PRE-ORDERS

- Track 1 presents the soundtrack of the 4.1-channel sound installation "Waterforest," unveiled in Kamimura’s solo exhibition at Hakari Contemporary, Kyoto, in the summer of 2025. Woven from sounds of water and ice, together with the natural environments that surround them, the work gathers voices of landscapes recorded across the world. Tracks 2–6 offer a series of unadorned field recordings selected and finely shaped from "Waterforest." - Exhibition Statement Hakari Contemporary is pleased to present "Waterforest," a solo exhibition by Yoichi Kamimura. Kamimura explores ways of perceiving landscapes through vision and hearing, combining environmental field recordings with visual elements such as drawings, text, and light. He creates sound installations, paintings, video works, and performances that have been presented in Japan as well as internationally. This exhibition focuses on soundscapes constructed mainly from field recordings Kamimura makes around the world during his residencies and travels. Key works include sound installations based on his experience of Shiretoko’s drift ice, Icelandic glaciers, the Amazon rainforest, Iguaçu (the world’s largest waterfall), springs in the Swiss Alps, the Lake Biwa Canal that flows beneath Kyoto, and ocean sounds recorded across the globe on nights that full and new moons occur. Alongside a low-frequency soundscape of flowing water that resonates throughout the space, a forest-like installation of images related to water—captured in the course of Kamimura’s journeys—is also presented. The exhibition is inspired by a sea of clouds Kamimura saw from a boat on the Amazon River. Known as the “Flying River,” this natural phenomenon occurs when large amounts of moisture evaporate from the rainforest, rise into the sky, form enormous clouds, and return as rain, symbolizing the Amazon’s ecological cycle. At the same time, this cycle of ‘water’ and ‘forest’ represents a natural process that effortlessly crosses the many boundaries created by human beings. In recent years, Kamimura has traveled through regions experiencing war and conflict, and has witnessed first-hand the escalation of violence and tensions arising from opposing opinions and emotions. Even when people appear to share an ‘anti-war’ stance, differences in individual backgrounds often lead to subtle divisions that are hard to reconcile. As a metaphor for overcoming such disconnection, Kamimura returns to the image of the majestic “Flying River” he saw in the Amazon. By linking the meanings of ‘water’ and ‘forest’ together in the title Waterforest, he seeks to express not opposition or division but connectivity and circulation, through the universal sensory awareness he has cultivated in different natural environments. Joining the exhibition as guest curator is Seiha Kurosawa, who previously co-organized the 2021 exhibition "Floating Between Tropical and Glacial Zones" with Kamimura—an exhibition that linked field research in the Brazilian Amazon and Shiretoko, Hokkaido, to explore new perspectives regarding the environment. Over several years, Kamimura and Kurosawa have continued a dialogue about emerging ecological thought which is also reflected in this exhibition. We hope you will take this opportunity to experience Kamimura’s latest work, which moves fluidly while aspiring towards a more universal and planetary perspective. - Drawing chiefly upon his field recordings, Yoichi Kamimura experiments with methods that draw upon sight, hearing, and other senses to perceive different scenes. His extensive body of work includes sound installations, paintings, video works, sound performances, and audio works - unveiled in venues both within Japan and abroad. With his field recording practice, Kamimura acts as an observer to the amorphous relationship between humankind and nature. Kamimura composes his sound installations by creating highly-immersive soundscapes, many of which draw upon our own biology to create unique sensory experiences. www.yoichikamimura.com

A split LP by two bands with truly singular musical identities: OOIOO, the Japanese experimental rock group led by YoshimiO of BOREDOMS, and Lightning Bolt, the noise‑rock duo from Rhode Island, USA.

in filth your mystery is kingdom / far smile peasant in yellow music Recorded 2019-2024 'the gold metal must be wrung a bore is a well lit mine where everything belongs to me' Dagmar Zuniga makes music that feels both intimate and expansive: songs drift like disrupted signals, carried by harmony, tape hiss, and a strong sense of touch. Her debut solo album in filth your mystery is kingdom / far smile peasant in yellow music — written and recorded in New York, Norway, and Athens, Georgia over a period of five years on her longtime companion, the Tascam 424 — was uploaded to Bandcamp and YouTube in January 2025 through Dagmar’s friends People's Coalition of Tandy. The project quickly garnering over two hundred thousand views and the attention of artists such as Mount Eerie, who invited her to tour with them that summer. This year, what was once a jewel of tapped-in algorithms and message boards will meet the world at large, with in filth arriving digitally on March 4, and physically on April 10, via AD 93.

