Cerca:j period

Nicaraguan-American artist Dagmar Zuniga makes music that feels both intimate and expansive: songs drift like disrupted signals, carried by harmony, tape hiss, and a strong sense of touch. Her debut solo album in filth your mystery is kingdom / far smile peasant in yellow music — written and recorded in New York, Norway, and Athens, Georgia over a period of five years on her longtime companion, the Tascam 424 — was uploaded to Bandcamp and YouTube in January 2025, quickly garnering over two hundred thousand views and the attention of artists such as Mount Eerie, who invited her to tour with them that summer. This year, what was once a jewel of tapped-in algorithms and message boards will meet the world at large, with in filth arriving digitally on March 4, and physically on April 10, via AD 93.

in filth is an atmospheric, devotional collage where one voice multiplies into a chorus of selves, sometimes delicate, sometimes severe; an effect created by Zuniga’s masterful layering of texture and complex harmonies. Synths glitter out like spears of sunlight from beneath clouds of moody, time-distorted guitars, and songs spin about themselves like tightly-wound music boxes, making use of a kind of hypnotic repetition, before melting apart into their components or slipping into the following track.

Zuniga began recording to tape as a teenager, drawn to the physicality of the medium — how a tape recording is fragile, mutable, and alive. Though her ethereal sound may draw easy comparisons to other female pioneers of psychedelic folk, she is influenced just as much by the darker sounds of Syd Barrett and The Fall. Like Barrett, Zuniga is a painter, and she is interested not only in recording music but in creating a full, self-contained artistic universe: she creates her own artwork, merchandise, music videos, and bootleg tapes of new and unfinished music that she exclusively sells at live shows (“If something is not material, it does not exist,” she insists). Her world has not gone unvisited, garnering her a monthly show on NTS Radio ‘World of Pain’, as well as a forthcoming appearance at Rewire Festival in April 2026.

Though Zuniga’s work explores themes of solitude and suffering, the suffering in her songs is not borrowed or displayed; it is held, then opened outward through empathy — an exacting practice of attention that insists on shared ground. Solitude, in her work, is not withdrawal but a starting point for connection. Likewise, over time, her recording process has become increasingly communal, with in filth featuring musicians Hayes Hoey, Austyn Wohlers (Tomato Flower), and Zach Phillips (Fievel Is Glauque). Newer recordings widen the circle even more. For Zuniga, collaboration is a way to “find a place between worlds,” echoing Badiou’s idea of love as a vision refracted through the prism of difference. Meaning emerges there — in the space between voices, between artist and listener. “I hope my music helps people work through difficult experiences,” she says. “The same way it helps me.”

2ND LP PRESSING

Cosmic Ear is a new group bringing together Christer Bothén, Mats Gustafsson, Goran Kajfeš, Kansan Zetterberg and Juan Romero. Their debut album TRACES is released by We Jazz Records on 23rd of May, 2025. Including 6 deep cuts, TRACES is an album that sees Cosmic Ear tracking down the "traces" of the legendary Don Cherry's legacy while paving their own way in contemporary creative music expression.

Christer Bothén, a collaborator with Don Cherry during his Swedish period in the 1970s, brings depth to the history of the band, while his bandmates each belong at the top of the game in Scandinavian jazz. Their music is meditative and deep, much recommended for fans of the likes of Don Cherry, Alice Coltrane, and Pharoah. That being said, listeners should approach Cosmic Ear only with openness and curiosity, without set stylistic boundaries, as it's the group's natural flow and togetherness that brings their music into a fresh territory of their own.

As John Corbett writes in his liner notes:

"The Cosmic Ear. Five souls, sometimes six, on the same road. The pied piper path of Mr. Cherry. Christer Bothén, one of Cherry's main collaborators in his Swedish period and one of the most beautiful bass clarinetists on planet earth, together with next-gen saxophonist Mats Gustafsson, who has carried so many torches in Cherry's procession, and younger Swedish stars trumpeter Goran Kajfes, bassist Kansan Zetterberg, and percussionist Juan Romero. Together a tempo is set, a path is charted. There are global grooves. A berimbau, a karignan (metal scraper from Guinea), donso n'goni. There are ET grooves. Synth, live-electronics, slide flute. The globe is a glove, a hand warmer that radiates with extraterrestrial power, returning the fingers to their place at the center of the galaxy; the Cherry path is a balm that restores essential moisture to the lips that blow life back into the megacosm. Let us all praise warm fingers and moist mouths."

White vinyl. Signed Print Edition. When Jack Tatum began work on Life of Pause, his third full-length to date, he had lofty ambitions: Don't just write another album; create another world. One with enough detail and texture and dimension that a listener could step inside, explore, and inhabit it as they see fit. "I desperately wanted for this to be the kind of record that would displace me," he says. "I'm terrified by the idea of being any one thing, or being of any one genre. And whether or not I accomplish that, I know that my only hope of getting there is to constantly reinvent. That reinvention doesn't need to be drastic, but every new record has to have its own identity, and it has to have a separate set of goals from what came before." What came before: a rightfully acclaimed, much beloved display of singular pop craftsmanship. Tatum's dreamy, unexpected 2010 debut, Gemini, was written while he was still a student at Virginia Tech University. Its equally disarming follow-up, 2012's Nocturne, marked the first time he'd been able to bring his bedroom recordings into a studio, to be performed and fully realized with the help of other musicians. There has been a set of wonderfully expansive EPs in between_each hinting at new directions and punctuating previous ideas_but with Life of Pause, Tatum delivers what he describes as his most "honest" and "mature" work yet, an exquisitely arranged and beautifully recorded collection of songs that marry the immediate with the indefinable. "I allowed myself to go down every route I could imagine even if it ended up not working for me," he says. "I owe it to myself to take as many risks as possible. Songs are songs and you have to allow yourself to be open to everything." After a prolonged period of writing and experimentation, recording took place over several weeks in both Los Angeles and Stockholm, with producer Thom Monahan (Devendra Banhart, Beachwood Sparks) helping Tatum in his search for a more natural and organically textured sound. In Sweden, in a studio once owned by ABBA, they enlisted Peter, Bjorn and John drummer John Ericsson and fellow Swedish Radio Symphony Orchestra veteran Pelle Jacobsson, to contribute drums and marimba. In California, at Monahan's home, Tatum collaborated with Medicine guitarist Brad Laner and a crew of saxophonists. From the hypnotic polyrhythms of "Reichpop" to the sugary howl of "Japanese Alice" to the hallucinogenic R&B of "A Woman's Wisdom," the result is a complete, fully immersive listening environment. "I just kept things really simple, writing as ideas came to me," he says. "There's definitely a different kind of `self' in the picture this time around. There's no real love lost, it's much more a record of coming to terms and defining what it is that you have_your place, your relationships. I view every record as an opportunity to write better songs. At the end of the day it still sounds like me, just new."

Vivel is Alexander Eldefors’ second release under his own name. Built around eurorack and field recordings, many captured during still moments while traveling to visit family and friends. The album was created during a period of transition. It functions as an anchor in a time of change, representing a sense of home, safety, and stillness.

Alexander Eldefors is a producer, composer, and mixing engineer based in the countryside outside of Stockholm, Sweden. With a background as both a sound engineer and musician, he has spent years recording, mixing and playing in a wide range of bands and solo projects. In 2019, he consciously slowed down and returned to a more intimate and quiet musical expression, leading to the release of his debut album Bergen in 2020 under his own name. Bergen is the Swedish word for mountains and reflects the fact that Alexander grew up in the north of Sweden close to the mountains.

His music is minimalistic, melodic, and embracing, shaped by a deep connection to nature. Natural environments are a constant presence in his work, serving both as inspiration and as a sound source. Alongside this, he is drawn to the raw textures of everyday objects, working with foley sounds and field recordings. His arrangements unfold as organic sound collages, where elements blend freely and imperfections are preserved to maintain a natural, human feel.

