PRE-ORDERS

Originally created in 1987 as an image album for a luxury Sanyo air-conditioner, Get at the Wave stands as one of the most surprising and enduring works of Japanese ambient music. Recorded using synthesizers and natural field recordings, the album was designed to transport listeners far from the heat and noise of urban life — into open water, gentle wind, and unhurried space. Kokubo's mastery as an acoustic environment designer is present in every texture, blending electronic composition with an almost physical sense of atmosphere and place. Intimate, expansive, and quietly radical, Get at the Wave is an essential document of kankyō ongaku — and one that sounds more necessary than ever.

Alice Clark's highly sought-after Soul Jazz classic produced by Mainstream Records' Bob Shad in 1972. Featuring such classics as "Don't You Care" and "Never Did I Stop Loving You" and remastered from the original tapes, this release is the first official reissue of Alice Clark’s original album for decades, a long overdue release of one of the best Soul albums ever recorded.

electronic music. Jules Négrier's An Iris Crackled Like Eyelids unfolds in two movements, moving from raw emotion and shifting harmonics into tangled rhythms and strange electronic sounds. Maria W Horn's All Solids Melt Into Aether pits computer-generated tones against an organ pushed to its limits, creating a compelling struggle between precision and instability. Both works find beauty in tension, with sounds constantly changing, collapsing and finding unexpected forms. Artwork comes courtesy of Stephen O'Malley.

Amina Hocine and Espen Sommer Eide contribute two extended compositions created for the GRM acousmonium. Hocine’s ‘X3’ combines sine waves, field recordings and her self-built foghorn organ in a slowly evolving piece inspired by Danish mystic Martinus Thomsen. Eide’s ‘Until The Fish Eyes Shine’ draws on his work as Phonophani, bringing elements of late-1990s Tromsø ambient techno into an experimental electronic setting. Both pieces explore the relationship between sound, space and time, moving from delicate electronic details to expansive, otherworldly passages. Artwork by Stephen O’Malley.

Eliza explores love, desire and personal reflection on The Darkening Green, bringing together laid-back grooves and soulful vocals. Drawing inspiration from D’Angelo, Radiohead, Janet Jackson, Prince and The Smashing Pumpkins, the album connects the sounds of her teenage years with her more recent musical direction. Fifteen years after her platinum-selling debut, Eliza sounds increasingly comfortable following her own instincts, even writing what she considers her first proper love song. A compelling mix of neo-soul, R&B and intimate, understated songwriting.

Years of playing together underpin Written in the Universe, a collaboration between flutist and composer Nicole Mitchell and percussionist Joe Westerlund. Recorded over two days near Chapel Hill, the album captures their instinctive interplay with minimal editing. Mitchell’s expressive flute and live electronics move through echoing, spacious passages as Westerlund builds intricate polyrhythms beneath them. Drawing on their shared experience across jazz, experimental music and electroacoustic improvisation, the pair favour spontaneity and discovery, creating music in which composition and intuition become almost impossible to separate.

The Trilogy Tapes back with quietly unhinged classical chamber musics from guess-again specialists Cop Tears, sort of Graham Lambkin does early music vibes, 10/10... Attending to an emergent TTT touchstone of recent times - as in Jack Sheen’s works, thru aspects of Will Bankhead’s What We and Guild mixes - Cop Tears lean into interests in quieter chamber music laced with threads of lo-fi, folk and jazz that tie ‘The Rules of the Game’ to the label’s key corpus. The 13 pieces follow five years from the trio’s ‘Theodor Adorno: Piano Works’, and five again from their debut ‘Thirteen Harmonies (1986) Selections From John Cage’s ‘Apartment House 1776’’, with enchanting slants on cherry picked pieces that endure, some over 600 years later, on the strength of their timeless arrangements. In key with the label's thing, everything is swaddled in ferric gauze - possibly posited on auld tape recorders - and holds a peculiar, homely, discordant charm (including fits of giggles and room noise) for the duration, which never tests the patience. The C.14th, polyphonic chanson Ars Nova masterpiece of Guillaume de Machaut ‘Puis qu’en oubli’ is the set’s oldest, along with ‘Quam pulchra est’, a mid-C.15th work for recorder trio by John Dunstable, placed on the same page with the more angular chamber jazz modernism of ‘Selections from Piano Sonata after a Conversation with Jonathan Gean (2016)’ and their take on the naïf wooze of ‘Children's Music, No. 1, II: Modern Dance (1973)’ by Valentin Silvestrov. Our percy is the dreamy, creaking baroque elegance of ’S’io men vo (1618)’, but it’s best advised to take it all in one at your leisure...

