PRE-ORDERS

10月中旬入荷予定。坂本龍一とのコラボレーション3曲収録。Lee BannonとしてもNinja Tuneなどで活躍する北カルフォルニアのプロデューサー、Fred Welton Warmsley IIIによる真打ちである、インダストリアル・ミュージックをノイズやポスト・アンビエント、モダン・クラシカルといった現代的かつ先鋭的なアプローチで革新する一大プロジェクト、Dedekind Cutの8年振りとなる待望の新作！
Dedekind Cutによる〈DED〉トリロジーの最終章『Dede-K-Tion』。長い時間をかけて構想・制作されてきたシリーズの集大成となる作品で、これまでの〈DED〉シリーズで展開されてきた音響的探究をさらに拡張し、微細でスピチリュアルな電子音響とミニマリズムが交錯する世界を形成。坂本龍一特有の洗練された静謐さも相まって、Dedekind Cutの新たな領域へ到達した重要作。

The Vinyl Factory presents a brand new Ryoji Ikeda release. music for strings comprises three works written between 2020 and 2023, commissioned by Ensemble Modern, Muziekgebouw aan 't IJ, and DTzM, and built entirely around the physical behaviour of bowed strings.

“In 2016, I had a series of audiovisual concerts at a festival in Kyoto. Ensemble Modern from Frankfurt was there, performing a large piece by Heiner Goebbels. We became friends, and years later, in 2021, they commissioned me to create a new piece for their 2023 season,” Ikeda explains. “Through a workshop with their players, I decided to focus exclusively on strings”.

REFLECTION [for string nonet], op.13 has all nine players locked into a seven-eight rhythm, but staggered so the parts seem to answer each other.

PRISM [for string nonet], op.14 takes the idea of white light splitting into a spectrum and applies it to sound, with Ikeda working through almost the entire pitch range of the ensemble, pulling out clusters of notes the way a prism pulls out colour.

MIRROR [one for two], op.12 is built on a sheet of music where the staff notation is mirrored, allowing it to be read simultaneously from both the normal and opposite directions. As a result, two players share the single notation, performing together while reading it in opposite directions.

“For many years, I had ideas for MIRROR [one for two] that exists only as a dream. It seems simple, but it is extremely difficult to make sense of due to its very restricted rule. At the start, I decided to tackle this piece,” says Ikeda.

“Another dream of mine was to form a string ensemble arranged linearly on stage. Usually players perform in a semicircular formation to see each other. A linear formation, however, denies this visual connection. The challenge was implemented with PRISM [for string nonet] and REFLECTION [for string nonet].”

Performed by Ensemble Modern and recorded by SWR, the work premiered in Amsterdam on 8 February 2024 before its UK premiere at the Barbican on 20 February 2026.

The second release from Ojas Music, Elyria Sound is a solo guitar album from Michael A. Muller, recorded to analog tape during a winter storm in Brooklyn in January 2026. Where Muller's previous work operated in darker, atmospheric territories, and 2024's Mirror Music wove together 11 collaborators, Elyria Sound strips everything back to a single voice: one instrument, one room, one take. Each piece was captured live in single passes to a one-inch tape machine, the most direct path from fingertip to magnetic oxide. The album title traces to 2018, when Muller began writing solo music while housesitting for a friend in Elyria Canyon in the East Los Angeles hills. The address became the name of his studio, and when he moved to LA shortly after, it became a way of life for the next six years. Elyria Sound is an intimate homage to his sensorial world of that time: the quality of light through a kitchen window. The lull of helicopters and sirens, the blurred glimmer of city lights stretching to the night horizon. Gravel, dust, lizards, birds. Clacking bamboo, white rose, jade, fig, and lemon. A dwelling. A resting place. The comfort of an exhale, and the looming awareness that nothing stays. To create the record, Muller developed entirely new guitar tunings, forcing himself to relearn the instrument's language from scratch. The result moves between lullaby and lament: spare, cyclical compositions where motifs recur at differing angles and tempos, variations on a central thread. One piece, "Arundel," pays tribute to David Pajo (Papa M, Slint, Tortoise), a nod to the lineage of guitar music that values texture and patience over drama. The cover artwork by Dennis Foster serves as a visual counterbalance to the music's intended simplicity.

Japan’s leading electronic composer and visual artist, Ryoji Ikeda collaborates with The Vinyl Factory on a 12” vinyl-only release housing 10 locked grooves each consisting of a unique sine wave with a different frequency correlating to a different planet in the solar system.

