PRE-ORDERS

It’s five years in a blender. It’s every troublesome misunderstanding of a half-decade relationship distorted and stretched into an absurdist black comedy mini-series on wax. It’s the sound of every fight we ever had, playing simultaneously. It’s several consecutive voice notes that you did not listen to, and instead read the transcription. It’s fifteen songs from iconoclastic rapper Mike Eagle and innovative producer Kenny Segal. It’s the world’s first half-whimsical break-up album. It’s DOOMED! It’s also LA. Maybe not first and foremost, but Los Angeles runs deep in this record’s present, and its lineage. The story of any big city is also one of transplants. DJ Premier in New York, Tupac in California. If you build it, they will come. Mike and Kenny both arrived in LA as young, aspiring artists who were drawn to the scene around groundbreaking rap crew Project Blowed. They have been friends— and occasional collaborators—for almost twenty years. Despite that, DOOMED! is the first time the two have put together a full body of work. But everything happens in its time, and fate worked to bring them together at the exact moment that would allow the duo to create something extraordinary. Mike, fresh off a string of multi-producer records and processing the end of a tumultuous relationship, was in need of creative catharsis. Meanwhile, Kenny had locked in on his next challenge after a recent string of critically acclaimed collaborations not only with rappers like billy woods, and K-the-I???, but also jazz trio Human Error Club and bluesy indie rocker Benjamin Booker. “In recent years, Kenny made it very clear that he wasn’t trying to keep having one or two beats on my projects; he wanted to build something,” Open Mike Eagle explains. “I was able to convince him to let me use a couple beats for Neighborhood Gods Unlimited with the caveat that we would focus on our thing next. Then my relationship fell apart right when we started working, and it was like, ‘Perfect, I have a lot to say about this.’” Here are some more particularly interesting insights from the man himself: “If DOOMED! is prestige TV, then think of “Out To Lunch” as the pilot where we meet a man who’s not all there because his head is still in yesterday, and the following as a brief synopsis. There’s a song that starts at an argument about the color of a rental car. There’s a song about trying to write a pair of lovers’ initials in wet concrete and the. stick breaking. There’s a song that’s a prayer about finding the strength not to look at my ex’s social media. There’s a song about a character from Adventure Time who’s a piece of shit that I identify with. ach vision is a crashed airplane halfway on the border of dream and nightmare, bitter and sweet, sadness and freedom. Every one of Kenny’s beats is a chunk of ore from a different comet. I used each one as a canvas to paint my impression of a dead world.

Souldynamic celebrates the 10th year anniversary of their all time classic “Equatoriale” with two special re-edited and re-mastered versions, including an instrumental mix and released on vinyl format only on Excedo Records. “Equatoriale” became Souldynamic's biggest track after the release of the legendary video showing Lil Louis playing it at Concrete in Paris with the acapella of Chuck Roberts - My House. The 12 inch record also includes two more fresh new tracks which make this record perfect for the summer heat.

Space Afrika, the Manchester/Berlin-based duo of Joshua Tarelle Reid and Joshua Inyang, make raw, intensely detailed, visceral music with shades of ambient, trip-hop, techno, and modern classical, drawing spacious urban dubscapes from the contours of their city. 'Quiet Storm', the duo's highly anticipated follow-up to their 2021 LP on Dais Records, expands on its predecessor’s sound and scale in every direction as a sprawling, collaborative vision shaped with profound patience and intention. The leap, both technical and emotional, outlines the duo’s development — two polymath producers, composers, performers, and visual artists who’ve met expectations with mastery, embedding their own coming-of-age story within a moving suite of cathartic abstraction. Songs allude to spirituality and the human condition, the tension between boldness and softness, ambition and the inner demons that persist. Contributors include Axelle Fanyo, Alto Aria, Deuén, Klein, RXKNephew, Tony Njoku, Kiala Ogawa, and Kelly Moran. "We challenged ourselves and our own notions of identity, around class and diaspora, and how that is represented across musical genres. We wanted to show the characteristics of our project through the people we chose to work with," says Reid. "We've stayed true to ourselves. It's music from the heart. It's music that has a particular rawness to it, but we've articulated that in a more modern classic structure, there’s a much more critical pronunciation of techniques," says Inyang. "It's a collaborative record because there is always strength and love in collaboration. But with that, we were able to focus more strongly on our personal identity." Five years feels immense following the release of 'Honest Labour', which was named Resident Advisor’s album of 2021, among other accolades from the likes of Bandcamp, Mixmag, and The Guardian, and cemented Space Afrika as a world-class live act. "These things take time," says Inyang, explaining that with the increased visibility came a certain weight. "It’s taken us down a winding road with extreme positives and also negatives, a kind of responsibility that we've held as artists from the Northwest, with our work expanding globally." Naturally, 'Quiet Storm' responds to the moment with deep consideration. He continues, "There’s no compromise in how we’ve made this album. The idea started as a celebration of Black artistry. Our collaborations have been very intentional, as we discovered the pillars of the story– our journey, which is mirrored in the film, where two young boys have taken a risk by following a belief in their talents." If 'Honest Labour' defined Space Afrika’s industrial-noir frameworks, 'Quiet Storm' takes the contrast up several levels with striking textures and sophisticated arrangements. The album is every bit a multidisciplinary effort, with the duo welcoming contributions from cellists, violinists, guitarists, drummers, and more, often writing and arranging lines to realize the vision in its totality. "We always think about the presentation of the music, and as we're writing, we're thinking about the stages that it's going to be on," says Inyang. Reid adds, "It's been a big nod to have these international collaborations, but there’s a British eccentricity coming through this record. We’re connecting the threads between these disciplines and genres, whether rap or classical. We took time away to revisit and rethink how these worlds have inspired us. We saw it as a cathartic practice, to unshackle oneself and step into the unknown, and there is no limit to the ways you can articulate a message and the vessels that they come through." Speaking to the multidisciplinary nature of the project is the involvement of celebrated artist Glenn Ligon, whose work deals with Black identity and queerness. A central inspiration at the onset of recording, Ligon offered his work 'Figure #30' (2009) for the LP's cover artwork, and following the completion of recording, he agreed to provide the project’s name – an unprecedented gesture from the pioneering artist. When provided with the final audio, Ligon immediately thought of "Quiet Storm," the 1970s radio format known for smooth, late-night programming with themes of life and love. 'Quiet Storm'’s sequence brings the listener through various scenes, interludes, and arcs, marked by a sense that its movement is fluid and its characters are fleeting. Into-the-mirror monologues grapple with the existential and the immediate: survival, autonomy, purpose. The album opens with the explosive, string-backed "Vanity" featuring 2025 Grammy-winning opera singer Axelle Fanyo. At first fixated on the crevices of a quiet room, "Vanity" unfurls under Fanyo’s expressive soprano, traversing a wide emotional spectrum from sublime contemplation to poignant, heart-piercing pain. "Vanity" was the first song from the sessions released to the public, as the song is the central piece to the album's film accompaniment, 'Opera Omnia', directed by Valentin Noujaim. Throughout the record, words spoken and sung are placed sparingly to powerful effect. Vanessa Bedoret's bright vocals on "Crying never had a voice ~" break through the swell of thunderstorms. Tender affirmations from Danish artist Alto Aria lift up "From The Heart of Knowing", as saxophone and cello interplay with Kelly Moran on piano. Rochester, NY rapper RXKNephew declares his deep state reality on the woozy "Ballad For A 'G'" as strings, breath and static are exhaled, with co-production by South London’s Klein. The voice of "Validation" delves into the notion of owning who they are, as disorienting strums and city sounds surround, in conversation with plucks from Greco-Canadian harpist Any. "MLN" gets to the beauty and catharsis at the core of Quiet Storm. It’s a true band effort, a collective slow march featuring British-Nigerian artist Tony Njoku, with guitar and lead bass by Gabriel Evans, London's PIKE on drums, and Copenhagen's GB (Gustav B) on keys and strings. "Someone come and save me from the devil / I’m left outside," sighs Njoku in his processed falsetto as the snare drum snaps. On "Pretty Gospel," the Paris-based Japanese-Congolese artist Kiala Ogawa sings, "In my arms," guiding the listener into a somnambulant trance. The lullabic warmth is a respite from the weather, and world outside– "Another day to dream." The final movement gives 'Quiet Storm' its culminating release. "If This Is Hell" is assembled in a single take as a stream-of-consciousness from NYC’s Kaiuna Odogba aka Deuén, whose relatable array of spiraling brain activity is matched by jazzy, frenetic percussion. The pressure valve opens, as the phased drums and sharp conversational observational dispatched phrases cut abruptly after the line, "I wonder if that’s what heaven’s like?" We are left suspended in the comfort of the album's closer "Regards." Rainfall meets organ, drone, strings, and keys with gun reloads juxtaposed over tranquil hums. Heavy yet hopeful, Joshua Tarelle Reid and Joshua Inyang remind you of their journey so far. An appropriately cryptic and transportive outro for their open-ended opus, 'Quiet Storm' is a landmark level-up, self-produced, self-funded, and manifested out of sheer drive and conviction. Through bent time and low-lit haze, undoubtedly, Space Afrika has arrived.

