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A selection of unreleased works from the prolific and Eastbourne based artist B.L. Underwood. As often, it started with discovering a CD, leading me to the depths of the Internet Archive. I still remember the excitement of going through B.L. Underwood's recordings for the first time and realising how unique his approach to electronic music was, every track had something powerful yet moving within it, as he could play around with genres and tempos yet carrying a very distinctive touch. After a short detective work to get in touch with the artist, and quite some time curating the content of this compilation (the hardest part by far), System Of Objects is proudly presenting the remastered version of 6 of his tracks that showcast B.L. Underwood talent and uniqueness.
Longer and slower-releasing than his other albums, Pomegranates often parallels the cinematic epic on which it’s based (Նռան գույնը), with ideas pursued over long timelines and across dark landscapes, assembling elements and moods from the aesthetic and folkloric landscapes of Armenia. Jaar’s identity is perceived within this, folding in his heritage as Palestinian and Chilean as he attempts to build a musical architecture outwards that frames as much of the mess and sprawl of life as possible; using a language that investigates the movement and fluctuation of his own artistic career and character similarly to the film’s tracing of the coming of age of the young poet, Sayat-Nova.
At times, Pomegranates feels profoundly intimate, as though looking through the archive of a friend’s music and discovering the accent and common currency that lives within each of these tracks. Much of Jaar’s most elegant and touching melodic work is nestled here, its power residing in its simplicity and willingness to speak to the heart and not the mind of the listener.
In the text document included in the first freely distributed version of the album in 2015, Jaar writes that the album was conceived during a moment of change, and that the pomegranate became an icon that heralded that passage of time. The physical publication of Pomegranates closes one door whilst opening another, keeping promises and marking a significant point in the career of an artist who restlessly reinvents himself, with a document that illustrates a common language of lyricism, freedom, and emotional resonance linking his many paths and projects.
Hun Hun are 2 young brothers from Bruxelles who are doing a very special music in an ethno-shamanic-tribal vibe pretty cinematographic. With this first opus, an album of 10 tracks, they bring us on a journey into deep, dark and mysterious atmospheres with natural backgrounds from the forest, beautiful vocals, singular percussions, and rhythms that would easily fit for intro sets at Boccacio in 1988. This album could have been easily released on Crammed Disc in the 80’s, but it has a modern touch from today that makes it a proper gem for Macadam Mambo.
Clay oven-baked ruffneck beats and fragrant vocal delicacies from the endless archive of Bryn Jones’ Muslimgauze, offered up in a series of genuinely, previously unreleased - rather than repackaged - material.
The sole 12” in a four part series (the others are 7”) serves two variations on a theme as part of Muslimgauze’s near-ritualistic, everyday practice, at The Abraham Moss studios, north Manchester. Taken from typically untitled DATs sent to labels almost as quickly as they were recorded, the session opens with a wickedly coarse piece of looped, pitching hand-drum rhythms pushed into the red are swirled with a patina of tense cries resembling a glitching muezzin, and peppered with spoken word shrapnel. Its longer B-side variant locks much deeper into that groove with a beautiful wistful vocal loop vapourised into ether whilst the drums are clipped to a cleaner trot, but still riddled with satisfying amounts of sinewy noise in the mix, between its teeth.
INDEX:Records is enamoured to present the accomplished debut record by New York City resident, Beau Mahadev – 8-parts of dreamy vocals and wet-textured IDM-pop.
To some extent, this album arriving at INDEX:Records has been over 3 years in the making: we were first introduced to Beau’s work at GLOB in Denver (during our USA tour in 2023), at an event hosted by a dear friend, filled with lovely peeps. We were totally blown away by Beau’s performance and knew within a few minutes of their set starting that we wanted to release an album with them someday. Now, here it is: Subterra. Featuring tasty collaborations with {iii}, Uza A'amo and Yau Hei ASJ.
Vinyl limited to 200 copies. Front sleeve by Chiu. Design by Conna Haraway
Anyone fascinated by Debit or Elysia Crampton’s Chuquimamani-Condori investigation of South American folk heritages or even The Haxan Cloak are advised to check Nervio Cosmico’s electro-acoustic spirit quest, notably recorded at Peter Gabriel’s Real World studios.
