PRE-ORDERS

Serengeti, one of hip-hop’s most singular and imaginative storytellers, returns to the expansive world of Kenny Dennis with KennyV. For more than a decade, Serengeti has used his mustachioed, Chicago-born alter ego to build one of rap’s funniest, strangest, and most unexpectedly poignant character studies. Kenny is a blue-collar hero, family man, sports obsessive, aspiring entertainer, and endlessly unreliable narrator whose everyday victories, anxieties, grudges, and digressions have grown into a richly detailed mythology all their own.Across twelve tracks, KennyV opens another chapter in that saga, balancing absurdist humor, intricate world-building, sharp wordplay, and genuine emotional weight. Serengeti’s conversational performances make even Kenny’s most surreal observations feel lived-in and deeply human, revealing new layers of the character while remaining accessible to listeners encountering him for the first time.Production comes from Backwoodz Studioz mainstays Messiah Musik, known for his work with Armand Hammer, billy woods, and Mach-Hommy, and Steel Tipped Dove, whose credits include Fatboi Sharif, Doseone, ShrapKnel, and milo. Together, they provide an evocative and unconventional backdrop perfectly suited to Serengeti’s unmistakable voice and unpredictable storytelling. Previously available digitally, KennyV now receives a long-awaited physical edition from Backwoodz Studioz on vinyl, CD, and cassette. A distinctive addition to the Kenny Dennis canon and Serengeti’s celebrated catalog, these editions are essential for longtime fans, adventurous hip-hop listeners, and collectors of truly original independent rap. Quantities are extremely limited.

Leila Bordreuil's "Geophonics" via W.25TH. "French-American cellist and composer Leila Bordreuil navigates the liminal spaces between improvisation, noise, psychoacoustics and spectral music. Beyond her solo work, Bordreuil is also a sought-after collaborator who has worked with everyone from Laurel Halo, Kali Malone and Drew McDowall to Tamio Shiraishi, Susan Alcorn and Lee Ranaldo. Across these projects, she remains committed to a music that privileges texture, presence and sonic exploration over fixed categories. Bordreuil does not compose music in the traditional sense so much as summon sounds via the sculpting of naturally occurring frequencies. In Geophonics, she produces feedback with her cello and a bass amplifier placed against a grand piano; these vibrations then activate the piano's strings, creating dense harmonic overtones. "Feedback carries powerful psychoacoustic potential, so it's something I've incorporated in my music a lot. But in Geophonics, I push that potential further. I'm not approaching feedback as a sound in itself, but more as an instrument or a tool to 'sonify' other elements that would otherwise seem silent – in this case, the sound of air, an empty room and a piano without a player," explains Bordreuil. "There is inherent harmony in the structure of our universe – so what if we just listened to that?" Recorded in a former convent in rural Belgium, "Collision" opens with a sustained G note that reverberates like a tambura. Bordreuil's drone becomes gnarly and agitated, evoking Skullflower's electric guitar disembodiment. Soon, the music is interrupted again – this time by high-pitched squeals that Bordreuil gracefully steers as if playing a solo. The piece ends as it began – only now imbued with raw, metallic resonance. On "Soft Landing," low-end feedback interacts with the subwoofer-friendly tones of the ARP 2500, mimicking the sound of organ drones until a dissonant chord emerges almost imperceptibly. "Plateau," which reprises the G note that opens the album, combines diffuse ambient textures and Bordreuil's meditative bowing. As on the previous track, multiphonics eventually produce a chord – even as Bordreuil monastically maintains a single note. While spectral music explores the manipulation of acoustic instruments and physical space, Geophonics reveals a more natural kind of interaction – establishing conditions that allow the intervals to bloom. In doing so, Bordreuil invites the physical environment to enter her music, rather than the other way around."

Early 2000s Japanese house project Two Faith released just one EP, tucked away on which were two lengthy Ron Trent remixes of '現在 / The Current'. Both the vocal and dub versions stretch beyond nine minutes, bringing Trent's signature deep house sound to this little-known gem. Both mixes are now given room to breathe on this welcome reissue.

