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Music is a language. This new label is a hypothetical sound trip between skyscrapers, wild places, deep imaginary oceans in our mistreated, but fascinating globe. No specific musical genre, but a sort of global beat, winking especially at the Balearic sounds. You can call them edits or re-publications, but our belief is that you can make tracks that are extremely expensive, in their original version or that have never been printed on vinyl. Imaginária wants to respect the publishers, authors, producers and musicians of the published songs, but fundamentally you who promote our idea.

From the moment she began writing her new album, Japanese Breakfast’s Michelle Zauner knew that she wanted to call it Jubilee. After all, a jubilee is a celebration of the passage of time—a festival to usher in the hope of a new era in brilliant technicolor. Zauner’s first two albums garnered acclaim for the way they grappled with anguish; Psychopomp was written as her mother underwent cancer treatment, while Soft Sounds From Another Planet took the grief she held from her mother‘s death and used it as a conduit to explore the cosmos. Now, at the start of a new decade, Japanese Breakfast is ready to fight for happiness, an all-too-scarce resource in our seemingly crumbling world.


Jubilee finds Michelle Zauner embracing ambition and, with it, her boldest ideas and songs yet. Inspired by records like Bjork’s Homogenic, Zauner delivers bigness throughout - big ideas, big textures, colours, sounds and feelings. At a time when virtually everything feels extreme, Jubilee sets its sights on maximal joy, imagination, and exhilaration. It is, in Michelle Zauner’s words, “a record about fighting to feel. I wanted to re-experience the pure, unadulterated joy of creation...The songs are about recalling the optimism of youth and applying it to adulthood. They’re about making difficult choices, fighting ignominious impulses and honouring commitments, confronting the constant struggle we have with ourselves to be better people.”

Throughout Jubilee, Zauner pours her own life into the universe of each song to tell real stories, and allowing those universes, in turn, to fill in the details. Joy, change, evolution - these things take real time, and real effort. And Japanese Breakfast is here for it.

Senselessness 1/2 is the very first solo issue of the Swiss electronic composer Robin Félix, on his own label De l’Aube (Of Dawn), the occasion for him to prove that field recordings can be (or should be?) an integral part of the global matter, when so often they are just something hovering in the background because it’s “nice” or reminds the artist of a place he loves.

Throughout the length of these four tracks, they are litterally central; moreover, they are electronically transformed, manipulated, skewed and twisted in order to form some sort of framework, a backbone on to which sounds and genres intertwine. On Cluster, violins and cellos (recorded in the gardens of the Venice Biennale) are soon transmuted into the abrasions of the electroacoustic realm, until the pulse of a relentless bass introduces a pure and pristine electronic music that knows and uses the roots of dub, drum’n’bass and the meticulousness of Jan Jelinek’s Glitch aesthetics. A tad “housy”, Chi comes as a second pulse where a modified didgeridoo and African percussions (recorded in a Swiss forest) lead the listener to a sort of tribal mode, as suited to dancers than to those who prefer inner journeys; here, the spatial dub of King Tubby moves from background to foreground.

The more abstract Boiler verges on the IDM and the heady, elegant and spartan Detroit techno – headphones reveal its numerous minute and delicate details. Based on the recording of insects, of which one can hear the actual rubbing of elytras, the closing Swarm ends the record with and intricate blend of ambient, which in some way winks to the Aphex Twin and The Future Sound Of London. Overall Senselessness 1/2 is a mesmerising and concise update of the famous Deutsche elektronische musik of old, that gathered on its way the other genres that made Robin Félix tick. Since field recordings have hardly been that meaningful, one wonders where Senselessness 2/2 will lead us to

2025 Repress

Tobias Bernstrup is a contemporary musician and video artist born 1970 in Gothenburg, Sweden. He received an MFA from Royal College University of Fine Arts Stockholm in 1998. Using the visual language of pop culture, video games, sci-fi, classicism and gothic noir, he has created a stage persona with notorious live performances. Dressed in elaborate costumes of skin-tight rubber suits and fetish gear, Tobias' external appearance is androgynous. He raises questions about representation of identity, the body and physical space in both virtual and non-virtual realities. Between 1997 and 1998 he self-released two limited CD-R EPs. In 2002 his debut album 'Re-Animate Me' was released by Tonight Records followed by two limited 12' singles for the song 27' and the Italian version Ventisette'.
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27' is a 5-song EP collecting 4 different mixes of the title track plus one unreleased song from the 'Re-Animate Me' recording sessions. The material on this EP is closely connected with the world of computer games which Bernstrup also inhabits. Bernstrup's music is influenced by 1980s Italo disco and synth pop, reminiscent of Kraftwerk, Depeche Mode and Ken Lazlo. On the A-side is the original mix at 115 bpm followed by the Lazer Mix set to an faster beat and additional arpeggiations and heavier bass drum beats. Lyrically the song tells the story of a good looking 27-year old boy from a small town searching for love with any man who can spoil him. On the B-side are both the vocal and instrumental of Ventisette', the Italian translation of the song 27.' Both versions of Ventisette' are stripped back compared to the A-side but keep the melodies in tact. Also released for the first time ever is the demo Dirty Money' a Pet Shop Boys influenced song about male prostitutes ready for a night out working the streets.

