NEW ARRIVALS

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.

The blissed family band is back! TENGGER have always moved together, through time, space & genre. 'SKY' arrives as a new chapter: a little more still, a little more inward, while keeping all the warmth that's always been at the heart of what they do. Embodying the band name meaning "endless sky" in Mongolian and "vast sea" in Hungarian, their 8th album 'SKY' centres on the feelings of boundless, infinite expansion. Conceived as one continuous environment rather than a collection of tracks, the album unfolds slowly through luminous synths, patient drones and Itta's breath-like vocals. Like a soft big sky you can actually float on: 'SKY' is vast, warm, and wide open. "Rather than a specific emotion, we hope the record opens a certain awareness — that the sky is not just something to be seen. Through it, we sense a connection to something much larger — a feeling of being linked to the wider universe. This sense of connection runs through the entire record."

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

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.

After a successful run of early EPs and his debut double LP You!, Producer and Singer-Sing Writer Alek Lee returns to Antinote with his new album Like a Flower — an 8-track journey (plus 3 digital bonus dubs) that feels like open-heart surgery. With raw vulnerability, Lee exposes his deepest fears, pain, and inspirations, singing straight from the gut, but also sending words of inspiration and hope. From dub-infused vibes like the opening track Alright featuring My Lord, to grungy ‘90s trip-hop stylings on Compensation and the title track Like a Flower, the album showcases Alek’s wide emotional and sonic range. He shifts seamlessly into smoky, Sade-esque moods on tracks like Change, Let the Sun Just Shine, and Hold On — intimate ballads exploring heartbreak and existential reflection. With his signature blend of melodica, live percussion, guitars, vocal choirs, and lush '80s synths, Alek Lee locks you into his unique sonic universe. His brutally honest, yet deceptively simple lyrics are dressed as balearic dub-pop bangers.

On Everything You Giveaway, Pablo’s Eye turn Richard Skinner’s seaside vignette into a drifting meditation on loss and camouflage, where a missing jade earring becomes a quiet parable about hiding what hurts in the very element that once held it.Everything You Giveaway feels like a record built around a single, small gesture: a woman sitting by the sea, unconsciously loosening one jade earring while the man beside her skims green pebbles into the waves. The moment passes almost unnoticed, but later, in bed, she discovers that one earring is gone. Instead of panic, she feels relief. In her mind’s eye, she sees it lying on the seabed, indistinguishable from the stones he threw. “The best place to hide a leaf is in a tree,” she thinks, echoing the logic at the heart of Richard Skinner’s poem “a remoteness from the centre” (from the light user scheme, Smokestack Books, 2013). That line – and the short narrative wrapped around it – becomes the emotional axis for Everything You Giveaway.In typical Pablo’s Eye fashion, the text is not treated as a literal script but as a set of images to be dissolved into sound. The waves breaking become slow, undulating pulses; the green pebbles, small percussive or melodic events that vanish almost as soon as they appear; the jade earrings, bright timbral flashes that suddenly go missing from the texture. The music hovers in a state of “remoteness from the centre,” circling around implied themes rather than landing on them. What matters is not the dramatic revelation of the loss, but the quiet, inward turn that follows – the sense that giving something away, or losing it, can sometimes feel like placing it more deeply inside the world, hidden in plain sight.The album’s title, Everything You Giveaway, makes Skinner’s line universal. It’s not just about earrings and pebbles, but about all the things we let slip – relationships, secrets, fears, versions of ourselves – and how they might be absorbed by the environments we move through. The seaside setting is both literal and metaphorical: a place at the edge, where solid ground meets shifting water, and where it’s easy to imagine objects sinking out of view, merging with their surroundings. Pablo’s Eye use this as a frame for their sound-world: a gentle, porous music where elements arrive, mingle and recede, and where the distinction between foreground and background is constantly eroded.This approach aligns with the group’s long-standing interest in spoken word, ambient drift and cinematic suggestion. Here, the poem’s final line operates almost like a compositional rule: hide things in their own element. Melodies surface only to dissolve back into textures that resemble them; voices appear briefly and then disappear into a murmur of similar frequencies; a motif is introduced, then later “lost” inside a denser arrangement. As listeners, we are invited to experience the same subtle shift the woman feels: the movement from anxiety to acceptance, from clinging to an object to recognising its place in a larger pattern.Everything You Giveaway thus becomes less a straightforward adaptation of Skinner’s poem than a kind of extended footnote to it. By dwelling on that moment by the sea – the waves breaking, the casual gestures, the delayed discovery – Pablo’s Eye offer a sonic meditation on how we hide, how we surrender, and how the world quietly absorbs everything we let go.

