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Discover New Decade Of Dub by Mad Professor and Jah Shaka on Ariwa Sounds. A UK Dub collaboration from 1996, with Phasers set to stun. Musical and restrained throughout. TIP!
Harnessing the chaos born from endless jams in a remote, rented farmhouse, the album dives deeper into their punk approach to jazz, while opening up space for long-nurtured fascinations with electronic textures and cinematic oddities. Their third album, it features previous singles feely, and bamboo.
The title was pulled from a bank of favourite names after the band saw Ez’s artwork; a quirky world of three cell-like flats housing absurd creatures. 'frank dean and andrew' nods to the anonymous, everyday passersby whose lives quietly unfold in the background of a nondescript town.
Pulling back the curtain on its creation further, the band reveals, “The album was recorded at the end of a year of extreme highs and lows. The tensions play out in the music in weird ways... the feeling of the music is very particular, and peculiar. Most UK Jazz music can end up too arranged and neat, or generally optimistic in mood, whereas this album goes the other way in all aspects.”
At the album's core, the glitchy, late-night focus track red in tokyo features Chinese-Vietnamese-British rapper Jianbo, whose grimey, distorted flows cut through growling guitar riffs and a dragging, drill-like drum line. “It’s a weird, grimey anger with a touch of no-wave and post-punk,” the band explains, “Hari’s bass ended up sounding like a Japanese Koto”. The intensity is fitting, as Jianbo recounts a tense moment in Tokyo that left him “seeing red.”
Shifting through moods, the second track oscillates to life with a dubby bassline and bursts of distant, animalistic commotion, like a flock scattering after a disturbance. With unsettling keys and guitar, the instrumental upends the familiar contours of jazz and leaves a lingering unease as part of what the band calls the album’s “weird, off-key” side. Equally unexpected, the title, horticulturalists nightmare (birds), taps into the surreal fear lurking in the pulsing soundscape.
That freeform, borderless creativity carries into grilly, where the keys lay out the pace and mood. “The tempo and the ambience frame the track to be like a dance tune, but with a darkness from Burial-type ambiences and pulsing drill-style delays,” the band notes. As horn layers clear the haze, the jam’s raw energy and feeling come together as a transportive piece.
Taking a dip into the melancholic, toucan opens with a whir and solemn, ceremonial horns, underpinned by a mellow harmony that moves into far-off, choral-like overlays. Opening with a similarly dystopian eeriness is location, the band’s favourite. From the heavy slump of the drums to the three-piece horns of Dan, Akers, and Jonny, which counterpoint each other in a sea of reverb. The tune is named after a Playboi Carti song of the same name, inspired by the opening synth movement.
The title track, frank dean and andrew, flickers with a bittersweet nostalgia, capturing for Ebi Soda, a modern sense of indifference, a stay-at-home, it-is-what-it-is kind of resignation. It mirrors the mood of the figures on the album artwork: sitting alone in flats, suspended in quiet isolation. Lou’s chords, Hari’s chordal bass, and Sam’s laid-back tempo lay down a "loose, Midwest, emo undercurrent, a tone that runs deep in much of the hyperpop" the band had been absorbing. Will vocalises through the trombone, making it sound as though someone is singing down a crackling phone line. A flugelhorn overdub adds more warmth to the track’s slow-burning atmosphere, with trombone and sax joining the mix in the second half.
Closing the album is insectoid creatures are infesting the land, beginning as a dissonant, scattered hellscape of wailing improvisations, freewheeling robotic noise, and buckling delays that eventually rupture into a cinematic scape, giving way to an ascending sequence of hopeful, mood-settling melodies.
As a whole, the album’s character arises from stylising with production and mixing. The approach fluctuates between focusing on ambience and reverb, drawing from UK dubstep influences like Zomby, Burial, and Joe Armon-Jones’ collaborations with Maxwell Owin, and embracing the raw, grainy DIY ‘mixtape’ sound, inspired by artists like Athletic Progression, Yameii Online, and Playboi Carti.
1993 debut album by the trio of Andrew Weatherall, Jagz Kooner and Gary Burns. Unavailable on vinyl and CD since original release. Remastered from the original tapes by Matt Colton, contains “Smokebelch II (Beatless Mix)” for the first time on the 2LP edition.