Senor Coconut's cult classic ‘El Baile Aleman’—one of Atom TM's many aliases—is reissued on vinyl for the first time in 25 years. Born from the half-joking idea that “if you're going to cover Kraftwerk, do it with cha-cha-cha or death metal,” this work reconstructs Kraftwerk's electronic minimalism through tropical imagination. It presents an original sound where cha-cha-cha, mambo, and cumbia intertwine with glitch and breakbeats.

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.

The long-overdue revival of Bim Sherman’s catalog begins here. These essential recordings will become widely available again for the first time in decades, opening a new chapter in the appreciation of one of Jamaica’s most distinctive voices and representing a major moment for reggae and dub aficionados around the world. This reissue series will not only preserve his legacy but will also offer listeners the chance to experience the depth and timeless resonance of Sherman’s work in its full glory.

Bim Sherman—born Jarret Lloyd Vincent, in Westmoreland, Jamaica—holds a unique place in reggae history. Emerging in the mid 70s, his ethereal, haunting vocal style quickly set him apart from his contemporaries. He was soon collaborating with the top producers and musicians of the era, including Adrian Sherwood and the On-U Sound collective, bridging the gap between roots reggae and experimental dub and laying the groundwork for the fusion of Jamaican sounds with the vibrant underground scene in the UK. His career, from Kingston to London to Mumbai, was marked by an artistic daring and spiritual intensity that has earned him enduring respect across generations.

The centerpiece of this reissue campaign is Ghetto Dub from 1988, a record that distills Sherman’s artistry into its most potent form. Originally released in a limited number, the album embodies the stark yet soulful beauty of dub production. With its reverb-drenched drums, cavernous basslines, and echo-laden atmospherics, Ghetto Dub transforms Sherman’s various tracks into spectral presences that drift in and out of the mix. The arrangement and production—minimal yet profoundly textured—captures both the raw urgency of Jamaican street culture and the forward-looking experimentation of the UK dub scene. Each track unfolds like a meditation, balancing grit with grace, density with space. Ghetto Dub is more than an album; it is an immersive soundscape that reaffirms Bim Sherman as one of reggae’s most otherworldly and visionary figures.

