MUSIC

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.

Vital 1977-’79 dubs by the wee legend, all cooked up long, strong and odd at his fabled Black Ark Studio for DJ play and dancers’ satisfaction. Holding 40 minutes of golden era dub heat, ‘Disco Devil Vol. 1’ spotlights Lee “Scratch” Perry at a crest of his innovative powers. The title cut is a certified all-timer, full of chants, cauldron bubble and ten tonnes of bass that would be sampled in a ‘90s anthem by The Prodigy. Likewise he takes all the time needed to crease your Clarks with a 9 min discomix of Junior Murvin’s sparrow-voiced trotter ‘Roots Train’, and nearly 10 mins of the unreleased Seven Leaves disco mix to ‘Such is Life’, cooling Lord creator’s croon on duskiest sway and FX balm, next to soul-stir fire of Winston Watson’s ‘Dispensation.’

FELT survey Copenhagen's contemporary jazz scene with RMC graduate Vincent Yuen Ruiz’s intimate and strikingly minimal rendition of stifled percussion, spacious piano and precise double bass work, tipped FFO of The Necks x Talk Talk, naturally. Ruiz is a seasoned jazz player who's also nursed a parallel reputation as a post-rocker, formerly playing bass in Plaistow. And it's this knowledge of a world outside of jazz that gives 'Trio' its edge. It's not a post-rock record, by any means, but it's not pure jazz either - or at least, it doesn't sound as if it's confined by the aesthetic. The ensemble formed in 2019, but their last record together, 2021's 'Le seul salut que je connaisse', was recorded as a six-piece. Ruiz strips the sound to its bare bones on 'Trio', relying on unusual percussive sounds (provided by drummer Anders Vestergaard) to fill in some of the gaps. And although Rasmus Kjær takes a de facto lead roll on piano, it's the rhythm section, commanded by Ruiz on double bass, that makes 'Trio' so fascinating. There's an almost meditative sense of calm to opener 'Choral', with Vestergaard's bowed cymbal tones providing a neat bed for Kjær's Bach and Ravel-inspired flourishes. The tension is only released when Ruiz's soft bass enters the frame, played somewhere between improvisation and composition, minimalism and decelerated chamber jazz. Just as he slimmed down his ensemble, Ruiz slims down the pieces themselves, condensing and distilling his ideas so the record never gets busy, or outstays its welcome. Just head to the central piece 'Weaving', beautifully balancing its measured piano with Vestergaard's odd flurries of percussion that sometimes appear for just a second. We can hear post-rock - particularly the variety that Talk Talk perfected - but our brains are also directed into filling in the gaps. 'Trio' is an album that lives and dies on its pauses, focusing on decaying notes and echoing rhythms in all their quiet beauty.

More top tier biz from a resurgent Scenic Route label, this time in a more bare-boned and classic sounding singer-songwriter mode courtesy of Oakland-raised and Brooklyn-based singer-songwriter Ivy Knight, produced by Deer park (fakemink, Ecco2k, evilgiane) and tipped if you’re anywhere on the line from Joanne Robertson to Sam Amidon, Dagmar Zuniga to Mark William Lewis. "Ivy Knight’s songs reflect a city dreamer creating a new world to sink into: across Iron Mountain, she conjures imagery of barren Southwest American landscapes as she recounts memories that feel beamed from generations past, channeling folk melodies and old trail ballads of the late 50s and early 60s. Much of her work has been created both within, and in reference to the Hudson Valley, where she met frequent collaborator Deer park (fakemink, Ecco2k, evilgiane) who produced and engineered."

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.

"Linear ancient voltage-controlled sound rituals. Alien liturgical tones" Convergence is an ambient album formed through a series of morning rituals during rehabilitation following a severe medical event and an extended hospital stay. After weeks immersed in the constant alarms, beeps, and environmental signals of medical equipment, the act of listening itself became recalibrated. The music was performed and assembled using glass marimba, flute, and analog synthesizers, with each instrument treated as a source of resonance and gradually dissected through spectral analysis—allowing melody to emerge from fragments through repetition, attention, and daily practice, where synthesis functions not as traditional composition but as an exchange of signals. Working slowly and intuitively, Stardust Multiplier approaches sound as a communicative medium between humans, the natural environment, and non-ordinary states of perception. Motifs evolve through repetition and subtle variation, informed by ceremonial music, mythic structures, and speculative communication frameworks associated with non-human intelligence—not as narrative devices, but as metaphors for attuned listening and pattern recognition. Rather than moving toward resolution, Convergence documents moments of alignment—instances where intention, system, and environment briefly synchronize. The result is a restrained, deeply focused record, less concerned with atmosphere than attention, where synthesis functions as both a grounding practice and a method of inquiry.