Following the critically acclaimed Fantômes… Futurs, praised by FIP, France Inter, Radio Nova, ARTE and International jazz press, double bassist and composer Kham Meslien returns with Vévés électriques, a deeply immersive second album where memory, landscape and improvisation merge into a singular sonic journey. Joined by Laurent Bardainne, Roger Raspail, Naïssam Jalal and David Neerman, Meslien expands the intimate language of his double bass with subtle loops and organic textures, weaving together echoes of Iceland, the Caribbean and imagined territories. Blending spiritual jazz, contemporary classical influences and ambient soundscapes, Vévés électriques is an invitation to drift beyond geography and into a profoundly personal exploration of emotion, identity and freedom. Set upon an oil-smooth sea, an immense range of directions opens up before Kham Meslien for “Vévés Électriques”, his second album after “Fantômes… Futurs.” With only his double bass and bow as vessel and sextant, a distant journey nevertheless begins to take shape. Vibrations and the striking of strings against wood quickly trace lines and winding paths across the surface of the water—so many routes to follow before leaving them behind, allowing the outward journey to become an inward voyage as well. After an improvisation intended to shed light on the course ahead, isolated lands came into view: the shores of Iceland, the lands of the far north, places cut off from the rest of the world by vast expanses of water. Islands battered by a harsh climate that can only be endured by drawing warmth from deep within oneself. Then the Caribbean arc appeared. The archipelago, a setting for joyful and unsettling experiences, takes Kham back to a childhood from which the passing years have carried him away. Rather than following the conventional channel of the music of these places, the West Indies emerge through memories whose colors are still vivid. Through the morning mist, Roger Raspail’s percussion locks into the same frequencies of the groove. Double bass and struck skins then become companions on a road that intersects with Laurent Bardainne’s saxophone. Carrying a dreamlike message, David Neerman’s vibraphone also joins the narrative to write a few chapters of its own, while others are enchanted by the flute and voice of Naïssam Jalal, or struck by the metaphorical rhymes of rapper Rocé. On the surface, through the themes along which the pieces navigate, landscapes slowly reveal themselves and change shape as the shore draws nearer or recedes. Straying from the marked course and allowing oneself to drift, breaking free from pure acoustic sound by adding loops first played live and then sampled, allows Kham to explore the depths. The depths of the ocean, as well as those of his soul. To enter a world of improvisation that reveals itself even as he explores it. Examined up close, feelings become shells to pick up and hold to one’s ear, so that they can be felt intensely until they take material form. This sea, which had appeared peaceful, became the stage for a succession of stories and images, which then accumulated to give birth to a larger narrative.

After his legendary 1970s recordings became foundational totems of modern reggae, influential musician and producer Augustus Pablo continued to unearth new expressions of his singular sound throughout the two decades that followed. Whether elevating his dub mastery with digital techniques or expanding the instrumental palette on his bass-heavy melodica grooves, the pioneering Jamaican artist remained an innovator throughout his limited time in this world. Released just a few weeks before his untimely passing in 1999, Valley Of Jehosaphat was the final album from Augustus Pablo and an enduring statement from an artist who always remained true to his vision. With production values far exceeding the grainy classics of his early career, the collection's spellbinding instrumental arrangements resound with clarity, capturing the peaceful essence of Pablo's creativity. Now, Valley Of Jehosaphat is receiving a full vinyl release for the first time ever. Courtesy of Nature Sounds and the relaunched Rockers International, this 2LP vinyl edition also includes five bonus tracks highlighting rare 1990s Augustus Pablo material.

