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As the world sinks deeper into screens and algorithms blur the line between creation and imitation, Nubiyan Twist return with Chasing Shadows, a record that reclaims the pulse, warmth and spontaneity of human connection.
The band’s fifth studio album is a rich and restless blend of jazz, afrobeat, hip hop and electronic textures, exploring the space between the organic and the digital. It’s music that moves, sweats, and breathes, made by real people in real rooms with heavyweight features bringing together varied voices from the music community which they inhabit.
Bandleader and producer Tom Excel explains: “We wanted to make something that felt joyous and defiantly human — something that couldn’t exist without that connection between people. You can get an AI to write a fugue in seconds, but it can’t capture the chemistry and chaos that happens when musicians lock in together. Chasing Shadows is our way of holding onto that.”
Folowing 2024’s acclaimed Find Your Flame, praised by Roling Stone, Jazzwise, NPR and more, Chasing Shadows pushes the band’s sound further into new soulful territory under Exce l’s expert guidance, featuring bright new vocalist Eniola and a glowing cast of icons and innovators. Malian star Fatoumata Diawara lights up the title track on a powerful slice of Afrobeat, Joe Armon Jones leads the dub workout ‘Rhythm Of You’ and the band take it back to their hip hop roots on great colabs with The Pharcyde’s Booty Brown, Ghanaian MC M.anifest and London dancehal favourite, Mr Wi liamz.
On Chasing Shadows, Nubiyan Twist continue to look outwards with their music but keep the focus firmly on humanity and positivity. It is an album which crosses continents and which shamelessly celebrates our co lective strength.
Fifth album from UK-based co lective Nubiyan Twist led by bandleader & producer Tom Excel (Africa Express, Onipa)
Featuring Booty Brown, Fatoumata Diawara, M.Anifest, Mr Wi liamz and Joe Armon Jones.
Pressed on Yelow Vinyl LP, or Green & Yelow splatter Vinyl LP (exclusively for UK indies).

A unique collaboration between two of the most inquisitive and important artists in modern avant-garde electronic music.

Paper Masks marks a striking new collaboration between visionary Mute labelmates Phew and Danielle de Picciotto. Developed quietly over nearly five years, what began as an experiment between friends gradually evolved into a fulllength album. Phew composed and arranged all the music, weaving in dePicciotto’s voice and freely reshaping it to create something entirely new. Performed in both German and English, the result is an exploratory work that balances electronic minimalism with emotional immediacy.

Described by Pitchfork as “a Japanese underground legend”, Phew - former member of Osaka punk pioneers Aunt Sally - has forged a remarkable solo career, collaborating with Ryuichi Sakamoto, members of Can, and many others. In parallel, Danielle de Picciotto, an American-born interdisciplinary artist based in Berlin, co-founded the Berlin Love Parade and has performed internationally, working with Crime & the City Solution, Gudrun Gut, Space Cowboys, and her partner Alexander Hacke (Einstürzende Neubauten and frequent Phew collaborator) in hackedepicciotto.

Paper Masks stands as a mesmerizing exchange between two singular voices in experimental music - an intimate dialogue across distance, language, and sound, and a compelling addition to both artists’ evolving legacies.

Available on limited edition jellyfish color vinyl, featuring lyrics and poetry, and on CD, housed in an eco card-pack with a lyrics and poetry booklet.

The Cabildos remain one of the most enigmatic names to emerge from the 1970s library music scene. Little is known about the group, except that their name was inspired by Johnny Cabildo, an Italian keyboardist and composer who had relocated to Florida. Their recorded legacy is strikingly concise: just three albums—Yuxtaposición (1972, released under the name Cabildo's Three), Cross Fire (1974), and the later Where Is the Cat? (1979).

Entirely instrumental, the Cabildos' music is driven by deep grooves and a vibrant blend of Latin influences, funk, and jazz fusion, often enhanced by Afro-tribal percussion. Conceived primarily for use in films, documentaries, and advertising, their work naturally belongs to the world of synchronization music.

Cross Fire stands out as a particularly compelling chapter in their catalog, distinguished by an impressive range of textures and moods achieved through the minimalist interplay of bass, drums, and keyboards alone.

Now reissued by Redi Edizioni on clear red vinyl, this excellent record returns with a faithful reproduction of the original artwork, offering a renewed opportunity to appreciate one of library music's most elusive gems.

T.O.N.Y. 2 (Director's Cut) delivers a raw, unfiltered dive into Pounds448’s unique brand of underground Hip-Hop. 15 tracks packed with gritty storytelling, tight wordplay, and heavyweight energy. Completely produced by Spittzwell blending streetwise lyricism with vivid soundscapes, this project showcases Pounds448 honing his craft and carving out his own lane in the modern rap landscape. At just under 50 min, it’s a powerful listen that’s perfect for anyone hungry for authentic, no-nonsense hip-hop from one of Rochester’s most distinctive voices.

‘Moonlight Concessions’ goes back to basics, a return for Throwing Muses to their esoteric off-kilter best courtesy of Kristin’s pin-sharp sketches and their suitably abrasive musical arrangements. The album follows their acclaimed ‘Sun Racket’ from 2020, a heady set filled with tough and tender tales spiked with surreal imagery. Produced by Kristin Hersh at Steve Rizzo's Stable Sound Studio in Portsmouth, Rhode Island, ‘Moonlight Concessions’ is a collection of snippets from everyday life writ large - think Raymond Carver Short Cuts, overheard conversations, recounted happenings and telling one-liners, all sewed together to illustrate the times as they slowly mature, fully peppered with original Muses’ vim and vigour. ‘Drugstore Drastic’ is a kerbside soliloquy caught en route to a more alluring rendezvous. Built on a brisk acoustic strum with a guitar sub-melody underpinning proceedings, it’s an unfolding tale of social awareness from a blurred sub-conscious. ‘Summer Of Love’ began as a bet with a guy for a dollar that revolved around the idea that the seasons don’t change us. The album opener, it’s a haunting baroque overture, bowed and brooding. ‘Libretto’s strings offset the acoustic ambience, the hot and cold of longing at the very heart of it, a thematic driver filed with warmth in a safe haven lubricated by tequila. Written in the differing South Coast environs of The Gulf Of Mexico and Southern California, ‘Moonlight Concessions’ pulls from the star clusters that light both, generating optimism and hope in varying degrees. Hersh explains, “In New Orleans the stars look greenish-blue, as it’s below sea level and swamp-lit. But on Moonlight Beach, they glow icy white. All these songs were written in these two glowy places, which helped our sonic technique find itself.”

Alchemist is the debut full-length album from Alexander IV, the jazz-influenced beat project of Dutch producer and multi-instrumentalist Joris Feiertag. Known for his club-ready solo productions under the name Feiertag, this project sees Joris stepping into a more introspective and cinematic space-merging beat culture with live musicianship, sample-based craftsmanship, and a deep love for soul and jazz.

