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Out of press in its original form for years, controversial beat poet Allen Ginsberg's East Village love-in 'First Blues' - a vast double-album of collaborations with everyone from Arthur Russell to Bob Dylan and Don Cherry - is newly reissued via Death Is Not The End. It's hard to deny Ginsberg's impact; his poetry alone was enough to shift the course of US counter culture, and you can visualise his contributions to downtown punk and folk. But his music career isn't quite as intimately understood, which makes 'First Blues' a pretty vital artefact for anyone looking to investigate further. Ginsberg wrote and recorded the material between 1971 and 1983, taking the opportunity to leaf through his lengthy phonebook and call up anyone he admired or had collaborated with in the past. So Dylan - who Ginsberg had collaborated with before - shows up on the first few tracks, helping to balance out his friend's wobbly-voiced, country-fried recitations with tangled acoustic twangs. The money shots comes with the majority of the remaining tracks, produced and featuring cello by Arthur Russell, given free rein to rumble through folk, blues, jazz and gospel over Ginsberg’s sexcapades, Buddhist revelations and conspiracy theories with bare-faced joy. 'CIA Dope Calypso' is a bonkers highlight, a chirpy Harry Belafonte reinterpretation that lambasts the Central Intelligence Agency for its under-the-radar drug peddling, while 'Sickness Blues' uses Russell's bendy cello tones as a crash mat for Ginsberg's pained lamentations.
New material from the cult label Tone Dropout. Featuring four of the label's highly respected box jammers. Opening up proceedings we have a perfectly poised slice of red lit warehouse acid, simmering away nicely as the unlicensed premises fills up with a collective energy of rebellion.
Capturing this newly found spirit is Dawl and "Night Of The Living Bass Drum", the anthem-not-anthem for modern warehouse dwellers. The spirit of hardcore runs deep in this one!
Onto side B and He-Men return with a fiery slice of bass, breaks and rumble with their track, "Battle Cat". Finally Ascot hits the turbo injection for a 4/4 propelled but equally destructive hybrid of hardcore, bleep and acid house - ended the ep with a no fucks given, up all nite ethos that's perfectly in tune with now.
Super limited copies - only 100 pressed! Cop now or you'll crying into your cornflakes come Tuesday. Hardcore will never die!
Conna Haraway follows Spatial Fix with Shifted, a three-track 12” that turns toward propulsion and restraint. Where the earlier record sprawled in dense textures, this one explores sleek momentum and subtle form. Side A holds ‘Redirect’, an eleven-minute collaboration with XENIA REAPER. Built from a late-night Glasgow jam, her luminous synth line drifts against Haraway’s bass and loops, gliding into weight and pulse. On the flip, ‘Detach’ and ‘Duration’ channel a rediscovered love of 4x4 techno. Stripped and detailed, they balance home-listening depth with club-ready swing—poised, fluid, and adaptable. Fans of the Basic Channel axis, Deepchord, echospace [detroit] etc. should check this for sure. Matthew Kent's Short Span label never misses!!
CS + Kreme’s utterly sublime 2nd EP is mercifully made available again, doubling down on their brand of melancholic tristesse with achingly beautiful songwriting gilded by Conrad’s serpentine basslines and elevated by Sam’s slinky atmospheric suspense, with cameo by HTRK’s Nigel Yang. Partner to their 2016 debut, ‘EP2’ can be heard as the other half of what is effectively an album when paired with their eponymous first move. It is a masterclass in slow, dreamy world-building that skilfully distills myriad modes of downbeat suss into songs that warrant play on repeat - just ask any owner of the record or those who’ve drooled over it for nearly a decade; the verdict will surely be unanimous, harmonious. One of a clutch of modern classics on Total Stasis along with likes of Elysia Crampton’s ‘The Light You Gave Me To See You’ and early Ramzi joints, ‘EP2’ would stealthily reveal new aspects to strains of modal downbeat sound that can be heard in context of DIY folk, new age ambient or adult contemporary, and with faintest echoes of off-peak club music in the rearview. But the real magick lies in the way they pare everything back to its most salient substance and allow it to breathe, sway, get lost-and-found in itself. Fair to pick fan fave ‘Roast Ghost (Swimming Thru The Pillars Mix)’ as a highlight, practically undressing the senses with 9 mins of candle-flicker 808 and purling bass with Conrad’s vox luring deep into its glowing lustre. Yet the rest is equally midas-touched, from Nigel Lee-Yang’s plaintive guitar motif on ‘Whip’ firming up the HTRK link, to Sam’s dub wise tekkerz coming into play like prime Massive Attack on ‘Sisters’, and again with Conrad’s bass rolling down the off ramp ‘Portal’ into billowing keys, congas and Jack Doepel’s sax like some detail of a panorama described by The Necks and Bohren Und Der Club of Gore. Don’t sleep, you may be waiting another 8 years…
Andrea returns with Living Room, his third album and a refined exploration of space, texture, and rhythm. Drawing from ambient, dub techno, and broken beat, the record moves fluidly between grounded warmth and distant abstraction. Tracks unfold with a gentle patience, guiding listeners through shifting emotional and sonic landscapes. Released on Ilian Tape, it’s a quietly assured statement from a producer deepening his sound without losing its intimacy.
