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"Patching", das intime Debütalbum der in Minnesota lebenden Sängerin und Songwriterin runo plum, fängt auf elegante Weise die Kontraktion, Expansion und Befreiung einer intensiven Phase emotionaler Heilung ein, und zwar in sanftem, strahlendem Indie-Rock. "Patching" ist ein üppiges Debütalbum, das aus einem gebrochenen Herzen entstanden ist und reichhaltige Klangmomente enthält, die emotionale Leere ausgleichen und aus einem Ende Expansion schaffen. Die ungezügelte Aufrichtigkeit des Albums ist nichts Neues für runo plum, die seit einem halben Jahrzehnt in ihrem Schlafzimmer ihre komplexen Folk-Songs schreibt und still und leise veröffentlicht. Während der Pandemiejahre erregte sie zunehmend die Aufmerksamkeit eines immer größer werdenden Kreises von Zuhörern und begann, unabhängig eine Reihe von Singles und EPs zu veröffentlichen, während sie sich gleichzeitig als Support für Searows, Angel Olsen und Hovvdy. Das Album dokumentiert die zweischneidige Natur von Liebe und Verlust in einem schmerzhaften freien Fall des Indie-Rock mit derselben unverblümten Offenheit wie die frühen Alben von Julia Jacklin und Big Thief. ,Patching" wurde in einer Hütte im ländlichen Vermont über einen Zeitraum von zwei Wochen aufgenommen. Zusammen mit Lutalo, dem in Minnesota geborenen, in Vermont lebenden Musiker und Produzenten und runos Kollaborateur, der Instrumentalistin und Freundin Noa Francis konzentrierte sich das Trio auf den honigsüßen, zeitgeprägten Klang einer hundertjährigen Akustikgitarre und die angenehme Wärme von runos Stimme. Auf den zwölf Tracks von ,Patching" malt runo melodische Bögen, die sich drehen und taumeln, und schafft Songs, die sowohl die dunstigen Höhen als auch die dunkelblauen Tiefen aller natürlichen Zyklen, die die Welt drehen lassen, einfangen.

Including sessions recorded by Art Pepper for Savoy from 1952-54 Surf Ride was originally released in 1956. Featuring three groups of players, the album collects twelve, mostly Pepper composed, cuts including “Holiday Flight” - with Pepper’s playing throughout on superior form. This new edition of the album is released as part of the Original Jazz Classics Series on 180-gram vinyl pressed at RTI with all-analogue mastering from the original tapes at Cohearent Audio and a Stoughton Tip-On Jacket.

Naya Beat is incredibly excited to announce the release of an astonishing lost “holy grail”, Mohinder Kaur Bhamra’s 1982 masterpiece ‘Punjabi Disco’. Unknown and inaccessible to even the deepest of diggers, it is the first British Asian electronic dance album recorded and a true lost relic. A chance find of the original multitrack masters during the Covid lockdown led to ‘Punjabi Disco’ being rediscovered. Lovingly mixed down and remastered from these very studio recordings, the reissue also includes remixes by Peaking Lights, Baalti, Mystic Jungle, Psychemagik, and Danger Boys, as well as a cover by Say She She’s Piya Malik and Turbotito & Ragz and a previously unreleased track. It is available for pre-order and out on x2LP vinyl and all digital platforms on October 31st, 2025.

Released the same year and into equal obscurity as ‘Ten Ragas To A Disco Beat’, Charanjit Singh’s acid house opus, the reissue of ‘Punjabi Disco’ is set to have similar reverberations in the world of dance music. Produced by Mohinder’s eldest son and legendary bhangra pioneer Kuljit Bhamra using a recently acquired Roland SH-1000 synthesizer and a CR-8000 CompuRhythm drum machine played by his then 11-year-old brother, the album was recorded at Roxy Music bass player Rick Kenton’s studio in London. The concept for a Punjabi disco album was subsequently stolen from the Bhamra’s by the very record label that had agreed to distribute the album. Eventually self-released with no label support, ‘Punjabi Disco’ vanished into complete obscurity.

A pivotal figure in British Asian music, West London-based vocalist and first-generation immigrant Mohinder Kaur Bhamra became the first woman to sing at Punjabi weddings and other community events in the UK. Her son, Kuljit, would accompany her, playing tabla at her events from the age of six. Wedding music was traditionally a tame, segregated affair: men and women seated and separated on opposite sides of the room. ‘Punjabi Disco’ was born out of a desire to create an unsegregated dancefloor and inspired by the sounds of disco from the era. A tapestry of electric drum rhythm, warbling bass, and psychedelic siren-like Roland synth melodies provide a vehicle for Mohinder’s powerful voice. Part disco, part funk, part acid house, and infused with Punjabi folk melodies, the sound of ‘Punjabi Disco’ is as mesmerising as it is undefinable.

Featuring an incredible gatefold package and exhaustive liner notes by the Guardian’s Global Music Critic, Ammar Kalia, the x2LP release has been cut to vinyl for the discerning listener and DJ by Grammy-nominated Frank Merritt from The Carvery, London.

This is Naya Beat’s ninth release in a series of reissues, remixes, and compilations dedicated to uncovering electronic and dance music from the subcontinent and South Asian diaspora.

Gönnen Sie sich eine dringend benötigte Auszeit für Ihren Geist, ganz bequem von zu Hause aus. Die erste Zusammenstellung der Secondhand-Laden- und YouTube-Lieblinge Paradise Is A Frequency, The Style of Life, umfasst 70 Minuten mit Wein-Cooler-Core, Smooth-Jazz-CDRs für den Massenmarkt, Aerobic-Proto-Vape-VHS und Aufzug-tauglichen Library-Music-Tape-Loops von Künstlern wie Metamorphosis, Lorad Group, Ski Johnson, Mensah und anderen. Verteilt auf zwei Mainframes und mit einem Booklet mit Reflexionen, Ausgrabungsstätten und Tapetengruppen für weitere Lifestyle-Upgrades. Das fiktive Software-Update für die nächste Version von Ihnen.