Sa Pa launches Dub Techno For Life: a dedicated outlet for the artist’s more dancefloor-focused material - work that has largely sat outside the conceptual frame of his previous releases. The label’s first release, Girls on Tour EP, opens with “Mokira Ultra Dub”, a 10-minute club rework of Mokira classic “Manipulation Musik”. Originally produced alongside an ambient version commissioned for Kontra Musik’s 2016 Kontra X compilation, the dancefloor mix was ultimately shelved until now. With Andreas ‘Mokira’ Tilliander’s blessing, it finally surfaces as a standalone Sa Pa production. A track too banging to go unreleased. “Waiting For You” traces back to Sa Pa’s orbit around the giegling ecosystem via FORUM. Once lined up for an official release on the parent label before plans stalled, the track slipped into the archives. Buoyant and disarmingly pop by Sa Pa standards, it finds its place here as the A2 - tuned to the collective memory of mid-2010s German house music. Harnessing the spirit of Chain Reaction from the abandoned patches and borrowed machines of a rainy night’s recording in Taipei, the B-side’s “Modular System” captures a late-night, one-take modular jam. A broken yet hopeful “World Saving Banger” closes the EP with some raw and IDM-leaning force, showcasing Sa Pa’s new label - and the Girls On Tour EP - as a space for neo dub techno ideals to take shape.

Presenting the 2nd in the series of Persian remix EPs, following the bumping Dub House remakes from Picasso, the label is joined by Yorkshire’s own young electronic folklore master, a fast-rising name, Miles J Paralysis. Whereas Picasso took the first Dubplate ‘Space Within Art’, here Miles J delves in to the follow up ‘Smoke Dub’, turning out a selection of dubwise cuts that build on the dark electronics of his excellent debut releases for his Crying Outcast label. Yorkshire born and based, with a love for the Moors, as well as the teachings of lore, magick and mysticism, this young producer has been emersed in music since a young age, with a penchant of Dub, Hip Hop and Reggae. Starting with Survival Dub, the anthemic Ragga Dub original morphs into 2 parts, first heading down Paralysis’s alley of dark and brooding production marrying perfect touches of the vocal samples, before the amen break builds the track to the light. Smoke Mari follows, the languid Digibreaks chugger, utilizing Linval Thompson’s iconic vocals, now comes as a deep meditative Dub excursion. Stripped back to a raw essence, the vocals whirl, while hypnotic keys and dub bass complete the psychedelic mosaic. There Is No Love is modern dub style, off beat syncopation, reverb, tape delays, a lifting melody and some heavy vocal sampling all in the mix. The breakbeats of the original are jettisoned for an assurity of 4/4 thump, the atmospherics seeking the dark corners. “These are the last days; can’t you see the sunshine?” Zatoichi’s Troubles ends the pack, the trip hop, Depth Charge dub bass cut transforms at the mixing desk of Miles J in to Dub Techno territory; haunting, melodic. Miles J’s love of the deeper side of electronic music explored. Club music but not produced for clubs. A perfect synergy of old and new. Made for the discerning. Folklore the Mystery.

'MAIDEN' is Laurine Frost's third instalment of the 'LENA' series (2020) - where the narrative conceptually revolves around the fictional musical journey of his imaginary daughter over the course of a series of albums. ‘MAIDEN' is deemed to be the most intense piece of the series yet, with the figure of the unstable, hesitant protagonist teetering between light and shadow. Dramatic depths and heights, often dark tones, composed chaos and rumbling polyrhythmia - somewhere far on the edge of jazz and rusty contemporary electronica. Notes by Laurine Frost: „The thematic focus of this album draws from multiple sources. A utopistic self-revelation that has the purpose to paint imaginary landscapes and surreal scenes, to talk about the past and the future that never occurred or never will, to describe the pure human nature in its most honest and instinctive form – much like in our dreams.” – Says the original guide that is meant to help the listener understand the structure and the basic idea behind this series, which is like a portrait that's meant to illustrate a naive artistic narrative of a woman's life, from childhood to old age. Desiring freedom, craving commitment. MAIDEN aims to represent a woman in her peak with many contradictions and uncertainties. Oppressed by expectations and struggling with the throbbing desire for liberation, the character portrays a convulsive attachment to something imaginary and intangible. The slow but sure deterioration of her outer beauty cries out for an inner virtue with humility. I undertake the most difficult task: to shape the woman. Over the course of 5 pieces I tend to enchant and then frighten the listener with all that concise content, stubborn will and instinctive existence that keeps us all alive in one way or another.