Pressed on 180-gram heavyweight vinyl, housed in a bespoke screen printed sleeve, this unique edition has been produced in celebration of UK premiere of Ryoji Ikeda’s supersymmetry installation, showing at The Vinyl Factory Space at Brewer Street Car Park from 23 April - 31 May 2015.

Ikeda's supersymmetry is a fully immersive auditory and visual experience - an artistic vision of the reality of nature, an interpretation of quantum mechanics and quantum information theory from an aesthetic viewpoint. The work draws on his exchanges with scientists and engineers during his stay at the European Organization for Nuclear Research (CERN), the world’s largest particle physics laboratory.

code name: A-Z by Ryoji Ikeda comprises 26 sonic frequencies which form an audio conversation derived from the US military use of Morse code. Pressed on clear 12" vinyl with 13 locked grooves on each side and the title of each hand etched into the grooves.

Initially released on the occasion of Elevation 2017, an arts festival in Gstaad produced by LUMA Foundation, where Ryoji presented a site-specific installation of Test Pattern.

Commissioned and produced by 180 Studios, Ryoji Ikeda’s site-specific audio- visual installation data-cosm [n°1] is a unique immersive experience charting the full spectrum of data on nature – from the microscopic scale of particle physics to the macroscopic of astrophysics, as was previously evident in the artist’s data-verse project.Premiered at 180 Studios in October 2025, data-cosm [n°1] functions as a giant microscope, a scientific apparatus, a clinical device, a monitoring system, and a window to an infinitely vast space. Visitors are invited to lie down on the floor and look up at the large LED screen set on the ceiling above them, their bodies surrounded by Ikeda’s soundscapes – a total sensory experience.

Ryoji Ikeda, Japan’s leading electronic composer and visual artist Ryoji Ikeda focuses on the essential characteristics of sound itself and that of visuals as light by means of both mathematical precision and mathematical aesthetics. Ikeda has gained a reputation as one of the few international artists working convincingly across both visual and sonic media.

He elaborately orchestrates sound, visuals, materials, physical phenomena and mathematical notions into immersive live performances and installations.

Eklekto Eklekto is a contemporary percussion collective founded in 1974 in Geneva. Constantly seeking to reinvent percussion music, the group collaborates with living composers and contemporary artists through concerts, multimedia projects and artistic events that question the listener’s expectations towards new musical forms.

Eklekto has premiered over 100 new works and performed hundreds of internationally acclaimed shows.

o celebrate 30 years since its original release, Boards of Canada’s Hi Scores returns in a new edition on Warp Records. Originally released on Skam Records in 1996, Hi Scores was Boards of Canada’s first widely available release. The six-track release features some of the duo’s most enduring pieces, including “Turquoise Hexagon Sun” and “Everything You Do Is A Balloon”. For its 30th anniversary, Hi Scores is being reissued by Warp, marking the first time their whole catalogue has been widely available on vinyl at the same time. Hi Scores has not been available on vinyl since 2014 and is newly packaged in a gatefold 12" sleeve, with four 12"×12" prints.

Ancient Lights’ is the debut album from Uniting of Opposites, the new musical venture from Tim Liken, Clem Alford and Ben Hazleton, bringing to life a melting pot of cultures and inspiration; using new technology as an opportunity to explore and merge aspects of jazz, electronica and traditional Indian musical styles. The band was established when, within the myriad forms of jazz, Hazleton met Alford and begun studying the classical Indian tradition in order to “open [his] ears to new melodic and rhythmic possibilities”. As a lover of all types and styles of music, Liken’s involvement fused together their collective musical journeys, creating Uniting of Opposites. Named after the ‘Ancient Lights’ English property law, that gives home owners the right to receive natural light, the LP brings together creative musical forces, colliding to continuously redefine the music itself and express a fluidity that’s found at the heart of Uniting of Opposites’ ethos.

