NEW ARRIVALS

Cult digidub mutators Froid Dub slow their steez to deeply knackered, ghostly levels on a follow-up to joints with Krikor and Ransom Note. Back with Parisian patrons Delodio, the pair bring a deep studio knowledge earned since the ‘90s (and their days together as Bosco) to a half hour of purposefully sluggish pressure slanted at the earliest or latest hours of the night/day. With Black Roots Players’ ‘Slow Tempo’ riddim possibly in the back of their mind, they keep it all heavily downbeat and rent with a psychoacoustic nous that draws lines between The Black Ark, GRM, and DJ Screw. ‘Deep’ feels like the onset of a space cake, all super blunted vox and wiggy synths, and ‘The Swap’ snaps tightly to slowed digidub templates, next to echoes of ’Slow Tempo’ in the cranky chords of the title tune. They really let the bass flare in acres of space on the spangled zingers ‘Too Digital’ and an acidic ‘Love’, whilst crossing lines with Full Circle’s proto-goa trance in ‘Diggin’’ and the swampy motion of ‘No Sense’.

Big Crown Records is proud to present Glera, Marco Benevento’s debut album on the label. Marco Benevento has always moved like someone who understands the studio as its own instrument, not just a room where the toys are. Long before he began appearing on stages with Freddie Gibbs and Madlib, and in the liner notes of albums by Clairo and Leon Bridges, Benevento was already thinking like a producer - listening for texture, tension, and negative space, and for the strange emotional alchemy that occurs when groove and curiosity collide. His new album Glera sharpens that instinct into focus, presenting Benevento not only as a virtuosic keyboardist and bandleader, but as a composer building worlds from rhythm, tone, and feeling. Glera is a genre-bending jazz record that folds in soul and reggae’s elastic low end with an open-door sense of possibility. The project began three years ago as a kind of private exercise, with Benevento writing intuitively, inspired by Italian film scores and melody. Over time, those sketches evolved into something broader and more muscular, culminating in the grand majesty heard here. What emerges is music that moves cinematically without becoming precious. Tracks can feel like chase scenes or slow dissolves, sometimes within the same song, with jazz improvisation sharing space alongside reggae pocket, orchestral elements, and psych-pop atmosphere. It’s exploratory but grounded, complex yet unmistakably groove-forward. Album opener “Frizzante” is pure musical celebration captured on tape - a high-energy, feel-good banger that finds Marco trading melodies with himself over a relentless groove. On “Turandot,” Benevento is joined by Italy’s own Marianne Mirage on vocals; the haunting, cinematic track sits comfortably between the worlds of Portishead and Serge Gainsbourg. Then comes “Big Top,” stretching the album’s palette even further; equipped with voice memos and peacock calls, it’s most aptly summed up as “circus funk.” Blow the whistle and the game begins with the jazz-fusion–esque dancefloor filler “Houdini,” a kick-in-the-door burner from the very first drumbeat. Blending dream pop into the mix on “I Can’t Control This Bliss,” Marco invites Dream Crease to the microphone for a dose of lo-fi gorgeousness. Elizabeth Steiner brings her storied harp work to “Miss Neptune” over a deeply vibey, reggae-influenced backing track. Putting the pedal to the metal, “Sprezzatura” plays like a high-speed pursuit through narrow streets, while “Quattro Passi” brings the pace down to a saunter, featuring jazz vocalist Chiara Civello. Marco Benevento is operating at the highest level, shaping sound with purpose and curiosity. This album announces itself loudly—both outward-facing and deeply intimate. It’s music that moves—across genres, tempos, and registers—while remaining anchored to the joy of discovery. It’s a record that embodies motion, carrying the past forward without ever standing still.

Big Crown Records is proud to present Glera, Marco Benevento’s debut album on the label. Marco Benevento has always moved like someone who understands the studio as its own instrument, not just a room where the toys are. Long before he began appearing on stages with Freddie Gibbs and Madlib, and in the liner notes of albums by Clairo and Leon Bridges, Benevento was already thinking like a producer - listening for texture, tension, and negative space, and for the strange emotional alchemy that occurs when groove and curiosity collide. His new album Glera sharpens that instinct into focus, presenting Benevento not only as a virtuosic keyboardist and bandleader, but as a composer building worlds from rhythm, tone, and feeling. Glera is a genre-bending jazz record that folds in soul and reggae’s elastic low end with an open-door sense of possibility. The project began three years ago as a kind of private exercise, with Benevento writing intuitively, inspired by Italian film scores and melody. Over time, those sketches evolved into something broader and more muscular, culminating in the grand majesty heard here. What emerges is music that moves cinematically without becoming precious. Tracks can feel like chase scenes or slow dissolves, sometimes within the same song, with jazz improvisation sharing space alongside reggae pocket, orchestral elements, and psych-pop atmosphere. It’s exploratory but grounded, complex yet unmistakably groove-forward. Album opener “Frizzante” is pure musical celebration captured on tape - a high-energy, feel-good banger that finds Marco trading melodies with himself over a relentless groove. On “Turandot,” Benevento is joined by Italy’s own Marianne Mirage on vocals; the haunting, cinematic track sits comfortably between the worlds of Portishead and Serge Gainsbourg. Then comes “Big Top,” stretching the album’s palette even further; equipped with voice memos and peacock calls, it’s most aptly summed up as “circus funk.” Blow the whistle and the game begins with the jazz-fusion–esque dancefloor filler “Houdini,” a kick-in-the-door burner from the very first drumbeat. Blending dream pop into the mix on “I Can’t Control This Bliss,” Marco invites Dream Crease to the microphone for a dose of lo-fi gorgeousness. Elizabeth Steiner brings her storied harp work to “Miss Neptune” over a deeply vibey, reggae-influenced backing track. Putting the pedal to the metal, “Sprezzatura” plays like a high-speed pursuit through narrow streets, while “Quattro Passi” brings the pace down to a saunter, featuring jazz vocalist Chiara Civello. Marco Benevento is operating at the highest level, shaping sound with purpose and curiosity. This album announces itself loudly—both outward-facing and deeply intimate. It’s music that moves—across genres, tempos, and registers—while remaining anchored to the joy of discovery. It’s a record that embodies motion, carrying the past forward without ever standing still.