All songs have been remastered for vinyl by George Horn at Fantasy Studios. For the jacket Eloise Leigh transformed the original portrait of Tobias into a Warhol-like painted polaroid with a striking likeness to Liza Minelli with blue eye shadow and red lipstick. Each copy includes a photo postcard with lyrics and notes. I would rather create alternative routes to experiencing and understanding the world, understanding what it means to be human today,' says Bernstrup. We are more artificial than we want to admit.'

From the moment she began writing her new album, Japanese
Breakfast’s Michelle Zauner knew that she wanted to call it
‘Jubilee’. After all, a jubilee is a celebration of the passage of time
- a festival to usher in the hope of a new era in brilliant technicolor.
Zauner’s first two albums garnered acclaim for the way they
grappled with anguish; ‘Psychopomp’ was written as her mother
underwent cancer treatment, while ‘Soft Sounds From Another
Planet’ took the grief she held from her mother’s death and used it
as a conduit to explore the cosmos.
Now, at the start of a new decade, Japanese Breakfast is ready to
fight for happiness, an all-too-scarce resource in our seemingly
crumbling world.
‘Jubilee’ finds Michelle Zauner embracing ambition and, with it, her
boldest ideas and songs yet. Inspired by records like Bjork’s
‘Homogenic’, Zauner delivers bigness throughout - big ideas, big
textures, colours, sounds and feelings. At a time when virtually
everything feels extreme, ‘Jubilee’ sets its sights on maximal joy,
imagination and exhilaration. It is, in Michelle Zauner’s words, “a
record about fighting to feel. I wanted to re-experience the pure,
unadulterated joy of creation… The songs are about recalling the
optimism of youth and applying it to adulthood. They’re about
making difficult choices, fighting ignominious impulses and
honoring commitments, confronting the constant struggle we have
with ourselves to be better people.”
Throughout ‘Jubilee’, Zauner pours her own life into the universe
of each song to tell real stories and allowing those universes, in
turn, to fill in the details. Joy, change, evolution - these things take
real time and real effort. And Japanese Breakfast is here for it.
Available on clear with yellow swirl coloured vinyl.

Moments of Solace is the introspective new EP from London-based artist, musical director, and producer Amane, released via Música Macondo.
Across six beautifully crafted tracks, Amane distills elements of ambient electronica, IDM, and jazz, creating music that evokes a deeply emotional journey through sound.

From the outset, Moments of Solace is contemplative and hypnotic, weaving together the pulse of electronic percussion, the glow of nocturnal pads, and the calming resonance of synths. Echoes fade and return like tides — forming ecstatic waves of sound that invite the listener into a space of reflection and emotional release.

For Amane, this collection serves as a creative response to a world that feels increasingly chaotic and dark — offering listeners a sonic refuge. The EP channels the ambient excursions of Boards of Canada, the rhythmic urgency of a Floating Points club set, and the cinematic sweep of night drives along the Pacific Coast Highway or meditative rides on Japan’s Shinkansen.

Despite an intense touring schedule, Amane found the time to craft this personal and globally resonant work. Moments of Solace mirrors his life experience as a nonstop traveling artist — soundtracking late nights, contemplative moments, and euphoric dance floors alike.

- Amane combines ambient textures, IDM structures, jazz influences, and club sonics into a cohesive sound.
- Inspired by artists like Boards of Canada and Floating Points.
- Reflects a global journey: from London nightlife to Pacific coastlines to Tokyo train rides.
- Released via Música Macondo, a label known for global, genre-blending innovation.

Amane is an East London-based musician, producer, and musical director whose career spans an eclectic range of genres and high-profile collaborations.

