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Buh Records presents Anthology 2: Works for the Experimental Orchestra of Native Instruments, a double album that deepens the exploration of the work of Bolivian composer Cergio Prudencio (La Paz, 1955) and his inseparable bond with the Experimental Orchestra of Native Instruments (OEIN), the project he co-founded in 1980 and of which he is now emeritus director. Like Anthology 1, widely praised by the international music press, this second installment continues to reveal the conceptual, aesthetic, and sonic magnitude of one of the most radical contemporary-music endeavors to emerge from Latin America. The OEIN is a unique ensemble within the international musical landscape. Its approach begins by embracing the traditional instruments of the Andean highlands in all their dimensions: their materiality, modes of sound production, tuning systems, cultural contexts, and the Indigenous philosophies that sustain them. It is grounded in central principles of Aymara music—arca-ira alternation, the formation of large “troops” of instrumentalists, and the communal energy of wakiña—integrating them into a creative process that articulates both tradition and contemporaneity. For Prudencio, these foundations are living structures that allow for the projection of an ever-expanding musical thought. Anthology 2 brings together works composed between 1989 and 2014 and performed by the OEIN and its chamber ensemble. Cantos crepusculares (1999), written for the Donaueschingen Festival, unfolds a sonic continuum in which successive atmospheres evoke the shifting light of twilight. Cantos ofertorios (2008), conceived during residencies in Bellagio and completed in La Paz, incorporates multiphonics, massive textures, and a performative gesture referencing the prayers and offerings of Aymara yatiris.
Tejiendo Nubes Contra la Muerte brings together poet and visual artist Cecilia Vicuña with Colombian pianist and composer Ricardo Gallo and the trio Hombre de Barro, featuring Ernesto "Teto" Ocampo, Urián Sarmiento, and Juan Manuel Toro. The album is rooted in a shared concern for the care of life, water, and the environment, finding in Vicuña's poetry a meeting point between contemporary creation and ancestral knowledge. The music was created collectively and spontaneously during the recording session. Gallo plays piano and synthesizers, Ocampo guitar, flutes, and harmonica, and Toro cello and flutes, while Vicuña's voice moves between spoken word, chant, whisper, breath, and silence. The result is an open, intuitive work in which improvisation becomes a space for dialogue between different forms of knowledge and sensibility. Cecilia Vicuña is a Chilean poet and visual artist based in New York. In the mid-1960s, she developed the concept of "Precarious Art" to name what disappears. The album features a selection of poems from Cloud Net, a book that addresses climate change through a perspective connected to Indigenous knowledge and dates back to the late 1990s. For the past decade, Vicuña and Ricardo Gallo have collaborated on poetic and sonic explorations encompassing recordings, live performances, installations, sound works, and videos. Gallo, a composer and improviser based in New York, maintains close ties to Bogotá's vibrant music scene. The members of Hombre de Barro combine extensive musical careers with research into Colombia's diverse musical traditions. Ocampo developed a profound body of research into Indigenous music; Sarmiento documents and records rural musical traditions through his label Sonidos Enraizados; and Toro has researched the music of the Inga people and other communities in southern Colombia. The album was recorded in La Calera, in the mountains outside Bogotá, in July 2022. A little over a year later, Teto Ocampo passed away; the album is dedicated to his memory. The session was supported by producer Julián Gallo and later mixed and mastered by Marc Urselli in New York. The cover features a work by Vicuña originally created for the Cloud Net exhibition, with the complete design by Raúl Zea. The LP includes an insert containing the poems performed on the album, in both Spanish and English translation.
A selection of artists -- ranging from big names to obscure and mysterious gems -- from the '60s and '70s, the golden years of modern Persian music. A trip to a time when western sounds mixed with traditional Iranian music to create a new, unique and magical sound, full of soul, personality and emotion. 13 mind-blowing tracks of pure, unaltered, Persian bliss. Includes notes on the artists. Featuring Mehrpouya, Bijan, The Rebels, The Golden Ring, Tak Khal Ha, The Littles, Zangoleah, Fereshteh, Shahram Shabpareh, Googoosh, Kourosh Yaghmaei, Betti, and Mahasti.