Sooj — a collaborative project between members of Duster and Dirty Art Club. Picking up where their 2024 two-sider Anhedonia II b/w Ecstasy Cowgirl left off, Crusher sees Duster’s slowcore drift dissolve into Dirty Art Club’s sample-heavy, collage-minded production. The result is neither band, nor side project, but something more elusive — a third space built from tape hiss, chopped memory, and late-night signal bleed. Across its runtime, the album avoids the gravitational pull of nostalgia. Instead, it hovers in a liminal present — part collaboration, part escape route.

Two raw minimal cuts from '94 that will piece up any self respecting dance floor; Mika Vainio, Ilpo Väisänen & Sami Salo at the controls - an ESSENTIAL 12" from Sähkö Recordings, TIP!

Light in the Attic is honored to announce the long-awaited reissue of Synthesizing: Ten Ragas to a Disco Beat, the revolutionary 1982 album from composer and musician Charanjit Singh. Pairing Indian classical ragas with then-state-of-the-art Roland synthesizers and drum machines, Singh created an electronic masterpiece that was far ahead of its time.

Recording live at Mumbai’s HMV studios, Singh married the past to the future—blending the ancient Indian tradition of ragas (a melodic framework, similar to a scale, from which musicians can improvise or compose) with pulsating, electronic dance beats. Released without fanfare, it faded into obscurity and Singh retired from recording to focus on private concerts, but that’s where the story begins…

Released in cooperation with Singh’s estate, Synthesizing: Ten Ragas to a Disco Beat arrives on June 26th. The 10-track album was remastered by Johanz Westerman at Ballyhoo Studio Mastering and stretched across 2-LPs for the highest quality listening experience. The vinyl was pressed at Optimal Media and housed in a gatefold jacket that replicates the original artwork.

An accompanying 16-page LP booklet features previously-unreleased photos and two new essays: the first from Arshia Fatima Haq and Jeremy Loudenback of Discostan—a multimedia collective and record label focusing on music from South West Asia and North Africa—while the other comes from filmmaker and writer Rana Ghose of event and film production entity REProduce Artists, who managed Singh in his final years and documented his triumphant return to the stage. Additionally, fans can find a limited-edition pressing of Synthesizing: Ten Ragas to a Disco Beat on ‘Pearlescent Transcendent Future’ Color Wax, while the album will also be reissued on CD with a 32-page booklet containing all of the above.

More on Synthesizing: Ten Ragas to a Disco Beat:

Indian multi-instrumentalist and composer Charanjit Singh (1940–2015) never intended to be an electronic dance music pioneer when he recorded 1982’s Synthesizing: Ten Ragas to a Disco Beat. Yet three decades later, his inventive use of state-of-the-art synthesizers and drum machines would prompt some to crown him the “Godfather of Acid House.” The real story, however, runs much deeper.

A native of Mumbai, Singh spent much of his career as a Bollywood session musician, collaborating with renowned composers like RD Burman and Shankar–Jaikishan, and appearing on some of the most iconic Hindi film hits of the ‘60s and ‘70s. Outside of the film industry, Singh recorded several of his own albums and toured the world alongside the era’s biggest stars—an opportunity which allowed him to collect new instruments, including synthesizers and other electronic devices. As psychedelia and disco wove their way into Bollywood scores, Singh was at the forefront, integrating a host of electronic textures into his work (his hypnotic Transicord introduction on “Dum Maro Dum” from 1971’s Hare Rama Hare Krishna is among his most recognizable performances).

By the turn of the ‘80s, however, Singh was disenchanted by the creative limitations of session work and embarked on a solo career. Not long after, on tour in Singapore, he discovered three Roland devices that had just hit the market: the TR-808 drum machine (released 1980), the TB-303 bass synthesizer (released 1981), and the Jupiter 8 synthesizer (released 1981). While this trio would fuel early electronic dance music in the coming years, Singh was among the first known artists to pair them on record when he was inspired to create his next album, Synthesizing: Ten Ragas to a Disco Beat.

