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Ambarchi, Berthling and Werliin share a fascination with rhythm and the myriad of ways it can subdivide within the beat. Using aspects of jazz, world and experimental musics, each tune settles into a deep groove, digging itself via continuous minimal adjustments into an ever-deeper, eternal groove.

An utterly unique guitar/bass/drums triad: the guitar sounds like anything but a guitar; bass and drums simultaneously insistent and relaxed. Telephathic group-think opens a window to fresh fields of fusion: funk-jazz heads, polyrhythmic skeletons, ambient pastorals, post-kraut drones and shimmering soundtrack reveries. A music of sustained tension and deep atmosphere, marked by subtle, shifting dynamics playing out in an open sound field.

Quickly following on from last year's 'Ghosted II', the third Reichian kraut-jazz session from Oren Ambarchi and his long-time collaborators loosens the screws a little, inviting in Americana, dream pop and blues influences and zeroing in on the tiny details.

Ambarchi, bassist Johan Berthling and percussionist Andreas Werliin are familiar with each other at this stage to fully let rip. 'Ghosted III' is their third recorded set in four years, and although they're still led by the jazz-taught instincts that guided their subtle, minimalist-inspired folk-jazz-rock debut, they've unclenched their muscles and let rip this time around. There's a new-found, liberating slackness to opener (and lead single) 'Yek', where Ambarchi daubs his chiming guitar notes over Werliin's jerky rhythms and Berthling's unraveled bassline. Catching the desert dust at first, it hardens into a Tangerine Dream-cum-Philip Glass nu-new age shimmer before it comes to a close. And 'Do' pulls back the bluster even further, reducing Weliin's drums to a faint patter, and filling the gaps with Ambarchi's cosmic pad-like guitars. After the 'TNT'-era Tortoise in dub Leslie-powered euphoria of 'Seh', the trio get back into the groove with 'Chahar', pulling Ambarchi's fictile notes into an orbit of ratcheting drums and repeating bass plucks that concludes with a splatter of xenharmonic guitar tones.

They venture into Americana territory on the long, plodding 'Panj', padding the low end with Ambarchi's swirling organ-esque tones that transform into concertina-ing zaps, and the best is saved for last - 'Shesh' is a dream-pop/post-rock melter that's among the best tracks Ambarchi, Berthling and Werliin have recorded, falling somewhere between Labradford and Talk Talk. Gorgeous.

Tim Zha aka Organ Tapes makes a hyperjump to DJ Python's Worldwide Unlimited label with an emotionally slushed set of singer-songwriter pearls spiked with his own idiosyncratic production moves. An investigation into avant pop, it sounds like a DIY inversion filtered thru the autotuned hypersonix of Ecco2K, Yves Tumor or Palmistry. For over a decade now, Organ Tapes has been masterminding his own obsessively-curated and unique style, attempting to reconcile not just his interests in pop and experimental modes, but also his identity as a British-Chinese artist who's spent his life between Shanghai and London. Through production work for Triad God and releases for Tobago Tracks, Genome6.66Mbp and Berlin’s much loved Creamcake, he’s developed a style that’s pretty much inimitable, with autotuned vocals informed by a long-term love of dancehall, afrobeats and Soundcloud rap, and songs that slip into folk and country, with a compositional mindset that’s unmistakably non-Western. "Chang Zhe Na Wu Ren Wen Jin De Ge Yao" (sing the song that no one cares about) expands on the misty landscapes of 2019's TT-released "Hunger In Me Living”, but while that album retained a wisp of R&B and a vague whiff of ambient, this new one feels firmly grounded in a bedroom pop aesthetic, allowing beams of sunlight to crack through his usually dense, textured clouds. Weft around guitar and vox, Organ Tapes bends the form by employing muffled field recordings, squashed drums and dreamy synths, assembling his tracks with the sort of diaristic warmth you’d expect to find on a claire rousay record. Zha positions himself a few feet away from indie and emo, instead channeling more sparkling influences like TV themes and advertising jingles. His earworm compositions drip with familiar-but-alien riffs, with hooky choruses rendered personal and heartfelt through low-key, lo-fi production smarts. In different hands, it might have all sounded overly exuberant, but anchored by Zha’s muted voice and shaved arpeggios, it's touching and indelible. There’s no cynicism here - the songs work because they come from a genuine place. Just listen to 'Heaven can wait' and tell us you ain't feeling it.

