MUSIC

Dunya, the title of Mustafa’s masterfully crafted and breathtakingly tender full-length debut, roughly translates from Arabic to “the world in all its flaws.” It’s a lofty subject for a young songwriter, but as with every theme at the heart of the Sudanese-Canadian artist’s work—from religious devotion to childhood trauma, gang violence to romantic intimacy—he approaches it through a personal lens. Blending genres and moods, weaving novelistic details into instantly memorable folk songs, he has crafted a record that feels like a series of personal breakthroughs, arriving one after the other. The first thing that strikes you about Mustafa’s music has always been his writing: a simple, piercing tone that can make any story feel as raw and earnest as the words to a love song. With a hushed delivery that can silence his surroundings, Mustafa evolved swiftly from a child prodigy reciting poems throughout his native Toronto to a behind-the-scenes pop songwriting force. On Dunya, he becomes a full-on auteur in his own right. “I’m trying to preserve and celebrate the ordinary life in the hood,” Mustafa notes of his lyrical inspiration. Exploring his upbringing and trajectory onward, these songs are equally disarming in their simplicity and multilayered in their emotional breadth. Featuring appearances from collaborators such as Aaron Dessner, Rosalía, Clairo, Nicolas Jaar, and more, alongside Mustafa’s longtime creative partner Simon Hessmann, the music reveals a confident, distinctive voice that’s never sounded more poised for the masses. Even when it sounds like he’s taking on the world, Mustafa is speaking only for himself: a story that he knows is just getting started.

南アフリカ出身のDJ DadamanとMoscow Dollarによる最新作『Kagaza』が、ウガンダ版〈PAN〉な大名門〈Nyege Nyege Tapes〉から登場。本作では、バカルディ、クワイト、アマピアノ、ハウス、シンセ・ポップといった様々なジャンルやスタイルを横断した全6曲を収録。ミリタリスティックなスネア、プロト・アマピアノ／ポスト・クワイトのベースライン、ハウス風のM1ピアノ・フレーズ、曲がりくねったシンセ・シークエンスが特徴的。バントゥー語のXitsongaで歌うMoscow Dollarのヴォーカルが、タウンシップの生活を生き生きと描写していきます。南アフリカの豊かな音楽の歴史を伝えると同時に、未来を予言するようなサウンドが詰まった一枚！

The Rising Wave marks the debut collaboration between singer-songwriter Marlene Ribeiro (of psychedelic band GNOD) and electronic producer Shackleton under the name Light-Space Modulator. The album will be released via AD 93 on the 25th April 2025.

Ribeiro’s ethereal voice—part singing, part incantation—feels both distant and intimate, humming just behind the horizon. Her experimental soundscapes flow like a streamlined river, intertwining seamlessly with Shackleton’s deep, textural production and intricate percussion. Shackleton’s percussive production ebbs and swells, conjuring a hypnotic, tripped-out atmosphere. At The Rising Wave’s core lies a sense of intention, a cleansing ritual designed to shift perception and inspire transformation.

Yowzers is a new album by Chicago composer, improvisor, instrumentalist and musical folklorist Ben LaMar Gay. The twelve track collection is a leap forward in the lexicon of Gay’s recorded output, and a veritable masterwork of ancient inner-body rhythms and intuitive melodic storytelling.

It’s worth mentioning that a leap forward for Gay is no small feat. The musical ground he has covered in the last decade, both as a bandleader and collaborator, is immense. His de facto debut album—the 2018 compilation Downtown Castles Can Never Block The Sun—properly introduced the world to Gay by placing fifteen stylistically diverse tracks from seven then-unreleased albums next to one another, letting the populace outside of Cook County in on an unintentionally best-kept-secret that Chicagoans had already been marveling at for quite some time. That secret has become even more open in the years since, with the full unveiling of those seven previously-unreleased albums, the release of his critically-acclaimed 2021 song cycle Open Arms To Open Us, and the explosive free sonics of 2022’s Certain Reveries.

