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Psychedelic/Ambient/Dark/Rock aus Belgien!

Belgian artist Jennifur is a bit of an enigma in today’s contemporary music climate. While most bend over backwards to satisfy the algorithm’s constant need for content, Jennifur (real name Hector Devriendt) has been quietly crafting spell-binding music that stands the test of both time and decreasing attention spans, blurring genre and emotion seamlessly through a sonic DNA that is diverse and colourful.

Having locked himself in his basement for eighteen months in order to produce the soundtrack for PS5 and XBOX ONE snowboarding game Shredders – which was later released by Jennifur himself under the title Nowhere, Now Here – the Ghent based artist is preparing the release of his next full length; Things Don’t Change Until They Do on Supreems’ new label Sweet Sun.

Tears-on-the-dancefloor aesthetics meet with polyphonic, nostalgia-inducing patterns, coming-of-age breakbeats and heart-string tugging classical ambient on an album that sounds completely unlike anything else you will hear this year.

* Lou Reed's final solo album finally available again * First time on vinyl * Produced in partnership with Laurie Anderson and the Lou Reed Archive * Booklet features unseen photography by Lou, Q&A with Laurie Anderson & Jonathan Cott, essay by Eddie Stern, and archival interviews with Lou and Hal Willner * Remastered by GRAMMYr-nominated engineer John Baldwin * Package designed by multi-GRAMMYr-winning artist Masaki Koike // "I first composed this music for myself as an adjunct to meditation, Tai Chi, and bodywork, and as music to play in the background of life, to replace the everyday cacophony with new and ordered sounds of an unpredictable nature. New sounds freed from preconception. ...over time, friends who heard the music asked if I could make them copies. I then wrote two more pieces with the same intent: to relax the body, mind, and spirit and facilitate meditation." - Lou Reed Light in the Attic Records in cooperation with Laurie Anderson and the Lou Reed Archive, proudly announces a definitive re-release of Hudson River Wind Meditations, the pioneering artist's final solo album. Originally released in 2007, the deeply personal project combines Reed's love of creating drone music with his passion for Tai Chi, yoga and meditation. The album's ambient soundscapes have been described as a counterpoint to his intense Metal Machine Music album-but they are similar outliers in Reed's 40+ year exploration of drone music and feedback harmonics. The album has been remastered by the GRAMMYr-nominated engineer John Baldwin with vinyl pressed at Record Technology Inc. (RTI). The Double LP set is presented in a gatefold jacket designed by GRAMMYr-winning artist, Masaki Koike and features new liner notes by renowned Yoga instructor and author, Eddie Stern, who guided Reed's practice for years. Also included in the physical editions is a fascinating conversation conducted earlier this year between author/journalist Jonathan Cott (Rolling Stone, The New Yorker) and Reed's wife, artist Laurie Anderson, who discusses the album, as well as her husband's devotion to Tai Chi - one of the album's primary inspirations. Hudson River Wind Meditations marks the latest release in LITA's Lou Reed Archival Series. Launched in 2022 in tandem with the late artist's 80th birthday, the ongoing series has celebrated one of America's most influential songwriters through such acclaimed collections as Words & Music, May 1965 featuring many of Reed's earliest (and previously-unreleased) recordings, including the earliest-known versions of "I'm Waiting for the Man" and "Pale Blue Eyes."

After her stunning collaborations with Vincent Royer (for Mode Records), Jim O"Rourke and Christoph Heemann (both for Oren Ambarchi"s Black Truffle Records) Brunhild Ferrari returns to the scene with this new solo album. Extérieur-jour is comprised of two previously unreleased compositions, one being the title track the album is named after and the other "Le Piano Englouti (version original)." Extérieur-jour translates to "Outside Day," and indicates an instruction for a film scene, a piece of cinéma pour l"oreille, a movie for the ears. It was recorded at Luc Ferrari"s Atelier Post Billig in January and February 2014. "Le Piano Englouti" ("The Sunken Piano"), another electroacoustic composition which was realized over a period of fourteen years between 1996 and 2010, also brings forth cinematic elements with sound sources recorded in places as diverse as a Greek island by the noisy Agean Sea, a Pachinko place and a quiet island in Japan. It comes across as a meditation on the loss and reappearance of memory and silence. The graphics for the album sleeve were created by the late Wolfgang Meyer Tormin, artist and composer and also father of Brunhild Ferrari. The album was mastered for vinyl from the original source by Jim O"Rourke.

PRESSING OF 200 COPIES ON CLEAR VINYL.

RIYL Zero 7/ Plaid / Hot Chip / Weather Report / Isolee / Baby Fox

Old friends Julian Bates and Alex Gray —working together as Mighty Truth for the first time since 1995’s From The City To The Sea — filled a car with old analogue synths, kids’ noise toys, and collected field recordings took a road trip down to hole up in an old water mill in southwest England’s bird-twittery, bee-loud Quantock hills.

Things got cinematic: unequal measures of early Weather Report, Wim Wenders, and Serge Gainsbourg kept them wonderfully lost in their imagined world. Back in London with guest singers Allonymous (Paris via Chicago) and Wayne Paul (London), they completed the album and decided to just call it Mighty Truth. With an aim to present the live show at moonlight pop-up cinema venues, Mighty Truth are here for the next chapter in their epic saga.

Back then….

Old friends Julian Bates and Alex Gray first met through their shared obsession with classic cars (both owned old SAAB 96s). At the time, Julian’s band Nightrains was signed to ACE Records in the UK whilst Alex worked first as a session keyboardist for the likes of Edwyn Collins, Billy Mackenzie, and Busta “Cherry” Jones, and later as a mixer and remixer working with S’express producer Pascal Gabriel, Malcolm McLaren, and soul DJ legend Dr Bob Jones.

Working together in the studio for the first time producing Vanessa Freeman (4 hero), Alex and Julian decided to embark on a drop-tempo jazz trip project they named Mighty Truth. Dr Bob heard that first self-released vocal track “Rebirth” and started dropping it on Kiss FM (UK). After guest DJ slots on Coldcut’s Kiss show, Alex and Julian signed to Tongue and Groove records.

The album From the City to the Sea produced a number of singles and both “Rebirth” and “Is it a Wizard or a Blizzard” were licensed to many compilations both in the UK and internationally (eg. Dope on Plastic, Mole Listening Pearls, Eight Ball).
The Sound of Sinners is a NYC boutique record label focused on vinyl and digital releases by Indie, ambient, avant-garde and electronic artists.

The vinyl edition of Klein's 2022 album: »STAR IN THE HOOD« plays like a cracked, tarnished mirror of contemporary numbing music, replacing long-form expression with tighter, more explosive and sometimes completely freeform transmissions that will wake you up from your overly comfortable environmental music slumber. Opening with cycling ghost drones, dialog and piano motifs that blur into heartfelt noise, »black star« is all loping, looping piano and chthonic vocals spiked with cheese-grater noise and chipmunked chirps. It’s Klein’s delirious vocal runs that push the album to the next level though; like her style-defining »Lagata« and the Hyperdub-released »Tommy,« she subverts the raw material that makes up R&B, turning memorable hooks into blurry impressions that will glue to your mind like a diva moment on a Suburban Bass cut.

