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2025 Repress

JKS is back on his own imprint. Together with Bailey Ibbs they have collaborated on a groundbreaking EP. This partnership encapsulates the evolution of techno, blending spiritual intros, vibrant vocals, and pulsating rhythms. Each track offers a captivating journey, reflecting the creative depth of Smile Sessions and the philosophy of the label.

Drawing from diverse influences, yet meticulously guided by a singular artistic vision, this EP promises to immerse listeners in a hypnotic journey. From the captivating "It's a Vibe", fusing tribal and soulful techno, to the intense "Tempo," paying homage to 2000s-influenced techno, each track on the EP showcases meticulous curation.

"Shake" stands as a collaborative gem, melding distinct sounds into a driving techno groove enriched with warm, progressive tones and organ textures, while "Rituals" closes the EP with tribal-infused vibes and a seductive vocal flair, ending on a emotional note with its melancholic synth conclusion.

Making this album was an absolute joy. We used Rothko’s artwork as a major influence. His use of colour fields, blending, mood and scale really helped us build an album of tracks that could stand on their own and also work together as a coherent whole across all the tones we had been working with. It was also a chance to fall back in love with our 909, 808 and 707.

While working on music for several other projects, the “Rothko” project got renamed Loud Ambient because it did not really sit right with the My Brutal Life series. We often talked about what people make of The Black Dog and whether they think we only make ambient music. We do not. Over the last year or so, one of us would be working on something and someone else would say, “That is a Loud Ambient track.” The name stuck. We liked the funny side of it.

With Loud Ambient, everything just fell into place creatively. Surprisingly for us, the tracklisting never changed, just small tweaks here and there. That rarely happens. It marks a first for us as a band. All the stars aligned and the confidence in this album is the strongest we have ever had.

Loud Ambient was made to dance to, something we have not done in a while. We welcome the return to the dancefloor with both hands. Will you join us?

“sitting in the terminal at Barcelona airport, health safety warnings echo through empty architecture. feeling slow, and fast, out of sync with rituals and routines. structure and rhythm disintegrate into micro gestures appearing in random order, a daily psychedelia... amid all of the chaos and distraction in the last few years, it’s only through letting go that I've found solid ground to stand on.”

These are some of the experiences and reflections that gave shape to Slipstream, a hallucinatory mini-album by the artist PVAS and the fourth release on Objekt's label, Kapsela. Slipstream is an aural document of PVAS's interior life, conceived not as a grab-bag of DJ-friendly tracks (although it’s clearly inspired by the club) but as a single, delicately crafted artistic statement. The entire record is shrouded in a flickering haze, worn through by smudged breakbeats and wiry drum machines. “Wetland”, with its swampy percussion and crystalline arps, echoes T++ and Kraftwerk. The radiant incandescence of “Gathering Drift” recalls GAS or Monolake's “Hong Kong.” Sampled breakbeats dip and swerve asymmetrically through “Boba” and “Terminal”. Across the record, textures and voices are reshaped by PVAS's homemade algo-software, UMT, which, in PVAS’ own words, “reconstructs one audio file by sampling another, resulting in output that merges their aesthetic qualities, creating rhythm with non-rhythmic sound files and abusing the stereo field.” But the most striking union of technology and poetic self-exploration comes at the end of the record, in the title track, from words murmured through a classic vocoder:



“when i stop framing myself as a boundaried stone

immovable, and powerful, and heavy

when i stop figuring my deepest space as my own

something which i am solely responsible

i surrender, i surrender”



PVAS is Jordan Juras, a Berlin-based artist who grew up outside of Windsor, Ontario. He has released solo EPs on Isla and xpq?, and is half the duo NUG (3XL, West Mineral Ltd.). In addition to developing music software professionally, he has used his UMT software on records by Lyra Pramuk and Dylan Kerr. Slipstream was recorded from 2022 to 2025.

Written and produced by PVAS

Mixed by TJ Hertz

Mastered by Anne Taegert at D&M

Artwork and design by Brodie Kaman

Indo Warehouse presents ‘Bombay Acid’ on Crosstown Rebels, featuring Kunal Merchant and Raja Kumari. The hypnotic new single, fusing heritage and future-focused touches, lands with a remix from SYREETA

Making their debut on Crosstown Rebels, New York collective Indo Warehouse unveils ‘Bombay Acid’. The release is a collaboration between co-founder Kunal Merchant and acclaimed vocalist Raja Kumari, capturing the Indo Warehouse ethos: hypnotic grooves, ancestral textures,and underground energy fused into one expansive, ritualistic journey.‘Bombay Acid’ pairs Merchant’s meticulously layered production, melding deep, hypnotic grooves with textures drawn from South Asian musical traditions, with Kumari’s commanding vocals. The track unfolds as both a club-ready cut and an immersive ritual, bridging cultural heritage and contemporary electronic sounds. A Grammy-nominated rapper, singer, and classically trained dancer, Raja Kumari bridges Indian tradition with contemporary global music. She has collaborated with Timbaland, Dr. Dre, Gwen Stefani, John Legend, and Iggy Azalea, and has performed at Coachella, Wireless, and India’s NH7 Festival. Her imprint, Godmother Records, and projects such as ‘The Bridge’ (2023) and ‘Kashi to Kailash’ (2025) explore resilience and spiritual depth, making her one of the most distinctive voices in modern music.

On the flip, SYREETA delivers a striking rework. Authentic and fearless, the UK favourite has shattered glass ceilings while drawing on chunky basslines and energetic grooves from house and techno to craft her own sound and style. Her remix injects ‘Bombay Acid’ with that signature low-end punch, while driving and harnessing the track’s cosmic energy for late-night dancefloors.Kunal Merchant has spent years building a sound that is simultaneously drawn from his South Asian lineage and futuristic. From appearances at Coachella, Hï Ibiza, Fabric London, and Brooklyn Mirage, to releases across the Indo House spectrum, he has become a central figure in shaping the genre and bringing South Asian voices to the global electronic stage. Indo Warehouse, co-founded by Merchant and Kahani in 2022, has evolved from its underground origins in New York into an international movement. Their live shows are immersive experiences, rituals where identity, tradition, and club culture collide, and their releases continue to push the boundaries of house and techno while remaining deeply grounded in their origins. With ‘Bombay Acid’, Merchant and Kumari deliver a production that is both hypnotic and expansive, inviting listeners
into a universe where rhythm, culture, and underground energy meet in unison.