To be an attentive listener to the world as it stands is to be saturated with language. Speech resounds through nearly every space that features human beings, whether unwanted or desired, mundane or profound. Words sit on the page and in the ear, proliferating endlessly. This superabundance has long been a point of fascination for composer and musician Ben Vida, but over the past several years it has led to a new method of music making that simultaneously exalts and interrogates the primacy of language in our sonic and cultural environments. Gently, playfully, Vida breaks down language’s hierarchy of meaning and sound until they exist in egalitarian harmony. Oblivion Seekers is Vida’s newest album in this mode of composition, following 2023’s collaboration with new music ensemble Yarn/Wire The Beat My Head Hit. Like its predecessor, the music’s focus is on coordinated duets of spoken word in a neutral tone, the variable cadences of the words in motion creating complex internal rhythmic structures. He is joined by the voices of Nina Dante, Christina Vantzou, John Also Bennett, and Félicia Atkinson, creating a singular tone that is neither theirs nor his, fluid in its gender presentation, accent, and diction. The instrumental compositions that form the album’s understory have the casual flow of dialogue, conversational but subdued, rarely the agent of change. Here, Vida likewise called upon an accomplished community of players to accompany him: Dante on harp, Bennett on bass flute, Matt Bauder and Will Epstein on saxophones, Henry Fraser on bass, Cleek Schrey on violin, and Booker Stardrum on percussion. These elements form lattice-like structures that the text darts in and around, often adhering to downbeats but otherwise moving freely within each lilting phrase. A tranquil, focused temperament persists, enhanced by the reserved cadence of the voices that makes it feel as if the music is one long mantra that never quite reaches back to its genesis point. The effect is entrancing, equally soporific and gripping, implying repetition without ever moving exactly the same way twice. The instrumentation on each of the album’s four pieces varies; “Be Yr Own Abyss” is defined by the wave-like counterpoint of saxophones, while the ambiguous chime of vibraphone floats over “Oblivion Seekers” and Fraser’s swelling bass provides the album’s sole dramatic entrance. The music shifts in the ear as the text constantly redefines and recontextualizes the composition’s form and movement, even as it remains consistent in its otherworldly glow. The text is often drawn from snippets of language that Vida encountered throughout his life as he was composing: overheard mumblings from the supermarket line, impactful phrases from a novel he was reading, impressions of the music that wouldn’t leave his turntable. Small details, otherwise insignificant, accumulate not to form a narrative, but an impression of the complex meaning-making process that happens as one lives day to day. Characters and scenes flicker in and out of the frame, and phrases that beg to be unpacked are allowed to glide by. In “Be Yr Own Abyss” something like a thesis appears without fanfare: “Her tongue was out to kill her / all hail this mental space / constructing ambiguity / and the endless stream.” On two separate occasions the listener is told that waves are heading our way. There are many predecessors to these types of novel confluences of music and speech. Vida’s love of Robert Ashley is well documented, but perhaps even more significant are Mark E. Smith and The Fall, Neil Tennant and the Pet Shop Boys’ spoken verses, the entire history of hip hop, Meredith Monk. The way the words are delivered matters just as much as the words themselves, revealing an intentionality and directness that Vida highlights and subverts with the text’s abstract construction patterns. On Oblivion Seekers, the omnidirectional din is the marble Vida chips away at to illuminate the way we process the vast strangeness of the world. Its triumph is that we lose none of the beautiful mystery of how these signs bridge our external and internal worlds.

Six years on from their last full-length, Satoshi & Makoto resurface with Café Mirage, issued by 8mm Records in collaboration with Standart Magazine. The Japanese duo deepen their quietly assured sound, folding ambient electronics, subtle jazz inflections and restrained groove into a set that feels both intimate and expansive.Framed as an imaginary café, Café Mirage moves with unhurried purpose. Warm textures, hushed rhythms and carefully layered harmonies give the record a sense of flow — contemplative yet gently propulsive. The link with Standart Magazine extends the concept, drawing together music and coffee culture into a shared atmosphere of craft and ritual.Measured and meticulous, the production favours detail over display. It’s a patient, late-night listen that rewards close attention while remaining easy to drift within — a confident step forward from a duo working with clarity and control.

Backwoodz Studioz is excited to announce the release of Crayola Circles, a collaboration between rapper Fatboi Sharif and producer Child Actor. While both artists have long standing connections to Backwoodz, this album marks their first collaboration of any kind and breaks new artistic ground for all parties. Sharif’s previous album, Decay, released on Backwoodz in 2023, was a haunting experimental rap masterpiece, an acid trip in a mental hospital. On Crayola Circles Sharif trades menacing psychedelia for a simmering stew of blacklight expressionism, his verses slipping effortlessly through the swells and tides of Child Actor’s masterful production. No matter how uneasy the waves grow, Sharif is at ease, a truth teller whispering anti-riddles in your ear.This album feels like a new chamber for Child Actor, as well. The producer has been on an impressive run since dropping CINE- a collaboration with rapper Cavalier- on Backwoodz in late 2024. Child Actor has shown up in the liner notes of everyone from Navy Blue (The Sword & The Soaring) to Earl Sweatshirt (Live, Laugh, Love) to ELUCID (Revelator) to Open Mike Eagle (Neighborhood Gods Unlimited), to Ghais Guevara (A Quest to Self-Mythologize), amongst others. On Crayola Circles Child Actor’s production is dynamic, shifting and sliding into new phases and movements in an instant. The beats are full and knotty, leaning into jazz and folk, while remaining tethered to the tender minimalism that is his signature. It’s a difficult balance for any producer, and here it is executed perfectly, placing us in a world of wood and brass, cowhide and undersea piano. On any other record, this soundscape would steal the show — and it very nearly does — but Sharif’s command never wavers, ever in control; a lucid dreamer in an induced coma.There are no guests, no skits, and no interludes. There might not even be songs, instead Crayola Circles seems akin to a great river; singular, traversing forest and jungle, mountain and valley, running from mouth to endless sea.