L.A.-based soul singer Leela James started out singing backup vocals on Hip-Hop albums in the late 90s and early 2000s. In 2004, she recorded the song "No Tears" on Pete Rock's "Soul Survivor 2", shortly after she signed a deal with Warner Bros Records and released her debut album A Change is Gonna Come, named after her cover of the Sam Cooke song. A true soul singer, with a voice comparable to Mavis Staples and Betty Wright, Leela enlisted Commissioner Gordon to oversee production, which included tracks by Kanye West, Raphael Saadiq, Wyclef Jean, and Chucky Thompson. The lead single, "Music," is an ode to the soul singers of yesterday, with a Hip-Hop feel. She performs a soulful R&B cover of No Doubt's "Don't Speak" and alternates between funky uplifting tracks like "Good Time" and "Soul Food" with downtempo, soulful ballads like "When You Love Somebody" and "My Joy." Leela James departed from Warner after the release of her debut and went on to release seven more studio albums. It's been twenty years since A Change is Gonna Come was released in June of 2005, and Get On Down is proud to present this underrated gem for the first time on vinyl. The album is pressed on "Golden Pearl" colored vinyl and packaged in a gatefold jacket, limited to 1000 copies. It's been a long time coming, but this is a must-have for neo-soul and R&B music lovers.

Strictly limited advance copies of GLENN UNDERGROUND's forthcoming album, due out in Spring 2026. Stickered white labels for hardcore fans and the impatient. A long awaited followup to the last "Tech House" release on PEACEFROG back in 1996, 8 tracks packing an "atmospheric punch". (STRICTLY JAZ UNIT MUZIC)

Since the days of the disco demolition and the emergence of the four to the floor.....
Sound has traveled from the hands of Heard, Knuckles, Hardy, Chip, Jefferson, Hunt, Terrible Ted, and a host of others but has been Perfected in Underground!

Presenting...
Grass Root (Tech House LP)
On Strictly Jaz Unit Muzic.
Since the last Tech House release on Peacefrog Records in 1996 the fire never stopped burning under the fingers of the Chicago Maestro. Circumnavigating the globe and archiving life experiences bottled up to the point of combustion

Witness now the dawning of the Strictly Jaz Unit Muzic release: Grass Root (Tech House LP)
This Eight song bequeath to your eardrums packs Atmospheric Punch, Omni Directional Drive, Crispy Hi-hat, Thumping Kicks, Punchy Deep Bass and Emotional Content to rattle your limbs..

Finlay Shakespeare is an electronic musician working from the UK and across Europe. A childhood obsession with his parents’ record collection led him to both create his own music and build his own synthesizer equipment throughout his teenage years. After studying audio engineering, he was invited to become in-house engineer for the Moog Sound Lab UK, leading to collaborations with acts as diverse as Suicide, Charlemagne Palestine, The Grid and Mica Levi & Eliza McCarthy, both in live and studio environments. In 2017, Finlay began recording a series of monthly “Housediet'' releases - all improvised and captured at home utilising drum machines, modular synthesis and processed vocals. After several encounters with Peter Rehberg of Editions Mego, a compilation of the Housediet tracks was drawn up by Rehberg and Shakespeare, culminating in the release of “Domestic Economy” in early 2019. “Solemnities' ', a second album for Editions Mego appeared the following year. In the period since Rehberg’s untimely passing, Finlay has recorded for Superpang, Modulisme and his own GOTO Records imprint. “Illusion + Memory”, meanwhile, continues on from where “Solemnities” left off, with Finlay once again aiming to work at the fringes of electronic pop. Alter is proud to present “Illusion + Memory”, the third full length physical LP of Shakespeare’s utterly unique and sophisticated output. Shakespeare’s obsession and knowledge of late 70’s and early 80’s electronic pop music is once again at the forefront of this intense and dynamic release. Alas, this is not some retro throwback. Shakespeare’s deep understanding of his machines breathes new life into a genre of music once defunct. Supporting the likes of Blancmange bolstered his reputation for sublime synth hooks and dark lyrical content. Building on his previous work in the field “Illusion + Memory” is an unabashed pop record, as joyous as it is intense, moving from the brooding opening ballad “Your Side of the River” through the punchy “Theresa” which could be read as a love song to Throbbing Gristle’s United. Elsewhere “Climb” unleashes the opportunity to the dancefloor as wild electronics snake into all manner of schizophrenic shapes. There is a romantic side to this music. In its homage to electronic pop of the late 70’s and early 80’s but also in the emotional punch Shakespeare injects into every second of every track. Shakespeare’s reboot of these musical forms is technically impressive, one rich in feeling and deep in emotion, atmospherically and vocally. The two come together to create a unique visceral sonic experience… today!

Kacem Wapalek ist seit über einem Jahrzehnt in der französischen Hip-Hop-Szene aktiv. Aber Kacem ist nicht nur Hip-Hop. Ein Künstler, der nicht zögert, sich in einem Universum zu bewegen, das auch vom Jazz und französischen Chansons geprägt ist.

Die lang erwartete Neuauflage des von Kritikern gefeierten Meisterwerks der japanischen Singer-Songwriterin und Multi-Instrumentalistin – das Album, mit dem sich Ichiko Aoba endgültig
auf der internationalen Bühne etablierte.
Windswept Adan, Aobas siebtes Studioalbum, wurde ursprünglich 2020 veröffentlicht.

Die ersten Vinylpressungen sind seit über 18 Monaten vergriffen und mittlerweile
auf dem Sekundärmarkt sehr gefragt.
Diese Neuauflage wurde auf schwarzem Eco-Mix-Vinyl gepresst,
um so nachhaltig wie möglich zu sein.

In einer deutlichen Abkehr von ihren früheren, eher einsamen Werken arbeitete Aoba
mit dem Komponisten Taro Umebayashi zusammen, um ein faszinierendes und fantasievolles Konzeptalbum zu schaffen,
das fließend zwischen Ambient-Psych-Folk,
Kammerklassik und jazzigen Kompositionen wechselt.

Windswept Adan wurde als Soundtrack zu einem imaginären Film konzipiert und handelt von einem
jungen Mädchen, das aus seiner Heimat auf die mythische Insel Adan verbannt wird – einen üppigen,
fremdartigen Ort voller seltsamer Kreaturen, reichhaltiger Flora und Fauna und ohne
gesprochene Sprache.
Die orchestralen Texturen und das lebendige Sounddesign schaffen eine
immersive, filmische Welt.

Reggae music in many ways reminds us of America’s Motown records. The music comes out of its stable fast and furious we tend to know the songs, the artists, the
studio but who? are the players. The unsung heroes that in many cases, cut most of our favourite tracks One such band this applies to in the Reggae field is the Soul Syndicate Band.

Each Jamaican record producer would have their favourite set of musicians they would use, availability permitting. Although several musicians crossed over into different named bands. For example, a set of players working with Producer Bunny 'Striker' Lee would go under the guise of The Aggrovators. The same group working with Producer Joe Gibbs would work under the name The Professionals. Soul Syndicate were the band of choice for Producer Niney the Observer, who used them for his own recordings and when you put that aside the other artists Niney produced, Dennis Brown, Max Romeo, Michael Rose, I Roy, The Ethiopians, Barry Brown, Gregory Issacs and Freddie McGregor.  To name a few and not necessary all, you begin to see the amount of material this set of musicians played on.

