and Church Police are a few who can stand the frigid heat.

Artist and multi-instrumentalist Flaer embraces the search for quiet miracles on first full-length LP Translations.

In 2023, Realf Heygate - who makes music as Flaer - released his debut mini-album Preludes, composed on his mother’s piano and his childhood cello.Returning to ODDA for his debut full-length album, Heygate is now looking in another direction. A record that embraces transition and movement, Translations is in many ways more internal, less rooted to a single place and reflective of the process of laying new foundations in Cornwall.

Like Preludes, Translations is coloured with found sounds and field recordings, from the starlings which can be heard singing through the open window of his studio, to the brittle recordings of his mother, who was a linguist, learning Spanish on a set of language tapes. In both cases, Heygate embraced the translations and memories inherent to the sounds.

“When I digitised my mother’s tapes, they warped and stuttered in a very similar way to the starling’s song,” he explains. “They had this uncanny rhythm and pulse that I couldn’t quite decode, but was saying something." These decayed transmissions hint at loss, resisting clarity in favour of the ineffable.

Translations is also a record of ambiguities and in-betweens, suggested by the double meaning of the album’s opening track ‘Entre’. At once intricate and expansive, threaded with birdsong and acoustic guitar motifs, this and ‘Starling Descends’ (a reference to Vaughan Williams’ ‘The Lark Ascending’) act as a bridge away from the pastoral themes of Preludes towards a more assertive sound. At times intimate in its textured instrumentation and at others more overtly grand in orchestration, reflecting awider palette of influences.

“Flaer began in many ways when I picked up my mother’s instruments, seeking a form of reconnection. Where words evaded me, they became the tools through which I found a language for grief – and above all, for love.”

Recorded between 2023 and 2025 – what Heygate calls “A gradual process of sowing and harvesting ideas rather than a single intense creative period” - each track follows a rhythm similar to the small maquettes and sculptures he has been working on in his visual practice, whereby structures and melodies form intuitively in moments that are as rare as they are fleeting.

“It's that feeling of searching that I really enjoy,” Heygate continues. “I never know what the destination of the composition is going to be, and I never really find what it is."

Translations is released on limited edition off-white vinyl LP (500 copies worldwide) with one of five signed and numbered handmade risograph prints. It's also available as standard black vinyl LP and digitally.

“Black Jacket” is a love letter between two bands separated by continents but united by mutual admiration. Contriva, of Berlin, and Chessie of Washington, DC, first came together in 2001 when sharing a stage, sparking a deep connection over their respective takes on textural, emotive, and mostly instrumental music that merges post-rock, ambient, and experimental elements into unique visions. Fast forward two decades and many trips to their respective studios and we now have “Black Jacket”, a double LP of musical alchemy that builds upon the expressionistic, idiosyncratic sounds of these two groups. A new classic that proves far greater than the sum of its parts.

Begun in the mid 1990's, Washington DC's Chessie is Stephen Gardner (also of noisy shoegaze pioneers, Lorelei) and Ben Bailes, whose various LP's for Slumberland's Dropbeat imprint and Plug Research pair abstract electronics and melancholy post-rock in search of the sounds and feelings of railways and train travel.

Berlin's Contriva, (Monika Enterprises, Lok Musik, and Morr Music) features Masha Qrella (known for her solo works for Morr Music), Max Punktezahl (also of Munich indie legends the Notwist and Berlin's Jersey and Saroos), Hannes Lehmann and Rike Schuberty. For over a decade beginning in the mid-1990's, Contriva crafted compelling instrumentals, grafting experimental textures onto beautiful and complex indie songs.

Together, the six of them have created “Black Jacket.”