The Rituals series rises again, a fresh strike carved deep into black wax. RITUAL12 summons an international assembly of techno insurgents from the OMEN roster, each delivering their own sonic rite. Across two sides, the intent is absolute: raw, unfiltered power pulled from the shadows and unleashed on the dance floor.
RITUAL12 is not a compilation, it’s a convocation. Forged in analogue heat, drenched in distortion, and aimed directly at the heart of the floor, this record demands full surrender. Step in. There is no turning back.
SIDE A
Swarm Intelligence – Inexorable
Berlin’s Swarm Intelligence ignites the record with precision-tooled percussion and fractured basslines. Polyrhythmic tension winds tighter with every measure, industrial grit locking into a cybernetic march toward total hypnosis.
B.A.R.K – Shikijitsu
A bone-rattling invocation of distorted low-end and ceremonial drums. B.A.R.K drives forward like ancient machinery grinding to life, a Japanese primal energy sharpened to a deadly edge.
Axkan + Duellist – Resilence
Mexico meets Scotland for a brutalist assault: hammering kicks, serrated synth textures, and walls of analogue saturation. No safe passage here, only forward momentum into the heart of chaos.
SIDE B
EAS – Honored One
From Los Angeles, EAS delivers a tense, ritualistic construction where a subterranean EBM bassline pulses through metallic drones. Hypnotic, uneasy, and charged with controlled dissonance.
Ha†elove + Ogmah – Hanged Bodies
A dark ceremonial groove, heavy with ritual percussion and spectral synth chants. The layers rise to a fever pitch, blurring the line between transcendence and collapse.
Crystal Geometry + Axkan – Kratom
France’s Crystal Geometry joins Axkan for a militaristic strike of modular chaos and pummeling drums. EBM infused basslines drive beneath razor-sharp synth fire, rallying the midnight faithful to the front lines.

With its 10th edition, Dalmata Daniel's split series brings together two artists who have both left their mark on the label's compilations, now presenting their first full releases on the imprint. Anatolian Weapons and The Spy approach electronic music from different angles, one rooted in hypnotic techno rituals, the other in raw electro and post-punk energy. Both craft sounds that thrive in the shadows of the dancefloor.

On the A-side, Anatolian Weapons delivers three cold, hypnotic cuts. "Trapped" opens with heavy EBM percussion and a buzzkill bassline, setting a tense, mechanical tone. "Further Spiralling Down" sinks deeper into darkness with a grinding low end, tight drums, and electro-tinged claps, forming the side's relentless highlight. "Apathy Through Shock" closes with pounding, catatonic rhythms and a mournful, otherworldly melody, pushing the listener into disorienting depths.

Flipping over, The Spy's raw, electro-driven energy takes hold. "Same Blur" channels sharp electro beats with a punkish sneer and cosmic synth lines. "Falling", featuring The Spy's own vocals, leans into melancholic new wave, pairing bouncy rhythms with bittersweet melodies. The closing "Pretending" drifts into the darkest corners, offering low-slung, haunted electro layered with distant, spectral harmonies.

MoBlack Records brings together four deep-burning cuts, each sculpted for late-night floors and sunrise rituals alike. MERZZY & DJ RONY open with Walhala, a hypnotic ride that balances raw percussion with mythic tension. Belyi & Kirr follow with Good Karma, a rolling groove where warmth and restraint meet in perfect balance. On the flip, Giaggi’s Chopit sharpens the edge with fractured rhythms and a cosmic pull, before Deco (BE) closes the circle with Breathing—a deep exhale of layered synths and pulse-driven low end.

We Release JAZZ is honored to announce the release Shoals, a magnificent full-length album from Earth and Bones, the duo consisting of Liran Donin and Idris Rahman of acclaimed jazz outfit Ill Considered. Their majestic offering is available in an ultra limited edition 180g vinyl LP housed in a heavyweight sleeve with an original artwork by Dutch artist Vincent de Boer.

Carried by Liran Donin on double bass and shakers, and Idris Rahman on bass clarinet, tenor sax, shell, and Tibetan singing bowl, the 5-track album is a deeply entrancing meditative-shamanistic-ambient-jazz journey. The members of Earth and Bones poured their heart and beliefs into the project:

"From shamanic cultures and forgotten traditions, we delved deeper searching our ancient healers, exploring who they heal, what they heal, and how they do it. We wanted to focus on the poisonous human attributes that affect our animal kingdom, as well as how we can heal ourselves by balancing darkness and light. We express our forever gratitude to our community, tribe and animal kingdom.

Despite how governments and multinational corporations try to isolate us from one another, we can't make it alone without our shoal. To truly have a shoal, we need to accept each other for what we are."

Their friend, Vincent de Boer, delivers the visual side of Shoals:

"The living world and all its particular (eco)systems s increasingly a source of inspiration for my art process. When Idris and Liran showed me the new recording and the thoughts behind it, it immediately fell onto good grounds. A school of fish is eminently a metaphor for collective improvisation, something we are all engaged in on an artistic level. The group decisions go beyond causality, the energies provide a simultaneous awareness for choices of direction. The space between the entities thus form a new entity. Non-matter becomes matter and vice versa: an area where music and visual art meet.

I drew a school of fish and tried to make it look like a fixed entity, so that multiple lives become one collective. As a bird and perhaps as a rock or cave: outside becomes inside becomes outside: so that all domains of the living world are linked: the swimming, the crawling, the flying and the playing. The spiritual connection with the music of Idris and Liran is grand, the places it takes me are at once very distant and extremely close. From otherworldly to within the body: the opposites as well as the harmonies are of shamanistic proportions."

Points of interests

For fans of ambient-jazz, meditative music, shamanistic rituals, improvisational process, deep vibes, Ill Considered, Vincent de Boer, heartful connections, healers and healing, the body, the otherworld, life within and outside.

.Super limited edition vinyl of Earth and Bones' debut !

Serenda is a London-based DJ and producer of Guyanese and Greek heritage, known for her rich, eclectic sound rooted in house but never confined by it. Her sets fold between soulful depth and experimental edge, always delivered with a bold, contemporary vision.

Her sets are grounded in rhythm and instinct, built less around genre than sensation. She blends percussive house, warped club music, and raw, organic textures; crafting dancefloors that feel immersive and visceral and emotioanlly charged . There’s a physicality to her sound that edges toward the primal. For Serenda, DJing is a form of play - fluid, responsive, and deeply connected.

She deconstructs and distorts house music with intent, letting in pressure, dissonance, and emotional rupture. Her sets draw on the “timeless mindless states” of Mancuso’s The Loft, unfolding as rituals that don’t smooth over the chaos, they work with it.

Following the release of her debut EP The Prophecy on Josh Caffe’s Love Child label, she made her mark with a headline show in Fabric’s Room 2 and a Rinse FM residency. A regular in London’s queer underground, Serenda is also shaped by New York’s experimental club scene, where experimental sound and unfiltered expression mirror her own ethos.