A look at a time, just before the Islamic Revolution of 1978, when Tehran was buzzing with the vibrant sounds of Western funk and soul blended with the rich traditions of Persian music, creating an exciting new sound that has to be heard to be believed. Featuring a selection of artists ranging from the era's biggest names to more obscure gems. Get ready to be blown away by 10 ultra-groovy tracks of incredible Persian funk. Includes notes on the artists. Featuring Hamid Shabkhiz, Kourosh Yaghmaei, Mehrpouya, Googoosh, Neli, Shamaizadeh, Nooshafarin, Zia, Taherzadeh, and Morteza.
Marcos Valle is one of those artists you simply can’t overlook if you have even a passing interest in Brazilian music. “Vento Sul” (1972) represents a pivotal moment in Valle’s artistic evolution, revealing a composer unafraid to reinvent himself and push the boundaries of Brazilian popular music. From the hypnotic title track to highlights such as ‘Democústico,’ ‘Revolução Orgânica,’ ‘Paisagem de Mariana,’ and ‘Pista O2,’ the album remains a breathtaking achievement whose influence continues to resonate more than five decades later. This reissue shines a well-deserved spotlight on a landmark recording—an essential chapter in Brazilian music and an indispensable addition to any collection of psychedelic, progressive, jazz, or MPB classics. Pressed on 180g vinyl. AUDIO: www.youtube.com/watch?v=70Jon7Xx7wU&list=PLzuN-sCVylt0zM0lZH28aLA8SyYlzk9kj Marcos Valle es uno de esos artistas que no puedes pasar por alto si sientes el más mínimo interés por la música brasileña. “Vento Sul” (1972) representa un momento decisivo en la evolución artística de Valle, revelando a un compositor sin miedo a reinventarse y a ampliar los límites de la música popular brasileña. Desde la hipnótica canción que da título al álbum hasta temas destacados como ‘Democústico’, ‘Revolução Orgânica’, ‘Paisagem de Mariana’ y ‘Pista O2’, el disco sigue siendo una obra deslumbrante cuya influencia continúa resonando más de cinco décadas después. Esta reedición pone el foco, con todo merecimiento, sobre una grabación histórica que supone un capítulo esencial de la música brasileña y una pieza imprescindible para cualquier colección de clásicos del rock psicodélico, rock progresivo, jazz o MPB. Prensado en vinilo de 180 gr.
Lesser known than the highly sought-after ‘A Gira’, yet every bit as perfect for the dancefloor, Trio Ternura’s ‘Razão De Ser’ (1972) blends Brazilian scents, soul music, and stunning vocal harmonies into a timeless masterpiece. Reissued here for the very first time and cut at 45 RPM for superior sound quality. AUDIO: www.youtube.com/watch?v=nfBEJyN0gO0 Menos conocido que el codiciadísimo ‘A Gira’, pero igual de perfecto para la pista de baile, ‘Razão De Ser’ (1972), de Trio Ternura, combina los aires brasileños, la música soul y unas impresionantes armonías vocales para dar forma a una obra maestra atemporal. Reeditado aquí por primera vez y masterizado a 45 RPM para ofrecer una calidad de sonido superior.
“Iker Munduate is an artist and musician who brings a delicate sense of composition and design... Inspired in part by new age music, Its rippling melodies and frictionless glide recall the futuristic utopias of Detroit Escalator Company and the interior reverie of Nobukazu Takemura" - Derek Walmsley Continuing from where he left it 2 years ago after a sold out debut LP released on Hegoa, Iker is back with his follow up “Sinkronia”. A gripping take on Eastern and Western minimalist traditions influenced by the likes of Steve Reich, Suso Saiz or Midori Takada. Transcendental and esoteric rhythmic wonders that take time to unfold. A young percussionist and guitar player with electronic interests displaying a rich sonority and a great sense of structure and arrangements. This record shows the refinement of Iker’s attributes, who initially worked in the noise/punk scene and now is part of the local Free Jazz/Improv landscape of San Sebastian, although he currently lives in New York where he has been playing several gigs including a rendition of Glenn Branca’s Symphony No.13 at Lincoln center with 100 guitarists. For this new album he uses Xylophone, hand drums, electric guitar, synths and percussion instruments that guide us in an energetic way to territories somewhere between Italian avant-garde, Japanese New Age and American Minimalism. Iker Munduate Thusberg is a Basque multi-instrumentalist born and raised in San Sebastian and with strong ties to Mikkeli in Finland, where half of his family are from. A fine arts student at Bilbao’s UPV (Basque university), his interest in sound, art and design has led him to combine all these different disciplines and convey them into his music and his work.
