To celebrate the 15th anniversary of the release of the stone-cold classic ‘Want You In My Soul’, Winding Road brings together a group of deep house legends to put their own spins on the Lovebirds feat Stee Downes original.
The Schmoov! remix is a feel-good 80s disco reimagination, cloaking Stee’s soulful vocals in uplifting synths and strings.
The Atjazz remix is a mellow and percussive beauty which has sunshine baked into its very heart. All the quality you’d expect from the master.
On the flip, the dubs – starting with a punchy dancefloor-friendly Kneedeep dub, and closing things off with the beautiful underwater vibes of Lovebirds’ own ‘Ocean Dub’.
Anna Almani might be your new favourite producer. IFYKYK.. If you don't, then let's get to know..
Anna Almani is a Berlin based “Drag-DJ & Fun-House-Queen”. She is “Big Sister” at ‘Love Letter’ an imprint “for flinta & queer sonic goodness” and she is the alter ego of deep house producer and Poker Flat & Watergate artist ‘Iorie’.
Anna says “This EP is part of my queer expression. It’s all about the attitude to resist, it’s about being yourself unapologetically. It’s a big hug to the queer community and a love letter to resistance on the dancefloor. Be radical, have an attitude and lose yourself.”
When we picked the tracks for this EP we were completely spoiled for choice. There’s so much personality in Anna’s music that every track list made sense. And that’s because there’s a common thread that runs through all of Anna’s music - Balance. Ying & Yang. Dark & Bright, Passive & Assertive, Masculine & Feminine, Fun & Depth all in kept in amazing dynamic balance.
This is Share Now & Save for Later… Gratification immediate and delayed. .. . four tracks to take you through from open to close. From Berlin to NYC and round again
‘See Me Walk’ is gonna be the track that grabs the attention and connects with dancers everywhere. Fast, fun and full of attitude it’s a 909 workout with the energy and syncopation of Ballroom Vogue aaaaand a fabulous diva vocal to match. ’Tender T’ counters the audaciousness with some tenderness. Energetic yet embracing, this introspective proggy, dubby afterhours roller is a proper trip! Full of colour but hazy af.
On the flip ‘Gimme Some’ ramps up the tempo. Fast, urgent and cyclic grooving techno - with a strut - that’s both dubbed out and in your face. ‘Anladın mı’ is a collaboration between Anna and German/Turkish producer Zettka. Low slung house that both jacks and grooves. Rolling basses balanced with playful chords. “Anladın mı” it translates as “Do you understand? or “Got it?”. By now I think we do understand.. That certain je ne sais quoi… Anna Almani has definitely got it.
Part of the Acoustic Sounds 40 Series
Releasing 40 titles to celebrate the 40th anniversary of Acoustic Sounds!
2x Grammy-winning album mastered from the original master tape
180-gram 45 RPM double LP pressed at Quality Record Pressings
Housed in a Stoughton Printing tip-on gatefold jacket
A landmark collaboration and one of the most celebrated albums in country music history, Trio brings together three transcendent voices — Dolly Parton, Emmylou Harris, and Linda Ronstadt — in a recording that's as emotionally rich as it is impeccably produced.
Originally released in 1987, Trio was both a critical and commercial triumph, selling more than 4 million copies worldwide, topping the Billboard U.S. Country Albums chart for five consecutive weeks, and earning the Grammy Award for Best Country Performance by a Duo or Group with Vocal. It was also nominated for Album of the Year. The album yielded four major country hits, highlighted by the haunting, harmony-driven remake of Phil Spector's classic "To Know Him Is to Love Him."
Produced by legendary engineer George Massenburg, Trio is a masterclass in clarity, balance, and vocal blend. Every track showcases the trio's distinct personalities while achieving a near-perfect harmonic unity-three iconic artists elevating one another through tasteful arrangements, pristine acoustics, and song-first performances.
Now, this classic shines brighter than ever. Mastered at 45 RPM and pressed on flat, ultra-quiet vinyl by Quality Record Pressings, this edition reveals rewarding insights for audiophiles, including greater nuance, texture and emotional depth with every listen.
Pure loveliness. Proper music-making,
DIY Classical, but nothing slapdash or posey. Intimate and tentative, seamed with risk, occasional mis-steps, dodgy tuning, minor technical fuck-ups; but driven by gripping, stilled dedication and deep musical understanding.
Double bass, electric guitar, flute, melodica, singing; recorded at home in NYC, on dodgy gear, with snug, woody, shhshh-ing, analogue-style ambience.
The trio hovers between cheerful relish - who’s that giggling at the back - and hushed, humble reverence, basking in the processes of musical communion and learning. They play like they are gingerly passing on a precious, fragile gift; but without prissy conceit.
Luminous selections from the last six hundred years - John of Dunstable meets Friedrich Nietzsche - are lovingly arranged by the group, with a bent for stripped-to-the-bone, emotionally restrained sublimity, steady as she blows.
Very warmly recommended. Soul food.
Jason Wilkins aka Cammile welcomes Lello Di Franco to his long-running Adeen imprint. As usual the Italian veteran has an eye-catching selection of collaborators in tow. Chief amongst these is Javontte, who not only guests on opener 'Do It Right' - a nostalgic chunk of classic house/boogie/jazz-funk fusion - but also flipside cut 'Elements', a hybrid deep house/Afro-house/disco house bouncer topped off with poetic spoken word vocals courtesy of Yvette Garrett. Alongside the duo's original vocal mix, we also get a jacking, stripped-back Toddsonic33 take and a propulsive, percussion-rich 'Vocal Dub'. Elesewhere, Orlando Voorn lends a hand on the appropriately titled 'The Deep', and Di Franco offers up the languid, organ-rich mid-tempo house shuffle of 'Lely The SBT'.
,Yaphet" ist das neue Album des Rappers Curly Castro - auch bekannt als eine Hälfte des dynamischen Duos Shrapknel - das am 18. September 2026 bei Backwoodz Studioz erscheint. Auf ,Yaphet" lässt sich Castro vom Blaxploitation-Filmgenre der 1970er Jahre inspirieren; die schwarzen Helden und Antihelden jener Zeit dient ihm als Sprungbrett für seine filmische Lyrik. Die Flows wechseln so mühelos wie Kamerawinkel, die Strophen sind gespickt mit Anspielungen und Zweideutigkeiten - eine Rap-Meisterklasse, die man endlos wiederholen kann. Aber ,Yaphet" ist auch Castros erstes Soloalbum seit ,Little Robert Hutton" aus dem Jahr 2021, und hinter dem Feuerwerk spiegelt dieses Album die Tiefe seiner Erfahrungen in den dazwischenliegenden Jahren wider. ,Ich hatte nicht vor, so ehrlich über mein Leben zu sein, aber genau das ist dabei herausgekommen, und das Album ist dadurch besser geworden", erklärt Castro, ,vom Tod meiner kleinen Tochter über den Tod meines Vaters bis hin zur Konfrontation mit meiner eigenen bevorstehenden Sterblichkeit - das sind meine verwundbarsten Klingen, die meine tiefsten Wunden aufreißen." Genau wie Castro marschiert auch diese Platte im Takt ihrer eigenen Trommel, und täuscht euch nicht: Es gibt jede Menge Trommeln, mit denen sich der erfahrene MC messen kann, wie nur er es kann. Komplett produziert vom Milwaukeeer Beatmaker Locust, ist ,Yaphet" ein schwungvolles, vielseitiges Hörerlebnis, das seinen Einflüssen zunickt, ohne jemals zurückzuschauen. Castro wird von einem Wirbelwind der Besten des Genres begleitet: billy woods, PremRock, Fatboi Sharif, Brian Ennals, SKECH185, Blueprint, AJ Suede, shemar, ALASKA, Sunmundi, blackchai und Margel the Sophant.
a 1.1BLACK DON'T CRACK [FT. FATBOI SHARIF, BLUEPRINT, BRIAN ENNALS, SKECH185, ...]