Gönnen Sie sich eine dringend benötigte Auszeit für Ihren Geist, ganz bequem von zu Hause aus. Die erste Zusammenstellung der Secondhand-Laden- und YouTube-Lieblinge Paradise Is A Frequency, The Style of Life, umfasst 70 Minuten mit Wein-Cooler-Core, Smooth-Jazz-CDRs für den Massenmarkt, Aerobic-Proto-Vape-VHS und Aufzug-tauglichen Library-Music-Tape-Loops von Künstlern wie Metamorphosis, Lorad Group, Ski Johnson, Mensah und anderen. Verteilt auf zwei Mainframes und mit einem Booklet mit Reflexionen, Ausgrabungsstätten und Tapetengruppen für weitere Lifestyle-Upgrades. Das fiktive Software-Update für die nächste Version von Ihnen.

A founding member of the legendary Wu-Tang Clan, Ghostface Killah is Hip Hop’s masked poet — known for his cinematic storytelling, gritty slang, and razor-sharp delivery. With classic albums like Supreme Clientele and Fishscale, Ghostface carved his name into rap history as one of the most original and consistent voices in the game. The Wait is Over. Supreme Clientele 2 is FINALLY here. The highly anticipated album is a vivid- late-night noir where every bar brought Ghost’s inner thoughts to life. From Staten Island to sold out stages worldwide.

Founded in early 1995, Grow! quickly established itself as a key player in the underground house music scene. The label was created by Christian Mahringer (aka Jeremiah) along with Michael Peter (Duke) and Martin Retschitzegger (Tin). Together, they released a steady stream of 12" records, often under various pseudonyms, focusing entirely on the music rather than individual profiles.

While Grow! remained their main creative outlet, the founders were also active beyond the label: Mahringer released music on Chez Damier’s Balance Alliance and the renowned Chicago label Guidance, while Peter and Retschitzegger collaborated on records for Daniel Bell’s 7th City and Robert Hood’s influential M-Plant label, and also launched their own imprint, Central.

This new compilation presents a first carefully curated selection of the most notable tracks from the label’s catalog, alongside previously unreleased versions. All tracks were edited and remastered from the original tape recordings. It offers a deep dive into the raw, analog-driven sound that defined Grow!’s identity.

With its consistent focus on quality, anonymity, and artistic integrity, Grow! Records has left a lasting impression far beyond Austria’s borders. This release is both a celebration and a rediscovery of one of the country’s most respected underground imprints.

Transparent blue music cassette. The acclaimed Yuzo Koshiro is back with the incredible score to Earthion! Listen to the sounds of this modern classic shmup. Featuring 31 tracks from the video game mastered especially for the format, along with a packaging featuring artwork by illustrator Mitsuhiro Arita. The vinyl edition contains liner notes by Yuzo Koshiro (in English and Japanese). Created by Japanese developer Ancient Corporation, studio of the legendary video game composer Y?z? Koshiro (Streets of Rage, ActRaiser), Earthion is a space-themed 2D side scrolling shooter that sees players guide space fighter pilot Azusa Takahashi through eight chaotic levels, each with their own unique environments, enemies, and screen-filling boss fights

Something is brewing in the state of Norway! Kronstad 23 are the latest trailblazers from northern Scandinavia: a creative force exploring the boundaries of musical genres, including but not limited to: psych rock, jazz, post-rock & scandinavian folk music. The group of young players follows the footsteps of Motorpsycho, Elephant9 & El Paraiso’s own Lotus, Fra Det Onde & Kanaan, carving out their path through the musical landscape in seemingly effortless ways! One minute you’re floating on cosmic Pharoah Sanders waters, the next you’re ascending on electrified if-Tortoise-played-Allman Brothers-style jamming.


The band describes their approach as: “Sommermørket is an escape from inhumane technology and politics in search of something that feels authentic. The music breathes in the little that is left of old air and rises slowly into the hazy summer twilight like brittle thoughts that try to connect and fade away.”


Kronstad 23 was formed in Kronstad, Bergen, Norway in the Autumn of 2023. As old friends and musical collaborators, they rekindled a creative spark that had been dormant for over 10 years. Rarely rehearsed and often caught on first take, Sommermørket was recorded live on tape in the studio of Keyboardist Øyvind Vie Berg in Bergen, Norway. The record captures three sessions across one year, from spring and late summer in 2024 to winter of 2025.

'Total Spook' mixtape is Artetetra's homage to the forgotten cassette and CD culture of mass-distributed commercial Halloween sound effects, horror tales, and spooky music productions across the eighties and nineties.
Mainly produced in the U.S. these objects featured some of the famous names of the entertainment and commercial industry such as Prince's Dr. Fink (yes, that synth master), Elvira, the Mistress of the Dark and Hallmark as well as unknown and anonymous creatives and artists. In these tracks engineers, musicians and producers arguably had carte blanche in experimenting with extreme samples and vocal manipulation, time-based effects, extended techniques, spooky sound fonts and stock sound effects developing their unique ideas around the sound ambience of the Halloween and horror imagery's campy cliches.
After digging around 30 hours of material gathered from dedicated YouTube channels and playlists such as the ones created by 'Beetlemuse' and 'Caleb Jones', I have compiled a 100' mixtape showcasing some of the most endearing, weird and experimental sound designs long forgotten in the vaporware-like consumer culture of the '80s and ‘90s.

Norwegian–Cuban duo to you they are birds, to me they are voices in the forest return with their second album, Primordia. Using field recordings, electronics, and live instruments, they craft improvised soundscapes that blur the line between natural and musical environments.
Primordia continues their focus on the interaction between people, nature, and sound, combining raw textures with subtle improvisation. The result is an immersive work that feels both organic and otherworldly.

Ubek returns. The mysterious Polish duo digs out a new collection of degraded echoes, salvaged from authority. Galvanised as if lost to the shock of formal experiments.

Ubek III revises the present and takes us back to other versions of actuality.