She keels into longform on »schooled,« fogging organ drones into hazed clouds that gust into imposing shapes over a 10-minute duration, rekindling the dialog between contemporary noise and gospel music. Grandiose classical sounds receive a similar treatment on ‘Friend in the Mirror’, pulled into disorienting shapes that dispel any notions of class gatekeeping; in the final third, Klein’s voice interrupts the mood, before machine-gun percussion reminds us not to get too comfortable. If yr in search of beauty, »postcode wars« finds Klein fuzzing euphoric chords into an afterparty woosh of half-heard voices and dribbling synths. She simultaneously channels rapture and wrath, poignantly torching the contemporary societal skeleton without losing her near-at-hand community in the process.

Midway through the album there’s a thematic pivot signalled by the brief »shorty alert,« a trilling mass of carnivalesque vocal quirks that sound like spiders spitting DMT into yr eardrums. From here, things get darker and more unsettling: there’s doomed subterranean ambience on »signed and delivered«, Disney-esque piano motifs, blown-out lo-fi outsider rawk on »Swerve,« and speaker garbling free eccentric soul on »brand new day,« each struck through with that unmistakable high-vs-low culture posturing. It all brings us to the album’s unsettling one-two punch of ‘haha hehe business’, maybe the foamiest track we’ve heard from her this year, and the zonked »winter« - a piece that’s as crystal clear as Klein gets, an unprocessed heartstring-tugging vocal performance over acoustic guitar twangs.

Celebrated techno producer, sound artist and one half of ORKA, Jens L. Thomsen announces groundbreaking EP ÆÐR, landing 15th December via Kervið. ÆÐR (meaning ‘vein’ in English) is a uniquely atmospheric two-track EP, exploring modernity and post-war freedom through a Faroese lens. Commissioned for Eysturoyartunnil, a 12km subsea tunnel - the largest of its kind - in Jens’ native Faroe Islands, a structural marvel with striking art that has both a voice and aesthetic identity of its own. The EP currently lives as a live audio installation, broadcast around the clock on FM radio for anyone travelling through the tunnel. This is the first time a soundscape has been permanently installed and broadcast via this kind of technical solution allowing the sound to become part of the experience of the space itself. As one half of revered techno duo, ORKA, twice nominated for the Nordic Council Music Prize, who recently released their sixth album, All At Once, and an integral part of Yann Tiersen’s live band, Thomsen has already made a significant impact in electronic music. ÆÐR is an expansion of his work as a composer, which includes several site-specific soundscapes, including NORD which was commissioned by the Southbank Centre and installed across the entire fifth floor of the Royal Festival Hall in London.
On ÆÐR, Thomsen brings his talent for one-of-a-kind environmental sonic experiences to a wider audience. A paean to human endeavour and the developmental history of humanity, the tunnel is at once progressive and ancient: a liminal setting where late-modern and pre-modern longings somehow seem to rub off on each other. These intersecting ideas are translated into a striking soundscape of dark drones, creeping frequencies, bleeping ambience, groaning masses of sound, and pulsating echoes from the hidden world beneath us. The underworld that we somehow are able to move through temporarily in our car under the sea, giving the tunnel and the islands a voice of their own, while exploring the parallels between the tunnel and Faroese society today.
This uniquely immersive and compelling work, previously existing only as a transitory experience for users of the Eysturoyartunnil, is now available on vinyl for the first time to be considered and enjoyed in all its fascinating detail. A thought-provoking and groundbreaking piece from one of Europe’s most exceptional composers and sound artists today

tapetopia 010 FO 32 extra hart arbeitendes rastermaterial für kontakt did not emerge from the usual underground milieu – their setting was the base of the 4th Flotilla of the GDR People’s Navy! The propaganda unit PrK 18 had among its recruits some who turned the logistics for agitation against the intentions of the system. Inside a barracks, but under the state radar, the paramilitary music corps FO 32 boarded an NVA studio and recorded industrial tracks and dark ambient. The experimental military band gave an illegal concert; they had previously been heard on the radio programme “Parocktikum”, a pirate gig from the ranks of the People’s Navy on GDR radio. In 1989, a first FO-32 tape was shared among just a few friends. Shortly after, an abridged mix of material was released on the illegal Trash Tape label in an edition of no more than one hundred copies. The vinyl version on tapetopia is based on the original tape. The tapetopia series, using the original layouts and track lists, publishes cassette editions from the GDR underground of the 1980s, especially from the “walled-in” scene in East Berlin. More than three decades after their initial “release”, these tapes have yet to be heard on either vinyl or CD, even though they made an audible mark in the canon of GDR subculture. Despite the tiny original editions of the time, many of the bands were considered cult in countercultural circles, which made them highly suspect in informed circles.

Sign Libra's third album Hidden Beauty is an intimate voyage through feminine nature, guided by the arts of subtext, musical collage, and mysterious allusions. Elegantly arranged, enigmatic, and mischievous, Hidden Beauty seeks to "release the invisible and bring fragility to the surface." From the rainforests of Closer to the Equator (Sounds of the Dawn, 2016 / Antinote, 2018) to the surreal lunar landscape of Sea to Sea (RVNG Intl., 2020), Agata Melnikova, the Latvian musician behind the Sign Libra symbol, has developed a signature blend of evocative composition with lyricless, ethereal vocalizing. Hidden Beauty attends to a closer space than her first two albums, a playfully layered pastiche of refined references, drawing musical inspiration from the assortment of Erik Satie, the early work of Mylène Farmer and Laurent Boutonnat, and 90s R&B. The first inklings of Hidden Beauty arrived in 2019, with the basic contours of the album sculpted in 2020 and early 2021. Like Sea to Sea, Hidden Beauty was invented as a solitary creative effort, but this time under uniquely hermetic impositions. Tethered to the world only by screen, the artist sought inspiration from an unlikely array of activities: new, unorthodox approaches at composing, learning French, a virtual pedagogical practice, and plenty of jubilant dancing in her flat, sunglasses on, to 90s dance music. Hidden Beauty moves inward from the distant spaciousness of Sea to Sea in favor of a "chamber-like" sound, reflecting the intimate environs of its creation. Balancing the New Age balletic resonance of Closer to the Equator and the cosmic-dancerly tracks of Sea to Sea, Hidden Beauty combines deft, postmodern arrangements with popular, contemporary suggestions. The reverb drenching her previous recordings is sponged up in the songs of Hidden Beauty, giving the exercises contained within a feeling of presence, and closeness. And always Agata's crystalline vocal furnishings, less a lead vocal than a first instrument, the ever-returning counterpoint in a beatific swirl. The other hidden elements of this work are plenty, and perhaps best left concealed for the listener's enjoyment. Or perhaps they are hidden in plain sight and sound, depending on what the puzzle pieces reveal to your imagination. Sign Libra's Hidden Beauty will be released in vinyl, Japanese import CD, and digital editions on November 3, 2023. A portion of the proceeds from this release will benefit Coral Guardian, a non-governmental organization working internationally and with local communities to protect coral ecosystems.

Following 5 BBC Folk Awards nominations and a designation by the Guardian as Folk Album of the Year in 2019, it is fair to say that Lisa O’Neill is one of the most evocative songwriters in contemporary Irish music today. Fresh off 2018’s collection Heard a Long Song Gone for the River Lea imprint, The Wren EP in 2019 and an adaptation of Bob Dylan’s "All the Tired Horses" for the final scene of epic TV drama Peaky Blinders, O’Neill now returns with her latest album, and first for the Rough Trade label, the beautiful, resonant All Of This Is Chance.