"Following two remix EPs featuring reworks by Mad Professor, Peaking Lights and Danilo Plessow, Sensible Soccers return with Camminando di Notte, an album exploring the space where instrumental electronics, organic rhythms and dub-inflected textures converge into a sound of warm, hypnotic and subtly disorienting beauty. The album opens with “Chuva Morna” and "Balsinha Mentirosa", setting the tone with softly played guitars, hazy electronics and rarefied percussion. Rather than moving towards a conventional song structure, the tracks unfold through texture and repetition, establishing the dreamlike atmosphere that runs throughout the record. Together with “Rosa Mota” (previously remixed by Peaking Lights), these opening tracks form the album's most spacious and introspective passage. Guitars, synths and electronic details drift in and out of focus, creating a sound that feels simultaneously tactile and distant. The mood shifts with “Berlaitada” and “Baile de Saia Travada”, where dub production techniques meet a distinctly Mediterranean and Atlantic sense of space. Both tracks were previously reworked by Mad Professor, but here their original forms reveal a more subtle relationship between bass, rhythm and psychedelia. “Efeito Zandinga” pushes the album further into a kind of Lusitanian hypnagogia, combining an understated electronic pulse with echoes of 1980s arcade production and imaginary library music. Its persistent groove gives the track a quietly propulsive quality, while the arrangement remains deliberately uncluttered. On “Sarava”, previously revisited by Danilo Plessow, the rhythmic element becomes even more pronounced. A rolling psychedelic groove and Afrobeat inflections carry the track forward without sacrificing the album's characteristic sense of restraint. The closing “Trance Discreto” stretches these ideas into an extended instrumental piece, gradually connecting krautrock repetition, minimalism and electronic texture. Across Camminando di Notte, Sensible Soccers operate in the space between listening music and dance music without settling completely into either. Dub, ambient, psychedelic electronics, guitar music and Mediterranean rhythmic traditions are treated less as genres than as materials, assembled into a sound that is spacious, understated and distinctly their own."

Altarpiece H. af K. by Eric Wubbels - composer, pianist, co-director of New York's Wet Ink Ensemble, and 2023 recipient of the Ernst von Siemens Composer Prize. "An entirely acoustic spectral work for three bassoons, the piece draws its name and spirit from Hilma af Klint's Paintings for the Temple. Written for Dana Jessen, Ben Roidl-Ward, and Katherine Young, it exploits the bassoon's capacity for multiphonics and microtonal inflection to build dense, vibrating spectra from the instruments' fundamental acoustic properties alone — no electronics, no processing — occupying a rare space between the spectral worlds of S celsi and Dumitrescu and the sustained physical weight of Sunn O))). Across two long movements, the music moves between stasis and propulsion, arriving at transformation through sustained attention . Recorded at Power Station Studios and produced by Randall Dunn."

Settima Tacca's "A Cup, a Horse and Signs That Point at Wells" via Stroom. " “Everybody wants the map, but the correct one is not coming. This is understood, somewhere below language, by everyone who wants a map anyway. Meanwhile the map dealers, those slick druids and wizards, goddamn sell-outs, will try to seduce you with one. Don't buy from them. Their maps only show burned black fields. What passes instead between the ones still walking is smaller and does not require a subscription. A sign. Nailed to a fencepost, or to an unexpected streetlight surrounded by darkness. Left by someone who was thirsty on this road back when you were only a rumor. It says one thing: water, this way. So leave signs. Just mark the water you found and move along. It is one of the oldest customs - strangers keeping each other alive and hydrated on a long road.”

"4 more additions (under various guises around 1984) to the beautiful world of Jan Van den Broeke in response to the almost 10 year anniversary of `11000 Dreams` "

Colombian experimental composer Lucrecia Dalt scores Rabbit Trap, a folk-horror film starring Dev Patel and Rosy McEwen as musicians who move to the Welsh countryside and stumble upon a mysterious sound while making field recordings. Dalt builds the film’s unsettling world from synths, ambient electronics and ominous drones, matching its tale of music, ancient woodland forces and supernatural disturbance. The soundtrack follows acclaimed releases including ¡Ay! and Dalt’s film work on The Baby and On Becoming a Guinea Fowl, with Rosy McEwen also contributing vocals.

Ghost Funk Orchestra present Yours in The Ranks of Death, their fifth album and most personal set to date. Composer Seth Applebaum pares back the group’s sound, giving their signature rhythms and melodies more room to breathe. Reflective and ethereal, the record brings GFO’s psychedelic soul, jazz, funk and boogaloo influences into tighter focus while retaining the off-kilter character that has defined their work since joining Karma Chief Records in 2018.

