NEW ARRIVALS

Barely known to the international public, the Electone pioneer and virtuoso Shigeo Sekito is the man behind four LP volumes titled “Special Sound Series” published by Nippon Columbia between 1975 and 1977. One of his masterpieces from “Vol. 2” titled “The Word II” gained great popularity after inspiring Mac DeMarco to cover it creating one of his most acclaimed tracks to date, an unforgettable tribute to Sekito’s blissful compositions. Quavo feat. Travis Scott, Eevee and others followed sampling this track to create new tunes. During the past years youtube’s music recommendation algorithm also did its part popularizing this track and the whole vol.2 LP online as well as creating an unsatisfiable demand for the highly sought-after 12” which hadn’t been reissued to date. Shigeo Sekito studied piano as a child and aspired to become a composer, studying composition at Osaka Kyouiku University. He was later attracted to a new Yamaha instrument called “the Electone”, and won the first prize at the National Electone Competition in 1967. He was one of the leading figures in the world of the Electone, while teaching younger students. He also performed and composed music on the piano under the name of Ken Akishino (秋篠健) and published some of his works on his YouTube channel before passing away in 2021. Originally released in 1975, Shigeo Sekito’s “Special Sound Series Vol. 2” is one of the best examples of his Electone works as a composer and pioneer. As a Malaysian newspaper described in a 1991 article: “His fresh, energetic, rhythmic and sometimes humorous style of playing is attracting a growing number of fans and enthusiasts to try and play Electone, and is expected to develop new possibilities in the Electone world. He is actively engaged in numerous concerts and recordings, both at home and abroad, practicing up to 14 to 15 hours a day. Sekito’s music can be described as “careful as the devil and daring as the angel itself”. His selection of tone color and miraculously sound manipulations make us find ourselves all of a sudden pulled back to our past inner experiences or thrown away into an opened future cosmic space. This is indeed a demonic work and may also result from the sweetness and purity of the angelic whisperings."

Essential jazz album among the influences of the future-jazz quartet Sleep Walker by trombonist Hiroshi Suzuki. “Variation” is a joint project including the legendary jazz drummer Masahiko Togashi featurig pianist Yuji Ohno, saxophonist Jun Suzuki and trumpeter Tetsuo Fushimi.

Minyo Crusaders, who shocked not only Japan but the entire world with their hybrid of Japanese folk songs and Latin, cumbia, reggae, afrobeat, etc., released their masterpiece first album "Echoes of Japan" at the end of 2017. This 2-disc LP version is now a standard catalog item! This album, packed with killer tunes such as "Kushimoto Bushi," "Tanko Bushi," and "Aizu Bandaisan," will be delivered on vinyl for years to com

3TWI (عتوي) the name of Fatima Al Qadiri’s new EP, is Kuwaiti Arabic femme slang for dirty old man, literally meaning “male alley cat.” Over four regional club tracks, Al Qadiri explores the gaze of this sleazy yet pitiful background character with long-time friends and vocal collaborators Bobo Secret, Lama3an and Gumar. Conceptually, the EP follows Al Qadiri’s long-term pre-occupation with dance music, gender identity and performance in West Asia. Musically, the release is a homage and love letter to West Asian folk dance music. 3twi celebrates the ethnic diversity of the region and the shared love of musical traditions across borders, through a coy queer lens. Lyrically, the record is split between suggestive spoken word (ft Lama3an and Bobo Secret) and yearning anthems (ft Gumar), all queer in intention and meaning and largely improvised. The final track, ta3alay, samples acapella taken from the theme song of a Japanese cartoon, Tokimeki Tonight, translated for Arab audiences as Ranzy Almudhisha, originally sung by Lebanese singer Ihsan Sadek, and re-sung by Gumar to create a double vocal. All the songs are in Kuwaiti Arabic except ta3alay, sung in Classical Arabic, and zan kardeh yaw nah, which is in 3eemi (عيمي), a regional dialect of Farsi reflecting the Iranian heritage of Gumar and Al Qadiri. 7ilween loosely translates as “pretty young things”. The lyrics play out a shady encounter between the 3twi and his potential clients that fit the description. Zan kardeh ya nah is 3eemi for “did you get married or not?” and the answer is inferred as No – a defacto West Asian queer anthem. Zilim means “macho man” and is an ode to the region's butch femmes. The hook translates as “She, She’s the macho man, Her!” Ta3alay is a love song which means “Come here.” The lyrics profess, “Oh tone in the mind, and in the realm of imagination, oh beautiful picture, do not stay imaginary, come here.”