Edition of 250. Deluxe edition + insert. For eighteen months, between 1984 and 1985, Patrick Lysaght played flute, strings, and percussion inside the Rainforest Birdhouse at the Rio Grande Zoo in Albuquerque, New Mexico. His audience and collaborators: 150 birds of 42 species.

The result is one of the earliest and most radical documents of interspecies improvisation. Predating the current wave of sound ecology by decades, For The Birds sits comfortably alongside the biophonic research of Bernie Krause, the ornithological field recordings of Jean C. Roché, the Deep Listening practice of Pauline Oliveros, and the interspecies experiments of Jim Nollman. A missing link unearthed.

Lysaght didn't record the birds. He played with them. On Downstream, the talking drum establishes a backdrop while the birds take the lead. On Mourning Music, a threnody for his father, the birds seemed to be respectfully listening. On Light Sensitive, delicate percussion triggers avian response. Complex clouds of point notes build to rich density, following what the original notes call "the excitement of chance and the probability of experience."

Originally released in 1985 on Frank Records, Santa Fe. Now reissued with mastering by Giuseppe Ielasi

Caught between the Canyon and the Caribbean, Cathy Hamer's pair of extremely private LP's got lost in the Me Decade's hippy hangover. Tracked in '79 and '80 at Roanoke, Virginia's custom bluegrass powerhouse Threshold Recordings, these 11 originals breeze through all colors—folk, country, yacht, etc—of the cosmic American rainbow. Remastered LP comes housed in a tip-on

Caught between the Canyon and the Caribbean, Cathy Hamer's pair of extremely private LP's got lost in the Me Decade's hippy hangover. Tracked in '79 and '80 at Roanoke, Virginia's custom bluegrass powerhouse Threshold Recordings, these 11 originals breeze through all colors—folk, country, yacht, etc—of the cosmic American rainbow. Remastered LP comes housed in a tip-on

Infamously the first artist signed to Warp that used guitars, Seefeel return with their first full-length album in fifteen years – Sol.Hz - a beautiful, hazy and blissed out collection of fractured melodies and vaporous textures.

In some ways, this can be regarded as Seefeel’s ‘dub’ album – the deceptively cloud-like arrangements of Mark Clifford are somewhat ambient adjacent at low volume, but blasting out of a proper sound system, the cavernous bass undertow and skilful employment of effects are more apparent, messing with the listener’s perception of time and audio placement. As always with Seefeel though, it never drifts too far into cold experimentalism or synthetic texture, the heavily manipulated vocals of Sarah Peacock lending the tracks a vital human element, with processed guitar loops allowing slivers of melody to drift through the trails of delay.

Stylistically, it builds on their 2024 mini-album Squared Roots, in the way that the material has been microscopically dissected and reversioned until it reaches the perfect iteration, shape perhaps being the wrong word for a group who blur the lines between solidity and space to such a radical degree. The much-reappropriated line from The Communist Manifesto, “all that is solid melts into air”, could be used as shorthand to describe the experience of listening to a Seefeel record. The album title Sol.Hz can be translated literally as sun plus electricity, although the exact interpretation is ambiguous and left open to debate, just like Marx’s oft-quoted line.

Free Your Mind And Your Ass Will Follow is the second album from funk innovators Funkadelic, arriving in 1970 mere months after their trailblazing debut. Famously originating from a single LSD-fueled marathon session, the record saw the band honing their songcraft, while still allowing plenty of space for mind-bending exploratory jams. It marked the official introduction of legendary keyboardist Bernie Worrell, and would go on to chart at No. 92 on Billboard's Pop chart. Remastered direct to lathe from original master tapes by Dave Gardner (all analog).