Space Afrika, the Manchester/Berlin-based duo of Joshua Tarelle Reid and Joshua Inyang, make raw, intensely detailed, visceral music with shades of ambient, trip-hop, techno, and modern classical, drawing spacious urban dubscapes from the contours of their city. 'Quiet Storm', the duo's highly anticipated follow-up to their 2021 LP on Dais Records, expands on its predecessor’s sound and scale in every direction as a sprawling, collaborative vision shaped with profound patience and intention. The leap, both technical and emotional, outlines the duo’s development — two polymath producers, composers, performers, and visual artists who’ve met expectations with mastery, embedding their own coming-of-age story within a moving suite of cathartic abstraction. Songs allude to spirituality and the human condition, the tension between boldness and softness, ambition and the inner demons that persist. Contributors include Axelle Fanyo, Alto Aria, Deuén, Klein, RXKNephew, Tony Njoku, Kiala Ogawa, and Kelly Moran. "We challenged ourselves and our own notions of identity, around class and diaspora, and how that is represented across musical genres. We wanted to show the characteristics of our project through the people we chose to work with," says Reid. "We've stayed true to ourselves. It's music from the heart. It's music that has a particular rawness to it, but we've articulated that in a more modern classic structure, there’s a much more critical pronunciation of techniques," says Inyang. "It's a collaborative record because there is always strength and love in collaboration. But with that, we were able to focus more strongly on our personal identity." Five years feels immense following the release of 'Honest Labour', which was named Resident Advisor’s album of 2021, among other accolades from the likes of Bandcamp, Mixmag, and The Guardian, and cemented Space Afrika as a world-class live act. "These things take time," says Inyang, explaining that with the increased visibility came a certain weight. "It’s taken us down a winding road with extreme positives and also negatives, a kind of responsibility that we've held as artists from the Northwest, with our work expanding globally." Naturally, 'Quiet Storm' responds to the moment with deep consideration. He continues, "There’s no compromise in how we’ve made this album. The idea started as a celebration of Black artistry. Our collaborations have been very intentional, as we discovered the pillars of the story– our journey, which is mirrored in the film, where two young boys have taken a risk by following a belief in their talents." If 'Honest Labour' defined Space Afrika’s industrial-noir frameworks, 'Quiet Storm' takes the contrast up several levels with striking textures and sophisticated arrangements. The album is every bit a multidisciplinary effort, with the duo welcoming contributions from cellists, violinists, guitarists, drummers, and more, often writing and arranging lines to realize the vision in its totality. "We always think about the presentation of the music, and as we're writing, we're thinking about the stages that it's going to be on," says Inyang. Reid adds, "It's been a big nod to have these international collaborations, but there’s a British eccentricity coming through this record. We’re connecting the threads between these disciplines and genres, whether rap or classical. We took time away to revisit and rethink how these worlds have inspired us. We saw it as a cathartic practice, to unshackle oneself and step into the unknown, and there is no limit to the ways you can articulate a message and the vessels that they come through." Speaking to the multidisciplinary nature of the project is the involvement of celebrated artist Glenn Ligon, whose work deals with Black identity and queerness. A central inspiration at the onset of recording, Ligon offered his work 'Figure #30' (2009) for the LP's cover artwork, and following the completion of recording, he agreed to provide the project’s name – an unprecedented gesture from the pioneering artist. When provided with the final audio, Ligon immediately thought of "Quiet Storm," the 1970s radio format known for smooth, late-night programming with themes of life and love. 'Quiet Storm'’s sequence brings the listener through various scenes, interludes, and arcs, marked by a sense that its movement is fluid and its characters are fleeting. Into-the-mirror monologues grapple with the existential and the immediate: survival, autonomy, purpose. The album opens with the explosive, string-backed "Vanity" featuring 2025 Grammy-winning opera singer Axelle Fanyo. At first fixated on the crevices of a quiet room, "Vanity" unfurls under Fanyo’s expressive soprano, traversing a wide emotional spectrum from sublime contemplation to poignant, heart-piercing pain. "Vanity" was the first song from the sessions released to the public, as the song is the central piece to the album's film accompaniment, 'Opera Omnia', directed by Valentin Noujaim. Throughout the record, words spoken and sung are placed sparingly to powerful effect. Vanessa Bedoret's bright vocals on "Crying never had a voice ~" break through the swell of thunderstorms. Tender affirmations from Danish artist Alto Aria lift up "From The Heart of Knowing", as saxophone and cello interplay with Kelly Moran on piano. Rochester, NY rapper RXKNephew declares his deep state reality on the woozy "Ballad For A 'G'" as strings, breath and static are exhaled, with co-production by South London’s Klein. The voice of "Validation" delves into the notion of owning who they are, as disorienting strums and city sounds surround, in conversation with plucks from Greco-Canadian harpist Any. "MLN" gets to the beauty and catharsis at the core of Quiet Storm. It’s a true band effort, a collective slow march featuring British-Nigerian artist Tony Njoku, with guitar and lead bass by Gabriel Evans, London's PIKE on drums, and Copenhagen's GB (Gustav B) on keys and strings. "Someone come and save me from the devil / I’m left outside," sighs Njoku in his processed falsetto as the snare drum snaps. On "Pretty Gospel," the Paris-based Japanese-Congolese artist Kiala Ogawa sings, "In my arms," guiding the listener into a somnambulant trance. The lullabic warmth is a respite from the weather, and world outside– "Another day to dream." The final movement gives 'Quiet Storm' its culminating release. "If This Is Hell" is assembled in a single take as a stream-of-consciousness from NYC’s Kaiuna Odogba aka Deuén, whose relatable array of spiraling brain activity is matched by jazzy, frenetic percussion. The pressure valve opens, as the phased drums and sharp conversational observational dispatched phrases cut abruptly after the line, "I wonder if that’s what heaven’s like?" We are left suspended in the comfort of the album's closer "Regards." Rainfall meets organ, drone, strings, and keys with gun reloads juxtaposed over tranquil hums. Heavy yet hopeful, Joshua Tarelle Reid and Joshua Inyang remind you of their journey so far. An appropriately cryptic and transportive outro for their open-ended opus, 'Quiet Storm' is a landmark level-up, self-produced, self-funded, and manifested out of sheer drive and conviction. Through bent time and low-lit haze, undoubtedly, Space Afrika has arrived.