Using only the three devices and recording live at Mumbai’s HMV studios, Singh married the past to the future—blending the ancient Indian tradition of ragas (a melodic framework, similar to a scale, from which musicians can improvise or compose) with pulsating, electronic dance beats, while programming the TB-303 to follow classical Hindustani scales. From the hypnotic drones of “Raga Bhairavi” to the uplifting jams of “Raga Bairagi” the album proved perhaps to be a bit too visionary for its time. Released without fanfare, it faded into obscurity and Singh retired from recording to focus on private concerts.

Two decades later, Dutch DJ and record collector Edo Bouman was in New Delhi when he came across an old copy of Ten Ragas. Bouman was astounded by what he heard—electronic music that had all the hallmarks of acid house, recorded five years before Chicago DJs coined the term. Bouman spent the next few years tracking down Singh and, in 2010, reissued the album on his label, Bombay Connection.

Soon, Ten Ragas became a viral sensation, sparking disbelief and debates about the origins of acid house. But, as Haq and Loudenback explain, those in the conversation “Had little frame of reference for [Singh’s] music outside of the parameters of western club music.” Viewed through the lens of the Hindi film industry, they argue, the album’s through-line comes into focus. In the ‘60s, when Western artists were looking to India for inspiration, Bollywood was “A laboratory for discovering sounds, and for harnessing every new technology that could be found or repurposed…. Singh’s album is more fittingly placed within the framework of the expansion of Bollywood’s experiments in disco, rather than that of acid house.”

“Perhaps this is yet another example of how a public engages with those who are ahead of their time,” adds Rana Ghose. “This record is a direct consequence of a centuries-old classical music form, rendered through the lens of a visionary who used the vanguard of technology at the time to recast it, resulting in an artefact that, almost 40 years later, is finding entirely new audiences in an era marked by a changing and uncertain global landscape of soft-power assertion. Considering this reassessment is as exciting as it is fascinating. Much like this record.”

While Ten Ragas sparked plenty of conversations within the electronic music community, it also gave a bemused Singh a surge of newfound fame during the final years of his life, allowing him to play with his live collaborator Johanz Westerman (Thee J Johanz) to thousands of fans at packed club shows and festivals in Europe, the U.S., and India. Among those fans are Australian duo Glass Beams (who covered “Raga Bhairav”), German electronic duo Modeselektor, and Thom Yorke, who ranked “Raga Lalit” as one of his “6 Tracks You Need to Hear” via the BBC.

Most importantly, however, Ten Ragas resonated deeply with South Asian artists, who saw electronic music from India being recognized with new reverence. In the words of Vish Matre (of the UK DJ duo Dar Disku), “This record will be remembered for, not being the predecessor to another genre, but being a precursor to a lot of new music from the diaspora that relied on it as inspiration.”

Light in the Attic is honored to announce the long-awaited reissue of Synthesizing: Ten Ragas to a Disco Beat, the revolutionary 1982 album from composer and musician Charanjit Singh. Pairing Indian classical ragas with then-state-of-the-art Roland synthesizers and drum machines, Singh created an electronic masterpiece that was far ahead of its time.

Recording live at Mumbai’s HMV studios, Singh married the past to the future—blending the ancient Indian tradition of ragas (a melodic framework, similar to a scale, from which musicians can improvise or compose) with pulsating, electronic dance beats. Released without fanfare, it faded into obscurity and Singh retired from recording to focus on private concerts, but that’s where the story begins…

Released in cooperation with Singh’s estate, Synthesizing: Ten Ragas to a Disco Beat arrives on June 26th. The 10-track album was remastered by Johanz Westerman at Ballyhoo Studio Mastering and stretched across 2-LPs for the highest quality listening experience. The vinyl was pressed at Optimal Media and housed in a gatefold jacket that replicates the original artwork.

An accompanying 16-page LP booklet features previously-unreleased photos and two new essays: the first from Arshia Fatima Haq and Jeremy Loudenback of Discostan—a multimedia collective and record label focusing on music from South West Asia and North Africa—while the other comes from filmmaker and writer Rana Ghose of event and film production entity REProduce Artists, who managed Singh in his final years and documented his triumphant return to the stage. Additionally, fans can find a limited-edition pressing of Synthesizing: Ten Ragas to a Disco Beat on ‘Pearlescent Transcendent Future’ Color Wax, while the album will also be reissued on CD with a 32-page booklet containing all of the above.

More on Synthesizing: Ten Ragas to a Disco Beat:

Indian multi-instrumentalist and composer Charanjit Singh (1940–2015) never intended to be an electronic dance music pioneer when he recorded 1982’s Synthesizing: Ten Ragas to a Disco Beat. Yet three decades later, his inventive use of state-of-the-art synthesizers and drum machines would prompt some to crown him the “Godfather of Acid House.” The real story, however, runs much deeper.

A native of Mumbai, Singh spent much of his career as a Bollywood session musician, collaborating with renowned composers like RD Burman and Shankar–Jaikishan, and appearing on some of the most iconic Hindi film hits of the ‘60s and ‘70s. Outside of the film industry, Singh recorded several of his own albums and toured the world alongside the era’s biggest stars—an opportunity which allowed him to collect new instruments, including synthesizers and other electronic devices. As psychedelia and disco wove their way into Bollywood scores, Singh was at the forefront, integrating a host of electronic textures into his work (his hypnotic Transicord introduction on “Dum Maro Dum” from 1971’s Hare Rama Hare Krishna is among his most recognizable performances).

