NEW ARRIVALS

Punch formed in 1969 on Long Island, dealing in ferocious, no-frills hard rock. Fronted by Dave Stein with Ray Kusnier (guitar), Tony Giustra (bass) and Pete Tudda (drums), they pushed a loud, stripped-back sound built on wailing guitar lines and snarling vocals. Across a brief three-year run, they shared stages with Illinois Speed Press and Elephant’s Memory, and became fixtures on the New York club circuit, playing The Village Gate, Café Wha? and Ungano’s. Montreal proved especially receptive, where their high-volume sets landed hardest. Using oversized speaker horns to maximise impact, the band generated a wall of sound from just three instruments, favouring power over polish. Though they split in 1972, Punch’s raw, unvarnished approach captures a moment before hard rock’s smoother turn, and still lands with force.

It may be tempting to reduce Convocations into a longform ambient anomaly within Sufjan Stevens’ vast catalogue. It is, however, neither an anomaly nor entirely ambient. This is not a side project. From his numerous dance scores for New York City Ballet to instrumental albums such as Enjoy Your Rabbit, Aporia, and The BQE, Stevens spends at least half his working life making largely instrumental music, as he has for decades. And though the first ten pieces, dubbed “Meditations,” unfurl as gorgeous states of reflective new-age grace, this is by no means an ambient enterprise. Stevens invokes the lessons of Morton Subotnick, Maryanne Amacher, Christian Fennesz, Brian Eno, and Wolfgang Voigt here. As musically erudite as it is emotionally experienced, Convocations can be dissonant, vertiginous, rhythmic, repetitive, urgent, or calm—that is, all the things we undergo when we inevitably live through loss, isolation, and anxiety. Indeed, Convocations moves like a two-and-a-half-hour requiem mass for our present times of difficulty, its 49 tracks allowing for all these feelings to be felt. The album is divided into five sonic cycles, each replicating a different stage of mourning. Convocations occasionally soothes and sometimes hurts; when it’s done, you’re left with a renewed sense of wonder for being here at all. In fact, Stevens made Convocations in response to (and as an homage to) the life and death of his biological father, who died in September last year, two days following the release of The Ascension. It is, then, ultimately an album about loss, and an album that reflects a year in which we have all lost so much. One could easily compare this project to Stevens’ album Carrie & Lowell, which he wrote following his mother’s death. But this is something entirely different. A new time, a new season, a new life lost, a new reckoning, a new kind of isolation, grief, despair, frustration, confusion, and the search for happiness and hope for the future. This is not a personal record, but a universal one. Convocations is built on a shared experience that seeks to be honest about how complicated grief can be in these difficult times—the pain, the anxiety, the unknown, the absolute joy of memory. This is also an album made in lockdown, when we were all cloistered in whatever space we had. So long as the science and statistics hold, Convocations arrives just as we begin to emerge from a year whose losses we will calculate for a lifetime. It is, then, right on time, as we begin to process our grief and try to carry on with it. —Grayson Haver Currin

Duori is an imaginary word. It combines the ideas “dentro” (inside) and “fuori (outside) invoking a place between. Heith and Tarawangsawelas met in Bandung in 2017, since then their collaboration has been evolving, both in person and remotely. The result is ‘Duori’ an album of 5th world music in low data mode that travelled inside lost and found portable recorders, on defunct hard drives and expired e-sim cards. Recording and arranging songs over a long period of time and across a vast geographical distance has lent their practice a distinct character. This distance allows the possibility to see things from different perspectives and creates music that hovers both inside the Sundanese Land, and outside of it, both on the European continent and not. This record carries compositions from one side of the globe to the other, catching spirits and energies from different places, societies and rituals. Their first sketches were influenced while witnessing the Reak ceremonies in Bandung and they were recorded at Tesla Manaf (Kuntari) studio in Bandung. They found inspiration on nights spent at the jaipong clubs, smoking cigarettes and talking about ghosts. The songs then developed while on tours around Europe, playing separately and together. Their song titles are in Indonesian, Italian and English, underling the linguistic shapeshifting of the project, and showing how any linguistic barrier was surpassed by a strong spiritual connection between them as artists. This record is also the story of a friendship, a spiritual bond that goes beyond the differences in their backgrounds and practices. A bond that redefines geographies and creates new psycho-geographies.