First time reissue of JP / US free jazz rarity.

The 1970s were Marion Brown’s most searching decade, a period during which he sought to move beyond the free jazz of the previous era and find more personal approaches to structuring improvisation and composition. After leaving New York for Europe in 1967, Brown began reshaping his music into what he described as “a more deliberate kind of music that had more structure to it,” pacing it so that moods and modes could develop over time. Albums such as In Sommerhausen, Afternoon of a Georgia Faun, Geechee Recollections, and Sweet Earth Flying trace this evolution: rhythmic structures moved to the foreground, harmony receded, and composition became a matter of orchestrating interlocking rhythmic parts as one would polyphonic lines.

Released in 1976, Awofofora is an overlooked but crucial entry in that sequence. At the time, its use of funk and reggae beats, electric guitars, and grooves drawn from contemporary Black popular music led some to misread it as a jazz-rock detour. In retrospect, it is entirely consistent with Brown’s methodology. As he admired in the Art Ensemble of Chicago, the stimulus comes from within the community. Here Brown filters Afro-Caribbean rhythms and funk through his own sensibility, abstracting their structural qualities rather than adopting surface style.

“La Placita,” making its first recorded appearance, layers distinct rhythmic phrases in a manner reminiscent of African drum ensembles, over which Brown and trumpeter Ambrose Jackson spin extended improvisations. The standard “Flamingo” is reshaped through diasporic rhythm and lyrical soloing, while “Pepi’s Tempo” and “Mangoes” harness crisp funk and reggae grooves to generate what Brown called a “manifestation of community” through collective improvisation. Even the overdubbed solo feature “And Then They Danced” reflects his structural thinking, ingeniously re-voicing a duet composition for two alto saxophones performed by one player.

This was the only recording by a short-lived band that briefly polarized audiences during festival appearances in 1976. Yet Brown consistently sought unity across change: different sounds, same principles — rhythm as structure, melody as architecture, collective improvisation, and above all, the primacy of tone. Awofofora stands not as a departure, but as a vivid synthesis of the elements he had been refining since the late 1960s, its grooves and golden alto lines conveying a sound drawn, in his words, “from life and from the world of experience.”

With Alouette!, Les Louanges attempts to make sense of his human condition and Québécois identity by bringing guitars and Joual (the French language dialect spoken in Québec) to the forefront while still fuelling his signature grooves. More rock-oriented than his previous albums, this third effort is luminous yet rich in sounds, emotion and political commentary. It unfolds through a journey that will lead Loulou to encounter universal experiences such as illness, death, and true love.

The album is also the result of an artistic quest that began during a period of self-reflection, when Vincent Roberge (aka Les Louanges or Loulou) seized the opportunity to take a break after his last extended tour. Alongside the existential questions typical of someone approaching their thirties came a rediscovery of the classics—from Leonard Cohen and Prince to Richard Desjardins and the nursery rhyme that gives the album its name–, followed by total exploration. In addition to playing most of the instruments himself, the singer-songwriter revived obscure Quebec records through sampling and got to experiment with actual sound recording. Roberge co-produced Alouette! with his long-time collaborator Félix Petit (because why change a winning formula).

Four years after the success of his sophomore album Crash, Les Louanges returns more confident than ever, thanks to a renewed cultural and emotional baggage that allows him to reflect on the past to better engage with the present, while also enjoying it to the fullest. All of this, without overlooking the future, which he foresees with hope despite the collective challenges that await us.

Classic album by Dinah Washington, one of America's most versatile singers of the 1950's who moved effortlessly between pop to gospel to jazz to blues. She teamed with the great Quincy Jones , For Those in Love is an essential album for any collection. Dinah Washington (1924-1963) recorded many albums for EmArcy Records and during the period 1954 to 1961 she worked with Quincy Jones, including the release presented here, For Those in Love, which was the first of their recorded collaborations. Featuring three brilliant small group sessions, taped on three consecutive days in March of 1955, the arrangements were by Jones, who also conducted the band and played a trumpet solo on 'Ask a Woman Who Knows'. The group of heavyweight players includes such stars as Clark Terry, Jimmy Cleveland, Paul Quinichette, Cecil Payne, Wynton Kelly, and Jimmy Cobb.

Written in 1971 and read here by the author himself "Through the Billboard Promised Land Without Ever Stopping" is Derek Jarman's only known work of narrative fiction. Providing a prelude to some of the imagery Derek Jarman would use later in his career, particularly the alchemical dreamscapes in the film "Blue", it is a surreal, hallucinatory fairytale, signposted with elements of modernity, that has much of the mythic and archetypal about it. With tantalising autobiographical details and a panoply of chromatic landscapes and psychosexual symbols, this richly poetic story details a journey with no destination or purpose across a mythical America, undertaken by the young blind King Amethyst and his valet John. Previously only ever released on cassette (2022, Prototype Publishing, Ltd 80), this vinyl edition features facsimile images of the story's handwritten drafts from Jarman's archive and photos by the artist Michael Ginsborg, a close friend of Jarman's throughout the period of the story's writing. Licensed from House Sparrow Press / Prototype Publishing, and The Estate of Derek Jarman.
• Ltd x 500 copies on heavyweight 180gm black vinyl in gloss sleeve.

Silicon Scally and Fleck E.S.C. need no introduction at this stage. Both artists are veterans not just of Sheffield's Central Processing Unit label but of modern electro as a whole, with the pair having decades of skin in the game at this point. Their new release, a four-track EP entitledSlipwhere Silicon Scally handles the first half and Fleck E.S.C. the second, carries itself with the adventurous confidence of a record made by masters of their craft.

Slipopener 'Phased Array' is exactly the kind of top quality machine-funk tackle you'd expect from this meeting of minds. The beat programming is deliciously tactile from the off, hissing and clanking like machinery in an old Detroit factory. The feel of 'Phased Array' is altered, though, when the chords come in, a series of alternating floating sounds which give the track an altogether eerier feel. When all of this is coupled with the otherworldly synth blurts that periodically force their way to the front of the track, the overall effect is a piece of real depth assembled by an expert practitioner.

'Phased Array' is followed up by 'Stax', another brilliantly propulsive number. Here we find the drum beat - one which is a little reminiscent of that Kraftwerk tune about the numbers, no less - once more offset by some decidedly more shadowy synth work, all while arpeggiated keyboard licks work against an intricate web of basslines, chords and unidentifiable flying synth tones.

Fleck E.S.C. opens theSlipB-side with 'Good Ride', a number where the nudge-wink title is borne out by a track built around looped snippets of sighing vocals. That said, with a bassline that sounds like a blurting old landline telephone, a ghoulish synth lead and all manner of motion-sick breakdowns, the 'ride' in question could just as well be aWipeout-style whizz through hyperspace as anything more suggestive. 'Good Ride' also sets itself apart from the other joints here by showing off a swaying halftime breakdown.

'Intox Remedy',Slip's closer, wraps the EP in a manner which continues some of the trends of the record's earlier tracks - richly tuneful chords, precision-engineered broken beat drum programming and a wide palette of delightfully unusual synth tones are all present and correct. However, there is also something about the chords here which pares back the eeriness of previous joints for a bit more of a wide-eyed, stargazing feel, and as such 'Intox Remedy' sees the record out by placing the listener firmly back in the cosmos.

Tough enough for the dancefloor and intricate enough for home listening, theSlipEP is a fabulous collaboration from two of the most respected voices in the electro game.

This album brings together some of the finest music ever released on Black Jazz Records which in its short four-year history, between 1971 and 1975, released over 20 superlative albums which all successfully blending spiritual jazz, funk and soul jazz of the highest calibre. Similar to other independent jazz labels at the time, including Strata-East Records and Tribe Records, Black Jazz focussed on a number of key artists, most of whom first established their career during this period, and all of whom are featured here. Featuring The Awakening, Doug Carn, Walter Bishop, Chester Thompson, Kellee Patterson and more. Black Jazz Records was founded in Oakland, California, by pianist Gene Russell and percussionist Dick Schory.

