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“The hand knows best,” the painter Margaux Williamson says. “A shape produces itself, where I go toward what is intuitive, rather than logical.” The shapely, intuitive songs that comprise Ada Lea's third album, when i paint my masterpiece, are surprising, imagistic, tactile. They stand before us and we feel their brushstrokes. Alexandra Levy holds her guitar against the backdrop of a sea of her paintings on the album cover and it’s tempting to ask: is painting a metaphor here, for music or life? No! As ever, she resists tidy metaphors. She’s a master of this kind of thorny lowercase title that germinates and grows with time. In a real, profound way, music and painting go hand-in-hand as she unveils a new style of subversion and surrealism inspired by her transdisciplinarity.

Levy is a Renaissance woman, and Ada Lea’s albums have been swelling in scope alongside the evolution of her artistic life. Her recent turn toward pedagogy—teaching a songwriting course at Concordia University and co-facilitating a community-based group called The Songwriting Method—weaves another vivid thread into her multifaceted practice. Her debut LP, what we say in private, blurred the lines between interior and performative worlds. Her sophomore record, one hand on the steering wheel the other sewing a garden, featured vignettes centered on Montreal. On this sprawling and ambitious album, written over three years and whittled down from over 200 songs, she asks: what happens when you… pause? How can a life be held suspended in song? The album is a kaleidoscopic exploration of the transformations art can bring: the vision of an uncompromising artist dancing bravely and freely between registers and across mediums.

The album marks a reset—a quiet revolution. After years of relentless international touring, Levy felt an urgent need for community and renewal. Gruelling road schedules with very little support left her wondering: who am I really doing all this for? The system was uncaring and broken, and so it was that she came to envision a new healthy and healing mode of musical genesis. “For me, that looked like resting, extending my creative reach, going back to school, studying painting and poetry,” she explains. “Taking a step away from music as guided by industry expectations. Simplifying things. Getting a job, starting to teach. Engaging with the process rather than the product.” This need for a more deliberate creative renewal was rejected by her existing systems of support, so she began the search for an alternative.

Coming off the heels of 2022's A New Kind of Love, A Trip To The Moon sees GFO diving even deeper in the worlds of film music, exotica, and psychedelic surf rock. The aim is to create a layered and collaged listening experience with more elements than you could possibly pick out in a single listen. The guitars are fuzzy and flooded with spring reverb, and the horns are arranged in a studio big band fashion. It's full of big compositions with garage rock attitude. Influences range everywhere from Eddie Palmieri and Esquivel to The Lively Ones, Dusty Springfield, and War. The tracks are tied together by real recorded transmissions from the Apollo moon missions. The concept for the album is a story about a woman stranded on earth by her cosmonaut partner, left to ponder his whereabouts and whether or not he'll make it back from the cosmos alive.

Magic Thread is Susumu Yokota’s deeply soothing and delicate debut release on the Skintone label. With a spartan palette of sounds and textures, Yokota taps into a fundamentally human need to fuse and connect disparate fibres, magically forming work which glistens and pulsates with life.

Magic Thread originally came out in 1998 as a limited-edition CD release of 500 copies. Initially intended for the Japanese market, it came without any artwork in a standard transparent CD case adorned only by a sticker containing essential album information and a quote:

‘Somewhere in the process of evolution, the spinning and weaving of thread became possible for humankind. How did this come to pass? It can only be that the thread is possessed of magical properties.’ – Yokota, 1998.

This 2-LP set brings together both volumes of Fred Steiner and The Royal Philharmonic Orchestra’s recordings of music from the original Star Trek TV series, featuring score cues from classic episodes like The Trouble With Tribbles, By Any Other Name, The Doomsday Machine, and many more. Pressed on Translucent Clear vinyl, the set comes in a gatefold jacket featuring brand-new art from acclaimed illustrator Malachi Ward.

Released in 1997, Uptown Saturday Night is the acclaimed debut album by Bronx hip-hop duo Camp Lo. Known for its smooth blend of jazz- influenced production and 1970s-inspired flair, the album stands as a standout in East Coast hip- hop. Produced primarily by Ski Beatz, the album features lush, nostalgic beats that complement Camp Lo’s unique slang, stylish delivery, and cinematic storytelling.

The lead single, “Luchini AKA This Is It”, became a cult classic, praised for its infectious groove
and sophisticated wordplay. Other highlights like “Coolie High” and “Black Nostaljack AKA Come On” showcase the duo’s charismatic chemistry and retro vibe.

