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Symphony Orchestra is a new group from Maximilian Turnbull and Michael Rault. Both Rault and Turnbull are accomplished songwriters, performers and producers in their own right, with Turnbull leading The Badge Epoque Ensemble, playing with the group Darlene Shrugg, and once releasing records under the name Slim Twig and Rault having released several psychedelic rock & roll classics under his own name in the past decade. The pair have worked together in various capacities for many years, writing and recording together on U.S. Girls' In A Poem Unlimited, and contributing to each other's releases, but the debut LP from Symphony Orchestra (due out May 12th on Telephone Explosion) marks their first release as an official entity.

Needless to say, there is a potent creative chemistry between Rault and Turnbull and Radiant Music showcases the alchemy between their distinct skill sets. The album is an exercise in pure collaboration. After years spent focusing on solo projects and working as hired guns on other projects, the duo came together with no specific intentions other than to work free of boundaries and direction. Freeing themselves from the familiar pressures of deadlines and expectations, they found a sense of discovery through togetherness. Duties on this project were split between Rault acting primarily as a one-man rhythm section and lead vocalist with Turnbull bringing chord sketches and his trademark aphoristic lyrical musings to the table. Trading off roles on guitar and keys from song to song, the duo's deft approach to melody bleeds through their instrumental parts as much as it does through Rault's vocal melodies. The majority of this album was self-engineered over the course of three sessions in 2018, at Michael's Montreal studio. Dormant during the pandemic, Rault's move to Los Angeles and the birth of Turnbull's twin sons, work reignited in 2022. The latterly tracked instrumental 'Concerto' and ballad 'Unthink The Thinkable' provide a dynamic depth to the album perhaps attributable to this tumultuous pause. Mixing came courtesy of Steve Chahley & Tony Price (U.S. Girls, BÉE, Jane Inc, etc).

In all of their work, Rault and Turnbull have made a hallmark of elaborately precise production and arrangement, Radiant Music is no different, though its pared-back simplicity provides a streamlined directness. The pairing of Rault's soulful, elastic vocal with Turnbull's evocatively cerebral lyrics provides a thrilling sensation unlike anything else in their respective catalogs. With an explosive, groove-forward approach, kaleidoscopic walls of vocal harmony and technicolor displays of guitar work, these 31 minutes of music will most certainly stimulate the mind of any fan of classic pop rock and funk. The blown-out breakbeats, winsome woven vocal melodies and propulsive wah-wah guitars of the title track evoke memories of an after-school cartoon special that never really existed outside of a lysergic daydream. "Harp In The Wind" is a perfect moment of overcast melancholy complete with ribbons of weeping synthesizers and velcro-fuzz guitar that could rip a clean line through Kevlar. "Know Thyself" and the harmony-rich "Intersection" are standout tracks that find a kinship in Stereolab's space-age effervescence. "Concerto" is a slab of beaming, mischievous funk that nods to Billy Preston's extraterrestrial keyboard explorations.

Radiant Music, like the best pop music, is life-affirming, confectionary, and enticing. Symphony Orchestra have created an album that hits you right where you need it, anchoring heady, adventurous sonic ideas down to a solid foundation of masterful songcraft, virtuosic instrumental performances and undeniable groove. Not a bar, nor beat is wasted.

Introducing the first 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) this first volume opens up the series with a sound journey inspired by the majestic and sometimes furious Atlantic Ocean. The music was recorded throughout special artists residencies held during the Keroxen Festival in 2020 in Santa Cruz de Tenerife where throughout a week each band recorded their own free vision of an aquapelagic Atlantic culture. Philip Hayward, the Australian researcher who coined the term Aquapelago also joins the proceedings with extensive sleeve notes.

Side 1 is provided by LAGOSS – a band comprised of Tenerife based veteran producers, Gonçalo F. Cardoso, Mladen Kurajica and Daniel García while Side 2 is provided by Banha da Cobra, comprising Lisbon-based musicians Mestre André and Carlos Godinho. Both ensembles have addressed aquatic themes in their prior work, LAGOSS having represented phantom islands on a series of vivid cameo tracks released as Imaginary Island Music Volume 1 (Discrepant, 2020) and Banha da Cobra having staged a performance within the Mãe D'Água reservoir in Lisbon in 2018, drawing on recordings of place and objects within it to conjure the liquid history of the city.

12" + 7" !

Mind Maze is, amazingly, Trees Speak’s fifth album to be released on Soul Jazz Records in the space of little over two years– an output matched only by the intensity of their music created during this short time.

The first pressing only of the album comes with a bonus seven-inch single containing two tracks that are not available on vinyl anywhere else.
As with all their previous releases, ‘Mind Maze’ is a mind-boggling tightrope walk across an array of musical influences that seamlessly create the unique present-day world of Trees Speak.

The band’s sound is characterized by a combination of German krautrock motoric-beat rhythms, angular New York post-punk attitude, 60s spy soundtracks, psych, rock, jazz, and 70s synthesizers and vocoders. There is also a cosmic spatial awareness to their sound; both personal inner space and galactic outer space, as well as a wilful pushing of sonic boundaries.

Trees Speak are a musical duo based in Tucson, Arizona, composed of Daniel Martin Diaz and Damian Diaz. Their music is heavily influenced by the cosmic magic of the natural desert landscapes of Arizona, creating a unique and captivating sound that is both experimental and innovative.

Here you will find the myriad sounds of 1970s German electronic music (everything from Can to Cluster, Popul Vuh to Tangerine Dream); 1980s New York post-punk and synthcore (from No Wave to Suicide); John Barry’s 1960s movies, John Carpenter’s 1970s horror. You will also hear the influences of French and Italian progressive rock (Magma, Goblin) as well as cosmic, new age and experimental space soundscapes …. an almost endless list of diverse influences that ebb and flow like an ocean of sound, in the process creating a truly unique soundscape that Trees Speak have made wholly their own.