By the turn of the ‘80s, however, Singh was disenchanted by the creative limitations of session work and embarked on a solo career. Not long after, on tour in Singapore, he discovered three Roland devices that had just hit the market: the TR-808 drum machine (released 1980), the TB-303 bass synthesizer (released 1981), and the Jupiter 8 synthesizer (released 1981). While this trio would fuel early electronic dance music in the coming years, Singh was among the first known artists to pair them on record when he was inspired to create his next album, Synthesizing: Ten Ragas to a Disco Beat.

Using only the three devices and recording live at Mumbai’s HMV studios, Singh married the past to the future—blending the ancient Indian tradition of ragas (a melodic framework, similar to a scale, from which musicians can improvise or compose) with pulsating, electronic dance beats, while programming the TB-303 to follow classical Hindustani scales. From the hypnotic drones of “Raga Bhairavi” to the uplifting jams of “Raga Bairagi” the album proved perhaps to be a bit too visionary for its time. Released without fanfare, it faded into obscurity and Singh retired from recording to focus on private concerts.

Two decades later, Dutch DJ and record collector Edo Bouman was in New Delhi when he came across an old copy of Ten Ragas. Bouman was astounded by what he heard—electronic music that had all the hallmarks of acid house, recorded five years before Chicago DJs coined the term. Bouman spent the next few years tracking down Singh and, in 2010, reissued the album on his label, Bombay Connection.

Soon, Ten Ragas became a viral sensation, sparking disbelief and debates about the origins of acid house. But, as Haq and Loudenback explain, those in the conversation “Had little frame of reference for [Singh’s] music outside of the parameters of western club music.” Viewed through the lens of the Hindi film industry, they argue, the album’s through-line comes into focus. In the ‘60s, when Western artists were looking to India for inspiration, Bollywood was “A laboratory for discovering sounds, and for harnessing every new technology that could be found or repurposed…. Singh’s album is more fittingly placed within the framework of the expansion of Bollywood’s experiments in disco, rather than that of acid house.”

“Perhaps this is yet another example of how a public engages with those who are ahead of their time,” adds Rana Ghose. “This record is a direct consequence of a centuries-old classical music form, rendered through the lens of a visionary who used the vanguard of technology at the time to recast it, resulting in an artefact that, almost 40 years later, is finding entirely new audiences in an era marked by a changing and uncertain global landscape of soft-power assertion. Considering this reassessment is as exciting as it is fascinating. Much like this record.”

While Ten Ragas sparked plenty of conversations within the electronic music community, it also gave a bemused Singh a surge of newfound fame during the final years of his life, allowing him to play with his live collaborator Johanz Westerman (Thee J Johanz) to thousands of fans at packed club shows and festivals in Europe, the U.S., and India. Among those fans are Australian duo Glass Beams (who covered “Raga Bhairav”), German electronic duo Modeselektor, and Thom Yorke, who ranked “Raga Lalit” as one of his “6 Tracks You Need to Hear” via the BBC.

Most importantly, however, Ten Ragas resonated deeply with South Asian artists, who saw electronic music from India being recognized with new reverence. In the words of Vish Matre (of the UK DJ duo Dar Disku), “This record will be remembered for, not being the predecessor to another genre, but being a precursor to a lot of new music from the diaspora that relied on it as inspiration.”

Light in the Attic is honored to announce the long-awaited reissue of Synthesizing: Ten Ragas to a Disco Beat, the revolutionary 1982 album from composer and musician Charanjit Singh. Pairing Indian classical ragas with then-state-of-the-art Roland synthesizers and drum machines, Singh created an electronic masterpiece that was far ahead of its time.

Recording live at Mumbai’s HMV studios, Singh married the past to the future—blending the ancient Indian tradition of ragas (a melodic framework, similar to a scale, from which musicians can improvise or compose) with pulsating, electronic dance beats. Released without fanfare, it faded into obscurity and Singh retired from recording to focus on private concerts, but that’s where the story begins…

Released in cooperation with Singh’s estate, Synthesizing: Ten Ragas to a Disco Beat arrives on June 26th. The 10-track album was remastered by Johanz Westerman at Ballyhoo Studio Mastering and stretched across 2-LPs for the highest quality listening experience. The vinyl was pressed at Optimal Media and housed in a gatefold jacket that replicates the original artwork.

An accompanying 16-page LP booklet features previously-unreleased photos and two new essays: the first from Arshia Fatima Haq and Jeremy Loudenback of Discostan—a multimedia collective and record label focusing on music from South West Asia and North Africa—while the other comes from filmmaker and writer Rana Ghose of event and film production entity REProduce Artists, who managed Singh in his final years and documented his triumphant return to the stage. Additionally, fans can find a limited-edition pressing of Synthesizing: Ten Ragas to a Disco Beat on ‘Pearlescent Transcendent Future’ Color Wax, while the album will also be reissued on CD with a 32-page booklet containing all of the above.

More on Synthesizing: Ten Ragas to a Disco Beat:

Indian multi-instrumentalist and composer Charanjit Singh (1940–2015) never intended to be an electronic dance music pioneer when he recorded 1982’s Synthesizing: Ten Ragas to a Disco Beat. Yet three decades later, his inventive use of state-of-the-art synthesizers and drum machines would prompt some to crown him the “Godfather of Acid House.” The real story, however, runs much deeper.