The Story Behind "Rhythm Matter” The origins of Rhyth Matter trace back to 2011, shortly after the Great East Japan Earthquake. While visiting Yony in New York, the artist Marter recorded a series of demos. When Marihito heard these recordings, he immediately saw the potential for a full-length project and envisioned a concept centered on "Live Dub" with a distinct Basic Channel influence. Over several years, the project evolved through a rigorous analog process. The multi-track recordings—originally captured on cassette tape, 4-track, 8-track, and reel-to-reel—were eventually digitized into Pro Tools to be meticulously shaped into the final album. At the time, Marihito was releasing an album through Bill Laswell’s label. When he shared the works-in-progress with Bill and asked if M.O.D. (Laswell's label) would be interested, the answer was a definitive yes. Initially, the album was set for release via a licensing deal with M.O.D. However, complications during the vinyl production phase at M.O.D. led to the difficult decision to scrap the record release. Refusing to let the vision of a physical LP die, Marihito took the project back to his own label, Personal Affair, finally releasing it on both vinyl and digital formats as it was always meant to be heard.

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

Ampoule's Pub returns with a fresh remaster of the classic 'Summer' and a brand new track titled 'The Fragile Root'

'Summer' was originally released 20 years ago on the Vertical Form label - a result of a multitude of completely live and improvised studio sessions, that gently swell and evolve over the tracks 16 minutes.

'Fragile Root' is a brand new track, think vintage idm - intricate rhythms and melodies crossed with massive dub chords.

Mastered by Dubplates & Mastering

If – in some parallel universe (or perhaps a not-so-distant-future version of the one we’re already sentenced to living in) – the evil overloads of artificial intelligence were actually successful in their attempts to create convincingly enjoyable “original music,” more specifically tasked with wholly encapsulating my own personal tastes by data-chugging some cocktail of – oh, I don’t know – the posters on my wall, the records in my “most listened to” pile, the mixtapes I made for others, intensive physical scans of my auditory cortex, amygdala, hippocampus, heart strings, whatever else they have splayed out on their autopsy table with the intention of generating one all-encompassing “perfect band” based on the fruitful sum of their findings – that band, for me, would be (or would at least sound exactly like) the Tara Clerkin Trio. It is, quite simply, without exception, the music I wish to hear. Formed in Bristol UK (where none of them are from yet all of whom are deeply engrained) in 2020, the Tara Clerkin Trio – as it somewhat democratically exists today, despite the singular authority implied by its name – consists of the titular Tara Clerkin, her partner Sunny Joe Paradisos, and Sunny’s brother, Patrick Benjamin. I’ll confess, I don’t know what their respective roles are within the operation and there’s only a very small part of me that cares to learn, as one of my favorite qualities in an objective listening experience is the mystery of who is playing what, which sounds are “authentic” versus synthesized, which chunks are performed “live” in a room together versus meticulously Frankenstein’ed from measure to measure, or how exactly the overall sound is so (seemingly) effortlessly achieved. Though, I suspect, if and when I do witness a live performance by this band at any point, my enjoyment of the music will not be lost in my better understanding of it. With two extraordinary mini-albums – In Spring (2021) and On The Turning Ground (2023) – making a splash on London’s formidable World of Echo label in wake of their self-titled 2020 debut on Laura Lies In, this upcoming Somewhere Good LP is, in many ways, the band’s most realised work. In running their usual gauntlet of idiosyncratic (*an overused adjective for which here there is regrettably no sufficient alternative) approaches, Clerkin & co. color in and outside of compositional lines over the course of 40+ celebratory minutes - never wallowing, despite inherently somber subject matters of self-defeat, disease, displacement, restlessness, gentrification - allowing their arrangements and improvisations ample space and time to situate, stretch out, breathe, cross-pollinate, and ultimately take deeper hold on the listener’s imagination – all while somehow sounding more like themselves than ever before. Of course, there are traceable influences herein, if one felt that such comparisons were necessary to properly examine and enjoy this music (they aren’t)… Being the big dumb American from the small boring town that I am, cornfed on ‘90s alternative radio with the enchantingly exotic sounds of Maxinquaye and Mezzanine emanating from my chunky tube television, I can’t help but to make a blatantly obvious reference to a “Bristol sound”, ie the whole trip-hop trip, the pastoral crooning over the suggestive urban grime of cracked electro/piano treatments, the digitally-yet-primitively reconstructed James Bond soundtrack string-beats, etc.. But the Tara Clerkin Trio is so infinitely much more than that. There are elements of avant-pop, modern classical, kraut-folk, audio verité, dare I say indie rock (and not of the beer guzzling, masturbatory fuzz-flex variety but perhaps more like a Trish Keenan-fronted Faust, Adrian Sherwood at the mixing desk of If You’re Feeling Sinister, or – in expanding on our alternate reality – a world in which High Llamas cut a full-length for Warp Records with Andrew Weatherall on coffee duty). The hazy, unmappable skyline-mirage of droning harmonium, upright bass, peculiarly accentuated wind instruments, acoustic guitar, hushed yet literally mighty keys combine to hypnotizing effect. The band may make underlying nods to jazz, sure, but it’s not appropriation, it’s that they have the actual chops to build it out. Beneath the janky samples and oddball percussive embellishment lies actually great drumming. Beyond the manipulated vocal witchery and woefully reflective plain-spoke moments are Tara’s subtly inspired melodies, sung with what might honestly be the glue to the whole crazy equation. A calming consistency throughout the otherwise unpredictably dynamic, boldly intuitive, uniquely British exploration of this (their own) universe in song. – Ryan Davis (Chicago, February 2026)