The name Trees Speak reflects their interest in the concept of using future technologies to store information and data in trees and plants, with the idea that trees communicate collectively. This interest in nature and technology, combined with their passion for experimentation, has led Trees Speak to create a truly one-of-a-kind listening experience that is both unique and engaging.

If you ever wanted to hear Can, Neu!, Destroy All Monsters, Pere Ubu, electric eels, John Cage, Liquid Liquid, Tangerine Dream, Suicide, Laurie Spiegel, Art Ensemble of Chicago, John Barry, Mother Mallard’s Portable Masterpiece Company, Sun Ra, Stockhausen, John Carpenter, Electro-Acoustic and Musique Concrete and Mars in one band - then this is it! Trees Speak are a band that defies categorization and offer an eclectic listening experience, both exciting and memorable.

The two bonus tracks (‘Seraphim’ and ‘Orpheus’) included with the album give us a further window into the complex mind maze of the group - two stunning acoustic tracks that explore a distinct early 70s sound of Yes, Argent and other progressive rock accolytes.

Eric Clapton’s eponymous first solo album, originally released in August 1970, represents one of rock history’s most successful reinventions. After emerging as one of the seminal guitar heroes of the ’60s, the English superstar decisively re-established his musical priorities with Eric Clapton. The album marked Clapton’s transition from flashy instrumental icon to well-rounded recording artist, downplaying sonic pyrotechnics in favour of a song-focused ensemble approach that would lay the groundwork for his massively successful solo career. For the occasion, he surrounded himself with a new cast of American musicians, tapping into a rootsy musical foundation that provided an inspired framework for his talents. This Anniversary Deluxe Edition presents Eric Clapton – Eric Clapton in three separate mixes –

The Eric Clapton Mix, The Delany Bramlett Mix and The Tom Dowd Mix (The UK Version). The Eric Clapton mix is being released in full for the first time. This anniversary collection also includes some singles, alternate versions and session outtakes.

"Onyeabor 80" draws equal influence from War, William Onyeabor, and Isaac Hayes. This steady groover is sure to keep the dance-floor moving! On the flip side we have "Bongo Grove", an Incredible Bongo Band influenced, upbeat horn-driven anthem. This one features Mitchum Yacoub on Bongos. Members of The Sure Fire Soul Ensemble, Mestizo Beat, and Mitchum Yacoub exploring new tones and directions!

In the world of Dance, the 90s were characterized by the worldwide explosiion of House Music. Among the protagonists many were artists and producers of Italian origin and this sub-genre was called Italo House. This double vinyl collection contains 12 classic songs
from that magical period, all in the original 'full version', by:
Don Carlos, Soft House Company, Double Dee, Tameka Starr, Key Tronics Ensemble, Omniverse, Jestofunk, Riviera Traxx, Kipper, Aritmya, Be Noir e Bossa Nostra.

After a long hiatus, Rotate is back for its 8th release. "Inner Space EP" by the duo Abé & Lowris as Labello is a three-track 12-inch with a strong focus on psychedelic sounds, warped vocals, hypnotic synths and finely-tuned drum programming.

Like yin and yang, both tracks on the A-side of the EP display exquisitely opposed tones crafted for distinct dancefloor moments. The bright, funky and appropriately named 'Goodtimes' stands very different from the dark, cinematic and thrilling 'Invisible Red'. Still, ensembled, they serve as a statement on the raw potential of sonic hypnotization, where shuffling grooves, wacky melodies and cinematic atmospheres work together to set the dancer's minds into a seemingly perpetual state of flow. B-side's extended cut 'Pkaila' is one of the deepest arrangements here, reminiscent of the golden age of techno minimalism where dancefloors needed little more than a rolling groove, shuffling drums and impeccable sound design slapping from its sound systems.

Bandcamp buyers also get "FCT", an exclusive downloadable bonus 18-minute jam that further showcases Labello's explorational side, rounding off "Inner Space" in a delightfully varied manner.

Josh Burke is a guitarist/keyboardist/programmer from Chicago, USA, who specialises in a music that could, perhaps, best be described as an amalgamation of drone, kosmische and ambient, all with a distinctly euphoric flavour, as though these sounds were channelled rather than thoroughly composed.

He has over 30 solo releases to his name as well as splits with Jeffrey Astin (of Xiphiidae), Spirals and Body Morph, and also - like most of his peers - operates under several additional aliases - Ocean Diamond, Futuresport, The Masque, Silk Fountain, 56K, Sky Limousine and Nehal Shah - as well as ensemble and collaborative projects including Bermuda Link, Cartoon Drips, White Prism, Practical Applications Of The Chaossphere, Starfox, Camp Crystal Lake and Holographic Communications Of The Third Sky.

Ezra Collective’s new era, a venture in discovered maturity and raised stakes, will be defined by the anticipated second album.

'Where I’m Meant To Be' is a thumping celebration of life, an affirming elevation in the Ezra Collective’s winding hybrid sound and refined collective character. The songs marry cool confidence with bright energy. Full of call-and-response conversations between their ensemble parts, a natural product of years improvising together on-stage, the album - which also features Sampa The Great, Kojey Radical, Emile Sandé, Steve McQueen, and Nao - will light up sweaty dance floors and soundtrack dinner parties in equal measure.

Where I'm Meant To Be is out on 4th November via Partisan Records.

