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Constructive are proud to announce the release of the original soundtrack for the British film 'Surge' by Tujiko Noriko and Paul Davies. Directed by Aneil Karia and starring Ben Whishaw, the film is set in London over twenty-four hours and is a stripped back thriller about Joseph. A man who goes on a bold and reckless journey of self-liberation.The album consists of sixteen tracks and presents the soundtrack in a non-conventional form. Sound design and composition are presented side by side as equal components in the score. The album consists of sixteen tracks and presents the soundtrack in a non-conventional form. Sound design and composition are presented side by side as equal components in the score. The album starts with Davies’ piece ‘TV Dinner’ where shifting plates of aqueous white noise finally give way to a hint of tonality. Tujiko on ‘Broken Glass’ develops the tonality further adding bells, sliding tones and slithers of brass. This alternating of sound design and composition and the blurring of its source material continues throughout the album. Except for the three tracks where they both collaborate on the writing, as on the delicate ‘Empty Rooms’. The music conveys polar extremes at the same time. Ethereal and urban, delicate yet powerful, juxtaposing the internal landscapes of the film's protagonist against the environmental sounds of a city. Highlights include the unconventional beauty of ‘Children’, the deconstructed jazz of ‘And then to Home’ by Tujiko and the powerful Deathprod-like tectonic plates of sound by Davies on ‘In Street after First Robbery’. An album of music and sound that works alone away from the film and rewards with repeated attention and deep listening.

Keplar presents the first-ever vinyl edition of the 2003 album »From Tokyo to Naiagara« by Tujiko Noriko. This reissue with new artwork by Joji Koyama is an abridged version of the album as Tomlab label owner Tom Steinle and producer Aki Onda had originally intended to publish it alongside the original CD version. Written by the France-based Tujiko while she still lived in Japan, »From Tokyo to Naiagara« followed up on her two seminal Mego albums and marked a turning point in both the artist’s career and personal life: While she was preparing to leave Japan behind, she succinctly connected the dots between her experiments in pop music and her interest for more abstract sounds. Tujiko worked primarily with a Yamaha synthesizer and an MPC sampler while also incorporating contributions by other musicians such as Onda, Riow Arai and Sakana Hosomi into the pieces. Sometimes approaching an IDM and clicks’n’cuts-style production or working with trip-hop and hip-hop beats while using conventional song structures in the most unconventional of ways, the album showcases her multifaceted influences and skills as a singer and musician to full effect. Tujiko fondly remembers the time when she made the album. »I had a lot of time for myself back then and I didn’t even feel like I was very busy,« she says today. She describes producing it in close collaboration with Onda, who would relocate to New York City shortly after, as »quite Tokyo and very local.« They explored parts of the city that they hadn’t yet been to for a photography project (finding, among other things, a coin laundry called Naiagara—a transliteration of Niagara). This left its mark on a record that mixes melancholia with joy. The driving opener »Narita Made,« named after one of Tokyo’s airports, already makes this clear: Tujiko’s wistful vocals and lyrics like »I miss you terribly« emphasises the sense of bittersweetness that forms the common thread for a sonically diverse and stylistically open-ended album—this music is looking back while moving forward. It is probably no surprise that its reissue too evokes tender memories of Onda and Steinle in Tujiko, while also reminding her of what lies ahead. »I have so much more to do and not enough time for that,« she muses, before quickly adding: »But I also feel less alone having that album again.« Influenced in equal parts by the experience of strolling through previously unknown Tokyoite back alleys and thinking about the paths not (yet) taken, »From Tokyo to Naiagara« is precisely that: the perfect travel companion for a journey that leads its listeners from past to future.

Pon is Tujiko Noriko’s sixth album for Editions Mego and a further extension of her already significant body of work as both a solo and collaborative artist. Dedicated to her cat who she adopted as an infant and passed away due an accident having been born deaf, Pon is imbued with abstraction, tenderness and a deep emotional resonance. Noriko’s palette of electronics, romantic melodies and surprising sonic details are all fully present here, and like her last full length, 2023’s Crépuscule this is an epic work, released as a 2LP by Editions Mego alongside a Japanese CD release. The unmistakable hue of Japan hovers throughout this emotional rich landscape. Subtle field recordings and fragile, abstract motifs drift through the album, all cloaked in a warmth and humanity that only Noriko seems able to conjure. Pon moves effortlessly between the childlike and the obscure. There are moments of deceptive simplicity where unexpected elements suddenly surface — strange voices emerge on Boku Wa Obaka, Knife of Yonder is a standout: a startling ten-minute unfolding that begins with a warm, almost Eno-esque drift before launching into a soaring mid-section and finally landing somewhere unexpectedly blues-adjacent. Kikoeru Pon is brimming with childlike wonder — a heartfelt ballad that dissolves into domestic field recordings, including sounds of the feline for whom both the album and track are named. A quietly devastating ending that brings the personal nature of the record into sharp focus. There is a deep sense of the human in the way Noriko embraces technology. This is far from cold abstraction; rather, Ponfeels like a colourful photo album, documenting Noriko’s inner world and instincts with remarkable intimacy. Hovering in liminal states between pop, ambient and abstraction, this is a deeply affective and moving release that reveals new surprises with each listen. The emotional range of Noriko’s latest offering inspires hope in a world in disarray. It is both gentle and epic and one which we feel embodies the work of an artist fully at the height of her powers.