In addition to being featured on a staggering number of International Anthem releases (including albums by Makaya McCraven, jaimie branch, Damon Locks, Ibelisse Guardia Ferragutti & Frank Rosaly), Gay is one of the most prolific collaborators in creative music today. He makes active contributions to Mike Reed’s Separatist Party, Joshua Abrams’s Natural Information Society, Theaster Gates’s Black Monks, and many more. He is also a long-time participant in Chicago’s legendary Association for the Advancement of Creative Musicians. Suffice to say, his credentials are astonishing and the scope of his interests and abilities is seemingly limitless, with Yowzers representing the latest redrawing of that ever-expanding creative borderline.

Much of the music on Yowzers features his working quartet with Tommaso Moretti (drums, percussion, voice), Matthew Davis (tuba, piano, bells, voice), and Will Faber (guitar, ngoni, bells, voice). But the unlisted feature here is Gay’s own ability to summon and unleash the unique strengths of his collaborators. The quartet material leans into a vocabulary that the group has developed over the course of several years together on the road; and the repertoire delivers an arresting cocktail of pulsing and free rhythms that somehow swing alongside a gathering of melodic phrases that sweep the outer-reaches of harmony with nostalgic echoes of family songs from the living room.

“Building a language, or taking a while to build a language—it’s like every other thing,” says Gay. “These stories are passed around through melody. You write a story and you share the story with individuals, and then you allow their individuality to embellish the story and take it on in another way. That person is a whole universe. It’s about trusting these people—trusting the people you leave something with, just like people trust their kids and their grandkids to carry a thing on. To not give it all away. To keep it in this tightly-knit body and to just keep it going.”

It’s not a new concept for Gay. One uniting factor in his deep, multi-faceted discography is a never-ending commitment to taking the stories of the past and pushing them outward, filtered through a sense of self, to keep that information moving.

Information moves through Yowzers via the intuitive physicality of Gay’s creative polyrhythmic constructions as he covertly delivers familiar folk tunes and tales. “It’s the most natural thing,” says Gay. “That’s how the world is. There are overlapping rhythms all around us, and so it reminds you of the reality of the world when you hear them. It’s a loop and the loop is always changing.”

Yowzers is ripe with the fine mash of that loop’s changes and diffusions, recalling the high-minded freedom of Liberation Music Orchestra, the abstract boom-bap balladry of Georgia Anne Muldrow, the unbridled rhythms and sandpaper bellows of Bukka White, the harmolodic cartoon glory of Arthur Blythe’s Illusions, or the oft-copped but rarely distilled patterns of Naná Vasconcelos. More amalgam than pendulum swing; a fresh thought made up of old ideas, like some imaginary Sacred Heart Ensemble led by Elvin Jones and Rashid Ali. It’s all there, filtered through an improvisational approach and a lifetime of stories and secrets embodied. For a man who has inhabited and traveled these continents so extensively, it’s safe to call this work true Americana, despite what that word might mean to the average white person in the United States.

“A big part of the language this quartet has developed is spatial,” says Gay. “It’s seeing and hearing it live.” Translating that language to a studio situation is a tough task, even for a seasoned crew. “You’re dealing with a thing that is older than the industry that sells it, and if you’ve never experienced those bodies in a room there can be a disconnect.” Striving to document the magic of those live moments, to great end, Gay chose to track the quartet pieces (“the glorification of small victories,” “there, inside the morning glory,” “I am (bells),” and “cumulus”) for Yowzers live, in real time, seated with his bandmates in a small circle at Palisade Studios in Chicago.

The spectrum of the album is widened by a batch of music created via Gay’s highly successful approach to composing in-studio, augmented with contributions from his bandmates, instrumentalist Rob Frye, and a mini-choir comprising vocalists Ayanna Woods, Tramaine Parker, and Ugochi Nwaogwugwu. This straying from the quartet material throughout the course of the record acts as an expansion of detail rather than an interruption of continuity.