“La Proyección”, the debut LP by Jose María Lluch, architect and musician from San Sebastian, appears as a transition, a gradual shift that happened over time. Intimate and innocent, disconnected and erratic at times, the 11 compositions presented here are extracted from recordings spanning 9 years, between 2015-2024. Humbly assorted in his home studio, the music here is for letting your mind drift. The processes of composition, recording, and editing intertwine. Field recordings from daily chores, fingerpicking guitar, soothing harmonics, tape manipulation and ethereal soundscapes, all combined with naive openness. We uncover joy found in imperfection. It is rare the occasion on which we have the chance to have a peak at someone's work, unattended, without specific context, after years spent making music simply to break away, not for anyone but for themselves. The songs in “La Proyección” unveil exactly that essence, found through collective memory. “La Proyección”, el álbum debut de José María Lluch, arquitecto y músico de San Sebastián, se presenta como una transición, un cambio gradual que se produjo con el tiempo. Íntimas e inocentes, a veces desconectadas y erráticas, las 11 composiciones que aquí se presentan provienen de grabaciones que abarcan 9 años, entre 2015 y 2024. Humildemente reunidas en su estudio casero, la música invita a dejar volar la imaginación. Los procesos de composición, grabación y edición se entrelazan. Grabaciones de campo de tareas cotidianas, guitarra fingerpicking, armónicos suaves, manipulación de cinta y paisajes sonoros etéreos, todo combinado con una apertura ingenua. Es raro tener la oportunidad de asomarse al trabajo de alguien, sin supervisión, sin un contexto específico, después de años dedicados a hacer música sin un fin comercial. Las canciones de “La Proyección” revelan precisamente esa esencia, hallada a través de la memoria colectiva.
Ghetto Records was Joe Bataan's way to get over on The Man and out of the 'hood, a bold move by an artist looking for independence and creative control in an industry that had exploited his talents and treated him like chattel. Hatched from desperation yet full of hope, Ghetto Records came crashing down shortly after its inception. The seven albums in the Ghetto discography languished out of print. Ghetto Records Presents (1970) by Eddie Lebrón was one of them. Lebrón was Ghetto Records's first artist. Bataan supervised the pianist's recording sessions and, importantly, understood Lebrón's desire to have an English-language soul ballad on his album, which was to become a feature of all future releases. To supplement Lebrón's backing band, Orquesta Suave, who had a background in R&B and doo-wop, Bataan brought in high school chum Abdul O'Dool to sing the old chestnut "(I Love You) For Sentimental Reasons." Lebrón was Puerto Rican and raised in New York from the age of five, making him part of the generation of Nuyoricans that expressed themselves through salsa. In addition to playing the piano and leading Eddie Lebrón and His Orchestra Suave, as the band was then called, Lebrón also composed and arranged the tunes on the record. Aside from being distinguished as the debut of both Ghetto Records and Eddie Lebrón's band, Ghetto Records Presents sported an eye-catching cover by Izzy Sanabria. The album is a real treat for heavy salsa and Latin soul lovers that has become a much in-demand record among collectors worldwide. Lebrón and Orquesta Suave parted ways after recording this album largely because Lebrón was increasingly in demand as a sideman. In fact, he continued to play piano with, and compose and arrange for, a host of important salsa outfits over the next two decades. Vampisoul are now reissuing Ghetto Records Presents once again thanks to our collaboration with Now-Again Records. This release includes an insert with liner notes and two bonus tracks.
