MUSIC

This limited-edition compilation LP was curated from the legendary Westbound Records catalog by participating Record Store Day stores, and marks the second installment of the Westbound Records Curated by Record Store Day series. Volume 2 showcases the label's lasting influence on hip-hop and beyond, with some of the most sampled tracks in the Wesbound vault. The track list for this compilation was carefully curated by the hardworking people in record stores themselves.

In 1982 on the West Coast of the United States, this recording captured Bad Brains at the most dangerous and explosive moment in hardcore history. It documents the band’s raw, early energy just as they were breaking out of the Washington, D.C. underground scene and launching themselves onto the national stage.

In March 2025, after 7 years as a live band, Ghost Funk Orchestra finally made their first overseas voyage to tour Europe and the UK. 'Live In Europe' is a document that showcases the eight-piece touring band at the height of its powers. The track list was constructed from two consecutive sold out shows, the first at Jassmine in Warsaw and the second at Paradiso in Amsterdam. It leans heavily on songs from 'An Ode To Escapism' and 'A New Kind Of Love,' while also including a few tracks from 'A Trip To The Moon,' a nod to the early GFO days with the song “Evil Minds,” and even a few brand new tunes. Both shows were professionally recorded, with Amsterdam’s recording being handled by the Abbey Road Institute. Please enjoy this RSD 2026 exclusive album!

The source material for 'Layering Buddha' are samples derived from a 'Buddha Machine' - an audio artwork by the Chinese/Canadian artist duo FM3. These are cigarette package sized, battery powered sound playback devices, containing nine short musical loops. Due to manufacturing imperfections, individual machines play those with a slightly different sound, pitch and duration. The built-in playback circuit, with its low sampling rate and bit resolution, produces a very rough sound, similar to ancient computer games or talking toys. Rich textures and moving echoes occur when many of these machines are played at the same time, distributed in space.

Pianeti Sintetici presents AI-37, entitled ‘Space Opera’. Conceived by Italian artist Davide Perrone, the Pianeti Sintetici (“Synthetic Planets”) project hypothesises the creation of future synthetic worlds as told through sound. Although split across two parts, the album is a singular organism that narrates a journey of boundless cosmic exploration. A sonic tapestry woven of intergalactic atmospheres, Space Opera’s imaginative sound design contributes to a richly spatial and haptic experience. Taking place in the dimly lit crevices of deepest space, a swirling pool of chemical abstractions and extraterrestrial transmissions spumes out from the darkness. Elements weave through broad washes of drones and scintillating textures, contrasting a sparse backdrop with dense and multilayered passages. Composed with the use of modular synthesisers and intense audio manipulations, ‘Space Opera’ comes to life as an entity that transports the listener on an immersive journey into the mysteries of alien worlds.

AI-36 comes from Ear to Ear - the debut collaboration between label regular Samuel van Dijk (Multicast Dynamics) and Ukrainian artist Yevgen Chebotarenko. Taken from a series of live recording sessions, the album explores in four parts a markedly darker realm of soundscape music. A cornucopia of abstract morphing scenes and heady synesthesia, the album brims with rich sonic detail and evocative gestures. Deftly blending organic sound textures with an experimental austerity, ‘Live Recordings’ displays potent and accomplished storytelling. The album opens to a grey overcast vista, a natural landscape that slowly melts into a descending chasmic dysphoria. The mood transitions to a drone-based piece on the B-side, characterised by a more psychologically suspenseful framework and exotic blend of sound design. The atmosphere lightens, yet equally pensive as side C takes on a more elemental form, invoking water and its array of microbial and metabolic ecosystems. Brief cathartic moments in the final section pave the way for deeper wayfaring on the D-side. Stray signals and unknowable artefacts skitter across a vast subaqueous domain, a fathomless womb of potentialities that ebbs into eternity.

