Search:tho

For over a decade, Hyunhye Seo a core member of Xiu Xiu, in her solo work navigates the precarious edges where composition dissolves into pure gesture. Through ecstatic piano improvisations, restless percussive attacks and an expansive use of acoustic space, she constructs layered sonic environments that move across the boundaries of noise, avant-garde jazz, ambient and contemporary classical music. Her performances reveal an unfiltered process of listening and creation - a practice in which thinking becomes the enemy, and surrender the only viable strategy.

Continuation captures one such surrender. Recorded live at MAO - Museo d'Arte Orientale in Turin during the exhibition Rabbit Inhabits the Moon – The Art of Nam June Paik in the Mirror of Time, this cascading piano improvisation unfolds as a dialogue between performer, space and the particular acoustics of a museum built to house contemplative objects. Jamie Stewart processes the sound in real time; Giuseppe Ielasi shapes the final mix. What emerges is a work of charged immediacy - restless gestures giving way to passages of unexpected tenderness, noise and silence trading places in continuous exchange. The title is precise: this is music that refuses conclusion, that exists in a state of perpetual becoming. On Side B, Continuous Extension offers an unprecedented response. Phew - the pioneering figure of Japanese avant-garde music since the late 1970s - was invited by curators Chiara Lee and Freddie Murphy to reinterpret Seo's performance. Working with synthesizer and subtle processing, Phew distills the resonances of Continuation into a new electronic landscape - waves of abstraction that echo like reflections in sound, tracing the harmonic tensions of Seo's playing into territories she herself did not visit.

The accompanying booklet includes an essay by Bruno Lo Turco exploring the deep connections between improvisation and Buddhist thought, and a written reflection by Seo on her own practice of surrender and listening.

Continuation is released on Ubi Kū, the record label of the Unione Buddhista Italiana. The cover reproduces Avalokitesvara "Water and Moon" from the Museo d'Arte Orientale "E. Chiossone" in Genoa - the bodhisattva of compassion gazing at the reflection of the moon in water. Like that reflection, this music exists fully in the present, complete and unrepeatable.

For the first time, all the 1978 recording sessions of Lino Capra Vaccina's legendary Antico Adagio - including Frammenti da Antico Adagio and Echi Armonici da Antico Adagio - collected in one definitive deluxe edition. Minimalism, and so much more. Sheets of resonance, stunning harmonic interplay, intricate rhythms rising as one. Sidelong works of pulsing, hypnotic, ritualistic drone built from vibraphones, marimbas, gongs, bells, and cymbals, threaded by the sustained vocal tones of Juri Camisasca and Dana Matus. A trance-inducing, meditative, cosmic world of sonic interplay - the world beyond, joined with that which lays within.

Before an aberrant idea of progress ludicrously sped up our daily lives, even in hectic Milan it was possible to "play slowly" - with no pressure, simply following the path your art was showing you. This music moves between modal fascinations, ritual evocations, and states of hypnotic trance, evoking the acoustic environment of Tibetan and Zen Buddhist ceremonies and the temporal structures of Noh theatre, from which Vaccina took the name of his original label, Nō. Now, fittingly, this complete collection appears on Ubi Kū, the label of the Italian Buddhist Union.

Lino Vaccina (1953) first gained note as a member of Aktuala, creating a hybrid of rock, avant-garde, and ancient musics while incorporating sonic traditions from across the globe. After leaving in 1974, he studied at Milano's Civica Scuola di Musica, collaborating with Franco Battiato and Juri Camisasca, and forming Telaio Magnetico in 1975. In 1978 he self-released Antico Adagio in a tiny edition and wouldn't be heard from again until 1992. From 1979 to 1985 he was percussionist with the Orchestra of Teatro alla Scala under maestros such as Abbado and Ozawa. His career has been marked by an incredibly high bar of quality and a tragically slim recorded output - a rigorous and sensual language fusing Oriental, Mediterranean, and African influences with ritual elements and a cosmic sense of time.

As Massimo Torrigiani writes: "Lino Vaccina's music captivates through its internal coherence and its ability to generate states of suspension and deep listening - through undulations, small melodic fragments, dialogues between acoustic instruments and resonances that seem to evoke a phantom orchestra. An example of personal exploration, discipline and openness that speaks across time to anyone willing to be drawn into its sound."

Frammenti da Antico Adagio and Echi Armonici da Antico Adagio contain material from the original sessions, restored and issued by Die Schachtel in 2014 and 2017. The new masters, prepared by Giuseppe Ielasi, are based on those restorations and the original material. The package includes previously unpublished photographs from the May 1978 sessions and liner notes by Mauro Radice in Italian, English, and French. Cover art by Dana Matus. Printed by Legno, Milano & Mother Tongue, Verona.

Personnel: Lino Capra Vaccina (vibraphone, marimba, tablas, wooden drums, darbuka, cymbals, gong, metal sheets, bells, bass drum, tom, snare drum, piano, voice), Dana Matus (voice, percussion, cetra), Juri Camisasca (voice), Mario Garuti (violin), Roberto Mazza (oboe). Original production by Massimo Villa & Lino Vaccina with Piero Cannizzaro. Recorded May 1978 at Circle Studios, Milano.

The heights of the Italian avant-garde, at their very best.

The Italian music scene is enriched by an intriguing new jazz trio: Chromogen.
Led by bassist and composer Matteo Magnaterra, the project features three members: tenor saxophone, bass, and drums. Using an unconventional lineup, they pursue a well-defined exploration of sound and timbre, creating ample space for dialogue and experimentation. They
pave the way for a new, holistic jazz style, clearly defined in their first album, "Chromogen."
The name is inspired by a parallel passion of the artist-composer: analog photography.
Chromogen is, in fact, the English name for the chemical compound capable of transforming a negative image, dyeing it with color. Those
same colors will then animate the artist's songs, developing imagery tied to his way of observing, portraying the world around him in vivid
colors.
CREDITS
Matteo Magnaterra: compositions, electric bass
Matteo Diego Scarcella: tenor saxophone
Vincenzo Messina: drums
Jacopo Trapani: recording, mixing
Francesco Brini: mastering

Interdimensional exotica in the form of eccentric space jazz, sonic experimentation, Afro-centric rhythms, and ostinato electronic freakouts! Includes three platters worth of tunes pressed on orange vinyl, all curated by Irwin Chusid - who also co-wrote the liners with Brother Cleve - for all those with cocktail in hand and ready for a slice of Ra’s jetpack jetset recorded legacy!

