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Masahiro Sugaya - しるしまみれ / Overflowing Signs (CS+DL)Masahiro Sugaya - しるしまみれ / Overflowing Signs (CS+DL)
Masahiro Sugaya - しるしまみれ / Overflowing Signs (CS+DL)ato.archives
¥1,800

Masahiro Sugaya began his career in the 1980s, working alongside the environmental music scene of that era while also making a significant impact in stage music through his involvement with Pappa TARAHUMARA.

Over the past 20 years, Sugaya has shifted from traditional composition using instrumental music to creating works for 8-channel multi-speaker systems, incorporating environmental sounds and field recordings. His latest album continues this evolution, featuring collages of environmental sounds within individual tracks. The album is structured to balance past and new works, creating a collage-like representation of Sugaya’s diverse creative output.

"しるしまみれ / Overflowing Signs" offers an experience that navigates freely between Sugaya’s environmental music approach and his practices in field recording and musique concrète, presenting a sequence of sounds that defies easy categorization or symbolism. Additionally, this album marks Sugaya’s first stereo full album release in nearly 20 years.

Chihei Hatakeyama - Scene (CS+DL)Chihei Hatakeyama - Scene (CS+DL)
Chihei Hatakeyama - Scene (CS+DL)Constellation Tatsu
¥1,587
The entire album is permeated with ethereal, lo-fi sounds, creating a superb ambient/drone masterpiece that is melancholic and introspective, yet filled with sweet, meditative charm!

Hoshina Anniversary - HakkyouShisou 発狂しそう (CS+DL)Hoshina Anniversary - HakkyouShisou 発狂しそう (CS+DL)
Hoshina Anniversary - HakkyouShisou 発狂しそう (CS+DL)Constellation Tatsu
¥1,587
Hoshina Anniversary is from Hachioji, westside of Tokyo. His new LP of fluid, experimental dance music extends outward from his initial influences of jazz fusion, electronica, and Japanese heritage.

Brendon Moeller - Signal (CS+DL)Brendon Moeller - Signal (CS+DL)
Brendon Moeller - Signal (CS+DL)Constellation Tatsu
¥1,587
nown for his innovative fusion of ambient sounds, Brendon Moeller once again pushes the boundaries of the genre with swirling, organic forms and immersive textures grounded in the dark, moody tones of deep techno and dub. What results are the sounds of melodic, fluttering synths set to low, steady beats, all of which seem to playfully dance through some kind of cosmic aural nebula.