The label released twenty albums between 1971 and 1975. Artists who recorded for Black Jazz Records included Cleveland Eaton (bassist for Ramsey Lewis), keyboardists Doug Carn and Chester Thompson, vocalist Kellee Patterson, saxophonist Rudolph Johnson, bassist Henry Franklin, and spiritual fusion group The Awakening. The label was distributed and financed by Ovation Records, based in Chicago. Schory founded Ovation in 1969, shortly after leaving RCA. Schory was a Grammy-nominated percussionist who was also known for his development of the stereo recording techniques including Dynagroove and RCA Victor’s Stereo Action. Schory also pioneered quadrophonic sound, and a number of Black Jazz Records were in quadrophonic and other formats such as ¼” tape and 8-track.

Black Jazz launched in 1971 with Gene Russell’s ‘New Direction’. Russell was the creative force behind the label, acting as producer, engineer and A&R and focussed on developing new solo artists. The most successful of these was Doug Carn, who released four albums featuring his wife, Jean Carn, as vocalist. She later changed her name to Jean Carne and became a successful soul singer signed to Gamble and Huff’s Philadelphia International empire.

New Jon Savage Compilation release alert! Jon Savage's SF Sike 1966-72 (Double Vinyl) Limited Edition. Heavyweight Luxury Gauge Sleeve-Stock & Inners.

The real sound of San Francisco 1966-72." It was the new gold rush, but with drugs, music and freedom the goal. " (Jon Savage -The Guardian August 2012)

A limited edition double vinyl 18 track album celebrating the great pop music and idealism of that time & featuring Moby Grape, Skip Spence, Ron Nagle, Country Joe & The Fish & much more

Full contextual & track-by-track sleeve notes by Jon Savage. Ephemera & archive material from the period.

Restock

Collateral Intelligence's Butterflies in Funerals is widescreen, sometimes dark, often hopeful electronica with one eye on the stars, but grounded in the sheer cathartic necessity of its creation.

The new moniker from Maltese wunderkind Neil "Acidulant" Hales, the album was formed during a turbulent period in the artist's life, when his father was seriously ill in hospital. Butterflies in Funerals is his way of expressing the complexity of emotion he was going through at the time.

"To me it all looked like a very dark movie," he says. "That's why the tracks are are at times cold or have a sad, emotional, or hopeful feeling."

Drawing on his impressive background in acid house and electro – with releases on Balkan Vinyl and Jack Trax – the album takes in mutant breakbeat, battle-scarred ambient, and tripped out 303 grooves, but pushes his sound further and deeper than ever before.

The album cover features specially designed artwork by rising star Fei Meng, who will be exhibiting at the Royal Society of British Artists later this year.

So in 2021 join Collateral Intelligence on a journey into the recesses of the soul, and emerge, purified, and ready for the rest of the trip.

NEIL ARDLEY – KALEIDOSCOPE OF RAINBOWS The Definitive 2LP Reissue of a Landmark in British Jazz Fusion
Analogue October Records proudly presents the long-awaited reissue of Kaleidoscope of Rainbows, Neil Ardley’s 1976 masterpiece, originally released on Gull Records. Produced by Neil Ardley and recorded at London’s famed Morgan Studios, the sessions were engineered and mixed by Martin Levan, capturing one of the most ambitious and beloved works in British jazz. Following the acclaimed reissues of Courtney Pine’s Journey to the Urge Within (AOR-001-ST) and Neil Ardley’s Harmony of the Spheres (AOR-002-ST)—both praised by the audiophile press including The Tracking Angle—this third release confirms Analogue October as one of today’s most meticulous and exciting reissue labels.
A Suite of Sound and Colour
Commissioned for the 1975 Camden Jazz Festival, Kaleidoscope of Rainbows is structured as a seven-part suite, each movement reflecting a colour of the spectrum. Ardley’s composition weaves together jazz improvisation, progressive rock energy, and orchestral elegance in one of the most imaginative British jazz recordings of the era. Featuring Ian Carr, Barbara Thompson, Tony Coe, Trevor Tomkins, and Geoff Castle, the album is a who’s who of the UK’s vibrant 1970s jazz scene.
Cut at Abbey Road, Pressed at Record Industry
For this definitive edition, Analogue October worked directly from the original Gull master tapes. Mastering was entrusted to Miles Showell at Abbey Road Studios, using his renowned half-speed process to extract every detail and dynamic from Ardley’s score. To give the music the headroom it deserves, the reissue has been expanded to a deluxe 2LP set, pressed on the highest-quality vinyl at Record Industry in Haarlem, Netherlands. The result is a presentation that finally does justice to the scope and brilliance of Ardley’s vision.
Deluxe Package – Restored from the Source
The artwork has been meticulously restored from the original film elements, ensuring a sleeve of unmatched vibrancy and fidelity. Inside, a 12-page booklet printed on heavyweight card features an in-depth essay on Neil Ardley and the making of Kaleidoscope of Rainbows, written by Jazzwise magazine editor Mike Flynn, alongside rare photographs from the period.
Curated and Produced by Craig Crane
As with every Analogue October release, Kaleidoscope of Rainbows has been curated and produced by label founder Craig Crane with a collector’s eye for detail and a deep respect for the music’s legacy. This reissue is not only the definitive vinyl edition of one of the great British jazz fusion albums—it also continues the label’s mission to restore and celebrate the most vital recordings of the era.
Neil Ardley’s Kaleidoscope of Rainbows—vivid, expansive, and timeless—returns as the essential edition for audiophiles and jazz lovers alike.
Retail-ready product description (short form):
Produced by Neil Ardley and recorded in 1976 at London’s Morgan Studios, engineered and mixed by Martin Levan, Kaleidoscope of Rainbows is a cornerstone of British jazz fusion. This definitive 2LP reissue, mastered at Abbey Road by Miles Showell from the original Gull master tapes and pressed at Record Industry (NL), finally gives the music the dynamic headroom it deserves. The deluxe edition includes restored artwork and a 12-page booklet featuring an in-depth essay by Jazzwise editor Mike Flynn.

BBE Music announces the first repress of the classic Roy Ayers albums ‘Virgin Ubiquity’ 1 and 2 since 2006, on luxurious 180g vinyl with brand new sleeve notes written by Sean P. The music on 'Virgin Ubiquity' was selected and mixed down from previously unreleased multi-tracks recorded between 1976 & 1981, which Roy had in storage. It's all unmistakably Ayers, but is diverse and fresh enough to be more than a mere adjunct to one of his most productive and popular periods - testament to his and his musicians' creative abilities, as much of most revered Ayers output stems from this time. These discoveries take their place beside some illustrious company in a timeline bookended by 'Everybody Loves The Sunshine' and 'Africa, Center Of The World', several solo and Ubiquity albums, collaborations with Wayne Henderson & Fela Kuti, as well as guesting on LPs by Buster Williams and Herbie Mann. Out of print on vinyl and CD for over a decade now, BBE is delighted to re- present these groundbreaking Roy Ayers titles, neatly coinciding with the 45th anniversary of his classic album ‘Mystic Voyage’ and a UK tour to commemorate it during April 2020.

Formed in Taipei in 2013, Scattered Purgatory (破地獄) has occupied a liminal space between drone, ambient, psychedelic folk and ritualistic kosmiche experimentation. Their early work, including ‘Lost Ethnography of the Miscanthus Ocean’ (2014) and ‘God of Silver Grass’ (2016), blended dense instrumental drones, improvisational guitar, and ambient textures rooted in the heat, humidity, and urban pulse of Taiwan. Over the years, the duo-turned-band has drawn on Krautrock, minimalist electronic music, and heavy drone traditions while remaining firmly grounded in Taiwanese geography and culture.