AI-32 signals the arrival of ‘The Fifth World Recordings’, by Son of Chi (Hanyo van Oosterom) and long-term collaborator Arthur Flink. A tribute to the late Jon Hassell, who passed away in 2021, the album connects a deep running thread that goes back to the source of Chi project. Carrying on from where Hassell left off, the album takes inspiration and references from his Fourth World music concept and the ancient Hopi tradition of Native America. Illuminating the subliminal space of the arising Fifth World, Son of Chi pays respects to an inimitable force in contemporary music. Hassell’s ‘Dream Theory in Malaya’ forms a touchstone to Hanyo van Oosterom’s musical journey, which soundtracked long, deep and reflective periods living in the cave of the Kallikatsou (Patmos, Greece) back in the early 80s. This period resulted in Hanyo’s track as Chi - ‘Hopi’ - in 1984. Hanyo met Hassell shortly after in 1987 at his “The Surgeon in the Nightsky” concert in Rotterdam - it wasn’t until twenty years later that Hanyo invited him for two magic nights of “Instant Composing Sessions” with the Numoonlab Orchestra (with a host of other artists) at the LantarenVenster, the very same stage where Hassell had performed in 1987 and also where Chi did their first live performance. Dreamful, mysterious, prophetic, the Fifth World Recordings features the quiet yet elaborate sound of Chi awash with rich instrumentation, field recordings, and old stories by the firelight. Sketches were created with drones, loops, and soundscapes, with which Arthur Flink (also a member of the Numoonlab Orchestra) jammed on trumpet. Channelling Hassell’s idiosyncratic style, floating melodies and lyrical improvisations are parsed into the mix, where Hanyo has processed and manipulated the recordings, also referencing Hassell’s exotic scales and unique harmonics. Additionally, the wah Bamboo flute at the closing piece is an homage to the works of Chi co-founder Jacobus Derwort (1952-2019). For this piece Hanyo used his first bamboo flute he made at the cave of the Kallikatsou in 1984. Arthur Flink answers in counterpoint with the wah trumpet, almost like the intuitive communication of the nightbirds...

Multicast Dynamics returns to Astral Industries for AI-26, this time collaborating with Sid Hille, the German born, Finland based instrumentalist and composer. ‘Metamorphosis’ transmutes both artists’ unique styles into a synergistic blend of transportive storytelling, a delicate dance of light and dark. Divided into two parts, ’Metamorphosis’ originates from a live performance recorded at Temppeliaukio church in Helsinki on March 2nd, 2019. The material was then edited, where Hille’s soothing keyboard work and haunting passages on the theremin, combine with processed textures and desolate sonic backdrops from Dijk. In this voyage beyond space and time, the subtle dialogue reveals new and perhaps unexpected dimensions in their creative arsenal, finding fresh new boundaries and enriching the palette of both performers. Encounters of sweet fleeting moments of lyricism emerge amidst the chilling outback, in which we're given some final consolation between the long lines of cavernous rifts and deep space tundra.

Spiritual flute jazz by the mastermind Antti Vauhkonen. Limited edition lathe-cut 10'', 20 copies exist. Cover art silkscreened on recycled cardboard-sleeves. Artwork by Arsi Keva. Mastered by Samuli Tanner. ”Wow where did this come from??!? Raw and essential outsider jazz which will be whispered about for years to come…” -Matti Nives / We Jazz Linernotes: ”On Working Alone The first person to create something one may classify as instrumental music was probably alone. The mind tingles when imagining the prehistoric moment when, for the very first time, a member of what then was the human race grabbed something and used it to make a purposeless series of sounds. Even if some of his fellow beings had been present at the time, would they have understood anything of it? Would they have taken interest in it and stopped to listen, or would they have demanded something easier to dance to? The leap from vocalizing or clapping to a form of expression produced with instruments may have taken a long time, perhaps even a thousand years. The same goes for the fabrication of such instruments. Human communities were small, and influences spread slowly. We do know, however, that the first discovered instruments date back to 43,000 years ago and took the form of flutes made from the bones of mammoths and birds. Researchers believe they played a role in religion and in entertainment – in this sense, very little has changed. The wildest theories claim that music was one of the factors that gave us, the Homo sapiens, a competitive edge over the Neanderthal: music helped foster deeper cooperation between individuals. In any case, however, the ones who decided to hollow out that bone and find out what kind of sound you could get out of it were individuals, and this brings us back to our theme of working alone. The modern solo musician enjoys a much greater sense of liberty than our distant forefathers. Multi-track and recording technology freed us from our physical constraints and allowed us to imagine ourselves as a multiplicity. Everyone could, in the comfort of his home, be his own one-man band without having to strap an array of instruments onto his body like carnival musicians or Rahsaan Roland Kirk used to. This is the frame from which A. E. Vauhkonen and Oiro Pena spring from. Vauhkonen’s hands simultaneously summon up brass, flutes, keyboards, drums, stringed instruments and all sorts of percussion. The sound is firm and slightly cosmic, like early Sun Ra Arkestra at its heartiest. But that’s enough about the music, listen for yourself.” – Markus Karlqvist

