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The “Step In Time” EP is the latest release from prolific Nottingham-based producer, engineer, songwriter and DJ Kevin Thomson AKA Origin One. The project features vocal offerings from Rider Shafique, Nadia Latoya (MELONYX), Charlie P and K.O.G, documenting the struggles and experiences of Origin One’s peers during Covid-19 and lockdown. Funded by Help Musicians UK as part of a proposal to support musicians impacted by the pandemic, the release is available on extremely limited 200-press vinyl.

Musically mapping the journey of reggae through the decades, the EP features both vocal stylings and instrumentals from Origin One. Opening with “Babylon 19 feat. Rider Shafique”, reminiscent of 2006 dubstep and steppers music, the track highlights the Tory government’s failures to deal with the pandemic in a considerate way for artists. Referencing the Rastafarian belief system where Babylon refers to the corrupted, capitalist and colonial world, Rider Shafique highlights his reluctance to adhere and agree to the Babylon 19 measures.

Shifting through to a classic lover’s rock groove with a nod to the roots and reggae releases of the 1970s, Origin One collaborates with one half of Nottingham-based duo MELONYX, Nadia Latoya, on “Just Beginning”. With a love of reggae dating back to her childhood, additionally influenced by her uncle King Jammy and the records he would bring round to her house while he was on tour in the UK from Jamaica, Nadia’s timelessly soulful vocals glide across Origin One’s production. On the track, she pieces together a widely experienced tale of a romance cut short by isolation; "Kev wanted to use the concept of our experiences through the pandemic so you’ll hear some subtle references to this in my lyrics… a lover’s spin on a lover’s rock feel”, she explains.

Harking back to the mission at the heart of the EP, “Dance Again feat. Charlie P” sees the renowned Essex-born reggae vocalist speculate the energy and excitement that comes with returning to the dance after two years. Set against a backdrop of a 1980s dancehall riddim, the parallels between the frustrations of the shutdown of live events during Covid-19 can be drawn between the restrictions of blues dances during the 70s and 80s. Aligning with the theme of live music, recent Nubiyan Twist collaborator K.O.G shares his experiences as a touring artist on closing track “Nuh Money Nuh Fren”. Finding his whole world pulled away with lockdown, he found himself questioning the recognition of his value when faced with no money, no friends, and a lack of opportunities. Bringing together trap-influenced reggae, hugely prominent on Jamaican radio, with elements of UK and US 808 influence, the track pulls together the widespread influence of the EP, further highlighting the restrictive nature put upon musicians during lockdown.

Origin One’s vast skillset has led him to produce and engineer releases for the likes of Bru-C, Harleighblu, Devilman, MC Spyda, Irah and more. Additionally, he has toured with UK Hip Hop legend Klashnekoff as his DJ, written and performed as part of a live orchestra for Natalie Duncan and worked as a studio engineer for Wiley. Closer to home, Origin One is a key player in the Nottingham community and is the director and owner of the city’s DTR Studios. Ordinarily known for his sounds reflecting UK Bass music, Jungle, DnB and Hip Hop, coming together to form his own interpretation of Sound System culture, his 2021 Tru Thoughts release saw him collaborate with Portuguese-London songstress Nãnci Correia. 

Strut are proud to announce the first ever internationally released new studio album by one of the all-time legends of Nigerian music, Orlando Julius, in a mouth-watering new collaboration with London super-group The Heliocentrics. At his club residency in Ibadan, Orlando Julius was one of the very first to begin fusing US R&B with traditional highlife during the mid-‘60s with his Modern Aces band. His ‘Super Afro Soul’ album from ’66 set the blueprint for a whole generation of Afrobeat and Afro funk stars and, in an illustrious career, Julius met and played with Louis Armstrong, The Crusaders, Hugh Masekela and Lamont Dozier among others, famously co-composing the classic ‘Going Back To My Roots’ in 1979 whilst based in the USA. For ‘Jaiyede Afro’, Julius takes us back to his own roots, revisiting several compositions from his early years which have never previously been recorded. The title track recalls his experiences as a boy: “My mother would go to group meetings with other women. They would sing together and play drums, I would play along with them and we would sing this song together.” Infectious chant ‘Omo Oba Blues’ is a traditional song sung at Julius’ school which he re-arranged in 1965 for his Modern Aces band. The epic Afrobeat jam ‘Be Counted’ stems from his years in the USA: "This was written around 1976 while I was living on the Westcoast. I did start recording it for the ‘Sisi Sade’ album around 1985 but it was never finished." Other tracks include ‘Buje Buje’ and ‘Aseni’, both re-worked arrangements from his rare ‘Orlando Julius and The Afro Sounders’ album from 1973. Recorded at the Heliocentrics’ fully analogue HQ in North London, the band follow their memorable collaborations with Mulatu Astatke and Lloyd Miller by taking Orlando’s sound into new, progressive directions, retaining the raw grit of his early work and adding psychedelic touches and adventurous new arrangements. They also contribute live favourite, the James Brown cover ‘In The Middle’ and a series of memorable shorter interludes.