The second instalment of Chapter Music’s acclaimed Australian post-punk compilation series Can’t Stop It! is released on vinyl for the first time as a deluxe double album on September 4, 2026. The compilation was originally released on CD in 2007, and presents an incredible array of inventive and often previously unheard music from the period 1979-1984. Now Chapter Music updates the compilation with six never before reissued bonus tracks, new remastering by Mikey Young, plus new liner notes, photos and layout. This is a fantastically rich and dynamic time in Australian music history, a time when Australia stepped out of the shadows of overseas influence and asserted its own musical identity for perhaps the first time. Can’t Stop It! #2 features tracks that have now become touchstones in Australia's post-punk history, including Lamborghini by Severed Heads and proto Oz-rap classic Do the Job by Use No Hooks, plus early works by the likes of Dead Can Dance’s Lisa Gerrard and Hunters & Collectors’ Mark Seymour. Bonus tracks include the astounding How by Brisbane's This Five Minutes, which pre-dates The Stone Roses' Fool's Gold by at least five years, the gorgeous Purple Hearts by Melbourne's mysterious Lachelle, and Tasmania's own performance punk Chainmale with his outlandish Freakout.

Through the ages, several people from moustachioed party boat troubadours to jazz elite like Jimmy Smith/McGriff and Shirley Scott have wielded the power of the electric organ to hypnotize listeners. Now, taking all the possible cues from these musical heavyweights, and breaking through the musical sound barrier to organ-ize your mind comes Mr. Sophisticated Fingers. Together with the ever-faithful Cold Diamond & Mink this mystical key stroker rephrases ten of the greatest hits from Emilia Sisco’s debut album “Introducing” in a unique lyrical style. In Organ-ized’s Slow Dance & Soul album these songs continue for further greatness. You may have heard them before, now listen to them again, as now they’ve been organ-ized by the musical maestro Mr. Sophisticated Fingers, baby!

Prince Riser crafts a heavyweight set of dubwise excursions that bridges classic analogue warmth and digital-era reggae innovation. Drawing inspiration from the lineage of Dread & Fred, Exterminator and King Jammy, Through The Storm pairs rugged rhythms, swirling Kawai synth lines and deep bass pressure with a strong sound system sensibility. Alongside the title track's expansive dub explorations, the album features three vocal cuts, each backed by its own dub counterpart. Sammy Gold's 'Poverty Ina Russia' hits with imposing low-end force, Madi Simmons' 'Keep On Trodding' channels the spirit of classic Wackie's productions, while Prince Riser steps to the mic himself on the driving digi-stepper 'Travelling Gal'. Enhanced with additional production from disrupt at the Jahtari studio, Through The Storm is a focused collection of modern dub built for speakers, selectors and late-night sessions.

'The Will of Tongues' is the new studio album by Sarah Davachi, and it is certainly her most ambitious to date, spanning over two hours of music across three LPs. The album features five new solo compositions for historical pipe organs (recorded across the USA, Canada, and the Netherlands), a suite of three choral pieces, a collection of “interludes” for various microtonal ensembles (strings, brass, woodwinds), and a longform chamber piece for string trio, organ, and tape. The latter two pieces were commissions from the Experimental Media and Performing Arts Center (EMPAC) in Troy, New York, while the choral work was commissioned by Louth Contemporary Music Society in Dundalk, Ireland.