A native of Mumbai, Singh spent much of his career as a Bollywood session musician, collaborating with renowned composers like RD Burman and Shankar–Jaikishan, and appearing on some of the most iconic Hindi film hits of the ‘60s and ‘70s. Outside of the film industry, Singh recorded several of his own albums and toured the world alongside the era’s biggest stars—an opportunity which allowed him to collect new instruments, including synthesizers and other electronic devices. As psychedelia and disco wove their way into Bollywood scores, Singh was at the forefront, integrating a host of electronic textures into his work (his hypnotic Transicord introduction on “Dum Maro Dum” from 1971’s Hare Rama Hare Krishna is among his most recognizable performances).

By the turn of the ‘80s, however, Singh was disenchanted by the creative limitations of session work and embarked on a solo career. Not long after, on tour in Singapore, he discovered three Roland devices that had just hit the market: the TR-808 drum machine (released 1980), the TB-303 bass synthesizer (released 1981), and the Jupiter 8 synthesizer (released 1981). While this trio would fuel early electronic dance music in the coming years, Singh was among the first known artists to pair them on record when he was inspired to create his next album, Synthesizing: Ten Ragas to a Disco Beat.

Using only the three devices and recording live at Mumbai’s HMV studios, Singh married the past to the future—blending the ancient Indian tradition of ragas (a melodic framework, similar to a scale, from which musicians can improvise or compose) with pulsating, electronic dance beats, while programming the TB-303 to follow classical Hindustani scales. From the hypnotic drones of “Raga Bhairavi” to the uplifting jams of “Raga Bairagi” the album proved perhaps to be a bit too visionary for its time. Released without fanfare, it faded into obscurity and Singh retired from recording to focus on private concerts.

Two decades later, Dutch DJ and record collector Edo Bouman was in New Delhi when he came across an old copy of Ten Ragas. Bouman was astounded by what he heard—electronic music that had all the hallmarks of acid house, recorded five years before Chicago DJs coined the term. Bouman spent the next few years tracking down Singh and, in 2010, reissued the album on his label, Bombay Connection.

Soon, Ten Ragas became a viral sensation, sparking disbelief and debates about the origins of acid house. But, as Haq and Loudenback explain, those in the conversation “Had little frame of reference for [Singh’s] music outside of the parameters of western club music.” Viewed through the lens of the Hindi film industry, they argue, the album’s through-line comes into focus. In the ‘60s, when Western artists were looking to India for inspiration, Bollywood was “A laboratory for discovering sounds, and for harnessing every new technology that could be found or repurposed…. Singh’s album is more fittingly placed within the framework of the expansion of Bollywood’s experiments in disco, rather than that of acid house.”

“Perhaps this is yet another example of how a public engages with those who are ahead of their time,” adds Rana Ghose. “This record is a direct consequence of a centuries-old classical music form, rendered through the lens of a visionary who used the vanguard of technology at the time to recast it, resulting in an artefact that, almost 40 years later, is finding entirely new audiences in an era marked by a changing and uncertain global landscape of soft-power assertion. Considering this reassessment is as exciting as it is fascinating. Much like this record.”

While Ten Ragas sparked plenty of conversations within the electronic music community, it also gave a bemused Singh a surge of newfound fame during the final years of his life, allowing him to play with his live collaborator Johanz Westerman (Thee J Johanz) to thousands of fans at packed club shows and festivals in Europe, the U.S., and India. Among those fans are Australian duo Glass Beams (who covered “Raga Bhairav”), German electronic duo Modeselektor, and Thom Yorke, who ranked “Raga Lalit” as one of his “6 Tracks You Need to Hear” via the BBC.

Most importantly, however, Ten Ragas resonated deeply with South Asian artists, who saw electronic music from India being recognized with new reverence. In the words of Vish Matre (of the UK DJ duo Dar Disku), “This record will be remembered for, not being the predecessor to another genre, but being a precursor to a lot of new music from the diaspora that relied on it as inspiration.”

Barely known outside of his home country during his lifetime, the late Japanese ambient music pioneer Hiroshi Yoshimura has seen his global stature rise steadily in the past few years. The 2017 reissue of his lauded debut, Music For Nine Post Cards, along with a slow building cult internet following has helped ignite a renaissance in his acclaimed body of work, much of which has never been released outside of Japan. Known for his sound design and environmental music, Yoshimura worked on a number of commissions following the 1982 release of Music For Nine Post Cards, including works for museums, galleries, public spaces, TV shows, video art, fashion shows, and even a cosmetics company. Originally released in 1986, GREEN is one of Hiroshi Yoshimura’s most well-loved recordings and a favorite of the artist himself. Recorded over the winter of 1985-86 at Yoshimura’s home studio, the compositions unfold at an unhurried pace, a stark contrast to the busy city life of Tokyo. As Yoshimura explained in the original liner notes, the album title in the context of this body of work is not meant to be seen as a color, but is rather used to convey “the comfortable scenery of the natural cycle known as GREEN”—which perfectly encapsulates the soothing and warm sounds contained on the album, although it was created utilizing Yamaha FM synthesizers, known for their crisp digital tones. This edition marks the first reissue of the highly sought-after and impossible to find album. It features the original mix preferred by Yoshimura himself, previously available only on the initial Japanese vinyl release (a limited edition remixed version of the album, with added sound effects, was released on CD in the US). Additionally, this release is the first in our ongoing series, WATER COPY, focusing on the works of Hiroshi Yoshimura.

