MUSIC

Métron Records presents Mycorrhizal Music, a new solo offering from composer and multi-instrumentalist Ess Whiteley and their first full-length release since their duo Liila’s album “Soundness of Mind” (Not Not Fun, 2021). Currently a PhD candidate in Composition at the University of California-San Diego, Whiteley’s practice spans recordings, installations, performances, and scores, a body of work as diverse as the fungal webs that inspire it.

Across seven tracks, Whiteley explores interconnected sound worlds shaped by mycelium networks, rhizomatic structures, and other unseen systems that sustain life. Rooted in experimental electronics, minimalism, ambient and IDM, the record imagines sound as ephemeral connective tissue capable of reshaping how a listener might experience time, memory, and futurity.

At the core of Whiteley’s work is an excavation of what lies beneath perception, the felt but unspoken currents of emotionality and subtle experiences that dwell in the unconscious. Mycorrhizal Music channels these hidden threads into a speculative ecosystem of kinship and exchange, where joy, play, and spirituality interlace like branching hyphae beneath the soil.

Mycorrhizal Music has been conceived as kinetic ambient music, designed to move with the listener while walking, riding trains, driving, cooking, where everyday rhythms align with shifting sonic textures, reminding them of hidden, interconnected, mycelial webs of spiritual vitality beneath the surfaces of daily activity.

Guided by a vision of speculative ecology and interspecies resonance, it thrives in contrasts: tracks like Rhizomatic Harpists and Whispered Messages in Tapestried Fields of Fluid Motion pulse with fluid momentum, while Kaleidoscopic Patterns of Emptiness Dancing drifts into fragile stillness.

Under one of his most notable guises, Larry Heard presents a new album for 2018; his first full length album as Mr. Fingers in almost 25 years ! Famous as one of the most important heads in the dance music around the world, Larry has enjoyed a successful career as a producer, remixer, collaborator, vocalist and DJ spanning 35 years. Due for release on his own imprint Alleviated Records, 'Cerebral Hemispheres' features 14 new pieces of music that allows the listener to fully immerse themselves and dig deep into Larry's musical world.

Re-issue of essential Larry Heard album from the early 2000's... Love's Arrival!

An alternative sound born in the gap between digital dancehall and the UK underground’s experimental currents. Active in the mid-to-late 1980s and based in Britain, Reducer narrowly missed signing to On-U Sound and left little behind, yet reportedly had Downwards’ Regis enthralled at the time. A legendary post-punk/industrial reggae band, their long-lost recordings finally surface: a powerful three-track single on Bristol’s leftfield institution Bokeh Versions. Included is the 1986 discomix version of the era-defining riddim “Sleng Teng,” radically reimagined. Built around the Casio MT-40 preset that sparked the digital dancehall revolution, these tracks vividly evoke the atmosphere of sound system culture. Repetitive rhythms and low-end sway merge with a contemporary sensibility, preserving the original innovation while extending it into a more elongated, psychedelic form of ecstasy. An essential update to a monument of the digital revolution—indispensable for all devotees of reggae, dub, and dancehall alike.

London’s DJ Ojo expands his deep end club purview to a full album of purring downbeats, lilting rhythmelodies and technoid bassbin pressure with signature restraint and well-balanced weight for Blank Mind. It's really strong, tightly produced gear the far fringes of dub techno, somewhere between Monolake, Convextion, and the sort of thing Beneath and Kowton were up toback in the post-dubstep and post-UKF days of the late ‘00s...

One up to his label debut 12” of ’23, and a preceding EP for Significant Other’s Pain Management, the eight tracks of ‘Total Internal Reflection’ dwell in a vein of syncopated, offbeat UK bass music where deep house, dub techno, and electronic sound designer suss are reduced to barest essentials, as first shaped by the likes of Beneath and Kowton back in the post-dubstep and post-UKF days of the late ‘00s. It’s a sound that can sometimes take itself so seriously to the point of numbness, but is here inflected with just enough personality and sensuality in the tactile dub tech details and whirring, minimalist efficiency of the groove that buoys it to interest for connoisseurs of this sound.

A carefully plotted course emerges in the finely tempered escalation of tempo and opening of envelopes from a squashed, reticulated opener and nervier, skeletal 2-step parry of a title tune spangled with insectoid intricacy and adore dubbing, finding filigree variegation within a theme as the sloshing bleep swag of ‘Entropic’ nudges into mid-tempo swang shades from Paperclip Minimiser aces on ‘World of lens’, and echoes of Pole bounce around the sound sphere of ‘Axiomatic’, with a strong cap-tip to T++, but at depressed pace, on ‘Cruising’, and the sort of subs made for swimming in the club propel its most robust stepper ‘Isomorphic’.

East Kilbride’s Scott Fraser finally comes good on a 25 year promise to his younger self with his debut solo album on his own label DX Recordings out of London. This record represents the closing of this chapter and the opening of a new one.