Guy Blakeslee - EXTRAVISION (2CS+DL)Guy Blakeslee - EXTRAVISION (2CS+DL)
Guy Blakeslee - EXTRAVISION (2CS+DL)Leaving Records
¥3,396
After a limited self-release in 2022, Extravision, the deeply therapeutic musico-psychonautic offering from experimental guitarist Guy Blakeslee has received the Leaving Records “all genre” re-release treatment, with the understanding that more listeners should hear with this vulnerable and graceful document. The record is, in a word, a balm. Like a window flung open on a sweltering day, Extravision occasions the sudden awareness of space, of calm, of context, of possibility. The record also catalogs a musician’s search for meaning and healing in the wake of catastrophe. Since its initial run, Blakeslee has been bracingly open about Extravision’s genesis. On March 13th, 2020, while walking across the street, Blakeslee was struck by a car. Upon regaining consciousness the following day, the hospitalized Blakeslee found both the outer world and his inner world suddenly transformed. As lockdowns took effect, it was immediately clear that the brain injuries Blakeslee sustained had not only affected his vision but altered his very consciousness and would inevitably affect his music-making. From Los Angeles, to Virginia, to Baltimore, he pursued physical and spiritual recovery with music as his primary medicine. Sitting for hours at the piano, the man for whom guitar had always been the primary instrument now intuited the riddles and patterns laid out neatly before him in black and white. Armed with beginner’s mind and a cassette 4-track, Blakeslee began to experiment with wordless, impressionistic songcraft. Extravision is the transcendent result, an hour-plus compendium of humble and fiery dalliances with the musical and psychical unknown—a record from a lifelong musician rediscovering the joys and vexations of learning. Throughout Extravision, the guitar exists as both specter and reference. A majority of the album’s tracks notably do not feature any discernible guitar—the songs functioning as emotive, drone-based exercises in texture and duration. And yet, one never doubts the extent to which Blakeslee’s practice has been (and continues to be) informed by a uniquely American folk guitar idiom. We are, with Blakeslee as our guide, gladly charting the vast and newest horizons of so-called “American Primitive” music, now often referred to as “Cosmic American.” And when Blakeslee’s interdimensional guitar does eventually emerge — see the album’s fittingly final title track, “Extravision”— the sweetness, not untinged by loss, is palpable. Blakeslee has stated that his goal, with Extravision, is to induce in the listener a trance-like state, to inaugurate the conditions under which time might function “differently.” To be sure, the drones and gentle recurrent phrases that comprise much of Extravision are a welcome antidote to the now commonly felt acceleration of time. But it is the experience that Blakeslee is transmitting with and through and beyond these musical gestures—the experience of non-linear time, of total time-loss, of starting again, of retracing one’s steps and rerouting one’s journey—that challenges and rewards us.
Sharada Shashidhar - Soft Echoes (CS+DL)Sharada Shashidhar - Soft Echoes (CS+DL)
Sharada Shashidhar - Soft Echoes (CS+DL)Leaving Records
¥2,465
Los Angeles-based vocalist, composer, and producer Sharada Shashidhar has a deep awareness of the cosmos. There's a distinct tug-of-war in her music, an understanding that scanning the heavens to answer existential queries isn't quite enough; there are internal depths to plumb as well. Shashidhar's first album, 2020's Rahu, found her voice billowing out of smoky, post-beat-scene soundscapes, meditating on the collective unconscious and the energy exchange between all living things. Her newest work, Soft Echoes, is a bold step forward, echewing her work's hip-hop tilt for expansive compositions that blend jazz and Indian classical influences into a swirling, spiritual whole. Though she has an extensive resume as a collaborator in LA's previous experimental jazz scene, notching work with the likes of Carlos Niño, Zeroh, and the Pan Afrikan Peoples Arkestra, Soft Echoes marks Shashidhar's first outing as a bandleader. Gathering an ensemble that includes Anna Butters on bass, Julius Rodriguez on keys, Devin Daniels on saxophone, and Timothy Angulo on drums, Shashidhar sought to create a band that ostensibly functioned as an extension of herself. Her primary goals in writing these songs were to “let [her] body do what it wanted to do,” to trust her intuition, and “play without judgment.” Through that process, making Soft Echoes became a practice of presence and exploration, a chance to unlearn rigid structures and rediscover the joy of creating for oneself. Recording took place over three brief, distinct sessions at Altamira Sound in Alhambra, California. Though the full band wasn't ever present at the same time, Soft Echoes sounds like the work of a group in complete, mind-meld focus. Splashy drums nudge up against skronkingsaxophone on “Canyon Song,” while mushrooming synth tones stack up behind rippling Rhodes piano on “Luckiest.” Shashidhar's elegant voice is the anchor for each of these tracks, sometimes gracefully stretching between instruments like a lithe dancer's limbs, other times scattering through psychedelic delay. She describes the album as having “two poles, ” illustrated by the whimsical, buoyant opener “Soft Echoes” and the darker, more anxiety-ridden closer, “New Echoes.” The songs in between may come from different emotional spaces, but “it's all really reflective,” she explains. album can play like a loop, with Shashidhar entering a portal “into the endlessness” during “New Echoes,” only to be transported back to the beginning, full of gratitude and pondering “how strange it is to be alive.” On Soft Echoes , Shashidhar leads us on a journey through her mind, traversing its peaks and canyons in search of greater connection. “I want to take people places,” she says, pausing thoughtfully. “I can’t always guarantee that they’re good places, [but] hopefully you’ll feel something.”

