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Kelela, a new generation R&B singer who straddles R&B and dance music, has released her latest album "RAVEN" on Warp, her first album in five years since her acclaimed debut album "Take Me Apart". The album was co-executive produced by Kerera and LA producer Asmara, with Kerera composing and arranging all of the songs. Other producers on the album include Yo van Lenz and Florian T M Zeisig, who also work as the ambient unit OCA, and LSDXOXO, who produced the entire album, and Canadian Bambii ( Bambii) also participated in the additional production. Kerera's new chapter, "RAVEN," is an extremely beautiful and lustrous musical experience. Through the fifteen songs on this album, including the already acclaimed predecessors "Washed Away" and "Happy Ending," Kerera explores autonomy, belonging, and self-renewal.

In 1974, a brash young designer called Augustus Kerry Taylor had an idea. He'd gather together the hottest musicians in Ghana and record an album of the heaviest and funkiest sounds coming out of America. And this time, he wouldn't just design the cover, like he'd done with Fela Kuti, he'd even release it on his new label, Emporium, as well. Local Accra legends Joe Wellington, Jagger Botchway, Leslie Addy, Officer Toro, Oko Ringo, Soldier and Steve answered the call. They were christened the Kelenkye Band and gelled immediately. Moving World, is a funky, disparate album that exudes a rare warmth, enthusiasm and togetherness. 'Moving World' and 'Brotherhood of Man' are hard, grinding funk. 'Jungle Music' has a more soulful groove. There's also a bit of reggae, 'Dracula Dance', and old-skool highlife, 'Wale Tobite'. Accra's leading DJ, Charlie Sam, declared his mind 'well and truly boggled.' The Kelenkye Band never recorded another album. Augustus Kerry Taylor shut down Emporium and went back to designing album covers. But in Moving World they delivered a perfect moment of funk alchemy that has rightly become the Holy Grail of 70's Ghanian groove. - Peter Moore, www.africanrevolutions.com / Licensed by the bandleaders and songwriters of the album, Joe Wellington and Jagger Botchway.

Distance as a measure of time and place informs Kelly Finnigan’s, A Lover Was Born with a grit and grace that turns passion into virtue. The latest solo release from The Monophonics frontman roots itself in the best traditions of midwest soul labels like King, Curtom, Dakar, and the Bodie Recording Company. A Lover Was Born is a testimony that these deep cut grooves are not resigned to nostalgia, instead, they are at the burning heart of longing and hope. The journey Finnigan takes listeners on over Lover’s eleven tracks echo the state of motion and growth since his solo debut, The Tales People Tell (2019). These two records bookend a prolific period of output, including a pair of Monophonics albums, a Christmas album, a mixtape, and a full slate of producing other artists (The Ironsides, Alanna Royale, the Sextones). “There’s nothing like making records,” says Finnigan. “It feels like that’s my purpose — the reason I was put on this earth.” Written in California, Ohio, and Staten Island, Kelly Finnigan collaborated with old friends in and outside the studio. “I enjoy working alone but it’s not how you want to make a record…almost everybody I brought in for this album I’ve worked with, toured with or spent a great deal of time with.” Max and Joe Ramey (The Ironsides), Jimmy James (Parlor Greens), Sergio Rios (Orgone), Joey Crispiano (Dap Kings) and Jay Mumford (aka J-Zone) all contribute to the overall sound of A Lover Was Born. Dramatic influences like Isaac Hayes (check out the piano on “Be Your Own Shelter”) and Jerry Ragovoy are chopped and folded into Northern Soul uptempo numbers to create stompers like “Get a Hold of Yourself” or “Chosen Few”. Finnigan’s take on Deep Soul is captured brilliantly on “Walk Away from Me” and “Love (Your Pain Goes Deep)”, while Boom Bap pervades on hard hitters “His Love Ain’t Real” & “Cold World”. Slower songs such as “Let Me Count the Reasons”, the emotional “All That’s Left”, and the soul-stirring album closer “Count Me Out” show the honest and tender side that has become Finnigan’s calling card. All the while, the voice is raw and earthy — in the best tradition of R&B shouters like Otis Redding, Lee Moses, and David Ruffin. The songs on A Lover Was Born reconfigure the spliced and sampled DNA of hip hop (extracted by crate diggers like Dilla and RZA) to create something new, underscoring both the spectrum and depth of soul while making a case to the timelessness of Finnigan’s sound.