Built around the rhythm section of Calton 'Santa' Davis and George 'Fully' Fullwood, drums and bass respectfully. They were usually accompanied by Earl 'Chinna' Smith, Tony Chin on guitars, Keith Sterling, Gladstone 'Gladdy' Anderstone, Bernard 'Touter' Harvey, organ/keyboards and Noel 'Skully' Simms, percussion. Niney's tracks tended to be rhythm heavy and thus Sound System favourites.But when brass was needed/called for ,this was provided by the likes of Tommy McCook, Bobby Ellis, Felix ' Deadley Headley' Bennett. Niney not having a studio of his own at the time used most of Kingston's studios, again availability and money providing. But most of these cuts
selected for this release were cut at Channel 1 and a few exceptions at Randy's Studio 17 and at Joe Gibbs studio at Burns Avenue.

Niney also worked closely with King Tubby on his dub plates, so tracks after the recording sessions were taken to King Tubbys for reconstruction and sometimes
re-voicing over an existing rhythm. These were then used as version sides to the vocal cuts, but most importantly used to nice up the dances, being played out on King Tubbys Hometown Hi-Fi Sound System. We have pulled together a selection of such dub plate specials cut by the Soul Syndicate band for this release. Dub sides that emphasise how well the band worked together, and with Niney at the reigns and the added bonus of some Tubby magic sprinkled on top. Please see our Niney the Observer at King Tubbys 1973-1975 (JRO11) for further examples of this work.

We at Jamaican Recordings hope we are not alone in saluting the musicians, that played such a big part in producing many of our favourite Reggae Sounds. Having released titles by The Revolutionaries (JR003), The Aggrovators (JR005), Sly and Robbie (JR006), we are now pleased to release a selection of rare Dub cuts by another one of Jamaica's finest, the Soul Syndicate band to our catalogue...

Respect Jah Floyd.

“Tubby did three original dub albums, ‘Dub From The Roots’. ‘The Roots of Dub’ and the third is ‘Brass Rockers’ with Tommy McCook ‘pon the flying cymbals. Where he mixed it with the horn going in and out in a dub way and one named ‘Shalom Dub’ you can call Tubby’s too because he mixed the versions as they were off forty fives’’

Bunny ‘Striker’ Lee

King Tubby and Producer Bunny ‘Striker’ Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a ‘serious joke’ (more of which later...) they went on to release the first pressings of this new musical genre namely ‘Dub Music’. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard... the Remix / Version cuts to an existing vocal tune.

Osbourne ‘King Tubby’ Ruddock was born in Kingston, Jamaica on 28th January 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston’s National Technical College and also on two correspondence courses from the U.S.A... When he had qualified Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother’s home. His work in the early days included winding transformers and building amplifiers for Kingston’s Sound Systems. Tubby built his first Sound System in 1957 playing jazz and Rhythm & Blues at local weddings and birthday parties. His reputation as a man who knew and understood both electronics and music grew steadily and as the sixties drew to a close. Tubby
purchased his own basic two track equipment. He installed this alongside his dub cutting machine, a home-made mixing console, and his impressive collection of jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room.

Tubby and Striker were at Treasure Isle Studio’s one day while Ruddy from Spanish Town was working with the engineer Byron Smith....

“Tubby and myself was talking when Ruddy was cutting some dub but Smithy (engineer) made a mistake through we were talking and forgot to put in the voice. It was two track recording in those days. Ruddy said ‘No Man! Make it stay! and so they cut the rhythm. When I went over to Ruddy’s that Saturday night a dance was in progress and when they played the vocal to the tune... then he said we’re going to play ‘Part Two’. They never called it ‘Version’..and then he played the rhythm track. The song was a catchy song and everybody started to sing along and the deejay started to toast so everything went down well. On Monday morning I went up and I said ‘Tubbs the mistake we made was a serious joke.It mash up Spanish Town! The people went wild. So you have to start to do that now ‘cause when the man put on the ‘Part Two’ everyone start singing this song. It played about twenty times. I said you try Tubbs!’...Well the next Saturday night now when Tubby strung up down the farm U Roy said he’s going to play ‘Part Two’ but Tubby did it different now. He started with the voice then dropped it out and let the rhythm run and then he brought in the voice in the middle and from there Tubby started to get really popular.’’
Bunny ‘Striker’ Lee

Dynamic Sounds upgraded to sixteen track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee. The old four track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby’s dub plate experiments began to make it on to vinyl and the first ever long-playing King Tubby releases would feature a collection of his mixes to a selection of Strikers rhythms. So please sit back and enjoy this historic set of sounds. Lovingly restored and with a few extra gems added to the CD Editions. These releases were the first to carry the name of King Tubby and the first to credit the great musicians that contributed so much to the rhythms that made these albums possible.

Mit dem BIPPP Sampler bringt uns das in Frankreich ansässige Label Born Bad ein Stück französischer 80s Untergrundmusikgeschichte für das manche Leute töten würden wenn sie die Originalaufnahmen in die Hände bekommen würden!

Die Compilation ist vollgestopft mit extrem raren französischen Minimal-, Synth- & Coldwave. Der Großteil der Songs von u.a.: A Trois Dans Le Wc, Act, Les Visiteurs Du soir, Vox Dei, Comix, Tgv, Mary Moor, Ruth, Visible, Casino Music sind dabei wohl auch nur dem engeren Kreis der Minimalsammler bekannt, können hier aber dankenswerter Weise auch endlich einem (etwas) größerem Publikum präsentiert werden. Wer frühe Soft Cell, Silicon Teens, Grauzone, Nouvelle Vague die von Martin Hannett produzierten belgischen Names oder ähnliches mag kommt hier wirklich nicht dran vorbei. Großer Tip für alle die auf schrägen 80s Epop, Postpunk und Minimalelektronik stehen, inkl. tollen beiheft- leider nur auf französisch!

For their very first offering, Hanna & Robbie unveils a 5-track album making an ever possible encounter between psychedelic fractured grooves and mellow sci-fi haze in a divergent electronic shell. Planet42 carves a slow-burning path through severance and trance, a trip back to the subconscious like an escape or a sin, guiding both body and mind into unfamiliar exploration

Taking a fey look on electronic performance, where dubby-inspired and fractured rhythms tend to unveil ethereal ambiances, HR was born and raised in the emergent underground electronic French scene and started being moving targets in 2023 with a first live show at the Supercamp Festival happy few’s gathering.
With a mosaic of gritty textures, clubby breaks and otherworldly echoes in the lead-off project Planet42, Hanna & Robbie dives deep in this restless esoteric tension their identity is all about : an spunky early signal sculpting precise and intricate yet atypical tones revealing this crawling need of delivering unsettled arrangements and dreamscaped lines. Already in the move for their next in order work, it is settled in their experimentation lab that new doses of psychedelia and delusive resonances were written as an incipit to a future alternative live act.