Adrian Sherwood teams up with Speakers Corner Quartet and African Head Charge for new four track EP Barbican Heights, a project which traverses the musical worlds of dub, jazz, electronic, afrobeat, and beyond. Barbican Heights is born out of a spirit of collaboration, bringing together one of the UKs most innovative and influential producers, Adrian Sherwood; one of the longest serving and most iconic members of the On-U Sound family, African Head Charge; together with Speakers Corner Quartet, a rising force whose influence is integral to the sound of the contemporary UK jazz scene. Recorded during a singular day of creative spontaneity at Wicker Studios, the three acts, alongside Alex White of Primal Scream and Fat White Family, combined for semi-improvised reworkings of classic African Head Charge composition “Wicked Kingdom Of This Earth”, Speakers Corner Quartet’s own “Topanga”, as well as two new tracks constructed from scratch during the session

Natalie Wildgoose's new work, Rural Hours, recorded deep in the Yorkshire Dales with Chris Brain and Owen Spafford. In a space without heating or electricity, piano and folk ensemble blend with the sounds of the fire and wind, quietly depicting the land's memories and losses.

It's time for the 5th album of the Long Trax series, featuring six new tracks produced in an A/B style, cut onto 3 vinyl records and compiled onto a single CD. Staying all-hardware, with drooping synth pads and Rhodes piano, rhythm machines, space echo and spring reverb, and featuring 3 new narrators here to put us in our place. Stay independent, and anti-AI. All music by Will Long Artwork by Tsuji Aiko Mastered by Stephan Mathieu A Long Trax Productions release

It's time for the 5th album of the Long Trax series, featuring six new tracks produced in an A/B style, cut onto 3 vinyl records and compiled onto a single CD. Staying all-hardware, with drooping synth pads and Rhodes piano, rhythm machines, space echo and spring reverb, and featuring 3 new narrators here to put us in our place. Stay independent, and anti-AI. All music by Will Long Artwork by Tsuji Aiko Mastered by Stephan Mathieu A Long Trax Productions release

AFTER DARK is the latest project from French producer Onra, conceived as the soundtrack to an imagined late-night film. Entirely self-produced, the album continues the sophisticated R&B and Modern Soul direction explored since his 2010 classic Long Distance and 2018's accomplished Nobody Has To Know, focusing on late 80's / early 90's inspirations. Structured like a film unfolding between dusk and dawn, After Dark moves through themes of intimacy, urban solitude, distance, and quiet indulgence. Analog synthesizers, tight drum programming, understated basslines, and selective live saxophone textures shape a cohesive body of work that favors mood and narrative over excess. The sequencing reinforces its cinematic intent, opening and closing with intro and outro pieces that frame the record as a cohesive night-time narrative album. Over 20 years since emerging in the mid-2000s from the beat scene, Onra has steadily evolved from sample-based Hip-Hop production toward polished, song-oriented projects rooted in contemporary R&B and Funk. With After Dark, he delivers one of his most focused and refined statements to date: a mature, immersive album built for late hours, and attentive listening. The first taster of the album to drop is the slick nostalgic ’Lap of Luxury’, sets the tone for the project, a blend between Instrumental Hip-Hop, late 80s R&B and 90''s Smooth Jazz.

The album is built on a singular concept: every sound is produced from a single cello. While effects pedals are used to extend and amplify the instrument, no other instruments or field recordings are involved. What remains is the act of performance itself—an ongoing exchange between body and instrument, where sound emerges as voice. Yet the resulting sonic landscape resists any sense of limitation. Layered textures of percussive gestures, micro-noise generated by a self-made bow, and sustained drones unfold into a complex, immersive environment.

The album is built on a singular concept: every sound is produced from a single cello. While effects pedals are used to extend and amplify the instrument, no other instruments or field recordings are involved. What remains is the act of performance itself—an ongoing exchange between body and instrument, where sound emerges as voice. Yet the resulting sonic landscape resists any sense of limitation. Layered textures of percussive gestures, micro-noise generated by a self-made bow, and sustained drones unfold into a complex, immersive environment.

After a successful run of early EPs and his debut double LP You!, Producer and Singer-Sing Writer Alek Lee returns to Antinote with his new album Like a Flower — an 8-track journey (plus 3 digital bonus dubs) that feels like open-heart surgery. With raw vulnerability, Lee exposes his deepest fears, pain, and inspirations, singing straight from the gut, but also sending words of inspiration and hope. From dub-infused vibes like the opening track Alright featuring My Lord, to grungy ‘90s trip-hop stylings on Compensation and the title track Like a Flower, the album showcases Alek’s wide emotional and sonic range. He shifts seamlessly into smoky, Sade-esque moods on tracks like Change, Let the Sun Just Shine, and Hold On — intimate ballads exploring heartbreak and existential reflection. With his signature blend of melodica, live percussion, guitars, vocal choirs, and lush '80s synths, Alek Lee locks you into his unique sonic universe. His brutally honest, yet deceptively simple lyrics are dressed as balearic dub-pop bangers.