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Percussionist Tim Barnes has had a lengthy career flying as close as possible to the sun, notably performing and recording with Jim O’Rourke, Wilco, Sonic Youth, Stereolab, Silver Jews, Tony Conrad, John Zorn, Faust, Tower Recordings, Alan Licht and many others.
Diagnosed with early onset Alzheimer’s in 2021, Lost Words is the first of two recordings undertaken after Tim’s diagnosis. These new collabs were coordinated and produced by Ken (Bundy) Brown (Tortoise, Gastr del Sol, Pullman) and feature Joshua Abrams, Oren Ambarchi, David Daniell, John Dieterich, Darin Gray, Glenn Kotche, Tara Jane O’Neil, Jim O’Rourke and Ken Vandermark among others. Tim’s stalwart rhythmic zeal is the lynchpin and common ground across these tracks that span a wide swath of styles.
Drag City reissues Land of Plenty, the recorded debut from Chicago guitar duo Bill MacKay and Ryley Walker. Captured live during a January 2015 residency at the Whistler, these performances showcase two kindred spirits in full creative flight, blending their influences into a seamless, intuitive exchange. Meeting only a year before the recording, MacKay and Walker found common ground in artists as varied as Albert King, Laura Nyro, Nick Drake, Bert Jansch, Ali Akbar Khan and Jimi Hendrix. Across six-strings, twelve-strings and requinto, they weave a dialogue that draws from blues, folk, jazz and global traditions, folding them effortlessly into each other in real time. The set brims with interplay, each player listening and responding with precision and imagination. The stereo mix keeps their guitars distinct while capturing the shared headspace where improvisation and composition meet. Live recording adds an extra charge, amplifying the richness and detail in their sound. Originally released on Whistler in 2015, Land of Plenty stands as one of the most dynamic and engaging acoustic guitar records of its era — a document of two musicians discovering just how far their combined energies could take them.
Eric Broucek was the ur-engineer of the most fertile era of DFA Studios, from about 2003 to 2008 (no one knows anything precisely about that time, as it’s all lost in the fog of chaos). His hand was on all of the remixes, LPs, dance 12s. He was there in that over-designed gear dungeon almost every day, recording, mixing, struggling to not roll his eyes at Tim and me. And somewhere in that fog, he quietly dropped limited runs of three 12-inch delayed reaction bombs on his own label Stickydisc Recordings—two under the name Babytalk, and one as Watussi with another DFA regular, Morgan Wiley.
Back in the day, Eric did not want his music released on DFA. He wanted to forge his own identity, which he did, sending out music that wandered from the DFA path with its uniquely wonky, upended and understated power. His music is so unlike everything else of that era, so profoundly singular, that it still sounds completely out of time.
A few years back, I started DJing the tracks again, and saw how the world was still surprised by what Eric had made, and the idea of this compilation was born.
So, in the end, Eric, we totally got to release your records anyway. We heart you, man.
-James Murphy
All Portrait, No Chorus is the new album from indie rap pioneer doseone and NYC producer Steel Tipped Dove, dropping January 10, 2025. Together, these two artists have crafted an uncompromising masterpiece. Knowing the caliber of MC he is paired with, dove skillfully paints with every color on the palette, and doseone skates effortlessly on every track, whether skating languid figure 8s or landing lyrical triple axels. Somehow the veteran sounds sharper than ever and the songs are lean and hungry, cut to the quick.
It is no accident that this project is released under the Backwoodz Studioz imprint; the road that leads to this collaboration starts with, of all things, a ShrapKnel demo. Here is how dose explains it:
“I have been inspired by Backwoodz for a while, in many ways, but the most potent being all these distinct pens. September 2023, I had heard a nearly done version of ShrapKnel’s latest record, and something snapped in me. Hearing that perfectly hungry, inspired rapping turned my power back on. For me, being inspired warrants telling those who are inspiring you, so [once I heard Decay] I reached out and sent Fatboi Sharif and dove some kind words about that record. The rest is history.”