Rod Modell & Taka Noda - Glow World (CS)Rod Modell & Taka Noda - Glow World (CS)
Rod Modell & Taka Noda - Glow World (CS)13 (SILENTES)
¥2,469
"GLOW WORLD is Rod Modell's new project resulting from his collaboration with Taka Noda. The duo delivers what could be an example of perfect elegance and musical refinement, but the resulting sounds are once again dirtied, ruined and ravaged by a noise capable of deafening us, sounds that come from afar, that seem to fade away but suddenly illuminate the world around us, which lands on us and which no longer belongs to us, leaving us lost in an infinite melancholy. GLOW WORLD is a work characterized by buoyant ambient sounds from which delicate rhythmic textures emerge, and never speeding up they run along the routes of an electronic music that surely knows how to be as minimal and suffused as it is distressing. Touches of piano, slow pulsations of bass lines and constantly disturbed sounds that nevertheless almost lull the listener into listening to this timeless music, perfect for letting go, observing time inexorably slipping out of our hands forever. Sounds that are timeless, it was said. Rod Modell and Taka Noda are visionaries, and GLOW WORLD is a rare gem. Simply another masterpiece."

Yaryu - Estuary (CS+DL)Yaryu - Estuary (CS+DL)
Yaryu - Estuary (CS+DL)造園計画
¥2,000

Becoming a fish, we move up the river from its lukewarm, lazy mouth. Eventually, the current grows cold and the mountains steep, and before long, your consciousness skips over the headwaters to the sky where the stars shine brightly. Connecting the second album “For Damage,” released in four countries around the world, and the first album “Bongaku” is “Estuary,” the 1.5 album by the improvised music group Yaryu. This is a spiritual sound work woven from improvisations performed by Takuro Okada, Wakana Ikeda (The Ratel), and many other musicians.

Silky and serene chamber music-like acoustics spun by flute and alto saxophone, the sad exoticism of pure Japanese music brought about by the sound of the Koto, Hawaiian New Age reminiscent of a deserted beach, and passing through numerous sound fields along the riverbank, the torrent of psychedelics and spirituality continues onward.

The cassette version will include a DL code for this title. 