A raconteur in the truest sense of the word, every story starts somewhere and O’Neill starts this extraordinary collection here on earth, on Irish soil, hands in the land. The album is full of both orchestral masterpieces like the ambitious and cinematic "Old Note" and the title track of “All of This Is Chance”, inspired by the great Monaghan writer Patrick Kavanagh's prescient meditation on The Great Hunger, as well as stirring meditations on nature, birds, berries, bees, and blood that ring out over a clacking banjo, dusting and devastating all those in its wake.

All Of This Is Chance takes Lisa’s inimitable voice to greater heights, or depths, depending on which way you look at it.

DRIVETRAIN/Fairytale Turbo-charged to ignite any sound system with the ruthless energy of pure acid over subsonic frequencies is the impetus for a hypnotic vocal mantra. REOSC/Alarms A boisterous awakening, pounding with the quaking pulse that transmits bleeps and dings, effectively producing a warning signal to move your body.

CLOUDMASTERWEED/Sweet A mesmerizing groove opens with a hammering kick, directing a determined bassline, while chord progressions escort erratic female echoes.

TAKUYA YAMASHITA & TOMI CHAIR/Heaven’s Jungle Packed with rhythm, melody and shrewdly orchestrated pads, piano, and an unrestrained bass hook, a persuasive female voice captures the ambience.

Past Inside The Present wastes no time at all in getting back to serving up essential sounds in 2024, this time with Live Improvisations offering up music by zake, From Overseas, Hakobune and Chihei Hatakeyama. The first side is music made back in 2014 in a session between Yorifuji and Hatakeyama in rural Japan and the flipside is a response to it from zake and From Overseas. It makes for two delightfully crepuscular ambient pieces that slowly and subtly unfurl and draw you in deep to their ever-shifting layers and billowing synth-scapes.

Dutch dance troupe ISOTOOP inaugurates its label with a quaternity of sly rhythms to mystify and elevate. Adhering to ISOTOOP’s unstated yet practised mantra of many growing as one, the culprits behind the pieces are none other than core family members Shoal (Kenny Kneefel) and Vand (Viktor van der Riet), unifying for the first time under the name of Voal.

The longtime friends and compatriots in sound meld together to form a distinct entity; aligned as one, but audibly a product of their individual approaches. Across the four cuts, the two producers share a singular vision of club music, designed to initiate movement and shake the floor, while leaving essential space for thought and imagination.

From the low-down and dirty funk of ‘Carpet Crawler’ to ‘Take My Hand’s bleary and dazed downtempo, evaporating in its final moments into transcendent closing ambience, Voal journey through a wide landscape of club electronics with a fervent pulse. Pinned between the two slower joints are ‘Lucifer’, a consecutive tumble through iterated rolling percussion and minimal basslines, and the kinetic, high-tempo fiesta of ‘Saffron’, a sure-fire favourite for the ecstatic midnight.

Thick like warm tar, and airy as steam, Voal’s debut whets the appetite for more.

Written by Freddie Hudson

With a string of releases on prestigious labels such as The Gods Planet, Affin, Edit Select and Circular Limited - the London-based Acaera (formerly Basis Change) has become a reputable name in the realm of hypnotic techno. We are truly honoured to present this EP as our label’s first release, and we hope to return Acaera’s trust in us with the pressing of a beautifully packaged limited edition vinyl alongside the digital release.

The vinyl includes two vinyl-only ambient tracks that book-end the release, with the first being the track from which the EP takes its name. Unfold begins a deeply personal journey, and immediately the listener is welcomed by a rich and atmospheric soundscape. This depth remains through the rolling enchantment of Apex and the off-kilter percussion and shifting grooves of Anaesthesia. Onto the B Side, Learned Behaviour is a track of slow revelation, pulling the listener mesmerically through its unfolding landscape. Forella will resonate with those who know Acaera’s signature sound, with broken rhythm work soaked in beautiful pads. Closing out the EP, Reorientation culminates on an uplifting note, leaving you contemplating feelings of warmth and hopefulness.

The heavyweight trio of Keiji Haino, Jim O’Rourke and Oren Ambarchi return with their 12th and most epic release to date, the triple LP With pats on the head, just one too few is evil one too many is good that's all it is. Documenting the entirety of their final performance at the dearly departed Roppongi home of Tokyo underground institution SuperDeluxe in November 2018, the music spread across these six sides splits the difference between the guitar-bass-drums power trio moves and experiments with novel instrumentation that have defined the trio’s decade of working together. Containing some of the most delicate music the three have committed to wax since the gorgeous 12-string acoustic guitar and dulcimer tones of Only wanting to melt beautifully away is it a lack of contentment that stirs affection for those things said to be as of yet unseen (BT011), this wide-ranging release also offers up some of their most blistering free rock performances yet.

The side-long opening piece finds Haino on a single snare drum in duet with O’Rourke on unamplified electric guitar, playing in the lovely post-Bailey vein heard on his classic 90s recordings with Henry Kaiser and Mats Gustafsson. Spiky dissonance and ringing harmonics interweave with flowing melodic fragments as Haino single-mindedly explores the resonance of the snare like an untutored Han Bennink. On ‘Right brain, left brain; right, left; right wing, left wing. Just how many combinations can be made from these?’, O’Rourke moves to synth and electronics, joined by Ambarchi on drums, who at first focuses on sizzle cymbals before hypnotic cycles of gentle tom rhythms combine with electronic burbles and flutters to suggest a dream collaboration between Masahiko Togashi and Jean Schwarz. Ambarchi’s percussion is then joined by Haino on wandering, overblown flute, before the man in black switches back to the snare for a bizarre, stuttering drum duet.

For the first trio performance, Haino makes another new addition to his seemingly infinite catalogue of instruments, this time a homemade contraption he refers to as ‘Strings of Dubious Reputation’. Joined by O’Rourke on increasingly spaced-out electric guitar and Ambarchi on skittering percussion, Haino’s wonky, slack strings adds a definite ‘musique brut’ edge to this side-long performance, certainly one of the most enchantingly odd in the trio’s discography. When the group reconvene for the second set, spread out across the final three sides, they seem ready to breathe fire from the first instant. O’Rourke slashes distorted chords on the six-string bass, Ambarchi breaks into his signature irregular caveman thump, and Haino squeals and squawks on heavily delayed oboe before unleashing an overpowering electrical storm when he first picks up the guitar. For over half an hour, the trio pound out one of their most relentless performances, a constantly rearranging kaleidoscope of tortured fuzz guitar, insanely busy bass riffing and propulsive, tumbling drums. A hushed atmosphere initially reigns on the final long piece, given the mournful title ‘There are always things I wish to say but I can only convey them in this language August 6 August 9’. Haino’s clean guitar strumming calls up the shimmering tones of his PSF classic Affection, gradually building to a surging wall of sound, bass and drums lumbering through a roar of jet-engine guitar. Arriving in a deluxe trifold package with photos by Lasse Marhaug alongside inner sleeves with extensive live images, this epic release is perhaps the most remarkable document yet of this unique trio’s stamina and continuing inventiveness.

