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Like a long journey this record unfolds itself through many layers.
Fans of Kikagaku Moyo will be comforted by the soft vocals harmonies and warm Sitar but what sets this release apart is the refinement of the band’s songwriting and their delicate execution.
Side A begins with a pair of travelling songs where the interplay between the vocals, guitar, and sitar lift and suspend you on an unexpected journey.
The patient listener is rewarded by tracks like “Trad” and “Silver Owl” that demonstrate the masterful balance the band has between soft and loud; chaos and order, or being both cold and tender at the same time.
“House in the Tall Grass” takes the listener by the hand on a comfortable quest through destinations both familiar and unknown.
It is a natural step forward for the band and perhaps the most refined example of their style to date.
Korlakang, a fresh four‑piece band emerging from Thonburi on Bangkok’s west side, delivers a debut double‑sider 7" on Guruguru Brain. Blending the melodic beauty of Thai traditional music with the hazy textures of 70s psychedelic rock, the group reshapes these elements into a contemporary ethno‑groove.
Colombian artist Nicolás Vallejo aka Ezmeralda lands lands a cassette on Swedish label blundar. "Known for his deconstruction of traditional cumbias, Ezmeralda has become a defining voice in the Latin American ambient scene. His arrival at blundar marks an exciting cross-continental fusion, bringing his signature "post-impressionistic" soundscapes—a blend of fluid textures, synthesizers, and loops—to the Swedish imprint's curated electronic catalog."
A mix of tracks from the Jahtari catalogue that have been inspired by video game soundtracks – many of them unreleased demos, gameboy re-works or dubby-fied interludes originally made for Jahtari live performances. Mixed with absolute classics and a few hidden gems from across all the video game eras and added live Dub effects, this neon pink tape by disrupt is a 61 min pixelated love letter to the unsung heroes of electronic music. — Originally made for the “Secret Level” radio show on particle.fm by CBDiabla in May 2026. ->>> cbdiabla.world/secret-level
Hotel bed in a cold sweat, a ceiling fan rotates slowly, flashbacks of helicopters and drones. He closes his eyes but it’s all strobes and explosions. What to do? Escape? Or stay and finish the mission? Meanwhile, sounds heard through the radio static turn into a motorik pulse, the clicks and clacks of the Complex, encryption deciphered, zoned-factor authentication - reprogramming its listener until all that’s left is a scrambled man.
Bruno Berle is a singer, songwriter, producer, multi-instrumentalist and figurehead of a contemporary Brazilian music movement. With a quiet mastery of songwriting and an astonishing voice, his music has won hearts around the world. Since the release of his debut album No Reino Dos Afetos (2022), Berle has performed across the UK, Europe, Japan, South Korea, and China, only leaving his home country for the first time in 2023. Shaped by these journeys, Berle’s third studio album, Sem Fronteiras (Without Borders), reflects a utopian vision of a unified world. Recorded across London, São Paulo, Minas Gerais, Germany, and Maceió, the album–co-produced alongside his longstanding musical partner Batata Boy–is the most expansive canvas Berle has worked on to date. Shot through with the imagery that has always animated his songwriting: open skies, morning light, vivid colours and the magic of human connection, Berle’s carefully crafted poetics and warm, delicate instrumentation drive this vivid body of work. “I came from nothing”–Berle doesn’t take his rise to global prominence for granted. Born to a working class family from Brazil’s northeastern Alagoas state, one of Brazil’s most economically deprived, Bruno moved frequently in his youth to follow any job opportunities his parents could find, before eventually settling in the coastal capital of Maceió. “I used to travel to Caruaru, Santa Cruz, Recife, Garanhuns, Arapiraca, which I loved and feel it made me ready to be in this rhythm i’, but at the same time I think not having friends from childhood and being in constant change made me a little numb to the constant upheaval”. On Sem Fronteiras, there is a similar duality at play. The album celebrates the collective joy and human connection that live touring brings, but it also sits with the darker realities of crossing borders. While music moves more freely around the world than ever before, our bodies are not granted the same privilege. Though he’s never lacked self-belief, Berle recognises that talent alone doesn’t guarantee opportunity. “Before my second album [No Reino Dos Afetos 2] everything I had ever recorded was made with the help and kindness of people who believed in my ability”. Determined to pay that kindness forward and help others from the sharp end of Brazil’s desperately unequal society, Berle produced and featured on the recent self-titled albums by his northeast Brazilian compatriots, Nyron Higor and Phylipe Nunes Araújo (both 2025), helping propel both onto the international stage. In turn, following the successes of Nyron & Phylipe’s albums alongside his own, Bruno finds himself at the forefront of a thriving community of artists now based in São Paulo, but primarily originating from northeastern states like Alagoas and Pernambuco. Much like the famed Clube Da Esquina movement that spawned in 1970’s Minas Gerais, they operate with a free-exchange