Ziad Rahbani's landmark album Bennesbeh Labokra... Chou?, created at the remarkably young age of 22, returns in a long-awaited reissue, reaffirming its place as one of the most important works in Lebanese music history.

Nagat El Seghiraによるアラビック・グルーヴ人気作がDisco Arabesquoによる解説付きでWewantsoundsからリイシュー。 エジプトを代表する歌姫Nagat El Saghiraが1980年に発表した傑作『Eyoun El Alb』。

Fairuz's acclaimed 1987 album for the Lebanese label Relax-In, often hailed as a pinnacle of Arabic rare groove and Balearic music, returns in a long-awaited reissue.

A landmark of Lebanese music produced by Ziad Rahbani, this celebrated album returns in a long-awaited reissue, fusing jazz, funk, Arabic music, and Brazilian influences into a richly distinctive sound. Created by the legendary Arab diva Fairuz in collaboration with her son, the composer and producer Ziad Rahbani, the album was originally released in 1991 exclusively on CD and cassette. Widely regarded as one of the defining works of modern Lebanese music, it showcases the pair's visionary blend of traditional Arabic sensibilities and contemporary musical styles.

Telemakus' "Eight Ring Revival" via Good Problem Studios. "The upcoming album from Telemakus, featuring an all-star supporting cast of musicians: Flying Lotus, Karriem Riggins, Mndsgn, Liv.e, Sparklmami, Miguel Atwood-Ferguson, Swarvy, Chino Corvalán, Nicole McCabe and more. Pressed via Good Neighbor on a Cosmic Black record made from eco-conscious, 100% recyclable PET plastic. All songs written, performed, engineered & arranged by Telemakus, except where noted “Five Hands Pt. 1” written and co-produced by Swarvy, “Revival” co-produced by Mndsgn, Karriem Riggins “By Any Feet Necessary” co-produced by Karriem Riggins “2054” co-produced by Karriem Riggins"

Star Moles is the project of Emily Moales, a New Hampshire ex-pat reborn and perfected in Philadelphia PA, aka Benjamin Franklin's town. Since she first laid sound to digital tape in 2017, she has been doing what any great artist should be doing: making art, refining her craft, and finding her voice at her own pace and in relative anonymity. Over those years, she's explored many versions of herself. Her previous releases (seven full-length LPs, multiple EPs, and countless singles) were often fantastical and conceptual in nature, taking inspiration from literature and mythology. It was a necessary escapism for herself as a teenager in sleepy New England, and as a young adult amid the dull dread of a global pandemic. She's now 27, and still doesn't get out that much, but these days, she doesn't feel the need to reach that far away for inspiration. Moales has traded in high-concept for high impact. She finds herself drawn to making music that sounds like the music she loves and singing about her life in beautiful Philadelphia. She also remains rooted in our current world historic moment, touching on topics like religious fanaticism, environmental collapse, and the unabashed ascent of fascism in America. Her transcendent fifth full-length album is called Highway to Hell. AC/DC, eat your fucking heart out.Put simply, this album is a major statement of intent, signaling the arrival of a singular talent, primed for a breakthrough. Moales is a major player in a young,hungry stable of mind-boggingly prolific artists flying under the radar in Philly's ever-vibrant music scene. Highway to Hell was produced by Kevin Basko (RubberBand Gun, Foxygen) and features vital contributions from members of Emily and Kevin's Historic NJ Recordings creative collective, including Sam Sullivan (guitar) and Jem Seidel (drums).