This is an unusual album in the catalogue of Ornette Coleman, and one that passes by most critics. It is however a unique insight into the ‘free jazz’ pioneer’s way of working in the early 70s. Recorded at his large loft space in downtown New York which inspired a whole scene of experimental musicians who were locked out of playing established venues. The music is a romp showing Ornette playing trumpet as well as saxophone. His quartet which featured second saxophonist Dewey Redman alongside long term cohorts Ed Blackwell and Charlie Haden prove to be the perfect foil for this short set. This is the first vinyl reissue in nearly 20 years and utilises a fresh 24/96 transfer from the original production master.

Science Fiction is an album by the American avant-garde jazz saxophonist and composer Ornette Coleman, released in February 1972. It is considered as Coleman's creative rebirth. A stunningly inventive and appropriately alien-sounding blast of manic energy, where Coleman combines his past and future, working with bassist Charlie Haden and drummers Billy Higgins and Ed Blackwell. The album is made up of spacy, long-toned melodies and rhythm, including two songs with Indian vocalist Asha Puthli, which sound like pop hits from an alternate universe, and "Rock the Clock" where an Arabic double-reed instrument called “musette” is used.

Oro Azul is a new collaborative project from Michael Red and Ultima Esuna. Water Seeds takes us through 4 shades of an aquatic garden. Dembow floats underneath the waves while woodblock melodies bubble up through the weeds. Sub bass shifts the tide. Some sounds are mosslike, a protective balm. Other tones come through as minerals and metals, shining in the refracted light from above.

Creatively visionary and groundbreaking on numerous terms, 1973 'Os Tincoãs' revolutionized Brazilian music by harmonizing Afro-religious singing, heavenly vocal harmonies, and frawing on Yoruba mythology, Samba, Capoeira chants and spiritual songs.

Over five decades since its original release, Os Tincoãs (1973) remains a cornerstone of Brazilian music, blending Afro-Bahian traditions with mesmerizing harmonies and poetic lyricism. Now, this timeless masterpiece is being rediscovered by a global audience, celebrated for its cultural richness and profound influence on MPB (Música Popular Brasileira).

Formed in Bahia, the trio—Mateus Aleluia, Heraldo do Monte, and Dadinho—crafted an album that transcends time, fusing Candomblé rhythms, samba, and folkloric storytelling. Tracks like Deixa a Gira Girá and Ojuobá are spiritual journeys, while Cordeiro de Nanã showcases their ethereal vocal interplay. The record stands as a bridge between tradition and innovation, inspiring generations of artists from Caetano Veloso to contemporary global acts.

"Os Tincoãs didn’t just sing—they channeled the soul of Bahia. Their music is a sacred dialogue between past and present." — Music Critic, The Guardian

"A harmony so pure it feels like a prayer. This album is Brazil’s answer to The Staples Singers or Ladysmith Black Mambazo." — Pitchfork

"Oscillation" of space and life.
A timeless masterpiece in the history of Japanese ambient/minimal music, reissued as a 2-disc set with unreleased sound sources!

Distributed in 1984 by "Sound Process Design", a company founded by Satoshi Ashikawa, a pioneer of Japanese environmental music, the full picture of the work, which has been shrouded in a mysterious veil to this day, is finally revealed. A thoughtful response to the work of great artists such as Eric Satie, Claude Debussy, John Cage, Steve Reich, Brian Eno, Haruomi Hosono and early 1980s King Crimson. A re-performance of "Nocturne", which is the key to the album, and the unreleased recording and chamber music arrangement version of the sequel "Nocturne II" will be recorded for the first time on Disc 2.