Afro-diasporic and South American ritual in tension with city life, instinctive rhythm against digital overstimulation. Her fascination with world-building and quantum physics runs through everything she creates, fusing sonic design and sensory experience into one evolving landscape

COLLECTING ORDERS FOR 2026 REPRESS

Night falls, the lights dim, and the Extrasensorial Catalog presents its third chapter—an eclectic VA built for late hour mind-bending moments on the dancefloor.

On the A side, we open with Dani Labb and his explosive contribution "Rin Raje", a raw, hypnotic roller designed to twist minds and bodies alike. Saturated grooves, razor-sharp percussion and just the right amount of darkness make this an undeniable peak-time must.

A2 features the Italian craftsman Niki IL B with "Monte Moggio", a mystical excursion into deep, textured terrain. This track feels like wandering through fog-covered hills at dawn—delicate, groovy, and haunting in the best possible way.

Flip to the B side, and Ludovic wastes no time with "Vitesse, Argent, Sexe (5am Mix)", a late-night anthem soaked in tension and sweat. Pulsating basslines and seductive rhythms carry you into a euphoric state where the rules no longer apply.

Closing things off is Kebab Traume with "Mindlock", a cerebral journey that merges dreamy pads, off-kilter drumwork and warped melodies—like stepping into a lucid dream you never want to wake up from. An ideal closer for those deep after-hours rituals.

An elusive and quiet figure amidst the Portuguese electronic scene, Timóteo Azevedo aka Random Gods releases his debut album on Discrepant's sub label Souk after his killer appearance in the long sold out 'Antologia de Música Atípica Portuguesa Vol. 2' compilation back in 2019.
With two previous EPs on Danse Noire and ZABRA, Random Gods' futurist visions project themselves through a scavenger-like body music assembled from the hopes and debris of these uncertain and dread-inducing times. Rituals conjured from metal shards, blunted kickdrums, submerged basslines, reverberating textures, cut up vocals and lazer guided melodies.

The orchestral runs of opener 'Abertura' as a glimmer of nervous light into the deep end bass weight meditations on syncopated kicks and grimey synth stabs of 'Somatiga'. Slow burner 'Pneuma' conjures neon synth lines into its halfstep flow, while 'Acervo' complicates the rhythm further with its profusion of crumbling kickdrums, tossed off claps and tonal percussion. 'Prumoo' dwells deeper into post-industrial ardkore nuum with its merciless drum patterns and molten basslines and 'Alvoro' feels like footwork taken into those same wastelands, with a nervous percussive backbone from some ancient future - take that as you will. Closer 'Ex.Tejo' brims with a certain sunrise melancholy among the storm as if there's still some hope after all.

Let's hold on to it.

Ricardo Tobar returns to MUSAR with Knitting — a four-track EP blending dancefloor intimacy with raw, analog spirit. A two original cuts from the Chilean producer are joined by standout remixes from synth sorcerer Pye Corner Audio and cosmic rave
queen Nightwave.
The EP opens with Los Siblings, a distilled snapshot of Tobar’s current sound: intricate arrangements, ethereal melodies, heavyweight bass-line and a vintage edge shaped for the club. “I’m embracing the dancefloor,” he says. “This is me doing tunes
I would like to dance to.” On the flip, Knitting unravels from a simple arpeggio into lysergic ‘’Stereolab’'-techno chaos — alive, imperfect, and deeply personal. “It sounds like it wants to eat itself,”
Tobar reflects. Layers on layers of psychedelia and cosmic melody turn this into a trippy journey track like no one else does. Architect of foggy club rituals, Pye Corner Audio transforms Knitting into an eerie, trance-tinged club weapon, while Nightwave turns Knitting into a high-gloss, dreamy club stormer

Strut proudly presents a new edition of one of Sun Ra's most celebrated albums, Sleeping Beauty, reissued in its original artwork for the first time.

Originally released in 1979 on his independent Saturn label, Sleeping Beauty captures Sun Ra and his Arkestra at their most soulful and serene. A masterclass in cosmic jazz, the album blends lush grooves, celestial soul, and meditative funk with Ra’s singular spiritual vision — a sound both grounded and otherworldly.

The album emerged during an extraordinarily fertile period for Sun Ra in late-‘70s New York. Between 1978 and 1982, Ra “occupied” Variety Recording Studios on West 42nd Street, often staging marathon sessions following late-night Arkestra gigs around the city — from the Village Vanguard to Sweet Basil and even a wedding in Central Park. These were not just recordings; they were rituals. Ra and his core players — John Gilmore, Marshall Allen, June Tyson, Michael Ray, and others — would begin sessions mid-morning, often continuing past midnight, much to the dismay of the studio owner. Out of this creative whirlwind came some of his most enduring work, including A Fireside Chat With Lucifer, On Jupiter, and Sleeping Beauty.

Across its three tracks, Sleeping Beauty showcases the Arkestra’s gentler side. From the dreamy sway of “Springtime Again” to the funk-deep uplift of “Door Of The Cosmos” and the title track’s meditative drift, this is music that floats, beckons, and unfolds. It’s a record of hypnotic beauty and quiet power — cosmic jazz for dreamers and seekers alike.

This new edition features a selected version of the hand-drawn original cover, embossed with the Sun Ra logo and housed in a heavyweight card sleeve. Liner notes come courtesy of Arkestra member Knoel Scott and Sun Ra authority Paul Griffiths. Remastered by Technology Works.

“Music is a language. You see, it’s not notes — it’s a language of the spirit. That’s why it’s so important.” – Sun Ra

gyrofield is 22-year-old, Utrecht-via-Hong-Kong producer Kiana Li, who has put out several albums and over a dozen EPs since 2018, from self-released productions to projects on Metalheadz, XL Recordings and FABRICLIVE among many others.

Their next EP is Suspension of Belief, and it arrives on Objekt's label, Kapsela. (Following last year's Ganzfeld and Chicken Garaage, it's Kapsela's first record by an artist other than Objekt himself.) In keeping with her recent releases, it shows Li continuing a creative renaissance, moving beyond the outer fringes of drum & bass to present what they call "a set of deeper, shapeshifting tracks, cross-pollinating ideas from house, free jazz and techno."

Suspension of Belief was written between June and October of 2024, inspired by a summer spent in nature and encapsulating Li's lived experiences and personal reflections in this time. "Thoughts about the boundaries between civilisation and nature began to take on a charged meaning," she says. "How can we, as people, live on the backs of others’ suffering, and see emotionally vacant newscasting on the desecration of the world around us? We ought to be angry, but we also ought to find healing and love somewhere. A representation of this thinking exists in the record."

The result is an elegant paradox. From the warm upright bass on "Vegetation Grows Thick" to the rattling, "Spastik”-esque snare rolls of “Bolete”, the record is at once steely and organic, with dreamlike states giving way to depth and intensity. It’s functional enough for rituals of escapism but determined to confront the world as it really is. As Li puts it:

"Suspension of Belief is a play on the suspension of disbelief, the common convention for us to immerse ourselves in fictional worlds. In turn, the record’s title suggests the idea of immersing in the real world, an antifiction, facing reality.”



