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Dublin-born, thirty years an immigrant. That's the spine of henry o henry's debut, Apocrypha, not as a concept but as a condition. "Ireland is the DNA of the thing," he says, "the thing before every other thing." He's spent three decades in the United States working in the trades, absorbing the country's mythologies, imagining Whitman's American spirit, and building what he calls "an idiosyncratic American language" out of it all. He is, by his own account, "formally and informally not a musician." A childhood nylon-string guitar, a few chords learned, and not much else until 2019, when his brother handed him a $6 charity-shop guitar with a repaired headstock and low strings that distorted unpredictably. All but two of the songs on Apocrypha were written on it. It doesn't appear on the record. The songs came with a kind of finality. "I wrote them for myself," he says, "and was certain every song was the last one." It was filmmaker Rick Alverson, a longtime friend who produced the sessions, who convinced him they could stand together as something. They do. The musicians Eamon O'Leary and Ned Steves, father and son, play most of the album, recording together for the first time, without rehearsal. Their instinct is at once precise and open, parts that feel discovered rather than placed, deepening the harmonic language without disturbing the clarity of the songs. The sessions were engineered by Peter Townsend, the longtime Will Oldham collaborator who drummed on Bonnie "Prince" Billy's I See a Darkness. Erik Hall mixed and contributed overdubs; Emilie Rex of Lean Year lends luminous harmonies to three songs; poet Callie Garnett appears on another. The arrangements grew in the room, the lyrics and melodies arriving intact, the music unfolding around them. Throughout, Alverson guided the tonal atmosphere and arrangements, shaping the space the songs inhabit as much as the performances themselves. The title does what o henry likes: it's slippery. Apocrypha suggests disputed texts, hidden books, stories that may or may not be true. "It suggests I might not be telling the truth," he says, "but also, some say, the Apocrypha were kept out of the Bible because they were too good." Across nine songs, with a sensibility that sits alongside John Cale, Nick Drake, and Leonard Cohen, o henry moves through time and place with a writer's quiet authority. "Spanish Girl" revisits his early-90s East Village years, an "operetta of agonies and enchantments." "Parade" is what it feels like when a place won't release you; "Driveway" is when the place is all that's left. Album standout "There" captures something harder to name: how powerful feelings drive you to the page, and how the thing you make can outlast the feelings that made it. "It feels like a triumph over something," he says, "even if you're a bit embarrassed by some of the sentiment." Apocrypha arrives as a debut but carries the patience of a life lived in full, shaped by Tarkovsky and Bolaño, by Frank O'Hara and a $6 guitar, by the specific weight of being somewhere for a long time without quite being from there.
AGON is the directorial debut of Giulio Bertelli. It follows a triptych of female athletes as they prepare and then compete in LUDOJ 2024, a fictional Olympic Games, in their personal disciplines - judo, fencing, and rifle shooting. Informed by the historical figures of Cleopatra, Joan of Arc and Nadezhda Durova, these women are portrayed against the political, social, technological and physical contexts that dominate the highest level of sports competition and performance. AGON explores a contemporary account of the contradictions of these sports, which began as peacetime practices for war, as their disciplines are institutionally sanitised, recast as wholesome global entertainment, and ultimately dematerialised altogether in new digital arenas. The events at LUDOJ are conducted not in sports arenas but on soundstages, with no live audience. These spartan spaces are populated only by athletes, sports officials, and film crew, capturing every audio-visual layer of information. Within this environment, every mat crash, sword clash and gunshot is experienced in exacting detail. Tom Wheatley’s score began as a conceptual mirror to this. He took three musicians, each with a singular approach to their instrument, each instrument having a language of articulation that relates to each sport: percussion for judo, cello for fencing, saxophone for rifle shooting. Added to this were claustrophobic analogue electronics, and bagpipes, to represent a state beyond competition: war. The rich, detailed signals from these players underwent extreme processing live in the studio, at times moving the music into a grey area between score, sound design and foley. “I saw a material parallel between the sportsperson and the musician. That you have these tools which you carry through life, which hold complex histories of use. These techniques and traditions are studied, and combined with contemporary technologies to unlock new potentials. As Alex Sokolov is to her gun, Jean-Luc Guionnet is to his saxophone. From this model sprung many ideas, which lay the foundation for the score: applying the gestural language of the fencing epee to Ute’s bow; the ‘tuned air’ of both the rifle and the saxophone; taking the judo concept of barycentre and applying that to a form of rhythmic gravity with Seijiro. It was a rich seam” – Tom Wheatley “Where realism and fiction are blurred in the world of AGON, Tom accomplished the same for the score, obfuscating the boundary between the acoustic landscape of the film and the music, respecting the theoretical framework of the film itself.” – Giulio Bertelli AGON premiered at Venice Film Festival 2025, was awarded the Luciano Sovena Award for Best Independent Production, and the FIPRESCI Award (International Federation of Film Critics). It is a MUBI/Match Factory production.