Kelly made you a mixtape. It’s an eclectic mix of ideas, recorded and produced at Transistor Sound Studio in Marin County, California. “I want to share what I’ve been working on,” Kelly explained. “It’s not a proper album, and it doesn’t have the same vibe all throughout. It’s a collection of different ideas, which is how I used to share the music I loved with my friends.” About half of the songs represent his influence directly from hip-hop, crate digging, record collecting and the art of sampling. The original beat-driven drums and looping melodies provide the backdrop for future emcees to record over. “When I first decided that I wanted to make my own music, it was with drum machines and samplers,” Kelly shared. “I’ve always been inspired by the sounds on hip-hop records. That’s where my musical aspirations began.” Fans of Kelly’s previous work know that he’s capable of creating the kind of classic records that are often the subject of sampling. The mixtape contains a few new original tunes, instrumental versions of his known b-sides Trouble and It’s Not That Easy, and a soul stirring acoustic version of Impressions of You, which was originally released on Kelly’s debut LP The Tales People Tell in 2019. Kelly is working with Colemine Records to release the mixtape exclusively on cassette. “Owning a physical copy of a song and using a specific piece of equipment to hear it – that was a huge part of my musical upbringing. This is a selection of different songs on a tape. It’s how I want people to experience it.”

Born out of a series of studio sessions, LP.8 was created with no preconceptions or expectations: an unbridled exploration into the creative subconscious. After releasing her sophomore album Inner Song in the midst of the pandemic, Kelly Lee Owens was faced with the sudden realisation that her world tour could no longer go ahead. Keen to make use of this untapped creative energy, she made the spontaneous decision to go to Oslo instead. There was no overarching plan, it was simply a change of scenery and a chance for some undisturbed studio time. It just so happened that her flight from London was the last before borders were closed once again. The blank page project was underway. Arriving to snowglobe conditions and sub-zero temperatures, she began spending time in the studio with esteemed avant-noise artist Lasse Marhaug. Together, they envisioned making music somewhere in between Throbbing Gristle and Enya, artists who have had an enduring impact on Kelly’s creative being. In doing so, they paired tough, industrial sounds with ethereal Celtic mysticism, creating music that ebbs and flows between tension and release. One month later, Kelly called her label to tell them she had created something of an outlier, her ‘eighth album’. Lasse Marhaug is known for hundreds of avant-noise releases, previously working with the likes of Merzbow, Sunn O))) and Jenny Hval, for whom he produced her acclaimed albums Apocalypse, Girl, Blood Bitch and The Practice Of Love. A label mate of Kelly’s, Marhaug has recorded for Smalltown Supersound since 1997. Welsh electronic artist Kelly Lee Owens released her eponymous debut album in 2017 and followed this up with 2020’s Inner Song. She has collaborated with Björk, St. Vincent and John Cale. In April, she returns with LP.8.

Don’t Trust Mirrors caps off one of the most transformative periods of Kelly Moran’s musical life. In 2019, her career was defined by extensive touring and festival dates — waking up early to play her sets, and staying late to dance to techno. The experience of staying out and absorbing this environment generated a new connection between herself & the music she was making, inspiring her to work on a more rhythmic followup to her 2018 Warp Records debut Ultraviolet.

But an unexpected and personal shift in her life, along with a halted tour during the pandemic, changed the course of the project. Her self-perception altered — both physically and emotionally — as well as her path, presenting a new creative process. This led to 2024’s Moves in the Field, which The New York Times called “a softhearted but steel-skinned set of 10 piano pieces that are as rapturous as a waterfall or as delicate as vapor.”

