MUSIC
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Exact reissue, from 1974. "After two visionary LPs for his own tiny Nodlew label, Weldon Irvine signed to RCA for Cosmic Vortex (Justice Divine), exploring the deeply spiritual and political terrain of his previous efforts on the kind of grand musical scale that major-label funding accommodates. This is a big, bold record by any measure, with a startlingly pronounced focus on lyrics and vocals. At the same time, however, the melodies spread out like tentacles, informed by the improvisational sensibilities of jazz and the deep-groove spirit of funk." --Jason Ankeny/AMG
Emerging from the Kansai underground with a sense of ritual and restraint, G Version III returns with a slab of meditative pressure, carved for sound systems. Following last year’s cassette release on Digital Sting, the Kyoto-based producer deepens her exploration of experimental steppers and sacred low-end science.
TRK 1 treads heavy—medium-tempo four-to-the-floor steppers, soaked in 80s/90s UK dub DNA and wired with flickers of celestial synth energy, edged with something unknown.
TRK 2 drifts off-grid—a 100bpm oddity conjuring sacred synth rituals and off-beat spatial tension. Droning and eerily weightless, it hangs like a vapor of frozen scent in an echo chamber.
Flip the plate and TRK 3 and 4 ignite—raw, unrelenting steppers built to test the physical limits of the rig. No compromise, no decoration—just ritual voltage for the floor.
Riddim Chango’s 16th release channels something ancient through circuitry, born for the weight.
Lasse Marhaug's arsenal of devices are fed through video artist Kjell Bjørgeengen’s volatile A/V system on this latest despatch from Smalltown Supersound’s ‘Le Jazz Non’ series, a fierce sequence of hard-as-nails sheet noise x outsider techno that’s essential listening if you're anywhere on the line from Pan Sonic to Merzbow or PITA. Some years ago, Kjell Bjørgeengen and Keith Rowe attempted to convert video signals into sound by setting up Rowe's pickups next to an old CRT monitor, turning its magnetic field into a sound generator. Rowe further developed the system with David Jones at Alfred University, slimming down the setup using a copper coil, a circuit board, a video input and a telephone pickup. Jones named it the "Flood Coil", and it's that instrument you can see on the album's front cover and that lies at the core of these recordings, made without any physical live input from the artists themselves. In essence, it’s generative music in its purest form. Bjørgeengen's video feed is generated by oscillators, then routed into Marhaug's pedals and then back into the Flood Coil, so any visual shifts alter the sound, and any modification to the sound change the video. The duo have played this setup live many times, but for this studio version they left the system to do its thing without any intervention for two minutes at a time before moving onto the next idea. They recorded hours and hours using this process and then selected 18 highlights for this album, extracting harsh noise, power electronics, lulling feedback drone and peculiar rhythmic snippets to show the scope of their technique. A wall of growling, hi-octane Pulse Demon-style noise opens the set, gradually exposing us to more asymmetric textures, shifting through unstable repetitions that transform Merzbow's metal-inspired screams into 'Aaltopiiri'-era rhythmic noise. It's remarkable, actually, how much Marhaug and Bjørgeengen can squeeze from the system, chancing on shivering, lower-case chugs and pops, galloping drums, soundystem-subs and grinding blast beats that sound like Napalm Death's 'Scum' piped through a broken amp stack. It ain't pretty, but noise/industrial freaks will revel in the fierce delights inside.
A pivotal force in the foundations of Noise music in Japan, Fumio Kosakai is half of The Incapacitants, and has recorded with other acts such as Hijokaidan, CCCC, and Club Skull. Originally released on cassette in an edition of fifty copies in 1993, "The Warm Garden" is a pinacle for collectors of 90s noise and the outer realms of Japanese psychadelia. The work steps away from the denshi zatsuon (electronic noise) of his other groups and instead comprises two pieces of minimal electronics, percussion, and treated violin. The result is engrossing, hypnotic gothic psychadelia and scorched earth cosmic sound. The cassette source was carefully remastered by Alex Nagle in consultation with Fumio Kosakai himself."
