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The 2 songs are remixed by south London-based artist Klein (Hyperdub), and Tokyo-based experimental hiphop musician Killer Bong (Black Smoker Records) Mastered by Bunsho Nishikawa, who is known for his works with goat and Tenniscoats, among others. The ominous clockwork nursery song “Kazega Fuitara Sayonara” (Goodbye When The Wind Blows) was originally written by Koichi Yamanoha and released under the name of Grimm Grimm via Kevin Shields (My Bloody Valentine) and Charlotte Marionneau (Le Volume Courbe)’s Pickpocket Records / Honest Jons in 2014. London-based Tokyo-born singer-songwriter experimentalist Koichi Yamanoha has been operating under the guise of Grimm Grimm since 2013. The project is an outlet for his fragile, haunted, otherworldly forays into baroque folk, futurist lyricism and electroacoustic oddities. His debut album, “Hazy Eyes Maybe”, was released by ATP Recordings in 2015. A track “Last Word Is Mine” from the album was used over the end credits for the Aaron Brookner / Jim Jarmusch directed documentary film “Uncle Howard” (2016), featuring William Burroughs. His sophomore album, “Cliffhanger” was released in June 2018. And currently the 3rd album has been mixed and co-produced by Marta Salogni. The virtual 3D music video for Klein remix has been directed and edited by London based film maker Kenichi Iwasa. He filmed the footage in Tottenham using Super 8, 3rd generation iPhone and 4K Camera, and created the zero zone virtual world with glitchy SFX work by William Cunningham. Iwasa is also known for his legendary Krautrock Karaoke night as well as being a sought after collaborator throughout Europe.
“It rained more days than it didn’t. The beds of silt turned up notched pieces of quartzite and flint. Water came up through the floorboards in the sixteen-sided candle room. The house was empty except for what the flood brought in. Miles on the river of salt and silver in first light.”
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The final document from the New England collective Old Saw is available as a 2xLP via Lobby Art Editions, with photography by Dylan Hausthor. Many of the known personnel from the last records circle back here on The Wringing Cloth to close out the ride with their signature fog and low burning momentum.
Like the sharpshooting carnival contestant who knows that the winning practice isn’t to aim for the red star itself, but rather to shoot out a perimeter around the star and thus remove it, Old Saw have historically dealt with forms by tracing their boundaries rather than going for the target outright. If the first three records hinted at but never touched song-shaped forms, The Wringing Cloth makes at least glancing contact while retaining the layered haze and drawl that threads their sound together.
Contrary to the often-used ambient tag, Old Saw shows up here in a markedly active and sculpted form — manipulating, unwinding, and pivoting with a strange and warped precision. What has always been uncanny about this music is that it arrives in a state at once familiar and obscured, like a memory weighed down with sensory information but no identifying details to place it. The Wringing Cloth walks off further into that geographical dream without time or language until it’s just a speck of light.
- JS
A masterpiece that defined OPN's reputation, where digital sound and serene beauty coexist!
Sooj — a collaborative project between members of Duster and Dirty Art Club. Picking up where their 2024 two-sider Anhedonia II b/w Ecstasy Cowgirl left off, Crusher sees Duster’s slowcore drift dissolve into Dirty Art Club’s sample-heavy, collage-minded production. The result is neither band, nor side project, but something more elusive — a third space built from tape hiss, chopped memory, and late-night signal bleed. Across its runtime, the album avoids the gravitational pull of nostalgia. Instead, it hovers in a liminal present — part collaboration, part escape route.
Two raw minimal cuts from '94 that will piece up any self respecting dance floor; Mika Vainio, Ilpo Väisänen & Sami Salo at the controls - an ESSENTIAL 12" from Sähkö Recordings, TIP!