In addition to Davachi performing on organ throughout, 'The Will of Tongues' also features an incredible group of musicians and ensembles from across the USA and Europe, including Whitney Johnson (viola), Eyvind Kang (viola), Lucy Railton (cello), Diapason (an experimental/microtonal brass ensemble based in Los Angeles, consisting of Nev Wendell, Nicholas Ginsburg, Mattie Barbier, and Mason Moy), Phaedrus (a Renaissance flute consort based in Switzerland, consisting of Liane Sadler, Charlotte Schneider, Mara Winter, and Luis Martinez Pueyo), and Chamber Choir Ireland (conducted by Nils Schweckendiek).

'The Will of Tongues' engages the numerous compositional concepts and methods that have preoccupied Davachi over the past decade especially – including iteration, tuning theory, textural and timbral variation, extended duration, vertical harmony, intervallic affect, and canonic structure, all rooted in the minimalist tradition from which she operates – but with a more pointed and intentional touch than in previous forms. Across its thirteen tracks, ideas hocket from one ensemble or instrument to the next, slowly shifting in balance over the course of what is unmistakably a demanding length.

As a combined body of work, however, the music on this album seeks to articulate a deep reverence for the act of listening, and for the awareness that such listening can serve as a kind of imaginative negative space; one that critically promotes confrontation and creation rather than escape. This collection of music is not easy listening, and it’s not meant to be – when long durations and a reduction of materials are at play, the ear and the mind are forced to truly face the reality of sound itself and the significant mental spaces that it continually gives rise to, which can carry deep wells of meaning if the listener is willing to journey there. 'The Will of Tongues' is thus a celebration of iterative listening and of extreme engagement, of intimate aural experience and its vast psychic horizons.

Nothing expresses us beyond death, and I sometimes cried out: “that is how the will of tongues is made!”

Spearheaded by songwriter Dylan Young, ‘Massive Shoe’ is Way Dynamic’s third foray into alt-folk pop coloured by his own creative fingerprint. In the past year, Way Dynamic have released their sophomore LP ‘Duck’ to excellent reviews, toured with Waxahatchee and MJ Lenderman & The Wind, and are now already returning with another full length release ‘Massive Shoe’, resuming Young’s exploration into minimalist folk-pop, baroque pop and art rock. Yellow Green Red in their album review for ‘Duck’ aptly describe Way Dynamic as; “Brian Wilson’s lust for pop perfection brought back to earth by Randy Newman’s silliness and Christopher Cross’s knack for an original melody that already feels familiar”. Adding a touch of Neil Young balladry, Massive Shoe continues this formula, as they lyrically dive into topics such as navigating relationships, struggling to communicate, mistakes and humanity, while maintaining a sense of ambiguity that washes over you rather than slaps you in the face. Although Way Dynamic can draw parallels to many of the artists above, the album never falls into songwriting tropes of that era, instead Young manages to bob and weave in the face of any typical motif, keeping the album engaging and lighthearted, and maintaining a sense of adventure in his music. ‘People Settle Down’ sets us off with a groove and backing vocal hooks, before we shift into more tender songs such as ‘Miffed It’ which floats above a guitar melody that may be the earworm of the year. Before you can settle into the tender songs, the album shifts again with absurd pop song ‘My Visit (To Hell)’, lyrically chronicling Dylan’s journey through hell over a bouncy beat and progression. The album title ‘Massive Shoe’, alludes to one always having bigger shoes to fill. Despite Way Dynamic’s brilliant past releases, and the “massive shoe” left to fill after each album, Young consistently manages to outdo himself as he patiently builds a distinctive and impressive discography.

YHWH Nailgun, a New York-based four-piece band that, despite being virtually unknown, left a strong impression on Japanese audiences with their performance at Fuji Rock Festival 2025, has released *Magazine*, their debut album on the prestigious 4AD label.

YHWH Nailgun formed in 2020 around Zach Bolzon (vocals) and Sam Picard (drums). Sagiv Rosenstock (guitar) and Jack Tobias (keyboards) later joined, completing the current four-piece lineup.

Their music is often described using terms like noise, punk, free jazz, industrial, and experimental. However, they do not fully belong to any of these genres. Their sound features violently clashing rhythms, searing guitars, synthesizers that exude an eerie presence, and Zack Bolzon’s vocals, which sound like both a beast’s roar and a prayer. Rather than being a genre-spanning band, YHWH Nailgun has garnered attention as an entity that rejects any attempt to define music itself.

Their debut album, *45 Pounds*, released in 2025, earned high praise from media outlets worldwide for its overwhelming tension and destructive power. It established them as one of the most important new acts in the New York underground scene. Now, with their signing to 4AD—the label home to Cocteau Twins, the Pixies, Bon Iver, and Big Thief—their career is entering a new phase.

*Magazine* is an unusual work: though it contains 10 tracks, its total running time is a mere 11 minutes. However, this 11-minute duration is not merely an experimental idea. The album begins with a fade-in on the opening track, “Ghost of Love,” creating the sensation of having accidentally captured a fragment of sound that seems to be playing continuously somewhere. The band views this work not as a conventional album with a beginning and an end, but rather as a part of an endless musical world.

Their sound is even more refined than on their previous work. Sam Picard’s stripped-down drumming, Sagiv Rosenstock’s raw production, and Jack Tobias’s synthesizers, reminiscent of air raid sirens. And most striking of all is that Zach Bolzon’s vocals—previously hidden behind layers of reverb and delay—are now pushed to the forefront with unprecedented clarity.

The lyrics, filled with religious and symbolic imagery—blood, snakes, gods, and demons—exude a more vivid presence than ever before. The band name YHWH itself derives from the proper name for God in Hebrew, and this mystical worldview is explored even more deeply in *Magazine*.

YHWH Nailgun does not view their music as a reaction against or a counter to anything. Neither pandering to nor rejecting trends, they simply pursue the fleeting flashes of inspiration born of intuition and improvisation. What they are building is not a genre, but an autonomous world in and of itself. *Magazine* is a work that further sharpens this unique creative world and is sure to leave a lasting impression on many listeners.