[d] 1.4ENEMY-MINDED [FT. MARGEL THE SOPHANT]
[f] 1.6RAILROAD SPIKES [FT. MARGEL THE SOPHANT]
[g] 1.7BLOOD IN THE GARDEN [FT. PREMROCK]
,Yaphet" ist das neue Album des Rappers Curly Castro - auch bekannt als eine Hälfte des dynamischen Duos Shrapknel - das am 18. September 2026 bei Backwoodz Studioz erscheint. Auf ,Yaphet" lässt sich Castro vom Blaxploitation-Filmgenre der 1970er Jahre inspirieren; die schwarzen Helden und Antihelden jener Zeit dient ihm als Sprungbrett für seine filmische Lyrik. Die Flows wechseln so mühelos wie Kamerawinkel, die Strophen sind gespickt mit Anspielungen und Zweideutigkeiten - eine Rap-Meisterklasse, die man endlos wiederholen kann. Aber ,Yaphet" ist auch Castros erstes Soloalbum seit ,Little Robert Hutton" aus dem Jahr 2021, und hinter dem Feuerwerk spiegelt dieses Album die Tiefe seiner Erfahrungen in den dazwischenliegenden Jahren wider. ,Ich hatte nicht vor, so ehrlich über mein Leben zu sein, aber genau das ist dabei herausgekommen, und das Album ist dadurch besser geworden", erklärt Castro, ,vom Tod meiner kleinen Tochter über den Tod meines Vaters bis hin zur Konfrontation mit meiner eigenen bevorstehenden Sterblichkeit - das sind meine verwundbarsten Klingen, die meine tiefsten Wunden aufreißen." Genau wie Castro marschiert auch diese Platte im Takt ihrer eigenen Trommel, und täuscht euch nicht: Es gibt jede Menge Trommeln, mit denen sich der erfahrene MC messen kann, wie nur er es kann. Komplett produziert vom Milwaukeeer Beatmaker Locust, ist ,Yaphet" ein schwungvolles, vielseitiges Hörerlebnis, das seinen Einflüssen zunickt, ohne jemals zurückzuschauen. Castro wird von einem Wirbelwind der Besten des Genres begleitet: billy woods, PremRock, Fatboi Sharif, Brian Ennals, SKECH185, Blueprint, AJ Suede, shemar, ALASKA, Sunmundi, blackchai und Margel the Sophant.
a 1.1BLACK DON'T CRACK [FT. FATBOI SHARIF, BLUEPRINT, BRIAN ENNALS, SKECH185, ...]
[d] 1.4ENEMY-MINDED [FT. MARGEL THE SOPHANT]
[f] 1.6RAILROAD SPIKES [FT. MARGEL THE SOPHANT]
[g] 1.7BLOOD IN THE GARDEN [FT. PREMROCK]
Originally, symptoms started out as a memoir chronicling Devin Daniels' mental health journey by way of the beat tape. "I made these beats in my worst mental health state of all time, like 2018 to 2023. In 2017, I had a experience in Boston and it gave me a schizoaffective reaction. I'm schizophrenic now. I've been hearing voices for the past almost 10 years. A terrible time, just really negative. Making beats is the kind of stuff that would just like cheer me up, you know, it would just make me forget about all that stuff." Devin has also been consistently working in the Los Angeles music scene as a bandleader and session musician, graduating from the Herbie Hancock Institute of Jazz Performance at UCLA, and going on to play in bands with the likes of Herbie Hancock, Joel Ross, Gerald Clayton, Miguel Atwood-Ferguson and more. Although Devin does not have social media, and thus currently might not have the name recognition as others in the wider music world, he is very respected and beloved in many circles of the Los Angeles music scene.
Following a decade spent releasing music digitally, Brandon De Carlo's Downside Up label made its vinyl debut late last year - though initially only in the US. Thanks to a new global distribution deal, we can now savour the label's second wax outing - a mini-album of club cuts and loop-powered DJ tools from British techno veteran Jamie Bissmire (an artist whose first EP dropped way back in 1997). There's naturally plenty of floor-focused heat throughout, from the 'Livity Sound-in-space' polyrhythmic techno of 'Primal Pathways (Roll Right Mix)' and the minor key madness of 'Smoke & Oakum', to the ambient style soundscapes of 'Parallel Stream' and 'Tangible Roots', and the slamming creepiness of the deliciously relentless 'Blackwood Tread'.
Sidney Gish is a songwriter and producer based in Brooklyn, NY. Her first album, Ed Buys Houses, was self-released on Bandcamp in 2016. Her second album, No Dogs Allowed, was released on New Year's Eve in 2017, receiving a 7.7 rating on Pitchfork and winning Album of the Year at the 2018 Boston Music Awards. Gish has toured with artists like Mitski, Cavetown, The Beths, and Jeff Rosenstock. She has a cult following and now a hugely viral song.
Sidney Gish is a songwriter and producer based in Brooklyn, NY. Her first album, Ed Buys Houses, was self-released on Bandcamp in 2016. Her second album, No Dogs Allowed, was released on New Year's Eve in 2017, receiving a 7.7 rating on Pitchfork and winning Album of the Year at the 2018 Boston Music Awards. Gish has toured with artists like Mitski, Cavetown, The Beths, and Jeff Rosenstock. She has a cult following and now a hugely viral song.
Catapult yourself back to the early-'90s raves with this limited edition vinyl of Human Resource's 'Dominator'. Including legacy-championing renditions from Klubbheads, Frank De Wulf and Rebuke alongside the UK-charting original mix, this multi-track pressing represents the sound that's proven to be rougher and tougher than any other.
Release 2: French Dub (Sound Klash Mix) / Don't Turn (Sound Klash Horror Edit) Stompa Phunk resident Sound Klash delivers a double-header of raw, analogue, weight-engineered music for heads. This isn’t clean; it's when vintage hardware is pushed to its limits. Built on a foundation of second-hand samplers, overdriven preamps, and tape-spliced editing, these tracks are raw and physical.
The Philosophy: This release is a pure distillation of the ethos that has sustained Stompa Phunk’s dancefloors since 1996. It is uncompromising electronic music built for the heads; rooted in heavy sampledelia, jackin' bodies, Acid energy, and a classic disco-dub mentality.No compromises, no trends. Just Jackinacidiscotech!
Tronic return with part 5 of the More Than Machine series going back to our roots, Electro has always been our passion, and we’re here to give it the massive spotlight it deserves. Our new VA brings together iconic producers Christian Smith / Wehbba / Ian O'Donovan and next-gen visionaries Alexander Kowalski / PJay for a master class in modern electro. Every track is a certified weapon, hand-picked to send shockwaves through clubs from Berlin to Tokyo.
New York-based Japanese jazz and electronic music polymath Takuya Nakamura presents his debut album Shape The Future - almost 35 years into his storied musical journey.
An expansive double album, the album’s first LP documents a spellbinding live performance by Nakamura recorded at fabric. A hybrid set combining DJing, live electronics, vocals, and trumpet, the set also features studio versions of special collaborations with Shigeto, Currency Audio and Tim Reaper. The second LP complements the first by assembling studio recordings of select album tracks. Altogether the two volumes make for a definitive display of Nakamura’s exceptional musicianship across jazz, DnB, jungle, broken beat, deep techno and more.
Across his career, Nakamura has played Brazilian music, merengue, salsa and straight-ahead jazz. He’s opened for Sun Ra Arkestra, performed with David Byrne, Laurie Anderson, Lee “Scratch” Perry, Wu-Tang Clan, and Arto Lindsay, appeared on sessions with Terry Riley, ASAP Rocky, Goldie, and TV On The Radio, and remixed the likes of Quincy Jones, Sun Ra, Billie Holiday, and The Streets. He’s also played under director and playwright Robert Wilson.
Although the musical past and present of the Tokyo-born, New York-based DJ and trumpet player is undoubtedly eclectic, Nakamura is abidingly steeped in the sounds of jazz and jungle. This’ll be obvious to casual observers who may have seen any viral videos of him. But there’s more to this. The depth of Nakamura’s engagement with these kinds of music, the way they’ve made him into the person he is, the decades-long path they’ve taken him on; to now arrive at the summit of a solo album is all truly remarkable. Shape The Future resonates with every chapter in this story.
In high school, Nakamura’s friends started listening to jazz and jazz fusion, which piqued his interest, especially when they started going to clubs to see it live, where they managed to see US legends like Sonny Rollins play. Eventually he began to play jazz every day and his musical skill emerged early. He soon became obsessed with getting closer to the source of this music, which led to his studies at the New England Conservatory of Music in Boston with George Russell, an influential figure who had taught Miles Davis and John Coltrane. Nakamura drank it in: not only the technical aspects but the sense of a direct connection to “a music culture where Russell and his friends changed harmony forever. I wanted to know how that was possible!”.
This was a radical experience in itself, but then another revolution happened for Nakamura. He was playing in a venue called The Western Front, near Boston and discovered that the elderly owner had his own soundsystem and was playing what was then - in 1992 - only just becoming known as jungle. This was as freeing a musical revelation as his proximity to the giants of jazz was, and in that instant the two things fused. He understood that using technology to fill a dancehall with sound and a jazz musician’s reflexes are all working to the same ends: “You’re always making decisions,” he says, “but it doesn’t have to be really difficult. It’s the truth of the frequencies, and how they’re affecting people’s minds.”
From that moment on, his life path was set. Moving to New York City, he sought out jungle and its offshoot sounds wherever he could find them, gigging and collaborating relentlessly, and gradually developing his own live and hybrid live/DJ shows. Through regular appearances at New York fixtures Zebulon and CBGBs, and continual shows elsewhere in the city, Nakamura developed his live performance and DJing and it was in these environments that he gradually weaved together his twin loves without compromising either, building an international reputation in the process.