First striking us with his exhilarating ‘Yakka’ EP, Bambi OFS has continued to surprise us with his musical output ever since. (…) The Belgium-based producer is carving out an almost unique take on dance music with a heavy debt of gratitude to the endless rhythms and percussion-centric styles of Gamelan, and other styles of music native to Indonesia and further afield (…) the revised ‘Kwon-9’ EP goes for the jugular and ties together the percussion-heavy originals on vinyl alongside phenomenal remixes from Don’t DJ, Georgia, Icon Template and Broken English Club.” Inverted Audio Super excited to bring this killer release on vinyl with a brand new remaster and remixes by Broken English Club, Georgia, Don’t DJ and Icon Template! Meshing together industrial mirages and ethnofictional mindscapes, Bambi OFS provides Antibody with a new suite of polyrythmic spins. Extending on his first ep YAKKA, KWON-9 blurs the line between the synthetic and the organic while pushing the Brussels-based producer’s interest in uneven grooves and mixed meters into sharper detail. Mirrored by the puzzling archaic-futuristic alphabet featured on the cover, this new set of trax softly draws the listener in an elusive and multi-faceted experience. Bambi OFS is Cédric Dambrain, composer, electronic musician and virtual instruments designer based in Brussels, Belgium. Dambrain’s approach to music is motivated by an exploration of perception thresholds, psychoacoustics, and the physiological impact of sound. This diversity of themes is matched by a wide range of productions which include electroacoustic computer music, compositions for ensembles, noise, sound installations and, more recently, club- oriented polyrythmic explorations. Dambrain has also been composing extensively for performance artists and music theatre.

Debut release for The Fear Ratio's Mark Broom and James Ruskin under their 'Deadhand' alias, which proceeds on a strictly experimental hip-hop tip, accompanied as they are here by 4 x world scratch champion DJ Prime Cuts (of The Scratch Perverts) and illbient rap legend Sensational, who brings his characteristic broken charm to the EP's itchy, spartan production vibes: "Step into my office, now we sparkin' it... I spit the isms in yer ear... you better recognise it's raw shit from orbit."

This pairing with Sens makes total sense: Distinct from Mark and James' work as The Fear Ratio, their Deadhand project delivers something closer to 90s illbient in any case: extending the boom-bap era of hip-hop production with elements of hallucinogenic dystopianism, the energy of the EP nevertheless vibes playfully: Given the dispiriting global situation at present, the EP title 'Meanwhile' might simply refer to getting on with things in spite of all the cultural and political misendeavor the era will no doubt be long remembered for. Despite the global health pandemic and the looming spectre of wide-scale environmental collapse, little despair or surrender prevails here, but rather a hankering to attempt a few tripped-out experiments.

Three remixes bring further twists of the screw: A cosmic break flex from ETCH resituates Sensational amidst the magmic glow of Reaktor bass ensembles, while DJ Prime Cuts repurposes 7" soul gold by way of a more 'traditional' SP1200 approach. 90s trip-hop pioneer and graffiti legend REQ steps up with all the painterly flair he is rightly renowned for, obliterating the Monster Orchestra's classic 'I Can't Stop' stab towards a double dose of galactic melancholia.







g 07: Touch (ETCH's Pink Ladies in Space Remix) feat. Sensational
[h] 08: Meanwhile (DJ Prime Cuts Remix) [feat. Sensational]
[i] 09: Touch (REQ's Dub) [feat. Sensational]
[feat. DJ Prime Cuts]

Back in stock!!


Reissue of this HEAVY Ghana disco / rap / boogie tune..., BIIG one!! Comes with a instrumental cover version by Welsh group Drymbago on the flip..

Soundway Records reissues Free Youth’s long sought-after 1985 single “We Can Move”, their only release - fully restored, remastered and available for the first time on digital and 12” vinyl. “We Can Move” is the first known iteration of Ghanaian hip hop, emerging at the dawn of ‘hip-life’ (hip hop meets highlife).

Free Youth comprised three main members: Terry “Sir Robot” Bright, Lenny “Nii Addy” Dimple, and Abednego “King Abed” Ayim Bright. In the early 80s they began performing in clubs and parties across Accra, with friends and other dancers occasionally joining them on stage – including Reggie Rockstone, who later went on to find commercial success.

In 1985, the band were approached by a producer and invited to record at a local studio. Without having written down any music, Terry, Lenny and Abed sang the parts and beatboxed the rhythms to the session musicians prior to recording. Out of this session came “We Can Move”, a blend of hip-hop and Afro-funk with a proto disco-boogie beat, punchy trumpet riffs and melodic rapping.
Included in the Soundway reissue is an exclusive instrumental cover version of “We Can Move” from Welsh ensemble Drymbago. This replaces the original B side track “Freedom Video Centre”, which was an advertising jingle for a business associated with their former producer.

Since 2019 the collective of Parisian partygoers, Pardonnez-Nous, have decided to launch their own label. Just like their parties, their goal is to shine a light on dancing music.

Constantly looking for new tracks to enlighten the dancefloors, their outings are in line with the vision of deejaying defended by its founders. Finding forgotten pieces that are the geneses of dance music and mixing them with more contemporary sounds. Re-editions, edits, remixes or original productions the label doesn’t just stick to one style but aspires to represent all the music of partying!

Mexico, Peru, Surinam, and of course Sweden: in 1986, musicians from around the world responded to the Swedish composer, arranger and multi-instrumentalist Torbjörn Langborn’s invitation. His idea was to bring together the two groups he played with: a jazz quintet, and his salsa ensemble.

The cocktail was explosive: after several days recording at the Humlan studio in Stockholm, Torbjörn Langborn & the Feel Life Orchestra produced an eponymous album, combining, in Langborn’s words, “disco and funk with congas and Batá percussions.” The B side was a three-part gem nearly seven minutes long titled “Feel Life”, where he gives free rein to his talent as a jazz pianist. Thirty years later, we asked the famous remixer Dimitri from Paris to express is talent to produce a new version of this classic music track. "Pardonnez-nous", here it is.