Mastered by Beau at Ten Eight Seven

Artwork and design by Brodie Kaman

Vinyl distributed by Rubadub

CINEMATIC VOYAGE THROUGH COSMIC RITUAL AND ETERNAL SOUND - a work that exists outside time—equally at home in the temples of antiquity and the neon-lit voids of speculative futures, merging ceremonial percussion, interstellar synthwaves, and wordless incantations into a 31-minute ritual for the infinite. Born from a three-year metamorphosis between studio and stage and rooted in a Takhmira (a Zar ritual poem), Ninety Nine Eyes channels the archetypal quest—a search for the “land where light is seated.” Its soundscapes evoke the grandeur of forgotten civilizations and the hum of celestial machinery: droning mizmar lines and drowning tombak and duff rhythms dissolve into maximalist synth storms; choirs of phantom voices rise like starlight through the static of ages. - Sound: Structured like a Sufi Hadra, the LP’s undulating peaks pull at old ways of communing with the divine - Part I builds tension, a breath before the storm, while Part II erupts into unfettered synth-drenched trance, gates flung open - only the listener can close the circle through their own interpretation.- For fans of Vangelis’ Blade Runner, Jon Hassell’s Fourth World, Alice Coltrane’s spiritual jazz, Autechre’s glitch rituals, and Pauline Oliveros’ deep listening.- Production: Mixed by VII, mastered by Heba Kadry (Björk, Ryuichi Sakamoto).- Artwork: Features a portrait of Yunis by Cairo underground photographer Kafrawy and hand-sewn costume design by Alaa Eideh, with graphic design by Giovanni Murolo (Countersubject). EU Tour spring 25

‘Subtle Bodies’ is the new album by US-based sound artist and composer Francis Morning, released on Ltd. cassette via Lo Recordings, which contemplates the concept of the non-physical, energetic layers of a person that exist alongside the physical body. Being the next installment of Lo Recordings' ongoing SPACIOUSNESS series, the album features 15 tracks that embrace the theme through hints of electric piano melodies buried under layers of tape hiss, meandering sine wave bass notes, and expansive ambient textures.

The compositions on ‘Subtle Bodies’ are meditations on impermanence, imperfection, and the natural process of decay, approached without judgment. They arise from moments of introspection, often inspired by the contemplation of inner channels, energies, mindfulness, breath, and other Tibetan Buddhist practices. Deliberately recorded using minimal equipment, each piece explores and pushes against the thresholds in an attempt to strike a balance of texture and noise. About Francis Morning:

Francis Morning is a US-based sound artist, musician, and composer known for crafting gently textured sonic environments using a simplified palette of musical hardware, including analog tapes and cassettes, field recordings, synths, pedals, pianos, and acoustic and electric guitars. His work embraces imperfection, human quality and touch, and the transient nature of life. The music began to take shape as simple, personal daybreak rituals with no audience or expectations. Each piece was recorded live in single takes, with the original elements eventually discarded or recorded over, as a statement and exercise in impermanence and letting go.

Prepare to embark on an immersive sonic journey with Rites of Passage, the self titled debut album from the enigmatic duo Atiq and dreadmaul.

Released on vinyl and digital, this album delivers an overwhelming and hypnotic interpretation of the age-old concept of transformation and initiation.
With each track, the listener is invited to delve deep into an otherworldly soundscape where mysticism and archaic rituals blend seamlessly with the pulse of modern electronic music.

Crafted with meticulous attention to detail, Rites of Passage transports you to a pre civilization era, incorporating organic elements like bone flutes, haunting throat singing, and shamanic invocations.
These sounds are woven into the fabric of intricate electronic arrangements, creating a unique atmosphere that feels timeless yet contemporary a delicate balance between the ancient and the modern.

This concept album is not just a collection of tracks its an experience, a ceremonial rite that transcends the listener from one state of mind to another.
The vinyl format, with its warmth and physicality, only heightens the immersion, making it an essential addition for collectors and audiophiles alike.

Whether youre a fan of experimental music or simply seeking something transformative, Rites of Passage delivers an unforgettable journey through sound.
A ritual in itself, this album truly earns its name.
Dont miss your chance to own a piece of this alchemy Rites of Passage on vinyl is a musthave for those ready to enter a new sonic dimension.

Kolida Babo is the collaboration between two Greek woodwind musicians from separate regions - Socratis Votskos is from Pella, and Harris P. is from Athens. Their self-titled debut album was recorded in improvised live-take sessions beginning on the night of the “Kolida Babo” folk rituals of music and dance in northern Greece in winter 2013. They explore the ancient music of Armenia and the folk traditions of northern Greece’s Epirus and Thrace regions alongside abstract electronics and free jazz.

Their debut album was released by MIC Records (London) in 2019 to rave reviews. Other notable releases include the Jazzman Records jazz45 series and the soundtrack for the documentary ''Gospel of Michiel'' and "Loxy". Their music was supported by BBC 6Music, BBC Radio 3 - Late Junction, NTS, Soho Radio, WorldWide Fm as well as the Greek National Radio. Last but not least, they have performed in various places around Greece and Europe including festivals like CTM, Archipelago Festival and Vinterjazz Festival.

In their second full-length album Spirits of Mauronoros set to be released in 27/09/2024 by Veego Records, Kolida Babo revisit an old forgotten place in northern Epirus Greece, near the Greek-Albanian borders.

A spiritual music journey dedicated to the old village of Mauronoros (Black Mountain) and its people. This village is one of the many villages in Greece that is totally abandoned as a result of the economic crises and cultural changes that Greece faced in the last century. This profound depopulation of the area left behind ruins that echo its past trials and tribulations. However the traditional sounds of the village keep reappearing in urban centers like ghosts that haunt everyday life. This sonic dialogue between "modern" and "traditional", between "the peaceful countryside" and " turbulent urban centers" sometimes looks irrelevant and outdated but is of great consequence. It transports the listener in an unspecified time and place devoid of any cultural and geopolitical connotations and thus leaves them wondering for a freer and more authentic way of life.

For our 8th EP we bring you fresh works from the Dominican producer Log_In. He’s released on underground staples such Dance Floor Rituals, Art of Dark, and Partout, always delivering his own take on modern italo-disco infused techno music.

Gamine’s own Christian ties the EP together with a slick remix of the B1 track. Slightly more minimalistic than the original, this track is suited for any point of the night.