Glorious vinylization of this 2022 duo session, originally issued as a cassette, documenting the first time Suzuki and Noyes ever collaborated. Ayami Suzuki has become known to cognoscenti for her brilliantly imagined vocal improvisations, through recordings with like-minded folks such as French vocalist/polymath Delphine Dora and avant hurdy gurdy player, TOMO. Rob Noyes has developed a parallel reputation as a master third-generation acoustic guitarist in the post-Takoma tradition. Originally based in the U.S. he wisely relocated to Tokyo several years ago. Which is where this meeting took place, And while I initially assumed the music had been composed to some degree. Rob assured me that was not true, He says, “I think the recording can seem like something we took a lot of time with and discussed/composed to some degree, but we actually just agreed to meet at a rehearsal studio. It took a little more than an hour to track it all, without ever having played together before or even really discussing the approach we were going to take. I just tuned my guitar to a different tuning for each one and we let it roll.” The results kinda speak for themselves, but I was blown away by the notion they had never collaborated previously. The intimate nature of their blend recalls such long-time collusionists as Tim Buckley & Lee Underwood or Loren Connors & Suzanne Langille. Rob's delicate instrumental arcs create a perfect net for Ayami's vocals, which are usually wordless (although they always feel weighted with emotional content). It's a mesmeric pairing of voices. Which I can only hope is the first of many. Classic Fevers and Chills is a perfect soundtrack for spring, Unconditionally magical. --Byron Coley, 2026

‘still slipping vol.1’ is the debut full length project from Joy Orbison. Fans of Joy O’s DJ sets and radio shows will already be aware of his diverse tastes and inspirations, represented here through a roll call of delicately curated, mainly UK, collaborators that include Herron, James Massiah, Bathe, Léa Sen, Goya Gumbani and TYSON. Just as important are the voices of Joy Orbison's family - mum, dad, sister Sarah, uncle Frankie, uncle Keith (recently departed), auntie Helen and cousins Lola and Mia, as well as Leighann, who was the first person to introduce him to drum and bass and garage as a kid and stars on the mixtape’s cover art. They appear throughout the record via a series of voice notes, his only contact with his family during this year of worldwide lockdown and an intimate, vicarious glimpse into the personal world of an artist who has generally side-stepped the public gaze.

Music for movies by Václav Kadrnka "Absence of the loved one is a theme running through both films, but during the creative process we never discuss with the Havels the themes, symptoms or attributes of the characters. We do not specify any meanings. Our collaboration is intuitive, based on interconnectedness. We neither explain things to each other nor analyse. From the outset we have a common goal: to quieten the viewers’ perception, to attune them to certain vibrations by visual, musical and acoustic repetitions, thus enabling them to focus on every tiny detail, every subtle aesthetic quality, so that by the end of the film they have a sense of reconciliation. In fact it is a state similar to meditation or prayer. The aim is being shown Mercy. Each time, the linking of the filmed images with Irena and Vojtech’s music has uncovered a new quality that we have named: a commentary on eternity. Characters cease to be determined by their senses, psychological motivations, or the times they live in. They find liberation in the stream of eternal time." /Václav Kadrnka "We would like to thank all our friends, sound engineers and musicians. The main thanks goes to director Václav Kadrnka, his family and all his collaborators for the precious opportunity to assist them in creating both films. We have worked on our music for the film Saving One Who Was Dead for three years. We met with Václav, discussed the screenplay while it was being born and many other things. We have gradually prepared several working versions that included compositions for piano, Indonesian gamelan, gongs, Tibetan bowls, bells and mini-bells. Yet, step by step, we made it simpler and simpler and eventually only kept violas da gamba, organ and chanting. Everything else was redundant. We made most of the recordings of the compositions for viola da gamba in a church in Prague. The composition for organ was recorded in Milan where we performed a concert shortly before the pandemic arrived in December 2019. We tried to record it in various churches in Bohemia but it was not until the church in Milan that we found the best sounding organ. As for Little Crusader, we recorded the music for the film after it was completed. We had several versions and used the piano version for this album. Together with Václav, we searched for instruments that would work the best for this Medieval story. Eventually, we opted for harmonium with simple chanting which accompanies the character little boy Jenik. Violas da gamba intertwine, move close and then apart from each other the same way as paths of little boy Jenik and his father who is searching for him. Simple chanting and Tibetan bowl accompany scenes with little boy Jenik’s mother who awaits them at home. Trombone and saxophone are like metal swords and the knights’ armor. Violoncello and viola da gamba walk in the rhythm of horse’s hooves, in the rhythm of heartbeat of both the horse and his rider – a father searching for his lost son." / Irena and Vojtěch Havlovi

src="https://bandcamp.com/EmbeddedPlayer/album=2063437934/size=large/bgcol=ffffff/linkcol=333333/artwork=none/transparent=true/" seamless=""><a href="https://havlovi.bandcamp.com/album/saving-one-who-was-dead-little-crusader">Saving One Who Was Dead / Little Crusader The Havels / Irena &amp; Vojtech Havlovi</a>

Black Editions presents the expanded and definitive edition of White Heaven’s brilliant third album Next to Nothing. Originally released in 1994 by Tokyo’s Noon Disk, the full album was only ever available in a limited vinyl pressing of 250 copies. Since then, it has become one of the most sought-after artifacts of the 90’s Japanese underground and is regarded as a highpoint of Japanese psychedelic rock. Led by vocalist, songwriter and conceptualist You Ishihara, the album finds the group in a phase of refinement. Taking a more intricate and open approach, the music is buoyant and light yet at the same time, nocturnal and introspective. Next to Nothing marks the first time guitarists Michio Kurihara and Soichiro Nakamura appear together on record after having separate turns as lead guitar on the group’s first two albums. The pairing is revelatory as they weave luminous melodic lines, sometimes in parallel, sometimes opening into sustained intricate counterpoint. Bassist Koji Shimura and drummer Ken Ishihara shuffle and swing in parallel with a fluid, sinuous rhythm, while flourishes of synthesizer, mellotron and the introduction of Go Hirano on keyboards and piano deepens the group’s sound with orchestral colors and a soft cinematic haze. Across the album, clear, shimmering guitar tones and gentle chord progressions are layered with bright arpeggiated figures and darker minor-key passages. The songs develop through gradual changes in tone and dynamics as Ishihara's voice reveals a gentle yearning and wistfulness. An extended version of Burt Bacharach and Hal David’s “The Look of Love” serves as the album’s entrancing focal point; Stretching the song’s familiar lounge-pop swagger, the group renders it as a slow-burning, psychedelic meditation crackling with electricity as it drifts into the night. Available for the first time on vinyl in over 30 years and for the first time ever digitally (a truncated four song CD EP was also released in 1994). Remastered and expanded to include a second LP featuring three previously unreleased song versions cut at 45RPM. Presented in a heavy tip-on gatefold with metallic and ink pigment foil stamping, spot colors as well as a gatefold insert. House in a custom vellum wrap with a mirror metallic sticker seal. Lacquers cut by Kevin Gray at Cohearent Mastering, pressed at Record Technology Inc.