At the end of December 2023 dove sent dose the first beat pack. Somewhere around the second week of January 2024 dose already had five songs written and recorded. By the middle of March, a rough album framework was essentially done, and they brought on Minneapolis producer Andrew Broder to freak the turntables across the whole project. Then, as a final piece, dose and dove added select collaborations from some of their favorite rappers. By the end of April it was done.
“I’m not really a features guy, but to align with and connect with those who inspire me, I called in some beautiful humans I had never worked with but always meant to: Open Mike Eagle, M.Sayyid, billy woods, Fatboi Sharif, and Myka 9 connect eras, artists, and styles of unconventional rap I hold incredibly dear,” doseone explains.
Listening to All Portrait, No Chorus you can hear the battery in doseone’s back as he pythons his way through each instrumental. For his part, steel tipped dove—a prolific producer over the last two years—delivers some of the most diverse work of his career. The result is a dynamic, propulsive listen that casts its crackling energy in every direction except backwards.
Pick a small spot (a point) in front of you (a small knot of wood, a dog down the way). And tightly focus on this spot. And now slowly unfocus your gaze. Widen your gaze. Pan out without moving your eyes. Take it all in.
A smeared and pixelated surface, swelling of contour and light. (Monet’s seepages of light, Altman’s overlapping nomadic dialogue.) Once you have unfocused with little to no center of attention, slowly close your eyes. And please feel very free to notice the light. All of the light that your eyes knocked back as you dilated your focal point. This exercise can be repeated a few times. Unfocusing does not always come easily. And it is probably best to not put too much effort into it. Best to not employ too much pressure.
And we will not put too much pressure on this exercise to help us explain away the humidly, saturatedly psychedelic canopy of moan-‘n-twang and slackelastic-groove of The Dwarfs Of East Agouza’s Sasquatch Landslide.
Mitch Hedberg has a great joke about the Sasquatch: “I think Bigfoot is blurry. That’s the problem. It’s not the photographer’s fault. Bigfoot is blurry! And that’s extra scary to me, because there’s a large out-of-focus monster roaming the countryside.”
Sasquatch Landslide. A landslide of hazy configurations. Blurriness, far from a lack of detail, is an embroidering of detail, a horizontal expansion of surface and swarms of light. The name “Sasquatch” derives from the Salish word se'sxac, which means “wild men.” And Sasquatch Landslide is wild. Everything is unravelling. Offset. Décalage. A whole host of slippery tempos and pulses as the organs, guitars and saxophones loiter and lope over a skipping hop of beats, and everything emerges always mid-stream. It is all middle with no halfway point, no dead center, no bullseye. Everything twangs, moans, sweeps, slips, swings, skitters, slides, and grooves out of nowhere. And the almost-human voice with no mother-tongue.
There is something ecstatic (an elatedly miniscule frenzy) going on here but it is pushed beyond the ecstatic: a joyous-grotesque rolling right past trance to dance. Psychedelias appear out of the infra-spaces in between the apparitions and overlapping ‘regimes’ and registers—pushed and squeezed far beyond the recognizable. And these spaces groove joyously hard like some kind of illusive House music, houses completely submerged in molasses. BigFoot-work? (Oh my!) There is not a place to throw your anchor here in the furrowing humidity. That does, and it does, sound like some kind of landslide.
A psychedelic encounter is a brush with the marvel of otherness. The point from which we speak of other, becomes other itself, in an ever-storm of other-production that shreds ideas of knowing and understanding what we think is going on. Time unhinged from the clock. Space unhinged from the frame. An unpinpointing hallucination, a hot get-down, an untethered throw-down of oscillations, fiercely, joyously, exuberantly incomprehensible. Listening to Sasquatch Landslide, a wildly unhinged reverie.