Malena Zavala is an Argentinian-born, London-based artist, producer, and filmmaker, known for crafting ethereal, genre-blending music that navigates the space between her Latin heritage and her British upbringing. With the forthcoming album If This Life Could Start Again set for release on 30 January 2026 on Paraná Records, Zavala presents her most intimate, cohesive, and accomplished work to date, marking a significant evolution in her artistic journey.
With her new album, Malena creates an atmospheric dream pop world, weaving singer-songwriter intimacy with synth pop, Argentine folk, indiepop, rock and experimental music, threaded together by her blissful vocals and dreamy guitar work. Gorgeously warm and vivid, If This Life Could Start Again charts the journey from pain to acceptance, mapping out the non-linear nature of healing through a sonic landscape. Each song embodies a distinct emotion within that journey, from grief and chaos to feeling lost, seeking refuge, finding confidence, and finally acceptance and letting go. Drawing on her Argentinian roots, Malena uses the Andes mountains as both a visual and thematic anchor – the difficult climb towards higher ground becomes a metaphor for healing, whilst being lost at rock bottom reflects the darkest moments of the journey. 
Completely composed and performed by Malena herself, the album was recorded in Girona’s L’Empordà countryside in Spain with producer Luke Smith. As a professional producer and audio engineer, this was Malena’s first time relinquishing production control – an intimate creative shift that allowed their shared vision to shape the album’s rich, enveloping sound. 
However, Zavala’s career to date has been a testament to self-sufficient artistry. Her critically acclaimed debut, Aliso (2018), was written, recorded, and produced alone in her parents’ garage, which honed her dreamy bedroom pop sound. The album, praised by The Guardian for its “gently warped and beguilingly melancholy guitar pop,” ****, immediately catapulted her from DIY beginnings to prestigious stages, supporting acts like Lord Huron at London’s Roundhouse and Men I Trust at Village Underground and subsequently continuing on their UK/EU tours. Later with standout performances at Latitude, Green Man, and All Points East. Her consistent radio support from key influencers including BBC Radio 6 Music, BBC Radio 1's Huw Stephens, and Steve Lamacq has solidified her presence on the airwaves.
Her second album, La Yarará (2020), saw Zavala delve deeper into her roots, exploring Latin traditions like Cumbia and Bolero. This exploration of identity continues powerfully on the new album, but with a newfound lyrical depth and sonic confidence. The new album, If This Life Could Start Again, is a raw and transformative eight-track journey that maps the emotional landscape of healing. Written after a period of personal upheaval, the album traverses themes of grief, hereditary trauma, and self-discovery. The record’s narrative is structured like a mountain ascent. A challenging climb through varied emotional terrain, posing the central question: “Will you join the journey?” Sonically, this journey mirrors the non-linear path to acceptance, evolving from acoustic folk and synth-pop to funk-infused rhythms and rock anthems.
As a formidable live performer, Zavala has built a robust touring profile across the UK and Europe. She will embark on an extensive tour in February and March 2026 to support the album, with dates spanning major cities from London and Glasgow to Berlin, Paris, and Barcelona.
With If This Life Could Start Again, Malena Zavala fully realizes her artistic vision as a self-taught producer to an autonomous artist commanding her career through Paraná Records whilst reflecting the vast landscapes of her heritage and affirming her place as a compelling and evolving voice in contemporary music.

Presenting the third thematic volume on the “Aquapelagos" series - a collection of split LPs where selected artists offer their own take into water surrounded cultures and communities. After the initial release of the Anthology compilation Aquapelago in 2022 (Discrepant ,CREP91) and the split LP Atlantico by Lagoss & Banha da Cobra (Keroxen, KRXN027) as well as the direct collaboration LP Índico by Mike Cooper & Pierre Bastien we proudly introduce an the third volume in the series in the shape of no other than two inspiring artists, Vica Pacheco and Pak Yan Lau. Two different sound journeys inspired by the majestic and peaceful Pacific Ocean, the vastest, largest and deepest ocean of our planet.

Vica Pacheco’s composition takes a calm meditation approach where water flutes and synths brush shoulders to create a ever expanding mind journey whereas Pak Yan Lau’s ambitions Neo classical piece, The Ocean in Us, talks about that grand overwhelming feeling, that vast space deep under, on the bottom of the Pacific. Both compositions were recorded and created with the particular wet acoustics of the Tank in Santa Cruz de Tenerife in mind.

From Philip Hayward and Matt Hill’s liner notes: ‘’The Pacific is a complex space, comprising a third of the Earth’s surface. A cascade of islands runs along its eastern flank, down from the Kamchatka peninsula, through Japan, Taiwan, The Philippines, Melanesia and on to Australasia. In its watery heart the islands of Micronesia and Polynesia stretch across huge distances, north-east to the Hawaiian archipelago, south east to Rapa Nui and south west to Aotearoa and Chatham island. Closer to the shores of the Americas lie Tierra del Fuego, the Galapagos Islands, Haida Gwaii and the Aleutians. This is a space that resists easy characterisation. The Pacific laps the shores of Japan and Chile, the beaches of Australia’s East Coast and the cold, damp coasts of British Colombia and Alaska alike. Indeed, the space is so vast that it is a world in itself and one rarely navigated in its entirety. In this manner, strands of genres and the songs that reflect them are components in an intricate mesh of associations.‘’ Philip Hayward and Matt Hill, April 2022

At the start of this summer, following a three-year hiatus for Daphni (punctuated only by his first ever collaborative Daphni track ‘Unidos’ alongside Sofia Kourtesis), he dropped ‘Sad Piano House’. The track represented something of a continuation in the Daphni catalogue, its roots growing from Cherry’s ‘Cloudy’ and its subsequent Kelbin remix, something in that song’s makeup having a profound effect when played on dancefloors by Snaith and countless others. ‘Sad Piano House’ deployed more intangibly irresistible bendy piano to equally satisfying effect and continues to achieve similarly rhapsodic dancefloor saturation.
Though a sizeable gap for Daphni releases, between Cherry and Butterfly however of course sits Honey, the latest Caribou album and one that saw the more instantaneous and dancefloor leaning traits of Daphni peaking through the cracks more than ever before. This blurring of the lines leads to an intriguing collaboration in Butterfly’s lead single ‘Waiting So Long (feat. Caribou)’. An unlikely duo - in that both artists are the same man, Dan Snaith - ‘Waiting So Long’ is not so much an identity crisis, ego trip, or the result of a chemical spill in the Snaith laboratory. It’s simply a track that Snaith felt for the first time belongs to both aliases, and might appeal to fans of both. He has never sung on a Daphni track before, and did not set out with the intention to do so this time, and yet this strange billing was born.

Daphni music has always been Snaith’s way of hitting directly to the core of the dancefloors he spends so much of his time playing to, and those dancefloors have been steadily expanding as his name grows, with the music following suit. This album however also draws from further back with a definite kinship to the very first Daphni album, the invigorating bag of ideas that was Jiaolong.
Butterfly is a showcase of the wonderful variety and surprising twists and turns that made that album such an exciting new prospect and that still to this day make Snaith such an intriguing DJ. There are more heavy hitters here, tracks that fill those dancefloors better than anyone, like ‘Clap Your Hands’ which picks up the energy of ‘Sad Piano House’ and flips it, exposing the gritty and intoxicating underbelly of Snaith’s hitmaking side, while retaining the playful urgency that runs through all of his work of late. Meanwhile ‘Hang’’s comic-strip horns are unpinned by gleeful force, unrelenting and thrillingly unshakeable. Elsewhere though comes a clutch of other tunes that might creep out somewhere more off the beaten path, a path Snaith has never stopped seeking in amongst his larger billings. ‘Lucky’ is squirmy and elusively intoxicating, ‘Invention’ skitters down meandering, inviting corridors, ‘Talk To Me’ grumbles and broods in the murk, and ‘Miles Smiles’ could roll on endlessly, so confident in its groove. There are no obvious peaks in these tracks or unifying moments, in fact many of them really have no business being on the dancefloor at all, and yet in the right setting, they could be the most fun to be had all night.