““Singing Vessels” draws inspiration from the sonorities and aesthetics of Amazonian medicine ceremonies and traditional Andean music. At its heart is a collection of clay whistles from ancient South America, whose timbres conjure the vibrant soundworld of the Andes. The piece also incorporates shamanic instruments from the Amazon, such as the shacapa — a bundle of dry leaves whose rustling produces a deep, soothing texture with remarkable sensory resonance.
Interwoven with generative electronics, live looping and synthesisers, these organic timbres create evolving psychoacoustic spaces where the mystery of nature meets inner realms of perception and consciousness. The piece unfolds as a ceremonial passage through a shamanic ritual: beginning in a dense jungle of sounding entities, rising into moments of cathartic purging, dissolving into states of blessing and communion, and finally returning to the here and now with renewed awareness.
Nervio Cosmico is an electroacoustic experimental duo based in Bristol, formed by Chilean composer Daniel Linker and Italian sound artist Matteo Amadio. Blending acoustic instruments from ancient South American shamanic traditions with live looping, generative sound design, and live electronics, they craft sonic journeys that explore perception, consciousness, and a spiritual connection with nature.”
The Oganesson Remixes EP follows the March 2025 release of the “Oganesson” digital single, which was the first new music released by Tortoise since 2016. The EP includes the original version of “Oganesson” alongside five new remixes of the track created by collaborators and friends of the band, including poet and activist Saul Williams, prolific mastering engineer Heba Kadry, Black Keys drummer Patrick Carney, indie music icons Broken Social Scene, and International Anthem labelmate Makaya McCraven. The Oganesson Remixes EP comes ahead of a new album by Tortoise, which will be released this fall via International Anthem and Nonesuch Records.
Remixed and remastered with bonus material and released on vinyl for the first time. Deluxe 2LP edition with artwork re-imagined by Ian Anderson of The Designers Republic.
"If I could watch any jazz band in the UK, any, I would choose Matthew Halsall's band, just love what he's been doing over the last few years... It's always high level, spiritual jazz music" – Gilles Peterson
Matthew Halsall is a Worldwide Award winning and MOBO nominated trumpeter, composer, producer and DJ. Since 2008, Matthew has released seven critically acclaimed studio recordings and has been a key figure in the rise of a new jazz sound in the UK. In addition to his own releases Halsall has collaborated with many DJs and producers, most notably DJ Shadow and Mr. Scruff, and in 2013 Matthew’s music was selected by Bonobo for his Late Night Tales compilation. Halsall is also the founder of Gondwana Records, a genre bending independent record label featuring a wealth defining albums by the likes of Portico Quartet, GoGo Penguin, Hania Rani and Mammal Hands. His own rich music draws on the spiritual-jazz of Alice Coltrane and Phaorah Sanders, contemporary electronica and dance music alongside his travels in Japan, the traditional art and music of which, has left a lasting impression on his compositions.
Sending My Love (2008) and Colour Yes (2009) were his first releases and document Halsall’s first great bands featuring the likes of flautist Chip Wickham, saxophonist Nat Birchall, harpist Rachael Gladwin, bassist Gavin Barras and drummer Gaz Hughes. Joyful, life-enhancing albums, drawing on UK jazz and spiritual jazz influences but with a decidedly modern bounce, they introduced Halsall’s music to the world gathering support from the likes of Gilles Peterson and Jamie Cullum, Mojo, Straight No Chaser and beyond. But Halsall was never completely happy with how the records were presented and as part of Gondwana Records 10th anniversary decided to revisit the recordings, meticulously remixing and remastering them for vinyl and commissioning new artwork from Ian Anderson, one of his favourite designers. These then are the definitive editions of the records. Sending My Love comes complete with the beautiful bonus track This Time, while Colour Yes features the equally striking It’s What We Do and Ai.