Setting itself apart from her last release, Don’t Trust Mirrors is a pivotal return to a project that was put on hold and to self-actualization, showcasing the experience of observing yourself through distortion, reflection, and the slow work of piecing yourself back together again. The album features Warp Records labelmate Bibio, and comprises 10 tracks of magnificent textural refractions — reflecting light, hard edges, and the full spectrum of embracing true embodiment.

The announcement is accompanied by the release of new single “Echo in the Field,” which opens the album, and comes with a mesmerizing, kinetic video directed by Katharine Antoun.

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Kelly Moran has steadfastly established himself as a standard-bearer of contemporary music, challenging the classical school of piano with modern and experimental approaches; in 2018, he joined Oneohtrix Point Never's touring ensemble and has performed live with FKA Twigs. In the classical realm, she has composed for Margaret Leng Tan, while also performing with artists such as Kelsey Lu and Yves Tumor. Her latest album, "Moves in the Field," was released on March 29, 2012 on Warp Records! This album contains 10 duets that explore the inhuman and impossible realm of piano playing, experimenting with the Yamaha Disklavier automatic piano, which Moran plays in real time while the Disklavier plays ultra-fast arpeggios and chords that require more than 10 fingers, accompanying motifs that transcend the physical limits of the piano. Mixing and recording was done by Dan Bora, known as the sound engineer for Philip Glass, and mastered by Joshua Eustis of Tel Aviv.

Kelz’s debut ‘5am and I Can’t Sleep’ delivers us a frothy dream-pop introduction to the mind of Vietnamese-American producer and multi-instrumentalist Kelly Truong. Written and recorded in the middle of the night in her Orange County, California home, these songs tell a nostalgic yet hopeful story following loss. For kelz, carefully looping beats, tinkering with synthetic waveforms, and interweaving guitar picking serves as a meditation--a mode of processing emotions and the inevitable passing of time. Front and center are her airy vocals, recorded in a whisper so as to not wake people in the other room. Each song folds in on itself like a wave’s undertow, reorienting infectious melodies from tracks previous. When asked about the tracks, kelz reflects on the process as “feeling like running towards something” but not knowing what it is. Escape with kelz on a long night drive with this effervescent electro-pop debut.

Ken Boothe and Lloyd Charmers come together on a landmark release that bridges soulful vocals with the stripped-down power of drum and bass. Each song is followed by a raw version, offering a bold, unfiltered statement that points directly to the future of reggae. No filler here—just foundation music at its purest.

In the mid-90s, Ken Ishii rose to prominence, with a futuristic sound rooted in Detroit’s machine soul yet unmistakably his own. Hailing from Sapporo, Ishii quickly became synonymous with futuristic, cutting-edge productions, and ‘Jelly Tones’ – originally released on R&S Records in 1995 - was the breakthrough release that propelled the Japanese producer to global notoriety.

The musician and DJ Ken Ishii sits right at the pinnacle of techno's most noteworthy, but although a game changer for the artist personally - and for Japanese electronic music in general - his 1994 album 'Reference to Difference' is something of an unsung gem today. Now reissued and remastered, released to mark the 30th anniversary of Musicmine / Sublime Records, and available on vinyl with its original track-list for the first time, this stunning, lesser-known classic is ripe for rediscovery.

Kendra Morris returns with Next, her fourth full-length of original material and a vibrant departure into rawer, more immediate territory. Co-produced with Leroi Conroy of Colemine Records, the album was recorded using vintage gear in Loveland, Ohio, tracked through a Tascam 388 for a warm, tactile sound that favours grit over gloss. Featuring contributions from Jimmy James (Parlor Greens, Delvon Lamarr Organ Trio) and Ray Jacildo (The Black Keys, Jr. Thomas & The Volcanos), Next unfolds like a lo-fi concept album in reverse, drawing inspiration from old board games and the DIY spirit of retro television. Across ten tracks, Morris blends doo-wop, boom-bap, and rocksteady into a pastiche of New York nostalgia, where Brill Building songcraft and Warholian aesthetics share the same sonic real estate. It's a cut-and-paste world soundtracked by an artist equally at home behind the lens as she is behind the mic—imperfect, imaginative, and full of heart.