12th Isle ready the first of many new releases after a break over the first half of 2025. Radx is a new collaborative endeavour between label artists X.Y.R. and Vlad Dobrovolski (½ of S A D) exploring a shared appreciation of vintage 80s & 90s synthesisers, ambient-adjacent furniture music and, er, dragons. Referencing the electronica of artists such as Kim Cascone/Hydrosphere as well as the sci-fi literature of Michael Swanwick where dragons act as living machines, the pair combine various synthesis models, pedals and samplers for an album that sits somewhere firmly between each of their solo works. From the cathedralic ascension of ‘Heavenly Shepherd of Silence’ to the back-room bean bag swirls of ‘Ovgo’s Etheric Mind’ and dense, jungle-like humidity of ‘Liminal Space’, the more ambient-leaning end of the catalogue is built upon further.
“Everything Is Being Recorded All The Time” is the debut album of Troubadours, a tentacular collective composed of Laura Lippie, Kim Khan, Dr. Winzo, Vahan Soghomonian, Diane Barbé and many others. Shaped over the course of three years between Lyon, Abbecourt, Berlin and Denpasar, the Troubadours wove together orphic sounds from both ancient and high tech instruments – machines cold to the touch which warm as electrical and sonic currents awaken them,. What the Troubadours create is not just music, each track is in itself a world where aural narratives roil with tribulation, stillness remembers chaos and fleeting emotion finds enduring form. These moments pulse with singularity – they are the nights we try to hold onto, the feelings we’re afraid we won’t feel again, triggers, honesty, freedom – and are the things that the Troubadours capture through their improvised riffs and hours-long studio jams, synthesizing purity. “Everything Is Being Recorded All The Time” is but one chapter in their story, where they have documented their recent past and the multiplicity of selves they house within. Though each track is profoundly personal, the themes explored speak to what it means to be alive today. Troubadours are happy to welcome you on board for their journey : whether you find it nerve-racking or soul-soothing is no longer their responsibility. Expect the unexpected.
Signals Aligned is Lord Of The Isles’s fifth album and his second contribution to his own Dusk Delay imprint.
Signals Aligned stands as a sonic testament to the intersection of science, spirituality, and the vast unknown. Inspired by pioneering theories on the nature of anomalous phenomena, viewing them not as extraterrestrial but as a complex, multidimensional enigma.
There’s a consistent theme of “discovery through distortion.” Truth is often obscured by layers of misinformation, disinformation, and misperception. The music plays with the concept of clarity and distortion, revealing hidden textures beneath shifting layers of sound.
The sound palette is vast and ethereal, incorporating elements of noise, shimmering synths, and organic textures. There’s a sense of both wonder and unease that mirrors theories on the strange and unexplainable.