Four decades after Prati Bagnati del Monte Analogo, Francesco Messina returns to his hundred-year-old Schimmel piano for seven pieces of hazy drone and ambient minimalism, written with no deadlines after playing that 1979 album live in Milan. Limited LP version. Francesco Messina is perhaps best known for his split album with fellow composer Raul Lovisoni, Prati Bagnati del Monte Analogo, originally released on the seminal Italian label Cramps in 1979. Along with contemporaries Franco Battiato, Juri Camisasca and Giusto Pio, Messina helped reshape the world of modern composition with an organic rawness and haunting beauty. In November 2023, Messina performed Prati Bagnati live for the first time in Milan, Italy, along with pianist Michele Fedrigotti, who appeared on the original LP. The concert was a tremendous success and led the composer to further reflect upon the music he made over 40 years ago. From his home piano, a hundred-year-old Schimmel with magnificent resonance, new pieces began to emerge out of these meditative sessions. As Messina says in the liner notes, “The idea of making a new album wasn’t the driving force at all; what mattered was trying to reconnect with the ‘freedom’ I had experienced back then while creating that music. I started over without haste or deadlines, simply trying to find a deeper, inner connection.” W.25TH / Superior Viaduct is honored to present Le api dell’invisibile. From the hazy drone of For Florian and the title track to the gentle swells of Letter for an Absent Friend, the album is a lush amalgam of new age and ambient minimalism that is vividly reminiscent of Messina’s earlier work. The title draws inspiration from a famous reflection by Austrian poet Rainer Maria Rilke: “We are the bees of the invisible. We ceaselessly gather the honey of the visible, to store it in the great golden hive of the Invisible.” It is a phrase that has long shaped the way Messina looks at his music, transforming lived experience into sound, making audible what normally eludes the eye. • New album for the Italian composer, producer and collaborator of Franco Battiato • His 1979 Prati Bagnati del Monte Analogo is a heavenly minimal masterpiece • Recommended for fans of Harold Budd, Floating Points and Music For Airports • Liner notes by Francesco Messina