・Limited Pressing for one time
・Including the liner notes
newly written for this reissue by Yuji Shibasaki
・Coming with Obi strip
・Remastered for vinyl by Kuniyuki Takahashi
・For fans of Ambient, Minimal & Modern Classical Music

■Track list (*Recorded songs are different from the original LP)
33rpm
A1. Homme
A2. Nocturne
B1. Circling Air

45rpm
C1. Nocturne - New Recording
C2. Nocturne Ⅱ - Take2
D1. Nocturne Ⅱ - Take1
D2. Nocturne Yakyoku

LP + 12inch 2 disc set specification

Distributed in 1984 by Sound Process Design, a company founded by Satoshi Ashikawa, a pioneer of environmental music in Japan, the entire body of work that has remained shrouded in mystery to this day is finally revealed. A thoughtful response to the works of great artists such as Erik Satie, Claude Debussy, John Cage, Steve Reich, Brian Eno, Haruomi Hosono, and King Crimson in the early 1980s. The album features seven tracks, three from the original LP, a reprise of the album's key piece "Nocturne," and a previously unreleased recording and chamber music arrangement version of the sequel "Nocturne II.

Oskar Fischinger (1900-1967) was a pioneer of abstract visual art and visual music, influencing not only filmmakers but also composers such as John Cage and Edgar Allais. Many of his works are in collections of museums and galleries around the world, and this is the definitive collection of his 10 works.

Out of print. After several years of preparation, we are pleased to announce the release of Vol. 2, a collection of works by German animator Oskar Fissinger (1900-1967), a pioneer of abstract visual art and visual music who influenced not only filmmakers but also composers such as John Cage and Edgard Varèse. After several years of preparation, it has finally been released. He was involved in the early stages of Walt Disney's production, and many of his works are collected in museums and galleries around the world.

OSMIUM is a collaboration between Oscar-winning Icelandic composer and cellist Hildur Guðnadóttir, James Ginzburg (emptyset, Subtext), Rully Shabara (Senyawa), and Grammy-winning producer and sound designer Sam Slater.

Forging burnished electroacoustic soundscapes with metallic drones, barbed rhythms, and bio-mechanical vocalizations, OSMIUM’s debut album resists any fixed vision of the future. Instead, it channels a viscous, unorthodox flow of sonic speculation—smoldering through echoes of ancient pasts while blazing toward a volatile frontier of fate.

Driven by questions around the relationship between humans and machines, tradition and progress, individual and collective expression, OSMIUM channel their deep expertise into a set of forward-thinking sonic interrogations. The music draws from folk, doom metal, 20th-century minimalism, industrial, and extreme noise, yet never settles fully into any genre.

While each member brings along a laundry list of accolades, the project is far greater than the sum of its parts. Widely known for her aforementioned soundtrack work and run of acclaimed solo albums on Touch, Guðnadóttir plays the halldorophone, a unique cello-like electroacoustic instrument designed by Halldór Úlfarsson that allows the performer to harness unstable feedback loops.

Taking his cues from this process, Sam Slater - who's worked alongside Jóhann Jóhannsson, Valgeir Sigurðsson, Ben Frost and others - generates rhythms using a self-oscillating drum he custom designed with KOMA Elektronik, and Ginzburg – one half of emptyset and curator of Subtext Recordings - responds in kind, producing booming tambura-like sonorities from a device he developed himself based on the monocord, an ancient single-stringed resonator.

OSMIUM synchronize the three unique instruments using a custom system of robotics to generate basic rhythms that underpin their improvisations and experiments, and although Shabara just uses his voice, it's his alien tones that supply the band with their conceptual fulcrum. The vocalist is one of South Asia's most recognizable underground artists, and the sounds he's able to create using exhaustively rehearsed extended techniques are so distinctive that he's been studied by scientists back home in Indonesia. As part of OSMIUM, Shabara attempts to merge with the band's machines, warping his vocal cords to mimic the robotics and originate hoarse percussive cracks and eldritch tonalities.

