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The definitive release of Dubhei & New Chanel, the extraordinary musical work by Shinro Ohtake, known as an artist. Shinro Ohtake is currently known as an artist, but his career began in music. JUKE/19., which was among the first in Japan to respond to NO WAVE and incorporate it into their work, was far ahead of its time in 1980. Yet, their work quietly influenced many later artists. Yamataka EYE of Boredoms, in particular, openly acknowledged its immense influence, and in the 90s, he even started a duo with Otake himself, PUZZLE PUNKS (the unit continues to this day).
Dabuhei & New Chanel represents the ultimate expression of Otake's musical vision. This band, featuring guitar, bass, drums, keyboard, and turntables, was entirely remote-controlled, creating an extraordinary system where each stage performance itself became a work of art. Yamataka EYE was once featured in this system, performing with Destroy All Monsters, and his collaboration with Kazuhisa Uchihashi was also released as a CD work.
This release captures Dubhei & New Chanel's performance at the Toyama Prefectural Museum of Art's TAD space on the final day of the touring “Shinro Ohtake Exhibition,” which began at the National Museum of Modern Art, Tokyo in 2022. It is presented across three analog discs and two CDs.
For this performance, Toshiharu Toyama, a close ally who had worked with Ohtake and JUKE/19. since the early 80s, brought his own modified instruments and joined Dubhei & New Chanel mid-performance. Their playing plunged into a black hole-like sonic world that could never have emerged from Dubhei & New Chanel alone, creating an intense, condensed history of Ohtake's music starting from JUKE/19. , creating an intense experience that felt like a sudden condensation of the entire history of Ohtake's music, starting from JUKE/19.. Ohtake's live performance added to the ultimate industrial sound mass, creating a physical chaos.
Both the packaging and content differ between the analog and CD versions.
The analog packaging is unprecedented: a B-size silk-screen printed poster cut into three pieces, each housing one record, then all stored within a silk-screen printed clear case. When connected, they form a B-size silk poster. During cutting, the request was: “Blow out the bass at full volume—a lighter player might blow the needle off!”
Please note that the jacket image is a concept rendering and may differ slightly from the final visual.
Following The Pocket of Fever, Ambient Sans presents the second part of Masahiro Sugaya’s visionary collaborations with avant-garde performance group Pappa TARAHUMARA, founded by Hiroshi Koike in 1982. The company fused dance, theatre, music and visual art into abstract stage environments, with Sugaya’s music serving as their emotional and conceptual core.
Music From Alejo was his first full score for the troupe—a refined work where repetition and silence mingle with luminous synthesizers and drifting melodic fragments. More structured than The Pocket of Fever, it balances modern composition with subtle inflections of Japanese tradition, evoking a sense of movement suspended between dream and reality.
Reissued for the first time on vinyl, the album includes a printed insert with an exclusive interview and photographs from Sugaya’s home in Japan. A vital rediscovery for admirers of Hiroshi Yoshimura, Midori Takada and Brian Eno, it captures a quietly radical moment in Tokyo’s 1980s experimental scene.
Following The Pocket of Fever, Ambient Sans presents the second part of Masahiro Sugaya’s visionary collaborations with avant-garde performance group Pappa TARAHUMARA, founded by Hiroshi Koike in 1982. The company fused dance, theatre, music and visual art into abstract stage environments, with Sugaya’s music serving as their emotional and conceptual core.
Music From Alejo was his first full score for the troupe—a refined work where repetition and silence mingle with luminous synthesizers and drifting melodic fragments. More structured than The Pocket of Fever, it balances modern composition with subtle inflections of Japanese tradition, evoking a sense of movement suspended between dream and reality.
Reissued for the first time on vinyl, the album includes a printed insert with an exclusive interview and photographs from Sugaya’s home in Japan. A vital rediscovery for admirers of Hiroshi Yoshimura, Midori Takada and Brian Eno, it captures a quietly radical moment in Tokyo’s 1980s experimental scene.