‘Post Purgatory’ emerges after a three-year hiatus following the pandemic, a period the band describes as pivotal to the album’s conception. “The feeling of loss and uncertainty has later become the inspiration of this record, and ‘time’ is the main theme – it can heal or it can destroy,” they explain. Musically and lyrically, the record traverses Taiwanese, traditional Chinese, and English, reflecting the multilingual fabric of Taipei life. While there isn’t a linear storyline, metaphor and poetry imbue the lyrics with reflections on love, loss, and the human experience, interlaced with influences of Hokkien and Mando pop and traces of trip-hop.

Recorded half in their home and half at the studio where they composed their first album, ‘Post Purgatory' integrates precision, clarity, and digital production techniques. Guest contributions—from White Wu’s dynamic drumming to Minyen Hsieh’s tenor saxophone and dotzio’s sci-fi-infused vocals—expand the band’s sonic palette, creating a doom metal record shaped by electronic sensibilities.

‘Post Purgatory’ is a statement of loss and re-empowerment, a bridge between their past and present. Through it, Scattered Purgatory reclaim their distinctive voice, presenting a sound that is at once rooted in Taiwan, informed by global musical traditions, and unflinchingly forward-looking.
credits

6 LPS, DVD, 40 PAGE BOOK, CASSETTE
AND FIGURINE USB DRIVE

Endless Pain
(Swirl vinyl with original artwork & inner sleeve)
Pleasure To Kill
(Splatter vinyl with original artwork & inner sleeve)
Terrible Certainty
(Splatter vinyl with original artwork & inner lyric sleeve)
Extreme Aggression
(Half/half vinyl with original artwork & inner lyric sleeve)
Coma Of Souls
(Splatter vinyl with original artwork & inner lyric sleeve)
Renewal
(Swirl vinyl with original artwork & inner lyric sleeve)
Some Pain Will Last DVD
Containing ‘From The Vault’ mini documentary, plus two previously unreleased audio live concerts and an Andy Sneap remix of Live In East Berlin 1990.

Formed in Essen, Germany in 1984, Kreator are arguably the most influential and successful European thrash metal band ever, like many of their European speed metal brethren, Kreator fused Metallica's thrash innovations with Venom's proto-black metal imagery. Often credited with helping pioneer death metal and black metal by containing several elements of what was to become those genres. The band has achieved worldwide sales of over two million units for combined sales of all their albums, making them one of the best-selling German thrash metal bands of all time. The band’s style has changed several times over the years, from a Venom-inspired speed metal sound, later moving in to thrash metal, and including a period of transitioning from thrash to industrial metal and gothic metal throughout the 1990s. In the early 2000s, Kreator returned to their classic thrash sound, which has continued to the present. Their last studio album ‘Gods Of Violence’ charted top twenty in ten countries, including a number one slot in their home country of Germany.

Released on Limited Edition Black Vinyl with a replica of the original sleeve and insert (300 Copies only). The beginning of the 1980s wasn't a great time to be young. Between 1979 and 1981 youth unemployment more than doubled to over 900,000. Many approaches were tried to tackle the problem and one of the more innovative was the Arts Opportunity Theatre a charity founded in Bristol by Reynold Duncan and Yvonne Deutschman. Financed by assorted public bodies, it aimed to train young people in a range of performing arts as well as the multiple skills needed to produce, organise and put on shows. Over a seven year period the Arts Opportunity Theatre put on a succession of shows not only locally, but travelling as far as the Continent and trained hundreds of young people in everything from music to book keeping. People who passed through the collective would go on to form the core of many local bands and be involved in a large proportion of Bristol music releases, especially reggae. The first show put on in 1981 and 1982 was "Freedom City" which prominently featured Zion Band. In May 1982 the Zion Band musicians from the show went into Right Track Studio in Bristol and recorded four vocals and two dubs that would be released the following January on a 12" single. Back in 2011 Bristol Archive Records included "Twelve Tribes" on a compilation and would later also compile "Babylon Fire/Babylon Dub", but the other three tracks could only be found on the scarce original 12" which in recent years has rocketed in price fetching in excess of £150. We believe music should be affordable and available so 2026 will see Bristol Archive Records reissue the Zion Band "Freedom City" 12" in it's entirety, complete with its original picture sleeve and insert with a limited pressing of 300 copies on black vinyl. This release is dedicated to the late Reynold Duncan RIP.

The duo’s debut album sets off on an airy, groovy odyssey.

Recorded at the legendary La Frette studio (Parcels, Fontaines D.C.), the album follows an extensive period of demo development.

Immersed alongside outstanding musicians, the team worked in a relaxed, old-school spirit: a handful of takes, tape recording, and analog gear. Plenty of space was left for ideas to emerge organically in the studio. The arrangements—synthesizers, flute, backing vocals, percussion—were then carefully refined over many months.



"Idésia" stands out for its delicate production, brought to life by Maxime Kosinetz on recording (Oracle Sisters, Bon Voyage Organisation), Stan Neff on mixing (Andrea Laszlo de Simone, Polo & Pan), and Chab on mastering (Daft Punk, La Femme).



The record unfolds across changing sonic landscapes, with Will’s voice gliding over melodies rooted in a bright, warm groove. A subtle blend of pop and Californian warmth runs throughout the album.

The album explores themes of childhood (Sur le Chemin de l’École, L’Île Perdue), ecstatic escapes (Holiday(s), Pas de Côté, Escalier), and simple pleasures (Le Bal, Cavalière de l’Aube). It also casts a poetic eye on the evolution of the world (Dernier Vol, Robot Rêveur, Balayeur de l’Espace). Will & Paul play with contrasts, shifting perspectives along the way.



"Idésia" is the imaginary world in which Will & Paul gracefully lose themselves - a suspended place between nostalgia and science fiction, as if their silhouettes were drifting from a bright, carefree past toward a place suspended in time.

With their third album, Inanimate Objects of the 21st Century, Newcastle’s The Pale White prove once again that there’s no slowing them down. Following the success of their introspective sophomore album The Big Sad, brothers Adam (vocals/guitar) and Jack Hope (drums) return louder, sharper, and more defiant than ever. This third full-length is their most expansive yet: a record that blends the anthemic punch of classic rock with the urgency and edge of modern alternative.The title, Inanimate Objects of the 21st Century, is a nudge to the uncomfortable irony of our time – as technology accelerates, humanity feels increasingly frozen in place. Lead singer Adam Hope says: “Technology is moving, but we are not. Human civilization entered the 21st century wide-eyed and naive with mobile phones that would barely fit in our pockets. Fast forward a few decades and we’re so far from where we were that it almost looks like a bad 80’s sci-fi movie. Back then, that film would be watched in packed-out cinemas after an eagerly anticipated release, but now they stand emptier than they once were, attended mainly as a nostalgic experience in the age of Netflix and doomscrolling.

The birth of AI, algorithms, cryptocurrency, drones, holographic concerts, autonomous cars… we’re living in a strange transitional period which is both fascinating and terrifying in equal measure. We humans have now in fact become the inanimate objects - mannequins.After our softer, melancholic second album ‘The Big Sad’, we felt it was only right to move as fast as our world is moving and release our next within the year. ‘Inanimate Objects of the 21st Century’ is the evil twin, the Yin to The Big Sad’s Yang.”

While many have tried to emulate the ancient German (black)thrash sound, CRUEL FORCE brimmed with an authenticity that could not be denied, as well as songwriting that added to that noble tradition rather than lazily picking at its corpse. Their two successive albums, 2010's The Rise of Satanic Might and 2011's Under the Sign of the Moon, made CRUEL FORCE a certifiably CULT name in the international metal underground. Sadly, the band fell into a hiatus following that second album, but returned reinvigorated with the comeback 7" EP Across the Styx in 2022 and, a year later, the glorious full- length Dawn of the Axe at the hands of new label home SHADOW KINGDOM. Continuing to make up for lost time, CRUEL FORCE storm back with swords gleaming high on their fourth full- length, Haneda.