On Repetitive Music vol. 1, Misha Panfilov strips things back to synth and piano, threading slow‑turning patterns and hushed harmonies through Tallinn and its outskirts like illuminated loops traced in winter air. Recorded between 2020 and 2021 in Tallinn, Vaskjala and Vääna‑Jõesuu, Repetitive Music vol. 1 presents Misha Panfilov working at his most distilled, circling a small set of ideas until they glow. The title is both a statement of method and a gentle misdirection. These pieces are built on repetition, but not the mechanical, grid‑locked kind; they move like breathing or walking, with small irregularities and shifts that keep the patterns alive. Synthesizers and piano are the only protagonists, yet the music feels quietly orchestral in its emotional range, expanding and contracting around a few carefully chosen motifs. Across the collection, Panfilov treats repetition as a way of listening more closely rather than of zoning out. Short figures on piano or synth are set spinning, then nudged, reharmonised or slightly offset rhythmically, so that over time they seem to change colour without ever quite abandoning their original shape. The electronic timbres tend toward the warm and tactile - rounded oscillators, softly pulsing basses, grainy delays - while the piano provides a grounded, human touch: hammers, pedal noise, the faint resonance of the rooms in which the recordings took place. The combination creates a sense of intimacy, as if each piece were being assembled in real time just a few feet away. The locations matter. Tallinn’s urban stillness, the quieter outskirts of Vaskjala, the coastal air of Vääna‑Jõesuu all inflect the pacing and atmosphere. Some tracks feel like interior meditations, close‑mic’d and introspective, while others carry a wider sense of space, as if written with a distant horizon in mind. Yet the through‑line is consistency of tone: a calm, inquisitive mood that never lapses into sentimentality or pure ambient drift. Panfilov’s background in groove‑oriented and cinematic music is present here only in trace form - a sensitivity to contour, an instinct for when a pattern has yielded enough and needs to be gently retired. Repetitive Music vol. 1 ultimately plays like a sketchbook of focused studies, each track testing how much feeling and movement can be coaxed from limited means. It is experimental in the truest sense: not bombastic, but patient; less about showcasing technique than about seeing what happens when a simple idea is allowed to persist in slightly changing conditions. As the pieces accumulate, they form their own quiet world, one in which time blurs and the distinction between background and foreground listening starts to dissolve.

Lee 'Scratch' Perry’s Disco Devil Vol. 5 continues this run of late-’70s Black Ark material, where extended mixes, heavy bass and studio experimentation collide. As with previous volumes, this set gathers rare and sought-after discomixes, pairing vocal cuts with Perry’s unmistakable dub touch. Junior Murvin features prominently, while cuts from Twin Roots, Watty Burnett, Keith Texon and Michael Campbell round out the selection. Across the record, Perry’s production blurs the line between song and version, letting rhythms stretch, echo and unravel into deep, hypnotic territory. A vital snapshot of the Black Ark at full power, capturing the looseness and invention that defined Perry’s most celebrated era.