He has served as Musical Director for Little Simz, Jorja Smith, Amaarae, Ego Ella May, and Maverick Sabre; performed alongside global stars such as Ed Sheeran, Elton John, Anne-Marie, Sigrid, Dermot Kennedy, King Krule, and Ata Kak; and was a key member of the acclaimed London ensemble Maisha, whose debut was released via Gilles Peterson’s Brownswood label as part of the landmark We Out Here compilation.

In his solo work, Amane channels his deep musicality into soundscapes that reflect on the state of the world, offering listeners spaces for reflection, calmness, and emotional connection.

[b] B It Is What It Is (Idles Remix), Producer [Additional Production, Uncredited] – Mark Bowen (4), Remix – Idles

Das dreifach Grammy-nominierte Duo ODESZA hat sich für eine neue 7-Track-EP mit der Apple TV+ Hit-Show, „Severance“, zusammengetan und den unverwechselbaren Klängen von Theodore Shapiros Emmy-Award-gekrönten Kompositionen ihre einzigartige Handschrift verliehen.

?Die Musik, die zum ersten Mal auf dem 8-stündigen Visual-/ Audio-Erlebnis, „Music To Refine To“, zu hören war, ist eine Anspielung auf die Idee eines Soundtracks für deinen „Innie“ bei der Arbeit. Der nahtlose 23-Minuten-Mix läuft in einer Endlosschleife und lässt die Hörer:innen in die verschiedenen Motive, Klänge und Atmosphären der Show eintauchen. Seit seiner Veröffentlichung vor zwei Wochen wurde das Video mehr als zwei Millionen Mal angeschaut, während ODESZAs soziale Posts über die Zusammenarbeit im gleichen Zeitraum mehr als 3,5 Millionen Aufrufe erreichten.

?In der mehrfach preisgekrönten Serie, deren zweite Staffel am 21. März 2025, zu Ende ging, leitet Mark Scout (Adam Scott) ein Team bei Lumon Industries, dessen Mitarbeiter:innen sich einer Trennungsprozedur unterzogen haben, die ihre Erinnerungen zwischen Arbeit und Privatleben chirurgisch trennt. Mit einer renommierten Besetzung, zu der auch Zach Cherry, Britt Lower, Christopher Walken, Patricia Arquette, Tramell Tillman, Michael Chernus und John Turturro gehören, wurde die Serie von der New York Times als „ein fesselnder Thriller“ bezeichnet.

A meeting of minds and bodies on a heady percussive trip with no clear destination, captured live at Espacio Cultural El Tanque in Tenerife. With both imaginary and lived in tropical sceneries coalescing the two units, both Tenerife's Lagoss and Kampala's Abagwagwa (aka Nihiloxica) find a common thread to disentangle cartographies. As if it was bound to happen. As it did.

Taking Abagwagwa's relentless barrage of polyrhythms as a starting point to jammin' excursions that never falter into self indulgence, brimming with ideas and spirits pulled from East African traditions, Free Jazz cosmologies, Dub tactics, urban sonic warfare and different strains of psychedelia through a vast array of drums, percussion, flutes, skewed synths, ecstatic vocals and electronic processing.Blessed with the xamanic drumming of João Pais Filipe on two tracks and feeling equally indebted to both bands' vision all the while commiting to a newfound sense of wonder, 'Island Slang' is a celebration that's truly alluring in its search for some sort of 'Universal Consciousness' - to quote Alice Coltrane - for which we're now invited to tag along. You are all welcome.

Kareem Ali, a rising star from a time marked by the pandemic, unveils Mawimbi, his debut EP with Noire & Blanche Records. With praise from Boiler Room, Rolling Stone, and Resident Advisor, the American artist has come a long way to master his craft. Part of the afrofuturist movement, and drawing on his love of jazz, he redefines the deep house scene with a unique and thoughtful approach. His work, supported by icons like Four Tet, Caribou, and Pete Tong, stands out for its striking fusion of the captivating rhythms of jazz, house, and afrobeat. Mawimbi is a sensory exploration through four purely sensual tracks, where afro, jazz, and hip-hop sounds blend to create a cosmic atmosphere. At the intersection of his Islamic faith and the struggle of African Americans, Kareem Ali has crafted a strong sonic identity, carried by synths that are both liberating and profound. An EP that transcends boundaries and positions the producer for posterity.