At the center of this volatile assemblage is Rully Shabara, whose voice forms the band’s conceptual and emotional fulcrum. One of Southeast Asia’s most singular underground artists, Shabara employs exhaustively rehearsed extended vocal techniques—so unique they’ve even drawn scientific attention in Indonesia. Within OSMIUM, his vocalizations merge with machines, producing hoarse percussive cracks and eldritch vocal tones that blur the line between human and mechanical expression.

Electronic Works by Osmo Lindeman compiles electronic music works of a Finnish hybrid of Monty Norman, Krzysztof Penderecki and Edgar Varèse first time on an album. Lindeman composed these works in his private home studio during 1969–1974. “Electronic music represents the future. Today, its use is limited due to the complexity of available methods. Eventually, when the technical production of electronic music becomes simpler, its use will undoubtedly increase. I doubt it will replace a live performance, but you never know. Electronic music is in some way cold, but isn’t our current world cold? In politics they talk about ”cold war”, to give an example. Undoubtedly, there is something really cold about electronic music, but every era creates art that is related to itself. And art is an essential part of the life we ​​live. Eventually, I faced the same problems in electronic music composition than when composing orchestral music.” – Osmo Lindeman 1959–1961 and 1974

A self-released record with three previously unreleased versions & reworks of tracks from the last 7 years, originally released via Blackest Ever Black, Berceuse Heroique and Noods Radio. TEXT FROM RWDFWD.COM: "Red X, Information & Drum Tangle. Originally relesead via Blackest Ever Black, Berceuse Heroique and Noods Radio, respectively (go seek them out if you haven't yet!) - this self-released 12" features three previously unheard cuts & versions of recent time - dubbed, live & direct - straight from Ossia's mixing desk. Red X, which was the title track to Ossia's debut solo record on Blackest in 2015, is served up on the A side of this record (now cut at 45rpm, so you can test it at slow motion dread speed too). This new cut is titled 'Red X (Vertigo Version)' and keen ears and eyes might recognise the additional inclusion of the String & electone organ part which appeared on the final track 'Vertigo' at the end of Ossia's recent album 'Devil's Dance'. The strings - played by the great Rakhi Singh - come searing in over the spring reverberated breakdown section, and burn over the final crescendo of the track - something Ossia had been testing out in live shows from time to time, but only recently commited to a proper recording - now also including extra splashes of echo & reverb over Peter Tosh's Red X vocal excerpts, for extra menace. On the B Side, we get two dubwise versions, raw dub style - First up, 'Information' which came out on a 2 x 12" va Berceuse Heroique in 2016, gets the rework / dub mix treatment. Some of you might remember that the original 'Information' already had a version to it on the B side of it's original release, which explored an even more minimalist angle. Upping the energy levels for this counterpart, some years later, the 'Raw 2020 Version' on this new record features a reworked bassline which revolves into more stepping kind of techno territory - with the remnants of pads, and percussion getting squeezed through broken mixing desk faders, their echo'd signals left to feedback into the void as the bass tumbles down on you. Play it loud, or don't. The final cut on this disc is also the most 'recent' - The original cut of Drum Tangle came out in 2021 on a various artists 12" via our friends at Noods Radio. We have the last copies of this 12" available here by the way - And if you don't already own it, then we'd recommend grabbing a copy of that one, so you can play this new version right after the original cut. Because, as in best Jamaican style dub tradition, the idea is that the dub should follow the original cut - allowing you to explore the foundations of the rhythm in a newly focused way. Plus, this part two, the 'Raw Dub' of Drum Tangle lets loose on those snares which were only teased in during the final part of the original Drum Tangle cut - listen closely and they might just whisper at you, whilst the bassline shudders below."