Adrian Sherwood teams up with Speakers Corner Quartet and African Head Charge for new four track EP Barbican Heights, a project which traverses the musical worlds of dub, jazz, electronic, afrobeat, and beyond. Barbican Heights is born out of a spirit of collaboration, bringing together one of the UKs most innovative and influential producers, Adrian Sherwood; one of the longest serving and most iconic members of the On-U Sound family, African Head Charge; together with Speakers Corner Quartet, a rising force whose influence is integral to the sound of the contemporary UK jazz scene. Recorded during a singular day of creative spontaneity at Wicker Studios, the three acts, alongside Alex White of Primal Scream and Fat White Family, combined for semi-improvised reworkings of classic African Head Charge composition “Wicked Kingdom Of This Earth”, Speakers Corner Quartet’s own “Topanga”, as well as two new tracks constructed from scratch during the session
The album is built on a singular concept: every sound is produced from a single cello. While effects pedals are used to extend and amplify the instrument, no other instruments or field recordings are involved. What remains is the act of performance itself—an ongoing exchange between body and instrument, where sound emerges as voice. Yet the resulting sonic landscape resists any sense of limitation. Layered textures of percussive gestures, micro-noise generated by a self-made bow, and sustained drones unfold into a complex, immersive environment.
The album is built on a singular concept: every sound is produced from a single cello. While effects pedals are used to extend and amplify the instrument, no other instruments or field recordings are involved. What remains is the act of performance itself—an ongoing exchange between body and instrument, where sound emerges as voice. Yet the resulting sonic landscape resists any sense of limitation. Layered textures of percussive gestures, micro-noise generated by a self-made bow, and sustained drones unfold into a complex, immersive environment.
After recent forays into darkly psychedelic drone music, the Mexican American producer returns to the dancefloor with an album that fuses techno and guaracha into a throbbing polyrhythmic juggernaut.
For years, Takuro Okada has carried a quiet question: how can a Japanese musician honor the music of African Americans without simply borrowing it? That search shapes his new album Konoma, a work guided by the idea of “Afro Mingei.” The Tokyo guitarist, producer, and bandleader has lived inside this tension since childhood, drawn to blues, jazz, and funk records that nourished him, yet hesitant in the face of the histories they hold. The concept of Afro Mingei, which Okada first encountered in an exhibition by artist Theaster Gates, gave him a way forward. Gates connected Black aesthetics with Japanese folk craft, both rooted in resistance — “Black is Beautiful” defying racism, the Mingei movement preserving everyday beauty against industrial erasure. That kinship became the compass for Konoma, a record attuned to echoes across cultures and time.
Konoma holds six originals and two covers, all shaped by this dialogue. The elegantly unhurried “Portrait of Yanagi” drifts like a standard half-remembered from another era, while the brief but potent “Galaxy” gestures toward Sun Ra’s late 1970s electric organ experiments, the fractured propulsion of Flying Lotus’s early beat tapes, and the shadowy atmospheres of trip-hop. Okada’s choice of covers sharpens the conversation: Jan Garbarek’s “Nefertite” shimmers with the cool austerity of 1970s ECM, reframing Europe’s own search for identity inside jazz, while Hiromasa Suzuki’s “Love” channels the electric vibrancy of 1970s Japanese fusion, when musicians fused psychedelia, funk, and folk into a distinctly local dialect. Together, they anchor Konoma in a lineage of artists who bent borrowed forms toward something new.
Okada’s life has been shaped by such crossings. He grew up in Fussa, where the Yokota U.S. Air Force base loomed large, learning guitar in rowdy clubs for American servicemen while teaching himself recording at home. That hybrid education led to collaborations with Haruomi Hosono, Nels Cline, Sam Gendel, James Blackshaw, and Carlos Niño, and to a body of work spanning film soundtracks, collaborative projects, and exploratory solo albums. Earlier this year, Temporal Drift released The Near End, The Dark Night, The County Line, which features selections from Okada’s expansive archive of recorded material, cementing his reputation as one of Japan’s most adventurous contemporary musicians. With Konoma, co-released by ISC Hi-Fi Selects and Temporal Drift, Okada delivers his most personal and expansive statement yet: a meditation on connection, influence, and the beauty that survives across cultures.