It’s only fitting then that his first album, almost 35 years after he first found his musical direction, should be a live one: a window into this never-ending process. Even here, he had to be persuaded that he should make a record. A member of the fabric team got turned on to his music after their daughter saw him play. Of course, as a jungle lover, Nakamura knew fabric – which has a special place in the history of jungle and drum’n’bass – and “had wanted to play there since I was very young.” You can hear the club in the record: this isn’t just a live show, in keeping with his jungle roots, it’s Nakamura duetting with the soundsystem, and you can feel how the emotions in the room would have ebbed and flowed.
This dynamic translates to a transfixing record. Setting the tone with lushly textured ambient and reverberant jazz, Nakamura segues into cinematic breakbeat and stellar fusion, infusing it all with intoxicating low end and hypnotic rhythms. The LP’s midway point locks into mesmeric percussion heightened by resonant echoes of piano and trumpet. There’s an endless pull to this music. Nakamura adjusts the levels for maximum impact throughout, and the overall effect begins to evoke some harmonious hybrid between a jazz ensemble, a classic Metalheadz 12” and a Theo Parrish DJ set. His electric form continues through surreal jazz, intricate electronics and rolling sub-bass velocity, right up to the subtly devastating final cover of Peter Gabriel and Kate Bush’s ‘Don’t Give Up’, with Nakamura’s fragile vocal sitting in the heart of a huge sound.
From Tokyo jazz nights to formative studies and encounters in Boston to his artistic development in New York, Nakamura reaches another milestone with his monumental debut album. It’s a release that happened just the way a Takuya Nakamura record should. In the same way his instincts led him to musical revelations, taking his own sweet time has led him to make one of the most extraordinary debut albums imaginable, all executed in his own singular style. In Nakamura’s world, the universe finds a way.
Hanne Lippard and Renato Grieco's Today's Special is a suite of language works synthesising melody and diction that integrates the literary and the audible in a repertoire of songs that bask in the melody of voice and the punctuations of structured composition. Working with methods of reduction rather than opulence in both tonal composition and rhetoric, each piece pegs the poetic to the musical with compositional schematics and methods. It is important to state that there is little to none improvisation here, instead, the duo set up matrices, rules and structural links that facilitated meaningful locus of exchange between their two practices. Lippard's texts are a collection of new and previously completed works. In these, as is typical for her work, she enjoys the easy pleasure of wordplay, iterative language, and decontextualised anecdote, as in opener Portrait of a Betrayal, a piece about the loss of a phone and the way it haunted the owner who dropped it, based on a lived experience. Grieco's instrumentation works with Lippard's language art as a form of acoustic typography. "I studied graphic design and I think about how you can express typography through voice," she says. "Renato's use of the viola da gamba becomes like an underline, or a font's brushstrokes, in ways that feel typographical." In this, the classically-trained composer Grieco often finds and echoes the pitch movements of Lippard's voice, intonation mirrored and revealed, linguistic meaning doubled and shadowed by plucked, strummed or bowed strings. His main instrument is the viola da gamba, the instrument considered closest to the human voice for its tonal range and ability to mimic inflections and timbre, and here he brings it even closer to the voice, building systems by which it moves with and around Lippard. He also plays piano and Wurlitzer, and joins her in speaking on Receiver and in conversation for final track The Black Rose. "Hanne's voice is an artist's voice, embodied as the artwork itself," he says. "But where my approach is from the perspective of a composer, hers is around rhetoric and language. We worked towards each other in this sense, Hanne finding a space to welcome my voice, and me designing an acoustic space to enhance her vocal persona." In some tracks the structural connections are obvious - the matched tumbling delivery and stepped pitches of voice and piano in Aficionado sounding like two tipsy friends descending a staircase. In others, like the triptych of tracks Three Rungs Ladder, structured with rules derived from nursery rhymes, or cumulative song (akin to the 12 Days of Christmas). For the Colour 1 and Colour 2 pieces, the duo worked from palettes of colours connected to clusters of harmonies, which underlined the power of the word and its articulation. The absurd Labradorable personifies a people pleaser, A Story About Being Blue is an imagined playful monologue from the Deep Blue supercomputer - requesting in sing-song stop motion to be called Debbie, and Larry - as Grieco echoes in factual reportage. Hurtbeat unpacks and recomposes a tweeted non-apology by a Russian art collector about owning a piece of racist art, Grieco shadowing Lippard's generating a third `drop-shadow' performer from the resonances between the duo, typographic re-articulation of the source material. The Receiver includes lines from Robert Ashley's Improvement (Don Leaves Linda), Ashley existing as a spiritual parent of sorts to the practices contained on Today's Special, and here interpolated as if he is being quoted and written through within the audible world of the piece in a palimpsest of borrowed sentences. Closing track The Black Rose contains its own self-aware comedy, a lightly distorted conversation sourced from a Reddit thread about whether black roses exist, recorded as if it were an internet radio or a low budget podcast, the casual exchange stilted in the delivery of platitudes as scripted speech. Today's Special was developed in person over the course of a series of small residencies - at Deutsche Akademie Rom Villa Massimo, Rome; Fondazione Morra, Napoli; Callie's, Berlin. In these limited periods that rarely stretched beyond a week, Lippard and Grieco developed strategies for the works, keeping tightly locked to musical concepts. This, for Grieco, is about maintaining a solid, meaningful connection within the compositions, and committing to everything having a purpose for existing within the work. Each element pulls its weight; has something to say, literally and metaphorically speaking. In the same way that Lippard's work leaves nowhere for her to hide, he wants the music to exist with its own naked purpose: "It's is about exposing nudity via reduced materials," says Grieco. "This is a form of courage we want to embrace. Once we take off everything, it needs to be extremely precise to maintain a connection with the audience. We have a lot of tools to hide behind now, to protect ourselves and our identities as artists, performers, and in life more generally. It's something I don't want to do. I want extreme reduction: no hiding."
WHIMM formed around the shadowy heart of the Toronto post-punk underground over a decade ago. The partnership between Mounir Al Shami and Andrew Matthews has emitted sporadic musical shards over time, while slowly evolving into something so much bigger than its beginnings. Ideas seep out of every corner of No Promotion, showcasing a burning desire to explore and challenge while delivering very direct sonic offerings. The result is an album that feels as if you took the entire Coil discography and smashed it into pieces, assembling these precious songs from the fragments. Or as if Vangelis beckoned Section 25 to the studio in hopes of recording the score to a seedy film. The resulting LP is in a state of flux – equal parts motion and decay.
Patrick Flegel, of Cindy Lee, welcomed Al Shami and Matthews into REALISTIK Studios in Montreal to engineer half of the tracks for the album, including lending guitar to the opening track "Five in Decline." That influence is evident early on, as the first three songs are taken from those sessions. "Five in Decline" throbs and barks before racing through the hallways closing in around it. "Another Labour" slows to a spidery waltz as anxious melodies call out to one another. "Returnal" pulses, floats through the night sky and haunts you forever. "Rye" carves a percussive pathway toward similar travellers like Terry Riley and Jon Hassell, before the lament of "A Death Remembered" forms the perfect midpoint for the record. A slow build countered by twitching drums and blanketed by organs recorded at Metropolitan United Church in Toronto, it feels like emotion right on the edge of resolve.
"Rhymes of December" screeches through on a solitary train under the towering cityscape as the flickering lights blur past, its doors opening to the candlelit altar of "After the Last Sky" (those beautiful organs again) with an operatic swirl. "K'20" throws you into a claustrophobic and chaotic cab ride (Who is talking? Are those sirens?) until you finally find the quiet of the early morning, waiting at the window for the sun to join you once again as the first notes of "No Promotion" are delicately plucked. The final song from the Flegel sessions, it is over eight minutes of contemplative beauty. A restless heart that is ready to rest. Closing with a final apparition in the key of The Caretaker, "After the Last Sky (Reprise)" is a return to melody when words lose all meaning.
Al Shami and Matthews weave their lyrics throughout, words describing a search for lucidity, and of reactions and reflections. Al Shami – speaking from the Palestinian diaspora – ruminates on displacement, both personal and collective. His journey from having "been without a land and I can still see clearly" in "Rhymes of December" to a more defiant "we will be back again, no matter how it ends or where we've been" in "Returnal" takes a very insular turn on No Promotion. That sense of alienation pulls at the very center of a relationship when land and circumstances separate: "And after our last breath, all that's left in me is our flesh and fears, your last words would swim for years, you'll never find a home in me." Hearts on the outskirts that know the direction.
Shape of the Unknown’ is kind of a double LP that fully embraces the idea of exploration. It is CHLOÉ’s most expansive and immersive work to date. ‘Shape of the Unknown’ is CHLOÉ’s fourth proper studio album. Its predecessor, ‘Endless Revisions’, was released in 2017. Nine years have passed. Nine years during which CHLOÉ has continued digging for music, DJing at internationally renowned clubs and festivals including Rex Club, Robert Johnson, Panorama Bar, Nuits Sonores, Glastonbury and many more, releasing EPs and remixes, while also allowing herself the time to explore entirely new creative paths.
The challenge is to capture the unknown, make it her own, endlessly reshape its textures, and ultimately preserve its mystery.