人気作『風物詩』や『In A Landscape』といった実験的テクノの大傑作でも知られるベルリン拠点のサウンド・アーティスト、Sa Paの最新12インチ作品が新鋭レーベル〈Short Span〉から登場！この人の特徴である幻想的で重厚な音響が4つの新たな方向へと展開。サブベースと濁ったアトモスフィアが絡み合う8分間のビートレス・トリップ"Captigon"、グリッドレスなドラムパターンと断片的なヴォーカルサンプルが交錯する抽象的なリズムトラック"So Simple"、13分に及ぶミニマル・テクノのグルーヴに熱処理されたベースラインが絡む"Boredom Memory (Extended Memory)"（サブウーファーでの再生が推奨！）など、全体を通して、ダブ・テクノ、アンビエント、実験音楽の要素が融合し、内省的で深遠な音世界を構築した秀逸タイトル！
'Sweet England' along with its sister album 'False True Lovers', was recorded in the spring of 1958 when I was twenty-two years old. I had been living for the previous two years in London with Alan Lomax, the American folklorist, working for him as editorial assistant on his book The Folk Songs of North America and on his field recordings from America, Great Britain, Italy and Spain. The tracks that make up these two albums were recorded by Peter Kennedy and Alan in two days at Peter's home 'studio' in Belsize Park. English traditional music, at its best, expresses and provides everything in song that I need and feel, both musically and emotionally. Sweet England represents the first shaky steps of a journey that I have been on all my life, and that, happily, I still am." (shirley collins)
From Melbourne, Australia, singer-songwriter Ruth Parker releases her album, Otherwise Occupied, featuring a rich tapestry of acoustic instruments like guitar, ukulele, accordion, bouzouki, cello, and mandolin, all woven together with her delicate and intimate vocals. The sound, which carefully preserves quiet space, places the album squarely within the indie-folk and singer-songwriter lineage. However, its lush textures and mellow resonance also give it a dream-folk quality, resonating with listeners and allowing them to relive moments of introspection and subtle emotional shifts. Rather than focusing on grand gestures, it's an album that rewards those who lean in to appreciate its finer nuances, wrapping you in a gentle and profound sense of depth.
Olvido Records is proud to present African Steel, a follow-up to 2019’s African country-western compilation Bulwayo Blue Yodel. Here we have a compendium of beautiful songs highlighting the early years of the slide guitar in southern, central and eastern Africa. Featuring traditional and popular regional styles adapting the acoustic lap-steel guitar, African Steel reveals intriguing influences from southern American country and blues, Argentinian and European tango, and back to the Hawaiian origins of the instrument, long before the shimmering electric slide guitar of Docteur Nico, and the pedal steel mastery of Demola Adepoju of King Sunny Ade's African Beats. Ranging from up-tempo dance numbers, to plaintive bottleneck-blues style ballads, to a Ugandan string-band cover of a Jimmie Rodgers classic, each song presented here is a unique glimpse into the early years of the slide guitar’s incorporation into various African musical cultures. These fourteen songs have been carefully restored from rare shellac and lacquer discs to honor and celebrate a previously under-represented chapter in global music history, and includes a booklet with contextual notes and translated lyrics.
Music From Memory are thrilled to announce the forthcoming release of ‘Pastoral Blend,’ a new album from the duo of N Kramer and Magnus Bang Olsen (The Zenmenn).
Recorded in Berlin between August 2023 and March 2024, ‘Pastoral Blend’ combines Kramer's improvisational process and mastery of contemporary production techniques with Bang Olsen’s emotive pedal steel guitar playing. The creative process was anchored in capturing various phrases and patterns from the instrument, which were then reshaped, reversed, and layered intricately. This meticulous approach allowed a foundational track to emerge, upon which further arrangements and developments were sculpted. This process, which builds on Kramer's earlier work as Habitat (with J. Foerster, released on Leaving Records), gives the music a gentle asynchronous flow that feels uniquely live and organic.
Merging the warmth and intimacy of instrumental Americana with the glitchy, textural processing reminiscent of early 2000s Max/MSP and influential artists such as Fennesz and Alva Noto, ‘Pastoral Blend’ is a textured drift between analog warmth and digital fragmentation, a delicate equilibrium that duo navigate with remarkable finesse and an air of effortless charm. With titles like ‘Harvest', ‘Agrarian Dawn’, ‘Grasslands’, and ‘Weathered’, Kramer and Bang Olsen evoke a musical vocabulary steeped in themes of landscape, memory, and tradition; a vocabulary that gently alludes to the more familiar and traditional musical structures lying beneath the rich layers of sound. Herein lies the essence of the 'Pastoral Blend’.
‘Pastoral Blend’ will be released on LP and digitally on July 4th 2025. Sleeve art and design by Michael Willis.
Following June's brilliant 'Rhythm Archives', Holy Tongue's Al Wootton continues his hot streak, landing on Sähkö with half an hour of hazed, immersive rhythmic experiments, tracking from vintage dub(step) to minimal techno and confidently striding thru percussive forms that echo from the Balkans to North Africa. RIYL Shackleton, Azu Tiwaline, Muslimgauze, T++, Deena Abdelwahed.
