NEW ARRIVALS

Capturing the raw, melodic sounds of 90’s second wave emo - Jejune’s 1997 album Junk is anything but. Blending dual vocals, massive drums, and riffs stacked on riffs, this is the blueprint for indie bands to follow.

The only break-up record you'll ever need to own. With its lofted harmonies, pick-pocket rhythms, and wailing-in-the-2AM-distance ambulance guitar solos, Ida's 1996 sophomore album leaked out of Brooklyn via detachable car stereo CD players and mixtapes from long-distance lovers. Originally issued on the stalwart Simple Machines label, this 30th anniversary deluxe Numero edition of I Know About You adds half a dozen extras, a wealth of photographic evidence - tissues not included.

The Unwound album that ended all Unwound albums. Recorded in a moldering farmhouse basement at the crest of the new century, Leaves Turn Inside You is the no-wave response to Spector’s wall of noise call. Infinite layers of choppy guitar stabs and bridge scrapes, guttural bass thronk, thrift store synths, and monotone chanting wash over suffocating rhythms to deliver the world’s only choral grunge LP. Remastered from the original analog tapes and pressed on heavyweight vinyl for the discerning noise-nik.

The Unwound album that ended all Unwound albums. Recorded in a moldering farmhouse basement at the crest of the new century, Leaves Turn Inside You is the no-wave response to Spector’s wall of noise call. Infinite layers of choppy guitar stabs and bridge scrapes, guttural bass thronk, thrift store synths, and monotone chanting wash over suffocating rhythms to deliver the world’s only choral grunge LP. Remastered from the original analog tapes and pressed on heavyweight vinyl for the discerning noise-nik.

Their soulful funk awareness might have found its grandest stage with their self-titled 1979 “debut” for Mercury, an album that covered the band’s gritty soul with a layer of stifling L.A. gloss, that caused few heads to turn, and that marked the beginning of the end for Father's Children. Years before the coke dust had settled, another album’s worth of material had been tracked, the creative supernova that should have ushered the group into the nation's consciousness years prior. Who's Gonna Save the World is that 1973 explosion, conceived prematurely and then uncovered decades into a lengthy incubation inside producer Robert Hosea Williams’ suburban beltway garage. Unreleased previously, Father’s Children’s true freshman offering is a work genuinely concerned with its own time and place, bringing together comet-hailing funk, sunny group harmonies, fuzz-guitar solos, shimmering keys, bubbling percussion, spiritual prophecy, and dub experiments. Our deluxe LP edition includes the bonus 45 “Linda Movement” b/w “Intellect” and a folio full of promo photos that track the band’s evolution from D.C. doo-woppers to L.A disco denizens.

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.

Wendy Eisenberg has spent the past decade as a fixture of independent music and an artist of inspired multiplicity. As a singer-songwriter, improviser,and virtuoso guitarist, the coordinates of their artistry are ever-shifting, from art-rock to jazz to blistering free improv and eloquent folk. On catalog highlights including 2020’s Auto and the 2024 free-jazz sprawler Viewfinder, they’ve made a signature of ambition. After spending the past five years experimenting in different bands, genres, and creative challenges, and following a period of self-confrontation that they liken to a personal exorcism, Eisenberg has arrived at a milestone. The poetic and formally daring folk songs of Wendy Eisenberg comprise their most certain vision yet.The songs began to take root in 2020 when Eisenberg moved from Western Massachusetts—where they’d lived for a few years after attending Boston’s New England Conservatory—and relocated to Brooklyn. Longing for the pastoral feel of their former home, Eisenberg gravitated towards the warm sounds of country and folk. “The songs are genuinely folk songs,” Eisenberg says of their record. “The production is less about seeing what the guitar might be capable of and more accepting the inherent strangeness of the languages it has spoken for the last century and a half.”On Wendy Eisenberg, the artist creates their own paradigm with a tight-knit circle of longtime friends and collaborators—including bassist Trevor Dunn, drummer Ryan Sawyer, and co-producer Mari Rubio (more eaze), who handled pedal steel, synth, and string arrangements—recording often at Eisenberg’s home and bringing a gorgeous ensemble texture to each note. “I was finally around people who accepted me,” Eisenberg says. “Many of the songs on this record were written in that new feeling. I wanted it to be incredibly comforting as it describes some massive changes in self-understanding and self-regard. It’s about relief.”