Re-up of vital 1975-’77 dubs by the wee legend, cooked up long, strong and odd at his fabled Black Ark Studio for DJ play and dancers’ satisfaction. The 4th in a slew of cherry-picking Perry comps scrolls farthest back into his golden era of productions with six top drawer examples of his innovative tekkerz developed at the storied Black Ark Studio. Up top, his psychoacoustic magick is in effect on an hypnotic Upsetter special edit of Augustus Pablo’s melodica meditation ‘Vibrate On’ and 8 mins of gorgeous choral harmonies and toasting to ‘History’ by Carlton Jackson, and Perry with his crackshot band on the Rasta devotional ’Stay Dread / Kingdom of Dub’ edit. Down below, ‘Babylon Deh Pon Fire’ sets flames to the B-side along with Junior Murvin’s signature falsetto on the anti-gravity steppa ‘Tedious’, and Raphael Green’s ‘Rasta Train.’

Sublime downbeat pressure for the horizontally-inclined, from Lyon-based Jonnnah, chasing 2025’s co:clear side with a 2nd session of tumescent ambient textures and rolling pulses that feels like Sa Pa, CS + Kreme or even his near namesake, Jonnine, slipping off the page into deep beatdown hypnagogia... "Conceived as a form of therapy, as much as a reflection and a testimony, the record retraces a process of introspection and confrontation with one’s own history, looking back at origins, DNA, and the invisible ties that connect us to our ancestors, while opening paths toward new connections. The double-sided structure of the album makes this journey tangible. The first side lingers in uncertainty : opaque atmospheres, fragmented rhythms, and restless textures mirror the doubts, questions, and fragile states of self-analysis. The second side, in contrast, embraces clarity and resolution, dense yet luminous soundscapes where reconciliation and acceptance take shape, culminating in The Blue Comet, a piece charged with finality and revelation. Opening with the multipart suite N-zero, symbolizing the beginning of therapy, and closing with O-one, evoking the soul’s original purity, the record traces a complete emotional and spiritual cycle. Between them, the third edition of Insomnia Never Ends once again portrays the struggle between sleep and the irresistible pull of musical distraction, a fragile tension that runs through the album as a whole. The record condenses Jonnnah’s language into something rawer and more direct. Layers of dub and dub sonic resonate against ethereal ambient passages, while techno impulses maintain tension and forward motion. Each piece feels at once intimate and expansive, designed as much for solitary listening as for collective experience. A new chapter in Jonnnah’s trajectory, the album is a document of transformation : from shadow to light, from questioning to acceptance."

Levi Bruce returns to Pacific Rhythm under his Unknown Mobile moniker for the first time since 2019 with a project entitled Field Work. The project is focused around field recordings taken during the winter and spring of 2025. These recordings come from both his travels abroad while on tour and areas near his home in Whitehorse, Yukon Territory, located on the traditional lands of the Ta’an Kwäch’än Council and Kwanlin Dün First Nation. Each field recording acts as the basis for a journal entry taken at the location. Raw data was used to reflect on the people, actions, and environmental elements connected to the site through additional production and manipulation.

A very cinematographic journey in between Ambient and Experimental, with a certain touch of Balearic right in the middle of the Leftfield. A super trippy trip, gifted by beautiful melodies and vocals like on the titles “Indisponible” or “Mambo n6”… as if you were crossing a super cozy desert on LSD, starting from the coast after a nice bath in the sea to the dryness of the sand under the sun, with intense divagations like on “Fastelavn” or “Kompasitu” to long relief of contemplations like on “Opium Swing” or “Blizzard” at the end of the way... This is a full immersive experience, one of those life soundtrack releases, and probably one of our favorite release ever.