American experimental composer Stephen O’Malley releases Avaeken, two sides of immense, immersive, self-annihilating music via Dais Records. The record preserves site-specific work: O’Malley installed Avaeken as part of Wish You Were Here, the exhibition by renowned American artist Banks Violette, underscoring the tension between presence and absence, life and loss. O’Malley and Violette have developed a distinct language of sound, space, and sculpture over the past two decades, reverberating the walls of world-class institutions from The Guggenheim and Centre Pompidou to prominent galleries such as Maureen Paley in London, Gladstone Gallery in NYC, and Antwerp’s TICK TACK, the brutalist space where Wish You Were Here unfolded in early 2026. Emerging now as an LP, Avaeken presents power and phenomena: lowfrequency vibrations, deep oscillations, and phase cancellations that translate as innately effective in any environment. Violette’s visual expression — the impossibility of locating yourself within the loss of a friend and the broader decay of culture — now fills the LP sleeve and feels inextricable from O’Malley’s sound, both still without resolution. The origins of Avaeken date back to 2020, when O’Malley was commissioned by the ZWERM electric guitar quartet of Belgium. He rendered the piece, naming it after the millennium-plus-old oak tree on Sweden’s island of Fårö, for four guitarists on standard electric guitars, sustaining microtonal harmony produced with ebows and slides. “Natural harmonic tone coloured by the valves of the amplification is the one desired characteristic,” reads the initial notes. “At first I asked, why would I write for another guitar player?” he says. “I realized how amazing it is to be a listener on the other side of the music; together we were able to try all these precisions with intonation, harmonics, specific microtonal ideas.” The quartet performed Avaeken several times before O’Malley joined them for a recording session in Muziekcentrum De Bijloke, a 13th-century former hospital with modern acoustics in Gent. O’Malley’s connection to Violette began in 2005 when they met in a cab and quickly wrapped into each other’s craft, leading to their first collaboration later that year. “I asked him if he'd have any interest, and that was really the spark of it all,” says Violette, whose pioneering work delves into the darker aspects of human existence, drawing from subcultural aesthetics like death metal, punk, and goth. “It was just like, hey, this is what I'm interested in. And it turns out, you're also interested in it. And now after 20-plus years, we still seem to find something to talk about, which is enormously gratifying.” When Violette told O’Malley about the vision for Wish You Were Here, the unreleased Avaeken recordings immediately came to mind. “They felt conceptually linked, using beating and physical waves,” O’Malley explains. “I asked what do you think of these pieces? And Banks responded very positively. He didn't question what the instrumentation was…it was about sound and the phenomena of what the sound was doing.” After playing the recordings loudly in his truck, Violette likened the sensation to a vacuum. O’Malley continues, “Phase cancellation occurs when several sources go out of phase; there is an actual drop in energy. The sound energy is eating itself, the waveforms are canceling each other out.” The uncanny listening experience spoke precisely to what Violette had envisioned for Wish You Were Here: a feeling of unending loss, continuity without reconciliation, and the persistence of structures after meaning has dissolved. The work is anchored in the moment of Steven Parrino’s death on New Year’s Eve 2005. Avaeken functioned in stereo across the three levels of the glass-cube-like TICK TACK, which Violette treated as structural conditions, encouraging movement between floors that featured a smashed, burning disco ball and an illuminated sign reading “The End,” as a looped video played as a solitary ghost in the basement. That sense of displacement was already present in the music, which gives Avaeken an unusual potency now, in life after the installation, as the focal point, paired with Violette’s art across the LP sleeve. It is fitting to press this composition — a moment in time, that served another moment in time, seemingly in perpetuity — to vinyl as a means of recognition and preservation, be it ever at odds with the sound’s effect. Just as nothingness was the presence at Wish You Were Here, Avaeken continues on as something else, or perhaps, nothing else, for the ears of the beholder. Indeed, how amazing it is to be the listener.

AKIO NAGASE's classic electronic dub album, originally released in 2003 on sound-channel, is finally being reissued as a long-awaited 2LP set! Blending dub, techno, and electronic music, uniquely creative sound continues to exude an enduring charm. Years after its original release, this highly anticipated reissue is brought back to life on a 2-LP vinyl set!

Solo, duo, orchestra. An extraordinary sonic spectacle exploring acoustic phenomena through three forms of performance. In early summer 2025, a collective sonic experiment took place deep within the vast reverberant space beneath the body of Uchinokura Dam, surrounded by the mountains of Shibata, Niigata, Japan. Led by two singular artists who continually transcend the boundaries of their respective practices—Otomo Yoshihide, whose work traverses diverse musical worlds, and Ami Yamasaki, a voice and visual artist whose practice extends beyond the conventions of voice into the realm of physical expression—the experiment unfolded across three distinct forms of performance. The album comprises solo performances by Otomo and Yamasaki, each engaging in a dialogue with the space; a duo in which voice and guitar set off a chain of musical responses; and Uchinokura Dam Orchestra, an ensemble of 45 participants recruited through an open call, transforming beyond their individual intentions into a single, immense living organism. Voices, breath, bodies, water, instruments, sound objects, and every kind of incidental noise are transformed by the unique acoustic properties of the space from the very moment they are set in motion. Through unpredictable reactions and interactions, these sounds develop into vast, surging waves of resonance. An unprecedented experimental document capturing the emergence, interference, amplification, and transformation of acoustic phenomena within a single space.