Re-up of vital 1977-’78 dubs by the wee legend, cooked up long, strong and odd at his fabled Black Ark Studio for DJ play and dancers’ satisfaction. ‘Disco Devil Vol.2’ homes in on 1977-78 on six tracks that still do the business, unless you’re prepared to shell out for spenny OGs. It’s bookended by two showcases of the wee radge packet really getting into it, as with the 9 min disco jam of Hugo Blackwood & Dr Alimantado’s ‘reggae Music’, diffusing the vox and melodica to a haze on clean-heeled step, and again working the chants and nyabinghi of Sangie Davis’ ‘Words’ to a mesmerising sway, into biblical roots business by Watty Burnett. But maybe best of all is the haunting mix of Devon Irons’ ‘Vampire’ with Perry’s deeply unusual, psychoacoustic tekkerz in full effect.

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

AFTER DARK is the latest project from French producer Onra, conceived as the soundtrack to an imagined late-night film. Entirely self-produced, the album continues the sophisticated R&B and Modern Soul direction explored since his 2010 classic Long Distance and 2018's accomplished Nobody Has To Know, focusing on late 80's / early 90's inspirations. Structured like a film unfolding between dusk and dawn, After Dark moves through themes of intimacy, urban solitude, distance, and quiet indulgence. Analog synthesizers, tight drum programming, understated basslines, and selective live saxophone textures shape a cohesive body of work that favors mood and narrative over excess. The sequencing reinforces its cinematic intent, opening and closing with intro and outro pieces that frame the record as a cohesive night-time narrative album. Over 20 years since emerging in the mid-2000s from the beat scene, Onra has steadily evolved from sample-based Hip-Hop production toward polished, song-oriented projects rooted in contemporary R&B and Funk. With After Dark, he delivers one of his most focused and refined statements to date: a mature, immersive album built for late hours, and attentive listening. The first taster of the album to drop is the slick nostalgic ’Lap of Luxury’, sets the tone for the project, a blend between Instrumental Hip-Hop, late 80s R&B and 90''s Smooth Jazz.