Ever since he dispatched with the Deadboy moniker a few years back and reached into dubbier, more percussive spaces, Wootton's been figuring out exactly where his dexterous productions fit in.He's been most at home on his own Trule imprint, operating at his own pace and shaping the aesthetics as he goes, and 'Rhythm Archives' felt like a mark in the sand, a record that matched his interest in vintage gear and classic production methods with his dedication to wide-eyed, punkish experimentation. 'CRUX', his first record for legendary Finnish label Sähkö, follows that lead, assembling four long percussive jams that sound as if they've toppled off the timeline - if someone told us it was material rescued from a forgotten reel-to-reel, we'd believe it.
There's an outline of dubstep visible in the background on opener 'Essene' that's enhanced by the Skull Disco-esque sub-undulations and wormhole-splitting tape echoes, but the hollow hand drum runs and hallucinatory effects shuttle the composition into darker, more reflective landscapes. Similarly, the busted drum machine intro of 'Per Incanto' might reference Sähkö royalty Mika Vainio and Hertsi, but the track veers leftwards, muddling the mix with psychedelic African Head Charge-style reverberations and trapped, timestretched string loops. It's gear that's intended for deep, intentional listening; the tracks don't contain too much melodic content by design - Wootton's rhythms are layered and hypnotic, and anything else is there to reinforce the general spirit.
Just check 'Cloister', the EP's low-key stand-out, where the lead line is literally just tuned feedback, placed to disorient even the most abstinent listener, or 'Armen', that distorts its sputtering Bruce Haack-in-dub atmosphere with ghosted groans and faint remnants of a trip-hop undercurrent that never fully reached optimal pressure. If you've ingested all the psilocybin from Shackleton's recent run, this is yr next drop.
Johnny Sais Quoi makes his entrance to Music From Memory with the 7-track EP entitled ‘Love On Ice.’ Channeling the spirit of Italo-pop and New Wave, ‘Love On Ice’ was crafted in the whirlwind of spontaneity and energy that changing circumstances often bring. Born from transition and exploring themes of leaving, arriving, coming together, and breaking up, ‘Love On Ice’ serves as an outlet to process, escape, and celebrate the challenges of a new life.
Johnny crafts exquisite dancefloor-focused pop—familiar yet unique, imbued with his own touch, a distinctive sensibility, and a knack for infectious hooks. The opener, ‘No Guilty Pleasures,’ sets the tone immediately as Johnny works his magic with a palette of synths, drum machines, picked guitar, and processed vocals. The title track, ‘Love On Ice,’ delivers a classic Italo-infused dancefloor bomb, featuring a driving synth bass line overlaid by hypnotic arpeggios. There is much here for the dancer, but ‘Love On Ice’ also ventures beyond the dance floor; the closing tracks ‘Ref 23’ and ‘Let's Find A Home’ are prime examples, both showcasing Johnny’s depth and range with their melancholic, mellow atmosphere.
‘Love On Ice’ will be released on September 18th on vinyl LP and digitally.
Though Dean Blunt and Danish singer-songwriter Fine Glindvad Jensen are credited, the overall identity of the project remains a mystery. This self-titled debut album by the unit The Crying Nudes has been released on the label World Music Group. Comprising nine songs and clocking in at a compact 15 minutes, the album feels like a collection of short sketches, centered on fragmented acoustic guitar phrases, ambient sounds that make use of empty space, and ethereal vocals enveloped in reverb. With a musical style that prioritizes atmosphere and texture over melody and harmony, and an intentional anonymity that keeps the artists' identities ambiguous, this album exudes a minimalist aesthetic and a captivating mystique.
He was a member of the legendary psychedelic band “Hallelujahs” and “Idiot O'Clock” with Shinji Shibayama and others, which was praised to the highest degree by the late Hideo Iketsuzumi, owner of Modern Music, who presided over the prestigious “P.S.F. Records” that represented the psychedelic underground in Japan. Naoiki Toushi is one of the residents of Kyoto's famous underground music mecca, the rock cafe “Dragstore,” and is also a founding member of the famous Hijokaidan. Released on Shibayama's Org Records label, “III” is one of the most popular cult albums of his career, and has been eagerly awaited by fans and collectors alike for an official reissue, including a bootleg LP reissue from overseas.