Rave At Your Fictional Borders is not beyond borders. The band simply denies any notion thereof. Driven by a sense of community, it defines human existence as one bio-organism with planet Earth. Now comprising members Dave De Rose, Marius Mathiszik, and Salim Akki, this incarnation of Rave At Your Fictional Borders first released the 'Entanglement' and 'Utopia' tracks in March 2025. Analogue Nomadism is the project's first album release. Recorded in Morocco and then co-produced and mixed by Dan Nicholls, it is an album of dizzying, trance-inducing scope. Rave music stripped of all external signifiers. Repetition, noise, krautrock, avant-garde sensibilities. This is a search for a groove that both connects and interlocks. The soul of improvisation and exploration runs through all seven pieces on Analogue Nomadism. Genres are referenced and transcended. The open-ended is perpetually embraced. It is neither night nor day, but there is a half-light all the time. What used to be disconcerting is now not alien anymore. The sky boasts a faint light. Certain shapes are laid out, but get changed through communal ritual. Analogue Nomadism is the music of a feeling of community. It builds and breaks down. It is accepting of the psychedelic standards of the groove. Transportative and vertiginous. Endless.

Grace & Raffaella is the first collaborative release by ML and Vittoria Totale. Over nine tracks, the album strikes a deceptively minimalist tone, taking in a ton of musical as well as literary references. An elegy on a journey back to the present, with all the hushed intensity of an informed fever dream, Grace & Raffaella has a magic-realist feel. Its vocal parts serve as loopy self-fulfilling prophecies. Cut off from the sun, the gorge grows darker. Using an electroacoustic sense of spacing, as well as abstracted current-day club influences, with scraps of background noise fading in and out, this album's use and treatment of a snippet-like narrative is its core aesthetic. A digital gleam drenches the spoken bits into instances of subtle surrealism. Like a kitchen sink drama stripped of all deadweight. We are on the edge of relinquishing all control here. Rip up your diary and let go of the language of the old ones. Grace & Raffaella is a seductive slice of modern hyper-pop that defines its own intentions over and over again.

Another pair of Ricardo Villalobos mixes of Building Instrument (Mari Kvien Brunvoll’s Band) via Villalobos' own Sei Es Drum imprint."If it is nice, collaborate twice. Once again a track from the Building Instrument gets the Ricardo Villalobos treatment.It's all about the frequencies."

All My People (self-released on 1 March 2019 and distributed by Rush Hour)

Street Druid merges acoustic, manipulated and electronic sound using saxophone, synth, voice, guitars & drum machine, and features drum kit from Mercury-nominated artist, Moses Boyd.

It features artwork by Byzantia Harlow. It is at once tender, psychedelic and fierce. It is not interested in genre or category. It lasts just under 45 minutes.

A prelude for the future, hands join to cast a peace spell. Consciousness is vast water seeking divine essence and meaning where colours merge and refract. The street druid walks through the night, a benevolence in the darkness, guiding you home. Immersed in noise, life can feel empty, like hollow vessels, a sentient interlude. At times we are found in Gaia's rhythm, kinetic and rebuilt, transcending through the impact of sound on the body. Every moment is a new change, a new challenge, a new life, we must ride the wave if we are not to be caught adrift or drown. Trying to keep hope intact, we must not retreat into fear, recognise we all live here in Longville and stop the fire before it engulfs us all.