of ideas, writing songs with and for each other, performing on each other’s albums and on the live circuit together. Lead single ‘Manha’ flows from this ethos. It was written by Berle’s friend and fellow Alagoan João Menezes (writer of ‘Ate Meu Violao’ and ‘Te Amar Eterno’ from Bruno’s previous albums) and Marvin Viera, and originally recorded on their 2018 album Areia e Mar. Sem Fronteiras opens with ‘Você Já Sabe Que Eu Te Amo’, just six beats of one nylon guitar chord ring out before changing key, paving the way for the gentle strike of fender rhodes and the arresting call & response duet between Berle and Higor. On ‘Amor Inteiro’, the album reaches a celebratory burst of catharsis, with the punch-packing drums of Pedro Lacerda and Nina Maia’s joyous backing vocals encapsulating the live energy that Berle and his band bring to the stage. With the abundant talents of this musical community at its heart, Sem Fronteiras releases 10th July 2026 via Far Out Recordings, supported by a summer tour across Europe. Bruno Berle will perform in a four-piece band alongside Nyron Higor, Phylipe Nunes, and Batata Boy, culminating in an appearance at Roskilde festival, Berle’s biggest live show to date. He’ll continue to carry a hopeful vision of a world where artists and musicians can move as freely as their music flows.
Bruno Berle is a singer, songwriter, producer, multi-instrumentalist and figurehead of a contemporary Brazilian music movement. With a quiet mastery of songwriting and an astonishing voice, his music has won hearts around the world. Since the release of his debut album No Reino Dos Afetos (2022), Berle has performed across the UK, Europe, Japan, South Korea, and China, only leaving his home country for the first time in 2023. Shaped by these journeys, Berle’s third studio album, Sem Fronteiras (Without Borders), reflects a utopian vision of a unified world. Recorded across London, São Paulo, Minas Gerais, Germany, and Maceió, the album–co-produced alongside his longstanding musical partner Batata Boy–is the most expansive canvas Berle has worked on to date. Shot through with the imagery that has always animated his songwriting: open skies, morning light, vivid colours and the magic of human connection, Berle’s carefully crafted poetics and warm, delicate instrumentation drive this vivid body of work. “I came from nothing”–Berle doesn’t take his rise to global prominence for granted. Born to a working class family from Brazil’s northeastern Alagoas state, one of Brazil’s most economically deprived, Bruno moved frequently in his youth to follow any job opportunities his parents could find, before eventually settling in the coastal capital of Maceió. “I used to travel to Caruaru, Santa Cruz, Recife, Garanhuns, Arapiraca, which I loved and feel it made me ready to be in this rhythm i’, but at the same time I think not having friends from childhood and being in constant change made me a little numb to the constant upheaval”. On Sem Fronteiras, there is a similar duality at play. The album celebrates the collective joy and human connection that live touring brings, but it also sits with the darker realities of crossing borders. While music moves more freely around the world than ever before, our bodies are not granted the same privilege. Though he’s never lacked self-belief, Berle recognises that talent alone doesn’t guarantee opportunity. “Before my second album [No Reino Dos Afetos 2] everything I had ever recorded was made with the help and kindness of people who believed in my ability”. Determined to pay that kindness forward and help others from the sharp end of Brazil’s desperately unequal society, Berle produced and featured on the recent self-titled albums by his northeast Brazilian compatriots, Nyron Higor and Phylipe Nunes Araújo (both 2025), helping propel both onto the international stage. In turn, following the successes of Nyron & Phylipe’s albums alongside his own, Bruno finds himself at the forefront of a thriving community of artists now based in São Paulo, but primarily originating from northeastern states like Alagoas and Pernambuco. Much like the famed Clube Da Esquina movement that spawned in 1970’s Minas Gerais, they operate with a free-exchange of ideas, writing songs with and for each other, performing on each other’s albums and on the live circuit together. Lead single ‘Manha’ flows from this ethos. It was written by Berle’s friend and fellow Alagoan João Menezes (writer of ‘Ate Meu Violao’ and ‘Te Amar Eterno’ from Bruno’s previous albums) and Marvin Viera, and originally recorded on their 2018 album Areia e Mar. Sem Fronteiras opens with ‘Você Já Sabe Que Eu Te Amo’, just six beats of one nylon guitar chord ring out before changing key, paving the way for the gentle strike of fender rhodes and the arresting call & response duet between Berle and Higor. On ‘Amor Inteiro’, the album reaches a celebratory burst of catharsis, with the punch-packing drums of Pedro Lacerda and Nina Maia’s joyous backing vocals encapsulating the live energy that Berle and his band bring to the stage. With the abundant talents of this musical community at its heart, Sem Fronteiras releases 10th July 2026 via Far Out Recordings, supported by a summer tour across Europe. Bruno Berle will perform in a four-piece band alongside Nyron Higor, Phylipe Nunes, and Batata Boy, culminating in an appearance at Roskilde festival, Berle’s biggest live show to date. He’ll continue to carry a hopeful vision of a world where artists and musicians can move as freely as their music flows.