The Death Of Rave’s first vinyl release since 2022 is a long-in-the-making techgnostic fantasy by scene anomaly Mu, scrying ancient energies via archaic DAWs of perception in four addictive bops for aerobic mystics - RIYL Shakti, Enigma, Deep Forest, Young Druid, eL-Hortobāgyi Hortator, V/Vm. Chasing the label’s 2025 regeneration with Dale Cornish’s ‘Altruism’ and Nakul Krishnamurthy’s ‘Punaravartanam’, Mu reincarnate the spirits of Pythia, high priestess of the Temple Apollo at Delphi, with four precious cuts that livicate late ‘80s & early ‘90s dance-pop via anachronistic prisms, with ohrwurming vocals and microtonal melodies that, once heard, become indelibly etched on muscle memory and jig atavistic DNA. Hailing the civilisation of Lemuria - said to inhabit the sunken continent of Atlantis - Mu practise a mode of swaying dance-pop that sensually conjures sunken sites of worship in the Med to roadside clubs of Brabant and Lower Broughton in the 3rd millennium AD. Ageless stories of exile and romance are wrapped up in a particular palette of decades-old software to complicate uchronic timelines and lead “those who carry the wisdom of the sun & navigate the fallen realm through blood memory” to seldom felt sensations. The opening ‘Flesh’ is among our most rinsed songs of the past few years, adored for its DAWbell and monk chant motifs, where vocals incant like Enigma’s sexiest gear. And likewise the frisson of standout ‘Sacrifice’ has haunted our daydreams with a simply unforgettable new beat turn of phrase like some Shakti fantasy that also bleeds into the X-Files shimmy of ‘Kingdom,’ and the import-grade efficacy of the Arabesque ‘Underworld Quanta.’ It’s a whole vibe, certain to find its audience in club shamens and priestesses of this life and the next.
On a class debut for Biscuit’s choice Good Morning Tapes label, Kyoto’s dub specialist G Version III runs signature fusions of digidub steppers, drill and holographic, minor key FM synths - big FFO Devon Rexi x John T. Gast, Equiknoxx, TNT Roots, Element. One up to her 12” for Riddim Chango last year (plus the ‘Scenery From Double Glazing’ tape for Digital Sting in ’24), G Version III’s ‘Chapter II’ most finely chisels her lucidly rugged definition of the late ‘80s / early ‘90s mystic steppers sound. The OG Caribbean spirit is heard filtered thru UK dances and shored up in Japan, where G tessellates its salient points with a palette of glassy Japanese synth tones and chamber music to exquisite effect. If Wendy Carlos was a soundgyal?! Across 6 cuts she builds the dance around digidub x drill waltz ‘Livin 4’ and a haunted dancehall special in the harpsichord/horn riff of ‘An Idyll’, impressing her prowess on the fusion of subcontinental scales with a drill-tipped skip in ‘Queen G Theme Chapter II,’ and tucking right into an aerodynamic, flying steppers mode shades away from Element in ‘Motherearth Guidance.’ At a slower, wider stride her ‘Higher Grade’ goes eyes-down on massive subs, and ‘Voice of Mystique Warriyah’ adapts the classic skooled sound like TNT Roots in Tokyo. Big!
Myth? Legend? No need to pump this up, the music is self evident. As is the crew of Marfox, NK, Nervoso, Fofuxo, Pausas and Jesse, who shaped the universe as we know it. The simplest of elements for maximum (minimal) impact, an imperative burst of energy that perfectly echoes the title of Marfox's first EP: I Know Who I Am. These are statements of personality directly stamped on the dancefloor. "Hard Tecno" (without the H, yes) embodies the crystal clear intention of the set: to light a fire wherever the beats fall. To make people smile and move. And this was (and is) achieved without the need for obvious smiley culture signposts. The music just came through with fierce enthusiasm. All were youngsters (Nervoso being the elder) in 2007, and youth is definitely a factor in the fearless display of bare bones dance music production. Raw, is it? A second volume of DJs di Guetto on Príncipe was always going to happen. The tough part was deciding how to organize the bangers on the tracklist without ending up with a quadruple vinyl set. Thus separate volumes 1&2. Volume 1 (2023) was culled from the actual DJs di Guetto compilation (self released in 2006), whereas Volume 2 comes straight from the crew's archives, nearly 100% unreleased tracks produced in 2007. The crew disbanded as such a long time ago, but the legacy stands as sacred scriptures stand. FL Studio and standard laptop and tower desktop PCs combined as raw materials; a no-fuss approach added by these DJs and producers who sound unequivocally rootsy and primeval, drinking from the source. Also punishingly minimal, dry and alien. Happy-sad, sweet-sour, nice-angry, soft-aggressive. Words fail us. It's 2026, new humans seem to be on the rise but some old ways are still enthralling.
Sought-after compilation exploring the Group Sound movement that swept Japan in the mid 1960s. Under the influence of the Beatles dozens of Japanese bands devoted themselves to exporting a wide genre that ranged from surf-rock, garage fuzz, psych and wild R&B. Featuring the influential The Mops, the Filipino band (relocated to Hong Kong) D’Swooners and The Golden Cups.