Here we have a very special reissue, a landmark in the history of Spanish pop music: "La chica de plexiglas" and "La vision," the first two singles by El Aviador Dro y sus Obreros Especializados (released in 1980 and 1981), together with two tracks rescued from a lost 1980 recording session that were never released as a single. The collection is presented exactly as it was originally compiled on a 1983 mini-LP. To this day, this remains the most advanced techno-punk ever made in Spain. Think a Spanish version of Kraftwerk meets Devo meets The Residents. Futuristic electronic music created back when computers were the size of an entire room. Out of print since 1985, we're delighted to bring this groundbreaking gem of early-'80s Spanish pop back into circulation in collaboration with Discos Banana. Tracklisting>> Side A 1. La Chica De Plexiglas 2.Vano Temporal 3. Gestalt Side B 1.La Vision 2. Hal 9000 3. Laser
Etherworld is proud to announce a new Merzbow album, "Vapor Hoof" on CD. Our previous Merzbow album, "Electric Salad" came out on the Etherworld label in 1996. Now taking preorders for "Vapor Hoof" [Catalog No. EtW007]. This pulse-warping, mind-smashing new release by Masami Akita is coming to stores on Friday, July 17, 2026. Preorder your CD today. Find out what noise really sounds like after 30 years of silence.
This acclaimed Japanese jazz masterpiece is available on cassette for the first time ever.
Another late night oooooze from short span, this time from NYC’s Eden Aurelius doing that sticky, hazed thing you’ll love if you’ve a feel for False Aralia, 3XL, Emer… "A beautifully poised collection for Short Span. A gorgeous showcase of her singular talent within a sparkling scene. Recorded in Brooklyn, NY, this is an innovative, and graceful body of music that feels truly contemporary. This album felt important for us to have out in time for summer. Emerging out of the heat, a feeling brought alive with the sun. Music that evolves throughout seasons and carries a spectrum of emotional range. Entre Nous is tight, but expansive. Its depth and complexity is languid but has gravitational pull. Like much of her work, this record feels so refreshing because its tracks are both sensory and illusory tones built in gossamer and transitory layers of satin. They have a remarkable sense of presence and pressure - floating rhythmically without sharp edges. There is guidance and gentle control that lead throughout the record. The B side opens with “Ion” featuring Pontiac Streator. The song is formed out of a textural haze. A glistening, iridescent light appears, broken through fabric, projecting a blurred image onto the surface nearby. A hypnotic and evocative collaboration. The shared connection between the two artists’ command of rhythm and ambient language. Mastered and cut by Mike Grinser at Manmade.
Originally released on Mark Ernestus and Moritz von Oswald's Chain Reaction label in 1999, Hallucinator's Landlocked is compiled onto a 2LP for the first time. Created by London trio Anna Piva, Edward George and Trevor Mathison, the album became a quietly influential early dub techno release, built from deep bass, echo, fractured rhythms and carefully sculpted space. Across twelve tracks, sounds fade in and out with hypnotic precision, creating an atmosphere that values silence as much as texture. Beneath its abstract surface sits a dedication to the memory of Stephen Lawrence, lending the music a lasting emotional resonance. More than 25 years on, Landlocked remains a distinctive work of immersive, minimalist electronic music.
Chicago’s excellent, shapeshifting Kino Disk chase 8004’s ace dub abstractions with Eustress’ actions in familiar meadows of overgrown FX, farming post-dub techno landscapes highly tipped FFO Vladislav Delay, Echospace, False Aralia. Peripheral to the Windy City’s fecund undergrowth, Indianapolis-based Heath Gillespie aka Eustress practises forms of dub techno at gauzy arm’s reach from the OG source. On the six tracks of ‘Exit’, his 2nd release for the label, he distorts familiar tropes to taste, diffusing a palette of windswept dub chords and unanchored bass in space crackling with an iridescent grayscale filament. His approach broadly swerves dub techno’s club momentum in favour of soothing meditation, letting everything hang out and slosh, loosely suspended in gritty yet lush amniotic plasm with an effect calling to mind the etheric depths of Echospace or even Werkbund’s atmospheric enigmas. A hands-on background as mixing engineer comes to the fore in his work’s sensory tactility, convecting minds from a slow tempest to beatific bliss-out, rumbles of distant dub chord thunder and carpet rolling gouch-out, ultimately stranding up on the 8 min peninsula of ‘Exit 6’, under a borealis play of smudged, harmonised light, nerves combed into the breeze.