First released in 1971, Le Monde Fabuleux des Yamasuki is a delirious cult album that sounds as mischievous and unclassifiable now as it did then. Conceived not as a band but as a studio-born fantasy, YAMASUKI created a pan-cultural pop opera that gleefully ignored genre boundaries and common sense. Produced by Jean Kluger and written with Daniel Vangarde, the album sits at a surreal crossroads of psychedelic pop, funk, samba and bubblegum melodies. Phonetic pseudo-Japanese chants, performed by a children’s choir, collide with ritualistic cries from a Japanese judo grandmaster, turning each track into a playful piece of sonic theatre. What began as a single quickly expanded into a fully realised concept, one whose influence has travelled far beyond novelty. Elements of Yamasuki have resurfaced through reinterpretations, samples and pop mutations across decades, from underground soul and hip hop to mainstream chart pop and television soundtracks. Revisited today, Le Monde Fabuleux des Yamasuki remains a reminder that pop can be strange, joyful and inventive without explanation. It is music that laughs at rules, dances around definitions and proves that imagination never dates.
This album is created over the past years with my brother Alfred. This period has been spiritually transformative for me. It reflects the playfulness and authenticity that comes out of releasing deep traumas and healing wounds. This music comes from a deep place of joy and connection with my brother and with the essense of being a child. being filter free and in contact with the most uncomplicated and loving parts of ourselves, still emphasizing magic and mystery, like childhood does without asking for permission or confirmation.
it took me a while to actually see the music as an interconnected piece. I have been taking in and out material, re mixing, removing, rearranging, re producing and regretting all along the way. but suddenly when we mastered this selection on a cassette tape recorder, the meaning started to reveal itself and drawing threads back in time.
bivabippalukka is playfulness, intuition, transition and myths. the page of cups. the ideas rising, the energy flowing, flowers, stars and jumping creatures on the verge of dimensions. fortune telling, magic cards, secret caves and things that disappear right in front of you.
many talented guests playing with me and my visions on the album.
bossa nova is the most comforting genre for me. and we need comfort in these times. we need comfort to heal and feel joy to be able to keep dreaming and manifesting - and transmuting the world.
i am not gonna play this music live in the form it appears. i will still continue playing spiritual ambient music. this work is something else. it is pocket of joy, a cup with a fish. it is a step on the journey, like everything else.
reissue of this impossible to find LP, 52 years after the Original !
Vind is 12 pieces written and performed by CTM and produced by Jakob Littauer. The album consists of cello compositions with few exceptions - a daf enhancing the rhythm, a distant memory of the kora, a pensive flute or folly sounds. The softness of the acoustic instruments is counterplayed by concise compositions and hyperreal productions. The music presents itself as part spirit, part form; the movement in the moment, repetition, anticipation, what happened and what is to come. It's a sensuous search into stretched out moments, captured and held in one’s hand for a little while. It finds play and devotion, love and light. Dedicated to Jannis Noya Makrigiannis
Simplicity floods itself in textured imperfection and anointed noise on the debut oracular folk guitar album released under the UK's 5 Gate Temple. A roughly recorded stack of improvisations on a classical-style guitar, God Spill embodies the broken, all while un-doing the expectations around traditional guitar folk. Mingot's fingerpicked tones meld with unsteady pedal loops and hissed drones rotating through flawed circuitry. A slow to becoming repair that is translucent, cryptic and oblique. Mingot's misty glitched landscape paints the polarity of both presence and disappearance, all cyclically mirroring the unseen. Honesty, discordance, impatience, and certainty all find home alongside blurred vocals. Since 2022, the EU-based, Queens NYC native has released music elusively as hardcore high priestess St Agnis and now swims waters of the acoustic - with soft rage and pursuit.