- Words by Randall Roberts
The definitive release of Dubhei & New Chanel, the extraordinary musical work by Shinro Ohtake, known as an artist. Shinro Ohtake is currently known as an artist, but his career began in music. JUKE/19., which was among the first in Japan to respond to NO WAVE and incorporate it into their work, was far ahead of its time in 1980. Yet, their work quietly influenced many later artists. Yamataka EYE of Boredoms, in particular, openly acknowledged its immense influence, and in the 90s, he even started a duo with Otake himself, PUZZLE PUNKS (the unit continues to this day).
Dabuhei & New Chanel represents the ultimate expression of Otake's musical vision. This band, featuring guitar, bass, drums, keyboard, and turntables, was entirely remote-controlled, creating an extraordinary system where each stage performance itself became a work of art. Yamataka EYE was once featured in this system, performing with Destroy All Monsters, and his collaboration with Kazuhisa Uchihashi was also released as a CD work.
This release captures Dubhei & New Chanel's performance at the Toyama Prefectural Museum of Art's TAD space on the final day of the touring “Shinro Ohtake Exhibition,” which began at the National Museum of Modern Art, Tokyo in 2022. It is presented across three analog discs and two CDs.
For this performance, Toshiharu Toyama, a close ally who had worked with Ohtake and JUKE/19. since the early 80s, brought his own modified instruments and joined Dubhei & New Chanel mid-performance. Their playing plunged into a black hole-like sonic world that could never have emerged from Dubhei & New Chanel alone, creating an intense, condensed history of Ohtake's music starting from JUKE/19. , creating an intense experience that felt like a sudden condensation of the entire history of Ohtake's music, starting from JUKE/19.. Ohtake's live performance added to the ultimate industrial sound mass, creating a physical chaos.
Both the packaging and content differ between the analog and CD versions.
The analog packaging is unprecedented: a B-size silk-screen printed poster cut into three pieces, each housing one record, then all stored within a silk-screen printed clear case. When connected, they form a B-size silk poster. During cutting, the request was: “Blow out the bass at full volume—a lighter player might blow the needle off!”
Please note that the jacket image is a concept rendering and may differ slightly from the final visual.
Infant crafts eight immersive dub pieces built from echo-laden rhythms, shimmering ambient textures and spacious production. Drawing on Detroit techno and sound system culture, the album unfolds with patience and depth, favouring mood over momentum, with blissed soundscapes that ripple and refreact like liquid metal. Recommended for fans of the ambient side of echospace [detroit] axis.
Ampoule's Pub returns with a fresh remaster of the classic 'Summer' and a brand new track titled 'The Fragile Root'
'Summer' was originally released 20 years ago on the Vertical Form label - a result of a multitude of completely live and improvised studio sessions, that gently swell and evolve over the tracks 16 minutes.
'Fragile Root' is a brand new track, think vintage idm - intricate rhythms and melodies crossed with massive dub chords.
Mastered by Dubplates & Mastering
Multi-instrumentalist, producer & composer memotone (Will Yates) announces the release of his album Warm Shadows and a homecoming on Accidental Meetings. The record will arrive on May 15th and the album shows a glint of itself through the single ‘Round The Bend’ which features Jabu's guest. Warm Shadows sees Yates’ discography continuing to flourish and traverse into new territory once again, his ever-growing sound palette commands total attention throughout the LP, within the album sees delicate collaborations with Lithuanian artist Ugné Uma, Jabu’s guest and percussionist, Typesun. Memotone (Will Yates) is a learn-by-playing multi-instrumentalist and producer, working with minimal, ambient and contemporary classical music. Predominantly an improviser, recent years have seen memotone lean towards a more free-form approach, exploring jazz, drone and more meditative music, also showing a keen interest in sound design and textural experimentation. Will has released music with various labels over the years to critical acclaim, most notably; World of Echo, The Trilogy Tapes, Sähkö Recordings, Accidental Meetings, Patience/Impatience & Black Acre.