Brillante debuts on Alzaya with a vinyl-only EP. “Iniziazione” is a sonic voyage inspired by tribal initiation rituals, symbolizing the club dance experience from entrance to ecstasy. Each track represents a phase of transformation, blending progressive and trance with pulsating techno beats. Each track merges early trance flavor with modern techno vibes and hypnotic textures, leading to a trance-ecstatic trip.

Marking their fifth instalment on the label, Aquaregia bastions Troma & PERS1 unveil their debut album entitled Ancestral Posterity. Through four Acts, this opus serves as a sonic tapestry across the annals of time; a deep hypnotic escapade from the genesis of civilisation to an enigmatic, dystopian future.

After over a decade as a digital-only album, Larry Manteca's Zombie Mandingo gets its first vinyl release, making a fresh comeback in a completely renewed version.

Like Manteca's previous full-length releases, this album too is conceived as a soundtrack to a non-existent exploitation film, drawing inspiration from the classic Italian B-movies of the 1970s. This time, cinematic references encompass both the zombies found in Lucio Fulci's horrors and the cannibalistic adventures directed by Umberto Lenzi, creating a strange mash-up between Jacopetti's Mondo Cane and Deodato's Cannibal Holocaust.

The setting is an unspecified island in the Atlantic Ocean, nestled halfway between equatorial Africa and the Caribbean. A handful of Western tourists, having miraculously survived a plane crash, collide with the age-old rituals of an indigenous tribe who perform human sacrifices to appease their local god—the Zombie Mandingo of the title—a monstrous creature with superhuman strength, half Haitian zombie, half African cannibal.

This fusion of genres and cultures is reflected in the music. Manteca creates horror-tinged exotica that evokes and re-imagines the soundscapes of distant lands and dreamlands, from Africa to South America, to the mysterious islands in the Bermuda Triangle. He boldly and brilliantly combines Les Baxter with Fela Kuti, Joe Zawinul with Piero Umiliani, Janko Nilovic with KPM libraries, sprinkling the mixture profusely with psychedelia, Afro-groove, and Italian soundtrack vibes.

The album's nine tracks, recorded between 2013-2019, were meticulously remixed and remastered in 2023. This process made it possible to add new solo instruments, including the Fender Rhodes on the title track. The result is a captivating, kaleidoscopic journey taking us into the sonic depths of the tropical jungle to unveil its dark secrets and surrender to the primary emotions behind every B-movie: action, adventure, erotic desire, and fear.

The album is embellished with a 650-gram hardcover sleeve featuring breathtaking artwork by Matteo Fumagalli.









i 09: Zombie Mandingo (Trailer Music) Remastered

repress !

Since ancient times tribes commanded by shamans were experimenting with rituals in order to inherit higher states of consciousness.

We as descendants from those cultures disrupted their traditions by recording those sounds and reproduce it through a speaker. Although the principle remains intact.

AIROD and P.E.A.R.L. Are two contemporary artists well aware of that culture, as you can here through the 6 tracks of this EP that in good hands can catalice the ecstasy through repetitive drums, deep vocals and grinding melodies.

Every science starts as philosophy and ends as art.
Tribal science, for disc-jockeys and collectors.

Blistering come-back from Culted with five multi-tempo’d bangers, something for every tribal gathering from chic Tulum rituals to the brutalism of Eastern-European underground clubs, rounded off by doses of Italian Rasta and Japanese re-imagining of Hungarian folk song. Cult wizardry at it’s finest, once again!

Eight years after Cuthead's "Give'n'Take", it's Sneaker's turn to put together four of his favorite tracks for Uncanny Valley's compilation series. The artwork is once again by Planetluke com aka Luca Lozano. "This record is a vista of my world where music inhabits the air between people. As an exchange of genius, emotions, gestures - even conventions, rituals, and love. Dedicated to L.B. BaD, whose music I inhaled and whose records inspired me on my quest for deepness. You will be missed!" (Sneaker) Besides L.B. BaD's wonderful "Late In The Evening (Music's Seeping Thru)" you'll get three absolute bangers on top. The Optimistic Misanthropes are Mystic Bill, VeXaTioN and Sneaker himself. One of the most influential Chicago House DJs, true to the underground for over three decades now, and once part of the Trax Records roster... Mystic Bill. VeXaTioN already got to know him back in the days but is currently hailing from Mexico City. His track was born in Los Angeles and remixed by Sneaker in Berlin. Also, Left Unknown's "Maedchen" got the jacking Midas touch from Sneaker, a touch you've come to recognize. Behind the one-off project is Saxonian Gnista aka DJ Detox and somebody who wants to remain incognito. Jacob Korn however is well-known since the early days of Uncanny Valley and is above all Sneaker's best buddy at TailOut Studio, Dresden.

In an interview for The Wire magazine back in January 2012, Spencer Clark claimed that one the most important "lesson" learned while performing with The Skaters was "stay true to your imagination". Taking this life motto at heart, Clark's world today is still a place of wonder and myth, conveyed through a myriad of aliases and invocations like Vodka Soap, Fourth World Magazine or Typhonian Highlife. Always the wide-eyed mystic and searcher of the netherworld, Clark surfaces again on Discrepant sister label Pacific City Discs, straight from the Canary Islands with this not quite but somewhat reissue under his celebrated and celebratory Monopoly Child Star Searchers alias.

Combining visions from two long, long sold out and hardly traceable releases on Clark's own Pacific City label, pressed for the first time ever in wax with a new master by D&M - as it should - 'The Aqueducts Of Channel Island/Prince Of Parrot Shooters' stands as a vital piece in an ever changing and deeply personal mandala-like oeuvre. An hypnotic and appropriately lo-fi flux of bouncy hand percussion loops, nature calls and celestial synth harmonies that weave themselves into trance inducing rituals. Levitating fever-dream recordings from imaginary topographies, or perhaps a gateway to fortean alternate realities just lurking around the corner. Stay true to your imagination indeed.

Barren wastelands, a distant moon.
Far screeches: gloomy rituals.
Piercing cries.


The deepest indigo, a desolate and rude imagery.
Yoga-darśana : this is a den of iniquity.


Hyperlacrimae’s savage sound shows the Italian duo’s roots in industrial music with the addition of a strong dark-infused oniric attitude.
Straddling post-industrial sounds and a personal style with tribal and catacombic features.
A sort of mystical and distorted ritual, a wild dance with an ancient and primordial flavour.
The LP oscillates between a raw intense dynamism - fully demonstrated by “Kobra”, the album’s climax, “Kogawa No Gotsu” and “Blood Ties” - and a sense of perdition, evinced in reflective acts like “Incubus” and the outro “Korekore-Matakawa”. There’s also room for the distressing atmosphere of “In My Poison”, a contemporary example of obscure Industrial’s heaviest face.
The remixers Shrouds, Impure Secretion, Scarpa participate with three reinterpretations of great impact.