The Demise of Planet X is Andrew Fearn and Jason Williamson’s most expansive and ambitious release to date as Sleaford Mods. Boasting the duo’s most varied and expressive musical approach so far, it charts, critiques and satirises our times, while offering a universal cry of anger and release of energy that pushes against the encroaching cultural darkness.
Contemplating the world coming to an end not with a big bang but in slowly rising tide of irritating mundanity, The Demise Of Planet X strikes back with vivid sonics, acerbic words, enveloping atmospheres and a engaging wit across 13 tracks that will move hearts, minds and feet.
The album features a rare guest appearance from former Life Without Buildings frontwoman Sue Tompkins, plus collaborations with Aldous Harding, soul singer Liam Bailey and grime MC Snowy, the latter two both hailing from band’s hometown Nottingham. In her first foray into music, actress Gwendoline Christie (Wednesday/ Severance/ Game Of Thrones) also joins Midlands band Big Special on Sleaford Mods new single The Good Life, which is released today accompanied by a video directed by Ben Wheatley (The Kill List/A Field In England/Bulk).
‘“The Demise Of Planet X’ represents a life lived under immense uncertainty, shaped by mass trauma,” declares frontman Jason Williamson. “When we wrote the last album, it was about stagnation, a country that felt like a lifeless corpse. Three years later, that corpse has been split open by war, genocide, and the lingering psychological fallout of Covid whilst social media has mutated into a grotesque, twisted form of digital engineering. It feels like we’re living among the ruins. A multi-layered abomination etched into our collective psyche.”
The album will be released on February 13, 2026
Strut proudly presents the debut album from producer, songwriter and multiinstrumentalist, Momoko Gill. Fresh from her critically acclaimed collaboration Clay recorded with cult electronic artist Matthew Herbert, Momoko steps forward in her own right for the first time with her remarkable debut solo album.
Momoko has long been one of the UK electronic and jazz scene’s best-kept secrets. A self-taught drummer, producer, songwriter, and vocalist, she has brought her unique touch to collaborations with Alabaster DePlume, Matthew Herbert, Coby Sey, Tirzah, and Nadeem Din-Gabisi (her musical foil in An Alien Called Harmony). Extensive touring behind the drum kit, at the keys and in front of the mic have honed her compositional and production instincts.
With Momoko, Gill emerges into the spotlight with an album that is entirely her own. Throughout, you can hear the stylistic flavours of jazz musicians as much as singer-songwriters, experimental artists and electronic producers. Though Gill rejects imitation, sculpting her sound through feel and expression rather than tradition. Based in London and having grown up in Japan and the US, Gill channels her breadth of perspective through her musical ideas and storytelling, with a unique voice developed through instinct, collaboration and solitary study.
The album’s eleven tracks take in a wide spectrum with the jazz-infused groove of ‘No Others’ and harmony-drenched, reflective ‘Heavy’ contrasting with the dark, confrontational sound of 'Shadowboxing' leading into an eerie left-field instrumental beat, ‘Test A Small Area' and the impressive 50-person choir on ‘When Palestine Is Free’ (which includes heavyweights Shabaka Hutchings, Soweto Kinch, Alabaster DePlume, Coby Sey, Marysia Osu and more). It is a deeply personal and poetic recording and showcases the full uncompromising range of Momoko’s vison, presented in her own voice.
Momoko was produced by Momoko Gill, recorded at Total Refreshment
Centre, mixed by Matthew Herbert and mastered by Alex Gordon at Abbey Road Studios.
“i ai e.p.” by GEZAN with Million Wish Collective is a genre-blending 12" release that merges alternative rock, ambient textures, and experimental soundscapes. The A-side features the emotionally charged title track “i ai,” while the B-side offers a sprawling 18-minute remix by COMPUMA. Originally composed as the theme for the film i ai, the EP reflects GEZAN’s signature fusion of chaos, spirituality, and sonic exploration.