A modern MPB jewel. Jazz harmonies and cosmic pop . 2025 Remastered.

“One of the most important singers and songwriters in Brazil”

João Donato, to the newspaper O Globo

Released in 2022, Tulipa Ruiz's Habilidades Extraordinárias (HabEx) showcases one of Brazil's most inventive voices. Blending MPB, jazz, pop, and psychedelic textures, the album reveals Tulipa's rich harmonic vision and fearless creativity.

From the hypnotic "Samaúma" to the infectious "Estardalhaço," HabEx flows between improvisation and groove. The duet “O Recado da Flor” with João Donato — one of his final recordings — bridges generations, mixing Donato’s bossa-jazz swing and Fender Rhodes warmth with Tulipa’s luminous voice. "Pluma Black" (feat. Negro Leo) explores avant-jazz abstraction, while "Novelos" and the title track evoke Hermeto Pascoal and Stevie Wonder-era soul-jazz.

Praised across Brazil, HabEx established Tulipa Ruiz as a key figure in modern MPB, combining melodic sophistication, humor, and emotional depth. A decade after her breakthrough and a Latin Grammy win, she continues expanding Brazilian pop and jazz.

Tulipa Ruiz is a Latin Grammy-winning singer, songwriter, and illustrator from São Paulo. Raised in a musical home—her father Luiz Chagas played with Itamar Assumpção, and her brother Gustavo Ruiz remains her longtime producer—she emerged from the Vanguarda Paulista lineage with a bold, genre-blending sound. Fusing MPB, soul, pop, and rock her music is joyful, layered, and unmistakably her own. Since her breakout Efêmera (2010), Tulipa has become one of Brazil’s most distinctive voices, with five acclaimed albums, collaborations with Elza Soares and Milton Nascimento, and performances at global festivals from Montreux to Lollapalooza.

First solo album by the most acclaimed Italian drummer! Originally released in 1974, this record has become the holy grail in the drum-breaks library field, a true cult among DJs and producers all around the world! Now available again in a faithful replica of the original gatefold sleeve and of the original master tapes The holy grail of all the drum-breaks library LP, a true "cult" among DJ and producers, is availab …

Extradition's parent band Tully, who is familiar as the highest peak of Aussie Spiritual Acid Folk! !! !! !! It was recorded as a soundtrack to Paul Witzig's surf movie "Sea Of Joy" in 1972, but it's almost an Extradition rather than a soundtrack! Extradition's nickname band, which uses psychedelic and meditative sounds with a mixture of electro / acoustic sounds and experimental methods, is a masterpiece that nods. It is a superb surf sound that exists with the magnificent sea that makes you recognize the connection between surfing and spirituality. Especially, the warm and slightly nostalgic sound like the sea at dusk is a masterpiece that makes you feel wrinkled and impressed. Female vocalist Shayna Karlin (now Stewart) who decided the Extradition also participated. The best acid folk that you should definitely listen to this summer. The liner by the band members and the director is also very polite and wonderful. MUST !!!!!!!!!!!!!!!!