Luke Fowler and David Grubbs meet for the first time on J’ai pensé sans paroles, a work that brings together two artists whose practices have long moved between experimental music, composition, film and sound. Glasgow-based Luke Fowler is an artist, filmmaker and musician whose work explores the relationship between documentary, experimental cinema and music. His films have often taken the form of portraits of composers and musicians, including Cornelius Cardew, R.D. Laing and Brunhild Ferrari, and his practice has been recognised with the inaugural Derek Jarman Award and a Turner Prize nomination.Based in Brooklyn, David Grubbs has been a central figure in experimental music for more than three decades. A founding member of Squirrel Bait, Bastro and Gastr del Sol, he has since developed an extensive body of solo work as a composer, pianist and improviser, alongside collaborations with artists including Pauline Oliveros, Tony Conrad and Susan Howe. His work also extends into writing and teaching, reflecting a sustained interest in the intersections between music, literature and the visual arts.The album’s first piece, J’ai pensé sans paroles, was created in the wake of Fowler’s two portrait films about French-German composer Brunhild Ferrari, N’importe quoi (for Brunhild) (2023) and N’importe quoi (Extérieur Jour) (2024). Ferrari is a composer of electroacoustic and musique concrète whose work developed in close proximity to the Parisian musique concrète tradition. She was also the longtime collaborator and partner of composer Luc Ferrari, working alongside him for more than four decades before developing an increasingly independent body of work.The piece incorporates sound material provided by Ferrari, as well as field recordings made by Eric La Casa during the production of Fowler’s films in Paris and Montreuil. These materials are joined by an excerpt from Wolfgang Meyer Tormin’s Vom Klavier für’s Klavier IV – Sieben Stücke (1987), alongside newly recorded piano and electronics by Fowler and Grubbs, recorded in Glasgow, Brooklyn and at La Muse en Circuit in Alfortville, France. Mixed by Fowler and Grubbs with Samuel J. Smith at Green Door Studio in Glasgow, the piece unfolds as a fluid assemblage of archival material, field recordings, voice, piano and electronics.Rather than functioning as a documentary record of Ferrari or Fowler’s films, J’ai pensé sans paroles transforms these disparate materials into a new compositional space, where memory, place and sound continually overlap. The processes of listening, recording and recontextualising become part of the composition itself, extending Fowler’s engagement with portraiture while opening it into a collaborative musical language with Grubbs.The album is completed by Verbal Equinox, recorded between Glasgow and Brooklyn. More direct and open-ended, the piece extends the dialogue established in J’ai pensé sans paroles, foregrounding the intuitive interplay between the two musicians and their shared interest in the unstable territory between composition and improvisation.Together, the two works mark the beginning of a collaboration between Fowler and Grubbs, bringing their distinct but closely connected practices into a shared space of listening, transformation and encounter.

Dawning is a collaboration between Chicago creative music mainstay Damon Locks and burgeoning Black chamber music collective D-Composed, featuring violinists Khelsey Zarraga and Anya Brumfield, violist Seth Pae, and cellist Lindsey Sharpe. The album was recorded live in the auditorium of The Land School, Rebuild Foundation’s headquarters in a reconstituted former elementary school on Chicago’s south side, where D-Composed & International Anthem have been creative partners-in-residence since its opening in 2025. The album’s sonic palette pairs Locks’ live sampling, beat knowledge, and spoken word swagger with D-Composed’s uniquely improvisational take on the string quartet.