‘Yarrow’ is a bouquet of new music by Portland, Oregon-based musician and field recordist Patricia Wolf, marking the label’s ninth release and the third of Season Two. These works are her reflections on the life cycle of plants and their dynamic ecological relationships. Yarrow (Achillea millefolium, Asteraceae) is a flowering plant with a broad geographic range that includes North America and Eurasia. Yarrow connects Portland and London, where these songs were created and produced. Wolf wrote and recorded the music in Portland, Oregon, and it was pressed in the UK. Wolf created the album in response to her artist residency at the Rocky Mountain Biological Laboratory in Gothic, Colorado, as part of the Art-Science Exchange Project in the summer of 2024. She worked closely with ecologists Dr Paul CaraDonna, Dr Amy Iler, Dr Jane Ogilvie, Dr Nickolas Waser, Dr Mary Price, and Dr Will Petry, spending weeks engaged in long-term research on plants, pollinators, and their interactions as the climate changes. Each track on Yarrow looks at a different part of a plant’s life. The songs touch on the conditions that plants need to grow, the quiet life of roots, how flowers attract pollinators, and the strength of seeds. The first single, 'Inflorescence', the scientific name for the floral display that a plant makes in an effort to reproduce, captures this event in song. The music slowly builds layers, reflecting the album’s overall feel. The album ends with the majestic Boards of Canada-esque 'Adapted for Extreme Conditions', and the entire b-side features Patricia’s field recordings from around Gothic, Colorado, and a guided meditation by Dr Paul CaraDonna, whose research inspired the project, inviting listeners to tune into the sounds and activities of the ecosystem.

If – in some parallel universe (or perhaps a not-so-distant-future version of the one we’re already sentenced to living in) – the evil overloads of artificial intelligence were actually successful in their attempts to create convincingly enjoyable “original music,” more specifically tasked with wholly encapsulating my own personal tastes by data-chugging some cocktail of – oh, I don’t know – the posters on my wall, the records in my “most listened to” pile, the mixtapes I made for others, intensive physical scans of my auditory cortex, amygdala, hippocampus, heart strings, whatever else they have splayed out on their autopsy table with the intention of generating one all-encompassing “perfect band” based on the fruitful sum of their findings – that band, for me, would be (or would at least sound exactly like) the Tara Clerkin Trio. It is, quite simply, without exception, the music I wish to hear. Formed in Bristol UK (where none of them are from yet all of whom are deeply engrained) in 2020, the Tara Clerkin Trio – as it somewhat democratically exists today, despite the singular authority implied by its name – consists of the titular Tara Clerkin, her partner Sunny Joe Paradisos, and Sunny’s brother, Patrick Benjamin. I’ll confess, I don’t know what their respective roles are within the operation and there’s only a very small part of me that cares to learn, as one of my favorite qualities in an objective listening experience is the mystery of who is playing what, which sounds are “authentic” versus synthesized, which chunks are performed “live” in a room together versus meticulously Frankenstein’ed from measure to measure, or how exactly the overall sound is so (seemingly) effortlessly achieved. Though, I suspect, if and when I do witness a live performance by this band at any point, my enjoyment of the music will not be lost in my better understanding of it. With two extraordinary mini-albums – In Spring (2021) and On The Turning Ground (2023) – making a splash on London’s formidable World of Echo label in wake of their self-titled 2020 debut on Laura Lies In, this upcoming Somewhere Good LP is, in many ways, the band’s most realised work. In running their usual gauntlet of idiosyncratic (*an overused adjective for which here there is regrettably no sufficient alternative) approaches, Clerkin & co. color in and outside of compositional lines over the course of 40+ celebratory minutes - never wallowing, despite inherently somber subject matters of self-defeat, disease, displacement, restlessness, gentrification - allowing their arrangements and improvisations ample space and time to situate, stretch out, breathe, cross-pollinate, and ultimately take deeper hold on the listener’s imagination – all while somehow sounding more like themselves than ever before. Of course, there are traceable influences herein, if one felt that such comparisons were necessary to properly examine and enjoy this music (they aren’t)… Being the big dumb American from the small boring town that I am, cornfed on ‘90s alternative radio with the enchantingly exotic sounds of Maxinquaye and Mezzanine emanating from my chunky tube television, I can’t help but to make a blatantly obvious reference to a “Bristol sound”, ie the whole trip-hop trip, the pastoral crooning over the suggestive urban grime of cracked electro/piano treatments, the digitally-yet-primitively reconstructed James Bond soundtrack string-beats, etc.. But the Tara Clerkin Trio is so infinitely much more than that. There are elements of avant-pop, modern classical, kraut-folk, audio verité, dare I say indie rock (and not of the beer guzzling, masturbatory fuzz-flex variety but perhaps more like a Trish Keenan-fronted Faust, Adrian Sherwood at the mixing desk of If You’re Feeling Sinister, or – in expanding on our alternate reality – a world in which High Llamas cut a full-length for Warp Records with Andrew Weatherall on coffee duty). The hazy, unmappable skyline-mirage of droning harmonium, upright bass, peculiarly accentuated wind instruments, acoustic guitar, hushed yet literally mighty keys combine to hypnotizing effect. The band may make underlying nods to jazz, sure, but it’s not appropriation, it’s that they have the actual chops to build it out. Beneath the janky samples and oddball percussive embellishment lies actually great drumming. Beyond the manipulated vocal witchery and woefully reflective plain-spoke moments are Tara’s subtly inspired melodies, sung with what might honestly be the glue to the whole crazy equation. A calming consistency throughout the otherwise unpredictably dynamic, boldly intuitive, uniquely British exploration of this (their own) universe in song. – Ryan Davis (Chicago, February 2026)

