NEW ARRIVALS

Two classic SUN RA songs now available for the first time as a 7" single !!! The infinitely wise drum-driven solar chant of CHILDREN OF THE SUN, with the profoundly meditative & deeply relevant-to-now space chant THEY PLAN TO LEAVE. 7" vinyl packaged in deluxe, custom die-cut screen-printed jackets & printed inner sleeves. 45 RPM A side, 33 1/3 RPM B side. Lacquers cut by Adam Gonsalves at Telegraph Audio. Vinyl pressed by Cascade Record Pressing. Screen-printing by Seizure Palace. Artwork features elements from the artist Ayé Aton. LIMITED ONE-TIME PRESSING OF 300 COPIES.

Two versions of one of SUN RA's most enduring compositions, LOVE IN OUTER SPACE !!! This 7" single includes the classic take featuring vocals by David Henderson, and an alternate instrumental version never before released on vinyl. Featuring the almighty JOHN GILMORE on the drum kit! 7" vinyl packaged in deluxe, custom die-cut screen-printed jackets & printed inner sleeves. 45 RPM A side, 33 1/3 RPM B side. Lacquers cut by Adam Gonsalves at Telegraph Audio. Vinyl pressed by Cascade Record Pressing. Screen-printing by Seizure Palace. Artwork features elements from the artist Ayé Aton. LIMITED ONE-TIME PRESSING OF 300 COPIES.

SPACE KEY presents two previously unreleased versions of the classic RA composition "Lights On A Satellite" : the echo-drenched "single version" from the Fate In A Pleasant Mood sessions, paired with a sprawling celestial performance for WUHY radio in 1978. The A side is glued by a heavy tape echo, giving the familiar tune a different rhythmic framework and pacing, and adding beautiful new layers of chordal harmony and sparkling decay. It was recorded June 1960 at RCA Studios, Chicago and was apparently slated for release as a single on Saturn, never yet materializing until today. The B side is an excerpt from a very special WUHY radio broadcast in Philadelphia, performed by the 22-piece Spirit Of Jazz Cosmos Arkestra (its only known iteration). Here the percussion is up-front, the horn lines take a more fluid and free rhythm, and layers of flutes swell and hocket around the orbit of Sun Ra's twinkling piaon. A crucial rendition of a forever enduring song in an especially pleasant mood. Beautifully mastered for 7" by Adam Gonsalves and Telegraph Audio, and expertly pressed by Smashed Plastic in Chicago. Packed in hand-assembled silk-screened metallic silver and midnight blue ink jackets printed by Seizure Palace, with 4 different cover variations. Includes picture sleeve and ephemera.

An auster and dialed compilation of 1920's and 1930's ballads. All plaintive solo vocals accompanied by the banjo. No dance songs. Instead you get intense very American tunes about existential angst, murder, love, mystical happenings and so on. The mana. As far as we know, this is the first record to compile purely hard hitting banjo ballads from the golden 78 era. A treasure....

Certain paths necessitate and call for one singular long sequence in order to arrive at a fully formed conversation or reasoning. Nothing seems to broadcast it more clearly than the trajectory Brussels based Italo-Vietnamese artist Nguyễn Zen Mỹ embarked on during the last decade as Radio Hito. After a string of highly cherished and sought out tape releases, Radio Hito’s new album ‘L’uso e gli attributi del cuore’, co-released by Maple Death & Meakusma, unfolds with devastating clarity, a profound balance of depth, minimalism and emotional grounding. A ten-sequence song cycle for voice and MIDI soundfonts adapted from the 2021 book by French poet Claude Royet-Journoud. Written and recorded between January 2023 and August 2025, the cycle evolved through nearly 80 live performances from Galicia to Kazakhstan before arriving at its recorded form. Set to an Italian libretto adapted from Royet-Journoud’s text ‘L'usage et les attributs du cœur’ (POL, 2021), the work revisits the tradition of the 19th-century Lied — art song built on existing poetry — transposed into a radically economical contemporary setting: voice and Casio CTK workstations. "I was interested by this incompleteness CRJ mentions - by the ‘suspension’ of meaning questioning readability and intelligibility. I ‘resisted’ to CRJ’s texts since I met him and got to know his work. […] It seems to me that when playing the songs, I submit an object to be completed by the audience." Radio Hito’s distinctive approach to setting poetry to music — spare arrangements, strophic repetition, and a voice suspended between recital, fm transmission and canzone — creates a language of its own, reaching new heights on ‘L’uso e gli attributi del cuore’, songs that are formally rigorous, emotionally restrained, and shaped by the discipline of sustained live performance, interlocking into a coherent cycle. Rather than illustrating the poem, Radio Hito approaches it as a space of suspension. Royet-Journoud described poetry as a “profession of ignorance,” where meaning remains incomplete; these songs extend that trembling state, allowing repetition, digital timbre, and restraint to hold the text open. Often misread as minimal synth or romantic chanson, Radio Hito’s practice is rooted instead in the lineage of the art song and song cycle: open structures, close attention to language, and a live performance economy that pushes the voice at the heart of the stage. The choice of accessible keyboard workstations — light, portable, and embedded in contemporary popular culture — replaces the historical piano. Radio Hito creates fantastical, mirage-like songs, intimate yet elusive. Her music is forlorn chanson for the digital age; bringing her haunting and beautiful vocalisations into conversation with MIDI soundfonts and humble-yet-deep casio compositions. Music that strides for simplicity, yet lands miraculously within an entire new universe, a uniqueness achieved from like-minded spirits such as Ghedalia Tazartès, Savina Yannatou & Lena Platonos, Dorothy Carter, cycles that trickle down into estuaries.