APORIAMOR noun 1. The death of love’s contradiction. | “Embody APORIAMOR” Etymology aporia-: an irresolvable internal contradiction or logical disjunction in a text, argument, or theory. from Greek aporos ‘impassable’, from a- ‘without’ + poros ‘passage’ -amor: love. Sentimiento intenso del ser humano que, partiendo de su propia insuficiencia, necesita y busca el encuentro y unión con otro ser. Del latín amor. -mor: latin for death. APORIAMOR explores the affective ontological and organic processes of love and lust in the turmoil of an urban existence, through the female lens. It expresses the process of strengthening through heartbreak in its various forms. With her debut EP The Art of the Concrete, elsas knew that by giving that name to a record which was ironically expansive and experimental, she would be calling for a distilled and clearer path further down the line. This is what she’s been incorporating into the sonic world of this new EP, APORIAMOR, signifying the birth of a more matured and distilled version of herself as an artist. With APORIAMOR (“the death of love’s contradiction”) elsas conveys a personal process of healing in the romantic space. Through different experiences of heartbreak, elsas builds a language - a coping mechanism attached to its subsequent artistic expression – that isn’t founded on hardness or a closing-off, but instead, on a playful but profound reckoning, and learning of self-worth. APORIAMOR embraces the complexities of being a lover-girl: of moving through life with an open heart. It celebrates the clarity, sweet hindsight, and detachment that come from processing emotion. APORIAMOR is both an affirmation and a release. elsas makes canonical blends with a forward boundary-bending vision. Her sound in this record is naturally referential of both her Mediterranean heritage and UK alternative music — intrinsic parts of her lived experience. She has had the opportunity to collaborate with artists she deeply admires, each exchange enriching her creative world. The experience of working hand-in-hand with Sampha for the last 3 years and ongoingly has been a core of her evolution as an artist. She has also collaborated in many forms with artists like Florence + the Machine, Little Simz, Jordan Rakei, Jockstrap, Obongjayar, Black Country New Road, Genevieve Artadi (KNOWER) and Duval Timothy. Additionally, her ongoing work with the Idrîsî Ensemble, of which she is a core member, continues to inform her artistic depth. The making of this largely self-produced record unfolded over four years — “it’s a well-kneaded dough,” she says. These songs evolved through exposure to multiple environments: from early writing sessions in her childhood home in the Spanish countryside, to stages across the U.S. while on tour supporting Sampha. Experimentation and modulation are an intrinsic part of elsas’ method, conceiving songs as organisms that respond to their surroundings. Collaborators on this collection of songs include Shrink, Will Lister, Gabriel Gifford, Ethan P. Flynn and more. The record was mixed by David Wrench (a long-time supporter of elsas’) and Nathan Boddy, and mastered by Matt Colton. With APORIAMOR, elsas creates a visual world from the fabulation of the past, as an act of playful historical revisionism in which she embeds herself as both subject and storyteller. The songs function like an archive of her experiences across various years, each one unearthed and presented as some sort of archaeological artifact. Through this body of work, elsas begins to conceptualize herself as a legacy artist: one who honors the archive of her own becoming while emerging as a distinct and resonant voice in today’s musical landscape.

Aspen Edities is pleased to present Aerial, the third album of the experimental quartet Oker. Whereas their album debut Husene våre er museer (2018) and its follow-up Susurrus (2021) focused on collective and individual compositions, Aerial features two longform pieces of fully improvised music, sculpted from the recognizable acoustic sound palette that the quartet has developed across a decade of extensive touring. The titles, Aerial, Equinoctial Tide and Crepuscular Rays refer to meteorological and planetary phenomena, and in Oker’s interplay we hear light, wind, clouds, and tidal cycles transpire as shimmering, roaring, rubbing, coalescing and diverging environments of sound. The sonic stoicism and minimalism in their expression is challenged by frictioning micro-chaoses, combining to create calm, winding paths of musical detail and form. Echoing our planet and its meteorological reality, Aerial yields both consistency and perpetual change.