Forty years of cassette releases, pressed for the first time on vinyl First of two instalments exploring the previously unreleased sonic archives of one of Poland’s most enigmatic living artists - with its first volume focused on his deep listening practice and spiritual reverie (recorded 1990–2013) The last time Andrzej Dudek-Dürer took a banknote bearing the face of the Polish anarchist Jarosław Dąbrowski from his pocket to trade it for a pair of shoes was in 1969. He bought them for 120zł - the equivalent of 100€ today - and never replaced them since then. Only rebuilt them, year after year, drawing a needle and thread through the leather each time it split, closing one wound before the next one opened. It became a ritual of precision, stitching a record of another year into their soles. That same year, in Wrocław, he arrived at a conclusion that would recalibrate everything that followed. Convinced he was the reincarnation of Albrecht Dürer, he adopted the surname Dudek-Dürer, stopped cutting his hair and began wearing the same garments every day. It was the first ritual of many, though he wouldn't have called it that yet. Look closely enough, over the decades, and it is always the same gesture, returning in different material: hair growing in a single unbroken strand, a needle drawing thread through leather, sitar strings pulled taut across a neck he built with his own hands and magnetic tape spooling forward inside the cassette boxes stacked against his walls. None of this began in a vacuum. Dudek-Dürer emerged from the Wrocław neo-avant-garde, in a Polish art world where an exhibition could be cancelled overnight by the stroke of a censor's pen. In 1973, his exhibition Auto-crucifixion was shut down by the state, and for a time he found himself blocked from exhibiting his own art at all - the one force in his life that ever came close to cutting the thread. He seemed to experience it differently. In 1974, after long, patient research into sitar craftsmanship, he built his first prototype with his brother, a knowledgeable luthier. In 1978, in a smoked-out jazz club, he took his first steps into sound recording with the unreleased album Jazz From Underground with his first band. By 1979, recognition started to travel further than he could. Turning toward Far-Eastern philosophy, meditation and the idea of reincarnation was another language of freedom for him. It was a way of claiming an inner territory the state could not reach, a border it could not close. Mail Art served a parallel function, reaching further out: in a country that restricted travel and expression, sending and receiving art through the postal system became an act of quiet rebellion. The body, in his understanding, is only an envelope readied for constant transformation. From this came Metaphysical Telepathy: during the years he could not leave Poland, he treated that confinement as a rehearsal room, sending his mind out ahead on the same thread his body would later follow. Living Sculpture grew from the same root with performances of stillness beside static art objects, until the boundary between the object and the man beside it simply dissolved. Camera Meditation extended the same instinct into photography: a shutter click flattening three dimensions into two so that a single instant could be held forever. Inspired by the pioneers of self-portrait photography like Robert Cornelius, he used it to document time itself, and kept explaining to me: "You know. This is not about vanity. This is about observing time passing.” The isolation did not end suddenly. It ended the way his own philosophy had already predicted it would, from the inside first. Mail Art quietly solved the problem politics couldn't. Correspondence built during years of confinement slowly worked its way through doors the state itself had kept locked. Contacts made through folded paper and stamps became invitations. Ultimately, invitations became passports. In 1983 he made his first trip outside Poland, to Germany, in search of the audio technology he couldn’t get his hands on before. In 1985, he was invited by the Indian embassy in Poland to give a sitar concert on an instrument he had spent a decade patiently stringing together - half sitar, half tanpura, built from patience and determination. After the collapse of the People's Republic of Poland, the travels kept unspooling: South Korea, then Mexico, then Australia, Canada, New Zealand, Singapore, Japan and the United States - each stop leaving behind its own small knot of tape, tied off and carried home. In the decades since, recognition arrived at the same unhurried pace: he conducted workshops at UC Berkeley, served as vice-president for artistic affairs of the Union of Polish Art Photographers and the Union of Polish Visual Artists between 2010 and 2014 and received the Bronze Medal for Merit to Culture - Gloria Artis. His visual work gradually entered collections including the National Museums of Warsaw, the Stedelijk Museum, Tate Modern, MoMA and the Venice Biennale. His musical practice, by contrast, never found that kind of room - left to circulate quietly, sharing his cassette tapes directly, waiting for someone willing to follow it further. It took months before I could find a way to reach Andrzej Dudek-Dürer - his presence online is very close to nonexistent. Surprisingly, LinkedIn turned out to be the only door still open, a faintly absurd irony given everything else about him. I packed the strict minimum for a three-day trip and an empty notebook and made my way to Wrocław. His headquarters sits in the neighbourhood of Grabyszyn: a two-storey pre-war house that has belonged to his family for generations. The man who opened the door was long-haired, long-bearded, in his trademark leather shoes and patched jeans. We sat in his living room, in front of a computer where decades of recordings sat organised in cryptically named files, surrounded by books and objects that had arrived one layer at a time, leaving room for only two chairs in the middle. His shoes sat by the door, rebuilt so many times they had become their own quiet sculpture. Cassette tapes filled boxes against the walls, almost unlabelled, each one a spool of thread holding decades of sound that had never once been asked for, until now. I listened for hours: meditating in front of strangers on the porch of a Seoul temple until the tourists stopped taking photos and simply waited with him; a stand-off with border guards at the US–Mexico crossing over an instrument they couldn't identify and didn't trust; a session with the Stockhausen family that he still, decades later, describes like it happened last week. All of it interrupted, occasionally, by the smell of soup boiling and fresh bread warming on the ceramic stove. After two days, it felt like being handed the end of a very long thread and asked, gently, to keep following it. I left with a USB drive holding his full discography, signed with his unmistakable signature. Astral Meditations From A Living Statue is a length of that thread, drawn out from the boxes stacked against his walls - recordings gathered from different rooms, different countries, different decades. This first record breathes slowly: incense-thick, meditative, built for stillness. A cutting-edge séance in outer space where machines learn how to dream. It begins with the neo-classical improvisations of Andrzej, space-delayed, recorded at Klub Muzyki i Literatury in Wrocław in 2002. 'When..So' opens the curtains with a deep-rooted meditation accompanied by slow-decaying piano figures illuminated by a candle-lit spirit gathering. Los Angeles, 1990: a dormant villa, a grand piano, the voice of Bonnie Barnett. 'Exception' is captured in a single room, in a single afternoon - voice and keys circling each other, neither one leading, until the silence between the notes starts to feel like the instrument. 'The Meta...' and 'Tired Of...', recorded at Studio Morandi in Ponte Nossa, Italy, in 1992, settle into a sitar drone built entirely from patience - overtones stacking and beating against each other, strung by a man who never once set foot in India. 'Mastery Of...' follows, recorded the same year at Studio Suski in Łomianki, pushing that same hum further still, until pitch dissolves into a spectral reverie. 'Transcendental Sound', from 2000, closes the first record in a slow bath of celestial frequency - better heard beside the shores of the Odra river. More than fifty years after deciding that a life could become an artwork, Andrzej Dudek-Dürer continues to inhabit that decision. His shoes keep wearing thin against the earth's crust. His hair keeps growing, one strand at a time. His cassette tapes keep spooling in the dark of their boxes. Now the thread finds its last shape: a single unbroken groove, spiralling inward from the outer edge to the label at the centre. Never cut - the way nothing else in his life ever was. Drop the needle and it will find that groove and follow it, the same way a needle once followed leather, once followed a border it couldn't cross, once followed string into an instrument that didn't exist until he built it. This record is the other end of a thread that has been travelling for fifty years. For the length of both sides, it rests here, in your hands. This is a timeless proof that the Lord of the New Age was never lost."