Soliton maximizes the compact format by further illuminating lesser-traveled paths. Contemplation and exploration weave harmoniously through five mysterious tracks. Influenced by a wide range of styles and sounds, such as Japanese ambient, the muted dissonance of Pharoah Sanders, and the chilly dub of the Scape catalog, Soliton evokes visions of lonely night drives punctuated by bright moments of bliss. The Calque EP from January 2023 saw them pursuing the minimal electronic side of their work even further. The opening track, "Kottbusser Tor,” showcases a conspicuous absence of the processed guitars that characterize most of their work, and instead explores sequenced filters, tape delays and analog synth patterns for eight minutes. On "Ammosel", they dive directly into dubby soundscapes, with crackling electronics and deep basslines, while "Kiyosumi" and "Fade Into Air" pay a visit to more familiar ambient territory. A darker undercurrent pervades on this EP, but one that goes particularly well with the coldest of seasons and its frosty air. The duo, consisting of Jason Kolb (Michigan, US) and Jonas Munk (Denmark) started working together in 2006, sending each other tracks across the Atlantic, eventually resulting in a full-length release on Felte in 2012. What started out as a side project to their respective main projects (Auburn Lull and Manual) have slowly become the main activity for both artists, now with a total of four full-lengths under their belt. Their music has also evolved and matured over the years, reaching a level of perfection that’s only granted producers who've been in the game for decades. Billow Observatory have by now established themselves as purveyors of highly refined ambient music and the Soliton EP sees them elegantly blend new and old, electronic and organic, into a gently drifting, enveloping whole. “.. mind drenching sunrises, glittering constellations, and sailing clouds, richly furnishing the familiar sense of hovering over vast natural orders that you're also inside. – Pitchfork // “So the world it inhabits is essentially that one between states, simulating a quietly vibrant ecology of sub-aquatic bass rumbles, washed out expanses of mid-range swirl and keening top end whose elusive colours seem to fade and coruscate in the low light. Lovely

The latest by Texan-turned-Angeleno progressive vaporwave producer Carlos Ramirez aka AURAGRAPH finds him shifting focus to the dance floor across eight chrome clockworks of cosmic acid house and liquid rave glide: 'New Standard'. Inspired by lessons learned during a 5K mile American road trip tour in the summer 2022, he set to work in his Simi Valley Tuff Shed of synths and hardware, pursuing an explicitly DJ-friendly muse: "I realized I wanted to make a record where every track could go off in a live setting."These cuts do just that, revved and rhythmic, peppered with slap bass, Madchester whistles, filtered acid, gated snares, baggy cowbell, and sample pack classics - record scratches, orchestral stabs, the "Yeah! Woo!" from Lynn Collins "Think (About It)." Ramirez describes the process as immediate and instinctual: "I'd turn on the MPC, pick a tempo, and just improv - it was incredibly fun."From sleek freeway techno ("110 Cruising") to arcade lurker acid ("Coast 2 Coast") to big room bangers ("666 Ambience"), the tracks time-travel across the canon of club music, sifting tricks and styles to fashion fresh anthems of hypnagogic jack. It's an album channeled as much as crafted, tapping into the decks of mythic warehouse infinities past and present, where the system rips all night and acid never dies.

Immerse yourself in the musical universe of ONE PIECE MOVIES - BEST SELECTION! Enjoy over 70 minutes of music from the One Piece films for the first time on vinyl, taking you on a journey through the adventures of the famous Straw Hat crew.

Fully licensed.

Luffy, a mischievous boy, dreams of becoming the king of the pirates by finding the "One Piece", a fabulous and mysterious treasure. But, inadvertently, Luffy one day swallowed a "magical devil fruit" that turned him into a rubber man. Since then, he is able to contort his elastic body in all directions, but he has lost the ability to swim, the height for a pirate! Over the course of ever more incredible adventures and chance encounters, Luffy will gradually compose his crew and multiply friendships with the peoples he discovers, while facing formidable enemies.

Kohei Tanaka worked on the composition and arrangement of this album.

plastic death - the second album by glass beach - is a follow-up record almost five years in the making. The band's 2019 debut, aptly titled the first glass beach album , has over the years grown a cult fanbase for its unflinching depiction of queer life as mediated through social media, its oversized ambition, and its scrappy yet adventurous production. And while it took some time to arrive, plastic death sounds like the logical expansion of all the things that made their first album so special. Years and years of relentless writing, tinkering demos, cancelled tours and a few lockdowns only strengthen the chaotic core of what makes glass beach' s maximalist approach work so well. Frontperson and primary songwriter J McClendon is joined by lead guitarist Layne Smith, bassist Jonas Newhouse and drummer William White to create something adventurous on each song. Trumpet, trombone, violin, and even marimba dance and bloom alongside the band's own creative and dextrous instrumentation - a stunning, transformative creation that pulls from indie rock, jazz, prog, hardcore, metal, experimental, and beyond. Songs like lead single "the CIA," are examples of the band's ambitious writing. It's a dark, dancy, post-punk/jazz hybrid, a coordinated, breathless braid of synth and saturated guitar. Tension and confusion explode into a brutal modern metal climax to close the track, flickering with glitchy production zaps and razor-sharp stops. The artwork of plastic death is similarly rich with detail, resulting in a bioluminescent, fully-realized double album depicting sprawling scenes where moments of neon brightness shine momentarily in a dark undersea - a metaphor for the moments of optimism and catharsis glass beach provide on these songs. "This album is the Pacific garbage patch: cultural trash strewn together seemingly by accident, standing in stark juxtaposition to each other ," says McClendon. plastic death is a complete, uncompromising, playful work of art; every corner and crevice of the record's 13 tracks, each arrangement and timbre and texture, is alive with intention and possibility.

plastic death - the second album by glass beach - is a follow-up record almost five years in the making. The band's 2019 debut, aptly titled the first glass beach album , has over the years grown a cult fanbase for its unflinching depiction of queer life as mediated through social media, its oversized ambition, and its scrappy yet adventurous production. And while it took some time to arrive, plastic death sounds like the logical expansion of all the things that made their first album so special. Years and years of relentless writing, tinkering demos, cancelled tours and a few lockdowns only strengthen the chaotic core of what makes glass beach' s maximalist approach work so well. Frontperson and primary songwriter J McClendon is joined by lead guitarist Layne Smith, bassist Jonas Newhouse and drummer William White to create something adventurous on each song. Trumpet, trombone, violin, and even marimba dance and bloom alongside the band's own creative and dextrous instrumentation - a stunning, transformative creation that pulls from indie rock, jazz, prog, hardcore, metal, experimental, and beyond. Songs like lead single "the CIA," are examples of the band's ambitious writing. It's a dark, dancy, post-punk/jazz hybrid, a coordinated, breathless braid of synth and saturated guitar. Tension and confusion explode into a brutal modern metal climax to close the track, flickering with glitchy production zaps and razor-sharp stops. The artwork of plastic death is similarly rich with detail, resulting in a bioluminescent, fully-realized double album depicting sprawling scenes where moments of neon brightness shine momentarily in a dark undersea - a metaphor for the moments of optimism and catharsis glass beach provide on these songs. "This album is the Pacific garbage patch: cultural trash strewn together seemingly by accident, standing in stark juxtaposition to each other ," says McClendon. plastic death is a complete, uncompromising, playful work of art; every corner and crevice of the record's 13 tracks, each arrangement and timbre and texture, is alive with intention and possibility.

Jakarta Records is proud to present “Les Grandes Vacances” courtesy of Beirut’s Cosmic Analog Ensemble, aka multi-instrumental phenom Charif Megarbane. The LP is an expansive musical odyssey, one that paints a melodic tapestry woven from an eclectic panorama of sonic tools. Funky beats, dreamy melodies + cinematic flair combine to create an experience that transcends time. From vibrant funky energy to introspective moods and library-inspired tunes, “Les Grandes Vacances” captures the essence of past and present, inviting you to indulge in the perfect balance of “groove-stalgia.” Out January 19, 2024.