In their third collaboration, the shared project between Merzbow and Pedro Vian shifts towards less confrontational and more introspective terrain. Bardo Thödol, released as an LP, draws on The Tibetan Book of the Dead not so much as an explicit narrative framework but as a conceptual resonance: a passage, a suspension between states. Where Inside Richard Serra Sculptures and The Wheel of Mani foregrounded a relatively defined dialectic between Vian’s environmental restraint and Masami Akita’s impulsive, textural excess, that friction here appears to dissolve in favour of a more homogeneous mass. Noise, far from its most abrasive edge, is reconfigured as a continuous field — dense yet permeable. Within this flow, melodic structures emerge without assertion, surfacing almost incidentally as by-products of the accumulation of frequencies itself. The result is less a reconciliation of languages than a blurring of their boundaries: a space in which intensity is internalised and the radical gesture folds into a more sustained, contemplative mode of listening.

Fuego Eterno, the new album by Merzbow (Masami Akita), incorporates various aspects of the project's sonic canon while bringing a unique and fresh perspective to the table. The album explores a wide range of experimental approaches to the noise genre, with compositions that expand the meaning of noise music and musique concrète in this day and age. Modular analog synthesizers fill out stream-of-consciousness passages, while electroacoustic pieces (such as “Guitar Rain”) evoke the project's early cassette-only days. A 2xLP of new compositions on beautiful hand poured and handmade vinyl done in collaboration with the undisputed kings of wax (Wax Mage). Fuego Eterno contains the essence of Masami's body of work while bringing a fresh sounding album. Fuego Eterno captures the defining elements of Masami Akita’s sonic language while continuing to explore the possibilities of noise as a compositional form. Moving between the dense textures of modular analog synthesis and more open-ended electroacoustic passages, the album draws connections between different facets of Merzbow’s extensive discography without simply revisiting familiar territory. There is a sense of continuity in the way sound is layered, manipulated, and pushed beyond conventional musical structures, yet the interplay of these elements gives the record its own character. Rather than relying solely on sheer intensity, Fuego Eterno explores the shifting boundaries between noise, texture, and abstraction, reaffirming Akita’s enduring ability to find new possibilities within a practice he has spent decades developing. All Music by Masami Akita Recorded 6 Mixed at Munemihouse, Tokyo 2021-2022 Album artwork by José Moreno Rahn. Limited edition of 300 copies worldwide.

ALLVEI (pronounced AHL-vay) is an ambient-jazz trio featuring Norwegian guitarist Eivind J. Vullum (HMD,Vibrasjon), Polish saxophonist Jerzy Mączyński (Polish Jazz, UHF) and Swiss drummer Nicolas Stocker (ECM, Nik Bärtsch’s Mobile). With its roots and meaning coming from a specific region on the North-Westcoast of Norway, ALLVEI describes an eternity in time, and the endlessness in space. It’s a musical and physical journey that begins deep in the mountains of Norway via Warsaw, Zürich and ends in Kristiania. It’s a fitting name for the trio’s musical experiments, operating in a continuous evolving sonic space. The five compositions act as a visual site-map of the first cycle of the ALLVEI project. From the subtle minimalism of ‘Almberg’ and unruffled sounds of ‘Driva,’ an enchanting web of rhythmical structures and ethereal sounds unfold, centred around subtle polyrhythms and free improvisation. ‘Mariensztat’ brims with exotic textures and tasteful arrangements, while understated explosions and quietly composed atmospheres dictate the pace of ‘Züri,’ before the album climaxes with the surging ‘Kristiania,’ awash with Stocker’s shuffling drumbeats.