This compilation charts the unlikely link between Cologne’s DIY scene and the Ukrainian underground at the turn of the 1990s. Visual artist and producer Guido Erfen and sound engineer Michael Springer were central figures in SHM1, a Cologne collective who ran concerts and a studio space inside the vast, disused Rhenania grain silo. From this base, they built an independent network for recording and distributing music beyond the mainstream. In 1990, Erfen received a cassette from Ukraine featuring bands from Kharkiv and Kyiv, alongside an essay by Sergey Myasoyedow, co-founder of Kharkiv’s Novaya Scena rock club. The music—shaped by punk, avant-garde experiment, folk motifs and abrasive grooves—opened a window onto a scene largely unheard in the West. Further tapes followed, and Erfen travelled to Ukraine, eventually persuading Alfred Hilsberg to release the Novaya Scena compilation on What’s So Funny About, documenting 14 bands recorded between 1986 and 1992. In the wake of that release, musicians including Svitlana Nianio and Yewgeny “Yenia” Taran travelled to Cologne. From 1994 onwards, informal sessions at Springer’s Phantom Studio and the SHM space at Rhenania forged a new chapter in this exchange. Those recordings form the basis of this collection, capturing four distinct incarnations of the Ukraine–Cologne connection.

Pt. 3 of the 'Dub me crazy' series by Mad Professor. This one features the much played killer, Bengali Skank .. TIP! Originally released in 1983 on the same Ariwa imprint. True D.I.Y. business from this UK dub pioneer.

Where GB’s debut record was shrouded in a downtempo haze, Herzsprung creates a distinct sound that pushes outward: something more melodic, more full-throated, and more assured. "Herzsprung is GB’s most expansive work yet. Written while living in London, the Copenhagen-based songwriter and producer spent weeks cutting up copies of Metro — one of the city’s free newspapers — to form the lyrical foundation of the songs. In makeshift studios, he began bringing these ideas to life. Herzsprung draws together a wide spectrum of influences; from the groove-driven fusion jazz of the 1970s to Japanese noise-rock psychedelia, anthemic grunge, and outsider pop. There are traces of the alt-pop qualities that GB shares with his Copenhagen peers, but you hear London’s influence too, an urge to stretch rock tradition and break with form. After finding himself improbably cast in a viral Jaguar ad in 2024, he used the money to book out a studio villa in the Swedish wilderness, joined by a band of trusted musicians. Over the course of a week, the songs — which had previously existed as memos and notebook scribbles — took full shape through live performance and collective instinct. Tracked largely live to 24-track tape, the result is a record that feels immediate and playful in its execution. It captures the chemistry of an uncompromising band brimming with ideas and welcoming spontaneity. Herzsprung sifts through the past and present with urgency, cutting it open so that the future leaks out. On the record's climax, “Shit River”, GB is backed by a full choir as he screams for "someplace beaming with more colors”. “..and everything in between collapsed, rushing floods of insignificance”."

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

Dae Han is the unsung backbone behind progressive Honolulu acts and international artists. He’s the go-to drummer whenever Japanese rapper Shing02 tours the US and Asia with a full band. In 2019, Takuya Kuroda tapped Dae to organize a band to support the Brooklyn-based trumpeter’s gig at Blue Note Hawaii. Dae also recently teamed up with guitarist Gilbert Batangan and bassist Mark Tanouye to open for Khruangbin. And every year he organizes an always impressive jazz-forward tribute to the late J Dilla. On the drums, Dae’s swift, technical style compliments every situation, from jazz and funk to R&B, reggae, and hip hop. Much the same, Dae has approached the compositions and arrangements for his debut with craft and purpose. BLUE, coming in February 2020, came to fruition over the past 12 months with the help of Nelson Cho, the musician and recording engineer behind Lightworks Recordings in Wahiawa, Oahu. Together, the two spent countless hours honing a sound that travels across hip hop, jazz, and house. The resulting songs act as a diary of the artist’s fateful journey from Washington D.C. through New York to Honolulu, where he resides today. Reflecting on joyful highs and the lowest lows, Dae creates a collage for the listener to hear, appreciate, and understand the path he’s traveled thus far.

“Warm Waves” took shape from a series of recordings of spontaneous improvisations by a core group of Turn On The Suniight regulars, with additions by Laraaji, Sam Gendel & Luis Pérez Ixoneztli. Carlos Niño then contributed two remixes, both in collaboration with Jamael Dean. The album features Mia Doi Todd's ethereal vocals and the voice-like sounds of Sam Gendel’s electronically-processed saxophone, but is intentionally devoid of words, save for a single phrase spoken by Laraaji in one of Carlos’ remixes - "Peace All Over" - a message of hope for the future and expression of faith in the timeless, omnipresent, eternal now.