Deep, deep stuff on the debut album from K Wata. Long and dubwise, dark and detailed. With bass that fills and warms a space. All noir. Cast shadows against the wall. Weight being shifted and distributed with singularly delicate poise, like a knife being balanced on the end of a finger. There’s a silvery, loose flow state to this record that maybe reveals the way some tracks were first written to be deployed live at Sustain Release 2025. Then taken back to the lab and tightened up further into the album’s final form, with beautiful mixing work between Kenzo and Chris Botta. With that in mind, Give U Space unfolds slowly and fluidly, giving the listener the chance to access and open up to the deepness of the sound, being led down a path. It rolls and builds momentum and groove, and ratchets tensions up toward peaks of energy "Whisper Dub" and "There Will Be Love". The tunes feel architectural. Rooms to be in and settle into. Simultaneously stripped back and then etched with neat little details and characterful or atmospheric sound choices. The silhouette of slo mo Memphis and Houston trap is a leading influence, especially with the drums. Mixing with bits of click’n’cut sampling and psychoacoustic tricks, the penumbra of dub techno and drowsier dubstep, and SG’s soft vocals rising in the ether. The presence and inspiration of the sound system is obvious in all of Kenzo’s work, the music can rattle when spun up louder or blended into the club. But K Wata’s uniqueness and signature comes from an often equally inward facing quality, touched by distance and longing and a sort of chiaroscuro incandescent light set up.

Re-up of vital 1977-’78 dubs by the wee legend, cooked up long, strong and odd at his fabled Black Ark Studio for DJ play and dancers’ satisfaction. ‘Disco Devil Vol.2’ homes in on 1977-78 on six tracks that still do the business, unless you’re prepared to shell out for spenny OGs. It’s bookended by two showcases of the wee radge packet really getting into it, as with the 9 min disco jam of Hugo Blackwood & Dr Alimantado’s ‘reggae Music’, diffusing the vox and melodica to a haze on clean-heeled step, and again working the chants and nyabinghi of Sangie Davis’ ‘Words’ to a mesmerising sway, into biblical roots business by Watty Burnett. But maybe best of all is the haunting mix of Devon Irons’ ‘Vampire’ with Perry’s deeply unusual, psychoacoustic tekkerz in full effect.

The Story Behind "Rhythm Matter” The origins of Rhyth Matter trace back to 2011, shortly after the Great East Japan Earthquake. While visiting Yony in New York, the artist Marter recorded a series of demos. When Marihito heard these recordings, he immediately saw the potential for a full-length project and envisioned a concept centered on "Live Dub" with a distinct Basic Channel influence. Over several years, the project evolved through a rigorous analog process. The multi-track recordings—originally captured on cassette tape, 4-track, 8-track, and reel-to-reel—were eventually digitized into Pro Tools to be meticulously shaped into the final album. At the time, Marihito was releasing an album through Bill Laswell’s label. When he shared the works-in-progress with Bill and asked if M.O.D. (Laswell's label) would be interested, the answer was a definitive yes. Initially, the album was set for release via a licensing deal with M.O.D. However, complications during the vinyl production phase at M.O.D. led to the difficult decision to scrap the record release. Refusing to let the vision of a physical LP die, Marihito took the project back to his own label, Personal Affair, finally releasing it on both vinyl and digital formats as it was always meant to be heard.

After recent forays into darkly psychedelic drone music, the Mexican American producer returns to the dancefloor with an album that fuses techno and guaracha into a throbbing polyrhythmic juggernaut.

Nuevos Ríos is the new project born from the meeting of Colombia’s iconic Canalón de Timbiquí, led by the unmistakable voice of Nidia Góngora (Quantic, Ondatrópica, The Bongo Hop), and the Toulouse-based trio Reco Reco, known for their explorations of trance-driven rhythms from South America and beyond. Rooted on the banks of the Timbiquí River in Colombia’s Pacific region, the collaboration fuses ancestral Afro-Colombian traditions with electronic and amplified sounds. The result is a powerful and hypnotic journey where marimba, percussion, bass, and voices intertwine with keyboards, guitar, and drums. Between ritual intensity and dancefloor energy, the music bridges continents—echoing West Africa, the Caribbean, and the sweaty clubs of Europe—while always returning to the river as a vital source of life and inspiration. Released on ZZK Records (home to Son Rompe Pera, Nicola Cruz, La Yegros, among others), this debut album is both a manifesto and a celebration: a living testimony of Colombia’s Afro-descendant heritage, reinvented through collective creativity. Nuevos Ríos is not just fusion—it is a new current, a sonic ritual where traditions flow into modernity.