From the depths of the most independent and revolutionary underground, a handful of tracks from the repertoires (often limited even to a single flexi disc) of some of the heroes who rode the wave, extracting from it—more for themselves and expressive necessity than for us—its most mystical and expressionist essence. New and No Wave, minimal and minimalist electronics, Avant Wave from the land where the sun still rises for now.
From the depths of the most independent and revolutionary underground, a handful of tracks from the repertoires (often limited even to a single flexi disc) of some of the heroes who rode the wave, extracting from it—more for themselves and expressive necessity than for us—its most mystical and expressionist essence. New and No Wave, minimal and minimalist electronics, Avant Wave from the land where the sun still rises for now.
Through the dense blend of Japanese New-Wave, between moldy kimonos and punctured paper screens, along the rails of a sonic bullet train, this mini-LP reaches us, overflowing with purebred Punk-Funk, splinters of Soul and shredded Jazz. A gold nugget in a sea of sadness. Scattered energy trapped in a handful of vinyl grooves.
Musique pour 3 Femmes Enceintes (lit. 'Music for 3 Pregnant Women') is a 2005 album by Marc Leclair. The album was conceived while Leclair's wife and several of her friends were simultaneously pregnant. Over the course of the album, each track is labeled according to a point in the pregnancy ("64th Day," "205th Day,") with Leclair's attempts to convey the moods of the experience.
10 songs from No You - the debut, self-titled LP by Davy Kehoe (Wah Wah Wino, IE) and Diego Herrera (Suzanne Kraft, US). Sharing both vocal and instrumentation duties, D & D venture somewhat off of their respective musical paths - with the collab throwing up a big, small-studio sound. They are maybe at their most melodic on ‘Baby’ where their voices play off each other over bent feedback and crunching drum machine. There’s a real low slung swagger to ‘So Far Gone’ and ‘Miracle Mile’ met with a blown out and blasted approach on songs such as ‘Invisible’ and ‘Side Effect’. The song ‘Put Up A Dream’ exhibits the duo’s more unhinged side.
Second solo LP by Princ€ss member + Maria Somerville and Mel Keane collaborator Finn Carraher McDonald aka Nashpaints - via new Dublin label Mirror World.
"Nashpaints is Finn Carraher McDonald from Dublin. Following up his debut album "Blindman The Gambler”, recent activity as a member of Princ€ss and production on Maria Somerville’s “Luster” & Mel Keane’s “Airs”, Nashpaints releases his second album "Everyone Good Is Called Molly” via Dublin label MirrorWorld.
"standing so close to someone else vision becomes touch
Standing with ɘnoɘmoƨ, looking at each other in the mirror and not recognising th - htiw gnidnatS
Apparently,
Three people will lie while listening to this album..
Zzz….they will endup in the same place
Generally, this song will be played but,
here is a guy watery eyed on the train"
Nashpaint’s releases his second album
EveryonegoodiscalledMolly. NOT ALL MOLLYS, Never anything else"
This is just sublime: Stroom & Hessel Veldman illuminate 13 unreleased gems by a sacred figure of ‘80s DIY Dutch tape music, nestling deeply precious, noctilucent synth works for lovers of BoC, Eno & Harmonia, Vangelis, Tangerine Dream & Klaus Schulze, Dominique Lawalrée...
Trust the Lowlands standard bearers at Stroom to pluck this quietly breathtaking bouquet from behind the ear of DIY synth and ambient music history. Adding to prized reissues of Enno Velthuys’ work over the past decade - from albums to songs secreted on comps for LSD and Light in the Attic - ‘Music From the Other Side of the Fence’ helps fill gaps in the patchy knowledge of his cultish catalogue 1975-1990. While the label are being typically, poetically playful with background info, a crudely educated guess can assign pieces to recordings that made up his four cassettes issued 1982-1987, but it’s better taken as a lovingly sequenced overview of his harmonious short stories, each riddled with an exquisite atmospheric magick that tiles up to an adorable portrait of the troubled artist.