A truly international and collaborative project pulling together the help and talent of friends around the world with mastering by Radioactive man Keith Tenniswood, cut by Frank Merritt at The Carvery and world class US visual art and design legends, Tim Saccenti and Nick Martin on photography, artwork and design.

Limited to 300 solid red heavyweight vinyl copies, brown kraft sleeves; individually hand stencilled and numbered by the artist, printed inserts feature a collection of moments and images from the last 25 years - the studio, the equipment, the people and the places that came together to make this release. Japanese rice paper inner sleeves.

Limited edition hand printed screen print by Niall Greaves at Newbridge Print Studios in Newcastle on the first 30 copies exclusively available via the DX Recordings Bandcamp page.

Musically diverse, crossing styles, flavours and moods, threaded meticulously with razor sharp Roland TR606 programming and glued together with a Space Echo, Expanded opens with the sub aquatic funk of ‘Eden And After’. Side one takes you through banging electro on ‘Energy In Constitution’, the dark dub techno of ‘To The Letter Of My Oath’, leaves you disappearing through a black hole on ‘The Path Of Helium Rain’ and the sound of aliens talking through FM synthesis on ‘Collected Stills’. On side two: a slice of dark, heavy instrumental hip hop gets things started with ‘Where Is That Perception? ‘. Next we get into some straight 4/4 club techno with cut up drums and bumping baseline in ‘Mi Dominante’ before moving through some blissed out Detroit vibes on ‘Earth Looking Inwards’, a rough as you like TR606 driven experimental electro groover ‘Object of Life’ and finally closing out with the Ectomorph inspired stark electro of ‘Steel (NB_BLOOD cut)’

Utter presents Marshall Jefferson's previously unreleased meditation opus 'Yellow Meditation For The Dance Generation' alongside two remixes from French production maestro Joakim.

Marshall Jefferson: Chicago House music pioneer, creator of the anthemic ‘Move Your Body’, an original collaborator of Adonis, Ce Ce Rogers and Roy Davis Jr., production mastermind of countless dancefloor classics such as Phuture’s ‘Acid Tracks’, Sterling Void’s ’It’s All Right’, Hercules’ ‘7 Ways’… and the soothing voice behind a 36 minute healing meditation guide. Yes, really.

But let’s rewind, slightly.

In 2017, Marshall was approached and encouraged by Ian ‘Snowy’ Snowball to write his autobiography and the pair set about putting Marshall’s account of the history of House music together. The book, ‘Marshall Jefferson: Diary of a DJ’ was published in 2019.

Following the book’s release, Ian and Marshall's collaboration continued and during the pandemic an outlandish idea arose to create a piece of music combining Ian's interest in meditation (he runs Club Chi specialising in Shibashi Qigong - a form of Tai Chi Qigong - which is a gentle form of movement therapy/exercise) and Marshall's willingness to experiment musically to see what might be possible.

The result is ‘Yellow Meditation For The Dance Generation’, where Marshall vocalises Ian’s lyrics in his instantly recognisable voice. The keen-eared out there may also recognise aspects of the music itself as a stripped back, lengthened and far mellower version of Marshall’s 1985 obscurity ‘Vibe’:

“I would take tapes to the Music Box and Ron Hardy would play my music. ‘Vibe’ was one of those tracks. I recorded ‘Vibe’ in 1985, but it became one of my tracks that I just forgot about until some guy on Facebook sent me a recording of it that was taken from a club. The only person who I ever gave a recording of ‘Vibe’ to was Ron Hardy. The other people I know who had copies of the track were Gene Hunt and Emanuel Pippin (DJ Spookie).

"The original version of ‘Vibe’ was made using a Roland 707, Roland JX-8P keyboard and a Roland 727 drum machine. I was still working at the Post Office at the time, and this was pre-‘Move Your Body (The House Music Anthem)’. ‘Vibe’ has the building blocks for ‘Move Your Body’ because it was using the instruments on the track that I discovered what I could do with the bass sound, to make a track like ‘Move Your Body’.”

Still, Ian’s initial intention for ‘Yellow Meditation’ was function and it was designed to be a ‘Sequential Relaxation Exercise’ focusing on the Solar Plexus. Bearing this in mind, Marshall took a bare-bones and hypnotic approach to this particular re-recording of ‘Vibe’ so that the voice takes centre stage and listeners (hopefully) find themselves on a meditative journey. In fact, this long-form track was always intended as a private tool purely for meditation at Club Chi rather than released to the public - after all, Marshall had also created and released a more drum heavy, ’traditional’ club-focused 'Vibe Three' instrumental version for that very purpose - but a chance airing of the full 36 minute version changed its path.

Much like those 1985 ‘Vibe’ cassettes, Marshall had sent the track to a few close contacts, one of whom was Kieran at Phonica Records who aired it over the shop’s basement soundsystem. Its unorthodox nature caught the ear of colleague Alex (of Utter ) and the seeds of a physical release were planted.