Recorded and Produced by Erminio Granata & Carmine Laurenza
Vocals by Carmine Laurenza
Mastered by Hyperlacrimae at Red Dungeon (Naples)
Artworks and Photos by Nullam Rem Natam (Athens)
Design and Layout by Erminio Granata

Night is about to fall, the day slowly fades away, and it is this twilight time that Magda Drozd’s latest album inhabits. Divided by Dusk carries the promise of a crepuscular otherworldliness. Inspired by Drozd’s stays in Japan, its rich tradition in ambient and experimental music and a collaboration with Japanese flutist Rai Tateishi, as well as a renewed engagement with her roots in Poland and its folk and ancient history, her work is a form of sonic excavation. Layers of dark-ambient tones intertwine with field recordings, textured violin, and luminous folk motifs, invoking long-gone, unspecified rituals.

The album freely interprets traditional folklore, unleashing those ghosts of past cultures we inherit through music that has been passed down to us. Paired with experimental ambient sonic textures, the album carries a magnificent, wandering, melancholic air. The compositions take on an incantatory dimension, welcoming us into a liminal world—one filled with buried treasures.

“The music on this record is a reflection of journeys and travel. The real world kind and the metaphorical ones as well. Having experienced the arrival of my children, the decline and departure of my parents, and the many years of venturing out and returning home in my own life, travel feels like the perfect tropology to consider the mysteries we inhabit. Travel and its impressions, rituals, superstitions—the possibilities and risk-all open up onto the landscape of our biggest questions, fear and wonder.

“Two songs established the spine of this music. Songs I’ve always loved, it seems even before I’d heard them. The first one, and the source of the title is ‘You Belong to Me’ by Jo Stafford. Colonial overtones unmissable to our modern ears aside, it’s also a beautiful mid century romance—and an ode to the threat of a shrinking world. The song represents the loneliness and the mystery of being alone and left behind. The singer is not asking their loved one to shut down horizons, merely reminding them to return when the traveling is done. To set aside The Silver Plane of transition, change and the in-between for the intimacy of solid earth.

“The second song is ‘Promised Land’ by Chuck Berry. Also about a journey and another one that moves easily between allegory and narrative. The singer is on the move across segregated America trying to get to the promised land of California. The song is both a tall tale that evokes Mark Twain, and an American epic that can keep good company with Herman Melville. When the hero finally makes it to California, his first instinct is to call home and reassure the Old World that he’s safely arrived in the new one.

“The songs on Fly the Ocean in a Silver Plane were recorded at home over the last couple years. I played electric guitar, rubber bridge acoustic guitar, Ableton Live and an Electron Digitone synth. My friend Mallory Linnehan aka Chelsea Bridge contributed beautiful violin and vocals to a couple of the songs. We recorded those performances on a summer afternoon in Chicago at the Not Not space with the windows open.

“The cover is a photo of my mom—one I never saw when she was alive. With the headscarf and that excited, nervous expression, she looks about to embark on a journey. Ready, finally, to cross the tarmac and board the Silver Plane. “Wishing safe travels to all.” — Mark N / Pan•American



b DEATH CLEANING listen


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[b] DEATH CLEANING [listen]


[b] DEATH CLEANING [listen]


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[b] a2 | DEATH CLEANING [listen]

Acclaimed producer, DJ, and dancefloor healer Octo Octa (Maya Bouldry-Morrison) announces her fourth full-length album, Sigils For Survival. Following 2013's Between Two Selves, 2017's Where Are We Going?, and 2019's Resonant Body, the new record marks a decade since Maya publicly came out as transgender in November 2015. ''As an autobiographical artist, I set out to write an album that would be a milestone for this past decade of joy and sorrow,'' Maya explains. ''Sigils For Survival is my attempt to encapsulate the intentions and techniques that I used to move through life into a spell.'' For each of the record's eight tracks, Maya drew a sigil. Each is a personal symbol intended to ''bind magic to the song and seal its intention.'' These drawings appear throughout the physical edition's design. Maya's sister, New York artist Hope Morrison, incorporated each sigil into her original paintings, which comprise the album's vivid artwork. Hope Morrison, whose imagery translates the sigils' energy into vivid form; the layout was designed by Jo?o Ervedosa. Created entirely on hardware instruments and later mixed in Logic, Sigils For Survival captures the tactile immediacy of live performance. Maya preserved the feel of MIDI-clock drift and off-grid recording, letting her machines interact in the rhythmic pocket, rather than confirming them to a click. Alongside her signature deep, ecstatic electronics, the album features hand-played dulcimer, hand-pan, and recorder. Her voice also returns, carrying spells of love, protection, and transformation. Across Sigils For Survival, Octo Octa channels the ecstatic house lineage into an intimate ritual space. The music speaks of immediacy, play, and communion -- of magic as method, love as survival, and sound as spellcraft. Sigils For Survival is both a document of ten years lived fully and an invocation for the next chapter -- a glowing testament to music's power to protect, transform, and set the spirit free.

"Disco Chimi" by Dominican-raised Cuban artist Charles is the second release on Coco Maria's newly found Club Coco label. Comes with 4 paged insert with liner notes and art.

Charlie Chimi — the alter ego of Charles Garmendia — is a globe-trotting, kaleidoscopic creator best known for La China de la Gasolina. A percussionist for legendary Zamrock band WITCH, L’Eclair, and other international acts, Charlie moves fluidly between roles as a live performer, studio musician, and visual artist.

Like the iconic Dominican street burger it’s named after, the Charlie Chimi project is a spicy mélange of Afro-Cuban rhythms, funk-driven basslines, and playful, inventive wordplay — touching on everyday rituals like making lunch, as well as the trickier themes of illusion, hustle, and deception in the animal (and human) world.

Charlie has assembled an international crew of “Chimis” to help him run the numbers, delivering a dizzying, theatrical live show that feels like peeking into the hazy back room of a bodega: old men slamming dominoes, bachata blasting, and a cosmic sandwich opening a wormhole to somewhere far stranger.

Yearly compilation series RADAR KEROXEN return with its sixth volume of theme-driven releases, continuing to chart the fractured sonic terrain of the Canary Islands’ undergrowth.

After digging through indie, psychedelia, shoegaze, and site-specific drone, Vol. 6 dives headfirst into the after-hours circuitry of the islas afortunadas, assembling a hand-picked selection of underground club mutations from five long-standing operators within the local electronic ecosystem.

If Vol. 5 was shaped by the cavernous resonance of Santa Cruz’s obsolete gasoline tank, Vol. 6 is fuelled by late-night club aesthetics and mid-90s hardware obsession. Opening the record, Dancelwerk — one of the archipelago’s early modular practitioners — delivers tightly wound structures nodding to Warp-era golden agefuturism and southern Tenerife’s rave boom. Cmos34 follow with their first-ever published material, injecting instability into the system through improvised techno rituals built on friction and feedback.

