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Carpal Tunnel Syndrome – the bonkers sound collage / 2000 skratch odyssey from the musical genius that is Kid Koala – gets the 25th Anniversary reissue treatment from Ninja Tune. A true musical visionary, Eric San aka Kid Koala combined a sensei-like approach to his craft with wild humour, giving his art an utterly inimitable quality. A dedicated turntablist (“turntablism”: the art of using turntables as a musical instrument to create original sounds, mixes, and rhythms), San recorded Carpal Tunnel Syndrome entirely on turntables, hand-cutting vinyl records onto an eight-track recorder. The result is an eccentric, joyful romp through his uniquely warped and brilliant mind.

The fifth instalment of Ilian Tape’s Ilian Beat Series finds veteran Dutch producer Kid Sundance providing a fruitful selection of sample heavy hip hop tracks. ‘Neptunes’ opens with metal creaks and groans, eerie yet smooth, meanwhile Rones plays spacey, dreamy synths on ‘Wooden Loft’. The luscious delivery of ‘Ero’ combines the jazz expertise of Shigeto with loops programmed akin to Brainfeeder's Teebs. Tien Seconden feels like a lost beat tape from the 90s, with the warm crackle of Kid Sundance’s weapon of choice the EMU SP1200 coming through in spades, but an unmistakable modern glamour shines through.

Highly recommended. Kiefer, also known as post-Robert Glasper. The West Coast giant, also known for studying under Kenny Burrell, drops the latest EP from the Sanctuary again! The final title of the EP trilogy by the ace, who swallows urban vibes, earthy odor, and funkness and sublimates into outstanding beat music, has arrived. Seamlessly cross from spiritual jazz to neo-soul and instrumental hip-hop. A good work that shows off an excellent sound image as usual! Mastering by Matthewdavid. The magical sound that makes you feel as if you are watching the dream co-star of The Pan-Afrikan Peoples Arkestra x Robert Glasper x Ras G (isn't it ?!) is exceptional.

Highly recommended. Kiefer, also known as post-Robert Glasper. The West Coast giant, also known for studying under Kenny Burrell, drops the latest EP from the Sanctuary again! The final title of the EP trilogy by the ace, who swallows urban vibes, earthy odor, and funkness and sublimates into outstanding beat music, has arrived. Seamlessly cross from spiritual jazz to neo-soul and instrumental hip-hop. A good work that shows off an excellent sound image as usual! The magical sound that makes you feel as if you are watching the dream co-star of The Pan-Afrikan Peoples Arkestra x Robert Glasper x Ras G (isn't it ?!) is exceptional.

Artist-turned-writer-turned-DJ-turned-producer-turned-chef Kiki Kudo, following up releases on Good Morning Tapes, Workshop and Incienso with two kitchen wave rollers for TTT.

Gorgeous and hypnotic Tanzanian dance music from the legendary Kiko Kids Jazz, a group that formed in the 1950s and produced a unique sound that stood out among the explosion of Tanzanian guitar bands in the run-up to the country's independence. Kiko Kids Jazz is the first LP album from Mississippi. With the endorsement of bandleader Salim Zahoro (1936-2021), who completed the collaboration shortly before his death at the age of 85, this is the first LP release of one of the most locally loved and innovative bands of the time. Remastered from the original tapes and pressings. The album explodes with funky, pastoral guitar music grooves inspired by the exciting music scene of acoustic and electric dance bands in Dar es Salaam and Nairobi, as well as the poetic strains of Taarab and Arabic music. A full-size color insert (8 pages) is included. Officially licensed by Mzuri Records.

The first analog version of the classic hip-hop jam album released in 2005 by Pardon Kimura and KILLER-BONG, the head of BLACK SMOKER RECORDS, is now available for the first time.

KILN return with an opulent new display of hue and swing on Lemon Borealis, a sumptuous gallery of dazzling motifs that display a finely hewn concoction of visual tones and vital pulse.

Across its 12 cuts, this collection utilizes a fresh process of condensing immersive sprawl into compact, punchy and colorful sound. Using aspects of live performance, beatmaking and waveform sculpting, the troika of Kevin Hayes, Kirk Marrison and Clark Rehberg III create evocative and invigorating dioramas, continuing to surprise and enchant listeners after over thirty years into their collaboration.

Deep in waves of Hi-meets-Lo Fi, KILN delivers a panchromatic daymark arranged to biochemically align and stimulate your personal syntax, forging a tapestry of sonic reveries ranging from the aquarium-on-fire radiance of DrnkGrlfrnd, a garden groove of field-recorded percussion in Maplefunk Diptych, to the sizzling guit-noise whiteout of Deacon Rayhand.