Eventually, with the full-version carefully whittled down to a vinyl friendly length of 24 minutes, full track parts in hand and a b-side to fill, Alex sought out one of his favourite producers to take up the remix reigns: Joakim. The Tigersushi co-founder and Crowdspacer boss has a long history of boundary-pushing remixes that straddle both dancefloor functionality and experimentation. This time the original material resulted in Joakim coming up with a number of ideas and he finally delivered two versions - one club focused (‘Vertical’), the other more introspective and meditative (‘Horizontal’), both of which appear on the final 12”.

The limited edition 12” also includes a download code giving buyers access to all of the vinyl tracks plus an 18 minute extended version of Joakim’s ‘Horizontal’ remix, its instrumental counterpart (for those who can live without Marshall's voice) and full 12 minute acapella (for those who can't!)

The landmark work from Steven Hitchell—better known for his Deepchord and Echospace projects—returns under his Intrusion alias. Originally released in 2008 and later expanded into a two-disc CD edition in 2014, this long-awaited reissue brings the second disc to vinyl for the very first time via echospace [detroit]. Evocative deep dub techno visions such as “A Night To Remember” and “Under The Ocean” sit alongside iconic pieces like “Tswana Dub (Phase90 Restructure)”—also featured on Deadbeat’s classic mix Radio Rothko—while overlooked gems “Love In Lofi” and “Never Forget” finally get their due. The set also includes the live recording “Kingston’s Burning Dub [Live in NYC]”, balancing archival significance with immersive sonic force. Remastered by none other than Stefan Betke, aka Pole, who lends even greater depth to its already profound resonance.

"Vancouver producer Patrick Holland aka Project Pablo’s house music goes breezy and back to basics on his debut full length and first release since moving to Montreal this Fall. “I Want To Believe” is a blue-tinged walk through Little Italy; chunky disco and hybrid house inspired by ultra-real types of smoothness like George Benson, Sade or Steely Dan (“Aja”, that is) and relocating perceivably dated cafe-culture styles of groove-focused house into a newly sincere context. Project Pablo’s bright and deep slant on easy-listening is built on sturdy but loose percussion, heavy bass grooves (some of which are provided by Jeremy Dabrowski of Montreal band Noni Wo) and insanely catchy/whistle-able melodic hooks. It’s traditionally funky but backlit with existentially spaced out textures and skewed by genre-splicings that spin cheesier elements into honest and at times meditative drifts, like opener “Sky Lounge” with reverberant synth fades on top a chunky 4/4 disco-influenced beat, or the downtime of “In The Mat” with a shuffled pace interspersed with pitched vocal “woop” snippets. Focusing on solid, functional dance components, “I Want To Believe” is scattered with taped out and wonky synth leads and punctuated here and there with goofed-out cappuccino clink-equivalents of cascading percussion and melodic keyboard flutters, blurring “lifestyle” ideals into rich, taped out moods for club and kitchen use."

DIN SYNC DUB is an exploration of communication through sound. Six tightly packed experimental dub tracks use bass-heavy vibrations to rattle both body and mind, pushing the limits of self-expression in the hope of fostering deeper human connection.

The drive for more efficient and precise communication tools—whether between man and machine or machine and machine—has been a foundational force in the evolution of technology. This duality, the way we interface with computers and the way we speak to one another, is at the heart of DIN SYNC DUB. For this album, N1_SOUND looks back to 1980, drawing inspiration from Roland’s Din Sync—a 40-year-old synchronization technology once used to link musical machines in perfect harmony.

While connecting machines to produce precisely sequenced music is nothing new, it’s the tension between perfection and imperfection—the mistakes of both man and machine—that gives DIN SYNC DUB its voice, its emotional rawness.

The journey begins with “Horizontal Hang”, which crashes through the door with a relentless bassline and crystalline synths. “Such Love” introduces a throbbing, guitar-driven groove, while “Intuition Dub” channels the spirit of Jah Shaka, offering a rhythmic pulse that echoes dub’s deep roots. “Us All” provides a moment of introspection with its sparse, three-dimensional melodies, before “Joy” reintroduces chaos, creating a post-dubstep soundscape that dismantles everything in its path. The album closes with “Mauzy”, a hopeful yet fragmented conclusion, reflecting the ever-evolving nature of technology and connection.

By the mid-to-late 1980s, Din Sync was superseded by the more widely adopted MIDI, yet obsolescence is built into the nature of all technology. Just as our relationship with machines shifts and fades, so too does our understanding of how those changes shape us. Before we can grasp the impact, the world has already moved on.

DIN SYNC DUB, the first full-length LP from Spiritual World, pulses with energy, on the edge of malfunction—a manifestation of the tension between the digital and the organic, the past and the present. 

Like an ambient house comet, Local Artist Ian Wyatt’s Slow Riffs return to Mood Hut 13 years since their debut LP with a bevy of weightless, subtly pendulous levitations.