Kendra Morris's 2025 board-game concept album 'Next' quickly became a fan favorite, toping several year-end lists and cementing it's place as one of the most creative album campaigns. Now six months after the record's release, Karma Chief is thrilled you bring you a 45 featuring a fan-favorite tune from the record and a brand new dub remix. 'Flat Tire,' the album's announcement track, tips its hat to old reggae from the 60’s. Inspired by the records Kendra's parents would bring home from trips to Jamaica, the tune brings you a catchy, bouncy chorus you just can't get out of your head. 'Flat Tire' was recorded with all vintage gear and tracked through a Tascam 388. It also features Ray Jacildo, collaborator of The Black Keys, Yola, on piano and organ. The B-side of the 45 features a dub remix of 'Flat Tire' by the one & only Paul Cherry. "As soon as we recorded 'Flat Tire,' Terry and I agreed immediately that there should be some sort of dub remix… the tune was made for that," Kendra says. Terry threw out Cherry's name and they agreed he was the man for the job. The final product perfectly echoes classic late 60s dub by building from of the basics of the song...stripping the production down further, playing up the reverb and adding echoes, pauses and delays in all the right places.

Keni Burke's seminal Changes yielded the eternal club classic "Risin' To The Top". You need this record for this iconic steppers anthem alone. However, it's crucial to acknowledge that the whole of Changes, first released in 1982 on RCA but now a tricky one to find, is something truly special. It's a masterpiece of sophisticated 80s groove, containing first class funky soul that sounds as fresh as ever. This is multi-tempo soul music conceived in heaven. Ace bass player, songwriter, arranger and producer, Keni Burke was discovered by Curtis Mayfield and a childhood member of the Five Stairsteps. Emanating from that magical 81-83 era and pristinely recorded at Philadelphia's legendary Sigma Sound Studios, his third solo album Changes really perfected Keni's groove. It incorporated tight, snappy rhythm arrangements which, despite the era, featured *real drums* courtesy of Steve Ferrone (from Average White Band) to compliment Keni's meaty bass lines. With Dean "Sir" Gant on synths and keyboards and Ed Walsh handling the Vocoder-OBX and Prophet 5, wonderful lines from Earth, Wind & Fire's legendary horn section and hooky rhythm and lead guitar riffs courtesy of Ed "Tree" Walsh, Keni was truly spoiled for excellence. With Doc Gibbs on percussion and Vince Montana on vibes elevating the sensational writing and arrangements, Keni couldn't really go wrong. “Risin’ To The Top” is undoubtedly the defining crown and lasting legacy of this album. Wth its instantly captivating bassline, slowly creepin' groove and uplifting lyrics, it was a favourite among both the 80s soul steppers and hip-hop crowd and remains canonical to this day. Written by Burke, Allan Felder, and former Chic member Norma Jean Wright, it incredibly failed to garner much American radio play or really trouble the soul charts. Whilst it was an instant classic in the U.K., in the States it took the hip-hop generation and later R&B and hip-hop samples of the tune to finally make it popular, many years later. Of note, Big Daddy Kane sampled it for "Smooth Operator", LL Cool J for "Around The Way Girl", Pete Rock & CL Smooth for "Take You There" and O.C. with "Born 2 Live". But the highlights are not restricted to this one behemoth. For example, the track which precedes "Risin'" on Side B is another steppers favourite. "One Minute More" is a perfect mid-tempo ballad and the epitome of deep modern soul. A truly timeless work of genius. We, for one, struggle to think of a better song segue than the moment you're still reeling from the intense beauty of "One Minute More" and "Risin'" elegantly stirs into action. Frisson in excelsis. The propulsive, bass-heavy opener "Shakin" is an indisputable cracker and its followed by the timeless mid-tempo class of "Hang Tight". Just gorgeous. Next up, "Can't Get Enough" is another emotional, horn heavy chugger. The side closes with the sparse, tender, floating sl-o-o-w jam "Who Do You Love"; a truly divine ballad. The B-side beings with the title-track, "Changes", a squelchy, melodic boogie banger with fantastic keys, incredible vocals, ace shuffling percussion and spacey synths. It's followed by the ultimate one-two in "One Minute More" and "Risin'" before this sensational set closes with the glorious easy glide "All Night". An absolutely essential record for fans of deeply soulful modern-funk, Changes was mastered for vinyl by Simon Francis and cut by Cicely Balston for Alchemy at AIR Studios. The artwork was restored at Be With HQ over many painstaking months so, hopefully, this fresh new edition ensures this long-lusted after album is no longer so awkward to find.