Free Your Mind And Your Ass Will Follow is the second album from funk innovators Funkadelic, arriving in 1970 mere months after their trailblazing debut. Famously originating from a single LSD-fueled marathon session, the record saw the band honing their songcraft, while still allowing plenty of space for mind-bending exploratory jams. It marked the official introduction of legendary keyboardist Bernie Worrell, and would go on to chart at No. 92 on Billboard's Pop chart. Remastered direct to lathe from original master tapes by Dave Gardner (all analog).

If you were to ask Joey Quiñones where he found inspiration for his music, you wouldn't have to look far from where the East LA son grew up. Listen to his work, and you're transported to a two-block radius of his neighborhood—from the liquor store to Sign of Music record store on Whittier Boulevard and back to a homie's house. In those two blocks, you hear cumbia blaring from the stores, punk rehearsals from a garage, oldies drifting from a neighbor's yard—a sensory overload that follows you home, all those genres singing in your head at once. This isn't a revelation to longtime fans of Quiñones' music. He has established himself as a premier interpreter of his generation, dedicating his career to offering his unique perspective on the Chicano soul songbook. But before Thee Sinseers, before the lush orchestrations and pitch-perfect harmonies that became his signature, Quiñones cut his teeth leading various backing bands for visiting Jamaican ska and dancehall acts touring Southern California. He describes those years as reggae college, getting yelled at by every Jamaican artist who had a record out. Those years of apprenticeship in rock steady and roots reggae would inform everything that followed—and on his new solo record Inna Soul Steady Situation, Quiñones finally showcases those influences front and center. That quintessential blending of styles rings out immediately on the opening track "Soul Steady Situation"—Quiñones's vocals enter like a selector toasting over the riddim, an alarm call announcing his intentions with an urgency that feels club-ready and immediate. Then comes the classic drum fill, dropping into a rock steady groove that establishes the vibe: this is dancehall-infused soul meant for movement, not just contemplation. It's a deliberate departure from Thee Sinseers' lush orchestrations, stripped down to showcase the Jamaican foundations that have always lived beneath Quiñones's work. Before you know it, you've taken off on a sonic soul spaceship with Quiñones at the helm, supported by his two-person crew: Eric Johnson from Thee Sinseers on saxophone and Eleazar from the Brown Boyz on piano, as you cruise across silver-lined clouds and dip your toes into dreamy moonlit grooves found on "Don't Let Go," "Driftin'" and "One More Night." What Quiñones manages to do on this record—with the full support of Colemine Records, the defining label for contemporary soul music happening right now—is prove time and time again that he is an artist willing to take risks and continue to show his prowess when it comes to experimenting with different styles, while still being able to authentically express himself. It's a partnership built on trust: Colemine has established itself as the premier destination for modern soul artists pushing the genre forward, recognizing that genre-blurring isn't a gimmick but the natural evolution of soul music itself. With that authentic self-expression, Quiñones and his crew manage to squeeze in some lighthearted fun as well, establishing a sense of equilibrium to counteract the heavier emotional overtones found on previous Sinseers efforts. A perfect example is "Bolsita," a tongue-in-cheek party song paying homage to iconic anthems like "Tequila" by The Champs and "Tighten Up" by Archie Bell & the Drells. But Quiñones doesn't stop there—he folds in electric boogaloo, early Ray Charles big band energy, and the Latin soul flourishes of Joe Cuba and Willie Colón, creating something that feels both nostalgic and fresh. Eric Johnson's saxophone takes center stage, adding playful solos that widen the sonic spectrum. The term "bolsita," which translates to "little bag," serves as the lingua franca for "let's get the party started"—it's admittedly corny, Quiñones will tell you, but it's the kind of song where everybody's going to shout along whether they like it or not. And that's precisely the point. By the time you reach the end of the record, having followed Quiñones across various genres and eras, you realize you've witnessed an artist in his prime doing what the best always do: capturing something deeply specific—Chicano identity, East LA's sonic DNA—and in that specificity, revealing something universal. It's music that transcends age, race, geography, and class precisely because it refuses to sand down its edges. Cross-generational talent building timeless appeal, one genre-blurring groove at a time.