New York producer Daniel Creahan returns as Alien D with his debut full-length on Theory Therapy — following last year's For the Early Hours of a World in Bloom EP, Smoker's Choice takes on a decidedly more spacious and inward bent, softened rhythms and arrangements given more room to breathe as electronics and acoustic composition fold into a shifting, ethereal wash. A record of drifting forms and blurred boundaries where nothing feels entirely fixed. Collaborations run throughout — guest vocals from his wife Ellen, washed-out zither, bowed banjo and scorching saxophone leads, each instrument buffed into a mass of sound through Creahan's dubwise interpolations. A sub-bass tone might linger beneath the surface before receding into the haze; a groove can feel steady one moment and subtly shift the next. Repetition becomes less about locking into a pattern than watching it slowly change, like the same view seen through moving water. Smoker's Choice finds its depth in these small shifts — dub rhythms, soft-edged electronics and acoustic inflections reaching something dreamlike but tactile, where atmosphere and groove are never quite separate. A landscape of slow-moving forces, entirely absorbing.

Rootless is Andy Guthrie's fourth album for Students of Decay, following 2022's Gyropedie (SOD 125LP, 2021). Created in part during a 2024 residency at the Headlands Center for the Arts, it finds the San Francisco-based multi-instrumentalist expanding the hermetic electroacoustic language of their earlier work into something even more open-ended and oneiric. Field recordings mingle with French horn, piano, electronics and, increasingly, the human voice, forming environments whose familiar elements progressively slip into stranger configurations. "Hiraeth" establishes the record's sense of scale, as field ambience, delicate foley textures, and isolated horn phrases gradually accumulate into a plaintive, nocturnal atmosphere. Elsewhere, recognizable forms appear within Guthrie's characteristically elusive constructions. On "Brittle Bag," scattershot drum programming and domestic clatter give way to a smeared, distorted shoegaze anthem, a frayed and unruly song emerging through the unstable surface of the composition before being absorbed again into its surroundings. By the closing "Epiphyne," this more traditional songcraft comes fully into view. Guthrie's sung vocals are clear and declarative, articulating themes of identity, intersubjectivity, and love. It makes for an unexpectedly direct conclusion to a record otherwise marked by wildness and mystery. Taken as a whole, Rootless is concerned with what it means to inhabit places -- and lives -- without fixed coordinates: music that feels persistently adrift, continually finding and abandoning new forms. Edition of 200.

The UK’s Afro-club Queen, Shannen SP chases her ‘Amapiano Now’ comp for NTS with a cherry-picked survey of Mzansi Bass, including one of her own, locked to the emergent South African hybrid of Bacardi energy and amapiano log drum grooves currently catching fire beyond SA. Spotlighting the freshest iteration of a lineage that runs from ‘80s bubblegum to ‘90s and ‘00s kwaito, thru gqom, amapiano, bacardi and 3-step in recent decades, Shannen SP’s curatorial chops are deadly on-point yet again with this lot for Colombia’s TraTraTrax. Anyone keeping up with contemporary South African styles and patterns will recognise certain hallmarks of prevailing sounds tessellated into the more layered, sticky and even psycho-sexual thrust of Mzansi Bass, which clearly favours an added lash of raving trance synths and simmering energy bound to connect with proper dancers everywhere. Perhaps most notably, it opens with Shannen SP’s debut production credit (after vocal on Nazar’s ‘Airstrike’ in 2020), in duo with Hennybelit on the transition from tense techno hunch to gluts-twang bass in ‘Mzansi Bass’, smartly cued up next to DJ Lag’s nagging trance vamps on ’NOPS’, for the strongest introduction to this new permutation. The pressure holds tight for the rest, firing zippy Kaito-style electro motifs on State Offf’s ‘Alarm’, and full wingspan glyder ‘Favelas’ ft. Lyzza. Jay Music rams the energy with a romantic keen in the finely yoked trot of ‘Midnight Session’, and Deep Narratives plumb proper subbass levels on the quaking ace ‘Ghetto Gong’, next to the martial pomp of ‘Stjwetla Revisit’ by Audio Addicts, and a surprise left turn to Barbie SZN’s cunty rap on blown-out bass in ‘GTI.’