The projected dream sequence of ’Simulacra’ connotes an out of body experience with a poetic grasp of ambient, deep house and their roots in jazz, fourth world and new age urges. With subtle holographic dub diffusions the record achieves a pleasant sense of treading air/water and being gently buffeted by cosmic breezes. Take the title tune for example, whose rippling congas and bleary sax motifs feels like passages of earliest Terre Thaemlitz meets Jon Hassell, while elsewhere they touch a subtly ruggeder vein like Rezzett’s ambient jungle thizzers in its depth charged subs and aerial interplay of drums and pads, giving way to Romance-like sensations with the tousled choral pads of ‘Cosmic Joke’, while ‘Mutual Dreaming’ harks back to early vaporwave templates of 0PN via James Ferraro.

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.

先鋭的英国のテクノ・プロデューサー、ShiftedこもGuy Brewerが"Carrier"名義で放つ最新作『FATHOM』が、Perko主宰の〈FELT〉よりリリース。ミニマルな構造の中にドラムンベースのリズムを再構築し、金属的な質感と抽象的なサウンドデザインが融合した全4曲を収録。幻覚的な抽象性を帯びたグリッチ・プログラミングと霧のようなアトモスフィアが特徴的な"FATHOM"や粘性のあるベースと点滅するパルスが印象に残る"The Cusp"、有機的なディテールが際立つ"Trooper"など、IDM、実験的テクノ、アブストラクト・エレクトロニカの愛好者にとって、現代的なリズムとサウンドの探求が詰まった一枚！

When we established Balmat in 2021, neither of us could have imagined that within two years, we’d be putting out an album by one of our musical heroes: Mike Paradinas, aka µ-Ziq. The British producer has been an inspiration to label co-founders Albert Salinas and Philip Sherburne since the 1990s. In fact, his album-length remix project The Auteurs Vs µ-Ziq was one of the very first pieces of electronic music that Philip bought, way back in 1994. To have the opportunity to release his music now feels like a real full-circle moment. Paradinas, of course, needs no introduction. Under a slew of aliases, chief among them µ-Ziq, the British artist revolutionized leftfield electronic music in the 1990s—coincidentally, this year marks the 30th anniversary of his debut album, Tango N’ Vectif, for his friend and sometime collaborator Aphex Twin’s Rephlex label—and his label Planet Mu has built up a formidable catalog of visionary, forward-looking records, mapping virtually every corner of the electronic spectrum. With 1977, he turns the clock backward in a sense, and not just with the album’s title: Rooted in classic ambient and electronic sounds, these 15 tracks evoke the anything-goes spirit of the early ’90s, before the tools and tropes had calcified into cut-and-dried styles. There’s no shortage of familiar sounds on 1977. There are echoes of raves and chillout rooms and transmissions from the fringes of techno; there are detuned synths and glistening reverb tails and, above all, gauzy vox pads, the eerie glue that holds it all together. The title, he says, is meant to invoke a general sense of nostalgia, bookmarking a year in his boyhood when he became more self-aware. More than anything, 1977 sounds like µ-Ziq distilled: Stripped of his signature breakbeats and customary chaos, Paradinas’ first-ever strictly (well, mostly) ambient album presents the essence of his music in a whole new light. Along the way Paradinas touches on dark-ambient drones (“Marmite”), horror-film themes (“Belt & Carpet”), jungle breaks (“Mesolithic Jungle”), and even house music (“Houzz 13”), which marks the first bona fide dance-floor moment on Balmat to date). Yet the album never—to our ears, anyway—feels expressly retro. Rather, Paradinas plucks timeless sounds out of the ether and gives them a gentle tap, spinning them into unexpected new orbits. At times, 1977 feels like an experience of extended déjà vu: When we first listened to it, we had the sense that we already knew this music. It was as though we had heard it years ago, perhaps on a battered cassette tape lent to us by a friend, and been searching for it ever since. We hope you feel the same.

A leading figure in the current ambient/experimental scene, Portland-based Patricia Wolf delivers her second release on Balmat with a soundtrack for a documentary set in Iceland. Centered around the UDO Super 6 synthesizer, and incorporating guitar, mallet percussion, and field recordings, it carefully maps the intersections of landscape and memory. Avoiding overtly dramatic swells, its sustained layers shift subtly, allowing traces of childhood recollections and Nordic folklore to emerge with quiet beauty. A work where Wolf’s meticulous sound design and lyrical sensibility converge, standing as a defining statement in her career.

Morgenmusiken by Green Cosmos – A Cosmic Jazz Journey Unearthed

In the late 1970s, four young musicians from Marsberg, Germany—despite the absence of a local jazz scene—came together to form Green Cosmos, a quartet whose sound drew equally from John Coltrane’s spiritual fire, world music traditions, free jazz, and Indian classical influences.