London centric debut album from Floating Points with a host of guest musicians and vocalists.
the label say " Sam Shepherd spent five years putting together Elaenia, juggling the production with his DJ commitments and his now-completed PhD in neuroscience.

The album takes its inspiration from classical, jazz, electronic music, soul and Brazilian music, much of which can be heard in Shepherd's DJ sets. There's a long list of contributors, with Tom Skinner and Leo Taylor (drums), Rahel Debebe-Dessalegne and Layla Rutherford (vocals), Susumu Mukai (bass), Alex Reeve (guitar), Qian Wu and Edward Benton (violins), Matthew Kettle (viola) and Joe Zeitlin (cello) all featuring. Shepherd also provides some of the vocals.

Shepherd's influence on the album extends to the cover art: he built his own harmonograph to create Elaenia's sleeve, using fibre optic cables that were connected to light sources and responded to bass drum hits and other sounds.

Aside from a couple of early excursions on R2 Records and Planet Mu, Shepherd's solo material has come out through Eglo Records, the label he co-runs with Alex Nut. Records like Vacuum, Shepherd's breakthrough release in 2009, and 2011's Shadows, which scored a five-star review on RA, have cemented his reputation as a classy, inventive producer. On top of that he's also released music from his Floating Points Ensemble project, and produced some of Fatima's 2014 album, Yellow Memories. "

first release of french duo "creative swing alliance" on endless flight.
creative swing alliance is pablo valentine and steven joyce ames.
pablo is running mcde label.there are three killer beatdown house stuff. if you are following the sound of motor city drum ensemble or dj nature, you will definetly love this release.

illo.trio is a young ensemble and a representative of the modern jazz scene in the spirit of British group GoGo Penguin and Swedish trio E.S.T.
The band explores an unconventional and fresh sound. In their work, they combine elements of classical and pop music, jazz and minimalism, neo-classical influences, and even post-rock. Familiar musical formulas take on anew, unexpected character.
Band members:
-Nikolay Khomenko - keyboards
-Alexey Bausin - double bass
-Viktor Kulish - drums

Primordial Mind forms the mysteries and intensity of inner life into eight mandalic instrumentals where Mas Aya and Khôra, artists who share 15 years of music making, orchestrate an inspired, prismatic palette of percussive and melodic sources. Each composition presented stages a vigorous meshwork of colours and textures, contrasting riveting polyrhythms with towering arrangements for flutes, synths, and processed acoustic instruments. Tendencies which the artists trace in their solo practices are amplified, blended, and refracted sublimely in unison, serving as energetic portals to the collective awareness.

Combining trans-ethnic scaling alongside a heady brew of rhythmic influences and advanced electronic processing, the recordings on this album operate with a tactility that vaults between free jazz, dub, raga, ambient, and ritual music. Assimilated powers of primal drum patterning and psychoactive, ceremonial melodies, invoke fourth world adjacencies with the work of Don Cherry, Jon Hassell, Popol Vuh et al. There is an alchemical, Buddhist/Taoist/Hindu inflection that guides the record’s narrative, formed through dialogue between the artists over lifelong shared interest in spiritual modalities generally and the tantric approaches of the global east in particular. The album title is derived from an unexcelled esoteric work known as the Kalachakra (Wheel of Time)Tantra and its associated commentary the Ornament of Stainless Light which detail forms of inner and outer transubstantiation within its complex cosmology and metaphysiology.

Mas Aya is the moniker of Brandon Miguel Valdivia, acclaimed Nicaraguan-Canadian composer, producer, and musician whose electronic and jazz inspired works creatively interlace Colombian, Cuban, and a wide array of traditional music. Khôra is the name of the occult entity that uses multi-instrumentalist, producer, and writer Matthew Ramolo to pronounce itself. Returning to Marionette following 2024's monumental Gestures of Perception, Primordial Mind reinforces the rigorous and magical approach to creation which defines Khôra’s two decades of sonic output. Brandon and Matthew met back in 2011 and the pair toured around eastern Europe with Toronto band Picastro in 2013, also performing as a duo with Brandon contributing drums to Khôra's opening sets. After a short spate composing and playing in the ensemble Bespoken together, they continued to discover shared inspiration in psych/art rock, jazz, experimental and electronic music, providing a fertile soil for friendship and collaboration resulting in their collaged, lo-fi album Tangled Roots in 2017. Mythic and talismanic, the duo's Marionette debut weaves a luminous tapestry of organic pulses, offering itself as a support for resonant meditation and a motor for lucid action and intuition.

Brandon Miguel Valdivia: Percussion, Flutes, Log Drum, Korg Lambda, Angklung, Tambor Alegre, Udu
Matthew Ramolo: Modular Synth, Archival Samples, Angklung, Guitar, Duduk, Bass, Percussion, Arrangements and Mix

„Ranjha“ ist das neue Album und die Zusammenarbeit des preisgekrönten Komponisten und RadioheadGitarristen Jonny Greenwood, des gefeierten Komponisten und Musikers Shye Ben Tzur und des indischen
Ensembles The Rajasthan Express. Das Album ist der Nachfolger ihres gefeierten Debüts „Junun“, das
gerade sein zehnjähriges Jubiläum feierte. Während „Junun“ in einem provisorischen Studio im Mehrangarh
Fort aus dem 15. Jahrhundert in Rajasthan, Indien, aufgenommen wurde, entstand „Ranjha“ in einem
intimeren Rahmen – in Jonny Greenwoods Studio in Oxford, England.
Zum 10-jährigen Jubiläum von „Junun“, das von der Kritik hochgelobt wurde – unter anderem als Album
des Jahres von der Sunday Times, die es als „eine der inspiriertesten Veröffentlichungen des Jahres“
und „faszinierend, vielschichtig und unbedingt hörenswert“ bezeichnete –, veröffentlichte BMG am 16.
Januar 2026 eine Sonderausgabe des Originalalbums. Die Entstehung von „Junun“ wurde vom gefeierten
Filmemacher Paul Thomas Anderson dokumentiert und bietet einen intimen Einblick in den kreativen
Prozess und den pulsierenden Alltag während der Albumproduktion. „Ranjha“, das am 8. Mai 2026
erscheint, wird als spezielle rote und korallenrote Splatter-Vinyl-Edition im Gatefold-Cover sowie als CD
erhältlich sein. Das Album enthält elf brandneue Tracks, die den charakteristischen interkulturellen Sound
der Band mit einem modernen Touch verbinden. Es erscheint kurz nach der vielbeachteten Radiohead-Tour,
die Ende 2025 zu Ende ging.