The first single ‘Drifter’, released back in June, already offered a striking glimpse of the sonic territories the album would venture into, driven by its hypnotically contoured basslines. The album's two other singles offer different windows into her world. 'Shapeshifter' captures CHLOÉ at her most hypnotic, balancing stripped-back techno and melodic house through deep rolling grooves, expansive bass chords and subtle rhythmic shifts that constantly reshape the listener's perception without ever disrupting the flow. Later, 'Repeating The Obvious' takes a more leftfield route, pairing staggered rhythms with retro-inspired harmonics and an understated indie dance pulse that feels simultaneously familiar and unpredictable.
CHLOÉ has ventured into live performance through new formats, notably alongside percussionist Vassilena Serafimova; immersed herself in film scoring with soundtracks for Paris la Blanche, Arthur Rambo, The Mountain, Blanquita, Guru and Unsubmissives; and developed compelling collaborations, from High Season, her project with Ben Shemie of Canadian band Suuns (which resulted in the album The Call), to her own organic, experimental audiovisual performances under the name Slo/Mo AV.
Throughout Shape of the Unknown, CHLOÉ blurs the boundaries between deep house, hypnotic techno, electronica and cinematic sound design with remarkable fluidity. The album unfolds as a continuous narrative rather than a sequence of tracks, moving effortlessly between beatless ambient passages, rolling analogue grooves and emotionally charged club music. Organic percussion, sweeping bass movements, melancholic harmonies and richly textured synthesisers create a body of work that constantly evolves, where no section feels static and every transition reveals another layer of depth. There is an unmistakable warmth running through the record, with grainy analogue textures and spacious production giving even its most driving moments an intimate, almost tactile quality.
The album’s title is no coincidence. It evokes a form that has yet to be named, something language itself struggles to grasp. CHLOÉ approaches it through an organic creative process. Each piece must first be performed in the studio, almost as if it were being played live. The album will be followed by a series of live performances and DJ sets, including a show at the Olympia on March 18, 2027.
She is joined by a handful of steadfast collaborators. Jazz trumpeter David Enhco appears on two tracks, ‘Undertow’ and ‘Inner Bass’. But above all, there are the voices: Ben Shemie lends his unmistakable presence to the radiant ‘More Than Just a Feeling’. Olivia Merilahti, singer, songwriter and one half of The Dø, appears on the otherworldly ‘TWYR’. Working with Olivia’s already hypnotic voice, CHLOÉ has approached it like a sculptor, enhancing its strangeness and dreamlike quality.
And finally, impossible to miss is the instantly recognizable voice of Kittin. A longtime accomplice, she lends her distinctive phrasing to CHLOÉ’s music here for the very first time. The strongest collaborations are often those that take their time, arriving only when the moment is right. Same kind, same bass, same vibe, same pride.
The result is an enigmatic, nocturnal record, drifting between introspective listening and dancefloor functionality, revealing an artist who remains far more interested in atmosphere, movement and emotional storytelling than conventional club structures. It is an album that invites us to dream more deeply and to dance again, both within ourselves and out in the open.
With one foot in the Mexican underground rock scene and the other one in the global tape trading circuit, Las Ánimas del Cuarto Obscuro found themselves in the middle of a crossroad after their first LP. México wasn´t the same country as when the band first started. Even though access to non-commercial music still was a difficult task in the late eighties, the fringes of culture had way more resources thanks to the stubbornness of certain anonymous heroes: dwellers of El Tianguis Cultural del Chopo, niche record stores, illegal underground parties and hosts of late night Mexican public radio shows.
Ubiquitous social unrest expressed itself in every way possible. The aftermaths of the 1985 earthquake weren’t the only matters on the table. Protests erupted after a rigged presidential election and a student strike hit Mexico’s biggest public university. This was just the tip of the iceberg of issues PRI’s perfect dictatorship was or wasn’t addressing. The clash of the authoritarian regime against new and fresh ideas.
If the first record was about the loneliness of self-destructive youth and it’s urban phantasmagories, LACO’s second LP dealt with change as the axis of human existence. Las Ánimas is just the beginning of the sonic metamorphosis Toño Sánchez went through until this very moment.
The departure of former bandmembers set a different approach towards more experimental and atmospheric sounds. As the project’s only member, Toño Sanchez took an alchemical trip aiming for more mysterious horizons.
Despite the fact that we can still find conventional dark pop and catchy songwriting, the record rests on sound landscapes closer to Jorge Reyes or Tuxedomoon and This Heat than the orthodox ways of so called post-punk, seasoned of course with the lack of music gear and the economic reality prevalent in Mexico of those convulsed times.
Las Ánimas is a goodbye letter to underground but not because the next move is the mainstream. Far away from it, it’s a farewell to traditional rock and a the first steps down into the depths. From now on, Toño Sánchez will dedicate his musical efforts to weirder sounds and scarcer audiences in the search of the arcane, possessed by a mania of constant change that infects the soul after crossing the black door’s threshold.
“Cue Blue”, the latest and fifth studio recording from Australian down under, gritty jazzfunk grooves ensemble Kerbside Collection sees a return to a more classic, stripped back, meat-and-potatoes, home-cooked, quartet formation sound of guitar, bass, drums and brass.
A sound formed on previous, recent recordings (incl. Golden Rules compilation tune “Fleet Streak” etc), seemingly harking back to the approach of the group’s first recordings (2013’s “Mind The Curb”, “Night in Tunisia” etc), whilst embodying inspirations from more ‘true school’, classic, bluesy New Orleans funk and soul groove flavours à la early Meters, Boogaloo Joe Jones, Melvin Sparks, Billy Butler etc. But it’s not all completely ‘retro’ and ‘looking back’, the album definitely taps into some of the current exponents and leaders of the contemporary deep funk sound – The Greyboy Allstars, Eddie Roberts, The New Mastersounds, The Mighty Mocambos, Breakestra and fellow Aussie funksters Cookin’ on 3 Burners, Lance Ferguson and The Bamboos etc.
The lead single and first tune “Shivers” gives us a clear, picture and definitive opening statement to the record with all the characteristics you’ve come to expect from the Kerbside gritty jazzfunk sound: silky guitar line phrasing, rubbery bass-lines, tight crusty drum breaks, and sweet brass arrangements. Then it’s straight into a frenetic, jangly, mod-funk workout complete with Northern Soul & Motown inflections in the surging B sections. “City Park Avenue” conjures up classic New Orleans funk flavours with its strutting brass, slinky guitar and swinging tambourine groove. There’s classic, b-boy funk territory covered in “Coffee Grinder” (a breakdance move) with its razor-sharp drum break groove and chunky riff complete with sizzling trombone solo. Before the pace of the record changes up with the finger-clicken’, hand-clappin’ boogaloo, reminiscent of early 60s Harlem x Puerto Rican Bronx sounds (à la Willie Bobo, Mongo Santamaria, Ray Barretto) loaded with a scintillating baritone sax solo from long standing part of the collection ‘Papa Joe’ Roberts.
“Sittin’ On The Porch” cools the temperature down even more, delving into slight Southern Louisiana Delta blues territory, while suggesting some of the hot and muggy atmosphere and imagery of their home town location in suburban Brisbane Australia, complete with kooky Casio percussion representing familiar yard sounds such as sprinklers (spinning lawn watering devices) and ‘mozzies’ (mosquitos), passing cars indicated by trombone, and guitarist TC Tyler, channelling some bluesy John Lee Hooker, R.L. Burnside guitar flavours - you can almost feel the humidity on your skin.
Then it’s time for a stroll down memory lane, with their version of a People Under The Stairs hip hop classic “San Francisco Knights”, bringing the tune full circle back into band mode, also with another tasty guitar solo. The album then enters its final stages with a mesmerising, soulful, jazz ballad “Shimmer”, complete with Elliott Parker’s sultry upright double bass, and trombone taking the melody for a gentle stroll down the street. The album finally closes and arrives at its title “Cue Blue”, a classic blue-eyed soul number (penned by bassist Parker), emitting the scent of true school, vintage R&B and soul (à la Donny Hathaway, Marvin Gaye).
An album of funky arrangements and refined compositions, mostly penned by recent new-ish member, guitarist Tyler (for fans of Tower of Power & John Scofield guitar playing) taking the ensemble through their paces with all the usual characteristics of the Kerbside sound, on top a groove that will take you round-the-block-and-back :P Gritty jazzfunk and rustic soul grooves with definite bluesy overtones, some classic 60s, 70s flourishes and down-home funk flavours.