Where a line could be drawn between the band's "first era" of The Rise of Satanic Might / Under the Sign of the Moon, so continues this Second Era that began with Dawn of the Axe - one that harkens to the "Jurassic period" of heavy metal, when everything was rawer, less polished, and more energetic and powerful. As displayed by that pivotal predecessor, Haneda further proves that CRUEL FORCE are more so an old-style speed metal band, largely bereft of that blackened edge during their First Era. The tradeoff is that there's a prominent mysticism coursing through that speed, and the blue-collared aspect of Dawn of the Axe is now spit-shined to a lethal slickness that makes Haneda hit that much harder.

However, it must be stressed that, while it follows logically from Dawn of the Axe, Haneda is very much its own headspace, its own continuation of a still-vital aesthetic. At times more epic, exuding both more and different atmospheres, CRUEL FORCE here take the listener on a journey from old temples to desert planes, from deep jungles to mountain tops, and other mysterious locales beyond; indeed, the whole record is like a journey through mystical realms. Although no concept album, Haneda is very conceptual in its aesthetics, even down to its production: BIG and naturaltoned, from the guitars to especially the drums, everything here is as '80s and authentic as possible, underlining

Manfredi Romano, founder and A&R of Life and Death Records, has been a pivotal figure in electronic music for over two decades. This year marks an important milestone as he is invited to curate the upcoming fabric presents mix for fabric Records, a release that highlights his instinctive storytelling and the distinct musical identity he has cultivated throughout his career.

Manfredi’s journey began in Italy around the turn of the millennium, tour-managing punk bands and organizing left-field music events before completing his studies in computer science at the University of Pisa. He went on to form DAZE, Italy’s first booking agency dedicated exclusively to electronic music, laying the groundwork for what would become a globally influential presence in the scene.
In 2010, he shifted focus to his own artistic project, DJ Tennis, which quickly gained international recognition for its emotive blend of house, techno, and disco. Renowned for creating intimate atmospheres in even the largest spaces, DJ Tennis has performed at leading clubs such as Circoloco Ibiza, Fabric London, and Panorama Bar Berlin, and at major festivals including Sonar, Timewarp, Primavera Sound, and Coachella. His 2022 residency at Phonox in London further showcased his ability to shape dancefloors with nuance and depth. Since 2017, he has also co-founded and curated Rakastella, the celebrated Art Basel Miami festival created in partnership with Life and Death and Innervisions.

As a producer, DJ Tennis draws from early relationships with post-rock pioneers such as Godspeed You! Black Emperor, Tortoise, and Fugazi, channelling their influence into intricately layered electronic compositions. His work has appeared on respected labels including Kompakt, Rhythm Assault, Running Back, !K7, Cercle Records, Aus Music, and Circoloco Records, alongside frequent releases on Life and Death. His remix portfolio includes collaborations with Diplo, Boys Noize, Loco Dice, WhoMadeWho, and Acid Pauli, among many others. He has also previously contributed a DJ-Kicks mix, bringing his eclectic sensibilities to one of electronic music’s most beloved series.

After extended periods living in Miami, Berlin, and Barcelona, DJ Tennis now resides in Paris. Outside the studio and club environment, Manfredi is a passionate chef who has curated menus for charity events and collaborated with Beatport at ADE, Pioneer, and Resident Advisor. He is also an avid collector of bicycles, vintage action figures, and vinyl — his record collection now surpasses eleven thousand pieces.

With the forthcoming fabric presents DJ Tennis release, he offers a deeply personal, narrative-driven statement that reflects decades of crate-digging, boundary-pushing selections, and a lifelong devotion to sound. It marks a new chapter in his artistic evolution and stands as one of the year’s most anticipated entries in the iconic series.
The first single from DJ Tennis is a collaboration with long-time studio partner Ashee, and it immediately sets the tone for the mix: warm, seductive, rhythm-driven, and emotionally charged.

“I Wanna Know” is a sleek club track built around a pulsing groove and a steady, hypnotic rhythm. The low end is rounded and warm, giving the track a driving but understated momentum. Percussion is crisp and minimal, allowing the bassline and vocal elements to take center stage. The repeating, robotic earworm of a vocal hook, “I wanna know’ is the lynchpin to the track and will remain in your head long after the track has finished.

It’s the kind of record that warms up a room early in the night, sets the tone for a sunset beach set, or adds a lush, emotional peak during a more leftfield club moment.

The definition of the word 'fado' is technically 'fate', though the Portuguese meaning bound up with this term is more complex. The music itself can be fairly closely compared with that of Greek rebetika - also the American blues or the original working-class tango music of Argentina and Uruguay - and similarly takes it's common subject matter from the various cruel realities of the world. Though perhaps what distinguishes fado in character is it's often poised acceptance of the pains of life rather than protestation or resistance - as writer Paul Vernon says "It speaks with a quiet dignity born of the realisation that any mortal desire or plan is at risk of destruction by powers beyond individual control"

Death Is Not The End compile here a spine-tingling collection of fado recordings, taken from records issued in the mid 1910s through to the 1930s. The fado's Lisbon and Coimbra variants are presented here by some of the music's earliest recorded stars - spanning a time period leading up to the emergence of the fado's all-conquering star, Amália Rodrigues.

This is a special work by acclaimed composer and musician Adriaan de Roover, who has released records on Dauw, VIERNULVIER, PIAS, and Consouling Sounds. Chansons de trottoir / Stoepliedjes documents his relationship to sampling in the form of a radio play.

Originally created as a radio piece for Resonance FM in Manchester, the album is a sonic portrait of a walk through Brussels. It is constructed from two field recordings: one made during a walk from Metro Midi towards Adriaan’s home, and another recorded on a walk towards Flagey. Rather than foregrounding recognizable landmarks, the piece focuses on the pavement underfoot: the steady, repetitive rhythm of footsteps on sidewalk tiles.

The recordings are mixed with samples from the music of the Brussels hip-hop group STIKSTOF. Their music became the soundtrack to a period in which Adriaan’s desire to move from Antwerp to Brussels began to take shape. Through repeated listening, the city of Brussels gradually revealed itself to him. This experience echoes that of countless music fans who, while listening to The Beatles, imagine what Liverpool might be like: a city revealed through sound and myth, often crystallized in lukewarm Hard Rock Café–style projections.

Chansons de trottoir / Stoepliedjes is an exercise in sampling and an exploration of how one might find a personal place within the music of others. It frames appropriation as an attentive and considered act. Suspended between memory and imagination, the piece exists closer to a dream state than to reportage.

Zooparty sind international betrachtet so etwas wie Spätzünder, wenngleich sie in der skandinavischen Punkszene seit zwei Jahrzehnten eine high credibility genießen (Skrutt Magazine: "So damn good, I really love this group") und Kenner ihre Alben im Plattenschrank schon lange wie einen raren Schatz aufbewahren. Als die Band 2024 ihr Album "No matter what you say" veröffentlichte, bemerkte nicht nur das legendäre "Maximum RocknRoll" US-Magazine, dass "I am, in fact, late to the party with this band. Fortunately, they're still raging. They fucking rock Yay, I love this. Hats off " Die mitreißende Mixtur aus poppigem Punk, englischem 77er-Punkrock, Glam und ehrlichem Streetrock'n'Roll. (Ox-Fanzine) spricht eigentlich für sich selbst und obwohl Punk-Legenden wie Glen Matlock von den Sex Pistols, Brian James/ The Damned und sogar KISS-Gitarrist Bruce Kulick ihr Potential erkannten und Songs mit Zooparty aufnahmen, sind die Schweden einfach immer zu bescheiden gewesen, um sich groß ins Rampenlicht zu rücken. Eigentlich ist jedes ihrer Alben bisher ein Volltreffer gewesen oder wie schon Englands Mass Movement Fanzine 2018 schrieb: "If you like your punk with a pop edge and relish the classic Fat Wreck Chords period, then Zooparty may well have created your favourite album of the year! Pogo, pogo!" Ihr neues Album "XX" zum 20jährigen Jubiläum steht dem in nichts nach. Jede Band bezeichnet ihr neues Album als "Ihr Bestes". Zooparty darf man das aber getrost glauben: "XX" ist voller fesselnder Punkrock-Songs, die Aggression mit Wut, Verzweiflung und der klarer Message mit einem Sound verbinden. Mit Lieder wie "Stop it now" und "An eye for an eye" fassen sie alles zusammen, was Punk seit Jahrzehnten so faszinierend macht, bringen es in die Zukunft und machen daraus ihre eigene, "pogotastische Mischung" aus Tragik und Melodie. Mit dem Black Sabbath-Cover "Never say die" verabschieden sich Zooparty zusammen mit "Nomads"-Gitarrist Hans Östlund auf ihre Art von der Legende Ozzy Osbourne. Apropos Sound: Mastermind Chips Kiesbye (Sator, Nomads, The Hellacopters, etc) hat es sich auch diesmal nicht nehmen lassen, das Album zu produzieren.