"DEFIANT is an atude. Music that reacts, challenges the rules, and burns with creave fire.
Inspired by the renowned internaonal series The Mood Mosaic, this collecon captures the
most provocave side of jazz: the heat of hard bop, the risk of the avant-garde, spiritual
excursions, and fearless experimentaon.
Every track dares, every voice communicates something authenc: no safety nets, no surrender.
Defiant Jazz is for listeners who don't follow the path, but collect the music that rewrites it."

Strut proudly presents Nuclear War, a powerful collaboration between UK collective The Heliocentrics, Sun Ra Arkestra legends Marshal Alen and Knoel Scott, and vocalist Bilal - issued on limited-edition “hazardous” orange and yellow vinyl exclusively for Record Store Day 2026.

The Nuclear War recordings stem from a rare session at Malcolm Catto’s Quatermass Sound Lab in January 2015. The group had assembled in London to rehearse for their performance at Giles Peterson’s Worldwide Awards, where Alen received the Lifetime Achievement Award and Catto the John Peel Award. With The Heliocentrics’ trademark raw, psychedelic energy as the backbone, the ensemble captured a series of reimagined Sun Ra classics in a spontaneous, one-off studio moment, and these tapes that have remained unheard in Catto’s archive until now.

The 4-track EP features a sinuous take on Ronnie Boykins’ ‘Angels And Demons At Play’, originally recorded in 1960, a strident version of ‘Where Pathways Meet’ which was originally created for the much-loved Sun Ra Lanquidity album in 1978, and a dense and deep re work of 1972’s ‘Astro Black’ featuring Bilal’s incredible otherworldly vocals. The title track ‘Nuclear War’ is re-worked into a cavernous groove featuring Heliocentrics vocalist Barbora Patkova. Nuclear War is mixed by Malcolm Catto, mastered and cut by Frank Merritt at The Carvery, and designed by Alex Evans of Reason For Being Studio.

With Black Koyo, Mattias De Craene enters a sound world at once intimate and vast. Born from journeys in Morocco and Brussels, the project traces the rhythms, chants, and spirits of the Gnawa tradition, revealing a quiet resonance that echoes De Craene's own search for depth and presence. Guibri, qraqueb, call-and-response chants, saxophone, loops, and electronics come together in a trance-induced dialogue - ritualistic, elemental, and dreamlike - creating a space where listening becomes immersion, tradition meets imagination, and music unfolds as a shared act of reflection and wonder.

About Mattias De Craene
Mattias De Craene's artistic path is marked by rare coherence. As a central voice in Nordmann and MDC III, he developed a physical, rock-inflected jazz language driven by propulsion, volume, and trance-like collective energy. Over time, a period of personal rupture - burnout, tinnitus, depression - shifted his focus inward. The saxophone became a breathing, textural presence, and in his solo work, he weaves saxophone, electronics, loops, and minimal forms into a cinematic, hushed world where repetition, resonance, and silence slow perception. Rooted in ambient and introspection, his music prizes attention over impact, precision over excess - a quiet intensity recognized with a nomination as Musician for the Music Industry Awards (MIA's).

About Black Koyo
Black Koyo is a Brussels-based ensemble and one of the most compelling voices of the Gnawa tradition outside Morocco. Led by maalem Hicham Bilali, the group brings guibri, qrraqueb, and call-and-response chants to life with trance-like intensity and ritual precision. Their music is both rooted and contemporary, weaving earthbound rhythms and vocal invocations into ecstatic, immersive soundscapes, creating a space where ancestral resonance meets present-day imagination.

About Jan Bang
Jan Bang is a pioneering Norwegian producer and musician, celebrated for his mastery of live sampling and his ability to merge electronics with improvisation, rhythm, and texture in real time. He mixed the album and occasionally joins live performances, bringing his signature approach to sound as co-founder of the influential Punkt Festivaland collaborator with artists such as Jon Hassell, David Sylvian, Arve Henriksen, and ECM Records' roster. As a performer and sound architect, Bang creates immersive, trance-like sonic textures where silence and sound carry equal weight. Within Mattias De Craene ftBlack Koyo, his live sampling becomes an organic instrument, weaving saxophone, electronics, and Gnawa rhythms into hypnotic, physically charged soundscapes.