アルバムについて Occam Ocean is a series of acoustic compositions made for and with individual instrumentalists by the late French composer Éliane Radigue. Extending the interactive process pioneered in Naldjorlak (2005–2009), Occam Ocean employs a scoreless method of composing in dialogue with each performer. Dating back to 2011, the series has proliferated almost organically, growing out of a musical and social dynamic of combinatoriality and multiplication to a catalog of more than eighty discrete compositions. This body of work stands as one of the most extraordinary late-career outpourings in recent music history. The Occam series was catalyzed in part by a visit to the Natural History Museum in Los Angeles, where Radigue encountered a depiction of the electromagnetic spectrum—from radio signals to gamma rays—which impressed upon her the minuscule range of human hearing relative to the seemingly unlimited compass of universal wavelength and frequency. The Occam compositions seem to address this vertiginous confrontation with the infinite; each individual composition elaborates a radically reduced technique or sound process, frequently working outward from only a handful of fundamental tones, to expose the flickering, idiosyncratic spectral behavior of the instrument. The reference to William of Ockham indicates a principled commitment to parsimony; paradoxically, the reduction in material content makes possible an incommensurate richness in perceived acoustical detail. Notable in the Occam series is the inextricable identification of the composition with the performer for whom, and with whom, it was made. The particular sounds and techniques of each individual performer are thus indelibly stamped in the composition; the piece composes the playing of that musician, as much as the musician plays the composition. The time-honored division of labor between performer and composer is thus suspended and reconfigured, proposing a model for new music composition that has not yet been fully theorized or understood. Occam XIII, Occam River XI (presented here in two distinct readings, which reveal subtle variations in instrumental response), and Occam V feature two longtime collaborators of Radigue in solo and duo formations. Charles Curtis, the first instrumentalist for whom Radigue wrote an acoustic composition (Naldjorlak), performs on cello, while Dafne Vicente-Sandoval—whose parallel investigations into her instrument’s complex sounding properties led her to collaborate with Radigue—performs on bassoon. The works were recorded at Temple Saint-Théodule, La Tour-de-Peilz, Switzerland, during a 2024 residency at La Becque, a setting previously explored by the musicians for its distinctive acoustic properties.

Four electroacoustic works by Ivo Malec composed between 1961 and 1982, from the early Dahovi to Week-end, gathered by Recollection GRM and reissued on vinyl for the very first time. LP version. Composed over a period of twenty years, these four electroacoustic pieces by Ivo Malec reflect the richness of his sonic universe and reveal the unique power of his musical writing. His strength lies in an ability to harness emerging sounds and techniques (ranging from complex editing to early computer music and electronic synthesis) and develop them through an exploratory approach, giving rise to musical ideas of rare clarity. This sense of determination, not only in terms of the future of sounds but also of musical forms, is what makes Ivo Malec an essential composer on the contemporary music scene and a key figure in the GRM's repertoire. (François Bonnet, Paris, 2025) A collection of seminal works of musique concrète composed between 1961 and 1982, reissued for the very first time, in a debossed printed sleeve. Side A: Luminétudes (1968), Recitativo (1980). Side B: Dahovi (1961), Week-end (1982).