“I am very proud of these early recordings. They represent the starting point of my musical journey in Manchester and showcase some of the cities finest musicians such as: Nat Birchall, Chip Wickham, Rachael Gladwin, Adam Fairhall, Gavin Barras and Gaz Hughes. They are also the very first recordings my brother and I decided to release on our record label (Gondwana Records). Listening back they sound full of energy and joy and really reflect how I was feeling at that precise moment. But as much as I loved the music, I was never 100 percent happy with the sound of the mixes and mastering. So I decided to go back to the original tapes to remix and remaster them and present them the way I'd always wanted, and along the way we unearthed a couple extra unreleased tracks, which we decided to include as bonus material. Myself and my brother also decided to bring in Ian Anderson of The Designers Republic to re-imagine the artwork and we are super blown away by the results!" — Matthew Halsall, Oct 2019
Ambre Ciel is a composer and singer who hails from Montreal, Canada and is a purveyor of dreamy, expansive, spacious music that draws influence from contemporary classical influenced artists, as well as the impressionist world and American minimalists.
Ambre who sings in both English and her native French, hails from a family of singers and artists, “I started my journey learning violin at six and began experimenting with pedal effects and looping melodies later on”. University followed with a focus on composition and recording. “That’s when I started exploring composing and songwriting more deeply—both the world of sounds in itself and songs built mostly with layers of violin and voice. It was also during this time that I returned to my ‘first’ instrument, the piano, which opened more harmonic possibilities.”
Her debut album still, there is the sea, represents a beginning, a first and imperfect attempt to create this other world that was living in her mind. She has crafted a beautifully refined album making a lot of space for strings arrangements and other acoustic instruments, as well as her own beautiful voice.
Inspired by the foothills of the Sierra de Guadarrama mountains north-west of Madrid, his home since August 2022, Milo Fitzpatrick presents Sierra Tracks the new album from his expansive, cinematic, chamber-jazz project Vega Trails.
Having cut 2022’s beautifully resonant debut album ‘Tremors in the Static’ as a duo, alongside saxophonist Jordan Smart (Mammal Hands and Sunda Arc), Milo now substantially expands upon that blueprint with his follow-up, ‘Sierra Tracks’, which, as the title suggests, was conceived at his new home in central Spain and adds piano, vibraphone and strings to the mix.
From the epic five-minute opener, ‘Largo’, onwards, there’s a cinematic feel to ‘Sierra Tracks’, as each piece unfolds according to its own sweeping narrative, often wonderfully evocative of the mountains’ wide-open spaces, and also sometimes elaborately arranged with cello, orchestral strings, vibraphone and piano, to evoke their awe-inspiring natural splendour. ‘Reverie’ has a refrain that fades in and out, like a daydream”. ‘Els’ is more firmly rooted in folk melody, while ‘Dream House’ and ‘Sleepwalk Tokyo’ boost a sense of otherworldliness.
After years of exploring classical and popular music on the violoncello, as well as delving into contemporary composition and improvisation, Garcia presents IN / OUT, an album that pushes the boundaries of musical convention. Recorded in an underground reservoir in Geneva, this unique project transforms the site’s natural acoustics into an integral part of the compositions.
Through nine meticulously crafted pieces, Garcia blends minimalist contemporary music, dark ambient, and experimental noise. By using expanded cello techniques, microtonality, and alternative tunings, she creates sonic landscapes that evoke the depth and complexity of a multi-cello ensemble. The resonance and reverberation of the cavernous space infuse the album with a haunting, immersive quality, where each sound interacts organically with its environment.
Drawing inspiration from composers like La Monte Young, Eliane Radigue, Jürg Frey, and Arvo Pärt, Garcia integrates elements of sacral minimalism and acoustic experimentation into her work. The result is a project that bridges improvisation and composition, showcasing the cello’s versatility while challenging traditional notions of recording and performance.
Produced in collaboration with Bongo Joe, IN / OUT stands as a testament to Garcia’s innovative vision and her ability to transform unconventional ideas into deeply evocative musical experiences. This album invites listeners to step into an auditory world where instrument, space, and artistry converge in profound harmony.
