NEW ARRIVALS

the second album by the Jacks—the pioneers of Japanese rock—released after the band’s breakup, is being reissued on vinyl for the first time in 30 years since its 1996 LP reissue!!

Selected tracks from the album are featured in Hideo Kojima’s video game, Death Stranding 2: On The Beach.

“Untitled II” is a grainy mixtape/sound collage produced by London-based artist, Koichi Yamanoha. Contains demo recordings on a 4-track cassette, humming by Yamanoha’s mother, sound sketches of sleep-talk. the sea recorded during the road trips, and guitar feedback at a local supermarket’s event, etc. Featuring multiple musicians including Josephine Foster, Bryan Michael Mills, and Naima Nefertari. 30 limited cassette tape edition comes with the Grimm Grimm original pillowcase (Designed by Yamanoha’s 7 years-old niece)

Grimm Grimm’s quiet, folk‑rooted songwriting and his experimental sound treatments come together in their most refined form on the 2020 album Ginormous

Masayuki Takayanagi, having absorbed free jazz, offers a response that brings the tumultuous 1970s to a close. His return to his roots—a tribute to Lennie Tristano and Lee Konitz—serves as a rite of passage to reach new heights in the coming era.

Chicago-based sound artist Kikù Hibino collaborates with Japanese noise pioneer Merzbow (Masami Akita) on Rococo ∞ Echomatter, released by Superpang. Exchanging material between Chicago and Tokyo, the duo cuts spoken voice and instruments into dense noise fields. Hibino’s sharp editing turns these ruptures into structure, where voice and noise collide as physical elements in motion.

Back to the golden nights of zouk clubs, where hip-hop, kompa, zouk and Caribbean grooves ruled the dance- floor. This selection documents a pivotal moment : a time when zouk was still not a fixed genre, but more a place, an atmosphere, somewhere people went to dance. It captures the spirit of an era: its creative effervescence, musical freedom, and the diversity of artists who shaped it. The very concept of “Kaz A Zouk” perfectly encapsulates this idea: a space where all styles could meet. Curated by Émile Omar, the driving force behind the Disques Debs and Radio Nova compilations — alongside Tropical Discoteq, Paris’s legendary tropical club night.

Lolina returns with gg, a track that has become a fixture of her live sets before finally making its way to release. Balancing pop, performance art and uneasy humour, the song moves through uncertainty and contradiction while keeping its momentum intact. This edition features the extended version of ‘gg’ alongside two reworkings that push the track in different directions. An Arca remix reshapes its off-kilter energy into something even more unpredictable, while NEW YORK offers an alternative perspective on the original’s distinctive atmosphere. Part club track, part commentary and part mystery, gg captures Lolina at her most elusive, turning confusion, tension and movement into something oddly compelling.

Gorgeous DIY, private press, lounge jazz and Latin boogie stardust from 1984, framing keyboard maestro Ronald Langestraat in his living room, laying down pure vibes to 4-track - huge tip FFO Lewis, Gil Scott Heron, James Mason, Starship Commander Woooo Wooooo. "Searching was self-recorded in Ronald’s living room on a 4-Track Tape Recorder in 1984. The recordings symbolise his engagement to cross-over everything that was known to him musically at that time. Most importantly, all recordings reflect his personal way of searching; searching for his own characteristic sound. Rhythmical patterns meet well balanced distortion, shaping the music into a mirror of his character. He was part of several Dutch Latin and Jazz bands, including Cascada and Ritmo Natural. With the latter he performed at Holland’s North Sea Jazz Festival. At this point Ronald is 78 years old, playing music every day. Instruments: Acoustic Piano, Fender Rhodes Piano, Farfisa Organ, String Ensemble, Tenor Sax, Alt Sax, Soprano Sax, Clarinet, Alt Clarinet, Organ Bass, Micro Moog, Drums, Longa & Voices.”