THE FIRST-EVER VINYL RELEASE OF BRION GYSIN’S CULT RECORDINGS, PRODUCED IN THE 1980S AND EARLY 1990S BY RAMUNTCHO MATTA. A HYPNOTIC, GROOVE-DRIVEN BLEND OF FUNKY AFROBEAT, AMBIENT AND MINIMALISM, DREAMACHINE CHANNELS THE VISIONARY EFFECTS OF GYSIN’S ICONIC LIGHT ART DEVICE. A HUGELY INFLUENTIAL FIGURE, GYSIN WILL BE THE SUBJECT OF A MAJOR PARIS MUSEUM OF MODERN ART EXHIBITION OPENING SPRING 2026. ​ ​Wewantsounds is delighted to release for the 1st time on vinyl Brion Gysin’s cult recordings, produced by Ramuntcho Matta in the 80s and early 90s. The release features the hypnotic 32-minute journey "Dreamachine," which transforms the effects of Gysin’s legendary light art device into a hypnotic audio experience infused with minimalist and Afrobeat elements, alongside the track "The Door," featuring the visionary saxophonist Steve Lacy. A towering figure in avant-garde art, literature, and sound, Gysin influenced generations of creators, from William Burroughs to David Bowie and Laurie Anderson. Newly remastered and accompanied by liner notes by Gysin scholar Jason Weiss, this LP edition coincides with a major exhibition dedicated to Gysin at the Museum of Modern Art in Paris, opening Spring 2026, underscoring his lasting impact on contemporary culture. ​ Wewantsounds continues its exploration of the archives of French producer and musician Ramuntcho Matta with the first-ever vinyl release of these cult recordings by Brion Gysin, one of the most radical and influential figures of 20th-century counterculture. A pioneering artist whose work spanned literature, sound, performance, and visual art, Gysin remains inseparable from the Beat movement and his long-time friend William Burroughs. Born in England and raised in Edmonton, Canada, he lived in Paris in the ‘30s, New York in the ‘40s, Tangier in the ‘50s—where Paul Bowles introduced him to the Master Musicians of Jajouka—and returned to Paris by the end of that decade, becoming a central figure among writers and artists experimenting with new forms of expression. His cut-up technique, permutation poetry, and cross-disciplinary approach influenced generations of creators including David Bowie, Laurie Anderson, Genesis P. Orridge, and Burroughs himself. ​ Produced by Ramuntcho Matta in the 1980s and early 1990s, the recordings on Dreamachine reflect Brion Gysin’s fascination with altered perception. Matta had returned to Paris after a late-1970s stay in New York following the death of his brother, Gordon Matta-Clark, and had already produced Gysin’s album Junk and the single Kick featuring Don Cherry. At the center is the title track "Dreamachine" a hypnotic 32-minute piece built on minimalist repetition, echoing the stroboscopic effects of Gysin’s iconic light sculpture. Slowly evolving grooves create a trance-like state, drawing on Afrobeat in the lineage of Fela Kuti and the laid-back, cyclical guitar patterns of King Sunny Adé’s juju music. As Jason Weiss notes, “the strands of Gysin’s narrative phase in and out of focus, suggesting that experience and memory can always be revisited through new connecting threads.” Conceived as a sonic extension of the eponymous visual device, invented by Gysin with Ian Sommerville, Dreamachine reshapes the listener’s sense of time and perception. The record also includes The Door, a striking collaboration featuring the legendary saxophonist Steve Lacy, adding further depth to the avant-garde jazz elements of Gysin’s world. ​ This vinyl features remastered audio and an insert with a striking photo of Gysin and Burroughs in front of the Dreamachine, shot by French photographer François Lagarde, alongside liner notes by Weiss situating the recordings in historical and artistic context. Issued alongside a major exhibition dedicated to Gysin at the Museum of Modern Art in Paris, opening Spring 2026, this release is both a vital archival document and a timely reappraisal of an artist whose influence continues to resonate across contemporary music and art.

RYUICHI SAKAMOTO'S ULTRA RARE FIRST ALBUM UNDER HIS NAME - RECORDED WITH RENOWNED PERCUSSIONIST TOSHI TSUCHITORI FOR ALM RECORDS - REISSUED FOR THE FIRST TIME ON VINYL WITH AUDIO REMASTERED BY HEBA KADRY AND LINER NOTES BY ANDY BETA​

​Wewantsounds is delighted to announce the first vinyl reissue of Disappointment–Hateruma, the 1976 ALM Records release by percussionist Toshi Tsuchitori and Ryuichi Sakamoto. The album is notable as Sakamoto’s first recording issued under his own name and represents one of the few occasions he explored fully improvised music during the 1970s. It provides a vital document for understanding Sakamoto’s early development as a composer and performer, capturing a period when he was experimenting with ambient soundscapes and textured improvisation. This edition features original artwork, audio remastered by Heba Kadry and new liner notes by Andy Beta.