NPLGNN - Live At Human Razzmatazz (CS)NPLGNN - Live At Human Razzmatazz (CS)
NPLGNN - Live At Human Razzmatazz (CS)Homemade Sound System
¥2,426
This tape contains a recording of a live of NPLGNN recorded atHuman Razzmatazz (Barcelona) on March 2023.Everything you hear it comes from two Korg Electribe EMX1 +Pioneer DJM900 NXS + Traktor. To describe the sound it makes sense to bring back what was the press release of “Sigma/Tau” the first record of NPLGNN released in 2014 on Where To Now? (RIP): “NPLGNN creates a less pampered style of body music, stripping away the usual signifiers such as melodies and bass lines to create something more utilitarian, brutal and pure. This is the pre-babel language of dance music - it's cadences are rhythmic and its meaning is comprehensible to all on an innate, primal level.” Ten years later this tape makes those words still remarkable to describe the sound of the Neapolitan head.Among a bunch of unreleased sounds you can go through all the NPLGNN recent records for LavaLava, Youth, Hundebiss and it own lathe cuts series dubbed here and there with vocal cuts intersections. Coming off like the rude son of early ‘00s breakcore heroes, quoting the Manchester Boomy heads, NPLGNN delivers a 45 mins mutant soundsystem recording. It's acid dancehall punk, amorphed ragga riddimz, or whatever you want to call it. 100% dancefloor melting. Ask Aphex Twin for a couple of IDs ; Soundsystem mutant NPLGNN shells blistering and bone rattling yardcore styles in his recording made at Barcelona’s Human Razzmatazz in 2023 A decade since they emerged via Where to Now? and the NZO-related OKNO label, with subsequent turns for everyone for Reel Torque to Youth and their rhythms rinsed by likes of AFX, plus killer programming of the MBE mix series and Forever Now with Dave saved; NPLGNN has surely held his ground in ruggedest mutant dancehall terrain. ‘Live At Human Razzmatazz’ catches them in full flow rattling thru stacks of custom soundsystem dubplates that roughly resemble the millennium era surge of scuzzy breakcore by Ambush don DJ Scud or DJ /rupture as much as his contemporary, Ossia, or even Rat Heart’s rudest; harnessing coarse machine rhythms of spark-sputter hi-hats and nervy snares with depth charge subs and ragga chat, crudely dubbed into the red and maximized for steppers pressure and battling stacks.
Scott Douglas Gordon - Radial (CS)Scott Douglas Gordon - Radial (CS)
Scott Douglas Gordon - Radial (CS)HIAX Records
¥2,199
Acoustic Rhythm & Texture Sequencer Available as C60 Limited Edition of 50 mirror dubs- (same on both sides) + Inserts written and produced by S.Gordon 2024. additional percussion by Islay Spalding - TRK 7, recorded at SFS studios 2024 Synths & Radial - SDGordon. The Radial instrument was designed to explore various material's acoustic characteristics in ways that could only be achieved through mechanical and electronic control. It creates sporadic dense percussive sequences & sharp reciprocating sweeps or can focus in on tiny acute angles to produce deep shaking drones among a host of other planned and unplanned acoustic sounds. Radial uses 5 voltage controlled motors and interchangeable textured cylinders captured via contact microphones positioned within the chassis. The cylinders can be synchronised or independent & the blades are interchangeable allowing the flex of certain materials to skew and augment the movements and sounds and sequences. Playing the Radial instrument is a direct visceral experience. Its sequences sound unlike anything else i have used and the simple design by no means limits the scope of its rhythmical output. After feeling out the controls you arrive somewhere in-between the rubbery juddering fuzz or clockwork blasts of percussion and can step back allowing the physicality of the instrument itself to dictate how things proceed. Minor adjustments can have a butterfly effect on the entire tone inmate rewardingly unpredictable but controllable way. On certain tracks there’s some synth work in a move away from the potential “instrument study” vibe of the release and Islay Spaldings blistering scrap metal percussion on Track 7 was incredible to watch.. Additional thanks to Stephan P Richter “SPR” for the advice and encouragement through the whole build.
Low End Activist - Municipal Dreams (CS)Low End Activist - Municipal Dreams (CS)
Low End Activist - Municipal Dreams (CS)Sneaker Social Club
¥2,496
On his latest full-length, Low End Activist swerves towards weightless grime and suspended hardcore miniatures to tell a very personal story. The UK-rooted producer continues his habit of zeroing in on a distinct approach for each release, leaving a logical breadcrumb trail of soundsystem science in his wake as he channels decades of bass absorption into 14 atmospheric cuts that prize patience and precision over obvious club functionality. Municipal Dreams plays out as a semi-autobiographical tour through the Blackbird Leys estate that the Activist grew up on. It’s a lived reflection on inequality and the ripple effect it has in working class communities, using the sonic palette to set the mood and scattering pointed samples throughout to spell out the story. In sampling the exhaust of a stolen Subaru Impreza, ‘TWOC’ looks back to the recreational car theft which was standard entertainment for the kids in his community. There’s an underlying idea that this ‘council estate sport’ wouldn’t have been so prevalent if there were public services and opportunities presented to the scores of disaffected youth looking for somewhere to direct their energy and frustration. In ‘Just A Number (Institutionalised)’ LEA alludes to the shattered juvenile detention system, growing up seeing friends and family members locked up at ease with little to no support on being released back into society, just meant that the same cycles of behaviour would play out over and over.