Eric Chenaux and Mariette Cousty
Condat-sur-Ganaveix, February 2025
Jana IRMERT « Portals » Produced entirely from sounds recorded in the Amazon rainforest in Brazil and Colombia, Portals evokes the hidden world of sounds that lie beyond our perception. Whether concealed in ultra-sonic frequency registers or in the depths of the aquatic medium, these sounds bear witness to an unsuspected and teeming animal activity. Insects, frogs, bats and freshwater dolphins move about, hiding from our eyes and ears. Revealing this palette of sounds, in particular through transposition, and placing it back in the realm of the audible, Jana Irmert invites and guides us on a fascinating exploration of an unsuspected, speculative and non-human world of sound, which she exposes and recomposes in a way that is both respectful and personal, accompanying this teeming and fascinating sound material in a musical gesture of great clarity. Portals is an attempt to access the evocative power of an Amazonian forest on the brink of catastrophe, through a decentring of the listening experience delicately composed by Jana Irmert. 7038634357 « Rope » With uncommon mastery and precision, Rope unfolds in a suspended time that seems nonetheless ominous. As its title suggests, Rope explores the formal figure of the rope, as an interweaving of synthetic and natural fibres that hold and amalgamate, held together by the forces of tension and friction. The rope itself, as Neo Gibson explains, is knotted at regular intervals along its entire length, so that you can hang on to it. Rope unfolds slowly, evolving from the threshold of the perceptible towards denser, more ballasted electronic textures, but always on the brink of an upheaval to come. Then a melodic motif appears, seeming to carry within it an impossible consolation. In this respect, Rope balances strikingly between formal elegance, sonic gravity and an emotional charge that is almost uncontainable.
Did You Enjoy Your Time Here…? is the new studio album from Backwoodz Studioz artist PremRock (perhaps best known as ½ of ShrapKnel; the sobering yin to Curly Castro’s furious yang). DYEYTH picks up where Prem’s pensive Backwoodz debut, 2021’s Load Bearing Crow’s Feet, left off; clear-eyed, heartfelt, and unsparingly witty. The album boasts production from Sebb Bash, Blockhead, YUNGMORPHEUS, Child Actor, Controller 7, ELUCID, Small Professor, Jeff Markey, & Fines Double while Prem’s longtime collaborator Willie Green weaves everything together. Lyrically Prem is aided and abetted by some of the world’s best, Pink Siifu, billy woods, Cavalier, Nappy Nina, Illogic, AJ Suede, Mary Esther Carter and of course Castro. Each guest extracts the best out of the mixture and producing fruitful collaborations not merely guest verses. Featuring original artwork inspired by the record from Chicago artist Gabe Karagianis. The best turns of phrase are the ones that provide more than one meaning. Like staring at an abstract painting, words can mean different things to different people. A question or phrase that either elicits an extended existential pondering or simply a shrug. Could be in reference to the entirety of one’s life, spending 90 minutes in an establishment or 5 years in a romantic relationship.The brief exhilarating high of a designer drug, or the automated survey at the end of an online transaction. It is a simple but stealthily loaded question. Well, did you?
Backwoodz Studioz is excited to announce a new album from Kenny Segal and K-the-I??? Genuine Dexterity is the title of this record, but it is also an equally apt description of their artistic skill sets; Kenny’s ability to tailor his production to each project is well established, and K-the-I???’s acrobatic style easily renders dense rhymes weightless. Together they have made an album that pogo sticks over genre conventions to deliver a daring and immersive listening experience. “Genuine Dexterity is an album made in order to display my many facets, whether it be my mood, growth or the adventures that formulate my present-day outlook,” the rapper explains, “Letting everything come naturally to me and to never force the envelope. It’s also about the direction the universe is heading towards whether I like it or not” Rapper/Producer Kiki Ceac, best known by his stage name K-the-I???, was at the forefront of the mid-00’s experimental hip-hop wave that laid the groundwork for much of the alternative rap music that followed. Originally from Cambridge, Massachusetts, Kiki moved to Los Angeles around the same time that fellow East Coast transplant Kenny Segal was beginning to make noise under the Project Blowed umbrella. Despite moving in the same circles for many years, they had never worked together until Genuine Dexterity- which, ironically enough, came about after Kiki moved back to the East Coast. “Sometimes a vocalist will just spark a whole wave of creativity in me, and that’s what happened with Kiki,” Segal says, “last year I sent him two beats to use on a different album and when he sent the songs back it was obvious we had something special and needed to do more” Genuine Dexterity features Armand Hammer, Open Mike Eagle, ShrapKnel, Fatboi Sharif, Self Jupiter, and Jesse the Tree but K-the-I??? is the undisputed ringmaster of this circus. It has been a decade since Kiki’s last album and yet he has returned to the game at the height of his powers. He has always been an unorthodox lyricist and remains so here, but in his time away from the spotlight, his style has grown in many ways. “Maybe I’m calmer nowadays, I don’t feel the need to ALWAYS shout like I used to. My vocabulary has grown, and my flow is more polished,” Kiki writes, before adding that one thing that has not changed is the intricacy of his writing. Meanwhile, Kenny Segal’s customized soundscapes whisk Kiki’s styles to places they haven’t been before, and he never fails to find a pocket in which to ply his craft. Genuine Dexterity, if you will.