Group Theory: Black Music is a stunning new statement from South African drummer and composer Tumi Mogorosi. Standing in the lineage of South African greats such as Louis Moholo-Moholo, Makaya Ntshoko and Ayanda Sikade, Mogorosi is one of the foremost drummers working anywhere in the world, with a flexible, powerful style that brings a distinctive South African inflection to the polyrhythmic tradition of Elvin Jones, Max Roach and Art Blakey. Since his international debut on Jazzman Records in 2014 with Project ELO, Mogorosi has been in the vanguard of the South African creative music scene’s burgeoning outernational dimension, taking the drummer’s chair in both Shabaka Hutchings’ Shabaka and The Ancestors formation and with avant-garde noiseniks The Wretched. As Mogorosi’s first project as leader since 2014, Group Theory: Black Music marks a return to the drummer’s musical roots. The sound is anchored in the transnational tradition of Great Black Music, with the core of the group comprising a quintet of newcomers Tumi Pheko (trumpet) and Dalisu Ndlazi (bass) alongside the experienced guitarist Reza Khota, with Mogorosi himself and altoist Mthunzi Mvubu, another Ancestors member, representing the current generation of South Africa’s creative music torchbearers. Motivated by Mogorosi’s driving dynamism, the group create deep-hued modal grooves that burn with a contemporary urgency, while established pianist Andile Yenana brings an elder voice to three of the tracks. Featured vocalists Gabi Motuba (Project ELO, The Wretched) and Siyabonga Mthembu (The Brother Moves On) take differing approaches to the spiritual standard ‘Sometimes I Feel Like a Motherless Child’, while poet Lesego Rampolokeng pours out lyrical fire on ‘Where Are The Keys?’, creating a bridge back to the Black Consciousness movement and figures such as Lefifi Tladi and Wally Mongane Serote. But where Group Theory: Black Music moves an established format dramatically forward is in the addition of a ten-person choir. Conducted by Themba Maseko, their massed voices soar powerfully above every track as a collective instrument of human breath and body, and enter the album into the small but significant number of radical recordings to have used the voice in this way, such as Max Roach’s "It’s Time", Andrew Hill’s "Lift Every Voice", Billy Harper’s "Capra Black", and Donald Byrd’s "I’m Trying To Get Home". At the same time, the presence of this wall of voices brings an inextricable connection to the venerable tradition of South African choral music, and to the importance that the Black choir has had for South Africa’s religious, political and social cultures, including the culture of South African creative music itself. From the Manhattan Brothers and the choral compositions of Todd Matshikiza to figures such as Johnny Dyani and Victor Ndlazilwane, the collective power of voice has been one of the cornerstones of improvised creative music in the country. ‘I started out in a choir’, says Tumi, as he reflects on the significance of Black voices in concert. ‘There’s this idea of mass, of a group of people gathering, which has a political implication. And the operatic voice has both a presence, and a capacity to scream, a capacity for affect. The instrumental group can sustain the intensity of that affect, and the chorus can go beyond improvisation, toward communal melodies that everyone can be a part of.’ This potential for communality in the music swings close to Group Theory’s conceptual centres of gravity. The title refers to the mathematical theory of the same name, the essentials of which concern the axioms that make a simple set of items into a true mathematical group – associativity, closure and an identity element. These mathematical ideas offered Mogorosi a metaphorical platform for thinking about the way that individual players in a musical unit are also bound together at the moment of creation, in a unity that begins to challenge the individual and complicates conventional ideas of leadership and hierarchy. In bringing experienced musicians such as Yenana and Khota into the orbit of younger players, Mogorosi also wants to re-orientate the idea of teacher-student relations toward a more open vision of intergenerational knowledge sharing. ‘We are looking for questions, not answers’, he says. Mogorosi’s overarching vision on Group Theory: Black Music is encapsulated by the touchstone quotation from Amiri Baraka – ‘New Black Music is this: Find the self, then kill it.’ For Mogorosi, these words speak to an essential feature and function of Black creative and improvised art – the search for the point where individual boundaries collapse into the universal ongoing flow of the music, at the moment of group creation. This flow is not local, it is transglobal, and it joins the music of the diaspora with Africa, allowing connections and relations to range across historic and contemporary spaces of struggle, self-determination and transformation. Such effects are also transtemporal, dropping deep down into the wells of history to bring forth sounds from the present and future, and allowing the music to burrow back into the past. As Baraka’s words imply, the individual cannot escape this search unchanged, and the creative musician does not desire to: in the time of its creation, New Black Music intends to flow into and through the performers from sources beyond them. The writer of a song is never the only author; the soloist always speaks for others; the leaders are never one but a host of many. Previous times and places, previous performances and compositions, previous souls and struggles are always made manifest in the music; the search for the inner self is also a quest to dissolve the individual into the living soundways of those who came before and those who will come after. ‘The album is under my name,’ says Tumi, ‘but the ideas aim at a decentring of the individual composer or author, and a a decentring of the idea of the “leader” – it tries to encapsulate the idea of a group effect, to go beyond the point of origin, and it refuses geo-specific narratives.’ South African creative and improvised music, with its nomadic history of journeys between the US, Europe and South African, has always been exemplary of these ongoing processes, and it is fitting that Group Theory: Black Music should itself be the result of an international collaboration. Starting from a shared vision and understanding of the parallels between the music being made in their respective countries, South African label Mushroom Hour Half Hour and London based label New Soil were able to pool their resources to support Tumi’s large-scale creative vision for this project and enable it to find the global audience it seeks and deserves.

I first saw Hugh and Jackson play together at Good God’s ‘Soft Future Piano Bar’ at the Sydney Opera House in 2017. That year was a fruitful year for the two as artists and for the Sydney music community in general. I remember that all of us, along with Greville and Brad, hosted a DIY party in a tunnel under a highway somewhere near Sydney Airport. Is that the same tunnel that Tunnel Dancers derived their name from?