All together, the pacing and flow of Yowzers is proof-positive of Gay’s practiced grasp on how the album format can traverse such a breadth of atmospheres. The titular album opener “yowzers” is a simple, soulful, three-chord piano and vocal repetition nestled in the hypnotically swelling effect of the Woods/Parker/Nwaogwugwu choir. The undecorated lyrics leave ample room for a listener to comprehend references to the binding existential crises of our times. It’s a Blues that everyone in the world should feel in their bones:

Ain’t gon snow no more x4

Rain gon pour and pour x4

Fire don’t stop no more x4

“for Breezy”, a could-be New Orleans dirge, straddles the deep sigh of a heavy sadness and the sweet lift of a fond look back, echoing the most contemplative moments of Duke Ellington’s small group arrangements. Gay’s clustered synth chording sets the scene while Frye’s breathy flute and Moretti’s delicate brushwork are positioned front-and-center along with a synthetic static—the nagging question of darkness even as beauty blooms. Gay’s flugelhorn enters at the 1:35 mark, maneuvering slowly around Frye and locking the vibe into place. It’s a gorgeous and fitting tribute to an old comrade.

“John, John Henry” begins with doomy oscillations and click-clack electronic rhythm loops hovering atop a contextually disjointed swing beat from Moretti. Enter Gay and his choir, digging into a take on the dusty-yet-timeless tale of man versus machine, an update we didn’t know we needed and an entrance we didn’t know we wanted. The way the group’s vocal rhythms hit here is a classic example of the Gay conundrum: an idea that reads as challenging on paper but sounds simple to the ear and feels intuitive to the body. With spectacles underfoot and charts out the window, the listener sings along, unencumbered by know-how. It’s all in service of Gay’s ongoing exploration and expansion of folklore in his work—arguably the one concept that bridges the gap between all of the disparate elements of his oeuvre.

This bottomless bag of tricks never induces fatigue, instead allowing for breaths and bites as needed—the quick-vibe banana peel windup of “rollerskates”; the endlessly psychedelic metallic rhythm chant of the album’s centerpiece “I am (bells)”; and the triumphant free-folk shouts of “the glorification of small victories,” which is a drastic and collaborative quartet rework of a composition originally recorded for Gay’s album Grapes that serves as further evidence of his steady crew’s interpretive powers.

How, though, does Gay end a collection that covers so much ground? The sweetest sendoff is often the one that sounds like a beginning. The album closer “leave some for you”—a balladeer’s kiss as the sun comes up—pairs a deeply disintegrated series of rhythmic loops with a diddley bow shuffle, ushered by the sturdy-yet-understated swing of Moretti’s kit. Gay’s sweetly intoned low-register lilt is front and center with an affirmation delivered as an earworm. The simple melody carries it home:

You look brand new today

Not cause you need it

Just cause you want it

New

With Ylh Bye Bye, Swiss-Moroccan producer Sami Galbi delivers a raw and electrifying debut album after the succes of his first single Dakchi Hani / Rruina. Merging North African folk, chaâbi, and trap with forward-thinking electronic club music, his punk energy and DIY ethos stem from years immersed in Lausanne’s underground squat scene, shaping a sound that’s both deeply personal and politically charged.

Driven by infectious North African melodic loops, heavy basslines, and percussive textures—blending bendir drums, karkabas, and analog synths—Ylh Bye Bye pulses with urgency. From high-energy dancefloor anthems to dreamy acid pop ballads, the album explores themes of migration, identity, and belonging. Galbi’s Arabic vocals oscillate between auto-tuned harmonies and spoken word, capturing the tensions of diaspora life.

Recorded between Switzerland and Morocco, the album’s title—meaning “Let’s go” or “See you” in regional slang—reflects the artist’s nomadic journey, from a DIY studio in a van to a transformative creative residency in Casablanca. It’s a work of constant movement, embodying both departure and return.

Opening Night is a collection of instrumental music composed for the opening gala of the New Theater Hollywood by Danish composers MK Velsorf & Aase Nielsen. A cycle of minimal pieces for e-guitar, e-piano and backing tracks, the music was performed and recorded live from the stage balcony during the dress rehearsal, arrival of the guests and between speeches throughout the night.

The music is patient, minimal and groovy – consisting of sparse guitar vamps, drum and synth loops, it establishes a mood, or a tone: one of sun-soaked dreams, ecological dread and never-ending anticipation. Opening Night evokes the environmental furniture music of Erik Satie, as well as the light melancholia of Arthur Russell, the procedural TV score of Mike Post, and the sleazy atmospheres of certain Michael Mann films.