Side A
1. 自分のことだけ考えよう (Remixed by Cornelius)
2. Flow (Remixed by YANN TOMITA ”A BRAND NEW CADILLAC AND ETERNAL LIFE MIX”)
Shinichi Atobe has managed to stay off the grid since he made an appearance on Basic Channel's Chain Reaction imprint back in 2001. He delivered the second-to-last 12" on the label and then disappeared without a trace, leaving behind a solitary record that's been selling for crazy money and a trail of speculation that has led some people to wonder whether the project was in fact the work of someone on the Basic Channel payroll. That killer Chain Reaction 12" has also been a longtime favorite of Demdike Stare, who have been trying to follow the trail and make contact with Atobe for some time, whoever he turned out to be. A lead from the Basic Channel office turned up an address in Japan and -- unbelievably -- an album full of archival and new material. Demdike painstakingly assembled and compiled the material for this debut album. And what a weird and brilliant album it is -- deploying a slow-churn opener that sounds like a syrupy Actress track, before working through a brilliantly sharp and tactile nine-minute piano house roller that sounds like DJ Sprinkles, then diving headlong into a heady, Vainqueur-inspired drone-world. It's a confounding album, full of odd little signatures that give the whole thing a timeless feeling completely detached from the zeitgeist, like a sound bubble from another era. This is only the second album release on Demdike Stare's DDS imprint, following the release of Nate Young's Regression Vol. 3 (Other Days) (DDS 007LP) in 2013. Who knows what they might turn up next? Mastered by Matt Colton at Alchemy.
Demdike Stare’s DDS label kicks off a new series of limited edition 12”s with the return of Shinichi Atobe, offering a slow evolution of his inimitable deep house, finely balanced with a new found sub-heavy bias while unlocking extra space in the upper registers.
Atobe’s third 12” since debuting on Chain Reaction in 2001 marks a subtle but crucial development of his style, leaning towards classically deep, dub house templates. On both sides he adds supple flesh and hypnotic emotive pathos to his stripped formula, resulting in some of the most immediate and enduring work in his canon thus far. It coincidentally also marks a decade since he first graced DDS with his debut album ‘Butterfly Effect’, followed by a tranche of cultishly acclaimed albums in the years since.
On the A-side pearl ‘Ongaku 1’ he steps out with a shimmering take on the effortless gait of M-Series blueprints, as derived from the deepest NYC house, delicately ornamented with cascading levels of detail. Precision-tooled kicks precipitate Prescription-via-Maurizio feathered dub chords, interlaced with a frisson of darker strings and synth melodies for the full goosebump. ‘Dub 6(six)’ on the flip whisks up a psychedelic lattice of arps and synth voices with ruder bass ballast, taking its sweet time before the kicks come to swing the ‘floor deep and wide.
Straight bullets, no messing.
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Brazil’s premiere guess-again specialists Lugar Alto have been threatening to unleash this one for a while and here it finally is; compiled by the goat GG Albuquerque and mixed by label enigma Akira Umeda, “My Life is a Movie and In It I Am the Villain” is a compendium of signature DJ drops and idents used in soundsystems from Rio de Janeiro and São Paulo going back to the 1980's and right up to the present day - a genuinely synapse-popping madness that maps the constant evolution of the most vibrant and forward-facing soundsystem cultures of our time... If you've spent any time with Brazilian funk, you'll know the sonorous intros - always larger-than-life, tongue-in-cheek, fluoro-flavoured - almost as important as the songs themselves. You don't have to understand Portuguese to get the message, either; the cacophony of pitch-wonked vocal stims, familiar samples, pop culture references and cheapo effects is borderless in its appeal, a core component of contemporary funk that's just as important as the syncopated tamborzão beat itself. We've copped tracks that are entirely reliant on the "carimbos" (literally "stamps") and "vinhetas" (intros) so we were hoping someone would put together something like this. And Lugar Alto - the Brazilian imprint responsible for releasing those essential DJ Ramon Successo LPs and that shocking Djalma Corrêa anthology - have taken the most impressive approach imaginable, tasking fount of all knowledge and journalist GG Albuquerque (last seen