Ghost Funk Orchestra present Yours in The Ranks of Death, their fifth album and most personal set to date. Composer Seth Applebaum pares back the group’s sound, giving their signature rhythms and melodies more room to breathe. Reflective and ethereal, the record brings GFO’s psychedelic soul, jazz, funk and boogaloo influences into tighter focus while retaining the off-kilter character that has defined their work since joining Karma Chief Records in 2018.

Rizan Said is a musical ambassador from Syria's analog era. For generations, the Jazeera — a culturally rich borderland of Kurdish, Arab, Syriac, and Armenian communities — has been alive with a distinctive sonic tradition: hand drums and reed flutes, weddings that lasted days, dabke rooted in a long musical tradition before electro and disco arrived to name it, and before orientalism arrived to explain it. Rizan was the boy wonder of that scene, a prodigy on percussion and reed instruments who became the region's master synthesist, at the forefront of the shift as electronic keyboards transformed the music. His instrument is the factory preset, bent past recognition. Across three decades — first on the cassette circuit that ran through Hassake, Deir Ez Zor, and Qamishli, then on stages from Le Guess Who to Iceland Airwaves — Said has programmed Korgs to emulate zurna, saz, tanbura, and buzuq, collapsing an entire traditional ensemble into a single pair of hands moving at lightning speed. It is the sound that carried Omar Souleyman's voice out of the Jazeera and around the world, and for nearly two decades Said was the one building it, night after night, wedding after wedding. Ma Waraa Al-Shaabi is his third solo album, following King of Keyboard (Annihaya, 2015) and Saz Û Dilan (Akuphone, 2019) and his most far-reaching, carrying cosmic, electronic dabke toward its next destination. Recorded at Sundlaugin in May 2026 and produced by Randall Dunn (Sunn O))), Panos Cosmatos) with co-production by Mark Gergis (Syrian Cassette Archives, Sublime Frequencies) and engineering and additional production by Úlfur Hansson, the record takes the heat and velocity of the cassette circuit and opens it out into something wider, stranger, and more alive than ever. Seven pieces, cut across four sides. The record is also a reunion. In 2011, Dunn and Gergis worked closely with Said and Souleyman on The Crystalline Series — the three Omar Souleyman versions of Björk's "Crystalline," "Tesla," and "Mawal," made around Biophilia and built on Said's keyboards. Fifteen years later the same circle reconvenes at Sundlaugin, this time with Said at the center of it. "This album is not a new beginning for me. It's a continuation of a long musical journey," Said says. "When Randall Dunn, Mark Gergis, Charmaine Lee and I began working on this record together, we weren't attempting to recreate what I'd done before. We simply let the music lead us. Recording in Iceland gave us a unique and immersive space to experiment, to listen closely, and allow each piece to reach its natural form."

Colemine Records revives its Brighter Days Ahead series with a glimpse of what the label has lined up for 2027. Where the first collection gathered singles released during 2020, this instalment looks forward, bringing together early mixes and forthcoming music from Finnigan & Wood, Delvon Lamarr Organ Trio, Andrew Gabbard, Salvator Dragatto, Mae Powell, Parlor Greens, The Representatives, Taylor Williams, The Mighty Sol, Say She She, Jr. Thomas & The Volcanos and The Ironsides. A handy snapshot of where the Colemine universe is heading next.

Fionn Regan’s eighth album, Berlin, Berlin, is a stark, intimate and instinctive collection of songs, written and recorded in just five days in East London. "Arriving swiftly after the acclaimed O Avalanche, it embraces minimalism, atmosphere and poetic storytelling, unfolding like a half-remembered film glimpsed in the small hours. From the spectral opening of ‘Hurricane Bruise’ to the nocturnal title track and the warm devotion of closing song ‘Love Blood’, Berlin, Berlin moves through winter light, rain-soaked streets, lost characters and fleeting romance. Raw yet richly cinematic, it feels less constructed than discovered—a record shaped by instinct, intuition and the mysterious pull of the songs themselves. A natural storyteller whose career stretches back to his Mercury Prize shortlisted debut The End of History, Regan has created a record that feels timeless and quietly radical: a lost cult classic waiting to be found."