7 years after that first meeting at the Sydney Opera House, Hugh and Jackson have released an album. Listening to these songs there is an audible patience and understanding between two musicians. They probably could have released something else a long time ago, but chose to wait - instead enjoying bowls of laksa on their lunch breaks and sharing long, quiet conversations at The Babylon Sauna & Spa.

When the next warm bowl of noodle soup arrives on your table, how long will you let it sit before you dive in? Soup first or noodle first? If you learn from these songs, perhaps you will know to first observe the whole bowl. Observing in this way, the moment settles and hovers and remains for much longer than a moment.

Nik

Written by J. Fester & H. Burridge in various locations. TD would like to thank MAx Berry for his trust and inspiration in seeing this project come to light and Nik for his nostalgic words and noodle soup references. On this record Hugh plays the Jazzmaster Guitar and various delay and tremolo pedals. Jackson plays his Modular Synthesizer. Artwork by Max Berry. Design by J. Greville. Mastered by Marco Pellegrino at Analog Cut Mastering.

SIGNEND EP is bassist Keisuke Taniguchi's first solo release under the pseudonym TURLCARLY. This EP took us almost a year of lots of discussion, ideas, and drinking to release. The majority of tracks on the EP were composed using a computer, but his contrabass playing is featured on the track titled Sontrium. There exists lots of music that combines elements from various disparate genre. But I believe this EP, with its juxtaposition of danceable vibe and experimental atmosphere, has a completely unique and original sound that will give listeners new feelings and inspirations.

Boas festas ✨ Wishing you all a beautiful Christmas and a strong, joyful start to the new year from Groningen & Luanda. We’re very happy to finally share some long-awaited news: after five years, we’ve completed the order for the "Turma Da Benção" album at the pressing plant — and the vinyl is officially on its way! It’s been a long journey, but we’re incredibly grateful for everyone’s patience, trust, and support along the road. Pre-orders are now open. To celebrate the season, we’d love to share “Boas Festas” & "Réveillon" two incredible tracks from this forthcoming album, a project rooted in the legacy of Conjunto Angola 70 and co-produced by Paulo Flores. They are included in the vinyl pre-order. More details about the album and upcoming release will follow soon. For now, we hope this track brings you a moment of warmth, reflection, and celebration over the holidays. Thank you for your support during this journey. Onwards into the new year 🖤❤️ Much love, Keep On Pushin Records

Texas-born, Maui-based musician and producer Jesse Peterson aka Turn On The Sunlight's new LP via Music From Memory. "Originally formed in New York in the late 2000s, Turn On The Sunlight has evolved into a fluid, location-spanning practice rooted in collaboration, intuition and process. Now based on Maui, Peterson’s work draws together a wide network of musicians and environments, with recordings taking shape across Los Angeles, Tokyo, London, San Miguel de Allende and Haʻikū. Loosely situated within a framework of organic, ambient-leaning jazz, 'Iseo' unfolds as a series of open, exploratory pieces, with electronics sitting subtly beneath acoustic and environmental elements. Built from layered instrumentation including synthesizers, guitar, zither, flutes, voice and field recordings, Peterson moves between grounded, tactile detail and more expansive, immersive states. A sense of warmth and permeability runs throughout: organic percussion, environmental textures and drifting rhythmic elements lend the record a gently saturated humidity, reflecting Peterson’s base in Hawaii, where the presence of nature is felt as much as it is heard. Underlying the project is a way of working rooted in gathering, listening and tending. Instruments, ensemble sessions, field recordings and everyday environments are approached with attentiveness, shaped through collecting, refining and allowing things to settle. Relationships, landscape and lived experience shape the sound, giving 'Iseo' a tactile, almost hand-made quality. Rather than fixed arrangements, the album feels as if it has been organically and lovingly assembled through a process of listening and response, each element finding its place within a wider, evolving whole. This approach reaches a natural centre point in the 15-minute piece 'Medianoche En La Calle Aurora', which unfolds patiently, bending through shifting environments as motifs and textures emerge and dissolve with quiet continuity. Peterson’s role as both instigator and facilitator is central to the project. Bringing together a diverse group of collaborators including Carlos Niño, Mia Doi Todd, Laraaji, Ko Ishikawa, Luis Pérez Ixoneztli and Miles Spilsbury, he creates space for individual voices to emerge within a shared language. The result is a music defined by openness and generosity. 'Iseo' takes its title from Peterson’s son’s middle name, a word that can be understood to mean ‘one-world life’. The piece itself takes the form of a gentle lullaby, its melody loosely shaped around the syllables of his name and sung to Peterson’s son by Luis Pérez Ixoneztli, a close collaborator whose presence across the record reflects a long-standing relationship that extends beyond the music itself. Sleeve art and design by Michael Willis."