Repress of since last 2025 sold out box set. Ltd edition Gold vinyl, 4 X 140g LP Box set, 24pp booklet, DL card. or Ltd edition 4xCD Bookback. Trees classic albums, beautifully packaged as a four-disc anniversary edition includes 12" book with liner notes from founder member David Costa and comedian Stewart Lee - Features two new discs of alternate mixes, early demos, BBC session tracks and 2018 live recordings in London - Includes lost demos of 'Polly On The Shore' and 'Streets Of Derry' It's now over fifty years since Trees' formation and, although 'Acid Folk' has now become a sub-category in the lexicon of record dealers and music critics, and although founder member David Costa feels the original noughties reissue helped consolidate a gathering wave of curiosity, they themselves remain in the shadows. Earth's new Trees collection brings together both albums adding shiny alternate mixes of key tracks along with a selection of radio sessions and demos, all sounding brighter and cleaner than ever before. Trees first album, 'The Garden of Jane Delawney' (1970) snuggles nicely into contemporary nu-folkies' idea of the genre, and shares some of the pastoral-whimsy that characterised The Incredible String Band or Donovan, offset by some stunning interpretations of traditional material and Bias' own songs, which were somehow part of the tradition Trees had adopted. Readings of 'Lady Margaret', 'Glasgerion' and the old standard 'She Moved Thro' The Fair', and the extended fade of the group's own 'Road', presage the explosive instrumental duelling that would come to characterise the follow up album, 'On The Shore'. There's a definite shift between the records, the second being darker and more ambivalent. Here Trees don't tell you what to think. You're left to formulate your own response to this odd, opaque music. The 'Streets of Derry' session version leans into the brain vibrating drone-groove they somehow found at the traditional tune's centre. 'Polly On The Shore', another traditional tune, is one of the definitive moments of English folk rock. This special expansive collector's edition celebrates the bands 50th anniversary. "A beautiful hybrid, Trees found a unique space between intimate folk and freewheeling psychedelia. Musically ambitious yet brilliantly balanced, they have left an enduring legacy for those lucky enough to be in on the secret" - Edd Gibson, Friendly Fires
EPILOGUE is the culmination of more than four decades of music-making by Japanese composer, producer and multi-instrumentalist Ken-ichiro Isoda, an album in which environmental sound, electronics, contemporary classical composition and memory converge into a deeply personal late-career statement. Isoda moved through video-game music, film composition, classical production, Okinawan music, television and collaborative projects, continually developing an approach in which acoustic instrumentation, field recordings and electronics could coexist naturally.
His collaborative album Interwoven with aus, released through WRWTFWW, further demonstrated the openness of a musical philosophy Isoda describes as being rooted in fluctuation, imperfection and organic movement.
EPILOGUE brings those threads together while refusing to function simply as a retrospective. The album consists largely of older compositions that Isoda has returned to, reconstructed and reinterpreted from the perspective of the present.
Opening track “TANEKOMA” refers to the Izu Robin, a rare bird native to Hachijō-jima, the volcanic island where Isoda lives. Its song, recorded by Isoda in the mountains, becomes part of the composition itself. Placed at the beginning of the album, “TANEKOMA” becomes both document and prayer.
Elsewhere, “Circulation 2” develops from a work created around the relationship between forest, sea and the movement of water. Flutist Dogen Kinowaki replaces Isoda’s original piano melody with a performance that gives the piece a distinctly Japanese sense of place. Kinowaki also appears on a newly reimagined version of “Beach of the Pliocene”, one of Isoda’s most recognised compositions.“STEPS”, first composed for film in 2008, looks back toward the electronica of that period. For this definitive version, Tsutomu Sonoda of maya ongaku provides vocals, bringing new emotional and lyrical depth to a piece Isoda had wanted to properly complete for more than a decade.
The title track from Isoda’s 1991 New Age album “Yume no Sazanami” is similarly reconsidered. Originally recorded with a small chamber orchestra, the new arrangement replaces elements of the harp and cello with layers of nylon-string guitar performed by Tatsuro Murakami. Perhaps the album’s clearest meeting point between past and present is “WATERWAYS.”The mysterious European ambient artist Aiko Takahashi, transforming an abandoned demo into what is simultaneously the oldest and newest work on the album.
“A Flowering Tree,” written for film in 2013, is reconstructed around multi-tracked flute performances by Dogen Kinowaki. Isoda carries that association into his own arrangement, allowing the piece to function as another quiet meditation on memory, loss and hope.
The album closes with “EPILOGUE” —less a grand conclusion than a moment of acceptance. Isoda chose it as the album’s title piece to hold what he describes as the complex emotions that accompany the twilight of a life spent making music. EPILOGUE is not simply a look back. It is the sound of older music continuing to move, change and breathe in the present: a lifetime of ideas distilled into Isoda’s own form of pure music, shaped by memory, collaboration, nature and the world immediately outside his home on Hachijō-jima.
This is the sound of dream Texas, the cinematic Texas conjured in film and 20th century literary and art myth… big dark blueing horizons swallowing the infinite distance, a lonely poetry of sound, but also a stock taker of the iconoclastic, psychedelic, art rebel side of Texas… the cracked rock music side of Texas, the avant-garde in concrete cracks, the recklessly used, mind expanding drugs Texas, the dripping eastern swamps, the Houston house parties with the sounds of records blasting down the block and becoming musique concrète in the hot summer night.
Chrome Chasm’s debut album Interpreter is ambient, minimal in feel, maximal in texture, beautifully disorienting, vastly spacious— until it isn’t. It's a naturalistic shapeshifter, taking majestic form in the aforementioned elements and then dissolving back to raw genetic material to form anew. Spiritual jazz overtones, pedal steel moans and buzzing, noisy ambient visions are upended by grey-folded psychedelic unveilings. Interpreter’s three expansive tracks present a most detailed performance by its three deft musicians and the outcome often feels like a gorgeous collage in real-time.
Chrome Chasm was formed in 2024 by three of Houston’s brightest underground stars: Mlee Marie (Hearts Of Animals) on alto saxophone, flute and voice (whose long-form experimental sax performances helped inspire the formation of the band), Will Adams (Lower Dens/ Ka-Nives) on pedal steel, synth, percussion and voice, and Tom Carter on guitar. Carter has been casting a long shadow over Texas psychedelia and American underground music for over 3 decades, most notably with the Houston based Charalambides, a powerful creative force of the pre-new weird America era of experimental and avant psychedelic music, and most notably since with his solo guitar magnum opus Long Time Underground (which was deemed among the best experimental albums of 2015 by Pitchfork).
Interpreter’s opening track “The Star,” recorded almost completely live in one room and one take, is a 16-minute manifesto on ‘Dream Noir.’ An astute scholar of cross-genre connectivity and the through-lines of kosmische and spiritual-leaning sonic realms can hear echoes of Cluster, the skronk and beauty of Rahsaan Roland Kirk, and the architectural ambient flow of Harold Budd and Philip Glass in the tidal lapping of distorted guitar, mantra-like saxophone and pedal steel flow. From its deconstructed, pastoral opening moments to its proto-electronic center that crests into a bombastic polytonal climax, Chrome Chasm never neglect narrative arc for experimentation and avant technique. In fact, as a group, they effortlessly control, open, fill and contract space in abeyance to emotional vibration. “The Star,” and indeed the album as a whole, feels more like a communion or extended poem, in direct communication with the listener, than it does a ‘captured experience.’
Across the three longform tracks of Interpreter, Chrome Chasm conducts a masterclass in fusing real time performance energy with an abstract, cut-up master’s reimagining of the literal. They demand the listener meet their music with dream logic and then, like the best dream peddlers, they present a labyrinth to fall into and experience, a place where explanation and conclusion become obsolete, and engagement and immersion become sublime.
Kalita presents the fourth and final instalment of their groundbreaking ‘Borga Revolution!’ series, uncovering another selection of essential recordings from the rich and far-reaching world of Ghanaian highlife. Spanning deep, hypnotic highlife through to the vibrant electronic productions of 1980s Burger Highlife, Volume 4 captures a period of extraordinary musical change, as Ghanaian artists absorbed influences from funk, disco, boogie, and new synthesizer technology. With previous volumes championed by tastemakers including Gilles Peterson, Antal, Tom Ravenscroft, and Hunee, this final chapter turns its attention once again to the music of the Ghanaian diaspora.
Volume 4 brings together rare recordings from artists such as Rex Omar, Nat Fredua, and CST Amankwah, alongside the elusive, deeply hypnotic and beautiful sounds of the Abibifo Dance Band of Ghana (led by the legendary bassist Ralph Karikari) and Baffour Kyei. Unearthing recordings that have languished in obscurity for over forty years, the compilation moves between deep highlife, rhythmic dancefloor cuts, and pioneering digital productions, revealing yet more musical ingenuity of Ghanaian artists both home and abroad. The final instalment in the ‘Borga Revolution!’ series, it offers another vital collection of forgotten favourites and hidden treasures for DJs, collectors, and anyone drawn to the endlessly inventive sounds of Ghanaian music.
The 1970s and 80s saw Ghanaian musicians begin to incorporate Western sounds like funk and disco into their music, reflecting the changing global musical landscape. However, the country's political instability and economic hardships, marked by military regimes and curfews, forced many artists to leave Ghana in search of better opportunities abroad. In Europe and the U.S., these musicians fused their traditional highlife roots with emerging digital sounds, using cutting-edge technology like the DX7 synthesizer and drum machines to create the genre now known as Burger Highlife.