Durand Jones & the Indications aren’t looking backwards. Helmed by foil vocalists in Durand Jones and drummer Aaron Frazer, the Indications conjure the dynamism of Jackie Wilson, Curtis Mayfield, AND the Impressions. Even with an aesthetic steeped in the golden, strings-infused dreaminess of early ‘70s soul, the Indications’ sophomore LP, American Love Call, is planted firmly in the present, with the urgency of this moment in time. The Indications’ 2016 self-titled debut was the product of friends who met as students at Indiana University in Bloomington, In., recorded for $452.11, including a case of beer. American Love Call, the band’s sophomore LP is instead the record the Indications dreamed of making, fleshed out with strings, backing vocals, and a newfound confidence in songwriting. Blending a slew of influences from years spent crate-digging, guitarist Blake Rhein says the Indications approach songs in the same way hip-hop producers do, as likely to pull inspiration from ‘70s folk-rock or classic R&B as they are Nas’ Illmatic. “Did I expect to do this shit once I got out of college? Hell no,” Jones relays, laughing. “Totally not. But this is what God is telling me to do – move and groove. So I’m gonna stay in my lane.”

May it please the people of the known universe that the multi-monikered musical ensemble legally trading as Kay-Bee Funk Music Group are releasing what will alphabetically be their first album, ‘Access All Areas’. Created with Karate Boogaloo’s patented ‘Lovely Recording Technique’ these recordings let you know that everyone’s a VIP when you’re listening to KB. ‘Access’ was the one word maxim philosophically guiding The Old Kar-Boo’s this innings. If a tune became convoluted, to the bin it went. Only those that could be hummed by any and all were kept. This sieve was on hand throughout the whole process, arrangements and forms were kept watertight, bells and whistles to a minimum. If 2024’s ‘Hold Your Horses’ was an epic, ‘Access All Areas’ is a haiku. The band’s tried and true recording process was dutifully respected save for one wonderful addition, the magnificent ‘Sound Recordings’ helmed by its proprietor and engineer extraordinaire Alex Bennet. Steering the 4 track Ampex 440 off road when required and making sure the vibes were constantly correct, Alex is a bonafide Booger. Although it feels only a moment, the clock tells us it’s been nearly 20 years since Kay’s Bees first tried to play the songs of their musical heroes, The Meters, Booker T & The MG’s, and The JB’s to name but a few. Since then The Famous Flying Karate Boogaloo Brothers have put one foot in front of the other and distilled their own sound, one that respectfully acknowledges the history of instrumental Funk & Soul music, and reflects the time they’ve spent crafting their distinctive sound. As bright as each member shines individually, it is a special event when all four planets in the Booger System align. ‘Access All Areas’ is one such eclipse, it is an artistic expression of equal measure by each member and it casts a shadow unique to the occasion. Every second of music was composed and produced with all hands on deck, mixing was handled by Henry Jenkins, artwork by Hudson Whitlock and Callum Riley, and Darvid Thor did things you’d have to see to believe. Music is a team sport and there’s no I in Funk. Coming out on the two greatest record labels in the galaxy ‘Colemine Records’ from Loveland, USA, and College of Knowledge from Coburg, Australia, please listen to Karate Boogaloo’s new album ‘Access All Areas’.

Hiding Places is a collaborative album from Brooklyn-based rapper billy woods and Los Angeles beat scene veteran Kenny Segal, set for release by Backwoodz Studioz on March 29, 2019. On its face, it seems an unlikely pairing; woods—who moonlights as ½ of dissonant rap duo Armand Hammer—is a chaotic force, the warped relic of an NY indie-rap wave that never happened. Meanwhile, Segal has been in L.A. for twenty years; from paying dues with Project Blowed to pushing the culture forward with Busdriver and Milo. All the while, his soulful, dreamlike production precariously tethered to earth by the right drums or rumbling bass. But look closer and it makes more sense. After all, Segal lent his production to a couple of songs on Paraffin, Armand Hammer’s critically-acclaimed opus, and the two veterans have more than a few shared collaborators: Open Mike Eagle, ELUCID, and Hemlock Ernst amongst them. Hiding Places finds both artists deep in the labyrinth. Segal’s lush soundscapes have a new edge, woods’ writing is, paradoxically, at its most direct. Hiding Places is a child’s game: funny and cruel, as brutal as a fairy tale. The album features contributions from both artists’ well of collaborators with ELUCID, Self-Jupiter, and MOTHERMARY making appearances.

By popular demand…we had to press these two standouts from Marco Benevento’s new Glera album on 7 inch.The A side “Houdini” is a kick-in-the-door, dancefloor-filler that pushes genre boundaries while showcasing both his playing prowess and production chops. As the title suggests, there’s real magic here. The whistle blows and the game begins - punchy drums pull you in, and when the earworm piano phrase hits, it’s party time. The energy only builds from there, making this a sure shot for DJs around the globe.The B side “Miss Neptune” is a reggae inspired number featuring Elizabeth Steiner on harp. Pure mood music, this one lays you way back. Co-produced by the L.O.T.L.E. himself, Nick Movshon who plays drums and bass while Marco and Elizabeth trade off gorgeous riffs. An absolutely gorgeous tune sure to find an audience in everyone and become a staple in proper Reggae circles.