Music From Memory presents ‘Sleep Machines’, a new collaborative album from UK ambient pioneers O Yuki Conjugate and German producer and DJ Philipp Otterbach. Formed in Nottingham in 1982, O Yuki Conjugate have spent more than four decades developing a singular approach to what they now describe as ‘dirty ambient’. Emerging from the post-punk DIY scene and drawing early inspiration from artists including Cabaret Voltaire, The Durutti Column and Jon Hassell, the group gradually carved out a space between post-industrial electronics, ambient music and Fourth World experimentation. Centred today around founding members Roger Horberry and Andrew Hulme, their work has retained an outsider sensibility throughout its many periods of activity and hibernation. Philipp Otterbach approaches music from an equally open-ended perspective. As a producer, collector and DJ, his work moves freely between drone, dub, techno, house and electronics. His sets and productions share a fascination with unexpected connections, allowing disparate sounds to drift into one another through intuition rather than fixed genre boundaries. ‘Sleep Machines’ began with a chance meeting at The Gun on Well St. in London. Otterbach asked, “Would you be interested in doing a collaboration?” “A collaboration? Sorry, we don't do collaborations,” came the reply. “But wouldn’t it be fun?” “We don't do fun either.” Despite themselves, O Yuki Conjugate tentatively sent over an initial track. An avalanche of ideas quickly came back, and what began as an unlikely proposal developed into 18 months of recording, file-swapping, mixing and repeated reworking between the UK and Germany. Produced by Otterbach, the resulting ten tracks bring together recognisable elements of both sides while gradually dissolving the lines between them. O Yuki Conjugate’s hazy atmospheres, dubwise spaces and tactile rhythms meet Otterbach’s instinct for strange detail, low-slung electronics and shifting forms. Rather than functioning as a collection of separate pieces, the album moves without gaps, unfolding as a single continuous work in which one environment slowly slips into the next. ‘Sleep Machines’ is both O Yuki Conjugate’s first collaborative album and an unlikely meeting point between two generations of musicians whose work has consistently existed at the edges of established forms.

Recorded spontaneously in Brooklyn with no written compositions, Openess finds Laraaji working through ambient music, spiritual jazz and meditative improvisation. Isaiah Collier contributes drums and tenor sax, adding restless percussion and expressive horn work to Laraaji’s intuitive playing. Produced by Sonny Daze, it’s a free-form set built for deep listening.

An album by a little-known guitar duo released in 1999. Their songs—composed solely of guitars and making heavy use of harmonics—are beautiful pieces that evoke an ambient-like tranquility; during their live performances at the time, they even collaborated with 8mm film projections. However, while the album received high praise from a select few, the overall response was very limited. At the time, the indie scene had not yet re-evaluated ambient sounds, and there were virtually no other groups performing such simple instrumental music live. I believe this made the music extremely difficult to categorize and left it in a precarious position. However, once Japanese ambient music began to be re-evaluated globally in the 2010s, this album was rediscovered, and the remaining stock of CDs sold out instantly. Amid calls for a reissue, we’d like to unleash this music anew with this first-ever vinyl release. KENKEN—now known as URBAN VOLCANO SOUNDS—also makes a guest appearance. Whether you want to take your time exploring this little-known hidden gem or use it as everyday background music, this acoustic guitar instrumental album creates beautiful moments that seep into the very air around you.

“Little” Ann Bridgeforth left this plane in 2003, several years before the song that would become her most revered, found its audience. “Deep Shadows” is a soul boulder of epic proportions, a stark depiction of longing and claustrophobic isolation if there ever was one.The song was recorded along with a bunch of other soul gems by Dave Hamilton and Darrell Goolsby in late 1960s Detroit just to be buried unreleased in a box for decades to come. It wasn’t until 1998, when Ace released it for the first time on CD and its reputation has grown exponentially since, the tune’s snappy drums, vibes and wailing vocals getting sampled for example by Madlib, Grand Puba, Loyle Carner and dozens of other beat heads.Back in 2009, Timmion compiled all of Ann’s canned output on an album and now releases the song on a 7” backed with a new version “Deeper Shadows”. The treatment flips Ann’s vocals to hit a different beat from the original, pasting them over an unreleased backing track from UK session group The Third Degree. Miraculously, this potion works delivering a fresh interpretation of Ann’s masterpiece. The two vastly different renditions of deep soul heaven are now available on vinyl for you to spin.

On his standout debut LP, DJ Grzyb marshals a rudely squashed swamp dance at the head of his octet, The Make-Believe Ensemble, landing with early support by Nathan Gregory Wilkins, babyschön, Skyrager (Psychemagick), Tom Ravenscroft, Elena Colombi The lessons of dub, new age ambient and Italian cosmic disco that fed into the proto-Goa melange continue to inspire DJ Grzyb and his band of slow disco marauders on this trippy 14-track journey. Their first venture unfolds as a sort of album-cum-mixtape, all handling a vast array of East-West instruments - from brass and woodwind sections to sitar, tanpura, and trad. Thai khaen, ching, pi phu Thai - in a wandering sort of cinematic, narrative-driven fashion. It’s almost entirely yoked to a purposefully slow pace, but does prang out a sore thumb ‘The Three Deaths’ ft. Naphta, aiming it all squarely at the feet of Vladimir Ivkovic or Andrew Weatherall fiends.