Wishbone Ash's self-titled debut album, released in 1970, introduced a distinctive sound that would become highly influential in British rock. This re-issue faithfully replicates the original UK release in it's gatefold sleeve and is pressed on 180gm vinyl. Blending blues-rock, folk melodies, and emerging progressive elements, the album is defined by the bands signature twin-lead guitar approach, with Andy Powell and Ted Turner weaving melodic, harmonized lines rather than relying on a single dominant lead. Tracks like Blind Eye and Queen Of Torture balance hard-edged riffs with spacious, reflective passages, while acoustic moments add a pastoral, almost medieval atmosphere. The rhythm section, understated yet precise, allows the guitars to breathe and develop organically. Rather than chasing commercial immediacy, the album favours mood, texture, and musical interplay, giving it a thoughtful, exploratory character. As a debut, Wishbone Ash feels confident and forward-looking, laying the groundwork for the bands later classics and helping to shape the twin-guitar sound later adopted by countless rock and metal acts.

On one hand, it could be bumming out the people who enjoyed hearing what the band evolved into. On the other hand, nostalgia sells...and daddy needs to eat! So...Nevermind 2! Broken Bones and Bloody Kisses has seen a few vinyl pressings in the past, but landing a physical copy of You Are My Canvas (which was only released on burned CDs, crafted in the Lovat- Frasers' basement) is almost impossible. And ooooooh boy...the pre- demo demo (or PDD) versions of "Sketch Artist Composite" and "The Anatomy of the Journey"? Those puppies - with me (Connor...hi!) on vocals/drums and Jeff playing everything else - were only available on the Y2K version and basically only used to recruit other band members. Smash all these old chestnuts together in one release and see what happens! Why not? It perfectly captures the whole spirit of early BOYS NIGHT OUT. But what title does one bestow upon such a sonic siphonophore? There are 3 versions of "Sketch Artist Composite".

Do you call it Sketch Artist Composite Plus Other Songs? Do you go all in on a lyric- based title like Fuck Us Where We Breathe? Decisions, decisions! Probably best to follow Costa's sage advice and go with Nevermind 2. So, almost exactly two decades after our first show - July 19, 2001 @ The Oakville Pine Room with Sky Came Falling, Unearth, and Rise Over Run - may we present unto you, Nevermind 2! What's old is new again, probably?

High Roller Records, 2. Pressung, 425 g/m² schwerer Kartonumschlag, Beilage, Poster, 180 g schwarzes Vinyl, limitiert auf 500 Stück Original-Vinyl-Transfer von Marcus Mossmann (R.I.P.) bei PHONOGRAPHIC ARTIFACTS im März 2014. Audio-Reinigung und Mastering von Patrick W. Engel bei TEMPLE OF DISHARMONY im März 2022. Schnitt von SST Germany auf Neumann-Maschinen für optimale Qualität auf allen Ebenen... Die ultimative Neuauflage! Sacrilege wurden im Juli 1984 in Birmingham gegründet. Die ursprüngliche Besetzung bestand aus Sängerin Tam, Gitarrist Damian Thompson, Bassist Tony May sowie Schlagzeuger Liam Pickering. Im Sommer 1985 wurde Pickering durch Andy Baker ersetzt. Nach einigen lokalen Auftritten nahmen Sacrilege erste Demo-Tapes auf, die in der englischen Punk/Hardcore-Szene sowie auch in Metal-Kreisen durchaus auf offene Ohren stießen. Daraufhin zeigte das Kleinstlabel C.O.R. (Children Of The Revolution Records) Interesse an der Band. Sacrilege begaben sich ins Studio, um die sechs Songs “Lifeline”, “Shadow From Mordor”, “At Death’s Door”, “A Violation Of Something Sacred”, “The Closing Irony” und “Out Of Sight” für die Mini-LP »Behind The Realms Of Madness« einzuspielen. Musikalisch folgten sie damit dem Beispiel von englischen Gruppen wie Broken Bones, English Dogs sowie Discharge, indem sie die Energie von Punk/Hardcore mit der Finesse des Metal-Riffings fusionierten. Von der Originalpressung auf C.O.R. sollen zum Erscheinungszeitpunkt alleine in Europa 11.000 Exemplare abgesetzt worden sein, dazu kamen noch einmal 15.000 Kopien über Pusmort in Amerika.

A rising and genre-defying figure in the French electronic scene, Goldie B continues her ascent with Who Says Night’s For Sleeping?, a five-track EP that asserts her distinctive signature: an instinctive blend of club energy, cinematic storytelling and UK rave influences. Conceived as the soundtrack to a night lived in full intensity, the record moves through the fire of the dancefloor, the collective trance, and those suspended moments where one floats between dream and wakefulness.

“I imagined this EP as the soundtrack to a night experienced in its entirety. From the first rush of adrenaline on the dancefloor to that floating walk home, still carried by the music. My influences range from Moby and Air to Floating Points and Joy Orbison, artists who know how to combine power and emotion. I love connecting the raw energy of the club with more dreamlike textures, because you can absolutely dream while dancing. Each track is an instinctive snapshot of my inner world.” Goldie B The EP’s opening act, “The Space Between” blends ethereal pads, organic strings and a steady crescendo, recalling the elegance of Air or Moby. It opens a suspended space, equally suited to inner drift or physical release. “I wanted it to feel like a threshold, a gentle hand pulling you into a trance state.”

On “U Make Me Feel So Good”, a sensual and narrative breakbeat track, a flowing bassline gradually tightens into trancier energy. Seductive female vocals weave through broken rhythms, creating a piece that is as tactile as it is hypnotic. “It’s about contrast, the softness and caress at the start, then a tension that rises and electrifies.”
Instagram | Youtube | TikTok | SoundCloudAt the heart of the project, “Rêve de Rave” channels 90’s breakbeat spirit with old-school samples, an euphoric central break and voices urging to move your feet. Urgent and liberating, it embodies the dreamlike essence of the rave. “It’s how I imagine the rave: a lucid dream where joy and collective energy feel almost unreal.”

Next comes the most incisive cut of the EP, “Purple FX”, driven by a grating central bassline that evolves relentlessly until its explosive drop. Minimalist yet implacable, it captures the sheer force of a peak-time track. “I wanted a track purely designed for the club, where the tension just keeps rising until it explodes.”