With ‘Borga Revolution!’ Kalita offers a vivid exposition of this musical transformation, using rare interviews, archival photos, and detailed liner notes to bring to life the pioneering spirit of both well-known icons and unsung innovators of Ghanaian Highlife, one of West Africa’s most exciting musical movements.
· The final installment in Kalita's 'Borga Revolution!' series, examining the development of Ghanaian dance music in the 1970/80s, and focussing on the phenomenon of Burger highlife (a blend of Ghanaian highlife with disco, boogie and synths).
· 2xLP in gatefold sleeve, with printed inner sleeves examining the stories of the artists featured on the volume.
· Includes 10 highly sought-after and under-the-radar recordings, including those by the phenomenal Rex Omar, Nat Fredua, CST Amankwah, Baffour Kyei, Chief Kofi Sammy, and the Abibifo Dance Band of Ghana.
First run of limited black and white vinyl versions of this huge cold war themed classic. Includes Devil's Dancers amongst other tracks. Huge!!
Minimal Wave proudly presents a newly remastered deluxe double album of archival material by pioneering 80s minimal electronic duo Oppenheimer Analysis. Oppenheimer Analysis formed in London, England in 1982 by Andy Oppenheimer and Martin Lloyd. Their first meeting though was at the 1979 World Science Fiction Convention in Brighton. They quickly became good friends, sharing an interest in the work of David Bowie, electronic music and early synthesizer bands such as the Human League and Soft Cell. They also shared a love of old science fiction movies, 1950s graphics and comic book imagery and a fascination with post-World War II propaganda, the politics and aesthetics of the Cold War, and the social impact of the atomic bomb. Over the next few years Andy and Martin frequented the growing club scene, including Studio 21 on Oxford Street, and became involved in the developing Futurist and New Romantic style sub-cultures. During this period Martin recorded as Analysis, both alone and with David Rome of Drinking Electricity. They released their first single, 'Surface Tension/Connections' on David's Survival label in 1981. In 1982, Oppenheimer Analysis began writing and recording together at Feedback Studio in Battersea, and performed several times at The Bell, Islington, the 1983 World David Bowie Convention in Hammersmith, the Starzone Birthday Party at Camden Palace, the 1984 European Science Fiction Convention in Brighton and other live venues. Their first demo tape and twelve song 'New Mexico' cassette were sold at gigs and by mail-order, and were reviewed in Melody Maker, Sounds and Soundmaker.
For the years to follow, Oppenheimer Analysis became recognized among electro-music aficionados as a pioneering duo who influenced countless other bands during the club and home-recording era of the early 1980s and beyond. Their cassettes became massively collectible. In 2005 they re-formed with the release of a self-titled four song 12' EP of selections from the New Mexico cassette, including 'Cold War' and 'The Devil's Dancers'. This marked the first release on Minimal Wave. Now in 2015, we're happy to present the entire New Mexico collection, newly remastered and cut to vinyl for the first time ever, to celebrate our 10 year anniversary. This first edition of 1000 copies is pressed on deluxe 'nuclear' style black and white 160 gram vinyl, housed in a glossy gatefold silver and black printed sleeve, featuring all the song lyrics on the inside of the sleeve. Release date: May 16th, 2015. This quintessential reissue has been produced in loving memory of Martin Lloyd.
Celebrate the incredible music from the first half of the 70s with this brand-new 2LP collection packed with the era’s most iconic hits.
LP1 kicks off with Queen’s ‘Killer Queen’, followed by Elton John’s timeless ‘Goodbye Yellow Brick Road’ and Mott The Hoople’s anthemic ‘All The Young Dudes’. Glam-rock favourites from Sweet, Mud and Wizzard sit alongside Pilot’s feel-good ‘Magic’ and David Essex’s distinctive ‘Rock On’. Side Two turns up the guitars with Rod Stewart’s ‘You Wear It Well’, Free’s legendary ‘All Right Now’ and Bachman-Turner Overdrive’s ‘You Ain’t Seen Nothin’ Yet’. Alice Cooper’s rebellious ‘School’s Out’, Status Quo’s ‘Down Down’ and Thin Lizzy’s ‘Whisky In The Jar’ continue an incredible run of rock classics before Bob Dylan closes the LP with ‘Knockin’ On Heaven’s Door’.
LP2 opens with Paul McCartney & Wings’ epic ‘Band On The Run’, before Simon & Garfunkel’s ‘Bridge Over Troubled Water’ and Billy Joel’s ‘Piano Man’ showcase some of the decade’s finest songwriting. Harry Nilsson’s unforgettable ‘Without You’ and Terry Jacks’ ‘Seasons In The Sun’ lead into soulful classics from Harold Melvin & The Blue Notes and The Stylistics. Side Two opens with Neil Diamond’s enduring ‘Sweet Caroline’ and Carly Simon’s ‘You’re So Vain’, before Diana Ross’ ‘Ain’t No Mountain High Enough’ and Stevie Wonder’s ‘Signed, Sealed, Delivered I’m Yours’ launch an irresistible run of soul and dancefloor favourites. Barry White’s ‘You’re The First, The Last, My Everything’, George McCrae’s ‘Rock Your Baby’ and The Three Degrees’ ‘When Will I See You Again?’ lead into Michael Jackson’s beautiful ‘Ben’, bringing this celebration of 1970–1974 to a memorable close.
Wildweeds Volume II is the followup to Wildweeds (2021), Loren Connors’ first art book, and continues a series of limited artist’s books from Recital devoted to his work outside of music. Following Night of Rain, the book returns to the fragile flower forms of the original Wildweeds, but in a more expansive and varied collection of paintings, drawings, and haiku. Across 108 pages of full-color, hardbound printing, thin stems wander through enormous fields of white, blooming in eruptions of radiant yellow, blue, green, red, and violet. Some pages are nearly empty. Others retain stains, folds, shadows, and the physical disturbances of the original works. The result is a rare survey of Connors’ art, gathering years of paintings and drawings that have largely existed in isolation into one continuous sequence.
The haiku appear throughout the white space as small interruptions, sometimes nearly swallowed by the page. “wandering / into the sky / April mist.” They do not caption the paintings so much as drift alongside them, creating another kind of line, pause, and disappearance. The effect is deeply consonant with Connors’ music: the brief guitar poems of Airs, the shadowed miniatures of Lullaby, and the many other recordings and editions that have established his singular language across decades. A note from Connors’ guitar can hover on the edge of audibility, its beauty emerging through restraint and duration; the paintings possess the same fragility. A line bends, a flower appears. Colors pool and then recede into the surrounding white.
For this volume, Connors mailed hundreds of paintings and drawings as they were being made, arriving in folders with little concern for preservation or presentation. New drawings arrived often, another envelope every few weeks for a year. From this accumulation, the book was photographed, edited, sequenced, and arranged into its present form. In the preface, Yuko Otomo places Connnors’ work within the tradition of Haiga, the Japanese practice of bringing haiku and visual art together. She writes of Mujo, or impermanence, and Ku, or emptiness: the open, shifting space in which things appear and disappear. A flower blooms, a leaf falls, a line fades into the page. Francis T. Patnaude, Jr. describes Connors’ artistic impulse as an attempt to “give form to the formless.” Wildweeds Volume II is an opportunity to spend time inside his quietly accumulated body of visual work: a monograph giving sustained form to years of paintings and drawings. Portrait photograph by Suzanne Langille; art photography and design by Sean McCann.
“Trust me, you will pogo, skank, sing and possibly dance like your f*cking Dad on spice.” Party Eternal is the fourth studio album by the Brighton-based punk/ska band The Bar Stool Preachers. The album represents a massive turning point for the seven-piece, both creatively and structurally. It’s blisteringly good. Combining the best of brit-pop, ska, rock and indie ‘Party Eternal’ is exactly the tonic for the times. In parts scathing, and in others total escapism, this rowdy septet have written the greatest party punk album you’ll hear all year. Renowned for their relentless touring schedule, The Bar Stool Preachers have played stages around the globe, from grassroots venues to major festivals like Rebellion and Punk Rock Bowling. Their heartfelt lyrics and magnetic stage presence have earned them a reputation as one of the most engaging live acts in the punk scene today. Whether delivering politically charged messages or uplifting party anthems, The Bar Stool Preachers continue to inspire and unite audiences, carrying the torch of punk’s rebellious spirit into the modern era. Featuring the single ‘Pick A Side’ (the profits of which were donated by the band to Medical Aid for Palestinians), ‘This is Goodbye’ featuring Aussie Celtic Punk masters The Rumjacks and ‘Sick World’ which stars a guest turn from the genre-shattering and quite legendary Fishbone.
The Five Green Moons present Moon 3. The third sphere to find its way into orbit. On its surface the evolution of a many faceted creature has taken place. Now with long, long tentacles and a million mouths the creature dances and sings. Its voice is the sound of the ghost dub ritual. The echo of spirits passing through the translucent veil. The chants of souls lost in the vampire woods. The clap, clap of its limbs colliding is the sound of frequencies being bent into fascinating new shapes by machine/ human hybrids. Post punk dubwise angular electro folk, Pastoral dub, whatever name you give to this music is of no consequence. It is alive and spinning in orbit.