The Weather Channel is the new instrumental album from Bad Brains bassist Darryl Jenifer. It follows his 2010 solo debut, In Search of Black Judas. The record features a venerable lineup of heavy-hitters from the jazz world, including the likes of John Medeski, Ben Perowsky, Jack DeJohnette, and Karl Berger, among others. The tracklist includes nine new compositions, as well as new interpretations of two Bad Brains classics.
Savage first-wave screamo from San Diego’s white belt progenitors. Collected for the first time on this 39-minute LP are Antioch Arrow’s complete Gravity recordings, including In Love With Jetts LP (+ a pair of previously unissued outtakes), The Lady Is A Cat 12”, Candle split, and two live Che Cafe tracks captured at the quintet’s spazzy peak. 23 tracks remastered from corroded DATs and annotated by Tony Rettman, plus lyrics, photos, and flyers, all housed in a stunning gatefold jacket for maximum McClard rage-baiting. ”A roar of nothing”—HeartattaCk
Savage first-wave screamo from San Diego’s white belt progenitors. Collected for the first time on this 39-minute LP are Antioch Arrow’s complete Gravity recordings, including In Love With Jetts LP (+ a pair of previously unissued outtakes), The Lady Is A Cat 12”, Candle split, and two live Che Cafe tracks captured at the quintet’s spazzy peak. 23 tracks remastered from corroded DATs and annotated by Tony Rettman, plus lyrics, photos, and flyers, all housed in a stunning gatefold jacket for maximum McClard rage-baiting. ”A roar of nothing”—HeartattaCk
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.
Another set of crucial Twinkle Brothers rhythms - Dub Massacre style! Each one of the Dub Massacre LPs has been a real joy to get our hands on and ears into (we'd been seeking them out ever since buying a CD copy of the first Dub Massacre album from a record stall at a Channel One soundsystem session in Bristol many, many years ago). This one, the Part 4, entitled The Killing Zone - yes these dubs are deadly - originally came out in 1989 and has not been up on here on our site for your perusal yet, so we're glad to fill the gap for our collection as well as yours potentially, in case you're also a fan of this series, and feel the need to have each one as much as we do. These dubs, compiled from rhythm tracks taken from - Breaking Down The Barriers, Twinkle In Poland and the (at the time of release, still forthcoming) Twinkle Brother* - Chant Rastafari albums. "This is the killing zone dub style!" and feature killer pacey dancehall/steppers-styled cuts such as the first track 'Panic In The Street', proper gun-shot / tape-wheelup, majestic dub such as Urban Gorilla, typical 80's uk roots, not a million miles of Aswad and Dennis Bovell's sound at the time ' Hunger And Starvation', big tunes such as 'Zulu Warrior' (quite possibly a nod to their close collaborator and musical family / official soundman Twinkle production dubplate champion Jah Shaka).... Then there's the big heads-down stepper 'Fighting Fight'.. Oooph, lots of heavyweight rhythms and deadly versioning on this one! Listen for yourself and you'll see that this is definitely one of the bigger Dub Massacre LPs, totally crucial gear. ...Love the artwork too!