Treasure Dub captures Arthur ‘Duke’ Reid at the controls, transforming his Treasure Isle productions into spacious dub workouts. Bass and drums take centre stage as vocals and instruments flash through echo, reverb and sudden drop-outs. Rooted in Reid’s hugely influential Kingston studio work, it’s a potent dose of Jamaican dub from one of the producers who helped define the sound.

Debut Short Span LP from Miles ov Demdike Stare, Pendle Coven and Suum Cuique fame, co-founder of the DDS label, longtime pal, and in recent years mastering engineer to countless releases you’ll find strewn accross these pages. It documents 30 years of "warm up" jams, spanning many modes and eras in inimitably deep and fractious style... "The practice of dub techno and its tendrils is a fundamental for me, both aesthetically and from an engineering perspective. I start every recording session with a dub inspired jam, the first piece I ever recorded in 1996 was an effort to recreate Phylyps Trak with only a Korg X3 and an Ibanez PUE5 (borrowed from Gary Howell). It was an awesome introduction to jamming, and the footing stones of noise, delay and saturation were explored with my foot hard on the enthusiasm pedal. These practice jams are in some sense cathartic, the first step taken again & again, which helps me move forwards each session and additionally helps to 'warm the circuits' both of myself and the machines. After realising the genius of Basic Channel is akin to the genius of peasant food, using every ingredient with nothing left to waste, (up to and including the oft maligned working noise of the machines themselves), this was a watershed moment for my own subjective progression. No longer tied to just emulation of something inspiring, but taking these learned tools into other areas of music helped to break free from a strong current of influence and also to progress into other areas with the new toolbox. Dub: The importance of the dub pioneers should never be understated, in modern music and my own practice. Yet with my initial inspiration being two german dudes issuing extreme techno variants with obscured label designs, who then signposted their listeners to their own inspirations (via their Wackies re-issues or nodded to on their Rhythm & Sound/Burial Mix sub-labels), meant that I started late and travelled backwards. Learning to notice the live mixing of Mikey Dread or Lee Perry when the faders are bleeding through even when turned down, (echoed in BC's Quadrant Dub), or the brash send effects literally thrown into the mix also taught me that 'rough' mixing can inject a recording with life, uniqueness and the most right wrongness. Looking back Basic Channels very few elements helped me realise that the rules to be understood, are also the best ones to be broken. Push the mixer into the red. Amp that noise up from the tape delay cos it sounds sick. Pseudo side-chain effects cos the kicks are way too loud and the mixer can't sum it nicely. Spam the send knob into the delay units now, now and now. Carelessness. Noise: Once I wrapped my head around the intrinsic 'noise' element that set those records apart, this became a torchlight into the alt noise movements which I was tentatively exploring at the time, and also is evidently a connection or thread into them. Whether the Industrial/Post Punk UK scene (This Heat, TG, A Tent, F.E.) or the prolific output of the US Noise scene (Wolf Eyes, Live & Shave in LA, and subsequently following the lineage all the way back to Chrome's Alien Soundtracks), I had finally discovered a connection from techno to this 'free for all' corner of music. This input from the Noise arena of sound is, in my experience, an all important step for a sonic artist, taking it's roots and extending out from Stockhausen/Pierre Henry and utilised/warped/mangled by thousands of adventurous pioneers ever since, I now see the line separating the high brow and the low brow is actually an artery carrying information from the head to the heart. Vault is a selection of these jams that precede each of my solo recording sessions, for 30 years I've recorded hundreds of these 'workouts'. They are never intended as serious statements, just moments of naive enjoyment, yet most importantly they are time & space captured as practice. The objective is always a warm up exercise, but sometimes those exercises turn a different corner, with a certain focus or direction dependent on what random samples are left in my machines from the previous session, instead of conscious choices, these unconscious elements can facilitate those 'positive mistakes' that make a piece of sound retain a different feel or colour and thus become special, or at least special to the creator. I am quite conscious that the 'record everything' aspect of my ethos has been invaluable in cataloguing and saving these jams, while the attitude of carelessness during this process (after all, it's only a warm up jam) invites more enjoyment than seriousness ever could. Even if you don't feel the piece at the time, record it, because some years later it may well fit, or become relevant in a way you never intended." -Miles