‘vernacular’ is the debut studio album by improvisation-based artist, and founder of life is beautiful, aloisius. built entirely from layers of improvised instrumentation recorded via laptop microphone, using various instruments such as: guitar, piano, cello, trumpet, saxophone, drums & voice. vernacular is inspired by the spirit of collective improvisation, and embodies aloisius' instinctual & organic approach to musical composition. crafted solely by aloisius (except for track 6, which features a layer of piano by life is beautiful member, friend & collaborator Bianca Scout). "Crisp, chaotic and unashamedly euphoric, it's fully human, packed with irresistible flaws and delusions that can't help but keep us completely gripped." (Boomkat) physical editions will feature a secret unlisted bonus track. to celebrate the release of the album, a semi-improvised interpretation of the project will be performed live by ‘orchestra379’ (a collective improvisation project curated by aloisius, consisting of a fluctuating lineup that differs on each occasion of performance). this iteration of orchestra379 shall feature: Isaiah Hull (vocals), abi asisa (cello), Jasper Maurice (guitar), Bianca Scout (organ), Damsel Elysium (violin), BJ Holy (trumpet & flugelhorn) & aloisius (drums & saxophone). preluding the orchestra379 performance will be a special, intimate performance by May Kershaw (of the band Black Country, New Road), performing using voice & church organ.
Copenhagen’s meme-able, custom line of genre-blurring songwriters yields Lithuanian talent, Gintè Preisait, fresh from the conservatoire and an LP with Toshimaru Nakamura, on an enchanted, waking dream blend of lower case concrète, trip hop and avant-classical experimentation calling to mind the refined crafts of ML Buch, Ugné Uma, Svitlana Nianio, Smerz, Lucrecia Dalt, Julia Holter or Martyna Basta, thru the reaches of Finland’s Fonal Records. It was bound to happen at some point, right? We've written more than enough about how Copenhagen's Rhythmic Music Conservatory has become the central node in a scene that's prioritized the permeable membrane between pop, classical training and unhinged technological experimentation - honestly where else are you gonna find Clarissa Connelly, Astrid Sonne, Erika de Casier, ML Buch and Fine? Gintė Preisaitė pushes even further into uncharted waters on her debut album, letting the pop forms evaporate like vapors around her intricately woven experimental collages. We're already off to a good start with 'Vigilance', a lengthy introduction that pays its respects to Preisaitė's past, present and future. The classically trained improviser, producer and composer begins with an ensemble of moaning acoustic instruments that she gradually chips into, tearing through the acoustic sounds with electronic treatments and introducing subtle, grounding field recordings before adding her voice and completely shifting the direction. The unwieldy blend of elements prepares us for an arguably bolder experiment, 'Summary Saint Mary', where Preisaitė matches her gamelan-like prepared piano phrases with Björk-ish vocal loops, OPN-inspired electronic touches and wheezing processed acoustic sounds. And it's remarkably well controlled; even in capable hands, it's a tough palette to work with and Preisaitė makes it look almost easy, never stepping too far in any direction or another. Because it's not really a pop record at all, it's an album that's aware of pop, doesn't avoid its charms, but manages to corral its characteristics into the avant garde's misshapen spirit. Even the relatively upbeat, straightforward 'Aéroport', a track that would have sounded stylistically comfortable on Smerz's RMC love-in 'Big city life EDITS', she never goes full James K, letting the melodies curve towards freeform abstraction in the final act before hitting us with three tracks of choppy, half-dissolved prepared piano. It's ambitious stuff, and all the better for it.
Originally released in 1999 on the German sound‑minimalism stronghold ~scape, Kit Clayton’s debut album Nek Sanalet stands as a landmark work of minimal dub and clicks & cuts.