Cosmic Analog Ensemble (1.6k Spotify Monthly Listeners – SML), the prolific one-man band helmed by Charif Megarbane (61.5k SML), the staggeringly prolific producer, instrumentalist, and all-around musical mastermind, returns to his “Ensemble” with LP “Les Grandes Vacances.” Megarbane's artistry has garnered widespread recognition, with notable placements in Spotify Editorial Playlists like "Global Groove" (679k) and "Folk Fabrique" (162k), along with coverage from esteemed platforms / publications such as BBC Radio, Bandcamp, The Vinyl Factory, Time Magazine, and Esquire, among others. Building on the success of his debut solo release “Marzipan” in 2023 via Habibi Funk, “Les Grandes Vacances” is a sonic journey that captures the full scope of Megarbane’s sonic habitus. As a composer and producer, Megarbane touts hugely versatile, sometimes volatile musicianship — his 100+ catalogue of projects (including legendary groups like the Cosmic Analog Ensemble, Free Association Syndicate, Monumental Detail, etc.) features a huge domain of sonic direction. Now, Jakarta Records presents a new expansion in the Megarbane sonic universe.

In the enchanting sonic world of “Les Grandes Vacances,” Cosmic Analog Ensemble expertly combines diverse musical elements to craft an immersive experience. From vibrant funky energy to introspective moments and library-inspired compositions, the album's sonic palette is rich and varied. The meticulously designed artwork by Simone Cihlar (known for collabs with Anderson Paak., Tom Misch, Ivan Ave, Tapioca and others) complements the album's thematic depth, enhancing the visual and auditory journey for listeners.

First single is the thrilling sonic escapade, “La Ligne Claire,” set to release on November 10th in conjunction with LP pre-order. The track immerses listeners in vintage spy movie ambiance, featuring groovy drums, warm keys, thematic guitars, and strings that create an unforgettable car chase scene. As part of the rollout schedule, this single offers a glimpse into the album's captivating fusion of nostalgia and innovation, promising a musical adventure that lingers and resonates in your ears. Second single, the lush and groovy “Le Dictionnaire des Sentiments,” follows in the sonic footsteps of Serge Gainsbourg (complete with beautifully poignant French lyricism), out December 8th to round out the year. The track jerks the listener towards a more meditative state and expanding, cinematic sound.

Kicking of 2024 will be the absolute funkified single 3 “Maritime Jazz,” out January 5th. The track transports you to a groovy marina where the movement of the sea and boats sways you along a Madlib / Yesterdays New Quintet-esque groove.

Reflecting on his creative process, Megarbane cites a stream of consciousness approach to the Cosmic Analog Ensemble: “It’s a very spontaneous, playful, and diary-like approach and workflow…I trust my instinct because instinct is based on experience.”

Joseph Omicil, Jr, a.k.a. Jowee Omicil, is a Haitian-Canadian jazz musician. He has worked in the past with artists such as Roy Hargrove, Pharoah Sanders, Tony Allen, Kenny Garrett, Jacob Desvarieux, Glen Ballard, Harold Faustin, Michel Martell, etc. He hosted Quincy Jones' 85th birthday celebration at Montreux Festival. He also starred in the Netflix series The Eddy, produced by Damien Chazelle, and Le temps d'aimer, directed by Katell Quillévéré (Cannes Festival 2023). The Bois- Caïman ceremony was Haiti's first major collective uprising against slavery. On his new album, SpiriTuaL HeaLinG: Bwa KaYimaN FreeDoM SuiTe, Jowee performs his ancestors' revolution in his own way. Joweebroughttogetherallhisinnertubes,soprano,alto,tenor,wood,clarinets, piccolo flute, cornet, that blows, that winds, that rumbles. Thisrecord is an incantation, a therapy, it cleanses the world by drawing onthe fantasized memory of the Haitian revolution. There are FreedomSuites by Sonny Rollins, Max Roach and others. Prayer music, music tobreak the chains in your head and on your wrists, music of black powerandwhitemagic.ForJowee,akidfromMontreal,sonofaHaitianpastor, who sang Jesus in all the tones, and then Michael Jackson, andthen2Pac,wholearnedjazzfromOrnetteColeman,theceremonynecessarilyhasthetasteoffree.Thisrecordisahealinghour-longimprovisation.

Vladislav Delay's complete "Hide Behind The Silence" series. Intuitive and raw music, momentary and reflective, released on Ripatti's own label Rajaton.

Stillness is a myth. Consider concepts such as ”still water”, or ”still air” for that matter. Go to a restaurant, ask them for a glass of still water, hold it against the light and see where we’re at. Even though the water itself has been captured and imprisoned in the glass, it never stops breathing. It’s filled with tiny particles, dancing. Everything can be explained on a molecular level, but since we’re not scientists – and even if you happen to be – it’s the natural world of perception that moves me.
Still air is very similar. A hot summer’s day with zero wind feels completely still. It’s the closest I have felt to complete stillness. Or for a more urban adaptation, imagine the same vibe inside a normal apartment. In those moments, revelations and mind- blowing experiences can be had with experiments in stillness.
Try this: Just sit down for a minute on a sunny day, making sure there’s enough natural light. Do absolutely nothing. Try not to breathe for a bit. (If you need a mental anchor, you can play Cage’s 4’33” in your head but nothing else.) Watch the tiny dots of dust dancing :..’ ̈.:; ́ ́*°.,’:,. ̈ ̈ ̈ ̈:,.’
The movement is crazy, but the feeling of stillness comes from witnessing how subtle it is. In (perceived) complete stillness, every act of microscopic mobility seems to speak volumes. Yet, it feels both reassuring and oddly threatening that the stillness is never complete. What if we would need absolute stillness? Or is it just enough that we can perceive something as such? Extremes attract, so for both water and air, extraordinary movement is equally fascinating. That is also a luxury item of sorts. For us to enjoy a very ”loud” body of water or air, we need to be safe, in enough control of the situation. So when you are, it’s worthwhile to pay attention and take it all in.
A rapid flowing free with extreme strength and just barely in control. Look at that water go! No still water on this one, only ”sparkling”. A windy day when birds seem surprised how hard it is to fly, but in the end they make it. Trees bend but don’t break. The wind shows you its movement but doesn’t hurt you. It feels friendly, like a big clumsy dog that doesn’t quite understand its size.
It’s beautiful to be a guest of the elements, but not at the mercy of them. A new kind of dialogue forms.

Q&A with Sasu Ripatti:

1) Tell us something about the EP series ”Hide Behind the Silence”, what’s the idea and what can we expect?

Exploration of inaction. Of many kinds. In arts and in personal life, or at bigger and more serious levels. Questioning myself as a human being as well as an artist. Acknowledging the growing activism all around, and the very clear need for it, and how it reflects my own inaction.
Musically speaking, after Rakka, Isoviha and Speed Demon, I finally found some relief, but more importantly lost the need to go musically ever more outward and intensive. I felt quite strongly certain periods/moods from the past and they made me revisit some musical ideas or states of mind I was exploring early on.
It’s about live moments being captured, not much premeditation or editing. More intuitive and raw, even though the end result (to me) feels and sounds quite introspective and calm. It’s not very ambitious. Momentary and reflective.

2) Your music doesn’t sound very silent. Does it come from somewhere behind the silence?

Oh, this time to me it sounds quite quiet and playing with space if not silence. I don’t know what’s actually behind silence, but I think silence is the source of everything. We just don’t understand it yet.