Sufjan Stevens, Asthmatic Kitty, and Soundsfamilyre announce Sufjan's third full-length album, a collection of songs for his birth-state, MICHIGAN, "The Great Lake State." Composed as a geographical tone poem, MICHIGAN follows a metaphysical expedition through the idiosyncrasies of middle America. Drawing from personal anecdote, regional history, and state heritage, Stevens mixes social and political grievances with songs about snowmobiles, Henry Ford, the Detroit race riots, and love. MICHIGAN's songs resonate with a range of sources-Vince Guaraldi, Terry Riley, and Nick Drake as accompanied by Stereolab and The Sea & Cake-in executing Stevens' peculiar palette that is simultaneously rock and blue-grass, jazz and pop, a style The Village Voice appraises as "Arthur Lee meets the Book of Psalms." In MICHIGAN, Stevens combines intimate, soft-spoken songwriting with the dense compositional complexity displayed on his previous release ENJOY YOUR RABBIT, which XLR8R called "...a transgressive, majestic album conjuring an academic jam session of Stereolab and Luke Vibert conducted by Steve Reich." Guest artists include Elin, Megan, and Daniel Smith (of The Danielson Famile), and John Ringhofer (Half-handed Cloud). Album art features original hand-paintings by Martha Stewart crafts editor Laura Normandin. MICHIGAN is the inaugural entry of THE 50 STATES, a cumulative recording project by Sufjan Stevens unparalleled in its panoramic enterprise: a record for each state! You think he's kidding, don't you? Now available from Asthmatic Kitty and Soundsfamilyre. Distributed by Secretly Canadian: release date: July 1, 2003 (which happened to be Sufjan's birthday).

Ancient Lights’ is the debut album from Uniting of Opposites, the new musical venture from Tim Liken, Clem Alford and Ben Hazleton, bringing to life a melting pot of cultures and inspiration; using new technology as an opportunity to explore and merge aspects of jazz, electronica and traditional Indian musical styles. The band was established when, within the myriad forms of jazz, Hazleton met Alford and begun studying the classical Indian tradition in order to “open [his] ears to new melodic and rhythmic possibilities”. As a lover of all types and styles of music, Liken’s involvement fused together their collective musical journeys, creating Uniting of Opposites. Named after the ‘Ancient Lights’ English property law, that gives home owners the right to receive natural light, the LP brings together creative musical forces, colliding to continuously redefine the music itself and express a fluidity that’s found at the heart of Uniting of Opposites’ ethos.

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.

The two have built a creative relationship over the last 15 years, connecting through an ongoing exchange of music and ideas. ‘Answers’ sees this dialogue develop into a fully collaborative body of work both sonically and visually, rooted in the idea of looking back as a means to move forward.

Hot on the heels of ‘Mordechai’, the critically acclaimed third album from US psych-rockers Khruangbin, the Texas trio are set to become the latest act to present their own LateNightTales in the popular, long-running musician-curated album series.Having first come to prominence in 2013 when producer and D.J. Bonobo included Khruangbin’s ‘A Calf Born in Winter’ in his own collection of songs for the series, the little known Houston trio had yet to release an album, but have since gone on to become international superstars forming their own exotic, individual sound. “The LateNightTales series is such a special thing to be a part of because we wouldn’t have made it if it wasn’t for Bonobo’s LateNightTales, because that’s how we got into the LNT family – and got a break.”With a mind-blowing selection of tracks that cross borders and cultures, Khruangbin’s deep love of global grooves – from Asian pop to Nigerian reggae – Japanese mellow groove to Latina flavas – are steeped in eclecticism; Nazia Hassan’s Hindi-disco ‘Khushi’, produced by British-Indian legend Biddu, South Korean rock band Sanullim who contribute ‘Don’t Go’, a pair of African bangers from Nigerian Maxwell Udoh and Roha Band, from Ethiopia; a diversion to Belarus for Песняры and thence to Madrid for the strident vocal performance of Paloma San Basilio with ‘Contigo’ before hightailing back to Texas.Elsewhere, the Lone Star state reps proudly, with David Marez and Kelly Doyle plus, in the LateNightTales tradition, the band deliver an exclusive, horizontally brilliant version of Kool & The Gang’s ‘Summer Madness’, while the mix concludes with a spoken word piece by Tierney Malone, accompanied by fellow Houstonian Geoffrey Muller’s atmospheric banjo rendering of Erik Satie’s ‘Gnossienne’.“It’s cool to think about what you would listen to late at night, as a band together, lighting a spliff, kinda vibe. We definitely wanted to cover as much global territory as possible; so it was the globe and then home. We wanted to show the treasures from our hometown, or people from our hometown that the rest of the world probably doesn’t know. That’s what makes Khruangbin Khruangbin. The stubbornness about being so hometown-centric but what makes Houston is this this constant international influence. That’s that gulf stream, bringing it right into Houston. So I guess that’s kind of the theme.”The LateNightTales series was established back in 2001 with Fila Brazilia taking to the controls and mixing up the first of what would continue to be the first choice of music connoisseurs worldwide. Since then, the series has seen releases from the likes of The Flaming Lips, Hot Chip, Floating Points, David Holmes, Bonobo, Jon Hopkins, Röyksopp and many more.