“Quiet ecstasy from a composer without boundaries”
4/5 The Guardian ‘Experimental Album of the Month’
“An emotional tapestry of lush organic instrumentation and synthetic drones, touching on the beauty in grief and the grief in beauty”
RA ‘Recommends’
In May, composer, musician, and producer Kara-Lis Coverdale released her first new album in eight years, From Where You Came. It was followed by her second album of 2025, A Series of Actions in a Sphere of Forever, in September. Today, Coverdale details her third full-length release of the year, Changes In Air, out 21 November via Smalltown Supersound, and unveils its lead single ‘Curve Traces of Held Space’.
Changes In Air is a work for electric organ, modular synthesis, and piano in five sections. The album was adapted from a work originally written for installation at Skarven in Oslo, a floating sauna facing the expansive fjord which is heated by wood fire and solar radiation. Five “materials” influence the album's arrangements: wood, water, sun, glass, and metal. Coverdale composed, played, and recorded Changes In Air alone in Marquette, Manitoba in 2019 and completed it this year.
Known for her musical innovations at the intersection of experimental electronics and minimalist traditions, Coverdale’s releases have garnered acclaim for their deep exploration of timbre. This year’s trilogy of albums released by Smalltown Supersound are Coverdale’s first major new works since Grafts (2017), Aftertouches (2015, Sacred Phrases), and A 480 (2014, Constellation Tatsu).
Coverdale has performed concert halls, clubs, and festivals throughout Europe, North America, Asia, and Australia headlining and touring with Big Thief, Caribou, Gagaku Ensemble and Floating Points (including as a part of his Promises ensemble at The Hollywood Bowl in LA). She has previously collaborated with with Actress, Yasuaki Shimizu, Caterina Barbieri and Lyra Pramuk and has created compositions for film, theatre, dance, symphonic instrumentation, and installation, including Cello Octet Amsterdam, Hamilton Philharmonic Orchestra, Vanemuine Theatre, NYC Contemporaneous Ensemble and Ludens Choir with pipe organ a connective tissue throughout much of her work.
“Quiet ecstasy from a composer without boundaries”
4/5 The Guardian ‘Experimental Album of the Month’
“An emotional tapestry of lush organic instrumentation and synthetic drones, touching on the beauty in grief and the grief in beauty”
RA ‘Recommends’
In May, composer, musician, and producer Kara-Lis Coverdale released her first new album in eight years, From Where You Came. It was followed by her second album of 2025, A Series of Actions in a Sphere of Forever, in September. Today, Coverdale details her third full-length release of the year, Changes In Air, out 21 November via Smalltown Supersound, and unveils its lead single ‘Curve Traces of Held Space’.
Changes In Air is a work for electric organ, modular synthesis, and piano in five sections. The album was adapted from a work originally written for installation at Skarven in Oslo, a floating sauna facing the expansive fjord which is heated by wood fire and solar radiation. Five “materials” influence the album's arrangements: wood, water, sun, glass, and metal. Coverdale composed, played, and recorded Changes In Air alone in Marquette, Manitoba in 2019 and completed it this year.
Known for her musical innovations at the intersection of experimental electronics and minimalist traditions, Coverdale’s releases have garnered acclaim for their deep exploration of timbre. This year’s trilogy of albums released by Smalltown Supersound are Coverdale’s first major new works since Grafts (2017), Aftertouches (2015, Sacred Phrases), and A 480 (2014, Constellation Tatsu).
Coverdale has performed concert halls, clubs, and festivals throughout Europe, North America, Asia, and Australia headlining and touring with Big Thief, Caribou, Gagaku Ensemble and Floating Points (including as a part of his Promises ensemble at The Hollywood Bowl in LA). She has previously collaborated with with Actress, Yasuaki Shimizu, Caterina Barbieri and Lyra Pramuk and has created compositions for film, theatre, dance, symphonic instrumentation, and installation, including Cello Octet Amsterdam, Hamilton Philharmonic Orchestra, Vanemuine Theatre, NYC Contemporaneous Ensemble and Ludens Choir with pipe organ a connective tissue throughout much of her work.