3) What kind of thoughts or experiences gave inspiration to this series?

Writing this in Nov ’22, it’s not a stretch to say the world has been really unwell. Sometimes, like Mika Vainio put it, the world eats you up. I feel a bit like that. And I try to hide in my studio and stay away from it all, but it’s getting harder by the day. I’ve been questioning myself and thinking if what us artists are doing is worth anything, and whether it’s just a selfish thing I’ve been doing for the past 25 years, running away from everything. I haven’t come to a conclusion yet.

4) Is it easy for you to be in silence, or around silence?

Absolutely. I not only hide behind silence but I also love silence. It’s only since I started going back to nature as a grown-up person that I sensed and was enveloped by silence, true silence. I have begun to appreciate it a lot. I think all the people should spend more time in silence.

All tracks composed and produced by Sasu Ripatti.
Artwork by Marc Hohmann, photography by Shinnosuke Yoshimori.
Mastering by Stephan Mathieu for Schwebung Mastering.
Vinyl cut by SST Brueggemann.
Publishing by WARP Music Ltd.

Goldene Deluxe Edition zum 10-jährigen Jubiläum des Debütalbums von Princess Chelsea. 180g goldfarbenes Vinyl in einer gestanzten Gatefold-Hülle mit Goldfolienrücken, Songtexten und einem Poster im DIN-A1 Format. Lil' Golden Book ist das Debütalbum der neuseeländischen Künstlerin Princess Chelsea. Es wurde ursprünglich am 2. Mai 2011 über Lil' Chief Records veröffentlicht. Das Album wurde von Jonathan Bree und Chelsea Nikkel produziert und erzählt die Geschichte des Aufwachsens als Teenager und junger Erwachsener in Neuseeland. Nikkel gab an, dass die Produktion des Albums fast drei Jahre dauerte. The Sunday Star Times beschreibt es treffend als "when cute meets creepy". "Princess Chelsea veröffentlicht anno 2011 mit gerade mal 19 Jahren ihr Langspiel-Debüt "Lil' Golden Book". Darauf regiert kurioser Pop. Mit dem Video zu "The Cigarette Duet" landet sie völlig überraschend einen Youtube-Hit. Der Track handelt von den unterschiedlichen Haltungen zweier Partner zum Thema Abhängigkeit. Die eingängigen Melodien, die sie in vielfältige Arrangements bettet, ordnen viele dem Baroque-Pop bei. Vor allem Klavier und die feengleiche, spröde Stimme der Dame dominieren die Songs, die oft zwischen Sadcore und Ambientpop oszillieren. Darin finden immer wieder entrückte Synthieflächen und vereinzelt elektrische Schnipsel Einzug. Zusammen mit orchestralen Parts ergibt dieser schrille Cocktail einen cinematischen Sound, der in drei Jahren Heimarbeit entstanden ist." - LAUT.de

Opaque Lime vinyl. The Loneliest Girl is the third studio album by New Zealand musician Chelsea Nikkel, better known as Princess Chelsea. It was recorded by Chelsea between 2016 and 2017 in her home studio in West Auckland, New Zealand. The Loneliest Girl examines the loneliness and ultimately the artistic satisfaction a strong work ethic can bring, the result of which is this eclectic collection of pop songs. As a studio based artist Chelsea was conscious of not wanting to fall too deep into a production hole for her third album and wanted to more than ever before capture moments of inspiration, madness and spontaneity on record. Chelsea's trademark arrangements featuring classic 80s Synths (Yamaha DX7, Roland D-50), ambient guitars, and orchestral instruments are all here but are presented in a more refined and simple manner than on her previous releases. Stylistically The Loneliest Girl moves away the more uniform synth sounds of The Great Cybernetic Depression to more eclectic territory similar to her first release Lil' Golden Book and certainly sounds like a record made by a lover of pop music across all genres from 60s girl groups to 80s power ballads, and late 80s acid house to 90s pop. Like her earlier work, adult issues are presented in a humorous and sometimes childlike manner, and this juxtaposition rather than softening the blow makes jarring social commentary hit harder.

Never said it'd be like this, right? Skullcrusher's 21st century rendering of The Hated's 1985 early emo blueprint "Words Come Back" reinvents the song as subtle, ambient folk music. The flip features two versions of the original, including Dan Littleton's home demo, cut in a maddening double groove, and housed in an elegant black and silver sleeve, with embossed braille lettering for the visually impaired. "This is my way of making a punk song," Skullcrusher's Helen Ballentine said, "ignoring structure and letting everything just pour out_though quite a bit quieter."

Never said it'd be like this, right? Skullcrusher's 21st century rendering of The Hated's 1985 early emo blueprint "Words Come Back" reinvents the song as subtle, ambient folk music. The flip features two versions of the original, including Dan Littleton's home demo, cut in a maddening double groove, and housed in an elegant black and silver sleeve, with embossed braille lettering for the visually impaired. "This is my way of making a punk song," Skullcrusher's Helen Ballentine said, "ignoring structure and letting everything just pour out_though quite a bit quieter."

Aptly titled Two Worlds, Tigers Jaws sophomore full-length draws on the strengths of the band's raw, minimalist atmospheres and driving grunge-rock rhythms, funneling them into a catchy, brooding and brilliantly focused album. Sounding as confident as ever in abandoning dependence on traditional pop structures, songs ebb and flow naturally as the band explores fresh tones and textures. Firmly planted in their own niche of the 90 s-era Midwestern emo sound, Two Worlds probes Superchunk's indie-punk stylings, Weezer's discordant pop moments and the far edges of Kurt Cobain's brain while managing to sound almost nothing like those groups. Chimey clean guitars weave in and out of the mix, juxtaposing a gain guitar laden with thick grit. Standing alone, the tones create familiar Tigers Jaw moods, but when combined, the effect lays the foundation for swelling walls of sound. Pulsing bass fills the low end, locked with the drums in rhythmic unison, alternately tracing guitar lines and stepping forward to grab the listener s car. Similarly, the drumming style perfectly compliments the songwriting with steady beats and measured flash. Lush and resonant cymbal splashes constantly flourish, adding color and a new spaciousness. Keyboards swell in a wave of warmth creating the band s defining ambiance, in parts taking on more adventurous melodies and chord tones. At its core, Two Worlds is a Tigers Jaw album through and through. It evokes many moods the band is known for, but adds a depth that will leave listeners discovering new reasons to love them with each new listen.

Die progressiven Sludge-Meister LORD DYING aus Portland verwandeln Tragödien in Triumphe. Zwei Alben, angetrieben von zermalmenden Riffs und konfrontierendem Howls haben die Doom Dogs der Welt vorgestellt. Im Jahr 2019 lieferten sie Mysterium Tremendum ab, ein Album, das Kerrang!

als "Prog-Metal-Meisterwerk" bezeichnete.
Die berauschende und abenteuerliche existenzielle Meditation über den Tod bildete den Auftakt zu einer Trilogie. Diese Geschichte wird 2023 mit einem zunehmend ambitionierten Nachfolger fortgesetzt, dem treffend benannten Clandestine Transcendence.

"Letztlich geht es auf dem Album um Selbstfindung und darum, das zu werden, was man angesichts von Hindernissen werden will, egal wie die Karten gegen einen gestapelt sind", sagt Olson. "Ich bin nicht wirklich ein spiritueller Mensch. Aber ein Text auf dem Album handelt von der Umwandlung von Energie und davon, dass Materie weder geschaffen noch zerstört werden kann. Das ist vom issenschaftlichen Standpunkt aus betrachtet." Er lacht. "Aber vielleicht ist die Wissenschaft spirituell."