Zooparty sind international betrachtet so etwas wie Spätzünder, wenngleich sie in der skandinavischen Punkszene seit zwei Jahrzehnten eine high credibility genießen (Skrutt Magazine: "So damn good, I really love this group") und Kenner ihre Alben im Plattenschrank schon lange wie einen raren Schatz aufbewahren. Als die Band 2024 ihr Album "No matter what you say" veröffentlichte, bemerkte nicht nur das legendäre "Maximum RocknRoll" US-Magazine, dass "I am, in fact, late to the party with this band. Fortunately, they're still raging. They fucking rock Yay, I love this. Hats off " Die mitreißende Mixtur aus poppigem Punk, englischem 77er-Punkrock, Glam und ehrlichem Streetrock'n'Roll. (Ox-Fanzine) spricht eigentlich für sich selbst und obwohl Punk-Legenden wie Glen Matlock von den Sex Pistols, Brian James/ The Damned und sogar KISS-Gitarrist Bruce Kulick ihr Potential erkannten und Songs mit Zooparty aufnahmen, sind die Schweden einfach immer zu bescheiden gewesen, um sich groß ins Rampenlicht zu rücken. Eigentlich ist jedes ihrer Alben bisher ein Volltreffer gewesen oder wie schon Englands Mass Movement Fanzine 2018 schrieb: "If you like your punk with a pop edge and relish the classic Fat Wreck Chords period, then Zooparty may well have created your favourite album of the year! Pogo, pogo!" Ihr neues Album "XX" zum 20jährigen Jubiläum steht dem in nichts nach. Jede Band bezeichnet ihr neues Album als "Ihr Bestes". Zooparty darf man das aber getrost glauben: "XX" ist voller fesselnder Punkrock-Songs, die Aggression mit Wut, Verzweiflung und der klarer Message mit einem Sound verbinden. Mit Lieder wie "Stop it now" und "An eye for an eye" fassen sie alles zusammen, was Punk seit Jahrzehnten so faszinierend macht, bringen es in die Zukunft und machen daraus ihre eigene, "pogotastische Mischung" aus Tragik und Melodie. Mit dem Black Sabbath-Cover "Never say die" verabschieden sich Zooparty zusammen mit "Nomads"-Gitarrist Hans Östlund auf ihre Art von der Legende Ozzy Osbourne. Apropos Sound: Mastermind Chips Kiesbye (Sator, Nomads, The Hellacopters, etc) hat es sich auch diesmal nicht nehmen lassen, das Album zu produzieren.

E The Artist presents Six, his debut album for Nyahh Records; an incendiary opus of blown-out electronics and daring sonic abstractions, inspired by the seven seals, that posits E as a daring force within the Irish underground.

Garnering a fierce reputation both in Ireland and abroad despite minimal recorded output, the artist known as E instead boasts his infamy on the live circuit. The Nigerian-born, Dublin-based musician impressed over the years with a slew of memorable performances inspired by AfroPunkism, recontextualising contemporary black club genres into their loudest and most intense iterations. Following a brief side quest to Vienna early in 2025, E returned to Dublin relieved by the tangibility in familiarity of his surroundings. This inspired a period of personal reflection on self, mortality and religion in his cramped studio; from these sessions emerged his most substantial body of work to date in Six.
Inspired by the opening of the seven seals in the Book of Revelation, Six acts as a radical departure for E. Opener IDTYEK signals this change, a freak folk oddity that ill-prepares you for the road ahead. From MANTRAS’ obtuse techno through to RISE’s power electronics, E fulfils a listening experience intent on submission rather than interpretation. Dynamic contrasts temper the parameters of its sonic catharsis, a crescendo of geometric flow that challenges convention.

Six also extends the artist’s circle of collaborators. Ruby Eastwood and Mel Keane lend BRIDGE their poetry and creative instability respectively, frequent live collaborator Julia Louise Knifefist douses BLACKOUT with his signature guttural cries while KRAF’s obscured lyrics gives LINT a wayward edge. Bulgarian Umbrella offers the record its most substantial contribution on DROGO, a twenty minute meditation on life and death which forms the core inspiration for the album as a whole.
Six exists as a world obsessed with rationalising finality, a disorienting space between certainty and myth that stands as E The Artist’s most ambitious and strangely beautiful work to date.

New “Inversions” of drone rock pioneers Earth’s debut release. A collaboration between Dylan Carlson and Black Noi$e (Armand Hammer, Danny Brown, Earl Sweatshirt) formed in mutual respect and appreciation for one another. Both artists were intrigued by the creation of vast musical landscapes and the connection of music, with its ability to transport the listener. The music of Earth was recognised and celebrated for moving at a glacial pace and yet this new collaboration surprisingly saw Black Noi$e slowing things down even further.
The debut, which originally came out in 1991, notably featured Kelly Canary and Kurt Cobain on vocals on the tracks “A Bureaucratic Desire for Revenge Part 2” and “Divine and Bright”. Black Noi$e reimagines the original recordings with his experimental sensibility and innovative multi-instrumental, cross genre exploration. Applying contemporary electronics to the heavy droning bass and guitars and languid rhythms, this inversion oscillates and reverberates with a different kind of energy whilst simultaneously highlighting the much loved low slow and distorted properties of the original.

‘Extra Capsular Extraction’ was the first music Dylan made with Earth and his first time in a recording studio, which he recalls at the time as being “terribly exciting”. It also marked the first time collaborating with others and seeing it reified into a tangible object or product, a spirit that Dylan has carried through to the present. The original album is a document of a specific period and Dylan’s creative development. These inversions of Extra Capsular Extraction are, to quote Dylan, “an exciting way to reintegrate them into the present time and with my more expanded conceptions of musical endeavours”.
"Doom-metal innovators" Pitchfork.

"With guitars ramped up to the nth degree, but tuned to gut-wrenchingly low frequencies, Earth carved out a veritable canyon of pure molten drone, one which would have a profound influence on modern metal music." The Quietus

Spanning dance and indie movements since their formation in Liverpool at the end of the last millennium, Ladytron have earned a unique position by carving out new sonic and conceptual space, and refusing to abide by formula or trend. In the early 2000s, the fiercely individual group were placed at the forefront of the so-called electro-clash scene (which now enjoys another revival), but with time, they came to appreciate the pop cultural moment that they had reluctantly become part of. The new album follows a period of renewed cultural presence for the band. Their 2002 single "Seventeen" unexpectedly went viral on TikTok, introducing Ladytron's sound to a new generation and amassing hundreds of thousands of fan- made clips. Their legacy was further acknowledged recently with "Destroy Everything You Touch," one of their most celebrated tracks, featured in the GRAMMY- nominated original Motion Picture Soundtrack of cult movie Saltburn, reaffirming Ladytron's enduring appeal

Brendan Eder follows up minimalist 70s-jazz concept with new ambient-classical album, THERAPY. Brendan Eder is a Los Angeles composer and drummer best-known for his eponymous genre-bending ensemble of woodwinds, drumset, and bass; as well as his film scoring work, most notably on four short films for director Ari Aster. On March 3, 2023 Eder released his third album, THERAPY, a collection of meditative woodwind arrangements recorded primarily at Church of the Good Shepherd in Arcadia, California.