Limited edition white vinyl (800 copies) The self-styled ritualistic electro-mechanical ensemble OSMIUM is a veritable supergroup. Made up of Oscar-winning composer and instrumentalist Hildur Gudnadóttir, veteran engineer and producer James Ginzburg, Senyawa's idiosyncratic vocalist Rully Shabara and Grammy-winning sound designer / producer Sam Slater, while each member brings along a laundry list of accolades, the project is far greater than the sum of its parts. Alloying burnished electroacoustic soundscapes with dense, metallic drones, barbed rhythms and buckled, bio-mechanical vocalizations, OSMIUM's eagerly awaited debut album doesn't try to cast a rigid future. Rather, it tempers a viscous flow of unorthodox speculations that smolders through the distant past, blazing a trail all the way to the frontier of fate. Absorbed by questions about the relationship between humans and technology, tradition and progression, the individual and the group, OSMIUM channel their experience and expertise into a set of forward-thinking sonic interrogations that skewer established cultural preconceptions. And although genre is acknowledged - the album draws from folk, doom metal, 20th century minimalism, industrial music and extreme noise - there's never a sense that it's riveted firmly in place. Widely known for her soundtrack work (including `Joker' and `Chernobyl') Gudnadóttir plays the halldorophone, a unique cello-like electroacoustic instrument designed by Halldór Ulfarsson that allows the performer to harness unstable feedback loops. Taking his cues from this process, Slater (who has worked alongside Jóhann Jóhannsson, Ben Frost and others) generates rhythms using a self-oscillating drum he designed with KOMA Elektronik and Subtext boss and Emptyset member Ginzburg responds in kind, producing booming tambura-like sonorities from a device he developed himself based on the monocord, an ancient single- stringed resonator. OSMIUM synchronize the three unique instruments using a custom system of robotics to generate basic rhythms that underpin their improvisations and experiments, and Shabara's alien tones supply the band with their conceptual fulcrum. The vocalist is one of South Asia's most recognizable underground artists, and the sounds he's able to create using exhaustively rehearsed extended techniques are so distinctive that he's been studied by scientists back home in Indonesia. Never weighed down by needless sound design or modish ornamentation, it's music that feels authentically experimental; OSMIUM have figured out an awkward symmetry between their discrete approaches, concentrating their gaze on the outcome rather than the process. The result is a work of science fiction that's driven by interaction, conversation and sensation.

Seit Mitte der 1980er Jahre prägt Caspar Brötzmann einen unverkennbaren Sound - infernal, radikal, kompromisslos. Unbeirrt verfolgt er seinen eigenen Weg, jenseits klarer Genregrenzen. Als Sohn des berühmten Saxofonisten Peter Brötzmann fand er früh seine künstlerische Identität und entwickelte eine einzigartige Klangsprache, die sich in brachialer Katharsis entlädt. Seine Musik ist keine Anpassung an Trends, sondern eine sensible, leidenschaftliche, fast autistisch anmutende Annäherung an Verzweiflung und Wut - und doch voller Hoffnung. Mit seiner virtuosen Eigenständigkeit am Instrument ist er eine Ausnahmeerscheinung. Ein atonaler Hendrix, made in Germany. Nach der Veröffentlichung seiner ersten Komposition "The Lovers And Destroyers" mit Caspar Brötzmann Bass Totem im Herbst 2024 veröffentlicht der international renommierte Gitarrist nun eine Platte mit seiner Band Massaker beim deutschen Label Exile On Mainstream. Es ist die erste Aufnahme der genreprägenden Band seit 26 Jahren nach dem letzten, 1999 erschienen Album "Mute Massaker". "It's a Love Song" besteht aus zwei unterschiedlichen Versionen seines Songs "All This Violence", die im Januar 2025 in Wien und Dresden mit Saskia von Klitzing (Drums) und Eduardo Delgado Lopez (Bass) aufgenommen wurden. Angesichts der aktuellen Weltlage entschied Brötzmann, mit "All This Violence" ein klares Zeichen zu setzen. Er selbst schreibt dazu: " Schon nach ein paar Augenblicken war klar: was ich hier hörte, hatte die Botschaft, die Kraft und spiegelt unser Zeitgeschehen wieder. Keine von meinen Studioaufnahmen hatte diese Power. Und das war nur die eine Seite, es bedeutete auch den Spalt zwischen Schwarz und Weiß zu finden, zwischen Hell und Dunkel und zwischen Leicht und Schwer, wohin mit all meinen anderen Songs? Lange, lange habe ich nach der Achse gesucht und völlig unerwartet stand sie plötzlich neben mir im Raum . . ."