Twinkle Brothers strike again, in dubwise style and fashion - Entitled 'Lion Head', this LP represents the fifth in the brilliant 'Dub Massacre' series... Packed with dubs, from straight-up dubwise killers to the brilliantly obscure digi-dancehall flavoured cuts, Lion Head consists of 9 selected instrumentals from the Twinkle Brothers studio, circa 1990. Worth it for the artwork and design aesthetic alone, it's also musically a killer LP that should be sat, either on your record shelf, or be spinning on your deck, depending on what time of the day it is...
1976's "Earthquake Dub" by The Revolutionaries, produced by Ossie Hibbert amounts to a crisp, spacy and texturally nuanced soundscape. The bass is front and center, very deep, rich and clear. In fact the listener may (for once) want to turn the bass down just a tad in order to hear the small, elegant details which are hidden below like tiny fossils. Several tracks feature some fine solo and ensemble horn lines (featuring Tommy McCook), which are appropriately spaced-out and ethereal. There is a also a bit of organ providing some sweetness to the mix, including some courtesy of Ossie himself. In fact, it may be Hibbert's capacity as a musician which allowed him to make such tasteful dubs on this, his very first dub album. There are virtually no vocals bringing Earthquake Dub down to earth, and that fact helps elevate it to true high art, abstract, nonlinear, and unfettered by earthly concerns. The deftly applied echo and reverb, augmented by the occasional bleep and bloop makes the tracks feel startlingly modern and fresh. It's marvelous how creative and ahead of their time the 1970s Jamaican dubmasters (including Hibbert) actually were. This is essential for any fan of the Revolutionaries, even for the track "River Bank" alone, which is an upbeat dubbed-out solo sax work out, with a skanky, almost carnival-sounding rhythm which will remind you why it's good to be alive.
Classic Studio One instrumentals featured on Lennie Hibbert's essential album, including the spellbinding Roselen and bonus versions of Twilight Zone and Village Soul.
Twinkle BrothersのNorman Grantをプロデューサーに迎え、Dub JudahやMad Professor周辺の重要人物たちが参加した、UKルーツ・レゲエ・シーンを代表する女性シンガーAishaの1993年作『Daughters Of Zion』。90年代ニュールーツの発展期に生み出された作品として知られる1枚で、ラスタファリアン思想に根差したメッセージと凛としたヴォーカルが印象的に響く。重厚なベースラインと深いダブ感覚を軸にしながらも、過度に装飾へ走ることなく、伝統的なルーツ・レゲエの精神性をしっかり受け継いだサウンドが魅力。Aishaの力強く気品ある歌声が楽曲全体を貫き、UKニュールーツならではの硬質なリズムとスピリチュアルな空気感を結び付けている。90年代UKルーツを語るうえで外せない、〈Twinkle Music〉屈指の名作。
There are a dozen nice sultry instrumentals on this LP, released in the early '70s, though as always with vintage reggae albums, that doesn't necessarily indicate that all of the material was recorded then. Certainly it has the sound of the best rocksteady music, some of its trancier grooves hinting at the dub era.
Dub Judah's 1992 dub album, released on Twinkle Music. An 11-track instrumental set built around rhythms associated with the Twinkle Brothers, showcasing the distinctive sound of early 1990s UK digital dub, with production work carried out in part at Ariwa Studios.
Kyoto-based lo-fi home-recording funk duo Khan Brown and OHHKI return with a strictly limited 7-inch single cut from Ryokan, their self-released mini-album originally issued on cassette in 2025. Following a release on the renowned US label PPU, the pair deliver another dose of their distinctive DIY funk sound, now pressed on an exclusive 7-inch format.
Recorded spontaneously in Brooklyn with no written compositions, Openess finds Laraaji working through ambient music, spiritual jazz and meditative improvisation. Isaiah Collier contributes drums and tenor sax, adding restless percussion and expressive horn work to Laraaji’s intuitive playing. Produced by Sonny Daze, it’s a free-form set built for deep listening.