“Warm Waves” took shape from a series of recordings of spontaneous improvisations by a core group of Turn On The Suniight regulars, with additions by Laraaji, Sam Gendel & Luis Pérez Ixoneztli. Carlos Niño then contributed two remixes, both in collaboration with Jamael Dean. The album features Mia Doi Todd's ethereal vocals and the voice-like sounds of Sam Gendel’s electronically-processed saxophone, but is intentionally devoid of words, save for a single phrase spoken by Laraaji in one of Carlos’ remixes - "Peace All Over" - a message of hope for the future and expression of faith in the timeless, omnipresent, eternal now.

Music From Memory presents 'Spacious Heart', the debut solo album from Los Angeles-based musician Anthony Calonico. Known for his work as part of the trio Total Blue, Calonico steps forward here with a collection of songs and instrumentals that invite the listener into his lush, expansive and deeply personal world. Written and recorded gradually between 2020 and 2024, 'Spacious Heart' emerged through a slow and open process, allowing the music to develop without rigid expectations. The album’s sonic landscape sits in a somewhat similar zone to Total Blue, with warm keys, synthesizers and rich production creating spacious environments where melodies and textures open up naturally. ‘Spacious Heart’ effortlessly straddles the transcendental qualities of spiritual jazz, the restraint and space of minimal composers such as Harold Budd, and the quiet intensity and dynamics of songwriters like Mark Hollis and John Martyn, ultimately arriving at something wholly its own. Where ‘Spacious Heart’ diverges mostly clearly from Total Blue is through the presence of Calonico’s voice, the emotional anchor of the record. Smooth, luminous and quietly expressive, his singing carries a sense of earnestness and vulnerability while remaining delicately restrained. The album unfolds as a conversation between song and atmosphere, with vocal pieces drifting in and out of focus, intimate and inward-looking. The surrounding instrumentals open up space for these emotions to breathe, settle and expand, creating a world where feeling, texture and nuance move softly together. ‘Spacious Heart’ will be released digitally, on vinyl and CD through Music From Memory on May 21st. Sleeve art and design by Michael Willis.

Originally released in June 2009, The Ecstatic stands as a defining artistic statement from Mos Def (now known as yasiin bey) — a richly textured return to form that reaffirmed his status as one of hip-hop’s most adventurous and intellectually engaged voices. Arriving a decade after his celebrated debut Black on Both Sides, the album was widely regarded as his strongest work in years, earning near-universal praise for its lyrical breadth, eclectic production, and thematic ambition.Musically, The Ecstatic weaves a global sonic tapestry shaped by an array of forward-thinking producers including Madlib, J Dilla, Oh No, Preservation, Mr. Flash, Chad Hugo (of The Neptunes), and Georgia Anne Muldrow. The resulting soundscape is both rooted in hip-hop tradition and unbound by genre, integrating elements of jazz, soul, Middle-Eastern inflection, and experimental sample work. Tracks like “Supermagic” and “Twilite Speedball” establish a vibrant, restless energy that mirrors the album’s expansive creative scope.Lyrically, yasiin bey traverses personal, political, and philosophical terrain with characteristic incisiveness, confronting social inequality, Western imperialism, and questions of cultural identity with poetic urgency. Embracing risk and complexity rather than nostalgia, The Ecstatic remains a mature, deeply felt body of work whose ambition, depth, and enduring resonance have solidified its place as a standout entry in Mos Def’s catalog and in modern hip-hop history.

Joyce & Tutty Moreno, the legendary architects of Brazilian sophisticated samba, have partnered with Adrian Younge to complete JID027—a deeply emotional album born from tragedy. Set in motion by the endorsement of their late friend João Donato, the project became a tribute to him following his sudden passing. The result is a breathtaking collection of improvisation, poetry, and resilience.

There comes a point when an artist's catalogue is rich enough to deserve a retrospective. Kelly Finnigan's B-Sides, Singles & Forgotten Gems celebrates 15 years with Colemine Records, bringing together rare B-sides, standalone singles and overlooked recordings in one place. Spanning his earliest work to some of the first music recorded at his Ohio studio, the collection traces Finnigan's growth as a songwriter, producer and vocalist. An ideal introduction for newcomers and a rewarding deep dive for longtime fans, it captures the journey so far while hinting at what's still to come.