Designed to weave in and out of the listener’s consciousness, Opening Night is light in feel yet with a deep pull, breezily conjuring feelings of banality, pleasurable dissociation, and eerie repetition. The listener is invited to get in the car and stay for a while.

The New Theater Hollywood is a performance space run by artists Calla Henkel and Max Pitegoff, housed in the historic 49-seat 2nd Stage Theater in Hollywood’s largely defunct Theater Row, conceived as a space to develop and stage original theatrical productions in the crosswinds of performance, literature, contemporary art, film and television.

It was so hard to get our heads around the William Onyeabor story when we first started working with him.. No one knew anything about him and that’s the way he liked it.

Now it’s 10 years later after releasing his records and what would have been William’s 79th birthday so we are releasing two of his magical lps in COLOR. 

1978’s Atomic Bomb in Fission Red and 1980’s Body and Soul in Magic Ministries Blue.

You can pre-order them today on Bandcamp (it’s Bandcamp Friday), where were also throwing up some other paraphernalia, new and old. 

Though we grew to love and respect Mr. Onyeabor, as we called him, we still know so little about him.

Love,

Luaka Bop

The legendary 1975 Fairfield Hall Croydon broadcast now available as a high quality vinyl pressing. Broadcast as part of a short UK tour following the release in 1974 of Autobahn.

10 Year anniversary edition of cv313's Beyond Starlit Sky on Echospace. Out of print for a decade, now newly remastered, ‘beyond starlit sky’ is archetypal dub house crafted in the image of Berlin’s MvO & Ernestus as much as Detroit’s Infiniti. The nine minute studio original weaves iridescent melody thru deftly convected clouds of static noise fidelity on tumescent bassline with starry-eyed effect. The live mix alters the atmospheric physics to let the bass billow outwards under storm-brew clouds of gaseous swill, subtly teasing in the harmonised dub chords until they properly pay-off deep into the 2nd half. ！

Nearly 15 years have passed since the original was release in 2010 with all tracks lovingly remastered for this new remastered edition; which also includes STL's first ever remix and sounds just as beautiful as the day we first heard it! Deep, reduced dub-techno with ethereal production nuances from Stephen Hitchell and Rod Modell. Both original tracks here reveal the duo's obsession with the likes of Maurizio, Basic Channel and Chain Reaction.

It's been nearly 15 years since this originally hit the shelves, which literally took the immersive atmospheric sound of Echospace and brought it right to the floor. With cv313's ''Sailingstars'' the spirit continues as they go on to preach the gospel of deep with a rippling exercise in space and bass. A sort of slow motion movement in tone and 38 hz sub frequency which nearly verges on the disturbing, a sonic threshold quite hard to achieve in a vinyl cut. The power of repetition and subtle atmosphere are clearly demonstrated here by bringing the listener to an almost hypnotic state within its melodic spatial grooves. The B side offers two immense reductions, equally effective providing a low end throb, analog spirit and organic textures captured in zero gravity, it's like truly sailing among the stars. Lovingly remastered and mixed down from the original analog 1/4'' reel to reel tape, strictly limited to 300 copies for the world.

It was quite unexpected to see the very prolific and talented Pieter Kock featuring on Macadam Mambo - which is usually used to new-comers - as he has released a lot in the past 2 years on very nice labels like RIO, Meakusma or Moonwalk X. But, the demos that he sent were so good that there was no question about doing something. And with a lot of possibilities, to prepare a double album that is now composed of 16 quality tracks for 1h20 of music… What vibes are in here! It’s heavy, loudly, loopy, mental, smokey, and always surprising. Pieter has is very own universe, and is without doubt one of the most interesting electronic musician at the moment.
Should we ask you to give chance to this opus, and tell you you won’t regret it ? We don’t think we need to do so... ☺

Alleviated Records is proud to present the new Mr. Fingers EP. After many years of the moniker being dormant and a long journey trying to get back into a creative mindset, we have a new offering. First up, "Outer Acid" delivers up a Minimal-Space-Acid flavor. Next, "Qwazars" continues the Space motif with a Minimal-Tech touch. "Nodyahed" moves toward a Dark Club Bounce with a dash of Tribal flavor. "Aether" offers up a more late-night Ambient-Space-House flavor. Hope you enjoy these selections at the club and at home for a long time to come.