UBEK (SUC29) UB + -ek, with UB being an initialism of Urząd Bezpieczeństwa (literally "Security Office”).

Pelican has always been a band that's not just from Chicago, but distinctly of Chicago. Formed in 2000 by guitarists Trevor Shelley de Brauw and Laurent Schroeder-Lebec alongside brothers Bryan and Larry Herweg on bass and drums respectively, Pelican's foundation was built upon the rule-free, genre-agnostic scene synonymous with the Fireside Bowl. "The `90s in Chicago was a free-for-all. Everyone was just coming from a place of pure creativity," says Shelley de Brauw. With Schroeder-Lebec returning to the band following Dallas Thomas' exit in 2022, this reunified version of Pelican allowed the band to tap back into those influences and build something distinctly new with Flickering Resonance. While longtime Pelican fans will find an updated version of the band's ethos_one that's been constantly evolving since their very first EP_their new partnership with Run For Cover Records emphasizes something that's always been implicit to the Pelican formula. These songs take as much inspiration from titanic `90s post-hardcore, space-rock, and emo as they do traditional metal, showing that though Godflesh and Goatsnake records occupied the shelves of Pelican's songwriters, so too did Quicksand, Christie Front Drive, and Hum. "A lot of people didn't hear it," says Schroeder-Lebec. "I was like, well, I guess the metal world is where we fit. But now, I'm willing to acknowledge all the suits we're wearing." On Flickering Resonance, Pelican allowed themselves to look at their music less as a means of hard-earned catharsis and more as an appreciation for the glimmers of joy that occur even in the bleakest landscapes.

Global Pulse returns with a new EP from label head Rosati. This record is hand crafted with an effortlessly flowing sound that channels the early 2000s Techno energy to the fullest, infusing a fresh Amsterdam breeze and an Italian temperament. Lights down EP features 4 dance floor uplifting cuts , packed with warm chords and a solid dose of Chicago flavour.

Bad Brains is the self-titled debut studio album recorded by American hardcore punk/reggae band Bad Brains. Recorded in 1981 and released on (then) cassette-only label ROIR on February 5, 1982, many fans refer to it as "The Yellow Tape" because of it's yellow packaging. Though Bad Brains had recorded the 16 song Black Dots album in 1979 and the 5-song Omega Sessions EP in 1980, the ROIR cassette was the band's first release of anything longer than a single. The release includes the original liner notes by Ira Kaplan of Yo La Tengo. This reissue marks the second release in the remaster campaign on the band's own Bad Brains Records imprint with Org Music. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering.

The pioneering electronic sounds of Daphne Oram reimagined by TAAHLIAH, Cosey Fanni Tutti, Marta Salogni, Arushi Jain and others using tapes from Oram's archive.

To mark the centenary of overlooked electronic pioneer Daphne Oram, Nonclassical - together with Oram Trust and Oram Awards - have commissioned new music by a set of contemporary visionary minority-gender electronic artists celebrating the next generation of trailblazers.

This group of artists span early-career to high-profile DJs and musicians across diverse electronic worlds, representing a spectrum of distinct practises - from uncompromising club beats, performance art and sound art to ambient music and deconstructed future-forward Arabic dance music.

The artists have created these new works using samples from Oram's archive - housed at Goldsmiths, University of London - which features a mix of sound clips covering not only her innovative Oramics machine and other electronic music, but also match strikes, cat purrs, scraped objects and commercial jingles as well as recordings of Oram's own voice.

Look out for gigs around the UK and at London's Barbican Centre around the release.

Mona Steinwidder (Museum of No Art) and Mitko Mitkov have spent years exchanging sounds and words across Hamburg's creative landscape - Swimming Pool Reflections is where those exchanges accumulated in Steinwidder's studio beneath the slanted roof of a former barracks. Premiered in November 2024 for Gesa Troch's exhibition "you say water is sweet", the work intertwines Mitkov’s texts (originally composed as emails to members of a swimming club, as imaginary as they are real) with Steinwidder’s clarinet and synthesizer, full of dubby resonance.

Swimming Pool Reflections isn't about swimming. It's about standing at the edge and watching - the way light fractures through water, how shadows play across tile, everything that forms and dissolves in the viewer's eye. The libretto moves through straits where bodies of water collide, small lakes with white slides, pools suspended in generic landscapes generated from uploaded photographs. Binary gods and transparent shadows. Sediment and cosmic hands weaving existence on overdimensional looms.

Across two uninterrupted sides, words float like those oil spots Mitkov describes: "swallowing light, drifting between the waves, forming a strange pattern". The music holds space for these reflections without trying to contain them. Everything stays permeable. Everything keeps moving.

Who better to help you celebrate that most wonderful time of the year than holiday favorites Bad Religion? Tackling eight chestnuts in their classic punk rock style. From "White Christmas" with its nod to pioneers The Ramones, to the glorious choirboy intro to "Hark! The Herald Angels Sing," Christmas Songs is the record you need to get your holiday household"s toes tapping. First time ever double sided, 45 RPM.

Sharp Fragments marks Stenny’s second full-length release on Ilian Tape, a tense exploration of spatial and material disruption. Each track functions as a fractured, self-contained unit, yet together they form a wider language where interference becomes structure. Across twelve pieces, the record shifts through evolving states, tracing a path defined by transition rather than destination.

United Lions Conquer Studmission

Letters Home is the debut full-length on ambient powerhouse Pas tInside The Present from Tennessee-based Slow Blink aka Amanda Haswell. And a fine one it is too with mesmerising routes through hazy soundscapes she calls "tape loop weather patterns." Across two half-hour pieces, bowed guitar, piano, bells, and toy synths dissolve into dreamy loops and create symphonies of colour and memory. Side one, 'The Heart's Docent', feels like a love-struck dance unraveling in slow motion, while 'Laughter at Cascade Park' evokes bittersweet nostalgia for long-lost joys. Handmade, analogue and alive with imperfections, Letters Home is an intimate meditation on memory, nature and impermanence.