One such club is a good microcosm for the ethos of Butterfly as a whole. “Around the time I was finishing up this album I played a long set in a club called Open Ground in Wuppertal, Germany.” Snaith recalls, “It’s kind of, in one sense, the platonic ideal of the kind of club I’d want to play in. Every single decision has been taken, at great expense, with the aim of making the perfect sounding medium sized club room. But on top of it being the perfect acoustic environment it also is run by an amazing collection of people in a way that gives it a sense of community that dance music at its best provides. It is an absolute pleasure to play in that room to a crowd of people who come from all over. Playing in there you feel like you can play anything, and I played works in progress of pretty much every track on this album in my set there. Don’t get me wrong, I love playing a short set at a festival or in a more raw warehouse kind of club where you bang it out and only really functional music works but on record I guess the point of these Daphni records is to keep in mind a more expansive idea of dance music where the parameters are broad and the church is broad. I think that actually, putting really functional stuff next to weirder tracks (both on an album and in a dj set) might be the thing that’s still most interesting to me.”
This is the feeling that’s most palpable on Butterfly, and in every single time you see Snaith DJ. Right from the inception of the Daphni alias - and even before that – the thrill of trying stuff out, pushing at the boundaries has always been there and on Butterfly is present in all its twists and turns. It leaps all over the place and yet it hangs together, never feeling like a grab bag of dancefloor utilities but rather a distillation of all the strings to Snaith’s bow, exhilaratingly human and unified by one singular concept – simple and joyful exploration.

Intricate structures with an intertwining of spontaneity and randomness, meeting the diverse genre influences of the band members from mediaeval music to shoegaze to noise. That is Unravel, the new album, and first in six years, from Czech band Manon Meurt.
"Unravel reflects the different stages of dissociation, a person's thoughts, observations - whether of the environment or of oneself - and admiration for the beauty and cruelty that nature mirrors," multi-instrumentalist and lyricist Kateřina Elznicová says of the album.
Produced by Eddie Stevens (Freakpower, Zero 7, Moloko, Roisin Murphy) the album was pieced together from recorded fragments, meticulously pieced together. The title Unravel refers to the development of the band, unravelling what they are to find the full potential of their music as well as uncovering the layered nature of the songs and emotions.
"Eddie Stevens’ approach to recording was a big surprise. We understood that there was no one right version of the songs. Each of our themes carries a certain energy that can manifest and blossom in many ways. Compared to previous records, the vision of each member was much more evident, while we learned not to cling to our individual ideas of a signifying break or a nu-metal bounce at the end of an ambient song. The main thing was a common concept," adds keyboardist David Tichý on creating the seven songs on the record.
Abum producer Eddie Stevens describes the collaboration, “Each album is an adventure. You do some preparation, check the route over and over, prepare for any eventuality that your packing space and imagination will allow, plan some places to stop and rest en route, places to eat, sleep, then consider the challenges - the ice wall, the summit, even just finding your way in foreign land. But despite all that planning, you can never really say for sure what’s going to happen, what unexpected path you might take, what strangers might invite you in for a cup of tea and to what ends. So it was making Unravel with Manon Meurt and engineer and studio owner Lukas Martinek at Svárov studios and of course back home in the relative safety of my studio. Musicians who quickly became friends showed me more than I showed them, people with ideas, with creativity seeping from their pores. Music making the right way: no blinkers, no walls, no preconceptions, no barriers, no rules. What a pleasure, and what a magical, technicoloured,
kaleidoscopic album we’ve made together, “
The combination of industrial material with plant motifs in the work Untitled_1 by Ukrainian artist Liza Libenko, which adorns the cover of Unravel, strongly attracted the band. After all, floral motifs have always been close to Manon Meurt's music. Libenko, a student of the Academy of Fine Arts and a finalist of the prestigious Austrian Strabag Artaward International Prize, has recently been working on overcoming the narrative boundaries of the canvas, the paintings "attack"the viewer. Sunflowers are a powerful symbol of life and the sun; in Libenko's paintings they are black and burnt, serving as an allegory for contemporary conditions. The work was photographed by photographer and artist Marcel Rozhoň, and the final processing of the Unravel album was done by graphic artist Zuzana Malá.

Der in Berlin lebende syrische Musiker Khaled Kurbeh gibt sein Debüt bei Research Records mit Likulli Fadain Eqaéh Jedem Raum seinen eigenen Rhythmus, einem Klangteppich aus Sounds, die er über vier Jahre im Rahmen seiner Praxis muhawalat Versuche, Variationen und hawamesh Ränder geschrieben, aufgeführt und aufgenommen hat: ein Ausdruck von Gesten, klanglichen Fußnoten und Beobachtungen aus dem Alltag.

Kurbehs erste Veröffentlichung seit sieben Jahren weicht von seinem weitgehend akustischen Debüt "Aphorisms" ab, einer Zusammenarbeit mit dem Oud-Spieler Raman Khalaf und einem Ensemble mit Elementen aus Maqam und Jazz.

Likulli Fadain Eqaéh Jedem Raum seinen eigenen Rhythmus präsentiert eine Sammlung zehn elektroakustischer Kompositionen – grübelnd und experimentell mit Anklängen an Musique concrète. Die Trackliste impliziert eine Reisebeschreibung. Feldaufnahmen von Schwalben und dem Knacken und Entschalen von Sonnenblumenkernen im Zwischenspiel Nuzha I Exkursion I werden durch eine spärliche Komposition aus Low-End-Synth, Harmonium, Klavier und präpariertem Fender Rhodes, gespielt mit Schlägeln, auf Darb I–II Pfad I–II kontrastiert. Beckenmuster und bewegte Glockenklänge erklingen auf Jauqét Ajras Chor der Glocken, während Streichinstrumente auf al-Ajraf [Die Klippen] zittern und stottern. Die Veröffentlichung fängt vier Jahre sich überschneidender Klangwanderungen ein und balanciert fein die Spannungen von Harmonie und Dissonanz, Stille und Resonanz, Textur und Rhythmus – aufgenommen im Innen- und Außenbereich.

Das Gatefold-Cover zeigt Kunstwerke von Ida Lawrence und enthält ein Booklet mit zehn gemalten Variationen einer Szene. Auf der Außenseite erstrecken sich Wege unter einem dramatisch akzentuierten und lebendigen Himmel; im Inneren erscheint dieselbe Landschaft immer wieder in unterschiedlichem Licht.

Likulli Fadain Eqaéh [Jedem Raum seinen eigenen Rhythmus] erscheint im Sommer 2025 bei Research Records, Naarm/Melbourne. Ein weiteres Solo-Klavieralbum von Kurbeh, aufgenommen in seinem Studio in Berlin-Kreuzberg, erscheint noch in diesem Jahr.

Above The Clouds I Finally Found Peace, the latest work from French artist Quelza (Leo Naït Aïssa) on Ostgut Ton, feels like a homecoming.