Texas-born, Maui-based musician and producer Jesse Peterson aka Turn On The Sunlight's new LP via Music From Memory. "Originally formed in New York in the late 2000s, Turn On The Sunlight has evolved into a fluid, location-spanning practice rooted in collaboration, intuition and process. Now based on Maui, Peterson’s work draws together a wide network of musicians and environments, with recordings taking shape across Los Angeles, Tokyo, London, San Miguel de Allende and Haʻikū. Loosely situated within a framework of organic, ambient-leaning jazz, 'Iseo' unfolds as a series of open, exploratory pieces, with electronics sitting subtly beneath acoustic and environmental elements. Built from layered instrumentation including synthesizers, guitar, zither, flutes, voice and field recordings, Peterson moves between grounded, tactile detail and more expansive, immersive states. A sense of warmth and permeability runs throughout: organic percussion, environmental textures and drifting rhythmic elements lend the record a gently saturated humidity, reflecting Peterson’s base in Hawaii, where the presence of nature is felt as much as it is heard. Underlying the project is a way of working rooted in gathering, listening and tending. Instruments, ensemble sessions, field recordings and everyday environments are approached with attentiveness, shaped through collecting, refining and allowing things to settle. Relationships, landscape and lived experience shape the sound, giving 'Iseo' a tactile, almost hand-made quality. Rather than fixed arrangements, the album feels as if it has been organically and lovingly assembled through a process of listening and response, each element finding its place within a wider, evolving whole. This approach reaches a natural centre point in the 15-minute piece 'Medianoche En La Calle Aurora', which unfolds patiently, bending through shifting environments as motifs and textures emerge and dissolve with quiet continuity. Peterson’s role as both instigator and facilitator is central to the project. Bringing together a diverse group of collaborators including Carlos Niño, Mia Doi Todd, Laraaji, Ko Ishikawa, Luis Pérez Ixoneztli and Miles Spilsbury, he creates space for individual voices to emerge within a shared language. The result is a music defined by openness and generosity. 'Iseo' takes its title from Peterson’s son’s middle name, a word that can be understood to mean ‘one-world life’. The piece itself takes the form of a gentle lullaby, its melody loosely shaped around the syllables of his name and sung to Peterson’s son by Luis Pérez Ixoneztli, a close collaborator whose presence across the record reflects a long-standing relationship that extends beyond the music itself. Sleeve art and design by Michael Willis."

Multi-instrumentalist, composer and producer Jesse Peterson is the heart and constant thread of the musical project Turn On The Sunlight. 'You Belong' is the fifth in an ongoing series of records that Peterson has made with a community of his close friends and collaborators, including his beloved wife, Mia Doi Todd, bright Orange laughter luminary Laraaji, experimental and folkloric visionary Luis Pérez Ixoneztli, and his frequent partner in rhyme, percussionist and producer Carlos Niño. The sound here is a perfect mixture of folk, ambient, spiritual jazz and peaceful open space improvisational flow. 'You Belong' was made in the Glendale, California, Home Studio of Peterson and Todd during 2021 and 2022. "The sudden shift in expectations and trajectory that I and many people have experienced in the past couple of years allowed me to access certain feelings and memories from the more distant past that might have been less accessible before, which probably accounts for my sudden urge to reach out to Cavana," recounts Peterson of the album's main featured collaborator Cavana Lee. "Making the album was a helpful way of working through these thoughts and feelings because of the high level of expression that the participating musicians brought to it, like I was being led by their example. ‘You Belong’ is the most collaborative of all the Turn On The Sunlight records," Peterson continues, "in that almost every song features different musicians. It grew out of a variety of collaborations in our home studio and incorporates friends recording themselves in other locations throughout the world, so it felt like the circle was growing as the album grew, which was a nice feeling. Cavana's singing is a new element and it was exciting to hear how her voice brought out the heart of the music." At the center of the 4 key pieces that weave this album together is a truly unique symbiosis between Peterson and Cavana Lee (who met in boarding school in 1992). Lee (the daughter of magical jazz, avant-garde singer Jeanne Lee and multi-instrumentalist, composer, band leader, independent record label pioneer Gunter Hampel) remembers what it was like when she heard from Peterson out of the blue about whether she was open to writing and recording to several of his new pieces. "We were in the middle of the pandemic," recalls Lee, who lives in Berlin, "and the music industry had stopped where it was. As a singer, I suddenly had no access to public venues… I had just given up my singing space because that was forbidden in Germany at that time. Just then Jesse reached out and asked if I was interested… I was very slow in recording because I had very low digital skills at the time… I am quite an analog person. I remember the reaction I had when I heard the piece we now call “You Belong", with Laraaji. It was so full of life’s facets and in touch with Nature, I felt inspired to dedicate my voice in this song to the natural spirit of the Universe (at least how I perceive it). Also inspired by the space journeys of Sun Ra and my own father's improvised compositions, I imagine that this is what the wind, the sun, any of the elements that travel through space and the ethers would say to human beings right now. A message full of Love and Connection at a time where things felt really disconnected and disjointed. I needed this message for myself, I suppose. That’s how that track developed," Lee reflects, "it brought me there." 'You Belong' finds Peterson as the catalyst for and caretaker of advanced togetherness where an array of adventurous musicians and creative artists are featured atop and intertwined with his swirling foundations and welcoming arrangements. In addition to everyone mentioned above, “You Belong” has contributions from gyil master SK Kakraba, saxophonist Randal Fisher, trumpeter Sean Okaguchi, guitarist Fabiano Do Nascimento, keyboardist Surya Botofasina, experimentalist Sam Gendel, bassist Ricardo Dias Gomes, bass clarinetist Pablo Calogero, flautist Aisha Mars, pianist Jamael Dean, drummers Andres Renteria and Efa Etoroma Jr., and his close friends from New York, Mike Wexler and Koen Holtkamp. Produced and mixed by Jesse Peterson,'You Belong' is remarkable and diverse, a cohesive album that sings of Universal Family, Caring, Being, and openness. Lee reveals, “‘You Belong’ is a Love declaration from Nature to us. It is a salve. It is a reminder of what we have forgotten. That forgetfulness is causing collective pain. ‘You Belong’ is an invitation to remember." Peterson concurs, “‘You Belong’ affirms that we can all be our whole beings and are all part of the whole of being. Music is a force that moves through us all, and that feeling can be transmitted through our expression, whether we're consciously aware of it or not, we all belong… we are all involved…”