Epsilon Record Co is pleased to introduce its latest release ICE CREAM.

The two previously unissued tracks from 1978, recorded in Los Angeles, California, re-mastered by Steve Fuji.

Steve Fuji and I have collaborated on several projects including Paris Ford, The Kopestetics, Real Side, Taxie, Kenyatta, Henderson & Jones, Natural Impulse, Ray Williams & Prime Cut. He is a valued member of Epsilon Record Co and we are grateful for his assistance and expertise.

Several years ago Steve informed me that he had a master tape from a recording session he conducted in 1978 (he believes it was at Mystic Studio) from one of the original members and co-founders of Taxie, Charles Erwin Williams II, also known as ‘Ice Cream’.

The tape was in good condition and the original version of With Love You’ll Find A Peace Of Mind was 7 minutes 38 seconds. I asked Steve if it was possible to shorten it to approximately 3 minutes.

A few days later I received several versions re-mastered and re-mixed by him and we both agreed they sounded excellent.

We hope you will enjoy this as much as we do. It is a fantastic piece of unheard Californian soul music available exclusively on Epsilon Record Co.



The B side Seaside Vibe is a killer funky instrumental with an amazing production.

What began as a nostalgic nod to Camden Market’s bootleg culture has become the next chapter of in the Running Back Mastermix series. At once deeply personal and openly communal, it shows how a lifetime of production can be condensed into 90 minutes without losing its edge — proof that the mixtape, even in 2025, still has stories left to tell.
What followed was a patient excavation. Old DATs were pulled out of storage, forgotten files surfaced from hard drives, and new material was written to sit alongside them.
Together, these fragments revealed a body of work stretching back more than 25 years — tracks that moved across the spectrum of house and techno but shared a common thread of character and atmosphere.
In May of this year, the archive finally found its form. Recorded live on three decks using Serato, the resulting mix brings together 24 tracks: unreleased material from the past and brand new productions, all stitched together into a continuous narrative. It’s equal parts retrospective and statement of intent — less a museum piece than a living document.

Ata Kak schuf mit seinem Debütalbum **,Obaa Sima"** ein eigenwilliges Stück ghanaischer Musikgeschichte. Bei seiner Veröffentlichung im Jahr 1994 blieb es zunächst weitgehend unbeachtet, doch 2006 erlebte die Kassette online ein neues Leben. Als erster Beitrag auf dem Blog *Awesome Tapes From Africa* avancierte sie zu einer Art Manifest für das gesamte Projekt - und löste eine ungewöhnliche, aber nicht gerade leise Kultbegeisterung aus. Seine fesselnde Mischung aus experimenteller elektronischer Musik und Twi-sprachigem Hiplife erreichte ein überraschend breites Publikum unter Musikfans unterschiedlichster Couleur. Das Rätsel um die Identität des Musikers wuchs. Schließlich trat Yaw Atta-Owusu aus dem Schatten - aus seinem ruhigen Zuhause in Kumasi - und tourte um die Welt, spielte energiegeladene, schweißtreibende Auftritte auf großen Festivals wie Glastonbury, Sónar und Pop Montreal. Nun veröffentlicht Ata Kak erstmals seit 1994 neue Musik. Über mehrere Jahre hinweg in Studios rund um Kumasi entwickelt, präsentieren die Songs den akrobatischen Rap und das charakteristische Scatting des Sängers-Rappers, dramatische Drums und sogar die traditionelle Akan-Harfe. Die Kompositionen sind ambitionierter als seine frühen Werke, mit komplexeren Arrangements und vielschichtigen Harmonien. Die neuen Stücke sind auch Ausdruck eines ruhelosen Künstlers - Ata Kak ist ein produktiver Dichter und Autor von rund einem halben Dutzend Büchern, zudem passionierter Gärtner und fleißiger Maler. Geboren 1960 in Ghana, war Ata Kak nicht immer in der Musik aktiv. Seine Reisen und seine Offenheit für die Welt führten ihn jedoch in die Musikszene. Während seines Aufenthalts in Deutschland wurde er eingeladen, in einer Reggae-Band Schlagzeug zu spielen, und trat später in Highlife-Bands in Ontario auf, nachdem er in die Gegend um Toronto gezogen war. Dort nahm er **,Obaa Sima"** in seinem Heimstudio auf und veröffentlichte es 1994 in Ghana. In den Jahren danach war er nur wenig musikalisch aktiv, bis ,Obaa Sima" 2015 neu aufgelegt wurde. Seitdem spielt er seine Songs live - unterstützt von einer brillanten Gruppe Londoner Musiker - und hat auf drei Kontinenten getourt, vor Tausenden von Fans in den unterschiedlichsten Locations.

Ata Kak schuf mit seinem Debütalbum **,Obaa Sima"** ein eigenwilliges Stück ghanaischer Musikgeschichte. Bei seiner Veröffentlichung im Jahr 1994 blieb es zunächst weitgehend unbeachtet, doch 2006 erlebte die Kassette online ein neues Leben. Als erster Beitrag auf dem Blog *Awesome Tapes From Africa* avancierte sie zu einer Art Manifest für das gesamte Projekt - und löste eine ungewöhnliche, aber nicht gerade leise Kultbegeisterung aus. Seine fesselnde Mischung aus experimenteller elektronischer Musik und Twi-sprachigem Hiplife erreichte ein überraschend breites Publikum unter Musikfans unterschiedlichster Couleur. Das Rätsel um die Identität des Musikers wuchs. Schließlich trat Yaw Atta-Owusu aus dem Schatten - aus seinem ruhigen Zuhause in Kumasi - und tourte um die Welt, spielte energiegeladene, schweißtreibende Auftritte auf großen Festivals wie Glastonbury, Sónar und Pop Montreal. Nun veröffentlicht Ata Kak erstmals seit 1994 neue Musik. Über mehrere Jahre hinweg in Studios rund um Kumasi entwickelt, präsentieren die Songs den akrobatischen Rap und das charakteristische Scatting des Sängers-Rappers, dramatische Drums und sogar die traditionelle Akan-Harfe. Die Kompositionen sind ambitionierter als seine frühen Werke, mit komplexeren Arrangements und vielschichtigen Harmonien. Die neuen Stücke sind auch Ausdruck eines ruhelosen Künstlers - Ata Kak ist ein produktiver Dichter und Autor von rund einem halben Dutzend Büchern, zudem passionierter Gärtner und fleißiger Maler. Geboren 1960 in Ghana, war Ata Kak nicht immer in der Musik aktiv. Seine Reisen und seine Offenheit für die Welt führten ihn jedoch in die Musikszene. Während seines Aufenthalts in Deutschland wurde er eingeladen, in einer Reggae-Band Schlagzeug zu spielen, und trat später in Highlife-Bands in Ontario auf, nachdem er in die Gegend um Toronto gezogen war. Dort nahm er **,Obaa Sima"** in seinem Heimstudio auf und veröffentlichte es 1994 in Ghana. In den Jahren danach war er nur wenig musikalisch aktiv, bis ,Obaa Sima" 2015 neu aufgelegt wurde. Seitdem spielt er seine Songs live - unterstützt von einer brillanten Gruppe Londoner Musiker - und hat auf drei Kontinenten getourt, vor Tausenden von Fans in den unterschiedlichsten Locations.