Their eighth album, and first for A Strangely Isolated Place, on Lemon Borealis, KILN expands upon the long-explored themes of mosaic texture, subtle melancholy, eroded consonance, and vivid cadence to reveal yet another aperture to their unique magnetic universe.

Lemon Borealis will be available on 12” Transparent Yellow/Ochre Smoke vinyl and digital on July 18th. Lacquer cut by Andreas Lupo Lubich, and featuring artwork by KILN.

In 2023, k.d.b lived in a crumbling farmhouse on the edge of the River Maas. Each morning, he’d wake at 6:00 and walk along the river’s bank with his dogfriend Miemel, pausing at sunrise for a cup of coffee.

It’s 6:34, and a thick rug of mist rolls out across the river. It’s so dense that k.d.b can’t see the water beneath it. Then comes the sun: a single ray cutting through the mist like a tube of light, landing on Miemel’s face. In her mouth is a CD she’s picked up, and on the CD is the title Instrumental Romance.

'What is Instrumental Romance?' thinks k.d.b. 'Romantic instrumentals? Or a romance used instrumentally? As in, a romance used to get something—like love?'

Miemel drops the CD and turns her attention to a stray purple grape on the path. Grapes are poisonous to dogs, and as she bends toward it, k.d.b. shouts, “NO!” At that precise moment, a large fish rises from the mist. It launches into the air, mouth wide open, and hangs there above the clouds. His shout, having traveled across the river, bounces back towards k.d.b with a “NO,” and in perfect synchrony, it appears the fish is also shouting at Miemel. The timing is so perfect, they can’t be sure it isn’t.

The fish falls back down, entering its watery world with an eerie, splashless silence, leaving k.d.b and Miemel standing open-mouthed on the bank. Before they can register the perfection of this duet, another fish (or maybe the same one again) rises from the mist in the exact same spot and launches into the air. Without thinking, k.d.b shouts again. The word “ROMANCE” comes out. This time, however, he is slightly too late, and the word is too long, so “ROMANCE” lingers on after the fish has already fallen back down.

'What even is romance?' thinks k.d.b. 'The construction of mystery or excitement with dead red flowers and timing?'

A foghorn sounds behind him, and k.d.b turns 180 degrees to see a boat moving freight, right to left, along the River Maas. 'That’s strange', he thinks. 'If the river is there, then what’s that behind me, below the mist?'

Staring at the boat and its shipping containers as they float out of sight, k.d.b imagines a man. The man is standing at the bottom of a small valley, holding a fish. 'Who is this man, and what does he want?'

- Jacob Dwyer

Kim Gordon's third album, 'PLAY ME,' is distilled and immediate, expanding Gordon’s sonic palette to include more melodic beats and the motorik drive of krautrock. “We wanted the songs to be short,” Gordon says. “We wanted to do it really fast. It’s more focused, and maybe more confident."The follow-up to 2024’s Justin Raisen-produced, two-time Grammy-nominated 'The Collective' processes, in her inimitable way, the collateral damage of the billionaire class: the demolition of democracy, technocratic end-times fascism, the A.I.-fueled chill-vibes flattening of culture - where dark humor voices the absurdity of modern life.Despite its frequent outward gaze, 'PLAY ME' is an interior record, one in which a heightened emotionality pulses through physical jams, rejecting definitive statements in favor of an inquisitiveness that keeps Gordon searching, ever in process.“A lifelong radical still at the peak of her powers.” - New Yorker “A poet of modern life, offering abstract, spoken vocals that speak to both the banality and volatility of our world.” - New York Times

Be With Records present the first ever official reissue of Kimiko Kasai with Herbie Hancock's Butterfly, originally released in 1979. The positively sublime and very rare Butterfly LP, recorded in Tokyo in 1979 by Japanese songstress Kimiko Kasai and jazz legend Herbie Hancock. Due to its super-rare status as a Japan-only release, this exquisite collection of covers never got the recognition it deserved at the time, despite incredibly inspired performances from Kimiko, Herbie, and the supremely talented musicians assembled for the project. From heavenly drummer Alphonse Mouzon and renowned organist Webster Lewis to bassist Paul Jackson, reedman Bennie Maupin, and the master percussionist Bill Summers, the legendary performers crafted amazingly good vocal versions of Herbie/Headhunters jazz-funk. Unsurprisingly, it has been heavily in demand for many years. The LP opens with Kimiko's highly desirable version of "I Thought It Was You", an elegant take on Herbie's own anthem. Other superb re-workings include the delicately soulful "Butterfly", jazzy groover "Sunlight", the smooth and sexy "Tell Me A Bedtime Story", and the beautiful ballads "Maiden Voyage" and "Harvest Time". A wonderful example of perfectly understated and masterful jazz-funk soul fusion that shouldn't be missed, the set closes with a jaw-dropping version of Stevie Wonder's "As". This lovingly curated reissue enables a long overdue reappraisal of this hitherto unavailable masterpiece.