The Suwa Daiko is a tradition of Kagura (= sacred music and dance) and drums of the SUWA TAISHA Shrine that enshrines the life of the TAKEMINAKATA (= one of god in Japanese mythology). It is a folk performing art that is recorded in an ancient document of the “Koshin-etsu-Senroku (=Koshin-etsu War Record)”. The document says that it is also medieval military music. Shingen TAKEDA（1521-1573）, who was a great warlord in 16th-century known for his equestrian corps said to be the strongest in Sengoku period, formed 21 people of Suwa Daiko and raised the spirit and willingness of the Takeda army soldiers by Suwa Daiko at the battle of Kawanakajima (1553-1564). Mr. Daihachi OGUCHI has collected traditional drums with different tones of various sizes and created an original group drum. He opened 15 branches nationwide, 12 branches overseas such as San Francisco, New York, Chicago, Toronto, Singapore etc. and helped spread the Suwa Daiko world wide. Osuwa Daiko Preservation Society is an intangible cultural property that inherits the will of Daihachi OGUCHI. This album was recorded at the Osuwa Daiko Preservation Society dojo in Okaya City, Nagano. One of the two songs is created as DTM by veteran jazz pianist Masahiko SATO (studied at Berklee College of Music in 1966-68 and has many awards). His DTM adds unique musicality to this traditional sound and makes it lively and original. Also, the artwork was licensed to use “Shingen TAKEDA statue” drawn by Tohaku HASEGAWA (=Tohaku HASEGAWA (1539-1610) was the highest painter played an active part from the Azuchi Momoyama to the early Edo period. Now many of his works designated as national treasures.) It is an important cultural property in the Seikei-in Temple at Mt. Koya.

AOTN proudly present a new solo outing from long time friend & contributor to Athens of the North, Other Lands aka Gavin L.Sutherland. Channelling his considerable improvisational skills to evoke notions of island life, his concept was to create something that could work equally well in the wilds of the Western Isles as in the sunnier spots of the world that we all yearned to escape to at that time. The more he played with this idea of groups of islands, of archipelagos the world over, the more it also became about people themselves experiencing isolation as individuals, while still feeling a sense of togetherness with others in the same boat. Working a little at home but mainly here at Athens of the North studios, he would come in each day over the course of a few weeks and just hit record, playing at times almost without mind. Sometimes the mood would call for keys, strings, or drums through delays for days and days. Often, the music would happen by chance as much as by design. One rule he tried to adhere to was to not overthink things, capturing moments honestly with minimal editing or digital processing. What we’ve ended up with is a beautiful, spontaneous, timeless and honest meditation on what it is to be at once both alone and part of a larger whole.

AOTN proudly present a new solo outing from long time friend & contributor to Athens of the North, Other Lands aka Gavin L.Sutherland. Channelling his considerable improvisational skills to evoke notions of island life, his concept was to create something that could work equally well in the wilds of the Western Isles as in the sunnier spots of the world that we all yearned to escape to at that time. The more he played with this idea of groups of islands, of archipelagos the world over, the more it also became about people themselves experiencing isolation as individuals, while still feeling a sense of togetherness with others in the same boat. Working a little at home but mainly here at Athens of the North studios, he would come in each day over the course of a few weeks and just hit record, playing at times almost without mind. Sometimes the mood would call for keys, strings, or drums through delays for days and days. Often, the music would happen by chance as much as by design. One rule he tried to adhere to was to not overthink things, capturing moments honestly with minimal editing or digital processing. What we’ve ended up with is a beautiful, spontaneous, timeless and honest meditation on what it is to be at once both alone and part of a larger whole.

76 minutes collection of recordings made at the Friedrichshof commune between 1982 and 1990. Performed by Otto Muehl and members of the commune. Includes actionist group-music, improvised conceptual pieces, and barpianist-songs. Artist co-founder of the Viennese Actionism (with Hermann Nitsch, Günter Brus and Rudolf Schwarzkogler), controversial founder of the sulphurous utopian community of Friedrichshof in 1972 (which will earn him seven years in prison in the 1990s), Otto Muehl (born 1925 in Grodnau, Austria, died 2013 in Moncarapacho, Olhão, Portugal) staged a series of "material actions" from 1963 to 1970, for film and photography, in which the body becomes part of the environment. Since then, he has developed his work as an enterprise of "surpassing pictorial painting by representing the process of its destruction", with the idea that the body is also an "object" to be shaped, the living body, as well as the social body, art and life being inseparable.