Rio de Janeiro producer, composer and multi-instrumentalist Fabio Santanna returns with Copa Astral, an eight-track journey through modern Brazilian boogie, disco and Balearic grooves. Released by Rio’s Onda Boa, a label founded by Joutro Mundo, the album captures the warmth of the city's sunlit days and the cinematic glow of its nights, blending lush synths, live horns, percussion and rich vocal arrangements into an unmistakably Brazilian sound. Opening with the slow-burning title track, introduced by the unmistakable cry of a cuíca, Copa Astral sets the mood before unfolding into the rolling grooves of "Ponto de Areia" and the Afro-Brazilian pulse of "Odoya Beat". Elsewhere, "Nesse Tempo" drifts into dreamy nostalgia, while side B moves effortlessly through the carefree boogie of "Jabuticaba", inspired by Brazil's beloved fruit; the warm, enveloping feeling of longing in "Senti Saudade"; the seaside romance of "À Beira Mar"; before closing with "Cantagalo", a heartfelt tribute to the neighbourhoods, memories and spirit that continue to shape Santanna's music. Inspired as much by Rio's beaches as its neon-lit avenues, Santanna draws from Brazilian boogie, 1980s cinema, vintage record sleeves and classics such as Junior Mendes' Copacabana Sadia, filtering those influences through the city's unique rhythm. Produced at his Copacabana studio with live brass, percussion and vocal harmonies, Copa Astral is both timeless and contemporary - an album equally at home on the dancefloor, by the ocean or during a late-night drive along the coast.
Hidden away amidst the bustle of Rio de Janeiro’s Catete neighbourhood is a small alleyway behind a cast iron gate. At its end is Bairro Saavedra, the courtyard surrounded by Neo-colonial houses where Brazilian guitar virtuoso Fabiano do Nascimento spent much of his childhood. Built in 1928, this secluded neighbourhood with its wooden shutters, tiled floors and tranquil benches, provides the inspiration for the title of Do Nascimento’s new album Vila, a collaborative project with a sixteen piece orchestra led by trombonist and arranger Vittor Santos. Recorded between Rio de Janeiro and Los Angeles, Vila is grand, tender, warm, playful and nostalgic. On this stunningly ambitious work, the delicate compositions led by Nascimento's guitar, which sits central in the mix, are surrounded by Santos’ breathtaking orchestral arrangements which swirl in all directions: complimenting, questioning, responding; in constant conversation. Like the eclecticism of the architecture Do Nascimento grew up surrounded by, his music straddles many worlds at once. He is known as a Brazilian acoustic guitar master and as such has collaborated with Arthur Verocai, Airto Moreira and Itibere Zwarg. But equally at home in Los Angeles's jazz and experimental music scenes, Do Nascimento is also known for his work with artists like Sam Gendel and Carlos Nino. Vittor Santos is an arranger and Trombonist who has worked extensively with many of the greats of Brazilian music, including João Donato, Marcos Valle, Toninho Horta, and Elza Soares.
Electronic musician nthng presents his fifth album, Last Light of the Sun, his debut release on topo2. Renowned for his meticulous productions and quietly distinctive artistic voice, nthng continues to move effortlessly between ambient, IDM, dub techno, and drum & bass without ever feeling bound by genre. Last Light of the Sun shows that the album format is a natural home for nthng's expansive musical vision. Throughout its ten compositions, the album moves gracefully between dreamlike melodic passages, restrained, fragile 4/4 structures, melancholic drum & bass punctuated by vintage house vocal fragments, and spacious ambient compositions that feel unmistakably his own. The double LP is released by adventurous electronic music label topo2 on October 2, 2026. The record is pressed on two 180-gram discs of ICCS-certified bio-vinyl and housed in a heavyweight full-colour gatefold sleeve. Mastered by Isabel Schröer at OLO Mastering, with artwork by Alyssa Warren and Raen Coplin. Additional contributions include bamboo flute on "Flutter" by Temple Rat and typewriting by Karina Rovira.