The third Five Green Moons album sees Justin Robertson's sonic pallet blossoming into new exciting shapes. These 11 tracks offer a wide vista of across the frequencies including a truly remarkable and uncanny tale from celebrated author David Keenan on ' To Haunt of the Dark Earth A Spot' that brings to mind a vision of M.R. James merging with African Headcharge. Another refreshing collaboration can be found on 'Message from the Tone Generator' where underground electronic producer Nickelle adds her magical poetry to the psychedelic swirl. This is a bold and magical offering in a time of pastiche where new shapes are drawn from the sketches of the past.
If you need a sonic shorthand imagine Public Image Limited meeting the haunting chants of a new age Incredible String Band. The spiritual tones of late 70's Don Cherry. The whispering psych swooshes from Planet Gong and most importantly a solid bass foundation straight out of King Tubby's studio.
The album that launched punk rock — raw, fast, loud, and utterly unstoppable!
Part of the Acoustic Sounds 40 Series
Releasing 40 titles to celebrate the 40th anniversary of Acoustic Sounds!
180-gram 45 RPM double LP
Mastered from the original master tape
Pressed at Quality Record Pressings
Tip-on old style gatefold double pocket jacket by Stoughton Printing
The Ramones ignited the punk-rock movement with their eponymous 1976 debut album, revitalizing rock and roll at one of it's lowest ebbs with attitude, energy and a loud, fast new sound. By cutting music down to it's bare essentials — four chords; a simple, catchy melody; a sped-up tempo and irresistibly inane lyrics, the Ramones blazed the trail for thousands of bands that followed, influencing everyone from The Clash and The Sex Pistols to Green Day and The Offspring.
Although The Ramones never achieved mainstream financial success, they released 21 live and studio albums, had a devoted fan base and were inducted into the Rock & Roll Hall of Fame in 2002. Other bands, such as the Stooges and the New York Dolls, came before them and set the stage and aesthetic for punk, and bands that immediately followed, such as the Sex Pistols, made the latent violence of the music more explicit, but the Ramones crystallized the musical ideals of the genre.
'Hive Mind are excited to have worked with Rio de Janeiro based label QTV, to bring you this retrospective from the cosmic joker of contemporary Brazilian music, Negro Leo.
'The music on this retrospective, which draws together songs from his 14 albums, EPs and singles released since 2012, ranges widely and wildly across genres and styles, from the urgent and angular no-wave inspired punk-funk of Niños Heroes or Ilhas de Calor, through the psychedelic hoedown of Noite Invertida or the beautiful and delicate Esferas and on to the maximalist hyperpop of more recent works like RELA or Desejo de Lacrar. Negro Leo consistently confounds, confuses, disturbs and provokes.
'His music is explicitly and fiercely Brazilian and draws on the history of black Brazilian music for inspiration - Gilberto Gil and Tropicalism, Itamar Assumpção and the Vanguard Paulista, Funk Carioca, the Boi's rhythm from the northern carnivals, the samba of the streets and the country - it's all thrown into the mix, along with free-jazz, noise and various chunks of non-Brazilian pop. Leo's music and songs serve as an essential documentation of the country's rapidly shifting social fabric in the digital age, a time in which the country and its people feel lost in a "jungle of pixels".
'Some of these surreal songs can feel overwhelming at times, like a wall of noise full of unfamiliar sounds and rhythms, but there's an unapologetic punk spirit behind it all, alongside a genius composer. It's worth pushing through the that sense of overwhelm to the place where the beauty and complexity of the composition and songwriting shines.'
There's a tendency in metal to mistake aggression for honesty, volume for depth. To confuse the performance of darkness with its actual weight. Hidden Fires Burn Hottest, the new album from San Francisco-based post-black metal band Bosse-de-Nage, sidesteps this entirely. It’s the group’s most fully realized work yet, precisely because it refuses to be pinned down.
Bosse-de-Nage have been working with The Flenser for over fifteen years. They were one of the first bands the label ever partnered with and have the longest active relationship in the label's history. But unlike most bands who build momentum through constant touring and visibility, Bosse-de-Nage has largely existed apart from the music world's usual machinery. They've evolved on their own terms, in relative isolation, allowing the work to develop without outside pressure or influence. What began rooted in black metal anonymity has mutated into something that actively defies categorization. The aggression is still there, but it's no longer the point. Hidden Fires Burn Hottest finds the band treating emotions like physical objects, feelings with spatial properties. “No Such Place"" describes a space that can't exist but does anyway, somewhere between thought and location. ""Immortality Project"" examines infinite possibility not as promise but as problem, endless options collapsing under their own weight. These songs don't use metaphor to describe emotion. They make emotion into something you could theoretically touch.
Tracked by Jack Shirley (Deafheaven, Oathbreaker) at Atomic Garden East and mixed and mastered by Richard Chowenhill of Agriculture, Hidden Fires Burn Hottest was years in development, with some tracks beginning in 2018.
The long writing process offered time that most records don't get. Time to live with ideas, revise endlessly, to let structures settle. For the first time, lyricist Bryan Manning wrote everything in advance, creating a surplus to pull from rather than working under deadline pressure. The difference shows.
Coming off Further Still, an album built on constraint and economy, Bosse-de-Nage sought the opposite: sprawl, strangeness, fewer rules. Space for ideas to develop without rushing them. Dynamics that move through quiet as much as noise. Presence earned through atmosphere instead of volume. The record even includes ""Mementos,"" which might be considered the first love song the band has ever written.
Nothing here coheres into a theme. These are pieces pulled from low moments and private feelings made public through sound. The band has never been interested in positivity, in music that resolves cleanly or offers comfort. But bleakness doesn't mean humorlessness. There's something darkly funny running through much of it, even when it shouldn't be.
Hidden Fires Burn Hottest doesn't explain itself. It just insists: what you feel is as real as what you can see."
Jack Hamill concludes his trilogy of space saga albums with The World Overhead landing on Tiraquon Recordings on October 30, 2026, with a special limited transparent blue edition issued exclusively via Bandcamp from October 16, 2026.
Introducing the science fiction realm of Mikrosector-50 and Mr. 8040 on breakthrough electro funk 12-inch, The Love Quadrant (2009), Hamill signed to R&S Records with the double 12-inch "prequel", The Pathway to Tiraquon6 (2011), setting the stage for debut-album proper Welcome to Mikrosector-50 (2013), where Prince-inspired funk and sleek '80s synth-pop soundtracked Mr. 8040's hazardous journey home via heartbreak and drugs. By Love Beyond the Intersect (2019), Hamill's vocoded opus turned introspective, pairing gentle krautrock influences with themes of love, redemption and self-discovery, mirroring Hamill's personal life, sobriety and creative renewal. Through lockdown Hamill retreated to the countryside around Belfast to reacquaint himself with his machines, experimenting with driving acid and trance, and playing guitar, culminating in a fuzzy shoegaze meets banging IDM sound. Relocating to Amsterdam in 2024 and setting up a new studio, Hamill wrote the third installment of Mr. 8040’s saga, bringing the storyline – and himself – back to earth.
Presenting under the new moniker, Jack Tiraquon, and releasing via his own label, Tiraquon Recordings, The World Overhead is the sound of Hamill removing the guise of Space Dimension Controller and concluding the space-themed concept to move forward as the cinematic hardware musician he's always been at the core.
More than five decades into one of Brazilian music's most remarkable careers, Joyce Moreno returns with a new collection of songs that reflect the warmth, lyrical sophistication and innovation that have made her one of Brazil's most defining musical voices.
Produced by Joyce Moreno alongside her husband and longtime collaborator Tutty Moreno, the album finds the Rio-born singer, guitarist and composer at her most reflective. Across nine beautifully crafted songs, Joyce pairs intricate guitar work, lyrical intimacy and effortless swing with the musical curiosity that has defined her work for more than half a century.
Invited into the studio by Roberto Menescal at just sixteen years old, Joyce emerged during a transformative period for Brazilian music, releasing her self-titled debut in 1968. She soon established herself as one of Brazil's pioneering female songwriters, writing unapologetically from a woman's perspective at a time when few women were afforded that voice. Her song “Me Disseram” sparked national debate, while later works including “Feminina” cemented her reputation as an artist unafraid to challenge convention.
While some of her politically charged songs were censored during Brazil's military dictatorship, Joyce continued to write with honesty and independence. After studying journalism in the late 1960s, her gift for observation and storytelling became an even more defining feature of her songwriting. Over the following decades she released a succession of acclaimed albums, including the now-classic Feminina and Água e Luz, earning widespread recognition both in Brazil and internationally. Antônio Carlos Jobim would later describe her as "one of the greatest singers", while generations of musicians have drawn inspiration from her fearless artistry and enduring originality.