Closing in chiaroscuro, “Snake Waves” shifts from breakbeat into a half-house, half-techno 4/4 groove, carried by a sinuous, hypnotic bassline. The track plays on tension and release, with a rich harmonic break before fading like a suspended farewell, where the party recedes but the energy lingers. “It’s a farewell piece that keeps the intoxication alive, like a final vertigo before slipping back into the night.”

Goldie B is a multifaceted force on the French electronic scene. A producer, multi-instrumentalist, singer, MC, DJ, and co-founder of the label Omakase Recordings, her sets blend bass, jungle, UKG, and breakbeat, captivating audiences with their contagious energy. Based in Marseille, she has released music on renowned labels such as D.KO, Banoffee Pies, and YUKU, and has performed on some of the biggest French stages and festivals: Peacock Society, Astropolis, NDK, Marsatac, Delta, Le Bon Air, and even the Festival d’Avignon. In 2024, she was selected by Apple Music for its Women In Electronic series. Her new Who Says Night’s For Sleeping? EP confirms her status as an instinctive and distinctive artist to watch on the French electronic scene.

Alien Tropical: the perfect title for the second album by Servicio Al Cliente (Customer Service), the project of Colombian-born, Berlin-resident Juliana Martinez. If you were cannily seduced by the debut self-titled Servicio Al Cliente album, from way back in 2021, the wait for a follow-up has felt long, but Alien Tropical was worth the wait. Indeed, it feels like the perfect way for Michael Mayer’s Imara imprint to introduce itself to the new year: an album full of play and spirit, verve and sparkle, rich with pop spirit and with one eye smartly cocked toward the dancefloor.

That first Servicio Al Cliente album was a smart statement of intent, and a wonderful, unexpected turn from Martinez, who’d already been through plenty: being expelled from private music lessons,
training in law, joining a group named Las Palabras Correctas. 2021’s Servicio Al Cliente landed on the turntables of anyone with discerning radar (Ada included “Romántico” on her Connecting The Dots mix for Kompakt, for example). With Alien Tropical, Martinez works the sensual sway of her music even harder, building six luscious songs that twist chant-like repetitions into hypnotic mantras, each song the perfect confluence of melody and mystery.

When asked about Alien Tropical, Martinez pieces together fragments of memory: winter explorations, long road trips, navigating the highways and the heart. “I had been driving a lot at the time on the highway,” she recalls. “I depended on music I played in the car to manage my emotions and my thoughts on those long drives. Everything felt strange and unfamiliar on the highway, and I realised music was so psychological and my only tool to influence my feelings between highways and new places.”

So, the music becomes the narrative for where the body and the heart wants to go. That might explain the gentle yearning in Alien Tropical, and its eternal hypnotic, its sense of forever forward-motion, as though the music is flickering like the highway strip reflected in the rear-view mirror. But there’s also the skyward movement of the melodies, the way their loveliness lifts these six songs up through the clouds, like the helium balloons on the cover. From the sensual swelt

In his own time, in his own tone and in his own company.

‘Win and lose without losing oneself’’ This line from French rapper Oxmo Puccino greatly accompanied David Walters while composing his fourth studio album. Over the eleven tracks on ‘Ti Love’, David took his time to find the right tone and in turn, tell his truth.

‘Ti Love’, is a French-Creole abbreviation for “petite love”, meaning ‘little love’, evoking that sweet fondness found in those small gestures and little acts of kindness.

Think of things like young kids' brotherly love or a stranger lending you a helping hand, while expecting nothing in return. It’s these motions that allow this album to feel full of real life, carried by beating drums that also pull at our heart strings.

Basing himself in a small village in Martinique, where David had not long since scattered the ashes of his late mother, the multi-instrumentalist decided to remain there and let the writing of Ti Love pour out from deep inside him. Taking influence from around the island, the energy from his makeshift studio set up in Fort de France, allowing a resilient yet grieving man to recount, let go and come to terms with his recent loss.

So embracing these new circumstances, on the rugged coastal Caribbean island of Martinique, David took up an artist’s residency in the island’s capital Fort de France, located near the town’s port is the ‘Manoir des Artistes’, a bustling recording studio space. A place where the walls shake as the latest sounds being created are blasted by locals and visitors alike. Most studio doors are wide open; as music here is a huge part of everyday life, feedback from encouraging neighbouring musicians is on hand and welcomed. A contrast to the isolation often assumed with working in more traditional music studios.

It was here in this stimulating environment that David recorded Ti Love’s initial demos.

With his first collaborator onboard, Neeweed, a 25-year-old producer and gospel expert who David met at the Martinique Jazz Festival.

Of the album’s initial versions of the record David recollects: ‘It took me three years to write it, then I rewrote it, reworked it. In the end I'm really glad I stepped back and listened to myself.’ I found a great ally in GUTS, who ended up being the artistic director of the record”

David surrounded himself with the right people who helped him express himself in the best possible way. He called on other friends and musical comrades; album opener and title track, ‘Ti Love’ features the incomparable Fatoumata Diawara (World Circuit Records / Africa Express) and further along additional production came in from; Izem, Art Of Tones, and GUTS himself, who all added just the right amount of ‘little love’ to this

project. Further helping hands came from Californian producer and DJ Captain Planet, who David was introduced to a few years ago. Closer to home, here in Europe, the German producer Bluestaeb appears on two tracks: the very catchy disco funk ‘Mr Maraboo’ and ‘Kite Koule’, the latter being the first single lifted from the album, where David invited Nigerian guitarist Keziah Jones.

Elsewhere on the album, fellow Heavenly Sweetness recording artist Blundetto contributed two tracks; the reggae ‘Voodoo Love’, which is David's tribute to Studio One, and the very sweet and resilient ‘Bon Voyage’, which closes the album... "It's gold, it doesn't need anything changing.” remarked David - ‘Bon Voyage’ is a goodbye to his mother, whose voice called him from the bottom of the sea one night while he was surfing during the full Moon.

Released almost 20 years after his debut album ‘AWA’ released on French imprint Ya Basta, home to Gotan Project and many others, David boasts a long list of radio supporters including; Gilles Peterson, Cerys Matthews and Don Letts at the BBC, while further field Cosmo Radio in Germany, and KCRW in Los Angeles.

On this new record, David has shown sincerity and vulnerability, while still honouring the infectious groove that he is known for the world over. Despite the upsets, a little love can indeed go a long way.