Released in 2001, *Drawn From Life* is a rare ambient instrumental project by Brian Eno and J. Peter Schwalm.

Better late than never, we’re incredibly excited to finally announce a very special upcoming release on our label. One of the most rewarding aspects of music is its ability to create meaningful connections across borders and cultures. Through that shared language, we connected with rush2theUnknown, a Japan- and New Zealand-based duo with roots in the foundation New Zealand jungle / drum & bass scene, and it’s a true privilege to now be releasing their music. Ancient / Future is a journey through time, influence, and emotion. Drawing from the duo’s diverse musical backgrounds and inspirations, the EP bridges ancient echoes with futuristic sound design, balancing antediluvian nostalgia and far-future energy in equal measure.

Morgan Buckley and Ben Donohoe present SWORX, a dense and disorientating collision of paranoid electronics, fractured polyrhythms and dystopian ‘crowdrock’. Released via Wah Wah Wino, the record plays like a corrupted transmission from a near-future network overseen by the mysterious titular modem ‘Sworx’, endlessly sorting coded signals into hidden archives. Blending IDM textures, restless percussion and warped digital atmospheres, the duo construct a world where surveillance, malfunction and synthetic consciousness blur together. Equal parts hypnotic and unnerving, SWORX feels beamed in from a damaged post-fibre-optic reality where even your dreams are under observation.

For Takuro Okada, this marks his first physical release since *Konoma*, which received high praise from media outlets and listeners both in Japan and abroad. This work was created for the campaign promoting the new “MT2” footwear line designed by TOKYO DESIGN STUDIO New Balance. The campaign video is available on New Balance T-HOUSE’s owned media platform. 　Side A, “Still Water,” features Shouei Ikeda (flute) and is composed of a minimalist ensemble that strips the arrangement down to the bare essentials while incorporating elements of folk and Afro-music. Recorded based on improvised performances and captured on analog tape, the track evokes the subtle fluctuations of sound and rich spaces reminiscent of a still water’s surface. 　Side B, “Dohman Sehman,” takes the mood of vintage funk as its starting point while weaving in a melodic sensibility and folkloric resonance reminiscent of Japanese folk songs and kayōkyoku. Featuring up-and-coming musicians such as Kei Matsumaru (alto sax), Mei Katsumaru (tenor sax), Yuma Koda (Wurlitzer / Farfisa), Yuka Konishi (bass), and Hayate Ebihara (drums), this track is marked by a powerful groove created by a spatial mix reminiscent of dub techniques and a robust rhythm section. 　With “Still Water,” which is imbued with serene stillness, and “Dohman Sehman,” which contains a powerful groove, these two contrasting tracks showcase the breadth of Takuro Okada’s creative evolution since *Konoma*.

Guest Bartender Deborah Toyota is the collaborative project of Julia Shapiro and Samur Khouja, two artists whose long-running creative dialogue shaped 'Music for Babies', an instrumental record built on tenderness, experimentation, and restraint. The band name was inspired by a poster for an event in Hydra, Greece featuring “guest bartender Maria Nissan.” The idea of a guest bartender sparked an inside joke between the artists, eventually inspiring a project name that reflects the spirit of the music: odd, playful and not too self-serious. The album grew out of a shared curiosity: what would it sound like to make something genuinely new, for the very beginning of listening? Designed so that it could be a baby’s first encounter with sound, the album inhabits a space that is both nascent and cutting-edge. It treats infancy not as a novelty, but as a conceptual constraint: one that deserves care and curiosity. The result is music that functions simultaneously as lullaby, ambient composition, and quiet experimentation. Both artists arrive at Guest Bartender Deborah Toyota with distinct but complementary histories. Shapiro is known for her work in Chastity Belt, where understatement and melodic clarity often mask emotional weight. Khouja’s projects—including Conscious Summary and his production work with artists such as Cate Le Bon—lean toward textural precision and left-field pop architecture. Music for Babies is not a departure from those paths, but a parallel one—quieter, slower, and deliberately unguarded. If those other projects speak outward, 'Music for Babies' listens inward. It is the sound of two people choosing tenderness as a method, and experimentation as an act of care. A record made not to impress, but to accompany—to exist in the background of early life, shaping a listener before language, before memory, before expectation.

Embroidered white on washed black emo ambient dad hat.