Uptown Saturday Night received critical acclaim for its originality and timeless aesthetic,
cementing Camp Lo’s place in hip-hop history. Its fusion of golden-era rap and soulful funk makes it a must-listen for fans of classic 90s hip-hop and genre-defying creativity.

Uptown Saturday Night is available as a limited edition of 2000 individually numbered copies on translucent blue coloured vinyl.

New pressing for this album, in translucent highlighter yellow. Inspired by minimal pop and the pioneers of electronic music, LES MANIÈRES DE TABLE, Annie-Claude Deschênes’ first solo album, is as danceable and melodic as it is disquieting and dystopian, proposing to set the table differently by deconstructing the social codes of politeness imposed on us. Conceived during the lockdown to overcome the surrounding inactivity, the songs that make up LES MANIÈRES DE TABLE were not intended to be released. It was by familiarizing herself with new technologies (drum machines, sequencers) that the conceptual and aesthetic ideas that define the album began to develop organically. Through producing beats composed from samples of utensils, table etiquette became a source of inspiration, a form of conformity that she enjoyed deconstructing. At the same time, a fascination for surveillance cameras and other futuristic-looking, but already obsolete technologies became part of her visual universe. Her experiments gradually evolved into a full-fledged project reminiscent of the works of the pioneers of electronic music. The album is inspired by Steve Reich’s minimalism, Kraftwerk’s synthetic textures, Herbie Hancock’s stylistic diversity and experimental cinema’s non-traditional approach to narration.

"Co mam delat" which translates from Czech to English "What should I do?" is the title track from this 3 track EP. Jazzy High Hats and Percussion set the pace for this mysterious groovy synth laden track. Your hips and the rest of your body will give that answer.
Side B "Overnight Delivery" - A Deep House Joint with 4 on the floor energy and warm evolving chime-like pads, Piano Chords and a touch of TB-303 Acid. It will Deliver your Dancefloor Audience to an Experimental, Deep House Experience.
B2 "Co Je To/What's That?" Is NOT a Translation. It's a Conversation that Matt hopes will happen between listeners and onlookers to the DJ that plays this track. Funky Bass ,4 on the Floor Drums, Jazzy Piano Chords and Devil Fish TB-303 Acid drive this track

Old Juniper is a new album from The Down Hill Strugglers, their first in seven years and first to feature all original songs and tunes.

"These guys are a first rate string band! Walker, Jackson and Eli have absorbed the old tradition, and the songs and tunes they wrote for this album are outstanding."
- Tony Garnier
(Bob Dylan, Asleep at the Wheel)

"From the first track “I’m Gettin’ Ready to Go” to the last “Let the Rich Go Bust", this is a wonderful collection of original songs and tunes by The Down Hill Strugglers (Walker Shepard, Jackson Lynch and Eli Smith).

Based in NYC they have been playing and recording together for 15+ years—this is their first in seven years and it’s a doozy. Old and new, evocative, current—all original. And I, as one who’s always had one foot in “old weird America” and the other in new weird America, love this recording.

The Down Hill Strugglers have, as Nathan Salsburg put it in his notes, 'an exquisite sensitivity to the seam where collective tradition and individual artistry meet….' I couldn’t agree more."
- Alice Gerrard

"If it’s possible to be at the forefront of something old, The Down Hill Strugglers are right there with this new recording! Imaginative arrangements of interesting tunes played with soul, all while reaching back to the best of the old mountain sounds."
- Bruce Molsky

"Throughout the record, the musical texture of Old Juniper shifts and blooms. Eli, Jackson, and Walker exchange roles freely— the banjo, fiddle, and guitar change hands almost every track. No matter their instrument, the three fall into place with the tune their guide. As these dynamics build and transform, a sound raw and beautifully sincere appears.

This album of new old-time tunes and songs will surely be a welcome addition to the well loved canon of American traditional music."
- Nora Brown

"How wonderful is it that The Down Hill Strugglers are releasing a new album? I’ve been a fan of theirs from the beginning and will happily spend time with anything they put out!