Over the past decade, Chaos In The CBD, the brotherly production duo of Louis and Ben Helliker-Hales, have captivated global audiences with their spectral, jazz-inflected deep house sound. With over 100 million streams worldwide, the New Zealand-born, London-based artists are set to release their highly anticipated debut album, A Deeper Life on May 9, 2025 via the label head’s very own In Dust We Trust imprint.

To celebrate the announcement, Chaos In The CBD have shared the atmospheric lead single ‘Love Language’, featuring fellow New Zealander Nathan Haines on Saxophone. It’s an undeniable standout moment on the album—moody, ethereal, and naturally soothing. Speaking on the track, Chaos In The CBD explains: “‘Love Language’ is a track that suits almost any setting, evoking the laid-back, easygoing rhythm of life in New Zealand. Perfect for a road trip to the beach or those magical moments at an after party when the sun reappears. Love Language feels like a reflection of the journey that brought it to life and we hope you enjoy it as much as we do.”

The 14 track LP marks a significant evolution in Chaos In The CBD’s artistic journey. Known for their signature sound epitomised by their breakout EP Midnight In Peckham on Rhythm Section, the duo’s debut album unites live instrumentation and vocal collaborations for the first time, fusing together key musical influences such as Ambient, Soulful house, R&B, Jazz & Balearic into a melting pot of an epic journey that will surely become a future classic. If Midnight In Peckham was the duo’s coming of age; then their debut album is Chaos In The CBD coming full circle. It features contributions from legendary figures such as Josh Milan of Blaze, Lee Pearson Jr., Stephanie Cooke and UK grime MC Novelist, among others.

Though they’ve been based in London for over a decade, Louis and Ben (aka Beans) have never stopped feeling at one with their homeland. A Deeper Life is nostalgic for their nature-filled youth, exploring the magical coastline and lush rainforest of New Zealand. “The title refers to our childhood, which was idyllic,” says Ben. “It was just the sun, the sand, the sea, waterfalls, birds and fish...” The result is an international dance sound that feels unmistakably like Chaos and ebbs and flows from the beach party to the club to the afterhours. “It’s laid-back but still driving at the same time; it’s club ready, but still deep,” Ben explains. It’s also distinctly Balearic: The brothers found a particular affinity with 90s Ibiza chillout music, being from such a “chill place” themselves. “In its own way, New Zealand is incredibly Balearic, but without the party side” says Ben.

The brothers hope that their debut evidences their deep appreciation of 90s house music, from David Morales’s Red Zone mixes and Kerri Chandler to DJ Sprinkles, Larry Heard and beyond. “We didn’t go to the school of hard knocks, we went to the school of Carl Cox,” they wrote in one of their typically hilarious posts on Instagram. But while they’ve built a meme-driven online personality for their social media accounts, their album shows a deeper side to them too. “We joke around but we want this album to be taken seriously,” says Louis. “It’s music from all around the globe, and there’s a deep meaning to how it flows and sticks together”.

For Chaos In The CBD, A Deeper Life is more than an album—it’s a celebration of their roots, their community, and their enduring bond as brothers. “This is a love letter to home and the feeling of being within nature,” says Louis. “It’s also an ode to a slower pace of life.” The album is an invitation to journey through their world: from the beaches of New Zealand to the heart of London’s dancefloors, and everywhere in between. A Deeper Life is set to be both a club-ready triumph and a reflective escape for listeners worldwide.

Dave Huismans (ex_libris, A Made Up Sound) presents In Transit, a self-titled LP of arresting downtempo vignettes, with origins dating back to over a decade ago.

Renowned for some of this century’s most notorious rhythmic advances, the work of Dave Huismans (fka A Made Up Sound and 2562) continues to provide a blueprint for new generations of innovation-obsessives. After a long hiatus from releasing original material, he returned in 2025 with two beloved EP’s as ex_libris. Now he returns to FELT as In Transit, following up on his remix of Civilistjävel! from 2023.

Borrowing its name from the closing dialogue of a novel by Dutch author Hella S. Haasse, In Transit was written in just two weeks in the summer of 2013 on a Korg ESX sampler. Since then, he has patiently refined its constituent parts.