On Nocturnes, Jesse Hackett steps into the shadows, unveiling a deeply personal album of spectral piano and gothic chamber pieces. The record channels a sense of lingering unease and creeping dread and signals a new direction in Hackett’s unpredictable oeuvre. We were delighted when Jesse reached out to propose a collaboration on what he described as his most personal work to date. Written and produced during a particularly difficult period, Nocturnes plunges the listener into a beautifully eerie world of rain-soaked twilight jazz and gothic chamber music. Reminiscent of the soundtrack to an imagined Giallo thriller or Hammer Horror film, the album is deeply cinematic and evocative, conjuring unsettling mental images: shapeless presences lingering at the edges of uneasy dreams, candlelight casting wavering shadows, and unspeakable secrets hidden in the run-down bars and lounges of London’s bohemian underbelly. For Nocturnes, Jesse returns to the piano as his primary means of expression and collaborates with saxophonist and flautist Finn Peters. Together, they channel spirits summoned during late nights listening to the works of Erik Satie, Maurice Ravel, Olivier Messiaen, and the jazz lineage of Bill Evans and Charles Mingus. The album is released on 27th February 2026 in a limited edition of 250 copies - black vinyl in a reverse board sleeve. Jesse Hackett is a London-based multi-instrumentalist, producer, and songwriter renowned as a musical chameleon, shifting style and mood while working across genres. He is best known as a longtime live keyboard and synthesizer player for Gorillaz, contributing to their performances and recordings from 2010 to 2022. Alongside this, he has been involved in a wide array of globe-spanning projects, including the Afro-Futurist ensembles Owiny Sigoma Band, Ennanga Vision, and Nyege Nyege Tapes favourites Metal Preyers and Teeth Agency. In parallel, he has released warped synth-funk under the name Elmore Judd and forms one half of the experimental pop production duo Blludd Relations.

A masterpiece released by Metasplice on The Trilogy Tapes in 2018.

Wanda Felicia returns to Timmion Records with ‘Reflections Of Love’ b/w ‘All In The Game’, two tracks drawn from her debut Now Is The Time.... Backed by the analogue warmth of Cold Diamond & Mink, the release highlights the strength and character of Felicia’s voice. ‘Reflections Of Love’ leads with a relaxed funk pulse, Felicia gliding over the groove with a performance that balances confidence and tenderness. The result is both heartfelt and effortlessly danceable. On the flip, ‘All In The Game’ shifts into a slower, beat-driven ballad. Over a patient, steady rhythm, Felicia delivers a measured and soulful vocal that speaks to resilience and the unfolding nature of love. Together, the two tracks reveal complementary sides of her approach, confirming Wanda Felicia as one of Timmion Records’ most distinctive voices.

Two turntables and a microphone. There is a truth in the clarity of that simple coda, a truth that also belies the breadth of what is possible within its confines. Sometimes you gotta get reminded. I Guess U Had To Be There, the new album from NYC rapper ELUCID and veteran producer Sebb Bash, is one of those ones. So fresh it sounds like it was made tomorrow, but bet money you could put this on in '89 and get heads bopping.

There are moments in music when masters of their craft cross paths at the height of their respective powers - records like Madvillainy, Liquid Swords, Dr. Octagonecologyst, and Hell Hath No Fury - where the result is more than the sum of its parts. ELUCID and Sebb Bash find themselves in this heady, seemingly effortless ephemera on I Guess U Had To Be There. Everything is both familiar and groundbreaking. The beats shift and flip under ELUCID's feet but he tightropes it all, delivery nimble as a mountain goat, producer and rapper moving in perfect synchronization. Some shining stars make memorable appearances: billy woods, Breezly Brewin, Estee Nack, Shabaka Hutchings. But this is a two-man show, and the duo keep the spotlight where it belongs. I Guess U Had To Be There is a captivating, convention-defying listen and a high-water mark for two of the best artists in the genre.