Reverend Baron’s singular troubadour soul may best understand the capacity music has to span the distance between points on a map and pages in a calendar. Daniel, the acoustic instrumental follow-up to 2022’s Karma Chief label debut, From Anywhere…, expands the world beyond LA’s concrete canyons and overpasses to the bustling, churning sea of life that is Mexico City, to the sparse, rolling landscape of Red Cloud, Nebraska. In each locale, the constant companion was a nylon-stringed acoustic guitar — with a well-traveled history of its own. “It was my father’s guitar,” recalls Danny Garcia, the man behind the Reverend. “I found out a few years ago that it was my grandfather’s as well.” Ever-present since his childhood, the Mexican acoustic has taken on increased meaning for Garcia with each passing year. Hours upon hours spent playing, traveling, and breathing meaning into its fretboard have made it both a tool and talisman. “There’s the obvious bloodline and family and link…that link through history,” confides Garcia. “It’s kinda the only family heirloom I have.” Over the last while, all this playing (or “noodling” as Danny puts it) had Reverend Baron chasing a sound — one which belies the guitar’s origins. It’s a sound he would hear from time to time, and when it came to record Daniel, it would be his true magnetic north (or south as it were). Spinning through Daniel, and you will hear echoes of Antonio Bribiesca and Luiz Bonfa's guitar tones. Dig deeper and you’ll see the bones of Townes Van Zandt and Nick Drake guitar textures as well. While not claiming their virtuosity in his playing, the soul and vulnerability that have become calling cards for the first two Reverend Baron albums complement these influences. There is a warmth in Daniel that takes center stage in these acoustic meditations. From brief, fluid moments like “El Monte” and “How Glad” to the high-lonesome “Muchacho,” the songs drift like cumulus clouds over a deep blue skyway. Their graceful float is in stark contrast to the album’s origins. The studio Garcia was using for his intended second release on Karma Chief was a victim of the LA wildfires in January of 2025. “[The fires] halted work on my record,” says Garcia. “So I ended up leaving and went to Mexico City for a few months, and so worked quite a bit [on Daniel] there.” With his striped-down set up -- featuring his guitar, a few microphones, and a laptop -- the time in Mexico City set the tone for the project. “I just came into this space because it seemed like I could just do it…it seemed like it was time, and I didn’t have to force anything.” After leaving CDMX, Reverend Baron spent a few weeks in Red Cloud. While all the traveling and miles energize Garcia, this small midwestern village’s peaceful and unassuming nature was the ideal spot to focus and create. “LA is home and has its own cultural juice, which I love…Nebraska is very quiet. No one disturbs you, and I can just work and concentrate for weeks [there].”  Daniel’s 11 tracks criss-cross the laylines of border music and folk, but categorizing them along a fault line or genre tag misses the point. These acoustic numbers move with a deliberate ease, never overstaying their welcome. The songs respond to time and distance with equal parts reflection and transparency; both mirror and window to the soul. Daniel is Reverend Baron’s conversation with his bloodline, influences, and the stops along the way.  By the album’s closer, “Velasco,” Daniel’s conversation becomes your invitation to search for a path along that great sonic continuum housed within a song.

**200 copies, sold out at the label** New single from the undisputed god of Japanese noise. Masami Akita - the man behind Merzbow - returns with two tracks recorded in February 2024 at Munemihouse, his legendary home studio in Tokyo. Two sides of pure sonic assault that swing just as the title suggests - "Pendulum, Part 1" and "Pendulum, Part 2" - masses of frequencies in constant motion, pendulums of noise crossing the sonic spectrum with the violence and precision that only Akita can orchestrate. From 1979 to the present day, Merzbow has redefined the boundaries of what we can call music. Hundreds of releases - LPs, CDs, cassettes, collaborations, limited editions that drive collectors around the world insane. Yet every new release sounds as if it were the first and the last at the same time. No compromise, no concession to the market, no softening. After more than four decades, Akita continues to push noise into its most extreme and unexplored territories. This 7" arrives at a moment of extraordinary prolificacy for Merzbow - the recent waves of material from Japan, particularly the monumental archival series on Slowdown Records, bear witness to an artist who has never stopped documenting and archiving his sonic research. A continuous flow of noise reaching the rest of the world from Japan. The 7" format is perfect for this kind of frontal attack - direct, concentrated, brutal. No frills, no filler. Two tracks, two sides, a few minutes of total devastation.