Over the course of 38 minutes across six tracks, In Transit maps out an absorbing vista. The music shimmers with a celestial quality, underpinned by rhythmic stamina and creeping intensity. Tangential to Huismans’ previous work, the beats here are decentred and further scattered, acting as buoys to the constantly evolving and intricate narratives of layered textures.

In Transit marks a fascinating new addition to Huismans’ sprawling catalogue, a truly remarkable racket to be crafted with such humble means, finding a suitable context within FELT’s continued venture into parallel sounds.

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.

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.

A leading light of neo-ambient takes their maiden bow on Glasgow’s stealthily expansive co:clear label after cherished turns with the sferic and Stroom labels. The International Billionaire’s Love Child, or tiblsc for brevity, is the avatar of a Leipzig-based artist in possession of a distinctive, world-building ambient purview that has clearly stroked a nerve for listeners chasing the modern ambient zeitgeist, especially their couplet of ‘Delusive Tongue Shifts - Situation Based Compositions’ (2021) + ‘Hypertranslucent’ (2022). Those albums’ careful bends of pulpy sentiment and intricate, immersively dreamlike architecture is now echoed in ‘City of Something’, where her tender feel for compression and blends of HD and lo-fi tones fosters a gauzy sense of depth perception and sonorous emotional resonance. More so than her previous work, the eight tracks here are laced with a flickering pop spirit that riddles the album’s finely meshed dimensions, calling to mind aspects of Perila that are whisked to its most elegant frisson in ‘Resting Bitch Face’, or catching breathy contrails of an airspun pop song in ‘The Sun Really Is Something Round’, whilst tickling private parts of the imagination with the compressed artefacts of ‘You Just Want’, edging on Shinetiac’s take on smudged sheogaze trip hop in ‘Scare Me’, and teasing the most elusive urges on a secretive, quietly restive closer ‘Until the End of Time’.

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.

Netherlands-based artists Tomo Katsurada (Ex-Kikagaku Moyo / Future Days Radio) and Jonny Nash (Melody As Truth) combine forces for an exploration into the sonic potential of the guitar duo, rooted in their experiences performing together over the last 12 months. Friends and admirers of each other’s work for a decade, their musical collaboration began in 2024 with Katsurada asking Nash to contribute guitar to his debut EP ‘Dream Of The Egg’. Sensing the need to explore this further, they spent the following year performing together in different configurations, with Nash joining Katsurada’s trio and Katsurada in turn playing with Nash as a duo, across a wide spectrum of spaces, from churches and temples to concert halls, theatres and outdoor festivals. With new ideas developing organically out of these performances, recording new material became the next logical step. A short period of three days was set aside with a clear goal: to capture the essence of their fluid, intertwining melodies and guitar playing in a way that felt as direct and unfiltered as possible. Working from a handful of pre-existing sketches, they left ample room for experimentation to unfold within the process. 
The results are presented on ‘At The Emerald Pool’, a collection of ten pieces that offer the listener a full immersion into the pair’s sound. With guitar as the primary instrument for both artists, it is no surprise that the core of the album lies here, specifically in the fluid interplay between the two players. Layers of gentle, delay-soaked fingerpicking often make it almost impossible to distinguish where one player ends and the other begins. As soloists, both Katsurada and Nash have a gift for crafting melodic lines that feel open and ascending, expressive and hopeful without becoming saccharine. Longer, more abstract pieces are counterbalanced by a series of shorter songs, with five vocal tracks appearing across the album. The decision to share vocal duties lends the record a unique quality and a strong sense of variation, bringing a wide expressive range out of a deliberately focused musical framework. 
 ‘At The Emerald Pool’ represents the first chapter in an ongoing musical dialogue, an attempt to capture a moment of connection, openness and discovery, laying the foundation for what continues to unfold.

in filth your mystery is kingdom / far smile peasant in yellow music Recorded 2019-2024 'the gold metal must be wrung a bore is a well lit mine where everything belongs to me' Dagmar Zuniga makes music that feels both intimate and expansive: songs drift like disrupted signals, carried by harmony, tape hiss, and a strong sense of touch. Her debut solo album in filth your mystery is kingdom / far smile peasant in yellow music — written and recorded in New York, Norway, and Athens, Georgia over a period of five years on her longtime companion, the Tascam 424 — was uploaded to Bandcamp and YouTube in January 2025 through Dagmar’s friends People's Coalition of Tandy. The project quickly garnering over two hundred thousand views and the attention of artists such as Mount Eerie, who invited her to tour with them that summer. This year, what was once a jewel of tapped-in algorithms and message boards will meet the world at large, with in filth arriving digitally on March 4, and physically on April 10, via AD 93.