Presenting our second look at the music of Roger Doyle and Operating Theatre, a little known proto synth-pop act and experimental theatre group that he led, what you have here is a remastered and repackaged collection of two very different sides of this project. In reverse chronological order the second disc contains music from the United Dairies release of 1979 – ‘Rapid Eye Movements’. Experimental tape work heavily influenced by the French school of music concretists and recorded at various points during the 70s in Finland, Holland and Ireland, although it is most certainly a Roger Doyle solo record the label ran by Nurses With Wounds John Fothergill decided to release it under the group name for reasons now lost to the fog of time. After this a volte-face towards a more accessible sound, coming via his friendship with future Hollywood actress Olwen Fouéré and her connection to the theatre. It also featured the vocals of a young Spanish immigrant Elena López- bucking the 80’s trend by moving to, rather than, from Dublin. With Fouéré adding the theatrical element to the group (an almost essential part of any early 80s synth act) alongside pulsing synths, brass, a vocoder and the electro acoustic production talents of Doyle himself, it was the first time a Fairlight sampler was used in an Irish studio setting and gives a prescient but alternative take on the new wave sound that came to dominate the charts soon after. Doyle’s work on the newly released Fairlight sampler had brought him to the attention of U2’s Bono who had seen a feature about his sampling experimentations and reached out to him for piano lessons. This led to a deal on the bands embryonic Mother records for what Doyle calls his first “popular song” - Queen of No Heart - which alongside “Spring is Coming” made up the backbone of the EP which was released some years later (1986) on the Mother Records label. Established by U2 in 1984 and initially intended to launch Irish bands, many of the acts – including this one – were subsequently unhappy about the label’s haphazard approach to releases and lack of promotion. The record was released as a die cut 7 inch with the two main tracks and a 12 inch EP with additional tracks – ‘Part of My Make-Up’ / ‘Atlantean’ / ‘Satanasa’. The Mother experience was for Doyle and the rest of the group a frustrating one with no promotional plan and no tour. After that Operating Theatre as a quasi pop project ‘just kind of fizzled out’ says Doyle. Doyle, the musical maverick at the heart of the act, continues to produce to this day and has released 30 albums. A frequent collaborator we round out the record with a remix from another Irish outsider - Morgan Buckley of the Wino Boys.

Dur-Dur Band Volume 3 and 4Funk, disco and Somali soul from 1980s MogadishuIn the 1980s, Mogadishu was home to one of East Africa's most vibrant music scenes. Nightclubs, hotels and theatres filled with the sound of ambitious young musicians blending Somali melodies with funk, disco, reggae, soul and jazz. At the centre of that movement was Dur-Dur Band - a group whose recordings would later travel far beyond Somalia's borders and find new audiences decades after they were made.Drummer Adan Handal, alongside childhood friend Isse Dahir Qassim, brought some of Mogadishu's finest young talents together to explore new directions in Somali popular music. That idea gave birth to Dur-Dur Band. Drawing inspiration from Somali traditions as well as international influences, Dur-Dur created music that was both deeply local and remarkably modern.Their early cassette releases - Volumes 1 and 2 - quickly spread across Somalia. But it was with Volumes 3 and 4 that the band reached it's creative peak. Recorded under difficult circumstances, these albums captured a group pushing against every limitation: experimenting with rhythms, arrangements and studio techniques while facing personal losses and a country moving toward crisis.Volume 4 became one of Dur-Dur's most adventurous recordings - combining electronic percussion, unusual drum textures and reggae-inspired grooves with the unmistakable spirit of Somali music.Today, Dur-Dur Band's music has travelled further than anyone could have imagined - from Somalia's dance halls to listeners around the world. Their recordings are more than a document of a vanished era; they are proof of a musical creativity that survived war, displacement and decades of silence.For Adan Handal, the only musician to appear on every Dur-Dur recording, the story of the band is ultimately the story of a sound that refused to disappear.