Open Space is proud to present our first ever full-length LP by LA’s newest chillout band, Puli. Some words from our dear friend Matt McDermott below: In recent years, a cadre of musicians from the east side of Los Angeles have reestablished the city of angels as the first city of Balearica. Alex Ho’s “Move Through It” followed in the lumbering footsteps of Project Sandro’s “Blazer.” Now, there’s a new landmark for the floating west coast sound. Swirling, the first album from LA supergroup Puli. If you’ve got your ear to the ground you know the names involved here. Drummer and producer Damon Palermo’s pedigree stretches back a good 15 years or so, starting off with dub punks Mi Ami. Phil Cho is one of the busiest DJs, musicians and advocates for the deep stuff in LA, throwing legendary hillside parties under the Third Place banner. John Jones, the preternaturally talented guitarist and electronic tinkerer, records as AV Moves, is a key member of the Suzanne Kraft and Baba Stiltz live configurations and plays in The Trilogy Tapes-affiliated act Geo Rip. But this listing of personnel and credentials puts too fine a point on it. Puli are three close friends who go to parties, DJ and get tacos together, repairing to their Chinatown studio a few times a week and coming out with remarkably textured, idiosyncratic downtempo jams. Building off the solid foundation of their 7-inch of heavyweight dubs for Melbourne’s Constant Delay, Swirling is an exploration of new horizons in chill out. “Ramona” acts a statement of purpose—with halftime/double-time dub-tinged rhythms, hazy yet bright synth motifs and atmospheric guitar from Jones, not terribly far from the expansive approach of Japanese dub aesthetes Pecker. “Cloudy,” meanwhile, is a sort of deconstructed and bittersweet Balearic pop featuring Cho’s ethereal vocals. “Bongo Springs” is steppers’ house not far from close LA peer Benedek or the Mood Hut crew up north. But what truly sets this record apart is the space and layers in the production—while it’s nominally an electronic record, Puli is a band that has slowly crafted these songs in the rehearsal space. “Havana Jam” cruises along a sliding roundwound bass guitar take with dubby chords and textural guitars. Palermo’s hand drums and live percussion enmesh perfectly with icy pads on “Leech Seed Dub.” Cho is back on the mic for the gorgeous closer, “C.S.B.”, underpinned by breakbeat and trunk-rattling sub bass. Puli doesn’t sound like anyone else, and is ultimately reflective of the city itself. Listening to Swirling feels like navigating a warren of side streets in the eternal sunshine. Take the drive and dive.

Following Music From Memory’s landmark compilation Virtual Dreams—which reframed ambient techno and IDM through a new age lens—comes another groundbreaking survey. Telepathic Fish: Trawling The Early 90s Ambient Underground revisits the legendary early ’90s London ambient party Telepathic Fish. Conceived by Mario Aguera, David Vallade, and Kevin Foakes (DJ Food), the series intersected with experimental spaces like Ambient Soho and Megatripolis, and this release captures that moment in vivid detail. Featuring unreleased and rare material from the likes of Global Communication, Spacetime Continuum, and Nightmares On Wax, the set reflects the multifaceted character of the ambient underground in its formative years. Complete with a 20-page booklet of photographs and archival materials, this is an essential document that reconnects sound with its era and hands the spirit of ’90s ambient and chillout into the present.

Rio’s Felinto channel the punkish ‘80s vim and license of Os Replicantes on a pair of crazed, shouty, scrappy calls to resistance, issued in aid of activists in the favelas.

"Fresh from annihilating EU/UK audiences with his steppas tropicalia on the Bokeh Dekalog tour, Felinto presents a crazed vision of Sao Paulo party punk - industrial scuzz, dub squelch, grinding guitars and riot-ready vocals.

Festa Punk is a call to rage, to ritual, to celebration — as forms of resistance against the grim, creeping global fascism. It’s a shout to bend time, to create moments that shake off erased identities and flip the script on a world that treats violence like gospel.

It's also a homage to Brazilian hxc heroes, Os Replicantes, whose classic 'Fest Punk' appeared on the '87 LP Histórias De Sexo E Violência."