Es ist eine futuristische Musik, die auf dem Debut-Album von THE DRAW zu hören ist - mit einem elektroakustischen Set-Up aus modularen Synthesizern und akustischem Schlagzeug. Ursprünglich hatten die beiden Musiker Uwe Haas und Eric Schaefer, die sich für dieses Projekt zusammengefunden haben, zwei Alben geplant. Deshalb besteht das Doppel-Vinyl MAIKRO eigentlich aus zwei Teilen, die thematisch und musikalisch klar voneinander abgegrenzt sind - und doch in einem Spannungsverhältnis zueinander stehen. So sind auf dem ersten Longplayer mit dem Titel MAKRO Spielformen des Dub, Industrial und Noise zu hören. Mit ihrer Kraft und Vitalität von verzerrten Drums und pumpenden Bässe erinnert diese Musik an den akustischen Raum repetitiver Clubmusik. Im Gegensatz dazu ist MIKRO von der Anmutung und dem Detailreichtum der Musique concréte und des Ambient geprägt. Nahe mikrophonierte Perkussion, Field-Recordings und Oszillatoren führen in eine Welt, in der feine, kaum hörbare Klänge, wie unter ein Mikroskop gelegt, vergrößert werden. Die beiden Musiker lassen ihre Improvisationen auf MAIKRO organisch wuchern, lassen Klanglandschaften entstehen, aufregend, ungehört und unberechenbar - und halten ihre Kompositionen doch stets in der Schwebe zwischen Spontaneität und struktureller Klarheit.

MONO’s beloved debut album finally available again on vinyl, note the new price. Remastered for vinyl by Bob Weston at Chicago Mastering Service. Features all-new cover art // One of the most distinctive bands of the 21st century.” – Pitchfork // “Essential, really” – Exclaim! // “MONO have now well and truly sealed their place in the pantheon of rock history.” – Rock Sound // Under The Pipal Tree is the debut album by now-legendary Japanese experimental rock band, MONO. Released in 2001 on avant-garde icon John Zorn's Tzadik label, Under The Pipal Tree showcased a young Japanese quartet whose wide range of influences - most notably Sonic Youth, Mogwai, The Velvet Underground, and Neil Young's Crazy Horse - were on ferocious and ambitious display. Though MONO would eventually become known for their expert marriage of metal and classical genres, Under The Pipal Tree highlights the band's psychedelic roots. Long stretches of hypnotic, melodic washes give way to scorching guitar freakouts that evaporate into haunting silence. It's remarkable not just for its earnest exploration, but for its startling execution. Fifteen years and eight albums later, Under The Pipal Tree stands as one of the great debut albums by a seminal underground band. Finally released on vinyl for the first time ever, Under The Pipal Tree has been remastered for vinyl by longt ime friend and tour mate, Bob Weston at Chicago Mastering Service. The double album is packaged in all new artwork, and is pressed onto audiophile-quality 100% virgin vinyl. This stunning album has never looked, sounded, or felt better

So-called 'ethno-industrialists' and Paris-based outliers Vox Populi are next in the spotlight for Platform 23 Records as it continues on its mission to unearth archival treasures both known and unknown. Half Dead Ganga Music is widely thought to be one of the group's most cohesive records as it meanders through lo-fi drones, muggy ambient and voodoo ritualism. Founder Axel Kyrou and partner Mythra who provides the ghostly vocals cook up alluring yet oddball sounds with obscured bass, rich layers of tape processing and weirdly uplifting gloominess. A superb album that sounds as new and innovative now as it did when it was first released all those decades ago.

With their profound take on electronic music, Animistic Beliefs have steadily solidified their spot in the global underground. Influenced by cultural concepts such as ancestry, animism and mythology, as well as the languages of political techno, punk, bubbling and IDM, Linh Luu and Marvin Lalihatu consistently translate their visions into sensitive productions as well as high-octane live performances. On MERDEKA, the artists explore and embrace their cultural heritage in all of its pride, pain and complexity. It symbolizes Animistic Beliefs' breaking free, coming to terms with their changing selves and letting go of external expectations. The record rethinks childhood memories, confronts the generational trauma left by (post-)colonialism, and re-connects Linh and Marvin â?? respectively of Vietnamese-Chinese and Dutch-Moluccan descent â?? with their formative cultures. MERDEKA marks their first step in an overall departure from western club music. For its layered sound, Animistic Beliefs once again draw from the past, present and future of global club music, creating a sonic space where fast techno, warped breakbeats and ambient soundscapes make way for the augmented influence of (Southeast Asian) tribal music. The record incorporates Indonesian scales and recordings of the Tahuri (a wind instrument made out of a conch shell), Totobuang (Gamelan-like gongs) and Tifa drums, known as â??the Moluccan heartbeatâ??. In true Animistic Beliefs fashion, MERDEKA will set fire to sweltering clubs and (sleepless) dreams. Yet, for the artists, it is essential to amplify the stories that spark that flame and keep it burning. The release of MERDEKA follows CACHE/SPIRIT, their ongoing collaboration with visual artist Jeisson Drenth, which extensively explores the artistsâ?? intersectional identities. As such, the latest album is the next step within a bigger, introspective investigation. More unapologetic than ever, MERDEKA embodies a turning point on Animistic Beliefsâ?? ongoing journey towards self-acceptance â?? fuelled by the sound of urgency.

London-based producer Otik releases his first album 'Cosmosis' on Martyn's label 3024. The 11-track LP signifies the fourth album on the imprint across its ten-year tenure, showcasing a more introspective side to Otik's musical output.

The album leans into delicate melodies, hazy atmospheres and lush analogue sounds, often evoking blissed-out feels and ripples of brilliant colour. Produced three years ago during lockdown, 'Cosmosis' comes after a period of spiritual struggles, where Otik questioned his faith, religious beliefs, and the concepts of right and wrong. While the pandemic allowed ample time for reflection, Otik translated these thoughts into music from his Peckham-based studio, later finding a home on 3024's evolving discography.

Following Otik's EP 'Soulo' in 2021, 'Cosmosis' marks the second release from the Bristol-born DJ and producer on 3024. This time, his sound stems from a broader palette, touching on slower, aerated ambient notes through to rugged D'n'B, displaying the far-reaching breadth, vision and maturity of Otik's aesthetic.

Keen to release a body of work that explores the journey of enlightenment and the struggles to get there, Otik drew inspiration from the luminary filmmaker Terrence Malick and how Malick portrayed ideas and philosophies in films like The Tree of Life and Voyage of Time. As a result, the record conveys a compelling narrative of rebirth, told through exquisite sound design and a push-pull pace that oscillates across the album.

The lead single 'Cosmosis' binds astral breakbeats with a star-lined melody stitched against a spacious backdrop. Sparse, celestial vocals punctuate the soundscape and add a spiritual feel, culminating in a dazzling trip at just over five minutes.