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.

Go Kurosawa is a multi-instrumentalist, producer, and co-founder of the independent label Guruguru Brain. Best known as the drummer and vocalist of Kikagaku Moyo, he has spent the past decade building bridges between East and West, sound and silence, rock and ritual. soft shakes is something different. A personal chapter in Go’s journey, it marks his first solo album, created entirely by himself and made, for the first time, purely for himself. After Kikagaku Moyo disbanded, Go spent some time producing records for other artists, but with soft shakes, there was no plan. Just the instinct to pick up an instrument, play, and see what might unfold. As he puts it, “The whole framework is new. When I made music for the band, I always knew who would play what. This time, it was just me. No plan, no expectation. And weirdly, that became the concept: doing it all myself, for the first time.” Go has a rare kind of musical instinct. He can play anything, hears everything, and yet never takes himself too seriously. For a long time, making music alone wasn’t part of the plan. Music had always been about connection. But over time, as he travelled, collected instruments and set up Guruguru Brain studio in Rotterdam, the sound of a solo voice emerged. soft shakes came together between January and June in Rotterdam, through dark, rainy, quiet days. Each day, Go would head to the studio, pick up whatever instrument was around and simply play. The process was slow and instinctive. “If something still moved me the next day, I’d add to it. If not, I’d start something new. One step at a time, without pressure.” Even as a solo record, the music doesn’t feel tight or controlled. It has the looseness of jamming, the joy of following where the sound wants to go. “I wanted that feeling, even if I was jamming with myself.” What comes through is music that feels playful, layered, rhythmic and delightfully unexpected. Just like Go. The album artwork was created by his partner Ao, her first time doing artwork for a record. “It captures the freedom and boldness of trying something new and I love it,” he says. soft shakes arrives at a moment of transition. Go recently relocated to Fukuoka, Japan, after years of living and working in Europe. “While making this album, we were deciding where to move. I knew it would be my last creation while living in Europe. When I listen back, I can hear that longing for something, towards a far away home.” The record feels like the closing of one chapter and the beginning of another. “Now I’m excited to build a studio in Japan and start again. I don’t know what will come next, but I want it to be shaped and influenced by new surroundings.” And while this record might be personal, Go hopes it offers something to others too. “I wish people would travel somewhere else through music. You float around, lose track of time, and when the record ends, you feel the soft comfort of coming home again.”

The follow up to 2022’s ‘Return to the Island’ LP is a new 6 track EP influenced heavily by the evocative powers of incense and a deep sense of escapism. The EP has a more organic sound palette than its predecessor, from both the use of samples and appearance of various guest musicians. Lead track ‘Morning Star’ features long standing collaborator Mike Burn (Udaberri Blues & Mama Capes) who adds his trademark liquid gold lead and rhythm guitar lines with live bass from Fernando Pulichino. The guest on ‘Savanna’ is frequent Jack J collaborator Linda Fox, who provides emotive and melancholy sax over a Dub House backing track with a particularly dreamy chord progression. The EP features Instrumental Dubs of both tracks, alongside two other new productions, the 80s leaning ‘Hands Across the Sea’ and ‘Wah Fix’, which rounds off the more Dub influenced B side with a 125 BPM bouncy Dub House excursion. In 2026 the Jura Soundsystem project enters its 10th year and is the creative musical outlet of Isle of Jura founder Kevin Griffiths. All tracks produced at IOJ HQ in Moana, Adelaide between 2022 and 2025 with support from the incense gods of Cedarwood, Jasmine and Sandalwood. The 12” is housed in a 3mm spine full sleeve designed by Bradley Pinkerton.

Somewhere between revelation and delusion, Euphoria Bound maps a familiar trajectory: the irresistible pull towards dissolution, the gradual erasure of memory, the self rendered irretrievable. It moves between states of consciousness where such distinctions of enlightenment or self-deception are erased.

Across ten tracks, the album constructs a spectrum of sound that is both ambitious and uncompromising.

The approach here is more direct than recent releases, with textures that accumulate and disintegrate with renewed urgency.

Based in California, Marjorie W.C. Sinclair’s multi-disciplinary project, Evanora Unlimited, weaves together goth, industrial, bedroom pop, and post-punk through a uniquely dark lens. Their latest release, Portraits from Memory, is a deeply personal and conceptual self-released album.