Morgenmusiken marks a pivotal stage in the group’s evolution, moving beyond the ballad-driven character of their debut Abendmusiken—reissued earlier this year by Frederiksberg Records—toward freer, more meditative soundscapes. Across seven previously unreleased tracks, the album blends “cosmic music” with “live compositions,” reflecting the band’s distinctive approach to spontaneous creation. Sessions often began in silence and meditation, gradually unfolding into collective improvisations.

The lineup featured Michael Boxberger on saxophone, Benny Düring on piano, and twin brothers Alfred and Ulrich Franke forming a rhythm section frequently described as having a “telepathic connection.” Joined by sitar master Narayan Govande, they shaped a sound that balanced freedom with improvisation, space, and silence. “Silence might be the most beautiful part in music,” the band once reflected. “One single note can make more of an impression than 100 notes.”

With this ethos, Morgenmusiken invites listeners on a journey both meditative and expansive - a discovery of music that feels timeless.

After decades spent shaping the sound of southern Madagascar, Damily returns with Fanjiry, his most intimate and focused record to date. A key figure in tsapiky as a guitarist and composer, and a driving force behind a genre he helped define, Damily has long expressed himself through the voices of the singers accompanying his bands. With Fanjiry, he takes a singular step forward: for the first time, he carries his compositions himself through singing — not by claiming the role of a singer, but as a natural extension of his playing and personal storytelling. Known for igniting village ceremonies and carrying the fever of Toliara far beyond Madagascar’s shores, he makes a shift here — not away from trance, but deeper into its core. Recorded and mixed in just three days at Studio Black Box with analog sound engineer Peter Deimel, Fanjiry reduces tsapiky to its essence: a single guitar and a single heartbeat. Damily plays alone, yet fills the entire space — bass, rhythm, melody, breath and pulse merging into a dense, vibrating and constantly moving sound. Each riff becomes architecture, each harmonic opens a door onto memory, childhood landscapes, and those nights when music heals, connects, and pushes back the dark. Free of nostalgia and frozen folklore, Fanjiry unfolds as an intimate territory where tsapiky naturally converges with memories of village life in the 1980s — the Pecto, Radio Mozambique, East African 7-inch records, Malagasy national hits — alongside possession rituals and the practices of local healers. Added to this is a second life lived far from Madagascar, which has allowed Damily to explore the depths of his guitar more freely, pushing his sound further, beyond constraints. Raw and precise, suspended between earth and sky, the album is born from gesture and necessity. Its title — the last star visible before dawn — captures that fragile moment when a single guitar can hold an entire world and still move forward. With Fanjiry, Damily does not step back — he opens the horizon. A solitary record reaching toward others, where intimacy becomes universal and the dance begins again, softly, before sunrise.

Following Léve Léve Vol. 1, this second volume continues a long-term exploration of the popular music of São Tomé and Príncipe, with a clear focus on rhythm, movement and dancefloor energy. Curated by Tom B., Léve Léve Vol. 2 brings together emblematic recordings from the 1970s and 1980s, carefully restored and remastered, designed as much for close listening as for DJ use. The compilation deepens and completes the first volume by returning to key groups such as Sangazuza, Conjunto Equador, Africa Negra and Pedro Lima, while also unveiling previously unreleased or hard-to-find tracks. Across the record, puxa and socopê rhythms unfold with remarkable intensity, capturing these bands at the height of their powers: tight arrangements, driving grooves and a strong sense of collective momentum. Beyond celebration, Léve Léve Vol. 2 also reflects a precise cultural and political context. Several songs reference Luso-African independence struggles, spirituality, love and everyday life, anchoring this music in a history shaped by resistance, circulation and hybridization. Recorded in São Tomé, Luanda or Lisbon — often with the involvement of key figures from the Lusophone diaspora — these tracks reveal a modern musical landscape that has long remained under-documented. Conceived as a living record rather than a static archival object, this compilation speaks equally to DJs and curious listeners. It once again affirms Bongo Joe’s approach: bringing powerful, popular and complex music back into circulation, without nostalgia or exoticism, and making it fully present today.