CREDITS:
Produced by Bluestaeb / Blundetto / Captain Planet / Izem / Art of Tones
A&R : Guts
Mixed by Mr Gib @ Onetwopassit
Except "Bon Voyage” and "Voodoo Love" mixed by Jerome “Blackjoy” Carron
Mastered by Benjamin Joubert @ Biduloscope
Art by Elliott Walters

For the first outing of 2026, Klasse Wrecks harks back 10 years or so to a Luca Lozano classic that was originally released on U.K. based Hypercolour Records. 'Calling All Dancers' was a defining moment in the producers discography and proved an evergreen hit even a decade later, to celebrate the milestone Lozano has revisited the original and turned in 4 brand new remixed versions. Ranging from tribalistic rhythms, classic electro stomp and sleaze-ball electronica the remixes provide an updated imagining of the original for audiences both new and old. Grab a copy now and don't forget to put on those dancing shoes...

Drumcomplex & Frank Sonic open their world once again, but this time they let others walk through the same shadows. The remixes of the Lost Echoes album feel like wandering through rooms you can only enter in your mind: quiet, flickering, suspended somewhere between a club night and introspective silence. These remixes are a quiet glance into four mirrors, each showing a different fragment of the same story. A subtle nod to those nights you feel more than you can ever describe.

Ascension marks the Manjumasi debut of Brazilian producer Canavezzi, distilling the label’s trademark quirky sophistication through a distinctly South American lens. The EP drifts between deep house, dub-soaked textures, micro-details and tech-driven grooves, always subtle, never obvious.
Across the record, Canavezzi works in tiny movements: flickers of percussion, vapor-trail chords and basslines that feel less “written” and more sculpted over time. Nothing shouts, everything glows. It’s the kind of sound that sneaks into a warm-up set and is still echoing in your head when the lights come on.
True to the San Francisco imprint’s ethos of deep, complex, melodic grooves with a playful twist, Ascension is built for dancers and listeners alike, equally at home on a smoky after-hours floor, a rooftop at sunrise or late-night headphones.
A thoughtful slice of contemporary house from Brasil to Manjumasi, Ascension is less about peak-time fireworks and more about that slow, undeniable lift: a steady climb into its own hypnotic orbit.

Efficient Space continues to bind its mind with Altered States Tapes, offering another service to How So?, Th Blisks' 2022 debut in home-cooked experimentation. A blurring of three vastly different heads into a single disjointed, but fluid organism, How So? finds Yuta Matsumura (The Lewers, Keanu Nelson), Amelia Besseny (Troth, Impatiens) and Cooper Bowman (Troth, CD3) working with vocals, melodica, deeply pulled samples, guitar, drum machine, synths and resourceful percussion. An Elixa-blueprint of sideways ambient rituals, fog-thick melodica dub and paranoid trip hop by way of Sydney's pioneering industrial collagists, the LP recirculates beyond its original 150-copy confines for those who missed its first apparition.

Tomos is no stranger to reinvention. Over the years, his sonic explorations have spanned genres, yet one thread has remained constant—his deep-rooted connection to house music. His earliest co-releases under the alias Vanguard were high-energy French House cuts, built on the foundations of crate-digging and sample collage, channeling the spirit of Daft Punk and the wider French electronic movement.

Now, 15 years later, he returns to those techniques with a fresh perspective, releasing his latest EP Soul Feels Good through the esteemed Noire & Blanche.

Soul Feels Good isn’t just a nod to the past—it’s a showcase of the vast influences that drive his ever-evolving sound. Tomos weaves together an intricate patchwork, merging the meticulous sampling techniques of his early career with a broader, more mature musical palette. The result? A genre-fluid blend of Jazz, House, Dub, Soul, Gospel, Broken Beat, Downtempo and Disco—stitched together with the finesse of an artist who has spent years honing his skills.

For listeners who appreciate the craft of sampling and fans of genre-defying, groove-driven music - Soul Feels Good is a record that demands attention.

Reissue 2026

"Call Me" is an electronic/house track by DJ Dino (Dino Lenny) on Nu-Tella Records, released in 2003.

It's praised for its deep, emotional, and melodic atmosphere, occasionally shifting from darker tones to uplifting major keys,

recalling classic electronic sounds with modern touches, though specific aggregate scores are scarce.

Official 2026 reissue includes, in addition to the original and remixes by Par-T-One and Santos, the previously unreleased version by Walterino.

Mixes completely remastered by Gianni Bini at HOG Studio.

As the man who basically brought the conga into the modern age with his innovative multipercussion set-ups and tunable congas, and as a former member of Dizzy Gillespie and Stan Kenton’s bands, Cándido Camero Guerra a.k.a. Candido already had a long and storied career when he cut Dancin’ and Prancin’ for the Salsoul label in 1979 at the age of 58. So, you might have been excused at the time for assuming this was just another case of an old-timer trying to cash in on the disco craze, right? But you would have been very, very wrong…the record was pure brilliance, as the infusion of Candido’s Latin conga beats into the disco-fied 4 x 4 syncopated rhythm proved irresistible, revolutionizing the sound of underground disco while pointing the way to the house music to come. Indeed, both “Jingo” (an unstoppable version of the Olatunji classic) and “Thousand Finger Man” are still DJ favorites. Speaking of DJs, we’re putting this one out on black vinyl, perfect for queueing up and spinning. for A must for any dance music library!

2025 Repress

Quickly following March’s The Fool - our label debut - Sa Pa reveals his new album Ambeesh on Short Span.

Coming five years after In A Landscape, and nearly a decade since his debut Fuubutsushi, Ambeesh pulls together a previously hidden body of work.

Written between 2014-2019 and long held in reserve awaiting the right moment for release, the album has often been grouped conceptually as a follow up to his FORUM debut. There’s a strong through line connecting the unique language and liveliness of ambient, layered field recordings, and dub techno found in those earlier records, as well as the seamless skydive through pressure formations found in the Enter Sa Pa production mix, which hinted at several of these tracks.

These pieces have taken time to surface and fully catch the light, but there’s still little else that compares. It’s a cache of some of his deepest and most texturally thrilling music, some of which have been rattling around in our ears and minds and conversation for years and have now found the right home and time. Forward thinking and singular in its combination of atmosphere; Ambeesh can press on the body at the right volume, and moves in thrust and riposte with the listener’s circadian rhythms. Sa Pa continues to dissolve the border between club-informed experimentation and intimate headphone listening.

Ambeesh also marks the artist’s return to Australia and the beginning of a new phase.