Maruyama follows Vapor Curve with grainy film, a hardware-only mini album created without the use of computer-based recording software. Built from synthesizers, samplers and delay units alone, it finds beauty in restraint, combining minimal harmonies with glowing ambient passages, shimmering arpeggios and the warm, grainy character of vintage samplers. Inspired by the faded texture of old film stock, grainy film expands on its predecessor with a deeper, more abstract and dub-inflected sound. Maruyama describes it as "music for a cigar" – understated electronic music that quietly transforms the atmosphere rather than demanding attention. Nostalgic melodies and lingering echoes capture a sense of impermanence, making this a meditative and deeply absorbing listen.

Portland’s Roman Norfleet (Cosmic Tones Research Trio, MerKaBa Brotherhood) and Be Present Art Group extend their incredible outpouring of spiritual, liberatory music. "The Remembering is sonic libation for those who came before us. Drawing from Black American history, revolutionary thought, and the enduring spirit of resistance, the music weaves in echoes of the figures, movements, and ideas that have shaped generations. It honors the past while carrying its spirit into the present."

In a limited one time only silver foil edition, here we have Harlan Silverman's follow up to his popular Music For Stillness LP! For this one, he's teamed up with violinist Gregory Allison to bring you an absolutely beautiful peaceful record. Just violin and cello! Pretty! Special.

AMAZING blues field recordings made by Bengt Olsson in the late 1970's! Stunning songs, 80% of which are completely unreleased until now. Blues like you've never heard them. Rocking, contemplative, deep and wide. Comes in an old school "tip on' cover.

The Rio-based project Pra Gira Girar presents a new interpretation of the song Atabaque Chora, originally made famous by the trio Os Tincoãs. Written by Dadinho and Mateus Aleluia, the piece opens the group’s iconic 1977 album Os Tincoãs —and has now been chosen to mark the beginning of Pra Gira Girar’s own recording journey. Formed by Alvaro Lancellotti, Michele Leal, and Alan de Deus on vocals, Pedro Costa on guitar, Kassin on bass, Zé Manoel on piano and vocals, Zero Telles (in memoriam) and Anna Magalhães on percussion, and Diogo Gomes on trumpet, the project was born from Alvaro Lancellotti’s long-standing admiration for the work of Os Tincoãs and his wish to create a live show celebrating the legendary trio. For a year, Alvaro, Michele, Alan, and Pedro made up the core of the group, meeting weekly for rehearsals that became a deep dive into Os Tincoãs’ intricate vocal arrangements. These sessions were essential to recreating the grandeur and complexity of the Bahian trio’s music. Pedro Costa transcribed the vocal lines and, together with Michele Leal — a singer-songwriter with a background in choral singing — adapted the arrangements for a formation that, unlike Os Tincoãs, features a female voice.