Zither Suite is the fifth OPE album. It was recorded in my apartment in Kortedala, just outside of Gothenburg. No neighbours were harmed in the recording process. The title track opens with a bitter sweet bass melody that I first recorded some 10 years ago, but it's been fermenting ever since and finally reached maturity. The zither that gave name to the record (and the first track) was a find from the local charity shop. While it's not featured on every track of the album it's a crucial part of the feel of the album as a whole. It's the rug that ties the room together.

The tracks on this album are all original compositions with the exception of Jämtland which is based on an old Swedish folk melody, reported to have been played by musicians in Jämtland as early as the late 1700s. The county of Jämtland is forever claiming a tounge in cheek sort of independence from the Swedish governing body (in spirit rather than in actual policies) and Jämtlandssången is it's unofficial national anthem.

-Gustav Horneij

In fact, Organisation was the first iteration of Kraftwerk and if the band had managed to overrule its record label, RCA, Tone Float would have been credited as such. But given that the album was to be released only in the United Kingdom, the label opted for the more Anglicized name, "Organisation". Tone Float is the only album produced under this name and is a seminal example of the genre. Audiences in West Germany were fortunate enough to watch and listen to the whole album, played live for German television station, EDF, and it is this broadcast featured here.

Orgone, a contemporary funk band based in Los Angeles, has spent years updating the sound of 60s and 70s soul and funk for the modern era. Among their catalog, New You stands out as one of the most beloved releases among fans.

Orgone, a contemporary funk band based in Los Angeles, has spent years updating the sound of 60s and 70s soul and funk for the modern era. Among their catalog, New You stands out as one of the most beloved releases among fans.

Orgōne is a pillar of West Coast soul music, maintaining an unmissable touring presence for more than a decade. The group’s arresting intensity, impeccable playing style, and undeniable, irresistible chemistry have earned them the reputation as one of the tightest bands of the modern era. Fresh off of doubling as the studio band for discodelic sensation Say She She and circling the globe as the live band for their wildly successful world tour, Orgōne is back in California and coming in hot with Chimera, a fire-breathing spectacle of psychedelic Afro-soul. Produced by Sergio Rios (Neal Francis, Say She She), Chimera is an electrifying, dream-like odyssey, tripping through the hazy swamps of New Orleans, weaving textures of entrancing voodoo soul, thrumming Afro-funk, and stoney psych-rock. In Chimera, the heavy-hitting new LP from Orgōne, out February 9th, 2024 on 3 Palm Records, the Los Angeles-based outfit carves tough, gritty, infectious grooves into heady dance rhythms. Taking its name from a mythical beast with the head of a lion, the body of a goat, and the tail of a serpent, Chimera conjures a state that is at once trance-like and heart-poundingly exciting. The album offers a spellbinding mix of cathartic instrumentals, dub voyages, and soulful vocal performances by Jamie Allensworth, Terin Ector, and Congolese musical alchemist Mermans “Mofaya” Mosengo. Known for their gripping instrumentals and incendiary live show, the band is firing on all cylinders and the earned confidence of this time-tested, cult-favorite crew is on display throughout Chimera. Describing the process of producing and engineering this psych-funk showcase, guitarist and Orgōne co-founder Sergio Rios says, “The album really took form organically. It’s raw and dark with a hopeful thread throughout that’s highlighted by the incredible soul singers we work with. There's a looseness to most of the cuts, giving the album the feeling of a shadowy dream.” With Chimera, the band has tapped into a deeper version of themselves. The sounds are fresh yet classic, the grooves are ferocious and infectious, and the vocal performances are captivating. The album opens like a heady puff of smoke in the face with “Hallowed Dreams,” drawing the listener into a state where reality blurs and the music takes control. The focus track, “Zum Zum,” is a hooky Afro-funk dance floor heater that synchronizes your heart rate to its propulsive percussion, the hypnotic rhythm building into a raucous, psychedelic climax. Mermans “Mofaya” Mosengo sings in his native Lingala, jabbing and weaving around the rhythm section’s chugging force with his gruff and soulful voice. On the raw and rousing “Tula Muisi (Dance Like Them),” a tapestry of Afrobeat and heavy psych-rock bolsters Mosengo’s call for unity and respect, which translates to “Hear the music, and dance like them.” On “Lies & Games,” Terin Ector brings yearning soul vocals to this righteous lament of the rocky road to redemption over grimy rhythm guitar, spaced-out synths, breakbeat-worthy drums, and haunting Wailers-inspired backing vocals. “Parasols” is a jaunty, head-bobbing slab of greasy New Orleans funk, and a heartfelt nod to Josie-era Meters and the unmistakable early 70s-era production of Allen Toussaint. The instrumental serves up a punchy, slightly tipsy rhythm that sways with sweetly melodic gospel-tinged organ. Drawing on multicultural influences of Afrobeat, Southern soul, psych-rock, and raw funk, Chimera bridges the darkest reaches of psychedelia to the highest peaks of joyful dance music. With easy SoCal swagger, deep New Orleans roots, and a profound reverence for the sounds of the African diaspora, Orgōne creates a unique, transporting experience that feels untethered to any single place or time. Relentlessly vibey and immersive from start to finish, Orgōne’s newest LP feels like a sustained hypnagogic hallucination — the place between waking and sleep where reality is fluid and anything feels possible. From its inception, Orgōne has always been a chimera — a multifaceted creation and the physical manifestation of impossible quixotic dreams. Chimera will delight fans of early Orgōne while showcasing the band’s effortless and endless ability to shape-shift. It’s an electrifying, mesmerizing record sure to exceed expectations and keep the listener rapt. For fans of Altun Gun, Khruangbin, King Gizzard and the Lizard Wizard, Witch, Goat & Monophonics.