‘ИМА (Ima)’ is a work by KiMiMi, the solo project of a musician Shin-ya Ohno, which captures the layers of time and the presence of people inhabiting ‘Arimasuton Building’—a self-built structure created over 20 years by architect Keisuke Oka, located in Mita, Tokyo, and reconstructs them into music. A multi-instrumentalist who masterfully handles a diverse range of instruments, with the gaida (an ancestor of the bagpipes) – which he studied in Bulgaria – at the core of his sound, KiMiMi has previously brought traces of daily life and folk melodies recorded during his travels back to the scale of home recording, weaving fantastical folk soundscapes through cassette tape works and stage music. Alongside his musical activities, he has participated in the construction work for ‘Arimasuton Building’, recording the sounds of hammers and steel beams echoing on site, lunchtime chatter, the melodies of instruments played by others, and the sound of cars passing by. From the end of 2022, a zine titled ‘Monthly Arimasuton Building Urimasu’, based on this construction project, was launched. KiMiMi incorporates these recordings into the musical works he contributes to each issue, layering sounds from live instruments—including the gaida, accordion, guitar, flute, ukulele, piano, foot-pump organ, melodica and xylophone—alongside a few synthesiser tones, to shape a soundscape imbued with the humidity and breath of the site. KiMiMi’s creative process is characterised not by planned construction, but by an attitude of entrusting the work to chance, intuition and the passage of time. Fragmented recordings are layered, set aside for a time, and then unearthed again. Through this repetition, the music naturally takes shape. This resonates perfectly with the process of ‘Arimasuton Building’, which was built up improvisationally, layer by layer, without any pre-prepared blueprints. ‘ИМА (Ima)’ marks the current stage of KiMiMi’s sonic journey and represents an attempt to gracefully transcend the boundaries between architecture and music, documentation and creation, and the individual and the community. The clamour of the city, the tranquillity of manual labour, laughter, and every sound resonating at the Arimasuton Building site blend with KiMiMi’s music, reflecting the very passage of time in which people live.

20th anniversary edition. Re-issue is original artwork, 2LP black vinyl and packaged with the original 7” black vinyl of Anti-Matter. Cream 1cm spined sleeve with burgundy foiling. Original 12” insert “cutout” design reimagined on a perforated card insert.

This is a 1975 dub classic by King "The Dub Master" Tubby, the founder of technique dub and a craftsman who repaired sound system equipment in Jamaica.

It's impossible to think about 'dub' without thinking about the late Osbourne Ruddock - the great King Tubby, the singular most creative human being of the great many who've plied their trade behind a mixing desk in the name of reggae since the early 1970s. Dub may well have existed before Tubbs raised its profile to almost unimaginable heights, and it has continued to exist in the 21 years since he was senselessly slain in 1989.

The early days of the man affectionately known to his peers as Tubbs' are chronicled in some detail in the notes to this LP's predecessor and companion volume, not unreasonably titled "King Tubby's Classics Chapter 1". It's unlikely that anyone who buys Volume 2 will not already have Volume 1, but for the few who don't it's only fair that we start the note with a short précis of the early life and career of the boy born to be 'King ...

When dubwise music really started to come into its own in the early to mid 70s, it made overnight stars of backroom boys who had hitherto worked behind a mixing desk to serve those who were beginning to hoist reggae to an international stardom that it had long deserved, but that it had only achieved on short and non-sustained bursts until Chris Blackwell decided to throw a lot of promotion and money at the work of Bob Marley and his fellow Wailers in 1972. Of those men, there was no bigger star than the late Osbourne Ruddock, the great King Tubby’s and the man who, from a tiny home-made studio in the Waterhouse district of Kingston, Jamaica, did more than most to reposition the boundaries that production and mixing of Jamaican recordings.

Rhythms played by The Aggrovators, including Carlton Barret, Sly Dunbar, Carlton 'Santa' Davis, Robbie Shakespeare, Aston Barrett and Tony Chin.

Dynamic Sounds upgraded to 16-track recording in 1972 and King Tubby purchased, again with the help of a deal brokered by Bunny Lee, the old 4-track equipment and the MCI console from their Studio B. The four tracks now gave him a far wider scope to work with, and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby's dub plate experiments began to make it onto vinyl and the first-ever King Tubby album releases would feature a collection of his mixes to a selection of Strikers' rhythms. So please sit back and enjoy this historic set of sounds. These releases were the first to carry the name of King Tubby and the first to credit the great musicians that contributed so much to the rhythms that made these albums possible.