Line-up & credits
Mattias De Craene - sax, electronics | Hicham Bilali - guibri, vocals, qraqueb |Ismael Akhraz - vocals, qraqueb | Marwan Abantor - vocals, qraqueb
All tracks are original gnawa traditionals played by Black Koyo and arranged by Mattias De Craene.
Album produced & recorded by Mattias De Craene in Essaouira, Morocco and hometown Ghent, Belgium 2025.
Text by Hicham Bilali.
Mixed by Jan Bang at Punkt Studio
Mastered by Lieven Van Pee
Artwork by Marina Sviridova
Design by Benoit Van Geel
Manufactured and distributed by N.E.W.S.
Executive production by W.E.R.F. records
Supported by Flemish Government, Jazzlab, nona, HA Concerts, Aubergine artist Management,
KAAP, La Bestia (Wout Van Putten) & mdcmu.sic vzw.
2026 (c) W.E.R.F. records

The record is largely sung in Scots language, one of Scotland’s three official languages along with Gaelic and English. “Scots gives me a way of expressing myself which is connected directly with the landscapes I love. It brings the songs alive and it is a fascinating language. The name of the record is in Scots - Forefowk means the people who came before, or ancestors. When we say ‘mind me,’ we can mean a few things- remind, remember, watch over or care for me. The record explores how tradition needs to be constantly reconnected with, built upon, looked after, and shared.”
Quinie sings with a style inspired by Scottish Traveller singers. “I began singing unaccompanied Scots Song in 2015 after hearing Scots Traveller singer Sheila Stewart on the radio. Initially I felt like I shouldn't sing these songs because I'm not a Traveller, and I saw people around me doing that in a way that made me uncomfortable. But on the other hand this music made sense to me and I felt driven to learn. Over the years I have met Traveller friends who taught me that settled people sharing these songs could contribute to raising awareness. Scottish Travellers are marginalised and discriminated against in modern Scotland, despite being custodians of so many of our important traditions. So I started to perform them and tell this story. From there I built on my repertoire and started writing my own songs”.
To develop this record, Quinie travelled across Argyll with her horse. They went on a pilgrimage of sorts through the ancient landscapes of the West of Scotland to explore the interconnected relationships between people, ancestors, animals, and place. The album’s vinyl release is accompanied by a book and film, documenting this unusual research process.
Forefowk, Mind Me was recorded in August 2024 at The Big Shed in Highland Perthshire with support from Creative Scotland. Quinie is accompanied by an ensemble of musicians: Ailbhe Nic Oireachtaigh (viola), Oliver Pitt (duduk, bouzouki, percussion), Harry Górski-Brown (small pipes, violin), and Stevie Jones (double bass, recording, and mixing). Each of these artists brings their own distinctive voice, bridging contemporary experimental practice with worlds of traditional and early music.

On his sixth LP In Another, Toronto-based, Japanese-born, musician and composer Masahiro Takahashi (髙橋 政宏) continues the collaborative expansion of his sonic universe that listeners witness on his 2023 release, Humid Sun. Here he enlists a rotating ensemble of ten guest artists from Toronto’s vibrant music community, including his labelmate Joseph Shabason, who also serves as the album’s co-producer and engineer.

Spurred by his longtime admiration for chamber pop spanning the High Llamas and Free Design to the Beach Boys, Takahashi deviates from the underlying processes of his past two outings, trading Ableton sequences for lead sheets, focusing on creating robust melodic and harmonic foundations first. This difference is audible straight away; the album opens with a dialog between upright piano and plucked double bass that’s so gentle and transparent you can hear the breath of the players.

On his sixth LP In Another, Toronto-based, Japanese-born, musician and composer Masahiro Takahashi (髙橋 政宏) continues the collaborative expansion of his sonic universe that listeners witness on his 2023 release, Humid Sun. Here he enlists a rotating ensemble of ten guest artists from Toronto’s vibrant music community, including his labelmate Joseph Shabason, who also serves as the album’s co-producer and engineer.

Spurred by his longtime admiration for chamber pop spanning the High Llamas and Free Design to the Beach Boys, Takahashi deviates from the underlying processes of his past two outings, trading Ableton sequences for lead sheets, focusing on creating robust melodic and harmonic foundations first. This difference is audible straight away; the album opens with a dialog between upright piano and plucked double bass that’s so gentle and transparent you can hear the breath of the players.

Album #1 der brandneuen Vinyl-Serie mit zukunftsweisenden Aufnahmen der musikalischen Avantgarde.
Luc Ferraris Presque Rien Nr. 1 und Société II zählen zu den radikalsten Werken der Avantgarde des
20. Jahrhunderts. Mit Presque Rien Nr. 1 leistete Ferrari Pionierarbeit bei der Verwendung von Umgebungsaufnahmen als vollständiges musikalisches Material – er nahm die Geräusche eines kroatischen Fischerdorfes im Morgengrauen auf. Ohne Manipulation markierte dies einen entscheidenden Wandel hin zum
klanglichen Minimalismus und beeinflusste Generationen von experimentellen Künstlern.
Im Gegensatz dazu verkörpert Société II, komponiert für Klavier, Schlagzeug und Ensemble, Ferraris politisch aufgeladene, theatralische Seite. Entstanden inmitten der sozialen Umwälzungen der späten 1960er
Jahre, inszeniert es eine feministische Allegorie, in der die Interpreten um die Vorherrschaft wetteifern und
dabei Struktur, Improvisation und Satire miteinander verbinden.
Gemastert und geschnitten von den originalen analogen ¼-Zoll-2-Spur-Masterbändern von Rainer Maillard und Sidney Claire Meyer in den Emil Berliner Studios.
Limitierte und nummerierte Auflage mit Original-Artwork und einem neu gestalteten, wunderschön gearbeiteten Sammler-Cover mit neuen Liner Notes von Bradford Bailey, gepresst auf 180-g-Vinyl.

Long overlooked outside specialist circles, Drammi e Speranze is presented for the first time ever on vinyl reissue, newly remastered to highlight the depth and tonal richness of Umiliani’s arrangements.

Originally released in 1976 on Piero Umiliani’s own Sound Work Shop imprint, Drammi e Speranze—issued under the pseudonym Rovi—stands as a refined example of his late-period library work.

Performed by a compact string ensemble and subtly augmented by piano, Hammond organ, Eminent organ, and Rhodes, the album unfolds through a series of classically-informed compositions where melody takes center stage. Each piece is concise, evocative, and purpose-built—reflecting the functional yet highly expressive nature of Italian library music at its peak.