Places and Spaces is an album by American trumpeter Donald Byrd, that was released on Blue Note in 1975. Allmusic awarded the album with 4 stars and its review by Stephen Thomas Erlewine states: "Boasting sweeping string arrangements, sultry rhythm guitars, rubbery bass, murmuring flügelhorns, and punchy horn charts, the music falls halfway between the cinematic neo-funk of Street Lady and the proto-disco soul of Earth, Wind & Fire."

“Lustful Expanse,” an early work from US underground visionary Evanora Unlimited, captures the rawest and most unrestrained form of their destructive pop aesthetic.

“Perfect Answer,” the latest release from US underground innovator Evanora Unlimited, is a singular pop record where destruction and lyricism coexist. Featuring striking guest appearances from Maria M, RockangelZ, She Diamond, and Taraneh, each track takes on its own distinct personality, giving the album a depth and dimensionality that grows with every listen.

Stepping Into Tomorrow is a 1974 album by jazz trumpeter Donald Byrd. The AllMusic review by Andy Kellman awards the album with four out of five stars.

Originally released in 1998, South Central Thynk Taynk by Abstract Tribe Unique (Abstract Rude, Fat Jack, Zulu Butterfly Priest, Irie Lion King, and DJ Drez.) captured a pivotal moment in Los Angeles’ underground scene—when young Black artists were reimagining hip-hop from the ground up. Blending jazz-inflected beats, spiritual insight, and fiercely independent production, the album became an anthem for self-reliance and creative rebellion. Now reissued by Rhymesayers Entertainment as a deluxe 2xLP set with a lyric booklet and bonus track, this long-unavailable classic returns for a new generation.At the cultural core of the record is Project Blowed, a legendary L.A. crew founded by Abstract Rude and Aceyalone, which birthed a lineage of rap innovators whose fingerprints are still felt in global hip-hop. While mainstream rap embraced the West Coast’s G-funk boom, the Blowed crew forged an alternate path—steeped in jazz, radical politics, and Afrocentric futurism. Thynk Taynk stands as a richly layered time capsule from this revolutionary moment, pairing Ab Rude’s deep lyricism with Fat Jack’s genre-melding approach to production, creating a poetic reflection on family, struggle, and artistic purpose.This new edition includes the “L.A. Styles Back (Project Blowed Remix)” featuring a cross-generational lineup of heavyweights— Aceyalone, Myka 9, Medusa, Pigeon John, Blu, 2Mex, Ellay Khule, Riddlore, and NGAFSH—underscoring how L.A.’s underground has remained a creative epicenter for decades. South Central Thynk Taynk is more than a cult artifact; it’s a living document of transformation, community, and artistic power.

FEAR - the joint album from Jared Mattson of The Mattson 2 and Ruban Nielson of Unknown Mortal Orchestra - was recorded in June of 2024. All recording and mixing took place in Palm Springs. Mastered by Matt Colton at Metropolis Studios in London. --- I woke up around noon, disoriented, half-dreaming. Music was playing — unfamiliar, fully formed, the kind of sound you assume belongs to someone else’s life. For a moment I thought I was still asleep, hearing music I wished I’d made. Then it hit me: Ruban Nielson was already awake, in the studio, listening to what we’d made. We both knew it. There was something inevitable about the music — like it hadn’t been created so much as uncovered. We listened on repeat, laughing, shaking our heads. One track brought up a shared image: an evergreen forest by a lake at sunset. Ruban suddenly looked up, eyes wide, like he’d just been handed a message. “I’ve got the title,” he said. American Eagle. The name landed the same way the music had — clean, obvious, impossible to argue with. The American Dream: hot dogs, Cokes, sunset drives. We both lost it, tears in our eyes from laughing hard for minutes straight. We swam in his pool. The conversation never stopped. The flow stayed constant, nourishing, effortless. Then Ruban said it again — the line that had already become a principle: “Let’s make more that sound exactly like this.” So we did. Two days later, 'FEAR' was finished. - Jared Mattson