Dutch artist Sander van der Toorn returns to Kit Records, following his much-loved work with analogue-decayed folk duo Love is Yes, in 2024. While Sander's signature haze of tape-smeared synthesis and motorik guitar is ever present, "kom-kom" represents a departure from the elysian warmth of Love's debut.

The industrial throb of tracks like 'FIVE' and 'Rainhum' bear the deconstructed hallmarks of krautrock pioneers Neu!, and even the dystopic glow of artists like Plastikman or Pole. When kom-kom's harmonic ambitions resurface, such as on the synapse-aching 'Dwarsdoor', or the glassy structures of 'Hazenhart', the effect is startling.

van der Toorn cites the inspiration of Morton Feldman and Sarah Davachi when describing his work less as a linear listening experience, more a collection of sculptures that can be viewed from different angles. In this way, kom-kom doesn't have to move forward; the encounter can be one of stillness, of static objects given movement by the beholder's shifting perspective.

Sounds like: John Fahey being stretched into infinitely long pieces of spaghetti.
Recommended if you like: intercontinental rail travel, Mark Fisher, a nice malbec.

Limited edition of 100 cassettes, with risograph printed artwork.

Kalita are proud to present a 2-year anniversary repress of Emerson’s 1988 mythical electro boogie grail ‘Sending All My Love Out’, accompanied by two remixes courtesy of the genre’s most respected innovators, Egyptian Lover and Detroit In Effect. Limited to only 500 copies, pressed on electrifying yellow 12” vinyl.

Originally privately released as an obscure 7” single on LAS Records, operated by visionary power couple Emerson and Leora Sandidge, ‘Sending All My Love Out’ has since transformed into a hallowed grail among dance music collectors, enthusiasts and DJs alike, commanding sky-high prices on the second-hand scene.

A late 80’s electro boogie anthem, featuring a heavy mix of synthesizer and drum-machine euphoria, overlaid with Emerson and Leora’s own vocals, the recording truly is in a league of its own.

And to do justice to its legendary status, Kalita has dusted off the original multi-track master tapes and enlisted two of the electro scene’s most revered figures, namely Egyptian Lover and Detroit In Effect, to remix and elevate the track in their own signature style.

A truly special release.

Originally commissioned by TBA during the COVID pandemic of 2020 as part of their Curfew programming O Morto, aka Mestre André now presents the full length version of his Lila composition, a collaboration with Moroccan musicians Ayoub ElAyady and Khalid Boulhamam.

Lila is the Arabic word for night and is also the name of the liturgic ceremony manifested in a trance, as a process of healing and therapy, through a ritual of sensory immersion conducted by music (gnawa), incense, colour and dance. From sunset to dawn, seven colours are revealed, associated with different rhythms and stages of ecstasy.

In »Lila«, Ayoub ElAyady, Khalid Boulhamam and O Morto summarily travel through the seven colours of the nocturnal ritual in all its scope – using both the form of tradition and electronic manipulation.!:

Zwölf Jahre nach dem gefeierten Album All Is Fever melden sich Naked Lunch mit Lights And A Slight Taste Of Death eindrucksvoll zurück. Die österreichische Band um Sänger und Songwriter Oliver Welter präsentiert ein Werk, das tief geht - musikalisch wie emotional. Der Titel deutet es an: Licht und Tod, Hoffnung und Abgrund, Intimität und Explosion - alles ist da. Welter verarbeitet persönliche Krisen, Krankheit und Wiedergeburt, aber auch Liebe und Lebensfreude. Die Songs sind radikal ehrlich, poetisch und musikalisch vielschichtig. Von zarten Balladen wie Come Into My Arms bis zu hymnischen Popmomenten wie To All And Everyone I Love oder We Could Be Beautiful entfaltet sich ein Klangkosmos, der berührt und fordert. Produziert wurde das Album gemeinsam mit Wolfgang Lehmann, dessen sensibles Verständnis für Musik Welters Vision perfekt ergänzt. Unterstützt von langjährigen Weggefährten Alex Jezdinsky (Drums) und Boris Hauf (Keys/Sax), entstand eine Platte, die sich kompromisslos in die eindrucksvolle Diskografie von Naked Lunch einreiht. Lights And A Slight Taste Of Death ist eine musikalische Tour de Force - intensiv, verletzlich, kraftvoll. Ein Album, das zeigt: Naked Lunch sind lebendiger denn je