Chihei Hatakeyama: electric guitar and sound effects
Shun Ishiwaka: drums and percussion, piano on ‘M6’
Cecilia Bignall: Cello on ‘M3’
Composed by Chihei Hatakeyama and Shun Ishiwaka
‘M3’ composed by Chihei Hatakeyama, Shun Ishiwaka and Cecilia Bignall
“Static,” a work by Italian producer Nicolò, explores experimental bass music and abstract electronic soundscapes. Rather than presenting straightforward club tracks, it depicts a liminal sonic space through fragmented, wavering rhythms, decaying signals, and undulating sub-bass. Within its cold synthetic textures, the composition conveys melancholy and a sense of bodily resonance, embedding personal memories and emotions. The work is dedicated to his father, Giordano.
Following that Rat Heart pearl last month, Tom Boogizm returns with a buckshot blast of bashment swivel, bleary soul, sawn-off R&G and rap blatz for DDS - the first productions under his own name since 2015.
For this one Tom draws a jagged line in the sand between his wounded troubadour sound as Rat Heart and the raggo club styles he built a mean reputation on, largely thru the DIY club sessions that bore his name and which carried through to his Shotta raves and tapes over the last decade. He fires five cuts that sound like tracks twysted in the blend, looped and diced, cut with the cruddy mercurial tekkerz that have become his calling card over the decade since Micky Von Dutch issued ‘I Can’t Sleep Because My Mind Won’t Switch Off’ on tape with Ono.
It comes booling for SND-style bashment with the grimy, reverse-whipped bass and melodic dancehall motifs of ‘G A F 425’, and harks to his earliest tackle in the spare soul air of ‘Lawyer Up (Dubstrumental)’, whilst registering a centrepiece highlight in the discordant, pranging R&G of ‘2 MCR.’
Perhaps closest to his murky ‘art is the squashed rap scuzz of ‘Young Bleed’, hacking up and screwing a gob of toffee-and-coal mouthed muck, beside the spattered, pitching noise blatz of a ‘Milli Up’, reeling back to styles heard on his essential vinyl debut, ‘Posh People Make Me Ill.’
As scuzzed, loose-limbed and essential as they come.
Low-key legend and occasional spar to everyone from Will Bankhead to Jamal Moss, Duster Valentine throws down a killer deep house meta-mixtape for YOUTH, hustled from myriad Chi-Detroit-NYC-Italian++ records - huge RIYL the OG’s.
Manc-Greek oracle Duster Valentine is the nom de plume of Paul Bennett, a heads-down but vital figure known for nudging disco, deep house and related strains of dance music since the ’80s (maybe longer, nobody knows), influencing everyone from Jon K to Christos Chondropoulos and Sockethead, with work deployed on a secretive, cult edit label and the likes of Berceuse Heroique and MAL.
For YOUTH, your man tends to a perennial touchstone - deep House - with over 90 minutes of cuts screwed and stitched with reeeel passion, parsing slivers of foundational tunes and reassembling them with additional pads and strings, into an eyes-down, pumping and swanging session judiciously tempered with dubwise digits on the mixer, plus a little post-production. It’s deadly stuff from top to bottom; obsessively methodical in its approach, effortless in its hypnotic traction and effect.
Numerous trax breeze by with a timeless guile that speaks to a lifetime immersed in the good stuff, with all his influences writ explicitly in the music and the j-card - dozens upon dozens of the artists whose drums, vox and stabs he cadged, pruned, and puckered. Like Paul himself, there’s no need to overstate it; it’s simply a masterclass, for the heads.
At 19, Helviofox adds his signature to the batida template that by now seems to have been in existence since forever. Such is the strength of this primordial fountain, a source of rejuvenation. Also within the literal family: Helvio cites brothers Dadifox and Erycox as main influences.
Curiosity for the sound made him go into production by the time he was 13. A couple of years later (2020) he became co-founder of TLS with E8Prod, Alberfox, DiionyG and other mates. His talent fully developed since then, opening a slight detour that became a new path parallel to the main road.
Lively basslines anchor the beat directly lifted from tradition and clearly channeled to the dancefloor. Strong, well rounded grooves, a spot-on sense of timing and tempo, elegant atmospheres, all part of Helvio's notion of arrangement and his perception of dance music boundaries, stretching them just enough to present a challenge but not as far as to disconnect head and feet and risk losing the floor.