The Land School itself is the result of a massive undertaking by Rebuild Foundation and its founder, artist Theaster Gates, who for the last couple decades have transformed disused spaces into “sites of creative production, artistic experimentation, radical hospitality, archival stewardship and land cultivation.” At The Land School, public programming produced by creative partners-in-residence supports Rebuild's mission to expand proximity and access to cultural production on the South Side of Chicago. “What began as a reflection on our relationship to the land became a sonic experiment reflecting blackness in the present moment through hope, rage, protest, and resistance,” says Locks and Zarraga in the album’s co-written liner notes.

What we hear on Dawning is what Locks and D-Composed brought to the auditorium on April 11, 2026: a live performance meant to be “a sound experience that pulls you in and wrings you out.” The recorded document is hard to argue with. From sublime and consonant downbeat grooves to genuinely frightening, dissonant and anxious meltdowns—the six pieces that make up the album cover so much musical ground with such an expert touch that it can be difficult to remember that we’re listening to something that occurred all at once in the same room.

This is in spite of the fact that the album begins with a solitary cello calling out against only the sounds of the fully occupied room itself: gentle shuffling and small breaths, settling across the stereo spectrum of the opening track “Dawning (On Us)”—a slowly building theme augmented by Locks’ samples of previous D-Composed performances announces the musicians’ arrival in dramatic fashion.

Dialing the tension back, a looped 2-bar slow jam guides the listener into “We Stay Beginning,” the first vocal-forward piece on the album. Locks’ skills as a mic controller are on full display here in a similar way to his 2024 spoken beat masterpiece List of Demands, though here the performance is much further out, deconstructed dub-style à la his contributions to Rob Mazurek’s Exploding Star Orchestra.

"We stay in full bloooom!"

“Reflecting (On Us),” on the other hand, is unlike anything else in Locks’ sonic registry, and it’s here that the freshly tilled land of this collaboration yields its unique fruit. The track is a powerful showcase of the strings of D-Composed, and undoubtedly the centerpiece of the album. A dark and ennui-filled solo cello starts this ominous piece, followed by an ascendant droning intensity building as the remaining members of the ensemble enter. The surface noise crackles from Locks’ rig feel like actual flames atop a repeating heartbeat pulse. Loopers are playing and players are looping—it’s difficult to tell what is a live moment and what is a sample. Except that it’s all a live moment: even the samples are being blasted through the PA, gently reverberating in the early spring air on Dorchester Avenue, just outside of the building walls. The apex of dissonance hits as the lone human voice echoes in a repeating sampled phrase:

"It was though I stepped into a strange city—a city from which all people had fled"

The album closer, “Don’t Recede,” sends us off with a straightforward message of resilience. The tune’s nascent scraping and droning dissonance is reframed as a consonant experience almost immediately when the voice of singer Monique Golding, Locks’ longtime comrade in Black Monument Ensemble, enters. “Don’t bend to the noise” she sings, quietly understated, as the sound of the string ensemble is bolstered by Lock’s mysterious and percussive sampler work.

It’s the perfect summation of an afternoon of live performance—an exercise in contemplative, disjointed positivity, related to us here as a recorded document of an actual moment shared by a group of people in an intentionally purposed room. The spirit of the endeavor seems to suggest that the feeling of unity in that moment can radiate outward, transforming all it touches: a room, a neighborhood, a city, state, a country, a planet, a solar system, a universe.

"And seek wisdom, to make wise decisions"

Dawning is a collaboration between Chicago creative music mainstay Damon Locks and burgeoning Black chamber music collective D-Composed, featuring violinists Khelsey Zarraga and Anya Brumfield, violist Seth Pae, and cellist Lindsey Sharpe. The album was recorded live in the auditorium of The Land School, Rebuild Foundation’s headquarters in a reconstituted former elementary school on Chicago’s south side, where D-Composed & International Anthem have been creative partners-in-residence since its opening in 2025. The album’s sonic palette pairs Locks’ live sampling, beat knowledge, and spoken word swagger with D-Composed’s uniquely improvisational take on the string quartet.