Zwölf Jahre nach dem gefeierten Album All Is Fever melden sich Naked Lunch mit Lights And A Slight Taste Of Death eindrucksvoll zurück. Die österreichische Band um Sänger und Songwriter Oliver Welter präsentiert ein Werk, das tief geht - musikalisch wie emotional. Der Titel deutet es an: Licht und Tod, Hoffnung und Abgrund, Intimität und Explosion - alles ist da. Welter verarbeitet persönliche Krisen, Krankheit und Wiedergeburt, aber auch Liebe und Lebensfreude. Die Songs sind radikal ehrlich, poetisch und musikalisch vielschichtig. Von zarten Balladen wie Come Into My Arms bis zu hymnischen Popmomenten wie To All And Everyone I Love oder We Could Be Beautiful entfaltet sich ein Klangkosmos, der berührt und fordert. Produziert wurde das Album gemeinsam mit Wolfgang Lehmann, dessen sensibles Verständnis für Musik Welters Vision perfekt ergänzt. Unterstützt von langjährigen Weggefährten Alex Jezdinsky (Drums) und Boris Hauf (Keys/Sax), entstand eine Platte, die sich kompromisslos in die eindrucksvolle Diskografie von Naked Lunch einreiht. Lights And A Slight Taste Of Death ist eine musikalische Tour de Force - intensiv, verletzlich, kraftvoll. Ein Album, das zeigt: Naked Lunch sind lebendiger denn je

Ata Kak schuf mit seinem Debütalbum **,Obaa Sima"** ein eigenwilliges Stück ghanaischer Musikgeschichte. Bei seiner Veröffentlichung im Jahr 1994 blieb es zunächst weitgehend unbeachtet, doch 2006 erlebte die Kassette online ein neues Leben. Als erster Beitrag auf dem Blog *Awesome Tapes From Africa* avancierte sie zu einer Art Manifest für das gesamte Projekt - und löste eine ungewöhnliche, aber nicht gerade leise Kultbegeisterung aus. Seine fesselnde Mischung aus experimenteller elektronischer Musik und Twi-sprachigem Hiplife erreichte ein überraschend breites Publikum unter Musikfans unterschiedlichster Couleur. Das Rätsel um die Identität des Musikers wuchs. Schließlich trat Yaw Atta-Owusu aus dem Schatten - aus seinem ruhigen Zuhause in Kumasi - und tourte um die Welt, spielte energiegeladene, schweißtreibende Auftritte auf großen Festivals wie Glastonbury, Sónar und Pop Montreal. Nun veröffentlicht Ata Kak erstmals seit 1994 neue Musik. Über mehrere Jahre hinweg in Studios rund um Kumasi entwickelt, präsentieren die Songs den akrobatischen Rap und das charakteristische Scatting des Sängers-Rappers, dramatische Drums und sogar die traditionelle Akan-Harfe. Die Kompositionen sind ambitionierter als seine frühen Werke, mit komplexeren Arrangements und vielschichtigen Harmonien. Die neuen Stücke sind auch Ausdruck eines ruhelosen Künstlers - Ata Kak ist ein produktiver Dichter und Autor von rund einem halben Dutzend Büchern, zudem passionierter Gärtner und fleißiger Maler. Geboren 1960 in Ghana, war Ata Kak nicht immer in der Musik aktiv. Seine Reisen und seine Offenheit für die Welt führten ihn jedoch in die Musikszene. Während seines Aufenthalts in Deutschland wurde er eingeladen, in einer Reggae-Band Schlagzeug zu spielen, und trat später in Highlife-Bands in Ontario auf, nachdem er in die Gegend um Toronto gezogen war. Dort nahm er **,Obaa Sima"** in seinem Heimstudio auf und veröffentlichte es 1994 in Ghana. In den Jahren danach war er nur wenig musikalisch aktiv, bis ,Obaa Sima" 2015 neu aufgelegt wurde. Seitdem spielt er seine Songs live - unterstützt von einer brillanten Gruppe Londoner Musiker - und hat auf drei Kontinenten getourt, vor Tausenden von Fans in den unterschiedlichsten Locations.

NYC electronic music collective P.E. return with their third and final album Oh!, due October 3 on Wharf Cat Records. Oh! Is the sound of a startled exclamation punctuating an exit, and the embodiment of the music within: fun and fluorescent, fluid and flirty, dirty and a little dangerous. From their conception in 2017 through the NOPE Tape series, P.E. existed as an experiment in co-conspirited collaboration. Oh! continues to cast a wide net, featuring an expanded lineup from their original formation, including Eleanor Friedberger of The Fiery Furnaces on the lead single "Color Coordinator". The resulting music ranges wide as ever, from the jubilant grooves of the title track and "Color Coordinator" to "The Fiction Writer" - a tender duet between Veronica Torres and Jonny Campolo - through the city pop sounds of "(Do You Like) So So?" and "Purple On Time", and into the abstracted beyond. This isn't a goodbye, but a "see you around". A tear falls down the cheek of a stranger, dancing as they catch your smile in the reflection of a glass building. Ceremoniously, serendipitously, they sidewalk surf away, stepping on something sharp - "Oh!" - leaving a teardrop on the city pavement. Following the last P.E. show, Jonny Campolo fully embraced his persona of The Grayscale Clown. You can hear him crooning in pets (along with Nick Campolo and Chase Ceglie) and droning in Microfibers (featuring Keegan & Eugene of Decor). His brother Nick Campolo successfully uploaded his consciousness to the cloud. He & his simulacrum perform in the aforementioned pets and solo as Nick Nun Ca. Ben Jaffe was in a freak nuclear waste accident when his DNA merged with a puma - he is now known as The Puma Man. You can catch him prowling around NYC with Sleaze Generator and as a sax beast for hire. Bob Jones went on a silent meditation and forgot how to speak. He now quietly releases music under the name R.A. Jones (as on his recently released Whispered to A Child), and as Scythe with David West (on A Colourful Storm). Jonathan Schenke disappeared for six months without a trace; when he returned he had developed a nervous tic anytime he heard a 909 rimshot or a saxophone. His recent solo album Passages (on No Gold) features neither of the above, nor does his project Gift Horse with Matthew Hord. Veronica Torres headed west to pursue her studies, developing a ceramic polymer whose beauty has caused madness in certain individuals. Her band Cha Cha 9 is a darling of the Minneapolis scene. P.E. would like to say thank you from the bottom of our hearts to everyone who listened to our records and danced at our shows - your love is felt. Thank you so much to Wharf Cat Records for all of the support over the years. Thank you to the fans. Thank you Pill and Eaters. Mitwirkende