This liminal space between experimentation and popularity is both dangerous and attractive. There is no one formula. Precisely why it still retains plenty of fuel for current and future generations to contribute personal visions.
Debut under the AICHER moniker, Defensive Acoustics is a collection of recordings channeling a performance that was presented alongside R. Rebeiro in the worn basement of the Ishiguro Building, an aged and abandoned pharmaceutical store in Kanazawa, Japan in Feb. 2024. Reinterpreted and releasing November 7 on the honourable Downwards Records of Birmingham, England.
"Colossal industrial minimalism from Downwards on a sick debut album from AICHER who deploy sheet-metal percussion and immense bass weight like some ice-cold collab between Valentina Magaletti, Emptyset and Einstürzende Neubauten, captured in an abandoned warehouse in graphic monochrome.
AICHER is the work of longtime label veteran Liam Andrews (MY DISCO, EROS), with additional production from his MY DISCO spar Rohan Rebeiro — an experimental percussionist and erstwhile collaborator of Roland S. Howard and HTRK. Together, they make resoundingly coarse, bullish industrial musick, distilling fascinations with tone and space through eight gristly and darkly sublime cuts, sharpened by production from Boris Wilsdorf of Einstürzende Neubauten and Swans fame.
Through 8 cuts, Defensive Acoustics reveals a clammy touch of reverberant buzz and below-the-belt shudder with a creeping, sensual signature of authority that strongly reminds us of Alan Wilder’s Blasphemous Rumours-era sound design for Depeche Mode, stripped to absolute skeletal fire. Tectonic plates of sound are pushed to an extreme biting point in a sort of structural stress test that feels like an oil rig in action, or perhaps more acutely, junked at harbour.
We go from the lurching buckle of ‘Ascertain’ and bilious atonality of ‘Harness Pleads’, to the vertiginous scale of the title piece and the brutal momentum of ‘An Exhausted Image’ - almost collapsing under its own bass weight, while the pranging girders of ‘Constriction’ makes us think of that 101 version of ‘Stripped’ - propulsive, full of primal energy and clanging, clipped reverb. ‘Possessions’ ends the album with a passage of bleakly romantic ambience, a judicious emotive counterweight to the preceding gnarl.
Powerfully transfixing, heaviest possible gear."
— Boomkat
"Kurayami" the newest single from Mei Semones features some of the mathiest riffs and one of the most bombastic musical climaxes of her career thus far. An exhilarating track to cap off a star-making year for Mei. Mei on the new songs: "Kurayami" means "darkness" in Japanese, and this song is about growing up in Michigan and reminiscing on what it was like hanging out with my friends. Being a kid was really fun and I was happy, but I remember there was a point where we started to lose our innocence and I think this song is about that feeling. It's one of the more technically difficult songs I've written, and it took some practice to get to the point where I could sing and play it at the same time. There's lots of fun tempo changes, odd meters, wide interval arpeggios, and fast licks, and I think the band arrangement is really creative too. Get used to it: "Get used to it" is about the beauty in solitude and being alone, how to move on from something that was important in your life but still leave space for it, and my love for the guitar and music. It's the second song I wrote on my nylon string, and the changes and melody are somewhat inspired by Thelonious Monk. The instrumentation is more minimal than our other songs -- just me (guitar & vox), upright bass, and drums. We were going for a live jazz trio sound, so there's not really any layers or anything. It's just a straightforward recording of the 3 of us playing the tune, and I think that was the best way to capture the feeling behind the song.
A limited edition first ever pressing of Arca’s iconic @@@@@ mixtape, the scorching of earth that preceded the launch of her KICK series. Delivering 62 minutes of quantum states, this is some of her most delicate and astonishing work to date - hard, soft, emotional, brutal, sincere and playful. Presented on double vinyl with an etched D-side.
Dennis Bovell’s prolific and eclectic career encompasses a huge range of music: from dub poetry to lovers rock to post-punk to disco to pop and beyond. His production work encompasses such diverse figures as The Slits, I Roy, Maximum Joy, Fela Kuti, The Pop Group, Janet Kay, Saada Bonaire, Orange Juice, Golden Teacher, Steel Pulse and more.