The Land School itself is the result of a massive undertaking by Rebuild Foundation and its founder, artist Theaster Gates, who for the last couple decades have transformed disused spaces into “sites of creative production, artistic experimentation, radical hospitality, archival stewardship and land cultivation.” At The Land School, public programming produced by creative partners-in-residence supports Rebuild's mission to expand proximity and access to cultural production on the South Side of Chicago. “What began as a reflection on our relationship to the land became a sonic experiment reflecting blackness in the present moment through hope, rage, protest, and resistance,” says Locks and Zarraga in the album’s co-written liner notes.

What we hear on Dawning is what Locks and D-Composed brought to the auditorium on April 11, 2026: a live performance meant to be “a sound experience that pulls you in and wrings you out.” The recorded document is hard to argue with. From sublime and consonant downbeat grooves to genuinely frightening, dissonant and anxious meltdowns—the six pieces that make up the album cover so much musical ground with such an expert touch that it can be difficult to remember that we’re listening to something that occurred all at once in the same room.

This is in spite of the fact that the album begins with a solitary cello calling out against only the sounds of the fully occupied room itself: gentle shuffling and small breaths, settling across the stereo spectrum of the opening track “Dawning (On Us)”—a slowly building theme augmented by Locks’ samples of previous D-Composed performances announces the musicians’ arrival in dramatic fashion.

Dialing the tension back, a looped 2-bar slow jam guides the listener into “We Stay Beginning,” the first vocal-forward piece on the album. Locks’ skills as a mic controller are on full display here in a similar way to his 2024 spoken beat masterpiece List of Demands, though here the performance is much further out, deconstructed dub-style à la his contributions to Rob Mazurek’s Exploding Star Orchestra.

"We stay in full bloooom!"

“Reflecting (On Us),” on the other hand, is unlike anything else in Locks’ sonic registry, and it’s here that the freshly tilled land of this collaboration yields its unique fruit. The track is a powerful showcase of the strings of D-Composed, and undoubtedly the centerpiece of the album. A dark and ennui-filled solo cello starts this ominous piece, followed by an ascendant droning intensity building as the remaining members of the ensemble enter. The surface noise crackles from Locks’ rig feel like actual flames atop a repeating heartbeat pulse. Loopers are playing and players are looping—it’s difficult to tell what is a live moment and what is a sample. Except that it’s all a live moment: even the samples are being blasted through the PA, gently reverberating in the early spring air on Dorchester Avenue, just outside of the building walls. The apex of dissonance hits as the lone human voice echoes in a repeating sampled phrase:

"It was though I stepped into a strange city—a city from which all people had fled"

The album closer, “Don’t Recede,” sends us off with a straightforward message of resilience. The tune’s nascent scraping and droning dissonance is reframed as a consonant experience almost immediately when the voice of singer Monique Golding, Locks’ longtime comrade in Black Monument Ensemble, enters. “Don’t bend to the noise” she sings, quietly understated, as the sound of the string ensemble is bolstered by Lock’s mysterious and percussive sampler work.

It’s the perfect summation of an afternoon of live performance—an exercise in contemplative, disjointed positivity, related to us here as a recorded document of an actual moment shared by a group of people in an intentionally purposed room. The spirit of the endeavor seems to suggest that the feeling of unity in that moment can radiate outward, transforming all it touches: a room, a neighborhood, a city, state, a country, a planet, a solar system, a universe.

"And seek wisdom, to make wise decisions"

Joe Armon-Jones & Maxwell Owin are forces to be reckoned with. Both integral parts of the burgeoning South London jazz scene, these young musicians contribute to numerous outfits including Ata Kak, Jamie Isaac, MC Pinty, Moses Boyd Exodus and Ezra Collective, as well as pushing their own solo projects. This is their first combined effort. 'Idiom' is the result of multiple collaborations under the direction of Joe and Maxwell. Featuring Nubya Garcia, Oscar Jerome and Jake Long, it is heavily influenced by the hardcore continuum and covers everything from 2-step, broken-beat and house to jazz and dub. Having been compared to artists like 4hero, Floating Points, Harvey Sutherland and Moodymann all in the same breath, and already garnering support from Radio 6 Music's Gilles Peterson, Musica Macondo's Tim Garcia and Jazz FM's Chris Philips, this is an accomplished body of work by some of the most exciting young talent in London right now.