Mastered by Miles. Digital release of Lexanconical mastered by CGB @ Dubplates & Mastering.

Art from The Designers Republic.

Strut proudly presents the debut album from producer, songwriter and multiinstrumentalist, Momoko Gill. Fresh from her critically acclaimed collaboration Clay recorded with cult electronic artist Matthew Herbert, Momoko steps forward in her own right for the first time with her remarkable debut solo album. Momoko has long been one of the UK electronic and jazz scene’s best-kept secrets.

A self-taught drummer, producer, songwriter, and vocalist, she has brought her unique touch to collaborations with Alabaster DePlume, Matthew Herbert, Coby Sey, Tirzah, and Nadeem Din-Gabisi (her musical foil in An Alien Called Harmony). Extensive touring behind the drum kit, at the keys and in front of the mic have honed her compositional and production instincts. With Momoko, Gill emerges into the spotlight with an album that is entirely her own. Throughout, you can hear the stylistic flavours of jazz musicians as much as singer-songwriters, experimental artists and electronic producers. Though Gill rejects imitation, sculpting her sound through feel and expression rather than tradition. Based in London and having grown up in Japan and the US, Gill channels her breadth of perspective through her musical ideas and storytelling, with a unique voice developed through instinct, collaboration and solitary study.

The album’s eleven tracks take in a wide spectrum with the jazz-infused groove of ‘No Others’ and harmony-drenched, reflective ‘Heavy’ contrasting with the dark, confrontational sound of 'Shadowboxing' leading into an eerie left-field instrumental beat, ‘Test A Small Area' and the impressive 50-person choir on ‘When Palestine Is Free’ (which includes heavyweights Shabaka Hutchings, Soweto Kinch, Alabaster DePlume, Coby Sey, Marysia Osu and more). It is a deeply personal and poetic recording and showcases the full uncompromising range of Momoko’s vison, presented in her own voice. Momoko was produced by Momoko Gill, recorded at Total Refreshment Centre, mixed by Matthew Herbert and mastered by Alex Gordon at Abbey Road Studios.

Islaja presents her new album ”Angel Tape”, her debut release on the new Helsinki-based label Other Power. Drawing inspiration from childhood epiphanies while listening to an alleged recording of angels singing, Islaja has crafted an album that stands out as a major work in her expansive and celebrated catalogue, which includes previous releases on labels such as Ecstatic Peace!, Fonal and Svart.


Islaja, aka Finnish artist Merja Kokkonen, describes her new album as a “counterwork” to her most recent albums, where the mode of composing was more song-based. This time around, she goes more in the direction of vast fields of sound where the human voice is a key ingredient of music that breaks free of strict stylistic guidelines and traditional song forms. Rough around the edges, atonal and otherworldly, "Angel Tape” is the result of a lifetime of inspiration from something beyond the immediate realm of our experience, an attempt to catch the elusive essence of musical otherness.


”As a child, I listened to the ’angel tape’ my mother played, and I never thought that the human voices I heard on it were angels singing. Instead, all the aural debris lying just beneath the surface caught my attention as I thought it was mysterious and something from a different world than ours, and so that was probably what was referred to as the ’angels’ so miraculously caught on tape”, Kokkonen explains. ”I think this was one thing that led me on this lifelong quest to find new sounds and forms in music.”



The tape she is referring to, a mid-80s church recording, was passed around in religious circles. Each time the tape was copied, it became slightly more distorted. It was believed that this recording of religious music had accidentally captured for the first time the voices of actual angels singing. The tape was rumoured to have originated in Kansas City and to have made its way to Finland.


Whereas Islaja has often thought of albums as being collections of recent songs presented together, ”Angel Tape” has a strong sense of conceptual coherence. The music comes from a place. That doesn’t mean that one must take a single path from one place to the next, as close listenings of the album reveal layers upon layers of not only sound but also of mood and meaning. From the human voice in its barest form, to the rising dense walls of sound moving and reshaping, ”Angel Tape” is a captivating album that unveils new contours with each repeated listening.

2024 repress

In February 2021, Jan Jelinek's seminal album "Loop-Finding-Jazz-Records" turned 20. The anniversary repress, a double LP with two bonus tracks (B-sides from the Tendency EP, 2000), is a little late to the party.
What the press said about Loop-Finding-Jazz-Records:
“Don’t be misled by the title, though for there isn’t a finger-snapping rhythm c bebop lead anywhere on the album. Instead, Jelinek chooses to explore the visual effect moiré - two shifting patterns creating an implied third dimension - in the audio realm.” (Alternative Press)
“The title acts as explanation for the studio technique that provided the basis for this album, snippets of other people’s arrangements deconstructed through a sampler into loops and then splashed onto an audio canvas.” (ATM)
“Jelinek’s sound evolved out of his dislike for (and inability to play) keyboards.” (RPM)
“Jelinek has abstracted his sources beyond recognition, looping his millisecond samples into flickering patterns of sonic moiré laid atop a dub Techno framework. (...) Jelinek might as well have sampled a horn player’s hissing intake of breath – it would have been ‘jazz’ enough for his purposes.“ (The Wire)
“It’s a perfect inversion of conventional music, a sonic negative. Everything that would typically be foreground is moved back or pushed off the screen altogether, and the flecks of sonic debris that would normally be covered by other sounds are left to carry the melody and rhythm.” (Pitchfork)
“All you need to know is that these onomatopoeic non-specific songs (...) are warm, paradisical creations”. (NME)
“Listen carefully and you’ll hear textures slowly unfolding and mutating. Presuming you’ve not fallen asleep of course.” (iDJ)
“At times, it’s all a bit dripping tap Japanese water torture; so sedentary it drowns in its own motionlessness” (DJ)
“Loop Finding Jazz Records' is a genuine modern classic whose re-release is anything but a cynical mortgage repayment exercise. Consider this a second chance, then pretend you had it all along.” (Boomkat)
PS:
“I’ve been fortunate enough to see Jan Jelinek live once, at Tonic NYC (...). Wearing a black and white striped shirt, he looked like a nihilistic Charlie Brown.” (beachsloth)