A long-selling album that includes a cover of “Firecracker”—a live staple also known for its YMO version! Kruangbin, the Texas-based groove trio whose sound—rooted in Thai funk and wrapped in a unique, mellow groove—has earned them a global following, is releasing a Japan-exclusive album titled *Everything Smiles at You* to commemorate their highly anticipated Fuji Rock appearance, following their sold-out debut Japan tour in March 2019! This release features 10 tracks—all previously released as singles or on EPs but never included on an album and now available on CD for the first time—including “The Infamous Bill” and “The Number 4,” which were performed during their Japan tour and are popular live staples; “Firecracker,” also known for its YMO version; and a cover of Serge Gainsbourg’s classic “La Javanaise.”

SML is a Los Angeles based quintet featuring Anna Butterss, Jeremiah Chiu, Josh Johnson, Booker Stardrum, and Gregory Uhlmann.

'Spontaneous Music Live' contains two side-length pieces of unedited improvisation, recorded live at Los Angeles venue Zebulon during SML's December 2025 three-night residency, just weeks after the release of the band's second album HOW YOU BEEN. It was recorded and mixed live to analog tape by Bryce Gonzales (the same engineer/wizard known for his gorgeous live captures/mixes of Jeff Parker's ETA IVtet).

Between HOW YOU BEEN and their 2024 debut SMALL MEDIUM LARGE (both of which were heavily edited, shaped and post-produced) the band has developed a reputation for records that are heavily fused, polished, and punchy. The medium is on full post-modern display on those LPs, and the band’s post-production knife can be responsible for much of the perspective — the tastiest morsels collected, arranged, and rearranged just so.

But the source material from both those albums were live recordings. Long-form, unwieldy, ebbing and flowing. On top of that, every performance the band has ever done has been fully improvised in that spirit. So in the sphere of live performance the band’s esteem has grown down a different path — one of linear, hypnotic, expansion. It’s a perceived split persona shared by some of SML’s most inspiring conceptual bedfellows: compare the extended madness of Can’s 'Live in Paris 1973' to the relative tight form of 'Future Days' from the same year; the speed-funk chaos of Miles Davis’ 'Dark Magus' to the heavily deconstructed 'On The Corner' or 'Big Fun'.

'Spontaneous Music Live' removes the curatorial perspective and pulls the curtain back on that search-pluck-reconstruct editing process. What we’re left with is the psychedelic realism of the band in situ, in their home town, collectively improvising, fully in-the-moment, mining for that moment of discovery. We hear, in macro, each nugget of sound which could be the basis for a future SML album track, spattered amongst the collective chaos-and-control like stars in the night sky.

Following the passing of Ryuichi Sakamoto in early 2023, Richard Pike turned to the piano as a daily ritual of improvisation – or, as he frames it, real-time composition. The result is [album title], a suite of intimate pieces for piano and looping textures that explore cassette sound sources, minimalism, harmony, and the fragile acoustic artefacts that surface from the process. Pike’s method was simple and disciplined: gather tape loops and sonic beds in the studio each morning, then move to a 1950s Eavestaff Minipiano in the living room to record melodic responses over them. These performances were captured quickly and left largely unedited, allowing instinct, error, and texture to dictate shape and direction. The music reflects a fascination with earthy, worn sound worlds, drawing on influences such as Romeo Poirier, Deepchord and early musique concrète, as well as Pike’s own history with the tape-scarred aesthetics that informed his early work with Warp-affiliated band PVT. This is a quietly expressive record of repetition, decay and emergence – a document of daily practice finding form almost by accident.