Don’t Trust Mirrors caps off one of the most transformative periods of Kelly Moran’s musical life. In 2019, her career was defined by extensive touring and festival dates — waking up early to play her sets, and staying late to dance to techno. The experience of staying out and absorbing this environment generated a new connection between herself & the music she was making, inspiring her to work on a more rhythmic followup to her 2018 Warp Records debut Ultraviolet.
But an unexpected and personal shift in her life, along with a halted tour during the pandemic, changed the course of the project. Her self-perception altered — both physically and emotionally — as well as her path, presenting a new creative process. This led to 2024’s Moves in the Field, which The New York Times called “a softhearted but steel-skinned set of 10 piano pieces that are as rapturous as a waterfall or as delicate as vapor.”
Setting itself apart from her last release, Don’t Trust Mirrors is a pivotal return to a project that was put on hold and to self-actualization, showcasing the experience of observing yourself through distortion, reflection, and the slow work of piecing yourself back together again. The album features Warp Records labelmate Bibio, and comprises 10 tracks of magnificent textural refractions — reflecting light, hard edges, and the full spectrum of embracing true embodiment.
The announcement is accompanied by the release of new single “Echo in the Field,” which opens the album, and comes with a mesmerizing, kinetic video directed by Katharine Antoun.
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Composed through the fall 2024 while Nala was 28 years old, The Smashing Machine is Sinephro’s first film score, following her two highly-acclaimed albums Space 1.8 and Endlessness.
Mohammad Reza Mortazavi returns to Latency with Nexus, a full-length album recorded in Berlin that extends his radical reinvention of Persian percussion. Renowned for pushing the tombak and daf into new territory with unprecedented techniques, Mortazavi now incorporates voice, effects, and electronic treatments into his sound for the first time. These additions deepen, rather than depart from, his lifelong exploration of rhythm and resonance. The record opens with ‘Zendegi’ (‘Life’), built from the chant “Woman, Life, Freedom” as a gesture towards his homeland and beyond. Throughout Nexus, Mortazavi explores connection, transformation, and the unseen forces that shape reality, presenting rhythm as both guide and teacher. The album title itself points to a meeting place where energies, ideas, and times converge, capturing its meditative but exploratory spirit. The cover features artwork by American artist and filmmaker Jordan Belson, whose “visual music” aligns with Mortazavi’s trance-inducing percussion language. His hypnotic live shows have reached the Berlin Philharmonie, Paris Pantheon, and Sydney Opera House, while his rhythmic innovations have earned acclaim across experimental and electronic circles, including collaborations with Burnt Friedman and Mark Fell.
William Basinski's epochal four-album box of slowly decomposing memories gets its long-overdue deluxe reissue, with liner notes from Laurie Anderson and a fresh mastering job from Josh Bonati.
Undoubtedly one of the greatest "ambient" albums of our era, 'The Disintegration Loops' is an enduring aesthetic touchstone. It didn't exist in a vacuum when it appeared in the early '00s, as the dust settled after 9/11, but Basinski's prescient meditation on decay in the wake of tragedy felt like a musical mark in the sand - a body of work that changed the way we think about repetition and tape saturation. The story goes that the composer, who'd been recording loop-based, minimalist experiments since the '70s, inspired by Brian Eno's 'Discreet Music' and Steve Reich's 'It's Gonna Rain', was going through his archive of reel-to-reel tapes when he realized the ferrite was flaking away from the plastic. Not willing to give up on the material, he recorded the output, letting the tape head destroy his pieces irreparably and adding reverb to the output.
Now, this would have been good enough without the additional context, but Basinski finished 'Disintegration Loops' on the morning of September 11, 2001, and played the first piece to his friends as they sat on the roof of his apartment block, watching agape as events unfolded. He used the footage he shot at the time for the covers of each disc, and the suite's solemn, thoughtful decline served as the unofficial soundtrack of our collective grief, an unfussy reminder of tragedy that plays out its haunted remnants of the past until they die, quite literally. There's been plenty of music that's aped Basinski's method since, and we don't doubt there'll be plenty more, but there's nothing quite like the original, and this latest remaster is the definitive version.