PROUD OF ME is a deeply personal new album nearly a decade in the making from ALA.NI, the enigmatic British singer, songwriter and musician whose voice seems to exist outside of time, and composer Adrian Younge. The record captures a diaristic snapshot of ALA.Ni's life across several years, tracing love, longing, grief and self-discovery against the backdrop of Los Angeles. Across Proud of Me, ALA.NI writes plainly about desire, grief, intimacy and self-possession, often leaving the emotional edges exposed. From the hushed intimacy of "Face in the Evening" to the hazy romance of "Middle of Nowhere", the album traces the story of a woman learning to trust her own voice and experience.

Ghana x Norway in a deep, rumbling, heartical Afro-beat-dub clash for the ages, tightening binds developed over the course of 12”s and an LP since ’24. Big one FFO classic steppas, Afrobeat, Sotofett’s inimitable magick... Seeded in Sotofett’s mixing/engineering on ‘Dr. Afrodub’ by Ghanaian artist Ekowmania, ‘Dub Souljah’ enriches their bonds on a big, stepping disco-dub and versions of material relating to the album. The multifaceted, Norwegian anomaly simmers ‘Dubsouljah on the good foot with burning roots brass and nyabinhgi’s like some Wareika Hill Sound Special, and take it deep into the echo chamber with spangled spring verb and disembodied voices in the Ultra Dub. The ‘Afrolistic Rock&Roll’ salutes Tony Allen’s precise, pugilist kit work on a tuff Afrobeat dub workout whipped with wicked digital delays, and ‘Kuusikasi Funk (DJ Sotofett Ex10 Dub)’ smears the flutes and brass on a slippery big band Afrobeat bustle primed for summer ’26 festivals.

Pugilist percussionists Valentina Magaletti (Moin, Holy Tongue) & João Pais Filipe (HHY & The Macumbas) aka CZN, switching between tumbling flight and collapse on a new EP for Orator. The first release on Orator appears to slice off half an hour of tape from an endless session oscillating between polymetric clatter and tonal pauses for breath, as roughly relating to the title; referencing a rotary electrical motor that periodically reverses the direction of drive. In the first half, ‘That’s Magic!’ they juxtapose a hell-for-leather discipline hinting at Central African and Haitian traditions, with a slower arc of harmonic overtones that temper the flow to a quiet stillness halfway, and at the end. That approach comes on more aggressive, almost like Cut Hands, on the first section of B-side ‘There’s a Clown In My History’, before inverting the pressure to a vaporous, pregnant tension that finally breaks to cantankerous crescendo.

Properly mesmerising, deep, minimal and dubby techno-house mutations by Brian Leeds (Huerco S., Pendant) in Loidis mode, shuffling a custom production palette to dead sexy effect across nearly 2 hours of prime material tipped FFO Villalobos, Anthony Naples, Marc Leclair, Shinichi Atobe, Wolfgang Voigt . A reliable font of modern ambient and dance musics since the early 2010s, Brian Leeds continues to come into his own as Loidis with his most personal love note to the ‘floor. ‘From The Toolkit Of Lovers’ spans a dozen tracks that take their sweet time to stretch out and absorb heads within fine-lathered, hands-on arrangements of robust subs gelled with writhing textures and hypnagogic hooks. Offered as his “meditation on life, love and dub”, it works a damn treat for minds in lucid or altered states and bodies in motion, working from the toes to the nose with the same sort of sensuality and grooving impetus that gained cult acclaim to his RA.965 mix and preceding album ‘One Day’, also for Anthony Naples & Jenny Slattery’s Incienso. Call it micro-house, dub techno, or just plain old hypnotic dance music, the results see all Leeds’ circles bleed into a definitive album statement slanted to off-peak hours when mind and body are still whirring. It plays out with loose sequencing primed for sinking into, or equally well as a bevy of aces for discerning DJs. The lip-biting micro-funk of ‘TT Stunt’ follows the clipped strut and 3D-dubbing of ‘Towlift’, a filtered, discoid house zinger in ‘Possession Centre’, and exquisite vocoder processing in ‘Horse on Wheels’, next to the restless bassline of’ Running Rich’, and Villalobos levels of detail in the corkscrewing drums and fruity pucker of ’Shopgirl Keepsake’. The final one-to of subaquatic dub house ‘The Lowest Word’ and compressed pulses to ‘I Would Be Glad To Be On It’ see off an immaculate 2 hours in Leeds’ presence - no doubt a hard act to follow for whoever has the aux cord at the afters.