The story of Mar Vista begins in northern France, in Lille, in the early 1970s, with the meeting of two music enthusiasts: Claude Cuvelier and Jean Skowron. They connected through Claude’s brother. At that time, Jean was already standing out at blues concerts for his singular sonic approach: he placed microphones inside suitcases that he struck to produce raw, primitive sounds — an experimental process that immediately impressed Claude. Claude, shaped by the 1960s rock scene with his first band The Eaglestones, already had a solid musical background. After the group dissolved at the end of his military service, he explored folk and blues sounds as a solo artist, while discovering major new influences: Terry Riley, La Monte Young, Balinese music, as well as the emer- ging German scene — Kraftwerk, Popol Vuh, Tangerine Dream, Ash Ra Tempel, Neu!, Klaus Schulze. Jean, for his part, drew inspiration from Pink Floyd, Alan Parsons, and Tangerine Dream. A shared vision quickly took shape: to create repetitive, atmospheric music, freed from traditional formats. In 1973, they gave birth to Mar Vista, with the desire to compose long, immersive works, sometimes built around a single chord, in the spirit of Balinese music. The duo gradually equipped themselves: a Mini Korg in 1972, a Yamaha synthesizer, a Farfisa organ, and even a drum machine discovered by chance during a television appearance by Henri Salvador. The home studio became their creative sanctuary. Jean worked on a 4-track Teac tape recorder, Claude on a Philips model. Each freely composed their own side of the future album, while collaborating on each other’s ideas. Side A, led by Jean, is more rooted in the progressive electronic music of the time, influenced by Heldon, Amon Düül, and Soft Machine. Side B, bearing more of Claude’s imprint and his influences (Terry Riley, La Monte Young), is far more experimental and consists of a 22-minute trippy instrumental piece. On this record, Jean notably composed “Her Eyes Are Closed” (with his wife) and imagined the sound introduction using an alarm clock. The atmospheric transitions were created from white noise generated by a Yamaha synthesizer. In 1976, after facing rejections from several labels ((they dreamed of signing with the Düsseldorf label Brain — home of Neu! — but never dared to send their tracks), they self-produced “Visions of Sodal Ye,” a rare record pressed in only 150 copies by Le Kiosque d’Orphée. The sleeves were handmade. A photo was glued on each side of the cover, and the band name and album title were written with nail polish enhanced with silver glitter. Despite its confidential release at the time, the album is now consi- dered one of the most remarkable works of the genre ever released in France. A second album project inspired by the universe of H. P. Lovecraft was in progress, but family responsibilities slowed this creative momentum. As for concerts, the band performed live only rarely, mainly within the squat and anar- chist circuits of the time. Moreover, on this reissue you are holding, the second vinyl — composed of unreleased tracks — features improvised pieces without synthesizers, recorded live in August 1973 on a hill near Valence, in the garden of friends (Hervé and Martine). These rediscovered tracks had until then existed only on a cassette tape kept by a close acquaintance. The tracks Expedition and Crash73, meanwhile, date from 1975 and remained in demo form. As the years passed, the two musicians took different paths. Claude remained active in the music scene, through radio, record fairs, and fanzines such as L’Écho d’Hector and Le Poireau Gabardine. Jean’s passing deeply affected Claude, but did not prevent him from returning to music. Driven by nostalgia for Mar Vista, he powered up his synthesizers again, modernized his equipment, and resumed creating. Mar Vista never truly stopped. It survives like a discreet yet persistent pulse, much like its music: hypnotic, free, and resolutely off the beaten path. Sacha Sieff et Jean-Baptiste Guillot

Roy Montgomery and Martha Skye Murphy first connected when Murphy included one of Montgomery’s songs on a mixtape. Conversations about their respective practices soon followed, revealing a shared musical language. They also discovered they used the same recording device, a Tascam recorder, which prioritises process over correction. Their approach embraces layering, multitracking, and imperfection. Since then, they have developed an ongoing creative relationship, regularly sharing music and crossing paths in various projects. Montgomery later featured on Murphy’s 2024 album Um, released via AD 93 to critical acclaim, while Murphy joined Montgomery during his summer 2023 residency at Cafe OTO. What draws them together is the emotional force of each other’s music. Montgomery’s cyclical, decaying compositions are shaped through intricate guitar and piano work, blending post-rock, folk, and drone. Murphy, meanwhile, possesses a rare gift for transformation; though her vocals often resemble fragments of words, consonants, or vowels, they frequently function as pure sound, drawing on glossolalia and prioritising feeling over any ‘learnt’ language. Emotion and intuition are the driving forces behind Nebular, an album that oscillates between the intimate with the unknown. This spirit is reflected in its artwork. Murphy shared a painting by Irish artist Simon English depicting a solitary house bathed in dusky blue light, and the pair quickly settled on it as the cover image. Both were captivated by its atmosphere. Montgomery related it to the isolated, seemingly uninhabited houses he encounters while travelling through rural New Zealand—places that inspire a desire to knock on the door and discover what lies beyond. “Terra incognita springs to mind. A search into the unknown,” Murphy agrees. The nocturnal and remote nature of the artwork mirrors the process of making Nebular. The album was created entirely through remote correspondence, with stems exchanged via email. Their messages were often written and read at different times of day, and, because of the time difference and the demands of daily life, replies usually were sent late at night and the music too often composed at nocturnal hours. Their exchanges took on the quality of pen pals sending letters across great distances. This suspended sense of time is echoed in Nebular’s sound, with its feeling of temporal drift and timelessness. On Nebular, Montgomery and Murphy have harnessed raw emotion and launched it into a time capsule bound for the stars. It allows you to drift, to be present, and to feel; creating something timeless. Martha Skye Murphy comments: “Roy and I have a shared vernacular in the music we make together; a kind of sonic sign language, which allows us to communicate without ever really explaining the material to one another. This is partly due to our shared process, which embraces layers, multitracking and imperfection (for me). I see our collaboration as a continuously unravelling piece of string; one song leads onto the next like a slowly evolving constellation and I’d like to hope we continue in this vein.”