Few artforms are as apt to describing the fervour and tumult of human emotions as music is. Songs transport us to real and imaginary places, living someone else's experiences as our own, connecting with thoughts and feelings through melodies, rhythm and words. As a producer working primarily with the tools of traditional Hip-Hop – samplers, records, synthesizers – Onra has distinguished himself over the past decade as one of the best of his generation, capable of creating vivid music that sparks the mind of the listener and brings them along to uniquely detailed spaces, both real and imagined. On “Nobody Has To Know”, his fifth album for All City Records, the versatile French producer created music that reflects on the various aspects of a secret relationship pulling from R&B,New Jack Swing and Funk to soundtrack the passions of attraction. Stylistically “Nobody Has To Know” picks up from the Future Funk style Onra originated on his 2010's “Long Distance” (and its 2012 companion EP “Deep In The Night” for Fool's Gold). Where those two releases mined the early and mid parts of the 1980s for ideas and references, the new album digs into late '80s and early '90s jams for smoother and richer sounds. Bolstering the record are two talented multi-instrumentalists, New Zealand's Lewis McCallum and Belgium's Pomrad, who bring touches of virtuosity to Onra's trademark smooth arrangements. The result is a record that, like its theme, oscillates between tender, torrid and tumultuous. Over its 13 tracks “Nobody Has To Know” details the ups and downs of a secret relationship, from the excitement of doing something forbidden to the aftermath of living out fantasies. On "Let Me Fantasize" a rolling bassline and sparkling melodies capture the excitement of what is possible, the mind wandering into the forbidden. "No Question" taps into New Jack Swing to act out desires that can't be suppressed, exuberant solos echoing dangerous feelings. With its hard drums and smooth horn solos, and chorus of "Freak" takes you to that place where you can do things you only dreamed about. Balancing this intensity are more introspective moments. "Not Long Ago" rolls out gentle synth solos and nostalgic samples to reflect on past relationships and the very human desire to have what you had or can no longer reach. Rich textures and a languid rhythm underpin the reflective mood of "Nothing To Lose," as you wonder what could go wrong – it's a fine line after all. The fantasizing, excitement and danger of fatal attraction are all reflected through the prism of the music. With “Nobody Has To Know” Onra deftly evolves the style he first began to explore a decade ago with his unique touch, re-affirming a unique sound rooted in warmth and setting the mood for some late-night escapades.

Jakarta x NYC’s charming Asa Tone trio chase their Ariel Kalma jams with a beatific bouquet of electronica-meets-gamelan delicacies, surely recalling their near namesake Asa-Chang & Junray’s Y2K classic ‘Hana’ as much as Visible Cloaks in their play of feathered rhythmelody, hyaline synths and lathered vox, benefitting from Tristan Arp’s filigree production. “Music From Memory presents ‘Mutualkind’, by Asa Tone, the collaborative project of Melati ESP, Tristan Arp and Kaazi. Written between Indonesia, Mexico City, Berlin and New York, the record unfolds through a process of continual exchange, where distance itself becomes part of the group’s music formation. At the centre of the album is the idea of a shared language, formed across differences in geography, experience and musical approach. One such process explores Tristan’s electronic hand percussion triggering fragments of Melati’s voice in real time, while a library of spoken words and phonemes are reshaped through chance-based rhythmic processes. Voice becomes percussion, rhythm becomes melody, and the lines between individual contributions begin to dissolve. Some pieces, including ‘Water Talk’ and ‘Second Language’, were recorded live in a single take, while others were assembled gradually through remote exchange. During the final sessions in Indonesia, Balinese percussionist Putu Septa contributed kendang to two tracks, bringing the instrument into dialogue with modular synthesis, FM textures, electronic drums, MIDI wind instruments and Melati’s shifting vocal forms. Sounds are slowed, stuttered and reorganised, reflecting a world shaped by illusory borders, vanishing landscapes and glitching ecosystems. Yet the album remains rooted in the act of tending to something shared: a musical field built through listening, improvisation and repeated moments of reunion. ‘Mutualkind’ seeks to blur boundaries without erasing the identities that meet across them, providing a space in which voice and instrument, self and other, separation and togetherness can briefly exist at once.”