Multi-instrumentalist, composer and producer Jesse Peterson is the heart and constant thread of the musical project Turn On The Sunlight. 'You Belong' is the fifth in an ongoing series of records that Peterson has made with a community of his close friends and collaborators, including his beloved wife, Mia Doi Todd, bright Orange laughter luminary Laraaji, experimental and folkloric visionary Luis Pérez Ixoneztli, and his frequent partner in rhyme, percussionist and producer Carlos Niño. The sound here is a perfect mixture of folk, ambient, spiritual jazz and peaceful open space improvisational flow. 'You Belong' was made in the Glendale, California, Home Studio of Peterson and Todd during 2021 and 2022. "The sudden shift in expectations and trajectory that I and many people have experienced in the past couple of years allowed me to access certain feelings and memories from the more distant past that might have been less accessible before, which probably accounts for my sudden urge to reach out to Cavana," recounts Peterson of the album's main featured collaborator Cavana Lee. "Making the album was a helpful way of working through these thoughts and feelings because of the high level of expression that the participating musicians brought to it, like I was being led by their example. ‘You Belong’ is the most collaborative of all the Turn On The Sunlight records," Peterson continues, "in that almost every song features different musicians. It grew out of a variety of collaborations in our home studio and incorporates friends recording themselves in other locations throughout the world, so it felt like the circle was growing as the album grew, which was a nice feeling. Cavana's singing is a new element and it was exciting to hear how her voice brought out the heart of the music." At the center of the 4 key pieces that weave this album together is a truly unique symbiosis between Peterson and Cavana Lee (who met in boarding school in 1992). Lee (the daughter of magical jazz, avant-garde singer Jeanne Lee and multi-instrumentalist, composer, band leader, independent record label pioneer Gunter Hampel) remembers what it was like when she heard from Peterson out of the blue about whether she was open to writing and recording to several of his new pieces. "We were in the middle of the pandemic," recalls Lee, who lives in Berlin, "and the music industry had stopped where it was. As a singer, I suddenly had no access to public venues… I had just given up my singing space because that was forbidden in Germany at that time. Just then Jesse reached out and asked if I was interested… I was very slow in recording because I had very low digital skills at the time… I am quite an analog person. I remember the reaction I had when I heard the piece we now call “You Belong", with Laraaji. It was so full of life’s facets and in touch with Nature, I felt inspired to dedicate my voice in this song to the natural spirit of the Universe (at least how I perceive it). Also inspired by the space journeys of Sun Ra and my own father's improvised compositions, I imagine that this is what the wind, the sun, any of the elements that travel through space and the ethers would say to human beings right now. A message full of Love and Connection at a time where things felt really disconnected and disjointed. I needed this message for myself, I suppose. That’s how that track developed," Lee reflects, "it brought me there." 'You Belong' finds Peterson as the catalyst for and caretaker of advanced togetherness where an array of adventurous musicians and creative artists are featured atop and intertwined with his swirling foundations and welcoming arrangements. In addition to everyone mentioned above, “You Belong” has contributions from gyil master SK Kakraba, saxophonist Randal Fisher, trumpeter Sean Okaguchi, guitarist Fabiano Do Nascimento, keyboardist Surya Botofasina, experimentalist Sam Gendel, bassist Ricardo Dias Gomes, bass clarinetist Pablo Calogero, flautist Aisha Mars, pianist Jamael Dean, drummers Andres Renteria and Efa Etoroma Jr., and his close friends from New York, Mike Wexler and Koen Holtkamp. Produced and mixed by Jesse Peterson,'You Belong' is remarkable and diverse, a cohesive album that sings of Universal Family, Caring, Being, and openness. Lee reveals, “‘You Belong’ is a Love declaration from Nature to us. It is a salve. It is a reminder of what we have forgotten. That forgetfulness is causing collective pain. ‘You Belong’ is an invitation to remember." Peterson concurs, “‘You Belong’ affirms that we can all be our whole beings and are all part of the whole of being. Music is a force that moves through us all, and that feeling can be transmitted through our expression, whether we're consciously aware of it or not, we all belong… we are all involved…”