putting together that sick MÉDIO GRAVE tape for Nyege Nyege Tapes) with compiling something from a genuine street's-eye perspective. The mix tells a non-linear, multi-dimensional story of Brazilian sound system culture, using DJ drops, stage calls, adverts, cheeky samples and explosive intros made between the 1980s and 2025. It takes us from the point where local sounds collided with funk, freestyle, electro and Miami bass in the wake of 'Planet Rock’ to the moment the scene eventually evolved into the splintered landscape of bruxaria, ritmado, brega and other sounds that we can interface with today via TikTok and Insta. It's a dense, fittingly psychedelic and suitably impertinent mosaic of references, in-jokes and mind-tickling sonics that's seemingly without beginning or end, a time-fluxing braindump of laugh tracks and aborted rhythmic snaps that's best compared to being airlifted into a Rio street party after being shot with medical-grade ketamine. Within a matter of seconds we get John Williams' 'Star Wars' intro followed by a Portuguese Darth Vader voice and a barrage of buzzing "tuin" effects - and it just gets madder and more frenetic from there. A sort of heatsick parallel narrative to decades of British pirate radio culture, 'Minha Vida...' Is an incredible artefact of a movement that defies easy categorisation, a multi-coloured collage of sounds, humour and idiosyncratic energy that's driven the sound since the very beginning. You can take the boom-cha-cha boom-cha-cha beat, but you can't even begin to mimic the sheer gusto.
Mu-inspired space cadets KiF Productions livicate their play of Japanese environmental ambient electronics, Hassellian 4th world, the KLF’s ‘Chill Out’, and Eno-esque harmonic perfumes, to the dearly departed Keith McIvor. "Passiflora (Passifloraceae) is a genus of around 550 species of flowering plants, native to the tropical and subtropical Americas. The Passion Flower is a plant of improbable beauty - its blooms almost too intricate to be real, its climbing habit a quiet kind of determination. It has been used for centuries as a remedy for anxiety and sleeplessness, something that slows us and the world around us down. Fresh from last year's triumphant debut by KiF; Still Out, Passiflora, the album, follows the plant from its very beginning. It opens in darkness - 'Secret of the Seed', dormant, waiting - before the first tentative stir of 'First Movement' and the long, instinctive reach of 'Seeking Light'. From there, the journey unfolds with the patience of something that has no choice but to grow: drinking, climbing, flowering. 'Song of the Vine' carries the plant's quiet insistence upward, while 'Florescence' and 'Pollination Dream' catch it at its most open - that brief, extraordinary moment of full bloom. Then the turn. 'Fruiting (Slight Return)' and finally 'Return to Earth' - the cycle completing itself, giving back what it always borrowed. Each track is a stage. The whole is a life cycle."
Following his run of downtempo Quiet Time offerings, Texan producer Gi Gi moves to Vancouver's Mood Hut and maps his "downtempo sampledelia" logic over a syrupy set of deep-as-fuck, back room rollers. Gi Gi's is motivated by the philosophy of sampling - his 2021 album 'Lumino Pleco' was built from textures snatched from Prince, Miles Davis and Erykah Badu records. But he appears to have settled more assuredly into his role at this stage, coining the "downtempo sampledelia" descriptor probably to stop people like us from perpetually reminding him that trip-hop already happened. To his credit, 'In Lieu' does veer further from the dubwise, slo-mo gear that propped up his last few releases, tightening the beats and sharpening those all-important hazy backdrops. And if you recognise a few of the elements, that's partly the point; Gi Gi bashes together the album like a rickety rope bridge between the contemporary listening bar and a half-forgotten record collection that stacks its 'ardcore vinyl alongside Weatherall productions, electro samba reissues, Chicago house and Alex Patterson's dream diaries. 'Pink Dirt' sounds as if it's burying Kirsty Hawkshaw's voice underneath its powdery syncopations and housey piano stabs and on 'Arque', featherlight string plucks are ducked behind rubbery pulses that Gi Gi excites with fractal psy inflections. And the specters of dub and jungle slow dance on 'Downswept', when Gi Gi marinades his expertly chopped breaks in a bubbling synth. It's the kind of gear that makes the most sense while the summer's still in full swing - balearic doesn't even do it justice.