Synergy Trilogy land with a self-titled debut, moving fluidly between dream pop, folk, spoken-word collage and gothic minimalism. Recorded in a home studio in Melbourne, the album assembles a sequence of songs and scenes threaded with poetry and dream logic, drawing together atmospheric synths, skeletal hooks, pulsating drum machines and intimate spoken-word exchanges – a world fully formed from the outset. Emerging from Melbourne's underground, the duo arrive with a first full-length effort that stands as its own singular, immersive environment. Songs dissolve into poems, spoken fragments into melody, leaving behind something that feels delicate and strangely immediate. Flitting between song and spoken-word storytelling, the album unfolds with an airy romanticism that manifests as part love letter, part spell. They join a seemingly ever burgeoning Melbourne scene, sitting alongside contemporaries Who Cares?, Dregs and Prophetic Justice Ministry. The album navigates a shifting landscape of darkness and light. Moments such as Dark Passenger, Whisper and Girl Over There draw from the stripped tension of minimal wave and gothic pop, while elsewhere the record opens into softer dream-folk territory on pieces like Something's Snapped and Sian. These movements are punctuated by passages that evoke the suspended atmosphere of 1980s psychological thriller soundtracks particularly on I Like To Watch – before giving way to the bright, melodic dream pop of Holo Law. For those looking to place it, the album's lineage runs through the fogged minimalism of From Nursery to Misery, the sparse emotional pull of Carla dal Forno, and the gothic candor of Rose McDowell's Sorrow project. At its more propulsive moments, it reaches for the kinetic drive of Nostalgie Éternelle – though the duo's approach feels instinctive rather than referential, shaped as much by friendship, mysticism and dream writing as by any recognisable forebears.

Sensible Soccers x Mad Professor present EP#1 - Dub Versions, a meeting point between Atlantic psychedelia and classic dub techniques. The collaboration pairs the Portuguese trio’s hypnotic grooves with Mad Professor’s deep-rooted studio approach, resulting in a set that moves between dancefloor propulsion and spacious, exploratory textures. ‘Dub de Saia Travada’ and ‘Berlaitada Dub’ lean into heavy basslines and rolling rhythms, built for movement and sound system play. ‘Dub Discreto’ shifts the focus outward, stretching into kosmische territory with nods to Cluster and Klaus Schulze, while retaining the warmth and depth of dub. Bridging styles, scenes and sensibilities, EP#1 - Dub Versions captures a focused exchange between two distinct approaches, reshaped into something fluid and transportive.

From the basement of a now-condemned motorcycle gang hideout in Dayton, Ohio comes STONE COAL WHITE! Ultra-primitive and ultra raw funk with classic Ohio funky soul elements. The A-side - “Hell Below,” a cover of the Curtis Mayfield classic more closely resembles the East Of Underground version, with a furious tempo and driving wah guitar. File under Unhinged Funk. The B-side, “Free,” previously available as a 45 on the private press label Ewing from 1971 is quite literally inconceivably rare. Now, thanks to our friends at Numero Group, this two-sided heater is available for a low price...while supplies last.