"This is an album to treasure - it'll surprise you at every turn" Joel McIver (Record
Collector) One of the most influential bands to emerge from the UK's festival
scene, the Ozrics layer ambient & ethereal landscapes with freeform dub trips,
incredible rave grooves & psychedelic progressive rock. It's an open exploration
of music & the soul. For over 30 years, the Ozrics have experienced the
vicissitudes of the rock & roll life. The band has flourished through a number of
line- up changes, spawned several side projects, created their own record label,
scored a hit record & sold over a million albums world-wide. And yet, the basic
motivation behind the band's existence has never wavered.Their signature blend
of hippy aesthetics & raver electronics with spiraling guitars, textured waves of
keyboard & midi samplers & super- groovy bass & drum rhythms continue to
delight fans across the world to this day.Originally released in September 1999,
'Waterfall Cities' was a giant leap forward for the band, taking a more obvious
step into electronica, whilst still managing to retain their unique sound. An
explosion of keyboards, acid squelches & blistering guitar passages, the musical
& technical brilliance of the Ozrics comes to the fore in strange & unexpected
ways on this album.'Waterfall Cities' - Remastered by Ed Wynne & available on
Double LP via Kscope.

MASA 006 delves deep into the sound of Leipzig resident HAL and includes two additional collaborations with his long-time friend & studio partner Perm. It's an elegant selection of tracks produced between 2018 and 2023, some of them recovered from long-lost hard drives and carefully remixed with the help of T I N's keen ears.

An always-present groove, magnetic synth-scapes, and saturated ambiance set the pace throughout the EP while the warm and fuzzy sound makes for timeless joy, blending throbbing techno with deep house and dubby nuances, giving every beat a distinct texture.

Producer / composer / multi-instrumentalist Angel Marcloid records music under the moniker Fire-Toolz. Though Marcloid’s output emerges in a litany of aliases and projects — from the jazz fusion / new age of Nonlocal Forecast to the vaporous nostalgia of MindSpring Memories — the Fire-Toolz catalog remains the central focus of the prolific artist’s musical universe and a home for Marcloid’s most ambitious work.

"I am upset because I see something that is not there.", the fifth Fire-Toolz album to join the Hausu Mountain catalog since 2017, follows 2021’s sprawling double-album Eternal Home and 2022’s self-released EP I will not use the body’s eyes today. I am upset… offers listeners a prismatic cross-section of juxtaposed genres and compositional contortions to explore, maintaining Fire-Toolz’s signature density and complexity while tightening the scope of Marcloid’s experimentation into the project’s most focused song cycle to date.

Perhaps more than any previous Fire-Toolz album, I am upset... presents some form of pop music, carried in Marcloid’s passages of clean vocals, in the bright synth tones that animate its tracks, in the yearning saxophone lines that pour into view and whisk the narrative onto a new path. The format of a one-person “band” carries a different weight in a landscape of solo artists crafting modernist productions that don’t allude in the slightest to various twentieth-century rock-related traditions. Fire-Toolz exists on both sides of this divide. The music of Fire-Toolz draws energy on a moment-to-moment basis from the constant fluctuation between seemingly disparate styles, yet Marcloid repeatedly pulls off the impossible feat of making chaotic deviations and improbable jump-cuts between ideas sound holistic, as if such compositional gambits were already logical to begin with. Bursts of harsh textural noise cut into drifts of new age synth bliss, while screamo verses bookend passages of hyper-technical jazz fusion.

Finally the 5th album of the imaginary German quartet - as always via Denovali. Although the title ""Systeme"" suggests a perhaps rather distant-cool album, it is the most personal and concentrated soundtrack so far created by Thomas Bücker from Münster in his ""E-Smog-Playground"" studio. In 2008, the quartet still flirted with cyrillic-mysterious melancholy and red wine-swilling trakl melancholy. 15 years and four albums later, it seems almost cynical to simply continue at this point. Because: late modernity delivers its very own complex tragedies - in real time.

This feeling of ""Something's not right here"" runs like a thread through the entire new album. While it still sounds popularly symphonic here and there, there are also many soundscapes that have an observing, almost unmasking effect. Microtonal shifts, polyrhythmic structures, tempo fluctuations and sound aesthetics torn out of context create a fragile, unpredictable foundation - as if Talk Talk, Tim Hecker and Skrillex were making music together and challenging our tolerance for ambiguity.

Typical of the Bersarin Quartet: sparks of optimism shimmer through everything. However, sitting back and enjoying doesn't really want to work - necessarily. Because that makes it exciting without freezing in escapism - fortunately.

Gianni Brezzo (213k Monthly Listeners on Spotify), the jazz affiliated band / studio project led by Cologne-based producer maestro Marvin Horsch, has a diverse musical profile that is reflected both in his genre-hopping as well as his creative output. Along with producing for Cologne bands like Keshavara, Woman and Xul Zolar, Gianni has released a number of EP and LP’s since 2017, including 2021’s “The Awakening” which featured vocal appearances from Berlin/Tel Aviv based singer / producer J.Lamotta and soul singer Otis Junior from Louisville, Kentucky. Gianni’s 2022 LP “Tutto Passa,” released on Jakarta Records, was a meditation around Marvin’s relationship to Italian culture, accompanied by research into Italian composers of the 60’s / 70’s such as Piero Umiliani, Stelvio Cipriani and Armando Trovajoli to more recent work by Sven Wunder. This was quicklya followed up with EP “Amoria,” an extension of the themes grown from “Tutto Passa,” along with the groovy baroque-jazz of LP “Soundscapes Vol. 1 – Music for Harlequins.” Gianni’s tracks have consistently placed on Editorial Playlists including Spotify’s “State Of Jazz” (908k Likes), “Lounge Jazz” (75k Likes) “Jazz-Funk” (316k Likes) and more, and most recently was synced in an episode of Gossip Girl for HBO US. Gianni Brezzo’s new project, “Filigrani” is a testament to the continued sonic growth and experimentation that pushes the music to new heights. The tracks, meticulously crafted, were born live in the studio, capturing the raw energy and creativity of Brezzo's jazz-driven genius. "Filigrani" introduces a unique fusion, seamlessly blending jazz progressions with touches of ambient electronics. Brezzo weaves a tapestry of sound, inviting listeners into a world where guitar melodies intertwine with subtle drum beats, dreamy harps, and the enchanting whispers of saxophones and flutes. The result? A groovedriven masterpiece that expands the boundaries of sonic artistry. The single and LP artworks by the esteemed Jason Jagel (MF DOOM, Madlib, JJ Whitefield) provide the perfect accompaniment to Gianni’s ever shifting grooves. The albums lead single is eponymous “Filigrani” due out Wednesday, November 22nd with LP pre-order announcement the following Friday, December 1st. This is to capitalize both on Gianni’s upcoming festival appearance at Linecheck in Milan on November 22nd and Bandcamp Friday on December 1st. With a guitar + drum progression that will have you swaying along, the track ebbs and flows as if your ears are gently skiing down fresh sonic powder. Recorded live in studio, the tracks lush horns and tranquil synth pads slide to and fro, combining the best of Khruangbin-style acoustics w/ Gianni’s unparalleled creativity. 2nd single is the lush, late-night vibes of “Milan Nights” out December 13th. Perfect for cozy evenings around the fire and slow dances with that special someone, the tracks harp, guitar, saxophone and slow, yet light and driving drums are a perfect groove to fall into the holiday vibe with. All you need is snow. Focus track is the effortlessly smooth, soulful jazz-funk piece, “Dreams of Sudden Clarity.” Certified 100% fresh, it’s a perfect way to kick off the year. The progression gives you a euphoric, elated feeling, like you’re finally arrived at that special place you never knew existed, but were always meant to find. Promotion will be handled via the label and artist profiles, along with further promotion by external agencies within Italy where Gianni has upcoming live events.