If memory serves, it was a pair of LSD comps that first anonymously seeded Velthuys’ ohrwurms ‘Blue Heron’ & ‘The Day After’ to our lugs, at least, and it wasn’t until a reissue of their motherships ‘Landscapes in Thin Air’ (1985) & ‘Different Places’ (1987) that things began to fall in place. A slightly broader picture now emerges via this new raft of signature, woozy arabesques and powdered ambient pads threaded with a feel for extended melody that ties it all off with a ribbon bow. A solitary, melancholic presence guides from the frosted carillon of ’Something Special’ thru the reedy romance of ‘Uplands (Unplugged Alt Version 2)’, sashaying to types of aerial waltz in ‘Underneath a Dark Sky’ and slowed, Vangelisian brass fanfare with ‘Moonlight Serenade’ that surely shiver nostalgic timbers with an evocative, tongue-tip timbre that tickles places others don’t reach.
100% no brainer for hopeless ambient synth romantics and introverts.
'We Fell In Turn' is the solo debut from Brooklyn-based trombonist, composer, and quartet leader Kalia Vandever. Vandever, who plays with Harry Styles and Japanese Breakfast, “sculpts her trombone’s golden tones into dazzling compositions” (Pitchfork), writing music that tends to “dip you into a feeling or a pattern or a breathing speed, and keep you there” (The New York Times). In 2022, Vandever released Regrowth, an album that “features the ecstatic, brilliant melodies that have become Vandever’s signature sound” (Bandcamp). This spring, Vandever brings contemplative reflection to We Fell in Turn, a brave and understated work from an ascending voice in American jazz. Recorded over three days in upstate New York, 'We Fell In Turn' is improvisational — a stark palate of solo trombone, voice, effects, and little more. “My solo process has always been heavily rooted in improvisation,” says Vandever. “I wanted the process to feel similar to the way I perform. Lee Meadvin, who engineered and produced the album, had a heavy hand in the creative process as well. He would dictate prompts before I started improvising and those pieces ended up shaping a lot of the imagery that comes up throughout the record.” Connecting the dots between Jeff Parker’s 'Forfolks', and early releases from Grouper, 'We Fell In Turn' is a study of space and patience, embracing vulnerability in its sparse adornment. At times, the album is reminiscent of Patrick Shiroishi’s 'Hidemi', both in its familial inspiration and solo instrument study, while sharing the ineffable feel of William Basinski’s 'The Disintegration Loops' — the traces of her trombone folding in on themselves in an organic loop. Emotionally generous throughout, Vandever acts as a torchbearer for jazz’s historical yearning for connection. On 'We Fell in Turn' Vandever draws inspiration from childhood memories — events that shaped her approach to love, community, and partnership, and her maternal homeland of Hawaii. “We were exploring childhood memories, earliest experiences with disappointment and pain, and my Hawaiian roots,” says Vandever. “We Fell In Turn came after I titled the track "We Wept In Turn". Both come from the intangible feeling of waking up from vivid dreams, particularly the experience of falling right before waking up or waking up in tears.” Through this exploration into her heritage, Vandever also found guidance. “In Hawaiian mythology, ‘aumākua are known as ancestral spiritual guides that manifest in different forms, whether physical or intangible,” says Vandever. “My ‘aumākua visits me in my dreams, usually with a reassuring hug or a reminder of my past. Memories and early experiences seem to escape me, but find their way back in dreams.” And now they’ve found their way into 'We Fell in Turn', Kalia Vandever’s stunning solo debut.
Dance The Ska is an essential collection of early Jamaican ska music. It includes iconic tracks from Prince Buster, Jimmy Cliff and other key artists from the 1963–1966 period, celebrating the energetic and upbeat sound of Jamaican independence. The album also features artists like Prince Buster (King of Ska), Derrick Morgan, Roy Panton, Stranger Cole, Millie and other leading figures from the Kingston scene. The real ska sound of '64!
A wonderful collection of early seventies recordings produced by Alton Ellis himself. High-impact reggae tunes with a great horn section. Alton Nehemiah Ellis OD (1 September 1938 – 10 October 2008) was a Jamaican singer-songwriter. One of the innovators of rocksteady, he was given the informal title "Godfather of Rocksteady". In 2006, he was inducted into the International Reggae And World Music Awards Hall Of Fame.
Rare and obscure live material taken from the same late 60’s sessions that spawned ‘Psychedelic Underground’. AMON DÜÜL spontaneous jam sessions are essentially instrumental and dominated by repetitive, tribal, savage acoustic percussive pulses, fuzzy psych guitar rythms & leads. A musical trip set to freak you out.
Two 180-gram LPs with 15 bonus tracks from the deluxe CD edition. Despite his huge success with his 1971 political concept album What's Going On, Marvin Gaye left social concerns behind for those of a more intimate nature with this 1973 album. Let's Get It On album broke new ground, gaining its place in history as one of the most sexual albums ever recorded, laying the basis for every slow jam ever after, and making Gaye both socially concerned and sexy -- a potent commercial combination.