Jorganes drags the narrative deeper into hypnotic territory, stripping club music down to its skeletal pulse and channeling disciplined repetition and late-90s minimalism into austere, trance-inducing momentum. From Gran Canaria, Sunday German Flowers bends the mood toward cinematic dub: heavy low-end pressure, spoken word, and nocturnal atmospheres stitched into slow-burning club noir.

Closing the circle, Nico Hernández pulls the compilation back to volcanic ground with ambient compositions shaped by Lanzarote’s raw geological landscape — basalt echoes, tectonic silence, and island isolation rendered in sound.

As always, the release is housed in a post-tropical collage artwork by Pura Márquez.

Master by Daniel García
Artwork by Pura Marquéz

BCUC – Bantu Continua Uhuru Consciousness – have been channeling the spirit of Soweto for over twenty years. Indigenous funk, hip-hop consciousness, and punk rock energy fused into something utterly original and deeply rooted. Their mantra: Music for the people, by the people, with the people. From humble beginnings rehearsing in a shipping container, a stone's throw from the church where Desmond Tutu organized the escape of the most wanted anti-Apartheid activists, they kept believing in their dream of self-empowerment. Today they command festival stages worldwide: Glastonbury West Holts, Roskilde, Afropunk Brooklyn, WOMAD, Fusion, Sziget, FMM Sines, Beaches Brew, Boomtown, Colours of Ostrava, Couleur Café – to name just a few. In 2023, BCUC were honoured with the prestigious WOMEX Artist Award, an accolade usually reserved for more established artists, in recognition of their fearless work and transcendent live performances.

THE ROAD IS NEVER EASY

The Road Is Never Easy is BCUC's fifth album and their debut on Outhere Records. On this new offering, BCUC take listeners on another Afro-psychedelic journey into the soul of Soweto. It feels like a gospel sermon colliding with a punk concert, "guaranteed to touch untapped corners of your soul" (OkayAfrica). BCUC's music is deeply rooted in history and echoes the voices of the ones who came before. The road was never easy for the people of Soweto who originally came to work in the mines of Egoli, the City of Gold, Johannesburg. When apartheid finally ended after a long struggle, it was hoped that life would improve. But more than 30 years later, many of those initial hopes and dreams are still waiting to be fulfilled. This album is about that struggle. The album contains 10 brand new songs – a record for BCUC, whose previous albums featured an average of 3 songs. It represents the culmination of more than two decades of performing together and building a reputation as a powerful live act. These ten songs encapsulate that same live energy, each one building gradually and drawing you into BCUC's Afro-psychedelic stream of consciousness. It's a seismic tour de force through life in Soweto today. Songs like Amakhandela (Breaking All the Chains) connect history to daily life: "How is this precious metal inflicting so much pain in us," sing BCUC, "this government has been telling us we are free, but we don't benefit from being free." The album also talks about all the hopes and dreams that remain: "I have too many wishes and dreams in my head," BCUC sing in Um duma khanda, "I think I am losing my mind". The album ends with the soothing Matla a rona ke Bophelo, "our strength is life", praising the spirits and thanking the elders for protection. The Road Is Never Easy is about the harsh reality of life in Soweto, where "people always carry heavy loads". BCUC are street poets trying to deal with that burden: sometimes revolutionary, sometimes soothing, but always hopeful and compassionate. "When you are from Soweto you can't retreat nor surrender." (Sebenzela)

RECORDING

The album was largely recorded in Munich, Germany during tour breaks over two sessions, each three days long. It took place in a small studio located in a German WW II bunker converted into rehearsal spaces. The songs were recorded in one take altogether in one room, with only a few overdubs added, mainly backing vocals, by BCUC at Fourways studio in Johannesburg. BCUC have created their own distinctive way of writing, or rather, finding and creating their songs. The recording process is like an improvised live performance. They bring their ideas into a zone where the music, the rhythm and the spirits take over until the song starts to form. In this Afro-psychedelic zone BCUC create their unique poetry that feeds on the dreams still dreamt, the hopes, the fears and the temptations lingering everywhere. BCUC's songs need to breathe and time to build. The right take was the one when the song took over, and just like their live performances, no one knew beforehand where the song would take them. During the recording, BCUC just let it all flow out: inner turmoil, cries of rebellion, but also resilience and a search for healing, love, unity and compassion. You don't have to be from Soweto to feel the deep meaning and impact of this music. In these times of so much hate and division, BCUC are like a campfire for people to gather around.

PRODUCTION & ARTWORK

"BCUC have a unique magic," says Outhere's Jay Rutledge, who produced the album. "It blew our minds. It's like punk and pure gospel at the same time. Their music can make you dance and it can make you cry, all at the same time. And when the song is over, you feel you're not alone in this world anymore. We felt compelled to do this." The album cover is based on a matchbox design, matches being a common household item in South Africa even today. "These were the matches people used to burn government buildings and cars," explain BCUC. Little messages, addresses, or phone numbers used to be scribbled on the back of these boxes; each one a reminder of the strength, resilience, and resistance that once drove the struggle for freedom in Soweto. BCUC keep this flame burning. The Road Is Never Easy is a heavy spiritual road trip, a deep dive into the subconscious of Soweto and a quest for truth, justice and sanity in this crazy world. BCUC tackle the harsh realities of the voiceless, guided by the spirit world of their ancestors. Rather than reinforcing stereotypes of poverty, BCUC's portrayal of Africa is one rich in tradition, rituals and beliefs. "We bring fun and Afro-psychedelic fire from the hood," says vocalist Kgomotso Mokone.

In the heart of an ancient forest deep in Europe, the Council, a secretive assembly of goblins and trolls, convenes under the light of the dancefloor. These beings, often misunderstood by the outside world, harness the power of music and sound to weave potent magick. Their rituals, held on hidden sound systems resonate with the echoes of nature. As the goblins fiddle their enchanted samplers and the trolls beat their massive drumbreaks, the air shimmers with vibrant energy. drawing the attention of mystical forces. Bound by ancient traditions, the Council safeguards the balance of the hardcore.