Crossroad Of Love - 愛の交差点 Sababa 5 & Yurika 共有 ウィッシュリスト サポーター william rima thumbnail william rima I love the multiples influences on this track, it makes an amazing blending 特に好きな曲：Crossroad Of Love - 愛の交差点- (Ai no Kousaten) Yahseemi thumbnail Yahseemi I have heard this album so many times before I purchase it and still gets me excited! Both tracks are awesome! 特に好きな曲：Blue Universe - 蒼い世界 - (Aoi Sekai) James Endeacott thumbnail James Endeacott one my favourite singles of recent times - hats off to Batov - get them while they are hot... もっと見る... Guy Shechter (Neshima) thumbnail water bearer thumbnail solomusiko thumbnail isouyuosi thumbnail analog_worm thumbnail Visual Sequence thumbnail Paul Morrison thumbnail 040music-collector thumbnail Sudaksis thumbnail jonathan barnard thumbnail El Castor Feliz thumbnail DoitJAZZ! thumbnail destructor.gouv thumbnail Brad thumbnail 旧JOG thumbnail Biscuit thumbnail suntonglong thumbnail 8623k2o thumbnail Wyel thumbnail Robert Mulders thumbnail mogenstiss thumbnail LOKMAN thumbnail Cash:Caval thumbnail Scott Stafford thumbnail edhark thumbnail saloniko thumbnail LazerCat619 thumbnail Jörgen Sluiter thumbnail djbobojolais thumbnail maco-chin ★𝓭𝓸𝓬𝓱𝓲𝓽𝓮𝓫𝓸𝓾𝔂𝓪★ thumbnail BeastmasterXmas thumbnail Dr＊WAXX thumbnail t-dawg thumbnail Mobumfe thumbnail fergie thumbnail chyllo thumbnail nrik thumbnail Gheonoaia thumbnail Peter Mclennan thumbnail pastabrain thumbnail viktor_r_gruen thumbnail Al-Jive Mestizo thumbnail saint-pengo thumbnail vincenzoallotta thumbnail Zhanbolat thumbnail charlyvaninge thumbnail takuchi thumbnail jazzfischer thumbnail vegiq thumbnail Mulpasha thumbnail hamdam thumbnail neillwan thumbnail Lubey Lu thumbnail Stefan Schrom thumbnail lars.b thumbnail mushed thumbnail intellivision thumbnail jawwajj thumbnail Toast of Tsushima thumbnail Salsepareille thumbnail もっと見る... Crossroad Of Love - 愛の交差点- (Ai no Kousaten) 00:00 / 03:53 デジタルアルバム ストリーミング + ダウンロード Bandcamp アプリでの無制限ストリーミング、さらに MP3、FLAC、その他の高音質ダウンロードも可能です。 24ビット/44.1kHzでダウンロード可能。 デジタルアルバムを購入 £2.50 GBP またはそれ以上 ギフトとして贈る Limited Edition Transparent Green Vinyl レコード + デジタルアルバム package image package image Due to massive demand and ridiculous prices on Discogs, we are reprinting our 2nd edition of the Middle Eastern Grooves 7” Series as a Limited Edition Transparent Green Vinyl. Bandcamp アプリでの Crossroad Of Love - 愛の交差点 の無制限ストリーミング、そして MP3、FLAC、その他のファイル形式でのダウンロードが可能です。 24ビット/44.1kHzでダウンロード可能。 3日以内に発送予定 限定 500 残り: 5 レコードを購入 £11 GBP またはそれ以上 ギフトとして贈る Limited Edition 7" Vinyl レコード + デジタルアルバム package image package image Bandcamp アプリでの Crossroad Of Love - 愛の交差点 の無制限ストリーミング、そして MP3、FLAC、その他のファイル形式でのダウンロードが可能です。 24ビット/44.1kHzでダウンロード可能。 販売終了 Limited Test Press in Brown Paper Record Sleeves (Green Hand-Stamp) レコード + デジタルアルバム package image package image Bandcamp アプリでの Crossroad Of Love - 愛の交差点 の無制限ストリーミング、そして MP3、FLAC、その他のファイル形式でのダウンロードが可能です。 24ビット/44.1kHzでダウンロード可能。 販売終了 1. Crossroad Of Love - 愛の交差点- (Ai no Kousaten) 03:53 2. Blue Universe - 蒼い世界 - (Aoi Sekai) 04:26 アルバムについて Sababa 5 is the 2nd release on our Middle Eastern Grooves 7" series "This kaleidoscopic single from Sababa 5 pulls elements Thai pop, Turkish funk, and more, to stunning effect" Bandcamp (New and Notable) Featured on Bandcamp weekly: bandcamp.com?show=315 ********************************SABABA 5********************************** 'Sababa 5' was formed by a group of musicians known for their work for some of Tel Aviv's top artists/vocalists, such as Gili Yalo, Ester Rada and Liraz Charhi, as well as with famous groups like Hoodna Orchestra, Tigris and Kutiman Orchestra. With members' influences that range from wrecking crew recordings from the 60's, to analog Middle Eastern music from the 70's, the sound of the band constantly revolves around different genres and rhythms, yet, in its core, 'Sababa 5' is always a groove-centric band. Last year the band finished construction on their new recording space, a space that was especially built to accommodate live full-band recordings. Its location is right by the border of Jaffa and Tel Aviv, on Eilat St., hence the name Eilat Studios. 'Sababa 5' has just finished recording a new instrumental EP, with the aim to record more in the near future, in its new headquarters. ********************************YURIKA************************************* Born in a the Chiba district on the eastern outskirts of Tokyo, Yurika began her journey in discovering belly dancing at the age of five, taking lessons in jazz dance. After high-school she applied for belly dancing lessons almost by chance. Yet, as she quickly fell in love with the music and the nature of the movements, Yurika knew this is what she was meant to do. Soon after Yurika began traveling around the Middle East, learning bellydancing in different cities and countries like Egypt, Morocco and Turkey. There she met the famous Istanbul-New York based female darbuka player Raquy Danziger. who later took her to perform in Israel. There, Yurika began studying with Orly Portal, a master of contemporary folklore dance. After finishing studying with Orly, Yurika stayed in Tel Aviv and joined bands like Boom Pam and Ouzo Bazooka, and now, Sababa 5, where Yurika is featured as a vocalist, for the first time, in a double-sided 7" EP.