Following two lauded EPs on cult label South of North, Amsterdam-based Devon Rexi prepare to release their much-anticipated debut album, recorded by and in collaboration with elusive 5 Gate Temple devotee, musician and producer John T. Gast, whose acclaimed catalogue continues to flourish. Devon Rexi is a trio made up of Nicola Reverda (Nicolini), Nushin Naini and Goya van der Heyden (La Rat). They’ve quickly carved out their own sonic world, traversing krautfunk, post-punk and psyched-up no wave, all laced with a dub-heavy experimental mentality. Breathstep captures the band’s bass-heavy incantations, ripe with melodic chaos and rhythmic improvisation, while devilish cackles and processed vocals flirt over a jukebox of dubbed snippets and sliced textures. The introduction of John T. Gast as producer and collaborator pulls the Devon Rexi sound deeper into bubbling dub territory, while his own palette is stretched and pushed into new terrain. Though Gast has firmly cemented his singular sound over the last decade, this interconnected process marks new ground for all involved. The result is a supreme convergence of esteemed musicians and a wickedly fine debut collaborative record. Breathstep finds its home on Bristol imprint Accidental Meetings, whose ever-evolving sound and wide-ranging discography continue to grow. The album was recorded over the last year across Amsterdam, Lisbon and London.
Yaka slips into the APPX: catalogue with a hi-def 8 part narrative. Coated in silky sonic camouflage the Philadelphian sound designer, producer, and apparent amphibophile, conjures an aquatic instrument-rack straight out the estuary, and re-engineers it into a kind of amphibient-bass eco-system: part poolside bio-luminescence, part Severn-side subsidence. Welling with emotion ‘Dream Big’ is a joyride with your favourite frog-sage homies. It's devotional, yes, but with a wink. Orchestrated by a bayou-mystic who’s just as likely to kiss the ring-modulator as they is to throw a shaka from their boogie board as they carve a line down stream. The opening track “chrysalis of peace” builds like a choral summoning, beckoning you outward. “blubstep” shakes itself off and stretches into scattered breaks, sprinkles of underworld energy flickering beneath the surface. On “la pari,” the daemons find their stride in a huge leap into bass, punctuated by vocal satire, kitschy melodic fun, and an Amazonian sweat capable of humidifying any dancefloor. “miss that beach” slows the A-side into a thoughtful drift on a lilo, the distant sounds of cousins playing while wind lifts leaves overhead. Flipping the disc, “buggged” arrives as a beat you can imagine bounding out of a Timbaland studio, tiptoeing in and out of 4/4 club jack. “back at the pad” breaks stride with a halftime depth that keeps you poised, like the surface tension of a water droplet in zero gravity. “weavin’ web” threads ascending melodic patterns over raised nodules of rhythm. Closing the album, “secret dream” dissolves into a private horizon — something half-remembered, half-invented — left for the listener to discover on their own.
Friend, james K’s critically-acclaimed third album, opens as a portal and continues to garner a life of its own, a constant earworm that continually resonates as the map of its emotional cartography shifts into new ground. The map continues to unfold with Friend Remixes. Speaking on the remixes, K says: “Friends remix Friend. It is such a sweet honour to have my friends and collaborators, whose work has inspired mine, interpret and translate this work into new narratives.”
Straight from the weedy fields of swampville Bruxelles we bring you 8 ‘tranches de vie’ of deep zone-hall by weirdtronic bass veteran Michael Crabbé’s best fitting sound costume to date: the mighty Rudi J! You might know him from earlier outfits but that’s not the main issue here. Rudi J is!When this swamp thing touches the pads, it’s off-road after three seconds, even if you’re in the middle of Europe’s capital. Mixing analog dirt and digital sound bits in a very loose and personal take on dancehall, we’re pretty far away from the dance floor but definitely swinging. It’s a trippy affair wandering around concrete flowers with a deep ambient flavor, but it’s edgy.A hot summer fever dream following his own lusty path, full of life and wonder but with something sinister hiding around every corner. Often reaching for the stars, a deeper shade of bass keeps things nicely grounded. These sounds are built with a sound system in mind and bass culture at heart. Even if you can definitely surf on it from your couch, picking out all of its ear-pricking details, it will very much come alive on a big sound.A layered affair with almost jazzy and orchestral elements peeping through the stereo-field, spectral and dissonant but also playful. Like early dubstep, some of these tunes can destroy a clubsound, keeping you skunking out in pedestrian mode and snorting up the atmospherics, finally forgetting about that damn phone.