Going Up, originally released in 1983, is one of the most curious and enduring records from British studio mavericks The RAH Band. Long out of print, it now sees its first ever vinyl reissue courtesy of Shocking Music and Rush Hour.
Led by super-producer, arranger, and multi-instrumentalist Richard Anthony Hewson, The RAH Band has always existed just outside the mainstream. Blending jazz-funk, sci-fi synth pop, and cosmic lounge, their sound never quite fit the mould. That might explain the cult status they’ve held ever since. Beloved by Balearic heads, rare groove collectors, and adventurous synth diggers, Going Up is perhaps their most influential record.
At the centre of it all is the intro track “Messages From The Stars”, the band’s runaway cosmic hit. A spacey, retro-futurist groove that has become a viral favourite in recent years, it now boasts hundreds of millions of streams, with a new generation discovering it through TikTok and YouTube. But it was originally just one track on this understated 1983 album.
The rest of Going Up is just as compelling, filled with dusty drum machines, off-kilter instrumentals, woozy vocals, and that unmistakable early '80s charm. It is a snapshot of a band in transition, blurring the lines between leftfield pop, sci-fi funk, and home-brewed synth experiments.
Out of print for over 40 years, Going Up finally gets the reissue treatment it deserves. Restored and remastered, and still sounding like nothing else.
Smerz continue to mark out sui generis wyrd-pop territory on their second proper full-length, this time for the on-fire Escho label, stripping away the club nostalgia and doubling down on oddball R&B harmonies and quirky DIY-cum-downtown NYC production tics - a sort of genius missing link between Astrid Sonne, Cibo Matto and Luscious Jackson.
Catharina Stoltenberg and Henriette Motzfeldt's earliest gear was a torch in a dark digital corridor, a prophetic look at a hazy pop future that blurred genre boundaries and trampled across the borders between the mainstream and the underground. Needless to say, they set the stage for a sound that's more or less orthodox in 2025 - we see Smerz's shadow on ML Buch's world-beating 'Suntub', or Erika De Casier's bedroom R&B groover 'Still', for example. And their contribution to the canon hasn't gone completely unnoticed; the duo co-produced K-pop girl group NewJeans' impressive 'Get Up' EP in 2023 alongside de Casier, and turned in an edit of Astrid Sonne's 'Say you love me' in 2024. If there's a discernible scene coalescing between Copenhagen, London and Oslo, Smerz are operating somewhere near the center.
So four years after threading supersaw-led trance-pop and rattly footwork-pilled kicks through a lattice of offhand skits and classical interludes on their impressive debut album 'Believer', Stoltenberg and Motzfeldt return to an art-pop landscape that's humming with energy. Fittingly, they reply by setting a new sonic benchmark, pruning their productions considerably and focusing on the bumpy, textural weirdness that often lurked in the distance on prior recordings. The best way to get a handle on this one is to scrub thru the duo's archive of NTS shows (they've been producing weekly bulletins for the best part of a decade), where you might hear Klein, Morton Feldman, Leila, Angelo Badalamenti, Young Thug or Kaskade alongside demos and cuts from like-minded peers such as Clarissa Connelly, Lolina and Peder Mannerfelt.
They're enthusiastic, discerning listeners who can cut away some of the cultural baggage to figure out links between vastly different sounds, and that's exactly the experience 'Big city life' provides. From the first few notes of the title track it's as if we've been dialed into NYC circa 1981, with rubbery microsampled half-riffs that project like they're being coughed out of a malfunctioning Fairlight CMI. Trading schoolyard rhymes back and forth, Smerz sing-rap nonchalantly over jerky MIDI piano and strangulated breaks, imagining a mid-point between day zero trip-hop and Craig Leon's enduringly influential 'Nommos'. And that intermixture of casual amusement and heads-y deep digging nourishes the entire record. There's the whipsmart Stereolab-in-dub vibe of 'But I do', 'Close' with its sad lounge and sensual Chicago lilt, and the lead single 'You got time and I got money', that's a raggy doll stitch-up of Air's 'Sexy Boy' and Verve's 'Bittersweet Symphony' covered by Neneh Cherry.