Flung is proud to present a major new work by cellist and composer Okkyung Lee with London’s Explore Ensemble: Signals dissolves boundaries between live performance, studio construction, and electroacoustic illusion. Following her 2025 minimalist/ambient album ‘just like any other day (어느날): background music for your mundane activities’ on Shelter Press, Okkyung Lee moves in another direction with London’s Explore Ensemble. Flung is proud to present Signals, a release that eludes categorisation while shifting between electronics, acoustic composition, and improvisation. It places Lee’s improvisational language in dialogue with the instrumentalists of Explore Ensemble’s sextet, whom together become enveloped by kaleidoscopic electronic sound, at times fiercely intense, at others weightless yet immense. As a meta-document of the ensemble’s commission for Lee, Signals takes recordings from live performances in Leuven, Huddersfield, and Luxembourg, restructuring them with additional layers created and edited in the studio. Lee’s hybrid approach blurs the line between real and imagined acoustics, where the listener’s sense of small and huge, near and far, dark and bright, all combine in seemingly impossible ways, restlessly morphing between materialisation and dissolution. The album unfolds in seven sections, one for each of Explore Ensemble’s musicians plus Lee’s own section ‘Wings / First Love’, which ends both sides of the LP (the second instance also called ‘Farewell’). Every section creates a distinct environment that tests the boundaries between instrument and performer — including Lee herself on cello sitting among the ensemble — from ultra close-mic string crackles, to woodwind multiphonic canyonscapes, melodies heard both near and far, and the piano turned inside out. Where Lee renews Signals for every performance by altering the sequence of these sections, on record she commits to a fixed constellation that reinforces both the particularities of the individual musicians and the work itself in a striking of live and studio composite version. A release that feels both self-interrogating and outward- looking, Signals folds Lee’s personal language together with collective form. Each performer’s presence — their sound and intuition — emerges clearly, while Lee’s voice remains central. As she writes: The main focus of making music has been to understand myself through the music. For me the audience is there to immerse themselves in that journey, and maybe discover something on their own. For the last seven years, the world seems to have split into two extreme ends, with no possibility of bridging the gap. Once I felt this sense of hopelessness, I also started to ponder upon the reason for this music's existence when it didn't seem to have any actual relevance to what was happening in the world. Not that the music should have "meaningful reasons for its existence" but how can I express my political stances and beliefs without lyrics or long explanatory texts? With this aspiration, I wanted to create a piece with signals that can generate multiple facets for the performers and the audience. — Okkyung Lee Signals is released by Flung as its first vinyl released in an edition of 300, with accompanying digital version.
With Rhythm Immortal, Carrier — the project of Guy Brewer (formerly of Commix and Shifted) — makes a remarkable full-length debut that expands his intricate rhythmic world into deeper, slower, and more textural terrain.
Since first surfacing with 12”s for FELT and his own label, Carrier has become a touchstone for those drawn to the intersection of precision, space, and pulse. Brewer’s debut album distils the essence of drum & bass, dub techno and electro-acoustic minimalism into eight finely carved movements where every percussive fragment feels alive.
Appearing alongside guest collaborators Voice Actor and Memotone, Brewer navigates between noirish ambience and tightly coiled rhythmic design — from the hovering tension of ‘Offshore’ to the hypnotic sway of ‘A Point Most Crucial’. Tracks such as ‘Outer Shell’ and ‘Wave After Wave’ balance heady abstraction with physical propulsion, creating a sound equally suited to introspection or motion.
Previewed at Berlin Atonal 2025, Rhythm Immortal confirms Carrier as a singular voice in modern electronic music — a producer devoted to rhythm as both structure and spirit.
RIYL: Photek, Rhythm & Sound, Torsten Pröfrock, Burial.
The Caretaker returns with a long-in-the-making soundtrack to acclaimed filmmaker Grant Gee's documentary about German writer WG Sebald. 'Patience (After Sebald)' is a multi-layered film essay on landscape, art, history, life and loss - an exploration of the work and influence of German writer WG Sebald (1944-2001), told via a long walk through coastal East Anglia tracking his most famous book 'The Rings Of Saturn'. The source material for 'Patience' was sourced from Franz Schubert's 1827 piece 'Winterreise' and subjected to his perplexing processes, smudging and rubbing isolated fragments into a dust-caked haze of plangent keys, strangely resolved loops and de-pitched vocals which recede from view as eerily as they appear.