Skylax Records proudly presents the first release in our brand-new archival reissue project: the SKYLAX COLLECTOR'S SERIES. This collection is dedicated to unearthing rare and forgotten underground gems, pressed back to vinyl with love and respect for the original sound. We kick off this essential series with a deep cut from one of the UK’s most respected techno pioneers: AUBREY – WAREHOUSE, originally released in 1997 on his cult imprint Textures (catalogue: TEX2). This classic slab of wax features five tracks that masterfully blend deep house grooves with raw UK techno energy: A1. Warehouse / A2. Rift Zone / B1. Shot / B2. Insult My Friend / B3. Space Lead. Aubrey, real name Allen Saei, started his journey into music in 1990 under the alias Panic, with his first release Voices Of Energy on Sheffield’s Ozone Recordings, later licensed by Buzz in Belgium. That same year, he launched his first label Solid Groove Records, which went on to drop over 30 vinyl releases in 13 years, with tracks licensed and supported by heavyweights such as Derrick May, Carl Cox, Adam X, Pete Tong and Terry Francis. Aubrey also ran four additional underground labels: Textures, Dark, DOT and Cheap Knob Gags. A true lifer, he became a hip hop DJ at age 13, discovered acid house at 16 after hearing Mr. Fingers’ Washing Machine, and released his first vinyl at 17. By 18, he had a residency at Central Park in Portsmouth (a key spot that hosted the likes of Luke Slater, Carl Cox, Frankie Bones, Joey Beltram, Grooverider…), and quickly became a fixture in the UK rave circuit, playing regularly at London institutions such as The Astoria, Turnmills, The Gardening Club, The Pirate Club, and legendary events like Energy and Raindance. He also worked behind the counter at import store Razzles, one of the most important dance music shops in the South of England, before joining Luke Slater at Jelly Jam Records. In 1991, he created Solid Groove to push his unique production vision—a journey that continues today through releases on legendary techno labels such as Metroplex and Ostgut Ton. Still fully active and devoted to music—DJing, mastering, remixing, and working in record stores—Aubrey remains a cornerstone of the underground. This reissue has been carefully remastered from the original tapes, pressed with the utmost attention to quality. A vital release for collectors, DJs, and all lovers of true UK techno and deep house. Strictly limited. No repress. Just music.

Cambridge’s acclaimed psych-folk quintet Fuzzy Lights return with their fifth album ‘Fen Creatures’. Following on from 2021’s critically lauded ‘Burials’ the band have created their most conceptually focussed work to date – a mediation on environmental crises that uses the folklore and history of East Anglia as a lens to examine humanity’s fractured relationship with the natural world.

The album operates across multiple historical timelines, from Iron Age hill forts to medieval plague houses, from Byron's Romantic-era environmental warnings to the immediate threat of rising sea levels, creating a temporal tapestry that weaves ancient stories with contemporary concerns.

Musically, the quintet, Rachel Watkins (vocals/violin), Xavier Watkins (guitar/electronics), Chris Rogers (guitar), Daniel Carney (bass), and Mark Blay (drums), have pushed deeper into experimental drone territories while maintaining the crystalline folk sensibilities that have become their signature.

Lead track ‘Greenteeth transforms the traditional cautionary tale of Jenny Greenteeth, the water spirit who lures children to their deaths. "When I read this story to my daughter, she was instantly drawn into it," Watkins notes. "There's something timeless about these tales and the way they speak to fundamental fears and connections that span generations."

Elsewhere, 'War Ditches' imagines the Iron Age dead of a Cambridge hill fort keeping watch over the land, their vigil ending as modern people lose connection with the earth. 'The Promise' creates an imaginary encounter with the ghosts of Landbeach village across multiple eras, connecting the 1665 plague with our recent pandemic experience through shared narratives of community resilience and loss.

Critics praised ‘Burials’ as "way beyond folk and folk in essence all at once" (Backseat Mafia) and "folk-rock looking back squarely at the early 1970s" (Financial Times), and 'Fen Creatures' promises to cement Fuzzy Lights' reputation as one of Britain's most vital contemporary folk acts. The album positions them firmly within the lineage of artists like Fairport Convention, Trees, and Comus who understood that engaging with tradition isn't nostalgic escapism, but a way of accessing older wisdoms about how to live in the world.

‘Burials’ press:

“...the musical battle between the fuzzy and the light makes Fuzzy Lights special.” MOJO ★★★★
“...a simmering, sinister undercurrent which often explodes with apocalyptic fervour.” SHINDIG ★★★★
“...subverting genre expectations and folk melodies.” FINANCIAL TIMES ★★★★
“Way beyond folk and folk in essence all at once, it's a record that’ll bring you much reward.” BACKSEATMAFIA - 8.3/10
“a genuine delight....a stirring and unsettling listen, goosebumps adding to the pleasure of timeless music played well, with perfect precision. Don’t leave it another eight years, eh?” FOLK RADIO
“...re-inventing the folk-rock playbook and dragging it screaming through an array of influences...Fuzzy Lights’ most unique, reflective and ambitious record to date” FOR THE RABBITS