Conceptually, the record is structured in two contrasting halves: the first side explores themes of optimism and resolution, while the second delves into darker, more introspective territories, mirroring the emotional duality suggested by its title (Tragedies and Hopes).

This release celebrates 100 years since the birth of Piero Umiliani, honoring the enduring legacy of a composer whose work continues to resonate across cinematic, library, and contemporary sample-driven music.

©℗ 1976, Liuto Edizioni Musicali / Licensed to Holy Basil Records by Liuto Edizioni Musicali

Out now via 7 Mater, in collaboration with The Circle Music for worldwide distribution, this special edition of Stolen Season Pt. I captures both the essence of the project and the spirit of the upcoming full-length Stolen Season Pt. I. This first pressing is destined to become a collector's item: numbered and limited to 250 black vinyl copies and 250 gold vinyl copies, each edition comes housed in a deluxe sleeve with an exclusive 30x30 insert that perfectly frames the visual world of the band. It is a striking presentation that mirrors the richness of the music contained within. The creative force behind From The Land is Anatoly Pakhalenko, best known as the frontman of the acclaimed dark folk ensemble Nytt Land.

Conceived in 2025, this new project serves as an alter ego for Pakhalenko, allowing him to explore the darker edges of country, blues, and folk traditions while weaving them into a world described as "a black and white landscape, tired of all this s**t that's going on around and gradually sinking into an endless sleep". Together with Aleksandr Rosliakov, Pakhalenko composed Stolen Season Pt. I between January and May 2025 at Nytt Land Studio, handling recording, mixing, and production duties himself. The result is an album that resonates with uncompromising artistic vision and raw emotional depth. From The Land 's universe draws inspiration from the haunting literary realms of H.P. Lovecraft and Edgar Allan Poe, as well as the surreal, unsettling imagery of David Lynch. This heady mixture of influences creates a soundscape that is equally cinematic and visceral, where ritual meets ruin, and folk traditions dissolve into the smoke of blues and country noir.

RIPIT is back with a new LP after 3 years spent mostly on the mesmerizing collaboration between THE ÅNGSTRÖMERS- his duo with FRÉDÉRIC ALSTADT -and the Haitian voodoo ensemble CHOUK BWA.

While Ripit is better known for his radical noisy breakbeat work, "A Church or a Factory" explores a more industrial, power electronic and noise ambient side of his synthesizer lust. The instruments abused on this record are: Serge modular, Knifonium and various eurorack modular. The A-side comes with 5 powerful synthetic industrial songs which feature each one a different guest vocalist. The B-side is a long ambient noise piece that will plunge the listener in an anxious meditation.

Ripit is the project of the French NICOLAS ESTERLE for almost 25 years. He explores electronic instruments thru distortion , ranging from industrial hardcore to breakcore, from doom hiphop to dusty dub. Beside his solo project, he's involved in various bands like SOLAR SKELETONS (with TZII), FUJAKO (with HHY) and more recently The Ångströmers.

On the guest side, there's a wild bunch of Nicolas' friends:
- PAUL-TERGEIST is the galactic moniker of PAUL BEAUCHAMP in his band SPACE ALIENS FROM OUTER SPACE;
- ANDREA EV is the lead member of 1997EV;
- ROBERT IMHUMAN and DIVTECH are members of the REALICIDE COLLECTIVE;
- TZII is a long-time road comrade of Nicolas and a touring freak spreading his music all over the world;
- ANDRÉ COELHO is known as METADEVICE and is the founder of the now-defunct SEKTOR 304.

The title "A Church or A Factory" refers to the Belgian countryside, wherever you are, you are at least surrounded by a church or a factory. As he just left the urban life of Brussels to escape to the French countryside, he is now lost enough not to have neither a factory nor a church in sight.

Tetragon ist das zweite Album des Tenorsaxophon-Virtuosen Joe Henderson beim Label Milestone, auf
dem er seinen Sound im Post-Bop-Bereich weiterentwickelte, bevor er sich später in seiner Karriere weiter
in den Bereich des Spiritual Jazz vorwagte, begleitet von einem Weltklasse-Ensemble mit Ron Carter, Jack
DeJohnette, Kenny Barron, Louis Hayes und Don Friedman.
Diese Jazz Dispensary Top Shelf-Neuauflage von Tetragon wurde von Kevin Gray aus den originalen Analogbändern (AAA) geschnitten, bei Fidelity Record Pressing auf 180-Gramm-Vinyl gepresst und kommt in einer
Gatefold-Tip-On-Hülle.

OOIOO and Lightning Bolt are both bands whose music is wholly unique and whose creators" influence would be impossible to overstate. YoshimiO, OOIOO"s founder and bandleader, has been a guiding force in uncompromising art across the continuum of rock and improvised music for four decades, from her work in UFO or Die to The Boredoms to SAICOBAB and beyond. OOIOO serves as a core outlet for melding freeform experimentalism with hypnotic rock pulses, defying boundaries with her acrobatic voice, electronics, trumpet and gamelan. Lightning Bolt"s Brian Chippendale and Brian Gibson have remained unparalleled in their ability to transmute frenetic whirls of percussion, gargantuan fuzz and dizzying melody into monolithic vistas. THE HORIZON SPIRALS / THE HORIZON VIRAL is a split that captures the parallels in ethos between these two ensembles, their sense of gleeful abandon and freight train momentum, in inspiring detail.

Demon Records are proud to present Osmium Deluxe - the first recordings credited to the funk-rock ensemble Parliament-Funkadelic.

Since its re-release in 1990, Osmium has been distributed numerous times by various labels in America, Europe and Japan under alternate titles – including Rhenium and First Thangs. A number of these reissues have featured material that was not included on the original album, such as unreleased tracks and singles that were taken from the same time.