This compilation focuses on the period during and immediately after Bovell’s involvement with the Jah Sufferer Sound System, digging deep to find deep cuts and lesser known versions, mainly from 1976 - 1980, plus a killer and lesser heard dub of the iconic “Silly Games”. Painstakingly restored and remastered at Dubplates & Mastering in Berlin so that these decades old tracks sound pristine and dynamic, and sequenced to take the listener on a journey through Bovell’s production and arrangement genius.
The accompanying sleevenotes are a result of a long conversation with Dennis about this period of his life, with track-by-track recollections and fascinating biographical asides. The vinyl and CD versions feature variant artwork, each format utilising a unique photo by Syd Shelton.
Debut full-length from DJ Loser’s gothic ambient alias delivers a phantasmic blend of blackened chamber music, dungeon techno tropes, and ritualist synthetic lore – a modern Greek fever dream for fans of Akira Yamaoka, K-holes in Skyrim, or crying in the club with your velvet gloves still on.
Emerging from the post-club catacombs of Thessaloniki, Vanity Bay marks Angel’s Corpse’s most ambitious invocation yet – a baroque-laced, mist-wreathed descent into haunted ambient fantasia. Across 11 tracks, DJ Loser (Pantelis Terzoglou) casts off the scorched rave detritus of his mainline alias in favor of something more narcotic, more narratively driven, and ultimately more unplaceable.
If previous works like Technophobia Network or Deathtripper EVO flirted with the sacred/profane divide, Vanity Bay plunges straight into its depths – a world of glitched-out Gregorian chants, decaying synth choirs, and organ drones that flicker like candlelight in an abandoned cathedral. At times evoking the windswept melancholy of Twin Peaks or the spectral desolation of late-‘90s survival horror OSTs, the album treads a fine line between affective ambient fiction and hardcore spectral poetics.
Fans of Manni Dee’s gothic lacerations, Christos Chondropoulos’ faux-ritualism, or even JS Bach filtered through a crusty VST will find plenty to lose themselves in here. But Vanity Bay is less about genre allegiance than emotional excavation – a record that functions as myth-making, mourning, and myth-breaking all at once.
A shadow-drenched debut that positions Angel’s Corpse as a vital node in the mutant continuum of Greek sound art – one eye on the club, the other staring unblinking into the void.
Co-released by Cairo's HIZZ imprint and Heat Crimes, Upper Egypt’s “King of Trobby Music” detonates another singular vision on Raasny—a 9-track suite of bruised street rhythms, electro-shaabi fireworks, and raw emotional voltage, beamed direct from El Minya to the world.
Abosahar has spent the last decade carving out his own micro-genre—Trobby, short for “True Being.” Here it comes into sharpest focus yet: a sound that blurs electro-shaabi, house, techno, trap and pop into dazzling, rough-edged collages, powered by cracked software, busted machines, and the immediacy of lived experience.
Raasny loops wedding-party ecstasy into journeys from Minya’s dusty streets to Cairo’s neon clubs. Tracks like “Bs Ya Baba” and “Shaabi Alarab” fold shaabi’s serrated synth stabs into mutant pulses; “Moled w Samar Haz” and “Moled Altenee” lock into hypnotic folk-ritual cadences; while the title cut “Raasny” surges with an almost devotional intensity, all cracked voices and distorted beats tumbling into the red.
What sets Sahar apart is his refusal of polish: everything is left jagged, overdriven, improvised, alive. His music is inseparable from the weddings, streets, and daily life of Upper Egypt—rooted as much in the dust and electricity of Minya as in the people who move to it.
Raised with little more than a battery-powered radio and homemade instruments fashioned from grass and cardboard, Sahar’s DIY ethos is burned into every second of Raasny. His recordings double as ethnography and autobiography—part diary, part sound-system weapon, part spiritual exorcism.
Already hailed across Cairo’s underground and carried abroad to stages in France, Switzerland and Germany, Sahar’s music still belongs first and foremost to the streets and weddings of Upper Egypt. Raasny makes that clear: this is music of and for the people, loud, ecstatic, and uncontainable.