‘Violence’ samples from a short film shot by the drama division of the Blackbird Leys Youth Club to evoke the physical threat which formed a background hum to life on the estate. The industrial mechanics of the local car factory, which served an integral role as a workplace for many in the community, gets sampled in ‘They Only Come Out At Night’ while the ‘Everyone I look up to are either junkies or criminals’ sample in ‘Broke’ looks to a lack of positive role models. Municipal Dreams isn’t a one-note indictment of life on the estate, ‘Innocence’ captures the simplicity of a child at birth before their environment has time to shape them. The Hope interludes cut through the grim honesty of the longer tracks while a subtle thread of wry humour finds its way into some of the talking heads cutting through the signature LEA murk. But honesty is the operative word here, and the message feels all the more meaningful at a time when the UK’s social divisions are laid bare in the wake of a devastating stretch of austerity. Returning to Blackbird Leys to shoot images for the photo-zine and album cover, the Activist found the local community centre being demolished. The local pub stands derelict, its faded Welcome sign a grimly ironic portent of the options facing children of the estate in the wider world. Funnelling his memories, hopes and fears into a singular twist on the bass weight tradition, LEA captures evocative scenes that land somewhere between kitchen sink realism and rave futurism.
Sam Gendel & Sam Wilkes - The Doober (CS+DL)Sam Gendel & Sam Wilkes - The Doober (CS+DL)
Sam Gendel & Sam Wilkes - The Doober (CS+DL)Leaving Records
¥2,457
Gendel on C-Melody Saxofone and Wilkes on Fender P-Bass arrangements of selected material and original compositions a document of specific variations in instrumentation, sound, and repertoire, with a focus on melody, execution of arrangement, and total freedom The Doober follows the release of Music for Saxofone & Bass Guitar (2018) and Music for Saxofone & Bass Guitar More Songs (2021).

Sam Wilkes, Craig Weinrib, and Dylan Day (CS+DL)Sam Wilkes, Craig Weinrib, and Dylan Day (CS+DL)
Sam Wilkes, Craig Weinrib, and Dylan Day (CS+DL)Leaving Records
¥2,457
Most of this recording was made during a single early evening in Southern California, outdoors, with the San Bernardino Mountains in view. Sam Wilkes played bass guitar, Craig Weinrib played trap drums, and Dylan Day played electric guitar. Eight months after that dusk recording session, the trio reconvened to capture a few more pieces. Wilkes wanted to hear Dylan play a Jobim melody (How Insensitive), Dylan wanted to hear Craig play a funeral march (When I Can Read My Titles Clear), and Craig wanted to play nice and gentle. The resulting record, a document of an initial and seemingly fated musical encounter, conveys the ease and the intensity of the trio’s chemistry. Their shared sonic affinities, while essential to the record’s sound, feel secondary to the integrity, confidence, and mutual regard that suffuse each note and every beat. Atop standards, folk songs, and hymns, Wilkes, Weinrib, and Day unfurl a series of cascading improvisations. Joyful and precise music. Sam Wilkes is from Westport, Connecticut and lives in Los Angeles, California. Craig Weinrib is from New York and lives in New York. Dylan Day is from Fletcher, Vermont and lives in Los Angeles, California.

Alicia - Aird Tapes 1.1 (CS)
Alicia - Aird Tapes 1.1 (CS)Aird Tapes
¥2,492
Kindred the shop and radio station based in London mint a new in-house label, headed up by one of the store's founders, Scar. Up first is station regular, Alicia, with a 60 min hazy trip through dubwise ambient & downtempo niceness, really cracking listen this one. Limited edition c60 cassette.
V.A. - Road Less Travelled Vol. 2 (CS)V.A. - Road Less Travelled Vol. 2 (CS)
V.A. - Road Less Travelled Vol. 2 (CS)Scenic Route
¥3,296

版元完売。Theo Fabunmi Stonn (404 Eros) & Jon Phonics (Astral Black)の2名が主宰しているロンドンの気鋭レーベルであり、Lunch Money LifeやVanessa Bedoretといった面々による先鋭的な作品を送り出してきた〈Scenic Route〉のショーケース的コンピ盤をストック。レフトフィールドでサイケデリックなテイスト抜群のドリーム・ポップやインディ・フォーク、オルタナティヴR&Bを中心に、知られざる現行の地下アクトたちを一挙20組紹介した意欲的な1本!