Ghana x Norway in a deep, rumbling, heartical Afro-beat-dub clash for the ages, tightening binds developed over the course of 12”s and an LP since ’24. Big one FFO classic steppas, Afrobeat, Sotofett’s inimitable magick... Seeded in Sotofett’s mixing/engineering on ‘Dr. Afrodub’ by Ghanaian artist Ekowmania, ‘Dub Souljah’ enriches their bonds on a big, stepping disco-dub and versions of material relating to the album. The multifaceted, Norwegian anomaly simmers ‘Dubsouljah on the good foot with burning roots brass and nyabinhgi’s like some Wareika Hill Sound Special, and take it deep into the echo chamber with spangled spring verb and disembodied voices in the Ultra Dub. The ‘Afrolistic Rock&Roll’ salutes Tony Allen’s precise, pugilist kit work on a tuff Afrobeat dub workout whipped with wicked digital delays, and ‘Kuusikasi Funk (DJ Sotofett Ex10 Dub)’ smears the flutes and brass on a slippery big band Afrobeat bustle primed for summer ’26 festivals.
Forgotten electronic treasures by composer Ton de Leeuw rediscovered: first release in the Dutch Oscillation Series Dutch Oscillation Series (DOS) proudly announces the release of a box set featuring the complete electronic works of Ton de Leeuw (1926–1996). This publication marks the first instalment in a new series that brings the history of Dutch electronic music to life for a broad audience. The official presentation will take place on Saturday, 12 September, during the Gaudeamus Festival for contemporary music in Utrecht. Unique discoveries from the archive. For far too long, twentieth-century Dutch electronic music has remained hidden away in dim archives, only occasionally accessible under optimal conditions. Many compositions have not been heard for decades, perhaps after being presented to an audience only once. For this project, the original tapes were carefully traced in basements and archives, including the mysterious work Chronos, which was rediscovered in the collection of the Netherlands Music Institute (NMI). Even close collaborators of De Leeuw were unaware of the existence of Chronos. Another highlight of this release is the radiophonic oratorio Job (1956), which was awarded the Prix Italia radio prize by broadcaster Rai. The recordings were digitised by experts at the Institute of Sonology and the Instituut voor Beeld en Geluid (Netherlands Institute for Sound and Vision). The music was then meticulously restored and mastered in the studio of Jos Smolders (EARLabs), in accordance with modern standards, while strictly adhering to the composer’s original artistic intentions. The edition includes eight works composed between 1956 and 1982. The collection is released as a deluxe LP and CD box set and is also available via streaming and as high-resolution downloads. For an optimal listening experience, originally four-channel works such as Elektronische Studie (Electronic Study) and Antiphonie (Antiphony) are available as special Dolby Atmos downloads, allowing listeners to experience at home the unique spatial sound world envisioned by Ton de Leeuw. About Ton de LeeuwTon de Leeuw was one of the most influential Dutch composers of the twentieth century. A thinker with a distinctly cosmopolitan outlook, he immersed himself deeply in musical cultures from India, Japan, and Indonesia, among others. His work consistently sought to bridge Eastern and Western musical traditions and concepts. In addition, De Leeuw enjoyed a distinguished academic career. He served for many years as senior lecturer and director at the Amsterdam Conservatory and was affiliated as a senior research fellow with the University of Amsterdam. His book Muziek van de twintigste eeuw (Music of the Twentieth Century) remains a standard reference work.
A cranky, poetic-esoteric nEuro vibe puts wind behind the sails of Inkasso & ML’s maiden Stroom entry and their transition from whispered nocturnes to slompy cyber-slugs. Flickering shadowy integers of post-industrial, trip hop, theatrical music and sound poetry, ‘Fashion Recession’ finds the trio of Inkasso & ML indulging their whims toward a sort of soundtrack-like fantasy that leads on from their respective works for the artful types at Kashual Plastik and Osàre! Editions. The combo of dank synths with blunted vox and squashed grooves tessellates ideally with Stroom’s roster of angular audities primed for late night listening. Historic shades of everything from Tuxedomoon to Geins’t Naït and contemporary analogs Thomas Bush or Sholto Dobie come to mind in the album’s sideways drift from smudged downbeats on ‘Soft Layers’ to blown-out bass thunder in ‘Rhythm is a medium of change’, the soured music box melody of ‘Ghosting’, and striking moments of ‘90s noir in ‘Algorithm Poetry’ that sees it off into the Novo Line-like thrum and acidic croak of ‘Disturbing Circles’. Reckon this would all sound ideal on a solo midweek holiday to Antwerp after a break-up, when trying to write that novel you always intended to do.