If you were to ask Joey Quiñones where he found inspiration for his music, you wouldn't have to look far from where the East LA son grew up. Listen to his work, and you're transported to a two-block radius of his neighborhood—from the liquor store to Sign of Music record store on Whittier Boulevard and back to a homie's house. In those two blocks, you hear cumbia blaring from the stores, punk rehearsals from a garage, oldies drifting from a neighbor's yard—a sensory overload that follows you home, all those genres singing in your head at once. This isn't a revelation to longtime fans of Quiñones' music. He has established himself as a premier interpreter of his generation, dedicating his career to offering his unique perspective on the Chicano soul songbook. But before Thee Sinseers, before the lush orchestrations and pitch-perfect harmonies that became his signature, Quiñones cut his teeth leading various backing bands for visiting Jamaican ska and dancehall acts touring Southern California. He describes those years as reggae college, getting yelled at by every Jamaican artist who had a record out. Those years of apprenticeship in rock steady and roots reggae would inform everything that followed—and on his new solo record Inna Soul Steady Situation, Quiñones finally showcases those influences front and center. That quintessential blending of styles rings out immediately on the opening track "Soul Steady Situation"—Quiñones's vocals enter like a selector toasting over the riddim, an alarm call announcing his intentions with an urgency that feels club-ready and immediate. Then comes the classic drum fill, dropping into a rock steady groove that establishes the vibe: this is dancehall-infused soul meant for movement, not just contemplation. It's a deliberate departure from Thee Sinseers' lush orchestrations, stripped down to showcase the Jamaican foundations that have always lived beneath Quiñones's work. Before you know it, you've taken off on a sonic soul spaceship with Quiñones at the helm, supported by his two-person crew: Eric Johnson from Thee Sinseers on saxophone and Eleazar from the Brown Boyz on piano, as you cruise across silver-lined clouds and dip your toes into dreamy moonlit grooves found on "Don't Let Go," "Driftin'" and "One More Night." What Quiñones manages to do on this record—with the full support of Colemine Records, the defining label for contemporary soul music happening right now—is prove time and time again that he is an artist willing to take risks and continue to show his prowess when it comes to experimenting with different styles, while still being able to authentically express himself. It's a partnership built on trust: Colemine has established itself as the premier destination for modern soul artists pushing the genre forward, recognizing that genre-blurring isn't a gimmick but the natural evolution of soul music itself. With that authentic self-expression, Quiñones and his crew manage to squeeze in some lighthearted fun as well, establishing a sense of equilibrium to counteract the heavier emotional overtones found on previous Sinseers efforts. A perfect example is "Bolsita," a tongue-in-cheek party song paying homage to iconic anthems like "Tequila" by The Champs and "Tighten Up" by Archie Bell & the Drells. But Quiñones doesn't stop there—he folds in electric boogaloo, early Ray Charles big band energy, and the Latin soul flourishes of Joe Cuba and Willie Colón, creating something that feels both nostalgic and fresh. Eric Johnson's saxophone takes center stage, adding playful solos that widen the sonic spectrum. The term "bolsita," which translates to "little bag," serves as the lingua franca for "let's get the party started"—it's admittedly corny, Quiñones will tell you, but it's the kind of song where everybody's going to shout along whether they like it or not. And that's precisely the point. By the time you reach the end of the record, having followed Quiñones across various genres and eras, you realize you've witnessed an artist in his prime doing what the best always do: capturing something deeply specific—Chicano identity, East LA's sonic DNA—and in that specificity, revealing something universal. It's music that transcends age, race, geography, and class precisely because it refuses to sand down its edges. Cross-generational talent building timeless appeal, one genre-blurring groove at a time.