Auf seinem neuen Album "Chopin Orbit" eröffnet Piano-Shootingstar Hayato Sumino einen ganz eigenen musikalisch Kosmos rund um den berühmten Komponisten Auf dem konzeptionell vielfältigen und emotional bewegenden Album, stellt der weltweit gefeierte japanische Pianist und Komponist Hayato Sumino (alias "Cateen") die Musik von Frédéric Chopin in den Mittelpunkt und baut seinen ganzen eigenen musikalischen Kosmos darum auf. Frédéric Chopin, der zu Hayato Suminos Lieblingskomponisten gehört, ist seit Langem eine treibende Kraft in dessen künstlerischen Leben. Diese Verbindung wurde erstmals während seiner vielbeachteten Auftritte beim Internationalen Chopin-Wettbewerb 2021 deutlich und kommt nun in "Chopin Orbit" voll zur Geltung. Zum Programm gehören Chopins Polonaise-Fantasie op. 61, Nocturne Nr. 20 in cis-Moll, Berceuse Des-Dur op. 57 und das "Regentropfen"-Prélude op. 28 Nr. 15. Daneben stellt Hayato Sumino eigene Werke wie "White Keys" und "Post Rain", als auch Stücke von so unterschiedlichen Komponisten wie Thomas Adès, Leopold Godowsky und Leoš Janáček, die Chopins Einfluss über Generationen hinweg unterstreichen. Hayato Sumino erklärt dazu: "Für mich war Chopin schon immer wie ein Idol, und seine Musik liegt mir seit meiner Kindheit sehr am Herzen. Als ich mich als Musiker weiterentwickelte, wurde mir bewusst, wie natürlich sein Einfluss in meine eigenen Kompositionen einfloss. Irgendwann dachte ich mir: Warum nicht ein Album mit Chopin als Mittelpunkt aufnehmen? Dieser Moment war der Ausgangspunkt für dieses Projekt. Meine Stücke entstanden aus der Inspiration durch Chopins Werke. Manchmal zitiere ich ein Motiv oder verwende eine Melodie, aber ich habe nie einfach versucht, 'im Stil von Chopin' zu komponieren. Ich wollte vielmehr seinen Geist mit meiner eigenen modernen Sensibilität und Kreativität verbinden."Und weiter: "Der Titel 'Chopin Orbit' spiegelt diese Idee wider. Ich habe Chopins Musik in den Mittelpunkt gestellt, und von dort aus nehmen verschiedene Reaktionen und Ableger Gestalt an - als würden sie von seiner Schwerkraft angezogen und bildeten ihre eigenen neuen Umlaufbahnen. Aus Respekt vor Chopin ist jedes meiner Stücke mit dem Original gepaart, das es inspiriert hat, sodass das Album abwechselnd seine Werke und meine Reaktionen darauf präsentiert.""Chopin Orbit" folgt auf das gefeierte Sony-Debütalbum "Human Universe" dieses außergewöhnlichen jungen Musikers, das im November 2024 bei Sony Classical erschien und auf dem Sumino mühelos ein vielfältiges Repertoire von Bach bis Zimmer sowie einige seiner eigenen Kompositionen präsentierte. Für das Album und seine herausragenden Leistungen als Pianist erhielt Hayato Sumino als erster Künstler überhaupt gleich drei Preise bei der Opus Klassik Preisverleihung 2025. Wie schon auf "Human Universe" kombiniert Hayato Sumino auch auf "Chopin Orbit" unterschiedliche Klaviere und Flügelklänge bei der Aufnahme.Das Album "Chopin Orbit" erscheint als CD und Doppel-Vinyl.

“Recording this album felt like the crescendo of years of struggling to understand myself. It can get quite claustrophobic living inside my head.” ‘At Home in My Mind’ is an open invite into the world of Halifax indie artist, Ellur (Ella McNamara). The album is a journey around Ellur’s mind, it dips into different musical genres that have shaped her for the past 24 years – from the 90s indie rock she grew up with, to glitch-pop she discovered in her late teens to the alt-folk she cherishes now. Ellur has created a warm abode for her thoughts and experiences as a young woman growing up in Yorkshire’s Calderdale Valley and ‘At Home In My Mind’ beds them all in, safely together. ‘At Home In My Mind’ has been produced by Joel Johnston (Far Caspian) and recorded from his Leeds studio. Johnston and Ellur first worked together on her previous EP, ‘God Help Me Now’ – a stunning body of work that saw Ellur’s fanbase bloom and received praise from national press, radio and an impressive international artists. The buzz around Ellur has lead to a very busy live calendar throughout 2025, including debut festival slots in US and EU, over 14 Summer festival plays in UK (including Latitude, Truck, Big Feastival) and sold out headline shows across the UK. ‘At Home In My Mind’ expands on themes Ellur draws on in her ‘God Help Me Now EP’, particularly an overarching theme of connection. Ellur connecting with her childhood memories, listening to her honest feelings, but most importantly, Ellur wants ‘At Home In My Mind’ to be an arm extended out, looking for people who need a hand to hold.

" Shake away " After many hours of work, the no wave, synth punk crooner has produced his best album yet. The voice is soulful and deep, and each track seems paradoxically spontaneous and thoughtful, while the production is perfect for bringing out all these catchy hits.It inevitably brings to mind Alan Vega at his best, but with that Australian touch that makes this album so personal .

includes unearthed fragments of Bladder Flask by Richard Rupenus, circa ’80s, The paths of Nurse With Wound and Bladder Flask first crossed in 1980 and the following year Bladder Flask’s debut album One Day I Was So Sad That The Corners Of My Mouth Met & Everybody Thought I Was Whistling (Orgel Fesper Music) was distributed by United Dairies. Following the aborted project for a second Bladder Flask album, scheduled for 1981, some forty years later, Richard Rupenus approached Steven Stapleton to use fragments of old recordings he’d unearthed from “Bladder Flask”, an invitation that Stapleton accepted, and rather than simply remixing or reworking existing Bladder Flask tracks, Steve Stapleton and Andrew Liles have succeeded in reinforcing Nurse With Wound and Bladder Flask’s sense of the absurd in this new opus “Backside”.

Logical Absurd is very proud to present the 20th Anniversary of the album "She And Me Fall Together In Free Death" by Nurse With Wound. "She and Me Fall Together in Free Death" is probably the most approachable, largely "musical" album that NWW has released since Rock N' Roll Station. It's also one of his strangest concepts, a marriage of trance inducing Krautrock grooves with a traditional jazz standard and some jarringly atonal musique concrete. Side A is the 20- minute title track: a slow-motion jam reminiscent of of one of Can's sidelong tracks on Tago Mago or the more avant-garde grooves of Tony Conrad and Faust's Outside the Dream Syndicate.