Mieko Shiomi is known both for her avant-garde musical activities with the Group Ongaku collective during her student years and for her participation in Fluxus from 1964 onwards. The Fluxus Festival held in Venice in 1990, to which she was invited, became a pivotal event that brought about a major shift in her subsequent work. That same year, she self-released a cassette requiem in memory of Fluxus founder George Maciunas.

This tape work combines original compositions performed on synthesizer harpsichord and organ with recordings of her own voice played backwards. These sound sources were taken to a studio and edited together with environmental sounds recorded at the Venice venue. The piece also incorporates the voices of key Fluxus artists including La Monte Young, Marian Zazeela, Eric Andersen, Willem de Ridder, and Ken Friedman. Making use of the specific properties of tape, the piece integrates unique ideas and structures and occupies a distinctive place among Shiomi’s oeuvre.

Originally released on CD in 2009, Engaged Touches has been expanded from the original recordings for a 3LP edition, spanning 5 sides of vinyl, and a 3CD edition of the same expanded version, as well as the original single disc version. All have been remastered by Stephan Mathieu for this special limited edition. Please support artists by purchasing the digital album, not streaming in excess. Thank you.

Originally released in 2009, Capri is a concept album composed of fragmented vignettes, lost minutes and scenes from an idyllic imagining. A collection of brief moments, suspended shimmers, and frail settings, Capri was never meant to be more than its own thin veneer; a naked and subtle wash of saturated and semi-transparent colors, rolling as gently as ocean waves against rocky beaches, of fading afternoon sunlight, of momentary experience. Peaceful yet isolated, quiet yet collapsing, they are fading moments without definite borders, directions, or conclusion. Remastered by Stephan Mathieu from the original tapes, and expanded to include the complete recordings excluded from the 2009 CD edition, this collection is finally present in its complete form in the deluxe edition as a black vinyl 3xLP, and 2CD. All music by Danielle Baquet and Will Long, 2007-2008.

“No, without listening at doors, the ear captures noises here and there and unexpected sounds without choice, but remains attentive to the messages of each one picked up over the years. It gathers surprises and impressions, bringing them together in a simple mix. In waking up these ear memories again, which were mostly recorded on magnetic tapes, I am very happy about the collaboration of Eiko Ishibashi and Jim O'Rourke in playing on this mix tape.” Brunhild Ferrari

A unique and brilliant collaboration between the legendary dub/reggae pioneer and German electronic production duo Mouse on Mars (aka Jan St. Werner and Andi Toma). Lee "Scratch" Perry's last ever official album project before his passing in 2019. Recorded in 3 days at Mouse on Mars' Paraverse Studio in Berlin in 2019. Lee, Jan and Andi conducted a revolving cast of musicians and collaborators throughout the complex's different rooms and spaces. Spatial, No Problem. finds the artists breaking new ground - the one thing Lee was sure of was that this shouldn't be just another reggae album. It covers everything from krautrock, ambient, dub, jazz, New Orleans brass and much more.

Synthesist and composer Emily A. Sprague bridges intuitive sonic structures and expressive songwriting, yielding expansive terrains that are immediate and immersive. From early experimentation with guitar and keyboard as a teen, Sprague went on to form indie band Florist in the early 2010s, gaining a devoted audience, before expanding to environmental / ambient compositions under her own name in 2017. Her releases include several albums across both projects, most recently Florist’s Jellywish and Cloud Time in 2025, and now, the Double Moon EP. Limited edition 7” includes the exclusive bonus track “Dusk (How to Fly)” and a dub of “Double Moon” by Andras.

The music on Horse Lords’ Demand to Be Taken to Heaven Alive! feels both impossibly detailed and eminently human. The album’s twelve pieces are layered and interwoven, tonally and rhythmically complex––moiré-like patterns of interaction and tessellation that play out for both mind and body, full of sonic warrens with an inescapable groove. An electrifying leap forward for the band’s shared language, Demand to Be Taken to Heaven Alive! aims to liberate the listener into a spiritual, ecstatic, and utopic dimension of sound.