What an amazing pair of compositions, beautifully balanced music that transports me to a deep zone where time stands still.

— Jonny Nash (Musician / The founder for Melody As Truth)

"KANNON" achieves a profound listening experience by deliberately avoiding the diverse techniques of the shakuhachi and instead focusing on simple, sustained tones. This approach allows one to concentrate on the inner richness of a single note’s resonance and its delicate nuances, creating a sense of release into the infinite expanses within its deep layers. The moment a sound emerges, passes through, and fades away is truly beautiful.
"RAVEN" showcases the shakuhachi’s expansive yet delicate tonal expressions with remarkable beauty. I was astonished by its level of perfection, making it hard to believe it was recorded live. The piece harmonizes with the steady pulse of the mukkuri, evoking a sense of music that connects to a spectral dimension. I particularly love the latter half, where the high-register tones of the shakuhachi intertwine with the breath-infused mukkuri, resonating with deep overtones. I was utterly captivated by the gentle unfolding of this piece.

— Ko Ishikawa (Shō player / Ancient Kayō performer)

This is captivated by an auditory landscape of deep listening—an immersive soundscape of the mind. Could this not be one of the most uniquely innovative expressions in the current realm of traditional Japanese instruments?

— Kaoru Inoue (DJ / Musician)

Although I often say, "Genres of music don’t really matter," I was truly surprised when I listened to it and thought, "Is this really a shakuhachi?" It made me realize how trapped I had been by my existing preconceived notions. It's like a "eureka moment" for my ears! The deep resonance that is incredibly pleasing to the ear, along with the sonic development that feels like it’s breathing in unison with the natural environment, gradually led me to feel as if I had wandered into a bamboo forest, losing track of where I was—a meditative labyrinth-like experience. It reaffirmed for me the truth that sound tells the whole story. The balance of the sound is also exquisite and remarkable. Such improvisational performance reminds us of the forgotten awe that in the natural world, nothing is ever the same—while each individual expresses their uniqueness, they also form part of the overall harmony.

— Nami Hōtatsu (Vocalist / Synthesizer player / Composer)

I'll be terribly honest: those two tracks are the deepest and most intense I've heard from a long time, a vibrant sound that takes hold of your attention and takes you far, but without moving a step, as if it sounded inside, touching hidden and alive chords. Beauty, like a long breath, a story that the sea gives us, fast clouds that announce spring, wind that smells of flowers and meadows and a thousand leaves of dancing trees.... Gorgeous music that speaks to the heart.

— Gigi Masin (Musician)

I was surprised by the abstract tone, which is not unlike that of old instruments. The dense soundscape shows a love of musical culture.

— Jun Morita (Electronic instrumentalist / DJ)

Though best known for producing seminal albums for some of the world’s most exciting artists (Vince Staples, IDLES, Rico Nasty), on LOUIE Kenny subverts expectations with an almost entirely instrumental artist record that acts as a deeply personal tribute to the artist’s ailing father. Over 17 songs, LOUIE is a hypnotic odyssey of wounded, teardrop soul; a side of Kenny that has not been seen by the world before.