Keigo Tatsumi - AT US (CS)Keigo Tatsumi - AT US (CS)
Keigo Tatsumi - AT US (CS)Not On Label
¥2,200
Keigo Tatsumi, also known as the bassist of Never Young Beach, a central figure in the Japanese indie rock scene, has released his first solo work, "AT US," on cassette. This original soundtrack was produced after he was in charge of the music for photographer Tomohiro Takeshita's photo exhibition "Across the United States." Drummer/percussionist Kazuhiko Masumura, known as a former member of "Mori wa Ikiteiru," participated as a percussionist. Takuro Okada, also of "Mori wa Ikiteiru," was in charge of mixing/mastering, making this a work with perfect backup!
boycalledcrow - eyetrees (CS)boycalledcrow - eyetrees (CS)
boycalledcrow - eyetrees (CS)Hive Mind Records
¥2,821
boycalledcrow is the alias of Chester-based sound artist Carl M Knott (Wonderful Beasts, Spacelab). Knott, a former folk musician, uses his myriad acoustic influences to create unique, strange and beautiful compositions. We're excited to be able to bring you the latest wonderful album from Chester's boycalledcrow, after some superb releases for labels such as Mortality Tables, Waxing Crescent Records and Subexotic Records. Knott's music doesn't sit easily in any pre-existing genres, being at once strange and experimental, yet melodic and somehow comforting. His music is intimate and evocative, deeply personal, and manages to be both bucolic and yet totally 21st century, like Kraftwerk's robots dreaming of sheep. The songs and sounds on “eyetrees” are inspired by a rich family life and the wonderful times spent with his wife and kids, both at home and out in nature. Knott said of the album and its inspirations: “We enjoy spending time in the woods with our young children, creating stories about the "eye tree”. This tree, with thousands of eyes, watches over us and cares for us like family. We make fox medicine and cherish these blissful moments. The music reflects these times, seen through the colors of an old, fuzzy reel—orange, red, and yellow with blurred edges, like an old photo scorched by the sun. I feel a deep spiritual connection to the countryside; the hands of Arcadia cradle me when I feel sad. Some of the album was created during times of sadness when I felt death was close and the lines between worlds were blurred. This feeling—that anything can happen and that life is delicate and can be taken away in a flash—permeates the music. The song titles are stories and memories of my family, filled with hazy pinks, yellows, reds, and oranges. Wonky acoustic guitar, broken electronics, and a warm, otherworldly space."