ÖLÜM is a Los Angeles-based Anatolian rock and roll group led by frontman Aykut Özen of Izmir. The group brings new life to the timeless genre of Turkish folk and presents a growing repertoire of original compositions. ÖLÜM is determined to bring back the 1966-1982 golden age of Anatolian psychedelic rock, pioneered by Erkin Koray and Baris Manco., complete with fuzz guitar, Hammond and Leslie pairings, analog synths, Farfisas, melodic riffs, and strong moustaches.

Through a collaboration with Cincy label Chiefdom Records comes a fresh 45 on Colemine from Doctor Bionic. Both cuts from this 45 feel Colemine-core: funky, dirty drums, jazz keys and guitar, and a groove that just won't quit. Put "Expert Witness" on during your next DJ set and watch the floor fill up. Ohio's take on much of the funky west coast jazzy funk over the last couple of decades. Doctor Bionic is nothing short of prolific, having released over 10 albums in the last five years. Keep your eyes on this up and comer on the scene. And don't forget to flip it over for the nightcap. "Mistake" is a mellow guitar driven tune to close out the night in a melancholy way. Sparkling Rhodes, sparse guitar, and driving drums are the order of the day.

DJ Plead drops a killer 2nd LP with ‘Please’ for Oslo’s Smalltown Supersound, pursuing a 2020 debut for our lockdown series - ‘Relentless Trills’ on Documenting Sound - with a finer balance of Arabic dancehall swivel and spatio-textural tactility - big RIYL DJ Python, Lenky, Taymour, Muslimgauze. For over a decade Jarred Beeler aka DJ Plead has drawn on his heritage in a unique catalogue of productions splicing microtonal flutes and keys wth dancehall and techno rhythms for the likes of Livity Sound, AD 93, and Air Max 97’s Decisions. With ‘Please’ he picks up where his debut LP ‘Relentless Trills’ left off in 2020 on our Editions series, taking the long form canvas as an ideal place for him to ease off the club gas and open out his ideas with a heightened sensuality and romantic pathos which works a treat on swaying bodies as much as rested minds. Four years since that last solo shot, the ‘Quick EP’ for Livity Sound in ’22, and a plethora of collabs with TSVI, DJ Python, rRoxymore a.o., Plead emerges amid fellow auteurs - Actress, Barker, Jamal Moss - on Oslo’s long-running Smalltown Supersound with increased confidence in his own sound. It’s palpable in his sparing strokes of melody and unhurried pacing, coupled with a tender feel for weightless structures that are just as happy to shrug off the beats and get lost in their own thoughts as he gently grips the hips for an eyes-down shuffle. The mah-ragga-nat single ‘Ride TV’ is a perfect example of his rudely atmospheric tekkerz, and about as hard as it gets, while the rest really gives it up in lushest, hair-kissing style. His feel for richly humid, evocative ambience colours it front to back, from the seductive licks of ‘Return to Deuce’ thru the flamenco trills of ‘Traffic’, taking it to cinematic levels on the floating pads of ‘Seven Eight, Too Late’ and the Vangelisian plumes of ‘Open Era’, to aerial cat’s cradle of flutes and subs to ‘Sush’ and hand-played drums of ‘Right-on Time.’

been thinking bout confession, the third studio album by the Brooklyn-based musician and performer Frances Chang, is a synth- tinged experimental pop excavation of the self and the vast unknown depths it contains. Largely written on a hundred-year-old baby grand piano and recorded between Frances Chang’s home in Sunset Park, Brooklyn and the Maspeth, Queens studio of her longtime collaborator Andréa Schiavelli (co-producer), the album situates the unbridled emotion of Chang’s DIY roots within a complex and poetic sonic landscape that interweaves orchestral arrangements with idiosyncratic electronic and analog interventions.

Graze the Bell is a collection of soul-stirring, mesmerizing solo piano pieces, and the most distilled offering of David Moore’s artistry to date. Known for his atmospheric compositions with Bing & Ruth, as well as his collaborations with guitarist Steve Gunn and Cowboy Sadness, this marks Moore’s first widely shared solo piano album. Using the piano to meditatively inquire into the human condition, Graze the Bell is a sanctuary of sound, and an invitation for listeners to meet him in the present moment.