A testament to introspection and self-awareness.
Rather than adhering strictly to a club-focused approach, the EP marks a step forward in freedom of expression, breaking away from a purely club-based format and instead leading into a broader listening territory. It unfolds as a personal musical journal shaped by perception, memory, and emotion.

As its title suggests, the record carries a spiritual undercurrent. It stands as a sincere sonic statement from a young artist, driven by a clear intention: to express vulnerability and honesty through sound.

The EP invites the listener to let go of expectations formed by previous releases, while preserving the emotional intensity and distinctive sonic identity that have come to define this work in recent years.

„Above The Clouds I Finally Found Peace“, das neueste Werk des französischen Künstlers Quelza (Leo Naït Aïssa) auf Ostgut Ton, fühlt sich wie eine Heimkehr an.

Ein Zeugnis der Selbstreflexion und Selbstwahrnehmung. Anstatt sich strikt an einen cluborientierten Ansatz zu halten, markiert die EP einen Schritt vorwärts in Richtung Ausdrucksfreiheit, bricht mit einem rein clubbasierten Format und führt stattdessen in ein breiteres Hörgebiet. Sie entfaltet sich wie ein persönliches musikalisches Tagebuch, geprägt von Wahrnehmung, Erinnerung und Emotion.

Wie der Titel schon andeutet, hat die Platte eine spirituelle Unterströmung. Sie ist ein aufrichtiges klangliches Statement eines jungen Künstlers, der von einer klaren Absicht getrieben ist: Verletzlichkeit und Ehrlichkeit durch Klang auszudrücken.

Die EP lädt den Hörer dazu ein, die Erwartungen, die durch frühere Veröffentlichungen entstanden sind, loszulassen, während sie gleichzeitig die emotionale Intensität und die unverwechselbare klangliche Identität bewahrt, die dieses Werk in den letzten Jahren geprägt haben.“

Vinylneuauflage von Mobys "Ambient" Album von 1993, seine erste Exkursion in die Ambient-Musik, die seitdem zu einem seiner Markenzeichen wurde. Mit Ausnahme einer limitierten Clear-Vinyl-Ausgabe 2022 gab es dieses Album nur als CD, nie flächendeckend auf Vinyl. Moby hat die Techno/Electronic-Szene massgeblich beeinflusst, später den Popmarkt erobert und Acts wie David Bowie, Public Enemy, Ozzy Osbourne, die Beastie Boys und Daft Punk produziert und geremixt.

A chance meeting in Mexico City set Points of Inaccessibility into motion. When Ibero-American composer Rafael Anton Irisarri crossed paths with Dutch media artist Jaco Schilp at MUTEK in 2024, a conversation about how technology shapes perception revealed an unexpected common ground. Schilp invited Irisarri to a spring 2025 residency at Uncloud, the Utrecht-based collective he co-founded, where Irisarri's sound began to take form amid an environment shaped by Schilp’s visual research.

The Uncloud studio was located inside the former Pieter Baan Centre, a forensic psychiatric prison where suspects of violent crimes were once confined. Its long history of silence and containment shaped the atmosphere in which the project developed. Within this setting, Irisarri coaxed long bowed-guitar tones through a network of pedals and looping systems. The raw gestures thickened into a vaporous and architectural field of sound. Schilp processed the material through a custom point-cloud software patch that produced images in continuous flux. The visuals flickered, dissolved and reformed like memories that resist coherence, functioning as a digital Rorschach that reflected the observer’s own perception.

Amid these spectral echoes, the project evolved into an examination of how the past persists within present signals. Memory endures as residue and interference, continually shaping perception even when its source has faded.

Schilp’s visual process required a continuous stream of sound in real time. Irisarri improvised throughout the residency, generating material that allowed the visuals to develop in parallel. Once back in his New York studio, he began shaping the recordings by carving pathways through the improvisations and mapping selected passages into MIDI. This process allowed him to build outward from the bowed-guitar material with minimal overdubs, adding Prophet 5 textures, Moog bass and strings that expanded the harmonic field while keeping the original performances at the center. To refine the structure, Abul Mogard provided editorial input, working with Irisarri’s stems to guide transitions and strengthen the overall pacing. The material, originally created under conditions of immediacy and constraint, evolved into a fully realized work through careful revision, patience and sustained reworking.

The title engages the geographic concept of the Poles of Inaccessibility, locations defined solely by their distance from all surrounding points. Irisarri adapts this idea to the conditions of digital life, where new forms of inaccessibility arise through the informational enclosures that structure perception. What appears to be a fully connected network often produces a deeper kind of separation, one shaped by the filtering logic of the systems that mediate experience. In this sense, the digital sphere mirrors its geographic counterpart. We inhabit spaces saturated with signals, yet the possibility of genuine contact becomes increasingly remote.

At its core, Points of Inaccessibility considers what can be understood as the new rituals of capitalist realism. Irisarri uses the term digital shamanism to describe the forms of simulated connection that organize contemporary life. These systems promise comfort through algorithms, influencers and AI interlocutors, yet they often reproduce the same conditions that generate loneliness in the first place. What appears as connection becomes the echo of connection, a sequence of gestures that imitate solidarity while withholding it. Like the geographic poles, these rituals are defined by distance. They pull us into environments where everything is illuminated, yet meaningful proximity becomes increasingly rare. In this sense, the work approaches a hauntology of the present, a reflection on futures that have stalled and intimacies that have been thinned by the algorithmic infrastructures that surround us.

This thematic tension unfolds across the album’s four movements. Faded Ghosts of Clouds introduces the work with textures that rise and dissipate in slow cycles, creating an atmosphere that resists clear definition. Breaking the Unison occupies a pivotal position in the sequence and focuses on the moment when the individual and the system fall out of alignment. Its shifting patterns trace the scattering of signals that once suggested connection, revealing the instability at the heart of contemporary perception. Signals from a Distant Afterglow forms the center of the album and features vocals by Karen Vogt, whose presence enters the sound field like a fragile transmission shaped by distance and delay. The closing piece, Memory Strands, follows motifs that appear, recede and briefly intersect before returning to quiet. Across these movements, the album outlines a landscape in which emergence and disappearance continually inform one another.

Listening to Points of Inaccessibility is an encounter with a sound field that is constantly in flux. Elements surface briefly, shift position and recede, creating a sense of motion that resists stable interpretation. The music moves between closeness and vastness, carrying traces of memory while withholding a clear point of resolution.

The album’s visual identity completes the project’s conceptual arc. In Mexico City, where Irisarri and Schilp first met, Daniel Castrejón transformed stills from Schilp’s point-cloud visuals into the cover image. The final artwork captures a single suspended frame of the digital material, a moment extracted from a field that is normally in constant motion. Its surface recalls the texture and abstraction found in the work of Catalan artist Antoni Tàpies, where material presence and erasure coexist within the same plane.

What emerges is a work that examines the tension between technological systems and human presence. Points of Inaccessibility asks whether connection is still possible within environments shaped by mediation and delay, or whether we have become isolated points within the very networks that promise proximity. What possibilities for relation persist within environments organized by algorithms and interruption? And how are we meant to understand presence when so much of it is constructed at a distance?

Points of Inaccessibility will be released on BioVinyl on February 6, 2026, with audiovisual performances planned throughout 2026.