A sequel to last year's sublime 'Spectral Evolution', 'Traveling Light' is a suite of weightless, uncannily beautiful jazz standards, transformed into orchestral drones and electronic chirps by Toral and his virtual band. It's flawless material that draws a clear line from Billie Holiday through Clara Rockmore, Fripp & Eno and Alvin Lucier to MBV and Gastr del Sol and beyond. Unmissable gear, from one of the scene's unassailable legends. Culture never emerges from a vacuum. It accumulates and evolves, building on what occurred before and gleaning influence from what happened nearby; the more cultural threads converge, the more complex, nuanced and developed the resulting braids become. Toral acknowledged this fact quite brazenly on last year's 'Spectral Evolution', bringing over a decade of impenetrable off-world experimentation to a halt and shoving his bare hands into the creative soil that inspired iconic tomes like 1995's 'Loveless'-inspired masterpiece 'Wave Field' and the meditative Éliane Radigue-cum-Rhys Chatham 'Violence of Discovery And Calm of Acceptance'. Taking a dip in the pool of concepts that eddy underneath rock music's labyrinth of caverns, he referenced Duke Ellington and George Gershwin, turning vintage progressions into idiosyncratic contemporary gestures. And on 'Traveling Light' that basic theme is expanded again; here, Toral takes six recognizable early 20th century standards and applies a very similar treatment, augmenting them with additional "canonical jazz sounds" from clarinetist José Bruno Parrinha, tenor saxophonist Rodrigo Amado, flügelhorn player Yaw Tembe and flautist Clara Saleiro. Playing guitar and bass with his self-built ensemble of electronic devices (that includes a modified theremin), Toral lets his influences float even closer to the surface here, picking out familiar jazz and exotica flourishes, early electronic echoes and organ-esque polyphonic sustained tones that stretch across hundreds of years of musical history. On opener 'Easy Living', a Ralph Rainger composition from 1937 that's been recorded by Billie Holiday, Bill Evans and Rahsaan Roland Kirk, among others, the original chord sequence is slackened by Toral's sustained guitar tones and sine waves, but not blurred completely into impressions. This time around we're treated to more tangible shapes: Toral's cheeky, expertly rendered riffs, horizontal exotica-inspired rhythmelodic chimes, intimate woodwind breaths that pull us back to the '30s and squealing pitches that can't help but remind us of Clara Rockmore's Robert Moog-produced milestone 'The Art of the Theremin'. It feels like being chucked in the American cultural petri dish while new organisms mutate around you - everything's recognisable somehow but novel, peculiar. Lovingly valve saturated strums, bent by Toral's whammy, introduce 'Body and Soul' (a 1930 standard that's best known for being recorded by Frank Sinatra) before they're met by alien chirps from his arsenal of generators. But it's the willowy harmonies that buoy this one, echoing the haunted choral drones that prop up centuries of European sacred music. Toral's very specific with his references; when Amado's tenor moans whisper around the dense polyphonic hums, there's a tacit acknowledgement of the enduring influence of African American spirituals and gospel on folk, blues, jazz, country, rock 'n roll and R&B. The album's most affecting segment comes at the conclusion though, with 'My Funny Valentine' and 'God Bless the Child', easily two of the most conspicuous compositions of the era. On both, Toral hovers between clarity and abstraction, overlaying bone-dry fingerpicked improvisations on the former that scrape over Chicago's musical timeline, from "hot jazz" to post-rock, and finishing the album with Fennesz-like distortions that crack and dissolve into Saleiro's levitational flute tones. It's astonishing stuff, honestly - maybe not as immediately startling as 'Spectral Evolution', but refined, polished and concentrated in every way. You're unlikely to find a more moving set this year, that's for sure.
Antigone is a chilling look at our already-alternate reality, coming from inside Eiko Isibashi’s own head. Her band brings a wide array of sounds and moods, shading pop, funk and jazz, ambient, electronic and musique concrète in a bittersweet latticework. Interlocking her new songs in seamless long-play flow with the compositional ambitions of her acclaimed soundtrack work, Eiko’s expressions are epic and intimate. 2025 will never be the same!<iframe style="border: 0; width: 350px; height: 406px;" src="https://bandcamp.com/EmbeddedPlayer/album=507708664/size=large/bgcol=ffffff/linkcol=333333/artwork=none/transparent=true/" seamless><a href="https://eikoishibashi.bandcamp.com/album/antigone">Antigone by Eiko Ishibashi</a></iframe>
Deeeeeep from the Ariwa archives... all unreleased music on here. Sounding absolutely essential to us. Dates of production uknown at time of writing... The A Side is a Mad Professor produced version of Aisha's 'Give a Little Love', given the UK treatment. The Dub is a proper roller. Side B is the unheard African Message Dub (Parts 1& 2). Recordings ft Jah Shaka on bass, Norman Grant (Twinkle Brothers) on Drums, Sgt Pepper and Mad Professor on the desk. Masterful UK Dub from these key figures.... pulled out of nowhere.