I see The Down Hill Strugglers as the primary successors of the great and longstanding tradition of urban interpreter-performers of American vernacular string band music - They pick up where the NLCR left off, with Cohen’s considerable creative guidance ever in their hearts and minds. “Old Juniper” is a testament to the vibrancy of this legacy."
- Jake Xerxes Fussell

Hamburg-born composer, pianist and producer Niklas Paschburg announces his latest project, 'Mexican Alps' EP due for release on July 11th. 'La Hormiga' is a rhythmic exploration of life in motion. Pulsing beats and textured synths create forward momentum, echoing the journey through the winding paths of Oaxaca's mountainous surroundings, where tradition and nature intertwine. 'Mexican Alps' combines inspirations gathered from the picturesque mountains of southern Mexico and the majestic peaks of the Swiss Alps. The EP is a mesmerizing journey through those landscapes; drawing inspiration from nature's grandeur and the vibrancy of Día de los Muertos, Niklas blends electronic textures, atmospheric samples, and innovative instrumentation to create a soundscape that is both grounding and transcendent. Without relying on his signature piano, this EP explores new creative territories, evoking deep emotional resonance and moments of introspection. -- If his first album, 'Oceanic '(2018), was conceived as an ode to the Baltic Sea, for his next release, 'Svalbard' (2020), produced with Andy Barlow of Lamb, the Hamburg-born musician, now a Berliner by adoption, sought refuge on an island in the Arctic Ocean, surrounded by snow, ice, darkness and breathtaking landscapes. This time, however, the setting is completely different. "It all started with an invitation to play at a festival in Oaxaca," Niklas says. "Since I had never been to Latin America, I began considering how to take advantage of the opportunity to stay for a while and write something there. I started looking for houses, but I quickly realized it was almost impossible to find one with a piano—it's not a common instrument in Mexican culture. I thought, why not try immersing myself in a writing process that doesn't involve one? I was so excited about the idea that I jumped in." 'Mexican Alps' is the result of a challenge in which Paschburg harnessed his collection of synths and effects to create an ambient-electronic record. On the one hand, an evolution of the work primarily carried out in 'Svalbard' and 'Panta Rhei'; on the other hand, an episode in its own right, distinct from its predecessors due to the absence of the piano and the greater role played by improvisation, by coincidence, it became his first work created without his signature instrument. "Not having the opportunity to write chords, harmonies, and everything else on the piano, I improvised more, focusing on the sound. This was the approach I used to record demos in Mexico, which I then brought with me to Switzerland, where I carried on working on the EP. In addition to my usual setup (the OB-6 by Dave Smith and Tom Oberheim and the OP-1 by Teenage Engineering, plus my ever-beloved Hohner accordion, inherited from my grandfather), I was also guided by the purchase of a new Moog Matriarch with a unique delay. All this helped me build the sound I had in mind: a spacious, abstract, 3D sound that is definitely immersive." He expands. It is an emotional landscape that translates into music. In some of the tracks, Paschburg has also included field recordings collected during the Día de los Muertos, a deeply felt Mexican holiday: "A great celebration, a colorful parade of skeletons, skulls, flowers, and decorated altars, so engaging and intoxicating that I felt compelled to use its sounds in my music." It was precisely from this blend of influences that the fourth track, "Oaxaca de Juárez", emerged—a single characterized by a catchy funk procession and enhanced by the guitar work of Tal Arditi, a rising European jazz artist and singer-songwriter based between Basel and Berlin. 'Mexican Alps' is his new calling card, featuring an enveloping sound crafted by Paschburg in collaboration with Gijs van Klooster, who mixed the EP in a studio specifically designed for Atmos music. Mastering was handled by Bo Kondren at Calyx Studio in Berlin.

OVERVIEW: Brownswood Remix Editions 007 sees Brownswood Recordings return to two classic moments from its back catalogue, offering a new vinyl edition of standout reworks by Moodymann and Yoruba Soul. Both remixes have become favourites among collectors and DJs alike, and this release brings them together on wax for the first time in over a decade.

The A-side features Moodymann’s remix of José James’ “Desire”, a seductive and slow-burning reinterpretation first released in 2008. With his signature raw soul and deep house textures, the Detroit visionary stretches out the track into a hypnotic, late-night groove—balancing José’s smooth vocal delivery with dusty drums and smoky atmosphere.

On the flip, Osunlade—under his Yoruba Soul alias—reimagines Ben Westbeech’s “So Good Today”, transforming it into a gently percussive, spiritually infused house cut. Drawing from Afro-Caribbean rhythms and warm keys, the remix remains one of the most enduring and beloved versions of Westbeech’s breakout track.
Though both remixes have long been available digitally or on separate releases, Brownswood Remix Editions 007 brings them together in a unified edition that highlights Brownswood’s long standing commitment to collaboration, reinterpretation, and timeless sound.