The transcendental guitar master's 1971 debut, remastered for all your sabbath needs. 37 minutes of ambient guitar witchcraft and the perfect soundtrack for third eye awakening, light alchemy, or human sacrifice. You could start a cult with this thing.

Composer and sound artist Robert Aiki Aubrey Lowe announces Manifestations in the Shadow of an Uncertain Land, a new album of voice, modular synthesis, and electroacoustic composition out June 12 on Kou Records, recorded and co-produced by Randall Dunn (Jóhann Jóhannsson, Hiro Kone). Moving fluidly between voice, electronics, and evolving tonal environments, the record unfolds as a meditation on memory, power, and perception through a language that is both cinematic and deeply personal. Known for his work across experimental music, performance, and film—including the acclaimed scores for Candyman, Grasshopper Republic, and vocal work featured in Sicario and The Arrival—Lowe has developed a singular practice in which voice, electronics, and composition function as shifting states within a single sonic field. Manifestations in the Shadow of an Uncertain Land extends this approach, moving between solemn contemplation and propulsive intensity as textures of voice and modular synthesis form a living sonic architecture. The album emerged through an intuitive and aleatoric compositional process shaped by two entangled investigations: lived experiences of bodies and minds navigating the ambient violence of imperial structures, and an exploration of the cross-pollination between sonic and visual storytelling. These currents converge in a work that treats sound as both narrative and atmosphere. Cinematic and literary touchstones that have long shaped Lowe’s imagination surface throughout the work. References to figures such as filmmaker Chris Marker, Franz Kafka’s In the Penal Colony, and Peter Watkins’ dystopian film Punishment Park echo through the album’s titles and conceptual framework—each confronting questions of memory, surveillance, and the machinery of power. These presences operate less as citation than atmosphere, reinforcing the sense of sound unfolding as a narrative environment. The record also marks a renewed engagement with film music as a compositional language. Drawing inspiration from figures such as Bernard Parmegiani and Ennio Morricone—alongside the unsettling orchestral architectures of Krzysztof Penderecki and György Ligeti—Lowe approaches sound as a vehicle for atmosphere, tension, and narrative implication. These influences resonate alongside the work of composer and scholar Olly Wilson, shaping a sonic environment that feels both cinematic and abstract. As Lowe describes the work’s guiding impulse: “The music finds catharsis through contemplation, terror, solemnity and propulsive energy—considering both the shattering of hegemonic structures and the anticipation of a new land.” The album’s visual world includes original artwork by Lowe, accompanied by a portrait by Chicago-based artist Damon Locks. Across its arc, Manifestations in the Shadow of an Uncertain Land inhabits a fragile space between dread and transformation, where composition becomes a way of listening through uncertainty toward what might emerge next.

Critical Thot is the bold new collaborative album from Bay Area-based rapper/producer Sha Ray, and producer/electronic musician DJ Haram—two uncompromising artists reshaping rap and experimental sound. It is an intriguing pairing; Haram is one-half of the duo 700 Bliss with rapper and poet Moor Mother and has several solo records under her belt—including 2025’s critically acclaimed Beside Myself (Hyperdub)—and high profile collaborations with BbyMutha, Fever Ray, Ghais Guevara, and Armand Hammer. Meanwhile, although Critical Thot is Sha Ray’s official debut album, her reputation as a next-wave talent precedes her. Haram got wise in 2022 when she saw Sha Ray perform at a show in Brooklyn. “We spoke at the venue and after that I followed her on social media. She gave an incredible performance, so later on when she slid in my DMs asking for beats, I was already on board,” Haram explains.An Armand Hammer/DJ Haram show in LA was the nexus for these connections to yield fruit. Sha Ray flew down from the Bay to link with Haram, and although the two didn’t end up recording anything that day, it was the springboard for the cross-country collaboration that culminated in Critical Thot. The whole album was made remotely: Haram cooking up beats in Brooklyn and sending them to Sha Ray, who would send back demos and notes. They got to know each other as artists, and as people, while they worked on this project.“Haram and I have had so many overlapping experiences working as women in the music industry, which really enriched our bond. That, and her very striking approach to production, really inspired a lot of the writing on this record,” Sha Ray says.That writing is razor sharp and refreshingly direct. Sha Ray quickly proves herself to be in a class of her own, navigating even the knottiest of DJ Haram productions without taking her foot off the gas. Haram digs deep into her bag with beats that run the gamut from experimental and abrasive to slinky fun to darkly foreboding. Percussive thuds and shots are layered with intricate details and soft linings. A trappy banger dissolves into a flood of strings. A sparse industrial soundscape slowly coheres into a cacophonous uppercut of a rap record. Sha Ray bobs and weaves her way through every drum break and synth with a defiant ease. “As a rapper I’m pretty exclusively interested in interrogating misogyny and sexuality in my work. Critical Thot is a deliberation on unapologetic feminine authority, while being very honest about the complicated truth of being a participant in self-objectification, and sexuality as a social currency,” Sha Ray elaborates. “This record focuses a lot on defining power in feminine sexuality as relational and ever-shifting, and thus inherently imperfect. However, it is a power that I have and I am going to use it.”Critical Thot features contributions from Nappy Nina, JWords, and Archangel.