“Warm Waves” took shape from a series of recordings of spontaneous improvisations by a core group of Turn On The Suniight regulars, with additions by Laraaji, Sam Gendel & Luis Pérez Ixoneztli. Carlos Niño then contributed two remixes, both in collaboration with Jamael Dean. The album features Mia Doi Todd's ethereal vocals and the voice-like sounds of Sam Gendel’s electronically-processed saxophone, but is intentionally devoid of words, save for a single phrase spoken by Laraaji in one of Carlos’ remixes - "Peace All Over" - a message of hope for the future and expression of faith in the timeless, omnipresent, eternal now.

“Warm Waves” took shape from a series of recordings of spontaneous improvisations by a core group of Turn On The Suniight regulars, with additions by Laraaji, Sam Gendel & Luis Pérez Ixoneztli. Carlos Niño then contributed two remixes, both in collaboration with Jamael Dean. The album features Mia Doi Todd's ethereal vocals and the voice-like sounds of Sam Gendel’s electronically-processed saxophone, but is intentionally devoid of words, save for a single phrase spoken by Laraaji in one of Carlos’ remixes - "Peace All Over" - a message of hope for the future and expression of faith in the timeless, omnipresent, eternal now.

Long Gone Are The Old Traditions delivers another sonic message from West-London based producer, singer and songwriter Tutu Ta.

Following on from 2024's "The Shrine" and "Clay Birds Are Grey" from earlier this year - the artist continues to blur the lines between dub, spoken word, beats and post-punk using this to further collect a sound that is unique and powerful. "Violence Or Violets" leans into more personal and haunted sounds with the EP bringing ethereal vocals to the forefront while still maintaining a punchy nod to the soundsystems well recognised in the artist home-town. A driven heart provoking siren that is pushing the artist into new lengths and heart-aching sonics.

Long Gone (Are The Old Traditions) is a label out of London . A label focused on DIY electronics, post punk, dub and techno from now and before. The first release is from West London artist, singer and songwriter Tutu Ta. A mini LP of out there, dubbed up, post punk mutations meeting old sounding industrial electronics following from his highly acclaimed debut album last year. Its already seen the light of day on soundsystems across the city and further afield as well as stations like NTS, Rinse & Tom Ravenscroft's BBC 6 New Music Fix.

The follow-up to 'High Art Lite', 'Ruins' is an album shaped by grief, reflection, and transformation; a record that captures both the weight of loss and the strange beauty that comes with it. Written after a self-imposed break from songwriting, it represents a shift in focus and perspective for Joseph Oxley. “I wanted to step away from what I thought I was supposed to make,” he explains. “The worst advice anyone can give you is, ‘If it ain’t broke, don’t fix it.’ It’s always broken. It always needs fixing.” At its core, 'Ruins' explores loss not as emptiness but as presence, something that reshapes the world around you. The album finds Oxley wrestling with the dualities of human experience: the tension between what’s said and unsaid, between humanism and nihilism, public and private, despair and acceptance. “Hope and despair don’t cancel each other out,” he says. “They can co-exist — that’s what makes it feel real.” Somewhere within a lifetime of repeats, reruns, and reboots, TVAM lives, crafting work that touches on our memories while toying with our fears, creating a world in which broadcast becomes performance. Since his debut album 'Psychic Data' burst from a small bedroom studio in Wigan, TVAM has defined the sound and spectacle of nostalgia’s grip on modern life, from the sloganeering of 'Porsche Majeure' to the electioneering of 'Semantics', his music has gained daytime playlisting on BBC 6 Music and has been featured on TV including groundbreaking series Succession. Musically, 'Ruins' is expansive and immersive. Dark but magical, it is filled with reverb-drenched synths, fractured textures and hammer-blow snares. Guitars weave through the mix with a newfound restraint, creating space for atmosphere and emotion to take centre stage. "Broken reality” textures collide with driving rhythms, recalling the cinematic pulse of Floodland-era The Sisters of Mercy, and the melodic melancholy of Disintegration-era The Cure. The result is a record that finds beauty in dissonance and light in the wreckage.