Ryuichi Sakamoto is widely recognized as one of the most important artists of his generation. At the time of Disappointment–Hateruma, he was still a student at the Tokyo National University of Fine Arts and Music and active in Shinjuku’s experimental music circles. He was busy contributing to Transonic Magazine, performing with the multimedia group Gakushudan, and working with musicians pushing the boundaries of jazz, free improvisation, and contemporary composition.

on his side, revered Japanese percussionist Toshi Tsuchitori, who had recently returned from New York, brought influences from Milford Graves’ approach to drumming, including African rhythms, ritualized performance, and a holistic approach that combined music, movement, and philosophy. Sakamoto and Tsuchitori had previously played together in Gakushudan, but neither considered those early encounters definitive. As Andy Beta notes in the liner notes, Sakamoto was “trying to break the traditional form of music, to break open the narrow genres of contemporary music,” and this recording captures one of the rare moments when his exploratory piano work met Tsuchitori’s distinct rhythmic language in a studio setting.

The album, originally released in 1976 on producer Yukio Kojima’s influential ALM Records imprint, is structured across four tracks, with the first, "綾 (Aya)," filling the entirety of Side 1, while Side 2 contains three shorter pieces, each exploring different combinations of instruments and sound sources. The recordings employ a wide array of textures, from prepared piano, bells, marimba, and gongs to EMS synthesizer and voice. Together, the tracks create hypnotic, ethereal soundscapes and rich sonic textures that highlight the interplay between Sakamoto’s experimental piano work and Tsuchitori’s percussive expertise.

Remastered by renowned sound engineer Heba Kadry, this new edition highlights the detail, range, and clarity of the original album, making the ultra-rare Disappointment-Hateruma available worldwide for the first time. It stands as a key early document of Sakamoto’s work and situates the recordings within the broader context of his formative years and Tokyo’s mid-1970s cutting-edge music scene.

Free Your Mind And Your Ass Will Follow is the second album from funk innovators Funkadelic, arriving in 1970 mere months after their trailblazing debut. Famously originating from a single LSD-fueled marathon session, the record saw the band honing their songcraft, while still allowing plenty of space for mind-bending exploratory jams. It marked the official introduction of legendary keyboardist Bernie Worrell, and would go on to chart at No. 92 on Billboard's Pop chart. Remastered direct to lathe from original master tapes by Dave Gardner (all analog).