*Originally pressed in 2021 - this is a brand new master and cut in a limited edition version* In partnership with Analogue Foundation, Oshu Records is proud to present the limited edtion vinyl repress of "Laroyê" in a thick cardboard tip-on gatefold jacket on 2x 180g vinyl. Acclaimed Hungarian, Berlin-based producer, composer and pianist Àbáse (AKA Szabolcs Bognár) returns, sharing a special, 5 anniversary remaster of his breakthrough project 'Laroyê'. Releasing on Friday 1 May via Bridge The Gap & Oshu Records, this sensitive exploration of Afro-Brazilian culture originally began as an audio diary, documenting Szabolcs’ travels and collaborations in Brazil through a collection of voice memos, fragmented beats, sketches and field recordings. As his journey progressed, and his collaborations and research deepened, the music project started to take on its own life: "Laroyê evolved through weeks and months of research and collaborations into the album that it is now. That means that all the sessions were done in different apartments, small studios, often with borrowed equipment, which all adds to the character, but makes the creation of a coherent sound a challenge. Benjamin Tierney, Erik Breuer and Analogue Foundation did an incredible job with the mixes and with this new remaster. I truly believe that we are able to hear the tracks in a new light, with even more depth and clarity." Coming from the West African Yoruban language, Àbáse stands for "collaboration" – a key element of the music perfectly encapsulated on 'Laroyê'. Recorded in Rio de Janeiro and Salvador, Àbáse spent five months working with diverse artists, from young talents to veterans of the Brazilian scene including Letieres Leite, Luciane Dom, Dofono d'Omolu, Afrojazz and more. The album explores the rich heritage of afro-brasilian culture through samba, MPB and Candomblé, mixing these with broken beat, hip hop and afrobeat, creating a contemporary homage to the classic Brazilian sound. Szabolcs shares: "Despite already leading and managing musical projects that are close to my hearth, I always felt that one day I would like to start a solo project, where I could take full responsibility for the artistic direction and the music would reflect a truly personal vision. In 2017, I decided to take five months to fulfil a childhood dream and travel to Brazil to expand my creative horizon and expose myself to new influences." An album standout is the bass-heavy, afro-brazilian ‘Agangatolú, which Àbáse describes as "best exemplifying the story and concept of Laroye as a collaborative effort - a research project exploring the rich heritage of Afro Brazilian culture through my own lens." The track features singers and percussion players Jadson Xabla and Gabriel Santana - two artists based out of one of the oldest terreiros (houses of worship) in Bahia, whilst drummer Jorge Dubman is an integral part of one of the most famous afrobeat bands from Salvador IFA. The contributions of one of Szabolcsoldest collaborators - Hungarian flautist Fanni Zahar - also made the track a full-circle moment. On a quest for cosmic grooves of unity, Àbáses music pulls from an eclectic blend of global reference points, including modal jazz, Hungarian folk, West African, Brazilian, hiphop and underground electronic music. His work has drawn widespread critical acclaim from the likes of MOJO, Songlines, Soulection and The Guardian, and been supported by key tastemakers including Gilles Peterson, Jamz Supernova and BAMBII. As a keyboard player, Szabolcs has also collaborated with the likes of Wayne Snow, Dele Sosimi, Patti Smith, Emmanuel Wilkins, Gulty Simpson and Zeitgeist Freedom Energy Exchange. 'Laroyê' (2026 Remaster) will release on Friday 1st May via Bridge The Gap & Oshu Records.