Stars on 54's "If You Could Read My Mind" is a vibrant transformation of Gordon Lightfoot's introspective ballad into an energetic 90s dance-pop and disco anthem. Created for the film54, this rendition features the powerful vocals of Ultra Nate, Amber & Jocelyn Enriquez layered over a driving beat and prominent synth melodies that evoke the high-energy atmosphere of the iconic Studio 54 nightclub. An international success, it reached number 3 on theBillboardUS Dance Club Songs and hit number 1 on the Canada Dance/Urban chart. The b-side features the Hex Hector Remix Edit.

Jazz Room Head Honcho Paul Murphy kept hearing all these fab versions of some of his favourite tunes.

He couldn't release them all, a year is just not long enough so it was time to put together the first Jazz Room Records Compilation, entitled JAZZ ROOM PRESENTS: COVERS. Snappy & to the point.

Some exclusives and first time Vinyl releases on this Double Vinyl album, ranging from the Psychedelic Jazz Fusion of Helsinki Collective "Saimaa" with their epic LIVE version of the Deodato Classic "Super Strut" to the Japanese Shibuya Jazz Artistry of Quasimode with a Jazzy take on the Galaxy2Galaxy 90's Techno Floor Filler. Jazz meets Dub in the "Slowly" produced "Riot In Lagos" and some finger snapping Cool New York Vibes on Giacomo Gates Hip To The Trip version of Gil Scott-Heron's "Is That Jazz".

There's even a Gospel meets Soul Jazz tribute to Simon and Garfunkel. Oh yeah. Did we say there's a Chip Wickham exclusive too?

Louie Vega says: "This is an Awesome Compilation!"




d 04: Jazzbois - Nutville (Live At Ninety One Living Room) feat. Dom Beats

Destruction marks something of a new direction for Reuben Sawyer as he fuses clear, direct vocals with ambient textures. This latest album from the musician and visual artist meditates on destruction and rebirth while reflecting on the tension between enduring natural forces and fleeting human constructs. It opens with themes of nature's resilience and humanity's relentless desire for novelty, then gradually explores the collapse of civilisation and is inspired by Bill Fay's Who Is the Sender. It serves as a mystical, non-Christian take on transcendence across a trio of escapist ambient gems.

Suzzallo (pronounced Süe-zahh-Lōw) is a new Seattle based rock band fronted by Rocky Votolato. After the devastating loss of his child in a tragic car accident, Votolato created an entire new world inside of aggressive anthemic rock songs to transmute extreme grief and loss into something healing and beautiful. This is a return to form for Votolato, who for the past 2 decades has had a successful career as an Indie-rock solo artist, but who started out playing in heavier bands - most well known for his work in Waxwing.

With Rudy Gajadhar on drums (ex-Waxwing), Steve Bonnell on bass (ex-Schoolyard Heroes) and teaming up with legendary producer John Goodmanson, Suzzallo recently finished recording their debut album “The Quiet Year” at Robert Lang Studios in Seattle, WA. Ben Gibbard (Death Cab For Cutie / The Postal Service) is featured on several tracks on the album, adding some levity to the songs with beautifully placed backing vocals, electric guitar, bass 6, and piano.
Funded via a crowdsourcing campaign that raised over 100K dollars, Suzzallo’s highly anticipated debut is due to be released on Thirty Something Records in the spring of 2025.

- 180 GRAM AUDIOPHILE VINYL
- PVC PROTECTIVE SLEEVE
- MIKE OLDFIELD'S TUBULAR BELLS IS INSPIRED
BY THIS ALBUM
- FEATURED IN GRAND THEFT AUTO IV ON THE
RADIO STATION 'THE JOURNEY.'
- 50TH ANNIVERSARY LIMITED EDITION OF 500 INDIVIDUALLY NUMBERED COPIES ON TRANSPARENT VINYL

Keyboard virtuoso Terry Riley started experimenting with different instruments in the '50s. One of his electronic music landmarks is his third album A Rainbow in Curved Air. Through the use of overdubbing, he recorded all the instruments to feature on the title track. The composition consists of three movements, each representing another part of his musical influences. As the song progresses, its structure goes through frequent changes. It's an colorful, psychedelic, atmospheric and revolutionary song. The second track consists of a loop of saxophones and is the dreamy and calm opposite of the title track. Fans of electronic music, such as Tangerine Dream and Klaus Schulze, would love this record. Taking inspiration from Hindustani classical music and jazz techniques, Riley's masterpiece influenced many musicians, from the likes of Brian Eno to Emeralds.

A Rainbow in Curved Air 50th anniversary limited edition is available as 500 individually numbered copies on transparent vinyl.