Incredible collection of rare King Tubby VS. Scientist tracks. These were some of the last ‘classical’ dub works created before dancehall ultimately mutated into a technologically-driven sound that largely did away with organic instruments and although these works already point in that direction, they still sound entirely fresh today because of the superb musicianship of the Roots Radics and the guiding hand of Jah Thomas in the producer’s chair, as well as Scientist and his cohorts, working their dub magic at King Tubby’s studio. Extensive liner notes by David Katz.

Universal Dub brings together four pillars of dub’s golden era—King Tubby, Scientist, Bunny Tom Tom and Barnabas—in a definitive collection that celebrates the raw innovation and deep rhythmic spirituality of Jamaican studio culture. Remastered and curated for both longtime devotees and newcomers, Universal Dub showcases the producers’ inventive studio techniques, subterranean basslines and immersive echo-laden soundscapes that helped shape modern music. King Tubby’s pioneering studio architecture, Scientist’s fearless sonic experimentation, Bunny Tom Tom’s organicmusicality and Barnabas’s vocal gravitas create a complementary dialogue across this album. Each track is astudy in space and texture: stripped-down mixes reveal the heartbeat of the rhythm section while delays, reverband fader gymnastics transform simple elements into vast, hypnotic worlds.

Kink Gong is back with his unique take and re-interpretation of the music he’s been recording and documenting for years in the South East Asian highlands. Zomia Vol.1 takes the conceptual idea of ZOMIA, proposed by James C Scott in The Art of Not Being Governed, an Anarchist History of Upland South East Asia, to construct its very own mythological soundscape inspired by a semi-utopic region where state rules don’t apply. Zomia might be (almost) gone but Kink Gong is keen keep its spirit alive by releasing a series of albums celebrating the region’s quasi mythological features. ‘’Zomia is an idea, a concept that, not so long ago, there were two very distinct worlds in southeast Asia, the valley VS highland/hinterland, the civilisation VS the primitive, paddy rice VS slash and burn agriculture, Buddhism VS Animism, fixed territory VS movement/migration, written system VS oral culture, the state VS anarchy, property VS squat, controlled population VS autonomy, bricks VS bamboo and wood and, at my level museumified traditional mainstream music VS real emotions/songs of devastated lives and/or gongs ceremonies with buffalo sacrifices, extreme heat in the valleys VS shade in the jungle. I could go on and on but let’s not forget that ZOMIA is disappearing fast, if not altogether already. How many of the people I’ve recorded are still alive? As you might know, before composing new music from my own ZOMIAN experience (from 2001 to 2014 in Cambodia, Laos, Vietnam, Thailand and China) I had to find those musicians, be able to communicate with them, record them as good as I could with very limited finances and gradually release a collection of 160 CDrs. It is very important for me to make sure you to listen to the fantastic original recordings before or after you’ve listened to this experimental reconstruction I called ZOMIA! Expect more volumes to come, this is my biggest source of inspiration, and the reason why I’ve been involved for years in constructing a mythological experimental musical ZOMIAN soundscape.’’ Laurent Jeanneau, Berlin 2020

Kinzua debut a ritualistic, zonked outernational ambience, downbeat and cyberpunk bliss on Vladimir Ivkovic’s Offen Music - RIYL Morphosis, To Rococo Rot, CS + Kreme, Black Zone Myth Chant. Formed by Lucas Brell in Berlin and Leipzig’s Marvin Unde (Qnete), Kinzua emerge from the German club undergrowth with hypnotic slants of brownfield-pastoral electronica and meter-messing motorik pulses on their first release ‘None of the Above’. Smeared over a double LP, the hour-long album pitchbends with a properly lysergic quality as it executes its functions between the folksy crackle of ‘First Chapter’ and the grungy, viscous, post-D&B rolige of ‘Breath’. Rhythmic prompts ranging from klassic kosmiche to ‘90s UK armchair music and contemporary dembow dancehall underline Kinzua’s lines of melodic thought and dream-textured electronics in swirling permutations that feel in-the-moment but ever rolling towards an uncertain horizon. Kinzua act as spirit guides for the mind expanding new generation of trippers, with effortlessly oily grooves and keen attention to detail that suspend a sense of disbelief and mesmerise to their method. Seductive oddities such as ‘Domestic Affair’ follow to Detlef Weinrich-esque electro on ‘Elevator Moving Flor’ and ‘Heidi Peter’ echoes original Harmonia from a bleaker perspective, while supremely groggy drone in ‘Surface’ gives way to arid dancehall abstraction on ‘Sahara’, and ‘Gobi’ slopes off on a crooked outernational tip to a highlight of Laila Sakini-like scenes in ‘The Dancing Smoke’ starring vox by GiGi FM reciting from Baudelaire’s ‘Les Fleurs de Mal’.

The killer 1981’s Nigerian funk boogie disco and reggae by Kio Amachree repressed for the first time.