'Denshi Ongaku No Bigaku Vol. 3', a Cosmocities compilation put together by label owner Matt Soulie which continues the journey through Japan’s diverse sonic landscape. "Since its inception, the Denshi Ongaku No Bigaku project has paid tribute to a musical culture that has profoundly influenced the Cosmocities vision. Where the first volume explored dreamy ambient textures and deep electronic moods, and the second shifted focus towards boogie-laden rhythms and jazz-fuelled dancefloor excursions, Volume 3 finds a natural balance between introspection and movement. The compilation opens with Yosi Horikawa’s sublime “Bubbles”, an ambient masterpiece whose delicate organic textures gently set the tone. Chari Chari’s “Luna de Ritmos” follows with deep, ethereal house atmospherics before Force Of Nature’s hypnotic “Skyy High” guides listeners further into immersive territory. The journey continues through the experimental electronics of XTAL’s “Skygazer” and the analogue warmth of Takuya Matsumoto’s “Jump Rope Music”, while regular Cosmocities contributor Yuu Udagawa delivers the sophisticated high-tech jazz house groove of “Little Secrets”. On the second half of the collection, Kuniyuki’s remix of Slow Didi’s “Follow Me” brings rich jazz-inflected elegance, leading seamlessly into the futuristic techno-swing fusion of DJ Eiji Takehana featuring Yusuke Nakamura’s “Deep Track Jazz”. Tominori Hosoya’s “Summer Dreamers” adds a deeply emotional and dreamlike house moment before Azzurro’s “Just A Touch Of Love” shifts the focus firmly towards the dancefloor with a hypnotic late-night thumper. Closing the compilation is AcidGelge’s “Fatality 4”, a beautifully spacey and atmospheric finale that leaves the listener suspended somewhere between the club, the cosmos and the imagination."

Telemakus' "Eight Ring Revival" via Good Problem Studios. "The upcoming album from Telemakus, featuring an all-star supporting cast of musicians: Flying Lotus, Karriem Riggins, Mndsgn, Liv.e, Sparklmami, Miguel Atwood-Ferguson, Swarvy, Chino Corvalán, Nicole McCabe and more. Pressed via Good Neighbor on a Cosmic Black record made from eco-conscious, 100% recyclable PET plastic. All songs written, performed, engineered & arranged by Telemakus, except where noted “Five Hands Pt. 1” written and co-produced by Swarvy, “Revival” co-produced by Mndsgn, Karriem Riggins “By Any Feet Necessary” co-produced by Karriem Riggins “2054” co-produced by Karriem Riggins"

Latest EP from Lewisham, London born and based Coby Sey – and inaugural release on Coby’s new label, Cardinal Loom, created 10 years after founding and initiating the label and collective CURL with Mica Levi and Brother May.

This EP consists of 5 instrumental songs: 3 new songs and 2 pre-existing songs, all led by piano and keyboards. The mini-LP version comes with 3 more songs, exclusive to vinyl.

“I’ve spent years devoting my time collaborating with artists and musicians, in the studio or live on tour. In rare moments of solitude, I sit in front of a piano or my trusty DX keyboard, play melodies I have in my head and pour it out. These recordings are some of these moments.” 

The vinyl version of ‘Passengers’ is extended to a mini-LP with 3 vinyl only tracks ‘Crossing’, ‘Seen In Another’ and ‘Extended Capacity’, new vinyl only recordings of ‘Face’ and ‘To’ alongside existing songs ‘Dusk’, ‘Passengers’ and ‘Dawn’.

Music From Memory presents Mood Programs – Extended Play, the debut release from LA MARR, a new project conceived by Ron Trent. The first in an ongoing series for the label, it explores Trent’s fascination with mood, acoustics and the emotional impact of sound within physical space.Drawing inspiration from ambient music, dub, New Age, Krautrock, New Wave and HiFi sound system culture, LA MARR channels decades of sonic exploration into a refined contemporary framework. Built from a blend of analogue techniques and modern production methods, the project focuses on depth, warmth and carefully crafted atmospheres.Across the two tracks, 'Good Magic' and 'Clear', shimmering synth patterns, drifting pads, organic percussion and subtle low-end movement combine to create meditative, spacious compositions. Thoughtfully constructed and richly atmospheric, Mood Programs – Extended Play reflects Trent’s ongoing pursuit of sound as an immersive and transformative experience.