This in-demand, black-vinyl version of the Record Store Day 2024 sell-out compiles together everything from that period 2 LPs and includes; the full Osmium album, the single sides that never made the album, unreleased tracks, demos and jams – all of which made their debut vinyl appearance as one package in 2024.

Many of these recordings are still as far-out as they sounded when first released. However, the tracks here represent the genesis of what would become P-Funk and the entity that would give the world ground-breaking albums Maggot Brain (1971), Mothership Connection (1975), and One Nation Under a Groove (1978). An essential addition to anyone’s collection.

On "Enduring Sonance," saxophonist and flutist Steve Wilson reflects on a lifetime of lyrical, deeply felt songs drawn from jazz, pop, and film—brought to life by an all-star ensemble featuring Renee Rosnes, Joe Locke, Jay Anderson, and Kendrick Scott. *** Certain songs have a way of lingering in the imagination—resonating long after we’ve last heard them, sometimes for a lifetime. On his breathtaking new album "Enduring Sonance," veteran saxophonist and flutist Steve Wilson celebrates the music that has left the deepest imprint on his musical life. “Some of the tunes on this record have stayed with me for, in some cases, over 50 years from the time that I first heard them,” Wilson says. “I wanted to put some music out there that people can connect with, no matter what kind of music they like.” Originally conceived as a ballads project, Enduring Sonance evolved into something broader and more personal. Rather than focusing on tempo or style, Wilson gravitated toward a sense of lyricism—music whose emotional clarity and melodic resonance endure across genres, decades, and listening habits.

To realize this vision, Wilson assembled a deeply intuitive ensemble featuring pianist and arranger Renee Rosnes, vibraphonist Joe Locke, bassist Jay Anderson, and drummer Kendrick Scott, with special guest Kevin Newton (French horn, Imani Winds) appearing on two tracks. Each musician brings a rare sensitivity to melody, texture, and space, allowing the material to unfold with warmth, restraint, and quiet authority. The repertoire draws from a wide musical landscape, including works by close collaborators and modern jazz masters Billy Childs and George Cables, alongside enduring songs by Michel Legrand, Quincy Jones, Milton Nascimento, Gino Vannelli, Bill Lee, and Eliane Elias. These are not standards in the traditional sense, but deeply personal selections—songs that have accompanied Wilson through different chapters of his life. The album opens with Childs’ “Quiet Girl,” its subtle rhythmic motion enhanced by Newton’s luminous French horn, and travels through cinematic ballads, soulful grooves, and reflective lyricism. The title Enduring Sonance speaks both to the lasting resonance of these songs and to Wilson’s enduring musical relationships—most notably with Rosnes, whom he has known for nearly four decades and whose sensitive arrangements help unify the album’s diverse repertoire. “These songs are the soundtrack of my life,” Wilson says. “I’d love it if listeners came away from this album with the same kind of enduring sound and feeling.”

After their recent LP Mirages (Kraak Records, 2025) with French turntablist Guilhem’All, the group continues to explore collaborations with artists and instruments from diverse musical traditions. Building on decades of uncompromising acoustic exploration, Razen delves deeper into their practice with five improvisational pieces that unfold slowly in time and space. The duo’s radical core - Brecht Ameel and Kim Delcour - finds in Van der Harst a longtime kindred spirit, united by the impact of sound, intonation, and the sheer joy of playing.

To be released on April 24 via VIERNULVIER Records, the artwork for Stained Glass Starling was created by American visual artist Robert Beatty (Oneohtrix Point Never, Christina Vantzou, The Weeknd, Tame Impala). The physical release comes with a 16-page booklet including artwork and an interview.

A long-standing artistic kinship lies at the heart of this project, with first encounters dating back to the early 2000s in Belgian musical improv theatre. Van der Harst’s lifelong experience in improvised music and music theatre, spanning back to the 1980s, combined with a vast arsenal of rare and historical instruments, opens new tonal territories within the Razen universe.

These explorations are not incidental: his family roots in the former Dutch East Indies — through his great-grandfather — provide a quiet backdrop to his enduring affinity for Asian musical traditions. Instruments such as erhu, Javanese kacapi, and others introduce timbres
that bring the music its most pronounced Asian inflections to date.

Yet despite this shift in colour, the underlying ethos remains unmistakably Razen. Working from sound rather than form, the ensemble approaches music as painters approach a canvas: adding layers, contrasts and shades with care. There is no soloist’s ego here; all voices are equal, echoing principles found in gamelan traditions.

Over the decades, Razen and Dick Van der Harst have crossed paths repeatedly, notably through cult theatre productions by Belgian theatre maker Eric De Volder, including Zwarte vogels in de bomen (2002) and Huis der Verborgen Muziekjes I–II (2000–2006). Recording an albumtogether had long been a shared aspiration — a wish that crystallised after a 2024 concert at Concertzaal Miry in Ghent, part of the Ruiskamer series by VIERNULVIER Art Centre.

OOIOO and Lightning Bolt are both bands whose music is wholly unique and whose creators" influence would be impossible to overstate. YoshimiO, OOIOO"s founder and bandleader, has been a guiding force in uncompromising art across the continuum of rock and improvised music for four decades, from her work in UFO or Die to The Boredoms to SAICOBAB and beyond. OOIOO serves as a core outlet for melding freeform experimentalism with hypnotic rock pulses, defying boundaries with her acrobatic voice, electronics, trumpet and gamelan. Lightning Bolt"s Brian Chippendale and Brian Gibson have remained unparalleled in their ability to transmute frenetic whirls of percussion, gargantuan fuzz and dizzying melody into monolithic vistas. THE HORIZON SPIRALS / THE HORIZON VIRAL is a split that captures the parallels in ethos between these two ensembles, their sense of gleeful abandon and freight train momentum, in inspiring detail.