2025 has been a big year for Drop Nineteens. They finally officially released their long lost pre-curser to 1992’s Delaware, the demo collection 1991. These releases comprise the band’s early run and as Pitchfork noted in their review of both albums earlier this year, “established Drop Nineteens’ reputation as leading lights of U.S. shoegaze.”
The band follows up the release of the 1991 LP with their first ever 7”, White Dress b/w White Dress (demo). The 7” features the band’s cover of the Lana Del Ray classic in two versions. It comes on the anniversary of the band’s digital release of “White Dress.”
This is an edition of 500 black 7”s and 200 white 7"s and is sure to be a collectable item for fans of shoegaze and Drop Nineteens alike.
Ayalew Mesfin stands aside the likes of Mulatu Astake, Mahmoud Ahmed, Hailu Mergia and Alemayehu Eshete as a legend of 1970s Ethiopia. Mesfin’s music is some of the funkiest to arise from this unconquerable East African nation.
Mesfin’s recording career, captured in nearly two dozen 7” singles and numerous reel-to-reel tapes, shows the strata of the most fertile decade in Ethiopia’s 20th century recording industry, when records were pressed constantly by both independent upstarts and corporate behemoths, even if they were only distributed within the confines of this East African nation.
Though Mesfin was forced underground by the Derg regime that took control of Ethiopia in 1974, he has returned almost 50 years later with this triumphant set albums – the first time that his music has been presented in this form.
These albums give us a chance to discover a rare and beautiful moment in music history, in anthologies built from Mesfin’s uber-rare 7” single releases and from previously unreleased recordings taken from master tapes. Each individual album contains an oversized 11” x 11” 16 page book that tells the story of modern Ethiopian music and Mesfin’s role within it. An OBI wrapped “box set” of all five albums is available at a discounted price. The box set only contains one booklet.
Good Aderegechegn (Blindsided By Love) gives us a chance to discover a rare & beautiful moment in music history, in an anthology built from his uber-rare 7” single releases. Contains an oversized 11” x 11” 16 page book that tells the story of modern Ethiopian music and Mesfin’s role within it.
Soft piano notes kiss trippy electronic tones: “Kossaiko”, the only collaborative record that japanese piano player Saiko Tsukamoto and globally known electronic producer Kuniyuki Takahashi ever produced, is an unmissable profound soft classic music burner.
Together they composed and produced an eight-chapter strong deeply absorbing narrative, whose enthralling story arc dives profound into authentic drama zones, that sound like they jumped right out of a Claude Sautet movie.
Originally released in 2007 as cd only, the perfectly put together longplayer now enters the world for the first time in a vinyl edition that is tragically hip. deeply starry-eyed composi-tions full of minimalistic piano melodies that creep, twist, and dance around unobtrusive electronic notes who never call the tune, but always elevate the spectacle into higher elec-tronic spheres.
In the center of each between five- and nine-minutes long composition is the piano play of Saiko, gently hitting the keys, giving space to each note to vibrate in an endless “Pauline Oli-Veros” way, drifting until the very last sound vanish. around them, Kuniyuki plays his charming electronic tricks, opening the space for tones that sometimes pulsate, sometimes flow the ambient way.
Furthermore, occasionally a guitar notes pop up or accordion melodies cover the sorcery with a severely romantic veil.
Modern classical music, that has no fear of electronic meltdowns, that embraces digital tones while staying organic in its very inner circle.