**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.

On Malarial Dream, Alvarius B. drifts out of Cairo with a fevered, mostly instrumental songbook that bends late‑period Sun City Girls melancholy through Middle Eastern modes, psych‑warped folk and the quiet volatility of a hand‑picked Cairo/avant‑jazz ensemble. With Malarial Dream, Alvarius B. - the solo avatar of Alan Bishop - resurfaces from his adopted home of Cairo with a record that feels less like a follow‑up and more like an apparition. Tracked in and around a tangle of other projects over the past several years, it captures Bishop in a different register from his recent, caustic singer‑songwriter outings. Instead of venomous monologues and cracked torch songs, this album drifts closer to the twilight zone of late Sun City Girls - think Mister Lonely and Funeral Mariachi - where melody, atmosphere and a kind of exhausted tenderness slip in through the back door. The “malarial” in the title is apt: the music moves in waves of clarity and delirium, heat‑blurred and slightly poisonous, yet weirdly soothing. The setting is a psych‑warped folk landscape steeped in Middle Eastern modes and the broader “beyond” that Bishop has been chasing for decades. Mostly instrumental, the record leans on winding themes and small, memorable motifs rather than song‑form in the strict sense. Two obscure covers surface like half‑remembered radio ghosts, but the bulk of the material is original, written to take advantage of a remarkable cast of players orbiting Cairo’s experimental and jazz scenes. You can hear the city in the details: stray percussion patterns that feel like they escaped from a street procession, microtonal inflections in string lines, the way drones and harmonies seem to curl around each other like incense smoke in a too‑hot room. Bishop’s guitar and compositional voice sit at the centre, but Malarial Dream is very much a collaged ensemble record. Adham Zidan, Aya Hemeda, Cherif El Masri and Morgan Mikkelsen - all associated in one way or another with The Invisible Hands - bring a lived‑in flexibility, able to shift from skeletal folk frameworks to denser, almost prog‑like passages without losing the thread. Maurice Louca and Sam Shalabi, known for their work with The Dwarfs of East Agouza, help tilt the arrangements toward trance and destabilisation: keyboards, electronics and guitar colour smear the edges of otherwise simple progressions, turning them into slowly rotating mobiles of sound. Elsewhere, contributions from Amélie Legrand, Asher Gamedze, Eyvind Kang, Hana Al Bayaty, Huda Asfour and Sammy Sayed add strings, reeds and rhythmic detail, widening the palette until it feels less like a band and more like a small, shifting orchestra. The mood throughout is nocturnal, more candlelit than sun‑blasted. Pieces often start with a bare figure - a fingerpicked pattern, a muttered line on oud or guitar, a skeletal rhythm - then accumulate detail: a bowed counter‑melody here, a percussion flourish there, faint electronics seeping up from the floorboards. The psych element is less about fuzz and freak‑outs than about subtle warping: pitches bend just off centre, tempos waver like someone breathing through a fever, harmonies resolve in slightly unexpected places. At times the music settles into a kind of desert‑chamber minimalism; at others, it hints at film score, as if these were cues for a movie that flickers in and out of existence while you listen. Produced by Alvarius B. with Adham Zidan, Malarial Dream carries the handmade, one‑off aura that has always surrounded Bishop’s work, but it doesn’t feel minor or throwaway. Instead, it reads like a sideways summation of where he’s arrived after fifteen years in Cairo: a space where the ghosts of Sun City Girls, Arabic song, free improvisation and private‑press folk records all converse at low volume. For longtime followers, the album offers the pleasure of recognising familiar impulses - the bittersweet melodies, the taste for the obscure, the dark humour lurking at the edges - in a new, humid environment. For newcomers, it’s a gently disorienting entry point: a fever dream you step into halfway through, and leave unsure of exactly what happened, only that you want to go back in.

The 2004 masterpiece of the dream project Rhythm & Sound by Mark Ernestus and Moritz von Oswald, who summoned legendary reggae singers to the present age. A compilation of 10-inch singles of the version. Berlin's deepest meditative dub masterpiece with bottomless and deeply reverberating inorganic tracks. A classic album with so deep content that it still doesn't fade at all.

Hindi film’s greatest soundtrackers meld cool, swinging jazz and ancient raga tradition in this 1968 wonder, reissued on vinyl for the first time in 2017. ‘Raga Jazz Style’ speaks brilliantly to a transcontinental fusion of styles seeded in the US with John & Alice Coltrane’s visionary efforts, and here adapted back to source in the subcontinent. By this point the Shankar Jaikashan duo had practically achieved their zenith as go-to composers for Hindi film scores, and as competition started coming from likes of R.D. Burman, they would prove their versatility in melding Afro-American jazz with millennia-old raga forms, resulting this vibrant suite that nails both styles, sometimes on their own, and sometimes combined with sitar. It’s rare pleasure to hear them dance between the two, only a few years before Jaikashan passed away, leaving Shanka to continue solo under the Shankar-Jaikashan handle, and a richly inspirational legacy.