Jamma-Dee - Perceptions (CS)
Jamma-Dee - Perceptions (CS)Nothing But Ne
¥2,855
Nothing But Net presents “Perceptions”, the debut LP from Los Angeles producer/beat maker Jamma-Dee aka Dyami O’Brien. Jamma-Dee has been a figure in the west coast modern funk and boogie scene, both as an accomplished DJ and music producer, having released records under his own name and producing for the likes of Joyce Wrice, Mndsgn and others. From a musical upbringing in Los Angeles, Dyami’s adolescent obsession with record digging and beatmaking eventually led him to Dam-Funk’s renown Funkmosphere parties where he built friendships with key players in the LA funk scene and began to make a name for himself as a DJ and producer. In the second half of the 2010’s he released a series of EPs on Arcane and hosted the legendary Soul In Paradise show on NTS radio. His first full-length, “Perceptions” is a long time in the making. Beginning with studio experiments nearly a decade ago, a version of the album found its way to producer and Nothing But Net label boss Onra, who helped guide the project to completion. The album artwork was created by outsider soul music conceptualist and painter, Mingering Mike, whom O’Brien felt compelled to reach out to after discovering his work years earlier. Thematically, the artwork, record, and its title touch on very modern themes: the alienation of life in a world of instant-gratification, an overly-connected society of masks, distorted realities and shifting identities. Musically, “Perceptions” is the culmination of a life lived under the groove. Featuring a long list of collaborators, including Benedek, Mndsgn, Koreatown Oddity, the legendary Craig T. Cooper and fellow NBN labelmate, Devin Morrison, the double album touches on all of O’Brien’s musical influences. Album opener “Up N Down” sets the scene with it’s syrupy g-funk impressionism, before “Jamma’s Jam” bounces out of the speakers through an auburn-colored sunset haze of lush Rhodes chords and sparkling vibraphones. “It Takes A Freak” and “Datafile Groove” shuffle westward, re-imagining New Jack Swing grooves through a distinctly Californian lens. Elsewhere, the album touches on classic deep house rhythms (“Tic Toc” and “Silly”) and crystalline, downtempo R&B and UK street soul (“Joy”, “Saturday”).“U.R.” features legendary L.A. guitarist Craig T. Cooper laying down a network of stunning, silken guitar lines with absolute class. Over the course of these 15 tracks, Jamma Dee consolidates, renovates and perpetuates the sound of his influences. “Perceptions” is a masterclass in modern funk and soul production.
Charles.A.D - West Pontoon Bridge (CS+DL)Charles.A.D - West Pontoon Bridge (CS+DL)
Charles.A.D - West Pontoon Bridge (CS+DL)100% Silk
¥2,111
Farmer and deep house producer Hiroyuki Tanaka aka Charles A.D. has been quietly cultivating his crop of live hardware dub techno and devotional acid since debuting with the 熱い海 (‘Hot Sea’) EP on Austria’s Dream Raw Recordings in 2017, followed by two long-form classics for Tokyo’s Umé label in 2019 (Inception) and 2021 (Dry Flower). His latest, West Pontoon Bridge, further refines Tanaka's composite of rhythm, repetition, and vanishing point electronics, shaded in what he calls “characteristic sadness.” Schemed and tracked across a half decade of studio explorations, the album moves through gradient landscapes of twilit trees, mossy waterfalls, and hidden temples shrouded in ocean mist. Named for a nearby Japanese landmark of boards laid across boats at the river mouth in place of a permanent bridge, the collection unfolds in a similarly improvised and panoramic sweep. Lean percussive systems crosshatched with bass, haze, liquid loops, and spatial FX, the album subtly accelerates as it advances, spiraling softly towards a strobing dance floor in a sacred grove.

Tegu - Owl Island (CS+DL)Tegu - Owl Island (CS+DL)
Tegu - Owl Island (CS+DL)Not Not Fun Records
¥2,111
The second outing by Hunter Thompson’s tribalist dub alias Tegu skews more spectral and environmental, a canopy of cascading keys, hand percussion, and swells of everglades bass: Owl Island. Recorded in early 2024 on the banks of a Floridian canal, the album’s 11 tracks roll in like warm fog over an ancient marsh, swaying with low end and loops of humid synths. Across 53 minutes, the music moves between séance and visitation, alternately lurking and expectant, bathed in a sheen of starlight and streetlights. Fellow voyagers Wave Temples and X.Y.R. join for a pair of smoky, cosmic cameos, but otherwise this is a solitary affair – locked in, looking up, mapping new constellations in the expanding void.