The incredible story that began with The Most Mysterious Song on the Internet (TMMS) now enters an exciting new chapter: Skyscraper, the debut album by FEX.

Skyscraper features ten original tracks recorded in the early to mid-1980s-carefully re-transferred, remastered, and brought back to life. The album cover, designed by Darius S., brings the story full circle. Darius is the very person who preserved the now-iconic track Subways of Your Mind by recording it from NDR radio in the mid-80s. Without him, FEX may never have been discovered.

FEX's debut opens with its namesake, Skyscraper-a brooding, previously unreleased track the band once described as part of their "psychedelic phase." With haunting synth-helicopter textures and deep guitar riffs, it immediately sets the tone and raises tension.

The release flows naturally into the energetic and fully remastered studio version of Subways of Your Mind. This version of the TMMS - re-discovered on the "yellow label tape" by Reddit user Marijn-was long believed to be from a smaller home studio, but was actually recorded in November 1984 at Hawkeye Studios in Ganderkesee, near Hamburg.

Goldrush, first teased in raw form on FEX's YouTube channel, bends toward mechanical rhythm and shimmering synths, a snapshot of the band's experiments with programmed drum machine sound. Rückwardt's lyrics point to greed and criticizes materialism, and while the music leans toward pop sensibilities, it carries a raw, fractured edge.

Heart in Danger and I've Got My Eyes On You offer contrasting experiences-one rooted in classic post-punk tension, the other floating in melodic synth layers. The latter in particular feels like a fragment from a parallel radio history: a precise and one of a kind synth pop love song with a progressive touch.

From a rehearsal tape comes Dirty Slapstick, its urgency intact. Missing keyboard parts were later reconstructed by Michael Hädrich using his original DX7 synthesizer-recovering lost elements without rewriting the past. The lyrics take a wry look at forced optimism. Also included are the songs Talking Hands, Jenny and Strange Feeling, the latter being a slower blues-tinged cut, revealing yet another facet of the band's reach and Rückwardt's songwriting diversity.

The album closes where the legend began-with the original radio recording of Subways of Your Mind from Darius' cassette. This version of The Most Mysterious Song features alternate vocal effects, contributing to the track's enigmatic aura. Digitally transferred using a high-end Revox machine and carefully remastered, it now has its long-deserved official release.

The cover features a photo of the Eichenberg Bunker in Kiel-one of FEX's original rehearsal spaces and a symbolic monument to their sonic legacy.

Cradle was a late-60s/early-70s Detroit rock band that evolved from the groundbreaking all woman rock group The Pleasure Seekers, led by the Quatro sisters-Patti, Nancy, Suzi, and Arlene, By the final lineup of The Pleasure Seekers, Nancy Rogers had joined as drummer, bringing a new thunderous presence with her double bass drum kit and playing a key role in the group's transfornation into their heavier sound under the new moniker, Cradle. With raw, intricate instrumentation and powerful dual vocals-Suzi's Joplin-esque edge and Nancy Quatro's Robert Plant-like wail-the band delivered socially relevant hard rock with grit and attitude. Touring extensively, they shared stages with legends like Mountain. Ten Years After, Jeff Beck, Santana, and Jefferson Airplane, cementing their place in Detroit's hard rock movement. Despite theit undeniable talent and determination. Cradle faced industry roadblocks, disbanding in 1973. But today, their music sounds better than, ever-and their legacy serves as an important chapter! in music history, helping pave the way for women in heavy rock.

WRWTFWW Records is very excited to announce its third release from visionary Japanese ambient/experimental/environmental composer/producer Yutaka Hirose, this time with brand new album Voices, available on limited edition heavyweight-sleeved double LP as well as double CD, both with liner notes from the artist.

Voices finds Yutaka Hirose expanding his signature spatial layering into a three-dimensional videography of sound, blending field recordings, electronic manipulations, and abstract narratives. The 12-track album is a journey through a crumbling library where books whisper, history collides, and sonic textures weave new realities. Chaos, memory, and transformation – Hirose’s voices echo throughout the space, creating a fully immersive sonic experience.

The pioneering experimental and abstract electronic piece with deep hints of ambient and IDM is beautifully represented by the original artwork by Koji Shiroshita and Mifuku gracing the double LP and double digipack CD sleeves.

Voices marks Yutaka Hirose’s third full-length release on WRWTFWW Records, following his kankyõ ongaku classics Nova + 4 (an expanded version of his genre defining Soundscape 2: Nova album) and archival compilation TRACE: Sound Design Works 1986-1989, both available in vinyl, CD, and digital formats.