A key contributor to Wah Wah Wino’s KWALK, Sli Town Crier steps out solo with Auditions. Drawn from an extensive archive of recordings and assembled by Morgan Buckley, it’s a restless collision of raw chops, battered rhythms and heavily mangled beats. Unpredictable and rough around the edges, Auditions pulls its source material apart and stitches it back together into something gloriously unruly.
Bruno Berle is a singer, songwriter, producer, multi-instrumentalist and figurehead of a contemporary Brazilian music movement. With a quiet mastery of songwriting and an astonishing voice, his music has won hearts around the world. Since the release of his debut album No Reino Dos Afetos (2022), Berle has performed across the UK, Europe, Japan, South Korea, and China, only leaving his home country for the first time in 2023. Shaped by these journeys, Berle’s third studio album, Sem Fronteiras (Without Borders), reflects a utopian vision of a unified world. Recorded across London, São Paulo, Minas Gerais, Germany, and Maceió, the album–co-produced alongside his longstanding musical partner Batata Boy–is the most expansive canvas Berle has worked on to date. Shot through with the imagery that has always animated his songwriting: open skies, morning light, vivid colours and the magic of human connection, Berle’s carefully crafted poetics and warm, delicate instrumentation drive this vivid body of work. “I came from nothing”–Berle doesn’t take his rise to global prominence for granted. Born to a working class family from Brazil’s northeastern Alagoas state, one of Brazil’s most economically deprived, Bruno moved frequently in his youth to follow any job opportunities his parents could find, before eventually settling in the coastal capital of Maceió. “I used to travel to Caruaru, Santa Cruz, Recife, Garanhuns, Arapiraca, which I loved and feel it made me ready to be in this rhythm i’, but at the same time I think not having friends from childhood and being in constant change made me a little numb to the constant upheaval”. On Sem Fronteiras, there is a similar duality at play. The album celebrates the collective joy and human connection that live touring brings, but it also sits with the darker realities of crossing borders. While music moves more freely around the world than ever before, our bodies are not granted the same privilege. Though he’s never lacked self-belief, Berle recognises that talent alone doesn’t guarantee opportunity. “Before my second album [No Reino Dos Afetos 2] everything I had ever recorded was made with the help and kindness of people who believed in my ability”. Determined to pay that kindness forward and help others from the sharp end of Brazil’s desperately unequal society, Berle produced and featured on the recent self-titled albums by his northeast Brazilian compatriots, Nyron Higor and Phylipe Nunes Araújo (both 2025), helping propel both onto the international stage. In turn, following the successes of Nyron & Phylipe’s albums alongside his own, Bruno finds himself at the forefront of a thriving community of artists now based in São Paulo, but primarily originating from northeastern states like Alagoas and Pernambuco. Much like the famed Clube Da Esquina movement that spawned in 1970’s Minas Gerais, they operate with a free-exchange of ideas, writing songs with and for each other, performing on each other’s albums and on the live circuit together. Lead single ‘Manha’ flows from this ethos. It was written by Berle’s friend and fellow Alagoan João Menezes (writer of ‘Ate Meu Violao’ and ‘Te Amar Eterno’ from Bruno’s previous albums) and Marvin Viera, and originally recorded on their 2018 album Areia e Mar. Sem Fronteiras opens with ‘Você Já Sabe Que Eu Te Amo’, just six beats of one nylon guitar chord ring out before changing key, paving the way for the gentle strike of fender rhodes and the arresting call & response duet between Berle and Higor. On ‘Amor Inteiro’, the album reaches a celebratory burst of catharsis, with the punch-packing drums of Pedro Lacerda and Nina Maia’s joyous backing vocals encapsulating the live energy that Berle and his band bring to the stage. With the abundant talents of this musical community at its heart, Sem Fronteiras releases 10th July 2026 via Far Out Recordings, supported by a summer tour across Europe. Bruno Berle will perform in a four-piece band alongside Nyron Higor, Phylipe Nunes, and Batata Boy, culminating in an appearance at Roskilde festival, Berle’s biggest live show to date. He’ll continue to carry a hopeful vision of a world where artists and musicians can move as freely as their music flows.