アルバムについて Following the jazzy library vibes of 2023’s collaborative Dolphin LP with Greg Foat and Moses Boyd, the venetian maestro Gigi Masin returns to the ambience for which he is renowned, with Movement - his first solo full-length since 2020’s Calypso, and his Sacred Bones Records debut. Fuelled by creative reinvention and rhythmic motion, he moves seamlessly between melancholy electronic notes, technoid robotics, groovy liminal cloudscapes, and fathoms-deep ambient aquatics. Since early beginnings in obscurity, his 1986 debut album Wind slowly built an organic following on late night radio, later bolstered when “Clouds” was sampled by artists like Björk, Post Malone, and more. He now counts Oneohtrix Point Never, Devendra Banhart, Caroline Polachek, and the late Kenny Wheeler as fans. The new album Movement reflects on Masin’s place within the pantheon of ambient masters, his ongoing artistic ambitions, and his aspirations for a scene which he’s seen grow exponentially from humble beginnings. The LP is also an ode to literal movement, both in nature, and in human physical expressions to sound. Masin strived to make ambient music for movement, not in the standard dance music sense, but “dynamic music, with a beating heart full of love.” Reconfiguring ambient’s association with solitary listening and cold academia, Gigi went outwards, channeling something somatic that connects with the body, not just the mind. “Bed on Mars” sets the titular tone for Masin’s renewed curiosity, with cosmic atmospherics evoking the sensation of waking up on a new planet unafraid, whilst the poignant synthesized trumpet and suspended liminal limbo of “Lost” feels like floating adrift in an unknown sea. Delving further into off-centre beats is the celestial techno funk of “Deception Dance,” which sounds like Sun Electric jamming with Carl Craig and Kraftwerk. The bright beaming light of “Golden” radiates warmth, sounding like the bossa nova brother of Göttsching’s Balearic classic E2 E4. Despite the passing of his wife after a long illness, and losing his musical archive in a flood, Gigi remains pure-at-heart and positive, pouring his soul into the pursuit of beauty. The latest in a slow starting but steadily building career, Movement sees Masin continue to secure his seat at the table of true ambient greats.

Key importers/translators of Japanese Kankyō Ongaku to the Western world, Visible Cloaks present a fine new bouquet of digital flowers pruned in-the-mix with help from Lifted’s Joe Williams and arranged with input by Félicia Atkinson, Yoshio Ojima, and Satsuki Shibano. Ryan Carlile & Spencer Doran’s Visible Cloaks have been instrumental in bridging the rarified world of ’80s Japanese environmental ambient and its modern offshoots since their self-titled debut of 2015. Their ‘Fairlights, Mallets and Bamboo’ mixtape and original productions inspired by that particular time and space - circa the emergence and application of game-changing musical technology - have been indispensable for discerning diggers and ears. Their first album since 2019, ‘Paradessence’ now marks the duo’s return to a sound they helped bring to wider interest, displaying cross-border/generational binds between experimental scenes in Japan, US, and EU across an intricately crafted and romantic spirited album defined by its technical sorcery and sense of adventure. Benefitting from the energy of their collaborators and time out to sharpen and reassess their sound, ‘Paradessence’ feels like the most fully realised iteration of Visible Cloaks’ illusive world building. 14 succinct pieces open out a fantasy playground where prior spars Yoshio Ojima & Satsuki Shibano chime into the pitch bent, shatterproof contours of ’Shapes’ and again with Félicia Atkinson’s french vox in ‘Thinking’, before Satie-esque piano phrases are refracted into hyaline hyperprisms glistening with Joe Williams touch on ‘Zinna’. The shearing shape of ‘Balloon’ impresses in its hyperreal tactility, and the synthetic wind-swept strings of ‘Swirl’ brings us teasingly close to oneiric dimensions also touched on in ‘Telescoping’, suffused with ultrasonic insect sounds that lend a frisson of waking dream detail for the susceptible.