And just like on their debut album, it's Smerz's bijou, ostensibly throwaway moments that fully crystallize their narrative. They understand exactly what draws us back again and again to "classic" albums (and good mixes, actually), and pepper 'Big city life' with elegant, eccentric digressions, like the General MIDI player-piano loosie 'What', and 'Street Style', a stripped-back candlelit ballad that couches the bolshy TR-909-led 'Imagine This', a screwed-n-chopped Mantronix moment that accents their vast knowledge of '80s rap and electro. And if you're missing the old Smerz, they throw us a bone with the Autotune-d trance digression 'Dreams', leading us out of the album with a melancholy reminder that the flicker of the club is still there, somewhere, just distorted into a hypnotic, euphoric outline.
Second Circle returns with a reissue of ‘Rainsong’ by Gus Till, presented here alongside a new remix from Japanese producer Kuniyuki Takahashi. Originally emerging from Melbourne’s post-punk and new wave underground in the late 1970s and early 1980s, Gus Till has spent more than four decades navigating a remarkably diverse musical path. From early electronic experimentation with Third Eye alongside Ollie Olsen, through a pivotal role in the formative years of the global psy-trance movement and collaborations with artists including Michael Hutchence, System 7, Manu Dibango, Todd Terry and Bim Sherman, Till’s work has consistently resisted easy categorisation, moving fluidly between ambient music, downtempo, house, trance and psychedelic electronica. First released on Japan’s Dakini Records in 2006, ‘Rainsong’ captures many of these threads in a single expansive composition. Built around a pulsating bassline, layered live percussion and soaring vocal elements, the track sits comfortably between the dancefloor and more immersive listening environments. Unfolding patiently across nearly thirteen minutes, it combines hypnotic rhythmic momentum with a rich sense of atmosphere and musicality. For the B-side, Kuniyuki Takahashi offers a distinct reinterpretation of the original. His remix gradually unfolds from a patient introduction into a deep and richly textured exploration of the track’s core themes. Subtle spatial processing, nuanced arrangement shifts and his unmistakable sense of atmosphere transform the source material while preserving its emotional core. 'Rainsong' will be released digitally and on vinyl through Second Circle on July 29th. Sleeve art and design by Michael Willis.
Morgan Buckley and Ben Donohoe present SWORX, a dense and disorientating collision of paranoid electronics, fractured polyrhythms and dystopian ‘crowdrock’. Released via Wah Wah Wino, the record plays like a corrupted transmission from a near-future network overseen by the mysterious titular modem ‘Sworx’, endlessly sorting coded signals into hidden archives. Blending IDM textures, restless percussion and warped digital atmospheres, the duo construct a world where surveillance, malfunction and synthetic consciousness blur together. Equal parts hypnotic and unnerving, SWORX feels beamed in from a damaged post-fibre-optic reality where even your dreams are under observation.
An album etched not only in the history of Japanese rock but also in the history of rock worldwide!A miraculous sound that never ages!Due to popular demand, re-released on clear vinyl!
●Why did the world's avant-garde musicians want to create "sound" with Conny Plank back then? The album "Phew" (released in 1981) was produced at the legendary Conny's Studio, which spawned masterpieces by Kraftwerk, Neu!, DAF, Eno, and others, with former Aunt Sally member Phew joining them.
●Holger Czukay and Jaki Liebezeit, former members of the German rock band Can, who had a great influence on techno and post-rock, participated.
●Conny Plank's outstanding engineering and Holger Czukay's ingenious editing created a groundbreaking sound world that still resonates uniquely and never fades even today.
Incredibly, Yoshiko Sai's masterpiece, Taiji no Yume, was quietly released on cassette in 1977! This legendary collector's item, known only to a few, is now being happily reissued in its original cassette format. Following her first album, Yuji Ohno returns as arranger, lending greater musical support to Sai's world of sublime strangeness, reminiscent of the works of Kyūsaku Yumeno. As the title suggests, "A Fetus's Dream" is a journey deeper into the inner spiritual world. Yoshiko Sai, at the tender age of 24, was an isolated figure—a poet, painter, and singer. The jacket features an illustration by Sai herself, distinct from those on the CD and LP. This is truly a must-have collector's item for fans.
Selected tracks from the album are featured in Hideo Kojima’s video game, Death Stranding 2: On The Beach.
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.