Black Truffle is pleased to announce The Leisure Principle, a new solo LP from London-based bassist and sound artist Otto Willberg. A key player in the London underground, Willberg is often heard on acoustic and electric bass in free improv settings and bands with Laurie Tompkins (Yes Indeed) and Charles Hayward (Abstract Concrete), as well as the fractured No Wave unit Historically Fucked. His previous solo releases have ranged from extended technique double bass to explorations of the acoustics of a 19th century artillery fort. But nothing Willberg has committed to wax so far prepares a listener for The Leisure Principle, six unashamedly melodic improvisational workouts created almost entirely with heavily filtered bass harmonica and electric bass. On the opening ‘Reap What Thou Sow’, a single-note bass harmonica loop pulses along underneath a roaming bass solo, the side-chained envelope filtering (where the dynamic behaviour of the bass determines the filter for both bass and harmonica) fusing the two instruments into a single stream of burbling shifts in resonance. After several minutes of patient exploration of this low-end landscape, the music suddenly opens up in widescreen with the entrance of Sam Andreae’s graceful melodica chords, spreading out across the stereo field. From this epic opener, each of the remaining pieces goes on to explore a slightly different aspect of the terrain. On ‘Shadow Came into the Eyes as Earth Turned on its Axis’, a similarly buoyant harmonica bass line provides the foundation, but this time playing a soulful descending riff, its almost R&B feel abstracted and half-obscured by the filtering. On ‘Mollusk’, echoed bass arpeggios skitter between elegiac chords somewhat reminiscent of the opening of John Abercrombie’s ‘Timeless’, before settling into a hypnotic groove. On the record’s second half, Willberg pushes further into the possibilities of his idiosyncratic instrumentation. On ‘Wetter’, bass and harmonica come together into a monstrous, growling jaw harp; on ‘Had we but world enough and more time’, the subtly shifting pulsating patterns start to feel almost like a kind of evaporated, drum-less dub techno until an eruption of wheezing bass harmonica gives the piece a comically folkish turn. Willberg’s melodically inventive and virtuosic bass performance calls to mind any number of fusion touchstones, from Jaco Pastorius to Mark Egan’s singing tone in the early Pat Metheny Group—even Anthony Jackson’s work with Steve Kahn. But with its radically reduced instrumentation, The Leisure Principle is also an exercise in minimalism, and the absence of percussion gives even its funkiest moments a strangely abstracted quality. At times, its uncanny blend of the abstruse and the immediate suggests the fried pop experiments of David Rosenboom or the skewed but deeply musical DIY of 80s underground groups like De Fabriek. Both easy on the ear and profoundly strange, The Leisure Principle proudly takes its place among the most eccentric offerings on the Black Truffle menu.

live during the 4th anniversary of Sagome at Cafe Oto, London - 20th January 2024 ( January Jenilek + Ottomani Parker Live)

Recorded in one straight take - no over dubbing.

Blind musician Hrant Kenkulian (1901-1978), generally known as Oudi Hrant was a master of the oud (fretless lute) who was probably best known for his taksims. He was an Armenian born in Adapazar, a city close to Istanbul which had a large Armenian population before the Genocide of 1915. After WWI, Hrant's family settled in Istanbul. Hrant started out singing in the church choir, but soon moved on to the oud. He made his career in Istanbul, but he toured the US in 1950, and did a world tour in 1963 to Paris, Beirut, Greece, America, and Yerevan, Soviet Armenia. He was a teacher of many Armenian-American oudists including Richard Hagopian. He was the pride of the Armenian people, and many consider him to be the most soulful oudist ever to emerge from Turkey. Released in 1964 on jazz label Prestige the record shows the stunning classical inspiration of the musician.

For fans of: Glass Beams, Derya Yıldırım, LA LOM, and hip hop producer Oh No’s

Ouzo Bazooka enchant on Kapaim, drawing listeners through a maze of hypnotic, head-snapping grooves, cosmic string bending, and swirling guitar explorations. As trailblazers of the new Middle Eastern psychedelia movement, the band fuse traditional folk sounds with gritty soul, funk, and rock. Their latest release is a testament to their boundary-pushing spirit, offering a soundscape that is both otherworldly and deeply rooted.