Though best known for producing seminal albums for some of the world’s most exciting artists (Vince Staples, IDLES, Rico Nasty), on LOUIE Kenny subverts expectations with an almost entirely instrumental artist record that acts as a deeply personal tribute to the artist’s ailing father. Over 17 songs, LOUIE is a hypnotic odyssey of wounded, teardrop soul; a side of Kenny that has not been seen by the world before.

We finally made it: BEWITH100LP! And what better way for a re-issue label to celebrate such a landmark catalogue number than to give it to a record of new music. We couldn’t resist when the artist is Official Be With Family Member Kenny Dickenson and when the music is his lovely, lovely score to French-Vietnamese artist Mai Hua's 2020 documentary film “Les Rivières”. If you enjoy the more minimal, intimate piano of the likes of Nils Frahm or John Carroll Kirby’s solo work, you’re certain to fall for this beautiful album. The whole score is built around delicate, sparkling piano motifs. At times they’re joined by cello and complemented with ambient chords and other flourishes. What Kenny has put together for the film score release is definitely a “soundtrack LP”, with the music arranged to work as a proper album in its own right that should be listened to from start to finish. This might not be a re-issue, but the Les Rivières film score album has still been given the full Be With treatment. The vinyl has been mastered by Simon Francis (under Kenny’s ever-watchful eye/ear, of course), cut by Pete Norman and pressed at Record Industry. The sleeve follows the film’s poster and other promotional material, including Lucile Gomez’s almost magical illustration.

Backwoodz Studioz is excited to announce a new album from Kenny Segal and K-the-I??? Genuine Dexterity is the title of this record, but it is also an equally apt description of their artistic skill sets; Kenny’s ability to tailor his production to each project is well established, and K-the-I???’s acrobatic style easily renders dense rhymes weightless. Together they have made an album that pogo sticks over genre conventions to deliver a daring and immersive listening experience. “Genuine Dexterity is an album made in order to display my many facets, whether it be my mood, growth or the adventures that formulate my present-day outlook,” the rapper explains, “Letting everything come naturally to me and to never force the envelope. It’s also about the direction the universe is heading towards whether I like it or not” Rapper/Producer Kiki Ceac, best known by his stage name K-the-I???, was at the forefront of the mid-00’s experimental hip-hop wave that laid the groundwork for much of the alternative rap music that followed. Originally from Cambridge, Massachusetts, Kiki moved to Los Angeles around the same time that fellow East Coast transplant Kenny Segal was beginning to make noise under the Project Blowed umbrella. Despite moving in the same circles for many years, they had never worked together until Genuine Dexterity- which, ironically enough, came about after Kiki moved back to the East Coast. “Sometimes a vocalist will just spark a whole wave of creativity in me, and that’s what happened with Kiki,” Segal says, “last year I sent him two beats to use on a different album and when he sent the songs back it was obvious we had something special and needed to do more” Genuine Dexterity features Armand Hammer, Open Mike Eagle, ShrapKnel, Fatboi Sharif, Self Jupiter, and Jesse the Tree but K-the-I??? is the undisputed ringmaster of this circus. It has been a decade since Kiki’s last album and yet he has returned to the game at the height of his powers. He has always been an unorthodox lyricist and remains so here, but in his time away from the spotlight, his style has grown in many ways. “Maybe I’m calmer nowadays, I don’t feel the need to ALWAYS shout like I used to. My vocabulary has grown, and my flow is more polished,” Kiki writes, before adding that one thing that has not changed is the intricacy of his writing. Meanwhile, Kenny Segal’s customized soundscapes whisk Kiki’s styles to places they haven’t been before, and he never fails to find a pocket in which to ply his craft. Genuine Dexterity, if you will.