Moonshadows, named for a glossy beachfront Malibu bar where members of the Orgone crew DJed Saturday night sets, is the band's homage to yacht rock, sweater funk, and late night cruises on the Pacific Coast Highway. The genre-bending full-length album evokes neon and moonlight shimmering on ocean waves, undulating rhythms, martinis, and luxury convertibles. There’s nothing lightweight about this collection, however. All the hallmark elements of Orgone production—gritty, deep, authentic sounds and heavy beats—permeate this ten-song LP. For this album, Orgone pulled from its deep bench of talent to feature vocal performances and co-writing by Adryon de León, Woolfy, Masauko Chipembere, Terin Ector, Jamie Allensworth, and more. Moonshadows is a heady mix of lush vocals, classic drum tones, and late-70s vibes best served chilled in the late-night hours and made to keep you grooving through your second wind and into the hazy sunrise.

Composer Ori Barel rolls up the playful aestheticism of ‘90s electronica, taught pointillism of Rock in Opposition, dada collage of Krautrock, and the heavy lushness of Jack Nitzsche arrangements into a seamless sci-fi fantasia.

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.

Released in 1961, Ornette Coleman’s Free Jazz is both a controversial milestone and a landmark recording. Featuring a double‑quartet setup with separate groups placed in the left and right channels, the album captures an unprecedented form of collective improvisation that redefined the boundaries of jazz.

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.

"The late 60's in Brasil produced an explosion of creativity that is still reverberating throughout the workd... and Os Mutantes (The Mutants) were the most outrageous band of that period. Their creative cannibalism produced psychedelic gems unlike anything else, and they sound as relevant today as anything happening anywhere. They were exactly what their name implies- a mutant genetic recombination of John Cage, The Beatles, and bossa nova. A creature that was too strange and beautiful to live for very long, but too strong to ever fade away. It lives again. Be prepared." - David Byrne

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

Reissue of the third album from Brazilian combo. Creatively visionary and groundbreaking on numerous terms, 1975 'O Africanto dos Tincoãs' (as the previous Os Tincoas album) revolutionized Brazilian music by harmonizing Afro-religious singing, heavenly vocal harmonies, and Percussive rhythms derived from Candomblé traditions.

Even though it was recorded during a time of political repression, the album remains gentle, rhythmic, and eflecting Afro-Brazilian syncretism and resonating with themes of suffering, exile, and hope.

"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.