Mastered by Stephan Mathieu
Artwork by Jaco Schilp
Design and layout by Daniel Castrejón
Artist photo by Iulia Alexandra Magheru.

Water can retain or wash away memory; flowing or freezing. It gives life and shapes earth, while frozen imprints of an ancient past are waiting to melt – back into sound or fluid motion, or simply to dissipate and disappear. For their split release, Yoichi Kamimura and Olli Aarni offer two distinct reinterpretations of a performance recorded live at the Temppeliaukio Kirkko – a church in Helsinki built directly into solid rock and bathed in natural light – meditating on glacial landscapes and water cycles, using shared field recordings that bifurcate into two sonic visions of “ice journey”.

Yoichi Kamimura’s extensive recordings formed the bedrock of the original performance, notably from time spent on Suomenlinna Island just outside Helsinki in 2021, aiming to capture the remnants of the glacial movements that formed the area’s geology. Elsewhere, the voices of ringed seals, underground waterways of Kyoto, and icy rivers in Lapland from Kamimura’s library float in as well. “The small, charming, and gentle islands floating in the Baltic Sea—some with little cottages and restaurants—reminded me of the drifting ice in the Sea of Okhotsk between Japan and Russia,” describes Kamimura. Fragments of a Christmas choir creep in too, recorded at the church on Suomenlinna Island. Titled Kōri no ryokō , Kaimimura’s reinterpretation of the performance emphasises a shared future across all icy sea regions of the world: thawing ancient memories and the threat of disappearing entirely.

On Jäämatkailu, Olli Aarni presents his own expansive reworking of the same source material, heavily processed alongside his own field recordings from Vantaanjoki river and Suontee lake in Finland. “I was thinking about the processes of erosion, water carving rock, the prehistoric glaciers over the landscape in my own environment,” explains Aarni. The soundscape hums with both intimate details and macrocosmic flow, and a submersible bass rumble hinting at an iceberg far below the tip, morphing at time scales beyond human comprehension.

Side A is composed by Yoichi Kamimura using field recordings of drift ice (Shiretoko, Hokkaido, 2019–2022), the Lake Biwa Canal (Kyoto, 2020), the Therme Vals baths (Vals, 2017), spring water (a fountain next to Saint Benedict Chapel, 2017), a Christmas choir (Suomenlinna Church, Helsinki, 2021), ice in the Juutuanjoki River (Inari, 2021), and recordings from Yoichi’s and Olli’s concert (Temppeliaukion kirkko, Helsinki, 2021), KORG iPolysix, and KORG minilogue xd.

Side B is composed by Olli Aarni using the aforementioned sounds + field recordings of the river Vantaanjoki and the lake Suontee, sampled sounds, and a computer.

You don’t need to be Freud to regard teeth as a delicate issue. They can make joy look joyous and pain look painful, and on the cover of the new múm album they do both at the same time. As »Yesterday Was Dramatic – Today Is Okay« (2001), »Finally We Are No One« (2002) and »Sing Along To Songs You Don’t Know« (2009) »Smilewound« is another example of the band’s art of juxtaposing two conflicting meanings and taking advantage of the energy created through the tension between both.

Sparser in sound than many of its predecessors, »Smilewound« is an airy, relaxed record. The múm-core-duo of Örvar and Gunni doesn’t make you laugh out loud (except maybe for the quirky vintage Arcade-sound-start of »When Girls Collide«), but it will make you smile often - despite the heavenly voices singing about violence in one form or another in most songs. Musically, múm’s capability to build playful electronic sound-ornaments around simple melodies is in full bloom. And these days they know that trimming the ornamentation can strengthen the melody. Take »The Colorful Stabwound«: an aguish drum’n’bass piece and »Smilewound« gets close to a straight pop-song. Even that isn’t very close, but it combines its rhythmic strength with a simple yet effective piano-line and the soothing lushness of a female voice to something compelling that follows you like the smell of a delicate eau de toilette. Or »Candlestick« which started out as a little ditty strummed on an acoustic guitar many years ago and has grown into this bouncy piece of synth-pop that changes its musical colours every couple of beats until you feel comfortably dizzy. Perfect pop in very fancy clothes. No wonder that antipodean pop-princess Kylie Minogue wanted to collaborate with múm on the »Whistle«, the main song in 2012-movie »Jack & Diane«.

Recorded in, among other places, the band’s practice-space, an old baltic farmhouse and on the kitchen-table after dinner, the album was produced by múm themselves. And being the revolving collective they are, it comes as no surprise that we see the return of former member Gyda. Defining satellites as part of the core fits nicely with the band’s penchant for ambivalence - in fact that's part of the album's charm.

cLOUDDEAD's debut album, compiling six 10" EPs that appeared between 2000-2001, is aurally dense and obscured. A sprawling mass of miniature beat-suites and Dadaist lyrics, this strange and beautiful 3xLP would influence a myriad of sub-genres (cloud rap, hauntology, lo-fi hip-hop, etc.) in the two decades since its initial release.

Only the three members of cLOUDDEAD – Why?, Doseone and Odd Nosdam – can speak to the group's origins, but in the context of underground hip-hop towards the end of the 20th century, their arrival makes perfect sense. Cincinnati had a vital scene; home to Scribble Jam, an annual confluence of MCs, DJs, B-boys and graffiti artists. While the trio soon relocated to the Bay Area where they co-founded the Anticon collective, their Midwestern roots – in ramshackle basements of off-campus hovels, as the "cerberus of Southern Ohio" – would remain the atomic heart of their early recordings.

As Chris Martins writes in the liner notes, "The only reason we know their names today is because of how loudly and curiously they aired their insularity. They rewrote the entire world as they knew it through their own fucked perspective, and when those mysterious 10-inches started popping up in record shops, it wasn't just a puzzle to investigate: there seemed to be a whole cosmology hidden in those grooves."

Each side of the album represents one of those elusive 10-inches, each embodying a universe unto itself. Opening salvo "Apt. A" and "And All You Can Do Is Laugh" are perhaps most emblematic of the cLOUDDEAD experience. Why? and Dose create a new language through boundless non-sequiturs, sing-song non-choruses and call-and-response hooks, while Nosdam's dexterous production shifts from crackling ambience of Flying Saucer Attack to tight Ohio Players drum breaks and oblique film samples.

Taken all together, cLOUDDEAD is an original interpretation of hip-hop in the surreal Y2K glow – a bizarre meeting point between William Basinski's Disintegration Loops and MF DOOM's Operation: Doomsday. All it took was a Dr. Sample SP-202, Tascam cassette eight-track and cheap RadioShack mic. There's truly nothing like it.

This edition has been faithfully restored by Nosdam. European exclusive version comes on clear vinyl, incl. fold-out poster and liner notes insert.

Melbourne / Naarm strongholdButter Sessionsclock 15 years in the game with a trilogy of 12"s, sustaining their uncompromising streak of peak-form electronics. The family-style V/A binds friends, collaborators, former studio neighbours and DJ booth allies, capturing a label that exists as community as much as catalogue.