Nuevos Ríos ist das neue Projekt, das aus der Zusammenarbeit zwischen der legendären kolumbianischen Band Canalón de Timbiquí, angeführt von der unverwechselbaren Stimme von Nidia Góngora (Quantic, Ondatrópica, The Bongo Hop), und dem in Toulouse ansässigen Trio Reco Reco entstanden ist, das für seine Erkundungen tranceartigen Rhythmen aus Südamerika und darüber hinaus bekannt ist. Als neueste Kreation der pulsierenden kolumbianischen Szene, die sich durch vielfältige Hybridisierungen auszeichnet, bietet Nuevos Ríos einen atemberaubenden Einblick in die afro-kolumbianischen Traditionen der kolumbianischen Pazifikküste, ergänzt durch elektronische und verstärkte Elemente. Das Ergebnis ist beeindruckend: eine Odyssee, die nie von ihrem Kurs abweicht, Grenzen überschreitet und die Zuhörer auf die Entdeckung eines neuen Flusses voller gewundener Pfade mitnimmt. In dieser Musik spüren wir tropische Hitze, die verkörperte Kraft musikalischer Traditionen und den Schweiß europäischer Tanzflächen in einem einzigartigen Cocktail - sofort süchtig machend, manchmal introspektiv und immer unwiderstehlich tanzbar. Das Projekt entstand an den Ufern des Flusses Timbiquí und nahm durch die Begegnung zwischen Canalón de Timbiquí - der Gruppe, die von Maestra Nidia Góngora gegründet wurde, deren faszinierende und sofort erkennbare Stimme Projekte wie Quantic, Ondatrópica und The Bongo Hop geprägt hat - und Reco Reco, leidenschaftlichen Entdeckern tranceartiger Musik, insbesondere aus Südamerika, Gestalt an. Weit abseits der ausgetretenen Pfade, im Herzen der kolumbianischen Pazifikregion, fanden die beiden Gruppen auf natürliche Weise im Dorf Timbiquí zusammen, dem Ursprung der Musik von Canalón und von Nidia Góngora selbst. Durch eine Reihe von improvisierten Jam-Sessions im Erdgeschoss von Nidias Haus wurde die Verschmelzung ihrer Musik zu einem offensichtlichen Weg - geboren aus dem gemeinsamen Wunsch, aufmerksamen Zuhörern die Kraft dieser menschlichen und musikalischen Begegnung zu offenbaren. Dieses erste Kapitel, veröffentlicht bei ZZK Records - einem Label, das dafür bekannt ist, südamerikanische Juwelen zu entdecken (Son Rompe Pera, Nicola Cruz, La Yegros_) - wird von der einzigartigen Komposition und Klangfarbe von Nidia Góngora getragen. In den Tracks findet jedes Element des Ensembles seinen richtigen Platz: Die Kraft der kolumbianischen Pazifik-Percussion und die Poesie der Marimba de Chonta fesseln uns mit einem würzigen Gitarrenriff, das nie weit von Westafrika entfernt ist; die Stärke der Stimmen wird durch elektronische Texturen noch verstärkt, während sich Schlagzeug und Bass zu einem doppelten Motor für das gleichnamige Schiff Nuevos Ríos verbinden. Die Texte erzählen vom Alltag in enger Verbindung mit der Natur, rund um einen Fluss, der sowohl eine zentrale Verkehrsader als auch ein Kanal des Austauschs ist - ohne die harten Realitäten einer Region zu verschleiern, die von den internen Konflikten Kolumbiens gezeichnet ist. Und vielleicht ist diese Musik bereits eine erste Antwort auf einige dieser Wunden, in Form eines Rituals der kollektiven Feier. Das selbstbetitelte Debütalbum bietet eine einzigartige Perspektive auf das afro-stämmige Erbe der kolumbianischen Pazifikküste - ergänzt durch die Kraft verstärkter und elektronischer Musik. Man spürt die Wärme der Tropen, die Kraft der perkussiven und vokalen Traditionen und den Schweiß europäischer Tanzflächen, was zu einem unwiderstehlich hypnotischen und zum Tanzen animierenden Ergebnis führt.

Pioneering Swiss trombonist and composer Andreas Tschopp marries contemporary jazz with South African horns and homemade ocarinas, creating a record quite unlike anything you've heard before. "What if We Align Our Breath" disregards the curvature of borders, genre, and time itself - tugging a thread through the history of wind instrumentation with ghostly agility.

At the heart of the record lie spiralling, bonelike kudu (antelope) horns - instruments that have lent their stirring calls to indigenous South African rituals and signalling systems for millennia. These horns are clustered, harmonised and stretched beyond their godly usage by Tschopp - his extended techniques coaxing an array of melancholy, playful voices to canter through the album.

Flourishes of trombone, alpine flutes and a stellar supporting cast on double bass (Shane Cooper), cornet (Ben LaMar Gay), udu drums (Gontse Makhene) and spoken word (Koleka Putuma) bring groove, countermelody and a sense of earthy introspection to the proceedings. This is inconceivable music: a sighing tapestry of brass, clay and bone that hints at some preconscious connectedness, tracing figures that rejoice, exhale and embrace outside of time.

Recommended if you like Francis Bebey, quantum physics, peat bogs.

TALKSHOW is Haexler's 3rd EP and clearly marks an evident deep dive into the environment of purist Powerviolence. While the Hardcore influences were overtly visible on their previous releases, Haexler now turn their heads towards fully submerging in a primitively harsh tone that flirts with lo-fi soundscapes and noisey elements. On TALKSHOW, Haexler return with their concise and accurate deconstruction of political frameworks, frontally addressing the scope of formations of the liberal democracy, following the foundation of Agnoli's classic "Die Transformation der Demokratie." The full set of disputes regarding the scheme that builds the foundation of liberal democracies from lobbyism all across the possible impact of the media (talkshows), rituals of parties, political pluralism to western values is ferociously dissected with cynical implementations of snippets off the TV series "Mad Men". TALKSHOW will only take a comparably short amount of time to fittingly blast your head off. Make sure to be prepared! Classic black one-sided 11-Track 12" w/ b-side etching and lyrics insert!

Mai Mai Mai’s artistic path has never rested on laurels, it’s been a constant evolution, a profound and poetic research, a dark and dusty journey through awareness and collaborations where the heart of the process has always been about building connections and understanding people and their rituals. Mai Mai Mai’s new album ‘Karakoz’ was mostly recorded in Palestine (Ramallah and Bethlehem) in 2024 during an ongoing genocide and follows his acclaimed Southern Gothic double-album ‘Rimorso’. The album opens a new chapter for the Roma based artist, a deeply personal record where his traditional industrial miasma flows into a weeping vortex of spiritual hymns, Mediterranean hauntology and Middle Eastern chants of sorrow, carrying the despair of a battered population and matching the fighting hope with echoes of ambient bliss. Recorded during his artistic residency in collaboration with Radio Alhara and Wonder Cabinet, the album is the result of an immersive six-week residency between January and May 2024, in Bethlehem and Ramallah, where Mai Mai Mai delved deep into the traditional music of Palestine, meeting and collaborating with local musicians, exploring archives, and recording the resonances of the land. This deep engagement allowed him to unearth the intricate layers of Palestinian sonic heritage, weaving them into his own sonic language.

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

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

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

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

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

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

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

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

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

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

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

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