Originally released in 1998, South Central Thynk Taynk by Abstract Tribe Unique (Abstract Rude, Fat Jack, Zulu Butterfly Priest, Irie Lion King, and DJ Drez.) captured a pivotal moment in Los Angeles’ underground scene—when young Black artists were reimagining hip-hop from the ground up. Blending jazz-inflected beats, spiritual insight, and fiercely independent production, the album became an anthem for self-reliance and creative rebellion. Now reissued by Rhymesayers Entertainment as a deluxe 2xLP set with a lyric booklet and bonus track, this long-unavailable classic returns for a new generation.At the cultural core of the record is Project Blowed, a legendary L.A. crew founded by Abstract Rude and Aceyalone, which birthed a lineage of rap innovators whose fingerprints are still felt in global hip-hop. While mainstream rap embraced the West Coast’s G-funk boom, the Blowed crew forged an alternate path—steeped in jazz, radical politics, and Afrocentric futurism. Thynk Taynk stands as a richly layered time capsule from this revolutionary moment, pairing Ab Rude’s deep lyricism with Fat Jack’s genre-melding approach to production, creating a poetic reflection on family, struggle, and artistic purpose.This new edition includes the “L.A. Styles Back (Project Blowed Remix)” featuring a cross-generational lineup of heavyweights— Aceyalone, Myka 9, Medusa, Pigeon John, Blu, 2Mex, Ellay Khule, Riddlore, and NGAFSH—underscoring how L.A.’s underground has remained a creative epicenter for decades. South Central Thynk Taynk is more than a cult artifact; it’s a living document of transformation, community, and artistic power.

Eternal Almost is a collaborative album by Japanese musician Tomo Katsurada and Estonian composer Misha Panfilov. Born from the simple joy of songwriting and creative exchange, Tomo and Misha had long admired each other’s music from afar. When the opportunity to collaborate finally arrived, it felt completely natural, and by the time the album was finished, it almost seemed as though the two had known each other always. United by a shared sense of humour and musical curiosity, Tomo and Misha poured a raw, honest energy into these songs — one shaped by their intuitive rapport. In an increasingly artificial world, Eternal Almost subtly celebrates the qualities that make music feel most alive. Amid the weight of our current times, the pair hope this album brings listeners a sense of lightness, joy, and of course—a gently surreal journey from beginning to end.

Dream of the Egg is the debut solo album by Tomo Katsurada, known for his work with the Japanese psychedelic band Kikagaku Moyo. This project is a unique fusion of music and visual art, inspired by the Japanese 1920s children's book “Yume No Tamago (Dream of the Egg)”. It reveals a deeply personal journey, reflecting Tomo's dreams and the numerous rebirths experienced in 2024—a year marked by profound new beginnings in every facet of his life. This mini album was driven by a passion for raw and immediate expression. Every song was crafted and recorded with only the materials available to him at the time, embracing an organic and handmade atmosphere. By eschewing rhythm clicks and standard instrumental tunings, a spontaneous sound emerged, capturing the essence of both uncertainty and immediacy. Adding to this distinctive sonic landscape, guest musician Jonny Nash (UK) contributed ethereal guitar sounds on the first and final tracks, enriching the record's dream-like quality.

The lead single here is 'In A Rut' available separately or as part of the preorder.

Forged from the fire of internal struggles, Loraine was wrestling with confidence and a desire for change when she embarked on this album. A guiding hand came through producing 2025's 'Clandestine EP' with singer Anysia Kym, which gave her the experience of a more 'pop' setting and the tools and insight to work her instrumentals into more conventional shapes. This notes a shift from the more club driven sounds and on the other hand, winding instrumentals, into more precise song forms. Her production on Detached From The Rest Of You is stripped to the bone, soundscapes of clicks and glitches that draw inspiration from Aoki Takamasa and Ryoji Ikeda and the 'clicks and cuts’ early 2000’s era of electronic music. Here, often with not much more than sparse keyboard chords to fill in with subtle colouring, she uses the space around the sounds and vocals to draw in the listener. Detached from the Rest of You is succinct and direct, 'Loraine half-jokingly calls this album her 'IDM popstar album’'. ‘I'm using my voice a lot more, and putting it higher in the mix than I usually would, I guess I'm growing some confidence.'

Loraine's albums always centre herself and her intimate angst. Here at the start, she drops into a loss of confidence, slowly climbing out and accepting her foibles, carrying the message in the method as she sings and raps / talks in an unpretentious way.

More than previously Detached From The Rest Of You trusts her guests to diverge in their contributions, she also duets with Sydney Spann on the first single In A Rut.

맑은 소리의 모음집입니다. 이번 앨범은 소리가 많이 작습니다. 볼륨을 키워서 들어주세요-! 감사합니다. This album is very quiet. Please turn up the volume-! Thank you.