ドラマーのTom Sunneyとキーボード奏者のFilip Sowaからなる西ロンドンのデュオ、Kessoncodaによる最新アルバム『Outerstate』が英国の現代ジャズの聖地〈Gondwana Records〉からアナログ・リリース。ロックやエレクトロニカ、アンビエント、ブレイクビーツ、映画のサウンドトラック、Squarepusher、Radiohead、Clarkといった様々なインスピレーションを軸としつつ、アコースティックの伝統とエレクトロニカの間に佇む彼らのサウンドは、メロディアスなオスティナートが織り込まれたピアノと揺るぎないドラムのブレンドに基づいた、心地よく、新しいヴィジョンを示すものとなっています。

"Kevin, a new collaboration between Ben Bondy and Mister Water Wet, presents what feels like a time-machine hidden in the back of your closet. ‘Laundry’ pleasantly haunts listeners with phantom purrs, harmonies, hums and horns. This project is a hand reaching through the void and out of your speakers responding to moments of isolation and pining with resounding gratitude. It makes space for warmth in slow-healing wounds; the gift of reset that is born from the call and response between friends." -Yves B. Golden

Ever unpredictable, Drumm this time takes the fellow time-traveller through what sounds like an electronic field recording, a journey through an electronic soundscape of luminescent textures that invites immersive listening.

2025 repress, gatefold sleeve, gold pantone print, incl. hot foil stamping. Edition of 500 ** After more than two decades, one of experimental noise music's most uncompromising statements returns to vinyl. Mego presents the long-awaited reissue of Kevin Drumm's Sheer Hellish Miasma, first released on CD in 2002 on the original Mego label. This 2LP edition marks the return of a landmark album that has remained a ferocious document of Drumm at his most inventive and unrelenting. The history of Sheer Hellish Miasma is one of resilience to the twists of underground trends that have come and gone since its initial release. Where lesser works have faded into obscurity or been absorbed by the zeitgeist, Drumm's vision has only grown more singular and essential with time. This is not music that seeks to comfort or accommodate - it is an artifact of eternal power that demands confrontation on its own uncompromising terms. Using guitar, tape manipulation, microphones, pedals, analog synthesizers, and subtle computer processing, Sheer Hellish Miasma constructs an overwhelming sonic architecture. This is an album that exists at the intersection of brutal physicality and meticulous composition - a careful orchestration of storming feedback, fractured textures, and unrelenting energy that reveals Drumm's mastery of extreme electronic sound. The album offers a singular vision positioned at the outermost edges of sound art, where conventional musical structures dissolve into pure sonic phenomenon. Each element - from the carefully manipulated guitar feedback to the processed analog textures - contributes to a cohesive statement that transcends the sum of its abrasive parts. For seasoned noise veterans, Sheer Hellish Miasma offers a bracing soundscape filled with exquisitely abrasive textures and hidden details that reward deep, repeated listening. In an increasingly homogenized world of abstract electronic noise, Drumm's work maintains a distinct voice that refuses easy categorization or imitation. For the uninitiated, Drumm's journey through the noisy underworld represents something more challenging - a confrontation with sound pushed to its absolute limits. This is music likely to inspire fear, or in the most optimistic case, a fearful admiration for the composer's uncompromising vision. Sheer Hellish Miasma stands as an abstract noise classic precisely because it refuses the comfortable compromises that allow underground music to be easily absorbed by mainstream culture. This 2LP reissue presents the work in its full, unmediated power - an artifact that has lost none of its capacity to challenge, disturb, and ultimately transform the listener's relationship to sound itself. In an era of endless digital reproduction, the return of Sheer Hellish Miasma to vinyl represents more than mere nostalgia. This is music that demands physical presence, that requires the listener to commit to its durational extremes, and that rewards those willing to submit to its particular form of sonic discipline.

Kevin Drumm’s The Mild Temper gathers over six hours of work shaped by gradual change, fine detail and sustained tones. Across six discs, he explores density, resonance and space through small, deliberate shifts rather than overt movement. Sounds emerge, recede and recombine, holding a careful balance between stillness and motion. There’s no narrative push here—just close attention to texture, duration and the physical presence of sound. The result is a cohesive, absorbing body of work that reflects the precision and focus of Drumm’s long-standing practice.