50th Anniversary Reissue!

Step into the wild heart of New York’s underground avant-garde jazz scene with Voyage from Jericho.


Recorded in 1974, release in 1975, this landmark session finds the Charles Tyler Ensemble pushing boundaries with fearless improvisation, deep spiritual yearning, and a raw emotional fire.

Joined by top-tier collaborators — including Arthur Blythe, Earl Cross, Ronnie Boykins, and Steve Reid — Tyler shapes a sound that fuses avant-garde intensity with soulful depth, creating a powerful celebration of freedom and expression.

This is music that demands attention and rewards deep listening. Whether you’re a devoted explorer of the avant-garde or a curious listener seeking something beyond the mainstream, Voyage from Jericho offers a journey both challenging and transcendent.

In short: if you’re ready to move past comfort zones and into the outer reaches of jazz, Voyage from Jericho is a voyage worth taking.

“This first-ever vinyl reissue of saxophonist/composer Charles Tyler’s Voyage from Jericho album brings his life and work into much greater detail with an exhaustive liner essay by historian Cisco Bradley, unpublished photos and a new remaster from the original tapes. Essential!” – Clifford Allen

Strut presents Mulatu Plays Mulatu, the first major studio album in over 10 years from the father of Ethio-jazz, Mulatu Astatke.

Featuring masterful new arrangements of some of his classic compositions, Mulatu Plays Mulatu finds Mulatu revisiting the sounds that helped to change the face of Ethiopian music during the late ‘60s and early ‘70s. The album was recorded between London and Addis Ababa, working with his long-standing UK band, a tight, intuitive ensemble honed through years of live performance, alongside cultural musicians resident at his Jazz Village club in Addis.

Mulatu Plays Mulatu realises Mulatu’s long-term vision of Ethio-jazz, intricately balancing Western jazz arrangements with the rich sounds of traditional Ethiopian instruments including the krar, masenqo, washint, kebero and begena. Throughout the album, he reshapes familiar material with rich textures, expanded improvisations and a deepened rhythmic complexity, creating a body of work that feels as vital and contemporary as it does steeped in tradition. Familiar compositions like ‘Yekermo Sew’, ‘Netsanet’ and the celebratory ‘Kulun’ are reinvented here as elegant big band performances.

“Ethio-jazz brings us together and makes us one,” explains Mulatu. “This album is the culmination of my work bringing this music to the world and pays respect to our unsung heroes, the original musical scientists in Ethiopia who gave us our cultural music.”

Bridging continents and generations throughout his 50-year career, Astatke now offers us an invitation to hear his music again, with a completely fresh perspective. Ethio-jazz, like its creator, is always in motion.

Mulatu Plays Mulatu was produced by Dexter Story and features contemporary artists LA-based artists Carlos Niño and Kibrom Birhane. The album was recorded and mixed by Isabel Gracefield at RAK Studios in London and by Dexter Story in Addis. The inspired album artwork was created by acclaimed Oslo-based Ethiopian artist, Wendimagegn Belete with photography by Alexis Maryon.

It's a weird time in the world, but luckily we have Bremer/McCoy's really lovely music to listen to. Natten, which is Danish for “The Night,” takes inspiration from the end of day, that regenerative time under the constellations when our lives look different. Let it be your companion on this Earth, under the stars, as you contemplate this crazy time we’re in.

'Uhlmann Johnson Wilkes' is the debut album from Gregory Uhlmann (SML, Anna Butterss, Duffy x Uhlmann, Perfume Genius), Josh Johnson (SML, Jeff Parker ETA IVtet & New Breed, Meshell Ndegeocello, Anna Butterss, Leon Bridges), and Sam Wilkes (Sam Gendel, Louis Cole, Chaka Khan). The three improviser/arranger/producers’ impressive individual credits encompass such a wide stylistic pendulum swing that a collection of group music from the trio could mine any number of musical territories with masterful results. In these 11 instrumental songs, the trio explores a spacious lyrical curiosity that could be described as a jazz-informed take on progressive electro-acoustic chamber music.

Conceived during two live shows at ETA and a session at Uhlmann’s house in Los Angeles, the album maintains a focus on beauty, melody, and movement as the pieces unfold, with the trio pushing their instruments and highly-dialed effects to sculpt otherworldly sounds with the collective sensibility of a rhythm section. The ethos of these instant compositions is arrangement-minded improvisation that showcases the mournful beauty of Uhlmann’s fingerpicked electric guitar, the hybrid rhythm-lead of Wilkes’ bass chording, and the textural harmonic worldbuilding of Johnson’s effect-laden alto saxophone.