Delphine Dora, the prolific French composer and multi-instrumentalist, graces Marionette with a suite of keyboard instrumentals that evoke futurism and the transcendental. Based in France and actively releasing music since the 00’s, Delphine’s remarkable solo and collaborative projects loosely connect the dots scattered across modern classical, folk, ambient, and poetic writing - always seeking new ambitions in terms of her sound. Leaving behind the chaos of city life for the quiet solitude of a small village in the French countryside, Delphine finds herself fully immersed in the present moment and committed to her multi-disciplinary creative practices, savoring the experiences of deep listening in nature and her environment. Drawing from an academic background in Outsider Art and Art Brut, Dora yearns to express intimate inner dialogues, revealing the beauty of vulnerability through transportive musical passages to the mystical and sublime. L’inéluctable pulsation du temps was composed in 2018, at a time when Delphine’s life was becoming increasingly busy, marked by relentless touring and concerts unfolding in rapid succession across different places. Written in parallel with L’Inattingible, her most ambitious album, it stands as its instrumental counterpart. The recordings reflect a period of exploration and assimilation of the Nord Electro, an instrument that opened up vast sonic possibilities, particularly for the development of rich polyphonies inspired by repetitive music. The track titles draw inspiration from an essay by Hartmut Rosa on the notions of acceleration and alienation - a reflection that resonates strongly with the pre-covid era right before the quarantine. The album reveals Delphine’s most colorful and rhythmic side, an aural mille-feuille, in total contrast with her previous melancholic vocal works. On L’inéluctable pulsation du temps, Dora sustains atmospheric drone miniatures that form the foundation for flowing, cyclical arpeggios, spiraling into a liminal dream space where the repetitive phrasing of melodies rewards introspective listening. The compositions move through (dis)enchanted landscapes, taking unexpected turns into more haunted terrain, their contours further blurred by Dora’s intuitive articulation and sense of refinement. By mirroring both the acceleration of time and the experience of alienation, Delphine conjures up timeless sonic meditations, rendering the inevitable pulsation of time as something at once mesmerizing and unsettling.

Strut proudly presents the first-ever reissue of a landmark 1974 Ghanaian highlife classic Sikyi Highlife by Dr K. Gyasi & His Noble Kings, originally released on Essiebons. A defining recording of the era, Sikyi Highlife bridges tradition and innovation at a pivotal moment in Ghanaian music. Deeply rooted in the classic 1950s–’60s highlife sound, K. Gyasi drew inspiration from the ancient sikyi drum-dance of the Akan people of southern Ghana, shaping the album’s rhythms around its distinctive pulse. The vocal arrangements echo the traditional Akan modal style, grounding the music firmly in Ghana’s cultural heritage. Yet Sikyi Highlife is equally forward-thinking. As electric guitars became standard in highlife during the 1960s, the 1970s ushered in further experimentation. The Noble Kings broke new ground as the first highlife guitar band to incorporate keyboards and a full horn section into their sound, expanding the genre’s sonic possibilities while retaining its rootsy spirit. Gyasi’s approach was part of a broader indigenisation movement among Ghana’s electric highlife bands in the post-independence era. Inspired by the nation’s ‘African Personality’ ethos and reinforced by Afrocentric messages arriving from American soul and funk, artists began reclaiming traditional forms within modern arrangements. Contemporaries included Koo Nimo, who revived the older palmwine style, and drummer Nii Ashitey, whose Wulomei band pioneered a folklorised Ga highlife sound from 1973. Like many musicians of his generation, Gyasi was a passionate supporter of Ghana’s independence movement. In 1963, he travelled as a musical ambassador alongside Ghana’s first president, Kwame Nkrumah, performing across North Africa and the USSR and carrying Ghanaian culture onto the world stage. The Noble Kings’ mid-’70s line-up featured some of the country’s finest musicians, including guitarist Eric Agyeman (who led the band at the time), Thomas Frimpong on drums and vocals, Ernest Honny on organ, and bassist Ralph Karikari - who was renowned for his innovative technique of translating the rhythms and tonal language of the traditional talking drum onto electric bass. Upon its original release, Sikyi Highlife became one of the biggest-selling albums of the 1970s for Essiebons, earning Gyasi the affectionate honorary title of “Dr” from his devoted fans. Today, the album remains an evergreen classic, still cherished across Ghana and beyond.