The quest for THERAPY came during a period of deep spiritual curiosity. Eder was avidly watching testimonies of near death experience survivors (NDEs), pouring over books of Theosophical artwork and philosophy, and
processing experiences of grief, uncertainty and spirituality.

Eder wanted to explore the threshold between the spiritual and physical dimensions, and create music that could evoke its shape and texture — a theme further illustrated in the original album artwork and single covers by Adam Rabinowitz. Eder felt he must be on to something when, on a whim, he looked up the tempo of a piece he was calling “137 Riddle.” Turned out to be “the most important number in the world” in theoretical physics, as well as a provocative number in Jewish mysticism.

Since 2020, Eder's cover of Aphex Twin's “#20 (Lichen)” has garnered over two million streams. Appropriately, THERAPY delivers two new Aphex Twin arrangements alongside eight original pieces.

Maintaining his track record of recording the best musicians Eder can find, THERAPY features special guests Nailah Hunter (harp), Henry Solomon (saxophone), and Ethan Haman on The Newberry Memorial Organ at Yale University.

Released in 1967, Open marked a bold debut for Brian Auger & The Trinity, featuring the dynamic vocals of Julie Driscoll. Music and its makers were rapidly evolving in ‘67, the UK's Jazz and R&B scenes were being influenced by pop and psychedelia and socially, musicians of many styles found common ground in London’s clubs like The Cromwellian and The Scotch Of St James where the The Beatles, US legends Wilson Pickett and Jimi Hendrix mingled with the capitals jazzers and pop stars, often loudly jamming together in even louder 'Lord Byron' shirts. 'Open' fully embraced this spirit by fusing together those genres and attitudes of the era. From the outset Auger displays his jazz rooted approach on the A side with 'In and Out' and 'Isola Natale' (later covered by one of his American jazz heroes Richard ‘Groove’ Holmes). Both showcase the Trinity's musicianship and Brian's improvisational flair. Auger himself takes on vocal duties on the raucous ‘Black Cat’, a track that became a club hit. Open is marked by its eclecticism; 'Lament for Miss Baker' is a tender, piano ballad influenced by Duke Ellington, reflecting Auger’s jazz and classical influences whilst 'Goodbye Jungle Telegraph' is a wild and crazy percussive freak out. Brian displayed not only his virtuosity but also his surrealist sense of humour with bizarre sound effects, inspired by Spike Milligan's The Goons' radio show interspersed between the tracks.

Julie Driscoll’s arrival on the album’s B side brings a sharp shift in tone. Her smoky, emotive vocals inject a soulful depth, notably on covers of Otis Redding & Carla Thomas hit 'Tramp', Aretha's 'Save Me' and The Staples Singers ‘Why Am I Treated So Bad". With original numbers 'Break It Up' and 'A Kind Of Love In' we hear the Auger / Driscoll pop infused R&B at its very best, whilst the version of Donovan’s 'Season of the Witch' stretches out into a slow-burning epic. In 2025, Open is viewed as a cult classic and testament to a unique period when genre boundaries were fluid and artistic risk-taking was the norm. Brian Auger & The Trinity’s debut captures the adventurous energy of the late 1960s. 58 years later, its importance in the development of British jazz fusion and progressive bands that followed is undeniable, with The Charlatans Tim Burgess recently commenting on Auger's Instagram that The Trinity were a 'huge influence'.

Delphine Dora, the prolific French composer and multi-instrumentalist, graces Marionette with a suite of keyboard instrumentals that evoke futurism and the transcendental. Based in France and actively releasing music since the 00’s, Delphine’s remarkable solo and collaborative projects loosely connect the dots scattered across modern classical, folk, ambient, and poetic writing - always seeking new ambitions in terms of her sound.

Leaving behind the chaos of city life for the quiet solitude of a small village in the French countryside, Delphine finds herself fully immersed in the present moment and committed to her multi-disciplinary creative practices, savoring the experiences of deep listening in nature and her environment. Drawing from an academic background in Outsider Art and Art Brut, Dora yearns to express intimate inner dialogues, revealing the beauty of vulnerability through transportive musical passages to the mystical and sublime.

L’inéluctable pulsation du temps was composed in 2018, at a time when Delphine’s life was becoming increasingly busy, marked by relentless touring and concerts unfolding in rapid succession across different places. Written in parallel with L’Inattingible, her most ambitious album, it stands as its instrumental counterpart. The recordings reflect a period of exploration and assimilation of the Nord Electro, an instrument that opened up vast sonic possibilities, particularly for the development of rich polyphonies inspired by repetitive music. The track titles draw inspiration from an essay by Hartmut Rosa on the notions of acceleration and alienation - a reflection that resonates strongly with the pre-covid era right before the quarantine. The album reveals Delphine’s most colorful and rhythmic side, an aural mille-feuille, in total contrast with her previous melancholic vocal works.

On L’inéluctable pulsation du temps, Dora sustains atmospheric drone miniatures that form the foundation for flowing, cyclical arpeggios, spiraling into a liminal dream space where the repetitive phrasing of melodies rewards introspective listening. The compositions move through (dis)enchanted landscapes, taking unexpected turns into more haunted terrain, their contours further blurred by Dora’s intuitive articulation and sense of refinement. By mirroring both the acceleration of time and the experience of alienation, Delphine conjures up timeless sonic meditations, rendering the inevitable pulsation of time as something at once mesmerizing and unsettling.

Soft Echoes presents the first physical edition of ‘In a Few Places Along the River’ by Abul Mogard as a limited run of 500 vinyl copies. Originally released digitally in 2022, the album now appears in its intended form, marking the label’s second release.

Three long pieces, composed between 2019 and 2022, emerged from Mogard’s meticulous experimentation with analogue and digital instruments. Slowly evolving harmonic fields of layered drones and spectral textures drift across the record. They are enhanced by reverb from Scotland’s Inchindown oil tanks, which hold the longest reverberation of any man-made structure, giving the music a haunting resonance and a sense of suspended space.

‘Against a White Cloud’ and ‘In True Contemplation’ open the album with their nocturnal tones that gradually intensify into dense, immersive waves of sound. Side B is devoted to the 21-minute elegiacal piece ‘Along the River’, which flows between weight and silence, unfolding with reflective depth and moments of subtle transcendence. As one listener observed, “His music doesn't break the wilful suspension of disbelief: you stay in its trance.”

“Recording for this album began in 2019, when I was still living in London,” Mogard explains. “The first version of ‘Along the River’ was created at my studio near Brick Lane. It started with experimenting around a chord progression inspired by a classical piece I had once been recommended, though, strangely enough, I no longer recall what it was. Early in 2022, I revealed the identity behind Abul Mogard and wanted to mark this new period, so I decided to release it quickly, by myself, as digital-only.”

After returning to Rome, Mogard created the other two pieces, working with new digital instruments alongside his modular synthesiser, and integrated recordings from the London sessions. The music reveals a patient attention to texture and space, defining his usual restraint. Mogard adds, “I was trying to explore very subtle changes in the spectral characteristics of the music using extremely slow, intertwined tones.”

Described by critics as one of Mogard’s most melancholic and absorbing releases, the album maintains an austere beauty and contemplative weight, leaving a lingering impression that lasts far beyond the final note.