The propulsive Jaki Liebezeit drumbeat is the foundation for a long jam session with what sounds like a dijderidoo and layers of guitar feedback. It's a massive, heavy sound, the kind that Julian Cope would devote a whole chapter to in his "Kratrocksampler". Side B is one long piece with three distinct movements. Beginning with those familiar, World Serpent-trademark windchimes, the listener is quickly ushered into Staple- ton's singing debut (!) in a rendition of the oft-covered traditional jazz ballad "Black is the Color of My True Love's Hair" This was a favorite of the recently deceased Nina Simone, and also of the avant-jazz screamer Patty Waters. Nurse With Wound's version is backed by cello drones, repetitive guitar strums and tambourine, sounding very much like The Velvet Un- derground's "Venus in Furs".

It's such a treat to hear Steven Stapleton's multitracked vocals cover this classic song, and this eerie version rates as one of my favorites. This song and the title track prove to the naysayers that Nurse With Wound is equally adept at rock n' roll songcraft as he is at demented sound collages. The creepy jazz cover seques into "Chicken Con- cret (For Missy E)", a truly warped tape-edit job that juxtaposes chicken squawks and sythesized birdcalls with random bleeps, speaker hiccups and gongs.

We Jazz Records kicks off their new series of archival 7" releases with Esa Pethman "In Belgium 1967" released 23 September 2022. The two-tracker is licensed from the Belgian VRT radio archives and both of the pieces are previously unreleased. Finnish jazz legend Pethman, heard here on alto flute and tenor sax, joins forces with European jazz greats such as Heinz Bigler, Uffe Karskov and Jean Fanis. This is a small but valuable piece of unheard European jazz history from the early heyday of modern jazz. The physical release is a quality "inside-out"-styled EP with 3mm spine and small center hole on the 45rpm vinyl.

An excerpt from the liner notes by Mikko Mattlar:

"Esa Pethman (b. 1938) was one of the key figures of modern Finnish jazz in the 1960s. His album The Modern Sound Of Finland was the first Finnish modern jazz album and his composition "The Flame" a true modern Fenno-jazz evergreen.

Pethman was born in Kuusankoski, 135 kilometres from Helsinki in the Kymenlaakso area. The jazz scene was active even though it was an area of rural landscapes and paper mills. Pethman discovered jazz when he heard a Charlie Parker record being played at a local music shop in the late 1940s. Following Parker, bebop became his favourite style of jazz.

Young Pethman played flute and saxophone in local bands who accompanied schlager singers. They played tangos and waltzes for dancers, but usually started a typical dance event with an hour of jazz. In 1959 Pethman moved to Helsinki to study music at the Sibelius Academy. Back then it was a strictly classical music academy, but Pethman later described the studies as crucial for his development and career. He quickly made his way to studio sessions and into the best orchestras in Helsinki.

As a student of composition, Pethman also began writing his own music. "The Flame" was a melody he just got on his mind one night, and he decided to write it down. The catchy composition was released as a 7" single in 1964, a year before Pethman's debut album. Both records stand as benchmarks for modern Finnish jazz. The album consisted entirely of Pethman's compositions, not versions of jazz standards like a lot of the Finnish jazz released until then.

In the mid 1960s, Finnish jazz was also taking its first international steps. Pethman's quintet took part in the first Montreux Jazz Festival in Switzerland in June 1967. At the Montreux jazz band competition, the quintet came in fourth of the twelve contestants. Despite not winning the competition, the band got an honourable mention, and Pethman was now recognized outside Finland.

In December 1967 Pethman travelled to Brussels. His visit was organised by the national Finnish broadcasting company Yleisradio and their jazz program producer Matti Konttinen. Konttinen was supposed to go to Brussels with Pethman, but the musician ended up traveling alone.

In the Decca recording studios Pethman played two songs. He recorded a version of his most famous composition "The Flame", where he played the alto flute and was accompanied by Belgian musicians. On Swiss saxophonist Heinz Bigler's composition "Like Steel", Pethman played the tenor saxophone. The band was now more international, consisting of Bigler, the Italian Francesco Santucci, the Dane Uffe Karskov, a Belgian rhythm section and Pethman. After 55 years, Pethman still remembers Bigler's remarkable skills as a saxophonist.

The two-day visit included the recording session, a dinner and a concert. Pethman and the other non-Belgian musicians came to Brussels mainly to play at a jazz concert organised by the European Broadcasting Union EBU. They played at the studio first, and the concert was held the following day. Pethman and all the other soloists played as members of an international big band. The studio and live session were produced by the Belgian Radio and Television jazz section leader Elias Gistelinck."

Guitars On Life solves a nagging mystery about the fate of a musician who stood out as a singularly spectacular bloom even in the verdant creative fields of the San Francisco Bay Area at the turn of the century. After more than two decades of recording silence and about a dozen years away from the bandstand, Jack West is back, still immediately recognizable as a guitarist and composer but miles from the last stop on his ongoing musical journey. There’s poetic symmetry in discovering that his detour from life as a performing musician involved fruitful work devising innovative solar technologies, as he had similarly distinguished himself as an inveterately inventive musician. When we last heard from West he’d carved out a vibrant niche as a guitarist with a percussive attack and lustrous group sound. Wielding a custom-built eight-string acoustic guitar with uncommon rhythmic dexterity, he released six albums featuring his original tunes, mostly recording with his band Curvature (though he also played mesmerizing solo recitals). West’s knack for crafting glistening, minutely detailed soundscapes full of surprising twists and oddly inviting textures prompted NPR to describe his work as “a whole new sub- genre of jazz.” Drawn back to performing in recent years, West saw guitarist Walter Strauss at Berkeley’s Freight & Salvage in 2022 and suspected he’d found a kindred spirit. Intrigued by Strauss’s unusual approach to guitar, West “wondered what a musical conversation might sound like between two guitarists who had developed such uniquely different ways of playing the instrument.” An invitation to play together led to them writing the tune ‘More Guitar,’ the bravura opening track that launches Guitars On Life. Several months later they spent a week in Florida together writing intensively, resulting in most of the material for this consistently thrilling project.

It's been a decade since the Soderhamn quintet last released a full album, 2016's Machina Viva, and four years since their last EP, 2021's A Darkened Sun, raised hopes that they were back with a vengeance. Throughout their career, Wolverine have always carried a similar dark emotional heft to their fellow countrymen Katatonia, driven by a sonic wall of sound. Lyrically too, singer Stefan Zell's lyrics pack a powerful emotional punch, and on Anomalies he's at his peak, drawing on those years of exasperation. The Swedes have evolved continuously, from their earliest days toying with death metal sounds, before adding in a more progressive influence on 1999's Fervent Dream EP, before setting themselves up as purveyors of the finest in melancholic prog metal, a flag they continue to carry aloft to this day.