XKatedral Anthology Series III is the third installment in a series of archival releases dedicated to presenting music by composers working within the realm of slowly evolving harmonic and timbral music. The pieces presented here focus on the use of synthetic and acoustic sound as well as algorithmic composition as tools for precise work within the realm of spectral exploration. This double-vinyl set is issued in celebration of the label’s decennalia and contains works from 2014 - 2025. It is released in conjunction with reissues of XKatedral Anthology Series I-II.My Falling Sinks by Kali Malone is a sparse descending melody for justly tuned organ, cello and acoustic guitar featuring Lucy Railton and Stephen O’Malley. The piece is a compositional sketch in septimal just intonation made on an experimental tuning organ at La Temple de La Tour-de-Peilz while in residency at La Becque in 2021. Empyrean Flare by Maria W Horn was composed in 2022 for The Dawn Chorus by choreographer Stina Nyberg. This piece uses the Tintinnabuli technique created by Arvo Pärt to animate four supersaw oscillators in slow diatonic arpeggiation, circling around a minor tonic triad, and destabilizing the harmonic framework by means of glissandi and amplifying the sum of its parts by means of analog tape saturation.Tessellation by David Granström was composed using generative synthesis methods in the summer of 2017. The musical periodicity and harmonic movement heard within the piece emerges as a result of fixed synthesized tape loops - exploring a space that opens up between antithetical worlds.To Whoever Shall Inherit the Earth is the first piece of solo music made by Jessica Ekomane and it came together, according to the composer, almost by accident. The work was recorded late one night a decade ago and captures a fleeting, fragile, and unrepeatable moment preserved exactly as it happened.Smoking Mother by Stephen O’Malley was created for Gisèle Vienne’s Der Teich / L’Etang by Robert Walser. It was composed during a residency at the SMEM synthesis archive in Fribourg in 2018 and produced at EMS in August 2020. The piece draws from the works of Zia Mohuiddin Dagar, Krzysztof Penderecki and Popol Vuh while exploring the roots of minimalism. Att böja själarna by Mats Erlandsson was composed in 2018 and was included in On Eternity, a collection of four texts and four ten minute cassette loops released in the form of a limited edition box set in 2021 by Irrlicht Förlag. This work features performances by Gaianeh Pilossian and Sara Fors, on violin and voice respectively.This will be my last piece for organ was composed by Theodor Kentros in 2025 and uses groups of clustered oscillators through resonant feedback to synthesize the fluctuating frequencies heard wandering through physical space when detuning an organ. Fault Lines was composed by Daniel M Karlsson using generative methods with a deterministic and finite output solidified for this release. This piece features vocal performances by Sara Fors, Ansis Bētiņš and Artūrs Čukurs.

VOLUMES: ONE, the first non-studio release from Bon Iver, captures 10 distinctive live performances, recorded between 2019 and 2023, showcasing Justin Vernon and his band at their most whole. There’s a warmth and exuberance across the album, as well as the sort of muscular sound you can really only get at a live show. For the uninitiated and die-hards alike, these recordings could well be the defining versions of the tracks, no doubt made possible through the essential live engineering of Xandy Whitesel and performances from bandmates Jenn Wasner, Sean Carey, Michael Lewis, Matthew McCaughan, and Andrew Fitzpatrick. Vernon began working on VOLUMES: ONE in 2020, and he spent a considerable amount of time combing through concerts to pull out the right songs to define Bon Iver. “This is what we became,” Vernon comments. “This is really us at our best. This is it.” VOLUMES: ONE, as a result, is something greater than a compilation or live album. It’s entirely new but still familiar, offering a prismatic look at an old friend, seeing them for who they were and who they are, all the goodness of which they’re capable but maybe too shy to show at times. With VOLUMES: ONE, Vernon begins a new Bon Iver archival series that he’s modeled after Bob Dylan’s iconic Bootleg Series and the ever-delivering Neil Young Archives. The series will present the many eras and facets of Bon Iver, spanning live shows, demos, unreleased recordings, and more. “This particular 10 songs is like, here, if you’ve never heard Bon Iver, or you have and you didn’t like it, this might be for you,” he says.