CH0 0:00:01 VS--55CH0 0:00:01 is the latest dispatch from VS--55, the ongoing collaborative project led by Jonas Rönnberg, the Swedish electronic musician, producer, label founder, and artist also known as Varg2™. The band recorded the album while living at The Foundry, the experimental art space housed in a 19th-century armaments and military equipment factory on the edge of the French Pyrenees.The Foundry was created by artist Andrei Molodkin, and designed and run together with his life partner, architect Arianna Mondin. One of their core missions is to support highly experimental and avant-garde projects that could not be realised elsewhere. In this spirit, they supported the VS--55 music project with visual direction, design, and video production. The Russian-born artist, well known for his sculptures with crude oil and human blood, and who recently went viral for holding 46 million dollars' worth of artworks hostage in a 29-ton Swiss bank safe in exchange for the life of Julian Assange, is also the author of the CH0 0:00:01’s artworks. The entrance of The Foundry is marked by a large neon sign that flickers between "LAUGHTER" and "SLAUGHTER" — apt wordplay for the collective mood behind CH0 0:00:01, an abstract collection of vaporous fragments and humming frequencies, “anti-music” captured primarily through a deconstructed cinema organ, layered and sequenced to visceral effect, akin to stumbling upon absurd and unsettling surveillance footage. As heavy as the set scans, Rönnberg maintains, "it’s not that serious, it’s a mockery of society, the comedy of its absolute tragedy, a documentation of the time we're in right now, where culture is dead. Like my version of the Benny Hill song, when people die." During their two-month stay at The Foundry, Rönnberg, Simon and Anya naturally leaned into a kind of raw, and utilitarian, discipline. Life and work are coextensive at The Foundry: metal that was melted to shape military equipment was converted into an experimental art space, where disciplines collide to form a new language, as a weapon against the structures of power. From the past to present, the target is the same: the heads of people. It's not unusual for Rönnberg to be in this state of immersion, as he has, in essence, lived in his art for more than a decade. Sonically, however, the resulting project has no precedent in his catalog. Staggering in its starkness, there is very little instrumentation on CH0 0:00:01; moments of barely-there guitar, piano, and vocals churn under with the album’s central engine, a French cinema organ that the group propped next to air compressors and a Sony cassette dictaphone, all run into a giant club sound system. From the feedback, melodies and basslines emerged, giving the tracks an unpredictable howl and a haunting quality, as if they’ve been summoned. Opener "Laughter" establishes the tone, a disorienting buzz with echoes of, perhaps, slaughter. Rönnberg slept in a room called “the church”, which was filled with CIA torture documents. Voices permeate the mix; "Poison Tits" drifts between angelic whispers and reptilian growls, tracing the hypnotic pull of addiction. The song imagines heroin as a distant sun that is impossible to resist. Like insects drawn to a fatal light, people surrender themselves to its warmth, mistaking destruction for transcendence. Rising toward the promise of illumination, they find that the closer they come, the more completely they are consumed. In the end, the sun burns everything that dares to love it too deeply. "Chechny Crude Oil" follows a spoken word through corridors of sludge, and “Snyft, Mina Tårar Dom Rinner” buries Swedish lyrics beneath rattling percussion and erratic strums. Discordant noise often gives way to flashes of resonant beauty; the silvery shrieks of "F-02 Semtex" shift to a warmer airiness in "Avenue Maréchal Pt. 1". The industrial quakes of "Midnattsmord" ("Midnight Murder") topple into the serene static of “F-03 Dilute”. Cathartic standout "Crawler" sets rapid-fire whispers and sighs against a booming, punishing pulse. The lyrics are poetry that stalk in the shadows of capitalism, and the forces that guard it, tracing a world where control moves quietly, yet reaches everywhere. A slow march of distortion dissipates on closing track "F-04 Dissolve", leaving only plaintive keys adrift. "This is a soundtrack, I would say. And for what? I don't know," questions Rönnberg. "A humoristic disaster, and that's about it." He considers CH0 0:00:01 a documentation more so than as a direct musical expression, one that’s most powerful in its opacity, and needn't be fully decoded to be understood and felt.

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.

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.

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."