Manteca’s 2014 album, first time on vinyl. Manteca, the London Latin jazz/salsa funk combo, are back with a first-time vinyl release of their brilliant digital album “Oye” from 2014. “Oye” is a collection of heavy-duty Latin music that reaches well beyond the standard salsa or Cuban dance-band style, appealing to anyone and everyone, from mambo dancers to B-boys, jazz brothers to soul sisters! Led by Colombian singer Martha Acosta and bassist Javier Fioramonti, who have played with everyone from Roberto Pla and Candela, to Alex Wilson’s groups and Salsa Celtica, as well as backing Latin legends such as Joe Bataan, Jack Costanzo, Henry Fiol and Azuquita, this band really cooks! “Que Pasa” is smoking Latin funk, this will get your head nodding and foot tapping for sure.“Oye”, a lovely mid-tempo Afrobeat/Latin jazz fusion number with punching brass and super-funky kit playing. There are three cover versions on the album: Horace Silver’s “The Jody Grind”, a 1960s Blue Note Records soul jazz classic. Manteca does it justice, taking the original and turning it into a heavy Mongo Santamaria style funky Latin soul belter. Sergio Mendes’s “Groovy Samba” is also given the 1960s Mongo “Watermelon Man” style Latin soul jazz treatment. Very hip arrangement, and some fantastic brass soloing in there too. The last one is a brave choice. It’s the timeless bolero standard “Como Fue”, which the band plays beautifully. “Para Pello” (“For Pello”), a conga-style big percussive beat that evolved from Afro-Cuban street carnivals. Secondly, “Bomba Chevere”, a blend of Puerto Rican bomba and Colombian cumbia. The big Afro-Cuban track of the album is “Descarga China”, which has two different mixes. One is a descarga funk mix with some heavyweight kit playing and smoking trumpet soloing, while the other is a more straight-ahead Latin jam with Javier’s upright bass playing underpinning the whole number in a very Cachao way. Big shouts to the whole band, which features some of the best musicians from the London Latin music scene of the last three decades. These cats are as good as you’ll get in Latin music from anywhere across the world.This London Latin music gem has been crying out for a vinyl release for over a decade. At last, it's here. Slap it on the turntable, drop the needle on track one, turn the volume up, press play and be ready to dance. Standing still is NOT an option! DJ Lubi (One Jazz / Totally Wired Radio)

Recorded during that unique period in the late ‘60s when jazz, blues and rock musicians found common ground in London’s vibrant subterranean clubs, 1968s Definitely What! was the second of the run of the four ground-breaking Trinity albums. Showcasing Auger's open-minded approach and his masterful organ & piano skills, the album whips up a rich blend of jazz, R&B, psychedelic touches and soulful grooves, complemented by the tight, dynamic rhythm section of Dave Ambrose (bass) and Clive Thacker (drums).

After the previous year’s Open (1967) with its 'Summer of Love' feel and its melting pot of Mod R&B, cover versions of US soul hits led by Julie Driscoll’s inimitable vocals, Auger considered Definitely What! as his first solo album, and so he travelled deeper into jazz territory, balancing original pieces with audacious covers. Tracks include versions of Mose Allison's 'If You Live' and of Wes Montgomery’s ‘Bumpin’ On Sunset’. “I got a letter from Wes's wife,” recalls Auger, “saying that it was Wes' favourite version. Can you believe that, Wes's wife wrote to me!”

Elsewhere, we find a dramatic re-arrangement of The Beatles’ ‘A Day In The Life’ complete with orchestral strings and a punchy horn section, alongside a supercharged version of Booker T & The MGs’ ‘Red Beans & Rice’ . 'George Bruno Money' was dedicated to Auger's drinking pal of the era, Zoot Money, and 'John Browns Body' both combine prime Hammond jazz with the very British surrealist humour that was in vogue at the time. The title track goes further “out” in a sprawling instrumental piece rooted in experimentation. Brian himself specifically states in his sleeve notes that his concept “lies along a straight line drawn between pop and jazz and aims at the 'fusion' of both elements” - ‘fusion’ at that time was not even a recognised musical term, further reinforcing Auger’s credentials as an innovator.

That forward-thinking approach was developed in Open and Definitely What! would come to fruition a year later with the release of Streetnoise (1969) featuring the Trinity and Julie Driscoll. At the time, the move to bring together jazz, rhythm & blues, folk, gospel and pop into a progressive new sound may have annoyed the purists and confused the less open- minded, but these albums stand today as a testament to Auger’s unique position within British music, foreshadowing his future 1970s explorations with the Oblivion Express and beyond. Definitely What! remains a fascinating snapshot of 1960s musical experimentation - raw, eclectic, and unapologetically Auger!

This new Strut reissue is curated by Impressive Collective’s Greg Boraman in partnership with Brian and Karma Auger. The album is remastered by Cosmic Audio from the original tapes, and is packaged in Brian's favourite version of the 3 different sleeves the album was originally issued in.

When CRIMEAPPLE and Big Ghost Ltd first linked up on their "Aguardiente" collaboration in 2016, the two came to shake the game up. The iconic Antioqueño bottle left a mark in underground hip-hop that still stands strong to this day, and to follow up they cooked up the deadliest material to do that once again with "Bazuko".

Named after the deadliest and most addictive street drug in Colombia, basuco, the album embodies the raw, uncut and unfiltered essence of their artistic process, much like the gritty remnants of cocaine paste.

CRIMEAPPLE's razor-sharp lyricism cuts through Big Ghost Ltd's masterful, hard-hitting beats, creating a visceral, addictive and immersive soundscape. With "Bazuko," the two aren't just following up on "Aguar-diente"; they're raising the stakes, delivering a project that is as potent and unforgettable as its namesake.

Since first bursting onto the scene with her classic Number One hit singles 'Can The Can' and 'Devil Gate Drive', Suzi Quatro has sold over 50 million records worldwide and is recognized as a true rock 'n' roll legend and feminist icon. Over her 50-year career, Suzi has inspired countless artists from Joan Jett to Debbie Harry and KT Tunstall. She is also known for her role as theLeather Tuscadero in 'Happy Days'. 'A's & B's' is a collection putting the spotlight on her classic '70s singles. Side one is packed with hits including 'The Wild One', 'Devil Gate Drive', '48 Crash' and 'Can The Can', whilst side two showcases the Quatro-penned B-sides which accompanied those iconic rock singles Available on vinyl for the first time, the compilation is remastered from the original master tapes by Phil Kinrade at AIR Mastering, and is pressed on 140g red glitter vinyl with a top-loading sleeve.