An inspired coming together of musical minds. To celebrate the 20th anniversary of In A Space Outta Sound, George Evelyn aka DJ E.A.S.E has handed over the tapes to dub maestro Adrian Sherwood to go on a heady version excursion with eight tracks from the original record, in the spirit of the reggae and sound system roots that informed the original album. The result is a fresh take on a much-loved classic, in the lineage of albums such as Massive Attack’s No Protection and Spoon’s Lucifer On The Moon. Features bold new re-works of iconic tracks such as “You Wish” (appearing here as “You Bliss”) and “Flip Ya Lid” (mutated into “Flippin Eck”). As well as his trademark mixing desk wizardry, Sherwood has also brought in some of the core On-U Sound players to add additional instrumentation and turn this collaboration into something which is much more than the sum of its parts.

been thinking bout confession, the third studio album by the Brooklyn-based musician and performer Frances Chang, is a synth- tinged experimental pop excavation of the self and the vast unknown depths it contains. Largely written on a hundred-year-old baby grand piano and recorded between Frances Chang’s home in Sunset Park, Brooklyn and the Maspeth, Queens studio of her longtime collaborator Andréa Schiavelli (co-producer), the album situates the unbridled emotion of Chang’s DIY roots within a complex and poetic sonic landscape that interweaves orchestral arrangements with idiosyncratic electronic and analog interventions.

AGON is the directorial debut of Giulio Bertelli. It follows a triptych of female athletes as they prepare and then compete in LUDOJ 2024, a fictional Olympic Games, in their personal disciplines - judo, fencing, and rifle shooting. Informed by the historical figures of Cleopatra, Joan of Arc and Nadezhda Durova, these women are portrayed against the political, social, technological and physical contexts that dominate the highest level of sports competition and performance. AGON explores a contemporary account of the contradictions of these sports, which began as peacetime practices for war, as their disciplines are institutionally sanitised, recast as wholesome global entertainment, and ultimately dematerialised altogether in new digital arenas. The events at LUDOJ are conducted not in sports arenas but on soundstages, with no live audience. These spartan spaces are populated only by athletes, sports officials, and film crew, capturing every audio-visual layer of information. Within this environment, every mat crash, sword clash and gunshot is experienced in exacting detail. Tom Wheatley’s score began as a conceptual mirror to this. He took three musicians, each with a singular approach to their instrument, each instrument having a language of articulation that relates to each sport: percussion for judo, cello for fencing, saxophone for rifle shooting. Added to this were claustrophobic analogue electronics, and bagpipes, to represent a state beyond competition: war. The rich, detailed signals from these players underwent extreme processing live in the studio, at times moving the music into a grey area between score, sound design and foley. “I saw a material parallel between the sportsperson and the musician. That you have these tools which you carry through life, which hold complex histories of use. These techniques and traditions are studied, and combined with contemporary technologies to unlock new potentials. As Alex Sokolov is to her gun, Jean-Luc Guionnet is to his saxophone. From this model sprung many ideas, which lay the foundation for the score: applying the gestural language of the fencing epee to Ute’s bow; the ‘tuned air’ of both the rifle and the saxophone; taking the judo concept of barycentre and applying that to a form of rhythmic gravity with Seijiro. It was a rich seam” – Tom Wheatley “Where realism and fiction are blurred in the world of AGON, Tom accomplished the same for the score, obfuscating the boundary between the acoustic landscape of the film and the music, respecting the theoretical framework of the film itself.” – Giulio Bertelli AGON premiered at Venice Film Festival 2025, was awarded the Luciano Sovena Award for Best Independent Production, and the FIPRESCI Award (International Federation of Film Critics). It is a MUBI/Match Factory production.

Netherlands-based artists Tomo Katsurada (Ex-Kikagaku Moyo / Future Days Radio) and Jonny Nash (Melody As Truth) combine forces for an exploration into the sonic potential of the guitar duo, rooted in their experiences performing together over the last 12 months. Friends and admirers of each other’s work for a decade, their musical collaboration began in 2024 with Katsurada asking Nash to contribute guitar to his debut EP ‘Dream Of The Egg’. Sensing the need to explore this further, they spent the following year performing together in different configurations, with Nash joining Katsurada’s trio and Katsurada in turn playing with Nash as a duo, across a wide spectrum of spaces, from churches and temples to concert halls, theatres and outdoor festivals. With new ideas developing organically out of these performances, recording new material became the next logical step. A short period of three days was set aside with a clear goal: to capture the essence of their fluid, intertwining melodies and guitar playing in a way that felt as direct and unfiltered as possible. Working from a handful of pre-existing sketches, they left ample room for experimentation to unfold within the process. 
The results are presented on ‘At The Emerald Pool’, a collection of ten pieces that offer the listener a full immersion into the pair’s sound. With guitar as the primary instrument for both artists, it is no surprise that the core of the album lies here, specifically in the fluid interplay between the two players. Layers of gentle, delay-soaked fingerpicking often make it almost impossible to distinguish where one player ends and the other begins. As soloists, both Katsurada and Nash have a gift for crafting melodic lines that feel open and ascending, expressive and hopeful without becoming saccharine. Longer, more abstract pieces are counterbalanced by a series of shorter songs, with five vocal tracks appearing across the album. The decision to share vocal duties lends the record a unique quality and a strong sense of variation, bringing a wide expressive range out of a deliberately focused musical framework. 
 ‘At The Emerald Pool’ represents the first chapter in an ongoing musical dialogue, an attempt to capture a moment of connection, openness and discovery, laying the foundation for what continues to unfold.