Across five albums and a decade, Ouzo Bazooka have gained acclaim for their pioneering blend of Middle Eastern sounds, psych, and surf rock. The band has achieved international recognition for their music and performances, from the UK all the way to Japan, including The Great Escape, Fuji Rock, and Sziget Festivals. At one point, they played over 150 shows annually, solidifying their reputation as a powerhouse live act. Their critically acclaimed EP, Songs From 1001 Nights, was hailed as "a soaring adventure in exotic reverb and swirling lysergic synth hooks”.

Core member and multi-instrumentalist Uri Brauner Kinrot—musician, composer, and producer—has been active in the international music scene for over two decades. He has played in acclaimed and diverse groups such as Balkan Beat Box, Firewater, Shotnez, and Boom Pam, who also collaborated with Anatolian rock legend Selda Bağcan, and recorded frequently with Kutiman. Kinrot’s ear for production and arrangement has led him to work with internationally recognised artists, including Israeli-Persian musician Liraz.

Launched as a solo project, Ouzo Bazooka quickly morphed into a full-fledged group. However, Kapaim (Hebrew for “palms”) sees Kinrot refining the Ouzo Bazooka sound back into a largely solo endeavour. With more space to experiment, the mostly instrumental album is beautifully arranged and given room to breathe. The bass grooves, wonky synth motifs, head-nodding percussion, and soaring guitar solos create a hypnotic and uplifting experience.

Opening the album, “Asia” begins with an almost pensive bassline that initiates a languid groove. As drums, guitars, and synths join, the melody feels both thoughtful and nostalgic yet hopeful. The consistent bassline conveys a sense of roots and continuity as the song evolves.

The title track, “Kapaim”, urges listeners to clap along to a groove as solid as steel, fusing the legendary New Orleans instrumental funk of The Meters with snake-charming synths and cosmic Anatolian guitar licks.

An otherworldly intro gives way to a tight bass-and-funk groove reminiscent of Bob James’ heavily sampled “Nautilus” on “Seed”, before Kinrot makes a rare vocal appearance, imagining himself as a seed at the centre of the universe.

Having played a key role in the global instrumental movement, Kinrot stands among peers such as JJ Whitefield, Shawn Lee and Kutiman. The album recalls the cinematic depth of David Axelrod but with a distinctive Middle Eastern/Mediterranean touch. Fans of Glass Beams, Derya Yıldırım, LA LOM, and hip hop producer Oh No’s sample-heavy tour of Turkish, Lebanese and Greek psych, Dr. No’s Oxperiment, will find much to love.

A testament to Kinrot’s incredible talent - not least his meticulous arranging, production skills, and ear for soul, funk, and psychedelic rock, as well as his ability to blend musical traditions across cultures and eras - Kapaim carries a deep emotional resonance. It is Ouzo Bazooka’s most personal and addictive album to date, radiating joy, creativity, and a spirit of boundless freedom.

Oval Angle is the moniker of Geran Knol, a Dutch multidisciplinary visual artist and musician based in Antwerp, Belgium. His instrumental electronic music blends mellow and playful tones, characterized by plucky, offbeat sound design and wavering, askew melodies. Geran’s composition process is akin to a sketch on paper, slowly evolving and mutating as elements are added, subtracted, and altered. His debut LP for Moon Glyph, “Figures of Speech”, utilizes circular, melodic repetition found in minimalist compositions and avant-pop songforms. Like Geran’s visual art, it masterfully captures a sense of child-like wonder and wide-eyed naiveté.

"High Contrast used to work in a record shop in Cardiff called Catapult Records. We lived on the other side of the city, but were always in there buying vinyl. Tough Guys Can’t Dance was everywhere, and If We Ever was the anthem. Ahead of summer this year we put together our own version just for fun, and the reaction was so wild, we ended up playing it in every set. Big thanks to High Contrast for this one. It means a lot to us" - OVERMONO

One year after the release of Overmono's debut album “Good Lies,” which reached #11 on the UK charts and is widely regarded as one of the best electronic records released in recent years (“the history of UK rave is distilled to perfection” - The Guardian), the critically acclaimed remix of The Streets' “Turn The Page” is now available as a single on XL Recordings. One year on from the release of Overmono's critically acclaimed debut album Good Lies (“a perfect distillation of UK rave history” - The Guardian), The Streets' remix of “Turn The Page” has been released as a long-awaited single on XL Recordings.