Oro Azul is a new collaborative project from Michael Red and Ultima Esuna. Water Seeds takes us through 4 shades of an aquatic garden. Dembow floats underneath the waves while woodblock melodies bubble up through the weeds. Sub bass shifts the tide. Some sounds are mosslike, a protective balm. Other tones come through as minerals and metals, shining in the refracted light from above.

FELT welcomes back Civilistjävel! with Följd, the follow up to last year’s Brödföda. 7 tracks further chronicling his melancholic murk, ever drifting towards that faint dub glow. Features a collaboration with Thomas Bush.

Uncanny are the nocturnal sounds that ebb patiently from Tomas Bodén and his machines. His music continues to uncover equal parts beauty and dread from isolation, a purposeful slow pace guiding those gentle noises through the arctic air surrounding its author. No matter the weather, these expressions as Civilistjävel! continue to find a loving home on Fergus Jones’s FELT imprint.

On Följd, he naturally develops on the inclinations found on Brödföda. XIII’s unsettling warble melts into the dusky spurts of XIV. Further on, the dew-glowed ambience of XV precedes XVI’s dub trudge which casts a hypnotic grey shadow. XVII’s wind-swept acid redux then quietly transitions into the stunning introspective drone of XVIII before closer XIX comes into view, its positive dawn enacted through Thomas Bush’s croons lilting amongst organs, guitars and tempered sound design.

Civilistjävel! continues to emote a great deal with very little, a reliable abstract practitioner that posits Följd as an arresting audio tale within his celebrated oeuvre.

Exclusive unheard live extracts from cv313's live performance at Glass City Record Store release party in Detroit, USA. Recorded from 16 channel Mackie mixer, performed entirely on analog/digital hardware, samplers and sequencers. NO COMPUTER INVOLVED. Recorded in May, 2001 @ a warehouse somewhere in Detroit.

Thoughts:

Live Excursions is the third in the cv313 Live series, this time a recording of a gig performed by Hitchell at the 2001 DEMF Festival for the Glass City Records release party. As the earliest recording in the series to date it is in many ways Live @ Primary‘s opposite number, a fact reflected in the vastly different material featured, as well as the negative-print artwork that adorns the gatefold Eco friendly wallet.

It is perhaps the most easily recognizable as a cv313 gig in particular, featuring many staples of early cv313 material with very few of the diversions into Soultek, Intrusion or other housier archive material that characterizes other live cv313 sets. Live Excursions focuses heavily on on tightly looped, mesmerizing, repeated grooves soaked in delay and reverb, with warm, fuzzy textures and soft, through-the-walls beat-work that one can imagine anesthetizing many a wearied festival-goer seeking a final, hazy chill out session.

The tracks on Live Excursions are all simply named “Glass City Session” with a numeric suffix, but a bit of digging into the cv313 back catalog does at least reveal the origins of some of these tracks. It opens, for example, on a live version of the twenty-two minute long “Subtraktive [Intrusion’s Enchantment] Extended Version,” and yes, that makes it a live variant of an extended version of a remix of “Subtraktive,” proof of how deeply meta the whole echospace [detroit] catalog can be.

The original mix can actually be found on the second “Subtraktive” disc of the 2xCD edition of Dimensional Space, and this live version doesn’t deviate drastically from it. It’s a stunning opening to the set, the hovering drones, rolling congas, and earth-shaking sub-bass making for a truly hypnotic, head in the clouds twenty-two minute opus.

“Glasscity Session III” is a particular surprise, as it turns out to be none other than a live version of “Durveda,” a hitherto unreleased track fully of atyipically dark and disturbing drones and textures that makes it proper debut on Dimensional Space. This alone makes Live Excursions enough of a historical curio for fans to warrant investing.

Pre-orders of the Live Excursions disc on the echospace [detroit] Bandcamp site also came with an immediate download of four tracks that were stated to be on the CD itself. In actual fact it appears that the second and fourth tracks appear on the main disc, but the first and third do not, making them digital exclusives. Sadly, these tracks are not mastered to anywhere near the same quality as the main disc, the sound quality muddy and muted.