William Basinski's epochal four-album box of slowly decomposing memories gets its long-overdue deluxe reissue, with liner notes from Laurie Anderson and a fresh mastering job from Josh Bonati.
Undoubtedly one of the greatest "ambient" albums of our era, 'The Disintegration Loops' is an enduring aesthetic touchstone. It didn't exist in a vacuum when it appeared in the early '00s, as the dust settled after 9/11, but Basinski's prescient meditation on decay in the wake of tragedy felt like a musical mark in the sand - a body of work that changed the way we think about repetition and tape saturation. The story goes that the composer, who'd been recording loop-based, minimalist experiments since the '70s, inspired by Brian Eno's 'Discreet Music' and Steve Reich's 'It's Gonna Rain', was going through his archive of reel-to-reel tapes when he realized the ferrite was flaking away from the plastic. Not willing to give up on the material, he recorded the output, letting the tape head destroy his pieces irreparably and adding reverb to the output.
Now, this would have been good enough without the additional context, but Basinski finished 'Disintegration Loops' on the morning of September 11, 2001, and played the first piece to his friends as they sat on the roof of his apartment block, watching agape as events unfolded. He used the footage he shot at the time for the covers of each disc, and the suite's solemn, thoughtful decline served as the unofficial soundtrack of our collective grief, an unfussy reminder of tragedy that plays out its haunted remnants of the past until they die, quite literally. There's been plenty of music that's aped Basinski's method since, and we don't doubt there'll be plenty more, but there's nothing quite like the original, and this latest remaster is the definitive version.
Pullman is a studio-born acoustic supergroup that emerged from Chicago’s post-rock milieu in the late ’90s, uniting Ken “Bundy K.” Brown (Tortoise/Directions in Music), Curtis Harvey (Rex), Chris Brokaw (Come), and Doug McCombs (Tortoise/Eleventh Dream Day); drummer Tim Barnes later joined, solidifying the group’s core lineup. They debuted on Thrill Jockey with Turnstyles & Junkpiles (1998), a hushed, live-to-2-track collection of interwoven guitars that critics likened to John Fahey, Leo Kottke, and Gastr del Sol. Their follow-up, Viewfinder (2001), expanded the palette with percussion, subtle electric textures, and multi-track layering, while maintaining Pullman’s rustic, cinematic restraint. Across both albums, the band became a touchstone for acoustic, song-adjacent instrumental music: folk in spirit, post-rock in method, and timeless in tone.
Two decades later, Pullman return with III, an album forged in friendship and resilience. In 2021, Barnes went public with his diagnosis of early onset Alzheimer’s at age 54. Even as his condition progressed, he and Brown began working almost daily, often remotely, with a wide circle of collaborators from Barnes’s musical past. What began as a single contribution for a compilation gradually blossomed into a full Pullman record, completed between 2021 and 2023. Edited and mixed by Brown, with early input from Barnes, III carries forward the group’s signature intimacy and space while embodying the spirit of community that has always defined their work. Both a continuation of Pullman’s singular aesthetic and a testament to the sustaining power of music, III drifts with the quiet weight of memory, persistence, and grace.
Gagaku is the oldest of the Japanese performing arts, with a history more than a thousand years old. The term refers to Japanese classical music and dance, traditionally performed by families of musicians linked to the ancient Imperial court, and later passed down in Buddhist temple ceremonies and Shinto shrines. Shiba Sukeyasu, founder and director of the Reigakusha ensemble, descends from the Koma clan, whose origins date back to the end of the 10th century. The recordings partly reflect repertoires borrowed from Chinese music between the 5th and 9th centuries. The incredible variety of timbres of the instruments greatly amplifies our exotic imagination: the eternal breath of the flutes (ryuteki and hichiriki) creates a sort of suspension of time, together with the hypnotic and hallucinatory atmosphere of the mouth organs (shō). The meditative tone of the string instruments (bika and koto) that punctuate the voids and silences is impressive, as is the enigmatic percussion section, with the tolling of the gong (shōko) and the calibrated beats of the drums (taiko and kakko).