Tasha - All This and So Much More (CS)Tasha - All This and So Much More (CS)
Tasha - All This and So Much More (CS)Bayonet Records
¥1,864
In All This and So Much More Tasha is an artist flung open. For Tasha, the last few years have been propulsive, dynamic, bursting at the seams. They've included painful encounters with grief; a sudden break up; new flirtation; new hair; the glitter of world travel and not least, a role in Tony-nominated Broadway musical Illinoise which adapts Sufjan Steven’s Illinois for the stage. If Tell Me What You Miss The Most was an introspective meditation on love with a few moments of glancing toward what’s next, All this and So Much More is Tasha turned outward, flourishing, telling us what it’s like to take life by the chin and look it in the eye. Take, for example “Eric Song.” This was the first song to be written on the album, penned while Tasha grappled with the sudden, tragic death of Eric Littman, the co-producer of her last album. Though the instrumentation is a familiar 3/4 guitar strum, lulling us into a comforting waltz, Tasha’s voice is breathy with grief, adding depth and dimension to the hushed sound. “No, I’m not alone after all / You must be near / Facing this soaring sprawl,” she sings, transforming the experience of loss into a talisman of love and courage meant to help usher in a new self. Said a different way, All This and So Much More is a full-throated ode to all of the ups and downs of becoming. In the opening track, “Pretend,” when Tasha sings about “feelings outgrowing this little life,” we get the sense, both lyrically and sonically, of someone in the throes of growth. This is an album crafted with a big, ambitious sound (in part, thanks to the production of Gregory Uhlmann)—cinematic droning, orchestral woodwinds, dazzling arrays of jangling guitar, all lining up to capture a sweeping moment in Tasha’s life. Written over the course of 2022 and 2023, right on the cusp of Tasha being cast in Illinoise, the songs in this album invoke friendship, heart ache, flirtation, doubt. From the social anxiety of “Party” (“Do they think I’m funny? / Did they like my jokes last night?”) to the questing for meaning in “So Much More,” Tasha brings us along on a journey of finding out that the person you wanted to be was inside of yourself, just waiting to bloom all along. She sums it up neatly in her final track, “Love's Changing,” charging us with a brilliant, sweeping vision of the future, singing: “Suddenly the world is bigger than it ever felt before / Feel the weight of my future sinking in / See the joy I’m running toward." In All This and So Much More, Tasha asks us to consider abundance in its truest form. Our lives, a deluge of possible experience if only we will surrender to it, all the way from the citric ache of heartbreak to the chest bloom of new adventure.

Mac DeMarco -  Old Dog Demos (CS)Mac DeMarco -  Old Dog Demos (CS)
Mac DeMarco - Old Dog Demos (CS)Captured Tracks
¥1,876
Mac DeMarco, the cult-favourite singer-songwriter known for sampling on Sekito Shigeo's ‘The Word II’ and collaborating with Haruomi Hosono, released his third studio masterpiece in three years in 2017 on indie giant Captured Tracks. The demo of his third studio album This Old Dog, released in 2017 on indie giant Captured Tracks, is now available on cassette. It's an accessible lo-fi indie-pop album with psychedelia.
Mac DeMarco - Another (Demo) One (CS)
Mac DeMarco - Another (Demo) One (CS)Captured Tracks
¥1,876
He is also well known for his sampling of Sekito Shigeo's ‘The Word II’ and collaborations with Haruomi Hosono. Originally from British Columbia, Canada, Mac DeMarco is now a Los Angeles-based musician, and this cassette is a demo version of his mini-album A One, which was released a year after his highly successful 2014 album Salad Days. The eight-track psychedelic/mellow jungle-pop masterpiece shows his maturity as a songwriter, as he was 25 years old at the time!

Mac DeMarco - 2 Demos (CS)Mac DeMarco - 2 Demos (CS)
Mac DeMarco - 2 Demos (CS)Captured Tracks
¥1,876
A milestone masterpiece in the history of indie-pop, recommended for a wide range of music lovers! Famous for sampling on Sekito Shigeo's ‘The Word II’ and collaborating with Haruomi Hosono, the demo material from Mac DeMarco's debut album 2, released in 2012, is now available on cassette. A masterpiece that brought the songwriter's distorted approach and preoccupation with soft rock to a wider audience.

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