Live Excursions is hopefully not the last in the Live series of cv313 sets we’ll see, as they frequently offer unique takes on the material, and each has it own distinctive character. This is definitely one for armchair listening, an intoxicating opiate best experienced on headphones with a spacious sound stage. -Igloo Magazine

If you missed out on the pair of cv313/ Echospace [detroit] Record Store Day CD’s then why not attempt to heal your pain by picking up this disc of ‘Live ‘Excursions’ from Detroit’s Stephen Hitchell and Rod Modell (DeepChord). Arguably the finest dub techno practitioners outside of early productions from Moritz Von Oswald and Mark Ernestus, you know; Basic Channel etc.

These tracks are extracted from a live session at a warehouse somewhere in Detroit and serve as evidence these guys can cut it live - all hardware/ no computers. Outside of that there’s nothing revelatory here just straight up chilled cv313 shimmering dubbed out magic. Metallic clouds that seemingly float into infinity, steady beats and a vibe that’s hypnotic throughout. Repetitious? On the surface for sure, but once inside - the nuances reveal themselves and all is not as it seems. These guys go deeeeeeep and I want some of what they’re smokin’. Originally this was issued in an edition of 100 copies but we have a limited amount of the reissue available in different packaging/ artwork.

Oh and while you’re at it there’s also limited copies of their deeply immersive ‘Seconds To Forever’ disc available and totally worth grabbing. -Norman (UK)

Rod Modell and Stephen Hitchell's glacial dub techno project cv313 release never before heard live extracts from a session they performed at a Glass City Record Store release party in Detroit. Performed in a warehouse entirely on hardware, its a characteristically deep and otherworldly release from the pair, pillowy kicks swimming in infinite layers of spidery static and hallucinatory pads. It's music that is involving and immersive to the point of disorienting, and shows cv313 as a powerful live act - even when experienced on headphones long after the event has taken place. -Bleep

Having recently released the impressively in-your-face Live at Primary CD, it's something of a surprise to see CV313 dropping another live recording so soon. To be fair, Live Excursions first surfaced digitally last year via their own Bandcamp site, and now makes its way onto CD for the first time. The recordings themselves are vintage too, having been captured at a warehouse party in Detroit back in 2001. According to the Echospace website, the tracks were performed live using only outboard kit and a 16-channel mixer, with no computer trickery. Whatever the method, the resultant tracks are long, trippy, and immersive forays into dub techno and ambient in CV313's trademark style. -Juno

"[Live Excursions]" shows American masters of dub-techno at the beginning of their joint experiments.

A separate chapter in the work of Rod Modell and Stephen Hitchella are performances. Their music becomes then a slightly different dimension - it is less clarified, it has a more raw sound and marked by a strong element of improvisation. We can convince listening to the album, "[Live Excurcusions]", containing songs recorded during spontaneous sessions organized in a record store Glass City in the Motor City as part held there in 2001, the Detroit Electronic Music Festival.

The show starts slowly pending roll, combining tarry sound straight from Jamaican dub with reduced rhythm of techno style. All of this is immersed in a corroded shafts of grainy sound, behind which regularly emerges rudimentary melodic motif ("Glassity Session 1"). After twenty minutes of psychedelic music, Rodell and Hitchell hit more dance party - combining, for minimalowym backing billowing sheets and deep bass ("Glasscity Session 2").

When the club energy falls, US producers are turning to ambient. "Glasscity Session 3" is quite unusual composition in their repertoire. Its center are the mechanical rhythms borrowed from Kraftwerk, which overlap with towering waves of synthesizers monochrome pierced corrosive loop. In contrast - the next composition is actually techno pure form. This time the silent any noise and echoes, and remains the only motor pulse, braided rozwibrowanymi chords ("Glassicty Session 4").

The next two parts of the show in detroitowym shop again wprzęgają dub sound processing techniques to create a psychedelic dance music. In the "Glassity Session 5" measuring impacts bit bulky accompanied by distant explosions zbasowanych effects, and "Glassity Session 6" withdrawn rhythm resonates thicket of sewage reverb. Record ends with another nod to the ambient aesthetics - rozwibrowanymi cascades of chords intertwined with the majestic tone ("Glassicty Session 7").