The music has extended beyond the album itself, with tracks appearing in films and contemporary artworks. Most notably, Swedish artist Peder Bjurman’s ‘Slow Walker’ audiovisual installation and French filmmaker Fleuryfontaine’s politically charged animated film ‘Soixante-sept millisecondes’.

Mastered by Rafael Anton Irisarri and cut to vinyl by Lupo, the record emphasises the clarity and depth of Mogard’s frequencies, with each layer precisely balanced. The cover artwork and design are by Marja de Sanctis, who has collaborated with Abul since his first cassette release in 2012.

Death Is Not The End present a compilation gathering a cross-section of early gospel choirs and vocal harmony groups recorded between late 1920s and the mid-1950s - a period when spirituals & jubilee traditions merged with blues, jazz and early rhythm and blues, providing the musical routes for the coalescence of the civil rights movement born out of the black church. In the modern world these perennially vital recordings provide a fitting tonic for the near-dystopia we find ourselves living through.

Global Aura Records is back after a long period of silence with this awesome goa fullon psytrance release from Antidot (FR). This upcomming multitalent is wellknownfrom his livesets with Dica and to make this release extra special; he invited Jape Du Marie to do a remix of his track "Astral". This is just the beginning !!! Global Aura is amember of the Flatlife Records Labelgroup.

After being out of print for a good number of years, we are making 15 titles out of our Elvis Presley back catalogue available again between August 2025 and February 2026. Each title will see two different editions: one on regular-coloured vinyl and one very limited on mix-coloured, marbled vinyl, both housed in deluxe sleeves with a linen look and feel.

That’s The Way It Is is Elvis’ 12th studio album, consisting of eight studio tracks recorded at the RCA studios in Nashville and four songs performed live at The International Hotel in Las Vegas. It accompanied the theatrical release of the eponymous documentary film, although it is not generally considered a soundtrack album.

Added to this definitive 4LP legacy edition are four single sides from the period and a selection of fly-on-the-wall outtakes from the June Nashville sessions that produced the majority of tracks for the LP. Disc 3 and 4 feature the first complete release of a concert from Elvis’ 1970 "Summer Season” recorded on August 12. The 20-page booklet features an insightful essay, photos and memorabilia.

That’s The Way It Is (Legacy Edition) is available as a limited edition of 500 individually numbered copies on yellow and black marble vinyl.

BBE Music presents J Jazz volume 3, the latest in its definitive compilation series exploring the finest modern jazz from Japan. Since the first volume in February 2018, the J Jazz compilation series has showcased some of the most creative, inspired and sought-after jazz recorded in Japan during a golden period spanning the 1960s to the 1980s. Illustrating the richness and versatility of the composers and musicians on this collection, the music spans a wide yet coherent range of styles: samba, funk fusion, modal, spiritual, post-bop and bossa all combine to present an aural portrait of a jazz scene that was constantly moving and shifting its multiple musical centres of gravity. Mastered at the Grammy-nominated Carvery studio in London, many of the tracks featured are reissued for the first time, including mega-rare private press cuts from the Yasuhiro Kohno Trio, Masaru Imada Trio, and Hideyasu Terakawa Quartet. There’s heavy post modal bop by J Jazz legends Kohsuke Mine and Koichi Matsukaze; samba heat from Tatsuya Nakamura, Hideo Shiraki and Seiichi Nakamura; and funky dance floor energy by Hiroshi Murakami, Ryojiro Furusawa Quartet and Shigeharu Mukai. Selected albums from which the tracks are drawn will be reissued in full as part of the acclaimed BBE Music J Jazz Masterclass Series. Released as a deluxe, heavyweight x3 vinyl set in a gatefold sleeve with obi strip and insert, the collection comes with extensive artist biographies and track information. J Jazz volume 3 is also available in a x2 CD set with three bonus tracks, and selected tracks are available across digital platforms for download and streaming. J Jazz is conceived, compiled and annotated by Tony Higgins and Mike Peden for BBE Music.

Never-before-heard psychedelic acid techno and ambient compositions from beloved Japanese producer Susumu Yokota. Recovered from a collection of DAT tapes gifted by Yokota to Ray Castle during the period he released some of his most memorable records such Acid Mt.Fuji or Ebi's Zen.

A fortunate meeting between Ray Castle and Transmigration label boss David Fogarty means these works finally see the light of day.

West Hill Studio is the place where the sound that has defined all the productions and artistic projects connected to the Periodica Records label was developed.
 Located in the hills of Naples, it’s a private recording studio immersed in a small woodland and isolated from the city. A small wooden lodge and vintage equipment made it possible to create and convey, through music and ideas, a precise musical aesthetic that transcends contemporaneity and current trends.
The catalogue is personally curated by Mystic Jungle – born Dario Di Pace – music and executive producer and founder of both Periodica and Futuribile, released exclusively on vinyl and in limited editions. Well known for a distinctive sound that has unpredictably ranged from mutant-disco to soft-rock and reggae-inflected explorations for over a decade, he now presents two new electronic funk/rock tracks in collaboration with Serbian guitarist Igor Sekulovič. A pair of deliberately raw cuts, with the B-side conceived as an homage to a seminal 1985 digital reggae riddim built from a preset on the Casiotone MT-40

8-page lyric / drawing booklet, glossy poster, download card (inc. mp3s), white inner paper bags, sticker on cover.

After 7 strange years of relative silence, and 13 years of being a band, Dog Chocolate have returned with ‘So Inspired, So Done In’. Their fourth album is their most focused, cohesive and song-y yet. They still sound like a bin full of wasps, but now the bin has double-cream or a Viennetta or something at the bottom. While many of the 16 songs on here barely make it past the 3-minute mark, each one is bursting with all the textures and colours of an office cupboard: full of old sweets, fluorescent markers, and multiple ways to fix paper together.

Thematically, a lot of ground is covered, with songs tackling subject matter as diverse as overheard conversations, healing fungal toenails, the Rogerian concept of the Actualising Tendency, bronze age living conditions, dreaming songs into being and human-plant relations. Work (and anti-work) is a recurring theme, as is artistic inspiration and burnout. Dog Chocolate revel in the mundane and incidental, to explore bigger, existential questions. Recorded and mixed by POZI’s Toby Burroughs and mastered by Sofia Lopes, ‘So Inspired, So Done In’ charts a long and confusing period in the band’s collective life, marked by major life changes, losses and shifts, colouring the band’s trademark frantic, daft and anxious energy with a contemplative glaze. Dog Chocolate continue to investigate their internal and external landscapes with playful curiosity, frustration, silliness and empathy.

Pre/history of the band: In the early 2000’s Andrew (vocals), Rob (guitar, vocals) and Matthew (guitar, vocals) played together as teenagers in South-East London-based maximalist, costumed surrealist punk band Yeborobo. They met drummer Jonathan playing with his instrument-swapping masked band Limn at art space Utrophia in Deptford. Later, when both bands had split, Dog Chocolate formed with a shared desire to make a band that was simpler than their theatrical past: small amps and light guitars, no more than 2 drums at any one time, a keyboard no longer than a ruler and a shared ethos… “it’s about giving a shit, but at the same time not giving a shit, but not ‘whatever’, not giving up never!”. The band floated the term “pencilcase punk” to describe their jumbled, colourful, dense and instant music.

Dog Chocolate built on this early scrappiness, bedding into their sound over several albums. Their first “Or” (2014) was a split with Ravioli Me Away, soon followed by “Snack Fans” (2016) and “Moody Balloon Baby” (2018). Along the way they played gigs with bands as wide ranging as Deerhoof, No Age, Dry Cleaning, Palm, Daniel Wakeford, Shopping and Pozi.

With a tendency to converse with each other both lyrically and musically cultivated over many years, the members of Dog Chocolate bounce off each other, respectfully disagree, try to make each other laugh and share some of their most vulnerable feelings with each other. ‘So Inspired, So Done In’ is their own unique offering during these unsteady times: a language of friendship translated into songs.