Following two 12-inch singles released via the self-run label Plastic & Sounds, which launched unexpectedly this past July, the culmination of their work to date—the album Silent Way, comprising ten tracks—will be released on 27th March as a coloured vinyl 2LP (gatefold sleeve/33RPM/limited press) and digitally.Mastering and record cutting by Rashad Becker in Berlin. The artwork centres on photographer Yusuke Yamatani's work, with Satoshi Suzuki—who handles all P&S releases—constructing the overall aesthetic.Last October, they appeared on Resident Advisor's popular series “RA Podcast”, with audio from their world premiere live performance in April 2023 released. They held the “Plastic & Sounds” label launch party at Shibuya WWW. In January 2026, they performed a live set of their acclaimed album “Haet” at the venue's New Year's party.This release comes amidst growing international acclaim, with their previous album ‘Discipline’ featured in Pitchfork's ‘The 30 Best Electronic Albums of 2025’, and one of their signature tracks, ‘Butterfly Effect’, selected for RA (Resident Advisor)'s ‘The Best Electronic Tracks of 2000-25’.

The first album ever to release on Jahtari vinyl, back in circulation for the first time since it’s original release in 2009! Twelve meticulously crafted lofi Dub oddities by disrupt, off-the-grid hiphop riddims with lots of SciFi samples, cheap synths and effects from another world, all soaked in gnarly but deeply cosmic textures and with expert low end mastering by peak time CGB1 at D&M in Berlin. This new vinyl LP version includes all-time classics like “SEGA Beats”, a killer chiphop dub cut of Misora Hibari’s “Ringo Oiwake”, as well as “Berzerk Dub” and “Echobombing” (the instrumental to Kiki Hitomi‘s “Nighwalkers“), which only have been released on CD or limited 7″ before. “The Bass Has Left The Building” comes with iconic cover art by Jimmy Cauty (KLF) – and an inlay poster with an exploding sound system…

Pharoah Sanders' Impulse! swan-song is one of the most transcendent jazz recordings of all time, a plugged-in, high-minded evocation that shares musical DNA with Alice Coltrane's masterpiece 'Journey in Satchidananda' - this new "Verve Vault" edition has been remastered from the original analog tapes and sounds insane. Best known for his early records like 'Tauhid' and 'Karma', spiritual jazz milestones that showed Sanders' continuity from his time working alongside John Coltrane, Sanders kept on innovating until his death in 2022. But the period that fascinates us the most is in the early '70s, when he integrated African, Latin and Native American sounds on the startling 'Black Unity', recorded 'Journey in Satchidananda' with Alice Coltrane and closed out his epic Impulse! run with 'Elevation'. And it's this (mostly) live recording, captured in two blistering sessions at the Ash Grove in Los Angeles and fleshed out with the sedate, palate cleansing studio jam 'Greeting to Saud', that seems to broadcast the unstoppable energy of this period best. The title track alone, a side-long mantra that fills out the field with clouds of percussion from Lawrence Killian, Jimmy Hopps, Michael Carvin, Joe Bonner and Sanders himself. Even Bonner's jabs on the piano feel like percussive notes and aside from those sounds (and Calvin Hill's rhythmic bass twangs), it's left to Sanders to do the heavy lifting with his lyrical performance, slurring in fluttered post-bop cadences before overblowing over the explosive, double-time crescendo that eventually dissolves into a choir of bells and chimes. And that's not nearly the best thing here, either. 'Elevation' is essential because it contains the open-hearted, free-flowing masterpiece 'The Gathering', a live staple at the time that brims with energy, from its sing-along vocals to its earworm-y piano hooks.

Vibe Ride is the sixth release of Adam Rudolph's Hu Vibrational project and marks his 60th release as a leader or co-leader.

“With every record, the goal is to explore new creative territory,” explains Rudolph. Vibe Ride continues a deeper exploration of a trance-like groove and a conceptual framework known as Sonic Mandala. This album marks the most complete realization of that idea, partly due to the group's experience touring beforehand. That time on the road helped to refine ideas and strengthen musical chemistry. The recording process unfolded organically—likely due to the long-standing collaboration within ensembles like Go: Organic Orchestra and Moving Pictures, where the musicians have developed a deep familiarity with the shared musical language.