"[Live Excursions]" shows Rod Modell and Stephen Hitchella at the beginning of their joint experiments. But I can be heard on the album germs of ideas that will be later developed into brilliant Echospace plate. Rough and raw sound recordings show an obvious kinship with the canonical achievements of Basic Channel - but slowing rhythm, sound radical corrosion, extending the length of recordings, music saturating the psychedelic mood, it indicates that this is just born into our ears completely new vision of dub-techno. Thus, this album is a very interesting document for all lovers of this timeless music. -Nowamuzyka Magazine 

There's been a world of hurt in regard to this album, the original masters recorded from 1996-2010 were submerged underwater due to the flood in our home studio where boxes of old reel's were never to be recovered again. Finally, years of restructure on live recordings and pain staking undulation in the restoration process have lead us to finally accomplish what so many expected wouldn't happen: an awakening of sagacious spirit: With that being said It's our distinct honor to present the sonic world of "dimensional space" the highly anticipated debut album from cv313. This album has taken a cosmic eclipse where two events collide for Unison. The culmination of this project lead to synergy, creative experience re-invented and re-imagined, flow of an astral vortex.

A repress of a classic that was ranked among the RA Best 2018! Originally released on cassette as a post-party (or pre-party) chillout with friends, it follows in the footsteps of the current ambient crowd in the club vein, such as Huerco S. and Terekke, with a deep mix of free-form ambient, house, and dub. This album delivers an experimental sound with a very pleasant cosmic deep electro that is perfect for embedding. It is a perfect representative of his work.

This is the third volume of the Space Program's Space Elements series. In this series, each volume features guests and is focused on a compositional function. The Space Program is a long-term project launched in 2004, for performing music with a post-free jazz mind-set but using strange sounds from electronic instruments. Playing physically, the body is involved in making decisions. The Space Program is about articulating silence and sound, structuring musical flow on experimental instruments with a simple and clear sonic identity.

All these instruments are different but have a few things in common. The first is that they don't have a conventional interface, which means that for all of them i have to find out what they do and develop technique to play them. The second is that none of them respond accurately to performing action. So there's always a live tension between an accurate decision and its somewhat unpredictable outcome. I meant to play music technically free from any school and teachings, but beyond that i also wanted the music somehow to escape my own self, playing instruments with a sort of life of their own, never allowing complete control and making any repetition virtually impossible. Space Elements Vol. III by Rafael Toral

Limited 50 copies. 40mins sonic meditation by Ocean Moon and aus.the sun is shining.the magic is real.good times.

Originally released in 1993, Quique (pronounced “keek”) was the first album by UK band Seefeel. A landmark album, it’s unique blend of shoegaze fuzz, abstract electronic sounds and sparse minimalism made it a must have for any collector of ambient techno. Released by too pure, the album was reissued in expanded form as Quique Redux on cd in 2007. About it, Pitchfork wrote that “Quique showed how the oceanic end of shoegaze could be found in a purely electronic world” and called the album “timeless”.

"Quique was very much a product of its time in terms of who we were as people, the social world we inhabited and the technology available to us. I think the album was very much restricted by the relatively primitive technology we were using by today's standards, but that very restriction is I think partly what gives it its flavour."– MARK CLIFFORD

We are excited to make Quique and Quique Redux available again, newly remastered by Geoff Pesche at Abbey Road.

QUIQUE REDUX will be available on vinyl for the first time via a limited edition 4XLP set through the Beggars Arkive webstore and bandcamp only. The release is housed in a slipcase with new artwork. The cd version is not limited and will be available everywhere. Quique Redux is comprised of Quique plus 9 bonus tracks of alternate versions and material that wasn’t included on the original album.

QUIQUE will be available everywhere on double LP, remastered.

Newdubhall, a Newdubhall organized by Undefined, releases left-field modern electronic dub artists from Japan and abroad, including Kazufumi Kodama, Deadbeat, Janka, etc. The 7th Newdubhall will feature Babe Roots, an icon of electronic modern dub after 5 years. Babe Roots, an icon of electronic modern dub.

originally released on Main Street Records in 1999, and repressed in 2025.

originally released on Main Street Records in 1996, and repressed in 2025.