A wise man once said: when words leave off, music begins. Those who fall for the eight poems of Saikoss will lose their speech and in return get pleased all agitations of their soul.
Lindsay Olsen aka Salami Rose Joe Louis is a genre traveller multi-instrumentalist female producer and a signee to Flying Lotus's Brainfeeder label. She returns with her most personal album to date on April 25th, 2025.
Delightfully raw and heartfelt, ‘Lorings’ is a collection of songs that find SRJL displaying her vulnerability through a playful and sonically explorative lens. “I was hoping to bypass the distillation process of overthinking outside perception,” she says. “Each song feels like a significant section of my personality has been carved out and put on a platter for public consumption, which is a devastating thought [haha].”
This record she made almost entirely autonomously on her trusty Roland MV8800 workstation. For a couple of songs, SRJL invited a handful of exceptionally talented friends to collaborate: guitarist/producer Flanafi (with whom Olsen partnered for the collaborative album ‘Sarah’ in 2024); Omari Jazz (Black Decelerant); Luke Titus and Sergio Machado Plim.
Lead single “Inside” was born of a tumultuous chapter in Olsen’s life – one that she hopes never to repeat. Floating atop gently revolving Polybrute arpeggios, it’s a sombre but incredibly beautiful and powerful song. “My hope, by putting this song first on the record – and making it the first single – is that some of the songs that follow have more levity and hope, leaving this heaviness behind,” she surmises.
Elsewhere on ‘Lorings’, Olsen addresses themes of imposter syndrome, falling in love, heartbreak, the idea of family and parenthood, superficiality, her frustrations with the music industry (“I dunno the way… For I cannot play… The game”). She does revisit more familiar tropes too as exemplified by “Motorway (feat. Flanafi)”. “I feel like the world is being confronted with an enormous lack of humanity at the moment and it feels impossible to comprehend how people can be so cruel,” she declares.
Elaenia is a dazzling score which puts Shepherd in the spotlight as a composer who has produced an album that bridges the gap between his rapturous dance music and formative classical roots that draws upon everything Shepherd has done to date. Growing up in Manchester - he started out as a chorister at an early age - Shepherd eventually arrived in London for university, where he spent the next five years engineering Elaenia, all the while DJing in cities across the globe and working towards his PhD in neuroscience. An album that draws inspiration from classical, jazz, electronic music, soul and even Brazilian popular music, Elaenia - named after the bird of the same name - is the epitome of the forward-thinking Floating Points vision in 2015.
Musically, the mesmerising ebbs and flows of Elaenia span moments of light and dark; rigidity and freedom; elegance and chaos. The lush, euphoric enlightenment of ‘Silhouettes (I, II & III)’ - a three-part composition that acts as a testament to those early days Shepherd spent playing in various ensembles, complete with an immensely tight rhythm section that ends up providing a cathartic, blissful release. Elsewhere, Shepherd’s knack for masterful late night sets bare fruition to the hypnotic, electronic pulse of ‘Argenté’, which leads into final track 'Peroration Six' - a track with one of the biggest tension-and-release moments in music this year.
Shepherd - the ensemblist, the producer and scientist - even built a harmonograph from scratch to create the artwork for Elaenia, the end result created by using it and 2 fibre optic cables of 0.5 and 1.5mm diameters, which were connected to light sources responding to bass drum and white noise percussive sounds from the album track ‘For Marmish’.
Like his contemporaries Caribou and Four Tet, Shepherd has nurtured the Floating Points name into one renowned for ambitious and forward-thinking DJ sets, having performed all over the world at events and clubs such as Output NYC, Trouw, Sonar, Unit in Tokyo, Panorama Bar and, of course, Nuits Sonores (which lent its name to his seminal track from summer 2014) as well as the much missed Plastic People, where he held a residency for five years. Elaenia also features a huge variety of contributors, including drums from Tom Skinner and Leo Taylor plus vocals from Rahel Debebe-Dessalegne, Layla Rutherford and Shepherd himself. Elsewhere there's Susumu Mukai taking up bass, Qian Wu and Edward Benton sporting violins, Matthew Kettle on the viola, Alex Reeve on guitar and Joe Zeitlin on the cello.