Few figures in Chicago soul operated quite like Lenny "King Creole" LaCour. Across the 1960s and '70s, he built a sprawling catalogue of R&B, harmony soul, funk and early disco releases, issuing records through a network of independent labels and aliases that have since become prized collector's items.Magic Touch: The Soulful Sounds of Lenny "King Creole" LaCour gathers 26 standout recordings from his remarkable body of work. Featuring artists including The Mar-J's, The Swinging Hearts, Junior & The Classics, Evelyn Smith, Filet Of Soul and Harvey Scales and The Seven Sounds, the collection traces LaCour's knack for crafting infectious grooves, heartfelt ballads and dancefloor-ready soul.Expanded with extensive notes, rare photographs and archival memorabilia, this anthology shines a light on a fascinating and often overlooked chapter of American independent soul music.

Takashi Kokubo, one of Japan’s leading ambient musicians and sound designers, is best known for creating sounds such as the Earthquake Early Warning alert and payment confirmation tones. From his “Aeon Series” released in the 1990s, the highly popular title *Wind Oasis II: A Tale of Forest and Water* is finally being reissued!

It began somewhere between sleep and memory. After first meeting in dreams, in Brussels and Berlin, on landscapes that felt strangely close to Vilnius, Marija Rasa aka emer and Ugnė Uma leisurely rewrote those visions into songs. What followed became a collection of moments suspended in idle summers, familiar faces, gentle motions, skin touched by golden sun. These songs wander through closeness and distance, tracing the delicate emotional shifts between us, who almost understand each other completely. ‘you and me’ lives in the space where magical realism meets everyday intimacy: honey-colored evenings, recurring thoughts, and the slow surrender to things unfolding on their own.

Limited Japanese edition inc the insert. KNOWER FOREVER credits

(1.) Knower Forever (Louis Cole)
*All strings
*All Brass
Extra synth: Louis Cole

(2.) I’m The President (Louis Cole / Genevieve Artadi)
Genevieve Artadi: Vox
Louis Cole: Drums
Sam Wilkes: Bass
Jacob Mann: Keyboard
Paul Cornish: Keyboard / Piano
*All Brass
*All Flutes
*All Choir
*All strings

(3.) The Abyss (Louis Cole / Genevieve Artadi)
Genevieve Artadi: Vox
Louis Cole: Drums
Mononeon: Bass
Rai Thistlethwayte: Keyboard
Sam Gendel: Saxophone

(4.) Real Nice Moment (Louis Cole / Genevieve Artadi)
Genevieve Artadi: Vox
Louis Cole: Drums
Mononeon: Bass
Rai Thistlethwayte: Keyboard
Paul Cornish: Keyboard / Piano
Sam Gendel: Saxophone
*All Choir

(5.) It’s All Nothing Until It’s Everything (Louis Cole / Genevieve Artadi)
Genevieve Artadi: Vox
Louis Cole: Drums
Sam Wilkes: Bass
Jacob Mann: Keyboard
Rai Thistlethwayte: Keyboard / Piano
*All Strings
*All Horns

(6.) Nightmare (Louis Cole / Genevieve Artadi)
Genevieve Artadi: Vox
Louis Cole: Drums
Mononeon: Bass
Jacob Mann: Keyboard
Rai Thistlethwayte: Keyboard

(7.) Same Smile, Different Face (Louis Cole)
Genevieve Artadi: Vox
Louis Cole: Piano
*All Strings

(8.) Do Hot Girls Like Chords? (Louis Cole / Genevieve Artadi)
Genevieve Artadi: Vox
Louis Cole: Drums
Sam Wilkes: Bass
Jacob Mann: Keyboard
Paul Cornish: Keyboard
Adam Ratner: Guitar

(9.) Ride That Dolphin (Louis Cole / Genevieve Artadi)
Genevieve Artadi: Vox
Louis Cole: Drums
Sam Wilkes: Bass
Jacob Mann: Keyboard
Paul Cornish: Keyboard
*All Choir

(10.) It Will Get Real (Louis Cole / Genevieve Artadi)
Genevieve Artadi: Vox
Louis Cole: Drums
Mononeon: Bass
Rai Thistlethwayte: Keyboard
Chiquita Magic: Keyboard
Sam Gendel: Saxophone

(11.) Crash The Car (Louis Cole / Genevieve Artadi)
Genevieve Artadi: Vox
Louis Cole: Drums
Sam Wilkes: Bass
Jacob Mann: Keyboard
Paul Cornish: Piano
Adam Ratner: Guitar
David Binney: Saxophone
*All Brass
*All Choir
*All strings

(12.) Bonus Track (Louis Cole)
Genevieve Artadi: Tambourine Robot Holder
Louis Cole: Drums
Mononeon: Bass
Rai Thistlethwayte: Keyboard
Chiquita Magic: Keyboard
Sam Gendel: Saxophone
Tambourine Robot built by Louis Cole and Daniel Sunshine


*Strings:
Leah Zeger (vln)
Lily Honigberg (vln)
Megan Shung (vln)
Yu-Ting Wu (vln)
Chrysanthe Tan (vln)
Sabrina Parry (vln)
Nora Germain (vln)
Tylana Renga (vln)
Tom Lea (vla)
Ethan Moffitt (vla)
Daniel Jacobs (vla)
Lauren Baba (vla)
Isaiah Gage (clo)
Chris Votek (clo)
Niall Ferguson (clo)
Emily Elkin (clo)
Karl McComas-Reichl (bs)
Logan Kane (bs)

*Brass:
Robert Murray (tuba)
Corbin Jones (sousaphone)
Kyle Richter (sousaphone)
Jon Hatamiya (tbn)
Vikram Devasthali (tbn)
Mariel Austin (tbn)
Nick Platoff (bass tbn)
Aidan Lombard (tp)
Aaron Janik (tp)
Andris Mattson (tp)
Chris Clarkson (tp)