Falter is the 5th full-length album from New Zealand-based composer/-multi-instrumentalist Micah Templeton-Wolfe, working under the moniker Stray Theories.

Templeton-Wolfe has consistently woven together the cinematic sweep of ambient music, the refined structures of neoclassical composition, and the emotional cresting arcs of post-rock. With Falter, those intersections are more deeply blurred, yet more boldly explored.

Transparent Red Vinyl.

The title Falter evokes wavering, hesitation, uncertainty of intent and yet the album stands in sharp contrast to that concept: Templeton-Wolfe’s performance here is marked by a quiet but unmistakable confidence.
From the first notes, the listener is immersed in an atmosphere in which the music feels like a cinematic means of passage, a journey toward redemption. Optimism is present, but ever cloaked in doubt; moments of
contemplative solace sit side-by-side with streaks of melancholia. One senses something looming within the sound-world of Falter. As though the heart itself can tell something is coming.

In this respect, Falter may well rank as the most affecting release in Templeton-Wolfe’s canon to date. While his earlier work had always balanced delicate textures and evocative atmosphere, here he pushes into a more expansive emotional terrain. Only the hopeful refrain “Lifelines” brings the album fully into brighter territory , hinting that redemption is possible, that the journey through doubt is not endless.

Formerly one third of the much-loved trio Black Box Recorder, alongside The Auteurs’ Luke Haines and Jesus and Mary Chain guitarist John Moore, the British singer-songwriter Sarah Nixey has steadily gained acclaim as a solo artist who makes savvy, sophisticated and poised pop.

Delivering vocals with a detached elegance over opulent tracks, any perceived nonchalance in Nixey’s luxe, cut glass voice belies her empathy, where social commentary serves as protest, both explicit and implied. Like Billy Bragg deepfaked as prime Julie Andrews, this strange but effective juxtaposition radiates soft power. ‘Lies of the Land’ depicts a corrupt post-Brexit and Covid-19 world where inequality and division flourish. ‘England's On Fire’ delves into the nuanced concepts of patriotism and nationalism, and ‘Pleasure Bay’ narrates the story of a love affair with a deprived yet beautiful English seaside town, written after Nixey left London, drawn back to the Dorset coast.
More than just a political record though, Nixey was drawn to the poetic elements of living too, telling stories of life and death, love and loss, conflicts and symmetry, in an intimate and close-up way, as if whispering secrets to her listeners.

“Sea Fever explores the bittersweet beauty of human life amid a volatile world of changing seasons and brutal elements,” says Nixey. “These are songs of deep sorrow, remembrance, birth, and change, set against a backdrop of the sensuous natural world.”
‘Rolling Waves’ explores profound grief following her beloved grandmother's death, while ‘Spring Equinox’ celebrates the joy and awe of life after welcoming her first grandchild. ‘At the Edge of the Forest’ is a poignant story of someone losing their memory, and ‘On This Wide Night’ recounts the early hours return home of a teenage runaway.

This is the debut release from Laguna Seca, a new project from Porto based Mike Jefford. It foreshadows a new body of work, steeped in 70s nostalgia, refracted though sounds that could belong to krautrock, disco, electronica, noisy alt rock and everything in between. Mike has previously recorded as Positive Centre releasing textural, experimental techno on such labels as Stroboscopic Artefacts, SNTS and Leyla. (seek out if you you’re a fan of Vatican Shadow or the ghostlier wing of Black Dog)

After mastering his forthcoming 2026 debut album ‘O Tempo’, Mike Jefford caught a second wind of inspiration. In just seven frantic days he recorded the heap of tracks that formed the basis of 'Live from Müsli Mountain’. It soon became clear that these tracks foreshadowed the album perfectly and the EP was born.

Named after the California raceway, this project fuses 1970s recording techniques, modern electronics and psychedelic retrofuturism, it’s a pyramid of sonic adventure that will be explored deeper on the album next year.

Last Summer, Kelly Finnigan made you a mixtape. It was an eclectic mix of ideas. Now, Colemine Records is excited to share two of those tracks on vinyl for the first time. The A-side 'Leave You Alone,' is a stone-cold classic R&B soul cut, and a certified ear worm. It tells a love story from the female perspective, inspired by the soulful sounds of Bettye Swann. This track features the Ramey Brothers (of Monophonics, The Ironsides) and highlights Kelly on all other instruments. TheB-side, 'Thom's Hartbreak' is at hank you letter to Thom Bell & William Hart, two names that are synonymous with the 60s/70s "Philly Sound". This instrumental tune is an homage to a sound thats haped American music and left an indelible mark on the future of soul.

With her sophomore album JAWBREAKER, Sam Quealy cements her status as one of pop’s most daring new voices. Like the cult candy it’s named after, JAWBREAKER is bold, addictive, and dangerously fun — a sugar-coated explosion of chaos, glamour, and emotion.

Produced alongside longtime collaborator Marlon Magnée (La Femme) between their Paris home studio and the legendary Studio Ferber, the album marks a striking evolution from Blonde Venus (2023). Here, Quealy trades the sharp edges of techno-pop for a lush, disco-infused sound, blending live instrumentation and cinematic sheen with her trademark anarchic energy. The result is a record that feels liberating, hedonistic, and deeply human — a vibrant antidote to modern gloom.

From the euphoric escape of “LONDONTOWN” to the dark romance of “LOVE LASSO”, and the shimmering pop fantasy of “GIRLS NIGHT”, Quealy channels a thousand versions of herself — club queen, rock diva, dreamer, and provocateur. The ethereal duet “BY MY SIDE” with Magnée closes the album in a haze of tenderness and light.

A multidisciplinary artist — singer, dancer, performer, and visual visionary — Quealy extends her universe through spectacular music videos and high-energy live shows that merge fashion, choreography, and raw emotion. On stage, she’s magnetic: a whirlwind of hyper-femininity and power, commanding every room with unfiltered authenticity.

With JAWBREAKER, Sam Quealy delivers a fearless pop statement — an exhilarating fusion of sensitivity, chaos, and self-expression that confirms her as a genre-defying visionary ready to take over the world.