Sonic Mandala refers to a musical approach distinct from traditional linear structures of theme and development. Found in cultures across the globe, it may represent one of the oldest forms of musical expression—predating written history by tens of thousands of years. Today, it is most vividly preserved in the music of the Ituri Forest peoples (Aka, Baka, Ba Benzele, Mbuti), whose sound traditions revolve in cyclical, orbit-like patterns. Vibe Ride seeks to bring that ancient sense of circularity into a contemporary—and perhaps even futuristic—context.

The ensemble of Vibe Ride—Alexis Marcelo, Jerome Harris, Harris Eisenstadt, Neel Murgai, Tim Kieper, and Tripp Dudley—brings exceptional creativity and skill to the project. While grounded in the sonic languages of today, their performance channels an ancient vibrational lineage, connecting with ancestral sound makers who were attuned to the rhythms of the sun, moon, stars, and seasons. Human beings have always been deeply responsive to natural cycles.

Like a mandala, where the circle reveals itself as a spiral—always returning, but never to the exact same point—the Sonic Mandala musical experience spirals through motion. Refined signal patterns emerge through overtone-rich instrumentation. The groove becomes a threshold, shifting the listener from passive observation into active, even transcendent, participation. With open ears and an open mind, the sound spirals inward—toward a primal center—and outward into the cosmos. When this elevated state is shared among participants, it creates what mystics describe as resonance.

Vibe Ride thrives on the distinctive sonic voices of its players, interwoven with care and nuance into the compositions. Hu Vibrational merges elements of world music, electronica, and improvised jazz into something both funky and spiritual, intense and soothing.

Using signature techniques of organic orchestration, layered arrangement, and electronic processing, the compositions are sculpted from percussion, electronics, and ethereal textures. Rhythmic foundations drawn from diverse traditions serve not as endpoints, but as building blocks. As the saying goes, “Orchestration is the key.” In shaping the sound, the aim was to discover fresh ways of balancing structure and sonic color. As Don Cherry once said: “The swing is in the sound.”

The complete studio recordings from The American Analog Set's second chapter. Destroy Destroy Destroy gathers the Texas slow-krauters Know By Heart, Promise Of Love, and Set Free LPs, Everything Ends In Spring EP, and an additional two discs of singles, B-sides, alternates and outtakes. Accompanying 36-page booklet is flooded with photos and handwritten scraps from the band's dreamy post-Y2K era. Punk as fuck, for real.

Released in 1982 on Trumpett, the Colonial Vipers cassette offered an extensive snapshot of the Dutch home-taping scene at its creative peak. One of the earliest compilations of its kind, it brought together a diverse array of underground artists, nearly all contributing exclusive tracks. For this reissue, 13 of these rare pieces have been carefully selected, highlighting the experimental energy that defined the era. Naturally, it features core Trumpett artists Ende Shneafliet, capturing the spirit of the early ‘80s experimentation with their otherworldly minimal synth composition and Doxa Sinistra, blending cold wave and electronics in ways that remain strikingly fresh today. Also present are acts such as Van Kaye & Ignit, Nice Circles and The Actor, whose minimal and infectious tracks epitomize the DIY synth ethos of the period. Additional contributors like Genetic Factor, Det Wiehl, De Fabriek and Muziekkamer offer textured, atmospheric pieces that blur the line between the avant-garde and concrete industrial sound works. For the first time ever on vinyl, this revised edition preserves the energy, eerie atmospheres and mechanical beats that made the original cassette a hidden gem of the European underground. Carefully mastered to ensure every nuance of these pioneering tracks is fully realized, it is a must-have for minimal wave enthusiasts and anyone fascinated by the innovative sounds of the early Dutch post-punk scene.

The sixth installment in Roots Run Deep comes once again from Maui’s own Small Axe of Ruff Neck Posse, with lovers rock favorite “Love Attack”, produced in collaboration with Jahtomic. Originally released digitally in December 2024, the vinyl release includes the version on the B side.