*Flutes:
Rob Sheppard
Amber Navran
Henry Solomon

*Choir:
Kathryn Shuman
Mikaela Elson
Dyasono
Micaela Tobin
Jessica Freedman
Rayah Clarkson
Alexandra Domingo
Sharon Kim
Linnea Sablosky
Katharine Eames
Glynis Davies
Michael Kohl
Jeff Eames
VJ Rosales
Brett McDermid
Luc Kleiner
Sean Fitzpatrick


All production by: Louis Cole
All songs mixed and mastered by: Louis Cole
Audio Engineer: Daniel Sunshine
Cameras: Daniel Sunshine, Richard Thompson, Chiquita Magic, Max Zemanovic
Special thanks for Alliz Espi at Songololo Music, and publishers Because Music

Limited Japanese edition. KNOWER FOREVER credits

(1.) Knower Forever (Louis Cole)
*All strings
*All Brass
Extra synth: Louis Cole

(2.) I’m The President (Louis Cole / Genevieve Artadi)
Genevieve Artadi: Vox
Louis Cole: Drums
Sam Wilkes: Bass
Jacob Mann: Keyboard
Paul Cornish: Keyboard / Piano
*All Brass
*All Flutes
*All Choir
*All strings

(3.) The Abyss (Louis Cole / Genevieve Artadi)
Genevieve Artadi: Vox
Louis Cole: Drums
Mononeon: Bass
Rai Thistlethwayte: Keyboard
Sam Gendel: Saxophone

(4.) Real Nice Moment (Louis Cole / Genevieve Artadi)
Genevieve Artadi: Vox
Louis Cole: Drums
Mononeon: Bass
Rai Thistlethwayte: Keyboard
Paul Cornish: Keyboard / Piano
Sam Gendel: Saxophone
*All Choir

(5.) It’s All Nothing Until It’s Everything (Louis Cole / Genevieve Artadi)
Genevieve Artadi: Vox
Louis Cole: Drums
Sam Wilkes: Bass
Jacob Mann: Keyboard
Rai Thistlethwayte: Keyboard / Piano
*All Strings
*All Horns

(6.) Nightmare (Louis Cole / Genevieve Artadi)
Genevieve Artadi: Vox
Louis Cole: Drums
Mononeon: Bass
Jacob Mann: Keyboard
Rai Thistlethwayte: Keyboard

(7.) Same Smile, Different Face (Louis Cole)
Genevieve Artadi: Vox
Louis Cole: Piano
*All Strings

(8.) Do Hot Girls Like Chords? (Louis Cole / Genevieve Artadi)
Genevieve Artadi: Vox
Louis Cole: Drums
Sam Wilkes: Bass
Jacob Mann: Keyboard
Paul Cornish: Keyboard
Adam Ratner: Guitar

(9.) Ride That Dolphin (Louis Cole / Genevieve Artadi)
Genevieve Artadi: Vox
Louis Cole: Drums
Sam Wilkes: Bass
Jacob Mann: Keyboard
Paul Cornish: Keyboard
*All Choir

(10.) It Will Get Real (Louis Cole / Genevieve Artadi)
Genevieve Artadi: Vox
Louis Cole: Drums
Mononeon: Bass
Rai Thistlethwayte: Keyboard
Chiquita Magic: Keyboard
Sam Gendel: Saxophone

(11.) Crash The Car (Louis Cole / Genevieve Artadi)
Genevieve Artadi: Vox
Louis Cole: Drums
Sam Wilkes: Bass
Jacob Mann: Keyboard
Paul Cornish: Piano
Adam Ratner: Guitar
David Binney: Saxophone
*All Brass
*All Choir
*All strings

(12.) Bonus Track (Louis Cole)
Genevieve Artadi: Tambourine Robot Holder
Louis Cole: Drums
Mononeon: Bass
Rai Thistlethwayte: Keyboard
Chiquita Magic: Keyboard
Sam Gendel: Saxophone
Tambourine Robot built by Louis Cole and Daniel Sunshine


*Strings:
Leah Zeger (vln)
Lily Honigberg (vln)
Megan Shung (vln)
Yu-Ting Wu (vln)
Chrysanthe Tan (vln)
Sabrina Parry (vln)
Nora Germain (vln)
Tylana Renga (vln)
Tom Lea (vla)
Ethan Moffitt (vla)
Daniel Jacobs (vla)
Lauren Baba (vla)
Isaiah Gage (clo)
Chris Votek (clo)
Niall Ferguson (clo)
Emily Elkin (clo)
Karl McComas-Reichl (bs)
Logan Kane (bs)

*Brass:
Robert Murray (tuba)
Corbin Jones (sousaphone)
Kyle Richter (sousaphone)
Jon Hatamiya (tbn)
Vikram Devasthali (tbn)
Mariel Austin (tbn)
Nick Platoff (bass tbn)
Aidan Lombard (tp)
Aaron Janik (tp)
Andris Mattson (tp)
Chris Clarkson (tp)

*Flutes:
Rob Sheppard
Amber Navran
Henry Solomon

*Choir:
Kathryn Shuman
Mikaela Elson
Dyasono
Micaela Tobin
Jessica Freedman
Rayah Clarkson
Alexandra Domingo
Sharon Kim
Linnea Sablosky
Katharine Eames
Glynis Davies
Michael Kohl
Jeff Eames
VJ Rosales
Brett McDermid
Luc Kleiner
Sean Fitzpatrick


All production by: Louis Cole
All songs mixed and mastered by: Louis Cole
Audio Engineer: Daniel Sunshine
Cameras: Daniel Sunshine, Richard Thompson, Chiquita Magic, Max Zemanovic
Special thanks for Alliz Espi at Songololo Music, and publishers Because Music

Morgan Buckley and Ben Donohoe present SWORX, a dense and disorientating collision of paranoid electronics, fractured polyrhythms and dystopian ‘crowdrock’. Released via Wah Wah Wino, the record plays like a corrupted transmission from a near-future network overseen by the mysterious titular modem ‘Sworx’, endlessly sorting coded signals into hidden archives. Blending IDM textures, restless percussion and warped digital atmospheres, the duo construct a world where surveillance, malfunction and synthetic consciousness blur together. Equal parts hypnotic and unnerving, SWORX feels beamed in from a damaged post-fibre-optic reality where even your dreams are under observation.