That same artistic fearlessness remains at the heart of her latest work. The album brings together an exceptional ensemble of Brazilian musicians. Tutty Moreno's expressive drumming underpins Joyce's vocals and guitar throughout, while Jorge Helder's bass, Lula Galvão's guitar and Marcos Nimrichter's warm Fender Rhodes create a sound that is both intimate and expansive. Contributions also come from the legendary Toninho Horta, alongside José Arimatéa, Teco Cardoso, Nailor Proveta, Josué dos Santos and Raphael Sampaio, whose additions add colour and texture without overshadowing Joyce's understated brilliance.
Throughout the album, Joyce balances quiet reflection with effortless rhythmic vitality. “Chovendo na Horta” serves as both a heartfelt dedication and a celebration of Joyce's enduring musical connections, featuring the unmistakable guitar of Toninho Horta. Elsewhere, “Aldeia de Ogum” receives a fresh new arrangement by Nailor Proveta, revisiting one of Joyce's most beloved compositions. Originally released in 1980, the track has enjoyed a remarkable resurgence in recent years, embraced by a new generation of listeners and became an underground favourite among DJs including Floating Points, Four Tet and Danilo Plessow. Now a staple of Joyce's live performances, this reimagined version brings renewed energy to a song that continues to transcend generations.
At seventy-eight, Joyce Moreno continues to write with the same curiosity, generosity and quiet innovation that have defined her career from the very beginning. "For me, it's never too soon to try something new, either in music or in life," she reflects - a philosophy that gives both the album and its title their enduring sense of optimism. This latest album is neither a retrospective nor a reinvention, but the work of an artist who continues to refine her voice with remarkable grace, proving that her most compelling music remains firmly rooted in the present.
Following the album's release, Joyce Moreno will embark on a European tour this November, bringing her celebrated live show to audiences across the UK and Europe. A rare opportunity to experience one of Brazil's most influential and enduring artists in concert, the tour showcases a songwriter whose voice, virtuosity and musical vision remain as compelling today as ever.
BATTISTINO, the artistic alias of Marco Battistini, is an Italian musician, songwriter, producer and DJ. His project is rooted in the meeting point between Italo Disco, French Electro, late-’70s Disco Music and Italian pop culture, reinterpreted through a contemporary vision that avoids nostalgia in favor of a distinctive sonic identity. His main influences include the aesthetic vision of Daft Punk, the musical freedom of Daniele Baldelli’s Cosmic Sound, the international disco movement of the late 1970s, and the golden era of Italian Italo Disco, with a special admiration for Righeira. His productions combine driving synth grooves, pulsating basslines and immediate melodies. Gritty electronic drums, saturated synthesizers and subtle harmonic distortion deliberately break away from the polished sound traditionally associated with classic Italo Disco. The result is a more physical and textured sonic palette that preserves the melodic elegance at the heart of the project. BATTISTINO’s visual identity follows the same philosophy. Elegant, reserved and almost bureaucratic, he prefers to remain behind the scenes rather than at the center of attention. More than a performer, he acts as the curator of a sonic archive, where every track represents a fragment of a larger story.
“Il Segreto” is the opening chapter of a conceptual trilogy inspired by an affair that was never revealed, set on the Italian Riviera in the early 1980s. Rather than telling the story itself, the project explores what remains: silence, forgotten details, invisible traces and memories suspended in time. Music, visual design and imagery all become chapters of the same narrative. Every release is a new file, every track a recovered document, every production another fragment of a story that will never be fully disclosed. BATTISTINO doesn’t tell stories. He preserves them. And, from time to time, he allows part of them to surface.
We are honoured and excited to share the fourth Dream Space EP with the world: Domenic Cappello - Celestial Wave.
For more than three decades, Domenic Cappello has been at the helm of Subculture - the innovative and vastly influential Saturday night at Glasgow’s Sub Club. A true master DJ with deep rooted influences from Detroit & Chicago, Dom has consistently pushed things forward over the years and remains at the cutting edge of modern dance music.
Throughout the 90’s and early 2000’s, he put out high-quality records under various monikers on labels such as Soma, 20:20 Vision & Seventh Sign. Fast forward to recent years and Domenic has been on nothing short of a hot streak - releasing music under his own name on Craigie Knowes, Clone Royal Oak and his outstanding ‘Basement Philosophy’ LP on Alien Communications.
He brings the heat once more for this record; blurring the lines of house, techno and electro to deliver four awe-inspiring cuts of electronic music.
‘The Secret Moon Party’ sets things off, nodding to a certain Highland gathering by some of Scotland’s finest purveyors of quality tunes. A warm, gritty bassline carries the track, evolving into a symphony of precise sound design that is in equal parts playful and euphoric.
Dom’s knowledge of the dancefloor shines through on ‘Acid & Love’. This early night floor filler is the alchemy of just about everything you want to hear when things are getting going. Pure warmth and bliss throughout, also holding its place played deep into the late hours.
‘We Loved Your Ears (in memory of Keith)’ is a heartfelt tribute to the one and only Keith McIvor aka JD Twitch of Optimo. Dom wrote this track as something he thought Keith would have loved, and for this one, we’ll let the music do the talking.
Keith was, and continues to be, an enormous inspiration for us and so many others. In his memory, all proceeds from the digital sales of ‘We Loved Your Ears’ and 25% of all vinyl sales will be donated to Beatson Cancer Charity and The Scottish Brain Tumour Research Centre of Excellence.
Closing the EP is title track ‘Celestial Wave’, which does exactly what it says on the tin. A beautiful piece of music and fitting soundtrack for star gazing, moon dancing and dreaming.
What happens when bassweight electronic beats meet the abstract world of one of the most uncompromising MCs on this planet?
Get ready for a special listening experience as Abu Ama and Sensational take you deep into a world of heavy bass, fractured rhythms, strange frequencies and completely unpredictable flows.
Abu Ama is known for his unique production style, combining Dub, Ambient and Industrial soundscapes with Middle Eastern sound structures. His productions create vast, atmospheric spaces where bass pressure and subtle details constantly collide. Over the years, he has developed his signature sound through releases on forward-thinking labels such as Bokeh Versions and Accidental Meetings. With Ringing In Your Ear, Abu Ama presents some of his most adventurous and forward-thinking productions to date.
On the microphone, we are proud to present a true underground legend straight outta NYC: Sensational.
Born Colin Julius Bobb in Guyana and raised in Brooklyn, Sensational became one of the most distinctive and unpredictable voices to emerge from New York’s experimental hip-hop underground. Originally performing under the name Torture, he was already connected to the Jungle Brothers in the early 1990s before developing the completely unique style that would become synonymous with Sensational.
In 1997, he released his debut album Loaded With Power on the influential Word Sound label. Built from dusty beats, unusual samples and lo-fi textures, the record established Sensational as an artist who seemed to operate completely outside the established rules of Hip Hop.
Over the following decades, he continued to explore the space between underground rap, experimental electronics, noise and abstract music. His long list of collaborators included artists such as Spectre, Kouhei Matsunaga, Kid 606, Cardopusher, Handsome Boy Modeling School and many others. His work with Kouhei Matsunaga was even remixed by Autechre.
Sensational was never interested in fitting into a particular scene. His rhymes were surreal, his flows unpredictable and his approach completely his own. For more than three decades, he remained a true outsider — a cult figure whose music connected underground Hip Hop with some of the strangest and most adventurous corners of experimental music.
After Abu Ama and Sensational’s heavy 2023 single International Rokkaz left us wanting more, the two decided to take things much further. What started as a single collaboration evolved into a full length soundclash.
We were already incredibly hyped about this collaboration from the moment we heard it. But while we were preparing for the release of the single MOZZ, the terrible news reached us: Sensational had passed away.
The news hit hard. It is still difficult to believe that we will never hear a new Sensational verse again.
What makes Ringing In Your Ear even more special is that it captures Sensational doing what he did best — completely free, completely unpredictable and completely himself.
We dedicate this record to Colin Julius Bobb aka Sensational, in loving memory of an extraordinary artist, MC and true underground original.
To celebrate another year around the sun, we’re proud to present our second vinyl release: Formulation — a 4-track EP that perfectly captures the label’s output over the past year while continuing our commitment to physical formats and attention to detail.
Like its predecessor "Foundation" is a various artists release featuring some of the key names from our latest catalog. The formula goes like this:
A Side: Iron T.C. and Hor-G take control of the slower side of the record with aggressive drums, distortion and the raw energy that defines their sound. Epic atmospheres and humanoid vocals introduce a heavy breakbeat assault from two of the strongest names in the Iberian underground. A perfect blend of dirty electro and industrial breakbeat built to turn the dancefloor upside down.
B Side: Heathen, The Egg & No Rules push the BPMs higher in the other side. Dark landscapes and metallic drums twist into a spiral of tension and halftime rhythms. Three experienced explorers of the niche taking techstep sound beyond its usual limits — for those into density, introspection and long blends
Another solid step into the physical format — and a glimpse of what’s still to come...
Once again, huge thanks to everyone involved in the project and to all our supporters who make this possible.