The long-awaited album from Twain released via Keeled Scales is his first-ever double LP titled Noon. Twain’s first album in three years, Noon looks to explore the balancing exercise between soul-fantasy and self- scrutiny. The songs on Noon try to sit in the liminal state between the spirit’s ambition for itself and the often harsh truth of the present. The hope is to erode the barrier between those two states. ‘Twain’ is Mat Davidson’s approach to reconcile those two states, and to forget that they could ever exist in opposition.

Shadowy London duo Two Shell continue mischievously subverting and twisting the norms of UK bass on their third EP ‘Icons’. Although the overall feel of these five tracks is one of stability - accelerated vocal samples, synths pinging around all over the place, post-Joy Orbison bass heavy techno - the results are uniformly pulse-raising and intense. For fans of Bicep or Jamie xx.

Previously unreleased, Manchester, 1991. Betonska hits hard with their second release travelling back to an essential period of dance music history. A record blending rave, downtempo, ragga, dancehall, and early hardcore/jungle; a crossover which continues to shape and define some of the most innovative sounds of contemporary club culture. Produced by Philip Kirby, with vocals/rap by Martin Merchant (together Two The Hardway). On the A side Graham Massey (808 State) accompanied them on the synths, and Howard Walmsley played the saxophone on the B1 and B2. All tracks were recorded in ’91 in Phil’s house, where “funnily enough Massey co-wrote ‘Army of Me’ with Björk!”. Find more info about it in the text below. The whole release consists of solely ’91 originals: a deliberate choice to not take it out of context. The A side serves two versions of ‘Who Said?’, a mysterious midtempo jam with a jumpy acid line, organic yet punchy drums and a mesmerizing lead synth, played by none other than Graham Massey. The instrumental version has a more elusive feel to it, while the Vocal version tops it off with toasting by Manchester’s very own Martin ‘Sugar’ Merchant. Both tracks were pressed on the earlier test pressing from ’91, but have never been released officially before. The flipside boasts two mesmerizing versions of ‘Hot Number’. Driving protojungle rhythms and Sugar Merchant’s ragga vocals, are fused with secondary vocals by Phil and a saxophone solo by Howard Walmsley to form a seamless and smokey sonic concoction that will get bodies moving. Whilst the B1 surfs on a slick breakbeat rhythm with a deep bassline, the B2 bounces on a 4/4 beat with a pulsing hardcore bassline. To top it off, the B3 and final track in the running order is a deep and dubby downtempo dancehall track. Originally produced in the 90s, but recently finished by Phil, ‘Blossom Street Dub’ has an added synth line and an iconic King Tubby filter which help to enhance a time-warping, headrush effect. This track, alongside the ‘Hot Number (Alternative Version)’ B1 tune, will both be pressed for the very first time on vinyl, having been absent from the original ’91 test pressing.

Twoonky, the brothers duo from Brescia (Italy) formed by Michele and Simone Bornati, is back on Macadam Mambo for a second album. After their brillantissimo ‘Dezzo’ from 2019, which was well noticed by the underground scene, the new opus ‘Ottico’ won’t leave you static. This is the kind of masterpiece that the more you listen, the more you love. At the opposite of grandiloquent music that would have immediate effect, ‘Ottico’ is much more subtile, surfing on a cool wave of styles, a collage of vibes going from 70’s Kraut to 90’s Trip-Hop, where the analog sounds of guitars, synths, distorded voices, saxo, samples and electronics FX match so well, creating an ensemble in the unique mutant flow of the Twoonky’s that makes it so intemporal and so modern in the meanwile. It’s not about being curious, it’s about being open on crossing boundaries, like they are used to do with their unique place called Spettro in Brescia, where all the avant-garde of the electronic scene is coming to perform. ‘Ottico’ could be a kind of representation of the spirit of Spettro, and possibly one of the most interesting release of 2023. We don’t know why, but it’s true, Italians do it better ☺

USインディのガレージ/サイケ・シーンを牽引する鬼才、Ty Segallがドラム演奏に挑んだ最新アルバム『Love Rudiments』が名門〈Drag City〉より登場。元々ギタリスト/ヴォーカリストとして知られる彼がトラップキットからティンバニ、ビブラフォン、シロフォン、パーカッション、電子ドラムまで、様々な打楽器のメロディックな可能性とオーケストラの可能性を深く掘り下げた、パンキッシュで実験精神溢れるパーカッシヴな作品！