Recorded over three rain-soaked days in Los Angeles, Evergreen is the first collaboration between trombonist Kalia Vandever and Darkside guitarist Dave Harrington. Their music moves between jazz and electronics, with Vandever’s breathy, soaring brass set against Harrington’s guitars, drum machines and samples. At its heaviest, the record builds into dense walls of guitar and electronic rhythm; elsewhere, the duo strip things back to intimate melodies and close, reflective playing. The result finds both musicians exploring territory beyond their solo work, moving through longing, melancholy and moments of release.

In a limited one time only silver foil edition, here we have Harlan Silverman's follow up to his popular Music For Stillness LP! For this one, he's teamed up with violinist Gregory Allison to bring you an absolutely beautiful peaceful record. Just violin and cello! Pretty! Special.

The final installment in the Cairo Records soul series. A double LP with a gold foil cover and a 24 page 12 X12 full color liner note booklet. It's all classic soul and R&B! It's got rockers and deep ballads (mostly deep ballads). It's a winner....

RÓIS aka Rose Connolly’s eclectic ear for melody developed at an early age; growing up in a family of traditional music players, RÓIS’s formative years were shaped not only by playing beloved Irish folk songs passed down through generations (for a period, she was even part of a wedding and funeral band with her sister) but also by an appreciation for more conventional song structures that came from listening to the likes of the Beatles, Nirvana, and Bowie. Her musical taste would expand to include techno and jazz, with a particular fondness for the work of Cory Henry and Robert Glasper. MO LÉAN – RÓIS’ second album - is a remarkable testament to Connolly’s affecting artistry. Anchoring the album is a desire to recontextualise the celebration of death. Drawing from elements synonymous with the country’s DNA: traditional sean-nós tunes, the Irish language and the omnipresent toll of the Angelus – RÓIS carries them into the modern day with her unique approach to melody and production as well as her electrifying vocal performances. The album explores the Irish pagan tradition of caoineadh, or keening which was an integral part of the mourning process, during which veiled women gathered around the body to sing and howl. Taking place over several days, these wakes became joyously unruly sessions during which music, dance and storytelling emboldened the essence of the deceased as they began a new chapter in their life cycle. However, in the middle of the Twentieth Century, these traditions were suppressed as the Catholic Church decreed a total termination on all public lamentation. Later, the impact of colonisation sealed its fate through the decimation of the Irish language, and wiping out the rural communities that kept the tradition alive. Across MO LÉAN, RÓIS performs a resuscitation of the ardent rituals surrounding death and throws open the doors that tried to hide away such inherent and important ways of Irish life.

Reona is the debut album on Kou Records by REONA — tap dancer, metal percussionist, improviser, and one of the most viscerally original sound artists working anywhere in the world today.Recorded over two days in January 2026 at Studio Dede and produced by Randall Dunn, the album captures REONA's full-body practice in real time: tap shoes and wooden board as rhythmic foundation, layered against metal sheets, chains, stainless steel bowls, plastic bags, loudspeakers, and an arsenal of found and handmade objects accumulated across years of performance. The instruments carry their own histories — a signboard from Okinawa stamped with the warning of unexploded bomb disposal, a transportation company sign from the Jingisukan Pot Museum in Iwamizawa, a festival bell acquired at the start of the COVID era, South Indian meal plates, an oil pot from Taiwan. Stomp, scratch, touch, strike, blow, groan — REONA makes full use of everything from her legs to her mouth, collapsing the boundary between dance and percussion, body and instrument. Her practice sits at a rarely occupied intersection: the Japanese noise tradition of Merzbow and Otomo Yoshihide on one side, the percussive physicality of Milford Graves and Han Bennink on the other — with no precedent for what happens when those two worlds meet in a single body.Track 7, M108, features a guest appearance by Atsuo — drummer of legendary Japanese rock band Boris — in a collision of two distinct but kindred approaches to rhythm and noise.Recorded, mixed, and produced by Randall Dunn. Mastered by Ben Greenberg. Dolby Atmos mixes by Ben Greenberg. Lacquer cut by Paul Gold at Salt Mastering. Front cover artwork Legend of the Snow Spirit by Kazuki Tomokawa; back cover portrait by Allison Brant.