There's no real way around it: Kelsey Waldon's new album, Every Ghost, is heavy stuff. Across its nine songs, she confronts addiction, grief, generational trauma, and even herself - and comes through it stronger and at peace. "There's a lot of hard-earned healing on this record," Waldon says. As she sings in the album's title track and first song, 'Ghost of Myself,' she's put in the work not only to better herself and leave behind bad habits, but also to learn to love her past selves. Compassion is a throughline on Every Ghost, whether it's for Waldon herself, for the person in the throes of addiction in 'Falling Down,' or for a suffering world in 'Nursery Rhyme.' The people in Waldon's songs aren't irredeemable - they're struggling.

Depth.Request proudly announces the debut full-length album from French electronic artist Pierre Berge-Cia - a culmination of two years of dedicated experimentation and creative exploration. This inaugural LP represents a significant milestone in Pierre Berge-Cia's musical journey, showcasing his innovative approach to electronic music.

Crafted through experimental processes and delving into themes of tension, control, and movement, "If You Do, Then When?" unfolds as a visceral journey through the complexities of bodily and sensory experience. Each track is designed to reflect the human body in all its shapes and forms, using innovative sounds and structures to evoke physicality and movement, and aiming to resonate with listeners on a deeply corporeal level.

The album was produced using a combination of the Elektron Digitone synth, a Mackie CR1604 mixer, a Shure SM57 microphone, and a limited selection of digital plugins to maintain sonic consistency. Mastering was handled by Pierre's close friend, Stefan Brown - also known as "Lesser Of". His expertise as a top-tier sound engineer at Abbey Road Studios helped shape the LP's pristine and powerful sound identity. Additionally, the tracks were tested and refined using some of the electronic scene's most beloved sound systems, ensuring an impactful club experience.

The album's artwork, created by Pierre Berge-Cia himself, is a reinterpretation of one of his favorite art performances: "Rest Energy" by Marina Abramovic and Ulay. The tension of the drawn bow and the close-up framing of the subject evoke a palpable sense of danger and emotional intensity, mirroring the physical and psychological strains within human connection. Pierre used his own hands as the model, infusing the artwork with a deeply personal and intimate touch that amplifies the psychic gravity and thematic cohesion of the album.

Pierre Berge-Cia's debut LP is a multi-sensory experience that challenges listeners to feel sound in its most physical and affective form.

When the trio of Sontag Shogun gathered at Laura Naukkarinen's home on the Finnish island of Kimitoön in the summer of 2019, they had not the slightest inkling that the world was about to change irretrievably with the onset of a long-predicted pandemic the following year. By the time their collaborative album, Valo Siroutuu ("The Light Scatters"), was released nearly two years later, the intimate and reflective nature of the work they had created together had taken on new meaning, resonating powerfully (and quietly) with a world in which the proverbial cracks in the wall only seem to be widening. 



Päiväkahvit completes the story that began with Valo Siroutuu, featuring 9 songs from the original sessions as well as 4 interpretive reworks courtesy of Amulets, Fadi Tabbal, Post-Dukes, and Jeremy Young. Available digitally and in a one-time vinyl pressing of 300 copies, the album flows seamlessly from beginning to end, incorporating field recordings, tape, sublime vocal melodies, and a host of acoustic and electronic instruments. Richly textured and immersive, Päiväkahvit positively crackles with warmth and a sense of creative embrace.



"We invite the listener into the sauna, out to the garden and onto the trampoline, to sit by the water’s edge and to take a coffee in the waning afternoon light, and to stay as long as they like." – Jesse Perlstein

Lau Nau, aka Laura Naukkarinen, is a Finnish composer whose music is imbued with an idiosyncratic, finely honed sound world. Her palette consists of acoustic instruments, singing voice, modular synthesisers, reel-to-reel tape recorders and field recordings. To date Lau Nau has released ten albums on record labels in Europe, the USA and Japan and a large number of collaborative releases. Lau Nau is known for her music to films and multi channel sound installations. She was awarded the Finnish State Prize for the Performing Arts 2021 as a sound designer. She has toured abroad for over 20 years, playing in venues such as Super Deluxe in Tokyo, the Lab & Castro Theatre in San Francisco and Blank Forms & Issue Project Room in New York.

Sontag Shogun is a collaborative trio that makes use of analog sound treatments and nostalgic solo piano compositions in harmony to depict abstract places in our memory. Textures built from organic materials such as sand, slate, boiling water, brush and dried leaves, both produced live in performance and recorded to weathered 1/4" tape warm up the space between lush piano themes. All of which is abstracted coolly in the reflective digital space of treated vocals and a live-processed feed from the piano. Bringing us back, like a faded passing scent or any natural emotive trigger, but to where? The wordless journey there will inevitably be more revealing than the destination itself.