The trio’s explorations are rooted in more than just musicality, though. The arc of the group’s story is one of friendship and mutual admiration. Uhlmann and Johnson have known each other since their formative days as teenagers studying jazz. Shortly after first meeting in an educational setting, they would connect for nascent musical probing via low-stakes get-togethers back home in Chicago. They didn’t even know at the time that they had both taken lessons from a mutual guiding light – legendary guitarist/composer Jeff Parker.

After high school, they headed in separate directions – Johnson to Jacobs School of Music in Bloomington, Indiana; Uhlmann to Cal Arts in Santa Clarita, California – but reconnected quickly upon migrating to LA, where shared opportunities for studio work as well as revolving-cast free improvisation at small clubs around the city naturally cemented their loose partnership. Uhlmann was both playing and programming, creating platforms for collaboration at the Bootleg Theater, while Johnson’s transition from student-of to collaborator-with Jeff Parker was well underway via their weekly gig at Highland Park’s ETA. In the immediate periphery of all of this was bassist Sam Wilkes, a serial collaborator well known in the LA creative music scene’s cross-pollination trenches.

“I was playing with some musicians who went to Cal Arts,” says Wilkes. “I started going up there regularly, and Greg had this great band called Fell Runner. A group I was in split a bill with them at the old Bootleg Theater and it really solidified my appreciation and deep respect for the band and for Greg’s playing. They were doing things that were completely unique. We’ve been friends ever since.”

Wilkes and Johnson’s first collaboration came after years of knowing one another in LA, but the musical connection and respect was similarly instantaneous. “It was a session for Louis Cole Big Band,” recalls Wilkes. “Everyone went around on this one tune and took 4 bars, and Josh took this really, really unique 4-bar solo that really stood out. After the session, Louis looked at me and said ‘Josh Johnson!’ and I was like ‘I know!’

In 2021, even before Uhlmann and Johnson began working on what would become SML, Wilkes and Uhlmann played together on an album by Miya Folick, which left them feeling like there was more music to be made together. Uhlmann suggested booking a live date as a trio with Johnson at ETA. With engineer Bryce Gonzales at the controls, the group worked through a short list of prepared material, augmented with passages of improvisation. “We all agreed that it was important to have a nice melodic repertoire to use as a starting point to freely improvise,” says Wilkes. “Landing zones, essentially, while we’re out in the field.”

Those landing zones include a stunning cover of “The Fool On The Hill,” perhaps the eeriest McCartney ballad in The Beatles’ songbook. Johnson’s tender rendering of the classic vocal melody unites the raindrop-leslie-plonk of Uhlmann’s electric guitar and the quietly grooving drone thump of Wilkes’ bass so comfortably that any move could feel natural by the time the trio opens it up for improvisation at the two-minute mark. What follows is a sublime take on the purring consonance only occasionally found in the best moments of the ECM or Windham Hill catalogs. Even more incredible is the fact that this particular recording of the tune documents the first piece of music this trio played together, from the opening moments of their first performance at ETA.

That instantaneous cualidad simpático is what makes this trio special. What we’re hearing is a friendship between high-level improvisers translated into musical moments and executed with such curious precision that the lines between supposed opposites – composition and improvisation, jazz and chamber music, ennui and contentment – are delightfully blurred.

“Frica” is, perhaps, the track on which that blur is most evident. The tune incorporates the staccato stutters and repetitions heard throughout the album, but doubles down with a subtly disorienting post-production chop by Johnson, which accentuates the trio’s live trance by introducing a floating phrase cut-and-mix. The fact that these concepts are employed intuitively, pre-edit, throughout Uhlmann Johnson Wilkes is precisely what makes the post-production shine. It can be difficult to discern what is a slip of the sampler and what is live, turn-on-a-dime action, and it’s exactly that mystery which draws us in.

“Marvis," the album opener, makes that clear from the jump. This fresh spin on a tune from Johnson’s solo album 'Unusual Object' checks many of the same boxes as “Frica” on the production level, but it’s all in service of a truly demented low-key groove. The trio is in lock step here, but it’s unclear how many legs are doing the stepping and just whose legs are taking which steps.

Conversely, the Uhlmann composition “Arpy” is a slow-paced, descending four chord meditation teeming with the life provided by the guitarist’s causally precise reverberated triplet repetitions and held down by Wilkes’ sturdy bass chording, which occasionally wanders into flamboyant high register flourishes. Johnson’s soft alto treatment morphs in tonality throughout, eventually settling into something more aurally reminiscent of an Ondes Martenot or some gently twisted echo of Clara Rockmore.

All told, 'Uhlmann Johnson Wilkes' is a beautiful snapshot of three endlessly interesting players at the top of their game, rendered in such a skilled manner that its inherent mastery flows effortlessly, making passive atmospheric immersion as pleasant and stimulating as deep focused listening.