A new chapter in Butter Sessions' ongoing Japanese exchange sees Sapporo sound sculptor Kuniyukire-opening a 2015 tour collaboration with label heads Sleep D- a deep, spatial beatdown powered by dub pressure and percussive hypnosis. Shadow-lurking prodigy Mosam Howiesondrops in with his trademark scatterbrain techno, while Hasvat Informantlocks into joint-consciousness big-room radioactivity.


Opening the B-side, Fader Capfuses Balearic psy-ence with Mike Dunn-esque utilitarian jack, hovering somewhere between '80s memory and future vision. Tokyo's Mayurashkafollows with Survival Guide, big beat colliding with drug chug, before Albrecht La'Brooyreunite for a divine chill-out tent slowdown, magnifying sample detail with exacting flow. We're adrift until Sunju Hargunlights the beacon with スカイサーファ(Sky Surfer), Thailand's emissary of ritualistic minimal trance.


Whether taken alone or folded into the three-disc triptych, each instalment stands as a bag-ready constant, charged with Butter Sessions' curatorial finesse.

Allowing yourself to find meaning or beauty in the mundane is an act of generosity, Whether it’s seeing a smiling face in an electrical outlet socket, or discerning cosmic design amidst the forest floor detritus, it comes from a place of kindness to yourself and senses – and openness to hidden spirit of the world. These tracks came together during a period of intense personal change for adaa, rooted in a fruitful reflection on the connections between spirit and body, “feeling my flesh so I can feel and understand my spirit,” as adaa puts it. The sense of a crossover and clash of multiple connected realities – on-screens, on-line, on-earth, off-world, after-life – unites adaa’s multifaceted productions.

Ostensibly an assemblage of found sounds. scribbled thoughts and poems from diaries, and musial snippets, the album's scattered production reflects adaa’s own many mirror worlds. Field recording sit behind most tracks, alongside VST synths, guitars, and a variety of voices, from adaa’s own mangled vox to EVP samples taken from YouTube (recorded sounds believed to be spirits or paranormal activity), all processed to varying degrees.

While the music was mostly produced either in adaa’s studio in Providence, Rhode Island, or in bed, the field recordings bring the outside world in. The result of walks in the woods, hum of roads and highways, hiss of beaches, warmth of walks with friends and past lovers “around the East Coast”. It sits behind tracks like ‘sight’ where a lilting piano lin bobs atop a pond of rustling and distant whistles. Is that birdsong? Or ghosts? Saccharine hyperpop arpeggiation crossfades sharply into noise guitar squall. Angelic demon voices yawn into a hefty crescendo. Pure drones duet with gales of undefinable field sounds.

“Sometimes I feel like a seed in frosted soil,” says adaa. “If i choose to be optimistic.”

Inspired by witnessing the broken tension and renewed possibilities of a laptop breaking down at a gig – not to mention the void left behind by the sudden end of a relationship – Pentu’s latest release is a jump-cut menagerie of musical moments. Sewn together into ‘And I Saw My Devil And I Saw My Deep Blue Sea’, these fifteen tracks continue the London-based producer’s active departure from the soundscapes and song structures that dominated their previous writing style. These disparate pieces slice themselves off into sudden silence, or veer into unpredictable sidebars, hopping from hyperactive instrumentals to beautifully deconstructed YouTube samples. Described by Pentu as “emotionally intuitive to write”, this is music by and for the endlessly scrolling modern mind – “navigating the world alongside the splintered, interruptive emotional hyper realities of social media.”

The sudden silences, drones, and interruptions are perhaps less surprising than the guitar-based textures of metal & shoegaze woven into several vital passages by Pentu. The result is a collage that encapsulates the erratic feeling, not only of a relationship’s end, but simply of navigating online mediascapes.”I found myself realising that my phone, the constant interrupter of nothingness and silence, was both a cause of depression (reliving memories, dating apps) and a relief from it (creating new friendships, distractions, also dating apps)”, says Pentu.

Pentu’s attempt to overcome content overload by actively curbing his setup of laptop-guitar--synth does little to reduce the scope of this album’s sonic palette. YouTube vlog samples (from videos with next-to-no views) are an attempt to recontextualise and dramatise material that “would have otherwise been throwaway moments lost in the internet”, adding staccato moments of reality to Pentu’s beautiful and jarring album-length paean to overstimulation.

The Coasters were, in the opinion of noted rock writer Dave
Marsh, ‘the funniest group in rock’n’roll history’, while author and
historian Arnold Shaw described their music as ‘ebullient,
energising, entertaining, expressive and danceable.’ High praise
indeed - and as this album confirms, well deserved. the
Coasters’ songs are more famous than the group themselves.
Their music will endure forever, a fact underlined by the
Broadway-staged musical revue Smokey Joe's Café that
received seven Tony nominations and won a Grammy Award.
The Coasters’ hits were a large part of the score.

Introducing Self Portrait, the latest chapter from the endlessly inventive one-man force Ryan Adams — a brand‐new, 24-track album that brings together fresh, unheard originals alongside spellbinding reinterpretations of classics by R.E.M., New Order and more.Capturing restless creativity and emotional depth across the two dozen songs, this bold collection once again proves why Ryan Adams is one of the most distinctive voices in modern music. Self Portrait shows Adams at his finest – poignant, unpredictable and sonically rich. For long-time fans, it’s another essential chapter in a prolific career, for newcomers, it is the perfect entry point into the world of Ryan Adams. This project isn’t just another album from Ryan Adams—it’s a dual‐mission: hear where he’s been, and where he’s going.

South Korean legend Jesse You steps up with a 4 tracker on Tanzform Stampo series. Jesse is resident deejay at Hertz club. One of the hardest working souls in Seoul’s underground club music community delivers versatile club friendly tunes. Check it out !

After following Luke Blair's work for approaching two decades from his 2007 debut as Lukid on Actress' Werk Discs, we're humbled to present a new album on Death Is Not The End. Following relatively hot on the heels of 2023's Tilt (his first in 11 years, not counting his work with Jackson Bailey under the Rezzett guise) Underloop brings Blair's innate knack for building loops and sound structures further to the surface, while allowing his ear for emotional expression to be dialled up a notch. Those fortunate enough to be familiar with Lukid's work as a DJ will be aware of how distinct his ability is to seamlessly disappear into loop-based abstraction and back again seemingly without blinking, and often Underloop feels much like a collection of the sludgey interludes and foggy sketches that underpin his sets. Blending apparently ramshackle melodies and textures and pulling them together into an undeniable whole, Blair's tendency for pairing the simple and the indescribable with an understated vigour is fully on show here.

Written and produced by Luke Blair. Mastered by Giuseppe Ielasi.

RAWAX presents Dope Dog (Orlando Voorn) - Keep House Unda'Ground formerly released on legenday Touché in 1996!
We have the honor to re-release this great release 30 years later on vinyl early 2026 with re-mastered tracks!

We couldn’t start the new year in a better way than sharing with you our upcoming release.

We are glad and proud to have on board Mr. Pauli. Ingmar needs no introduction, his unique style has been an inspiration for a long time with remarkable releases on Clone, Viewlexx and Bordello A Parigi just to name a few.
After 9 years from his last vinyl appearance, Mr. Pauli is back with a 3 tracker EP showcasing his melodic and emotional side. A release devoted to the Italo-Disco and Synth Pop sound, with an electro touch here and there, that will bring you to another deep dimension towards your inner self.